Pop quiz: can you identify these iconic companies by their typefaces alone? Italian graphic designer Emanuele Abrate decided to run an experiment of sorts and trade names for fonts. In his renderings, iconic (non-text) elements sometimes give the brand away, but even without those the color scheme and type can provide clues.

Called simply Logofonts, it spans famous commercial brands including Nike, Spotify, Instagram, Facebook Twitter, Adobe and AirBNB.

Abrate is an art director focused on identity design, and decided to see what he could learn by reverse-engineering these classic graphics.

Perhaps not surprising upon reflection, but most of these major companies use relatively obscure fonts — even if they look a bit like familiar ones, they are a bit more unique than one might guess at a glance.

Tech Tats use conductive inks to create a circuit board right on your skin, providing a passive and unobtrusive alternative to standard wearables. Smartwatches and fitness trackers tend to stand out (worn on wrists or around necks) and need to be taken off and put back on daily, whereas these tats (while temporary) can be applied indefinitely.

The wearable can be used to monitor body temperature, blood pressure, stress levels and heart rate, then transmit data wirelessly to a mobile app or computer.

Lying effectively flat against the surface of your skin, these complete circuits are easy to conceal or reveal depending on whether or not you want to show off your ink.

The DIY-friendly design uses LED lights, a microcontroller and conductive ink – for now, the result is intentionally temporary, but permanently-inked versions could work as well.

The applications are numerous, starting with medical but expanding to financial as well as other identification-oriented use cases. A wearable wallet could be tied to your banking information, for example, or you could apply a Tech Tat to your child during an outing to a busy place, providing an easy way to track them in case you get separated. Chaotic Moon is currently developing both the wearable circuitry tech as well as related applications.

With downtown densification usually comes a lack of light in surrounding spaces, leading one architecture firm to develop the world’s first algorithm-driven strategy to allow a tower to fully shed its shadow. Architects of NBBJ developed this set of adjacent skyscrapers that work in tandem to eliminate shade year-round in the spaces between them, proposing the pair for a prominent site in central London. As the simulation of No Shadow Tower illustrates below, considerations are made for all times of day, reflecting the passage of the sun through the sky from dawn until dusk.

The model inputs are complex, using real sun-tracking data tied to a specific location (though easily changed) but also taking into account everything from basic physics and structural engineering to public spaces and programmatic functions for building users. At the same time, considerations must be made for diffusing any reflected light to avoid creating obnoxious glare or even lighting adjacent spaces, vehicles or objects on fire. Fortunately, it is easier than ever to 3D model as well as implement a complex building shape with custom 3D-printed parts, as architects like Frank Gehry have increasingly demonstrated in recent years.

This proposal was inspired by the rapid growth of skyscrapers in areas like London, where 250 are currently planned or in progress, and New York City, where residents are resisting tall buildings that would cast long shadows over Central Park. Large-scale sunlight reflection can be found in built environments already, such as a mountain town in Norway found frequently or for long periods in shade during cold and dark winter months. Conversely, structures in hot climates could also be shaped to deflect sun from occupied spaces during warm summer months – shade and shadows, sunlight and heat can all be shaped, in short, for different environmental needs and conditions.

In this case, of course, the reflector is itself a building, which of course then casts a shadow of its own – arguably a limitation of the scheme applied in other places (in this instance the second structure’s shadow would fall over water). However, a series of structures could conceivably cancel shadows in sequence, creating multi-block solutions if designed in a coordinated fashion, the shape of each informed by the needs of the previous one in the series. Moreover, this is not just about elimination but control – the ability to redirect sun and shade dynamically through design rather than letting it be a byproduct of accidental shapes. Whether or not this particular pair of structures makes it past the conceptual phase, the idea behind them is powerful and the attitude could be applied more readily by (heat- and) light-sensitive architects down the line.

Combining choreographed movement and projected abstractions, these works of performed art are visually stunning, creating effects and illusions far beyond the sum of their parts.

From its creators, Pixel, shown above, “is a dance show for 11 dancers in a virtual and living visual environement. A work on illusion combining energy and poetry, fiction and technical achievement, hip hop and circus. A show at the crossroads of arts and at the crossroads of Adrien M / Claire B’s and Mourad Merzouki’s universes.”

The idea of projecting onto moving performers is, however, not new – indeed, Klaus Obermaier has been using low-tech projectors and equipment to create equally amazing work for decades. Indeed, while speaking at INST-INT recently in Minneapolis, he joked that he would carry on using his decade-old laptop until it broke down.

Indeed, the lower-tech approach he takes relies heavily on the ability of each dancer to have complete control of their own movements, making their skill a critical part of each and every exhausting performance.

Obermaier has also engaged in other forms of public interactive projection art over the years, taking his productions off the stage and allowing passers by to interact with his work.

Imagine a shelter that unfolds itself in the rain, flat-pack furniture that deploys without instructions or tools when exposed to water or a temperature-sensitive spoiler for your sports car that bends and twists as you race and turn – thanks to MIT’s Self-Assembly Lab, all of these designs may now be within reach.

This reactive approach adds a new dimension to objects made of wood, metal, carbon fiber and other materials, each fabricated according to patterns that in turn react to external inputs like low-tech robots. These creations can transform in shape dynamically, responsive to customizable cues and environmental conditions – heat, cold, dryness and wetness can all be turned into catalysts for a conversion.

Dubbed “four-dimensional printing” by Skylar Tibbits (Research Scientist in MIT’s Department of Architecture) due to the added element of time, this material strategy has proposed applications in various fields ranging from domestic (self-assembling furniture and toys) to vehicular (car spoilers and aircraft wings). Imagine as well, though, apparel that shifts to block rain or allows wind to cool you, or buildings that likewise open to ventilate or let in light and heat based on the weather.

The leap here is as much conceptual and experimental as it is intrinsically revolutionary. As Wired reports, “The tools Tibbits and company use are not especially novel. In the case of the carbon fiber projects, the manufacturing process is thoroughly two-dimensional. The team starts with a carbon fiber roll that follows the typical warp and weft pattern. A secondary material, formulated in Tibbit’s lab to respond to changes in temperature, is spot-printed on the mesh using a CNC gantry. As the carbon fiber is exposed to heat, the temperature-sensitive material changes shape and causes the sheet to deform in ways specified by the designer.”

More on MIT’s Self-Assembly Lab: “Self-Assembly is a process by which disordered parts build an ordered structure through local interaction. We have demonstrated that this phenomenon is scale-independent and can be utilized for self-constructing and manufacturing systems at nearly every scale. We have also identified the key ingredients for self-assembly as a simple set of responsive building blocks, energy and interactions that can be designed within nearly every material and machining process available. Self-assembly promises to enable breakthroughs across every applications of biology, material science, software, robotics, manufacturing, transportation, infrastructure, construction, the arts, and even space exploration. The Self-Assembly Lab is working with academic, commercial, nonprofit, and government partners, collaborators, and sponsors to make our self-assembling future a reality.”