This chapter focuses on shelters and their significance for providing protection for living things from environmental factors such as seasonal weather changes, natural disasters, extreme weather events and climate change. An ecosystem is the name given to a group of interacting organisms in a particular environment – which could be a city street, a creek in dense bushland or a coral reef. The world contains a huge variety of ecosystems where living things interact and often compete for available resources such as water, air, light, food, space and the resources required to provide shelters. This chapter examines the notion of community and the physical shelters that organisms require for long-term survival. It presents common examples of shelters created by humans and other animals, and describes three integrated STEM projects designed for Australian primary school classrooms.

The Innovation Pyramid is an inverted triangular pyramid. The methodology for creating impactful solutions to real problems separates the innovation's design from its execution. It further bifurcates design into identifying the real problem before crafting a solution to it. Execution is similarly bifurcated into execution planning and implementation. The four stacked levels of The Innovation Pyramid, from top to bottom, represent Problem Identification, Solution Formulation, Planning and Implementation; two design stages followed by two execution stages. The Pyramid has three faces. These three pyramid sections address three different aspects of designing and executing impactful solutions:

What: What is the desired outcome at that level?

How: How will this be accomplished or enabled?

Who: Who will lead the activities and/or is impacted by the outcome of this level?

This structure streamlines innovation creation as well as providing a structural means for diagnosing the cause of the variance between the actual and forecasted impact of the innovation. This diagnostic aspect is especially important when we may be traversing The Innovation Pyramid structure multiple times, once for say, prototype development, and a second time for the final product launch.

The Innovation Pyramid segments the innovation's design from its execution. Focusing on the design first forces us to think about what we are creating before immersing ourselves into the details of how we are creating it. The design portion is further segmented into Problem Identification and Solution Formulation. The first level of The Innovation Pyramid, which is the first stage of the innovation's design, describes a procedure for identifying root causes of general situations. Like The Innovation Pyramid itself, this five-step procedure for Problem Identification is non-linear and iterative process of discovery. Steps may be skipped or repeated depending on where we start or how the process of discovery unfolds. The five-step procedure is therefore more of a guideline than a rigorous process. The guideline requires multiple changes in perspective (broadening or narrowing one's purview) and points-of-view (through who's eyes the situation is observed). Empathy is a key component necessary to remaining in the problem space long enough to uncover the situation's root cause. Given problems are associated with people, identifying the root problem also means identifying the group of people most directly impacted by the root problem.

This chapter explores Zeffirelli’s three Shakespearean films, The Taming of the Shrew (1967), Romeo and Juliet (1968) and Hamlet (1990), well known for the visual banquets they constitute, the memorable soundscapes they feature and their stimulating casting choices. The purpose of this chapter is to suggest that, as designer and director, Zeffirelli has managed to combine movement and fixity, so that these films can be regarded as living monuments. Far from being mere visual decoration, the designs that are at the heart of Zeffirelli’s films are infused with life and reinvigorate the vision of the plays. Analysing ‘household stuff’ coming to life in The Taming of the Shrew, the battle of energies in Romeo and Juliet and Hamlet’s labyrinth of fury, the chapter shows how the architecture and design of the films make them monuments. There is a lot of art in this matter. There is a lot of life in these monuments.

This chapter introduces the topic in four steps. First, by explaining the research design. Second, by explaining the methodology applied. Third, by discussing a few key aspects related to the sources of law applied. Fourt, the chapter concludes with a section on the concept accountability, and how it can be applied to the relationship between international organizations and individuals.

Jizhou played a key role in the emergence of ceramics brush-painted decorations of iron-oxide pigment. But Jingdezhen became the site where blue and white ceramics were produced, not Jizhou. This chapter asks when and why Jizhou’s production came to an end, and how Jingdezhen could emerge from this period as the most successful production site of the premodern world. The depletion of local clays, the lack of firing success in Jizhou (yaobian-kiln transmutation) and eventually the migration of potters to Jingdezhen all form part of the story of decline in Jizhou. Jingdezhen, nearby, and with an excellent supply of resources, developed into the site with more potential for growth, in terms of technologies, resources and skilled potters. Archaeological and visual evidence, especially the visual language applied of decorative elements visible in the David vases of the mid fourteenth century, and objects produced in Jizhou shortly before then, supports the claim of a close connection between Jizhou and Jingdezhen during this period. This chapter demonstrates that the story of Jingdezhen, usually told as a story of global success, begins with these local and regional interactions.

In this chapter, we have introduced the fundamentals of self-sustaining wireless communication networks. We have first provided the overviews of conventional energy harvesting networks, i.e., wireless-powered transfer, wireless-powered communication network, and simultaneous wireless information and power transfer, as well as their applications in the literature. Then, we have introduced ambient backscatter communications in terms of architecture, design, advantages, and limitations. Finally, we have discussed potential applications and implementation of ambient backscatter communication system networks such as smart world, biomedical, and logistics.

The expansion in subject matter of copyright, design and trade marks has made cumulation of protection a more common occurrence, even if the problem has long been recognised as a challenge for intellectual property law. EU law has no consistent approach to overlapping subject matter. In some cases, cumulation is permitted (and perhaps even mandatory). In others, it is looked upon with disfavour. However, it is clear that when regimes clash and cumulation rejected, trade mark law appears the one most likely to be regarded as pre-empted. This chapter considers reasons why this might be so, and finds most possible reasons wanting. However, this analysis does offer some important insights into the nature and challenges of trade mark law in Europe.

A targeted discussion of the state of the art in the field of metamaterials' design, modeling and construction is presented. Only some of the most interesting aspects of the theoretical and experimental investigations available in the literature are described, by selecting the most innovative or methodologically interesting ones. After a preliminary analysis of these aspects, those which seem to be the most promising future research directions are sketched. The most important challenges in the field are delineated, in order to motivate the reader who wants to become acquainted with presented subject.

To the elemental question of what is the nature of intellectual property, the conventional answer is that it is ‘intangible’ and hence has no physical existence. This is because, it is said, there is a fundamental dichotomy between the immaterial subject matter that is protected by an IP right and its embodiment in some material object. This chapter revisits the elemental question and comes to the conclusion that the conventional view mis-states the position. In particular, while it is true that IP laws recognise something like the tangible/intangible duality, properly understood the rights granted by those laws do not attach to the immaterial subject matter; rather, they attach to the material object in which the subject matter is embodied. More specifically, while the class of things in respect of which IP protection may be granted includes intangibles, it also includes tangibles. Moreover, the things in that class are material – in that they are perceptible by a human sense.