Urban populations are expected to double by 2050, which means around 2.5 billion people could be added to urban areas by the middle of the century, driving the need for more sustainable urban planning and public services. Cities across the globe are turning to digital twins and AI agents for urban planning scenario analysis and data-driven operational decisions. Building a digital twin of a city and testing smart city AI agents within it, however, is a complex and resource-intensive endeavor, fraught with technical and operational challenges. To address those challenges, NVIDIA today announced the NVIDIA Omniverse Blueprint for smart city AI, a reference framework that combines the NVIDIA Omniverse, Cosmos, NeMo and Metropolis platforms to bring the benefits of physical AI to entire cities and their critical infrastructure. Using the blueprint, developers can build simulation-ready, or SimReady, photorealistic digital twins of cities to build and test AI agents that can help monitor and optimize city operations. Leading companies including XXII, AVES Reality, Akila, Blyncsy, Bentley, Cesium, K2K, Linker Vision, Milestone Systems, Nebius, SNCF Gares&Connexions, Trimble and Younite AI are among the first to use the new blueprint. NVIDIA Omniverse Blueprint for Smart City AI  The NVIDIA Omniverse Blueprint for smart city AI provides the complete software stack needed to accelerate the development and testing of AI agents in physically accurate digital twins of cities. It includes: NVIDIA Omniverse to build physically accurate digital twins and run simulations at city scale. NVIDIA Cosmos to generate synthetic data at scale for post-training AI models. NVIDIA NeMo to curate high-quality data and use that data to train and fine-tune vision language models (VLMs) and large language models. NVIDIA Metropolis to build and deploy video analytics AI agents based on the NVIDIA AI Blueprint for video search and summarization (VSS), helping process vast amounts of video data and provide critical insights to optimize business processes. The blueprint workflow comprises three key steps. First, developers create a SimReady digital twin of locations and facilities using aerial, satellite or map data with Omniverse and Cosmos. Second, they can train and fine-tune AI models, like computer vision models and VLMs, using NVIDIA TAO and NeMo Curator to improve accuracy for vision AI use cases​. Finally, real-time AI agents powered by these customized models are deployed to alert, summarize and query camera and sensor data using the Metropolis VSS blueprint. NVIDIA Partner Ecosystem Powers Smart Cities Worldwide The blueprint for smart city AI enables a large ecosystem of partners to use a single workflow to build and activate digital twins for smart city use cases, tapping into a combination of NVIDIA’s technologies and their own. SNCF Gares&Connexions, which operates a network of 3,000 train stations across France and Monaco, has deployed a digital twin and AI agents to enable real-time operational monitoring, emergency response simulations and infrastructure upgrade planning. This helps each station analyze operational data such as energy and water use, and enables predictive maintenance capabilities, automated reporting and GDPR-compliant video analytics for incident detection and crowd management. Powered by Omniverse, Metropolis and solutions from ecosystem partners Akila and XXII, SNCF Gares&Connexions’ physical AI deployment at the Monaco-Monte-Carlo and Marseille stations has helped SNCF Gares&Connexions achieve a 100% on-time preventive maintenance completion rate, a 50% reduction in downtime and issue response time, and a 20% reduction in energy consumption. https://blogs.nvidia.com/wp-content/uploads/2025/06/01-Monaco-Akila.mp4 The city of Palermo in Sicily is using AI agents and digital twins from its partner K2K to improve public health and safety by helping city operators process and analyze footage from over 1,000 public video streams at a rate of nearly 50 billion pixels per second. Tapped by Sicily, K2K’s AI agents — built with the NVIDIA AI Blueprint for VSS and cloud solutions from Nebius — can interpret and act on video data to provide real-time alerts on public events. To accurately predict and resolve traffic incidents, K2K is generating synthetic data with Cosmos world foundation models to simulate different driving conditions. Then, K2K uses the data to fine-tune the VLMs powering the AI agents with NeMo Curator. These simulations enable K2K’s AI agents to create over 100,000 predictions per second. https://blogs.nvidia.com/wp-content/uploads/2025/06/02-K2K-Polermo-1600x900-1.mp4 Milestone Systems — in collaboration with NVIDIA and European cities — has launched Project Hafnia, an initiative to build an anonymized, ethically sourced video data platform for cities to develop and train AI models and applications while maintaining regulatory compliance. Using a combination of Cosmos and NeMo Curator on NVIDIA DGX Cloud and Nebius’ sovereign European cloud infrastructure, Project Hafnia scales up and enables European-compliant training and fine-tuning of video-centric AI models, including VLMs, for a variety of smart city use cases. The project’s initial rollout, taking place in Genoa, Italy, features one of the world’s first VLM models for intelligent transportation systems. https://blogs.nvidia.com/wp-content/uploads/2025/06/03-Milestone.mp4 Linker Vision was among the first to partner with NVIDIA to deploy smart city digital twins and AI agents for Kaohsiung City, Taiwan — powered by Omniverse, Cosmos and Metropolis. Linker Vision worked with AVES Reality, a digital twin company, to bring aerial imagery of cities and infrastructure into 3D geometry and ultimately into SimReady Omniverse digital twins. Linker Vision’s AI-powered application then built, trained and tested visual AI agents in a digital twin before deployment in the physical city. Now, it’s scaling to analyze 50,000 video streams in real time with generative AI to understand and narrate complex urban events like floods and traffic accidents. Linker Vision delivers timely insights to a dozen city departments through a single integrated AI-powered platform, breaking silos and reducing incident response times by up to 80%. https://blogs.nvidia.com/wp-content/uploads/2025/06/02-Linker-Vision-1280x680-1.mp4 Bentley Systems is joining the effort to bring physical AI to cities with the NVIDIA blueprint. Cesium, the open 3D geospatial platform, provides the foundation for visualizing, analyzing and managing infrastructure projects and ports digital twins to Omniverse. The company’s AI platform Blyncsy uses synthetic data generation and Metropolis to analyze road conditions and improve maintenance. Trimble, a global technology company that enables essential industries including construction, geospatial and transportation, is exploring ways to integrate components of the Omniverse blueprint into its reality capture workflows and Trimble Connect digital twin platform for surveying and mapping applications for smart cities. Younite AI, a developer of AI and 3D digital twin solutions, is adopting the blueprint to accelerate its development pipeline, enabling the company to quickly move from operational digital twins to large-scale urban simulations, improve synthetic data generation, integrate real-time IoT sensor data and deploy AI agents. Learn more about the NVIDIA Omniverse Blueprint for smart city AI by attending this GTC Paris session or watching the on-demand video after the event. Sign up to be notified when the blueprint is available. Watch the NVIDIA GTC Paris keynote from NVIDIA founder and CEO Jensen Huang at VivaTech, and explore GTC Paris sessions.

Which creative studio do you most admire right now, and why? This is a question we asked our community via an ongoing survey. With more than 700 responses so far, these are the top winners. What's striking about this year's results is the popularity of studios that aren't just producing beautiful work but are also actively shaping discussions and tackling the big challenges facing our industry and society. From the vibrant energy of Brazilian culture to the thoughtful minimalism of North European aesthetics, this list reflects a global creative landscape that's more connected, more conscious, and more collaborative than ever before. In short, these studios aren't just following trends; they're setting them. Read on to discover the 25 studios our community is most excited about right now. 1. Porto Rocha Porto Rocha is a New York-based agency that unites strategy and design to create work that evolves with the world we live in. It continues to dominate conversations in 2025, and it's easy to see why. Founders Felipe Rocha and Leo Porto have built something truly special—a studio that not only creates visually stunning work but also actively celebrates and amplifies diverse voices in design. For instance, their recent bold new identity for the São Paulo art museum MASP nods to Brazilian modernist design traditions while reimagining them for a contemporary audience. The rebrand draws heavily on the museum's iconic modernist architecture by Lina Bo Bardi, using a red-and-black colour palette and strong typography to reflect the building's striking visual presence. As we write this article, Porto Rocha just shared a new partnership with Google to reimagine the visual and verbal identity of its revolutionary Gemini AI model. We can't wait to see what they come up with! 2. DixonBaxi Simon Dixon and Aporva Baxi's London powerhouse specialises in creating brand strategies and design systems for "brave businesses" that want to challenge convention, including Hulu, Audible, and the Premier League. The studio had an exceptional start to 2025 by collaborating with Roblox on a brand new design system. At the heart of this major project is the Tilt: a 15-degree shift embedded in the logo that signals momentum, creativity, and anticipation. They've also continued to build their reputation as design thought leaders. At the OFFF Festival 2025, for instance, Simon and Aporva delivered a masterclass on running a successful brand design agency. Their core message centred on the importance of people and designing with intention, even in the face of global challenges. They also highlighted "Super Futures," their program that encourages employees to think freely and positively about brand challenges and audience desires, aiming to reclaim creative liberation. And if that wasn't enough, DixonBaxi has just launched its brand new website, one that's designed to be open in nature. As Simon explains: "It's not a shop window. It's a space to share the thinking and ethos that drive us. You'll find our work, but more importantly, what shapes it. No guff. Just us." 3. Mother Mother is a renowned independent creative agency founded in London and now boasts offices in New York and Los Angeles as well. They've spent 2025 continuing to push the boundaries of what advertising can achieve. And they've made an especially big splash with their latest instalment of KFC's 'Believe' campaign, featuring a surreal and humorous take on KFC's gravy. As we wrote at the time: "Its balance between theatrical grandeur and self-awareness makes the campaign uniquely engaging." 4. Studio Dumbar/DEPT® Based in Rotterdam, Studio Dumbar/DEPT® is widely recognised for its influential work in visual branding and identity, often incorporating creative coding and sound, for clients such as the Dutch Railways, Instagram, and the Van Gogh Museum. In 2025, we've especially admired their work for the Dutch football club Feyenoord, which brings the team under a single, cohesive vision that reflects its energy and prowess. This groundbreaking rebrand, unveiled at the start of May, moves away from nostalgia, instead emphasising the club's "measured ferocity, confidence, and ambition". 5. HONDO Based between Palma de Mallorca, Spain and London, HONDO specialises in branding, editorial, typography and product design. We're particular fans of their rebranding of metal furniture makers Castil, based around clean and versatile designs that highlight Castil's vibrant and customisable products. This new system features a bespoke monospaced typeface and logo design that evokes Castil's adaptability and the precision of its craftsmanship. 6. Smith & Diction Smith & Diction is a small but mighty design and copy studio founded by Mike and Chara Smith in Philadelphia. Born from dreams, late-night chats, and plenty of mistakes, the studio has grown into a creative force known for thoughtful, boundary-pushing branding. Starting out with Mike designing in a tiny apartment while Chara held down a day job, the pair learned the ropes the hard way—and now they're thriving. Recent highlights include their work with Gamma, an AI platform that lets you quickly get ideas out of your head and into a presentation deck or onto a website. Gamma wanted their brand update to feel "VERY fun and a little bit out there" with an AI-first approach. So Smith & Diction worked hard to "put weird to the test" while still developing responsible systems for logo, type and colour. The results, as ever, were exceptional. 7. DNCO DNCO is a London and New York-based creative studio specialising in place branding. They are best known for shaping identities, digital tools, and wayfinding for museums, cultural institutions, and entire neighbourhoods, with clients including the Design Museum, V&A and Transport for London. Recently, DNCO has been making headlines again with its ambitious brand refresh for Dumbo, a New York neighbourhood struggling with misperceptions due to mass tourism. The goal was to highlight Dumbo's unconventional spirit and demonstrate it as "a different side of New York." DNCO preserved the original diagonal logo and introduced a flexible "tape graphic" system, inspired by the neighbourhood's history of inventing the cardboard box, to reflect its ingenuity and reveal new perspectives. The colour palette and typography were chosen to embody Dumbo's industrial and gritty character. 8. Hey Studio Founded by Verònica Fuerte in Barcelona, Spain, Hey Studio is a small, all-female design agency celebrated for its striking use of geometry, bold colour, and playful yet refined visual language. With a focus on branding, illustration, editorial design, and typography, they combine joy with craft to explore issues with heart and purpose. A great example of their impact is their recent branding for Rainbow Wool. This German initiative is transforming wool from gay rams into fashion products to support the LGBT community. As is typical for Hey Studio, the project's identity is vibrant and joyful, utilising bright, curved shapes that will put a smile on everyone's face. 9. Koto Koto is a London-based global branding and digital studio known for co-creation, strategic thinking, expressive design systems, and enduring partnerships. They're well-known in the industry for bringing warmth, optimism and clarity to complex brand challenges. Over the past 18 months, they've undertaken a significant project to refresh Amazon's global brand identity. This extensive undertaking has involved redesigning Amazon's master brand and over 50 of its sub-brands across 15 global markets. Koto's approach, described as "radical coherence", aims to refine and modernize Amazon's most recognizable elements rather than drastically changing them. You can read more about the project here. 10. Robot Food Robot Food is a Leeds-based, brand-first creative studio recognised for its strategic and holistic approach. They're past masters at melding creative ideas with commercial rigour across packaging, brand strategy and campaign design. Recent Robot Food projects have included a bold rebrand for Hip Pop, a soft drinks company specializing in kombucha and alternative sodas. Their goal was to elevate Hip Pop from an indie challenger to a mainstream category leader, moving away from typical health drink aesthetics. The results are visually striking, with black backgrounds prominently featured (a rarity in the health drink aisle), punctuated by vibrant fruit illustrations and flavour-coded colours. Read more about the project here. 11. Saffron Brand Consultants Saffron is an independent global consultancy with offices in London, Madrid, Vienna and Istanbul. With deep expertise in naming, strategy, identity, and design systems, they work with leading public and private-sector clients to develop confident, culturally intelligent brands. One 2025 highlight so far has been their work for Saudi National Bank (SNB) to create NEO, a groundbreaking digital lifestyle bank in Saudi Arabia. Saffron integrated cultural and design trends, including Saudi neo-futurism, for its sonic identity to create a product that supports both individual and community connections. The design system strikes a balance between modern Saudi aesthetics and the practical demands of a fast-paced digital product, ensuring a consistent brand reflection across all interactions. 12. Alright Studio Alright Studio is a full-service strategy, creative, production and technology agency based in Brooklyn, New York. It prides itself on a "no house style" approach for clients, including A24, Meta Platforms, and Post Malone. One of the most exciting of their recent projects has been Offball, a digital-first sports news platform that aims to provide more nuanced, positive sports storytelling. Alright Studio designed a clean, intuitive, editorial-style platform featuring a masthead-like logotype and universal sports iconography, creating a calmer user experience aligned with OffBall's positive content. 13. Wolff Olins Wolff Olins is a global brand consultancy with four main offices: London, New York, San Francisco, and Los Angeles. Known for their courageous, culturally relevant branding and forward-thinking strategy, they collaborate with large corporations and trailblazing organisations to create bold, authentic brand identities that resonate emotionally. A particular highlight of 2025 so far has been their collaboration with Leo Burnett to refresh Sandals Resorts' global brand with the "Made of Caribbean" campaign. This strategic move positions Sandals not merely as a luxury resort but as a cultural ambassador for the Caribbean. Wolff Olins developed a new visual identity called "Natural Vibrancy," integrating local influences with modern design to reflect a genuine connection to the islands' culture. This rebrand speaks to a growing traveller demand for authenticity and meaningful experiences, allowing Sandals to define itself as an extension of the Caribbean itself. 14. COLLINS Founded by Brian Collins, COLLINS is an independent branding and design consultancy based in the US, celebrated for its playful visual language, expressive storytelling and culturally rich identity systems. In the last few months, we've loved the new branding they designed for Barcelona's 25th Offf Festival, which departs from its usual consistent wordmark. The updated identity is inspired by the festival's role within the international creative community, and is rooted in the concept of 'Centre Offf Gravity'. This concept is visually expressed through the festival's name, which appears to exert a gravitational pull on the text boxes, causing them to "stick" to it. Additionally, the 'f's in the wordmark are merged into a continuous line reminiscent of a magnet, with the motion graphics further emphasising the gravitational pull as the name floats and other elements follow. 15. Studio Spass Studio Spass is a creative studio based in Rotterdam, the Netherlands, focused on vibrant and dynamic identity systems that reflect the diverse and multifaceted nature of cultural institutions. One of their recent landmark projects was Bigger, a large-scale typographic installation created for the Shenzhen Art Book Fair. Inspired by tear-off calendars and the physical act of reading, Studio Spass used 264 A4 books, with each page displaying abstract details, to create an evolving grid of colour and type. Visitors were invited to interact with the installation by flipping pages, constantly revealing new layers of design and a hidden message: "Enjoy books!" 16. Applied Design Works Applied Design Works is a New York studio that specialises in reshaping businesses through branding and design. They provide expertise in design, strategy, and implementation, with a focus on building long-term, collaborative relationships with their clients. We were thrilled by their recent work for Grand Central Madison (the station that connects Long Island to Grand Central Terminal), where they were instrumental in ushering in a new era for the transportation hub. Applied Design sought to create a commuter experience that imbued the spirit of New York, showcasing its diversity of thought, voice, and scale that befits one of the greatest cities in the world and one of the greatest structures in it. 17. The Chase The Chase Creative Consultants is a Manchester-based independent creative consultancy with over 35 years of experience, known for blending humour, purpose, and strong branding to rejuvenate popular consumer campaigns. "We're not designers, writers, advertisers or brand strategists," they say, "but all of these and more. An ideas-based creative studio." Recently, they were tasked with shaping the identity of York Central, a major urban regeneration project set to become a new city quarter for York. The Chase developed the identity based on extensive public engagement, listening to residents of all ages about their perceptions of the city and their hopes for the new area. The resulting brand identity uses linear forms that subtly reference York's famous railway hub, symbolising the long-standing connections the city has fostered. 18. A Practice for Everyday Life Based in London and founded by Kirsty Carter and Emma Thomas, A Practice for Everyday Life built a reputation as a sought-after collaborator with like-minded companies, galleries, institutions and individuals. Not to mention a conceptual rigour that ensures each design is meaningful and original. Recently, they've been working on the visual identity for Muzej Lah, a new international museum for contemporary art in Bled, Slovenia opening in 2026. This centres around a custom typeface inspired by the slanted geometry and square detailing of its concrete roof tiles. It also draws from European modernist typography and the experimental lettering of Jože Plečnik, one of Slovenia's most influential architects.⁠ A Practice for Everyday Life. Photo: Carol Sachs Alexey Brodovitch: Astonish Me publication design by A Practice for Everyday Life, 2024. Photo: Ed Park La Biennale di Venezia identity by A Practice for Everyday Life, 2022. Photo: Thomas Adank CAM – Centro de Arte Moderna Gulbenkian identity by A Practice for Everyday Life, 2024. Photo: Sanda Vučković 19. Studio Nari Studio Nari is a London-based creative and branding agency partnering with clients around the world to build "brands that truly connect with people". NARI stands, by the way, for Not Always Right Ideas. As they put it, "It's a name that might sound odd for a branding agency, but it reflects everything we believe." One landmark project this year has been a comprehensive rebrand for the electronic music festival Field Day. Studio Nari created a dynamic and evolving identity that reflects the festival's growth and its connection to the electronic music scene and community. The core idea behind the rebrand is a "reactive future", allowing the brand to adapt and grow with the festival and current trends while maintaining a strong foundation. A new, steadfast wordmark is at its centre, while a new marque has been introduced for the first time. 20. Beetroot Design Group Beetroot is a 25‑strong creative studio celebrated for its bold identities and storytelling-led approach. Based in Thessaloniki, Greece, their work spans visual identity, print, digital and motion, and has earned international recognition, including Red Dot Awards. Recently, they also won a Wood Pencil at the D&AD Awards 2025 for a series of posters created to promote live jazz music events. The creative idea behind all three designs stems from improvisation as a key feature of jazz. Each poster communicates the artist's name and other relevant information through a typographical "improvisation". 21. Kind Studio Kind Studio is an independent creative agency based in London that specialises in branding and digital design, as well as offering services in animation, creative and art direction, and print design. Their goal is to collaborate closely with clients to create impactful and visually appealing designs. One recent project that piqued our interest was a bilingual, editorially-driven digital platform for FC Como Women, a professional Italian football club. To reflect the club's ambition of promoting gender equality and driving positive social change within football, the new website employs bold typography, strong imagery, and an empowering tone of voice to inspire and disseminate its message. 22. Slug Global Slug Global is a creative agency and art collective founded by artist and musician Bosco (Brittany Bosco). Focused on creating immersive experiences "for both IRL and URL", their goal is to work with artists and brands to establish a sustainable media platform that embodies the values of young millennials, Gen Z and Gen Alpha. One of Slug Global's recent projects involved a collaboration with SheaMoisture and xoNecole for a three-part series called The Root of It. This series celebrates black beauty and hair, highlighting its significance as a connection to ancestry, tradition, blueprint and culture for black women. 23. Little Troop New York studio Little Troop crafts expressive and intimate branding for lifestyle, fashion, and cultural clients. Led by creative directors Noemie Le Coz and Jeremy Elliot, they're known for their playful and often "kid-like" approach to design, drawing inspiration from their own experiences as 90s kids. One of their recent and highly acclaimed projects is the visual identity for MoMA's first-ever family festival, Another World. Little Troop was tasked with developing a comprehensive visual identity that would extend from small items, such as café placemats, to large billboards. Their designs were deliberately a little "dream-like" and relied purely on illustration to sell the festival without needing photography. Little Troop also carefully selected seven colours from MoMA's existing brand guidelines to strike a balance between timelessness, gender neutrality, and fun. 24. Morcos Key Morcos Key is a Brooklyn-based design studio co-founded by Jon Key and Wael Morcos. Collaborating with a diverse range of clients, including arts and cultural institutions, non-profits and commercial enterprises, they're known for translating clients' stories into impactful visual systems through thoughtful conversation and formal expression. One notable project is their visual identity work for Hammer & Hope, a magazine that focuses on politics and culture within the black radical tradition. For this project, Morcos Key developed not only the visual identity but also a custom all-caps typeface to reflect the publication's mission and content. 25. Thirst Thirst, also known as Thirst Craft, is an award-winning strategic drinks packaging design agency based in Glasgow, Scotland, with additional hubs in London and New York. Founded in 2015 by Matthew Stephen Burns and Christopher John Black, the company specializes in building creatively distinctive and commercially effective brands for the beverage industry. To see what they're capable of, check out their work for SKYY Vodka. The new global visual identity system, called Audacious Glamour', aims to unify SKYY under a singular, powerful idea. The visual identity benefits from bolder framing, patterns, and a flavour-forward colour palette to highlight each product's "juicy attitude", while the photography style employs macro shots and liquid highlights to convey a premium feel.

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News Science & Society A common parenting practice may be hindering teen development Teens need independence on vacation, but many don't get it Parents are reluctant to let teens go off alone during vacation, according to a new poll. But experts say teens need independence. Cavan Images/Getty Images By Sujata Gupta 2 hours ago Vacation season is upon us. But that doesn’t necessarily translate to teens roaming free. A new poll finds that less than half of U.S. parents feel comfortable leaving their teenager alone in a hotel room while they grab breakfast. Fewer than a third would let their teen walk alone to a coffee shop. And only 1 in 5 would be okay with their teen wandering solo around an amusement park. Those results, released June 16, are troubling, says Sarah Clark, a public health expert and codirector of the C.S. Mott Children’s Hospital National Poll on Children’s Health, which conducted the survey. Teenagers, she says, need the freedom to develop the confidence that they can navigate the world on their own. Sign up for our newsletter We summarize the week's scientific breakthroughs every Thursday.

Modern healthcare innovations span AI, devices, software, images, and regulatory frameworks, all requiring stringent coordination. Generative AI arguably has the strongest transformative potential in healthcare technology programmes, with it already being applied across various domains, such as R&D, commercial operations, and supply chain management.Traditional models for medical appointments, like face-to-face appointments, and paper-based processes may not be sufficient to meet the fast-paced, data-driven medical landscape of today. Therefore, healthcare professionals and patients are seeking more convenient and efficient ways to access and share information, meeting the complex standards of modern medical science. According to McKinsey, Medtech companies are at the forefront of healthcare innovation, estimating they could capture between $14 billion and $55 billion annually in productivity gains. Through GenAI adoption, an additional $50 billion plus in revenue is estimated from products and service innovations. A McKinsey 2024 survey revealed around two thirds of Medtech executives have already implemented Gen AI, with approximately 20% scaling their solutions up and reporting substantial benefits to productivity.  While advanced technology implementation is growing across the medical industry, challenges persist. Organisations face hurdles like data integration issues, decentralised strategies, and skill gaps. Together, these highlight a need for a more streamlined approach to Gen AI deployment. Of all the Medtech domains, R&D is leading the way in Gen AI adoption. Being the most comfortable with new technologies, R&D departments use Gen AI tools to streamline work processes, such as summarising research papers or scientific articles, highlighting a grassroots adoption trend. Individual researchers are using AI to enhance productivity, even when no formal company-wide strategies are in place.While AI tools automate and accelerate R&D tasks, human review is still required to ensure final submissions are correct and satisfactory. Gen AI is proving to reduce time spent on administrative tasks for teams and improve research accuracy and depth, with some companies experiencing 20% to 30% gains in research productivity. KPIs for success in healthcare product programmesMeasuring business performance is essential in the healthcare sector. The number one goal is, of course, to deliver high-quality care, yet simultaneously maintain efficient operations. By measuring and analysing KPIs, healthcare providers are in a better position to improve patient outcomes through their data-based considerations. KPIs can also improve resource allocation, and encourage continuous improvement in all areas of care. In terms of healthcare product programmes, these structured initiatives prioritise the development, delivery, and continual optimisation of medical products. But to be a success, they require cross-functional coordination of clinical, technical, regulatory, and business teams. Time to market is critical, ensuring a product moves from the concept stage to launch as quickly as possible.Of particular note is the emphasis needing to be placed on labelling and documentation. McKinsey notes that AI-assisted labelling has resulted in a 20%-30% improvement in operational efficiency. Resource utilisation rates are also important, showing how efficiently time, budget, and/or headcount are used during the developmental stage of products. In the healthcare sector, KPIs ought to focus on several factors, including operational efficiency, patient outcomes, financial health of the business, and patient satisfaction. To achieve a comprehensive view of performance, these can be categorised into financial, operational, clinical quality, and patient experience.Bridging user experience with technical precision – design awardsInnovation is no longer solely judged by technical performance with user experience (UX) being equally important. Some of the latest innovations in healthcare are recognised at the UX Design Awards, products that exemplify the best in user experience as well as technical precision. Top products prioritise the needs and experiences of both patients and healthcare professionals, also ensuring each product meets the rigorous clinical and regulatory standards of the sector. One example is the CIARTIC Move by Siemens Healthineers, a self-driving 3D C-arm imaging system that lets surgeons operate, controlling the device wirelessly in a sterile field. Computer hardware company ASUS has also received accolades for its HealthConnect App and VivoWatch Series, showcasing the fusion of AIoT-driven smart healthcare solutions with user-friendly interfaces – sometimes in what are essentially consumer devices. This demonstrates how technical innovation is being made accessible and becoming increasingly intuitive as patients gain technical fluency.  Navigating regulatory and product development pathways simultaneously The establishing of clinical and regulatory paths is important, as this enables healthcare teams to feed a twin stream of findings back into development. Gen AI adoption has become a transformative approach, automating the production and refining of complex documents, mixed data sets, and structured and unstructured data. By integrating regulatory considerations early and adopting technologies like Gen AI as part of agile practices, healthcare product programmes help teams navigate a regulatory landscape that can often shift. Baking a regulatory mindset into a team early helps ensure compliance and continued innovation. (Image source: “IBM Achieves New Deep Learning Breakthrough” by IBM Research is licensed under CC BY-ND 2.0.)Want to learn more about AI and big data from industry leaders? Check out AI & Big Data Expo taking place in Amsterdam, California, and London. The comprehensive event is co-located with other leading events including Intelligent Automation Conference, BlockX, Digital Transformation Week, and Cyber Security & Cloud Expo.Explore other upcoming enterprise technology events and webinars powered by TechForge here.

Growing up steeped in the aggressive gender stereotypes of the 1990s was a real trip for most queer millennials, but I think gamers had it especially hard. Almost all video game characters were hypermasculine military men, unrealistically curvaceous fantasy women wearing barely enough armour to cover their nipples, or cartoon animals. Most of these characters catered exclusively to straight teenage boys (or, I guess, furries); overt queer representation in games was pretty much nonexistent until the mid 2010s. Before that, we had to take what we could get. And what I had was Link, from The Legend of Zelda.Link. Composite: Guardian Design; Zuma Press/AlamyLink is a boy, but he didn’t really look like one. He wore a green tunic and a serious expression under a mop of blond hair. He is the adventurous, mostly silent hero of the Zelda games, unassuming and often vulnerable, but also resourceful, daring and handy with a sword. In most of the early Zelda games, he is a kid of about 10, but even when he grew into a teenager in 1998’s Ocarina of Time on the Nintendo 64, he didn’t become a furious lump of muscle. He stayed androgynous, in his tunic and tights. As a kid, I would dress up like him for Halloween, carefully centre-parting my blond fringe. Link may officially be a boy, but for me he has always been a non-binary icon.As time has gone on and game graphics have evolved, Link has stayed somewhat gender-ambiguous. Gay guys and gender-fluid types alike appreciate his ageless twink energy. And given the total lack of thought that most game developers gave to players who weren’t straight and male, I felt vindicated when I found out that this was intentional. In 2016, the Zelda series’ producer Eiji Aonuma told Time magazine that the development team had experimented a little with Link’s gender presentation over the years, but that he felt that the character’s androgyny was part of who he was.“[Even] back during the Ocarina of Time days, I wanted Link to be gender neutral,” he said. “I wanted the player to think: ‘Maybe Link is a boy or a girl.’ If you saw Link as a guy, he’d have more of a feminine touch. Or vice versa … I’ve always thought that for either female or male players, I wanted them to be able to relate to Link.”As it turns out, Link appeals perhaps most of all to those of us somewhere in between. In 2023, the tech blog io9 spoke to many transgender and non-binary people who saw something of themselves in Link: he has acquired a reputation as an egg-cracker, a fictional character who prompts a realisation about your own gender identity.Despite their outdated reputation as a pursuit for adolescent boys, video games have always been playgrounds for gender experimentation and expression. There are legions of trans, non-binary and gender non-conforming people who first started exploring their identity with customisable game characters in World of Warcraft, or gender-swapping themselves in The Sims – the digital equivalent of dressing up. Video games are the closest you can come to stepping into a new body for a bit and seeing how it feels.It is no surprise to me that a lot of queer people are drawn to video games. A 2024 survey by GLAAD found that 17% of gamers identify as LGBTQ+, a huge number compared with the general population. It may be because people who play games skew younger – 40 and below – but I also think it’s because gender is all about play. What fun it is to mess with the rules, subvert people’s expectations and create your own character. It is as empowering as any world-saving quest.

Solar air heating is among the most cost-effective applications of solar thermal energy. These systems are used for space heating and preheating fresh air for ventilation, typically using glazed or unglazed perforated solar collectors. The collectors draw in outside air, heat it using solar energy, and then distribute it through ductwork to meet building heating and fresh air needs. In 2024, Canada led again the world for the at least seventh year in a row in solar air heating adoption. The four key suppliers – Trigo Energies, Conserval Engineering, Matrix Energy, and Aéronergie – reported a combined 26,203 m2 (282,046 ft2) of collector area sold last year. Several of these providers are optimistic about the growing demand. These findings come from the newly released Canadian Solar Thermal Market Survey 2024, commissioned by Natural Resources Canada. Canada is the global leader in solar air heating. The market is driven by a strong network of experienced system suppliers, optimized technologies, and a few small favorable funding programs – especially in the province of Quebec. Architects and developers are increasingly turning to these cost-effective, façade-integrated systems as a practical solution for reducing onsite natural gas consumption. Despite its cold climate, Canada benefits from strong solar potential with solar irradiance in many areas rivaling or even exceeding that of parts of Europe. This makes solar air heating not only viable, but especially valuable in buildings with high fresh air requirements including schools, hospitals, and offices. The projects highlighted in this article showcase the versatility and relevance of solar air heating across a range of building types, from new constructions to retrofits. Figure 1: Preheating air for industrial buildings: 2,750 m2 (29,600 ft2) of Calento SL solar air collectors cover all south-west and south-east facing facades of the FAB3R factory in Trois-Rivières, Quebec. The hourly unitary flow rate is set at 41 m3/m2 or 2.23 cfm/ft2 of collector area, at the lower range because only a limited number of intake fans was close enough to the solar façade to avoid long ventilation ductwork. Photo: Trigo Energies Quebec’s solar air heating boom: the Trigo Energies story Trigo Energies makes almost 90 per cent of its sales in Quebec. “We profit from great subsidies, as solar air systems are supported by several organizations in our province – the electricity utility Hydro Quebec, the gas utility Energir and the Ministry of Natural Resources,” explained Christian Vachon, Vice President Technologies and R&D at Trigo Energies. Trigo Energies currently has nine employees directly involved in planning, engineering and installing solar air heating systems and teams up with several partner contractors to install mostly retrofit projects. “A high degree of engineering is required to fit a solar heating system into an existing factory,” emphasized Vachon. “Knowledge about HVAC engineering is as important as experience with solar thermal and architecture.” One recent Trigo installation is at the FAB3R factory in Trois-Rivières. FAB3R specializes in manufacturing, repairing, and refurbishing large industrial equipment. Its air heating and ventilation system needed urgent renovation because of leakages and discomfort for the workers. “Due to many positive references he had from industries in the area, the owner of FAB3R contacted us,” explained Vachon. “The existence of subsidies helped the client to go for a retrofitting project including solar façade at once instead of fixing the problems one bit at a time.” Approximately 50 per cent of the investment costs for both the solar air heating and the renovation of the indoor ventilation system were covered by grants and subsidies. FAB3R profited from an Energir grant targeted at solar preheating, plus an investment subsidy from the Government of Quebec’s EcoPerformance Programme.   Blue or black, but always efficient: the advanced absorber coating In October 2024, the majority of the new 2,750 m² (29,600 ft2) solar façade at FAB3R began operation (see figure 1). According to Vachon, the system is expected to cover approximately 13 per cent of the factory’s annual heating demand, which is otherwise met by natural gas. Trigo Energies equipped the façade with its high-performance Calento SL collectors, featuring a notable innovation: a selective, low-emissivity coating that withstands outdoor conditions. Introduced by Trigo in 2019 and manufactured by Almeco Group from Italy, this advanced coating is engineered to maximize solar absorption while minimizing heat loss via infrared emission, enhancing the overall efficiency of the system. The high efficiency coating is now standard in Trigo’s air heating systems. According to the manufacturer, the improved collector design shows a 25 to 35 per cent increase in yield over the former generation of solar air collectors with black paint. Testing conducted at Queen’s University confirms this performance advantage. Researchers measured the performance of transpired solar air collectors both with and without a selective coating, mounted side-by-side on a south-facing vertical wall. The results showed that the collectors with the selective coating produced 1.3 to 1.5 times more energy than those without it. In 2024, the monitoring results were jointly published by Queen’s University and Canmat Energy in a paper titled Performance Comparison of a Transpired Air Solar Collector with Low-E Surface Coating. Selective coating, also used on other solar thermal technologies including glazed flat plate or vacuum tube collectors, has a distinctive blue color. Trigo customers can, however, choose between blue and black finishes. “By going from the normal blue selective coating to black selective coating, which Almeco is specially producing for Trigo, we lose about 1 per cent in solar efficiency,” explained Vachon. Figure 2: Building-integrated solar air heating façade with MatrixAir collectors at the firehall building in Mont Saint Hilaire, south of Montreal. The 190 m2 (2,045 ft2) south-facing wall preheats the fresh air, reducing natural gas consumption by 18 per cent compared to the conventional make-up system. Architect: Leclerc Architecture. Photo: Matrix Energy Matrix Energy: collaborating with architects and engineers in new builds The key target customer group of Matrix Energy are public buildings – mainly new construction. “Since the pandemic, schools are more conscious about fresh air, and solar preheating of the incoming fresh air has a positive impact over the entire school year,” noted Brian Wilkinson, President of Matrix Energy. Matrix Energy supplies systems across Canada, working with local partners to source and process the metal sheets used in their MatrixAir collectors. These metal sheets are perforated and then formed into architectural cladding profiles. The company exclusively offers unglazed, single-stage collectors, citing fire safety concerns associated with polymeric covers. “We have strong relationships with many architects and engineers who appreciate the simplicity and cost-effectiveness of transpired solar air heating systems,” said President Brian Wilkinson, describing the company’s sales approach. “Matrix handles system design and supplies the necessary materials, while installation is carried out by specialized cladding and HVAC contractors overseen by on-site architects and engineers,” Wilkinson added. Finding the right flow: the importance of unitary airflow rates One of the key design factors in solar air heating systems is the amount of air that passes through each square meter of the perforated metal absorber,  known as the unitary airflow rate. The principle is straightforward: higher airflow rates deliver more total heat to the building, while lower flow rates result in higher outlet air temperatures. Striking the right balance between air volume and temperature gain is essential for efficient system performance. For unglazed collectors mounted on building façades, typical hourly flow rates should range between 120 and 170 (m3/h/m2), or 6.6 to 9.4 cfm/ft2. However, Wilkinson suggests that an hourly airflow rate of around 130 m³/h/m² (7.2 cfm/ft2) offers the best cost-benefit balance for building owners. If the airflow is lower, the system will deliver higher air temperatures, but it would then need a much larger collector area to achieve the same air volume and optimum performance, he explained. It’s also crucial for the flow rate to overcome external wind pressure. As wind passes over the absorber, air flow through the collector’s perforations is reduced, resulting in heat losses to the environment. This effect becomes even more pronounced in taller buildings, where wind exposure is greater. To ensure the system performs well even in these conditions, higher hourly airflow rates typically between 150 and 170 m³/m² (8.3 to 9.4 cfm/ft2)  are necessary. Figure 3: One of three apartment blocks of the Maple House in Toronto’s Canary District. Around 160 m2 (1,722 ft2) of SolarWall collectors clad the two-storey mechanical penthouse on the roof. The rental flats have been occupied since the beginning of 2024. Collaborators: architects-Alliance, Claude Cormier et Associés, Thornton Tomasetti, RWDI, Cole Engineering, DesignAgency, MVShore, BA Group, EllisDon. Photo: Conserval Engineering Solar air heating systems support LEED-certified building designs Solar air collectors are also well-suited for use in multi-unit residential buildings. A prime example is the Canary District in Toronto (see Figure 3), where single-stage SolarWall collectors from Conserval Engineering have been installed on several MURBs to clad the mechanical penthouses. “These penthouses are an ideal location for our air heating collectors, as they contain the make-up air units that supply corridor ventilation throughout the building,” explained Victoria Hollick, Vice President of Conserval Engineering. “The walls are typically finished with metal façades, which can be seamlessly replaced with a SolarWall system – maintaining the architectural language without disruption.” To date, nine solar air heating systems have been commissioned in the Canary District, covering a total collector area of over 1,000 m² (10,764 ft2). “Our customers have many motivations to integrate SolarWall technology into their new construction or retrofit projects, either carbon reduction, ESG, or green building certification targets,” explained Hollick. The use of solar air collectors in the Canary District was proposed by architects from the Danish firm Cobe. The black-colored SolarWall system preheats incoming air before it is distributed to the building’s corridors and common areas, reducing reliance on natural gas heating and supporting the pursuit of LEED Gold certification. Hollick estimates the amount of gas saved between 10 to 20 per cent of the total heating load for the corridor ventilation of the multi-unit residential buildings. Additional energy-saving strategies include a 50/50 window-to-wall ratio with high-performance glazing, green roofs, high-efficiency mechanical systems, LED lighting, and Energy Star-certified appliances. The ideal orientation for a SolarWall system is due south. However, the systems can be built at any orientation up to 90° east and west, explained Hollick. A SolarWall at 90° would have approximately 60 per cent of the energy production of the same area facing south.Canada’s expertise in solar air heating continues to set a global benchmark, driven by supporting R&D, by innovative technologies, strategic partnerships, and a growing portfolio of high-impact projects. With strong policy support and proven performance, solar air heating is poised to play a key role in the country’s energy-efficient building future. Figure 4: Claude-Bechard Building in Quebec is a showcase project for sustainable architecture with a 72 m2 (775 ft2) Lubi solar air heating wall from Aéronergie. It serves as a regional administrative center. Architectural firm: Goulet et Lebel Architectes. Photo: Art Massif Bärbel Epp is the general manager of the German Agency solrico, whose focus is on solar market research and international communication. The post Op-ed: Canada’s leadership in solar air heating—Innovation and flagship projects appeared first on Canadian Architect.

Insights 4 Key Objectives for Leadership Development that Support Transformation Organizational and industry-wide transformation initiatives pose difficulties for Learning and Development in readying leaders to ensure the success of these changes. Our 2024 global survey, which included 1,134 L&D and HR professionals and functional heads across 15 countries, pinpointed four main goals in leadership development that aid in facilitating transformation. To find out more, download the infographic. View the infographic Leadership DevelopmentTransformation Share this resource Share on LinkedIn Share on Facebook Share on X Share on WhatsApp Email this Page Connect with us Change isn’t easy, but we can help. Together we’ll create informed and inspired leaders ready to shape the future of your business. Contact us Latest Insights Strategic Alignment Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units Harvard Business Publishing announced the launch of Harvard Business Impact, a new brand identity for… Read more: Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units News Digital Intelligence Succeeding in the Digital Age: Why AI-First Leadership Is Essential While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and… Read more: Succeeding in the Digital Age: Why AI-First Leadership Is Essential Perspectives Digital Intelligence 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation AI has become a defining force in reshaping industries and determining competitive advantage. To support… Read more: 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation Infographic Talent Management Leadership Fitness Behavioral Assessment In our study, “Leadership Fitness: Developing the Capacity to See and Lead Differently Amid Complexity,”… Read more: Leadership Fitness Behavioral Assessment Job Aid The post 4 Key Objectives for Leadership Development that Support Transformation appeared first on Harvard Business Impact.

Businesses in highly-regulated industries like financial services, insurance, pharmaceuticals, and health care are increasingly turning to AI-powered tools to streamline complex and sensitive tasks. Conversational AI-driven interfaces are helping hospitals to track the location and delivery of a patient’s time-sensitive cancer drugs. Generative AI chatbots are helping insurance customers answer questions and solve problems. And agentic AI systems are emerging to support financial services customers in making complex financial planning and budgeting decisions.  “Over the last 15 years of digital transformation, the orientation in many regulated sectors has been to look at digital technologies as a place to provide more cost-effective and meaningful customer experience and divert customers from higher-cost, more complex channels of service,” says Peter Neufeld, who leads the EY Studio+ digital and customer experience capability at EY for financial services companies in the UK, Europe, the Middle East, and Africa.  DOWNLOAD THE FULL REPORT For many, the “last mile” of the end-to-end customer journey can present a challenge. Services at this stage often involve much more complex interactions than the usual app or self-service portal can handle. This could be dealing with a challenging health diagnosis, addressing late mortgage payments, applying for government benefits, or understanding the lifestyle you can afford in retirement. “When we get into these more complex service needs, there’s a real bias toward human interaction,” says Neufeld. “We want to speak to someone, we want to understand whether we’re making a good decision, or we might want alternative views and perspectives.”  But these high-cost, high-touch interactions can be less than satisfying for customers when handled through a call center if, for example, technical systems are outdated or data sources are disconnected. Those kinds of problems ultimately lead to the possibility of complaints and lost business. Good customer experience is critical for the bottom line. Customers are 3.8 times more likely to make return purchases after a successful experience than after an unsuccessful one, according to Qualtrics. Intuitive AI-driven systems— supported by robust data infrastructure that can efficiently access and share information in real time— can boost the customer experience, even in complex or sensitive situations.  Download the full report. This content was produced by Insights, the custom content arm of MIT Technology Review. It was not written by MIT Technology Review’s editorial staff. This content was researched, designed, and written entirely by human writers, editors, analysts, and illustrators. This includes the writing of surveys and collection of data for surveys. AI tools that may have been used were limited to secondary production processes that passed thorough human review.

If you’ve ever flown through outer space, at least while watching a documentary or a science fiction film, you’ve seen how artists turn astronomical findings into stunning visuals. But in the process of visualizing data for their latest planetarium show, a production team at New York’s American Museum of Natural History made a surprising discovery of their own: a trillion-and-a-half mile long spiral of material drifting along the edge of our solar system. “So this is a really fun thing that happened,” says Jackie Faherty, the museum’s senior scientist. Last winter, Faherty and her colleagues were beneath the dome of the museum’s Hayden Planetarium, fine-tuning a scene that featured the Oort cloud, the big, thick bubble surrounding our Sun and planets that’s filled with ice and rock and other remnants from the solar system’s infancy. The Oort cloud begins far beyond Neptune, around one and a half light years from the Sun. It has never been directly observed; its existence is inferred from the behavior of long-period comets entering the inner solar system. The cloud is so expansive that the Voyager spacecraft, our most distant probes, would need another 250 years just to reach its inner boundary; to reach the other side, they would need about 30,000 years.  The 30-minute show, Encounters in the Milky Way, narrated by Pedro Pascal, guides audiences on a trip through the galaxy across billions of years. For a section about our nascent solar system, the writing team decided “there’s going to be a fly-by” of the Oort cloud, Faherty says. “But what does our Oort cloud look like?”  To find out, the museum consulted astronomers and turned to David Nesvorný, a scientist at the Southwest Research Institute in San Antonio. He provided his model of the millions of particles believed to make up the Oort cloud, based on extensive observational data. “Everybody said, go talk to Nesvorný. He’s got the best model,” says Faherty. And “everybody told us, ‘There’s structure in the model,’ so we were kind of set up to look for stuff,” she says.  The museum’s technical team began using Nesvorný’s model to simulate how the cloud evolved over time. Later, as the team projected versions of the fly-by scene into the dome, with the camera looking back at the Oort cloud, they saw a familiar shape, one that appears in galaxies, Saturn’s rings, and disks around young stars. “We’re flying away from the Oort cloud and out pops this spiral, a spiral shape to the outside of our solar system,” Faherty marveled. “A huge structure, millions and millions of particles.” She emailed Nesvorný to ask for “more particles,” with a render of the scene attached. “We noticed the spiral of course,” she wrote. “And then he writes me back: ‘what are you talking about, a spiral?’”  While fine-tuning a simulation of the Oort cloud, a vast expanse of ice material leftover from the birth of our Sun, the ‘Encounters in the Milky Way’ production team noticed a very clear shape: a structure made of billions of comets and shaped like a spiral-armed galaxy, seen here in a scene from the final Space Show (curving, dusty S-shape behind the Sun) [Image: © AMNH] More simulations ensued, this time on Pleiades, a powerful NASA supercomputer. In high-performance computer simulations spanning 4.6 billion years, starting from the Solar System’s earliest days, the researchers visualized how the initial icy and rocky ingredients of the Oort cloud began circling the Sun, in the elliptical orbits that are thought to give the cloud its rough disc shape. The simulations also incorporated the physics of the Sun’s gravitational pull, the influences from our Milky Way galaxy, and the movements of the comets themselves.  In each simulation, the spiral persisted. “No one has ever seen the Oort structure like that before,” says Faherty. Nesvorný “has a great quote about this: ‘The math was all there. We just needed the visuals.’”  An illustration of the Kuiper Belt and Oort Cloud in relation to our solar system. [Image: NASA] As the Oort cloud grew with the early solar system, Nesvorný and his colleagues hypothesize that the galactic tide, or the gravitational force from the Milky Way, disrupted the orbits of some comets. Although the Sun pulls these objects inward, the galaxy’s gravity appears to have twisted part of the Oort cloud outward, forming a spiral tilted roughly 30 degrees from the plane of the solar system. “As the galactic tide acts to decouple bodies from the scattered disk it creates a spiral structure in physical space that is roughly 15,000 astronomical units in length,” or around 1.4 trillion miles from one end to the other, the researchers write in a paper that was published in March in the Astrophysical Journal. “The spiral is long-lived and persists in the inner Oort Cloud to the present time.” “The physics makes sense,” says Faherty. “Scientists, we’re amazing at what we do, but it doesn’t mean we can see everything right away.” It helped that the team behind the space show was primed to look for something, says Carter Emmart, the museum’s director of astrovisualization and director of Encounters. Astronomers had described Nesvorný’s model as having “a structure,” which intrigued the team’s artists. “We were also looking for structure so that it wouldn’t just be sort of like a big blob,” he says. “Other models were also revealing this—but they just hadn’t been visualized.” The museum’s attempts to simulate nature date back to its first habitat dioramas in the early 1900s, which brought visitors to places that hadn’t yet been captured by color photos, TV, or the web. The planetarium, a night sky simulator for generations of would-be scientists and astronauts, got its start after financier Charles Hayden bought the museum its first Zeiss projector. The planetarium now boasts one of the world’s few Zeiss Mark IX systems. Still, these days the star projector is rarely used, Emmart says, now that fulldome laser projectors can turn the old static starfield into 3D video running at 60 frames per second. The Hayden boasts six custom-built Christie projectors, part of what the museum’s former president called “the most advanced planetarium ever attempted.”  In about 1.3 million years, the star system Gliese 710 is set to pass directly through our Oort Cloud, an event visualized in a dramatic scene in ‘Encounters in the Milky Way.’ During its flyby, our systems will swap icy comets, flinging some out on new paths. [Image: © AMNH] Emmart recalls how in 1998, when he and other museum leaders were imagining the future of space shows at the Hayden—now with the help of digital projectors and computer graphics—there were questions over how much space they could try to show. “We’re talking about these astronomical data sets we could plot to make the galaxy and the stars,” he says. “Of course, we knew that we would have this star projector, but we really wanted to emphasize astrophysics with this dome video system. I was drawing pictures of this just to get our heads around it and noting the tip of the solar system to the Milky Way is about 60 degrees. And I said, what are we gonna do when we get outside the Milky Way?’ “Then [planetarium’s director] Neil Degrasse Tyson “goes, ‘whoa, whoa, whoa, Carter, we have enough to do. And just plotting the Milky Way, that’s hard enough.’ And I said, ‘well, when we exit the Milky Way and we don’t see any other galaxies, that’s sort of like astronomy in 1920—we thought maybe the entire universe is just a Milky Way.'” “And that kind of led to a chaotic discussion about, well, what other data sets are there for this?” Emmart adds. The museum worked with astronomer Brent Tully, who had mapped 3500 galaxies beyond the Milky Way, in collaboration with the National Center for Super Computing Applications. “That was it,” he says, “and that seemed fantastical.” By the time the first planetarium show opened at the museum’s new Rose Center for Earth and Space in 2000, Tully had broadened his survey “to an amazing” 30,000 galaxies. The Sloan Digital Sky Survey followed—it’s now at data release 18—with six million galaxies. To build the map of the universe that underlies Encounters, the team also relied on data from the European Space Agency’s space observatory, Gaia. Launched in 2013 and powered down in March of this year, Gaia brought an unprecedented precision to our astronomical map, plotting the distance between 1.7 billion stars. To visualize and render the simulated data, Jon Parker, the museum’s lead technical director, relied on Houdini, a 3D animation tool by Toronto-based SideFX. The goal is immersion, “whether it’s in front of the buffalo downstairs, and seeing what those herds were like before we decimated them, to coming in this room and being teleported to space, with an accurate foundation in the science,” Emmart says. “But the art is important, because the art is the way to the soul.”  The museum, he adds, is “a testament to wonder. And I think wonder is a gateway to inspiration, and inspiration is a gateway to motivation.” Three-D visuals aren’t just powerful tools for communicating science, but increasingly crucial for science itself. Software like OpenSpace, an open source simulation tool developed by the museum, along with the growing availability of high-performance computing, are making it easier to build highly detailed visuals of ever larger and more complex collections of data. “Anytime we look, literally, from a different angle at catalogs of astronomical positions, simulations, or exploring the phase space of a complex data set, there is great potential to discover something new,” says Brian R. Kent, an astronomer and director of science communications at National Radio Astronomy Observatory. “There is also a wealth of astronomics tatical data in archives that can be reanalyzed in new ways, leading to new discoveries.” As the instruments grow in size and sophistication, so does the data, and the challenge of understanding it. Like all scientists, astronomers are facing a deluge of data, ranging from gamma rays and X-rays to ultraviolet, optical, infrared, and radio bands. Our Oort cloud (center), a shell of icy bodies that surrounds the solar system and extends one-and-a-half light years in every direction, is shown in this scene from ‘Encounters in the Milky Way’ along with the Oort clouds of neighboring stars. The more massive the star, the larger its Oort cloud [Image: © AMNH ] “New facilities like the Next Generation Very Large Array here at NRAO or the Vera Rubin Observatory and LSST survey project will generate large volumes of data, so astronomers have to get creative with how to analyze it,” says Kent.  More data—and new instruments—will also be needed to prove the spiral itself is actually there: there’s still no known way to even observe the Oort cloud.  Instead, the paper notes, the structure will have to be measured from “detection of a large number of objects” in the radius of the inner Oort cloud or from “thermal emission from small particles in the Oort spiral.”  The Vera C. Rubin Observatory, a powerful, U.S.-funded telescope that recently began operation in Chile, could possibly observe individual icy bodies within the cloud. But researchers expect the telescope will likely discover only dozens of these objects, maybe hundreds, not enough to meaningfully visualize any shapes in the Oort cloud.  For us, here and now, the 1.4 trillion mile-long spiral will remain confined to the inside of a dark dome across the street from Central Park.