HYBRID by edoardo.massazza

HYBRID THE INTERSECTION OF TWO WORLDS Annual Magazine Number One June 2020 25€ Italy Only

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HYBRID NUMBER ONE

EDITOR EDOARDO MASSAZZA

Hybrid is a trimestral magazine that focuses on the intersections areas between art, design and modern science. The research of one field more and more often becomes the starting point of the research of the other in a marvelous circle of innovation and discovery. Artists and designers worldwide rely on the incredible wonders of modern science and engineering as the backbone of their creative process. At the same time Art and design may not be the first thing to cross your mind when talking about scientific research but nowadays they are more connected than ever. This said our aim is to reveal and select the incredible creations of incredible human beings worldiwide. We live in extraordinary times and we feel as an imperative duty to be eloquent testimonies of this. This first number starts with the symbol of this change: designer and scientist Neri Oxman. Her work is trying to move our manufacturing and productive process from modular systems to linear systems taking nature and at its incredible reporudction processes as models for her work. Sustainability and innovation are the key elements of her work. To quote the artist: Iâ&#x20AC;&#x2122;m always prepared to have my work both publicated on science magazine and the MoMA museum. Her work precisely positions itself on the intersection of our two areas of interest: Design and Science, giving life to most incredible and jaw-dropping creation that this century has assisted to. We thought it might be a good starting point for this new journey we have put ourself on. Always going further.

This first number starts with the symbol of this change: designer and scientist Neri Oxman. Her work is trying to move our manufacturing and productive process from modular systems to linear systems taking nature and at its incredible reporudction processes as models for her work. Sustainability and innovation are the key elements of her work. To quote the artist: Iâ&#x20AC;&#x2122;m always prepared to have my work both publicated on science magazine and the MoMA museum. Her work precisely positions itself on the intersection of our two areas of interest: Design and Science, giving life to most incredible and jaw-dropping creation that this century has assisted to. We thought it might be a good starting point for this new journey we have put ourself on. Always going further. Hybrid is a trimestral magazine that focuses on the intersections areas between art, design and modern science. The research of one field more and more often becomes the starting point of the research of the other in a marvelous circle of innovation and discovery. Artists and designers worldwide rely on the incredible wonders of modern science and engineering as the backbone of their creative process. At the same time Art and design may not be the first thing to cross your mind when talking about scientific research but nowadays they are more connected than ever. This said our aim is to reveal and select the incredible creations of incredible human beings worldiwide. We live in extraordinary times and we feel as an imperative duty to be eloquent testimonies of this.

HYBRID

Executive director

OFFSET AND PRINTING

EXECUTIVE EDITOR

PAPER

Edoardo Massazza Edoardo Massazza

EDITORIAL STAFF

Edoardo Massazza James Gambert Lara Bloomberg Ryan McAvoy Massimo Boldi Clara Rotvelt Edward Truth Luke Lilcum Samuel Dope

ART DIRECTOR

Edoardo Massazza GRAPHIC DESIGN AND LAYOUT

Edoardo Massazza TYPOGRAPHY

Edoardo Massazza

Gida Srl, Viale Monza 310, MI Conf Strathmore Writing W.UL Timate White 120g/mq

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PHOTOGRAPHY

James Gambert John Kramer Anna Tour Edward Kaser Rebecca Phaser COVER PHOTOGRAPHY

Suzanna Janua

Image from the series „The Death Mask” by Neri Oxman for MIT Media Lab.

CREATOR OF THE YEAR Every year we select one of the many incredible creators worldwide who works and innovate on the edge of design, art and modern science.

Neri Oxman

MUSHTARI A 3D printed Organic Armour concieved by Neri Oxman and the MIT Media Lab to support our future in the next decades as a multiplanetary species.

LAZARUS The Death Mask, designed by Neri Oxman and the MIT Media Lab initiallty as a medium to catch thee wearerâ&#x20AC;&#x2122;s last breath and then for vitual support.

SCIENCE OF CREATIVITY More and more often artists and designers worldwide rely on the incredible wonders of modern science and engineering as the backbone of their creative process.

Architecture

FLOATING CITY Architecture firm BIG has designed a concept for a floating city of 10,000 people that could help populations threatened by extreme weather events and rising sea levels.

THE VESSEL Designed by Thomas Heatherwick it’s the sculptural centerpiece of Hudson Yards which is now New York City’s most expensive neighborhood residential towers.

Fashion

NEURO STUDIO Neuro Studio is a Fashion House and Creative Agency based in New York led by Clement Balavoine and Janis Sne. Clement Balavoine created Neuro Studio in 2014.

FUSIFORM Footwear Innovator, Designer and Artist, Zixiong Wei recently shared a look at his “Form Builder” project, where and random design sketches are generated.

Art

DATA SCULPTURE Comprising data paintings, augmented data sculptures and light projections, the project as a whole debuts new advances in technology.

LIGHT BARRIER Kimchi and Chips create phantoms of light in the air, crossing millions of calibrated beams with their work Light Barrier, 2014: making air visible with light.

CREATIVITY OF SCIENCE Art and design may not be the first thing to cross your mind when talking about scientific research but nowadays they are more connected than ever creating a new universe of wonders.

Transport MACROARTICLE

SPACE X Elon Musk has a grand plan for getting humanity out of the confines of Earth, setting off to the moon, Mars, and even further reaches of the solar system early as 2050.

A.I. MACROARTICLE

108

NEW LIFE FORM By customizing and democratizing the use of machines, we bring robots into the forefront: everyone could rely on a robot to support their tasks.

Engineering MACROARTICLE

124 BRAIN

CRISPR technology is a simple yet powerful tool for editing genomes. It allows researchers to easily alter DNA sequences and modify gene function.

Creato the yea 16

MUSHTARI A 3D printed Organic Armour concieved by Neri Oxman and the MIT Media Lab to support our future in the next decades as a multiplanetary species.

LAZARUS The Death Mask, designed by Neri Oxman and the MIT Media Lab initiallty as a medium to catch thee wearerâ&#x20AC;&#x2122;s last breath and then for vitual support.

or of ar 11

Neri Oxm an CREATOR OF THE YEAR

Neri Oxman: the MIT Media Lab wunderkind who is breaking all existing boundaries between design, science and art. Her vision looks at nature and at itâ&#x20AC;&#x2122;s productive systems as models for a new and exciting era of biological manufacturing in all areas of human production. 13

IMAGE TWO/THREE Neri Oxman in her MIT Media Lab studio. Some samples material for Aguahoja I, her new visionary project.

THE ARTIST

Since 2010, Oxman has directed the Mediated Matter group at MIT’s Media Lab, which is known for producing radically interdisciplinary work, but even in that context, her specialty is so novel she had to come up with a new term for it (she calls it material ecology). Technically, Oxman utilizes computational design and elements of architecture, 3-D printing, materials science, engineering, and synthetic biology to develop solutions “to problems that may not yet exist,” as she often puts it. What this means in practice is that she has produced everything from a silk pavilion—a suspended dome of silk fibers spun by a robotic arm, completed by 6,500 live silkworms—to a design concept for a wearable digestive system incorporating photosynthetic bacteria that convert solar energy into sugar, which could be utilized, she once said, on Jupiter’s moons. Almost all her work contains a pristine, fractal beauty generally found only in nature. Oxman is often, by the way, compared to Leonardo da Vinci. She also has an uncanny resemblance to a movie star. Her approach has attracted the attention of Björk (for

whom she produced a 3-D-printed Rottlace mask), fashion designer Iris van Herpen (with whom she collaborated on 3-D-printed clothes), and the Dalai Lama and Brad Pitt (who were both interested in an otherworldly-looking chaise lounge that turns one’s voice into a vibration). “It’s quite exceptional, the amount of attention that she gets,” says Joi Ito, the director of the Media Lab. As the pioneering inventor and scientist Danny Hillis says, “I think we will look back and realize she saw the direction the world was heading earlier than other people.” The Centre Pompidou in Paris, which has so much of its infrastructure visible on its exterior that it looks like an oil rig, is exactly the kind of building Oxman believes the world is moving away from. (She envisions, one day, buildings with a facade made from a 3-D-printed continuous layer of glass that both controls the temperature of the interior and harnesses solar energy.) But last spring, a piece by Oxman and her team was displayed there—a five-meter-tall structure called Aguahoja I.

CREATOR OF THE YEAR NERI OXMAN / BIO DESIGNER

MUSHTARI THE ORGANIC ARMOUR

ARTICLE JENNIFER CLUSTER

How can we design relationships between the most primitive and the most sophisticated life forms? Can we design wearables embedded with synthetic microorganisms that can enhance and augment biological functionality? We explored these questions through the creation of Mushtari, a 3D printed wearable with 58 meters of internal fluid channels. The wearable is designed to function as a microbial factory that uses synthetic biology to convert sunlight into useful products for the wearer. It does so with a symbiotic relationship between two organisms: a photosynthetic microbe – such as microalgae or cyanobacteria - and compatible heterotrophs – such as baker’s yeast and E. coli - that make useful materials. The photosynthetic microbe converts sunlight to sucrose – table sugar – which is then consumed by heterotrophs and converted into materials such as pigments, drugs, food, fuel and scents. This is a form of microbial symbiosis, a phenomenon commonly found in nature. The wearer would ideally be able to trigger the microbes to produce a particular substance – for example a scent, a color pigment, or fuel. The wearable was designed using generative growth algorithms. These computational form generation processes mimic biological growth by generating recursive forms over many iterations of the algorithm. Initial geometry and parameters defined by the algorithm inform the overall geometry, the local mesh geometry as well as variations in material

property by altering the relative strength of relaxation, attraction and repulsion between mesh vertices. For Mushtari, the initial geometry and parameters created a single long channel that grew over numerous iterations into a wearable with 58 meters of inner channels varying in diameter from 1 mm to 2.5 cm. Transparency was graded regionally within the design to create areas where photosynthetic microbes could receive light and produce sucrose. Mushtari was 3D printed using the Objet Connex3, a color multi-material 3D printer developed by Stratasys. Printing internal channels required an innovative support solution. Typically, the Objet Connex3 dispenses a gel-like support material into internal channels that cannot be cleared. To overcome this barrier, the Mediated Matter group collaborated with Stratasys to develop an experimental liquid-based support that could be dispensed into the channels during printing and easily cleared afterwards. Directed by architect and designer Neri Oxman, Living Mushtari was completed by the Mediated Matter Group in collaboration with Stratasys. Will Patrick of Mediated Matter was the lead researcher on the project. Additional collaborators include Christoph Bader and Dominik Kolb; Prof. Pamela Silver and Stephanie Hays of Harvard Medical School; and Dr. James Weaver of the Harvard Wyss Institute for Biologically Inspired Engineering.

IMAGE ONE/TWO: Shots of Lazarus Death Mask, a 3D printed device able to capture the last breath of the person who weares it through a bacteria system.

MUSHTARI

The project accomplished three goals, relevant to threeresearch domains, namely: computational design, additivemanufacturing, and synthetic biology. Those include thefollowing: (1) development and implementation of a com-putational approach for generating product-scale ﬂuidics andheterogeneous modeling of material properties for functionaltemplating; (2) implementation, characterization, and evalu-ation of support material formulations for creating ﬂuidics atproduct scale; and (3) cytotoxicity evaluations of photo-polymeric 3D printed materials with model microbial species.The current design of Mushtari embodies exciting re-search challenges that lie at the intersection of additivemanufacturing and synthetic biology. Those include (1)challenges associated with charging the wearable, that is,charging required media (cells or tissues) in and out of theproduct; (2) challenges associated with keeping cells andcultures healthy and alive (e.g., sterility, gas exchange, andbiocompatibility for other microbial species); and (3) chal-lenges associated with extracting any ‘‘pro-

THE ORGAN

THE PR

20 01

STEP 1

STEP 2

At first the molecule is cured at its first state of expansion and cultivated in laboratory artificial cultivations.

The second step comprises a growth following the given biological constraints and liquid vases.

IC ARMOUR

ROCESS

STEP 3

STEP 4

The molecule continues its growth towards its final form given by the initial data sets from the hospitant body.

The molecules reaches its final form with following to the initial biological constraints adapting to its final use.

duct’’ (e.g., sugar,fragrance, or biofuel) that has been generated by the microbescontained within the wearable.In this article, we demonstrated that by using currentlyavailable multimaterial 3D printers, it is possible to controlthe deposition of multiple materials at the printer’s nativeresolution. In the context of Mushtari, we focused on thecontrol of material opacity and fluid containment. Integratingflexible materials into the design process would enable us toalso control the elastic modulus, which, in turn, could open. many new design possibilities. Such opportunities may in-clude wearable skins that not only contain biological mediabut can also filter such media in a selective manner. Giventhat modern multimaterial 3D printers18can print in ca.32 lm voxel resolution, we point out the possibility that in-creasing the resolution of 3D printing systems would allowfor the creation of selectively permeable membranes andpores. This could enable the production of a more sophisti-cated and regulated transport and filtration system inside thewearable, which exchanges and interacts with the wearer. Inaddition, therapeutic compounds created within the fluidicsystem could be stored in specific areas and locally adminis-tered to the skin.duct’’ (e.g., sugar,fragrance, or biofuel) that has been generated by the microbescontained within the wearable.In this article,

we demonstrated that by using currentlyavailable multimaterial 3D printers, it is possible to controlthe deposition of multiple materials at the printer’s nativeresolution. In the context of Mushtari, we focused on thecontrol of material opacity and fluid containment. Integratingflexible materials into the design process would enable us toalso control the elastic modulus, which, in turn, could open.many new design possibilities. Such opportunities may in-clude wearable skins that not only contain biological mediabut can also filter such media in a selective manner. Giventhat modern multimaterial 3D printers18can print in ca.32 lm voxel resolution, we point out the possibility that in-creasing the resolution of 3D printing systems would allowfor the creation of selectively permeable membranes andpores. This could enable the production of a more sophisti-cated and regulated transport and filtration system inside thewearable, which exchanges and interacts with the wearer. Inaddition, therapeutic compounds created within the fluidicsystem could be stored in specific areas and locally adminis-tered to the skin.

IMAGE THREE: Mask from the Vesper Series Three collection: a new steptwoards a wearable device to enhance human performance and sustain a multiplanetary species.

CREATOR OF THE YEAR NERI OXMAN / BIO DESIGNER

ARTICLE JENNIFER CLUSTER

They say that in every breath of fresh air we take, there are molecules exhaled by Jesus, Cleopatra, or Julius Caesar in their dying breath. In a very physical way, we live amongst the spirits, and they live amongst us. Lazarus is a mask designed to contain the wearer’s last breath. This was the precursor—a kernel—for a larger collection of masks, entitled Vespers, speculating on, and offering a new interpretation of, the ancient death mask. Neri Oxman and the MIT Mediated Matter group have unveiled their latest collection of 3D-printed death masks, designed to contain the wearer’s last breath. Traditionally made of a single material, such as wax or plaster, the death mask originated as a means of capturing a person’s visage, keeping the deceased ‘alive’ through memory. Lazarus serves as an ‘‘air urn’’ memento that is a new form of 3D printed portraiture, combining the wearer’s facial features while serving as a spatial enclosure for their last breath. The mask’s surface is modeled after the face of the dying person, and its material composition is informed by the physical flow of air and its distribution across the surface. Unlike its traditional handmade analogue, the design of Lazarus is entirely data driven, digitally generated, and additively manufactured. It approaches the resolution of the physical phenomenon that it is designed to capture, thereby creating a unique artifact that is perfectly customized to fit the wearer and her last breath.

LAZARUS

Lazarus serves as an air urn memento that is a new form of 3D-printed portraiture, combining the wearer’s facial features while serving as a spatial enclosure for their last breath.” Similar to the group’s previous collection of masks – which although released prior to Lazarus are later in concept – the pieces were formed using a Stratasys Objet500 Connex3 multi-material 3D printer, which constructs 3D forms by depositing polymer droplets in layers. For the project, the team created custom software that allowed them to model high-resolution and complex shapes based on data. First of all, the data for the three main areas is generated, including a heat map of the last breath, a map of the wearer’s face, and the path the flow of air takes across the face.The software then applies the data to the death mask shape, which is transformed into a three-dimensional design before being 3D-printed. MIT Media Lab leverages 3D printable bioactive materials to spatially template the biological response of living microorganisms. Thus, computational and digital fabrication tools are customized to di-

rect the growth and expression of biological microorganisms contained within the mask. this research offers a new space for biological augmentation across a wide breadth of application domains, by leveraging both resolution and scale. The Lazarus death masks are the first instalment from the The New Ancient Collection by Stratasys, which is being curated by Naomi Kaempfer. Oxman’s masks debuted at the opening exhibition of London’s new Design Museum. Named Fear and Love, it explores a spectrum of issues that define our time and also includes installations by OMA and Hussein Chalayan. Vespers is the latest 3D printing research project from the Mediated Matter group, a part of the MIT Media Lab. Their previous research includes 3D-printed „wearable skins” designed to facilitate synthetic biological processes and investigations into how to use silkworms to print architectural structures. Members of the Mediated Matter Group, and affiliates, who have contributed to this work include Christoph Bader, Dominik Kolb, Rachel Smith, Sunanda Sharma, James Weaver and Neri Oxman.

IMAGE ONE/TWO: Shots of Lazarus Death Mask, a 3D printed device able to capture the last breath of the person who weares it through a bacteria system.

THE PROCESS

A method for printing 3D objects that can control living organisms in predictable ways has been developed by an interdisciplinary team of researchers at MIT and elsewhere. The technique may lead to 3D printing of biomedical tools, such as customized braces, that incorporate living cells to produce therapeutic compunds such as painkillers or topical treatments, the researchers say. The new development was led by MIT Media Lab Associate Professor Neri Oxman and graduate students Rachel Soo Hoo Smith, Christoph Bader, and Sunanda Sharma, along with six others at MIT and at Harvard University’s Wyss Institute and Dana-Farber Cancer Institute. The system is described in a paper recently published in the journal Advanced Functional Materials. “We call them hybrid living materials, or HLMs,” Smith says. For their initial proof-of-concept experiments, the team precisely incorporated various chemicals into the 3D printing process. These chemicals act as signals to activate certain responses in biologically engineered microbes, which are spray-coated onto the printed object. Once added, the

microbes display specific colors or fluorescence in response to the chemical signs. In their study, the team describes the appearance of these colored patterns in a variety of printed objects, which they say demonstrates the successful incorporation of the living cells into the surface of the 3D-printed material, and the cells’ activation in response to the selectively placed chemicals. The team uses a multistep process to produce their hybrid living materials. First, they use a commercially available multimaterial inkjet-based 3D printer, and customized recipes for the combinations of resins and chemical signals used for printing. For example, they found that one type of resin, normally used just to produce a temporary support for overhanging parts of a printed structure and then dissolved away after printing, could produce useful results by being mixed in with the structural resin material. The parts of the structure that incorporate this support material become absorbent and are able to retain the chemical signals that control the behavior of the living organisms.

DATA TRANSFER

IMAGE ONE: Aerial rendering of the 1,7 squared kilometers module city able to contain more than 10.000 inhabitants still mantaining a strong sense of community.

SERIES THREE

The Vesper Threee—now living things unto themselves—feature patterns generated by genetic regulatory signals distributed according to the spatial logic provided by the second series. The microorganisms and their byproducts, which animate the mask with properties greater than the sum of its parts, reinterpret the color palette of the first series and thereby biologically recreate their cultural precursors. Transitioning from vessels of representative neuro-vasculature to actual biological urns, the masks in this series mark a new cycle of life and the notion of continuation. The martyr’s faces are no longer preserved but have transformed into sites of and for new life. The third series in the Vespers collection combines living and non-living materials into hybrids. The body of research underlying this series involves novel tools and techniques that enable tight integration between, and control of, designed and biologically derived properties.In this series, we integrate computational design with additive manufacturing and synthetic biology to digitally fabricate objects that direct living microorganisms to produce pigments that emulate the colors of the first series of the collection.

”New items for a interplanetary species” IMAGE THREE: Mask from the Vesper Series Three collection: a new steptwoards a wearable device to enhance human performance and sustain a multiplanetary species.

Archite 36

FLOATING CITY Architecture firm BIG has designed a concept for a floating city of 10,000 people that could help populations threatened by extreme weather events and rising sea levels.

THE VESSEL Designed by Thomas Heatherwick it’s the sculptural centerpiece of Hudson Yards which is now New York City’s most expensive neighborhood residential towers.

ecture 35

FLOATING CITY

HUMANITY’S NEXT FRONTIER

ARCHITECTURE

Architecture firm BIG has designed a concept for a floating city of 10,000 people that could help populations threatened by extreme weather events and rising sea levels.

ARCTICLE JASMINE CLUSTER

BIG founder Bjarke Ingels unveiled the scheme yesterday at a round-table discussion on floating cities at the United Nations’s New York headquarters. The ocean is under threat from land reclamation. As coastal cities struggle to cope with rapid population growth, many simply pour sand into the ocean to create new land. Unfettered coastal urbanization is destroyinga millions of hectares of the ocean and marine life; close to 50 percent of people in the world live in coastal areas. The rising sea and climate change are compounding the problem. Oceanix is taking bold steps towards a more resilient future. Oceanix designs and builds floating cities for people to live sustainably on the ocean. We believe humanity can live in harmony with life below water. It is not a question of one versus the other. The technology exists for us to live on water, while nature continues to thrive under. Oceanix is trailblazing a new industry with blue tecahnologies that meet humanity’s shelter, energy, water and food needs without killing marine ecosystems. All communities regardless of size will prioritize locally sourced materials for building construction, including fast-growing bamboo that has six times the tensile strength of steel, a negative carbon footprint, and can be grown on the neighborhoods themselves. Floating Cities can be prefabricated on shore and towed to their final site, reducing construction costs.

FLOATING MODULES

Modular neighborhoods of 2 hectares create thriving self-sustaining communities of up to 300 residents with mixed-use space for living, working and gathering during day and night time. All built structures in the neighborhood are kept below 7 stories to create a low center of gravity and resist wind. Every building fans out to self-shade internal spaces and public realm, providing comfort and lower cooling costs while maximizing roof area for solar capture. Communal farming is the heart of every platform, allowing residents to embrace sharing culture and zero waste system. By clustering six neighborhoods around a protected central harbor, larger villages of 12 hectares can accommodate up to 1,650 residents. Social, recreational and commercial functions are placed around the sheltered inner ring to encourage citizens to gather and move around the village. Residents can easily walk or boat through the city. Aggregating to reach a critical density, six villages connect to form a city of 10,000 residents with a strong sense of community. A larger protected harbor is formed in the heart of the city. Floating destinations and art, including six specialized landmark neighborhoods with a public square, market place and centers for spirituality, learning, health, sport and culture create destinations drawing residents from across the city and anchoring each neighborhood in a unique identity.

IMAGE ONE: Aerial rendering of the 1,7 squared kilometers module city able to contain more than 10.000 inhabitants still mantaining a strong sense of community.

neighborhood 01

300

500

Module

Ectars

Inhabitants

Energy (Kw)

village 06

1.800

3000

Module

Ectars

Inhabitants

Energy (Kw)

city 36

100

10.000

18.000

Module

Ectars

Inhabitants

Energy (Kw)

module division.

01 Buildings

02 Module Sea Level

03 Exagon

04 Farming

Buildings

Module

Low rise buildings are distributed to balance wight level, at four-seven stories to create a low center of gravity and resist wind. Each platform accomodated between 10.000-15.000 square meter of mixed space for living, working and gathering.

A flexible, buoyant skirt accomodates docks, wind-breaks, production, and gathering spaces. Low edges allow residents direct access to the water.. Sheltered production spaces are located at the center of the neighborood.

Exagon

Farming

Cars amd bikes are parked out within the platform when not in use to reduce space demands. Organic produce will be efficiently grown in aeroponic and aquaponic systems, complemented by traditional outdoor farms and greenhouses.

Seaweed, oyster, museel, scallop and clams arrays beneath platforms celan the water and acclerate ecosystem regeneration. Biorocks reefs around the module will regenerate habitat and create sustainable mariculture.

THE SOLUTIONS

The islands would be bolstered by bio-rock, a material with a limestone coating formed by exposing underwater minerals to an electric current. the self-repairing material becomes stronger overtime so can withstand harsh weather conditions, is three times harder than concrete, but can still be made to float. the project addresses housing shortages and threats from rising sea levels by imagining an environmentally friendly habitat. . All communities regardless of size will prioritize locally sourced materials for building construction, including fast-growing bamboo that has six times the tensile strength of steel, a negative carbon footprint, and can be grown on the neighborhoods themselves. The villages wouldn’t allow any high-emitting cars or trucks and would use pneumatic trash tubes to transport garbage to a sorting station, where it can be identified and eventually recycled. The concept could utilize other new technologies including driverless vehicles, drone deliveries, and ocean farming, which involves growing food beneath the surface of the water. cages underneath the platforms could harvest scallops, kelp, or other forms of seafood. meanwhile aquaponic systems would use waste from fish to help fertilize plants. A number of renewable energy resources, such as wind and water turbines and solar panels are also incorporated. Food production and farming would be integrated and follow a zero-waste policy.

FRESH WATER AUTONOMY

NET-ZERO ENERGY

PLANT BASED DIET

ZERO WASTE SYSTEM

SHARED MOBILITY

HABITAT REGENERATION

THE ARCHITECT

Danish architect Bjarke Ingels is often cited as one of the most inspirational architects of our time. At an age when many architects are just beginning to establish themselves in professional practice, Ingels has already won numerous competitions and achieved a level of critical acclaim (and fame) that is rare for new names in the industry. His work embodies a rare optimism that is simultaneously playful, practical, and immediately accessible. Much of his philosophy about architecture is revealed in his 2009 manifesto entitled Yes is More, which introduces 30 projects from his practice in the familiar format of a comic book. In a concept that he calls “Hedonistic Sustainability,” many of his projects seek to question how sustainability can be playfully and responsibly integrated into buildings to actually increase standards of living. In practice, this approach manifests in a strictly diagrammatic approach to generating architectural form that is borrowed from his former mentor Rem Koolhaas—albeit a more highly developed and systematic incarnation of such an approach. „Whether post-rationalized or generative,” writes Justin Fowler, „BIG’s diagrams project an attitude of inevitability, suggesting that the final form is the necessary result.” This approach to generating architecture is a perfect complement to Ingels’ highly developed powers of presentation, persuasion, and self-promotion that have drawn both ire and admiration from the architectural profession.

”design big design smart”

the vessel ARCHITECTURE

a new vision for public spaces

The Thomas Heatherwick newly designed building: cascading staircases of the british studio’s Escher like creation are coming to Hudson Yards.

ARTICLE MASSIMO BOLDI

The Vessel is a $200 million climbable sculpture in Hudson Yards, Manhattan’s $25 billion neighborhood that opened to the public a year ago. Designed by Thomas Heatherwick, it’s the sculptural centerpiece of Hudson Yards — which is now New York City’s most expensive neighborhood, according to PropertyShark — that includes office buildings, luxurious residential towers, and a seven-story luxury shopping center with stores like Louis Vuitton and Dior. The 150-foot-tall sculpture, which cost $200 million to build, according to

Curbed, includes 154 interconnected staircases, nearly 2,500 steps, and 80 landings. The Vessel „is going to be to New York City what the Eiffel Tower is to Paris,” Jeff Blau, the CEO of Related Companies, the developer behind Hudson Yards, told CBS last year. It’s a topless pineapple, or maybe half a beehive, with a labyrinthine optical illusion of cascading steps at its core, a dead ringer for a mystifying M.C. Escher conundrum of impossible stairs, suitable for climbing, from nowhere to the sky in an inctricate strcuture of platforms.

IMAGE ONE: Rendering of the plaza around The Vessel designed and owned by Hudson Spaces for a total area of 180m square meters.

IMAGE TWO: Internal view of the 154 staircases and 80 platforms that compose the intricate structure of The Vessel.

CONSTRUCTION

MODULATION

FINAL STRUCTURE

THE BUILDING

Heatherwick Studio’s design comprises a geometric lattice of intersecting flights of stairs. the form of the painted steel frame rises from a 50 foot diameter base and widens at the top to 150 feet, with an underside clad with a polished copper-colored skin. ‘we saw this as a building made from staircases,’ Thomas Heatherwick told designboom at the project’s unveiling. ‘There was nothing to commemorate here, and having something that creates a physical engagement creates a chemistry between us.’ importantly, ‘vessel’ will also be wheelchair accessible, and is designed with a curving elevator that will ascend to the top of the structure. Vessel will be the focal point of a public square and gardens designed by landscape architects nelson byrd woltz in collaboration with heatherwick studio. informed by manhattan’s rich ecological history, the site will feature more than five acres of plazas with groves of trees, woodlands plants, perennial gardens and a 200-foot-long fountain that mirrors the flow of a river. the platform itself serves as a ventilating cover over the working rail yards below and is engineered to support large-scale plantings, while simultaneously acting as a reservoir for site storm-water management and reuse.

IMAGE THREE: Shot of a realistic plaster model constructed by Thomas Heathweriwicks studio before the actual realization of the building.

PUBLIC SCULPTURE

The Vessel will serve as nothing more (or less) than a place to walk up and down. To stand and contemplate. Or meet with friends and family before leaving to explore the city. And that’s exactly what all parties involved in its creation want it to be. Its ambiguity is its greatest strength. „Over time its use will evolve in ways we can’t even imagine right now,” says Wood. „In this way we’re giving the structure to the city and allowing them to define it.” Related (the developers of Hudson Yards) and Heatherwick Studios want the Vessel to be a gathering place for tourists, yes, but more important, New Yorkers: „I want people who live here to use this space and feel a part of it,” developer Stephen Ross (a man many credit with making mixed-use buildings commonplace on the city’s skyline) said one recent morning as he walked up the Vessel for the first time. „Because it’s really for them.” In other words, Ross hopes that locals will one day soon say: „Let’s meet at the Vessel” and not „Let’s avoid the Vessel,” as many New Yorkers do of Times Square. The Vessel, as the structure is temporarily being called, is an interactive sculpture comprising a network of stairs and landings that visitors can climb (or take an elevator) to the top. The completion of the Vessel has a Hollywood-like story. After the commission was awarded to the British-based designer Thomas Heatherwick (who beat out, among others, Anish Kapoor to earn the project), the developer went to extreme lengths in keeping the design a secret. So much so that a 20-foot fence was constructed around the steelworks in northwest Italy where the bones of the Vessel was being constructed so that no one could see what the design was going to be. Bit by bit, parts of it were brought to the U.S. and floated to the construction site via tugboat along New York’s Hudson River.

There is something medieval about the experience of this new public space. Though it remains open – the surroundings and the city are constantly perceptible – it also conveys a sense of disorientation, a constant loss of direction, along a path that Heatherwick has avowedly based on the intricate traditional stepwells of India, but also with similarities to the impossible perspectives of Escher or the allegory of the labyrinth: a maze, but also the philosophical puzzle of the library in The Name of the Rose. The overall Hudson Yards project has raised critical hackles in the press, but – a sign of the times – it is a huge hit on Instagram. A controversial undertaking that should be assessed in terms of American or at least strictly New York dynamics. After the whirl of the opening days, we talked about the project with the British designer. There was a job to do: to design a new center for the city. To make the best possible public space and to make it enter the imagination of people. To create an emotion as part of the function. To be simplistic, the Vessel can be used for fitness: you can take the steps to climb up the 16 levels, saving money on health clubs, which are quite expensive in New York. The place can be interpreted in various ways: a facility for exercise, a gathering place for New Yorkers, a piece of landscape, a climbing frame, but it is essentially a three-dimensional public space. The Architect states: Honestly: I do not see it as a mere sculpture. We proposed making something that was not just to look at, a place for people, who after the opening have finally been able to invade it and understand it from the inside, not just from the outside. A theatrical setting, a sort of amphitheater with 80 public zones along the ramps, a facility with a social value.

”The revolution of public, livable spaces”

Fashio techno 56

NEURO STUDIO Neuro Studio is a Fashion House and Creative Agency based in New York led by Clement Balavoine and Janis Sne. Clement Balavoine created Neuro Studio in 2014.

FUSIFORM Footwear Innovator, Designer and Artist, Zixiong Wei recently shared a look at his “Form Builder” project, where and random design sketches are generated.

on and ology

Neuro Studio has built their methodology around one idea: The same 3D file created during the design phase will be used to promote, sell and produce a garment.

ARCTICLE JASMINE CLUSTER

Neuro Studio is a Fashion House and Creative Agency based in New York led by Clement Balavoine and Janis Sne. Clement Balavoine created Neuro Studio in 2014 after he noticed the wasteful systems in the industry of fashion and lack of optimization in the usage of resources. The studio also works in the world of fashion, video games, advertising, etc. SOLVENTUS 2019 by Neuro is a line entirely conceptualised as digital 3D models which enable us to see the fine details of the garment while allowing the studio to follow a high sustainability business model wherein the garment is made only after the buyer orders it. The innovative collection is not only made from recycled fabrics, but also eradicates the process of overproduction and inventory. The collection comprises of fitted tights, trousers, tops, gloves, vests, anoraks (hooded jackets) and all terrain footwear, strategically streamlined to support dynamic physical activity and maintenance of body temperature. The jetblack garments with accents of neo-mint enhance the sleek but comfortable athleisure silhouettes. Constructed from breathable and insulating knitwear fabric, the garments are inspired by a futuristic story of “activist engineers who have claimed a desolated solar farm as their sanctuary far away from the polluted city they’ve abandoned”.

IMAGE ONE: Renders of the XG044 vest and of the QRT65 armour extracted from the product slideshow from the Neuro Studio website.

SOLVENTUS

Solventus 2019 is the byproduct of a year spent pushing the limits of 3D softwares and engineering — a year in which Neuro’s team was dedicated to improving and streamlining their digital process. Models were 3D scanned to study their motion and heat maps, which enabled Neuro’s designers to not only obtain each model’s precise measurements, but also to design garments directly onto each model’s digital avatar — drawing shapes and selecting materials dependent on data collected from their movements and heat maps. The future-forward collection depicts activist engineers who’ve claimed a desolated solar farm as their sanctuary far away from the polluted city they’ve abandoned. In their headquarters, the engineers work together to create a blueprint that will final�ly bring harmony between humanity and nature. The collection’s garments embody this futuristic vision using cutting-edge technologies like 3D modeling and 3D printing to design, promote and sell clothes without stitching a shred of fabric - making the process fully digital from ideation to purchase.The line includes

tights and pants that follows every movement, jackets and coats that work with - not against - increased body heat during rigorous activity, all-terrain footwear with seamless structure, sleek yet convertible hats and anoraks, breathable tops with durable pockets, quick release straps featuring FIDLOCK® buckles, and more. Solventus 2019’s garments feature recycled fabrics and a color palette that’s almost exclusively shades of jet-black charcoal, with a dash of neo mint. Its stretch and knitwear garments utilize ventilation system to keep heat out and provide flexibility and breathability to optimize motion. For colder conditions, Neuro’s cold-weather fabrics use a cutting-edge yarn, designed and stitched to contain body heat and provide warmth. Neuro Studio has built their methodology around one idea: The same 3D file created during the design phase will be used to promote, sell and produce a garment. Neuro’s cold-weather fabrics use a cutting-edge yarn, designed and stitched to contain body heat and provide warmth. Each piece is made digitally for the buyer only..

IMAGE TWO/THREE: Incredible high definition details of the garment are assured by the 3D technology, used to priduce an accurate prototype of each garment.

IMAGE FOUR/FIVE A clear example of Neuro Studio 3D product show technology: comparison between the three dimensional image and reality.

THE SYSTEM

DESIGN

SOURCE 3D MODEL

PROMOTION

SALES

PRODUCTION

VR Campaign/Runway/Showroom 360 Product Shots

Real time costumization/tailoring AR fitting room

VR Campaign/Runway/Showroom 360 Product Shots

Named Neuro, the method relies on a combination of several pieces of 3D software, used together to create clothes that are fitted on virtual models.Laser-cutting machines or 3D printers can be used to produce the garments, giving designers more scope to digitally tailor pieces for individual customers. „Design-wise, it allows any designer to create, visualise in 360 degrees and tweak their design in just a few minutes, without touching any physical fabric,” Balavoine told Dezeen: ”They can create a garment, based on their body measurement with the fabric and colour they prefer,” he added: ”If we want to push further, we would scan the customer and design the garment directly onto the digital avatar of the customer.” Digital models are based on individuals scanned in real life, creating realistic bone structures that make for convincing poses. Patterns are developed using software programme Marvelous Designer, which allows two-dimensional patterns to be drawn and cut in much the same way as real life. Pieces are virtually sewn together, before a three-dimensional gravity simulator is applied

to show how the garment will fit, and how the fabric falls and moves. The material can then be customised with different textures and colours, using modelling programme 3ds Max, which also lets the user create „virtual photoshoots” by adjusting lighting and surroundings. Balavoine was prompted to explore the design process by video game and movie concept artists, who often use this kind of software for character development. „With Neuro, my goal was to build the bridge between the different creative worlds, and bring a reflection on the process of design in fashion – a different approach,” he said: “Step by step, these 3D models become closer to reality and it will be soon difficult to see the difference,” added the designer. „I think that in the future, physical and digital models will have a specific place in the industry.” An exhibition held at New York’s Metropolitan Museum of Art this year also explored how technology is impacting high-end fashion. It featured creations made through computer modelling, 3D printing, laser cutting and other „machine-based” fabrication methods.

FUSIFORM

RANDOM DESIGN GENERATOR

FASHION AND TECHNOLOGY

Zixiong Wei approach to Generative Design is totally revolutionizing the way we think and manage the creative process and creative outcomes now and in the future. ARCTICLE LARA BLOOMBERG

Footwear Innovator, Designer and Artist, Zixiong Wei recently shared a look at his “Form Builder” project, where exisiting products are analysed and random design sketches are generated. To quote the designer: “The curves and streamlines existing in the industrial form are summarized, and their aesthetics are formulated as much as possible to obtain the generator designed by the auxiliary designer. In the expected scenario, designers often need non-subjective design inspiration more when they are lack of inspiration or in trouble.Through the skip design process, to get unexpected inspiration and shape.” You can imagine how something like this could be incredibly useful for quickly coming up with unique proportions and shapes to base concepts off of in the future. See some of the randomly generated results that Zixiong came up with, below. The project is to be comprehended in a vast research by the designer on the applications of generative design on 3D sketch creations: ranging from footwear to wearables, from fashion to art defining an outstanding and admirable sum of works, studies and innovation on the subject.

STEP ONE WAVEFORM

STEP TWO STABILIZE

STEP THREE SOLESHAPE

GENERATIVE DESIGN

Generative design is an iterative design process that involves a program that will generate a certain number of outputs that meet certain constraints, and a designer that will fine tune the feasible region by changing minimal and maximal values of an interval in which a variable of the program meets the set of constraints, in order to reduce or augment the number of outputs to choose from. The program doesn’t need to be run on a machine like a digital computer, it can be run by a human for example with pen and paper. The designer doesn’t need to be a human, it can be a test program in a testing environment or an artificial intelligence, for example a generative adversarial network. The designer learns to refine the program (usually involving algorithms) with each iteration as their design goals become better defined over time. The process combined with the power of digital computers that can explore a very large number of possible permutations of a solution enables designers to generate and test brand new options, beyond what a human alone could accomplish, to arrive at a most effective and optimized design.

IMAGE ONE: Aerial rendering of the 1,7 squared kilometers module city able to contain more than 10.000 inhabitants still mantaining a strong sense of community.

THE ITERATIONS

For further application, the designer selected footwear as the basic model, tested and compared the condition of boundary band in 10%-30% and 50%-70% respectively. Sketches produced in the 10%30% range are unexpected and innovative. Sketches produced in the 50-70% range are closer to the basic model of the shoe, more informative, but slightly boring compared to 10-30%. Sketches drawn in the 50-70% range have extremely accurate feedback and are highly adaptable to precise details and zoning. Sketches produced in the 10%-30% range are unexpected and innovative.Sketches drawn in the 50-70% range have very precise feedback and are well suited for precise details and partitions. The project aims to help designers quickly get inspiration for non-linear thinking with sketches, and there will still be follow-up projects. In this sense this projects is the perfect examples of the application of generative design: a software or a set of alogorithm that augments an engineer set of options and uses the power of cloud computation

and machine learning to explore a whole set of new solutions. It expands the engineer or designers known universe of valid solutions to their design challenge. By contrast, many of the technologies that masquerade as generative design - topology optimization, lattice optimization, parametrics or similar technologies - are focused on improving a preexisting design, not creating new design possibilities like with generative design.The confusion arises because the inputs to generative design are similar to the inputs to many optimization tools. However, generative design produces many valid (high performance yet cost-effective) designs or solutions instead of one optimized version of a known solution. In addition to creating entirely new solutions, another area where generative design differs and stands out is that it takes manufacturability into account. That means the process of testing products and going back to the drawing board is drastically reduced. Additional modeling, traditional simulation and testing at the end.

Iteration percentage: 10-30% 71

Iteration percentage: 50-70% 72

Iteration percentage: 90-100% 73

Art an techno 76

DATA SCULPTURE Comprising data paintings, augmented data sculptures and light projections, the project as a whole debuts new advances in technology.

LIGHT BARRIER Kimchi and Chips create phantoms of light in the air, crossing millions of calibrated beams with their work Light Barrier, 2014: making air visible with light.

nd ology 75

ART AND TECHNOLOGY

MELTING MEMORIES AUGMENTED DATA SCULPTURES

ARCTICLE LARA BLOOMBERG

“Science states meanings; art expresses them,” writes American philosopher John Dewey and draws a curious distinction between what he sees as the principal modes of communication in both disciplines. In Melting Memories, Refik Anadol’s expressive statements provide the viewer with revealing and contemplative artworks that will generate responses to Dewey’s thesis. Comprising data paintings, augmented data sculptures and light projections, the project as a whole debuts new advances in technology that enable visitors to experience aesthetic interpretations of motor movements inside a human brain. Each work grows out of the artist’s impressive experiments with the advanced technology tools provided by the Neuroscape Laboratory at the University of California, San Francisco. Neuroscape is a neuroscience center focusing on technology creation and scientific research on brain function of both healthy and impaired individuals. Anadol gathers data on the neural mechanisms of cognitive control from an EEG (electroencephalogram) that measures changes in brain wave ac-

tivity and provides evidence of how the brain functions over time. These data sets constitute the building blocks for the unique algorithms that the artist needs for the multi-dimensional visual structures on display.“ Anadol’s installations do not only address a productive espousal of cutting-edge technology and art but also a strong preoccupation with the study of human memory from Ancient Egyptians to Blade Runner 2049. The exhibition’s title, Melting Memories, refers to the artist’s experience with unexpected interconnections among seminal philosophical works, academic inquiries and artworks that take memory as their principal themes. The title further draws attention to the melting of neuroscience and technology into these centuries-long philosophical debates, questioning the emergence of a new space where artificial intelligence is not in conflict with individuality and intimacy.

THE ARTIST

Refik Anadol is a media artist and director born in Istanbul, Turkey in 1985. Currently lives and works in Los Angeles, California. He is a lecturer and visiting researcher in UCLA’s Department of Design Media Arts. He is working in the fields of site-specific public art with parametric data sculpture approach and live audio/visual performance with immersive installation approach, particularly his works explore the space among digital and physical entities by creating a hybrid relationship between architecture and media arts with machine intelligence. He holds a master of fine arts degree from University of California, Los Angeles in Media Arts, master of fine arts degree from Istanbul Bilgi University in Visual Communication Design as well as bachelors of arts degree with summa cum laude in Photography and Video. As a media artist, designer and spatial thinker, Refik Anadol is intrigued by the ways in which the transformation of the subject of contemporary culture requires rethinking of the new aesthetic, technique and dynamic perception of space. Anadol builds his works on the nomadic subject’s reaction to and interactions with unconventional spatial orientations with data and machine intelligence. Embedding media arts into architecture, he questions the possibility of a post digital architectural future in which there are no more non-digital

realities. He invites the viewers to visualize alternative realities by presenting them the possibility of re-defining the functionalities of both interior and exterior architectural formations. Anadol’s work suggests that all spaces and facades have potentials to be utilized as the media artists’ canvases. works on the nomadic subject’s reaction to and interactions with unconventional spatial orientations with data and machine intelligence. Embedding media arts into architecture, he questions the possibility of a post digital architectural future in which there are no more non-digital realiti-

Theata and Alpha neural waves are reigstred through a 32 ECG sensors positioned on the head of the subject for a total of 64 different neural waves to be subsequentely processed. The waves are then synthesied through a neural computational software that translate those from wave to visual form. The waves initialty isolate and normalize channels to represent active/passive bain activity to distinguish short term from long term memories. Theata and Alpha neural waves are reigstred through a 32 ECG sensors are

positioned on the head of the subject for a total of 64 different neural waves to be subsequentely processed. The waves are then synthesied through a neural computational software that translate those from wave to visual form. The waves initialty isolate and normalize channels to represent active/passive bain activity to distinguish short term from long term memories. The waves initialty isolate and normalize channels to represent active/passive bain activity to distinguish short term from long term memories.

MELTING MEMORIES

Data collection process utilized a 32-channel Enobio and standard protocol configuration. Participants were instructed to focus on specific long-term memories during the recording process. A control recording was also conducted to identify artifacts to later filter with adaptive notch filtering and limiting the frequency range. For analysis we focused on beta (13-17Hz) and theta (3-7Hz) channels, isolating activation points corresponding to short term and longterm (specifically episodic) memory. Our selections were the Fp1, Fp2, F7, F8, P3, P4, C3, C4, T7, T8, O1, and O2 nodes, which were also used to drive noise parameters within the real-time simulation. For scaling we applied Higuchiâ&#x20AC;&#x2122;s fractal dimension algorithm and used FFT for a moving average. Recurrent neural nets (via EEGLearn) we used on the recording sessions to generate spectral outputs, which were then utilized as height maps for the visual representation pipeline. Transposing EEG data in to procedural noise forms was a really engaging challenge, both technically and conceptually. In the input data and our mapped representation you

can find recurrence and rhythm but also hints of higher dimensional structures. We wanted to do this efficiently and in real time and so working on Melting Memories dovetailed nicely with putting the last touches on FieldTrip, an (at the time pre-release) open source GPU library for HLSL/VVVV. It allowed us to use a composite design pattern to very quickly iterate while producing the aesthetic structures used in the project. This approach enabled us to really explore some deeper procedural functions whilst keeping a completely modular graphics pipeline. This modularity makes it easy and clean to expand on the projectâ&#x20AC;&#x2122;s abstracted content in really interesting ways, such as further integration of machine learning on the source data, evolving rendering techniques and the creation of sculpted physical artifacts.can find recurrence and rhythm but also hints of higher dimensional structures. We wanted to do this efficiently and in real time and so working on Melting Memories dovetailed nicely with putting the last touches on FieldTrip can find recurrence and rhythm but also hints of higher dimensio

IMAGE THREE/FOUR: Two Melting Memoreis Installation presented in 2018 at the Gagosian Gallery of New York.

nal structures. We wanted to do this efficiently and in real time and so working on Melting Memories dovetailed nicely with putting the last touches on FieldTrip, an (at the time pre-release) open source GPU library. It allowed us to use a composite design pattern to very quickly iterate while producing the aesthetic structures used in the project. This approach enabled us to really explore some deeper procedural functions whilst keeping a completely modular graphics pipeline. This modularity makes it easy and clean to expand on the projectâ&#x20AC;&#x2122;s abstracted content in really interesting ways, such as further integration of machine learning on the source data, evolving rendering techniques and the creation of sculpted physical artifacts. We wanted to do this efficiently and in real time and so working on Melting Memories dovetailed nicely with putting the last touches on FieldTrip can find recurrence and rhythm but also hints of higher dimension.

LIGH BARR 82

HT RIER ART AND TECHNOLOGY

Kimchi and Chips create phantoms of light in the air, crossing millions of calibrated beams with their work Light Barrier, 2014.

The light installation creates floating graphic objects which animate through space as they do through time.

ARTICLE JOHN KRANE

A massive sculptural light show uses an apparatus of mirrors to create dynamic light drawings in mid-air in the third and largest iteration of Light Barrier, an installation by artist duo Kimchi and Chips. In it, eight video projectors shoot individual beams of light onto a hive of concave mirrors that, in turn, reflect the light back into the air. In this way, the artists turn the installation’s mirrors into 630 sub-projectors. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.A massive sculptural light show uses an apparatus of mirrors to create dynamic light drawings in mid-air in the third and largest iteration of Light Barrier, an installation by artist duo Kimchi and Chips. In it, eight video projectors shoot individual beams of light onto a hive of concave mirrors that, in turn, reflect the light back into the air. In this way, the artists turn the installation’s mirrors into 630 sub-projectors. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.The circle is a recurring image shown throughout the installation’s-six minute performance (below). Kimchi and Chips use the shape as a vehicle to explore themes of birth, death, and rebirth. As the project’s description explains, the artists were inspired by the reaction of impressionist painters to the advent of photography and the concept of „viewer-less” images. The installation creates images that arise from the canvas, or mirror, „creating painting outside of perspective.” In addition to the installation’s visual components,

the artists created an immersive soundscape using 40 different audio channels. circle is a recurring image shown throughout the installation’s-six minute performance (below). Kimchi and Chips use the shape as a vehicle to explore themes of birth, death, and rebirth. As the project’s description explains, the artists were inspired by the reaction of impressionist painters to the advent of photography and the concept of „viewer-less” images. The installation creates images that arise from the canvas, or mirror, „creating painting outside of perspective.” In addition to the installation’s visual components, the artists created an immersive soundscape using 40 different audio channels. In addition to the installation’s visual components, the artists created an immersive soundscape using 40 different audio channels. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.The circle is a recurring image shown throughout the installation’s-six minute performance (below). Kimchi and Chips use the shape as a vehicle to explore themes of birth, death, and rebirth. As the project’s description explains, the artists were inspired by the reaction of impressionist painters to the advent of photography and the concept of „viewer-less” images. The installation creates images that arise from the canvas, or mirror, „creating painting outside of perspective.” In addition to the installation’s visual components. The installation creates images that arise from the canvas, or mirror, „creating painting outside of perspective. The installation creates images that arise from the canvas, or mirror, „creating painting outside of perspective.” The installation creates images that arise from the canvas, or mirror.

IMAGE THREE/FOUR: Two Melting Memoreis Installation presented in 2018 at the Gagosian Gallery of New York.

This year, Kimchi and Chips founders, Elliot Woods and Mimi Son, used a 4×4pro with Q-DVI VFC Cards to help execute their project. Elliot Woods explains how disguise offered the best playback solution for the challenges which stemmed from the intricate design of Light Barrier; “Light Barrier somewhat redraws the boundary between material and immaterial things. By creating drawings in the air, we make ephemeral physical objects which are as temporary and dynamic as the passing of light. The main challenges for this edition involved calibrating the light fields of many projectors, to create light field rendering techniques which plug into existing 3D workflows and to play back the content in sync across 8 projectors with 24 audio channels. Many of these challenges require our own custom software to execute because they’ve never been done before. Thankfully, disguise could help us with the playback part of the problem.” Woods notes that disguise allowed them to efficiently utilise their time to focus on other elements including calibration and rendering, „I’ve never worked with any other solution which has such fluid playback of so many pixels out of the box.” He adds that an important part of being able

to productively move forward with the project, was the support offered by the disguise technicians, “this is the first time we’ve used disguise on one of our own projects. To get started quickly, I asked one of our technicians to learn the basics and then teach me. Beyond that, the online documentation is a great resource. The best part, is that whenever you get stuck, there is a 24 hour support line you can ring. They get straight to the point and don’t waste your time.” Thankfully, disguise could help us with the playback part of the problem.” Woods notes that disguise allowed them to efficiently utilise their time to focus on other elements including calibration and rendering, „I’ve never worked with any other solution which has such fluid playback of so many pixels out of the box.” He adds that an important part of being able to productively move forward with the project, was the support offered by the disguise technicians, “this is the first time we’ve used disguise on one of our own projects. He adds that an important part of being able to productively move forward with the project, was the support offered by the disguise technicians, “this is the first time we’ve used disguise on one of our own projects.

IMAGE TWO/THREE: Incredible high definition details of the garment are assured by the 3D technology, used to priduce an accurate prototype of each garment.

Aeros transp MACROARTICLE

SPACE X Elon Musk has a grand plan for getting humanity out of the confines of Earth, setting off to the moon, Mars, and even further reaches of the solar system early as 2050.

space port 89

Making Making humankind humankind a a multiplanetary multiplanetary species: species: this this is is the the objective objective of of visionary the business mogul Elon Elon Musk. Musk. bilionare mogul

SPACE X

THE VISION By 2050 Space X founder Elon Musk is planning to make humankind a multiplantary species by colonizing mars and giving us a second home were to live in: a new dream to look up to.

ARTICLE JOHN KRANE

on to a hive of concave mirrors that, in turn, reflect the light back into the air. In this way, the artists turn the installation’s mirrors into 630 sub-projectors. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.A massive sculptural light show uses an apparatus of mirrors to create dynamic light drawings in mid-air in the third and largest iteration of Light Barrier, an installation by artist duo Kimchi and Chips. In it, eight video projectors shoot individual beams of light onto a hive of concave mirrors that, in turn, reflect the light back into the air. In this way, the artists turn the installation’s mirrors into 630 sub-projectors. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.The circle is a recurring image shown throughout the installation’s-six minute performance (below). Kimchi and Chips use the shape as a vehicle to explore themes of birth, death, and rebirth. As the project’s description explains, the artists were inspired by the reaction of impressionist painters to the advent of photography and the concept of „viewer-less” images. The installation creates images that arise from the canvas, or mirror, „creating painting outside of perspective.” In addition to the installation’s visual components,

IMAGE THREE/FOUR: Two Melting Memoreis Installation presented in 2018 at the Gagosian Gallery of New York.

MISSION ONE

ASTRONAUTS

but also hints of higher dimensional structures. We wanted to do this efficiently and in real time and so working on Melting Memories dovetailed nicely with putting the last touches on FieldTrip, an (at the time pre-release) open source library for It allowed us to use a composite design pattern to very quickly iterate while producing the aesthetic structures used in the project. This approach enabled us to really explore some deeper procedural functions whilst keeping a completely modular graphics pipeline. This modularity makes it easy and clean to expand on the projectâ&#x20AC;&#x2122;s abstracted content in really interesting ways, such as further integration of machine learning on the source data, evolving rendering techniques and the creation of sculpted physical artifacts.can find recurrence and rhythm but also hints of higher dimensional structures. We wanted to do this efficiently and in real time and so working on Melting Memories dovetailed nicely with putting the last touches on FieldTrip can find recurrence and rhythm but also hints of higher dimens.

IMAGE THREE/FOUR: The two astronauts boarding the Falcon Nine for the first human boarded mission from US soil.

ASTRONAUT BOB BEHNKEN

ASTRONAUT DOUG HARLEY

PAYLOAD

INTERSTAGE

The interstage is a composite structure that connects the first and second stages, and houses the pneumatic pushers that allow the first and second stage to separate during.

3,475 KM 29.5 EARTH DAYS 16.6% OF EARTH 384,400 KM 4.51 BILLION YEARS 4.51 billion years 4.51 billion years

DIAMETER DAY LENGHT GRAVITY AVG DISTANCE AGE

PLANET DATASET

FALCON 9

MISSION ONE

PAYLOAD

DIAMETER HEIGHT

13.1M 29.5 EARTH DAYS

Made of a carbon composite material, the fairing protects satellites on their way to orbit. The fairing is jettisoned approximately 3 minutes into flight, and SpaceX continues to recover fairings for reuse on future missions

FAIRING

STAGE

Falcon 9â&#x20AC;&#x2122;s first stage incorporates nine Merlin engines and aluminum-lithium alloy tanks containing liquid oxygen and rocket-grade kerosene (RP-1) propellant.

TAKEOFF

STAGE

13.1M 29.5 EARTH DAYS

DIAMETER HEIGHT

13.1M 29.5 EARTH DAYS

The nine Merlin engines on the first stage are gradually throttled near the end of first-stage flight to limit launch vehicle acceleration as

ENGINES FINAL

DIAMETER HEIGHT

Falcon 9â&#x20AC;&#x2122;s first stage incorporates nine Merlin engines and aluminum-lithium alloy tanks containing liquid oxygen and rocket-grade kerosene (RP-1) propellant. Falcon 9 generat.

FIRST

MISSION ONE

THE PLAN

100

IMAGE ONE: Aerial rendering of the 1,7 squared kilometers module city able to contain more than 10.000 inhabitants still mantaining a strong sense of community.

101

MOON

MISSION DESERTBLUE

The Moon is one of Earthâ&#x20AC;&#x2122;s closest habitable neighbors and provides an opportunity to gain valuable experience for missions to Mars and beyond.

PLANET DATASET

DIAMETER DAY LENGHT GRAVITY AVG DISTANCE AGE

102

3,475 KM 29.5 EARTH DAYS 16.6% OF EARTH 384,400 KM 4.51 BILLION YEARS 4.51 billion years 4.51 billion years

MARS

MISSION REDPLANET

Mars is one of Earthâ&#x20AC;&#x2122;s closest habitable neighbors. Mars is about half again as far from the Sun as Earth is, so it still has decent sunlight.

PLANET DATASET

DIAMETER DAY LENGHT GRAVITY AVG DISTANCE AGE

90,475 KM 6 EARTH MONTHS 27.6% OF EARTH 384,400 KM 4.51 BILLION YEARS 4.51 billion years 4.51 billion years

103

MISSION ONE

THE FOUNDER

“You want to wake up in the morning and think the future is going to be great - and that’s what being a spacefaring civilization is all about. I can’t think of anything more exciting than going out there and being among the stars.”

Data collection process utilized a 32-channel Enobio and standard protocol configuration. Participants were instructed to focus on specific long-term memories during the recording process. A control recording was also conducted to identify artifacts to later filter with adaptive notch filtering and limiting the frequency range. For analysis we focused on beta (13-17Hz) and theta (3-7Hz) channels, isolating activation points corresponding to short term and longterm (specifically episodic) memory. Our selections were the Fp1, Fp2, F7, F8, P3, P4, C3, C4, T7, T8, O1, and O2 nodes, which were also used to drive noise parameters within the real-time simulation. For scaling we applied Higuchi’s fractal dimension algorithm and used FFT for a moving average. Recurrent neural nets (via EEGLearn) we used on the recording sessions to generate spectral outputs, which were then utilized as height maps for the visual representation pipeline. Transposing EEG data in to procedural noise forms was a really engaging challenge, both technically and conceptually. In the input data and our mapped representation you

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can find recurrence and rhythm but also hints of higher dimensional structures. We wanted to do this efficiently and in real time and so working on Melting Memories dovetailed nicely with putting the last touches on FieldTrip, an (at the time pre-release) open source GPU library for HLSL/VVVV. It allowed us to use a composite design pattern to very quickly iterate while producing the aesthetic structures used in the project. This approach enabled us to really explore some deeper procedural functions whilst keeping a completely modular graphics pipeline. This modularity makes it easy and clean to expand on the project’s abstracted content in really interesting ways, such as further integration of machine learning on the source data, evolving rendering techniques and the creation of sculpted physical artifacts.can find recurrence and rhythm but also hints of higher dimensional structures. We wanted to do this efficiently and in real time and so working on Melting Memories dovetailed nicely with putting the last touches on FieldTrip can find recurrence and rhythm but also hints of higher dimensio

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Artific Intellig MACROARTICLE

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NEW LIFE FORM By customizing and democratizing the use of machines, we bring robots into the forefront: everyone could rely on a robot to support their tasks.

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ARTIFICIAL INTELLIGENCE

New Life Form All around thee world incredible businesses and labs are building the future of modern life forms. Different shapes and technologies but driving towards the same goal: once we are able to create conscious life, what separates us from god?

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ARTICLE JOHN KRANE

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Robotic technologies are advancing worldwide. From China to US labs and businesses are moving forward in this thriving industry. In turn, reflect the light back into the air. In this way, the artists turn the installation’s mirrors into 630 sub-projectors. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.A massive sculptural light show uses an apparatus of mirrors to create dynamic light drawings in mid-air in the third and largest iteration of Light Barrier, an installation by artist duo Kimchi and Chips. In it, eight video projectors shoot individual beams of light onto a hive of concave mirrors that, in turn, reflect the light back into the air. In this way, the artists turn the installation’s mirrors into 630 sub-projectors. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.The circle is a recurring image shown throughout the installation’s-six minute performance (below). Kimchi and Chips use the shape as a vehicle to explore themes of birth, death, and rebirth. As the project’s description explains, the artists were inspired by the reaction of impressionist painters to the advent of photography and the concept of „viewer-less” images. The installation creates images that arise from the canvas,

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NAVER ROBOTICS

Naver Robotics massive sculptural light show uses an apparatus of mirrors to create dynamic light drawings in mid-air in the third and largest iteration of Light Barrier, an installation by artist duo Kimchi and Chips. In it, eight video projectors shoot individual beams of light onto a hive of concave mirrors that, in turn, reflect the light back into the air. In this way, the artists turn the installation’s mirrors into 630 sub-projectors. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.The circle is a recurring image shown throughout the installation’s-six minute performance (below). Kimchi and Chips use the shape as a vehicle to explore themes of birth, death, and rebirth. As the project’s description explains, the artists were inspired by the reaction of impressionist painters to the advent of photography and the concept of „viewer-less” images. The installation creates images that arise from the canvas, or mirror, „creating painting outside of perspective.” In addition to the installation’s visual components, the artists created an immersive soundscape using 40 different audio channels. circle is a recurring image shown throughout the installation’s-six minute

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on to a hive of concave mirrors that, in turn, reflect the light back into the air. In this way, the artists turn the installation’s mirrors into A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. Played ever l lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.A massive sculptural light show uses an apparatus of mirrors to create dynamic light drawings in mid-air in the third and largest iteration of Light Barrier, an installation by artist duo Kimchi and Chips. In it, eight video projectors shoot individual beams of light onto a hive of concave mirrors that, in turn, reflect the light back into the air. In this way, the artists turn the installation’s mirrors into 630 sub-projectors. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.The circle is a recurring image shown throughout the installation’s-six minute performance (below). Kimchi and Chips use the shape as a vehicle to explore themes of birth, death, and rebirth. of impressionist painters to the advent of photography and the concept.

IMAGE ONE: Aerial rendering of the 1,7 squared kilometers module city able to contain more than 10.000 inhabitants still mantaining a strong sense of community.

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This is going to be the pinnacle of modern robotics.

Naver Robotics reflect the light back into the air. In this way, the artists turn the installation’s mirrors into 630 sub-projectors. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.A massive sculptural light show uses an apparatus of mirrors to create dynamic light drawings in mid-air in the third and largest iteration of Light Barrier, an installation by artist duo Kimchi and Chips. In it, eight video projectors shoot individual beams of light onto a hive of concave mirrors that, in turn, reflect the light back into the air. In this way, the artists turn the installation’s mirrors into 630 sub-projectors. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.The circle is a recurring image shown throughout the installation’s-six minute performance (below). Kimchi and Chips use the shape as a vehicle to explore themes of birth, death, and rebirth. As the project’s description explains, the artists were inspired by the reaction

IMAGE FOUR: Robotic arm by the Ambidex robot of the Corean laboratories of Naver Labs: just one of many projects of their fast growing project.

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BOSTON DYNAMICS

Boston Dyanimcs feature patterns generated by genetic regulatory signals distributed according to the spatial logic provided by the second series. The microorganisms and their byproducts, which animate the mask with properties greater than the sum of its parts, reinterpret the color palette of the first series and thereby biologically recreate their cultural precursors. Transitioning from vessels of representative neuro-vasculature to actual biological urns, the masks in this series mark a new cycle of life and the notion of continuation. The martyrâ&#x20AC;&#x2122;s faces are no longer preserved but have transformed into sites of and for new life. The third series in the Vespers collection combines living and non-living materials into hybrids. The body of research underlying this series involves novel tools and techniques that enable tight integration between, and control of, designed and biologically derived properties.In this series, we integrate computational design with additive manufacturing and synthetic biology to digitally fabricate objects that direct living microorganisms to produce pigments that emulate the colors of the first series of the collection.

â&#x20AC;?Most high end human support machineâ&#x20AC;?

IMAGE FIVE: Handle: an immense robotic horse, useful in manufacturing and in warehouse deposit organization support.

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HANSON ROBOTICS

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IMAGE ONE: Aerial rendering of the 1,7 squared kilometers module city able to contain more than 10.000 inhabitants still mantaining a strong sense of community.

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SOFIA

Sofia by Hanson Robotics is the first humanoid robot to be considered partially conscious by the scientific community. To stand and contemplate. Or meet with friends and family before leaving to explore the city. And that’s exactly what all parties involved in its creation want it to be. Its ambiguity is its greatest strength. „Over time its use will evolve in ways we can’t even imagine right now,” says Wood. „In this way we’re giving the structure to the city and allowing them to define it.” Related (the developers of Hudson Yards) and Heatherwick Studios want the Vessel to be a gathering place for tourists, yes, but more important, New Yorkers: „I want people who live here to use this space and feel a part of it,” developer Stephen Ross (a man many credit with making mixed-use buildings commonplace on the city’s skyline) said one recent morning as he walked up the Vessel for the first time. „Because it’s really for them.” In other words, Ross hopes that locals will one day soon say: „Let’s meet at the Vessel” and not „Let’s avoid the Vessel,” as many New Yorkers do of Times Square. The Vessel, as the structure is temporarily being called, is an interactive sculpture comprising a network of stairs and landings that visitors can climb (or take an elevator) to the top. The completion of the Vessel has a Hollywood-like story. After the commission was awarded to the British-based designer Thomas Heatherwick (who beat out, among others, Anish Kapoor to earn the project), the developer went to extreme lengths in keeping the design a secret. So much so that a 20-foot fence was constructed around the steelworks in northwest Italy where the bones of the Vessel was being constructed so that no one could see what the design was going to be. Bit by bit, parts of it were brought to the U.S. and floated to the construction site via tugboat along Hanson Robotics headquarters in NY city.

There is something medieval about the experience of this new public space. Though it remains open – the surroundings and the city are constantly perceptible – it also conveys a sense of disorientation, a constant loss of direction, along a path that Heatherwick has avowedly based on the intricate traditional stepwells of India, but also with similarities to the impossible perspectives of Escher or the allegory of the labyrinth: a maze, but also the philosophical puzzle of the library in The Name of the Rose. The overall Hanson Robotics project has raised critical hackles in the press, but – a sign of the times – it is a huge hit on Instagram. A controversial undertaking that should be assessed in terms of American or at least strictly New York dynamics. After the whirl of the opening days, we talked about the project with the British designer. There was a job to do: to design a new center for the city. To make the best possible public space and to make it enter the imagination of people. To create an emotion as part of the function. To be simplistic, the Vessel can be used for fitness: you can take the steps to climb up the 16 levels, saving money on health clubs, which are quite expensive in New York. The place can be interpreted in various ways: a facility for exercise, a gathering place for New Yorkers, a piece of landscape, a climbing frame, but it is essentially a three-dimensional public space. The Architect states: Honestly: I do not see it as a mere sculpture. We proposed making something that was not just to look at, a place for people, who after the opening have finally been able to invade it and understand it from the inside, not just from the outside. A theatrical setting, a sort of amphitheater with 80 public zones along the ramps, a facility with a social value.

IMAGE ONE: Portrait of Sofia (Hanson Robotics) shot by photographer Julius Kammerstand which gained him the LensCulture photographic award in 2018.

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Bio Engine MACROARTICLE

124 BRAIN

CRISPR technology is a simple yet powerful tool for editing genomes. It allows researchers to easily alter DNA sequences and modify gene function.

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REVEALING HOW WE WORK

Artist and neuroscientist Gregg Dun has managed for thee first time in history to visually represent with hundred percent accuracy our neural brain flux.

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SELF REFLECTED

THE PROCESS

ARTICLE JOHN KRANE

Gregg Dun is an american artist and neuroscientist that managed to visually reveal for the first time in history the neural movmement of our brain that, in turn, reflect the light back into the air. In this way, the artists turn the installation’s mirrors into 630 sub-projectors. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.A massive sculptural light show uses an apparatus of mirrors to create dynamic light drawings in mid-air in the third and largest iteration of Light Barrier, an installation by artist duo Kimchi and Chips. In it, eight video projectors shoot individual beams of light onto a hive of concave mirrors that, in turn, reflect the light back into the air. In this way, the artists turn the installation’s mirrors into 630 sub-projectors. A large cloud of fog just above the plane of mirrors allows for the light, when reflected into the air, to appear as clear graphic objects or sculptural drawings. If you’ve ever played lightsabers with your flashlight on a camping trip, you’ve created the same visual effect—but on a much smaller scale.The circle is a recurring image shown throughout the installation’s-six minute performance (below). Kimchi and Chips use the shape as a vehicle to explore themes of birth, death, and rebirth. As the pro-

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IMAGE ONE: Table of contents N.1 by Gregg Dun: Self Reflected shot by photographer Julius Kammerstand which gained him the LensCulture photographic award in 2018.

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SELF REFLECTED

THE PHASES

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IMAGE ONE: Aerial rendering of the 1,7 squared kilometers module city able to contain more than 10.000 inhabitants still mantaining a strong sense of community.

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HYBRID

Weâ&#x20AC;&#x2122;re in the business of anticipating change. Are you?

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WWW.HYBRID.COM

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HYBRID All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher, addressed â&#x20AC;&#x153;Attention: Permissions Coordinator,â&#x20AC;? at the address below.