The FDA has approved field trials of a genetically engineered mosquito designed to combat Zika and other diseases. But there's strong opposition in Florida where the GMO insects would be tested.
Turns out, cockroach milk is among the most nutritious substances on Earth. But it may still be a while before you can scurry to health stores for roach-milk protein shakes.
DaveOnFlickr posted a photo:
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DaveOnFlickr posted a photo:
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Daily Star Gazette | Can Artificial intelligence, Robots, Humanoids learn ethics and morales? Green Bay Tech Part Daily Star Gazette Researchers at Georgia Tech believes Robots can learn to conform to human norms, the paper argues, through a method called “Quixote”, which teaches artificial agents to read stories that demonstrate human values and then rewards them for “good” ... |
Kieran Williams Photography posted a photo:
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As the Rio 2016 Olympic and Paralympic Games officially get under way, some three billion fans are expected to tune in for the opening ceremony one of several key designs which help to define the theatre of the games and reinforce its ancient narrative, sense of place and the hallowed Olympic spirit.
Although the world has been told to manage its expectations in terms of pomp and spectacle, the opening ceremony will still include 300 dancers, 5,000 volunteers and 12,000 costumes. It won't however have the extravagance of Beijing 2008, or the eccentricity of London 2012.
Film directors Fernando Meirelles, Daniela Thomas and Andrucha Waddington are creative directors on the project and Deborah Colker is the choreographer.
It will be held at the Maracanã Stadium and is expected to eschew high tech moving stages in favour of something more analogue and innately Brazilian.
Meirelles, who is the director of the film City of God, has been widely reported as saying he wants to avoid clichés but that viewers should expect a section on Carnival.
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The Rio 2016 Olympic and Paralympic identity has been designed by the Brazilian consultancy Tátil, led by its creative director Fred Gelli.
Gelli and his team have developed a 3D logo and worked to a brief of 12 attributes that needed to be considered.
Gelli says he has created a “sculptural logo for a sculptural city” and that everyone who works at the consultancy more than 100 people were involved in the project even the receptionist.
You can read our interview with Geli here, where he reveals how the project came together.
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Often open to ridicule, mascots are traditionally one of the first elements of an Olympic event to be unveiled so that they can be utilised by the Olympic press and marketing machine.
People will scarcely be able to forget the much maligned Wenlock and Mandeville, designed by Iris, which were unveiled in 2010 ahead of the London 2012 games. Inevitably people warmed to the little scamps as the games approached and here's why.
The Rio mascots Vinicius and Tom came onto the scene in 2014 as “an explosion of joy” designed by animation studio Birdo Produções.
Again cynics were slightly baffled by them but on the cusp of the games their joyful evocation of flora and fauna seems perfectly appropriate as seen here.
However, we are still slightly baffled by Tom, the flora character, who was described by Rio 2016 brand director Beth Lula as “energised by photosynthesis and [someone who] can pull any object from his head of leaves who is always growing and overcoming obstacles”.
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The Rio 2016 torch has been a great success. Designed by Sao Paulo-based consultancy Chelles & Hayashi, the torch is made of white aluminium and is made up of six pieces, which have been expanded vertically to slowly reveal its full form.
Inside, the colours of the Brazilian flag and the Rio identity can be glimpsed.
Chelles & Hayashi saw off competition from 75 other Brazilian studios with plans for their torch, which has been ergonomically designed to encourage people to grip it close to its centre of gravity.
We took a closer look at the design of the torch here.
At the time of writing, the design of the cauldron remains to be confirmed but it is understood to be a spherical design and will not require much energy to keep it lit. Mirrored surfaces will amplify the size of the flame, meaning it will literally be a case of smoke and mirrors.
This is as good an excuse as any to post footage of the Seoul 1988 cauldron lighting. Peace doves released shortly before the cauldron was lit, perched on the structure before this happened…
The Maracanã Stadium, which was originally built in 1950 has had several upgrades over the years the latest in 2013 ahead of both the 2014 World Cup and 2016 Olympics and Paralympics.
The opening and closing ceremonies will take place here as well as the men's and women's football tournaments.
There are 32 Olympic venues in Rio and five in other host cities. Some 11 new venues have been designed and built including the 16,000 capacity Carioca Arena 1 for basketball and its neighbouring Arena 2 and Arena 3 for judo, wrestling, fencing and taekwondo.
The post How the Rio 2016 Olympics was designed appeared first on Design Week.
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It's been over 20 years since the last major exhibition of contemporary tapestry in England.
Last time around, Professor Lesley Millar MBE of the University of Creative Arts was having some of her own tapestry work shown at the Barbican in London.
This time she is curating an exhibition set to open in October for The National Centre for Craft & Design (NCDD) in Sleaford instead, with a smaller selection of tapestries currently on display at the Holburne Museum in Bath.
Here & Now includes work by tapestry weavers from all over the world. Each tapestry has been selected in order to showcase the ways in which the art form continues to engage with current political, aesthetic and personal issues, covering everything from selfies to the Iraq War.
We spoke to Millar to find out more about the exhibition, and why tapestry weaving is thriving.
Design Week: Why do you think it has been over 20 years since the last major exhibition of tapestry weaving in England?
Lesley Millar: Tapestry was fantastically vibrant and people were very interested in it from about 1970 until 2000. There were some fantastic tapestry weavers around at the time who did really bold, hard-edged, abstract designs, such as Jenny Ross.
But things changed. People found different interests, and new technologies were developed. It didn't disappear everywhere though in Australia, America, Scotland and Eastern Europe there are still huge contemporary tapestry communities.
DW: Why has it retained such a strong presence in places outside of England?
LM: In Scotland they have a great tradition of tapestry weaving at Dovecot Studios and the Edinburgh Tapestry Weavers. And in America, Australia and Eastern Europe, there is a huge tradition of fibre art and textiles teaching. Whereas I don't think there's anywhere in England now that teaches tapestry weaving apart from West Dean, which is private.
DW: How did this exhibition come about?
LM: In 2012 I was in Japan, and my visit happened to coincide with a tapestry exhibition in Kyoto, which was a collaboration between Japan and Australia. I discovered all these young, fantastically energetic Japanese artists who were working in woven tapestry and I reconnected with that fantastic energy again.
It coincided with the NCDD getting in touch with me saying they were interested in doing an exhibition, and I said I'd really like to do one on tapestry weaving.
DW: How did you go about selecting the work shown in the exhibition?
LM: It was very organic. I started talking to people that I knew here in the UK, and then I got in touch with various people all over the world. I found other people's work, such as Erin Riley's, through research.
Eventually we decided who we were going to show and they kind of fell into rural and urban categories. But they're all about how one feels about it now some represent a nostalgia for a rural life that doesn't exist anymore, others are about the hard-edged city life.
DW: How do the artists you have selected make tapestry weaving relevant today?
LM: I was particularly excited by the work of Erin Riley, who is this wonderful young American woman. She's very streetwise, covered in tattoos and she does these tapestries of selfies. She'll do one of her body, or other people in compromising situations. They are really fabulous pieces.
Or with Pat Taylor, for instance, there is total political engagement. Her tapestries of Tony Blair and Vladimir Putin are exquisitely made, but they don't half hit hard.
DW: What do you want people to take away from the exhibition?
LM: I want them to realise that tapestries are a really energetic and vibrant living art form. Tapestry has always been a narrative art; it always told the story of its time and that's exactly what these artists are doing.
DW: What do you see for the future of tapestry weaving?
LM: Let's hope this exhibition reignites the fire. If people don't know how to do it then it's dead, so I would like to see it brought back more into teaching in England as well, while the people who still have the skills are out there.
It's part of our heritage but it's not actually heritage, it's contemporary. It absolutely has a role today.
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The post Here & Now: the exhibition reviving the art of tapestry weaving appeared first on Design Week.
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A change in copyright law has now come into effect in the UK, which looks to protect classic designs from imitation.
The repeal of section 52 of the Copyright, Designs and Patents Act 1988 came into effect on 28 July, and means that iconic design products will now be protected for 70 years after a designer dies.
This includes products such as Arne Jacobsen's egg chair and Charles and Ray Eames' DSW plastic chair.
The ruling states that no replica products can be sold after 28 January 2017, which will mark six months after it was put in place. Additionally, no new replica products can be manufactured between now and January, unless the company gains rights from the original copyright holder.
To be granted this right, 3D designs must qualify as “works of artistic craftsmanship”, according to the Intellectual Property Office this means they have required special training and skill to make, they are seen as a “piece of art”, and the designer purposefully intended to create a work of art.
For any designs created after the year 1988, designers are also protected by registered and unregistered design rights, says Dids Macdonald, founder at Anti-Copying in Design (ACID) and communications chairman at The Furniture Makers' Company.
Designers can fall back on registered design rights if they choose to register their designs, and unregistered design rights if they don't. Registered rights last for 25 years, and unregistered rights last for 15 years after production.
Macdonald advises: “Designers should register their designs as a priority, and if they're relying on unregistered rights, then they should keep signed and dated records.”
ACID has a database, where people can send their designs for free. The organisation will note the time and date the work was submitted with a unique number, so that designers have evidence of when a design was first created.
“Become intellectual property-savvy and understand the rights that protect you,” Macdonald says. “Design rights are still valid in Europe and the UK until Brexit comes into force.”
For a longer read on the banning of imitation designs and how classic icons will now be better protected, read our detailed piece from June here.
The post Fake replicas of classic designs banned under new copyright ruling appeared first on Design Week.
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“It would have to be a Courvoisier Cognac Café in Paris. The interior would be inspired by the Paris golden age sophisticated, luxurious and stylish. As the centre of fashion, culture and style in the 1880s, the café would be a celebration of the optimism, innovation and exuberance of the era. It would exhibit contemporary art, design and technology where their creators would frequent the bar. It would have the distinctive aroma of cigars, chocolate and coffee perfectly paired with a range of Courvoisier cognacs.”
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“The Moleskine Café reminds me of my first brand extension brief, a project set at Somerset College Of Arts and Technology 17 years ago.
My idea was for Penguin Books to open a book café which would be a space to encourage the simple pleasures of a book, alongside a food and drink concept. Within this space I wanted to reinstate a brilliant idea that Allen Lane, founder at Penguin Books, had introduced to London in the 1930s The Penguincubator. This was a vending machine dispensing classic literature for the same price of a packet of cigarettes.
The Penguin Book Café could still happen and Here Design, could realise that concept. It would be a satisfying way to bring unity to our portfolio of book design and brand design for cafes and restaurants.”
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“As a new dad, visiting a café has taken on a whole new meaning. Gone are the days of it being a chance to sit back and watch the world go by, in favour of it being a pit stop to neck a cup of rocket fuel to see me through the morning. With this in mind I can't think of a better brand to open a cafe than NASA. What better way to kick yourself out of your morning slumber than a double espresso in zero gravity? I can't help thinking there could be trademarking issues with NASAcafé though.”
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“Since launching filmandfurniture.com, I've become fixated with film set design and furniture in the movies. Film-themed cafés and restaurants already exist of course (such as the Wes Anderson designed restaurant in Milan's Prada Foundation or Walter's Coffee Roastery, a Breaking Bad themed coffee shop in Istanbul). But I'd love to see Warner Bros open a bar and lounge in homage to the bar of The Overlook Hotel in The Shining, or for Miramax to open a lavish dining room in honour of the The Cook, the Thief, His Wife & Her Lover (with a more palatable menu!). And if Sony Pictures made high tea available in the theme of Sofia Coppola's Marie Antoinette, I'd visit tout suite.”
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“I think Links of London. It has a strong brand identity based around traditional Great British values with just a hint of English eccentricity. We have worked hard with their new store design, most recently deployed in Toronto, Canada, to make the most of design and curation around what is always going to a considered process in terms of purchase. The depth of brand detail would stretch well into a quintessentially British beverage offer around coffee, tea and certainly a glass of fizz!”
The post Which brand would you like to see open a restaurant? appeared first on Design Week.
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Google is well-known for its imaginative, forward thinking approach when it comes to the design of its workspace environments. Over the past few years, everything from indoor slides and putting greens to caravan meeting rooms and bowling alleys have made appearances at its offices all over the world.
But the playful elements and primary colours the tech giant has become synonymous with are noticeably absent from its latest site, situated at Six Pancras Square in central London.
Probably the only in-your-face ode to colour in the company's new office is the eponymous glittering silver mural that greets you in the reception area of the 34,000m2, 11-storey building. The rest of the building comprises stripped back interiors and muted furnishings by companies such as Swiss manufacturer, Vitra.
Designed by architectural firm AHMM, the site recently became home to more than 800 staff commonly known as “Googlers” when it opened earlier this summer.
Only phase one of construction has been completed so far, encompassing the top six floors of the building. The lower floors are still being built, with a total of 2,500 Googlers set to move in once they are completed later this year.
It is only after you are whisked from the reception in one of the sleek glass lifts up to the eighth floor that you encounter some of the more innovative design features that Google and AHMM have been working on.
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A winding black steel and oak staircase dominates the top half of the building, creating a connected network of spaces. As well as allowing for easy access to the upper floors, it also encourages interaction between Googlers who don't necessarily work in close vicinity to each other on a day-to-day basis.
Oak flooring becomes the “yellow brick road” of the building, connecting the staircase and corridors to the rest of the office space, says Real Estate project executive at Google, Andrew Martin.
As for the workspaces themselves, the Google Real Estate team and the architects have taken an “honest” approach to interiors, according to associate director of AHMM, Ceri Davies. When it came to the ceilings, for instance, they decided to strip them out entirely.
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More than 90 modular pod-style meeting rooms known as Jacks have also been installed on all but one of the floors. They are intended to be Google's solution to workspace inflexibility and space shortages.
Made from timber and using deliberately stripped back interiors they come with little more than a few chairs, a table and an inbuilt video conferencing system the rooms-cum-furnishings are designed to be completely customisable depending on the needs of the Googlers.
Davies explains that previous Google offices were forever having plasterboard stripped out to accommodate changing team sizes and room requirements. The Jack cassette system means that the rooms can be completely taken apart and reassembled by in-house maintenance staff within hours or days, saving both time and expense.
“In other words, you can hack it,” she says. The smallest Jack can fit two people, while the largest accommodates up to eight.
Over the coming months a total of 160 of them will be installed into the London office, and Googlers are expected to take a “plug and play” approach to the meeting rooms altering their size, adding different artworks and changing the colour of components such as the doors as they wish.
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Taking the stairs to the eighth floor then brings you to the social hub of the office. Davies describes the floor as the “jam in the centre of the sandwich”, with a canteen, quiet area with sleep pods, a kitchen workshop and events space all included.
There are also allusions to the outside world and popular culture various areas, such as “Major Tom”, have been named in reference to David Bowie tracks, as a tribute to the singer who died during the construction of the building.
Another breakout area is called “Talk 9 ¾”, due to the site's location close to the fictional platform 9 ¾ that features at King's Cross station in the Harry Potter book series.
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On the top floor, the roof terrace is one of the office's more dramatic elements. It offers panoramic views all the way from the Olympic Park in the east to the arch of Wembley Stadium in north-west London, giving the Googlers a place to recharge and reflect.
The rest of the Six Pancras Square site is more understated than some of Google's previous projects, but perhaps a little cleverer in terms of some of its key design features, such as Jack.
“The inflexibility of space has become particularly problematic in the 21st century business environment,” says Dr Kerstin Sailer, a lecturer at the Bartlett School of Architecture at University College London, who has written a white paper on the system.
“It could be argued that Google is now making a move towards a more profound workplace innovation”.
All photos by Tim Soars
The post Google's King's Cross office: modular meeting rooms and Bowie-inspired breakout spaces appeared first on Design Week.
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The Design Museum is appealing to its supporters' sensitive sides by asking them to adopt an object in its latest fundraising campaign for its new London site.
The museum is set to open its doors at its new location on Kensington High Street this November, after shutting its museum in Shad Thames in May.
Adopt an Object is its latest fundraising campaign to help raise more than £200,000 towards the final £1 million needed to cover the construction costs of its new site in the former Commonwealth Institute.
People can support the campaign online, by donating £5 to “adopt an object” and secure its home at the new museum, which will go towards these costs.
12 classic objects created between 1924 and 2007 are up for adoption these include the: Vespa Clubman scooter, Dieter Rams-designed Phonosuper SK5 turntable, My First Sony tapedeck, Anglepoise lamp, Apple iMac G3 desktop computer, GPO Tele 150 Post Office telephone exchange, Melodic kettle, G-Force Cyclonic vacuum cleaner, Cartoon Chair, Valentine typewriter, Trabo toaster and Louboutin Pigalle heels.
Each adopter will receive one of 12 personalised thank you films, showing an object from the Design Museum's permanent collection “travelling” from Shad Thames to the new Kensington site via tube and by foot. The films have been created in collaboration with studio The Mill.
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Adopters can also track their chosen object's “journey” from the old Design Museum to the new building via the website, where they can see how many people have chosen to sponsor each object.
Every £5 donated “moves” the object closer to the new museum site by 0.5 miles, and donors will have their names displayed on the site, unless they wish to remain anonymous. The website interface has been developed with Fabrique and Q42.
The campaign is part of the Design Museum's wider On Loan programme, which will see its collections appear at various pop-up locations before the official museum opening.
The new Design Museum will offer collections three times more space, and will present the museum's permanent display for free for the first time ever.
The new Design Museum opens on 24 November and will offer collections three times more space. It opens with the first ever free display of its permanent collection within the exhibition Designer Marker User, alongside two temporary exhibitions, which are Designs of the Year, and Fear and Love: Reactions to a Complex World.
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The post Help the Design Museum by adopting a Vespa or an Apple Mac appeared first on Design Week.
www.matthewcattellphotography.com posted a photo:
!["Young]("http://farm8.staticflickr.com/7545/28180088284_a28d66e467_m.jpg")
A young buck on a mity meadow. Side-lit by beautiful dawn sunlight.
www.matthewcattellphotography.com posted a photo:
!["Resting]("http://farm9.staticflickr.com/8578/28180092394_e8cc027703_m.jpg")
A red deer stag resting in long, golden grass. The scene is photographed at dawn and the distant trees which form the backdrop to the image are hidden by mist.
![]("http://chimpfeedr.com/img/?url=https%3A%2F%2Fs-media-cache-ak0.pinimg.com%2F236x%2F5c%2Fa7%2F06%2F5ca70676d59d9dbe0dc0a0465a32391a.jpg&width=540&mix=c5054-pin-art")
The Family by Gustav Klimt (1862 1918). Austrian symbolist painter. 
