#Digital Image Processing phd program

[sunaleisocial]

Have a damaged painting? Restore it in just hours with an AI-generated “mask”

New Post has been published on https://sunalei.org/news/have-a-damaged-painting-restore-it-in-just-hours-with-an-ai-generated-mask/

Have a damaged painting? Restore it in just hours with an AI-generated “mask”

Art restoration takes steady hands and a discerning eye. For centuries, conservators have restored paintings by identifying areas needing repair, then mixing an exact shade to fill in one area at a time. Often, a painting can have thousands of tiny regions requiring individual attention. Restoring a single painting can take anywhere from a few weeks to over a decade.

In recent years, digital restoration tools have opened a route to creating virtual representations of original, restored works. These tools apply techniques of computer vision, image recognition, and color matching, to generate a “digitally restored” version of a painting relatively quickly.

Still, there has been no way to translate digital restorations directly onto an original work, until now. In a paper appearing today in the journal Nature, Alex Kachkine, a mechanical engineering graduate student at MIT, presents a new method he’s developed to physically apply a digital restoration directly onto an original painting.

The restoration is printed on a very thin polymer film, in the form of a mask that can be aligned and adhered to an original painting. It can also be easily removed. Kachkine says that a digital file of the mask can be stored and referred to by future conservators, to see exactly what changes were made to restore the original painting.

“Because there’s a digital record of what mask was used, in 100 years, the next time someone is working with this, they’ll have an extremely clear understanding of what was done to the painting,” Kachkine says. “And that’s never really been possible in conservation before.”

As a demonstration, he applied the method to a highly damaged 15th century oil painting. The method automatically identified 5,612 separate regions in need of repair, and filled in these regions using 57,314 different colors. The entire process, from start to finish, took 3.5 hours, which he estimates is about 66 times faster than traditional restoration methods.

Kachkine acknowledges that, as with any restoration project, there are ethical issues to consider, in terms of whether a restored version is an appropriate representation of an artist’s original style and intent. Any application of his new method, he says, should be done in consultation with conservators with knowledge of a painting’s history and origins.

“There is a lot of damaged art in storage that might never be seen,” Kachkine says. “Hopefully with this new method, there’s a chance we’ll see more art, which I would be delighted by.”

Digital connections

The new restoration process started as a side project. In 2021, as Kachkine made his way to MIT to start his PhD program in mechanical engineering, he drove up the East Coast and made a point to visit as many art galleries as he could along the way.

“I’ve been into art for a very long time now, since I was a kid,” says Kachkine, who restores paintings as a hobby, using traditional hand-painting techniques. As he toured galleries, he came to realize that the art on the walls is only a fraction of the works that galleries hold. Much of the art that galleries acquire is stored away because the works are aged or damaged, and take time to properly restore.

“Restoring a painting is fun, and it’s great to sit down and infill things and have a nice evening,” Kachkine says. “But that’s a very slow process.”

As he has learned, digital tools can significantly speed up the restoration process. Researchers have developed artificial intelligence algorithms that quickly comb through huge amounts of data. The algorithms learn connections within this visual data, which they apply to generate a digitally restored version of a particular painting, in a way that closely resembles the style of an artist or time period. However, such digital restorations are usually displayed virtually or printed as stand-alone works and cannot be directly applied to retouch original art.

“All this made me think: If we could just restore a painting digitally, and effect the results physically, that would resolve a lot of pain points and drawbacks of a conventional manual process,” Kachkine says.

“Align and restore”

For the new study, Kachkine developed a method to physically apply a digital restoration onto an original painting, using a 15th-century painting that he acquired when he first came to MIT. His new method involves first using traditional techniques to clean a painting and remove any past restoration efforts.

“This painting is almost 600 years old and has gone through conservation many times,” he says. “In this case there was a fair amount of overpainting, all of which has to be cleaned off to see what’s actually there to begin with.”

He scanned the cleaned painting, including the many regions where paint had faded or cracked. He then used existing artificial intelligence algorithms to analyze the scan and create a virtual version of what the painting likely looked like in its original state.

Then, Kachkine developed software that creates a map of regions on the original painting that require infilling, along with the exact colors needed to match the digitally restored version. This map is then translated into a physical, two-layer mask that is printed onto thin polymer-based films. The first layer is printed in color, while the second layer is printed in the exact same pattern, but in white.

“In order to fully reproduce color, you need both white and color ink to get the full spectrum,” Kachkine explains. “If those two layers are misaligned, that’s very easy to see. So I also developed a few computational tools, based on what we know of human color perception, to determine how small of a region we can practically align and restore.”

Kachkine used high-fidelity commercial inkjets to print the mask’s two layers, which he carefully aligned and overlaid by hand onto the original painting and adhered with a thin spray of conventional varnish. The printed films are made from materials that can be easily dissolved with conservation-grade solutions, in case conservators need to reveal the original, damaged work. The digital file of the mask can also be saved as a detailed record of what was restored.

For the painting that Kachkine used, the method was able to fill in thousands of losses in just a few hours. “A few years ago, I was restoring this baroque Italian painting with probably the same order magnitude of losses, and it took me nine months of part-time work,” he recalls. “The more losses there are, the better this method is.”

He estimates that the new method can be orders of magnitude faster than traditional, hand-painted approaches. If the method is adopted widely, he emphasizes that conservators should be involved at every step in the process, to ensure that the final work is in keeping with an artist’s style and intent.

“It will take a lot of deliberation about the ethical challenges involved at every stage in this process to see how can this be applied in a way that’s most consistent with conservation principles,” he says. “We’re setting up a framework for developing further methods. As others work on this, we’ll end up with methods that are more precise.”

This work was supported, in part, by the John O. and Katherine A. Lutz Memorial Fund. The research was carried out, in part, through the use of equipment and facilities at MIT.Nano, with additional support from the MIT Microsystems Technology Laboratories, the MIT Department of Mechanical Engineering, and the MIT Libraries.

[callofdutymobileindia]

Boston Institute of Analytics: A Top Destination for Artificial Intelligence Courses in Dubai

In today’s rapidly evolving technological landscape, Artificial Intelligence (AI) is no longer just a buzzword — it's a necessity. From smart city infrastructure and healthcare diagnostics to self-driving vehicles and predictive analytics, AI is transforming every industry. And as AI adoption skyrockets in the UAE and globally, the demand for professionals skilled in AI and Machine Learning is growing faster than ever.

Dubai, a global leader in innovation and digital transformation, is quickly becoming one of the most sought-after destinations for tech education. Among the top institutions offering AI training, the Boston Institute of Analytics (BIA) stands out as a premier choice for students and professionals seeking an Artificial Intelligence course in Dubai.

In this article, we’ll explore why BIA is considered one of the top destinations for AI education in Dubai, what makes their courses unique, and how enrolling at BIA can accelerate your career in artificial intelligence.

Why Choose an Artificial Intelligence Course in Dubai?

Before diving into why the Boston Institute of Analytics is a top choice, let’s understand why Dubai is the perfect city to study AI:

Global Tech Hub

Dubai is home to Dubai Future Foundation, Smart Dubai, and many government-led AI initiatives. The city’s focus on becoming a leader in AI and emerging tech has created a thriving ecosystem of innovation.

Career Opportunities

The UAE government’s National Strategy for Artificial Intelligence 2031 aims to make the UAE a global AI leader. This means a massive increase in job opportunities for AI professionals in sectors like finance, healthcare, logistics, aviation, and energy.

International Environment

With professionals and students from all over the world, studying in Dubai offers a multicultural learning environment ideal for global networking.

Why Boston Institute of Analytics?

The Boston Institute of Analytics (BIA) is a globally recognized education provider with a mission to empower the next generation of AI and data science professionals. With training centers across the world and strong industry partnerships, BIA delivers future-focused programs that blend academic depth with practical application.

Here’s what makes BIA one of the top destinations for Artificial Intelligence courses in Dubai:

1. Industry-Aligned Curriculum

BIA’s Artificial Intelligence course is meticulously designed by experts from top companies like Google, IBM, Amazon, and McKinsey. The curriculum is regularly updated to reflect the latest industry trends and real-world applications.

Core Topics Covered:

Python for AI

Machine Learning Algorithms

Deep Learning with TensorFlow and Keras

Computer Vision

Natural Language Processing (NLP)

Model Deployment & MLOps

AI Ethics & Bias Mitigation

Whether you're a beginner or looking to upgrade your skills, BIA’s modular learning approach ensures you gain both foundational knowledge and advanced expertise.

2. Hands-On Learning with Real-World Projects

BIA’s AI course emphasizes practical experience, not just theory. Students work on live projects, case studies, and industry datasets to build models, solve problems, and deploy solutions.

Examples of Real-World Projects:

AI-powered fraud detection for banks

NLP-based chatbot development

Image classification for healthcare diagnostics

Predictive analytics for retail and e-commerce

This hands-on exposure ensures students graduate with a portfolio that impresses employers.

3. Expert Faculty and Mentors

At BIA, you're not just learning from academics — you're learning from AI practitioners, data scientists, and industry leaders. Many instructors hold PhDs or have worked with global organizations, bringing deep insights and mentorship to the classroom.

Live sessions, workshops, and 1:1 mentoring opportunities allow students to receive personalized guidance and career advice.

4. Global Certification

Upon successful completion of the course, students receive an internationally recognized certificate from the Boston Institute of Analytics. This certification validates your AI proficiency and is respected by employers across the globe, giving you a competitive edge in the job market.

5. Flexible Learning Options in Dubai

Whether you're a full-time student or a working professional, BIA offers flexible formats to accommodate your schedule:

Weekend Batches for working professionals

Weekday Sessions for full-time students

Hybrid Learning (online + classroom) for maximum convenience

Located in central Dubai, BIA’s campus is accessible, modern, and designed to promote collaboration and innovation.

6. Strong Placement Support

BIA goes beyond education. Their career support services ensure that every learner is job-ready. Services include:

Resume and LinkedIn optimization

Mock interviews and technical assessments

Internship assistance

Job referrals and placement drives

Networking opportunities with hiring managers and alumni

Graduates have been placed in top companies like IBM, Deloitte, PwC, Emirates, Etisalat, and tech startups across the UAE and beyond.

7. Affordable Investment in a Future-Proof Career

Compared to courses in the UK, US, or even central Dubai, BIA offers high-quality AI education at a much more accessible price. Payment plans and EMI options make it even more manageable for students and working professionals.

Given the earning potential of AI professionals, this is a high-ROI investment in your future.

Who Should Enroll?

BIA’s AI course in Dubai is ideal for:

Fresh Graduates looking to enter the AI/ML field

Software Developers and Engineers upskilling into AI roles

Business Analysts or Data Analysts wanting to transition into data science

Managers and Entrepreneurs aiming to build AI-enabled products

Career Switchers from non-tech backgrounds (BIA offers foundational modules too!)

Final Thoughts

If you're serious about building a successful career in AI, choosing the right institute is key. The Boston Institute of Analytics in Dubai offers an ideal blend of:

Cutting-edge curriculum

Hands-on training

Global certification

Expert mentorship

Job-focused outcomes

Whether you're starting from scratch or looking to take your AI expertise to the next level, BIA equips you with the skills, tools, and confidence to succeed in one of the most in-demand tech careers of the future.

[argroupofedu5]

Kalka Dental College & Hospital: A Premier Institution for Dental Education

Kalka Dental College & Hospital is one of the leading dental institutions in India, offering high-quality education and training in dentistry. Located in Meerut, Uttar Pradesh, the college is known for its state-of-the-art infrastructure, experienced faculty, and excellent clinical training facilities. Affiliated with Chaudhary Charan Singh University (CCSU), Meerut, and approved by the Dental Council of India (DCI), the college provides aspiring dentists with the best academic and practical exposure. 

Courses Offered at Kalka Dental College

The institution offers both undergraduate and postgraduate programs in dentistry: 

1. Bachelor of Dental Surgery (BDS)

Duration: 5 years (including a 1-year mandatory internship)

Intake Capacity: 100 students per year

The BDS program covers essential subjects like Oral Pathology, Prosthodontics, Periodontology, Oral Surgery, and more.

2. Master of Dental Surgery (MDS)

Duration: 3 years

Specializations offered:

Oral and Maxillofacial Surgery

Conservative Dentistry and Endodontics

Orthodontics and Dentofacial Orthopedics

Prosthodontics and Crown & Bridge

Periodontology

Pediatric and Preventive Dentistry

Oral Medicine and Radiology

Why Choose Kalka Dental College?

Students prefer Kalka Dental College for multiple reasons:

Comprehensive Curriculum: Follows DCI guidelines with practical training.

Modern Infrastructure: Well-equipped dental labs, smart classrooms, and research facilities.

Highly Qualified Faculty: Experienced professionals providing in-depth knowledge.

Advanced Dental Hospital: Hands-on training with real patients under expert supervision.

Affordable Fee Structure: Compared to other private dental colleges, the fees are reasonable.

Admission Process

Admission to BDS and MDS programs is based on:

NEET-UG (for BDS) and NEET-PG (for MDS) scores.

Eligibility Criteria:

For BDS: 10+2 with Physics, Chemistry, and Biology with at least 50% marks (40% for reserved categories).

For MDS: BDS degree from a recognized institution with DCI registration.

Application Process:

Qualify NEET-UG/NEET-PG.

Register for UPDGME counseling.

Choose Kalka Dental College in the counseling session.

Complete document verification and fee payment.

Facilities at Kalka Dental College

The college provides world-class facilities to ensure the best learning experience:

Advanced Dental Clinics: Equipped with modern dental chairs and digital imaging.

Central Library: A vast collection of books, journals, and research papers.

Well-Equipped Laboratories: Specialized labs for different branches of dentistry.

Lecture Halls: Digital classrooms with audio-visual teaching aids.

Hostel Accommodation: Separate hostels for boys and girls with 24/7 security.

Sports and Recreation: Encouraging extracurricular activities for overall development.

Kalka Dental Hospital: Practical Exposure

The attached Kalka Dental Hospital provides real-time clinical exposure with facilities like:

General Dentistry & Specialized Clinics.

Oral and Maxillofacial Surgery Unit.

Orthodontic and Prosthodontic Treatment Centers.

Radiology Department for Dental Imaging.

Community Outreach Programs & Free Dental Camps.

Fee Structure

The approximate fees for the courses at Kalka Dental College:

BDS: INR 2.5-3 lakhs per year.

MDS: INR 5-10 lakhs per year (varies by specialization).

Career Opportunities After BDS/MDS

Graduates from Kalka Dental College have excellent career prospects:

Government and Private Dental Clinics.

Higher Studies (MDS, PhD, Fellowship Programs).

Dental Surgeon in Hospitals.

Academician or Researcher in Dental Institutes.

Own Dental Practice & Entrepreneurship.

Conclusion

Kalka Dental College & Hospital is one of the top choices for students seeking a career in dentistry. With excellent academic programs, practical training, and modern infrastructure, it ensures that students are well-prepared for a bright future in the dental profession. If you aspire to become a skilled dentist, Kalka Dental College is an excellent institution to pursue your dreams.

[sgtuniversityggn]

PhD in Orthodontics & Dentofacial Orthopedics

Advanced Training in Orthodontics: PhD in Orthodontics & Dentofacial Orthopedics at SGT University

Orthodontics is a specialized branch of dentistry that deals with diagnosing, preventing, and correcting malpositioned teeth and jaws. It focuses on improving the appearance and function of the teeth, jaws and bite. An orthodontist requires advanced technical skills, facial growth, development expertise, and a deep understanding of oral pathology to provide effective orthodontic treatment.

SGT University offers a Doctor of Philosophy (PhD) program in Orthodontics & Dentofacial Orthopedics to equip students with advanced knowledge and research capabilities in this field. The 3-year full-time program covers theoretical concepts and practical training to develop competent orthodontists.

Overview of the PhD in Orthodontics

The PhD in Orthodontics program provides a rigorous education in core orthodontics concepts and extensive clinical training. The curriculum includes:

Principles of orthodontic biomechanics

Diagnosis and treatment planning

Cephalometrics

Growth and development of craniofacial structures

Various fixed and removable orthodontic appliances

Use of functional appliances

Management of dental malocclusions

Cleft lip and palate treatment

Orthognathic surgery

Research methodology

In addition to coursework, the program focuses heavily on developing research skills through dissertation work under faculty guidance. Students are trained in advanced research methodologies and statistical analysis. The program culminates in the submission of a doctoral thesis representing original research work in the field of orthodontics.

Faculty and Infrastructure at SGT University

The PhD in Orthodontics program is offered under the Faculty of Dental Sciences at SGT University. The faculty members comprise highly qualified orthodontists and researchers who provide excellent academic support and clinical training.

The university has state-of-the-art dental clinics fully equipped with advanced technologies and equipment used in modern orthodontic treatment including:

Dental imaging systems like CBCT

Digital model scanners

Digital cephalometric analysis

aligner therapy

transparent aligners

surgical setups

dedicated orthodontic clinical units

Extensive practical training is provided under the guidance of specialists to hone the clinical skills of students. The university also regularly conducts community outreach programs through dental camps to provide orthodontic treatment to rural populations.

Admission Process PhD in Orthodontics

To be eligible for admission, candidates must hold a master’s degree in Orthodontics from a recognized dental college. Applicants are shortlisted based on marks obtained in the qualifying exam followed by an entrance test and personal interview.

The selection criteria focus on assessing orthodontic knowledge, academic excellence, research aptitude, communication skills and commitment to the field.

Career Prospects after PhD in Orthodontics

The PhD in Orthodontics degree opens a wide range of career opportunities in the field of orthodontics including:

Clinical practice as an orthodontist in hospitals, dental clinics, or private practice

Teaching and research positions in academic institutions

Consulting orthodontist

Public health roles in government organizations

Leadership positions in the healthcare industry

Orthodontists with a PhD degree are highly valued for their expertise in providing advanced orthodontic treatments and their research capabilities. The program prepares students for delivering high quality orthodontic care through evidence-based treatment and elevates them as experts in the field.

Pursuing a PhD in Orthodontics from SGT University provides advanced learning opportunities under expert guidance and extensive clinical training. The program develops knowledgeable orthodontists with research proficiency to advance the field through impactful contributions. It equips graduates to take on specialist and leadership roles in orthodontics and dentofacial orthopedics.

[the-art-of-animated-gifs]

Frederik Vanhoutte:  Creative Coder

I have featured a selection of gifs by Frederik Vanhoutte on Cross Connect, (the  link is here,  Also, see more of his work on his Twitter feed and Instagram page

Frederik’s gifs are compelling to watch.  The way he contrasts the black shape against dark grey with neon colored edges that are revealed as the shape expands and contracts is inspired and beautiful.  He uses easing in his motion to great effect as his little machines, or systems, expand and contract in front of you

Frederik was expansive in his answers to my questions about his work and I publish the full interview below:

-----

Who you are and where you are from?

I’m Frederik Vanhoutte, and I’m a creative coder. I’m based in Flanders, Belgium, and currently living in Bruges.

What do you do for a living?

Professionally I’m a medical radiation expert (MPE), active in the radiotherapy department of the Ghent university hospital. What this means is that together with a team of radiation oncologists, nurses, technologist and colleague MPEs I’m responsible for the treatment of people with cancer, using radiation generated by high-energy linear accelerators.

Do you have a background in art?

My background isn’t art, it’s physics, lots of physics. I have a master in acoustics and thermodynamics, a second master in medical physics and a PhD in solid state physics.

How did you start making gifs?

My interest in creative coding grew more or less naturally from toy models, simple physics simulations we set up to test ideas. These are oversimplified and not entirely rigorous, the simulation equivalent of back of the envelope calculations.

In 2003, I came across Processing, a coding framework/application/community aimed towards designers and artists wanting to use computers in their practice. For me, the approach was from a different direction. I was familiar with the rigorous logic of programming and started using Processing for my old toy models. But unlike their original purpose, this time round I started playing around with the models for estethics sake. I didn’t know it then, but these were my first generative systems. In an “about”, I’ll typically say that creative coding fuels my curiosity in physical, biological and computational systems. And that isn’t just a sound bite. For me it represents an important way of thinking about things, of answering questions. I haven’t run out of questions yet, so it doesn’t look like I’m stopping soon.

Do you think gifs are a unique art form?

We tend to talk about the intersection of art and science, two distinct areas that converge in a certain practice.  There is something to be said for the idea that that art, even when using technology and scientific terminology, isn’t science; and that science, even if pursued with passion, isn’t art. But the truth probably is that the idea of two distinct regions meeting at an intersection is the wrong metaphor, that instead there is a huge territory where these two quintessential human endeavors flow into each other, mediated by technology, neither art nor science. For me the true intersection is where we meet from different directions, from different backgrounds.

Why gifs, ate least in part of my work? Digital art has many niches but a common thread in generative systems is the emphasis on the system, the dynamics, rather than on the frozen image, the static. But the threshold to share something dynamic is higher than that of a still image. And the platforms to share it on aren’t very stable, Flash is gone, the days of java applets are past, replaced by webgl and javascript, to be replaced by…

The animated gif seems to stand the test of time better, its simplicity undoubtedly part of its success. My first reaction to the question “are gifs a unique art form” was that I don’t see animated gifs as an art form in itself, or even a goal, but as a robust, low-threshold materialization of  things which are hard to convey statically,a form of animation. But to be honest, having made more gifs lately, I need to reconsider. The medium of gifs introduces several constraints that impose themselves on the art, and in through those constraints, like any medium, shapes the art, adding its unique nature to it.

So yes, it is a unique medium, a unique art form. I find myself reducing my toy models to the bare essentials when writing them for gifs. Kill your darlings, purity, whatever you can call it, it invites a certain thoughtfulness that gets lost when presented with the basically unlimited possibilities we seem to have in digital art. I genuinely believe the restrictions make the art better.

What I strive to achieve is something architects call simplexity, a complex form that has an elegant, simple underlying structure. Simplicity without visual complexity can be rather dull. Raw, wild complexity is easy to achieve but impossible to control and can paradoxically end up dull. A pet peeve of mine is that generative art often prides itself on “infinite results, each unique”, yet somehow all looking, feeling the same. Simplexity represents the goldilocks zone, neither the dullness of predictability, nor the boredom of the purely random.

As a tool I mainly use Processing. And although tools undoubtedly influence the work, it really is about ideas and principles that can be embodied in various ways. Whether it’s Houdini or threejs, Processing or Excel, or pen and paper or computer, part of the art always transcends the medium.

I hope this answers some of your questions.

Frederik Vanhoutte’s Twitter feed and Instagram page

[derbysilkmill]

The Interlace Project - What is it and meet the volunteers

On the 15th of February this year I sat in on a workshop held at the Museum and Art Gallery as part of the Interlace Project. With the buzz of Pangolin Day happening in the World Collections gallery, I got to see a small group of museum volunteers getting to grips with the weaving work they were undertaking as part of the project, which will eventually form an art installation to go into the new Museum of Making. This was being led by artist Toni Buckby and museum volunteer Ruth Winterbottom. Scroll further down to find out more about the wonderful volunteers involved.

More recently I had the pleasure of talking again with Toni, and asked her some more in-depth questions about Interlace.

Please introduce yourself.

“My name is Toni Buckby and I'm an artist and PhD researcher based in Sheffield. My work spans the seemingly diverse but oddly related fields of textiles, electronics and computer art. I specialise in hand embroidery, with a particular focus on the 16th Century technique of blackwork, and the creation of experimental interactive electronics. I also spin, weave, draw, code, laser cut, 3D print... I spend most of my time attempting to get impractical ideas to function! I love to collaborate, so I often work with other artists on projects, as well as running public workshops and making a lot of my work available online for others to use. I see a parallel between the making of textiles and the making of digital work – both are logical processes of building complex structures through simple components. There is certainly a conceptual similarity, but I also create hybrid works, like embedding electronics into fabric or creating computer simulations based on textile techniques. I’m quite playful in my approach to my work – I take great delight in mashing (often disparate) materials and ideas together to see what happens - it’s why I like to collaborate so much. There's joy in the attempt to get something working (or not!).”

Image: Toni introducing museum volunteers to the bare cocoon bodies they will be weaving onto

Image: The wooden structures are modelled on silk moth cocoons, these being intrinsic to the silk weaving that took place at the Museum of Making site during the 18th Century. ©Toni Buckby

What is the Interlace Project?

“The Interlace Project began in 2017, when I was invited by Derby Museums to design and produce simple weaving looms that could be manufactured in the maker space at The Silk Mill. All the loom designs and instructions for how to use them were made available for free online (click here), and I've also run many public workshops in the basics of weaving using the looms. Inspired by the building's history as a silk spinning mill, I have now designed a large interactive textile sculpture, which is being made in collaboration with museum volunteers. The sculpture consists of nine woven silk moth cocoon shapes that have fibre optic light strands running through them; all being made by museum volunteer Ruth Winterbottom and her team of amazingly skilled volunteer weavers. The pattern of the lights will be programmed by visitors using punch cards (similar to the ones that were used to create weaving patterns on Jacquard looms in the 19th Century), and the colours will be controlled by touching small woven panels, a mixture of different fibres plus rows of conductive metal thread, that have been made by over 100 volunteers during several group workshops.”

Image: An early cardboard mock-up gives an indication of what the installation will look like. ©Toni Buckby

Image: An example of the fabric and metal touch panels that will form the interactive controls for the installation. ©Toni Buckby

What drew you towards wanting to work with Derby Museums and the Museum of Making?

“Two of my key interests as an artist are showing and sharing the processes of making. I love the fact that Derby’s Museum of Making will celebrate manufacturing processes as well as getting people involved through its events, workshops, volunteer programme and maker space. I've met so many brilliant, enthusiastic people over the course of developing The Interlace Project and it's been a real pleasure working with an organisation that has such similar interests.”

Are there any thoughts or feelings you would like Interlace to provoke?

“I think, firstly, I hope visitors to the museum will be delighted by the piece - it's very playful! Secondly, I hope that people will take the time to appreciate the effort and skill of the volunteers who have made the work. I've been genuinely blown away by the quality and creativity of all those who have contributed so far - both the experienced weavers and those who had never woven before getting involved in the project. Everyone should be immensely proud of their work!”

Image: One of the cocoons approaching completion, fibre-optic and organic threads interspersed

Image: An example cocoon with the fibres illuminated. ©Toni Buckby

How will people be able to get involved with the project?

“Visitors to the museum will be able to interact with the sculptural installation by programming the light patterns and colours. Additionally, the online resources (designs and instructions) are available on the projects Instructables site, if people would like to have a go at weaving themselves. Finally, as the interactive woven panels are going to need to be replaced every few months, we are also (hopefully) going to have more workshops in future where people can have a go at weaving their own panel, which will then become (temporally) part of the installation”.

It will be very exciting to see this artwork in action when it takes its place in the Museum of Making, and to see how it will very physically link the first use of Derby’s Silk Mill as a factory with it’s new iteration as the Museum of Making, showcasing our regions industrial heritage and innovative future.

Check back for more posts from Oliver!

Interlace Volunteer Responses

We asked some of our wonderful volunteers about their experience on the Interlace project and here’s what they had to say.

Ruth

We asked Ruth why she decided to start volunteering with Derby Museums: 

‘I enjoy art, heritage and involvement with people and always relished my visits to the Museum.  When we moved into an apartment next to the Silk Mill, it was a no-brainer!’

What about Ruth’s involvement on the Interlace project?:

‘I’ve been working with Toni Buckby to help realise, with a team of local skilled craftspeople, her vision for a textile installation in the new Museum of Making. Toni references the silk cocoon and weaving in her computer-controlled light display.’

Ruth shared what she has got from being involved in the Interlace project:

‘It has been a pleasure and rare privilege to be part of such a professional textile project!  I’ve revisited old skills, learned new ones and interacted with lovely people, not least Toni herself.  She is a wonderful artist and generous person. It’s humbling to be part of the start of a new Museum’s journey.’

Barbara

Barbara responded to a Derby Museums call out asking for volunteers for a weaving project; she said:

‘Weaving sounded right up my street! I love designing and making things particularly with textiles of all types.’

Just before the lockdown Barbara was able to take home a piece of the project to work on:

‘It took many hours of peaceful meditative activity which was marvellous occupation in the circumstances that was very good for me; also providing a topic of conversation with friends and family that was positive and different from the constant Covid coverage and shared anxious feelings of being separated from much loved and familiar people and activities’.

Hazel

Hazel met volunteer project coordinator Ruth at a Derbyshire Guild of Weavers, Spinners & Dyers meeting where Ruth presented Toni Buckby’s concept:

‘I jumped at the chance [to be involved] - what a great idea and to be part of the museum redevelopment.’

Hazel has been weaving one of the cocoons:

‘This was something new for me and a bit of a challenge, but after over 60 hours of weaving I’m really pleased with the results [and have got] a huge sense of satisfaction from the weaving process and immense pride in what I’ve achieved. I can’t wait to see it installed.’

Sandra

Sandra joined as a volunteer through the Derbyshire Guild of Weavers, Spinners and Dyers and has woven one of the cocoons:

‘As the silk mill was an important, past Derby industry I felt it was relevant, as a member of The Derbyshire Guild, to represent the group by using my weaving skills on a piece of the installation. It has been a great opportunity to work on a creative form using materials, especially the lighting, which I wouldn’t normally have used.’

Bibi

Bibi explains why she got involved with the project:

‘The idea of weaving a cocoon was irresistible to me. I am also excited about the development of the Museum of Making and what it is going to offer to the community.’

However it wasn’t without its challenges:

‘This cocoon was a challenge. The design is so good and the whole exercise was very rewarding in its outcome. I am delighted to be part of the project as a group effort. I am looking forward to seeing them all illuminated.’

Joan

Joan, as a weaver, was interested in helping with this project:

‘[I have] never undertaken a project of this sort before. I certainly found this an interesting challenge with the optical fibre being a difficult addition and always at the back of my mind the fact that my work was going to be on public display.’

Thank you to all of our volunteers who are helping to make the Museum of Making, we really wouldn’t be able to do it without you!

[eminentstechnologies-blog]

Digital Image Processing is to perform Image Processing on images with the help of Algorithms. Now a day's Image processing technique

[nanonaturalist]

Yo! I’m an Anthropology student but I’m super fascinated with entomology n’ the like. Any tips for how to self study entomology/get started? How did you become the bug lover you are today?

Sup! I am a HUGE animal lover. Like, I don’t think you understand how much I love animals. Back when google image search was this crazy new thing, I would google things like “puffer fish” and literally start crying from how cute and precious they were. I don’t remember ever not liking bugs. I was bringing in caterpillars when my age was single digits, which I named and kept in shoe boxes, and who would invariably wander out and make a random cocoon somewhere.

STORY TIME! (what? you wanted a short answer? Sorry!)

… (actually check out this post from a while back [link] about tips for getting started, it was written for a high school student but most of the things I mention are good for all ages)…

Thing is, this was the point in history when you needed to use a card catalog to look a book up in the library. No idea what I’m talking about? That’s how long ago this was. If there was a book about bugs in the school book order form, I would ask for it (and sometimes I’d get one), but that was the full extent of my knowledge pool for things that we weren’t directly taught about in school. In 4th grade, we had a unit on marine animals (with the most amazing field trip on a research boat ever, omg the scuba divers brought up things for us to touch, and we got to look at plankton in the microscope eeeeeee!), and it was like I was reborn. I memorized everything we learned, including the taxonomy of cnidaria (jellies, anemones, corals) and strange eating habits of echinoderms (starfish, urchins). I got REAL into this stuff, to the point where 4 years later, I told anybody who asked me that when I grew up, I was going to get a PhD in Marine Biology.

There was just one problem. You can’t get a degree in any kind of animal biology without doing dissections or killing things. Remember, I’m an animal Lover with a capital L. I wanted to be a vegetarian starting at age 4 (parents said no, but I picked meat out of everything until I made it official at 12). So I gave up on biology real quick. Flash forward about ten years to 2006. I had graduated from college (with a psychology degree that cost me $70,000), was working soul-sucking jobs, and needed a hobby. But wait, DIGITAL CAMERAS ARE A THING! WOW! So I picked up “crappy nature photography” as a hobby. And what did I take pictures of with my First Ever Digital Camera when I bought one that summer?

I found this longhorn beetle on the hood of my car at a rest stop somewhere in the middle of nowhere, Missouri. But back in 2006… What are you going to do with pictures of bugs when you have no background in biology? I posted some on LiveJournal, and that was that. What kind of bug was it? I couldn’t even tell you that it was a beetle at that point. And when I was going through my old photos more recently, I couldn’t even remember seeing it.

I still took photos of basically everything I saw, but nothing ever really happened with them.

Who are these? At the time (photos are from 2006 to 2009), the most I could have told you was “dragonfly, wasp, spider, caddisfly larva.” Which is pretty good, I guess, but I didn’t even realize how much diversity I was missing out on by not going any deeper. 

Me + Slugs: Left - Banana Slug in Redwood National Forest, CA (2008); Center and Right - Chocolate Arion Slug at my apartment in Redmond, WA (2006)

Time passes, nature photos are taken. I will take photos of any bug I see, but I don’t intentionally seek them out and I never know what any of them are. Now flash forward to 2013, when I moved from Seattle, WA to Austin, TX. 

My mind was blown. The bugs were huge, strange, and EVERYWHERE. I NEEDED TO KNOW WHAT THEY WERE! But… It was still hard. At this point, looking things up on the internet was just what you did, but … what was I supposed to look up? “Giant screaming thing in my potted plant that looks like a leaf?” “Pile of handsnails?” I took pictures, shared them on Facebook (nobody used Livejournal anymore!), and went about my day. 

At this point, I had gone back to college to study engineering (I moved to Austin for grad school), and somehow ended up watching a lot of youtube. SciShow got me onto VlogBrothers, which got me onto The Brain Scoop (@thebrainscoop), which got me onto tumblr *waves*. And I was thinking some hard thoughts about what I actually wanted to do when I grew up because I was tired of soul-sucking jobs. Hey, I love museums (that’s actually where most of my science knowledge came from), so I started thinking about careers in science museums, and I followed UT’s collection page on Facebook. One day in 2015, they shared an event for a Bioblitz, sponsored by several groups associated with UT and Texas Parks and Wildlfie. What’s a Bioblitz? I had no idea. So I clicked. 

Basically, you take as many pictures of living things as you can. There were subject matter experts who would lead you on hikes and tell you what things were and how you can tell them apart (WAIT, WHAT?!?). The event required that you download this new nature app called iNaturalist (@inaturalist), which is where you would post the photos you took. With the data you posted from the app, other users of the website would identify your photos, and the state park we were at would use that data to create species checklists to track what occurred there. Your iNat account kept a permanent log of all of your observations. I tend to be extremely skeptical/resistant to new technologies and being told to do things, so at first I wanted to know what was wrong with the way I took photos NOW, I didn’t need some stupid website telling me what to do.

But then I started testing it out before the event.

Two of my first iNat observations (both butterflies). Left: Henry’s Elfin caterpillar; Right: American Lady butterfly. Links to iNat observations.

I had no idea where to start with identifying either of these, and the Henry’s Elfin caterpillar took me a few years to ID myself. But the American Lady? People told me what it was within hours of me posting it. Within hours.

About a week later, the Bioblitz happened. It was perfect. For the first time in my life, I was surrounded by people who were just like me. They wanted to go on long slow walks through nature, turning over logs and walking directly into ponds and poking at insects, all while taking photos of things and identifying them. I was spending the weekend with real life biologists and I was learning everything I could. And the things I saw?

HOLY CARP. Texas has dung beetles?! (top left) Parasitic wasps REALLY DO THAT? (braconid wasp cocoons on inchworm caterpillar, top right) Diving beetles?! (water scavenger beetle, bottom left) Giant fishing spiders?! (bottom right)

This event was the moment I “got started” with entomology. I regularly used iNaturalist, and in the process of trying to identify my observations with BugGuide.net [link], I quickly began to learn some of the “basics.” For example, stink bugs are a thing. So are green lacewings. And there are a LOT more kinds of spiders than orbweavers and wolf spiders (who knew?). I was so smitten with iNaturalist that I professed my love for all to read on tumblr [link] (all being… 3 people?). I used iNaturalist regularly, but still, unless I was on a bioblitz, I didn’t seek things out. I mentioned I was a grad student, right?

Then 2016 rolls around. I’ve had enough of school and drop master out of my program. I get a Real Engineering Job and Buy a House with a Yard. I started my new job when I was finishing up my thesis (probably not the best idea…) and so my back yard took on a life of its own. By the time I had finished my thesis, the grass was hip height, and the HOA had no rules about what my back yard had to look like, so I just never mowed it. And the bugs… oh man, the bugs. The bugs were good. By January 2017, I was getting more confident in my Bug Knowledge, and I was using iNaturalist every week. I had joined clubs centered around nature (Texas Master Naturalists and Travis Audubon). I signed up for a birding trip in Malawi. Then in April, I found a pile of butterfly eggs and a chrysalis. And the guy leading the Malawi trip (one of the directors at Travis Audubon) asked me to do an insect table at their outreach event. Then City Nature Challenge 2017 happened (and I am *very* competitive). And… uh… I guess I just never looked back?

The thing to remember here is: the more I learn, the more I realize I don’t know. What I love about iNaturalist is that I can create a time capsule showing what I did and didn’t know at the time. And what I didn’t know is… really amazing. I taught the entomology class for my Master Naturalist chapter’s training course this year, and I told the people in the class that one year ago, I didn’t know any of the things I was going to talk to them about. I know it sounds like I’m putting on a commercial for iNaturalist (which is actually exactly what I’m doing, I love that website), but besides the curiosity about nature that I had to begin with, iNaturalist is the single most important thing that has enabled me to nurture and grow my love for our invertebrate friends.

Through my use of iNaturalist, I have met real people and made real friendships. Many of the people I meet are professionally biologists, but there are just as many randos like me who crawled out of the internet to hang out with nature freaks. One of the great things about this community is there is no elitism, and even professional entomologists are just as willing to admit they have no idea what something is and will listen to me explain what I know, as they are to explain something I don’t know and answer my questions. The people I have met are absolutely awesome, and the general attitude people on iNat (online and in person) tend to have has really rubbed off on me. If someone I’m talking to doesn’t know something that tends to be commonly known (example: my coworker is a gardener, but hadn’t heard about the ant/aphid relationship), oh boy, it’s awesome, let me TELL YOU about ANTS fighting off PREDATORS so they can DRINK APHID PEE!!!

Above: Crematogaster ants farming keeled treehopper nymphs on sunflower SO THEY CAN DRINK THEIR PEE

One of the best things you can do to get more into entomology is to just be observant. Look. Notice patterns. Pay attention to relationships between “higher” and “lower” organisms. When you travel, look there too. What is different from home? What’s similar?

The other best thing: meet people. Find groups/clubs for people into nature. Go on hikes with entomologists. Go to “nature days” events (these are always geared towards kids, but ADULTS ARE WELCOME!). A lot of nature clubs and organizations are heavy on the retiree demographic, which means the meetings may not be easy to learn about online. I actually joined the Austin Butterfly Forum after hearing about it from the people I was sitting next to at a Travis Audubon event (Victor Emanuel’s autobiography had just published and he kicked off his book tour with a live interview in Austin), and I’ve met several new friends through ABF. 

I don’t even know how to explain it, but naturalists are a totally different flavor than any other person I’ve known. It’s like, there are other people who would rather be crawling through the swamp in 105°F weather for 8 hours straight than sit and watch TV? There are other people who will skip two meals and stay up until 2 am to get really good bug pictures? I mean, I can’t describe what it feels like to be slowly picking through the deserts of west Texas with 15 other people, when one of them yells, “SNAKE!” and suddenly EVERYBODY RUNS TOWARDS THE SNAKE AND IMPATIENTLY WAITS THEIR TURN TO HOLD HIM. 

I know this is long and maybe not entirely what you were expecting, @marichuu, but want to make sure that anybody reading this knows that if you like nature, even if you don’t know very much about it now, there are a ton of people like me and those weirdos up there who are so excited to share the world with you that you can’t even imagine it now. Want to stay online because you’re nervous about meeting new people? That’s great! Tons of us are online! But if you’re ready to put yourself out there and meet people in person, chances are, they’re awesome and will love answering your questions (and if they’re not awesome tell me and I’ll YELL AT THEM FOR YOU YOU DESERVE BETTER). 

Anyway. Bugs are awesome and I hope they think you are just as awesome. Also anthropology is super neat and there’s a lot of intersections with entomology [link] that you can look at from an interesting angle.

Posted June 4, 2018

[sunaleisocial]

Controlled diffusion model can change material properties in images

New Post has been published on https://sunalei.org/news/controlled-diffusion-model-can-change-material-properties-in-images/

Controlled diffusion model can change material properties in images

Researchers from the MIT Computer Science and Artificial Intelligence Laboratory (CSAIL) and Google Research may have just performed digital sorcery — in the form of a diffusion model that can change the material properties of objects in images.

Dubbed Alchemist, the system allows users to alter four attributes of both real and AI-generated pictures: roughness, metallicity, albedo (an object’s initial base color), and transparency. As an image-to-image diffusion model, one can input any photo and then adjust each property within a continuous scale of -1 to 1 to create a new visual. These photo editing capabilities could potentially extend to improving the models in video games, expanding the capabilities of AI in visual effects, and enriching robotic training data.

The magic behind Alchemist starts with a denoising diffusion model: In practice, researchers used Stable Diffusion 1.5, which is a text-to-image model lauded for its photorealistic results and editing capabilities. Previous work built on the popular model to enable users to make higher-level changes, like swapping objects or altering the depth of images. In contrast, CSAIL and Google Research’s method applies this model to focus on low-level attributes, revising the finer details of an object’s material properties with a unique, slider-based interface that outperforms its counterparts.

While prior diffusion systems could pull a proverbial rabbit out of a hat for an image, Alchemist could transform that same animal to look translucent. The system could also make a rubber duck appear metallic, remove the golden hue from a goldfish, and shine an old shoe. Programs like Photoshop have similar capabilities, but this model can change material properties in a more straightforward way. For instance, modifying the metallic look of a photo requires several steps in the widely used application.

“When you look at an image you’ve created, often the result is not exactly what you have in mind,” says Prafull Sharma, MIT PhD student in electrical engineering and computer science, CSAIL affiliate, and lead author on a new paper describing the work. “You want to control the picture while editing it, but the existing controls in image editors are not able to change the materials. With Alchemist, we capitalize on the photorealism of outputs from text-to-image models and tease out a slider control that allows us to modify a specific property after the initial picture is provided.”

Precise control

“Text-to-image generative models have empowered everyday users to generate images as effortlessly as writing a sentence. However, controlling these models can be challenging,” says Carnegie Mellon University Assistant Professor Jun-Yan Zhu, who was not involved in the paper. “While generating a vase is simple, synthesizing a vase with specific material properties such as transparency and roughness requires users to spend hours trying different text prompts and random seeds. This can be frustrating, especially for professional users who require precision in their work. Alchemist presents a practical solution to this challenge by enabling precise control over the materials of an input image while harnessing the data-driven priors of large-scale diffusion models, inspiring future works to seamlessly incorporate generative models into the existing interfaces of commonly used content creation software.”

Alchemist’s design capabilities could help tweak the appearance of different models in video games. Applying such a diffusion model in this domain could help creators speed up their design process, refining textures to fit the gameplay of a level. Moreover, Sharma and his team’s project could assist with altering graphic design elements, videos, and movie effects to enhance photorealism and achieve the desired material appearance with precision.

The method could also refine robotic training data for tasks like manipulation. By introducing the machines to more textures, they can better understand the diverse items they’ll grasp in the real world. Alchemist can even potentially help with image classification, analyzing where a neural network fails to recognize the material changes of an image.

Sharma and his team’s work exceeded similar models at faithfully editing only the requested object of interest. For example, when a user prompted different models to tweak a dolphin to max transparency, only Alchemist achieved this feat while leaving the ocean backdrop unedited. When the researchers trained comparable diffusion model InstructPix2Pix on the same data as their method for comparison, they found that Alchemist achieved superior accuracy scores. Likewise, a user study revealed that the MIT model was preferred and seen as more photorealistic than its counterpart.

Keeping it real with synthetic data

According to the researchers, collecting real data was impractical. Instead, they trained their model on a synthetic dataset, randomly editing the material attributes of 1,200 materials applied to 100 publicly available, unique 3D objects in Blender, a popular computer graphics design tool.

“The control of generative AI image synthesis has so far been constrained by what text can describe,” says Frédo Durand, the Amar Bose Professor of Computing in the MIT Department of Electrical Engineering and Computer Science (EECS) and CSAIL member, who is a senior author on the paper. “This work opens new and finer-grain control for visual attributes inherited from decades of computer-graphics research.”

“Alchemist is the kind of technique that’s needed to make machine learning and diffusion models practical and useful to the CGI community and graphic designers,” adds Google Research senior software engineer and co-author Mark Matthews. “Without it, you’re stuck with this kind of uncontrollable stochasticity. It’s maybe fun for a while, but at some point, you need to get real work done and have it obey a creative vision.”

Sharma’s latest project comes a year after he led research on Materialistic, a machine-learning method that can identify similar materials in an image. This previous work demonstrated how AI models can refine their material understanding skills, and like Alchemist, was fine-tuned on a synthetic dataset of 3D models from Blender.

Still, Alchemist has a few limitations at the moment. The model struggles to correctly infer illumination, so it occasionally fails to follow a user’s input. Sharma notes that this method sometimes generates physically implausible transparencies, too. Picture a hand partially inside a cereal box, for example — at Alchemist’s maximum setting for this attribute, you’d see a clear container without the fingers reaching in.

The researchers would like to expand on how such a model could improve 3D assets for graphics at scene level. Also, Alchemist could help infer material properties from images. According to Sharma, this type of work could unlock links between objects’ visual and mechanical traits in the future.

MIT EECS professor and CSAIL member William T. Freeman is also a senior author, joining Varun Jampani, and Google Research scientists Yuanzhen Li PhD ’09, Xuhui Jia, and Dmitry Lagun. The work was supported, in part, by a National Science Foundation grant and gifts from Google and Amazon. The group’s work will be highlighted at CVPR in June.

[callofdutymobileindia]

Career Opportunities After Completing an Artificial Intelligence Course in Chicago

As Artificial Intelligence (AI) transforms industries globally, cities like Chicago are emerging as thriving centres for AI innovation and talent. Whether you’re a student, a working professional, or someone seeking a career switch, completing an Artificial Intelligence course in Chicago can unlock a wide range of job opportunities in 2025 and beyond.

In this blog, we explore the career paths available after completing an AI course in Chicago, why this city is an ideal location for AI education, and how enrolling in the right program can fast-track your career in tech.

Why Chicago for Artificial Intelligence?

Chicago is known for more than just architecture and deep-dish pizza—it's becoming a hub for technology, innovation, and digital transformation. From Fortune 500 companies to fast-growing startups, businesses across finance, healthcare, manufacturing, and logistics are adopting AI to optimize performance, automate operations, and enhance customer experiences.

The city’s growing investment in smart technologies and AI-focused research has made it an ideal place for AI enthusiasts to gain skills and build rewarding careers.

Top Career Paths After Completing an Artificial Intelligence Course in Chicago

Once you complete an AI course in Chicago, a wide variety of job roles become available. Here are some of the most promising:

1. Artificial Intelligence Engineer

AI Engineers design and build AI-powered systems and applications. In Chicago, industries such as healthcare and finance are hiring AI engineers to implement smart automation, fraud detection systems, and intelligent recommendation engines.

Skills Required: Machine learning, deep learning, Python, TensorFlow, neural networks Average Salary in Chicago: $125,000 – $165,000 annually

2. Data Scientist

Data Scientists use machine learning and statistical methods to derive insights from large datasets. In a data-driven city like Chicago, they're crucial to sectors like logistics, public policy, marketing, and fintech.

Skills Required: Data visualization, statistics, Python/R, SQL, model building Average Salary in Chicago: $110,000 – $150,000 annually

3. Machine Learning Engineer

Machine Learning Engineers focus on building, deploying, and maintaining scalable machine learning systems. They're in high demand in Chicago’s insurance, transportation, and e-commerce sectors.

Skills Required: Supervised/unsupervised learning, model tuning, deployment tools Average Salary in Chicago: $120,000 – $160,000 annually

4. AI Research Scientist

For those interested in academic and experimental approaches, AI Research Scientists work on cutting-edge projects in natural language processing, reinforcement learning, and more.

Skills Required: Research methodologies, PhD/Master’s-level understanding, algorithm design Average Salary in Chicago: $130,000 – $180,000 annually

5. Computer Vision Engineer

From smart city infrastructure to security and medical imaging, computer vision is transforming how machines interpret the world. Chicago's public safety and healthcare sectors are particularly active in this domain.

Skills Required: OpenCV, deep learning, object detection, image processing Average Salary in Chicago: $115,000 – $155,000 annually

6. NLP (Natural Language Processing) Specialist

With the rise of chatbots, sentiment analysis, and voice-activated assistants, NLP Specialists are in demand across Chicago’s tech startups and customer-facing enterprises.

Skills Required: spaCy, NLTK, LLMs, tokenization, sentiment analysis Average Salary in Chicago: $110,000 – $145,000 annually

7. AI Product Manager

AI Product Managers blend technical knowledge with business strategy to lead AI-based product development. In Chicago’s enterprise tech ecosystem, this role is vital for innovation teams.

Skills Required: Agile development, stakeholder management, AI fundamentals Average Salary in Chicago: $125,000 – $170,000 annually

8. AI Consultant

AI Consultants work with organizations to identify opportunities where AI can deliver value. Consulting firms in Chicago are increasingly hiring AI experts to help companies transition into intelligent enterprises.

Skills Required: AI solution design, business analysis, communication Average Salary in Chicago: $120,000 – $165,000 annually

Key Industries Hiring AI Talent in Chicago

Completing an Artificial Intelligence course in Chicago doesn’t limit you to the tech sector alone. The city’s diversified economy offers AI career prospects in a range of industries:

Healthcare & Life Sciences

Hospitals, research institutions, and health tech start-ups are using AI for diagnostics, patient care, drug discovery, and robotic surgery.

Finance & Insurance

Chicago is home to major financial institutions that utilize AI for fraud prevention, algorithmic trading, credit risk analysis, and customer service automation.

Manufacturing & Industrial Automation

The city's strong manufacturing base is embracing AI for predictive maintenance, supply chain optimization, and robotics.

Logistics & Supply Chain

As a major transportation and logistics hub, Chicago offers AI opportunities in route planning, fleet management, and warehouse automation.

Smart Cities & Public Sector

From intelligent traffic systems to surveillance analytics, AI is helping Chicago’s government bodies build a smarter, safer city.

Retail & E-Commerce

AI is revolutionizing retail by driving personalization, customer segmentation, and inventory prediction—all crucial for Chicago-based companies.

Why an AI Course in Chicago is a Smart Career Move?

Here are the top reasons why studying Artificial Intelligence in Chicago can give your career a boost:

Proximity to Industry Leaders

Chicago is home to influential organizations like Boeing, AbbVie, McDonald’s, United Airlines, and many innovative startups. Many AI courses collaborate with such firms, offering internships and placement support.

Access to Real-World Projects

AI courses in Chicago often integrate hands-on learning through capstone projects that solve real business problems using AI technologies.

Networking and Career Events

From Chicago AI Week to local meetups and hackathons, the city’s tech community provides students with ample networking and learning opportunities.

Multicultural Talent Ecosystem

Chicago attracts talent from around the world. Learning in such a diverse and inclusive environment prepares you to work on global AI challenges.

Choosing the Right AI Course in Chicago

Not all AI courses are created equal. A high-quality AI program should offer:

In-depth training in Python, machine learning, deep learning, and Generative AI

Practical exposure to tools like TensorFlow, PyTorch, and cloud platforms

Real-world datasets and industry-aligned projects

Career mentorship, job placement assistance, and certification

Flexible learning modes (online, weekend, or hybrid)

A Leading Choice for AI Education in Chicago

One standout institute offering an industry-focused Artificial Intelligence course in Chicago is the Boston Institute of Analytics.

With a strong global presence and a reputation for delivering practical, job-ready AI training, the institute offers:

Project-based curriculum designed by top data scientists

Training on the latest technologies including Generative AI and Agentic AI

Mentorship from industry professionals

Placement support with leading companies in the U.S. and abroad

Multiple delivery formats to suit working professionals and students alike

Graduates of this program have landed roles in top organizations across tech, finance, healthcare, and consulting, making it one of the most trusted names in AI education.

Final Thoughts

The demand for AI professionals is skyrocketing—and Chicago is at the centre of this transformation in the Midwest. Whether you're looking to become a machine learning engineer, data scientist, or AI consultant, completing anArtificial Intelligence Classroom Course in Chicago is your gateway to a high-growth, high-impact career.

When you choose the right program—especially one that emphasizes real-world application, cutting-edge tools, and career support—you don't just learn AI; you position yourself as a future-ready professional.

The Boston Institute of Analytics, with its globally respected curriculum and strong industry connections, provides everything you need to succeed in the AI space. If you're ready to take your first step into the world of Artificial Intelligence, there’s no better place to begin than in Chicago.

[iimtu1334]

Where should I take admission in B. Tech (Electronics and communication) engineering?

Taking admission in IIMT Engineering College in B. Tech. branch will be a good decision to secure your future. There are highly experienced qualified PHD holder faculties who are using new technology to learn new things and creating a world of exploration, critical thinking and discovery for better knowledge and understanding. You can get admission into this UG course, through selection tests which are conducted at public, state and college level. Admissions are taken on based on merit list. The merit list will be drawn based on marks scored in the passing test.

Department of Electrical Electronics and Communication Engineering shares the vision and mission of IIMT Group in imparting quality education to the students to meet the national and global challenges by providing a stimulating and flexible learning environment for its students as well as faculty which makes the Department of Electrical Electronics and Communication Engineering (EECE) is one of the premier departments.

The Department of Electronics & Communication Engineering offers a regular four year B. Tech. program in Electronics & Communication Engineering as well as post graduate program in Communication Engineering and VLSI Design . In addition to the strong undergraduate program in Electronics & Communication Engineering, the department has world class infrastructure & teaching facilities. The infrastructure and lab facilities are up to the international standards and provide adequate opportunities for students and researchers to learn and innovate the technological skills. The department has distinguished faculty profile with educations background from reputed/premier institutes

In this era of globalization where the whole world is well knit and networked, Electronics and Communication Engineering is the most sought after engineering branch among budding Engineers. The Department of EECE offers B. Tech., M. Tech. and Ph. D. programmes to cater the needs of supplying the best professionals in Electronics and Communication Engineering and Electrical and Electronics Engineering at national and international level.

For admissions into B. Tech. courses, you may appear for the JEE Main examination. It is a national level exam conducted for admissions into various UG engineering courses offered across the country. For admissions into PG course, you can appear in the GATE exam. Some engineering entrance exams are given here:

· JEE Main 2021

· JEE Advanced 2021

· GATE 2021 (Graduate Aptitude Test for Engineering)

· UPSEE 2021 (Uttar Pradesh State Entrance Examination)

The Department is equipped with excellent research facilities in the field of VLSI design, Microwave Engineering, High-speed Networking and Communication, Embedded Systems, Intelligent Systems, Parallel Bus Architecture and Designing high-performance systems, Signal Processing, Biomedical Instrumentation, Renewable Energy and Power engineering.

Electrical and electronics engineers are working today in all spheres of modern society, be it internet, cellular communication, satellites, industrial control systems, power systems, non conventional energy sources or DC and AC transmission systems.

The Electronics & Communication Engineering has been playing a vital role in producing scientists and technologists of the highest caliber. The ever challenging needs of technological excellence in all the major areas of Electronics & Communication Engineering such as Communication Engineering, VLSI Design, Robotics, microprocessors & microcontrollers, digital and analog electronics, mobile and computer networks, biomedical instrumentation, digital signal & image processing, Integrated electronics and circuits, network & systems, measurements & instrumentation motivate to opt Electronics & Communication Engineering one of the most chosen branches of Engineering & Technology. The Electronics & Communication Engineering stream, which is very relevant to the requirement of modern fast developing industries, is the evergreen branch. Extensive project based learning is embedded in curricula to enhance technical skills of students as per industry needs.

[philosophy-art-technology]

Vincent Thornhill : new presentations !

Workshop smartphone images - Vincent Thornhill Vincent Thornhill (research unit Image) will be giving a workshop at the Design Academy Eindhoven Research Festival On March 16-18 about smartphone images: "the images produced by smartphone cameras are not photographs, they are computations. And as smartphone imagery becomes a primary medium for self-representation, the programming within camera systems develops a fundamental role in how we perceive ourselves, and others. In this workshop we will explore the ways in which the software behind the digital image informs our ability to envisage ourselves, as we create alternative image-making processes to produce new forms of expression". He will also be giving a presentation about becoming a PhD student, where he introduces the PhD programme at LUCA; the reasons for starting the trajectory, how he experiences the transition from master to post-master work and research life, and then to becoming a PhD candidate

[evoldir]

Fwd: Job: UOslo.PlantEvolutionaryGenomics

Begin forwarded message: > From: evoldir@web.rhpcs.mcmaster.ca > Subject: Job: UOslo.PlantEvolutionaryGenomics > Date: 20 November 2021 at 08:57:09 GMT > To: rdmpage@gmail.com > > > We have position as an Associate Professor/Professor in > Plant Evolutionary Genomics open with a deadline of December > 5th. Please find detailed information below as well as on this webpage: > https://ift.tt/3CBkS70 > You will have to apply via this webpage as well. > > The museum is a great place to work with many newly hired colleagues > and hence a young group of enthusiastic researchers from all over the > world. Norway and Oslo is also a nice place to live. > > Best wishes, > > Torsten. > > Job description > The Natural History Museum is recruiting an Associate Professor/Professor > in Plant Evolutionary Genomics. The position is expected to develop > our research in plant evolutionary genomics, past and present, > with a focus on Nordic biodiversity. The appointment is a fulltime, > permanent position with an earliest starting date of 1 July 2022. NHM's > strategic plan for 2020-2030 "Forst� naturens mangfold" aims to > raise the quality of research and to strengthen the integration of > the scientific collections in research and educational activities. A > concrete ambition is that the research will be further developed to > qualify for a center of excellence (SFF) by 2025. Digital resources > derived from museum collections - including in-silico genomic data, > scanned images of vouchers, and digitized associated metadata, are > opening new venues for collections-based research aiding to address > society's need for science-based information to understand and mitigate > the effects of climate change on biodiversity.  NHM has a collaboration > agreement with the Department of Biological Sciences about teaching and > supervision of students at the bachelor and master's level, and with > the Faculty of Mathematics and Natural Sciences for supervision of > doctoral candidates. NHM also hosts an international research school > in biosystematics (ForBio). The successful candidate is expected to > participate in teaching at all levels and be a capable and enthusiastic > supervisor of master's and PhD students. Up to 50% of the working time > will be devoted to curating collections (main activity), teaching > and supervision of students, outreach and administrative tasks at > NHM. Lectures and tuition are given in Norwegian and English. Foreign > language speakers are expected to be able to teach in a Scandinavian > language within two years after being hired. > > Qualification requirements > NHM seeks to employ a plant evolutionary biologist with a strong > independent research program that can take advantage of our extensive > collections of Nordic plant biodiversity, including digitized collections, > DNA bank and genomic resources. NHM seeks a candidate who is at the > international research front in the study of Nordic plant biodiversity, > including the role of glacial refugia in postglacial dispersal and > colonization of Scandinavia, the contribution of different processes > to shaping contemporary biodiversity, the drivers of change to current > biodiversity and management of future scenarios in a changing climate. The > candidate must have a strong interest in generating and using museum > collections in their research. There is a special need to strengthen > the research activity within Nordic vascular plants, and it is the > intention that the candidate will be assigned the scientific curatorial > responsibility for this collection. The person hired is expected to > initiate collaborative projects in their special field with colleagues > both inside and outside the museum and to contribute actively to the > process of developing a Center of Excellence (Norwegian Centres of > Excellence scheme (forskningsradet.no). > > Required qualifications > The successful applicant must have: > - A PhD or an equivalent doctoral degree in biology . A research profile >  with relevant experience in plant evolutionary genomics . Knowledge of >  Nordic vascular plant diversity, including in research and teaching . >  A relevant and strong publication record, and with a clear vision for >  developing an independent museum-based research program. > - An upward academic trajectory and strong potential to execute >  competitive research projects at a high international level. > - Ability to create an attractive research environment and perform >  research that inspires synergistic interactions with current research >  at the museum. > - Focus on using plant genomics to study fundamental questions in >  biology, rather than applying or developing methods for >  monitoring purposes. > - Experience with bioinformatic analyses of high-throughput sequence >  data, statistical analyses and visualization of such results . A track >  record of acquiring extramural research funding . Excellent English >  language skills (written and spoken) > > Desirable qualifications > The successful applicant should have: > . Teaching and supervision skills of master's and PhD students > . Leadership experience from research groups or projects . Command of > a Scandinavian language > > Rules and regulations: > -   Rules for appointment to Professor and Associate Professor positions >    at UiO - University of Oslo > -   Guide for applicants and members of expert committees on >    documentation, assessment and weighting of qualifications > -   Regulations concerning appointment and promotion to teaching and >    research posts > -   Rules for practising the requirement for basic university >    pedagogical competence at UiO > > Personal qualities > . Ability to create and contribute to a well-functioning, inclusive > and productive research environment . Networking skills, ability to > collaborate and conduct scientific leadership . Ability to cooperate > and communicate well with other members of staff > > The successful candidate should have an international profile with respect > to the above criteria. The candidate for this position will be selected > based on excellence and fit with the section's research profile. Emphasis > will be placed on both scientific and educational competence. For more > information see also the general rules of employment in these position > categories: > > Rules for appointment to Professor and Associate Professor positions at > UiO - University of Oslo > > We offer > -   Salary from kr 637 900 to kr 715 900 depending on competencies, in >    the position of Associate Professor (position code 1011) > -   Salary from kr 776 900 to kr 919 700 depending on competencies, in >    the position of Professor (position code 1013) > -   A stimulating and friendly working environment > -   Membership in the Norwegian Public Service Pension Fund > -   Attractive welfare benefits and a generous pension agreement, in >    addition to Oslo's family-friendly environment with its rich >    opportunities for culture and outdoor activities > > How to apply > The application must include: > -   A cover letter which includes a statement of motivation and a >    summary of scientific background and research interests > -   CV (summarizing education, positions, research profile and merits, >    pedagogical qualifications, curatorial experience, administrative >    experience and other qualifying activity) > -   A list of all scientific publications > -   A summary of up to 7 selected scientific key publications the >    applicant wishes to include in the evaluation describing their >    significance and impact. PDFs of these publications must be provided > -   A research plan, which describes ideas for future research, >    scientific collaborations, and extramural funding proposals, and how >    the applicant's research will strengthen or create synergistic >    effects with current research at the museum (up to 5 pages) > -   A teaching portfolio: a document describing the applicant's >    pedagogical competence including formal and practical qualifications >    and teaching philosophy > -   List of reference persons: 3 references (name, relation to >    candidate, e-mail and phone number). No reference letters should >    be submitted > > The application with attachments must be delivered in our electronic > recruiting system. Please note that all documents should be in > English. Interviews will be part of the appointment process, along with > a trial lecture. > > Formal regulations > > The basis for assessment will be the scholarly production of the > applicant, other qualifications, pedagogical or educational, the > applicant's qualifications within leadership and administration as well as > the general personal suitability. In ranking the competent applicants, > the full range of qualifications will be considered and explicitly > assessed.  The successful candidate who at the time of appointment cannot > document basic teaching qualifications will be required to obtain such > qualifications within a two-year period. Please see rules for practising > the requirement for basic university pedagogical competence at UiO. > For appointment as a professor the candidate is required to meet the > criteria in the Regulations concerning appointment and promotion to > teaching and research posts section 1-2. In the assessment the committee > will also assess paragraph 9e of Rules for appointment to Professor > and Associate Professor positions at UiO.  The successful candidate > must demonstrate mastery of both English and one of the Scandinavian > languages as working languages. If an appointee is not fluent in a > Scandinavian language, the appointee will be expected within a two-year > period to learn sufficient Norwegian to be able to participate actively > in all functions the position may involve.  Pursuant to section 25(2) > of the Freedom of Information Act, information concerning the applicant > may be made public, even if the applicant has requested not to appear on > the list of applicants.  The University of Oslo has a transfer agreement > with all employees that is intended to secure the rights to all research > results etc.  Inclusion and diversity are a strength. The University of > Oslo aims to achieve a balanced gender composition in the workforce and > to recruit people with ethnic minority backgrounds. The University of > Oslo has a goal of recruiting more women in academic positions. Women > are encouraged to apply. > > Contactinformation > Museum Director: Brit Lisa Skjelkv�le, phone number: +47 916 94 004, > e-mail: b.l.skjelkvale@nhm.uio.no Acting Research Director: Hugo de Boer, > phone number: +47 981 26 030, e-mail: h.de.boer@nhm.uio.no For questions > about the recruitment system, please contact HR-Officer Thomas Br�n�, > thomas.brana@nhm.uio.no > > > About the University of Oslo and the Natural History Museum The University > of Oslo is Norway's oldest and highest ranked educational and research > institution, with 28 000 students and 7000 employees. With its broad > range of academic disciplines and internationally recognised research > communities, UiO is an important contributor to society. > > The Natural History Museum (NHM) at the University of Oslo is Norway's > most comprehensive natural history collection. For almost 200 years, > specimens of animals, fungi, plants, rocks, minerals and fossils have > been collected, studied and preserved here. The museum is located at > �kern and in the beautiful Botanical Garden, which is not only popular > for recreation, but is a scientific collection in itself. NHM has about > 160 employees organized in five sections. The section for research and > collections has about 80 employees, organized in eight research groups, > and conducts research in biodiversity and evolution. The research covers > both geology (incl. paleontology) and biology, and the scientific staff is > responsible for managing and developing the largest scientific collection > in Norway (approx. six million objects). NHM's scientific staff also > contributes with teaching students admitted to various programs at > the Faculty of Mathematics and Natural Sciences, supervises master's > students, doctoral students, and postdoctoral fellows, and disseminates > research-based knowledge to the public through exhibitions, lectures > and popular science media. > > Torsten Hugo Struck > via IFTTT

[eminentstechnologies-blog]

Digital Image Processing is to perform Image Processing on images with the help of Algorithms. Now a day's Image processing technique

[natashamcgregorregeneration]

Artist research on @immunofluorescence, Derek Sung.

Derek Sung is a MD/phD candidate at the University of Pennsylvania Perelman School of Medicine, he is originally from New Jersey. When I see Dereks work it reminds me of when I did light painting in year 1. When Derek was first introduced to confocal microscopy and immunofluorescence, he states that as soon as he learned to do it he became essentially obsessed with it, he loved the process of it and loved being able to digitize a tissue microscopically. To capture the images for Derek’s Instagram he does two main different things, he does immunofluorescence imaging on tissue sections and the other thing is on cultured cells, cells in a dish. When Derek has finished he post-processes in ImageJ, the program by the NIH where he can swap colours and mess with the brightness and contrast. It's almost like Photoshop.

[architectnews]

RCA New Battersea Campus, Royal College of Art London

Royal College of Art Battersea New Campus, RCA London Building News, Design Image

RCA New Battersea Campus, Royal College of Art London

23 + 20 + 7 Sep 2021

The Landmark Building For The Royal College Of Art

Design: Herzog & De Meuron Architects

Address: Riverside, 1 Hester Rd, London SW11 4AN, England, UK

Royal College of Art, London, UK: pictures © Herzog & deMeuron

Royal College of Art – new Battersea campus

Thursday 23 September 2021 – The Royal College of Art, the world’s leading university of art and design, will launch its new campus in Battersea, London, on 11 January 2022. The state-of-the-art building, designed by internationally renowned Swiss architects, Herzog & de Meuron, will provide a new home for innovation and design, embodying the RCA’s academic vision to interweave art and design with STEM (Science, Technology, Engineering and Maths).

The new Battersea campus is the largest development in the College’s 184-year history, enabling it to expand the frontiers of knowledge in art and design through innovative research, teaching and knowledge exchange. The RCA’s internationally recognised specialism in art and design has influenced generations and shaped our current world, encompassing both large-scale industry and common place objects, from the cars we drive and the buildings in which we live and work, to the clothes we wear and the art that lifts us out of the mundane. Its mission to imagine the future can now be fully realised with outstanding new facilities, incorporating cutting-edge technologies across the disciplines of computer and materials science, robotics, advanced manufacturing and intelligent mobility.

With a focus on ‘action’ research, students will be empowered to foster new design approaches to real-world problems and create innovations that lead to demonstrable impacts on a global scale to improve and change lives. Areas of application will include safer and better health services, designs for a more inclusive society, new products for the global longevity economy, and advances in design for mobility through emerging technologies. Alongside this research focus, the College’s centre for entrepreneurship, InnovationRCA, will spearhead the commercialisation of new human-centred design products and sustainability initiatives within industry. The new campus will ensure the College continues to play a vital role in driving innovation in the UK and beyond by providing answers to the challenges of rapid urbanisation, the effects of climate change, an ageing population, and the need for ethical responsibility within all creative practices.

Located to the south of the existing RCA buildings in Battersea, the 15,500 square-metre landmark new building will act as a radical spatial catalyst, embracing a greater cross-disciplinary dialogue between vehicle designers and architects, animators and ceramicists, fashion designers and textile students, sculptors and jewellery designers, performance artists and filmmakers within new make-spaces to push the boundaries in developing ground-breaking research.

Comprising two connected building blocks, the first four-storey Studio Building will focus on postgraduate teaching, making and learning with enhanced studios and workshops for Sculpture and Contemporary Art Practice, Design Products and Robotics. Designed as social and educational spaces of creative transfer and collaboration, the studios will also accommodate temporary exhibitions and large-scale works. The Design Studios will consist of the Design Product Studios, Innovation Design Studios, an Engineering Studio, the Immersion Lab, the Materials Nature Lab, the Manufacturing Lab and the Computer Science Lab, while the Moving Image Studio will be a highly specified, flexible working space allowing film and video production activities to be performed at the most advanced technical level, facilitating students to produce industry standard work.

A dramatic double-height covered street Hangar lies at the heart of the building, providing a multifunctional activity space for large-scale automotive and sculptural objects to be assembled and exhibited. The Hangar will become the focal point for RCA artists and makers, and their interactions with the public, including events, screenings, performances, exhibitions and graduate shows. The smaller Robotics Hangar and gallery space will provide flexible research testing and assembly areas for intelligent mobility, design engineering, sculpture, and aquatic and aerial robotics.

The Rausing Research and Innovation Building will comprise eight floors of dedicated independent research space, including new research centres for Materials Science, Textile Circularity, Design for Ageing and Computer Science, alongside InnovationRCA, the Clore Innovation Centre and the renowned Helen Hamlyn Centre for Design. Two of its floors will unite the Mobility Design Centre with the MA in Intelligent Mobility. New laboratories will include a lab for advanced modelling and manufacturing processes along with the Visualisation Lab, an immersive visual and acoustic virtual cocoon capable of modelling complex constructed environments and digitally capturing the real world, opening-up new ways of working with simulation, virtual reality and immersive technology. At the pinnacle of the building, commanding views across London, the Knowledge Exchange Centre will offer a suite of seminar and conference facilities for cross-disciplinary use by students, academics, researchers and industry partners, furthering the RCA’s close collaboration with the industry sector.

Sustainability and energy efficiency are central to the new development, certifying the continuation of the RCA’s global contribution as the number one university for art and design. Approximately £3 million will be invested in making the building BREEAM excellent, using a combination of integrated design and most significantly a commitment to low and zero carbon technologies.

Through Herzog & de Meuron’s architectural vision, the campus will increase the RCA’s overall footprint in Battersea to create a united the 26,000 square-metre campus, providing a new hub for innovation and design within the wider Battersea Creative Quarter.

Dr. Paul Thompson, Vice-Chancellor, Royal College of Art, said: “The opening of our new campus in Battersea, is a once-in-a-lifetime opportunity to realise our academic ambition to become a STEAM university, combining innovative new technologies with the traditional disciplinary practices to provide exceptional experiences for designers, artists and storytellers who will go on to enhance the world.”

Jacques Herzog, Founding Partner, Herzog & de Meuron, said: “Our experience with designing many museums in the last 20 years tells me that art institutions increasingly tend to blur the traditional boundaries between the collection, presentation, preservation, and even the production of art. In addition, such institutions want to be great social spaces and focal points for public life. Our design for the new RCA and its programming at Battersea traces a path not so dissimilar to this new ideal. Students, teachers, and visitors will find themselves in a kind of village built around the topic of art, with an architectural atmosphere that encourages the entire community to engage in a constant process of teaching and learning, producing, presenting, and discussing art.”

About the RCA

The Royal College of Art is the world’s leading university of art and design. Specialising in teaching and research, the RCA offers degrees of MA, MPhil, MRes and PhD across the disciplines of architecture, arts & humanities, design and communications.

A small, specialist and research-intensive postgraduate university based in the heart of London, the RCA provides 2000 students with unrivalled opportunities to deliver art and design projects that transform the world.

The RCA’s approach is founded on the premise that art, design, creative thinking, science, engineering and technology must all collaborate to solve today’s global challenges.

The University employs around 1000 professionals from around the world – professors, researchers, art and design practitioners, advisers and visiting lecturers – to teach and develop students in 30 academic programmes. RCA students are exposed to new knowledge in a way that encourages them to experiment.

The RCA runs joint courses with Imperial College London and the Victoria & Albert Museum.

InnovationRCA, the university’s centre for enterprise, entrepreneurship, incubation and business support, has helped over 70 RCA business ideas become a reality that has led to the creation of over 750 UK jobs.

Alumni include David Adjaye, Christopher Bailey, Monster Chetwynd, David Hockney, Tracey Emin, Thomas Heatherwick, Lubaina Himid, Clare Waight Keller and Rose Wylie.

The RCA was named the world’s leading university of art and design in the QS World Rankings 2021 for the seventh consecutive year.

For more information visit: www.rca.ac.uk

picture courtesy of architecture practice

About Herzog & de Meuron

Established in Basel in 1978, Herzog & de Meuron is a partnership led by Jacques Herzog and Pierre de Meuron together with Senior Partners Christine Binswanger, Ascan Mergenthaler, Stefan Marbach, Esther Zumsteg, and Jason Frantzen. An international team of nearly 500 collaborators including the two Founders, five Senior Partners, ten Partners, and 41 Associates work on projects across Europe, the Americas and Asia. The main office is in Basel with additional offices in London, New York, Hong Kong, Berlin and Copenhagen.

The practice has designed a wide range of projects from the small scale of a private home to the large scale of urban design. Many projects are highly recognized public facilities, such as museums, stadiums, and hospitals, and they have completed distinguished private projects including offices, laboratories and apartment buildings. Awards received include the Pritzker Architecture Prize (USA) in 2001, the RIBA Royal Gold Medal (UK), the Praemium Imperiale (Japan), both in 2007, and the Mies Crown Hall Americas Prize (USA) in 2014.

Website: https://www.rca.ac.uk/more/building-battersea/

Previously on e-architect

10 Nov 2016 Herzog & de Meuron wins Royal College of Art Design Competition Design: Herzog & de Meuron, Architects image © 2016, Herzog & de Meuron Royal College of Art Design Competition

Royal College of Art Battersea Award

Dyson Building wins a RIBA London Award Design: Haworth Tompkins Architects image courtesy of architects practice Royal College of Art Battersea building design by Haworth Tompkins

10 Aug 2016 Shortlist for Battersea South Architect London: RCA

Phone: +963 936 145 151

Location: Royal College of Art Battersea, Riverside, 1 Hester Road, London, SW11 4AN, England, UK

Battersea Architectural Designs

Battersea Architecture

Battersea Properties

Battersea Power Station Battersea Power Station

Battersea Dogs & Cats Home Design: Jonathan Clark Architects photos by Nick Hufton, Al Crow Dogs and Cats Home Veterinary Hospital in Battersea

Battersea Aerial Photographs aerial photo : The London Helicopter Battersea Building Photos

St John’s Hill Redevelopment Architects: HawkinsBrown image from architect St John’s Hill Redevelopment in Battersea

Thomas’s Battersea Square, Wandsworth Design: Ackroyd Lowrie Thomas’s Battersea Square, Wandsworth School

Battersea Power Station Redevelopment Battersea Power Station Design

Battersea Reach Tower Battersea Reach Tower

University Buildings

London Building Designs

Contemporary London Architecture Designs

London Architecture Designs – chronological list

London Architecture Tours – tailored UK capital city walks by e-architect

London Architects Offices – architectural firm listings on e-architect

London Architecture News

London Architecture

Comments / photos for the RCA New Battersea Campus, Royal College of Art London building design by Herzog & De Meuron Architects page welcome

The post RCA New Battersea Campus, Royal College of Art London appeared first on e-architect.