• This Bucolic Paris Home Was Gut-Renovated with Japanese Purity in Mind

    Katja Pargger’s latest project has a unique setting, surrounded by what feels like a small forest in the middle of the city. When she first visited the bucolic Paris home, it was like discovering a magical overgrown garden. That also made it impossible to get a good photograph of the house in its entirety, as nature hid sections of it from view. Behind all that greenery was a typical early 19th-century home with a classically inspired exterior. The romantic setting near Paris and the house that occupied it belonged to the pointillist painter Jac Martin-Ferrières in the 1930s; he added a studio with a glass roof in the 1950s.“I wanted the house to continue to maintain its connection with nature while also preserving the large volume and better organizing the space,” the Austrian architect and designer says. In order to save the house, it would have to be completely gutted and its faux brick facade entirely rebuilt.The facade of the home was completely rebuilt. Large French windows in modernist style open onto the garden. On the roofs are planters with trees.
    The staircase consists of a metal structure covered in plaster. On the wall hangs Kernelless Siamese Cobs by Xolo Cuintle. Next to a chair by Charles Rennie Mackintosh stands a Teatro armchair by Aldo Rossi.
    “We kept the very high ceiling and the large French windows overlooking this fabulous garden, in an assertively modernist style, along the lines of Le Corbusier and Robert Mallet-Stevens,” Pargger explains. An indoor swimming pool with a sober and restrained design now stands where the studio once did. With gardens on both sides of the house, Pargger has created a new fluidity: the building has large vertical openings that blur the lines between exterior and interior on warm days. From the living room to the bedrooms, wherever you are, you’re surrounded by trees, and the architect’s goal has been to engage with this natural setting that both reveals and hides itself behind the layers of foliage.In the living room, behind one of the leather sofas, a Regen rope and silicone poufand a pair of Armloffel armchairs by Joseph Hoffman. The Park rug is from Nordic Knots.
    Photos: Clément Vayssieres/Réalisation: Aurore Lameyre et Alice Mesguich assistées de Joanne FaberIn terms of colors and textures, the architect, who says she “loves authentic materials,” has restored the original appearance of the elegant classical facades—which were whitewashed with small bits of marble—and curated an interior aesthetic that’s reminiscent of the Viennese Secession, while simultaneously evoking the designs of Josef Hoffmann. “I like stone, lime, wood, glass, metal—as raw as possible without being too finished. I don’t use my design freedom simply to make a bold gesture without considering other factors. I design interiors that are sustainable, so that they don’t have to be redone in 10 or 15 years, having fallen out of fashion,” Pargger says. In the vast living area with its soaring ceiling, for example, the walls are constructed from a mineral plaster, while the herringbone parquet is in natural oak. The staircase leading to the mezzanine, made of a single piece of metal, is clad in plaster and has a presence like an elegant sculpture rising in the space at the heart of the home.The living room is organized around a conversation pit: two large modular sofas designed by Pargger form a circle. In the center, an aluminum Sella Curulis stool by SashaxSashaand, atop glazed ceramic coffee tables by Pargger, a bronze Hera Pira box by Victor Guedy. Toward the rear of the room, a 19th-century Italian Studiolo cabinetand a Les Artisans de Marolles wrought-iron lamp. On the stele, a patinated bronze sculpture, Broac over Paris, by Victor Guedy. Above the fireplace, the diptych-camper by Clément Borderie. On the right, the textile work A Trillion Threads Still Weaving by Zuzanna Czebatuland a vintage Indian wooden chair.
    Upstairs, in a smaller lounge, the lightly stained oak and Japanese raffia complement the garden without feeling forcefully coordinated. The forest green carpet—which Pargger denotes as “something very new for me!”—evokes nature and the outdoors in a similarly subtle way.“I don’t use my design freedom simply to make a bold gesture—I make my interiors sustainable, so that they don’t have to be redone in 10 or 15 years.”—Katja ParggerAbove a cabinet of wood and parchment and an ivory box, an untitled work by Loïc Blairon. In front, a pair of Armloffel armchairs by Joseph Hoffman. On the stele, a vase by Natalia Criado. The Park rug is by Nordic Knots.
    In an alcove off of the living room, a lacquered wooden bench by Pierre Cardinwith an Iranian sofreh by Afshar hanging on the wall behind it. On the small black melamine table, a terracotta vase by Sakata Jinnai. The pair of Saucer sconces are by Gilles Derain.
    Constantly questioning her training as an architect, Pargger attempts to create lucky accidents, like placing a door frame in a paneled wall. It’s an effect that recalls a certain Japanese purity. “The more solid and perfect that you build the base, the more you can then innovate, but it’s like a mathematical equation. You have to master everything in sequence before you can go off in other directions.” She embraces experimentation and the blending of materials with an empirical approach that comes from deep within her, the result of her travels around the world to experience art and marvel at beauty that is the result of age and a certain patina. For example, the sofa in the form of a conversation pit, made with leather scraps from Hermès—a design she especially loves—encourages openness and fosters communication. As for the rest of the space, the room is pure and simple. Whitewashed walls diffuse light, while the convex fireplace features a concave sheet-metal hearth. The space is calm, glowing, and Zen-like. The curation of furniture and contemporary works gives the house its personality, with paintings by Clément Borderie, sculptures by artist duo Xolo Cuintle, a tapestry by Zuzanna Czebatul, other paintings by Ciprian Tocu, and furniture by Elias Van Orshaegen.In the dining room, above the fireplace, Origanum Phengaris and, to the right, Seed, Roots, Seed and Inside Out Shell, both by Xolo Cuintle. On the lacquer table, a Teodora cup by Ettore Sottsass. Vintage chairs.
    The paint from Clay used for the kitchen cabinets echoes the emerald green of the swimming pool. They also complement the brilliance of the lacquered worktops.
    “I like stone, lime, wood, glass, metal—as raw as possible without being too finished.”—Katja ParggerCombining leather, wood, lacquer, and thick fabrics, Pargger’s design is more than a collection of materials, it’s also a meeting of the souls of designers and craftsmen. “This whole mix requires a solid base on which to then fill in the gaps and create a whole that can be experienced. It’s my attempt to take something from Umberto Eco’s theory of literature and apply it to architecture,” says Pargger with a smile. “It’s a little bit of something here, a little bit of something else there, and it all adds up to create something unique.” It’s a design that relies on differences of scale, discreet contrasts, and creating a rigorous whole from a variety of elements.In the library, in front of okoumé and velvet armchairs, two glazed ceramic coffee tables. The sculptural vase is by Anatole Riecke.
    On a lacquer table, a parchment frame. The chair, which is also lacquered, is by Takahama Kazuhide. On the bookshelves, hinoki wood boxes, a ceramic bowl, and a small Hera Pira bronze box by Victor Guedy along with other objects.
    Next to the indoor swimming pool, Maze by Wendy Andreu. On the floor, One Body, Two Heartbeats by Xolo Cuintle.
    In the bathroom, on the left, a small glazed Albarello terracotta jar and a steel piece, The Mirror of Simple Souls. On the stele, a glazed terracotta Fiasco vase. Inoki wood and bronze Masu box. Stainless steel and leather stool.
    On the desk with drawers, an inoki wood and bronze Masu box. Lacquer chair by Takahama Kazuhide.
    On the wall to the left, works on canvas by Ciprian Tocu. Loveseat bench in brushed metal by Elias Van Orshaegen. On the right, Bulb Study of an Arum Psychoda by Xolo Cuintle. In the foreground, atop a stele, Laetitia Jacquetton’s Tursiope in magmatic stone and Murano glass.
    In the bedroom, in front of a Maya screen, on an Art Nouveau wooden stand, a wood and bronze Iwa vase and, on the right, an alabaster and patinated brass Lara floor lamp. On the wall, a pair of small mirrors by Line Vautrin. The leather bedspread is, like the living room’s conversation pit, made from scraps from Hermès fabric. The Turkish kilim is from Konya. In front of the bed, a stainless steel and leather bench.
    Architect Katja Pargger sits on glazed ceramic coffee tables in the living room, which overlooks the garden. The large leather sofas are made from scraps from Hermès.
    This bucolic Paris home by Katja Pargger was originally published in AD France.
    #this #bucolic #paris #home #was
    This Bucolic Paris Home Was Gut-Renovated with Japanese Purity in Mind
    Katja Pargger’s latest project has a unique setting, surrounded by what feels like a small forest in the middle of the city. When she first visited the bucolic Paris home, it was like discovering a magical overgrown garden. That also made it impossible to get a good photograph of the house in its entirety, as nature hid sections of it from view. Behind all that greenery was a typical early 19th-century home with a classically inspired exterior. The romantic setting near Paris and the house that occupied it belonged to the pointillist painter Jac Martin-Ferrières in the 1930s; he added a studio with a glass roof in the 1950s.“I wanted the house to continue to maintain its connection with nature while also preserving the large volume and better organizing the space,” the Austrian architect and designer says. In order to save the house, it would have to be completely gutted and its faux brick facade entirely rebuilt.The facade of the home was completely rebuilt. Large French windows in modernist style open onto the garden. On the roofs are planters with trees. The staircase consists of a metal structure covered in plaster. On the wall hangs Kernelless Siamese Cobs by Xolo Cuintle. Next to a chair by Charles Rennie Mackintosh stands a Teatro armchair by Aldo Rossi. “We kept the very high ceiling and the large French windows overlooking this fabulous garden, in an assertively modernist style, along the lines of Le Corbusier and Robert Mallet-Stevens,” Pargger explains. An indoor swimming pool with a sober and restrained design now stands where the studio once did. With gardens on both sides of the house, Pargger has created a new fluidity: the building has large vertical openings that blur the lines between exterior and interior on warm days. From the living room to the bedrooms, wherever you are, you’re surrounded by trees, and the architect’s goal has been to engage with this natural setting that both reveals and hides itself behind the layers of foliage.In the living room, behind one of the leather sofas, a Regen rope and silicone poufand a pair of Armloffel armchairs by Joseph Hoffman. The Park rug is from Nordic Knots. Photos: Clément Vayssieres/Réalisation: Aurore Lameyre et Alice Mesguich assistées de Joanne FaberIn terms of colors and textures, the architect, who says she “loves authentic materials,” has restored the original appearance of the elegant classical facades—which were whitewashed with small bits of marble—and curated an interior aesthetic that’s reminiscent of the Viennese Secession, while simultaneously evoking the designs of Josef Hoffmann. “I like stone, lime, wood, glass, metal—as raw as possible without being too finished. I don’t use my design freedom simply to make a bold gesture without considering other factors. I design interiors that are sustainable, so that they don’t have to be redone in 10 or 15 years, having fallen out of fashion,” Pargger says. In the vast living area with its soaring ceiling, for example, the walls are constructed from a mineral plaster, while the herringbone parquet is in natural oak. The staircase leading to the mezzanine, made of a single piece of metal, is clad in plaster and has a presence like an elegant sculpture rising in the space at the heart of the home.The living room is organized around a conversation pit: two large modular sofas designed by Pargger form a circle. In the center, an aluminum Sella Curulis stool by SashaxSashaand, atop glazed ceramic coffee tables by Pargger, a bronze Hera Pira box by Victor Guedy. Toward the rear of the room, a 19th-century Italian Studiolo cabinetand a Les Artisans de Marolles wrought-iron lamp. On the stele, a patinated bronze sculpture, Broac over Paris, by Victor Guedy. Above the fireplace, the diptych-camper by Clément Borderie. On the right, the textile work A Trillion Threads Still Weaving by Zuzanna Czebatuland a vintage Indian wooden chair. Upstairs, in a smaller lounge, the lightly stained oak and Japanese raffia complement the garden without feeling forcefully coordinated. The forest green carpet—which Pargger denotes as “something very new for me!”—evokes nature and the outdoors in a similarly subtle way.“I don’t use my design freedom simply to make a bold gesture—I make my interiors sustainable, so that they don’t have to be redone in 10 or 15 years.”—Katja ParggerAbove a cabinet of wood and parchment and an ivory box, an untitled work by Loïc Blairon. In front, a pair of Armloffel armchairs by Joseph Hoffman. On the stele, a vase by Natalia Criado. The Park rug is by Nordic Knots. In an alcove off of the living room, a lacquered wooden bench by Pierre Cardinwith an Iranian sofreh by Afshar hanging on the wall behind it. On the small black melamine table, a terracotta vase by Sakata Jinnai. The pair of Saucer sconces are by Gilles Derain. Constantly questioning her training as an architect, Pargger attempts to create lucky accidents, like placing a door frame in a paneled wall. It’s an effect that recalls a certain Japanese purity. “The more solid and perfect that you build the base, the more you can then innovate, but it’s like a mathematical equation. You have to master everything in sequence before you can go off in other directions.” She embraces experimentation and the blending of materials with an empirical approach that comes from deep within her, the result of her travels around the world to experience art and marvel at beauty that is the result of age and a certain patina. For example, the sofa in the form of a conversation pit, made with leather scraps from Hermès—a design she especially loves—encourages openness and fosters communication. As for the rest of the space, the room is pure and simple. Whitewashed walls diffuse light, while the convex fireplace features a concave sheet-metal hearth. The space is calm, glowing, and Zen-like. The curation of furniture and contemporary works gives the house its personality, with paintings by Clément Borderie, sculptures by artist duo Xolo Cuintle, a tapestry by Zuzanna Czebatul, other paintings by Ciprian Tocu, and furniture by Elias Van Orshaegen.In the dining room, above the fireplace, Origanum Phengaris and, to the right, Seed, Roots, Seed and Inside Out Shell, both by Xolo Cuintle. On the lacquer table, a Teodora cup by Ettore Sottsass. Vintage chairs. The paint from Clay used for the kitchen cabinets echoes the emerald green of the swimming pool. They also complement the brilliance of the lacquered worktops. “I like stone, lime, wood, glass, metal—as raw as possible without being too finished.”—Katja ParggerCombining leather, wood, lacquer, and thick fabrics, Pargger’s design is more than a collection of materials, it’s also a meeting of the souls of designers and craftsmen. “This whole mix requires a solid base on which to then fill in the gaps and create a whole that can be experienced. It’s my attempt to take something from Umberto Eco’s theory of literature and apply it to architecture,” says Pargger with a smile. “It’s a little bit of something here, a little bit of something else there, and it all adds up to create something unique.” It’s a design that relies on differences of scale, discreet contrasts, and creating a rigorous whole from a variety of elements.In the library, in front of okoumé and velvet armchairs, two glazed ceramic coffee tables. The sculptural vase is by Anatole Riecke. On a lacquer table, a parchment frame. The chair, which is also lacquered, is by Takahama Kazuhide. On the bookshelves, hinoki wood boxes, a ceramic bowl, and a small Hera Pira bronze box by Victor Guedy along with other objects. Next to the indoor swimming pool, Maze by Wendy Andreu. On the floor, One Body, Two Heartbeats by Xolo Cuintle. In the bathroom, on the left, a small glazed Albarello terracotta jar and a steel piece, The Mirror of Simple Souls. On the stele, a glazed terracotta Fiasco vase. Inoki wood and bronze Masu box. Stainless steel and leather stool. On the desk with drawers, an inoki wood and bronze Masu box. Lacquer chair by Takahama Kazuhide. On the wall to the left, works on canvas by Ciprian Tocu. Loveseat bench in brushed metal by Elias Van Orshaegen. On the right, Bulb Study of an Arum Psychoda by Xolo Cuintle. In the foreground, atop a stele, Laetitia Jacquetton’s Tursiope in magmatic stone and Murano glass. In the bedroom, in front of a Maya screen, on an Art Nouveau wooden stand, a wood and bronze Iwa vase and, on the right, an alabaster and patinated brass Lara floor lamp. On the wall, a pair of small mirrors by Line Vautrin. The leather bedspread is, like the living room’s conversation pit, made from scraps from Hermès fabric. The Turkish kilim is from Konya. In front of the bed, a stainless steel and leather bench. Architect Katja Pargger sits on glazed ceramic coffee tables in the living room, which overlooks the garden. The large leather sofas are made from scraps from Hermès. This bucolic Paris home by Katja Pargger was originally published in AD France. #this #bucolic #paris #home #was
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    This Bucolic Paris Home Was Gut-Renovated with Japanese Purity in Mind
    Katja Pargger’s latest project has a unique setting, surrounded by what feels like a small forest in the middle of the city. When she first visited the bucolic Paris home, it was like discovering a magical overgrown garden. That also made it impossible to get a good photograph of the house in its entirety, as nature hid sections of it from view. Behind all that greenery was a typical early 19th-century home with a classically inspired exterior. The romantic setting near Paris and the house that occupied it belonged to the pointillist painter Jac Martin-Ferrières in the 1930s; he added a studio with a glass roof in the 1950s. (Unfortunately, after years of neglect, the studio was beyond the point of being salvaged when Pargger arrived.) “I wanted the house to continue to maintain its connection with nature while also preserving the large volume and better organizing the space,” the Austrian architect and designer says. In order to save the house, it would have to be completely gutted and its faux brick facade entirely rebuilt.The facade of the home was completely rebuilt. Large French windows in modernist style open onto the garden. On the roofs are planters with trees. The staircase consists of a metal structure covered in plaster. On the wall hangs Kernelless Siamese Cobs by Xolo Cuintle (DS Galerie). Next to a chair by Charles Rennie Mackintosh stands a Teatro armchair by Aldo Rossi (Nans Design). “We kept the very high ceiling and the large French windows overlooking this fabulous garden, in an assertively modernist style, along the lines of Le Corbusier and Robert Mallet-Stevens,” Pargger explains. An indoor swimming pool with a sober and restrained design now stands where the studio once did. With gardens on both sides of the house, Pargger has created a new fluidity: the building has large vertical openings that blur the lines between exterior and interior on warm days. From the living room to the bedrooms, wherever you are, you’re surrounded by trees, and the architect’s goal has been to engage with this natural setting that both reveals and hides itself behind the layers of foliage.In the living room, behind one of the leather sofas (Katja Pargger), a Regen rope and silicone pouf (Wendy Andreu) and a pair of Armloffel armchairs by Joseph Hoffman. The Park rug is from Nordic Knots. Photos: Clément Vayssieres/Réalisation: Aurore Lameyre et Alice Mesguich assistées de Joanne FaberIn terms of colors and textures, the architect, who says she “loves authentic materials,” has restored the original appearance of the elegant classical facades—which were whitewashed with small bits of marble—and curated an interior aesthetic that’s reminiscent of the Viennese Secession, while simultaneously evoking the designs of Josef Hoffmann. “I like stone, lime, wood, glass, metal—as raw as possible without being too finished. I don’t use my design freedom simply to make a bold gesture without considering other factors. I design interiors that are sustainable, so that they don’t have to be redone in 10 or 15 years, having fallen out of fashion,” Pargger says. In the vast living area with its soaring ceiling, for example, the walls are constructed from a mineral plaster, while the herringbone parquet is in natural oak. The staircase leading to the mezzanine, made of a single piece of metal, is clad in plaster and has a presence like an elegant sculpture rising in the space at the heart of the home.The living room is organized around a conversation pit: two large modular sofas designed by Pargger form a circle. In the center, an aluminum Sella Curulis stool by SashaxSasha (GSL Gallery) and, atop glazed ceramic coffee tables by Pargger, a bronze Hera Pira box by Victor Guedy. Toward the rear of the room, a 19th-century Italian Studiolo cabinet (Nans Design) and a Les Artisans de Marolles wrought-iron lamp (Maison Cédric). On the stele, a patinated bronze sculpture, Broac over Paris, by Victor Guedy. Above the fireplace, the diptych (Dé)-camper by Clément Borderie (Galerie Jousse Entreprise). On the right, the textile work A Trillion Threads Still Weaving by Zuzanna Czebatul (Galerie Sans Titre) and a vintage Indian wooden chair. Upstairs, in a smaller lounge, the lightly stained oak and Japanese raffia complement the garden without feeling forcefully coordinated. The forest green carpet—which Pargger denotes as “something very new for me!”—evokes nature and the outdoors in a similarly subtle way.“I don’t use my design freedom simply to make a bold gesture—I make my interiors sustainable, so that they don’t have to be redone in 10 or 15 years.”—Katja ParggerAbove a cabinet of wood and parchment and an ivory box (Karin Szanto), an untitled work by Loïc Blairon. In front, a pair of Armloffel armchairs by Joseph Hoffman. On the stele, a vase by Natalia Criado (Galerie Paradis). The Park rug is by Nordic Knots. In an alcove off of the living room, a lacquered wooden bench by Pierre Cardin (Maison Verrsen) with an Iranian sofreh by Afshar hanging on the wall behind it(Galerie Triff). On the small black melamine table (Hélène Lalbaltry), a terracotta vase by Sakata Jinnai (MBA Fine Arts). The pair of Saucer sconces are by Gilles Derain (Nans Design). Constantly questioning her training as an architect, Pargger attempts to create lucky accidents, like placing a door frame in a paneled wall. It’s an effect that recalls a certain Japanese purity. “The more solid and perfect that you build the base, the more you can then innovate, but it’s like a mathematical equation. You have to master everything in sequence before you can go off in other directions.” She embraces experimentation and the blending of materials with an empirical approach that comes from deep within her, the result of her travels around the world to experience art and marvel at beauty that is the result of age and a certain patina. For example, the sofa in the form of a conversation pit, made with leather scraps from Hermès—a design she especially loves—encourages openness and fosters communication. As for the rest of the space, the room is pure and simple. Whitewashed walls diffuse light, while the convex fireplace features a concave sheet-metal hearth. The space is calm, glowing, and Zen-like. The curation of furniture and contemporary works gives the house its personality, with paintings by Clément Borderie, sculptures by artist duo Xolo Cuintle, a tapestry by Zuzanna Czebatul, other paintings by Ciprian Tocu, and furniture by Elias Van Orshaegen.In the dining room, above the fireplace, Origanum Phengaris and, to the right, Seed, Roots, Seed and Inside Out Shell, both by Xolo Cuintle (DS Galerie). On the lacquer table, a Teodora cup by Ettore Sottsass (Galerie Romain Morandi). Vintage chairs. The paint from Clay used for the kitchen cabinets echoes the emerald green of the swimming pool. They also complement the brilliance of the lacquered worktops. “I like stone, lime, wood, glass, metal—as raw as possible without being too finished.”—Katja ParggerCombining leather, wood, lacquer, and thick fabrics, Pargger’s design is more than a collection of materials, it’s also a meeting of the souls of designers and craftsmen. “This whole mix requires a solid base on which to then fill in the gaps and create a whole that can be experienced. It’s my attempt to take something from Umberto Eco’s theory of literature and apply it to architecture,” says Pargger with a smile. “It’s a little bit of something here, a little bit of something else there, and it all adds up to create something unique.” It’s a design that relies on differences of scale, discreet contrasts, and creating a rigorous whole from a variety of elements.In the library, in front of okoumé and velvet armchairs, two glazed ceramic coffee tables (all by Katja Pargger). The sculptural vase is by Anatole Riecke (Maison Cédric). On a lacquer table, a parchment frame (Hélène Lalbaltry). The chair, which is also lacquered, is by Takahama Kazuhide. On the bookshelves, hinoki wood boxes, a ceramic bowl (Garnier & Linker), and a small Hera Pira bronze box by Victor Guedy along with other objects. Next to the indoor swimming pool, Maze by Wendy Andreu (Théorème Editions). On the floor, One Body, Two Heartbeats by Xolo Cuintle (DS Galerie). In the bathroom, on the left, a small glazed Albarello terracotta jar and a steel piece, The Mirror of Simple Souls. On the stele, a glazed terracotta Fiasco vase (all by Coseincorso). Inoki wood and bronze Masu box (Garnier & Linker). Stainless steel and leather stool (Katja Pargger). On the desk with drawers, an inoki wood and bronze Masu box (Garnier & Linker). Lacquer chair by Takahama Kazuhide. On the wall to the left, works on canvas by Ciprian Tocu (Galerie Sinople). Loveseat bench in brushed metal by Elias Van Orshaegen (Galerie Sinople). On the right, Bulb Study of an Arum Psychoda by Xolo Cuintle (DS Galerie). In the foreground, atop a stele, Laetitia Jacquetton’s Tursiope in magmatic stone and Murano glass (Galerie Sinople). In the bedroom, in front of a Maya screen, on an Art Nouveau wooden stand (Hélène Lalbaltry), a wood and bronze Iwa vase and, on the right, an alabaster and patinated brass Lara floor lamp (all Garnier & Linker). On the wall, a pair of small mirrors by Line Vautrin (Maison Cédric). The leather bedspread is, like the living room’s conversation pit, made from scraps from Hermès fabric (Katja Pargger). The Turkish kilim is from Konya (Galerie Triff). In front of the bed, a stainless steel and leather bench (Katja Pargger). Architect Katja Pargger sits on glazed ceramic coffee tables in the living room, which overlooks the garden. The large leather sofas are made from scraps from Hermès (all by Katja Pargger). This bucolic Paris home by Katja Pargger was originally published in AD France.
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  • Govee’s Pixel Lights Make My Dumb Gamer Brain a Little Too Happy

    The bare walls of my bedroom—bedecked as they are with sporadic small prints but devoid of lights—demand I add some flair to my usually nerdy living space. The Govee Gaming Pixel Light seemed to fit the bill a little too well when I saw it back at CES 2025. The specialized display doesn’t support enough colors to show all my favorite 8- or 16-bit artwork at their best quality, and it won’t produce strong enough audio for anything more complicated than classic chiptunes. If the digital art and speaker for my desk didn’t sport cringey decals and a frame that would make visitors assume I chugged Mountain Dew Game Fuel for breakfast, it would be the perfect antidote to my dull apartment. Govee sent me a pair of pre-release Gaming Pixel Lights long before the company finally made them available on May 19. It sat on my desk for ages, showing me a 32-pixel version of Samus from Super Metroid. Her staunch, visored visage helped me get through the hectic days. Both the 32×32 and 52×32 pixel frames don’t take much effort to set up, though the digital wall or desk art lacks a battery and needs to be plugged into an outlet. Once it’s connected through the Govee Home app, you’ll have a wide variety of default and user-made effects to add to the screen. Yes, you can stick a static image on the screen, but the real fun comes from displaying GIFs of scenes from your favorite 8-, 16-, or perhaps a few 32-bit retro games. Govee Gaming Pixel Light It does what it needs to do, but limited colors limits what it can show. Pros Cons Depending on how complicated your image is, the pixel light may have a harder time displaying every pixel with perfect color accuracy. The smaller device contains 1,024 lights, while the 52×32 version sports 1,664. The Divoom Pixoo-64—a competing pixel light with a 64×64 pixel field—supports 4,096. Considering the limited lights, a 32×32 pixel image of ET might look great on the smaller Pixel Light, but a fan-made 8-bit portrait of Arielle from The Little Mermaid that appears fine on my phone lacked the color definition necessary to show fine features on her nose or hair. The more stark the colors, the better each image or GIF will appear. The screen is bright enough on its highest settings, but you can set it to dim or turn off on a timer if you want to sleep without a rainbow of pixelated light shining at you. © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo Images look marginally better on the larger display thanks to its wider range of colors, but you’ll still need to try out various images until you find one that fits your style. You can also upload your own artwork to the Govee app, though any of your photos you take from your phone will turn out splotchy and incoherent on the Pixel Light. You may find that uploading your own pixel art could produce mixed results. I had to try several different versions of Samus before I found a Metroid image that didn’t look half bad. The GIFs play at 30 fps, which made a GIF of Sonic’s classic spinning leg running animation look extra smooth. Divoom’s similar offering runs at 24 fps.

    The device includes a rear 3W DSP speaker made for pairing your favorite chiptunes with this artwork. The built-in speakers aren’t enough to fill a room with sound, but even without much bass, it’s just enough to offer a retro feel, as if I was listening to a game on the age-old mono Game Boy speaker. The device itself has a single button for controlling volume and no physical mute button, which means you’re forced to load into the app just to adjust your sound. All this meant I was more likely to eschew music entirely. After all, if you’re planning to use your Govee Pixel Light to spruce up your gaming room, you’ll end up listening to the game you’re playing anyway. © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo If you’re the type to pick up a brush, you could create your own art and animated GIFs with the sketch mode. It’s certainly easier to use with a stylus, but I don’t have the time, patience, or ability to sketch something that will look any nicer than the artists who do pixel art for a living. The device has almost too many modes, from a clock feature to a stock ticker. There’s even a counter to tell you the current price of bitcoin, as if you really need to pay attention to crypto prices on your fun, cute pixel monitor. The Pixel Light seems to think gamers want a very specific aesthetic, one full of cyberpunk-esque hard-edged contours with decals reading “loading” and “game.” A black frame is all I really need. The art is the reason you buy Govee’s first real gamer product. But damn me if I enjoy it blaring the Magmar Caverns theme from my desktop, as if my bedroom had any more need for even more Metroid artwork.
    #govees #pixel #lights #make #dumb
    Govee’s Pixel Lights Make My Dumb Gamer Brain a Little Too Happy
    The bare walls of my bedroom—bedecked as they are with sporadic small prints but devoid of lights—demand I add some flair to my usually nerdy living space. The Govee Gaming Pixel Light seemed to fit the bill a little too well when I saw it back at CES 2025. The specialized display doesn’t support enough colors to show all my favorite 8- or 16-bit artwork at their best quality, and it won’t produce strong enough audio for anything more complicated than classic chiptunes. If the digital art and speaker for my desk didn’t sport cringey decals and a frame that would make visitors assume I chugged Mountain Dew Game Fuel for breakfast, it would be the perfect antidote to my dull apartment. Govee sent me a pair of pre-release Gaming Pixel Lights long before the company finally made them available on May 19. It sat on my desk for ages, showing me a 32-pixel version of Samus from Super Metroid. Her staunch, visored visage helped me get through the hectic days. Both the 32×32 and 52×32 pixel frames don’t take much effort to set up, though the digital wall or desk art lacks a battery and needs to be plugged into an outlet. Once it’s connected through the Govee Home app, you’ll have a wide variety of default and user-made effects to add to the screen. Yes, you can stick a static image on the screen, but the real fun comes from displaying GIFs of scenes from your favorite 8-, 16-, or perhaps a few 32-bit retro games. Govee Gaming Pixel Light It does what it needs to do, but limited colors limits what it can show. Pros Cons Depending on how complicated your image is, the pixel light may have a harder time displaying every pixel with perfect color accuracy. The smaller device contains 1,024 lights, while the 52×32 version sports 1,664. The Divoom Pixoo-64—a competing pixel light with a 64×64 pixel field—supports 4,096. Considering the limited lights, a 32×32 pixel image of ET might look great on the smaller Pixel Light, but a fan-made 8-bit portrait of Arielle from The Little Mermaid that appears fine on my phone lacked the color definition necessary to show fine features on her nose or hair. The more stark the colors, the better each image or GIF will appear. The screen is bright enough on its highest settings, but you can set it to dim or turn off on a timer if you want to sleep without a rainbow of pixelated light shining at you. © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo Images look marginally better on the larger display thanks to its wider range of colors, but you’ll still need to try out various images until you find one that fits your style. You can also upload your own artwork to the Govee app, though any of your photos you take from your phone will turn out splotchy and incoherent on the Pixel Light. You may find that uploading your own pixel art could produce mixed results. I had to try several different versions of Samus before I found a Metroid image that didn’t look half bad. The GIFs play at 30 fps, which made a GIF of Sonic’s classic spinning leg running animation look extra smooth. Divoom’s similar offering runs at 24 fps. The device includes a rear 3W DSP speaker made for pairing your favorite chiptunes with this artwork. The built-in speakers aren’t enough to fill a room with sound, but even without much bass, it’s just enough to offer a retro feel, as if I was listening to a game on the age-old mono Game Boy speaker. The device itself has a single button for controlling volume and no physical mute button, which means you’re forced to load into the app just to adjust your sound. All this meant I was more likely to eschew music entirely. After all, if you’re planning to use your Govee Pixel Light to spruce up your gaming room, you’ll end up listening to the game you’re playing anyway. © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo If you’re the type to pick up a brush, you could create your own art and animated GIFs with the sketch mode. It’s certainly easier to use with a stylus, but I don’t have the time, patience, or ability to sketch something that will look any nicer than the artists who do pixel art for a living. The device has almost too many modes, from a clock feature to a stock ticker. There’s even a counter to tell you the current price of bitcoin, as if you really need to pay attention to crypto prices on your fun, cute pixel monitor. The Pixel Light seems to think gamers want a very specific aesthetic, one full of cyberpunk-esque hard-edged contours with decals reading “loading” and “game.” A black frame is all I really need. The art is the reason you buy Govee’s first real gamer product. But damn me if I enjoy it blaring the Magmar Caverns theme from my desktop, as if my bedroom had any more need for even more Metroid artwork. #govees #pixel #lights #make #dumb
    GIZMODO.COM
    Govee’s Pixel Lights Make My Dumb Gamer Brain a Little Too Happy
    The bare walls of my bedroom—bedecked as they are with sporadic small prints but devoid of lights—demand I add some flair to my usually nerdy living space. The Govee Gaming Pixel Light seemed to fit the bill a little too well when I saw it back at CES 2025. The specialized display doesn’t support enough colors to show all my favorite 8- or 16-bit artwork at their best quality, and it won’t produce strong enough audio for anything more complicated than classic chiptunes. If the digital art and speaker for my desk didn’t sport cringey decals and a frame that would make visitors assume I chugged Mountain Dew Game Fuel for breakfast, it would be the perfect antidote to my dull apartment. Govee sent me a pair of pre-release Gaming Pixel Lights long before the company finally made them available on May 19. It sat on my desk for ages, showing me a 32-pixel version of Samus from Super Metroid. Her staunch, visored visage helped me get through the hectic days. Both the $120 32×32 and $140 52×32 pixel frames don’t take much effort to set up, though the digital wall or desk art lacks a battery and needs to be plugged into an outlet. Once it’s connected through the Govee Home app, you’ll have a wide variety of default and user-made effects to add to the screen. Yes, you can stick a static image on the screen, but the real fun comes from displaying GIFs of scenes from your favorite 8-, 16-, or perhaps a few 32-bit retro games. Govee Gaming Pixel Light It does what it needs to do, but limited colors limits what it can show. Pros Cons Depending on how complicated your image is, the pixel light may have a harder time displaying every pixel with perfect color accuracy. The smaller device contains 1,024 lights, while the 52×32 version sports 1,664. The $155 Divoom Pixoo-64—a competing pixel light with a 64×64 pixel field—supports 4,096. Considering the limited lights, a 32×32 pixel image of ET might look great on the smaller Pixel Light, but a fan-made 8-bit portrait of Arielle from The Little Mermaid that appears fine on my phone lacked the color definition necessary to show fine features on her nose or hair. The more stark the colors, the better each image or GIF will appear. The screen is bright enough on its highest settings, but you can set it to dim or turn off on a timer if you want to sleep without a rainbow of pixelated light shining at you. © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo Images look marginally better on the larger display thanks to its wider range of colors, but you’ll still need to try out various images until you find one that fits your style. You can also upload your own artwork to the Govee app, though any of your photos you take from your phone will turn out splotchy and incoherent on the Pixel Light. You may find that uploading your own pixel art could produce mixed results. I had to try several different versions of Samus before I found a Metroid image that didn’t look half bad. The GIFs play at 30 fps, which made a GIF of Sonic’s classic spinning leg running animation look extra smooth. Divoom’s similar offering runs at 24 fps. The device includes a rear 3W DSP speaker made for pairing your favorite chiptunes with this artwork. The built-in speakers aren’t enough to fill a room with sound, but even without much bass, it’s just enough to offer a retro feel, as if I was listening to a game on the age-old mono Game Boy speaker. The device itself has a single button for controlling volume and no physical mute button, which means you’re forced to load into the app just to adjust your sound. All this meant I was more likely to eschew music entirely. After all, if you’re planning to use your Govee Pixel Light to spruce up your gaming room, you’ll end up listening to the game you’re playing anyway. © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo © Adriano Contreras / Gizmodo If you’re the type to pick up a brush, you could create your own art and animated GIFs with the sketch mode. It’s certainly easier to use with a stylus, but I don’t have the time, patience, or ability to sketch something that will look any nicer than the artists who do pixel art for a living. The device has almost too many modes, from a clock feature to a stock ticker. There’s even a counter to tell you the current price of bitcoin, as if you really need to pay attention to crypto prices on your fun, cute pixel monitor. The Pixel Light seems to think gamers want a very specific aesthetic, one full of cyberpunk-esque hard-edged contours with decals reading “loading” and “game.” A black frame is all I really need. The art is the reason you buy Govee’s first real gamer product. But damn me if I enjoy it blaring the Magmar Caverns theme from my desktop, as if my bedroom had any more need for even more Metroid artwork.
    0 Kommentare 0 Anteile
  • NASA explains why watching trees near volcanoes is literally the best thing to do

    When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.

    NASA explains why watching trees near volcanoes is literally the best thing to do

    Sayan Sen

    Neowin
    @ssc_combater007 ·

    May 24, 2025 18:02 EDT

    Image by Ashar M via PexelsScientists have discovered that trees near volcanoes change color when a volcano is becoming more active. Now, NASA and the Smithsonian Institution are teaming up to track these changes from space.
    Before a volcanic eruption, magma rising underground releases gases like carbon dioxide and sulfur dioxide. Trees absorb the carbon dioxide, making their leaves greener and thicker. Scientists are using satellite images from NASA’s Landsat 8 to detect this greening, along with data from airborne instruments in the Airborne Validation Unified Experiment: Land to Ocean.
    “Volcano early warning systems exist,” said Florian Schwandner, chief of the Earth Science Division at NASA’s Ames Research Center. “The aim here is to make them better and make them earlier.”

    Volcanic eruptions are dangerous and unpredictable. About ten percent of the world’s population lives in areas that could be affected. People living close to volcanoes face risks like flying rock, ash clouds, and toxic gases. Even those farther away can experience mudslides or tsunamis caused by eruptions. Since eruptions can't be stopped, finding ways to predict them early is important for safety.
    Spotting volcanic activity from space isn’t easy. Scientists can track sulfur dioxide because it’s easier to detect, but volcanic carbon dioxide—the earliest sign of magma rising—is harder to measure. "A volcano emitting the modest amounts of carbon dioxide that might presage an eruption isn’t going to show up in satellite imagery," said volcanologist Robert Bogue of McGill University.
    Traditionally, researchers have had to travel to volcanoes to measure carbon dioxide directly. But with over 1,300 potentially active volcanoes worldwide, many are in remote, difficult-to-reach locations. Checking tree responses instead offers a simpler way to monitor volcanic activity. "The whole idea is to find something that we could measure instead of carbon dioxide directly," said Bogue.
    Nicole Guinn, a volcanologist at the University of Houston, used satellite images from Landsat 8, NASA’s Terra satellite, and ESA’s Sentinel-2 to study trees near Mount Etna in Sicily. Her research found a clear link between tree leaf color and volcanic carbon dioxide.
    To confirm the accuracy of satellite images, climate scientist Josh Fisher led a ground study in March 2025. His team measured carbon dioxide and collected leaf samples from trees near the Rincon de la Vieja volcano in Costa Rica. “Our research is a two-way interdisciplinary intersection between ecology and volcanology,” Fisher said.
    Tracking trees as volcano indicators has some limitations. Some volcanoes don’t have enough trees nearby, and environmental factors like weather and plant diseases can affect tree growth. But past success has shown the potential of this approach.
    In 2017, scientists upgraded sensors at Mayon volcano in the Philippines, detecting signs of an impending eruption. They recommended evacuations, and over 56,000 people were safely moved before the volcano erupted in January 2018. “There’s not one signal from volcanoes that’s a silver bullet," said Schwandner. "But it will be something that could change the game.”
    Source: NASA
    This article was generated with some help from AI and reviewed by an editor.

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    #nasa #explains #why #watching #trees
    NASA explains why watching trees near volcanoes is literally the best thing to do
    When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works. NASA explains why watching trees near volcanoes is literally the best thing to do Sayan Sen Neowin @ssc_combater007 · May 24, 2025 18:02 EDT Image by Ashar M via PexelsScientists have discovered that trees near volcanoes change color when a volcano is becoming more active. Now, NASA and the Smithsonian Institution are teaming up to track these changes from space. Before a volcanic eruption, magma rising underground releases gases like carbon dioxide and sulfur dioxide. Trees absorb the carbon dioxide, making their leaves greener and thicker. Scientists are using satellite images from NASA’s Landsat 8 to detect this greening, along with data from airborne instruments in the Airborne Validation Unified Experiment: Land to Ocean. “Volcano early warning systems exist,” said Florian Schwandner, chief of the Earth Science Division at NASA’s Ames Research Center. “The aim here is to make them better and make them earlier.” Volcanic eruptions are dangerous and unpredictable. About ten percent of the world’s population lives in areas that could be affected. People living close to volcanoes face risks like flying rock, ash clouds, and toxic gases. Even those farther away can experience mudslides or tsunamis caused by eruptions. Since eruptions can't be stopped, finding ways to predict them early is important for safety. Spotting volcanic activity from space isn’t easy. Scientists can track sulfur dioxide because it’s easier to detect, but volcanic carbon dioxide—the earliest sign of magma rising—is harder to measure. "A volcano emitting the modest amounts of carbon dioxide that might presage an eruption isn’t going to show up in satellite imagery," said volcanologist Robert Bogue of McGill University. Traditionally, researchers have had to travel to volcanoes to measure carbon dioxide directly. But with over 1,300 potentially active volcanoes worldwide, many are in remote, difficult-to-reach locations. Checking tree responses instead offers a simpler way to monitor volcanic activity. "The whole idea is to find something that we could measure instead of carbon dioxide directly," said Bogue. Nicole Guinn, a volcanologist at the University of Houston, used satellite images from Landsat 8, NASA’s Terra satellite, and ESA’s Sentinel-2 to study trees near Mount Etna in Sicily. Her research found a clear link between tree leaf color and volcanic carbon dioxide. To confirm the accuracy of satellite images, climate scientist Josh Fisher led a ground study in March 2025. His team measured carbon dioxide and collected leaf samples from trees near the Rincon de la Vieja volcano in Costa Rica. “Our research is a two-way interdisciplinary intersection between ecology and volcanology,” Fisher said. Tracking trees as volcano indicators has some limitations. Some volcanoes don’t have enough trees nearby, and environmental factors like weather and plant diseases can affect tree growth. But past success has shown the potential of this approach. In 2017, scientists upgraded sensors at Mayon volcano in the Philippines, detecting signs of an impending eruption. They recommended evacuations, and over 56,000 people were safely moved before the volcano erupted in January 2018. “There’s not one signal from volcanoes that’s a silver bullet," said Schwandner. "But it will be something that could change the game.” Source: NASA This article was generated with some help from AI and reviewed by an editor. Tags Report a problem with article Follow @NeowinFeed #nasa #explains #why #watching #trees
    WWW.NEOWIN.NET
    NASA explains why watching trees near volcanoes is literally the best thing to do
    When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works. NASA explains why watching trees near volcanoes is literally the best thing to do Sayan Sen Neowin @ssc_combater007 · May 24, 2025 18:02 EDT Image by Ashar M via PexelsScientists have discovered that trees near volcanoes change color when a volcano is becoming more active. Now, NASA and the Smithsonian Institution are teaming up to track these changes from space. Before a volcanic eruption, magma rising underground releases gases like carbon dioxide and sulfur dioxide. Trees absorb the carbon dioxide, making their leaves greener and thicker. Scientists are using satellite images from NASA’s Landsat 8 to detect this greening, along with data from airborne instruments in the Airborne Validation Unified Experiment: Land to Ocean (AVUELO). “Volcano early warning systems exist,” said Florian Schwandner, chief of the Earth Science Division at NASA’s Ames Research Center. “The aim here is to make them better and make them earlier.” Volcanic eruptions are dangerous and unpredictable. About ten percent of the world’s population lives in areas that could be affected. People living close to volcanoes face risks like flying rock, ash clouds, and toxic gases. Even those farther away can experience mudslides or tsunamis caused by eruptions. Since eruptions can't be stopped, finding ways to predict them early is important for safety. Spotting volcanic activity from space isn’t easy. Scientists can track sulfur dioxide because it’s easier to detect, but volcanic carbon dioxide—the earliest sign of magma rising—is harder to measure. "A volcano emitting the modest amounts of carbon dioxide that might presage an eruption isn’t going to show up in satellite imagery," said volcanologist Robert Bogue of McGill University. Traditionally, researchers have had to travel to volcanoes to measure carbon dioxide directly. But with over 1,300 potentially active volcanoes worldwide, many are in remote, difficult-to-reach locations. Checking tree responses instead offers a simpler way to monitor volcanic activity. "The whole idea is to find something that we could measure instead of carbon dioxide directly," said Bogue. Nicole Guinn, a volcanologist at the University of Houston, used satellite images from Landsat 8, NASA’s Terra satellite, and ESA’s Sentinel-2 to study trees near Mount Etna in Sicily. Her research found a clear link between tree leaf color and volcanic carbon dioxide. To confirm the accuracy of satellite images, climate scientist Josh Fisher led a ground study in March 2025. His team measured carbon dioxide and collected leaf samples from trees near the Rincon de la Vieja volcano in Costa Rica. “Our research is a two-way interdisciplinary intersection between ecology and volcanology,” Fisher said. Tracking trees as volcano indicators has some limitations. Some volcanoes don’t have enough trees nearby, and environmental factors like weather and plant diseases can affect tree growth. But past success has shown the potential of this approach. In 2017, scientists upgraded sensors at Mayon volcano in the Philippines, detecting signs of an impending eruption. They recommended evacuations, and over 56,000 people were safely moved before the volcano erupted in January 2018. “There’s not one signal from volcanoes that’s a silver bullet," said Schwandner. "But it will be something that could change the game.” Source: NASA This article was generated with some help from AI and reviewed by an editor. Tags Report a problem with article Follow @NeowinFeed
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  • Daily briefing: Earth’s core could be leaking

    Nature, Published online: 22 May 2025; doi:10.1038/d41586-025-01648-1Hot magma might’ve pushed material from Earth’s dense metallic core all the way to the surface. Plus, the absence of just one amino acid helps mice shed weight and groundbreaking scientific discoveries might be getting harder to come by.
    #daily #briefing #earths #core #could
    Daily briefing: Earth’s core could be leaking
    Nature, Published online: 22 May 2025; doi:10.1038/d41586-025-01648-1Hot magma might’ve pushed material from Earth’s dense metallic core all the way to the surface. Plus, the absence of just one amino acid helps mice shed weight and groundbreaking scientific discoveries might be getting harder to come by. #daily #briefing #earths #core #could
    WWW.NATURE.COM
    Daily briefing: Earth’s core could be leaking
    Nature, Published online: 22 May 2025; doi:10.1038/d41586-025-01648-1Hot magma might’ve pushed material from Earth’s dense metallic core all the way to the surface. Plus, the absence of just one amino acid helps mice shed weight and groundbreaking scientific discoveries might be getting harder to come by.
    0 Kommentare 0 Anteile
  • Have we finally solved mystery of magnetic moon rocks?

    i ate a rock from the moon

    Have we finally solved mystery of magnetic moon rocks?

    Simulations show how effects of asteroid impact could amplify the early Moon's weak magnetic field.

    Jennifer Ouellette



    May 23, 2025 2:36 pm

    |

    5

    NASA Lunar sample 60015 on display at Space Center Houston Lunar Samples Vault, at NASA's Johnson Space Center

    Credit:

    OptoMechEngineer/CC BY-SA 4.0

    NASA Lunar sample 60015 on display at Space Center Houston Lunar Samples Vault, at NASA's Johnson Space Center

    Credit:

    OptoMechEngineer/CC BY-SA 4.0

    Story text

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      Learn more

    NASA's Apollo missions brought back moon rock samples for scientists to study. We've learned a great deal over the ensuing decades, but one enduring mystery remains. Many of those lunar samples show signs of exposure to strong magnetic fields comparable to Earth's, yet the Moon doesn't have such a field today. So, how did the moon rocks get their magnetism?
    There have been many attempts to explain this anomaly. The latest comes from MIT scientists, who argue in a new paper published in the journal Science Advances that a large asteroid impact briefly boosted the Moon's early weak magnetic field—and that this spike is what is recorded in some lunar samples.
    Evidence gleaned from orbiting spacecraft observations, as well as results announced earlier this year from China's Chang'e 5 and Chang'e 6 missions, is largely consistent with the existence of at least a weak magnetic field on the early Moon. But where did this field come from? These usually form in planetary bodies as a result of a dynamo, in which molten metals in the core start to convect thanks to slowly dissipating heat. The problem is that the early Moon's small core had a mantle that wasn't much cooler than its core, so there would not have been significant convection to produce a sufficiently strong dynamo.
    There have been proposed hypotheses as to how the Moon could have developed a core dynamo. For instance, a 2022 analysis suggested that in the first billion years, when the Moon was covered in molten rock, giant rocks formed as the magma cooled and solidified. Denser minerals sank to the core while lighter ones formed a crust.
    Over time, the authors argued, a titanium layer crystallized just beneath the surface, and because it was denser than lighter minerals just beneath, that layer eventually broke into small blobs and sank through the mantle. The temperature difference between the cooler sinking rocks and the hotter core generated convection, creating intermittently strong magnetic fields—thus explaining why some rocks have that magnetic signature and others don't.
    Or perhaps there is no need for the presence of a dynamo-driven magnetic field at all. For instance, the authors of a 2021 study thought earlier analyses of lunar samples may have been altered during the process. They re-examined samples from the 1972 Apollo 16 mission using CO2 lasers to heat them, thus avoiding any alteration of the magnetic carriers. They concluded that any magnetic signatures in those samples could be explained by the impact of meteorites or comets hitting the Moon.

    Bracing for impact
    In 2020, two of the current paper's authors, MIT's Benjamin Weiss and Rona Oran, ran simulations to test whether a giant impact could generate a plasma that, in turn, would amplify the Moon's existing weak solar-generated magnetic field sufficiently to account for the levels of magnetism measured in the moon rocks. Those results seemed to rule out the possibility. This time around, they have come up with a new hypothesis that essentially combines elements of the dynamo and the plasma-generating impact hypotheses—taking into account an impact's resulting shockwave for good measure.

    Amplification of the lunar dynamo field by an Imbrium-­sized impact at the magnetic equator.

    Credit:

    Isaac S. Narrett et al., 2025

    They tested their hypothesis by running impact simulations, focusing on the level of impact that created the Moon's Imbrium basin, as well as plasma cloud simulations. Their starting assumption was that the early Moon had a dynamo that generated a weak magnetic field 50 times weaker than Earth's. The results confirmed that a large asteroid impact, for example, could have kicked up a plasma cloud, part of which spread outward into space. The remaining plasma streamed around to the other side of the Moon, amplifying the existing weak magnetic field for around 40 minutes.
    A key factor is the shock wave created by the initial impact, similar to seismic waves, which would have rattled surrounding rocks enough to reorient their subatomic spins in line with the newly amplified magnetic field. Weiss has likened the effect to tossing a deck of 52 playing cards into the air within a magnetic field. If each card had its own compass needle, its magnetism would be in a new orientation once each card hit the ground.
    It's a complicated scenario that admittedly calls for a degree of serendipity. But we might not have to wait too long for confirmation one way or the other. The answer could lie in analyzing fresh lunar samples and looking for telltale signatures not just of high magnetism but also shock.Scientists are looking to NASA's planned Artemis crewed missions for this, since sample returns are among the objectives. Much will depend on NASA's future funding, which is currently facing substantial cuts, although thus far, Artemis II and III remain on track.
    Science Advances, 2025. DOI: 10.1126/sciadv.adr7401  .

    Jennifer Ouellette
    Senior Writer

    Jennifer Ouellette
    Senior Writer

    Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.

    5 Comments
    #have #finally #solved #mystery #magnetic
    Have we finally solved mystery of magnetic moon rocks?
    i ate a rock from the moon Have we finally solved mystery of magnetic moon rocks? Simulations show how effects of asteroid impact could amplify the early Moon's weak magnetic field. Jennifer Ouellette – May 23, 2025 2:36 pm | 5 NASA Lunar sample 60015 on display at Space Center Houston Lunar Samples Vault, at NASA's Johnson Space Center Credit: OptoMechEngineer/CC BY-SA 4.0 NASA Lunar sample 60015 on display at Space Center Houston Lunar Samples Vault, at NASA's Johnson Space Center Credit: OptoMechEngineer/CC BY-SA 4.0 Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more NASA's Apollo missions brought back moon rock samples for scientists to study. We've learned a great deal over the ensuing decades, but one enduring mystery remains. Many of those lunar samples show signs of exposure to strong magnetic fields comparable to Earth's, yet the Moon doesn't have such a field today. So, how did the moon rocks get their magnetism? There have been many attempts to explain this anomaly. The latest comes from MIT scientists, who argue in a new paper published in the journal Science Advances that a large asteroid impact briefly boosted the Moon's early weak magnetic field—and that this spike is what is recorded in some lunar samples. Evidence gleaned from orbiting spacecraft observations, as well as results announced earlier this year from China's Chang'e 5 and Chang'e 6 missions, is largely consistent with the existence of at least a weak magnetic field on the early Moon. But where did this field come from? These usually form in planetary bodies as a result of a dynamo, in which molten metals in the core start to convect thanks to slowly dissipating heat. The problem is that the early Moon's small core had a mantle that wasn't much cooler than its core, so there would not have been significant convection to produce a sufficiently strong dynamo. There have been proposed hypotheses as to how the Moon could have developed a core dynamo. For instance, a 2022 analysis suggested that in the first billion years, when the Moon was covered in molten rock, giant rocks formed as the magma cooled and solidified. Denser minerals sank to the core while lighter ones formed a crust. Over time, the authors argued, a titanium layer crystallized just beneath the surface, and because it was denser than lighter minerals just beneath, that layer eventually broke into small blobs and sank through the mantle. The temperature difference between the cooler sinking rocks and the hotter core generated convection, creating intermittently strong magnetic fields—thus explaining why some rocks have that magnetic signature and others don't. Or perhaps there is no need for the presence of a dynamo-driven magnetic field at all. For instance, the authors of a 2021 study thought earlier analyses of lunar samples may have been altered during the process. They re-examined samples from the 1972 Apollo 16 mission using CO2 lasers to heat them, thus avoiding any alteration of the magnetic carriers. They concluded that any magnetic signatures in those samples could be explained by the impact of meteorites or comets hitting the Moon. Bracing for impact In 2020, two of the current paper's authors, MIT's Benjamin Weiss and Rona Oran, ran simulations to test whether a giant impact could generate a plasma that, in turn, would amplify the Moon's existing weak solar-generated magnetic field sufficiently to account for the levels of magnetism measured in the moon rocks. Those results seemed to rule out the possibility. This time around, they have come up with a new hypothesis that essentially combines elements of the dynamo and the plasma-generating impact hypotheses—taking into account an impact's resulting shockwave for good measure. Amplification of the lunar dynamo field by an Imbrium-­sized impact at the magnetic equator. Credit: Isaac S. Narrett et al., 2025 They tested their hypothesis by running impact simulations, focusing on the level of impact that created the Moon's Imbrium basin, as well as plasma cloud simulations. Their starting assumption was that the early Moon had a dynamo that generated a weak magnetic field 50 times weaker than Earth's. The results confirmed that a large asteroid impact, for example, could have kicked up a plasma cloud, part of which spread outward into space. The remaining plasma streamed around to the other side of the Moon, amplifying the existing weak magnetic field for around 40 minutes. A key factor is the shock wave created by the initial impact, similar to seismic waves, which would have rattled surrounding rocks enough to reorient their subatomic spins in line with the newly amplified magnetic field. Weiss has likened the effect to tossing a deck of 52 playing cards into the air within a magnetic field. If each card had its own compass needle, its magnetism would be in a new orientation once each card hit the ground. It's a complicated scenario that admittedly calls for a degree of serendipity. But we might not have to wait too long for confirmation one way or the other. The answer could lie in analyzing fresh lunar samples and looking for telltale signatures not just of high magnetism but also shock.Scientists are looking to NASA's planned Artemis crewed missions for this, since sample returns are among the objectives. Much will depend on NASA's future funding, which is currently facing substantial cuts, although thus far, Artemis II and III remain on track. Science Advances, 2025. DOI: 10.1126/sciadv.adr7401  . Jennifer Ouellette Senior Writer Jennifer Ouellette Senior Writer Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban. 5 Comments #have #finally #solved #mystery #magnetic
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    Have we finally solved mystery of magnetic moon rocks?
    i ate a rock from the moon Have we finally solved mystery of magnetic moon rocks? Simulations show how effects of asteroid impact could amplify the early Moon's weak magnetic field. Jennifer Ouellette – May 23, 2025 2:36 pm | 5 NASA Lunar sample 60015 on display at Space Center Houston Lunar Samples Vault, at NASA's Johnson Space Center Credit: OptoMechEngineer/CC BY-SA 4.0 NASA Lunar sample 60015 on display at Space Center Houston Lunar Samples Vault, at NASA's Johnson Space Center Credit: OptoMechEngineer/CC BY-SA 4.0 Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more NASA's Apollo missions brought back moon rock samples for scientists to study. We've learned a great deal over the ensuing decades, but one enduring mystery remains. Many of those lunar samples show signs of exposure to strong magnetic fields comparable to Earth's, yet the Moon doesn't have such a field today. So, how did the moon rocks get their magnetism? There have been many attempts to explain this anomaly. The latest comes from MIT scientists, who argue in a new paper published in the journal Science Advances that a large asteroid impact briefly boosted the Moon's early weak magnetic field—and that this spike is what is recorded in some lunar samples. Evidence gleaned from orbiting spacecraft observations, as well as results announced earlier this year from China's Chang'e 5 and Chang'e 6 missions, is largely consistent with the existence of at least a weak magnetic field on the early Moon. But where did this field come from? These usually form in planetary bodies as a result of a dynamo, in which molten metals in the core start to convect thanks to slowly dissipating heat. The problem is that the early Moon's small core had a mantle that wasn't much cooler than its core, so there would not have been significant convection to produce a sufficiently strong dynamo. There have been proposed hypotheses as to how the Moon could have developed a core dynamo. For instance, a 2022 analysis suggested that in the first billion years, when the Moon was covered in molten rock, giant rocks formed as the magma cooled and solidified. Denser minerals sank to the core while lighter ones formed a crust. Over time, the authors argued, a titanium layer crystallized just beneath the surface, and because it was denser than lighter minerals just beneath, that layer eventually broke into small blobs and sank through the mantle (gravitational overturn). The temperature difference between the cooler sinking rocks and the hotter core generated convection, creating intermittently strong magnetic fields—thus explaining why some rocks have that magnetic signature and others don't. Or perhaps there is no need for the presence of a dynamo-driven magnetic field at all. For instance, the authors of a 2021 study thought earlier analyses of lunar samples may have been altered during the process. They re-examined samples from the 1972 Apollo 16 mission using CO2 lasers to heat them, thus avoiding any alteration of the magnetic carriers. They concluded that any magnetic signatures in those samples could be explained by the impact of meteorites or comets hitting the Moon. Bracing for impact In 2020, two of the current paper's authors, MIT's Benjamin Weiss and Rona Oran, ran simulations to test whether a giant impact could generate a plasma that, in turn, would amplify the Moon's existing weak solar-generated magnetic field sufficiently to account for the levels of magnetism measured in the moon rocks. Those results seemed to rule out the possibility. This time around, they have come up with a new hypothesis that essentially combines elements of the dynamo and the plasma-generating impact hypotheses—taking into account an impact's resulting shockwave for good measure. Amplification of the lunar dynamo field by an Imbrium-­sized impact at the magnetic equator. Credit: Isaac S. Narrett et al., 2025 They tested their hypothesis by running impact simulations, focusing on the level of impact that created the Moon's Imbrium basin, as well as plasma cloud simulations. Their starting assumption was that the early Moon had a dynamo that generated a weak magnetic field 50 times weaker than Earth's. The results confirmed that a large asteroid impact, for example, could have kicked up a plasma cloud, part of which spread outward into space. The remaining plasma streamed around to the other side of the Moon, amplifying the existing weak magnetic field for around 40 minutes. A key factor is the shock wave created by the initial impact, similar to seismic waves, which would have rattled surrounding rocks enough to reorient their subatomic spins in line with the newly amplified magnetic field. Weiss has likened the effect to tossing a deck of 52 playing cards into the air within a magnetic field. If each card had its own compass needle, its magnetism would be in a new orientation once each card hit the ground. It's a complicated scenario that admittedly calls for a degree of serendipity. But we might not have to wait too long for confirmation one way or the other. The answer could lie in analyzing fresh lunar samples and looking for telltale signatures not just of high magnetism but also shock. (Early lunar samples were often discarded if they showed signs of shock.) Scientists are looking to NASA's planned Artemis crewed missions for this, since sample returns are among the objectives. Much will depend on NASA's future funding, which is currently facing substantial cuts, although thus far, Artemis II and III remain on track. Science Advances, 2025. DOI: 10.1126/sciadv.adr7401  (About DOIs). Jennifer Ouellette Senior Writer Jennifer Ouellette Senior Writer Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban. 5 Comments
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  • Huge Reservoirs of Clean Hydrogen Could Power Earth for 170,000 Years

    May 19, 20253 min readHuge Reservoirs of Clean Hydrogen Could Power Earth for 170,000 YearsRecent breakthroughs suggest that hydrogen reservoirs are buried in countless regions of the world, including at least 30 U.S. statesBy Sascha Pare & LiveScience Finding reservoirs of hydrogen in Earth's crust could help accelerate the energy transition away from fossil fuels. Simon Dux/Alamy Stock PhotoRecent breakthroughs suggest that hydrogen reservoirs are buried in countless regions of the world, including at least 30 U.S. states.Finding such reservoirs could help accelerate a global energy transition, but until now, geologists only had a piecemeal understanding of how large hydrogen accumulations form — and where to find them."The game of the moment is to find where it has been released, accumulated and preserved," Chris Ballentine, a professor and chair of geochemistry at the University of Oxford and lead author of a new review article on hydrogen production in Earth's crust, told Live Science in an email.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.Ballentine's new paper starts to answer those questions. According to the authors, Earth's crust has produced enough hydrogen over the past 1 billion years to meet our current energy needs for 170,000 years. What's still unclear is how much of that hydrogen could be accessed and profitably extracted.In the new review, published Tuesdayin the journal Nature Reviews Earth and Environment, the researchers draw up an "ingredient" list of geological conditions that stimulate the creation and build-up of natural hydrogen gas belowground, which should make it easier to hunt for reservoirs."The specific conditions for hydrogen gas accumulation and production are what a number of exploration companiesare looking at carefully and this will vary for different geological environments," Ballentine said.Natural hydrogen reservoirs require three key elements to form: a source of hydrogen, reservoir rocks and natural seals that trap the gas underground. There are a dozen natural processes that can create hydrogen, the simplest being a chemical reaction that splits water into hydrogen and oxygen — and any type of rock that hosts at least one of these processes is a potential hydrogen source, Ballentine said."One place that is attracting a lot of interest is in Kansas where a feature called the mid continental rift, formed about 1 billion years ago, created a huge accumulation of rocksthat can react with water to form hydrogen," he said. "The search is on here for geological structures that may have trapped and accumulated the hydrogen generated."Based on knowledge of how other gases are released from rocks underground, the review's authors suggest that tectonic stress and high heat flow may release hydrogen deep inside Earth's crust. "This helps to bring the hydrogen to the near surface where it might accumulate and form a commercial resource," Ballentine said.Within the crust, a wide range of common geological contexts could prove promising for exploration companies, the review found, ranging from ophiolite complexes to large igneous provinces and Archaean greenstone belts.An ophiolitic landscape in Italy's Sondrio province. The rocks are rich in iron, which gives them a reddish-brown color.Michele D'Amico supersky77/Getty ImagesOphiolites are chunks of Earth's crust and upper mantle that once sat beneath the ocean, but were later thrust onto land. In 2024, researchers discovered a massive hydrogen reservoir within an ophiolite complex in Albania. Igneous rocks are those solidified from magma or lava, and Archaean greenstone belts are up to 4 billion-year-old formations that are characterized by green minerals, such as chlorite and actinolite.The conditions discussed in the review are the "first principles" for hydrogen exploration, study co-author Jon Gluyas, a professor of geoenergy, carbon capture and storage at Durham University in the U.K., said in a statement. The research outlines the key ingredients that companies should consider when developing their exploration strategies, including processes through which hydrogen might migrate or be destroyed underground."We know for example that underground microbes readily feast on hydrogen," co-author Barbara Sherwood Lollar, a professor of Earth sciences at the University of Toronto, said in the statement. So environments where bacteria could come in contact with hydrogen-producing rocks may not be great places to look for reservoirs, Sherwood Lollar said.Hydrogen is used to make key industrial chemicals such as methanol and ammonia, which is a component in most fertilizers. The gas could also aid the transition away from fossil fuels, as hydrogen can power both cars and power plants.But hydrogen today is produced from hydrocarbons, meaning manufacture of the gas comes with huge carbon emissions. "Clean" hydrogen from underground reservoirs has a much smaller carbon footprint, because it occurs naturally.Earth's crust produces "plenty of hydrogen," Ballentine said, and it is now a question of following the ingredient list to find it.Copyright 2025 LiveScience, a Future company. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
    #huge #reservoirs #clean #hydrogen #could
    Huge Reservoirs of Clean Hydrogen Could Power Earth for 170,000 Years
    May 19, 20253 min readHuge Reservoirs of Clean Hydrogen Could Power Earth for 170,000 YearsRecent breakthroughs suggest that hydrogen reservoirs are buried in countless regions of the world, including at least 30 U.S. statesBy Sascha Pare & LiveScience Finding reservoirs of hydrogen in Earth's crust could help accelerate the energy transition away from fossil fuels. Simon Dux/Alamy Stock PhotoRecent breakthroughs suggest that hydrogen reservoirs are buried in countless regions of the world, including at least 30 U.S. states.Finding such reservoirs could help accelerate a global energy transition, but until now, geologists only had a piecemeal understanding of how large hydrogen accumulations form — and where to find them."The game of the moment is to find where it has been released, accumulated and preserved," Chris Ballentine, a professor and chair of geochemistry at the University of Oxford and lead author of a new review article on hydrogen production in Earth's crust, told Live Science in an email.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.Ballentine's new paper starts to answer those questions. According to the authors, Earth's crust has produced enough hydrogen over the past 1 billion years to meet our current energy needs for 170,000 years. What's still unclear is how much of that hydrogen could be accessed and profitably extracted.In the new review, published Tuesdayin the journal Nature Reviews Earth and Environment, the researchers draw up an "ingredient" list of geological conditions that stimulate the creation and build-up of natural hydrogen gas belowground, which should make it easier to hunt for reservoirs."The specific conditions for hydrogen gas accumulation and production are what a number of exploration companiesare looking at carefully and this will vary for different geological environments," Ballentine said.Natural hydrogen reservoirs require three key elements to form: a source of hydrogen, reservoir rocks and natural seals that trap the gas underground. There are a dozen natural processes that can create hydrogen, the simplest being a chemical reaction that splits water into hydrogen and oxygen — and any type of rock that hosts at least one of these processes is a potential hydrogen source, Ballentine said."One place that is attracting a lot of interest is in Kansas where a feature called the mid continental rift, formed about 1 billion years ago, created a huge accumulation of rocksthat can react with water to form hydrogen," he said. "The search is on here for geological structures that may have trapped and accumulated the hydrogen generated."Based on knowledge of how other gases are released from rocks underground, the review's authors suggest that tectonic stress and high heat flow may release hydrogen deep inside Earth's crust. "This helps to bring the hydrogen to the near surface where it might accumulate and form a commercial resource," Ballentine said.Within the crust, a wide range of common geological contexts could prove promising for exploration companies, the review found, ranging from ophiolite complexes to large igneous provinces and Archaean greenstone belts.An ophiolitic landscape in Italy's Sondrio province. The rocks are rich in iron, which gives them a reddish-brown color.Michele D'Amico supersky77/Getty ImagesOphiolites are chunks of Earth's crust and upper mantle that once sat beneath the ocean, but were later thrust onto land. In 2024, researchers discovered a massive hydrogen reservoir within an ophiolite complex in Albania. Igneous rocks are those solidified from magma or lava, and Archaean greenstone belts are up to 4 billion-year-old formations that are characterized by green minerals, such as chlorite and actinolite.The conditions discussed in the review are the "first principles" for hydrogen exploration, study co-author Jon Gluyas, a professor of geoenergy, carbon capture and storage at Durham University in the U.K., said in a statement. The research outlines the key ingredients that companies should consider when developing their exploration strategies, including processes through which hydrogen might migrate or be destroyed underground."We know for example that underground microbes readily feast on hydrogen," co-author Barbara Sherwood Lollar, a professor of Earth sciences at the University of Toronto, said in the statement. So environments where bacteria could come in contact with hydrogen-producing rocks may not be great places to look for reservoirs, Sherwood Lollar said.Hydrogen is used to make key industrial chemicals such as methanol and ammonia, which is a component in most fertilizers. The gas could also aid the transition away from fossil fuels, as hydrogen can power both cars and power plants.But hydrogen today is produced from hydrocarbons, meaning manufacture of the gas comes with huge carbon emissions. "Clean" hydrogen from underground reservoirs has a much smaller carbon footprint, because it occurs naturally.Earth's crust produces "plenty of hydrogen," Ballentine said, and it is now a question of following the ingredient list to find it.Copyright 2025 LiveScience, a Future company. All rights reserved. This material may not be published, broadcast, rewritten or redistributed. #huge #reservoirs #clean #hydrogen #could
    WWW.SCIENTIFICAMERICAN.COM
    Huge Reservoirs of Clean Hydrogen Could Power Earth for 170,000 Years
    May 19, 20253 min readHuge Reservoirs of Clean Hydrogen Could Power Earth for 170,000 YearsRecent breakthroughs suggest that hydrogen reservoirs are buried in countless regions of the world, including at least 30 U.S. statesBy Sascha Pare & LiveScience Finding reservoirs of hydrogen in Earth's crust could help accelerate the energy transition away from fossil fuels. Simon Dux/Alamy Stock PhotoRecent breakthroughs suggest that hydrogen reservoirs are buried in countless regions of the world, including at least 30 U.S. states.Finding such reservoirs could help accelerate a global energy transition, but until now, geologists only had a piecemeal understanding of how large hydrogen accumulations form — and where to find them."The game of the moment is to find where it has been released, accumulated and preserved," Chris Ballentine, a professor and chair of geochemistry at the University of Oxford and lead author of a new review article on hydrogen production in Earth's crust, told Live Science in an email.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.Ballentine's new paper starts to answer those questions. According to the authors, Earth's crust has produced enough hydrogen over the past 1 billion years to meet our current energy needs for 170,000 years. What's still unclear is how much of that hydrogen could be accessed and profitably extracted.In the new review, published Tuesday (May 13) in the journal Nature Reviews Earth and Environment, the researchers draw up an "ingredient" list of geological conditions that stimulate the creation and build-up of natural hydrogen gas belowground, which should make it easier to hunt for reservoirs."The specific conditions for hydrogen gas accumulation and production are what a number of exploration companies (e.g. Koloma, funded by a consortium led by Bill Gates Breakthrough Energy fund, Hy-Terra funded by Fortescue, and Snowfox, funded by BP [British Petroleum] and RioTinto) are looking at carefully and this will vary for different geological environments," Ballentine said.Natural hydrogen reservoirs require three key elements to form: a source of hydrogen, reservoir rocks and natural seals that trap the gas underground. There are a dozen natural processes that can create hydrogen, the simplest being a chemical reaction that splits water into hydrogen and oxygen — and any type of rock that hosts at least one of these processes is a potential hydrogen source, Ballentine said."One place that is attracting a lot of interest is in Kansas where a feature called the mid continental rift, formed about 1 billion years ago, created a huge accumulation of rocks (mainly basalts) that can react with water to form hydrogen," he said. "The search is on here for geological structures that may have trapped and accumulated the hydrogen generated."Based on knowledge of how other gases are released from rocks underground, the review's authors suggest that tectonic stress and high heat flow may release hydrogen deep inside Earth's crust. "This helps to bring the hydrogen to the near surface where it might accumulate and form a commercial resource," Ballentine said.Within the crust, a wide range of common geological contexts could prove promising for exploration companies, the review found, ranging from ophiolite complexes to large igneous provinces and Archaean greenstone belts.An ophiolitic landscape in Italy's Sondrio province. The rocks are rich in iron, which gives them a reddish-brown color.Michele D'Amico supersky77/Getty ImagesOphiolites are chunks of Earth's crust and upper mantle that once sat beneath the ocean, but were later thrust onto land. In 2024, researchers discovered a massive hydrogen reservoir within an ophiolite complex in Albania. Igneous rocks are those solidified from magma or lava, and Archaean greenstone belts are up to 4 billion-year-old formations that are characterized by green minerals, such as chlorite and actinolite.The conditions discussed in the review are the "first principles" for hydrogen exploration, study co-author Jon Gluyas, a professor of geoenergy, carbon capture and storage at Durham University in the U.K., said in a statement. The research outlines the key ingredients that companies should consider when developing their exploration strategies, including processes through which hydrogen might migrate or be destroyed underground."We know for example that underground microbes readily feast on hydrogen," co-author Barbara Sherwood Lollar, a professor of Earth sciences at the University of Toronto, said in the statement. So environments where bacteria could come in contact with hydrogen-producing rocks may not be great places to look for reservoirs, Sherwood Lollar said.Hydrogen is used to make key industrial chemicals such as methanol and ammonia, which is a component in most fertilizers. The gas could also aid the transition away from fossil fuels, as hydrogen can power both cars and power plants.But hydrogen today is produced from hydrocarbons, meaning manufacture of the gas comes with huge carbon emissions. "Clean" hydrogen from underground reservoirs has a much smaller carbon footprint, because it occurs naturally.Earth's crust produces "plenty of hydrogen," Ballentine said, and it is now a question of following the ingredient list to find it.Copyright 2025 LiveScience, a Future company. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
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  • NASA Satellite Detects Tree Leaf Changes as Early Volcano Eruption Warning Signal

    Photo Credit: NASA Goddard Space Flight Center Tree greening may signal early volcanic unrest from underground carbon emissions

    Highlights

    Tree greening from CO₂ may signal early signs of volcanic unrest from s
    NASA satellites detect vegetation changes triggered by volcanic carbon
    CO₂-induced tree changes may enhance early warning systems for eruption

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    NASA scientists might soon be able to forecast volcanic eruptions by monitoring how trees respond from space. Now, in a new collaboration with the Smithsonian Institution, they have discovered that tree leaves grow lusher and greener when previously dormant volcanic carbon dioxide seeps up from the ground — an early warning that a cone of magma is pushing upwards. Now, using satellites such as Landsat 8 and data from the recent AVUELO mission, scientists think this biological response could be visible remotely, serving as an added layer of early warning for eruptions in high-risk areas that currently menace millions worldwide.NASA Uses Tree Greening as Satellite Clue for Early Volcano Eruption Warnings in Remote RegionsAs per the research by NASA's Earth Science Division at Ames Research Centre, greening occurs when trees absorb volcanic carbon dioxide released as magma rises. These emissions precede sulfur dioxide and are harder to detect directly from orbit.While carbon dioxide does not always appear obvious in satellite images, its downstream effects — enhanced vegetation, for example — can help reinforce existing volcanic early warning systems, notes volcanologist Florian Schwandner. It could be important because, as the U.S. Geological Survey says, the country is still one of the most volcanically active.Globally, about 1,350 potentially active volcanoes exist, many in remote or hazardous locations. On-site gas measurement is costly and dangerous, prompting volcanologists like Robert Bogue and Nicole Guinn to explore tree-based proxies.Guinn's study of tree leaves around Sicily's Mount Etna found a strong correlation between leaf colour and underground volcanic activity. Satellites such as Sentinel-2 and Terra have proven capable of capturing these subtle vegetative changes, particularly in forested volcanic areas.To confirm this method, climate scientist Josh Fisher led NASA-Smithsonian teams in March 2025 to Panama and Costa Rica, collecting tree samples and measuring gas levels near active volcanoes. Fisher sees this interdisciplinary research as key to both volcano forecasting and understanding long-term tree response to atmospheric carbon dioxide, which will reveal future climate conditions.The benefits of early carbon dioxide detection have been demonstrated in the 2017 eruption of Mayon volcano in the Philippines, where it allowed mass evacuations and saved more than 56,000 lives. It has its limitations, like bad terrain or too much environmental noise, but it could be a game-changer.

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    NASA, volcano warning, satellite imagery, volcanic carbon dioxide, Landsat 8, tree greening, AVUELO, early warning systems

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    #nasa #satellite #detects #tree #leaf
    NASA Satellite Detects Tree Leaf Changes as Early Volcano Eruption Warning Signal
    Photo Credit: NASA Goddard Space Flight Center Tree greening may signal early volcanic unrest from underground carbon emissions Highlights Tree greening from CO₂ may signal early signs of volcanic unrest from s NASA satellites detect vegetation changes triggered by volcanic carbon CO₂-induced tree changes may enhance early warning systems for eruption Advertisement NASA scientists might soon be able to forecast volcanic eruptions by monitoring how trees respond from space. Now, in a new collaboration with the Smithsonian Institution, they have discovered that tree leaves grow lusher and greener when previously dormant volcanic carbon dioxide seeps up from the ground — an early warning that a cone of magma is pushing upwards. Now, using satellites such as Landsat 8 and data from the recent AVUELO mission, scientists think this biological response could be visible remotely, serving as an added layer of early warning for eruptions in high-risk areas that currently menace millions worldwide.NASA Uses Tree Greening as Satellite Clue for Early Volcano Eruption Warnings in Remote RegionsAs per the research by NASA's Earth Science Division at Ames Research Centre, greening occurs when trees absorb volcanic carbon dioxide released as magma rises. These emissions precede sulfur dioxide and are harder to detect directly from orbit.While carbon dioxide does not always appear obvious in satellite images, its downstream effects — enhanced vegetation, for example — can help reinforce existing volcanic early warning systems, notes volcanologist Florian Schwandner. It could be important because, as the U.S. Geological Survey says, the country is still one of the most volcanically active.Globally, about 1,350 potentially active volcanoes exist, many in remote or hazardous locations. On-site gas measurement is costly and dangerous, prompting volcanologists like Robert Bogue and Nicole Guinn to explore tree-based proxies.Guinn's study of tree leaves around Sicily's Mount Etna found a strong correlation between leaf colour and underground volcanic activity. Satellites such as Sentinel-2 and Terra have proven capable of capturing these subtle vegetative changes, particularly in forested volcanic areas.To confirm this method, climate scientist Josh Fisher led NASA-Smithsonian teams in March 2025 to Panama and Costa Rica, collecting tree samples and measuring gas levels near active volcanoes. Fisher sees this interdisciplinary research as key to both volcano forecasting and understanding long-term tree response to atmospheric carbon dioxide, which will reveal future climate conditions.The benefits of early carbon dioxide detection have been demonstrated in the 2017 eruption of Mayon volcano in the Philippines, where it allowed mass evacuations and saved more than 56,000 lives. It has its limitations, like bad terrain or too much environmental noise, but it could be a game-changer. For the latest tech news and reviews, follow Gadgets 360 on X, Facebook, WhatsApp, Threads and Google News. For the latest videos on gadgets and tech, subscribe to our YouTube channel. If you want to know everything about top influencers, follow our in-house Who'sThat360 on Instagram and YouTube. Further reading: NASA, volcano warning, satellite imagery, volcanic carbon dioxide, Landsat 8, tree greening, AVUELO, early warning systems Gadgets 360 Staff The resident bot. If you email me, a human will respond. More Related Stories #nasa #satellite #detects #tree #leaf
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    NASA Satellite Detects Tree Leaf Changes as Early Volcano Eruption Warning Signal
    Photo Credit: NASA Goddard Space Flight Center Tree greening may signal early volcanic unrest from underground carbon emissions Highlights Tree greening from CO₂ may signal early signs of volcanic unrest from s NASA satellites detect vegetation changes triggered by volcanic carbon CO₂-induced tree changes may enhance early warning systems for eruption Advertisement NASA scientists might soon be able to forecast volcanic eruptions by monitoring how trees respond from space. Now, in a new collaboration with the Smithsonian Institution, they have discovered that tree leaves grow lusher and greener when previously dormant volcanic carbon dioxide seeps up from the ground — an early warning that a cone of magma is pushing upwards. Now, using satellites such as Landsat 8 and data from the recent AVUELO mission, scientists think this biological response could be visible remotely, serving as an added layer of early warning for eruptions in high-risk areas that currently menace millions worldwide.NASA Uses Tree Greening as Satellite Clue for Early Volcano Eruption Warnings in Remote RegionsAs per the research by NASA's Earth Science Division at Ames Research Centre, greening occurs when trees absorb volcanic carbon dioxide released as magma rises. These emissions precede sulfur dioxide and are harder to detect directly from orbit.While carbon dioxide does not always appear obvious in satellite images, its downstream effects — enhanced vegetation, for example — can help reinforce existing volcanic early warning systems, notes volcanologist Florian Schwandner. It could be important because, as the U.S. Geological Survey says, the country is still one of the most volcanically active.Globally, about 1,350 potentially active volcanoes exist, many in remote or hazardous locations. On-site gas measurement is costly and dangerous, prompting volcanologists like Robert Bogue and Nicole Guinn to explore tree-based proxies.Guinn's study of tree leaves around Sicily's Mount Etna found a strong correlation between leaf colour and underground volcanic activity. Satellites such as Sentinel-2 and Terra have proven capable of capturing these subtle vegetative changes, particularly in forested volcanic areas.To confirm this method, climate scientist Josh Fisher led NASA-Smithsonian teams in March 2025 to Panama and Costa Rica, collecting tree samples and measuring gas levels near active volcanoes. Fisher sees this interdisciplinary research as key to both volcano forecasting and understanding long-term tree response to atmospheric carbon dioxide, which will reveal future climate conditions.The benefits of early carbon dioxide detection have been demonstrated in the 2017 eruption of Mayon volcano in the Philippines, where it allowed mass evacuations and saved more than 56,000 lives. It has its limitations, like bad terrain or too much environmental noise, but it could be a game-changer. For the latest tech news and reviews, follow Gadgets 360 on X, Facebook, WhatsApp, Threads and Google News. For the latest videos on gadgets and tech, subscribe to our YouTube channel. If you want to know everything about top influencers, follow our in-house Who'sThat360 on Instagram and YouTube. Further reading: NASA, volcano warning, satellite imagery, volcanic carbon dioxide, Landsat 8, tree greening, AVUELO, early warning systems Gadgets 360 Staff The resident bot. If you email me, a human will respond. More Related Stories
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  • North America's 'broken heart': The billion-year-old scar from when the continent nearly ripped apart

    The Midcontinent Rift is a giant tear that formed in what is now the U.S. Midwest 1.1 billion years ago. Nicknamed North America's "broken heart," it is filled with solidified magma and lava.
    #north #america039s #039broken #heart039 #billionyearold
    North America's 'broken heart': The billion-year-old scar from when the continent nearly ripped apart
    The Midcontinent Rift is a giant tear that formed in what is now the U.S. Midwest 1.1 billion years ago. Nicknamed North America's "broken heart," it is filled with solidified magma and lava. #north #america039s #039broken #heart039 #billionyearold
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    North America's 'broken heart': The billion-year-old scar from when the continent nearly ripped apart
    The Midcontinent Rift is a giant tear that formed in what is now the U.S. Midwest 1.1 billion years ago. Nicknamed North America's "broken heart," it is filled with solidified magma and lava.
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  • Tiny Bubbles Within Magma Reveal Secrets of Volcano Eruptions

    Geologists turned to tiny bubbles to investigate the dynamics driving magma flow beneath Hawaii’s volcanoes as the country’s islands drift northwest on a tectonic plate. They found that, as the islands slip away from the hotspot that fuels Kiluaea on the “Big Island, magma flow not only slows, but shifts deeper underground," according to a report in the journal Science Advances.“This challenges the old idea that eruptions are fueled by magma stored in the Earth’s crust and suggests a new possibility that magma is stored and matures in the Earth’s mantle, and eruptions are fueled from this deep mantle reservoir,” Esteban Gazel, a Cornell University scientist and author of the paper, said in a press release.Understanding Volcano EruptionsTo reach this conclusion, scientists employed a technique that will help increase understanding of what causes eruptions and help them predict those events more accurately. They focused on tiny gas bubbles that become trapped inside crystals within magma — a phenomenon called “fluid inclusion.” Calculating the pressure and depth at which those bubbles are captured gives scientists more precise information about magma’s activity.“The technology allows us to measure pressure from depths with an uncertainty as small as just hundreds of meters, which is very, very precise for depths that are tens of kilometers below the surface,” Gazel said in the release. “Before this, measuring magma storage was much more difficult, with uncertainties that could span kilometers.”Read More: 5 of the Most Explosive Volcanic EruptionsLooking at Different Volcano Life StagesThe scientists applied the method to samples from three Hawaiian volcanoes that are at different stages of their “lives.” Kilauea’s magma was stored at relatively shallow depths of about a mile, as predicted. They found two magma storage areas beneath Haleakala — a shallow one just over a mile down, and a deeper one at 12 to 16 miles in the Earth’s mantle. Diamond Head on the island of O’ahu, showed magma storage around 13 to 18 miles deep, all within the Earth’s mantle.“Knowing these depths precisely matters, because to understand the drivers of eruptions, one of the most important constraints is where magma is stored,” Gazel said in the release. “That is fundamental for physical models that will explain eruptive processes and is required for volcanic risk assessment.”Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Science Advances. Crustal to mantle melt storage during the evolution of Hawaiian volcanoesBefore joining Discover Magazine, Paul Smaglik spent over 20 years as a science journalist, specializing in U.S. life science policy and global scientific career issues. He began his career in newspapers, but switched to scientific magazines. His work has appeared in publications including Science News, Science, Nature, and Scientific American.
    #tiny #bubbles #within #magma #reveal
    Tiny Bubbles Within Magma Reveal Secrets of Volcano Eruptions
    Geologists turned to tiny bubbles to investigate the dynamics driving magma flow beneath Hawaii’s volcanoes as the country’s islands drift northwest on a tectonic plate. They found that, as the islands slip away from the hotspot that fuels Kiluaea on the “Big Island, magma flow not only slows, but shifts deeper underground," according to a report in the journal Science Advances.“This challenges the old idea that eruptions are fueled by magma stored in the Earth’s crust and suggests a new possibility that magma is stored and matures in the Earth’s mantle, and eruptions are fueled from this deep mantle reservoir,” Esteban Gazel, a Cornell University scientist and author of the paper, said in a press release.Understanding Volcano EruptionsTo reach this conclusion, scientists employed a technique that will help increase understanding of what causes eruptions and help them predict those events more accurately. They focused on tiny gas bubbles that become trapped inside crystals within magma — a phenomenon called “fluid inclusion.” Calculating the pressure and depth at which those bubbles are captured gives scientists more precise information about magma’s activity.“The technology allows us to measure pressure from depths with an uncertainty as small as just hundreds of meters, which is very, very precise for depths that are tens of kilometers below the surface,” Gazel said in the release. “Before this, measuring magma storage was much more difficult, with uncertainties that could span kilometers.”Read More: 5 of the Most Explosive Volcanic EruptionsLooking at Different Volcano Life StagesThe scientists applied the method to samples from three Hawaiian volcanoes that are at different stages of their “lives.” Kilauea’s magma was stored at relatively shallow depths of about a mile, as predicted. They found two magma storage areas beneath Haleakala — a shallow one just over a mile down, and a deeper one at 12 to 16 miles in the Earth’s mantle. Diamond Head on the island of O’ahu, showed magma storage around 13 to 18 miles deep, all within the Earth’s mantle.“Knowing these depths precisely matters, because to understand the drivers of eruptions, one of the most important constraints is where magma is stored,” Gazel said in the release. “That is fundamental for physical models that will explain eruptive processes and is required for volcanic risk assessment.”Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Science Advances. Crustal to mantle melt storage during the evolution of Hawaiian volcanoesBefore joining Discover Magazine, Paul Smaglik spent over 20 years as a science journalist, specializing in U.S. life science policy and global scientific career issues. He began his career in newspapers, but switched to scientific magazines. His work has appeared in publications including Science News, Science, Nature, and Scientific American. #tiny #bubbles #within #magma #reveal
    WWW.DISCOVERMAGAZINE.COM
    Tiny Bubbles Within Magma Reveal Secrets of Volcano Eruptions
    Geologists turned to tiny bubbles to investigate the dynamics driving magma flow beneath Hawaii’s volcanoes as the country’s islands drift northwest on a tectonic plate. They found that, as the islands slip away from the hotspot that fuels Kiluaea on the “Big Island, magma flow not only slows, but shifts deeper underground," according to a report in the journal Science Advances.“This challenges the old idea that eruptions are fueled by magma stored in the Earth’s crust and suggests a new possibility that magma is stored and matures in the Earth’s mantle, and eruptions are fueled from this deep mantle reservoir,” Esteban Gazel, a Cornell University scientist and author of the paper, said in a press release.Understanding Volcano EruptionsTo reach this conclusion, scientists employed a technique that will help increase understanding of what causes eruptions and help them predict those events more accurately. They focused on tiny gas bubbles that become trapped inside crystals within magma — a phenomenon called “fluid inclusion.” Calculating the pressure and depth at which those bubbles are captured gives scientists more precise information about magma’s activity.“The technology allows us to measure pressure from depths with an uncertainty as small as just hundreds of meters, which is very, very precise for depths that are tens of kilometers below the surface,” Gazel said in the release. “Before this, measuring magma storage was much more difficult, with uncertainties that could span kilometers.”Read More: 5 of the Most Explosive Volcanic EruptionsLooking at Different Volcano Life StagesThe scientists applied the method to samples from three Hawaiian volcanoes that are at different stages of their “lives.” Kilauea’s magma was stored at relatively shallow depths of about a mile, as predicted. They found two magma storage areas beneath Haleakala — a shallow one just over a mile down, and a deeper one at 12 to 16 miles in the Earth’s mantle. Diamond Head on the island of O’ahu, showed magma storage around 13 to 18 miles deep, all within the Earth’s mantle.“Knowing these depths precisely matters, because to understand the drivers of eruptions, one of the most important constraints is where magma is stored,” Gazel said in the release. “That is fundamental for physical models that will explain eruptive processes and is required for volcanic risk assessment.”Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Science Advances. Crustal to mantle melt storage during the evolution of Hawaiian volcanoesBefore joining Discover Magazine, Paul Smaglik spent over 20 years as a science journalist, specializing in U.S. life science policy and global scientific career issues. He began his career in newspapers, but switched to scientific magazines. His work has appeared in publications including Science News, Science, Nature, and Scientific American.
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