It’s one thing to invent something cool within controlled laboratory environments. It’s entirely another to scale that new baby for sale.  The tension between innovation and commercialization is something we regularly wrestle with at Abstrax. Every morning, we don lab coats and ask the same question: “How do you make money from research done in a lab?”  Balance innovation with commercial reality  Discovery for its own sake isn’t enough. Many R&D-heavy companies discover that brilliant ideas can languish for years if they don’t have a system for bringing them to market.   We decided early on to build that bridge proactively. This meant investing heavily not just in research, but in the systems and machinery that connect lab work to real-world products. Our scientists don’t concoct in ivory towers, they work hand-in-hand with product developers to ensure (most) experiments align with market needs.  This pragmatic approach focuses our curiosity. We poured resources into advanced analytical technology. Among other exquisite toys, we operate an ultra-sensitive aroma analysis platform nicknamed OMNI. With it, we can break down a complex flavor into hundreds of molecular components and pinpoint the ones that matter. By capturing a “3D metabolite fingerprint” of a material (cannabis flower, hop varietals, etc.), we get a complete map of that sample’s aroma chemistry.  Why go to these extremes? Because understanding a flavor at that granular level is the key to replicating it, enhancing it, and ultimately monetizing it. We can identify over 500 distinct compounds in a single hop strain. That level of resolution lets us see opportunities others might miss, like the trace molecules that round out pineapple, or a sulfur compound responsible for “skunky” notes.   From breakthrough to beer glass  To illustrate how lab research turns into revenue, take our recent work with Citra, one of the most celebrated hops in craft brewing. Citra’s appeal lies in its remarkably juicy, complex flavor—think grapefruit, lime, peach, and passionfruit steamrolled into one. This tropical medley makes a Citra-hopped beer delicious. But here’s the rub: Achieving that same flavor consistently at scale is hard. Hops are agricultural products, subject to the whims of weather and yearly variation. The Citra you get this year might not taste exactly like last year’s crop.  This is where our lab-to-market philosophy shines. Using OMNI, we profiled Citra’s chemical makeup in exquisite detail. Armed with that “blueprint,” we developed an Omni Hop Profile extract that mirrors Citra’s flavor profile with uncanny accuracy. For brewers, this is a game-changer. Instead of being at the mercy of Mother Nature, they can rely on our Citra extract to deliver the exact same flavor in every batch, forever. And because it’s made from botanically derived ingredients, it stays true to the clean-label standards brewers abide by. We even worked with veteran brewmasters on pilot brews to fine-tune the extract’s performance in different beer styles. By the time our Citra profile hit the market, it was brewer-tested and production-ready.   Our Citra victory highlights our core principle of reasonable innovation. We didn’t stop at discovering what makes that hop special, we pushed to make it a tangible solution to a real problem. That is the essence of monetizing R&D: moving from “Eureka!” to a viable SKU.   No fluff, only real solutions  In avant-garde industries like cannabis and craft beer, it’s easy to get caught up in hype and bold claims. We prefer a different tack: Let the results speak. If we say our new formulation improves a beer’s shelf-life or an extract boosts an IPA’s aroma, we’ve got the data to back it up. Grounding innovation in evidence keeps us credible and ensures we stay focused on real market value.  We also recognize that not every experiment will pan out, and that’s okay. Part of our system is knowing never to become 100% pot committed. We’ll test 10 ideas, then swiftly double down on the one or two that show commercial promise. By failing fast and smart, we conserve resources for the innovations that count.  The new R&D playbook  Our journey from lab to market hasn’t been quick or easy. It took patience and a willingness to invest up front. But that patience is paying off. Today, Abstrax’s approach is turning niche scientific insights into mainstream products. What others consider to be a cost center is our engine for growth.   When scientists and strategists work in sync, every discovery is viewed through the lens of real-world impact. The healthy tension between invention and commercialization keeps us sharp. As it turns out, the lab and the market are pretty good at balancing each other.   Kevin Koby is CEO and cofounder of Abstrax. 

Principal Concept Artist (Characters) - Unpublished R&D ProductRiot GamesLos Angeles, California, United States2 hours agoApplyAs a Character Concept Artist at Riot, you will bring characters and creatures to life. Drawing inspiration from as little as a napkin sketch or as much as a full-blown narrative concept, you will generate ideas and craft designs that are resonant, compelling, and iconic. As a problem solver, first and foremost, you will help come up with visual solutions for game concepts.As a Principal Character Concept Artist on the Unpublished R&D Product team, you’ll be responsible for designing characters that fit the thematics and tone of the game, while helping to define a unique interpretation of the IP that fits within our genre and gameplay needs. You’ll partner with the Art Director and character art leaders as you work across disciplines to shape the visual identity of new characters. You will also collaborate closely with designers, writers, and producers to bring these characters to life through strong, story-driven designResponsibilities:Ideate and create highly varied character conceptsExpress character and story through your designsExplore creative solutions to establish a unique visual identity for the characters in the gameCraft detailed concept art for 3D artists and outsourcingWork with game designers to understand and fulfill the needs of gameplayCollaborate with the other artists on the team by providing and receiving creative/team feedback and providing clear creative goals and outcomes to your teamWork closely with the Art Director to explore and define new styles and tones in the IPDiscover and incorporate interesting trends and non-traditional referenceContinuously deliver concept assets that fulfill the requirements of the project’s game and visual designCollaborate with artists on the team by providing and receiving creative/team feedback and providing clear creative goals and outcomes to your teamGuide and mentor junior members of the teamRequired Qualifications:10+ years of concept design experience in gaming or equivalent industry5+ years of professional experience working in Photoshop or equivalent softwareExperience in a Principal or Lead role that involved establishing style or setting vision for the productDesired Qualifications:Experience shipping at least one AAA game titleExperience working on a highly recognizable stylized gameExperience working in pre-production for at least one game titleExperience with creating character conceptsExperience working in Fantasy character conceptsFamiliarity with Riot’s Live IPsWhen submitting your application, please provide a portfolio of your high-quality concept art - including stylized artwork.Our Perks:Riot has a focus on work/life balance, shown by our open paid time off policy, in addition to other perks such as flexible work schedules. We offer medical, dental, and life insurance, parental leave for you, your spouse/domestic partner and children, and a 401k with company match. Check out our benefits pages for more information.Riot Games fosters a player and workplace experience that values teamwork embodied by the Summoner's Code and Community Code . Our culture embraces differences as a strength, and our values are the guiding principles for how we approach work. We are committed to putting diversity and inclusion (D&I) at the center of everything we do, and promoting a fair and collaborative culture where Rioters treat one another with dignity and respect. We encourage you to read more about our value of thriving together and our ongoing work to build the most inclusive company in Gaming .It’s our policy to provide equal employment opportunity for all applicants and members of Riot Games, Inc. Riot Games makes reasonable accommodations for handicapped and disabled Rioters and does not unlawfully discriminate on the basis of race, color, religion, sex, sexual orientation, gender identity or expression, national origin, age, handicap, veteran status, marital status, criminal history, or any other category protected by applicable federal and state law. We consider for employment all qualified applicants, including those with criminal histories, in a manner consistent with applicable federal, state and local law, including the California Fair Chance Act, the City of Los Angeles Fair Chance Initiative for Hiring Ordinance, the Los Angeles County Fair Chance Ordinance for Employers, the San Francisco Fair Chance Ordinance, and the Washington Fair Chance Act.Per the Los Angeles County Fair Chance Ordinance, the following core duties may create a basis for disqualifying candidates with relevant criminal histories:Safeguarding confidential and sensitive Company dataCommunication with others, including Rioters and third parties such as vendors, and/or players, including minorsAccessing Company assets, secure digital systems, and networksEnsuring a safe interactive environment for players and other RiotersThese duties are directly related to essential operations, safety, trust, and compliance obligations within our organization. Please note that job duties may evolve based on business needs and additional responsibilities may be assigned as necessary to maintain operational efficiency and security. Create Your Profile — Game companies can contact you with their relevant job openings. Apply

The International Architecture Exhibition – La Biennale di Venezia,  has returned, with its grand opening held in early May. The exhibition runs until November 23, 2025 The Canada Council for the Arts, Commissioner of Canada’s official participation in the International Architecture Exhibition – La Biennale di Venezia, administers the selection process and oversees the exhibition at the Canada Pavilion. But in addition to the Canada Pavilion, Canadian architects and designers have a presence in several other exhibitions that are part of this year’s festival. Here’s a round-up of the Canadian work in Venice. Picoplanktonics. Photo credit: Valentina Mori Picoplanktonics led by Living Room Collective Canada’s official entry to the Biennale is Picoplanktonics, a 3D-printed living artwork incorporating cyanobacteria—a global first at the intersection of architecture, biotechnology, and art. The exhibition, developed by the Living Room Collective, showcases the potential for collaboration between humans and nature. Picoplanktonics is an exploration of the potential to co-operate with living systems by co-constructing spaces that “remediate the planet rather than exploit it.” The installation transforms the Canada Pavilion into an aquatic micro-ecosystem, where architectural structures grow, evolve, and naturally degrade alongside their living components. It was designed according to regenerative architecture principles, and is not only a built object, but also a breathing organism interacting with its environment, which prompts reflection on potential futures of the built environment. The creative team is led by bio-designer Andrea Shin Ling, alongside core team members Nicholas Hoban, Vincent Hui and Clayton Lee. Etude Ile Verte by Atelier Pierre Thibault. Photo credit Alex Lesage Les boucaneries de l’île Verte by Atelier Pierre Thibault Atelier Pierre Thibault has been invited to participate in this year’s Venice Biennale as the only team from Québec. His project is inspired by the old fish smokehouses, or boucaneries, of Île Verte. With the support of the fifty permanent residents of Île Verte, Atelier Pierre Thibault has designed a participatory architectural project that aims to reinterpret the boucaneries as creative canvases to imagine new uses to strengthen Île Verte’s autonomy. This includes community greenhouses, artist studios, and gathering places. The exhibition aims to highlight, as Thibault puts it, “the strength of a sensitive and collective gesture in response to the erosion of traditional buildings and the major climate challenges faced by inhabitants living year-round in an isolated island environment.” The construction of the installations, along with the exchanges sparked with the community, was documented through photography and video, and captures both the process and the spirit of collaboration that defined the project. Celebrating the Verdoyants’ collective intelligence and inviting reflection on the future of the boucaneries, this participatory project highlights the exemplary and internationally resonant nature of this approach. The Atelier Pierre Thibault project will be on view at the Corderie dell’Arsenale. The pavilion itself will take the form of a temporary, lightweight structure constructed from reused materials, situated on the grounds of the French Pavilion, which is currently undergoing renovation. The curators have selected 50 projects to be featured across six thematic sections: Living With the Existing, the Immediate, the Broken, Vulnerabilities, Nature, and Combined Intelligences. Image courtesy of WZMH Architects Speedstac by WZMH Architects as part of Living With…Combined Intelligences  As part of the exhibition “Living With… Combined Intelligences,” WZMH Architects presents Speedstac, a prefabricated modular precast solution that aims to reimagine how urban areas devastated by war can be rebuilt. Originally designed to accelerate housing construction in Canada, Speedstac took on urgent new relevance following the Russian invasion of Ukraine. With more than 170,000 buildings damaged or destroyed and millions displaced, WZMH’s innovation, developed through its R&D lab, sparkbird, aims to offer a scalable solution: self-contained, plug-and-play building modules with integrated electrical and plumbing systems that can be seamlessly inserted into existing structures. The use of modern materials such as high-performance concrete can reduce the weight of the modules, making them easier to lift and move using conventional crane equipment. Using a robust locking mechanism, several modules can be securely fastened and unfastened as needed, to produce an adaptive modular housing solution. The Speedstac system aims to offer a solution to the challenges of traditional construction methods, enabling faster, more flexible, and more sustainable building projects. The Vivre Avec / Living With exhibition is hosted in the French Pavilion. Presentation, Northern Horizons. Photo credit: Blouin Orzes architectes Northern Horizons by Blouin Orzes architectes as part of Time Space Existence  Through a wide selection of projects—ranging from conceptual works, models and photographs to videos, sculptures and site-specific installations—the exhibition Time Space Existence, hosted by the European Cultural Centre, aims to provoke participants to question their relationship with space and time, re-envisioning new ways of living and rethinking architecture through a larger lens. Quebec firm Blouin Orzes’ participation revolves around their first-hand understanding of Inuit territories, where they have been working since 2000. Their contribution is based on their  recent publication, Northern Journeys. Blouin Orzes’ contribution in on display at the Palazzo Mora, and additional contributions to Time Space Existence are on view at the Palazzo Bembo and Marinaressa Gardens. View of Commercial and Residential Towers from Seymour and West Georgia Streets. Image credit: Henriquez Partners Studio BC Glass Sea Sponge Another contribution to Time Space Existence is the work of Henriquez Partners Studio. The transformative mixed-use development which they are presenting merges architectural innovation, social responsibility and urban revitalization, and has recently been submitted to the City of Vancouver. The project is about ambitious city-building, and aims to unlock public benefits on currently underutilized land in a way that supports some of the city’s most urgent needs, while contributing bold architecture to the city skyline. Four towers, designed by Henriquez, draw inspiration from rare and ancient glass sea sponge reefs, whose ecological strength and resilience have shaped both form and structure. These living marine organisms, which are unique to the Pacific Northwest, aim to serve as a metaphor for regeneration and adaptation. This concept is translated through the architectural language of the towers: silhouettes, sculptural forms, and sustainable performance. The tallest tower, a stand-alone hotel, proposed at 1,033 feet, is shaped by a structural diagrid exoskeleton that allows for column-free interiors while maximizing strength and minimizing material use. Developed in collaboration with Arup, the structural system references the skeletal lattice of sea sponges; a concept researched at Harvard for its groundbreaking structural efficiency. Henriquez Partners’  contribution is on display at Palazzo Bembo. Renewal Development Shishalh Project Duplex Renderings – Image credit: Renewal Development Shíshálh Nation: Ten Home Rescue Project as part of theLiving With / Vivre avec exhibition Vancouver-based company Renewal Development has been selected to appear as part of the French Pavilion’s exhibition on housing innovation. In 2024, Renewal Development partnered with developer Wesgroup and the shíshálh Nation to relocate ten high value Port Moody homes set for demolition to the shíshálh Nation on the Sunshine Coast. The Nation has been experiencing an acute housing shortage with 900 Nation members currently on a waitlist for housing. Renewal Development says that this initiative reflects its “deeply held values of sustainability, and reconciliation” and its “work to offer real-world solutions to waste and housing shortages by reimagining what already exists.” The project will be on display in the French Pavilion. The following is a list of other Canadian groups and individuals contributing to this year’s Venice Biennale: On Storage Brendan Cormier is a Canadian writer, curator, and urban designer based in London. He is currently the lead curator of 20th and 21st Century Design for the Shekou Partnership at the Victoria and Albert Museum. Prior to this he served as the managing editor of Volume Magazine. La Biennale di Venezia and the Victoria and Albert Museum, London present for the ninth consecutive year the Applied Arts Pavilion Special Project titled On Storage, curated by Brendan Cormier, in collaboration with Diller, Scofidio + Renfro (DS+R). It explores the global architecture of storage in service of the circulation of things, and features a newly commissioned six-channel film directed by DS+R. From Liquid to Stone: A Reconfigurable Concrete Tectonic Against Obsolescence Inge Donovan, based in Boston, achieved her Bachelor of Arts in Architectural Design and Architectural History, Theory and Criticism from the Daniels Faculty of Architecture at the University of Toronto in 2019 after growing up in Nova Scotia, Canada. The Curse of Dimensionality Adeline Chum is currently a Graduate Research Assistant at the Center for Spatial Research and third-year student in the MArch Program at GSAPP. She has received her Bachelor of Architectural Studies from the University of Waterloo, Canada and has worked in small and medium-sized architecture firms in Toronto, New York, and London. Oceanic Refractions Elise Misao Hunchuck, born in Toronto and currently based Berlin and Milan, is a transdisciplinary researcher, editor, writer, and educator. Her practice brings together architecture, landscape architecture, and media studies to research sites in Canada, Japan, China, and Ukraine, employing text, images, and cartographies to document, explore, and archive the co-constitutive relationships between plants, animals, and minerals—in all of their forms. SpaceSuits.Us: A Case for Ultra Thin Adjustments Charles Kim is a designer currently based in Boston. Stemming from his background in architecture, he is interested in materials, DIY, and the aesthetics of affordability. Since graduating from Harvard Graduate School of Design in 2022, he has been working as an architectural designer at Utile. Uncommon Knowledge: Plants as Sensors Sonia Sobrino Ralston is a designer, researcher, and educator, and is currently an Assistant Teaching Professor in Landscape Architecture and Art + Design at Northeastern University in the College of Arts, Media, and Design. She is interested in the intersections between landscape, architecture, and the history of technology. Doxiadis’ Informational Modernism Mark Wasiuta is Senior Lecturer in Architecture at Columbia GSAPP and Co-Director of the Critical, Curatorial and Conceptual Practices in Architecture program. Wasiuta is recipient of recent grants from the Onassis Foundation, the Asian Cultural Council, NYSCA, and the Graham Foundation, where he was an inaugural Graham Foundation Fellow. Blue Garden: The Architecture of Emergence Tanvi Khurmi, based in London, UK, is a multidisciplinary designer and artist. Her practice is focused on addressing and combatting issues surrounding the climate crisis. After receiving a Bachelor’s in Architecture with a minor in Environmental Studies from the John H. Daniels Faculty of Architecture at the University of Toronto, she earned a Masters of Architecture in Bio-Integrated Design at the Bartlett School of Architecture at University College London. Design as an Astronaut Dr. Cody Paige is the Director of the Space Exploration Initiative at the MIT Media Lab, a team of 50+ students, faculty, and staff building and flying advanced technology for space exploration. The Initiative focuses on helping students take their research into space. The pipeline developed to achieve this works with students from across the Media Lab and the MIT community to prototype space-related research in the lab, fly and test them in microgravity on parabolic and suborbital flights, and finally to take them to the International Space Station or on to the Moon. Cody also has a background in geology, specifically quaternary geochronology, and completed her Master of Applied Science at the University of Toronto in Aerospace Engineering and her Bachelor of Applied Science from Queen’s University in Engineering Physics.   The post Round-up: Canadian-led exhibitions at the 2025 Venice Biennale appeared first on Canadian Architect.