Monday 6 December 2021

Living robots evolve to procreate in "astounding" scientific breakthrough

Pac-Man-shaped parent xenobot next to round baby xenobot

Scientists behind the world's first living robots have learned that these xenobots can reproduce and generate offspring, in a discovery that they say could help to explain the origin of life on Earth.

The programmable organisms were originally created last year by researchers from the University of Vermont, Tufts University and Harvard's Wyss Institute using stem cells sourced from embryos of the African clawed frog.

By combining these cells into different AI-optimised configurations, the scientists were able to create bots that perform different functions from walking and swimming to working together in a swarm, with their shape dictating their basic behaviour.

Pac-Man-shaped parent xenobot next to round baby xenobot
Parent xenobots (left) can create new spherical baby xenobots (right)

Now, a peer-reviewed study published in scientific journal PNAS, has revealed that when formed into the right shape – one reminiscent of 80s video game character Pac-Man – the bots are also able to "spontaneously self-replicate".

This is possible via a method called kinematic replication, which sees the parent xenobots gather up tiny frog stem cells in a petri dish using their V-shaped "mouthes", bundling them together into larger cell clusters that eventually become new baby xenobots.

This sort of replication has so far only been observed on a molecular level, never in any other animal, plant, organism or cell.

Living robots being assembled into Pac-Man shape
The parent xenobots are shaped like the video game character Pac-Man

"This is profound," said Michael Levin, director of the Allen Discovery Center at Tufts University and co-leader of the new research.

"These cells have the genome of a frog but, freed from becoming tadpoles, they use their collective intelligence, a plasticity, to do something astounding."

An evolutionary algorithm determined the Pac-Man shape to be the most efficient at helping the living robots to replicate, with each spawning up to five generations of descendants.

But so far, no matter what shape the parent xenobots take, they are only able to produce spherical offspring, which are slightly worse at replicating due to their lack of a V-shaped "mouth".

"Right now we are using genetically unmodified frog cells, and these cells naturally form spheres when brought into contact with each other," the study's lead author Sam Kriegman told Dezeen.

"Future work will investigate how to change the adhesion properties of these cells such that parents can form offspring with complementary shapes."

Xenobots in a petri dish with tiny frog stem cells
The parent bots can gather loose stem cells in a petri dish to form them into piles

Xenobots can live for up to a couple of weeks in an aquatic environment before biodegrading.

The hope is that the living robots could one day be deployed to pull microplastics out of waterways and build new medicines that can replace or regenerate human cells, tackling everything from birth defects to cancer.

Importantly, the latest study also shows that kinematic self-replication is possible in cellular life forms, which the authors say "may have been essential in the origin of life".

C-shaped parent xenobot next to round baby xenobot
Over the course of a few days, these cell clusters develop into baby xenobots (top)

"The ability of xenobots to do the things they do despite being in a novel configuration, which did not exist in the frog lineage, is an example of plasticity, of problem-solving by living systems," Levin explained.

"It shows us that life can exhibit interesting and powerful anatomical architectures and behaviours that are not directly selected for. Thus, it sheds light on the progress of life."

Other advances in merging robotics with living systems have seen MIT researchers turn plants into sensors and displays, as well as using their bioelectrical signals to control a wheeled robot.

The images are courtesy of Douglas Blackiston and Sam Kriegman.

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Two weeks left to enter Dezeen and LG Display's OLEDs Go! competition

OLEDs Go! 2 illustration by Andrew Joyce

The second edition of Dezeen and LG Display's OLEDs Go! competition closes for entries on 20 December. Enter before the deadline for the chance to win up to €35,000.

The contest, which is free to enter for anyone over the age of 18 in any country around the world, seeks creative OLED designs to enrich people's changing lifestyles.

It features a top prize of €35,000 and total prize money of €88,000.

Full details of how to enter the competition are included in the competition brief and rules.

Contest seeks designs to enhance people's changing lifestyles

This is the second edition of the OLEDs Go! competition.

This edition of the contest seeks designs that incorporate small to medium OLED displays (between 27 and 55 inches diagonally) that provide new experiences and enhance people's changing lives.

Entrants are free to design any product for any user or demographic around the world and can aim to improve a lifestyle that is emerging or changing for any reason.

Designs must be feasible to manufacture using current OLED technology.

Rather than radical, futuristic concepts, we are looking for practical designs that could be developed and produced over the next few years.

€88,000 prize money up for grabs

Competition entries will be judged by a jury comprising Dezeen editors and LG Display executives and designers, who will select the finalists and determine the overall winner.

A shortlist will be published on Dezeen in February 2022, with the finalists revealed in March 2022 and the winner announced in May 2022.

The winner will receive a top prize of €35,000, the runner up will receive €20,000, third place will win €15,000, fourth place will win €10,000 and fifth place will win €8,000.

Contest builds on success of last year's OLEDs Go! competition

This is the second time that Dezeen has teamed up with LG Display to run the OLEDs Go! competition.

The inaugural contest was a huge success, receiving over 200 entries from 50 different countries around the world.

It was won by Richard Bone and Jisu Yun, who designed a transparent OLED television called Scroll that doubles as a shelf.

Entrants to last year's competition are free to enter this year's contest as well, including winners, finalists and those that made the shortlist.

However, any design that was shortlisted last year cannot be resubmitted or adapted for this year's edition of the competition. Designs that are too similar to any of the shortlisted entries from last year will also be discounted.

For more information about the competition, including how to enter, visit: dezeen.com/oledsgo.

The top illustration is by Andrew Joyce.

Partnership content

OLEDs Go! is a partnership between Dezeen and LG Display. Find out more about Dezeen partnership content here.

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Stadium in giant tent completes ahead of World Cup in Qatar

Al Bayt Stadium for Qatar World Cup

Multidisciplinary studio Dar Al-Handasah has completed the 60,000-seat Al Bayt Stadium in the Qatari city of Al Khor for the FIFA 2022 World Cup.

Set to host the football tournament's opening game next November, the stadium is defined by its distinctive tent-like structure.

Stadium enclosed in tent structure
Al Bayt Stadium is enclosed in a tent-like structure

Built in the northern port city of Al Khor, the Al Bayt Stadium was named after the historic bayt al sha'ar tents that were traditionally used by nomadic people in the country and across the region.

Dar Al-Handasah's design was directly informed by these tented structures.

Al Bayt Stadium in Qatar
It was informed by tents used by nomadic people across the region

The exterior walls and peaked roofs of each of the four stands surrounding the pitch were covered in polytetrafluoroethylene (PTFE) woven fiberglass membrane to create the tent-like form.

A retractable roof connects the four stands to enclose the stadium.

Tented stadium for Qatar World Cup
It is coloured red, white and white, like traditional nomadic tents

"As well as being incredibly eye-catching, the tent design is deeply practical," said Qatar's Supreme Committee for Delivery & Legacy.

"The shade provided by the tent structure and its retractable roof system complement the stadium's cooling technologies, helping maintain a comfortable temperature inside without using any extra power."

Retractable roof on Al Bayt Stadium in Al Khor
The stadium can be enclosed with a retractable roof

The stadium's PTFE membrane exterior was coloured in traditional black, red and white colours to further reference the traditional nomadic people's tents. Weaving patterns used by the nomadic tribes have also been incorporated with the building.

"Traditionally, the tents of nomadic tribes and families in Qatar could be identified by black stripes like those on the arena's distinctive exterior, and by the vibrant sadu patterns that will greet fans once inside the stadium," said the Supreme Committee for Delivery & Legacy.

Following the tournament, the stadium's upper tier of seating will be removed to reduce the venue's capacity to 32,000. According to the tournament's organisers, these stands will be donated to help build sporting infrastructure in other countries.

"After the tournament, the arena will reach even more people around the globe in a remarkable way," said the Supreme Committee for Delivery & Legacy. "Like a true nomad's tent, it is portable."

Inside the Al Bayt Stadium
Traditional sadu weaving patterns are incorporated inside the stadium

A luxury hotel will be built within the upper tier once the seating is removed.

Various other facilities including a shopping centre, restaurants, gym, sports medicine hospital, and community hall will also be built within the stadium after the tournament.

Al Bayt Stadium is the sixth venue to be inaugurated ahead of the World Cup next year. Last week saw the opening of Stadium 974, which incorporates 974 shipping containers in its design, while the Zaha Hadid-designed Al Wakrah Stadium hosted its first match in 2019.

Photography courtesy of Qatar's Supreme Committee for Delivery & Legacy.

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Pluralis table by Kasper Salto for Fritz Hansen

Image of the Pluralis table used for in a boardroom with rows of black chairs

Dezeen Showroom: Fritz Hansen has produced an adaptable table by Kasper Salto that lends itself to both boardrooms and home offices.

Called Pluralis, the table combines Danish craftsmanship with a versatile design that allows it to be used as a desk, a shared workbench or even a dining table.

Black Trestle legs on a wooden table by Kasper Salto for Fritz Hansen
The Pluralis table was designed by Kasper Salto for Fritz Hansen

The table is set on angled trestle legs, which are set back from its rounded rectangular top to create an inviting look.

Pluralis is available in six versions, with three different widths and lengths from 160 to 720 centimetres, and four different finishes including veneer, laminate and linoleum.

Overhead shot of an office with rectangular Pluralis tables used ask desks paired with light grey chairs
It can be used within offices and at homes

Optional power outlets and cable managing systems can be integrated into Pluralis to help create a more streamlined workplace.

Larger versions are fitted with an additional set of legs in the centre to support the longer tabletop.

Product: Pluralis table
Designers: Kasper Salto
Brand: Fritz Hansen

About Dezeen Showroom: Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen's huge global audience. For more details email showroom@dezeen.com.

Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.

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Old meets new inside D'Arcy Jones Architects' studio in Vancouver

Meeting room with long wooden table, exposed concrete ceiling and tiled entrance in D'Arcy Jones Architects' self-designed studio in Vancouver

Canadian practice D'Arcy Jones Architects has mixed modern additions with historical quirks inside its self-designed studio, which is housed within a century-old building in Vancouver.

The seven-storey Lee building, where the architect's office is located, was constructed between 1911 and 1912 as an early example of a mixed-use development, combining apartments, offices and commercial shops.

Architects studio in Vancouver with long wooden workbench, black kitchenette and exposed brick walls
D'Arcy Jones Architects' studio is inside the Lee building. Top photo is by Ema Peter

Since then, the building has fallen into the hands of different owners and undergone various modifications. But, according to D'Arcy Jones Architects, it still retains some of its original charm.

As part of the renovation, the studio set out to highlight the fact that the Lee building has a past that goes back more than a century.

Detail shot of D'Arcy Jones Architects' self-designed studio showing white drywall next to original brick
White drywall contrasts with the building's rough structural shell

"Vancouver's building culture has always favoured renewal, so it does not have many old buildings," said the practice, which was founded in 1999.

"As a critique, the goal of this renovation was to celebrate past ways of building through contrast and emphasis."

The renovation works were carried out in two phases, with the first phase tackling the main staff workspace. This involved removing any recently installed fittings or fixtures and replacing them with panels of clean white drywall.

Black kitchenette in Vancouver architecture studio surrounded by rough concrete shell
A black kitchen has been inserted at the back of the main workspace

These panels are juxtaposed against a strip of the building's rough structural shell, which D'Arcy Jones Architects left exposed to appear as an "archaeological artefact".

A new jet-black kitchen suite is located at the rear of the space while a long work desk takes over the central area.

Small meeting room with white-painted wooden floors and white shelving in D'Arcy Jones Architects' self-designed studio
A small library gives staff space to research. Photo is by Ema Peter

Leading off from this space is a small library stocked with architecture and design books that staff can look to for inspiration.

A second workroom is designed to have a slightly more pure, sculptural form, constructed with the help of more drywall panels.

Set at an angle, these help to create faceted walls while effectively hiding the piping and sprinkler systems.

Where the building's wooden floorboards were deteriorating, the practice replaced them with hand-troweled concrete, which subtly rises and dips to accommodate imperfections on the original floor underneath.

Long wooden work desk in white-painted workroom of Vancouver architecture practice
Faceted walls feature in one of the studio's workrooms

The second phase of renovation works saw D'Arcy Jones Architects create a large meeting room for the studio.

The room's time-worn concrete ceiling and aged brown floor tiles from 1911 were retained to offset some of the practice's modern additions such as the white cabinetry that runs along the back wall.

There is also a communal table crafted from glue-laminated timber and overhead lamps that were made bespoke.

Meeting room with long wooden table, exposed concrete ceiling and tiled entrance in D'Arcy Jones Architects' self-designed studio in Vancouver
The studio also includes a large meeting room. Photo is by Ema Peter

"The project articulates a more nuanced stance on what re-use can achieve within a culture that prioritises the new," D'Arcy Jones Architects said.

"History and modernity can be woven together in many creative fields but only architecture lets the two co-exist, obviously and simultaneously autonomous."

Entrance to meeting room with aged brown tiles, exposed concrete ceiling and white cabinetry in D'Arcy Jones Architects studio
Modern cabinetry appears alongside the original floor tiles. Photo is by Ema Peter

The self-designed studio was shortlisted in the small workspace interior category of this year's Dezeen Awards.

While four other projects were in the running, the category was ultimately won by architecture practice Sher Maker's self-designed studio in Chiang Mai, Thailand, which is arranged around an open-air courtyard. Judges described the project as being "a workplace people dream about since Covid".

The photography is by Sama Jim Canzian unless stated otherwise.

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