“Apple and Samsung will have to change their game”

"Apple and Samsung will have to change their game""Apple and Samsung will have to change their game"

Opinion: Justin McGuirk‘s inaugural Opinion column for Dezeen is in two parts – in this first instalment he examines what cheap tablet computers developed for emerging markets like India will mean for high-end tech giants like Apple and Samsung. Tomorrow he’ll ask why design critics are writing about technology in the first place.


Apple’s launch of a cut-price iPhone last week – complete with blanket media coverage and the requisite 5am queuing by obsessives – was a reminder of what an insular world the tech industry is. With a starting price of £469, even the budget version of the iPhone is well beyond the means of most people on the planet. This fact hit home a few days later when I went to hear Indian entrepreneur Suneet Singh Tuli speak at the Victoria & Albert museum in London. Tuli is the man behind the Aakash tablet computer. The Aakash 4 launches soon and, though it has greater processing power than an iPad, it is ten times cheaper with a price tag of just £40.

Given Silicon Valley’s self-professed faith in the socially transformative power of technology, why does it show so little interest in trying to reach those who are most socially disadvantaged? The obvious answer is because the socially disadvantaged have no money. Yet, if you imagine reaching a market of a billion people who may be able to muster £40 for a tablet that will connect them to the internet – “the most powerful medium society has ever seen,” as Tuli puts it – you’d think there would be enough of a financial, let alone social, incentive.

Tuli, the Punjab-born and Canadian-educated CEO of Datawind, headquartered in London’s North Acton, can see the potential. He has his sights on the three billion people who have cell phones but no access to the internet. The barrier to entry, as he sees it, is not network coverage but price. Smartphones and tablet computers are out of their league. And yet, even in the US, personal computers only became commonplace once their price had dropped to roughly one week’s salary, which happened in the 1990s. That fact made Tuli realise that in order to reach the billion people living on less than £150 a month, he would need to create a tablet that retailed for about £30.

The way Datawind approached that goal was by embracing the concept of making something “good enough”. “Inexpensive and good beats expensive and great,” says Tuli. If that sounds like he’s damning his own product with faint praise, let’s remind ourselves of just how much we have all bought into the concept of “good enough”. We abandoned CDs for MP3 files, we watch pixellated videos on YouTube, we snap away with our phones even though we have digital cameras and we arrange Skype meetings knowing full well that the phrase “I’ve lost you” will feature prominently. In short, we favour convenience and instant gratification over high fidelity.

So, having briefly handled an Aakash 4 – or an Ubislate as it’s known in western markets – I can tell you that its shell is not as finely wrought as an iPad’s and its interface not as graceful. It does, however, have a 1.5 GHz processor that is more powerful than the latest iPad’s. Tuli abandoned some common tablet features, like an HDMI port, “because my customers don’t need to be able to hook up to a big plasma screen, so there’s no point spending an extra 11 cents on that port,” he says. Big deal.

The question you’re probably asking yourself is, why does India’s largely rural population need of one of these things? Tuli’s answer is education. Of the 360 million children in India, only 219 million of them are in education. That’s twice the population of the UK not receiving any schooling, and many millions more are being taught to a substandard level. India has a shortage of qualified teachers and the qualified ones are not desperate to work in rural villages.

I’ll confess that I was sceptical at first. I do not believe that a tablet computer replaces a teacher. Connect a child to the internet and you offer her a wonderful support system, but who’s to say what that child is actually doing online? “We need to connect them to the power of the MOOC [massive open online course],” says Tuli, not altogether convincingly. However, when he pointed out that the Indian government can supply Aakash tablets for less than it costs to print the necessary schoolbooks, I started to get the message. Indeed, Tuli claims the government is working on plans to distribute 220 million tablets – one for every student in the country.

But is the Aakash just another false promise? Yves Behar’s One Laptop Per Child programme seemed to offer the same potential, was feted by a wide-eyed media and scooped up awards, but ultimately failed to live up to expectations. Part of the problem was that it never actually reached its targeted $100 price tag, but there were also frankly discouraging tales of Cambodian villagers using the OLPC as a lamp. “It turns out the killer app was light,” says Tuli, with no little schadenfreude. It turns out that he may well end up collaborating with OLPC on the educational programme, though.

So what makes the Aakash different? Is Tuli just another techno-determinist who’s imbibed too much of the Silicone Valley Kool-Aid? Worse, is the social agenda a convenient cover for what is ultimately an entrepreneurial venture? Now that I come to think of it, how does he make these tablets so cheap in the first place? The Kindle Fire sells at £129, which is £30 less than it costs to manufacture – money Amazon can afford to lose because what it’s really selling is not hardware but content. Yes, Tuli cut out the unnecessary ports and features, and he negotiated a good deal on the touchscreens (the most expensive part of any tablet) but the Aakash still seems to do most of what an iPad can do, so there is presumably some very cheap labour going on that he has failed to mention.

Let’s put that aside for now, along with any qualms about the environmental impact of a billion tablets, which Tuli calls “a necessary evil” in comparison to battling illiteracy and ignorance (which I think he may be right about). Looking at the big picture, we see a massive emerging market for devices that will connect people to the knowledge resource that is the internet. India, where 800 million people use cell phones but can’t go online, is such a market. In 2011 Indians bought 250,000 tablets (mainly Apple and Samsung). The following year it was more than 3 million (mainly Aakash). In fact, Datawind fell far short of being able to keep up with demand.

Apple and Samsung may not have time for this market but they should be worried by it, because Indians are not the only ones interested in a £40 tablet. In fact, Tuli was swamped after his lecture. It’s customary at these things for a few keen audience members to mill around with an extra-time question, but this was fully half the lecture theatre. People were crowding round for a glimpse of this gadget. It was not their social consciences that drove them forward but pure consumer instinct. The air was heavy with musk.

Soon, Canadians will be able to buy an Ubislate for 37 Canadian dollars. If it’s “good enough” for them, then companies like Apple and Samsung will have to change their game rather fast. It will also suggest that India is now the place to look for disruptive innovation. The warning signs are already here. Last week Microsoft bought back £24 billion of its own shares. Earlier this year, Apple bought back £62 billion of shares. Instead of investing their cash in research, they’re giving it away to their shareholders. That, according to business thinkers like Clay Christensen, is the beginning of the end. As he said on the BBC‘s Newsnight programme last week, “Nokia is essentially gone, Blackberry is essentially gone and now Apple is next.”

For once, those catering to the so-called “other 90%” stand to gain. “Three billion users should be a big enough market but the big companies don’t want to go near it,” says Tuli. “That’s why disruption happens.”


Justin McGuirk is a writer, critic and curator based in London. He is the director of Strelka Press, the publishing arm of the Strelka Institute in Moscow. He has been the design columnist for The Guardian, the editor of Icon magazine and the design consultant to Domus. In 2012 he was awarded the Golden Lion at the Venice Biennale of Architecture for an exhibition he curated with Urban Think Tank.

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“Can these parts go together and kill someone? The answer is yes.”

Dezeen and MINI World Tour: in our next movie from the UK capital, senior curator at the V&A Kieran Long explains why the London museum has controversially acquired the world’s first 3D-printed gun.

"Can all these parts go together and kill someone? The answer is yes."

As revealed first by Dezeen, earlier this month the V&A acquired two prototype 3D-printed guns developed and successfully fired by Texan law student Cody Wilson, displaying a copy of one of them during London Design Festival.

"Can all these parts go together and kill someone? The answer is yes."

“I’m really passionate about this acquisition,” says Long, who is senior curator of contemporary architecture, design and digital at the V&A and was heavily involved in acquiring the gun.

“It has caused a lot of fuss in the press, that the V&A would acquire something like this. But what I’ve been pleased about is that most people have seen it not as something deliberately shocking but as a really good signpost to where manufacturing might be going and the implications of new technology.”

Long is also one of Dezeen’s new Opinion columnists and his first piece for us set out his guidelines for modern museum curation, where he asserted that “ugly and sinister objects demand the museum’s attention just as much as beautiful and beneficial ones do.”

"Can all these parts go together and kill someone? The answer is yes."

The original prototypes did not arrive at the museum in time for London Design Festival, so the museum printed out a copy in London based on Wilson’s blueprints.

“We have guns in the collection; we have all the relevant licences to import firearms,” Long explains. “The only problem we have is getting an export licence. We’ve had the Department for Culture and Media here involved, we’ve had all of our technical services people involved. It’s been an immense bureaucratic effort.”

"Can all these parts go together and kill someone? The answer is yes."

Wilson, a self-proclaimed anarchist, made the blueprints for the weapon available online through his Defence Distributed website, before the US government ordered them to be taken down. Long says that the politics of Wilson’s gun is what gets him excited.

"Can all these parts go together and kill someone? The answer is yes."

“Something that I’m really passionate about at the V&A is to show the political backgrounds of things, even when they might not be palatable,” he says.

“I don’t believe everyone should be carrying guns and that’s not what we’re advocating here. What we are saying is this is possible and we might have to do something about it if we don’t want these things to happen.”

He continues: “The design of the gun and its distribution online is an act of politics as much as an act of design and that’s when I get really excited because I think design is something that can tell us about the world.”

"Can all these parts go together and kill someone? The answer is yes."

Long believes the weapon has also turned the conversation about the future implications of 3D printing on its head.

“There’s been a lot of technocratic optimism around 3D printing, particularly in the design world,” he says.

“But when Cody Wilson released [the digital files for his 3D-printed gun online] it really transformed that conversation. It changed it into ethical issues around how we want to live together, how new technologies affect our relationships with one another. This gun, just sitting there, is pregnant with all of those questions.”

He continues: “Design for me is the thing that really focusses those questions. And when you see this thing for real you think: ‘All these things, can they go together and kill someone?’ The answer, simply, is yes.”

"Can all these parts go together and kill someone? The answer is yes."
Kieran Long

We drove to the V&A in our MINI Cooper S Paceman. The music featured in the movie is a track called Temple by London band Dead Red Sun.

See all our stories about 3D printing »
See all our Dezeen and MINI World Tour movies »
See all our stories about London Design Festival 2013 »

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iphone for GIANTS!

Forget the iPhone 5S! We’re so excited about this design (and the fact that it’s almost available) that we can barely breathe! TableConnect literally makes your iPhone or iPad about the size of a full grown man. With full multitouch capability, you can access all your apps, photos, videos, movies and more with the swipe of a finger (or even a full hand). Hit the jump to see it in action!

Designer: TableConnect


Yanko Design
Timeless Designs – Explore wonderful concepts from around the world!
Shop CKIE – We are more than just concepts. See what’s hot at the CKIE store by Yanko Design!
(iphone for GIANTS! was originally posted on Yanko Design)

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More Than You Probably Ever Cared to Know about Toothbrushing

Blizzident-Toothbrush.jpg

We humans have put a lot of gross-sounding mixtures in our mouths through the years to get our teeth clean. The latest incarnation of this storied tale is one of the coolest products I’ve stumbled upon recently, called Blizzident. It gets the job done in six seconds. By taking scans and impressions of the brusher’s mouth and targeting bristles in hard-to-clean areas, the Invisalign-like tool achieves a 100% cleaning ratio while electronic toothbrushes typically come in around 70% at best. The toothbrush comes fully equipped with over 600 bacteria busting (soft/ultrafine) bristles and slits/holes to attach floss.

Blizzident got me thinking. What did people do before we had amazing tools like that? We’ve come a long way from the burnt eggshell toothpaste and swine bristle toothbrushes (seriously). Let’s take a step back in time:

(more…)

    



Box Projection Mapping

Le studio Bot & Dolly a dévoilé « Box », une performance live proposant un mapping 3D sur des objets en mouvement, d’une qualité encore jamais atteinte. Nécessitant près de 2 années de travail, cette création magnifique sans aucune retouche joue avec le réel et ouvre la voie à de nouvelles possibilités.

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Box Projection Mapping4
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3D-printed buildings to become reality “in the not-too-distant future”

Interview: 3D printing will revolutionise the way buildings are designed and built – and could herald a new aesthetic, according to Bart Van der Scheuren, vice president of Belgian additive manufacturing company Materialise.

“I do believe that in the not-too-distant future we will be able to print really large-scale architectural objects,” Van der Scheuren said. “We will really see it on a level of houses and so on.”

Bart Van der Scheuren

Van der Scheuren spoke to Dezeen earlier this year when we visited leading 3D-printing company Materialise in Belgium as part of our Print Shift project, which documented cutting-edge developments in the 3D-printing world.

In this previously unpublished extract from the interview, Van der Scheuren predicted that 3D printing would first be used to manufacture cladding for buildings, before being used to print structures containing integrated services such as plumbing and electrical conduits.

Model of 3D-printed ProtoHouse by Softkill Design
Model of 3D-printed ProtoHouse by Softkill Design

“You could think of making plastic structural components, which are covered by metals for aesthetic reasons, or [print] insulation [inside] the structure,” he said. “It’s certainly something that I can see developing in the next 5-10 years.”

This will give architects radical new aesthetic freedom, he predicted. “I see certainly in the coming years a development where architects will be able to become more freeform in their design and thinking thanks to the existence of 3D printing.”

3D-printed Landscape House by Universe Architecture
3D-printed Landscape House by Universe Architecture

At the start of this year several architects announced plans to build the first 3D-printed house. In January, Dutch firm Universe Architecture unveiled designs for a dwelling resembling a Möbius strip.

ProtoHouse by Softkill Design
3D-printed ProtoHouse by Softkill Design

Shortly after, London studio Softkill published a proposal for a home made of interlocking fibrous plastic modules (main image). The DUS Architects from Amsterdam announced that they were constructing a canal house in the city, using an on-site printer.

3D-printed canal house by DUS Architects
3D-printed canal house by DUS Architects

However, none of these proposals have yet been realised.

See our movie in which Van der Scheuren explains the three most common 3D-printing processes. Read more about 3D printing in our print-on-demand magazine, Print Shift.

Here’s an edited transcript of the interview with Van der Scheuren:


Marcus Fairs: Is 3D printing of architecture a realistic possibility?

Bart Van der Schueren: There is a potential for 3D printing of architecture. If we are honest with ourselves, 3D printing started in architecture. It started in Egypt, stacking [stone blocks] on top of each other, layer by layer, and that way they created the pyramids. But of course what we mean by 3D printing is slightly different from what the Egyptians did.

What I am seeing happening is that there is a lot of research going on in the development of concrete printers; large gantry systems that extrudes concretes in a layer by layer basis [such as Enrico Dini’s D-Shape printer]. I do believe that in the not-too-distant future we will be able to print really large-scale architectural objects.  We will really see it on a level of houses and so on.

Structure printed on Enrico Dini's D-Shape printer
Architectural structure printed on Enrico Dini’s D-Shape printer

But it’s not necessary in architecture to use those large printers. You can see it [working] also on a slightly smaller scale, like the panels that are required to cover architectural structures. Today in lots of cases those panels are limited in complexity because of the fabrication problems. These architectural elements can take advantage of 3D printing’s freedom of design complexity.  So here I see certainly in the coming years a development where architects will be able to become more freeform in their design and thinking thanks to the existence of 3D printing.

Marcus Fairs: So it could affect the way buildings look?

Bart Van der Schueren: Yes. It could also affect other things like the integration of facilities into components, like the integration of air channels and cable guides and insulation in one single piece. Or you can think of the integration of loudspeakers in furniture and things like that, so they’re interior architecture. I’m expecting that there will be a big change and shift in the way that architects are thinking and looking and working, and making products as a result of that.

Marcus Fairs: How could 3D printing change architecture beyond the cladding? Could it be used to print more efficient structures?

Bart Van der Schueren: More organic-looking structures are already being investigated. There is research going on to make use of topological optimisation. This is a kind of computer design by which you define by boundaries of certain conditions and then the computer will organically grow a structure that matches the boundary conditions.

This can result in very organic shapes. It will still take a little bit of time, but for cosmetic uses or smaller components it is already possible today.

Marcus Fairs: What new developments are you expecting to see in the near future?

Bart Van der Schueren: 3D printers today are built typically to print with only one material. There are a couple of exceptions but typically a 3D printer will use a single material. What I am expecting is that printers in the future will combine different materials and in that way you can start thinking of making gradients or graded materials where you can then really change the function of the components. From an architectural point of view this can really have fantastic opportunities.

Marcus Fairs: Can you give some examples of this?

Bart Van der Schueren: An example would be mixing metals and plastics. In that way you could think of making plastic structural components, which are covered by metals for aesthetic reasons, or to [print] insulation [inside] the structure. There is still a lot of research to do but it’s certainly something that I can see developing in the next 5-10 years.

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Google Chromecast Minus the Ugly!

This redesign of Google’s Chromecast Concept features a CNC-machined aluminum case with a unique heat-sink that has been chemically-etched into the underside of the case. The design also features a backlit LED power button, a glossy black cap with the “Chrome” logo, as well as a permanently attached bendable HDMI cord. The bendable cord supports the weight of the device while allowing for different port configurations. Combined with the disk-shaped case, it helps to minimize the profile of the device while in use.

Designer: Sam Dirani


Yanko Design
Timeless Designs – Explore wonderful concepts from around the world!
Shop CKIE – We are more than just concepts. See what’s hot at the CKIE store by Yanko Design!
(Google Chromecast Minus the Ugly! was originally posted on Yanko Design)

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Thermobooth by taliaYstudio

This photo booth detects when subjects kiss, fires a high-tech OLED flash and captures the moment on a low-fi thermal print-out (+ movie).

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Visitors to the Thermobooth, by Vienna designers taliaYstudio, stand on a “smart carpet” connected to a MaKey MaKey circuit board.

Thermobooth by taliaYstudio

When subjects make skin contact by touching or kissing, an electrical circuit is completed. This triggers the camera and causes an array of circular OLED lights to provide a flash of light. A thermal printer then prints a photo.

Thermobooth by taliaYstudio

OLEDs – organic light-emitting diodes – emit light across a surface rather than from a point, as explained in this movie we made last year.

The Thermobooth will debut at Vienna Design Week in the Austrian capital this week.

Thermobooth by taliaYstudio

“We wanted to create a booth where when two people touched each other a photo would be taken and two copies of the picture would print out in a quick and dirty manner,” says Talia Radford of taliaYstudio, who created Thermobooth in collaboration with digital designer Jonas Bohatsch.

Thermobooth by taliaYstudio

“We built the processing unit using a computer and its camera, an Arduino, a MaKey Makey, a flash and a thermal printer.”

Thermobooth by taliaYstudio

The first version of Thermobooth was housed in a found Ikea chest of drawers and presented at a party in Vienna earlier this year. “It was really ugly but did the trick and the guests went quite mad about it.”

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The studio then approached lighting brand OSRAM, who provided circular OLEDs to power the flash. “We really like the light the OLED gives out, even when we lower the resistance so that they give out more light,” says Radford. “They don’t blind you and they have this beautiful soft illuminating quality about them.”

Thermobooth by taliaYstudio

The studio decided to stick with thermal printouts since “thermal printing is quick and dirty in its look and it holds some of the nostalgia of instant analogue photography,” Radford explains.

Thermobooth by taliaYstudio

The final version of the project features an irregular cloud of circular, mirror-fronted OLEDs mounted on painted steel poles. A thermal printer is housed in a triangular orange box set atop further steel poles.

Thermobooth by taliaYstudio

Thermobooth will be premiered at Argentinierstrasse 11, Vienna from 27 September to 6 October as part of Vienna Design Week.

Thermobooth by taliaYstudio

Here’s some more info from the designers:


Thermobooth puts a new spin on the photo booth experience by combining a more human based interaction with electronics, a high-tech OLED mirror that acts as a flash and display, a camera, conductive plates and thermal printing technology into a photo studio setting.

Thermobooth by taliaYstudio

The Thermobooth features a new shutter release system in which skin contact between two people triggers a set of processes that result in a glorious lo-fi instant thermal-printed picture.

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Yes, it takes a picture when you touch each other! We are opening a stage for playfulness and the unexpected.

The idea originated over a coffee between Talia Radford and media artist Jonas Bohatsch whilst planning the studio´s 2-year party. Talia wanted to create a playful environment that continued exploring the studio´s ongoing theme into more emotional interactions with electronics, and Jonas wanted to continue experimenting with thermal printing technology. The thermobooth idea was born and the beta version tried and tested.

The studio cheeckily pitched the idea to Osram, thus introducing an innovation in the use of OLED-mirror technology as a flash. The project will launch during the Vienna Design Week 2013.

The Thermobooth is the first of a group of collaborative projects between taliaYstudio and Osram´s OLED technology.

The project was made possible by departure and the collaboration project “Illuminating Technology” with Osram Opto Semiconductors GmbH.

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Science-fiction author proposes 20-kilometre rocket-launching skyscraper

Science-fiction author proposes 20-kilometre skyscraper

News: science-fiction author Neal Stephenson is developing a concept for a 20-kilometre (12.4-mile) skyscraper that could be used to launch rockets into space.

Working alongside scientists and engineers from Arizona State University’s Center for Science and the Imagination, Stephenson is exploring the limits of tall building construction using materials that are already in existence.

The author, who studied physics before moving into science-fiction, says that high-grade steel could one day be used to build a tower that is around 24 times as tall as the 830-metre Burj Khalifa – currently the tallest man-made structure in the world – and near double the height flown by most commercial aeroplanes.

“It ends up being all about wind,” he told the BBC. “In a windless environment making a structure that tall would almost be trivial. But when you build something that is going to poke up through and get hit by the jet stream from time to time, then it becomes shockingly much more difficult.”

Science-fiction author proposes 20-kilometre skyscraper
Graph charting the world’s tallest buildings since 1885 – click for larger image

Stephenson and ASU structural engineer Keith Hjelmstad are now looking at where a building like this could be located and whether it is possible to address the problems caused by wind pressure. If so, Stephenson claims its height could make it the cheapest way to send objects into outer space.

“The future of space travel, at this writing, is up for grabs with NASA eyeing destinations more distant than the International Space Station and commercial space travel just starting to get some traction,” writes Hjelmstad in an accompanying research paper. “It is an interesting time to consider ideas like the Tall Tower.”

The Tall Building project is a strand of Project Hieroglyph, a research programme bringing various science-fiction writers together with scientists to develop ambitions for the future. Inspired by papers written by author and scientist Geoffrey Landis, Stephenson began his project with the question: “How tall can we build something?”

“The idea of the project in general is to come up with innovations or ideas… sufficiently near-term and doable that a person sort of graduating from university today could say, ‘Well, if I began working on this now, then by the time I retire it might exist’,” he said.

Here’s an introductory movie from Project Hieroglyph:

The Burj Khalifa became the world’s tallest building in 2010, but is set to be overtaken by the Kingdom Tower, currently under construction in Jeddah and designed with a height of 1000 metres. A report published in 2011 predicts what the tallest buildings will be in 2020.

See more skyscraper news »

Here’s some extra information from the project team:


The Tall Tower

The Tall Tower project is part of Project Hieroglyph, headquartered at the Center for Science and the Imagination at Arizona State University. Hieroglyph teams up top science fiction writers (including Neal Stephenson, Cory Doctorow, Bruce Sterling and Madeline Ashby) with scientists and engineers to imagine a near future radically changed by technological innovation. The project is designed to reignite our grand ambitions for the future and to inspire scientists, engineers and students to think big about the projects they pursue during their careers. The first Hieroglyph anthology, co-edited by Ed Finn and Kathryn Cramer, will be published by HarperCollins in late 2014.

The Tall Tower project began with Neal Stephenson asking a simple question: how tall can we build something? (The question was inspired by papers on the subject written by hard science fiction author and scientist Geoffrey Landis.) As he started working with structural engineer Keith Hjelmstad of ASU’s School of Sustainable Engineering and the Built Environment, it became clear that it might be possible to build a very large structure – up to 20km tall – using high-grade steel. Keith developed some simple models to explore the structural requirements of such a tower and Neal began thinking about where such a building might be placed.

As the tower conversation continues, the circle of collaborators has expanded to include aerospace engineering, sophisticated digital modelling and architectural design. In a sure sign that the tower project is about to get excitingly weird, Bruce Sterling wants in. In the months to come the tower project will continue to serve as a pilot for the larger ideal of Hieroglyph: a freewheeling conversation about a radically ambitious project that could be accomplished within the next few decades. An original story about the Tall Tower, written by Stephenson and titled “Atmosphæra Incognita,” will be featured in the Hieroglyph anthology.

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Full Turn Light Sculpture

Etudiant à l’Ecole Cantonal d’Art de Lausanne, Benjamin Muzzin a présenté cette sculpture appelé « Full Turn ». Dans une pièce, l’artiste a placé un 2 écrans dos-à-dos qui se mettent à tourner à grande vitesse, laissant ainsi apparaître des formes intrigantes et visuellement très intéressantes. A découvrir en vidéo.

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Full Turn Light Sculpture
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