University Research

Mohammad Anas Wahaj | 22 jul 2024

Generative AI (artifical intelligence) has potential to transform education practices and will bring new challenges to the traditional pedagogy in many fields of learning. Architecture and design education is no exception. The already fast changing world of architecture with climate change, environmental issues, natural disasters, shifting human needs and requirements etc and speedy technological innovations and advancements like AI, makes adapting to the present and predicting the future a humongous task for all those in the field - academics, researchers, educators, professionals, students, policy makes etc. Teaching an architect is a responsible task. Eric J. Cesal, Design Educator and Author, explains how the AI will impact architecture and design education and profession, and what practices in the design teaching and learning process would no longer be needed in the future. He says, 'The conversation about what and how to teach is already contentious, and it must necessarily evolve with technology...However, there's another, easier conversation to have: what not to teach...in my own teaching and conversations with colleagues, there seems to be a consensus among design faculty that certain things should no longer be taught in architecture school. These anachronisms remain fixtures in most schools due to institutional and cultural inertia...AI will change that calculus. It gives us new arguments for purging some of the more ossified practices of design culture.' He further specifies following three things that are inherent to the educational process that AI will assist in getting rid of - (1) Masochism: All-nighters, self-neglect, exhaustion etc are problems that are part of architecture and design schools. Educators want to curb them and it seems difficult to bring a culture change. Ideas need to be executed, they are tested, proven and demonstrated through drawings and models. This requires efforst and hard work with strict deadlines. Mr. Cesal says, 'This may seem reasonable—at least to anyone who's been to architecture school - as long as you ignore the downstream effects. As you stay up for several nights in a row to test and prove that one brilliant idea, your creative faculties steadily decline, compromising what might have been that second or third brilliant idea...Research consistently shows that a well-rested brain is better able to generate novel ideas, solve complex problems, and think critically...As AI rapidly takes over the rote, mechanical aspects of design, humans must focus their efforts on only those things that a human can do...So tell your students to leave the studio at a reasonable hour and go home. Insist on it. Insist that they do their designs, do their best, and then go home, or go out.' (2) Fetishization of the Image: Mass media brought an image-based culture in the architecture profession. Mr. Cesal says, 'This shift can be attributed to the way mass media fragmented different types of professional success: commercial success (making money), professional success (being esteemed by one’s peers), and cultural success (being esteemed by the wider culture)...these three types of success typically follow a sequential path. However, architecture has an alternative route, which I’ll call Path B. This route subverts the conventional sequence...Through Path B, an architect can achieve cultural success by earning the esteem of their peers, even if they have limited commercial success or built projects. With sufficient professional and cultural success, one can then achieve commercial succes...some architects can win the Pritzker Prize...with a very shallow portfolio of built works, principally on the strength of their publications and theoretical work...The existence of Path B in architecture enables and encourages a fetishization of image-making...The rise of AI in architecture fundamentally challenges the viability of pursuing Path B. With AI-powered tools capable of generating stunning, novel renderings based on text prompts, the mere production of impressive architectural images no longer signifies the same level of creativity and innovation that it once did. As a result, achieving early acclaim primarily through image-making will become increasingly difficult...As image-production becomes easier, the true test of an architect’s creativity and skill will likely shift toward her or his ability to navigate the complex realities of bringing designs to life, and to navigate the changing realities of practice...AI has made making images of our ideas simpler. Let's adapt to this change by ending our collective fetishization of image-making and focusing instead on the higher-order problems of the future.' (3) Design School as Rite of Passage: The old English model of education in American universities focused on broad range of subjects and students were not particularly trained in particular field. Medicine and law became first specializations in mid-18th century. Archiecture became an educational specialization about a century later. Mr. Cesal says, 'It wasn't really until the late 19th century that American institutions, influenced by German models, began to adopt the graduate and research models we know today, along with the concept of electives and majors. In contrast to the old English model, it was designed to train individuals for a lifetime of continuous work in a specific field, beginning at the age of 18...Going through a major program does more than just teach you the technical skills necessary to execute a specific type of work: it inducts you into a tribe. You undergo shared experiences that then bond you with others in your eventual profession. However, with the rapid advancements in AI, this model may no longer be suitable for the future. As AI accelerates the pace of technological change, it becomes increasingly challenging to predict the skills and capacities that will be necessary for professional work in the coming decades. The idea of fully training someone for a profession by their early 20s, with the expectation that this education will suffice for a lifetime, seems anachronistic in a world where entire professions may become obsolete within a matter of years. To adapt to this new reality, we must restructure learning to be a continuous, lifelong process rather than a one-time experience...This new paradigm could take many forms, such as having professionals return to school for a semester every few years...The key is to recognize that the current specialization model, which was developed in an era when America still ran on steam power, may no longer be adequate for a future characterized by rapid technological change. In the field of architecture, this means re-evaluating the notion of design school as a singular rite of passage. In the future, design school won't be something you went through. It will be a process that lasts a lifetime.' Read on...

ArchDaily: How AI Can Help Us End Design Education Anachronisms
Author: Eric J. Cesal

Mohammad Anas Wahaj | 14 jan 2024

According to Wikipedia, 'Generative artificial intelligence (generative AI, GAI, or GenAI) is artificial intelligence capable of generating text, images, or other media, using generative models. Generative AI models learn the patterns and structure of their input training data and then generate new data that has similar characteristics.' Positive aspects of generative AI systems include accelerative creativity, egalitarian tech for general public etc, while negative aspects include political propaganda through biased data, human resource displacement challenges etc. Commenting on transformative power of generative AI, Rich Palmer of Launchpad Venture Group, says, 'It's the new electricity.' Jonathan Griffiths, director of Babson College's Weissman Foundry, says, 'Much like a cell phone, AI is going to change how we interact with our computers and with each other in meaningful ways - and, if you don't have an understanding of what generative AI can do and what its limitations are, you're going to be left in the dust.' Joshua Herzig-Marx, a coach for early stage founders, says, 'At this point, if you have a startup and you don’t have a generative AI strategy, your board will be really unhappy with you, because that’s what everybody expects—in the same way that, if you didn't have a social strategy 15 years ago, it was a bad thing.' Prof. Ruth Gilleran and Prof. Clare Gillan of Babson College have designed a compulsory course for all undergraduates, 'Digital Technologies for Entrepreneurs'. Prof. Gillan says, 'We live in a time of tremendous disruption, and the pace of change has only accelerated. I want (students) to land on the right side of that continuous change.' Experts from Babson College provide insights and guidance on generative AI to entrepreneurs - (1) It will enable non-engineers to innovate in new ways: Prof. Gillaran says, 'It further democratizes the entrepreneurial process.' Prof. Thomas Davenport says, 'From an entrepreneurship standpoint, it lowers the barriers for tech expertise to design new products. It's a good thing for entrepreneurs.' (2) It should only be used in certain instances: Mr. Herzig-Marx says, 'Judgment is the big challenge (with generative AI), which is always one of the hardest things for any businessperson. There's no reason to think that whatever pops out of ChatGPT or a text-to-image service is going to be something you would actually want to use.' (3) Knowledge and content management will be transformed: Prof. Davenport says, 'Generative AI will rejuvenate the job of a knowledge manager...I think there are a lot of advantages to doing it for educating your frontline people and customer service applications.' (4) It will generate instant feedback, allowing entrepreneurs to assess viability quickly: Mr. Griffiths says, 'I could see (entrepreneurs) working with generative AI to solve the problems that they may not necessarily have the skills to solve right now.' Prof. Erik Noyes, who teaches Entrepreneurial Opportunities in AI, says, 'Generative AI enables the rapid prototyping of entrepreneurial ideas: literally a visualization and expression of an entrepreneurial idea that you can show to a target customer. You can get feedback on whether you're on a compelling path and creating value, or whether your idea is a dud.' (5) Beware of bias: Prof. Davit Khachatryan, who specializes in machine learning and data science, says, 'Generative AI is merely a means to an end, not an end in itself...Taking the results of generative AI at face value is like the blind following the blind. Today's entrepreneur, or any user of generative AI, needs to have an above-average understanding of how these tools work—and I think that’s where we analytics and data-science educators have a crucial role to play.' Prof. Noyes says, 'If the existing data is biased, there’s a strong likelihood that what’s generated can also be biased. You have to look at anything you’re doing in generative AI through the critical lens of 'How could this just be re-expressing bias?'' (6) Regulatory concerns could constrain creativity: Sam Altman, CEO of ChatGPT creator OpenAI, has urged international regulation of generative AI. Mr. Palmer says, 'When the front-runner (OpenAI) pushes for regulation, it opens up a question of whether anyone else can swim in the wake or not, and if anybody else can catch up again.' (7) Humans still matter: Prof. Khachatryan says, 'Overly relying on the seeming 'magic' that is provided by generative AI is not going to work. To have your leg up, you still need to put your creative hat on and keep it on at all times...it currently has no mechanism in place to evaluate the quality, meaningfulness, or effectiveness of these responses. I don’t think that one should get overexcited about how human-like the responses are because human-like, at the end of the day, doesn’t translate necessarily into meaningful.' Read on...

Babson Magazine: The Age of AI: Seven Things Entrepreneurs Need to Know
Author: Kara Baskin

Mohammad Anas Wahaj | 29 jul 2023

Machines are designed to perform tasks and solve human problems. Their capabilities range from very large/heavy work to very tiny nano-level mechanisms. French philosopher René Descartes influenced advancements in machine design and development through his ideas on human body and machines. Further progress in physics and mathematics led to the formalization of the study of Mechanical Engineering. Prof. Sudipto Mukherjee of IIT-Delhi provides details on the study of mechanical engineering and the careers that can be pursued in the field. He says, 'It is important to have a good relationship with computers early in your career. But as you seek to enhance human abilities and empower society, the first requirement is to have social skills such as interpersonal abilities and empathy. Mechanical engineering is the right choice if you are passionate about solving physical challenges faced by humans in today’s world. The knowledge needed to provide solutions will come as you progress through a solid mechanical engineering curriculum, starting from identifying needs and ending with delivering the final product.' He further explains what training is provided to those who pursue study in specific fields of mechanical engineering like machine design, industrial engineering etc. Pursuing entrepreneurship, and furthering career in management and business administration are attractive options for mechanical engineers. Prof. Mukherjee points out, 'The world of mechanical engineering is not deterministic, meaning it does not operate based on specific occurrences, It works with expected values, such as statistical means and variance...Mechanical engineering is perhaps the only engineering discipline that sees designing with failure as an integral part of the design process and recognises that it is inevitable...It is worth noting that sometimes mechanical components replace failing human joints and organs...Mechanical engineering is a good playing field for those who have empathy, an outward-looking mindset, resilience, and some mathematical skills.' Read on...

The Indian Express: From entrepreneurship to design, mechanical engineering provides multiple opportunities, writes IIT Delhi professor
Author: Sudipto Mukherjee

Mohammad Anas Wahaj | 09 mar 2023

In the world of graphic design, computers and softwares are essential tools and it is hard to imagine a creative work without them. But a hand-drawn design work by Prof. Nick Mendoza of the Oklahoma State University (OSU, USA) was selected in the 365: AIGA Year in Design competition in December. The 365: AIGA Year in Design competition, started in 1924, serves as a platform for designers, design teams and their clients to share design solutions for business and organizational challenges. Prof. Mendoza's work 'OSU Design Lecture 2021' was a poster that was created to promote visiting designer Mike Daines' guest lecture and included elements of his designs and a visual journey to the event. Prof. Mendoza says, 'As a design educator, I am humbled to know that my work is shown next to big time design studios with big time budgets; I created my design with paper, scissors and a marker.' Prof. Ting Wang-Hedges of OSU says, 'Having your work awarded from AIGA, especially winning the 365: AIGA Year in Design competition, means your work competes with other design works from renowned designers and studios.' Competition juror Clement Mok says, '[It's] an ode to hand-drawn letters. Wonderfully old-school, yet it feels very contemporary and personal. The letter scrawls are meticulously planned for legibility.' Prof. Mendoza teaches typgraphy, an art and study of arranging type to convey a message and make language legible. Prof. Pouya Jahanshahi of OSU says, '...he guides his students to mobilize principles of layout, composition, psychology and communication to produce powerful artifacts of graphic design - whether the outcome is a poster, book cover or comprehensive branding campaign.' Read on...

OSU News and Media: Graphic design professor's work recognized in international design competition
Authors: Erin Milek, Elizabeth Gosney

Mohammad Anas Wahaj | 21 feb 2023

Industrial designers are involved in the creation and development of many products and services that humans see and use in their life. They influence and contribute in shaping the physical and virtual experiences. Dr. Liam Fennessy, associate dean for industrial design at RMIT (Royal Melbourne Institute of Technology, Melbourne, Australia), says, 'It's not just tangible products or buildings, it's programs, experiences and digital products and digital interfaces too. Some industrial designers specialize for products in a particular industry while others get involved in projects in multiple and diverse areas. Those involved in consultancy services often work in diverse projects and interdisciplinary teams. Tim Phillips, an industrial designer and owner of Tilt Industrial design, utilizes multidisciplinary approach and focuses on built environment. His team of industrial designers design large-scale, site-specific design features for architects, landscape architects or artists. Explaining the approach in designing the operable façade at UTS (University of Technology Sydney) building where industrial design process is used to achieve architectural goals, Mr. Phillips says, 'The façade delivers a specific environmental function and a unique aesthetic. This combination of impacts is at the heart of what Tilt is trying to achieve in the built environment.' Even though an undergraduate degree in industrial design is generally a basic requirement to pursue a career as industrial designer but experts explain that having diverse and broad skills and excellent communication capabilities are necessary to achieve success. Mr. Phillips says, 'A great industrial designer must be able to deliver an amazing end-user experience and an equally successful commercial project outcome.' Read on...

The Sydney Morning Herald: The people who make everything around us
Author: Sue White

Mohammad Anas Wahaj | 26 dec 2022

Since ancient times art and design has been a part of Indian culture and society and the skill-based learning system existed where the master imparted the skills and shared his experience with his pupil, who often learned by observing and doing. In India there existed communities of design and in most cases the skill got passed as part of the family tradition from generation to generation. There was generally no formal design institutions imparting design education in earlier times. The formal design education in India, in the modern sense, began when the National Institute of Design was established in 1961 in Ahmedabad (Gujarat). Prof. Bhaskar Batt, Director of School of Design at Anant National University, explains what design is all about, how design education is evolving in India and its relevance in modern times. He says, 'Design, as we say, is a creative problem-solving process used to develop innovative solutions and services to make our lives better. Contrary to the expressionist approach of art, design is strongly focused on the identification of the user and market needs, and thus is a process-centric exercise to develop new and innovative solutions.' McKinseys 2018 report emphasises the value of design and found that design-led companies grew twice as compared to non-design ones. Explaining design in Indian context, he says, 'Design in India focused on the social sectors prior to liberalisation of the economy and industry post the millennium. Whilst design embraced the industry, designers retained the philosophical bedrock of trying to make the world a better place. In the following two decades, India has seen a dramatic rise in manufacturing and services, with design as an enabler for product and service creation.' India's education system now have exclusive design schools and design focused departments in universities, both public and private. Many specializations exist similar to design schools in other countries that have advanced design education system. This include industrial and product design, communication design, fashion and textile design, interaction design and many more. Indian design schools have a teaching methodology that is a mix of theory and practicals involving innovative project-based learning. Prof. Bhatt explains, 'Unlike traditional courses which are evaluated through exams, most design schools evaluate through juries, where professional designers from the industry evaluate students' work through rigorous debate...There are three traditional exit pathways in design education - employment in studios and large companies, entrepreneurship or solo consulting, and further education...Design education is strongly influenced by market forces. In the recent past, we have witnessed two meta forces (internet in the 1990s and the smartphone revolution in the 2000s) that have changed the course of human development.' Read on...

India Today: Explained: The growing impact of design education in India
Author: Bhaskar Bhatt

Mohammad Anas Wahaj | 12 sep 2022

The U.S. National Science Foundation's (NSF) Innovation Corps (I-Corps™) program established in 2011 is an experiential education and training program designed to facilitate entrepreneurial innovations in universities towards commercialization and expand their economic and social benefits and impact. The program has three aims - (1) Train an entreprenneurial workforce (2) Bring cutting-edge technologies to market (3) Nurturing an innovation ecosystem. According to the NSF website (nsf.gov) article 'NSF expands the National Innovation Network (NIN) with 5 new I-Corps Hubs' dated 08 sep 2022, NSF now has 10 hubs in total spread all across US with each hub funded for up to US$ 3 million per year for five years and comprises a regional alliance of at least eight universities. The I-Corps™ Hubs work collaboratively to build and sustain a diverse and inclusive innovation ecosystem. Erwin Gianchandani, NSF Assistant Director for Technology, Innovation and Partnerships, says, 'I am delighted the I-Corps™ Hubs that we are awarding today will expand the footprint of the National Innovation Network, harnessing the innovation potential that exists all across the country by establishing clear pathways for researchers to engage with NSF's Lab-to-Market Platform. Each regional I-Corps™ Hub provides training essential in entrepreneurship and customer discovery, leading to new products, startups and jobs. In this way, the I-Corps™ program will open up new economic opportunities throughout the United States.' Vanderbilt University is the lead institution for the new Mid-South Region Hub and will coordinate the program through the Wond'ry Innovation Center. Daniel Diermeier, Chancellor of Vanderbilt, says, 'This role aligns perfectly with our position as a leading center of research and innovation, and with our efforts to help cultivate a thriving ecosystem supporting invention and entrepreneurship in our region...' Wond'ry's Charleson Bell, director of entrepreneurship, biomedical innovation and I-Corps™, and Deanna Meador, deputy director, in a joint statement say, 'The Mid-South I-Corps™ Hub is for everyone. Led by Vanderbilt with an intentional emphasis on inclusive innovation, this hub will accelerate the translation of groundbreaking university research outcomes into commercialized ventures that seed emergent, prosperous innovation ecosystems across the Midsouth. We are thrilled to extend our local successes with I-Corps™ to the greater Midsouth and help underrepresented innovators bring their ideas to life.' David A. Owens, Evans Family Executive Director, and Mandy Lalrindiki, program manager of innovation and design research, are other members of I-Corps™ team. The effort received broad bipartisan support from politicians including Tennessee's U.S. Sens. Marsha Blackburn and Bill Hagerty, and U.S. Reps. Jim Cooper, Tim Burchett and Chuck Fleischmann. C. Cybele Raver, provost of Vanderbilt, says, '...In keeping with NSF's aims, Vanderbilt drives discovery, harnessing big ideas in ways that dramatically increase their economic and social impact...' Padma Raghavan, vice provost for research and innovation at Vanderbilt, says, 'The spirit of collaborative innovation that defines our Vanderbilt community is key to our success...advance the development of an inclusive innovation corridor.' Read on...

Vanderbilst University Research News: The Wond'ry, Vanderbilt's Innovation Center, named National Science Foundation Innovation Corps Hub lead institution
Author: NA

Mohammad Anas Wahaj | 26 may 2022

According to the research paper, 'Leveraging Creativity in Charity Marketing: The Impact of Engaging in Creative Activities on Subsequent Donation Behavior' (Authors: Ravi Mehta of the University of Illinois at Urbana-Champaign, Lidan Xu of the University of North Texas, Darren W. Dahl of the University of British Columbia), published in Journal of Marketing, 'engaging potential donors in creative activities can positively influence their propensity to donate money to a charitable cause.' Prof. Ravi Mehta says, 'Participating in creative activities such as drawing or cookie decoration in support of a charitable cause induces a sense of autonomy in participants, which leads to a positive affective state, resulting in 'enhanced donation behaviors' - that is, a greater likelihood of donating to the cause and a greater monetary amount donated.' Prof. Mehta further explains, 'Charities are constantly looking for new and more effective ways to engage potential donors in order to secure the resources needed to deliver their services. This paper demonstrates that creative activities are one way for marketers to meet this challenge. We think that this research will have substantive implications for understanding how creativity can affect subsequent behavior, and how marketers and advertisers can incorporate creative activities into fundraising efforts, charity events and social media campaigns as a viable fundraising strategy.' Read on...

Illinois News Bureau: Paper: Engaging donors in creative acts can boost charitable fundraising
Author: Phil Ciciora

Mohammad Anas Wahaj | 19 may 2022

As mentioned on the sciencedirect.com website, 'Tribology is the study of the science and engineering of interacting surfaces in relative motion and includes the study and application of the principles of friction, lubrication and wear.' The word was coined by Prof. Peter Jost in 1966 and is derived from the Greek word 'tribos' which means 'rubbing'. Vern Wedeven, founder and president of Wedeven Associates Inc., explains how the challenge of friction and wear in mechanical and electromechanical systems, specifically in the fields of nanotechnology, aerospace and biotechnology, can be overcome by incorporating 'Tribology-by-Design (T/D)' as it will facilitate building of enduring products by including friction, wear and lubrication in the design process. Tribology is often not applied in design process due to its complexity. There are many mechanisms at play that would include variety of small contact points, enormous loads, variable motion and speed, high stresses, heat generation, unfamiliar interface materials and so on. The challenge is enormous to design for life and durability under these complex situations. The new approach, 'Tribology-by-Design (T/D)', reduces the risk and help engineers better understand tribology challenges and more competently design for them. T/D combines a theory, a set of test and analysis tools, and a methodology. It was developed to get powerful tribology mechanisms into engineering design. Mr. Wedeven suggests, 'Using T/D theory, test and analysis tools, and methods to discover and apply new technologies will open the door to a much more rapid response to tribology challenges, faster innovation, reduced costs and mitigating risk.' MIT's (Massachusetts Institute of Technology) Professional Education course, 'Tribology: Friction, Wear and Lubrication', teaches T/D to engineers around the globe. In one of the session Mr. Wedeven is an instructor and explores how T/D connects and differs from axiomatic design (AxD), a widely adopted design methodology developed by the course's lead instructor, Dr. Nam Pyo Suh, Cross Professor Emeritus at MIT. Read on...

Machine Design: Tribology by Design: A Revolution in Tribology
Author: Vern Wedeven

Mohammad Anas Wahaj | 29 apr 2022

Collaboration at University of Minnesota Twin Cities between Dr. Amr El-Bokl and Dr. Gurumurthy Hiremath of Department of Pediatrics at the Medical School, and Prof. Carlye Lauff and undergraduate student Levi Skelton of Product Design Program at the College of Design, is leading to create a knowledge product to teach children and their families about congenital heart disease (CHD). CHD is a birth defect in the heart of children. CHD leads to varied abnormalities in the heart as the child grows, making it difficult for children and their families to understand and manage it. Dr. El-Bokl says, 'There is a tendency to try and protect children from information...Slow and early introduction is one of the best ways to become familiar with the medical information, but we don’t have many child-friendly tools.' Design process was initiated with a collaborative effort. Skelton says, 'I started by researching what CHD is, how it can manifest, be managed, and sometimes corrected. Dr. El-Bokl was both my client and mentor. While he was teaching me about CHD, he was also telling me what he wanted out of the product.' Learning and understanding about CHD involved interactions with childrens that have the condition. After research, a companion toy product was decided to be designed. Skelton adds, 'Having children simulate a doctor/patient interaction with themselves and a toy has been proven to help children feel more comfortable as a patient during a visit to the doctor. Once I decided on creating a toy, I researched animals with unique hearts and chose the octopus because it has three of them.' The prototype is termed as 'Octo'. It is designed with a removable 3D-printed heart and has an accompanying digital app for kids to administer checkups and learn about cardiovascular functions.' Read on...

University of Minnesota News: Demystifying congenital heart disease through product design
Author: NA

Mohammad Anas Wahaj | 24 dec 2021

India's handicraft sector is an important part of the economy, both from local consumption and export point of view. According to ibef.org (India Brand Equity Forum) website India has around 7 million artisans as per official estimates, but unofficial figures consider this figure to be huge 200 million. Moreover, there are more than 3000 art forms in which these artisans are engaged in. The website (ibef.org) further provides the following statistics related to Indian handicraft and handloom export (FY21): Woodwares at US$ 845.51 million; Embroidered and crocheted goods at US$ 604.38 million; Art metal wares at US$ 468.66 million; Handprinted textiles and scarves at US$ 339.03 million; Imitation jewellery at US$ 186.65 million; Miscellaneous handicrafts at US$ 826.68 million. Indian government is also providing special push to this sector through various schemes, as described on the handicrafts.nic.in (Development Commissioner Handicrafts, Ministry of Textiles, Govt. of India) website - NATIONAL HANDICRAFTS DEVELOPMENT PROGRAMME - NHDP (Includes Marketing Support and Services; Skill Development in Handicraft Sector; Ambedkar Hastshilp Vikas Yojana [AHVY]; Direct Benefit to Artisans (Welfare); Infrastructure and Technology Support; Research and Development ). COMPERHENSIVE HANDICRAFTS CLUSTER DEVELOPMENT SCHEME (CHCDS) that aims to enhance the insfratructural and production chain at handicraft clusters in India and bring them to global standards. According to Prof. Syed Khalid Hashmi of Millennium Institute of Management, Aurangabad (Market for Indian Handicrafts, Excel Journal of Engineering Technology and Management Science, Dec-Jan 2012), 'The handicrafts sector plays a significant and important role in the country's economy. It provides employment to a vast segment of craft persons in rural and semi urban areas and generates substantial foreign exchange for the country. The handicraft sector has, however, suffered due to its being unorganized, with the additional constraints of lack of education, low capital, and poor exposure to new technologies, absence of market intelligence, and a poor institutional framework...Indian handicraft has great growth potential in the changing scenario with its basic strength being the abundant and cheap availability of manpower and being a traditional profession of millions still requires very low investment compared with other countries barring China.' A new book, 'Crafting a Future: Stories of Indian Textiles and Sustainable Practices' by Archana Shah, explores the contribution of artisans, designers, NGOs etc to handcrafted textiles sector by focusing on the skills and processes of the creators, and weaves the stories of their accomplishment and success. Ms. Shah is worried about the competition that handcrafted textiles face with tech-powered textile manufacturing and has been working to revive and rejuvenate several craft skills. She is the founder of Ahmedabad's Bandhej (a handcrafted textile fashion brand founded in 1981), and has been collaborating with artisans around the country for the last 40 years to create textiles for urban markets. The book is the result of her interactions with artisans over her long career. She says, 'It is broadly divided into three sections of natural fibres: cotton, a plant-based fibre; silk produced by insects; and wool, obtained from animals. It resonates with Gandhiji's concept of developing khadi and village industries to rejuvenate the rural economy and stimulate development through a bottoms-up approach.' The book addresses two major challenges - unemployment and climate change. Ms. Shah says, 'By making productive use of their time and skills, women and marginalised communities involved in this sector will be empowered, and enjoy a sense of self-worth and dignity. Families will benefit from sustainable livelihoods in their own locations, protecting them from the misery of forced economic migration to urban centres where regular work is difficult to find. The challenge is how to bridge the gap, connect the producers with the markets, create products that are 'Handmade in India' for the local, national and global markets and in the process, make the world a better place for future generations.' Read on...

Deccan Chronicle: Handmade in India
Author: Swati Sharma

Mohammad Anas Wahaj | 26 oct 2021

Communication is the key to propagate ideas and concepts. Graphic design is one such communication tool that can send a message across effectively and create an impact through visuals. Dr. Rebecca Green, graphic design lecturer and researcher in the School of Art & Design at the University of New South Wales (UNSW Syndney, Australia), says, 'Understanding graphic design principles is an untapped opportunity in the fight against climate change. Graphic designers have a critical role in helping to address the most crucial problem of our time - by communicating climate change messages through powerful and compelling visuals that resonate. Climate change is also a social problem. It’s caused by humans and can be solved by humans. Communication is how we socialise; it’s how we find the groups we identify with, and graphic design provides the symbols and signs that help us identify these groups or ideas. Dr. Green's research focuses on graphic design and its influence on humans. She tests how graphic design impacts reception, trust, and belief across climate change, as well as other complex issues. Critical components of visual communication, such as colour, imagery, logos and style - all work together to convey meaning, lead to trust (or mistrust) and ultimately influence the uptake of strategic climate messaging. Dr. Green says, 'Using the right combination of elements in the graphic design of climate change communication can not only help boost understanding and engagement with the issue but also build communities. Graphic design language really has the power to unite or divide. So, graphic design needs to be careful to make sure it fosters communities based around the global good, using the right symbols, the right authority, and the right logos.' Read on...

UNSW Newsroom: Graphic design can build trust and community in climate conversation
Author: Ben Knight

Mohammad Anas Wahaj | 24 jul 2021

Fashion industry is one of the most polluting industry in the world. The World Economic Forum article 'These facts show how unsustainable the fashion industry is' (Author - Morgan McFall-Johnsen; 31 jan 2020) provides data to emphasize the fashion industry's polluting aspects. Here are the few of these facts - (1) In total, up to 85% of textiles go into landfills each year. That's enough to fill the Sydney harbor annually. (2) Washing clothes releases 500000 tons of microfibers into the ocean each year - the equivalent of 50 billion plastic bottles. (3) A 2017 report from the International Union for Conservation of Nature (IUCN) estimated that 35% of all microplastics - very small pieces of plastic that never biodegrade - in the ocean came from the laundering of synthetic textiles like polyester. (4) The fashion industry is responsible for 10% of humanity's carbon emissions. (5) The fashion industry is the second-largest consumer of water worldwide. (6) Textile dyeing is the world's second-largest polluter of water, since the water leftover from the dyeing process is often dumped into ditches, streams, or rivers. (7) Fashion industry is responsible for 20% of all industrial water pollution worldwide. Fast fashion is one of the main reasons behind the negative impact of fashion industry. According to Wikipedia article 'Environmental impact of fashion', fast fashion is 'an approach to the design, creation, and marketing of clothing fashions that emphasizes making fashion trends quickly and cheaply available to consumers.' The idea is that speedy mass production combined with cheap labor will make clothes cheaper for those buying them, thus allowing these fast fashion trends to maintain economic success. The main concern with fast fashion is the clothes waste it produces. According to the Environmental Protection Agency 15.1 million tons of textile clothing waste was produced in 2013 alone. Recently a webinar was organized by Department of Design and Crafts at BBKDAV College for Women with experts in the field discussing the sustainability concepts in fashion and design industry. Prof. Raghuraman Iyer, a master of Design in Product Designing from IIT (Mumbai) and Head of Punyaa Education and Research Foundation, said, 'The need to move towards sustainable practices in designing and crafting of the products is more than ever now. Sustainable and sensible crafting will lead to less textile waste, less harm to animals, fairer wages and working conditions and a better tomorrow for the future.' Prof. Prabhjot Kaur, Department of design at BBKDAV, said, 'Even while investing in furniture of the house, one needs to be cautious as the chemical polish used on it releases toxic fumes. We can overcome such issues by keeping high oxygen generating indoor plants or having good ventilation system.' Dr. Pushpinder Walia, Principal of BBKDAV College for Women, said that after experiencing the pandemic, our generation must become more responsible. Read on...

Tribune India: 'Killing' it with fast fashion
Author: NA

Mohammad Anas Wahaj | 17 jan 2021

More and more educators and experts are advocating inclusion of design and creativity focused subjects in the mainstream school level curriculum. In a webinar titled, 'Why Design Education is Important for Odisha', educators and policymakers discussed the value of design education in India and specifically for the state of Odisha. Prof. Pradyumna Vyas, Senior Advisor of Design and Innovation at Confederation of Indian Industries (CII) and former Director of National Institute of Design (NID) at Ahmedabad, says, 'We are in the fourth industrial revolution. Everything is merging with the other and as such design education can't be thought of in isolation. While the dependence on technology has been rapidly increasing, we have been losing touch on a human level. But the focus has to be on people. It should be remembered that technology is just an enabler, humanising that tech is design. If the pandemic has shown anything, it is that human beings can't be ignored.' Dr. Amar Patnaik, Member of Parliament (Rajya Sabha), says, 'There is a need to mainstream design education and for that, it should be started at the school level. A curriculum should be built to incorporate design education as well. Design should be approached holistically and therefore it needs to be taught at the grassroot level and not during adulthood when it needs to be applied.' Prof. G. V. Sreekumar, former Head of the Industrial Design Centre (IDC) at IIT Bombay, says, 'There is a need to merge design with science, technology and art and looked at as a whole...More than a mere design school, the need is to build a design research center.' Prof. Paresh Choudhury, Founder of Odisha Design Council and former Head of National Institute of Design (NID) in Andhra Pradesh (AP), proposed the need to set up a design school in Odisha. Odisha Design Council (ODC) is a social nonprofit enterprise that intends to spread education, research and development and innovation in the field of design. Read on...

edexlive.com: Design education must be taught at the grassroot level: Rajya Sabha MP Dr. Amar Patnaik
Author: Bidushi Das

Mohammad Anas Wahaj | 28 dec 2020

Logos are a brief visual representaion of the organizational identity and help differentiate them from each other. They assist to instantly recognize brands and over a period of time can become one of the most important component of their identity. Traditionally, organizations utilize the services of graphic designers to get their logos and the process has artistic and creative orientation. But now powered with technologies like artificial intelligence (AI), there are online logo design software tools that can design logos instantly once some specifications are submitted. These tools also provide editing and customization features. Technology is transforming the creative field of logo design into a more scientific one. Research paper, 'Letting Logos Speak: Leveraging Multiview Representation Learning for Data-Driven Logo Design' (SSRN, 25 nov 2019) (Authors: Ryan Dew of Wharton School at the University of Pennsylvania, Asim M. Ansari of Columbia Business School at the Columbia University, Olivier Toubia of Columbia Business School at the Columbia University), proposes a more data-driven approach to logo design in which the authors developed a 'logo feature extraction algorithm' that uses modern image processing tools to break a company's logo into many visual constituent parts like font, color scheme, and many other meaningful features, and a multiview representation learning framework that links the visual components to text that describes the company like industry, value propositions etc. Researchers then applied this framework to a large amount of data available on companies to predict their logo features. Prof. Ryan Dew explains, 'There are things that data and models can say about the design process that can help firms develop brand identities - visual brand identities that are doing the right things for them...we looked at hundreds of different logos, and we also looked at a bunch of textual data describing these firms - taken mostly from the firms' websites. And we also got consumers to react to these logos and the textual descriptions by rating these firms according to what's called a 'brand personality scale'...we developed an algorithm that lets us work with logos as a source of data. We call this our 'logo feature extraction algorithm'...and then we also have all this text, which can be anything...It conveys what the firm does and what their brand is...The idea is, we want to link these two domains to try to get the words to describe what the logo is trying to say. Let the logo speak. Conversely, this is actually how the design process works. You start with a textual blurb describing - 'This is what my brand is. This is what my firm does'. And then you go from that to a logo — to a logo template. This is where the concept of data-driven design comes in. We both, in the first sense, are able to use text to understand logos, but in the second sense, we're able to go from text to new logo templates that will let firms develop logos that are consistent with their brand identities...a more fundamental thing that the current paper can address is this idea of coming up with the 'right template' to convey what you want to convey visually. That is, in some sense, firms should be a little cautious when they're designing logos...understanding these templates and having this model of data-driven design can help with the creative process, to come up with new redesigns or new logos that will excel.' Read on...

Knowledge@Wharton: Why a Data-driven Approach Can Enhance the Art of Logo Design
Author: NA

Mohammad Anas Wahaj | 25 oct 2020

According to the new research by doctoral student Sweta Iyer at University of Borås (Sweden), luminescent textiles can be created by using a bioluminescent reaction system. The study was conducted using enzyme immobilization and eco-technology methods such as plasma treatment. The luminescent materials have wide range of applications in areas like biomedicine, biosensors, and safety to architecture and aesthetics. These materials have multifunctional properties such as UV protection and antibacterial properties. Ms. Iyer's doctoral thesis is titled 'Luminescent Textiles Using Biobased Products - A Bioinspired Approach'. Ms. Iyer says, 'Bioluminescence phenomena in nature and their reaction mechanisms have been extensively studied in biology and biochemistry, but previously not applied to textiles. The important research question was to understand the bioluminescent reaction mechanism that exists in different living organisms and the selection of the reaction system. This was important in order to make it possible to use the luminescent effects in textile.' Read on...

University of Borås News: Biobased products can create luminescent textiles
Author: Lena Carlsson

Mohammad Anas Wahaj | 29 aug 2020

COVID-19 pandemic has affected art and culture sector, and significantly impacted talent associated with it. Audrey Azoulay, Director General of UNESCO in her message on World Art Day (15 April 2020), celebrated on the birthday of Leonardo da Vinci, said, 'Bringing people together, inspiring, soothing and sharing: these are the powers of art, the importance of which has been made emphatically obvious during the COVID-19 pandemic.' The art community is adapting to the new challenges and finding innovative solutions to keep the spirit alive. The program, 'Arts and Culture Education Change-Up', a collaboration between South Korea's Ministry of Culture, Sports and Tourism, the Korea Culture and Arts Education Service and the Seokyeong University Arts Education Center, has come up with something positive during the pandemic. The program teaches and supports creative people who are interested in social entrepreneurial projects in the field of arts and culture education. Han Jeong-seop, professor and dean of the Seokyeong University Arts Education Center, says, 'If it were not for COVID-19, we might not have brought those international guest speakers or have participants from Jeju Island due to geographical factors...We wanted to showcase how overseas cultural social enterprises play a role in resolving social problems between the public and private sector.' The participants in the online interaction included representatives from STEPS (Canada-based charitable public art organization that develops one-of-a-kind public art plans, installations and engagement strategies that foster vibrant communities), and Starcatchers (Scotland-based art organization specializing in creating performances and exploring creative activities for babies, toddlers and young children up to the age of five and the adults who care for them). Anjuli Solanki, program director of the STEPS Initiative, says, 'Applying our multidisciplinary expertise, we strive to develop a strong contextual understanding of the neighborhoods and sites we are working in for all our projects. Our goal is to create iconic public works that attract widespread attention by transforming underutilized public spaces.' Bebhinn Jennings, program manager at STEPS, says, 'The pandemic has highlighted our need to connect, to be inspired and to contribute to our communities. As such, art and public art in particular are increasingly important as they offer numerous entry points for engagement. Public art can both beautify a space, and ignite dialogues around important issues such has climate change, public health and systemic inequalities - all conversations that have been active throughout the pandemic.' Rhona Matheson, chief executive of Starcatchers, says, 'We know we are not going to be able to tour any of our productions until at least spring 2021 so our focus is on providing a range of activities that parents or childcare settings can share with very young children. Retaining a connection with audiences has been very important and making the offers through our online activities has been essential. Similarly, being able to retain connection with the families who participate in our community engagement programs has been very important - this has been a means to offer support to young families who experience social and rural isolation and have been negatively impacted by COVID-19.' Lee In-kyung, an art instructor at an alternative school on Jeju Island, says, 'If it were not operated online, it would be very difficult and time-consuming for me to participate in a training program held in Seoul. Now I can communicate with other social entrepreneurs while on Jeju...We made environmental picture books and tried junk art, campaigning for environment. I realized that students could learn better through empirical art education.' She developed such experiences into an idea for a social enterprise, aiming to support teenagers to cultivate creativity, problem-solving skills and empathic abilities. Kim Soo-jung, CEO of Open Your Arts and in the second year of Change-Up program, says, 'I wanted to provide sustainable art education for socially disadvantaged children, but it was impossible to solve the problem as a volunteer. So I came up with this art educational kit developed in collaboration with artists...Their (Starcatchers and STEPS) business model is not based nor suitable for online, but it was interesting to see the possibility of online platforms, transcending physical or regional limitations.' Read on...

The Korea Times: Social enterprise bridges art, community amid pandemic
Author: Kwon Mee-yoo

Mohammad Anas Wahaj | 26 jun 2020

COVID-19 has brought to the fore the issue of medical textiles as masks, gowns and other personal protective equipment (PPE) are necessary for safeguarding healthcare workers against virus infections. The use of mask specifically became more widespread among general public and the debate centered around the type of material of the fabric that can minimize spread of the virus from person to person and also be affordable. As the demand for PPEs rose the challenge for the scientific and manufacturing community has been to find a way to provide better protection while allowing for the safe reuse of these items. Team of researchers from University of Pittsburgh - Anthony J. Galante, Sajad Haghanifar, Eric G. Romanowski, Robert M. Q. Shanks, Paul W. Leu - has created a textile coating that can not only repel liquids like blood and saliva but can also prevent viruses from adhering to the surface. Their research titled, 'Superhemophobic and Antivirofouling Coating for Mechanically Durable and Wash-Stable Medical Textiles', was recently published in the journal ACS Applied Materials and Interfaces. Lead author of the paper, Mr. Galante, who is the Ph.D. student in industrial engineering at Pitt, says, 'Recently there's been focus on blood-repellent surfaces, and we were interested in achieving this with mechanical durability.' The coating is unique as it is able to withstand ultrasonic washing, scrubbing and scraping. Prof. Leu, co-author and associate professor of industrial engineering, says, 'The durability is very important because there are other surface treatments out there, but they’re limited to disposable textiles. You can only use a gown or mask once before disposing of it. Given the PPE shortage, there is a need for coatings that can be applied to reusable medical textiles that can be properly washed and sanitized.' Prof. Romanowski, Research Director at Charles T. Campbell Microbiology Laboratory, says, 'As this fabric was already shown to repel blood, protein and bacteria, the logical next step was to determine whether it repels viruses. We chose human adenovirus types 4 and 7, as these are causes of acute respiratory disease as well as conjunctivitis (pink eye)...As it turned out, the adenoviruses were repelled in a similar way as proteins.' Prof. Shanks, Director of Basic Research in the Department of Ophthalmology at Pitt, says, 'Adenovirus can be inadvertently picked up in hospital waiting rooms and from contaminated surfaces in general. It is rapidly spread in schools and homes and has an enormous impact on quality of life - keeping kids out of school and parents out of work. This coating on waiting room furniture, for example, could be a major step towards reducing this problem.' The next step for the researchers will be to test the effectiveness against betacoronaviruses, like the one that causes COVID-19. Read on...

University of Pittsburgh News: Pitt Researchers Create Durable, Washable Textile Coating That Can Repel Viruses
Author: Maggie Pavlick

Mohammad Anas Wahaj | 30 may 2020

A group of researchers led by Prof. Raul Gonzalez Lima and Prof. Marcelo Knorich Zuffo at the University of São Paulo's Engineering School (POLI-USP) in Brazil have developed a mechanical ventilator that costs only approximately 7% as much as a conventional ventilator. Prof. Lima says, 'Our ventilator is designed to be used in emergencies where there's a shortage of ICU (Intensive Care Unit) ventilators, which are more monitored, but it has all the functionality required by a severe patient. It also has the advantage of not depending on a compressed air line, as conventional ventilators do. It only needs an electric power outlet and piped oxygen from the hospital or even bottled O2.' In developing the ventilator, the researchers needed to analyze the range of oxygen flow rates and levels it could offer patients. For this purpose, they simulated the various breathing frequencies of human lungs using a gas analyzer and gas flow meter in a lab headed by Prof. Guenther Carlos Krieger Filho, also a professor at POLI-USP. Animal tests were conducted under the coordination of Denise Tabacchi Fantoni and Aline Ambrósio, both of whom are professors at School of Veterinary Medicine and Animal Science (FMVZ-USP). The tests were performed at Medical School's (FM-USP) anesthesiology laboratory (LIM08) under the supervision of Professor José Otávio Costa Auler Junior, in collaboration with Denise Aya Otsuki, a researcher in the lab. The first human trials involved four patients undergoing treatment at FM-USP's Heart Institute (INCOR). They were led by Auler Junior, with the collaboration of Filomena Regina Barbosa Gomes Galas, the supervisor at INCOR's surgical ICU, nurse Suely Pereira Zeferino, and physical therapist Alcino Costa Leme. The researchers are now preparing a clinical trial with a larger number of patients. This will be one of the last steps before production of the ventilator is approved by ANVISA, Brazil's national health surveillance authority. Read on...

News-Medical.Net: Brazilian researchers design low-cost mechanical ventilators
Author: Emily Henderson

Mohammad Anas Wahaj | 28 nov 2019

Team of researchers from Poland's Łódź University of Technology (ŁUT) led by Prof. Katarzyna Grabowska, the dean of the Faculty of Material Technologies and Textile Design, have developed a textile charger, which allows to charge phones, tablets, and other portable electronic devices using the power generated by their users' physical activity. Monika Malinowska-Olszowy, the vice dean of the faculty and member of the research team, says, 'The textile charger for mobile electronic devices is an inseparable part of the fabric or knitwear from which it is made, such as clothing...This invention replaces heavy, large batteries and power banks that often contain toxic substances. It is shock resistant and weatherproof. The main purpose of this technology is to ensure its users with uninterrupted access to electricity to sustain the operations of their mobile devices. As a result, this will exclude various problematic processes related to frequent charging of mobile phones or tablets.' ŁUT research has focused on the development of innovative textile inventions. Some of the latest examples include textile clothing for premature infants that is to protect them against dehydration and ensure thermal stability through special layered textile systems, and a prototype textronics solution that allows the integration of muscle-stimulating electrodes within various types of clothing, such as underwear, wristbands and socks, and use it to treat patients with various diseases that require such stimulation, among others. Read on...

Innovation In Textiles: Polish researchers develop textile mobile device charger
Author: NA

Mohammad Anas Wahaj | 24 oct 2019

Concrete is a preferred material, second-most used (about 22 billion ton annually), in the building and construction industry. But, it is also second-largest emitter of Carbon dioxide, as cement manufacturing accounts for 5-7% of annual emissions. According to Lucy Rodgers of BBC News, 'If the cement industry were a country, it would be the third-largest emitter in the world - behind China and the US.' In order to meet the requirements of the 2015 Paris Climate Agreement, annual cement emissions must fall by 16% by 2030. This situation brings concrete at the cusp of innovation, encouraging architects and scientists to experiment with concrete and help evolve its greener variants. Most innovations in this regard focus on reduction of cement in the concrete mix. MIT researchers developed an experimental method of manufacturing cement while eliminating CO2 emissions. Researchers at Lancaster University in the UK unveiled a novel approach of using nanoplatelets extracted from carrots and root vegetables to enhance concrete mixes. Dr. Sandra Manso-Blanco's approach of 'bioreceptive concrete' has structural concrete layered with materials to encourage the growth of CO2-absorbing moss and lichen. Another alternative mixture becoming mainstream in construction is GFRC (Glass Fiber Reinforced Concrete). The material consists of a mortar made of concrete, sand, alkali-resistant glass fiber and water. Plasticity is one of the main qualities of GFRC, enabling the molding of thinner and thus lighter façade pieces. Another novel approach to concrete used by Zaha Hadid Architects is 3D-knitted shell. Termed as KnitCandela, it is inspired by Spanish-Mexican architect and engineer Felix Candela's inventive concrete shell structures. The knitted fabric for KnitCandela was developed at ETH Zurich. ETH Zurich has been at the forefront of a number of innovations concerning concrete. With the intention of maximizing available space and avoiding steep construction costs, researchers from ETH Zurich's Department of Architecture have devised a concrete floor slab that with a thickness of a mere 2 cm, remains load-bearing and simultaneously sustainable. The institute also showcased the potential of robotically 3D printed concrete. Read on...

ArchDaily: What is the Future of Concrete in Architecture?
Author: Niall Patrick Walsh

Mohammad Anas Wahaj | 27 aug 2019

Researchers from IIT-Madras (Tamil Nadu, India), Prof. Asokan Thondiyath and research scholar Nagamanikandan Govindan, have designed and developed a multimodal robotic system, termed as 'Grasp Man', that has good grasping, manipulation and locomotion abilities. Their research, 'Design and Analysis of a Multimodal Grasper Having Shape Conformity and Within-Hand Manipulation With Adjustable Contact Forces', is recently published in ASME Journal of Mechanisms and Robotics. The robot is fitted with a pair of graspers that provide morphological adaptation, enabling it to conform to the geometry of the object being grasped, and allowing it to hold objects securely and manipulate them much like the human hand. The two graspers are equipped with a robotic platform that provides behavioural adaptation. The robot will have various industrial applications such as pipe inspection, search-and-rescue operations, and others that involve climbing, holding, and assembling. Prof. Asokan says, 'The motivation behind this research is to realise a robot with a minimalistic design that can overcome the need for task-specific robots that are capable of navigating and manipulating across different environments without increasing the system complexity.' Read on...

YourStory: IIT-Madras researchers design robot with graspers that function like the human hand
Author: Teja Lele Desai

Mohammad Anas Wahaj | 26 aug 2019

Research study, 'Onboard Evolution of Understandable Swarm Behaviors', published in Advanced Intelligent Systems by researchers from University of Bristol (Simon Jones, Sabine Hauert) and University of the West of England (Alan F. Winfield, Matthew Studley), brings development of a new generation of swarming robots which can independently learn and evolve new behaviours in the wild a step closer. Researchers used artificial evolution to enable the robots to automatically learn swarm behaviours which are understandable to humans. This could create new robotic possibilities for environmental monitoring, disaster recovery, infrastructure maintenance, logistics and agriculture. This new approach uses a custom-made swarm of robots with high-processing power embedded within the swarm. In most recent approaches, artificial evolution has typically been run on a computer which is external to the swarm, with the best strategy then copied to the robots. Prof. Jones says, 'Human-understandable controllers allow us to analyse and verify automatic designs, to ensure safety for deployment in real-world applications.' Researchers took advantage of the recent advances in high-performance mobile computing, to build a swarm of robots inspired by those in nature. Their 'Teraflop Swarm' has the ability to run the computationally intensive automatic design process entirely within the swarm, freeing it from the constraint of off-line resources. Prof. Hauert says, 'This is the first step towards robot swarms that automatically discover suitable swarm strategies in the wild. The next step will be to get these robot swarms out of the lab and demonstrate our proposed approach in real-world applications.' Prof. Winfield says, 'In many modern AI systems, especially those that employ Deep Learning, it is almost impossible to understand why the system made a particular decision...An important advantage of the system described in this paper is that it is transparent: its decision making process is understandable by humans.' Read on...

Engineering.com: Robots Learn Swarm Behaviors, Aim to Escape the Lab
Author: NA

Mohammad Anas Wahaj | 13 jan 2019

Team of researchers from University of Michigan at Ann Arbor (Prof. Timothy F. Scott, Prof. Mark A. Burns, Martin P. De Beer, Harry L. Van Der Laan, Megan A. Cole, Riley J. Whelan) have developed a new approach to 3D printing that lifts complex shapes from a vat of liquid at up to 100 times faster than conventional 3D printing processes. 3D printing could by highly beneficial for small manufacturing jobs without the need for a costly mold. But the usual 3D printing approach of building up plastic filaments layer by layer hasn't been usable in that aspect. Prof. Scott says, 'Using conventional approaches, that's not really attainable unless you have hundreds of machines.' The U. of Michigan innovative 3D printing method solidifies the liquid resin using two lights to control where the resin hardens - and where it stays fluid. This enables solidification of the resin in more sophisticated patterns. The process can make a 3D bas-relief in a single shot rather than in a series of 1D lines or 2D cross-sections. The printing demonstrations from this approach include a lattice, a toy boat and a block M. Prof. Burns says, 'It's one of the first true 3D printers ever made.' By creating a relatively large region where no solidification occurs, thicker resins - potentially with strengthening powder additives - can be used to produce more durable objects. The method also bests the structural integrity of filament 3D printing, as those objects have weak points at the interfaces between layers. Prof. Scott adds, 'You can get much tougher, much more wear-resistant materials.' The research paper, 'Rapid, continuous additive manufacturing by volumetric polymerization inhibition patterning', is to be published in Science Advances. Read on...

University of Michigan News: 3D printing 100 times faster with light
Authors: Timothy Scott, Mark Burns, Nicole Casal Moore, Kate McAlpine

Mohammad Anas Wahaj | 21 oct 2018

According to the report by Prof. Anne Boddington (PVC of Research, Business & Innovation at Kingston School of Art, Kingston University, UK), 'Future of design education in India', India needs to produce 65000 designs annually to satisfy the capacity of indigenous creative industry. The current production is around 5000 per year. Prof. Boddington is working on the development of arts and design education in India and collaborating with Indian Institute of Art and Design (IIAD). She says, 'Design and Art as a field is emerging in India. There is not only a huge opportunity but also a sense of enthusiasm and can-do attitude in Indians for it. But to match-up to the emerging field, there is a need to train teachers first...A design teacher needs to make the student autonomous and increase their level of creativity and understanding.' She recommends that arts and design education should not be limited to creative fields, but should also become part of all fields of learning. She considers critical listening, research, and quality assessment are part of design and art curriculum. According to her, there is a great potential to create interdisciplinary programs where creative skills will be imparted as a part of foundation courses. Read on...

The Times of India: Why India needs new Art and Design curriculum
Author: Shyna Kalra

Mohammad Anas Wahaj | 29 aug 2018

The possibility of eco-friendly biodegradable paper-based batteries is now made a reality by the scientists at Binghampton University (SUNY), Prof. Seokheun 'Sean' Choi from the Electrical and Computer Engineering Department and Prof. Omowunmi Sadik from the Chemistry Department. Their research titled 'Green Biobatteries: Hybrid Paper-Polymer Microbial Fuel Cells' was recently published in Advanced Sustainable Systems. Prof. Choi engineered the design of the paper-based battery, while Prof. Sadik was able to make the battery a self-sustaining biobattery. The biobattery uses a hybrid of paper and engineered polymers. The polymers - poly (amic) acid and poly (pyromellitic dianhydride-p-phenylenediamine) - were the key to giving the batteries biodegrading properties. Prof. Choi says, 'There's been a dramatic increase in electronic waste and this may be an excellent way to start reducing that. Our hybrid paper battery exhibited a much higher power-to-cost ratio than all previously reported paper-based microbial batteries. The polymer-paper structures are lightweight, low-cost and flexible. Power enhancement can be potentially achieved by simply folding or stacking the hybrid, flexible paper-polymer devices.' Read on...

BingU News: SCIENTISTS CREATE BIODEGRADABLE, PAPER-BASED BIOBATTERIES
Author: Rachael Flores

Mohammad Anas Wahaj | 27 aug 2018

Apparel production is generally linked to environmental issues like water and air pollution, alongwith the land, water and pesticide use related to growing natural fibers. But now research points at the source of another problem created by apparels made wholly or partially from synthetic textiles. Microfibers, a type of microplastic, are shed during normal use and laundering, and remain in the environment similar to plastic packaging that coats so many of the world's beaches, and they bond to chemical pollutants in the environment, such as DDT and PCB. Moreover, the textiles from which they are shed are often treated with waterproofing agents, stain- or fire-resistant chemicals or synthetic dyes that could be harmful to organisms that ingest them. Also, microfibers are being consumed alongwith food and drink. Research review (Microplastics in air: Are we breathing it in? - Johnny Gasperi, Stephanie L. Wright, Rachid Dris, France Collard, Corinne Mandin, Mohamed Guerrouache, Valérie Langlois, Frank J.Kelly, Bruno Tassin) published last year shows that microfibers suspended in air are possibly settling in human lungs. Research led by Richard C. Thompson from the University of Plymouth (UK) in 2004 (Lost at Sea: Where Is All the Plastic? - Richard C. Thompson, Ylva Olsen, Richard P. Mitchell, Anthony Davis, Steven J. Rowland, Anthony W. G. John, Daniel McGonigle, Andrea E. Russell) documented and quantified the occurrence of microplastics in the marine environment. Research by Mark Anthony Browne, one of Prof. Thompson's graduate student, published in 2011 (Accumulation of Microplastic on Shorelines Woldwide: Sources and Sinks - Mark Anthony Browne, Phillip Crump, Stewart J. Niven, Emma Teuten, Andrew Tonkin, Tamara Galloway, Richard Thompson) found - (1) Samples taken near wastewater disposal sites had 250% more microplastic than those from reference sites and the types of microplastic fibers found in those samples were mainly polymers often used in synthetic apparel, suggesting the fibers were eluding filters in wastewater treatment plants and being released with treated effluent (which is released into rivers, lakes or ocean water). (2) A single polyester fleece jacket could shed as many as 1900 of these tiny fibers each time it was washed. Another 2016 study by researchers from UC Santa Barbara in US (Microfiber Masses Recovered from Conventional Machine Washing of New or Aged Garments - Niko L. Hartline, Nicholas J. Bruce, Stephanie N. Karba, Elizabeth O. Ruff, Shreya U. Sonar, Patricia A. Holden) has shown far higher numbers - 250000 fibers. Rosalia Project, a nonprofit focused on ocean protection, led a study of microfiber pollution across an entire watershed (from the mouth of Hudson River all the way to where the river meets the Atlantic in Manhattan). Rachael Z. Miller, group's director, was surprised to find that, outside of samples taken near treatment plants, there was no statistically significant difference in the concentration fibers from the alpine region to the agricultural center of New York state to the high population areas of Manhattan and New Jersey. This suggested to her that fibers might be entering surface waters from the air and from septic system drainfields in rural areas without municipal sewage systems. According to Textile World, demand for polyester has grown faster than demand for wool, cotton and other fibers for at least 20 years. And by 2030 synthetics are expected to account for 75% of global apparel fiber production, or 107 million tons. All textiles, including carpeting and upholstery, produce microfibers. So do commercial fishing nets. But due to the frequency with which apparel is laundered and the increasing quantities of clothing being purchased throughout the world (thanks at least in part to the so-called fast fashion trend), apparel is the microfiber source on which researchers and policy-makers are focusing attention. Krystle Moody, a textile industry consultant, says, 'Outdoor gear is heavily reliant on synthetic textiles due to their performance profile (moisture wicking) and durability.' Jeffrey Silberman, professor and chairperson of textile development and marketing with the Fashion Institute of Technology at the State University of New York, says, 'Price is the big driver behind the use of synthetics in textiles. A poly-cotton blend is generally far cheaper than a cotton one, but doesn’t look or feel appreciably different to most consumers. The motivation is to get natural-like fibers and still be able to get a price point that people are willing to pay.' Katy Stevens, sustainability project manager for the outdoor gear industry consortium European Outdoor Group (EOG), says, 'Initial research suggested that recycled polyester might shed more microfibers. Are we doing the right thing by using recycled polyester that might shed more? It has added a whole other big question mark.' Other studies have found microfibers in effluent from wastewater plants (Wastewater Treatment Works (WwTW) as a Source of Microplastics in the Aquatic Environment - Fionn Murphy, Ciaran Ewins, Frederic Carbonnier, Brian Quinn), in the digestive tracts of market fish (Ingested plastic transfers hazardous chemicals to fish and induces hepatic stress - Chelsea M. Rochman, Eunha Hoh, Tomofumi Kurobe, Swee J. Teh), throughout riversheds (Mountains to the sea: River study of plastic and non-plastic microfiber pollution in the northeast USA - Rachael Z. Miller, Andrew J. R. Watts, Brooke O. Winslow, Tamara S.Galloway, Abigail P. W. Barrows) and in air samples. Two separate studies released in March 2018 revealed that microfibers are found in bottled water sold all over the world. And a study published weeks later revealed that microplastic - chiefly microfibers - were present in 159 samples of tap water from around the word, a dozen brands of beer (made with Great Lakes water) as well as sea salt, also derived globally. Although most research has focused on synthetics textiles, but Abigail P. W. Barrows, an independent microplastics researcher who has conducted numerous studies on microfibers, says, 'Natural fibers such as cotton and wool, and semi-synthetics such as rayon should not be totally ignored. While they will degrade more quickly than, say, polyester, they may still be treated with chemicals of concern that can move up the food chain if the fibers are consumed before they degrade.' The study she led in 2018 (Marine environment microfiber contamination: Global patterns and the diversity of microparticle origins - Abigail P. W. Barrows, Sara E. Kathey, C. W. Petersen) found that in the surface water samples collected globally while 91% of the particles collected were microfibers, 12% of those were semi-synthetic and 31% were natural. Read on...

GreenBiz: Why are our clothes so bad for the environment?
Author: Mary Catherine O'Connor

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