Canadian startup Flash Forest expects to change the world’s landscape quite literally, using reforestation flyers that can replant trees faster and more effectively than humans can.

In 2018, mankind released 34 billion tons of carbon dioxide (CO2) into the atmosphere, according to the International Panel on Climate Change — a trend that it says leaves humanity just 10 years to avert calamitous, irreversible climate effects. A major part of the CO2 problem is the destruction of the world’s natural forests, coupled with a shortage of replanting.

“There are a lot of different attempts to tackle reforestation,” says Flash Forest co-founder and Chief Strategy Officer Angelique Ahlstrom. “But despite all of them, they’re still failing, with a net loss of 7 billion trees every year.”

The new firm hopes to make real progress in that domain. “We started Flash Forest with the goal of offsetting carbon emissions enough to have a significant and measurable impact on climate change within the next decade,” the company website explains. “Instead of humans on the ground, we transfer the hard labor to drones at 10 times the speed. Living in the age of technology, we can effectively harness this to restore entire ecosystems, scaling the global quest for carbon neutrality.”

Flash Forest intends to plant at least 1 billion new trees by the end of 2028. Most recently, the organization sent its unmanned aerial vehicles (UAVs) over wildfire-burned land north of Toronto, where they injected 40,000 pine and spruce tree offspring into the earth.

The process begins by sending out software-enabled drones to map an area, locating prime spots for new growth. Then, armed with the appropriate seed inventory, a flotilla of flyers heads out to drop them perfectly on target. In more rugged terrain where simply releasing the pods is not enough, the UAVs make use of pneumatic firing machines to shoot the future saplings into the soil.

“Depending on the project, we’ll go back two months after, and then a year or two after, and then three to five years after” to make sure the pods are sprouting as anticipated, Ahlstrom says. “If we fall under a threshold plant goal of a certain number of trees, we’ll go back and ensure that we are hitting our goal.”

Flash Forest uses a proprietary mix to encase the seeds that allows them to store enough moisture to survive for months with no outside water source. It also helps them germinate several weeks before they would normally, increasing their chances of growth and endurance.

The company also strives to use several different varieties in each sowing region, currently using at least four types at once. “We very much prioritize biodiversity, so we try to plant species that are native to the land as opposed to monocultures,” Ahlstrom explains, adding that they “work with local seed banks and also take into account the different changes that climate change brings with temperature rise, anticipating what the climate will be like in five to eight years when these trees are much older and have grown to a more mature stage, and how that will affect them.”

Because Flash Forest uses native vegetation seeds, the saplings shouldn’t require human effort to stay alive. Plus, by planting so many seeds, the company is ensuring that even if some die off, enough will survive to grow into maturity and repopulate the area.

With their current fleet of UAVs, the startup can embed up to 20,000 pods a day. Compared with the 1,500 trees that Ahlstrom says can be planted by hand in a day, Flash Forest’s efforts could quickly transform whole swaths of country to soak up more carbon emissions. The company looks forward to technology updates that could allow its drone force to sow up to 100,000 seeds each day.

Following their reforestation project in the Toronto area, the business will move on to a 300,000 tree-planting venture in Hawaii. There are also plans in the works to establish new drone-seeded groves in Australia, Colombia, and Malaysia.

The post Flash Forest’s Smart Drones Take to the Skies to Curb Climate Change first appeared on Dornob.

We have Carlo Ratti Associati (CRA), an international firm based in Torino, Italy, to thank for the technology behind dynamic streets. The firm has extensively studied the ways sensors and other devices can be integrated into the physical surfaces we interact with as part of our daily lives. CRA’s outstanding track record is exactly why Alphabet’s subsidiary, Sidewalk Labs, reached out to them to create a modular paving system that could be used to change the function of certain streets. The prototype was first put on display in July of 2018 in Toronto, where Sidewalk Labs is planning to build an entire digital community. CRA and Sidewalk Labs wanted to use this prototype to see exactly how people would interact with a street that responded to their immediate needs.

By “dynamic,” CRA means that the system can be reconfigured whenever needed. For example, a dynamic street could be used as a one-way street in one direction for morning rush hour, turned into a two-way street for the rest of the day, and then be reconfigured as a one-way street in the opposite direction for evening rush hour. Some days, that same street could even become pedestrian or cyclist only. This would allow public events like outdoor festivals, live concerts, and block parties to much more easily be held on those streets.

Each paver is hexagonal in shape but flat in form, allowing vertical objects such as bollards for bike lanes or electrical equipment from city workers to be plugged in wherever necessary. At the center of every paver is a light that can be used to establish lanes for traffic, crosswalks, bike lanes, parking indicators, loading zones, and traffic flow. For now, the pavers are made of wood, but once they get out of the prototype phase, the company hopes to make them out of concrete. In a winter city like Toronto, with cars driving on snow tires, snow removal dump trucks pushing large steel shovels, and rivers of de-icing substances being poured out onto the streets, their material will have to be particularly tough.

On his firm’s website, CRA’s founding partner and chairman Carlo Ratti reminds us that dynamic streets are a logical progression in urban technology. “As autonomous vehicles are likely to start running on streets soon, we can start to imagine a more adaptable road infrastructure.”

Do we need dynamic streets? It depends on the context and the climate. It may be more practical in a digital first community like the one Sidewalk Labs wants to build in Toronto, but it probably wouldn’t be very practical on an established city street unless every street in that city became dynamic. Also, it kind of seems like the type of technology that would work better in a place like Ontario, California than it would in Ontario, Canada. Yet if Sidewalk Labs and CRA can make it work in Toronto, then maybe they can make it work anywhere.

The post What Is a Dynamic Street? first appeared on Dornob.

The Vision

Pugliese and his wife wanted a larger space for both themselves and their two small children. They loved their city-based lifestyle, but the conventional offerings failed to please them. Their solution was to buy an entire floor of a commercial building in the heart of Toronto and have it converted into an open, airy home.

The Layout

Based on the floor plan of a spacious New York-style apartment with all the amenities of a traditional free-standing house, the Home in Little Italy includes a proper foyer, a free-flowing living-dining-kitchen area, three sizable bedrooms, two bathrooms, and a large laundry room. A private elevator safely transports the family up and down from street level.

The Allure

Modern and traditional design elements have come together to create a homey, inviting atmosphere for the Pugliese family. An inlaid herringbone wood floor, traditional trim and door treatments, and conventional hardware add warmth to the dwelling. Modern décor and trimmings, including contemporary Italian-influenced furnishings and a lustrous, fully equipped state-of-the-art kitchen, perfectly complement the interior design. Not surprisingly, many of the pieces are part of Audax’s private furniture line, including the Raphael Dining Chair, the Evelyn Armchair, the Donatello Console, and the Vasari Dining Table.

One of the most fantastic aspects of the design is a winter garden created by huge operable windows on two sides of the living room. When the city is bathed in sunlight, the windows are opened wide, and the living room is magically transformed into a warm and breezy covered terrace for the family to relax in.

The Interiors

White walls, doors, sofas, chairs, and accents infuse each room with an open, free-flowing ambiance. Black knickknacks and ebony trim on crystal chandeliers add drama to the extensive expanses of white in all the rooms. Marble countertops in the bathroom add elegance, while an oversized island in the middle of the kitchen fosters family participation in meal preparation. The laundry quarters are lined with spacious cabinets for storage. Large windows in every room offer lovely views of surrounding trees and landscaping, as well as some of Toronto’s finest architecture.

Pugliese ultimately said of the project: “It presented us with a unique opportunity to create a one-of-a-kind space. A lot of people still today are like: ‘How do you raise kids in a condo?’ ‘How can you raise a family in an apartment?’ They are accustomed to the idea that the next step is to have a house, and a yard and a garage. We wanted to look at another solution.”

The post Unique Home in Little Italy Commissioned by Audax Founder first appeared on Dornob.

The Painting’s History

Often regarded as one of Carr’s most significant paintings, the bright, striking green and white image depicts a church bounded by a burial ground and a daunting rainforest. The church in the picture was erected on member nation Mowachaht Muchalaht’s territory by Christian followers in 1889. Carr visited the location in 1928, the year before she created Indian Church.

The Controversy

Uhlyarik told the Canadian Broadcasting Corporation (CBC) that Carr’s original title contained “a word that causes pain.” Furthermore, a column in the Toronto Star newspaper reported that the museum subjected a number of other possibly offensive artwork titles to review before being publicly displayed.

While many people today would agree that the word “Indian” is often considered archaic and insulting, it was regularly used during the period when Carr completed and named her painting. Of course, there are those who believe deactivating terms may not be the most helpful decision. Carey Newman, a Kwagiuth/Coast Salish artist, told the Times Colonist: “As an artist, I am always aware of my language. If I said harmful words, I would address and take ownership of them. Changing words merely obscures the truth of how people spoke.”

The deed was commended by some. The Toronto Star art critic thought that the title change “pa[id] respect both to the artist and the people she so admired.” Others assailed the decision as gratuitous political correctness. Uhlyarik admitted, “I got a lot of angry emails. People felt they were losing something.”

A “Compromise”

The art gallery has agreed to post a second plaque beside the painting to offer appropriate history of the church and clarify the title change. Uhlyarik informed CBC Radio that they were “acknowledging that this is its history, that this is why it was called that, because that is in keeping with the language of her time.”

The Aftermath

On a recent tour of the Art Gallery of Ontario, the docent was mindful to discuss Carr’s intimate friendships with “the First Nations,” the common term in Canada for Indigenous people. Nonetheless, the tour guide did not reveal the museum’s choice to rename the painting. She had been previously coached on her presentation speech by Wanda Nanibush, the museum’s curator of Indigenous art who decided with Uhlyarik to rename the painting.

Nanibush took over as full-time curator of the museum two years ago. She has emerged as one of the most dominant voices for Indigenous culture in the North American art scene, a realm where Canada has steadfastly carved itself a unique and powerful profile. To a degree, Nanibush’s endeavors have resulted in almost a third of the Art Gallery of Ontario currently being dedicated to Indigenous artists.

The post A Toronto Museum Renames a Classic Emily Carr Painting first appeared on Dornob.

Imagine that you are a dog living on the 20^th floor of a condo tower in one of America’s densly-populated downtown areas. You become agitated if you’re inside for too long, and to get your human’s attention, you either have to bark at them or out the window. Maybe you sit facing the door with your head on the floor looking bored. Your human, a conscientious urbanite who loves you unconditionally, picks up on your cues, and takes you out for a walk. Still, you yearn for an expansive dog park where you can run with the other dogs. Unfortunately, most downtowns do not have enough space to create the type of park that would get your tail wagging with content. You’ll have to settle for a cramped, corporately-managed public space, filled with as much fun as a cardboard box.

Don’t wallow in discouragement, dear pretend-canine reader. A small park in Toronto opened on June 28^th for creatures just like you, and it’s called Berczy Park. The name alone makes it sounds like a playful place, and that was the intention of the Montreal-based landscape architect who designed it, Claude Cormier. The park, which takes up approximately 0.88 acres of land, is set on a triangular block adjacent to a key part of Toronto’s architectural heritage, the iconic Gooderham Building, also know as the “Flatiron Building.” Berczy proves that even a small, irregular parcel of land in a dense city can be used effectively, as long as all users, both two and four-legged, are considered.

Tens of thousands of people have moved to downtown Toronto within the past decade, which means more dogs and more humans who feel uncomfortable having dogs around their kids. The coexistence of dog lovers and families can be a little acrimonious in a city like Toronto. Luckily, Berczy allows both groups to enjoy the space peaceably, and if the humans get along, that is always good for the dogs.

Prior to 1980, this space was a parking lot. Then it became an underutilized park, except for a couple of hours in the afternoon during the summers when office workers would use it. In short, the park was not serving the maximum amount of users that it could have been. Since its transformation into a dog park, it’s expected to host about 2000 dogs a day. It’s an ideal paradise for dog watching.

Though the park is not a folly, it purposely lacks seriousness. It’s centerpiece is a late-19^th-century inspired cast iron fountain. Made at a foundry in Alabama, the fountain is 16 feet wide and weighs 26,000 pounds. Surrounding the fountain are 27 hand-crafted sculptures of dogs spewing water into it, each one transfixed by a large golden bone at its summit. You can splash and play with the other dogs in the water, and cool off on a hot summer day.

The dogs sculptures look real enough, but you can tell that they aren’t, which is part of the fun of the fountain — it’s almost like the way humans are thrilled by looking at wax figures of themselves in museums. Over a dozen breeds are represented here, including a Fox Terrier, a Giant Schnauzer, a Beagle, and a Golden Retriever (which was damaged by an exuberant skateboarder just before the park’s grand opening).

What a shame. Some humans just don’t understand or respect dogs and the things they like.

The fountain sits on a granite mosaic plaza, which includes luscious, grassy areas to roll around in and a gravel portion for restrooms. Berczy is not a generic public space with grass and a sign letting people know that dogs are welcome. It’s a memorable public space for both dogs and humans — one that’s timeless, amusing, and sure to keep your tail wagging for hours.

Berczy Park, which is named after German-born architect William Berczy, a historic figure of modern Toronto, gives that portion of downtown a focal point where none truly existed before. It’s a delightful park that should serve as an example for American cities to follow. All American dogs, especially those who live in high-rise condos in dense cities, should have a right to a quirky park of their own, no matter how quixotic it may seem. Tell your humans to take the fight all the way to city hall or the Supreme Court if they have to.

The cost to revitalize Berczy Park was $7.2 million Canadian (approximately $5.7 million US). But what do you care, you’re just a dog, right?

In reality, you’re not, and you might find Berczy Park to be mere kitsch and its spouting sculptures nothing but cheap postmodern gimmicks, but remember that Cormier didn’t just design it for humans. If you were a dog, you’d love it.

The post This is What Happens When a Park Goes to the Dogs first appeared on Dornob.

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Three rectilinear glass-and-steel boxes update an unconventional 100-year-old beach house in Toronto, adding extra space and a sense of modern flair without compromising the structure’s historic character. Drew Mandel Architects sought to uphold the house’s “elusive quality of heart and soul” while giving the interior a total refresh.

The clients had lived in the semi-detached, three-story beach neighborhood house for 12 years prior to the renovation, and wanted interiors that feel in sync with their jet-setting lifestyle without adding a lot of unnecessary square footage.

The top-floor addition extends the living space upwards, providing a generous box window overlooking the sea. The lower box window frames the wood-lined interior and floating staircase, and opens the bottom floor to the light.

Another cuboid addition in the rear raises the living room ceiling and provides a connection to the garden, which the house was previously lacking. The result manages to meld beautifully with the original brick exterior, and retain a cozy feel.

“The design of this renovation aims to update the house to better reflect the clients and how they live. The clients wanted the house to reinforce the existing fabric of the street by respectfully reinventing the exterior and the interior.bLooking closely at the brick lines relative to the right angle of the new box window in the image of the front façade, the house leans to (or years for) the lake. It is that sense of an ideosychrotic personality that defines this custom home renovation, as opposed to merely emulating a stylish boutique space.”

“Small moments strive to accommodate and celebrate the personality of the owners, the history of the house, and the process of its re-making: the open shelving for rotating personal objects of affection, the mobile kitchen island on wheels, the exposed steel support brackets at the junction of new and old structure, shop notes on the raw steel custom fireplace surround, old brick piers incorporated into the new entry assembly.”

The post Century-Old Beach House Gets Cozy Modern Renovation first appeared on Dornob.