After three years of innovation, the new HONOR MAGIC mobile phone from HUAWEI was launched in China on Friday the 16th December, 2016, together with a totally new type of advanced intelligent user-centred operating system called MAGIC LIVE. The new platform is due for EU and US release in 2017.
Honor Magic AI Powered smartphone with Quad-HD display
MAGIC LIVE continuously learns about its user’s behaviour and automates tasks, so it can provide assistance in a more naturalistic and human way. The OS’ AI understands complex patterns in ‘micro and macro’ user contexts, integrating its data across phone features and boosting its own user insights with publicly available data from weather and flight schedules to events and venues, to name but a few.
The ‘magic’ is not just the predictive tech, but how it has been integrated across functionalities in the system. Most importantly, the intelligence is embedded in the handset. It only shares relevant information with its owner – the phone recognises its owner and keeps the data safe within the physical boundaries of the handset. FaceCode Intelligent Recognition protects your privacy as the phone authenticates your face when you pick it up!
The handset hardware is highly tactile and evocative. The design evokes the surface tension of water — it has an ultra slim metal frame that allows for a large three dimensionally arched screen, to fully immerse the user with the phone’s content. All connector interfaces (ear phone jack, USB-C and SIM) are carefully assigned to the metal block at the bottom of the phone.
Imaginary Life recently was invited up to the Artic circle by artist Laila Kolostyak to help organise a seminar and workshop for over 20 selected snow and ice professionals from Russia, Finland, Sweden and Norway. The seminar was funded by Kulturkontakt Nord and the Norwegian Barents Secretariat and aimed to explore how Snow and Ice professionals can raise the profile of their work, as well as collaborate and share knowledge across borders on how to drive successful projects of all scales; from installations in nature parks, to interior and architectural design, to urban planning and urban reclamation and festival planning.
Keynote speakers included leading professionals such as Timo Jokela from the University of Lapland, Rovaniemi, known decades of spectacular land art, Jens Toms Ivarsson, Design Director at the world-famous ICEHOTEL in Jukkasjärvi, Sweden and Ole Morten Rokvam, an artist and craftsman who has curated leading events with snow and ice in Norway for over a decade. In addition, the artists from Kirovsk and Murmansk were exceptionally inspiring, sharing their festival and community work and bringing a lot of love and live music.
We spoke with Jens Thoms Ivarsson:
We were discussing the ‘eternal ephemerality’ or ice. Is that something Design can learn from?
Absolutely. Imagine: the earth was created at some point, some billions of years ago. The water we are working with could have come from a comet- its ancient and essential stuff. Two different materials met and collided, basically stone and water. They became a frozen moment. Hot lava froze into stone, and water turned into ice. It’s this moment of change that artists and designers often explore in the materials and contexts they work with. Moments of change. Tipping points. How materials age next together. How they behave. It’s fundamental stuff, but ice also teaches us about the nature of continuous change. The seasons, nature’s needs, human needs in winter climates, and of course, climate change. These are new frontiers for design in general. We always think about the negative aspects of snow and ice, how to get rid of it, how to avoid it. We’ve hardly scratched the surface of how to use it as a material.
How long is something ephemeral?
It’s a good question. It all depends on the point of view, the objectives of a project. We follow the melting process of the ICEHOTEL too- it is so beautiful. We spend so long making details, crafting interiors and design elements –always knowing it will melt and return to the river again. And during the process, the sound changes in the building, the atmosphere is fantastic. It’s not sad- its liberating. The ice hotel doesn’t collapse, it opens up in the centre to reveal the sky and the surroundings of the place where it started. There is so much new knowledge to be gained about snow and ice.
But there is a high risk of making mistakes working with such a volatile material?
Yes – but the volatility also opens possibilities. Designers always ask “How do I avoid mistakes?” Ernst Billgren’s book ‘Vad är Konst 2′ (What is art 2) says that the short answer is to sit very still! As soon as humans do something there are mistakes, but mistakes also lead to discoveries. All our genetic development and success is built on learning from mistakes. When I work in stone or concrete and it is placed in city, there is a lot of pressure as the object will lasts for a lifetime. Working in snow and ice is very freeing in a way. You can be more brave and experimental. Less self conscious and more playful.
How do you work with seasons of water and light at the ice hotel in Jukkasjärvi?
You’d think it all happens in the winter as the focus is on ice art but we are moving to all year round. In the summer there is rafting, fishing and other nature activities and the phenomenon of the sun never setting at night- that is a very special experience to have. Also we are preparing for the water to freeze long before it does. It’s the pivotal moment for us, as we invite artists from all over the world. And those artists are not all traditional ice sculptors. We work with people from all background to explore what they can create with ice as a material.
We can also funnel water from the river, and blow it through snow canons to create a material we call “snice” –manufactured snow. We can throw snow onto moulds. Sometimes we use reinforcement to create very large structures. We are also learning more ever year about how to use ice reinforcement. The old way is to create giant moulds for architectural structures where the walls are built with plywood moulds and filled with snice, much like the process for creating concrete buildings. By exploring ice reinforcement we open new doors to resourceful innovation in architecture.
How many people are involved in constructing the ICEHOTEL in Jukkasjärvi every year?
At the ICEHOTEL we have a team of over 50 people who work on the structure alone. Then there is all the finishing work on interior design, lighting and so on. Tools and methods are developing all the time and its important to share this knowledge.
Focus on working together is important – the joy comes when it is finished! One of the hardest jobs is being on roof in minus 35 connecting wires without gloves. It’s the engineers, technicians and ice workers we really have to thank! They make these ideas possible.
What other type of work do you do there?
One example is that we send ice and snice all over world- and send our engineers to make large events possible. For examples we created a catwalk for Chanel at the Grand Palais in Paris. We needed to install a cooling system for the 40 m long 8 m high catwalk. Karl Lagerfeld ordered it. We had to tell him not to wear boots not to get wet. He was great fun to work for. We asked him to lick the ice and he obliged!
One of my favourite projects that you showed at the seminar was the roundabout you made in a lake.
Yes, we cut out a huge disc in the river and added a boat engine. It was a simple intervention to see if the disc would rotate – and it did! It rotated at a perfectly even speed. It worked out better than we anticipated it would. Nature is like that.
Visualizing complexity is a design approach that has always been used to handle multi-layered facts and perspectives. By using creative methods to visualize dry data, diverse people in an organization can be engaged in critical decision-making, from the outset of a project through to continuous improvement out on the marketplace. Turning dry facts into deep insights enables rapid and relevant decision-making. And it is only the people within a company who can know what relevant steps are needed for innovation. There is no one-size-fits-all approach. Doing the right things based on the wrong assumptions is not innovation.
Maps have to be ‘designed’ correctly for the task at hand. Take the world map as we know it today. The Gerardus Mercator’s projection was first published in 1569, and became widespread because it depicts a line of constant bearing as a straight line, which was relevant at the time for marine navigation. But the drawback of using that map today, to visualize new and existing business markets, is that it distorts the shapes and relative sizes of all the countries. The map also distorts our perception of the world. The map of True Africa created by Kai Krause, shows that Africa is far larger than we think. Then see the maps on land area to population, or amount of money per head spent on healthcare, and we instantly gain a more informed picture on which to base our innovation strategies.
The True Africa map by Kai Krause shows the size of the continent in relation to European counties.
The Gerardus Mercator’s projection was made for marine navigation.
Map from worldmapper.org shows public health spending to population
Innovation is not so much of an outcome, as a process of asking the right questions at the right time, and asking them again and again, reiteratively. Since a company’s offering exists in real-time, across connected or digitally enabled networks, so too do the insights and information that continuous questioning and decision making are based on need to be in real-time. Innovation means never being satisfied with the obvious assumptions. And to break preconceived ideas we now have big data and data visualization.
Although a company cannot map all the potential outcomes of its activities, visual maps can play a large part in nurturing breakthrough thinking so that a company can focus on what it does best – and partner for the rest. Data visualization has yet to find its role in delivering real-time information for communications within a company, for critical decision making, or for real time communications between a company and its network, who, in a connected world, should be more deeply engaged in the ongoing strategies, activities and outcomes that bring to life a brand’s vision of innovation.
Maps don’t always make good online interfaces, but they do help us understand data in an intuitive way. Moving into a service-driven world, a company’s offering is continuously evolving and data visualization can be used to engage different types of stakeholders in the ongoing process of value generation. Imagine, for example, a call to action to developers to test and hack a beta digital service “pre-launch”. Or real time, localized invitations for users to swarm around an open innovation event, on and offline. Or adding services by using data collected from the public realm, such as traffic or weather reports, or national averages on life expectancy in relation to lifestyle choices. Innovation should be continuous rather than be an occasional manned mission to Mars. When users are informed and communicated with in more personal and transparent ways, they are more likely to offer up their own data to share in the benefits of ongoing innovation.
Maps in themselves do not tell us what to do: but they can help us harness knowledge and creativity to solve problems, and that is true innovation. No market research report or marketing message can compete with factual, real time information. We need to use technology and its designs to help us question all the assumptions that we take for granted- and make sure our good intentions result in meaningful activities.
Back from London and the Photon Symposium, and seeing the prototype of an all glass living pod that will be one of 9 pods in a proposed Photon Village at Oxford University. The concept was conceived by Brent Richards of Transpolis Europe and executed by Cantifix, an advanced glass engineering company based in the UK.
Brent Richards describes the project: The Photon Pod has been designed to maximise daylight for the inhabitants in order to carry out scientific research into “the effects of daylight on human biology”. The 4 year research period will involve 8 Photon Pods and allow 300 participants to be tested in a Photon Village. As a control two of the pods will be “dark” with only 12% of the surface transparent, which equates to the average amount of glazing in a typical home.
The shape of the Photon Pod has been designed to minimise the reflection of light waves by keeping the surface of the glass perpendicular to the sun when the building is orientated north/south. The make-up of the double glazed units uses the latest technology to increase the insulation properties, whilst reducing solar gain to maintain a comfortable living environment in most climates.
The interior facilities were considered in relation to the length of stay for each participant and the fact we didn’t want the research data to be influenced. In the majority of cases a participant will only have to stay for 3 weeks and therefore basic facilities of a kitchen; shower and WC; bed; desk; and seating area were considered sufficient.
Philips were invited by Imaginary Life to design the lighting in the Pod to show how a combination of natural and design light should be combined to enhance the wellbeing and to harmonise the practical need for artificial light with the biological need for natural light. For the purposes of this launch, Hue, Philips connected lighting was programmed to create a compelling and dynamic experience, as well as enhancing the architecture of the innovative structure.
Russell Foster, Professor of Circadian Neuroscience at the University of Oxford University states: “The recent advances in our understanding of the brain mechanisms that generate and regulate sleep and circadian rhythms, and a growing appreciation of the broad health problems associated with their disruption, represents a truly remarkable opportunity to develop novel evidence-based treatments and interventions that will transform the health and quality of life of millions of individuals across a broad spectrum of illnesses.”
The Photon Pod is a means for collecting data on how light effects the mind, body & soul. Photos by George Sharman.
The Photon Pod Installation at The Building Cente, London.
Light is a resource for health & wellbeing – in all built environments
If you happen to be in London on Monday 16th September, or Tuesday the 17th September, drop by and meet us at the Building Centre on Store Street, W1. The Photon symposium invites international scientists, academics, architects, designers and global corporations to join The Photon Project network to debate the link between daylight and science, technology, health, wellbeing, architecture and design.
Moderated by Peter Finch of the UK Design Council, the Symposium includes keynote speakers such as Sean Carney, Chief Design Officer at Royal Philips Electronics.
Store street installation. http://thephotonproject.org/
Philips have also designed a dynamic lighting programme in the Building centre itself and for a glass ‘Photon Pod’ installation out in the courtyard to showcase latest lighting products that front ongoing deeper research and innovation within lighting for increased Health and Wellbeing for built environments such as Hospitals and Schools, to name but a few.
The Photon Project will present a 4 year plan and concept for an advanced integrated scientific research project. The multifaceted proposal works with systems thinking and rapid innovation models to explore and bring to market future Health and Wellbeing applications- also creating new standards and solutions for Healthy Living.
The aim of the project is to ultimately improve the living and working conditions of millions of people across the globe by testing and measuring the biological advantages of increasing the amount of daylight in all types of buildings: residential, commercial, institutional, educational, cultural and leisure.
Current research, for example, has already proven that disruption to circadian rhythms causes a detrimental effect on health and wellbeing – over a short period this would typically lead to depression, nausea and high blood pressure, and over a longer period this can lead to chronic depression and secondary hypertension. There is also evidence that the lack of sleep caused by an inability to reset the body clock can have a critical impact on: schizophrenia, Alzheimer’s, Parkinson’s, diabetes, some cancers and a long list of other life threatening conditions. As a research area, light has unlimited possibilities to help develop solutions that prevent disease and help the body in recovery.
The Photon Living Concept was initiated by Architect and Innovation Strategist Brent Richards in association with Cantifix Ltd. –a market-leading specialist glazing company. The research team is led by Professor Russell Foster, British Professor of Circadian Neuroscience at Oxford University. He and his team are credited with the discovery of non-rod, noncone, photosensitive ganglion cells in the mammalian retina – which provide input to the circadian rhythm system.
For more information please mail us on: firstname.lastname@example.org
Schedule: PHOTON SYMPOSIUM @ LONDON DESIGN FESTIVAL 2013.
Address: The Building Centre, Store Street, London WC1E 7BT
16 Sept – PRESS LAUNCH (10.30 – 1.00) AT THE BOARDROOM
08.00 -1.00 PHOTON POD TOURS
16 Sept – DAY 1 SYMPOSIUM (1.30 – 6.00, 6.45 – 9.00) VINCENT
SUITE + MAIN GALLERY
08.00 -1.00 Press visits to Photon Pod can be booked, with guide who will be present fulltime at the Pod to answer basic questions and give a tour of the Pod.
Contact: Fiona Sharman <Fiona@Cantifix.co.uk>
17 Sept – DAY 2 SYMPOSIUM (1.00 – 4.30, 5.00 – 7.00)
VINCENT SUITE + Café
DAY 1: 16 September 2013.
The Photon Project: Pioneering Healthy Living through Light.
Presented by Charlie Sharman, MD Cantifix and Brent Richards,
Director, Transpolis Global.
10.00-11.00: Living Under Glass: Presenting the Photon
Research at Oxford University. Present the project and future plans. Purpose of Symposium is to discuss the design implications of light in relation the living environment- and future policy making e.g. space light standards, RIBA lobbying for light space factors to be included in design of future housing.
Press Q & A with Brent Richards and Charlie Sharman.
Theme 1: Daylight + Health & Well Being
Moderator: Paul Finch, Deputy Chair of the Design Council UK
1.40 – 1.45 KEYNOTE INTRO: Paul Finch; Deputy Chair of Design
Council Editorial Director Architects Journal. ON HEALTH &
(1) 1.45 – 2.05: Research into Human Factors within Health &
Wellbeing (title to follow)
Prof Dr Steve Lockley
Harvard Medical School Boston USA
(2) 2.05 – 2.25: On Crowd-sourcing Grand Designs Solutions (Final Title to follow)
Mike Roberts: CEO HAB Housing (Kevin McCloud, MD, Grand Designs)
(3) 2.25 – 2.45: On Human Interaction and the Importance of Light
(Final Title to follow)
Prof Dr Marilyne Andersen
EPFL Lausanne Switzerland
Break & Refreshments.
Theme 2 – Daylight + Science & Technology
(4) 3.30 – 3.50: On The Technology of Glass (Final title to follow)
Tim MacFarlane : Glass UK
(5) 3.50 – 3.10: On Nanotechnology and Glass (Final title to follow)
Dr Martin Kemp : NanoKTN
(6) 4.10 – 4.30 On Developing light with space in the building industry. Carbon neutral housing and applications for integrated sustainability. (Final title to follow)
Paul Hicks: Velux GB
Round Table: Health and Science – the facts, the technology, the ideas and the potential.
4.45 – 5.45 All Presenters Chaired by Paul Finch
5.45 – 6.15 Q&A + Summary for Day 1 Symposium
DAY 2 ~ 17th September
NO PRESS ON THIS DAY- for a broader design audience.
Theme 3 – Daylight + Architecture & Design
Moderator : Paul Finch
1.00-1.15 Intro: The Photon Project: Implications for all types of design, the Plans and the Potential.
Charlie Sharman : MD Cantifix & Brent Richards, Transpolis.
(7) 1.15 – 1.35 On the architecture of light (Final title to follow)
(8) 1.35 – 1.55 On making better architecture. (Final title to follow)
Dikon Robinson CEO
Living Architecture http://www.living-architecture.co.uk/
(9) 1.55 – 2.25 The Science of Design
Chief Design Officer /Senior Vice President Philips
20 mins: Break and refreshments
MAIN SYMPOSIUM Round Table: How can Design facilitate Science?
(Recommended for editorial press)
(x 9 no. participants)
2.30 – 4.00
– All Presenters + Chair Paul Finch
– Rebecca Roberts-Hughes: RIBA Policy Unit
– Mike Roberts: HAB Housing
– Prof Dr Marilyne: Andersen EPFL
– Brent Richards : Transpolis Global
– Charlie Sharman : Cantifix
– Dr Heather Berlin*: Cognitive Scientist
– Prof. Debra Skene*: Center for Chronobiology
– Danny Lane: American Glass Artist based in UK
(NB:* Roundtable participants to be confirmed)
4.00 – 4.30 Q&A
4.30: Summary of both days.
5.00 – End of Photon Symposium
Mingle in the Building Centre Exhibition Area.
Some friends have mixed feelings about Instagram. And our particular fascination with the instant and shareable digital image. ’Why do people need to document everything they do?’ asks one friend. ”I just don’t get it- why all this ’sharing’?” “I don’t have time for this.”
We’re not one to evangelise. Some call Internet the ‘Innovation of loneliness’. It is fake. It can’t replace real relationships. It invades our privacy, jeopardises our integrity. (That’s another discussion we won’t go into here…) But people also said the same about the photographic image when it was invented. The magical process of capturing a fleeting moment was esoteric and subversive. It was seen as ’low art’ – vulgar, invasive. It captured souls and degraded aristocrats and royalty to the same objectified level as the rest of the population – who, meantime, were being documented and categorised in the great encyclopaedic view of the world that was being established by cameras. Before this time- we simply did not have a view of the ‘world’. We had tribes and provinces. We had stories and hearsay. And in that way, Instragram is just as human as the millions of users who make it what it is. A living neural network of images all used I different ways- and those ways are evolving by the millisecond. We have stories, and hearsay. We have comforting clichés. We have pictures worth a thousand words.
I watched floods in a live stream of photographic images on Instagram. I watched demonstrations, revolutions. I corroborate what I see on the news – on Instagram. I turn to images before words. What we choose to represent, say, smile at, ponder, perceive, or in short, share- doesn’t define who I am, but how I connect with relationships, or rather my relationship with my world view. I am, therefore I share. Because my friends and family are everywhere, and you know who you are.
So those people who are still stuck on the 20th century broken (vinyl) record that Internet is shaping our identity- I’d prefer to say, its identity that is using Internet, just as ‘IRL’ we’d use a light bulb to illuminate a room so we can see each other. We are still sharing content and nurturing the same 150 relationships we did in our pre-Internet lives. The only difference is, this public-intimacy can enable new connections, new possibilities, new community.
Photography couldn’t replace the painted image, and Internet is no substitute for the real thing. Well, guess what- it was never supposed to be. Instagram, like any new technology, until ubiquitous, is a ‘cult’ that is hard to explain to non-believers. The users themselves are changing its meaning as its use evolves over time. And its only usage that alllows technology to find its meaning in our lives. Images don’t take my time- they offer us back time spent in milliseconds. Moments stretched and remembered. Life is long if you know how to live it.
Instagram began as a simple aestheticisation of the banal. Giving us a little everyday poetry in otherwise banal moments. Then we used it to post statements- bus-stop philosophy if you like. Words of wisdom = I’m a teenager, I’m bored, I’ve been hurt…I don’t give a damn…
But recently. Another subtle shift: Instagram has grown into its name- it is truly an Instant telegram, a message as an image, deeply coded towards each viewers relationship with the sender, layers of individual, personal, social, or communal meaning.
A image worth 300 twitter / SMS characters.
The view from an airplane = I’ll be with you soon!
My view, part of me included in the frame = I am so grateful for this, now…
A picture of myself = Let my gaze meet yours, for a moment, whoever you are. A flower in bloom = The world brings sadness, but it’s also strong and beautiful. Can’t you see it? #personaluniverse @foryoumyfriend, @elegantconfusion
Far apart, so close. Lovers of language. Lovers who don’t exist.
Here’s a little piece of technology that can change our lives, depending on how we choose to use it. Paraimpu is a new social tool that connects Objects with the Web so that you can control physical objects via social media messages such as turning your lights off and on with Twitter, or share data from objects with via the web, such as medical data. Paraimpu basically allows users to connect physical and virtual things to the Web: real objects, Arduino boards, sensors, entertainment appliances etc. It also can connect existing social networks, APIs, software applications, and services on the Web too. Basically everything that “speaks” HTTP.
This is an amazing piece of tech, that could be the next big step in getting the Interweb off our computer screens and into any number of more natural interfaces, in the home and out.
Paraimpu provides a palette of precongured settings so that users can connect their objects to the system with zero or minimal configuration.
It can also let objects ‘speak’ to other despite their different natures: for example, you can connect a set of environmental sensors so that it publishes its data live on facebook, or you can control a motor in real-time via the web. Great for mining or other industries where safety is a high risk factor.
Friends can connect their apartment appliances such as ambient lighting to Twitter so that the lights change when my friend tweets the right instructions. There are of course any number of more practical applications: If I connect a CO2 Sensor I can reduce emissions on a motor for example.
Paraimpu is also social: users can share their objects with other people/friends setting a policy for each owned thing: private, public, moderated, etc. This means that I can share an save money by gaining access to data I would normally have to pay for. The mind boggles.
A new app called MESHcities is about to be released to discover and/or share best practices for smart and sustainable cites. Until it’s out, follow them on Twitter @meshcities, or their website. And here is an intresting blog post on the future city by meshcities founder Robert Ouellete.