there’s definitely much to unpack within the sustainability movement of design, and it’s becoming increasingly important for designers to open dialogues surrounding what role they play in this movement. throughout my research, i’ve had the opportunity to engage in many such dialogues. in one, i was able to gain a deeper understanding and appreciation for both sustainable design practices and the designer’s ethical responsibility. this conversation was with prisca vilsbol, a copenhagen-based fashion designer and researcher who champions sustainable design from two perspectives — the technical research side and the designer’s outlook. i first met vilsbol when she guest lectured during one of my classes. throughout her presentation she encouraged students to dive deeper and question the makeup of what they were designing and the source of where those materials came from. vilsbol’s big picture thinking of justifying every material inspired me to closer examine the intersection between packaging, sustainability, and ultimately the designer’s role. vilsbol’s consideration of both materiality and design provided me with greater insight into the types of questions i should be asking before approaching my own design projects. 

this project aims to provide designers with a basic understanding surrounding sustainability as well as serve as a field guide that designers can use to better integrate as well as advocate for sustainable solutions within their own projects. by unpacking these issues and raising awareness about the more systemic concerns related to sustainable package design, this conversation is just the beginning of a much needed, societal shift.

q&a with prisca vilsbol, sustainable fashion designer and researcher

vilsbol is a copenhagen-based design researcher and consultant who works primarily in fashion. with her former company, vilsbol de arce, she created strong, sculptural and handcrafted collections, worn by the likes of lady gaga, rihanna, and peaches. she has made it her mission to accelerate the implementation of sustainable and innovative processes in the field of product development. whether working with textiles, clothing, wearables or mycelium, her fusionist approach to the technical, theoretic and aesthetic challenges of the medium at hand lead to poetic and futuristic translations of complex processes.

website: https://priscavilsbol.com

q: when did you first start working in sustainable research? how did you become interested in working in this field?  

a: i got into fashion primarily because of the magic of what it could do; the beauty that was in it, but then i soon realized the “unbeauty” of the industry and it “freaked me out.” 

with my fashion brand i analyzed “more about how every piece has an excess that had to be justified and every piece i created had to have a justified role.” i like this idea that everything has excess and designers should ultimately justify each piece’s role.

q: was it hard to make the change from designer to sustainable researcher?

a: yes, it was a hard change to make – when working in fashion “i had always been interested in production techniques and how things work.”

i’ve always been curious about these things, new materials and new technologies, such as 3d printing. “i have a sort of engineering mind, when it comes to these things.”

there’s definitely a big gap between research and the design land, and we need to work on bridging this gap. i was able to combine my two passions by expressing myself through design and fashion, as well as the more technical side of things. 

q: how have you seen the field of sustainable research change over the last 5 years? 

a: yes, big time, it has come into foreground. before it was impossible for sustainability research to get any traction. now everybody wants to know about it and knows that it is important. there is a big change in interest surrounding the field of sustainability. now there is more funding and research within the field as well as a larger focus on bio-materials and biomimicry.

brands like officina corpuscoli and ecovative (using mushrooms to make products) are interesting to follow. 

q: do you think the term “sustainable” has become a buzz word in the field of design? if so, how can designers push past this and start advocating for real change?

a: by being clear about what’s possible and what’s not possible. people say it’s a sustainable product but nothing is a sustainable product. how and what are we doing now and what we’d like to do, being clear about your direction and what is tangible is very important. 

it is important to give the other side of the story — we can do that — by giving both sides of the story about what’s being done and not done. also we need to get away from this is how things have been done and start making people say it’s more complex and there is not a simple answer. people can deal with more complexity than we give them credit for.

q: do you think designer’s have an ethical responsibility when it comes to package design? 

a: definitely i believe there is an ethical responsibility from all sides of the product. there is a sudden focus for sustainable materials — but that is only one tiny piece of the puzzle and  it should also include business models and communication. we need to rethink systematically about how we do things like looking at leasing models versus selling models. it’s not just one company — we need packaging solutions for a bunch of different products.

q: where do you see package design heading in the next year? and 5 years?

a: two directions: one looking into what actually needs packaging and the other to be clear about what can be thrown away especially with food. is it entirely compostable?

q: should designers be solely responsible for creating products that drive sustainable change or do consumers also have a responsibility to advocate for this change? 

a: everybody has this responsibility and this is one of the biggest excuses used in industry right now. big companies like nike and h&m use this excuse and say that consumers want sustainable products but they aren’t willing to pay the price. however, these companies need to realize that they are the ones that created this demand for low prices in the first place — “80% off can’t always be sold and should not be the norm.” blaming the consumer for wanting cheaper products should really be placed on these bigger companies for systematically changing the way consumers see the market. if these companies really want sustainable change they need to be on the forefront of making systematic changes and consumers will respond accordingly. big brands have a responsibility in guiding but designers also have the ability to communicate complicated things in an attractive simpler way — this is a huge part of the switch that needs to be done. designers also have the ability to spark huge systematic change and create something that is easy to use and hopefully has the right kind of incentives and reward systems. 

as designers we have the ability to move something and communicate to the masses by thinking through complex stuff and boiling it down to something that is more accessible to everyone. throughout this discussion about who is responsible, we often mix up responsibility and blame — responsibility is not blame. therefore, we should not blame designers, because there is often more than just one group involved. however, designers do have the ability to do something compared to others — how you see the world can have a large impact — therefore designers have this responsibility.

q: in regards to corporate responsibility, how can designers push companies to take sustainable business risks? is this already happening? if so are there any examples you can give?

a: it depends on which designers and businesses — some designers that are in a place of extreme power and others just have no power at all. for example designers from h&m and ask me all the time about what they can do. but in reality there is an army of people drawing with little power — which can be extremely limiting. however, it is important to note that any one person in a company can be an activist and ask questions surrounding their company’s mission. criticism can often lead to opening people’s eyes and raising awareness about an issue or topic. 

create a list of questions to ask your boss or the company you work for… who made my clothes? where are these materials coming from? and can we more ethically-source these fabrics? the more people that ask these types of questions the more that people are aware. then after the 150th person asks that same question it becomes a lot more pertinent. it is a little bit of ‘snowball’  effect here — every little bit/push in the right direction helps. it is also important for designers to inform themselves and be curious. 

in regards to package design — graphic designers can research on their own — ask questions like what is this packaging made of? can i put in compost afterwards? what resources went into making it?  so ultimately consumers can make the right choice when they are in the store purchasing these products. who knows what can happen when designers take initiative, inform themselves, and start proposing alternative solutions.

a  lot of people in companies feel that it’s not my job or place to ask these questions. i can’t change this it’s too big — but in reality the tiniest person that asks what something is made from — can lead to a much larger subject or discussion. it just takes one person asking a simple question to ignite a larger conversation.

q&a with keely wachs, zume inc., vp of communications & sustainability 

keely wachs oversees zume inc.’s global communications and sustainability agenda for food waste, climate change and ocean conservation. before joining zume, keely worked as director of company affairs for clif bar & company. zume inc. is building a technology infrastructure designed to make the food supply chain smarter and more connected to help brands move food closer to demand, improve efficiency and reduce waste.

website: https://zume.com

q: where do you see package design heading in the next year? and 5 years?

a: i see a lot of nature inspired packaging. at zume we are looking at agriculture waste as a source of packaging material, as well as advanced manufacturing technologies with the goal of driving cycle time and cutting costs. the more you produce in a minute is how to leverage your assets. also, the packaging industry is going to keep expanding. more and more we are consuming especially with the rise of brands like instacart, uber eats, and seamless. packaging helps retain the quality of food as well as the experience. take for example a pizza box — it needs to retain heat as well as keep moisture out. here is a huge opportunity for designers to design packages that can separate the crust from grease. the future of package design lies in these elements that can have a functional benefit.

q: should designers be solely responsible for creating products that drive sustainable change or do consumers also have a responsibility to advocate for this change? 

a: yes, both have a responsibility. some water companies are moving from bottles to cans. one company, loop, discusses using all reusable packaging. however, this is asking a lot of behavioral change from consumers. this idea of a milk carton being delivered everyday goes back to an old methodology of thinking. 

q: considering that packaging is an essential part to every brand, how can designers start raising awareness to promote sustainable packaging?

a: they can start by designing sustainable packaging that gets consumers talking about the product. branding products with color and design elements is harder — and many sustainable packages struggle and resort to using “greyish colors.” sustainable dyes are expensive for companies to use in manufacturing. there is an opportunity to think about a brand’s packaging and for companies to differentiate themselves. packaging is very much a specialty and there is a huge opportunity that ultimately could also have a large environmental impact. 

***

special note

i want to give a big thanks and shoutout to prisca vilsbol and keely wachs for allowing me to interview them and for informing and framing my research for my senior capstone project.

sources

https://priscavilsbol.com 

https://zume.com 

https://informaconnect.com/green-by-design/speakers/keely-wachs/ 

images

http://ciid.dk/education/visiting-faculty/full-faculty-listing/prisca-vilsbol/

https://www.bisnow.com/national/news/retail/robots-and-pizza-didnt-mix-what-doomed-zume-to-pizza-boxes-103005 

“the exhibits i remember most as a kid were at the exploratorium,” he explained. “when i got to really interact with something, it stayed with me.” his goal is similar experiences- wonder and engagement- through installations that are “simple, playful, and interactive.”as an interactive artist, he wants to create exhibits with a universal appeal so that that everyone young, old, rich poor, can understand and interact with his work. phanichphant views design as a tool to help people solve problems. with this outlook, he decided to apply his design thinking to his artistic endeavors and see what problems he could tackle.

one of the issues he felt was drastically under-covered in the 2016 presidential election was climate change. armed with a robust education in both human-computer interaction and product design, as well as his “superpower” for making abstract things tangible, phanichphant decided he was going to tackle the issue of climate change.

stories are better than logic

that december, he had an exhibition in matsudo, japan called too slow to see. he realized that the best way to make your work accessible is to know your audience. before he started thinking about what to build, he thought about the best way to get to know the audience he was trying to connect with. he began talking to as many people as possible to get an insight on the matsudo culture, synthesizing that into information he could use for his projects.

he brainstormed with post-its plastered on the walls, connecting personal stories with larger ideas, dialogue with inspiration, thoughts and feelings with broader social patterns and norms. phanichphant saw patterns between micro and macroscopic perspectives, gaining a deeper insight to what would really get through, not to just the citizens of matsudo, but to people everywhere.

“the first idea i had was that stories and feelings have a greater impact than logic,” he explained, an idea that exemplifies not only this series of works on climate change but in his current approach to education as well. phanichphant uses a “user-centric” approach when he teaches marketing at the jacobs institute for design innovation at uc berkeley. this perspective contrasts with the often-used product-centered approach, where students will often try to sell something by extolling its features and benefits. phanichphant instead wants students to use a narrative approach to describe how the product can improve lives and and solve problems. he explained that storytelling was a crucial skill to have and it allows the artist to better connect with the people that view their work. people can read information in words and numbers, but stories are what stick with them. this insight was the foundation for the in three emojis exhibit, in which visitors shared thoughts on climate change with emojis rather than words, like in the example below. ​

local is better than global

“the second thing i realized was that local is more important than global,” meaning that what people see around them is what they will care about. it’s immediate. it’s present. it’s what affects our friends and our families. he needed to find a way to make climate change less of a “global” problem and more of an issue people felt connected to.

thus, he designed feel the warming, an exhibit in which a museum-goer stuck his or her head in the middle of a model of matsudo, and a heat lamp would stimulate the warming effects carbon emissions have on his or her hometown.

action is better than talking

the third insight was that action was more effective than talking. he created together we start, or what he refers to as “a piece of art in exchange for a promise.” each person who interacts with the piece takes a small cartoon drawn by the artist with a pledge on the back, to do something small like eat less meat or bring a reusable bag grocery shopping. over time, as more and more people take the drawings off the wall, a message is revealed: together we start. just talking about climate change won’t do much to lessen our impacts. taking the first steps to reducing one’s carbon footprint while we see how we are a part of a larger effort to reduce our carbon footprint gives us some perspective on how our individual pledges combine to a greater promise to save the planet.

many is better than one

the final thing phanichphant wanted to emphasize was that many was greater than one. this inspired his piece connect our efforts, the piece that catalyzed the enthusiastic participation of the young boy in the gallery. this piece illustrates the hopelessness of tackling the challenge of climate change alone and the possibility of real impact when we work together.

the importance of collaboration is the thesis behind the next project he was a part of: air miners. while giving a presentation on his interactive exhibits in matsudo, phanichphant was approached to join the team as a designer. “instead of thinking of carbon as a burden, air miners frames it as something we can mine, an opportunity,” he explained, comparing it to gold.

the website itself is an index of all the companies working to reduce carbon emissions, bringing people that care about the issue together. “it’s another way to make the abstract tangible. before this website, a lot of these companies didn’t know anything about each other,” he said.

even though this is a niche organization, he hopes this idea of bringing people together based on a demonstrated need and a desire to help the planet trickles down and creates jobs and awareness in other places.

the echo chamber

it may seem like phanichphant has reached all his goals, but he has one big problem: he’s trapped in the echo chamber. “in the context of art and design and even academia… the majority is on the liberal side of things, and it made me think of how my art wasn’t really changing the minds of people who don’t care.”

hence the echo chamber, where we bounce our ideas in a space of like-minded people while people who have other priorities, whether that’s people who are struggling to survive or people who prioritize getting rich over everything else, are outside our bubble. his next step is using a design process to answer his own question: “what’s the most effective way to change minds in the age of changing climate?”

students from across the globe are traveling to the heart of the panama jungle to learn everything from the fine points of farm-to-table cooking to the most efficient configurations of iguana farming. taking up residency in the jungle may prompt thoughts of giant bugs, stifling heat, and limited electricity. but what kalu yala’s students really need, according to the design thinking intern katie cappola, is a place to “fight, f*ck and fart” in peace.

jimmy stice, the founder of kalu yala, left it up to the design thinking interns to find a solution for the lack of privacy in this communal living arrangement.

with rest, recreation and human behavior in mind, this semester’s design thinking team faced the challenge of designing residential structures which provide privacy and match kalu yala’s aspirations for sustainability.

privacy

privacy would seem an intuitive aspect of designing homes, but the ranchos the interns call home are without walls, which makes privacy a rare commodity at kalu yala. in fact, interns’ only “private” area on campus — their sleeping space — is either an air mattress or a hammock. while this satisfies the program’s desire for an immersive, sustainable jungle lifestyle, the design thinking interns agreed that everyone could use a little more privacy.

the interns say they have been working on plans for two types of residential structures: “tiny homes,” which eventually will house residents at kalu yala, and smaller “staff shacks” for the full-time staff who currently live on platforms a few hundred feet from town square, the heart of the kalu yala’s campus. these staff shacks will provide staff members with greater privacy and a space of their own, but unlike the tiny homes, they will not have separate bathrooms or kitchens. the design thinking interns hope this will encourage staff members to stay in their positions longer.

“this is a solution to give staff a place that makes them want to stay longer because we do have a high turnover rate,” said cappola, a student at bucknell university in lewisburg, pa. “we’re living in the jungle. living here is hard, and it’s hard to have a family here. those things aren’t exactly conducive here.”

the lifestyle is very public and the interns and staff are constantly interacting with each other and the beautiful valley surrounding them. but they hope to create more opportunities for balance through the construction of these homes and a new round of ranchos. one of kalu yala’s ultimate goals, stice says, is to have people who will call the valley their home, or at least a second home. the interns in design thinking, one of several internship programs available at the institute, recognize this goal will be better met with more opportunities for privacy.

in a community that only has one building with walls — a media center created by a vice documentary team — it seems fairly simple to add more privacy. but at kalu yala, privacy and sustainability are not mutually exclusive. the interns must be sure that their privacy implementations don’t leave a large footprint.

sustainable design

while strech and cappola work on the master plan for the town and address these privacy concerns, design thinking interns david ho and jack fritzjunker are finalizing construction plans for the new round of ranchos, which will greet the nearly 150 interns who arrive at kalu yala in just a few weeks.

the expansion has provided ho and fritzjunker the chance to evaluate and iterate upon past and current rancho designs, which they hope will lead to more stable and sustainable structures. this includes everything from altering the pitch (or angle) of the roof to reduce runoff to using new building materials such as reclaimed wood from the panama canal. beyond these physical changes, however, ho and fritzjunker also spoke with kalu yala staff and interns to discuss ways of improving buildings for the rainy season and how to make sleeping arrangements more comfortable.

“we synthesize all that information into a bunch of design drivers that we can work towards in our design,” ho says. “and then we take those drivers and turn them into physical features in the design that solve the physical problems we’re aiming to solve.”

these design drivers include natural factors such as sun, shade, ventilation, and water access, and behavioral elements like where people choose to sleep or how to manage the mud that constantly seems to end up on everything and everyone at kalu yala. ho and fritzjunker plan to address this grimy reality by creating a mud room, a separate but attached area in the ranchos where people can hang up their muddy clothing before they enter their sleeping space.

this approach, commonly called a “form follows function” model, is one of the guiding tenets of design thinking at kalu yala. for ho, who studies civil engineering in australia, it’s not just about making things ergonomic, structurally sound, or sustainable, but thinking about how to solve problems.

“when you design, it doesn’t make sense to make decisions arbitrarily,” ho says. “you should always be working toward a goal.”

after plenty of drawing, sketching, talking, and iterating with these design drivers, ho and fritzjunker arrived at a list of features that they implemented into their final rancho design. they also have utilized projects from other interns and staff at kalu yala by integrating the often “under-appreciated” guava wood and treating reclaimed wood with a biodiesel product synthesized from waste generated around the institute.

“it’s a lot of improvisation in construction and taking principles that we like and applying them,” ho says. “it’s about looking at the materials and taking into account things like the environmental value, or the embodied energy of a material — something that doesn’t happen a lot,” adds fritzjunker, who graduated from iowa state university in ames, iowa.

ho believes the answer for more sustainable design is not necessarily to focus on regulation, but to envision elegant and simple ways to live better. ho adds that he’s all for novel solutions and likes “thinking out of the box.” but as he and fritzjunker have learned at kalu yala, it should always be about solving problems, whether it’s tackling environmental design, privacy, or how to handle the torrential downpour during the rainy season.

“i was designing for people who didn’t exist and now i’m designing for people who do exist,” ho says. “putting that into practice is one of the most fulfilling things you can do.”

***

note from the editor: a previous version of this story had misspelled a design thinking intern’s name. this version corrects it. we apologize for the error.

related: from industrial wasteland to community park

many u.s. cities don’t offer equal access to green space. for example, los angeles has 23,000 acres of parks, which puts the city in the top 15 in terms of total green space, but much of this parkland is near the mountains so most of the city’s low-income, inner-city communities don’t have any parks at all. peter harnik, director of the center for city park excellence at the trust for public land, says in reality 3.8 million residents of l.a. are too far from “a park to use one easily, conveniently, or frequently.” similarly, in new york city, high-quality parkland is found in greater abundance in wealthier districts, while low-income communities don’t enjoy the same access. more than half of the city’s 59 community board districts were found to have less than 1.5 acres of parkland per 1,000 residents. a university of chicago study found that communities with lower incomes, higher poverty rates, and higher proportions of racial and ethnic minorities also had the “fewest opportunities for community-level physical activity.” lack of green space is then not just about unfairness, it’s about health. low-income communities may have higher rates of health problems like obesity and asthma in large part because they don’t have parks.
(source: “urban green: innovative parks for resurgent cities,” peter harnik, island press, 2010 and “healthy parks, healthy communities: addressing health disparities and park inequalities through public financing of playgrounds, and other physical activity settings,”
trust for public land, policy brief, november 2005)

new parks can sprout up in the unlikeliest places. low-income, inner-city communities are characterized by hardscapes – asphalt surfaces. when a community organizes and creates a plan for a new park, local governments can respond and purchase asphalt-covered areas like parking lots and transform them into public community parks. the average neighborhood park can run into the millions, but including a park budget in the initial master plan helps ensure local governments will finance it, and even partner with developers, local foundations, or conservancies to get it built. these types of projects can also come about if they are part of broader public-private urban redevelopment schemes aimed at providing housing, improving access to transit, and investing in the local environment. transportation infrastructure like boulevards, rail lines, and trails can be expanded, greened, and designed to become easily-accessible parks. in addition, even landfills, rooftops, reservoirs, and cemeteries can be turned into parks. (source:“urban green: innovative parks for resurgent cities,” peter harnik, island press, 2010)

park design needs to be compelling so people visit and forge community ties there. parks that are designed for local residents and include them in the design process often do the best. new york city’s famed central park, designed by asla founder frederick law olmsted, and bryant park, designed by laurie olin of fasla are two examples of great community parks designed for people. the 843-acre central park has many “functional areas,” including game fields, gardens, skating rinks, a boating lake, and winding paths that offer “dozens and dozens of different kinds and moments of experience “ says sarah goldhagen, architecture critic for the new republic. bryant park’s movable café table and chairs set under a rich tree canopy and spread around a central lawn enable people to easily form groups or stay on their own. the park is now viewed as a model for how public places can facilitate human interaction. human interaction isn’t just needed to make a popular and sustainable park, new research demonstrates that people with strong community ties also live longer healthier lives. parks provide the space for communities to form.
(source: “goldhagen: ‘democracies need physical spaces,” the dirt and “bowling alone,” robert putnam)

interlocking cross laminated timber (iclt) is a prefabricated, cross-laminated solid wood wall and roof panel. similar to cross-laminated timber (clt) developed in europe, iclt is fabricated from two to seven layers of alternating 3” x 6” to 3” x 8” pine stock milled from waste wood. unlike other solid wood panel systems, however, iclt utilizes no fasteners and no adhesives, which reduces overall capital cost for either stainless fastener purchase and install or press purchase and set-up associated with glue lamination. conversely, standard mills and timber fabricators looking to diversify their product offering may produce iclt with existing infrastructure and equipment.

iclt is currently in the development, testing and code acceptance research phase in preparation for market acceptance in the next three to five years.

my idea is for a government or forward-moving organization to sponsor design competitions to design a better, more spacious, green and futurist “seating” area for both trains and planes that maximizes the concept of how we use that space more than packing us in like sardines for profit. you could use the standard seating quota as the parameters for the competition, perhaps a $100,000 prize and recognition for the winner. a conscientious government (it may not be ours) can give a tax incentives or contract to the airlines & train that start adopting these cabins that work towards the future and design with health, comfort of the passengers and rethinking of a better space. better design is the low hanging fruit of saving energy, health and comfort for all. it just needs attention, publicity and sponsorship. please don’t leave it to these industries; it goes under “luxury” in their book. make it a public cause.

pals is a group of peer colleges of art and design that are working together to share and leverage resources.
this dynamic group of faculty, deans and provosts have made a five year commitment to integrate sustainability throughout our academic programs.

vote now to help this idea win!

gearturbine project
atypical inflow thermodynamic
technology proposal submission
innovative [turbo-rotary] novel fueled motor engine type

*the gearturbine comes from the contemporary ecological essential global needs of a efficient power plant fueled motor engine.
-power thrust by bar (tube); air, sea, land and power generation, work use application.
-have the similar simple basic system of the “aelopilie” heron´s steam turbine device from alexandria, [10-70 ad] one thousand nine hundred years ago. because; the circular dynamic motion, with 2/two opposites power [polar position] lever, and is feeds from his axis center.

http://gearturbine.260mb.com

-desirable contemporary innovation, with the possible [efficient] invention. -mechanical [thermodynamic] universal human history evolution. [unlike] epic technology revelation. -next step powerplant new design form function device change.

*8-x/y thermodynamic cycle – way steps:
1)1-compression / bigger
2)2-turbo 1 cold
3)2-turbo 2 cold
4)2-combustion – circular motion flames / opposites
5)2-thrust – single turbo & planetary gears / ying yang
6)2-turbo 2 hot
7)2-turbo1 hot
8)1-turbine / bigger

*innovation technology breake barrier / paradigm [broken-seal] solution. state of the art. innovative turbo-rotary concept top system.
-with retrodynamic dextrogiro vs levogiro phenomenon effect. / rotor-rpm vs inflow / front=> to <=front; “collision-interaction type” – inflow vs blades-gear-move. technical unique dynamic inovative motion mode. [retrodynamic reaction = when the inflow have more velocity the rotor have more rpm aceleration, with high (xy position) momentum ] which the internal flow (and rotor) duplicate its speed,when activated being in a rotor (and inflow) with [inverse] opposite turns. a very strong novel concept of torque power thrust. at field explanatory example with a metaphor is like if a sailboat take the wind from his prow front to move; wind/inflow + knots/rpm + wind/inflow + knots/rpm + wind/inflow + knots/rpm + etc… = aceleration x aceleretion = exponential aceleration. whereas it has more movements forwards, it receives a frontal impulse still but to move more forwards.
-shape-mass + rotary-motion = inertia-dynamic / form-function wide [flat] cilindrical shape + positive dynamic rotary mass = continue inertia cinetic positive tendens motion / all the complete rotary motor mass weight is goin with the power thrust move circular direction.
-non-waste parasitic looses system for cooling, lubrication & combustion; -lubrication & combustion, inside a conduit radial position, out way direction, activated by centrifugal force-fueled injected. -cooling; a)in-thermomix flow, & b)out-air thermo transference.
-combustion 2two [inside-rotary-dynamic] continue circular [rockets] flames. like two dragons trying to bite the tail of the [ying yang] opposite other.
-increase the first compresion by going of flow reduction of one big circumference blades going pass to 2two reduced, very long distance (total captive compression) inflow [inside propulsion] conduits [long flow interaction] [like a digestive system] start were ends, in perfect shape balance in perfect equilibrium well balanced, like a snake bite his own tale. -4 turbos rotary [inside-rotary-active] [in-flow, out-flow] total thrust-power regeneration [complete] power system. -mechanical direct 2two [small] “planetary gears” at polar position. like the ying yang simbol/concept. wide out the rotor circumference were have much more lever [high torque] power thrust. -military benefits, no blade erosion by sand & very low heat target profile.
-3 stages of inflow turbo compression before combustion; 1)1-turbine, 2)2-turbos 3)2-turbos. -and 3 points of power thrust; 1-flow way, 2-gear, 3-turbine.

*the most innovative power plant motor engine project today. higher efficient % percentage. next trend wave toward global technological coming change.
patent; dic 1991 impi mexico #197187 – carlos barrera. – individual designer – inventor and project owner. / all rights reserved. – monterrey nl mexico.

poor air quality has led to an explosion of asthma cases and other health problems among vulnerable populations including children, the elderly, and low-income residents. each year bad air causes two million deaths worldwide. also, in the u.s., there have been 8,000 premature deaths from excessive heat over the past 25 years. urban heat islands, which are caused, in part, by sunlight being absorbed by paved surfaces and roofs, lead to higher surface temperatures, up to 90 degrees. atmospheric air temperatures are also higher: in the day by up to 6 degrees, and at night, by up to 22 degrees. vulnerable populations also face greater risks of heat exhaustion. (source: world health organization (who) and heat island impacts, u.s. environmental protection agency (e.p.a.) )

increasing the tree canopy in cities is one way to fight both poor air quality and urban heat islands. research shows significant short-term improvements in air quality in urban areas with 100 percent tree cover. there, trees can reduce hourly ozone by up to 15 percent, sulfur dioxide by 14 percent, and particulate matter by 13 percent. u.s. trees remove some 784,000 tons of pollution annually, providing $3.8 billion in value. furthermore, a single large healthy tree can remove greater than 300 pounds of carbon dioxide from the atmosphere every year. in fact, new york city’s urban forest alone removes 154,000 tons of co2 annually. through their leaves, trees also provide evaporative cooling, which increases air humidity. shaded surfaces may be 20-45 degrees cooler, and evapotranspiration can reduce peak summer temperatures by 2-9 degrees. (source:“heat island mitigation: trees and vegetation, u.s. environmental protection agency (e.p.a.) and “sustaining america’s trees and forests,” david j. nowak, susan m. stein, paula b. randler, eric j. greenfield, sara j. comas, mary a. carr, and ralph j. alig, u.s. forest service. )

some other benefits: urban forests reduce energy use by providing shade in the summer and wind breaks in the winter, reduce stormwater runoff, remediate soils, and provide animal and plant habitat. trees have economic benefits: they increase property value. lastly, trees have positive cognitive effects and may even help improve moods. (source: “sustaining america’s trees and forests,” david j. nowak, susan m. stein, paula b. randler, eric j. greenfield, sara j. comas, mary a. carr, and ralph j. alig, u.s. forest service; “does looking at nature make people nicer?” the dirt blog and “the restorative effects of nature in cities,” the dirt blog)