future designs lcd displays quotation

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In recent years, China and other countries have invested heavily in the research and manufacturing capacity of display technology. Meanwhile, different display technology scenarios, ranging from traditional LCD (liquid crystal display) to rapidly expanding OLED (organic light-emitting diode) and emerging QLED (quantum-dot light-emitting diode), are competing for market dominance. Amidst the trivium strife, OLED, backed by technology leader Apple"s decision to use OLED for its iPhone X, seems to have a better position, yet QLED, despite still having technological obstacles to overcome, has displayed potential advantage in color quality, lower production costs and longer life.

Zhao: We all know display technologies are very important. Currently, there are OLED, QLED and traditional LCD technologies competing with each other. What are their differences and specific advantages? Shall we start from OLED?

Huang: OLED has developed very quickly in recent years. It is better to compare it with traditional LCD if we want to have a clear understanding of its characteristics. In terms of structure, LCD largely consists of three parts: backlight, TFT backplane and cell, or liquid section for display. Different from LCD, OLED lights directly with electricity. Thus, it does not need backlight, but it still needs the TFT backplane to control where to light. Because it is free from backlight, OLED has a thinner body, higher response time, higher color contrast and lower power consumption. Potentially, it may even have a cost advantage over LCD. The biggest breakthrough is its flexible display, which seems very hard to achieve for LCD.

Liao: Actually, there were/are many different types of display technologies, such as CRT (cathode ray tube), PDP (plasma display panel), LCD, LCOS (liquid crystals on silicon), laser display, LED (light-emitting diodes), SED (surface-conduction electron-emitter display), FED (filed emission display), OLED, QLED and Micro LED. From display technology lifespan point of view, Micro LED and QLED may be considered as in the introduction phase, OLED is in the growth phase, LCD for both computer and TV is in the maturity phase, but LCD for cellphone is in the decline phase, PDP and CRT are in the elimination phase. Now, LCD products are still dominating the display market while OLED is penetrating the market. As just mentioned by Dr Huang, OLED indeed has some advantages over LCD.

Huang: Despite the apparent technological advantages of OLED over LCD, it is not straightforward for OLED to replace LCD. For example, although both OLED and LCD use the TFT backplane, the OLED’s TFT is much more difficult to be made than that of the voltage-driven LCD because OLED is current-driven. Generally speaking, problems for mass production of display technology can be divided into three categories, namely scientific problems, engineering problems and production problems. The ways and cycles to solve these three kinds of problems are different.

At present, LCD has been relatively mature, while OLED is still in the early stage of industrial explosion. For OLED, there are still many urgent problems to be solved, especially production problems that need to be solved step by step in the process of mass production line. In addition, the capital threshold for both LCD and OLED are very high. Compared with the early development of LCD many years ago, the advancing pace of OLED has been quicker.While in the short term, OLED can hardly compete with LCD in large size screen, how about that people may change their use habit to give up large screen?

Liao: I want to supplement some data. According to the consulting firm HIS Markit, in 2018, the global market value for OLED products will be US$38.5 billion. But in 2020, it will reach US$67 billion, with an average compound annual growth rate of 46%. Another prediction estimates that OLED accounts for 33% of the display market sales, with the remaining 67% by LCD in 2018. But OLED’s market share could reach to 54% in 2020.

Huang: While different sources may have different prediction, the advantage of OLED over LCD in small and medium-sized display screen is clear. In small-sized screen, such as smart watch and smart phone, the penetration rate of OLED is roughly 20% to 30%, which represents certain competitiveness. For large size screen, such as TV, the advancement of OLED [against LCD] may need more time.

Xu: LCD was first proposed in 1968. During its development process, the technology has gradually overcome its own shortcomings and defeated other technologies. What are its remaining flaws? It is widely recognized that LCD is very hard to be made flexible. In addition, LCD does not emit light, so a back light is needed. The trend for display technologies is of course towards lighter and thinner (screen).

But currently, LCD is very mature and economic. It far surpasses OLED, and its picture quality and display contrast do not lag behind. Currently, LCD technology"s main target is head-mounted display (HMD), which means we must work on display resolution. In addition, OLED currently is only appropriate for medium and small-sized screens, but large screen has to rely on LCD. This is why the industry remains investing in the 10.5th generation production line (of LCD).

Xu: While deeply impacted by OLED’s super thin and flexible display, we also need to analyse the insufficiency of OLED. With lighting material being organic, its display life might be shorter. LCD can easily be used for 100 000 hours. The other defense effort by LCD is to develop flexible screen to counterattack the flexible display of OLED. But it is true that big worries exist in LCD industry.

LCD industry can also try other (counterattacking) strategies. We are advantageous in large-sized screen, but how about six or seven years later? While in the short term, OLED can hardly compete with LCD in large size screen, how about that people may change their use habit to give up large screen? People may not watch TV and only takes portable screens.

Some experts working at a market survey institute CCID (China Center for Information Industry Development) predicted that in five to six years, OLED will be very influential in small and medium-sized screen. Similarly, a top executive of BOE Technology said that after five to six years, OLED will counterweigh or even surpass LCD in smaller sizes, but to catch up with LCD, it may need 10 to 15 years.

Xu: Besides LCD, Micro LED (Micro Light-Emitting Diode Display) has evolved for many years, though people"s real attention to the display option was not aroused until May 2014 when Apple acquired US-based Micro LED developer LuxVue Technology. It is expected that Micro LED will be used on wearable digital devices to improve battery"s life and screen brightness.

Micro LED, also called mLED or μLED, is a new display technology. Using a so-called mass transfer technology, Micro LED displays consist of arrays of microscopic LEDs forming the individual pixel elements. It can offer better contrast, response times, very high resolution and energy efficiency. Compared with OLED, it has higher lightening efficiency and longer life span, but its flexible display is inferior to OLED. Compared with LCD, Micro LED has better contrast, response times and energy efficiency. It is widely considered appropriate for wearables, AR/VR, auto display and mini-projector.

However, Micro LED still has some technological bottlenecks in epitaxy, mass transfer, driving circuit, full colorization, and monitoring and repairing. It also has a very high manufacturing cost. In short term, it cannot compete traditional LCD. But as a new generation of display technology after LCD and OLED, Micro LED has received wide attentions and it should enjoy fast commercialization in the coming three to five years.

Interestingly, quantum dots as light-emitting materials are related to both OLED and LCD. The so-called QLED TVs on market are actually quantum-dot enhanced LCD TVs, which use quantum dots to replace the green and red phosphors in LCD’s backlight unit. By doing so, LCD displays greatly improve their color purity, picture quality and potentially energy consumption. The working mechanisms of quantum dots in these enhanced LCD displays is their photoluminescence.

For its relationship with OLED, quantum-dot light-emitting diode (QLED) can in certain sense be considered as electroluminescence devices by replacing the organic light-emitting materials in OLED. Though QLED and OLED have nearly identical structure, they also have noticeable differences. Similar to LCD with quantum-dot backlighting unit, color gamut of QLED is much wider than that of OLED and it is more stable than OLED.

Given the relatively low resolution of printing technology, QLED shall be difficult to reach a resolution greater than 300 PPI (pixels per inch) within a few years. Thus, QLED might not be applied for small-sized displays at present and its potential will be medium to large-sized displays.

Peng: Good questions. Ligand chemistry of quantum dots has developed quickly in the past two to three years. Colloidal stability of inorganic nanocrystals should be said of being solved. We reported in 2016 that one gram of quantum dots can be stably dispersed in one milliliter of organic solution, which is certainly sufficient for printing technology. For the second question, several companies have been able to mass produce quantum dots. At present, all these production volume is built for fabrication of the backlighting units for LCD. It is believed that all high-end TVs from Samsung in 2017 are all LCD TVs with quantum-dot backlighting units. In addition, Nanosys in the United States is also producing quantum dots for LCD TVs. NajingTech at Hangzhou, China demonstrate production capacity to support the Chinese TV makers. To my knowledge, NajingTech is establishing a production line for 10 million sets of color TVs with quantum-dot backlighting units annually.China"s current demands cannot be fully satisfied from the foreign companies. It is also necessary to fulfill the demands of domestic market. That is why China must develop its OLED production capability.

Huang: The importance of China"s LCD manufacturing is now globally high. Compared with the early stage of LCD development, China"s status in OLED has been dramatically improved. When developing LCD, China has adopted the pattern of introduction-absorption-renovation. Now for OLED, we have a much higher percentage of independent innovation.

Although we cannot say that our advantages triumph over ROK, where Samsung and LG have been dominating the field for many years, we have achieved many significant progresses in developing the material and parts of OLED. We also have high level of innovation in process technology and designs. We already have several major manufacturers, such as Visionox, BOE, EDO and Tianma, which have owned significant technological reserves.

units for LCD and electroluminescence in QLED. For the photoluminescence applications, the key is quantum-dot materials. China has noticeable advantages in quantum-dot materials.

After I returned to China, NajingTech (co-founded by Peng) purchased all key patents invented by me in the United States under the permission of US government. These patents cover the basic synthesis and processing technologies of quantum dots. NajingTech has already established capability for large-scale production of quantum dots. Comparatively, Korea—represented by Samsung—is the current leading company in all aspects of display industry, which offers great advantages in commercialization of quantum-dot displays. In late 2016, Samsung acquired QD Vision (a leading quantum-dot technology developer based in the United States). In addition, Samsung has invested heavily in purchasing quantum-dot-related patents and in developing the technology.

Peng: If electroluminescence can be successfully achieved with printing, it will be much cheaper, with only about 1/10th cost of OLED. Manufacturers like NajingTech and BOE in China have demonstrated printing displays with quantum dots. At present, QLED does not compete with OLED directly, given its market in small-sized screen. A while ago, Dr. Huang mentioned three stages of technological development, from science issue to engineering and finally to mass production. For QLED, the three stages have been mingled together at the same time. If one wants to win the competition, it is necessary to invest on all three dimensions.

Huang: When OLED was compared with LCD in the past, lots of advantages of OLED were highlighted, such as high color gamut, high contrast and high response speed and so on. But above advantages would be difficult to be the overwhelming superiority to make the consumers to choose replacement.

It seems to be possible that the flexible display will eventually lead a killer advantage. I think QLED will also face similar situation. What is its real advantage if it is compared with OLED or LCD? For QLED, it seems to have been difficult to find the advantage in small screen. Dr. Peng has suggested its advantage lies in medium-sized screen, but what is its uniqueness?

Huang: But customers may not accept only better wider color range if they need to pay more money for this. I would suggest QLED consider the changes in color standards, such as the newly released BT2020 (defining high-definition 4 K TV), and new unique applications which cannot be satisfied by other technologies. The future of QLED seems also relying on the maturity of printing technology.

Peng: New standard (BT2020) certainly helps QLED, given BT2020 meaning a broad color gamut. Among the technologies discussed today, quantum-dot displays in either form are the only ones that can satisfy BT2020 without any optical compensation. In addition, studies found that the picture quality of display is highly associated with color gamut. It is correct that the maturity of printing technology plays an important role in the development of QLED. The current printing technology is ready for medium-sized screen and should be able to be extended to large-sized screen without much trouble.

Peng: Domestic industry sector has begun to invest in these future technologies. For example, NajingTech has invested about 400 million yuan ($65 million) in QLED, primarily in electroluminescence. There are some leading domestic players having invested into the field. Yes, this is far from enough. For example, there are few domestic companies investing R&D of printing technologies. Our printing equipment is primarily made by the US, European and Japan players. I think this is also a chance for China (to develop the printing technologies).

Liao: Due to their lack of kernel technologies, Chinese OLED panel manufacturers heavily rely on investments to improve their market competitiveness. But this may cause the overheated investment in the OLED industry. In recent years, China has already imported quite a few new OLED production lines with the total cost of about 450 billion yuan (US$71.5 billion).Lots of advantages of OLED over LCD were highlighted, such as high color gamut, high contrast and high response speed and so on …. It seems to be possible that the flexible display will eventually lead a killer advantage.

Zhao: Today there are really good observations, discussions and suggestions. The industry-academics-research collaboration is crucial to the future of China"s display technologies. We all should work hard on this.

Inspiration is a huge part of graphic design. You need to have a great idea to start with, an aesthetic to draw inspiration from, and the motivation to get the job done. Sometimes it can be hard to get the creative juices flowing, so whenever it’s time to sit down and start cranking out designs, borrowing some knowledge from the experts is a great way to go.

These new advancements in screen printing technology will allow products to be printed faster and with unique innovation. Is the future of marketing electronic printing on packaging and products?

AT ITS CORE, design is an inherently futurist medium. In the 1960s, as the writer Maggie Gram has noted, key figures in the Modern design movement often used the word “design” indistinguishably from the word “planning.” This isn’t surprising: Design, like planning, was the profession most concerned with the future. Today is not so different, but what we mean by “the future,” a utopian ideal throughout much of the 20th century, is now undeniably much darker as we progress further into the 21st. To look ahead at what role design will play on an increasingly troubled planet takes us back to the fundamental polysemy behind the word itself. At various times it has encompassed drawing and architecture, products and graphics — in fact, everything short of the creation of the world itself (and, in the risible concept of “intelligent design,” sometimes that, too). Once industrial design became a profession in the early 20th century, the promiscuity of its aims and undefined nature of its objectives meant that designers felt they could do very nearly anything. In its most heroic phase, the mid-20th century, industrial designers gave themselves over to pronouncements that suggested they alone held the key to this savage parade. “What are the boundaries of design?” was the question posed in 1969 to Charles Eames, who, with his partner, Ray, designed chairs, toys, housing, films, exhibitions and, to a certain extent, the very nature of communication. Eames responded, “What are the boundaries of problems?”

In the months just before the novel coronavirus pandemic shut down much of the world, various museums were beginning to think about what the future might hold for design, namely in the face of a different existential crisis, equally characterized by uncertainty: that if we do not move decisively to mitigate the rise in greenhouse gas emissions, we will experience catastrophic degrees of warming. David Wallace-Wells’s 2019 book “The Uninhabitable Earth” laid out the scenarios: acres of the earth denuded; coastlines and islands swallowed; mass extinctions of flora and fauna; mass human deaths. In other words, design in recent years has been unavoidably faced with a question many of us never thought we would have to ask: How do you design for the future when the future you are designing for will not exist?

One of the institutional reckonings with this predicament is “Designs for Different Futures,” an exhibition organized by the Art Institute of Chicago, the Philadelphia Museum of Art and the Walker Art Center in Minneapolis, where it is currently on view. The show’s assumptions about the future preceded the coronavirus, so its focus is predominantly on climate change, war, refugees and mass surveillance rather than disease. One of the works featured in the show in Philadelphia, “Resurrecting the Sublime” (2019), is a collaboration between the synthetic biologist Christina Agapakis, the artist Alexandra Daisy Ginsberg and the smell researcher and artist Sissel Tolaas, with the help of the biotechnology firm Ginkgo Bioworks and the sensory experiences company International Flavors & Fragrances. The piece recreates the scent of flowers that have gone extinct in the last 200 years. The particular specimen evoked in the installation — an unassuming room with two glass sides containing three large limestone rocks, in which an almost sickly floral scent is diffused in the midst of the otherwise anodyne museum environment — is Orbexilum stipulatum, or Falls-of-the-Ohio scurfpea, a flowering plant last found in 1881 on the now defunct Rock Island in the Ohio River near present-day Louisville, Ky. It is thought to have gone extinct because of the overhunting of buffalo, without whose grazing the plant couldn’t survive.

Another exhibition — initially stalled by the pandemic when the city’s cultural institutions shuttered this past March — that imagines human design in a post-human world is “Countryside, the Future,” produced by the architect Rem Koolhaas’s think tank and research studio, AMO, and on view at the Solomon R. Guggenheim Museum in New York. This show, which includes charts, objects, ephemera, images and data related to rural environments, as well as an indoor farm growing cherry tomatoes, all but ignores the apocalyptic side of the climate crisis to instead focus on a statistic: Though most of the world’s inhabitants live in cities, 98 percent of the earth is still nonurban. Impressed by this fact, Koolhaas and his partners use the exhibition to traverse the (mostly) uninhabited earth with unsystematic abandon. On view are suits that use a lightweight exoskeleton to amplify the physical strength of elderly Japanese farmers, as well as images of the refugee crisis in Germany and Italy and an area in Uganda where mountain gorillas have grown accustomed to the presence of tourists. Of course, looming disasters remain inescapable: One section of the exhibition, which includes a replica of a woolly mammoth skeleton, is devoted to the thawing permafrost in central Siberia, whose continued melting will, by 2030, have released untold levels of carbon into the atmosphere and shift the climate crisis into climate nightmare.

Image“Countryside, the Future,” an exhibition at the Guggenheim Museum that imagines human design in a post-human world, includes an indoor farm.Credit...David Litvin

That various apocalyptic scenarios are now unavoidable even when trying to think hopefully about the future has made contemporary design into a backlash against itself. In the 2019 book “Lo-TEK” (a response to the old architectural and design movement called high-tech, whose most famous example is the 1977 Centre Pompidou in Paris, by Renzo Piano and Richard Rogers, with its facade of exposed metal innards), the urban designer and activist Julia Watson seeks answers from Indigenous peoples around the world, because of their long practice in handling climatological disasters and other unforeseen events. She studies bridges made from living roots in Meghalaya, India, and advanced canal farming around Lake Titicaca in Peru by the Incan peoples. Where “Designs for Different Futures” feels high-tech in its imagination — envisioning, for example, that humans might perhaps one day be cloned from DNA extracted from gum left under park benches — Lo-TEK imagines that the knowledge of how to survive the future is already embedded in low-energy, often ancient practices. Both allude to ways that designers have begun to ask what a world characterized by increasing robotization, declining biodiversity and the disappearance of technologies that work in harmony with nature will look like. Climatological disasters exist in the degrees of warming we are prepared as a society to accept, to the extent that, at a certain point, we will still be able to call ourselves a society.

THE BIGGEST GAP in the congruence between design and the future was the advent of the environmental movement. Suddenly there was a recognition that design could not take uncontaminated water, stable food supplies or clean air for granted. In 1969’s “Design With Nature,” one of the founding documents of late 20th-century environmental planning, the landscape architect Ian McHarg proposed vatically that “man is that uniquely conscious creature who can perceive and express. He must become the steward of the biosphere. To do this, he must design with nature.” Yet prophetic utterance was not the tenor of the book or what McHarg had in mind. In practice, he wanted landscape architects to embrace territory-level planning, rather than fiddle with parks and gardens. His most salient project was the 1974 Woodlands community, 30 miles north of Houston, which was organized around restoring and protecting the area’s water cycles, while also building what was originally a mixed-income neighborhood as opposed to an exclusive suburb.

ImageThe International Baladna Cow general assembly, at Baladna Farm, Al Khor, Qatar, the world’s largest “rotary milking parlor,” which holds 100 cows.Credit...Courtesy of Amo, from the exhibition “Countryside, the Future,” photo by Petra Blaisse

A SUSPICION OF and fascination with technological capability persists in predictive contemporary design. The most gleeful section of the “Designs for Different Futures” exhibition is a circular dining table showcasing various food items made by Andrew Pelling, Grace Knight and Orkan Telhan in 2019. One is “Ouroboros Steak”: reddish, amuse-bouche-size portions of meat, cast in resin, made from human cells. As with dinner-party art concepts from the past, it poses the idea that we have excluded something from our imagination — in this case, of what food could be. It may also suggest that with increasing pressure on our agricultural systems to deliver food across the world, we may need to resort to generating food from our own bodies: in effect, eating ourselves. Another, more generative idea is Ryan Mario Yasin’s line of children’s clothing that actually grows as the wearer ages, which launched last year. Like a Hoberman sphere for infants, with the look of repurposed black garbage bags, they unpack and expand as a child grows older.

“If you follow it even loosely, you’ll have noticed that current farming-systems research is heavily focused on two big challenges,” Lenora Ditzler, a “pixel farmer” who uses digital simulations to plan food production, argues in her catalog essay for “Countryside, the Future”: “how to feed everyone on this overloaded globe, and how to do it in a way that doesn’t render the earth uninhabitable.” Criticizing the monocultural, soil-sapping practices of modern agriculture, she points to biodiverse models of farming that don’t require massive tracts of land and vegetables planted in single rows, instead arranging plantings in higher-resolution bunches, a means of production that requires less fertilizer.

For those who think of design as fundamentally consisting of things like chairs and the arrangement of interior space, these topics and proposals might seem to exceed the usual scope of a designer’s world. But designers and architects have always concerned themselves with the technical frontiers of their disciplines, and the question now is whether the majority of them — or even the most influential of them — will ultimately participate in a global movement that imagines a society run on completely different energy sources than what we currently depend on, namely fossil fuels. In a widely circulated essay from last year, “Design and the Green New Deal,” Billy Fleming, a professor of landscape architecture at the University of Pennsylvania (and, not incidentally, director of the school’s McHarg Center), criticized the status quo of a design world that professed “green” ambitions while failing to grapple with fundamental challenges of climate change: “We don’t need playful design proposals,” he wrote. “We need high-impact built projects — prototypes for the resilient futures we’ve been promised.”

As we imagine (prematurely) multiple ways to get out of the Covid-19 crisis — and the different world into which we will emerge — design has furnished examples of how the field can be both highly relevant and professionally incapable of long-term thinking. Covid-19 is, after all, a zoonotic disease, like SARS or Ebola, and it is the result of habitat destruction, of animals that humans shouldn’t be in contact with getting too close to our livestock as a result of overfarming and development — problems in which design has played no small part. That remains unsolved. But some of the temporary fixes for social distancing and quarantine have been the result of design innovations as well. There are piazzas in Italy parceled into squares for physical gathering without physical closeness; Plexiglas panes that help people keep apart; a social-distancing picnic blanket, with individual seating areas spaced about six feet apart and so on. The surface ingenuity of all of this, however, is less powerful in cities where tens of thousands have died — where contemporary design helped create housing markets that cram multiple people into increasingly dwindling numbers of units for exorbitant prices, at rents people are increasingly unable to pay. If design has always been about looking forward — and doing so with the hope that what was to come would be better than what happened before — it now must also be about looking back in regret that our lives, in the end, have not been improved by all our expansion and growth. Can design make our lives better while also fundamentally changing its own raison d’être? We need a future characterized not just by small interventions but large-scale initiatives that take into account the dystopia design has, in part, created for us. (And that “us” is fractured, unequal, riven by race, geography, language and class.) If design is to be about how we live better, it also has to be about how we survive.

“Wouldn’t it be interesting if there were only one typeface in the world? Designers would really have to think about the idea behind their designs instead of covering it up with fancy typefaces. One universal typeface would really strip away all the flashy emptiness in design. And, of course, that one typeface would have to be Helvetica.”—Erik Kessels

Liquid crystal display (LCD) is a flat panel display that uses the light modulating properties of liquid crystals. Liquid crystals do not produce light directly, instead using a backlight or reflector to produce images in colour or monochrome.

With security provided by Knox, the displays feature Samsung Workspace which supports wireless cloud service access and control of a PC without needing a physical connection. Samsung Workspace simplifies meeting spaces while also improving security.

Built-in WiFi and Bluetooth allow for more personalized and interactive services as well as simplifying how businesses showcase content. Whether it’s to make networking simpler or enabling interactive beacon technology in-store, QMR series displays help businesses move into the future of retail.