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Saturday Night Live is a cultural institution. In an era when everything is streamed and nothing seems real, NBCs landmark live sketch comedy show proves that50 years on, it can still offer a thrill to anyone stuck home on the hottest night of the weekend.After five decades, the premise could be dull and anachronistic. Instead, its as fresh as ever, earning its highest rated season premiere in four years. And while its cast is ever-changing, so much of what makes SNL work comes down to its design. From its logo to its photo bumpers to its unmistakable opening montage of New York City.For the past few decades, two friendsSNL photographer Mary Ellen Matthews and Pentagram partner Emily Obermanhave influenced the creative direction of so much of what makes SNL feel like SNL. Its a sensation encapsulated best in the two-minute intro, which transports the viewer from their house in Kansas to glitzy Manhattan. Shot over the course of just a few nights by different directors leading up to each season premiere, the opening credits involve late shoots that often stretch into sunrise, elbowed inside everyones workload for the show. But its also become the mise en scne of SNL itself, the anchor thats bridged half a century of live televised comedy into one cohesive vibe.The brief is always the same: Its the city you love, the party you wish you were at, and the cast you wish you were hanging out with. Thats it, says Oberman. And Lorne Michaelss directive is always, whenever we redo the open, it should feel completely new and completely the same at the same time.[Image: NBC]Rebuilding the SNL brandOberman got her first chance to help on SNL in 1994, when Jim Signorelli gave her a call. Signorelli technically ran the shows film unit, but Oberman describes him as the Capo di tutti capi (boss of bosses) given his seniority on the production, which included overseeing both SNLs intro and its parody commercials that used to always follow the monologue.[Images: NBC]He invited Oberman and her then studio partner Bonnie Siegler to help on a special project. Clear Crystal Pepsi had just come out. He was filming a spot for Crystal Gravy and needed a high-end, corporate graphics treatmentthe work of what he called a type jockey. That was when Oberman learned the rules of normal life didnt apply at SNL, and the buzz of working in an edit bay at 1:00 a.m. with brilliant comedic minds. Oberman and Siegler created several spots over the years, including Cookie Dough Sport and Live Action Smurfs.By 1995, Signorelli asked if the duo wanted to create a new logo. The answer was obviously yes. Their design signaled a seachange in SNLs identity, replacing the manhole-inspired logo from 1988 with a confident SNL sitting atop the shows full name without any spaces in it.SNL logo evolution (from top): 1988, 1995-2005, 2006-2014, 2014-2021, 2022-present.Our big idea was Saturday-Night-Live! You just say it as one word like Don Pardo did the voiceover, says Oberman. Along with the logo work, Oberman began working on the intro titles. One thing that Jim said to us that has always stuck with me was the show should be funny; the titles should not.The titles had always been shot like it was very downtown, gritty, scrappy, she continues. But Saturday Night Live had been around for almost 25 years at that point, and wasnt that scrappy little thing. It was the biggest late night sketch comedy show of all time. So we wanted to make it cool, like Blue Note jazz, which is why the logo looked like this.Since then, Oberman has reimagined the logo four more times (SNL now even has its own typeface called Bass-o-matic) and contributed to the typography of the opener for 30 years now. But thats only a slice of how Oberman has impacted the visual design of the show.1975 [Image: NBC]How credits evolved over 50 seasonsOver the course of season one of NBCs Saturday Night (the original name for SNL), you can watch the show slowly home in on the skeleton of the contemporary opener. From episode one, creatives set the tone as photographer Edie Baskens hand-painted photos of New York nightlife montaged atop a still-familiar, sax-rich theme song by Howard Shore. The biggest difference was that the first week listed the cast in one pile on a single screen. By mid-season, the names were read out over two. And finally, toward the end, the cast was given a full hero treatment as each member was listed with their photo, one at a time.1996 [Image: NBC]That straightforward approach to listing the talent is in line with a core purpose of the SNL opener. Its a place for the cast to be presented, says Matthews. I dont know how else you would do it.But while the season 1 cast had only nine people, it has since ballooned to 17 members.Theres a lot more to get through, which is a reason the opener has doubled in length while also accelerating its pace of presentation. The cuts are faster, and so is the musicwhich has increased by around 100 beats per minute over five decades.1997 [Image: NBC]Its a very long intro, and [we] try to make it speak to an audience whos used to flipping through TikTok, says Mike Diva, who directs shorts on SNL. You look at old SNL sketches from even 10 or 15, years ago. And its like, everything moved so much slower. People had so much patience, and man, now all of our patience has worn thin.All that time is well-used, buying time for the cast and crew to set up behind the scenes. But the viewer is distracted in an ever-modernized media spectacle. Every two or so years since SNLs debut, the opener is reshot with a shift in tone. By 1996, the scrappy live sketch show had a high-style, ritzy NYC makeover. Around the same time (1999), SNL photographer Mary Ellen Matthews took over for Basken following six years of working as his assistant, ushering in the shows modern artistic viewpoint.Matthewss celebrity host portraits shot in Studio 8H each weekranging from beautiful to zany to surrealistserve as the essential bumpers of SNL, offering micro liminal space between the real commercials. They bring a touch of class and visual levity to transition the viewer back from a commercial to live comedy. What I want to bring to my work is joy, she says.[Images: courtesy Emily Oberman]As Oberman continued working at SNL, and Matthews worked closer with Signorelli, the two women gradually discovered a creative chemistrythough Oberman notes, Its all very collaborative, everyone [at SNL] feels like they do the titles. In 2012, they played with segmenting and slicing visuals and, in 2014, they brought NYC to light with influences from Picassos light painting.[Images: NBC]Ive always been a fan of opening credits and titles, and I find it is own art form for sure. I go back to the James Bondness of these things, says Matthews. [Though] funnily enough . . . just started watching something on Netflix with a skip intro, and Im like, Skip! I dont even watch them! But something like the ones weve done, it involves so much, and so many people.In 2010, Matthews asked a simple question that would flip the SNL intro upside-down: What the heck was the cast actually doing in the opener?[Image: NBC]The musics fast-paced, and you really cant just have somebody sitting there having a drink anymore, because Its like the music and that action dont go together, she says. So Matthews asked the cast, What is your New York life like? That led to Fred Armisen poking through records in the West Village and Jason Sudekis playing basketball in Washington Square.Cecily Strong wanted to have her dog in a couple of the opens. And her dog is adorable, so she got to have her dog in them, recalls Obermann. And those are conversations that Mary Ellen handles and deals with. I dont meet with the cast members.Since then, openers have had a touch more vibe of actually doing stuff in NYC, but theyre updated every few years with a new creative brief born from a brainstorm between Matthews and Oberman. Between 2020 and 2022, for instance, the cast was captured making their way back into the studio during the pandemic. Each members name was written by hand in a time when celebrities Zooming from home had introduced a new era of authenticity in entertainment. Then in 2022, they captured the entire cast inside the Chelsea Hotel (look closely and you can appreciate the logistical nightmare that is having multiple cast members together in a single shotgiven that each member of the cast is juggling their own hectic schedule to kick off the season).[Images: courtesy Emily Oberman]In 2018, Matthews and Obermann brainstormed a mashup between French New Wave cinema, a 1960s film movement known for its charming black-and-white surrealism, and New York New Wave, a 1980s art movement mixing media as it is today. They cut inspiration footage together to pitch the idea, and executed what is the most beautiful of the SNL intros to date.Sometime around 2 a.m., Kate McKinnon was standing inside the Metropolitan Museum of Art. Shes glammed out to the max despite the late hours, looking more like an A-lister than a not quite ready for prime time player. And that single frame was so stunning to producer Steve Higgins that Oberman was given more creative license, and the SNL team approved something it never had before: graphics that, instead of ducking and weaving around the cast, were placed right over someones face.[Image: NBC]The idea of putting type on top of your heros face was a hard sell, says Obermann. By showing this one frame where Kate just looks so beautiful, even with type on her face? They were like, Okay, you can do it.[Image: NBC]Making season 50As SNL entered its 50th season this year, the team already knew they wanted to do something special with the opening credits.The piece kicks off with a flash of five decades of SNL logos in bold redthe color is a preference from Michaels to buck SNLs traditional penchant for aforementioned blue note jazz. And what ensues is a frantically paced, color corrected fever dream that blends type and place, eviscerating the fourth wall.[Images: courtesy Emily Oberman]Lorne really wanted to do something big and different and modern was his thing, because he kept saying, This isnt a nostalgia play, this cast the future of the show . . . this open should be spectacular, recalls Oberman. Mary Ellen and I were sort of charged with, what will this be? But Mike [Diva] had this vision.[Image: NBC]Diva films most of the big pre-taped segments you see on SNLlike Gladiator 2: The Musical and HBO Mario Kartand has been working alongside Matthews and Oberman on the openers since the Chelsea Hotel shoot in 2022.I thought about it a lot over the summer, says Diva. I came up with this idea of playing around with peoples perception of what they have come to know as the format of the SNL intros, while simultaneously wanting to celebrate how the sausage is made. Until I started working here almost four years ago, I didnt fully appreciate how, at the very last minute, these sets are coming together, and theres people flying in chairs and tables and stuff, truly, five seconds before the camera goes on and we see the set. Its magic.What Diva produced is the most ambitious opener SNL has ever run, somehow assembled in a mere five days. Yes, it has all of the tropes weve come to expect in an SNL opener. But it also mixes cast members spending time in real locationsMichael Che eating at a restaurant, Chloe Fineman dancing on a subway, Marcello Hernandea leaping down a fire escapeand then breaks your brain by seamlessly cutting between the real world and a set lovingly reproduced in studio 8H.Its a magic trick, but the show is a magic trick, says Matthews. So that it was a close comparison to what actually happens.Other pieces of the shoot take SNLs love for New York to new heights. The crew pulled a double decker bus into Times Square for Ego Nwodims party scene. Much of the visual energy comes from Divas inspirationMichel Gondry meets Wong Kar-waiand his use of a new DJI Ronin camera, which has a lens that detaches from the main body, allowing him to take us inside a cab with Mikey Day and right up to the bus window with Sarah Sherman.[Image: NBC]For the Times Square beat with Kenan [Thompson], we shot that in like 16 minutes. We literally popped up a green screen in the middle of Times Square and shot Kenan doing different poses, says Diva. We had all these barriers and stuff, but you can imagine Times Square with Kenan Thompson is pretty chaotic.[Image: NBC]The opener was coming together well, but toward the end of a week of sleeping in the studio, Diva realized that while he had all of this amazing footage of the cast, he didnt have enough of the everyday New York B-roll that grounds an SNL intro. Matthews, who Diva describes as a machine gun of ideas, offered him a simple solution filmed in three beats: a woman walking a dog, a guy with a guitar on his back, and someone riding a Citi Bike. Diva called up three of his friends and filmed these scenes with a high end, 360-degree Grand Theft Auto production style. He also grabbed some shots on his iPhone. Realizing his first plan was over-the-top, the iPhone footage was what made it in.Like so much of what makes SNL wonderful, the low-fi solution sneaks by for one reason and one reason alone:You would never know, he laughs.

Around the time that MIT economist Daron Acemoglu became one of AIs most prominent hype-busters, he also won a Nobel Prize.While those two things are not directly related, Acemoglu says theres a common thread. Acemoglu and his co-laureates, Simon Johnson and James Robinson, were recognized for their research on how societies with extractive political systems are less prosperous over time than those that emphasize individual rights. Likewise, Acemoglu believes there will be limited financial return from AI that aims to replace human judgment.We need investment for alternative approaches to AI, and alternative technologies, those that I would say are more centered on making workers more productive, and providing better information to workers, Acemoglu says.In a research paper published in May, Acemoglu projected that generative AI will only automate about 4.6% of tasks over the next decade, with an average cost savings of 14.4%. Multiply those factors, and the total productivity gain is a paltry 0.66%, which Acemoglu says is a generous estimate, based on the idea that AI will become better at performing some hard-to-learn tasks. He projects that the true productivity gains from AI will be a mere 0.53%, and that GDP will only grow by about 1% over the next decade.Although hes been reiterating these points in numerous interviews, articles, and research reports, Acemoglu says hes not an AI pessimist. Hes just dismayed by the amount of hype around AIincluding in the mediathat can lead to wasteful spending by businesses.Theyre telling you, Oh look at ChatGPT, it passed the bar exam, theres going to be no need for lawyers, and all that crap, which has nothing to do with reality, he says. And that creates this environment, which I think is very, very bad, where CEOs and business leaders are feeling, Oh, if Im not investing in AI, Im falling behind my competitors, I should just go ahead to find something to do with AI.'Acemoglu says hes now putting his money where his mouth is, working on the development of more targeted AI technologies that dont rely on expensive large language models from big tech companies. One example, he says, will provide better information to lawyers, so they can encourage better settlements and make the legal system more efficient.Were hoping to design things that give information to individual actors by empowering individuals, he says, rather than taking tasks away from them, or coming from the top and telling them what to do.This story is part ofAI 20, our monthlong series of profiles spotlighting the most interesting technologists, entrepreneurs, corporate leaders, and creative thinkers shaping the world of artificial intelligence.

I think about this year-end list of design books all year long, collecting stacks, reading hundreds of pages, pouring over countless images. I keep a list of the books that stick with me and feel like they show me something new. But its only when I narrow that long list down for publication that I can see the trends that emerged over the year. Regardless of circumstance, it seems there are always threads connecting the books that have meant the most to me. As I look over my favorite books of 2024, Im struck by their optimism. The books I couldnt seem to get out of my head this year feel the opposite, in many ways, of how the year felt. This list, then, is a list filled with color, with inspiration, with excitement, and with joy.[Cover Image: Princeton University Press]The Architecture of Urbanity by Vishaan Chakrabarti (Princeton University Press)In his first book, A Country of Cities: A Manifesto for an Urban America, the architect and urbanist Vishaan Chakrabarti made the case that better designed cities could help solve the countrys challenges from public health to climate change. His follow up book, The Architecture of Urbanity, coming ten years later, builds upon this thesis to show how we can think about designing our communities for nature, culture, and joy. Moving through history to the present day and packed with graphics, maps, and drawings, Chakrabartis book is a hopeful and inspiring mandate for todays designers and architects.[Cover Image: Phaidon]Alexander Girard: Let The Sun In by Todd Oldham and Kiera Coffee (Phaidon)When we think of mid-century design, we often think of a simplified aesthetic of steel and glass and blond woods. This representation can often seem sterile, serious, cold. But the design of the mid-century, of course, was much more varied: warmer, more colorful, and more playful. There are many mid-century designers to admire, from the Eames to George Nelson to Florence Knoll, but no one, perhaps, embodies the playfulness of the era than Alexander Girard. Showcasing his work across interior design, furniture, textiles, graphic design, and architecture, this stunning monograph captures the spirit and playfulness of one of the most important figures of mid-century design.[Cover Image: Phaidon]Atlas of Never Built Architecture by Sam Lubell and Greg Goldin (Phaidon)Sometimes I think my favorite architecture is the architecture that doesnt exist. The buildings that never got built but remain alive through drawings, renderings, and plans become a type of speculative design, caught between reality and fiction. It seems architecture writers Sam Lubell and Greg Goldin feel similarly because their new book is packed with these never-built buildings. Packed with gorgeous renderings and organized geography, this book becomes an alternative history of some parallel architectural world.[Cover Image: Letterform Archive]The Complete Commercial Artist: Making Modern Design in Japan, 1928-1930 by Gennifer Weisenfeld (Letterform Archive)Over the last decade, theres been an effort across the design fields to uncover the often-overlooked areas of design history, expanding our understanding of the canon of what design is and can be. One of my favorite recent additions to this expanded design history is Gennifer Weisenfelds serious and inspiring look at The Complete Commercial Artist, a 24-volume publication released in Japan from 1928 to 1930. It was during these years, it turns out, that Japanese designers began to rethink the design profession, blending modernist methodologies with local vernacular creating an expressive, colorful, and wholly unique visual style. And it was all documented and discussed in The Complete Commercial Artist. Here, Weisenfeld looks at the history of the publication and the influence of this work on designers today, around the world.[Cover Image: Princeton Architectural Press]Building Culture by Julian Rose (Princeton Architectural Press)Over the last few years, there has been a series of books on the role of architecture in shaping museum experiences. The latest of the genre is art critic Julian Roses collection of sixteen interviews with leading architects about the museums theyve designed, the ideas behind them, and the relationship between art and architecture. Rose is a knowledgeable and generative interlocutor that makes for rich and engaging conversations.[Cover Image: Draw Down Books]Superstorm by Noemi Biasetton (Onomatopee)In an election year that sometimes felt like it was hard to make sense of, I found Italian design researcher Noemi Biasettons book to be an anchor. Born out of her PhD work at the University of Venice, Biasetton explores the relationship between communication design, media theory, and political discourse from the 1960s to 2020. Filled with case studies that range from the first televised debates between John F. Kennedy and Richard Nixon to Michael Bieruts 2016 Hillary Clinton logo, the film work of Steve Bannon to the now-iconic Obama O, Biasetton makes the case that our politics has become media, and that design has fallen behind in the increasingly chaotic superstorm of the Information Age.[Cover Image: Princeton Architectural Press]Here: Where the Black Designers Are by Cheryl D. Miller (Princeton Architectural Press)In 1987, Cheryl D. Miller wrote the now-canonical article Black Designers Missing In Action for Print Magazine that reported on the spaces for Black graphic designers. That piece helped kickstart more recent movements in design around diversity, inclusion, and decolonization. In the nearly-40 years since, Miller, a designer, writer, teacher, and theologian, has been at the center of these movements. This new book is a thoughtful memoir of her lifelong quest to answer the question where are the Black designers?

Indian architecture studio 3dor Concepts referenced flowing, pleated cloth when designing the undulating white walls of this minimalist home in Kerala.The home, named Nyori after a Malayalam word for the pleats in traditional clothing such as sarees and mundu, was designed for a family who sought a "peaceful retreat" away from the city in the village of Wayanad.3dor Concepts has completed Nyori house in KeralaLocal studio 3dor Concepts enclosed the home in sweeping white walls that act as a "barrier from the outside world", creating a more secluded external area for the family's children to play."The design was shaped by the clients' desire for a simple, peaceful life away from the city," explained the studio.Sweeping white walls enclose the home"The flowing, wave-like lines on the facade, which evoke the graceful movement of pleats in traditional Indian clothing, create a sense of softness," 3dor Concepts added."They also integrate the modern design with the natural surroundings, enhancing the house's tranquil, retreat-like atmosphere."A large arched opening leads to the front of NyoriA large arched opening leads from a driveway at the front of Nyori into the semi-private external space, where a small concrete porch steps up to the entrance.The shelter offered by the external curved wall allows for large expanses of glazing in the home's inner volume behind it, providing the living and dining area with views out over the children's play area.Read: Cadence Architects "carves out" openings in facade of Indian homeAn additional buffer for these fully-glazed spaces is a set of translucent curtains and thin metal louvres that filter light into the minimalist, white-walled interiors.The kitchen and bedrooms are organised at the darker rear of Nyori, with a small courtyard to the south bringing light into a study space.The walls draw from the pleats in traditional Indian clothing"White surfaces and metal elements, including the intricate metal window louvres, are central to the design," said 3dor Concepts."The use of natural light through sheer white drapes and the recurring metal patterns in interiors tie the spaces together and enhance the light, airy feel."Translucent curtains and thin metal louvres filter light into the interiorsA central staircase leads up to the first floor, where the main ensuite bedroom opens out onto a private garden terrace.This terrace is screened from the street by curving metal bars designed to mirror the form of the external wall.A central staircase leads up to the first floorFounded in 2013, 3dor Concepts is a studio led by architects Muhammed Jiyad CP, Ahmed Thaneem Abdul Majeed and Muhammed Naseem M.The studio's previous residential projects in Kerala include a home sheltered from the sun by a facade of wooden louvres and an oversized concrete roof and a residence animated by curved surfaces and furniture.The photography is by Studio IKSHA.The post White fabric-like walls wrap Nyori house in Kerala by 3dor Concepts appeared first on Dezeen.

Japanese studio Sou Fujimoto Architects has released construction photos of The Grand Ring, a vast wooden structure that will encircle the pavilions at the upcoming Expo 2025 Osaka.The photos reveal the progress on the 60,000-square-metre structure, which is being built on the artificial island Yumeshima in Osaka Bay in time for the international fair in April.Sou Fujimoto Architects has released construction photos of The Grand RingSou Fujimoto Architects is leading the Expo 2025 Osaka masterplan in collaboration with fellow Japanese studios Tohata Architects & Engineers and Azusa Sekkei.According to the event organisers, the structure is intended to serve as a symbol of unity between the 161 participating countries.The vast wooden structure will encircle the pavilions at Expo 2025 OsakaIn a recent interview with Dezeen, the studio's founder Sou Fujimoto said the event will be a chance for "wonderful unity" amid global instability."Expos bring all the wonder of each different country and then stay there for six months," he said. "And this format I thought is very precious, especially in this crisis of the global situation."Its design referencestraditional Japanese timber constructionOnce complete, The Grand Ring will have a circumference of two kilometres and a diameter of 700 metres.While acting as a symbol of connection and togetherness, it is intended as a contemporary interpretation of traditional Japanese timber construction, such as that used to construct the Kiyomizu-dera temple in Kyoto.It will also serve as the event's main circulation route, a visitor shelter and an observation deck.Read: Thirteen national pavilions designed for Expo 2025 OsakaWithin the circle, Sou Fujimoto Architects will divide the site into three zones, named Pavilion World, Water World and Green World, across which the pavilions will be organised.Among the pavilions will be an undulating structure designed by Shigeru Ban and built from paper tubes, bamboo and carbon-fibre-reinforced plastic.It will incorporate an observation deckLed by Bureau International des Expositions (BIE), Expo 2025 Osaka will be held for six months in 2025, following its opening on 13 April.The national pavilions to be revealed so far include a "canyon" designed by Trahan Architects for the USA and a cluster of angular volumes for Saudi Arabia that Foster and Partners is modelling on the kingdom's traditional villages.The photography is courtesy of Sou Fujimoto Architects.The post Sou Fujimoto reveals construction progress at Expo 2025 Osaka site appeared first on Dezeen.

In this week's comments update, readers are discussing Dior's concept store in Bangkok, wrapped in golden facades modelled on the fashion brand's Paris headquarters.Named Dior Gold House, the single-storey mirror-clad store is entirely surrounded by a false facades covered in one million golden tiles.Dior wraps Bangkok concept store in golden replicas of HQ facade"Looks like a coffin about to be buried"Stefanos S branded it "ugly as ugly can be". They added that "the Dior shops looks like a coffin about to be buried".For Operacreep it was "almost a statement on the hollow nature of the world of 'luxury' a showy, but false, gilded surface for others to gawp at".Eve was similarly despondent. "The world needs so much help right now, imagine these funds being spent on something that really makes a difference," they reflected. "Dior, this is really poor taste".However, Pims saw things in a different light, writing "such bad taste it actually becomes attractive".Are you sold on Dior's concept store? Join the discussion Dubai to be transformed into pedestrian-friendly city with two-kilometre elevated walkway"The perfect dystopian urban nightmare"Commenters reacted to the news that a masterplan has been approved for 6,500 kilometres of pedestrian walkways to be added to Dubai, including an elevated air-conditioned looped path."Just as I thought the year couldn't get any dumber, Dubai doesn't disappoint," scorned Whateverandeveramen.Tamara Glenny agreed and suggested "that arial photo looks as if someone asked AI to design the perfect dystopian urban nightmare".Other commenters couldn't pass up on the opportunity for irony. "Sustainable, but has '30,000 square metres of urban space!'" exclaimed The Discreet Architect. "They must be using the same sustainability consultants/spin doctors as Neom" they mocked.However, reader Andrew Tait staunchly defended the plans, arguing "Dubai is a teenage city trying to work out what's best it should be applauded for the ambition and trying something new".Dystopian nightmare or new and ambitious? Join the discussion Bernardo Bader Architekten creates cuboidal primary school in rural Austria"There's a refinement to the selection of materials, the layout and detailing"Another story stirring up the debate this week was a cuboidal primary school in rural Austria designed as a "village within a village" by Bregenz studio Bernado Bader Architekten.Some commenters weren't too keen. "Why so bleak?" asked Souji."We don't need architects for this," determined Joop de Gee. "Any builder can make such a design within a few minutes," they claimed.However, The Discreet Architect chimed in to defend the project. "It may not be to everyone's tase, and it certainly isn't what I would do, but there's a refinement to the selection of materials, the layout and detailing which would never be achieved if the project was led by a builder," they said."So I respectfully disagree with you on this.".Do you think the project passes the test? Join the discussion Comments UpdateDezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days.The post "Such bad taste it actually becomes attractive" says commenter appeared first on Dezeen.

NASAs Ingenuity Mars Helicopter was a groundbreaking piece of equipment that was able to be the first human-made object to fly to a different planet back in 2021. And while it crashed in January of this year, it was still able to make 72 flights in under three years. Now that its not functioning anymore, NASA is looking at building the next object that will give us a peek into another planet.Designer: NASAThey have unveiled the early design renderings of the Mars Chopper, their proposed follow-up to the Ingenuity Mars Helicopter. Its a huge leap from the original as this one is the size of an SUV with six rotor blades to help it fly across the planet. It will be able to carry up to 11 pounds of science payloads across 1.9 miles per Mars day.The initial renders show the three-legged drone gliding over the supposed landscape of Mars. Since Ingenuity was much smaller, this will hopefully be able to surpass its achievements and give us an even better view and understanding of Mars. It should be able to help scientists in studying Martian terrain and at a faster rate.While its still in its early conceptual and design stages, there is already anticipation in how the Chopper can give us a glimpse into the previously inaccessible areas. Its not clear though if it will actually be sent to Mars.The post NASA unveils first look at SUV-sized Mars Chopper concept first appeared on Yanko Design.

At least try not to make it so obvious.

This unassuming mini-PC packs a lot of computing power into a teeny tiny form factor.