Breakdown & ShowreelsIndiana Jones and the Dial of Destiny: Previs & Postvis reels by ProofBy Vincent Frei - 22/11/2024 Before the whip cracked on screen, Proofs previs and postviz made it happen! The animated comic book-style previs for Indiana Jones and the Dial of Destiny set the stage for thrilling chases and daring escapes. Dive into the visual magic today!WANT TO KNOW MORE?Proof: Dedicated page about Indiana Jones and the Dial of Destiny on Proof website.Andrew Whitehurst: Here is my interview of Production VFX Supervisor Andrew Whitehurst.WATCH IT ON Vincent Frei The Art of VFX 2024

Farsoon Technologies, a China-based manufacturer of industrial-grade 3D printing systems, has introduced the FS191M, a next-generation metal powder bed fusion (PBF) machine designed to enhance productivity and cost-efficiency across a range of industrial uses. Building upon the foundation of its FS121M system launched in 2016, the new system aims to offer a scalable solution for both pilot projects and low-volume manufacturing.The FS191M builds on the success of our small-volume FS121M system, said Wenyu Guo, Director of Farsoons Metal Product Line. Over the past six years, weve collaborated closely with industrial and research partners to optimize productivity, streamline workflows, and expand process capabilitiesall while maintaining a low cost of ownership. This approach is enabling us to unlock new markets, including consumer products, tooling, and more.With a standard build cylinder measuring 191 mm in diameter and 199 mm in height, the FS191M provides a build volume of 5.64 litersnearly four times that of its predecessor. Equipped with a 500-watt fiber laser, the system is designed for small-batch production requiring high detail and precision. An optional smaller build platform measuring 78 mm by 80 mm is available for research and development purposes, reducing material costs and enhancing flexibility. The ability to switch between platform sizes allows users to transition seamlessly from validation to production.The newly unveiled Farsoon FS191M, tailored for industrial applications. Photo via Farsoon Technologies.Incorporating cutting-edge features aimed at improving print quality and operational efficiency, the FS191M includes a high-precision F-Theta lens for consistent laser performance, an integrated filtration system for optimal operating conditions, and in-chamber monitoring cameras that provide real-time oversight of the printing process. The machine also features an innovative recoater design for uniform powder distribution and an advanced control card for enhanced process control. Its open parameter strategy enables users to fully customize material processing parameters, making it adaptable to a variety of industrial applications.For research-focused projects, the FS191M offers additional capabilities such as a Support Reduction System (SRS), which minimizes the need for support structures, thereby reducing material usage and post-processing efforts. The system also includes high-resolution melt pool monitoring for real-time quality assurance and an innovative 3D structured light monitoring system. This technology utilizes structured laser detection for high-precision Z-axis monitoring, reducing powder recoating defects like warping and scratches. Advanced optical solutions like laser beam shaping are integrated to enhance efficiency and part quality.Farsoon is now accepting applications for its early adopter program for the FS191M. The company is showcasing the system at Formnext 2024 in Frankfurt, booth 11.0-E11.Farsoon unveiled the FS191M metal PBF system at Formnext 2024. Image via Farsoon Technologies.Advancements in Metal PBF TechnologyNikon SLM Solutions, a global leader in metal 3D printing technology, recently unveiled redesigned versions of their PBF systems: SLM 280, SLM 280 Production Series, and SLM 500 machines. These models feature advanced recoater brushes, permanent filter modules, and powerful 700W lasers aimed at increasing productivity and reliability. With a guaranteed minimum uptime of 85%and exceeding 90% in existing installationsthese systems reflect ongoing progress in metal additive manufacturing.Similarly, Eplus3D, a developer of metal additive manufacturing systems, launched the EP-M4750, a metal 3D printer designed for large-scale batch production in industries like aerospace and automotive. Featuring a build chamber of 450 x 750 x 530 mm and equipped with up to four 500 W fiber lasers, the EP-M4750 achieves print speeds of up to 70 cm/h. The machine supports a variety of metals and includes features like an optimized gas flow system and adjustable layer thickness, enhancing both efficiency and part quality.The SLM 500 3D printing system. Image via Nikon SLM Solutions.Your voice matters in the 2024 3D Printing Industry Awards. Vote Now!What will the future of 3D printing look like?Which recent trends are driving the 3D printing industry, as highlighted by experts?Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights.Stay connected with the latest in 3D printing by following us on Twitter and Facebook, and dont forget to subscribe to the 3D Printing Industry YouTube channel for more exclusive content.Featured image shows the newly unveiled Farsoon FS191M. Photo via Farsoon Technologies.

Tangible Engineering, a German company specializing in advanced 3D printing solutions, has introduced its new Solidator 8K Resin 3D Printer at Formnext 2024 in Frankfurt. Designed to address the demands of various industrial applications, the printer aims to deliver exceptional precision and speed for sectors ranging from automotive to medical technology.Employing ultra-high-definition 8K technology, the Solidator 8K achieves a 43-micron XY resolution, catering to projects that require fine details. Capable of a maximum volumetric build speed of 9,157 cm per hour, it balances rapid production with high-quality output. Its substantial build volume of 330 x 185 x 400 mm allows for large-scale projects, making it suitable for series production and the fabrication of sizable components. Examples of functional connectors fabricated using the Solidator 8K Resin 3D Printer. Photo via Tangible Engineering.Demonstrating versatility, the printer supports a portfolio of 25 advanced materials. These include the new Solidator Tough variants for industrial durability and Solidator Cast for precision casting in jewelry. Flame-retardant materials address safety-critical applications, while ESD materials cater to electronics manufacturing needs. The accompanying Solidator Studio X software facilitates advanced workflows and enhances dimensional accuracy, integrating seamlessly with the printer to optimize efficiency.Addressing a spectrum of industries, Tangible Engineerings latest offering caters to specific sector needs. In the automotive and railway sectors, the printer utilizes flame-retardant and high-temperature materials for components in public transport and vehicles. The dental and orthopedic fields benefit from specialized materials for producing dental models, braces, and insoles. Electronics manufacturing leverages ultra-fast ESD materials for production aids and component trays, enhancing efficiency and safety.In consumer goods, the Solidator 8K enables the fabrication of durable enclosures and consumer-grade products. Robotics applications involve the creation of lightweight grippers that require high stiffness and strength, improving performance and energy efficiency. The jewelry industry takes advantage of the printers ability to manufacture intricate designs with high resolution and reliable casting properties, meeting the demands of precision artisanship.Attendees at Formnext can experience these innovations firsthand at Hall 11.1, Booth E21, from November 19 to 22.Solidator 8K Resin 3D Printer Complete Solution Package. Photo via Tangible Engineering.New 3D Printers on the HorizonThe unveiling of the Solidator 8K Resin 3D Printer by Tangible Engineering highlights an ongoing wave of innovation in 3D printer technology. Several other manufacturers are also making significant strides, redefining capabilities in this rapidly advancing field.Bambu Lab, a leader in desktop FDM 3D printing, recently postponed the release of its highly anticipated next-generation 3D printer to the first quarter of 2025. The delay, originally planned for 2024, allows the company to refine key features and ensure readiness for global distribution. While specific details remain under wraps, the new system is expected to target prosumer users seeking cutting-edge performance. Speculations suggest that Bambu Labs new model could offer a significantly larger build volume and potentially incorporate a tool changer, setting it apart in the competitive consumer 3D printing segment.Prusa Research, a prominent manufacturer of 3D printers based in Prague, has also entered the spotlight with its newly announced CORE One. This fully enclosed CoreXY 3D printer features active chamber temperature control and combines a compact design with a substantial print volume of 250220270 mm. Designed for a wide range of applications, including rapid prototyping and precise dimensional accuracy, the CORE One integrates features such as an exoskeleton for added rigidity and the ability to print PLA and PETG with the enclosure closed. Scheduled to ship in early 2025, Prusas new offering reflects its commitment to maintaining a strong position in the competitive prosumer market.Upgrade the Prusa MK4S to Core One with the conversion kit. Photo via Prusa Research.Your voice matters in the 2024 3D Printing Industry Awards. Vote Now!What will the future of 3D printing look like?Which recent trends are driving the 3D printing industry, as highlighted by experts?Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights.Stay connected with the latest in 3D printing by following us on Twitter and Facebook, and dont forget to subscribe to the 3D Printing Industry YouTube channel for more exclusive content.Featured image shows the Solidator 8K in Action. Image via Tangible Engineering.

Alaz November 23, 2024, 12:20am #1Guess we all have to start somewhere After months of study, Im finally sharing some of my RT VFX progress.Starting with my attempt at recreating Helldivers 2 shield!It is by no means perfect, but this is my best attempt at recreating something so far.1 LikeAlaz November 23, 2024, 12:22am #2Helldivers 2 - Shield Generator BackpackFor reference, this is the effect in game:The shader was also super easy to makeeven for a beginner! Overall i really liked the result, though i think theres room for improvement.1 Like

Working on this effect tentacles was a bit messy but satisfying to work with, I liked the final result and I hope you like it too.Please see it on Artstation for better quality: https://www.artstation.com/artwork/eRQZXD 1 post - 1 participant Read full topic

Skylight | Frantzou Fleurine via UnsplashNo matter how far back you go, natural light has always been a critical element of great architecture. Recently, skylights have emerged as an innovative way to bring light into potentially gloomy or awkward spaces. Theyre a functional solution for areas where traditional windows are not possible or not enough, like basements or north-facing rooms. Beyond their practical benefits, skylights are now a design statement in their own right, reflecting the latest styles in contemporary architecture. Here are four of the top skylight trends currently shaping modern design.1. Walk-On SkylightsWalk-on rooflights have gained popularity in recent years for their perfect combination of functionality and style. Were seeing them pop up in all sorts of buildings, from private homes to commercial spaces like hotels. These innovative features are made from super-durable glass thats strong enough to support foot traffic, so theyre ideal for rooftop terraces, green roofs, or mezzanine floors.Thanks to innovations from forward-thinking companies, roof lights are now more thermally efficient and safe, too. For instance, the Sunsquare skylights and rooflights range is fire-rated EI30 or EI60 for integrity and insulation, an unusual but welcome achievement in the skylight market.2. Frameless SkylightsFrameless skylights are a favorite among fans of minimalism. Architects and designers love them for their clean, uninterrupted lines, which allow natural light to pour in without any distractions. The seamless integration of frameless skylights helps create a smoother flow between indoor and outdoor spaces. This makes rooms feel larger and more open. Overall, theyre a great choice for a modern, simple, and minimalist aesthetic.3. Smart SkylightsSmart technology is revolutionizing how we interact with our living and working spaces, and skylights are no exception. Smart skylights can be controlled remotely through an app on your phone or a wall control panel. They can also be connected with home automation systems like Amazons Alexa or Google Home for the ultimate modern convenience. Features like automated ventilation, rain sensors, and dimming glass provide a hassle-free way to create the perfect indoor environment.4. Opening SkylightsOpening skylights are an exciting innovation that fuses the concepts of a rooflight with an access point. Theyre designed to open wide, like a door, creating an unusual exit to the floor above. Theyve become a popular space-saving choice for everything from kitchens with wine cellars to apartments with rooftop gardens. Easily controlled by a wall switch, these dual-purpose skylights offer sleek mechanical functionality. With the push of a button, the glass laminated panel lifts in a smooth motion. When fully open, the panel sits at a 90-degree angle, allowing residents to pass through comfortably.A Bright Future for Skylight DesignFrom simple frameless designs to smart technologies and fixed installations to hatch-like contraptions, skylights are transforming how we balance the connection between indoor and outdoor spaces in architecture. These four trends demonstrate the versatility and innovation of skylights, highlighting their suitability for residential and commercial spaces. For architects and designers, a modern skylight might be the perfect feature to blend form and function in your next project.Light in ArchitectureSkylights Leave a comment

The Nelson-Atkins Museum of Art Expansion | Iwan BaanThe expansion of The Nelson-Atkins Museum of Art, completed in 2007, seamlessly merges architecture, landscape, and art into a cohesive, experiential whole. Designed by Steven Holl Architects, the Bloch Building redefines how visitors engage with art, architecture, and the surrounding environment. By establishing a delicate yet striking relationship between the 1933 classical building and the modern addition, the project sets a new standard in architectural dialogue, resonating with timeless innovation. This expansion is a physical addition and a reimagining of how space, light, and movement shape the visitors journey.Nelson-Atkins Museum of Art Expansion Technical InformationArchitects1-14: Steven Holl ArchitectsLocation: Kansas City, Missouri, United StatesTopics:MuseumsArea: 15,300m2 | 165,000 Sq. Ft.Original Building: 1933Project Year: 1999 2007Photographs: Iwan Baan, Steven Holl ArchitectsThe expansion of The Nelson-Atkins Museum of Art fuses architecture with landscape to create an experiential architecture that unfolds for visitors as it is perceived through each individuals movement through space and time. Steven Holl ArchitectsNelson-Atkins Museum of Art Expansion PhotographsNight View | Iwan BaanFacade | Iwan BaanStreet View | Iwan BaanMuseum Relation | Iwan BaanRamps | Iwan BaanInterior Space | Iwan BaanCorridors | Iwan BaanInterior Light | Iwan BaanExhibition Spaces | Iwan BaanExhibition Spaces | Iwan BaanExhibition Spaces | Iwan BaanThe Nelson-Atkins Museum: The Fusion of Architecture and LandscapeThe Bloch Building stretches along the eastern edge of the Nelson-Atkins campus, seamlessly integrating with the Sculpture Park. Its defining feature is a series of five glass lenses that engage the landscape while creating new spatial relationships. These translucent volumes act as visual and functional mediators, blurring the boundaries between interior and exterior spaces.Visitors experience the architecture as a dynamic interplay of forms, light, and perspectives. Movement through the site is intentionally fluid, with pathways weaving through the lenses above ground and open galleries below. The addition transforms the entire museum site into a holistic precinct, where the architecture invites exploration and discovery at every turn. This interplay of space and movement allows visitors to perceive the building and its surroundings as a unified experience.Complementary Contrast with the Original BuildingThe original Nelson-Atkins Museum building, often referred to as a Temple to Art, is characterized by its classical, opaque, and inward-facing design. In contrast, the Bloch Building embodies lightness, transparency, and openness. Rather than mimicking or overshadowing the historic structure, the addition achieves a delicate balance, complementing the existing building while asserting its distinct identity.Key contrasts between the two structures underscore this harmony. The original buildings solid massing and directed circulation give way to the Bloch Buildings light-filled, unbounded flow. The transparent lenses invite outward views, connecting visitors to the landscape. This complementary contrast enriches both elements, with the original building providing historical gravitas and the addition offering a modern reinterpretation of spatial engagement.Experiential Design through Light and Materiality Iwan Baan Iwan BaanCentral to the Bloch Buildings architectural language is its relationship with light. The glass lenses serve as dynamic filters, gathering, diffusing, and refracting light to create varied atmospheres. During the day, natural light penetrates the galleries, bathing art in a soft, shifting glow. The lenses transform into luminous beacons at night, animating the Sculpture Park and inviting visitors to evening events.The experience of moving through the building is equally impactful. A meandering path winds between the lenses above ground, mirrored by the open flow of galleries below. This spatial fluidity fosters a sense of discovery as views shift between levels and from interior spaces to the surrounding landscape. The materials themselveslayers of translucent glassenhance this sensory experience, giving the architecture an ethereal quality that feels both substantial and ephemeral.Sustainability and Structural InnovationThe Bloch Building integrates sustainability at its core, setting a precedent for environmentally conscious museum design. The green roofs over the galleries are a standout feature, blending the Sculpture Park with the architecture while providing insulation and stormwater management. These roofs create sculpture courts between the lenses, extending the landscape and enhancing the sites ecological performance.Innovative structural systems further elevate the buildings design. The Breathing Ts, a central structural concept, transport light and air into the galleries below. These curved forms merge functionality with aesthetics, embodying the buildings ethos of integrating technical solutions with architectural beauty. Such innovations highlight the projects commitment to sustainability without compromising its visual and experiential impact.The Bloch Building expansion of The Nelson-Atkins Museum of Art redefines the relationship between architecture, landscape, and art. By embracing transparency, movement, and sustainability, the design creates a living dialogue between old and new, where each element enhances the others presence. It challenges architects to rethink the possibilities of experiential design and the ways architecture can shape human interaction with art and the environment.Nelson-Atkins Museum of Art Expansion PlansFirst Floor | Steven Holl ArchitectsGround Floor | Steven Holl ArchitectsLongitudinal Section | Steven Holl ArchitectsCross Section by Main Lobby & Garage | Steven Holl ArchitectsCross Section Conexion with Original Building | Steven Holl ArchitectsCross Section | Steven Holl ArchitectsNelson-Atkins Museum of Art Expansion Image GalleryAbout Steven Holl ArchitectsSteven Holl is an acclaimed American architect known for his innovative approach to integrating architecture, landscape, and light. Born in 1947 in Bremerton, Washington, Holl founded Steven Holl Architects in 1976 and has since completed numerous iconic projects worldwide. Renowned for his conceptual and experiential designs, Holl often employs a poetic use of light and materiality, creating spaces that engage the senses and respond to their environmental and cultural contexts. Some of his most celebrated works include the Bloch Building at the Nelson-Atkins Museum of Art, the Simmons Hall at MIT, and the Linked Hybrid in Beijing.Notes & Additional CreditsClient: Nelson-Atkins Museum of ArtArchitect: Steven Holl ArchitectsLocal Architect: BNIM ArchitectsDesign Architect: Steven Holl, Chris McVoyPartner in Charge: Chris McVoyProject Architects: Martin Cox, Richard TobiasProject Team: Masao Akiyoshi, Gabriela Barman-Kraemer, Matthias Blass, Molly Blieden, Elissavet Chryssochoides, Robert Edmonds, Simone Giostra, Annette Goderbauer, Mimi Hoang, Makram El-Kadi, Edward Lalonde, Li Hu, Justin Korhammer, Linda Lee, Fabian Llonch, Stephen ODell, Susi Sanchez, Irene Vogt, Urs Vogt, Christian WassmannStructural Engineer: Guy Nordenson and AssociatesAssociate Structural Engineer: Structural Engineering AssociatesMechanical Engineer: W.L. Cassell & AssociatesGlass Consultant: R.A. Heintges & AssociatesLighting Consultant: Renfro Design GroupLandscape Architect: Gould Evans Goodman AssociatesArtist: Walter De Maria

Christo and Jeanne-Claude shared a birthday: June 13, 1935. The couple were collaborators to such a degree that we know them by their first names, paired together like a multisyllabic stage name. Starting this month, the late artists are being recognized in two ways for what would be their 90th birthday: A meticulous retrospective is being mounted at the Museum Wrth in Knzelsau, Germany and The Shed in New York will be the host of a multiplatform retrospective specifically looking at the duos landmark Central Park showcase, The Gates, which celebrates its 20th anniversary this year. Christo and Jeanne-Claude at The Gates in New York City, February 2005 (Wolfgang Volz 2005 Christo and Jeanne-Claude Foundation)These two exhibitions are fuel enough to revisit the legacy and architectural leanings of the iconic artists. The Wrths Wrapped, tied, stacked. Christo and Jeanne-Claude displays the extensive collection of works by the artists owned by longtime collaborator and friend Reinhold Wrth. More than 120 pieces of process-oriented ephemera will be on display. While these arent the same vein as the monumental public works we know and love, it shows the thinking and meticulous planning the artists executed behind the scenesoften for decades before full realizationthat takes on an architectural scale. Collages, photographs, sketches, scale models, and videos are just some of the media to expect at the show, offering a behind-the-scenes look at the creative gestation that architects definitely love.Lower Manhattan Packed Building (Project) 20 Exchange Place scale model (1964). Property of the Christo and Jeanne-Claude Foundation. (Andr Grossmann 1964 Christo and Jeanne-Claude Foundation)Sylvia Weber, director of the Wrth Collection and joint curator along with Kirsten Fiege, said that Christo and Jeanne-Claude undoubtedly shifted the dimension of what had been conceivable as a work of art. The second skin he put over the objects triggers our imagination.Installation view of Wrapped, tied, stacked. Christo and Jeanne-Claude at Museum Wrth. (Ufuk Arslan)Perhaps best-known for their wrapping of landmarksthe Pont Neuf (1985) and Arc de Triomphe (2021) to name just twoChristos oeuvre is unique for its architectural sensibility; for taking an existing piece and allowing the public to see it anew. As the New York Times wrote in Christos obituary, he generated no small measure of happiness and awe. That palpable joy is a thread running through each work, and undoubtably for those here in the U.S. familiar with the 2005 installation in Central Park, The Gates. Marking 20 years since the groundbreaking work, the Christo and Jeanne-Claude Foundation is collaborating on a multiplatform exhibition titled Christo and Jeanne-Claude: The Gates and Unrealized Projects for New York City. A collaboration between The Shed, Bloomberg Philanthropies, The Central Park Conservancy, and NYC Parks will include a gallery exhibition at The Shed as well as an AR app-based experience in Central Park where users can recreate gates as they traverse the park, and learn more about the work through the Bloomberg Connects app.Sketch in advance of The Gates, 2002. Property of the Christo and Jeanne-Claude Foundation (Andr Grossmann 2002 Christo and Jeanne-Claude Foundation)The gates in question were designed by Christo and Jeanne-Claude at an architectural scale, with an architectural purpose: 7,503 saffron-colored gates were created by securing poles to the parks sidewalks and hanging saffron-colored fabric between them. The energetic color cut through the wintery mix that descends upon the park each February in New York, albeit for the shortest possible window of time: the installation was up for a mere 16 days. Even after 20 years, the unforgettable visual memory of Christo and Jeanne-Claudes The Gates is still in the minds of the many people who experienced it in person or viewed it from afar, said Vladimir Yavachev, Christo and Jeanne-Claudes director of projects and Christos nephew. Credited with revolutionizing New York Citys relationship with participatory and community-based art and igniting dialogue about the importance of public art globally, The Gates captured the imagination of millions and helped revive a city that had been transformed by the tragedy of 9/11 four years earlier.The Gates installation photography in Central Park, New York City, 2005. (Wolfgang Volz 2005 Christo and Jeanne-Claude Foundation)What stands out to this critic when reflecting on Christo and Jeanne-Claudes oeuvre, however, isnt only the work of wrapping or activating itself: its also the ethos and politics behind the decisions of where and what to wrap. Christo was born into Soviet Bulgaria and never let his anti-fascist views shake. He and his wife staunchly vetoed private funding of their works: I came from a Communist country, Christo told the New York Times. I use my own money and my own work and my own plans because I like to be totally free. This stance in an art and design world increasingly reliant on public-private partnerships, brand sponsorshipsas well as censorshipreads like a breath of fresh air. Christo and Jeanne-Claude really walked the walk. A famous example of this ethos occurred in 2017, when the couple was readying to culminate a decades-long project to bridge the Arkansas River in the mountains of Colorado with signature a fabric canopy. Christo walked away from the work at the 11th hour after he realized the land was federally ownedmaking Donald Trump his landlord. The sunk cost of millions of his own dollars didnt matter to him. His work reflected his beliefs, making this project incongruent.Press Conference by Mayor Michael R. Bloomberg announcing the realization of The Gates in New York City, January 22, 2003 (Wolfgang Volz 2003 Christo and Jeanne-Claude Foundation)My uncle always told me that if you are accountable to anyone, you dont have freedom, said Yavachev. Remember, in art school in communist Bulgaria, he was criticized by the authorities because the peasants in his painting did not look happy enough! That was too much for him. At every turn, even at the height of his practicing fame, Christo was embattled by bureaucratic processes hindering his large-scale dreams. Unlike a painter responsible for a single canvas or a musician recording a single song, Christos work hinged on high-visibility, public access, and government collaboration to achieve the scale he desired. Despite these hinderances, he never bowed to the expectations of the institution nor amended his ethics to complete a project. He was persistent, unrushed, and visionary.Fragment of the oil barrel mockup used to create Christos Mastaba visions, on view at the Museum Wrth. (Ufuk Arslan)Early image of The Gates AR Experience to be available in Central Park through the Bloomberg Connects app in February 2025 ( 2025 Christo and Jeanne-Claude Foundation)Christo and Jeanne-Claudes final work is set to be the Mastaba in the Liwa desert outside Abu Dhabi. The couple first visited the site in the 1970s, documented by a series of playful photographs, scale models, and countless drawings of the awe-inspiring mass and scale of the proposed work. Christo worked with Emirates officials directly to select the site and collaborated with ETH Zurich professors on feasibility studies to stack and secure a permanent artwork of hundreds of thousands of oil barrels. While this vision is yet to be realized, the optimism is clear on the Foundations website. If we live to see the day this posthumous work comes to life, surely the world could be a better place with a permanent monument to Christo and Jeanne-Claudeor maybe their ephemeral works are meant to live only in our memory.

Failure is not an option. These were the foreboding words shared by UN Secretary-General Antnio Guterres in Baku, Azerbaijan, to set the stage for COP29, the UNs annual climate conference. (Whether Guterres knew he was quoting Arnold Schwarzenegger is anyones guess.) The climate summits last day is today, and for many people, it couldnt come soon enough. COP29 started with a kerfuffle. On November 11, Greta Thunberg wrote a scathing op-ed in The Guardian about the strange choice to host COP29 in Azerbaijan, a country whose economy is enormously dependent on the fossil fuel industry with a long list of human rights abuses, most recently the horrid Nagorno-Karabakh conflict. Thunberg didnt mince any words when she said Azerbaijan is an authoritarian petrostatewithno respect for human rights.COP29 gathered dozens of world leaders. (The Presidential Press and Information Office of Azerbaijan/Wikimedia Commons/CC BY 4.0)The UNs climate conference happened the same week as the 2024G20Rio de Janeiro summit. At both events, those who visited noted that the recent U.S. presidential election hovered over the discourse, casting an uneasy feeling of uncertainty about the next few years. Here are some of the most notable takeaways from the important global summits: Nationally Determined Contributions could have new language about urban design and architecture.Inger Andersen, executive director of the United Nations Environment Programme, spoke at COP29 about how Nationally Determined Contributions (NDCs)the commitments countries make to slash carbon emissionsneed to have more language in them pertaining to the built environment, which, as we know, contributes 40 percent of global greenhouse gas emissions.In Glasgow, just 18 per cent of our NDCs have quantifiable targets for mitigation objectives in the building and construction sector. We can surely do better this time around, Andersen said in a session with Ahmed Mohammed bin Thani, Dubai Environment and Climate Change Authority director general.Toward that end, Esther An, chief sustainability officer at City Developments Limited, suggested including language in NDCs about green roofs, living walls and urban rewilding. An noted: These features provide habitats for various species of native birds, insects, and plants, while isolating carbon and reducing the urban heat island effect. Research from the European Environment Agency indicates that green roofs can reduce a buildings energy use by up to 15 per cent.Carbon markets could help fund climate projects.The phrase carbon market connotes a financial system where countries and corporations sell and buy carbon credits. One carbon credit equals one tonne of carbon dioxide, or the equivalent amount of a different greenhouse gas reduced, sequestered or avoided. Carbon markets are upheld by Article 6 of the Paris Agreement. At COP29, climate leaders discussed the potential for carbon markets to fund climate projects in the Middle East and North Africa (the MENAP region). These negotiations culminated in a landmark deal between Tawazun, an independent government entity that works closely with the Ministry of Defense and security agencies in the UAE, and Cloverly, a U.S. company at the cutting edge of digital infrastructure for carbon markets. Singapores Ministry of Trade and Industry signed an agreement with Peru that brokered a similar deal. Previously, Singapore signed similar agreements with Bhutan, Vietnam, Paraguay, Papua New Guinea, Zambia, and Ghana.At the G20 summit, Lula pledged that deforestation will end in Brazil by 2030. (Amaznia Real from Manaus AM, Brasil/Wikimedia Commons/CC BY 2.0)The Amazon Rainforest will stop being plundered by 2030.Before COP29 wrapped up, Brazil president Luz Incio Lula da Silva announced that, by 2030 there will be zero deforestation in Brazil, marking a huge win for Amazonian climate activists. Its well understood that the Amazon Rainforest plays an immense role in the planets health, but it was ravaged under the Bolsonaro administration, perhaps best captured in that photo Bjarke Ingels probably wishes could be scrubbed from the internet.Thanks to Lula, this vital natural resource will be protected, for good. We need to take care of the largest forest reserve in the world, he said, which is under our care. Trying to make people understand that keeping the forest standing is an economic gain.Theres a new global alliance to fight hunger.Questions of hunger, poverty, and famine dominated much of the 2024 G20 Rio de Janeiro summit. There, Lula proposed a new partnership that would be charged with finding ways to implement pubic policies and develop social technologies that combat hunger. The Task Force for a Global Alliance Against Hunger and Poverty will be open to all countries, not just ones in the G20, officials said. We need $1 trillion a year to protect the Global South from climate change, which could come from grants, loans, and tax levies.The Global Solidarity Levies Task Force (GSLT) is a coalition led by France, Barbados and Kenya that aims to connect developing countries with capital in order to finance projects that will help them reach the 1.5-degree Celsius target. GSLT said its necessary to raise at $1 trillion or more every year by 2035 to meet that goal.Pact for the Future was passed at the UN in New York in September, which is a start. Gutteres also announced that international banks have agreed to provide $120 billion annually by 2030 to help the cause. There would also be a new levy imposed on the shipping industry, which accounts for 3 percent of global emissions, and also the aviation industry, accounting for 2 percent. Its a down payment on a safer, more prosperous future for every nation on Earth, not a handout, Gutteres said.This pledge however doesnt go far enough, critics said. Amb Ali Mohamed, Kenyas Special Envoy for chair of the African Group of Negotiators, said: The proposed target to mobilise $250 billion per year by 2035 is totally unacceptable and inadequate to delivering the Paris Agreement. The Adaptation Gap Report alone says the adaptation needs are $400 billion; $250 billion will lead to unacceptable loss of life in Africa and around the world, and imperils the future of our world. Moreover, it is no longer developed countries who are responsible under this formulation. It is rendered as a target for which all countries are responsible and where developed countries are taking the lead. This is unacceptable.

Through its deep research into the cultures and landscapes of the Gulf, the Kuwait and Bahrain-based practice draws out the regions global networksCivil Architecture was shortlisted in the AR Emerging awards 2024. Read about the full shortlist hereCivil Architecture is a research anddesign practice that makes buildings, and books about them, inthe words of cofounders Hamed Bukhamseen and Ali Ismail Karimi. Formed in 2017 and based in Kuwait and Bahrain, the duo began collaborating two years earlier while students at Harvard Graduate School of Design (GSD), going on to design the Kuwait Pavilion for the 2016 Venice Architecture Biennale. Careful research threads through their exhibitions, publications and design work, which engage with, in their words, the relative position ofthe Gulf within global contexts.Civil Architectures yearly research trajectories are themed; in 2019, for instance, much of their work dealt with water, and in 2020, they investigated farmland and its architectural implications. In 2023, their theme was seasonality, reflected in their contribution to the Islamic Arts Biennale in Jeddah, Saudi Arabia. Their installation for the biennial, Sun Path, Rajab to Shawwal 1444, sat under thelofty canopy of Skidmore, Owings & Merrills 1981Hajj Terminal in the King Abdulaziz International Airport. A cleverinversion ofa traditional sundial, itappropriated gaps in the vaulted roof totrack time, letting sunbeams move like spotlights across islands of timekeeping lines painted on thefloor, as well as obelisks, slabs and monolithic sculptural objects.Sun Path, Rajab to Shawwal 1444 references mosque courtyards that traditionally feature sundials, helping worshippers align their inner sense of time with that of the heavens. The Islamic world operates on a lunar calendar, Karimi and Bukhamseen explain, which is different fromthe Gregorian solar calendar and the preIslamic lunisolar calendar. Their earlier research into agricultural and coastal landscapes initiated this fascination with calendrical time. In this work, they found many different calendars with overlapping logics present in the region, reflected in the installations fragmentary calendars of lunar, solar and tidal timekeeping methods, marking cyclical occurrences as well as specific, oneoff events in the biennials programme.Their study of Q8 petrol stations demonstrates how the flow of oiland capital links the Gulf to European territories and economiesTo walk through the lofty space is to traverse varied embodiments of time. Shadows cast by human figures become sundials of their own. In creating a landscape of lines and markers, Bukhamseen and Karimi challenge visitors to consider the cultural production of time. As a ritualistic space, itrecalls the terminals use as a place ofpilgrimage, the starting point for many ontheir journeys to Mecca.For a researchdriven practice, exhibitions and publications are useful platforms to take positions on widereaching issues, spark interdisciplinary discussion and, in the architects words, prompt an open set ofquestions brought into a discourse with alarger cultural realm. Civil Architectures research situates specific ideas within larger political discussions: for instance, their 2019 exhibition Foreign Architecture / Domestic Policy investigated the presence of Kuwaiti oil infrastructure in Europe through their study of Q8 petrol stations, demonstrating through spatial analysis how the flow ofoil and capital links the Gulf toEuropean territories and economies. Karimis doctorate research elaborates onthis, examining from a Gulf perspective the role of sovereign wealth funds and their impact in shaping Londons architecture.Bukhamseen and Karimis indepth research shapes the ways in which they think about architecture. It is the biggest way we intervene in the built environment, they say. These diverse outlets exhibitions, publications, installations and buildings bleed into one another, each approached with the same process and pedagogy. Forinstance, their research on tidal patterns and calendars developed in the Islamic Arts Biennale is now contributing totheir ongoing project for a mangrove visitor centre in Bahrain. This, along with other design projects in the works, is setting a trajectory for more substantial built endeavours, rooted in the Gulf but implicating the world.