According to developers Niloy J. Mitra and Mark Pauly, Shadow Art is a tool to create abstract sculptures that can cast three different shadows, depending on the angle they are oriented against the a light source. These sculptures can be built in the physical world with any material, not only Lego, as well as used in 3D rendering programs to achieve the same effect. [Shadow Art via bldgblog]

By NOTHING dESIGN GROUP, the concrete-constructed Brick Light can be interspersed with other blocks to create that starry atmosphere that you can pretend is girly...but we know your tastes.

The downfall, aside from questionable structural integrity, is that the Brick Light is a plug-in device. Replace its power source with rechargeable solar or a clean nuclear energy, however, and we're on to something. [Vidafine via NOTCOT via DVICE]

Seriously, this guy has cornered the market on freakishly cool Lego artwork. [Jason Freeny via Brothers Brick]

The pico projector and 3G modules are the most interesting of the group. The DLP powered display has a 480x320 resolution, 9 lumens and integrated stereo sound. The 3G modules can be used to send text messages but also place calls and of course, transmit data.

I still haven't played with a unit, but there are about half a dozen gadgets I'd like to try making with a bug kit now that the 3g and projector modules are coming.

Bug Labs Announces New BUGmodules and Applications at CES 2009

Five new programmable multimedia and connectivity modules to encourage further development of open source hardware movement

NEW YORK, NY, Jan 7 2009 /PRNewsWire/ - Today, Bug Labs announces five new BUGmodules that will be unveiled at the 2009 Consumer Electronics Show in Las Vegas. At the Bug Labs Test Kitchen (located at booth #IP209 in the Sands Expo Innovation Pavilion), the team will showcase several innovative new BUG applications which fully demonstrate the endless possibilities of BUG, the open source modular consumer electronics platform.

Each BUGmodule represents a specific gadget function (e.g. a camera, a keyboard, a video output, etc.) that can be snapped to the BUGbase, a programmable Linux-based mini-computer with four available BUGmodule slots.

The five new BUGmodules are:

* BUGprojector, a mini pico-projector module, incorporating DLP® Pico™ technology from Texas Instruments. With a native resolution of 480x320 pixels, stereo playback and a brightness of 9 lumens, users can project videos, photos and presentations on the go.

* BUGsound, an audio module, providing a flush-mount 20-mm speaker and omnidirectional microphone with hardware stereo codecs and four 3.5-mm stereo jacks for third-party inputs, outputs, headphones and microphones. Use BUG as a portable music player, speakerphone, audio processor or more.

* BUG3g GSM, a 3G mobile radio with SIM card input, enabling BUGs to connect to any high-speed GSM network. Users can place calls, send and receive SMSes or transmit data, opening a world of possibilities for mobile and telephony applications.

* BUGwifi, a dual-function 802.11b/g wi-fi and Bluetooth™ 2.0 + EDR radio, offering yet another wireless data connectivity option for the BUGbase, while providing a gateway to a variety of peripherals such as keyboards, mice, headsets and more.

* BUGbee, a low-powered 802.15.4 radio, enabling BUG developers to create short-range personal area network (PAN) applications for home automation, sensor networks, automotive and more.

All new BUGmodules will ship this quarter, with pricing, technical specifications and availability information announced on the Bug Labs blog (http://bugblogger.com) in the coming weeks.

These five modules complement the initial batch of BUGmodules, including BUGlocate (GPS), BUGcam2MP (digital camera), BUGmotion (motion sensor and accelerometer) and BUGview (touchscreen LCD). And with the recent addition of BUGvonHippel, a breadboard module enabling users to add virtually any interface to their BUGbase, developers are given more control in making BUG the center of their device universe.

"We're really excited about advancing the world of ‘hardware mashups,’ and we believe these new modules will help the open source community take consumer electronics to a new level," said Peter Semmelhack, Bug Labs' founder and CEO. "For example, adding the BUGprojector with BUGcam2MP and BUG3G would make a great device for displaying online video calls in a group setting."

Additionally, BUGprojector incorporates technology from Texas Instruments (NYSE: TXN), and marks the first BUGmodule developed in partnership with a major consumer electronics manufacturer.

"We believe that the BUGprojector has tremendous potential for open source electronics," said Frank J. Moizio, Manager, DLP Front Projection Emerging Markets business "We are excited that the DLP Pico chipset is enabling such innovation and creativity with a company like Bug Labs.”

This is Bug Labs' (http://buglabs.net) second year at the Consumer Electronics Show in Las Vegas. In 2008, the company won the CNET Best of CES Award for Emerging Technologies.

As you can see in the gallery, you can use any Lego brick or piece you want to change their appearance. They come in three different models, with one ($140), two ($151) and four studs ($165). Ah, if I only knew when I asked the two ex-wives to marry me. [Edition Mathea via Make]

The exclusive tour is divided into three parts

While the storage areas are the most impressive part of the factory, I have to admit that nothing had prepared me for the scope and complexity that is required to make and pack 19 billion bricks every year. The scale of this factory, specially compared to the tiny bricks it produces, is absolutely breathtaking.

The warehouse and the mold room

We started in the main warehouse, which is half a kilometer long. Here they house the silos holding the raw plastic granulate. Through them, 60 tons of this material is processed every 24 hours. These towers are connected to the molding machines through a labyrinth of tubes that push the granulate mixtures in a permanent tin-pitched rumble.

It's the digestive system of the enormous factory, always feeding the molding lines through the tubes and moving big boxes full of pieces—using conveyor belts—into the storage area in an endless and precise dance which never ends: this factory works around the clock to fulfill the worldwide thirst for Lego.

The molding machines

Everything is recycled in the factory. The plastic granulate itself is a by-product from diesel, and whatever is discarded in the manufacturing process gets recycled. The leftover parts from the mold—the plastic that fills the channels that take the hot plastic into the piece negative—fall down the machine, gets ground up, and put back into the production cycle. Any other waste, like faulty pieces or the transparent plastic used to clean the inner tubes when they need to change the production color of a molding machine, are also ground up and sold to other companies for the production of other things, like pipes and even heating oil.

The machines produce more than two million pieces per hour, churning incessantly into color- and bar-coded boxes. I looked around and I couldn't see many people. A woman was in one of those endless aisles looking at a few molding machines with big "QT" signs on them. She was in charge of quality testing, making sure that the production was going perfectly.

At one point I was taking photos of a box of full of yellow bricks, and suddenly the machine stopped working. Fearing I had done something wrong, I saw a big wonky box coming from the distance, some kind of weird transport with strange sensors on the top, straight from a moisture farm on Tatooine or a spice mine in Dune. I stepped back, instantly realizing it was one of the many factory robots.

This transport bot was answering the call of the central mainframes, the brains of the Lego body that control every aspect of the process at all times. The mainframes had stopped the production of the machine, following the signal of the sensor next to the box and sending the signal to the robot, alerting it that it had to harvest the crop of bricks. The robots travel down the aisles autonomously, picking up boxes and leaving empty ones so production can be resumed.

The storage cathedrals, decoration and packaging

The robots then put the boxes in the conveyors, which move them into the storage cathedrals (click here to see a complete report on them, the following video only has a brief summary). There, the huge cranebots lift them to the heavens, placing them in endless towers of boxes. There are four of these cathedrals in the Lego factory, and no humans are inside. The mainframes know what it is inside at all times, and order the cranebots to retrieve boxes and send them to decoration and packaging, where Lego sets take their final form.

Here, the Lego pieces may take two ways. One is to go straight to the packaging lines. The other is to go into decoration. Decoration is the most expensive part of the Lego process. Here, the pieces are individually painted with absolute precision, like you can see in detail in this video.

In the packaging lines the pieces are distributed: they are dumped into the machine, which separates them one by one, then counts them using optical sensors, and placed in a generic small box. I watched in amazement, seeing how the pieces fell into these small boxes on a very small conveyor. At every step, one, two, three or whatever amount of pieces will fall into the box, according to the instructions of the set in production.

Along the way, high precision scales measure the weight of the box. The computers know exactly how much a box has to weigh at any stage, indicating that the correct number and kind of pieces are inside. If there's a variation of a few micro-grams, the alarm jumps and an operator grabs the box, sorts the pieces, and puts the box back into production.

Once the box is complete, the contents are dropped into the plastic wrapping machine, which makes a bag with the pieces inside. The box are then dropped inside another box, and passed into another production line, where more bags would be added until all the set pieces are in place, ready to be packaged and sent to shops all around the world.

As I watched the boxes going away, being wrapped for shipping, I couldn't help to have this feeling of absolute marvel. From plastic grains to full sets, everything controlled by computers and robots, in a scale that—given the size of most of these piece—stunned me. Next time you look at that Lego box full of bricks, or your collection of mini-figs, think about how complex and elegant the whole production process is. Your "toy" will have then a completely new dimension.

When they started to explain the capacity of these storage areas, designed to accomodate the 19-Billion-piece-per-year production, I realized the unbelievable scale of all this. I just couldn't believe what I was seeing and hearing.

Watch the video and multiple that vision by 32. Try to imagine a 65.6-square-mile area (170 square kilometers) distributed among thousands of shelves. Looking down one of the aisles—there are four per building—I realized I was looking at tens of thousands of boxes full of Lego bricks and pieces. All of them completely full: "There are approximately half a million boxes here," they told me. Later I found out that it was 162.240 boxes in each of the old cathedrals (which went up to 13 meters high) and 262.128 in the new ones (the 20 meter high ones).

Up in the distance I could see a robot working. I zoomed with my camera and saw how it took some boxes out, then put others in. "They are taking the boxes to packaging and decoration," Jan—one of the Lego PR guys in Billund—pointed out, "every time there's a production run, computers order the robots to retrieve whatever boxes are needed," according to the number of bricks necessary for a set. Everything is done on demand," he said with a big smile, proud of the efficiency of their system.

Then, without any warning, the robot started to move up there in Lego heaven, accelerating almost immediately as it descended from the top of the building to the bottom, at the end of one of the aisles. The speed was staggering for such a giant metal thing, and we all watched in silence as the gigantic crane moved the bot gracefully, like a male dancer would hold a ballerina in The Nutcracker.

We kept walking and one of them came towards us, stopping smoothly at the end of aisle. My first thought was about jumping into it and waiting for the next request from the production computers to feel the thrill of going up through that massive space, holding my breath and watching the multi-colored boxes blur in front of my eyes, like a Lego Silver Surfer on top of that yellow bot. Probably thinking the same, Jan turned to me: "you know, if you cross that line, the entire production process will stop. It's a security measure." Yeah, on second thought it was probably for the better. Later I learnt there were four robots per cathedral, one per aisle, moving at 2.5 meters per second in the new buildings, and 1.5 meters per second in the old ones. It doesn't seem a lot, but watching they zooming in every direction it didn't look very safe for humans.

But as we walked out of the storage, continuing with our visit to the factory, I just couldn't stop imagining myself flying on top of that bot in one of those long trenches, looking for the exhaust port on the Lego Death Star, probably with Jan and the Lego security chasing me like Darth Vader and his two TIE fighter wingmen. Lego Star Wars", I thought, at the end everything comes full circle. And then I said to myself: "Jesus, you are such a dork." I was. Albeit a very happy, smiling one. [Giz's Lego Trip]