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The Samsung Developers team works with many companies in the mobile and gaming ecosystems. We're excited to support our partner, Arm, as they bring timely and relevant content to developers looking to build games and high-performance experiences. This Vulkan Extensions series will help developers get the most out of the new and game-changing Vulkan extensions on Samsung mobile devices.

As I mentioned previously, Android is enabling a host of useful new Vulkan extensions for mobile. These new extensions are set to improve the state of graphics APIs for modern applications, enabling new use cases and changing how developers can design graphics renderers going forward. These extensions will be available across various Android smartphones, including the new Samsung Galaxy S21, which was recently launched on 14 January. Existing Samsung Galaxy S models, such as the Samsung Galaxy S20, also allow upgrades to Android R.

I have already discussed two of these extensions in previous blogs - Maintenance Extensions and Legacy Support Extensions. However, there are three further Vulkan extensions for Android that I believe are ‘game changers’. In the first of three blogs, I will explore these individual game changer extensions – what they do, why they can be useful and how to use them. The goal here is to not provide complete samples, but there should be enough to get you started. The first Vulkan extension is ‘Descriptor Indexing.’ Descriptor indexing can be available in handsets prior to Android R release. To check what Android devices are available with 'Descriptor Indexing' check here. You can also directly view the Khronos Group/ Vulkan samples that are relevant to this blog here.

VK_EXT_descriptor_indexing

Introduction

In recent years, we have seen graphics APIs greatly evolve in their resource binding flexibility. All modern graphics APIs now have some answer to how we can access a large swathes of resources in a shader.

Bindless

A common buzzword that is thrown around in modern rendering tech is “bindless”. The core philosophy is that resources like textures and buffers are accessed through simple indices or pointers, and not singular “resource bindings”. To pass down resources to our shaders, we do not really bind them like in the graphics APIs of old. Simply write a descriptor to some memory and a shader can come in and read it later. This means the API machinery to drive this is kept to a minimum.

This is a fundamental shift away from the older style where our rendering loop looked something like:

render_scene() {
    foreach(drawable) {
        command_buffer->update_descriptors(drawable);
        command_buffer->draw();
    }
}

Now it looks more like:

render_scene() {
    command_buffer->bind_large_descriptor_heap();
    large_descriptor_heap->write_global_descriptors(scene, lighting, shadowmaps);
    foreach(drawable) {
        offset = large_descriptor_heap->allocate_and_write_descriptors(drawable);  
        command_buffer->push_descriptor_heap_offsets(offset);
        command_buffer->draw();
    }
}

Since we have free-form access to resources now, it is much simpler to take advantage of features like multi-draw or other GPU driven approaches. We no longer require the CPU to rebind descriptor sets between draw calls like we used to.

Going forward when we look at ray-tracing, this style of design is going to be mandatory since shooting a ray means we can hit anything, so all descriptors are potentially used. It is useful to start thinking about designing for this pattern going forward.

The other side of the coin with this feature is that it is easier to shoot yourself in the foot. It is easy to access the wrong resource, but as I will get to later, there are tools available to help you along the way.

VK_EXT_descriptor_indexing features

This extension is a large one and landed in Vulkan 1.2 as a core feature. To enable bindless algorithms, there are two major features exposed by this extension.

Non-uniform indexing of resources

How resources are accessed has evolved quite a lot over the years. Hardware capabilities used to be quite limited, with a tiny bank of descriptors being visible to shaders at any one time. In more modern hardware however, shaders can access descriptors freely from memory and the limits are somewhat theoretical.

Constant indexing

Arrays of resources have been with us for a long time, but mostly as syntactic sugar, where we can only index into arrays with a constant index. This is equivalent to not using arrays at all from a compiler point of view.

layout(set = 0, binding = 0) uniform sampler2D Textures[4];
const int CONSTANT_VALUE = 2;
color = texture(Textures[CONSTANT_VALUE], UV);

HLSL in D3D11 has this restriction as well, but it has been more relaxed about it, since it only requires that the index is constant after optimization passes are run.

Dynamic indexing

As an optional feature, dynamic indexing allows applications to perform dynamic indexing into arrays of resources. This allows for a very restricted form of bindless. Outside compute shaders however, using this feature correctly is quite awkward, due to the requirement of the resource index being dynamically uniform.

Dynamically uniform is a somewhat intricate subject, and the details are left to the accompanying sample in KhronosGroup/Vulkan-Samples.

Non-uniform indexing

Most hardware assumes that the resource index is dynamically uniform, as this has been the restriction in APIs for a long time. If you are not accessing resources with a dynamically uniform index, you must notify the compiler of your intent.

The rationale here is that hardware is optimized for dynamically uniform (or subgroup uniform) indices, so there is often an internal loop emitted by either compiler or hardware to handle every unique index that is used. This means performance tends to depend a bit on how divergent resource indices are.

#extension GL_EXT_nonuniform_qualifier : require
layout(set = 0, binding = 0) uniform texture2D Tex[];
layout(set = 1, binding = 0) uniform sampler Sampler;
color = texture(nonuniformEXT(sampler2D(Tex[index], Sampler)), UV);

In HLSL, there is a similar mechanism where you use NonUniformResourceIndex, for example.

Texture2D<float4> Textures[] : register(t0, space0);
SamplerState Samp : register(s0, space0);
float4 color = Textures[NonUniformResourceIndex(index)].Sample(Samp, UV);

All descriptor types can make use of this feature, not just textures, which is quite handy! The nonuniformEXT qualifier removes the requirement to use dynamically uniform indices. See the code sample for more detail.

Update-after-bind

A key component to make the bindless style work is that we do not have to … bind descriptor sets all the time. With the update-after-bind feature, we effectively block the driver from consuming descriptors at command recording time, which gives a lot of flexibility back to the application. The shader consumes descriptors as they are used and the application can freely update descriptors, even from multiple threads.

To enable, update-after-bind we modify the VkDescriptorSetLayout by adding new binding flags. The way to do this is somewhat verbose, but at least update-after-bind is something that is generally used for just one or two descriptor set layouts throughout most applications:

VkDescriptorSetLayoutCreateInfo info = { … };
info.flags = VK_DESCRIPTOR_SET_LAYOUT_CREATE_UPDATE_AFTER_BIND_POOL_BIT_EXT;
const VkDescriptorBindingFlagsEXT flags =
    VK_DESCRIPTOR_BINDING_VARIABLE_DESCRIPTOR_COUNT_BIT_EXT |    
    VK_DESCRIPTOR_BINDING_PARTIALLY_BOUND_BIT_EXT |
    VK_DESCRIPTOR_BINDING_UPDATE_AFTER_BIND_BIT_EXT |
    VK_DESCRIPTOR_BINDING_UPDATE_UNUSED_WHILE_PENDING_BIT_EXT;
VkDescriptorSetLayoutBindingFlagsCreateInfoEXT binding_flags = { … };
binding_flags.bindingCount = info.bindingCount;
binding_flags.pBindingFlags = &flags;
info.pNext = &binding_flags;

For each pBinding entry, we have a corresponding flags field where we can specify various flags. The descriptor_indexing extension has very fine-grained support, but UPDATE_AFTER_BIND_BIT and VARIABLE_DESCRIPTOR_COUNT_BIT are the most interesting ones to discuss.

VARIABLE_DESCRIPTOR_COUNT deserves special attention as it makes descriptor management far more flexible. Having to use a fixed array size can be somewhat awkward, since in a common usage pattern with a large descriptor heap, there is no natural upper limit to how many descriptors we want to use. We could settle for some arbitrarily high limit like 500k, but that means all descriptor sets we allocate have to be of that size and all pipelines have to be tied to that specific number. This is not necessarily what we want, and VARIABLE_DESCRIPTOR_COUNT allows us to allocate just the number of descriptors we need per descriptor set. This makes it far more practical to use multiple bindless descriptor sets.

When allocating a descriptor set, we pass down the actual number of descriptors to allocate:

VkDescriptorSetVariableDescriptorCountAllocateInfoEXT variable_info = { … };
variable_info.sType =
        VK_STRUCTURE_TYPE_DESCRIPTOR_SET_VARIABLE_DESCRIPTOR_COUNT_ALLOCATE_INFO_EXT;
variable_info.descriptorSetCount = 1;
allocate_info.pNext = &variable_info;
variable_info.pDescriptorCounts = &NumDescriptorsStreaming;
VK_CHECK(vkAllocateDescriptorSets(get_device().get_handle(), &allocate_info, 
        &descriptors.descriptor_set_update_after_bind));

GPU-assisted validation and debugging

When we enter the world of descriptor indexing, there is a flipside where debugging and validation is much more difficult. The major benefit of the older binding models is that it is fairly easy for validation layers and debuggers to know what is going on. This is because the number of available resources to a shader is small and focused.

With UPDATE_AFTER_BIND in particular, we do not know anything at draw time, which makes this awkward.

It is possible to enable GPU assisted validation in the Khronos validation layers. This lets you catch issues like:

"UNASSIGNED-Descriptor uninitialized: Validation Error: [ UNASSIGNED-Descriptor uninitialized ] Object 0: handle = 0x55625acf5600, type = VK_OBJECT_TYPE_QUEUE; | MessageID = 0x893513c7 | Descriptor index 67 is uninitialized__.  Command buffer (0x55625b184d60). Draw Index 0x4. Pipeline (0x520000000052). Shader Module (0x510000000051). Shader Instruction Index = 59.  Stage = Fragment.  Fragment coord (x,y) = (944.5, 0.5).  Unable to find SPIR-V OpLine for source information.  Build shader with debug info to get source information."

Or:

"UNASSIGNED-Descriptor uninitialized: Validation Error: [ UNASSIGNED-Descriptor uninitialized ] Object 0: handle = 0x55625acf5600, type = VK_OBJECT_TYPE_QUEUE; | MessageID = 0x893513c7 | Descriptor index 131 is uninitialized__.  Command buffer (0x55625b1893c0). Draw Index 0x4. Pipeline (0x520000000052). Shader Module (0x510000000051). Shader Instruction Index = 59.  Stage = Fragment.  Fragment coord (x,y) = (944.5, 0.5).  Unable to find SPIR-V OpLine for source information.  Build shader with debug info to get source information."

RenderDoc supports debugging descriptor indexing through shader instrumentation, and this allows you to inspect which resources were accessed. When you have several thousand resources bound to a pipeline, this feature is critical to make any sense of the inputs.

If we are using the update-after-bind style, we can inspect the exact resources we used.

In a non-uniform indexing style, we can inspect all unique resources we used.

Conclusion

Descriptor indexing unlocks many design possibilities in your engine and is a real game changer for modern rendering techniques. Use with care, and make sure to take advantage of all debugging tools available to you. You need them.

This blog has explored the first Vulkan extension game changer, with two more parts in this game changer blog series still to come. The next part will focus on ‘Buffer Device Address’ and how developers can use this new feature to enhance their games.

Follow Up

Thanks to Hans-Kristian Arntzen and the team at Arm for bringing this great content to the Samsung Developers community. We hope you find this information about Vulkan extensions useful for developing your upcoming mobile games. The original version of this article can be viewed at Arm Community.

The Samsung Developers site has many resources for developers looking to build for and integrate with Samsung devices and services. Stay in touch with the latest news by creating a free account or by subscribing to our monthly newsletter. Visit the Marketing Resources page for information on promoting and distributing your apps and games. Finally, our developer forum is an excellent way to stay up-to-date on all things related to the Galaxy ecosystem.

View the full blog at its source



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      Samsung Brings More Choice to Classroom Display Technology
      Samsung AI Assistant is currently available following its April release, while Samsung AMS will be available beginning in July alongside related Samsung Education Portal updates.5
      Samsung’s Android-based Interactive Display portfolio gives schools a range of options for classrooms, media rooms and shared learning spaces, with three new models: WAF-S, WAFX-PS and WAHX-M.6 These models, along with the existing WAF and WAFX-P series, support Samsung AI Assistant and Samsung AMS. The lineup is also EDLA-certified,7 providing seamless access to services like Google Classroom and Google Drive, which further enrich the educational experience.
      WAF-S and WAFX-PS build on previous models (WAF, WAFX-P) with an Android OS upgrade to Android 16. The new OS includes improvements in usability, accessibility, security and privacy. The upgrade gives schools a more advanced display experience while preserving the familiarity of the core product.
      WAHX-M introduces a 98-inch option to Samsung’s Interactive Display portfolio for the first time, supporting larger spaces such as lecture halls and conference rooms. Available in 65-, 75-, 86- and 98-inch sizes, WAHX-M supports on-device AI features8 such as voice command, AI calculator and text-to-speech, along with Samsung AMS and the Samsung AI Assistant app.
      For more information, visit www.samsung.com.
      NFC-enabled sign-in availability may vary by model. ︎ This feature requires integration with a compatible notification platform. ︎ This solution is based on Google’s Gemini API and incorporates our proprietary features tailored specifically for educational products. As a result, the user experience (UX) and usability may differ from the Circle to Search used on mobile devices. ︎ Supported languages for Live Transcript may vary by model and region. ︎ Feature available in selected regions and models only, available in certain markets. Feature may be suspended or ceased without notice. ︎ Model availability and launch timing may vary by regions. ︎ Enterprise Devices Licensing Agreement, a program Google introduced at the end of 2022 to help solutions providers offer devices with built-in Google Mobile Services. ︎ Supported languages for on-device AI features may vary by region. ︎ View the full article
    • Government UFO Files
    • By Samsung Newsroom
      “Instead of formulating thoughts through words, I compose with layered colors.”
      – Athene Galiciadis, contemporary artist
      Athene Galiciadis’ work draws its force from the movement of repeated forms. Across paintings, sculptures and installations, the Zurich-based artist uses grids, curves and blocks of color to build a formal language shaped by pattern, material experimentation and references spanning concrete art, design, craft, science and literature.
      ▲ Athene Galiciadis is a Zurich-based artist featured in the new Art Basel in Basel digital collection on Samsung Art Store. Photo courtesy of the artist. Galiciadis’ “Stillleben (Reflection on Longings and Belongings)” and “Stillleben (Window)” have been selected for the Art Basel in Basel (ABB) 2026 Collection on Samsung Art Store. The works were chosen for their strong use of color and pattern, qualities that translate naturally to the digital viewing experience on Samsung Art Store. Created in partnership with Art Basel, the digital collection features works by Switzerland-based artists from participating galleries and brings contemporary art from the fair to Samsung Art Store subscribers worldwide. Samsung Newsroom spoke with Galiciadis about form, color, the ideas behind the selected works and how digital presentation can bring art into the home.

      A Personal Language Through Patterns
      Q. Your work has a distinct language of shapes, colors and materials. How did this visual system develop?
      I began developing this visual language while studying Fine Arts at ECAL(École cantonale d’art de Lausanne) in Lausanne. At the time, many artists in the Lausanne art scene were working with Neo-Geo aesthetics. I admired the rigor of that language, but I never fully connected with its precision. Rather than adopting it directly, I tried to translate it into something that felt closer to me.
      ▲ No two hand-painted patterns are exactly the same, with small variations giving Galiciadis’ geometric forms a sense of movement. Photo by Malle Madsen, courtesy of von Bartha Copenhagen. I started working with geometric forms, patterns, repetition and symmetry, but I deliberately embraced the handmade. Every shape was drawn or painted by hand, making it unique and slightly different from the one beside it. The patterns shifted subtly across the surface, not through a predetermined system, but through the small variations that naturally arise from manual repetition.

      Q. How do you think about rhythm, variation and change within a composition?
      Repetition has always been central to my practice, but I have never been interested in repetition as exact duplication. Because my forms are drawn and painted by hand, no element is ever completely identical to another. A line becomes slightly thicker, a shape shifts, a color changes in intensity. These differences accumulate and create a sense of movement across the surface.
      I often think of repetition in terms of rhythm rather than pattern. A pattern suggests a fixed system, whereas rhythm allows for fluctuation, pauses, accelerations and unexpected turns. In that sense, my compositions are perhaps closer to biology than to geometry. They are structured, but never entirely predictable. They repeat, but never in exactly the same way. Over time, this visual language has become more than a tool. I see it as a placeholder for “in-betweenness,” a way to hold ambiguity, transition and multiple meanings at once.
      ▲ (From left) Galiciadis stands beside her ceramic works, the installation shows how repeated forms create rhythm and movement across the space. Photo by Malle Madsen, courtesy of von Bartha Copenhagen.
      Q. How much of a work is planned before you begin and how much is decided through the act of making it?
      I usually begin with a very clear image in my mind. I think visually, so many works start as an almost complete mental picture rather than a concept expressed in words. What fascinates me is that the finished work never looks exactly like that initial image. The image has to pass through materials, gestures, scale, time and the realities of the studio. In that translation, things inevitably shift.
      I do not see these deviations as mistakes or compromises. On the contrary, they are often where the work becomes most interesting. While the starting point is often highly defined, the final work is always shaped through the act of making. It is a conversation between intention and discovery, between what I envisioned and what the work itself asks for along the way.
      ▲ Galiciadis often lets her works shift through material, scale and space during the creative process. Photo by Stefan Altenburger, courtesy of Museum Haus Konstruktiv.
      Q. Are there certain materials, colors or forms you find yourself returning to over time? If so, what keeps drawing you back to them?
      Yes, there are certain forms, colors and motifs that keep returning: snakes, spirals, pinks, triangles, zigzags and many others. I do not consciously decide to revisit them; rather, they seem to reappear on their own, as if they still have something to teach me.
      I often think of artistic research as a spiral rather than a linear progression. You engage with something, move away from it, explore other directions and then return to it later. But when you come back, neither you nor the motif is quite the same. Perhaps this is why I am drawn to recurring forms. They become companions in a long-term conversation. Each time they reappear, they carry traces of previous works while opening up new questions and possibilities.
      ▲ Galiciadis returns to recurring forms and motifs as a way to revisit ideas over time. Photo by Stefan Altenburger, courtesy of Museum Haus Konstruktiv.
      The Meaning of “Stillleben”
      “The same structures that provide comfort and a sense of home can also become mechanisms of separation and exclusion.”

      Q. Your palette often moves between soft pinks, greens and yellows, with darker blues and blacks adding contrast. How do you think about color as a way to shape tension, depth or atmosphere?
      For me, color is something deeply personal. I do not approach it primarily as a decorative element or as a way of illustrating an idea. Rather, color is a way of thinking and a form of artistic research.
      In many ways, this process replaces language. Instead of formulating thoughts through words, I compose with layered colors. Through this slow accumulation, I search for nuances, tensions and relationships that are difficult for me to articulate verbally. The depth that emerges is not only visual but also emotional and conceptual.

      Q. What can you share about the works selected for the Art Basel in Basel 2026 Collection on Samsung Art Store and the moment in which they were made?
      This work emerged within a larger constellation of paintings that I was developing simultaneously in the studio. I rarely work on a single canvas at a time. Instead, several works evolve alongside one another, creating a kind of conversation. What appears on one canvas often migrates to another; a color, form, rhythm or idea that begins in one painting may find a different articulation in the next.
      ▲ From left. “Stillleben (Window)” (2023) by Athene Galiciadis. Photo by Malle Madsen.
       “Stillleben (Reflection on Longings and Belongings)” (2021) by Athene Galiciadis. Photo by Andreas Zimmermann. Both works were created within such a process. They carry traces of multiple explorations and conversations taking place across different canvases at the same time. Looking back, I see each work as part of an ongoing reflection on questions that continue to occupy me: belonging, displacement, memory, inheritance and transformation. Rather than offering answers, the painting became a space where these themes could coexist and interact.

      Q. How did the title “Stillleben (Reflection on Longings and Belongings)” come to the work and what does it add to the viewer’s understanding of the piece?
      The title emerged from two conditions that often feel inseparable. Questions of migration, displacement, in-betweenness, transformation, inheritance and identity run throughout my practice and shape how I understand the world. What does it mean to belong? Who is included and who remains outside? Belonging can offer shelter, care and nourishment, but it can also produce boundaries and exclusions.
      Longing is particularly difficult to describe. For me, it is often connected to a desire to bridge a gap that is always present but was never entirely my own. It can be inherited across generations, carried through stories, silences, memories and cultural interruptions. It is a longing for connection, continuity and understanding, while knowing that some distances can never be fully overcome.
      The same structures that provide comfort and a sense of home can also become mechanisms of separation and exclusion. For me, “Stillleben (Reflection on Longings and Belongings)”inhabits this space of contradiction. It reflects on the simultaneous desire to belong and the awareness that belonging is never simple, fixed or innocent.

      Where Art Finds New Meaning at Home
      Q. Samsung Art Store gives people a way to encounter world-class art in the spaces where they live. What interests you about that everyday relationship with artwork?
      What interests me most is the possibility of creating an everyday relationship with art. Some of the most meaningful encounters with artworks happen not in museums, but in the spaces where we live and spend our time. When you encounter an artwork repeatedly, it becomes part of your daily life and the relationship deepens over time to become a piece of your memories and personal history.
      This resonates with my interest in collaboration, participation and community building. I enjoy forms of access that allow art to enter everyday environments. Through projects such as Actioning, I have explored how meaning emerges through shared experiences and sustained engagement. I see art as something that can create connections and become part of a shared cultural life.

      Q. How do you think the experience of viewing art changes when a work becomes part of a home environment?
      I think the experience becomes slower and more intimate. In a museum, we often encounter artworks briefly and alongside many others. At home, the relationship unfolds over time and the artwork becomes part of everyday life.
      You might notice it while drinking your morning coffee, passing through a room or returning home after a difficult day. Sometimes you look closely; other times it simply exists in the background. Yet it continues to shape the atmosphere of a space.
      ▲ “Stillleben (Reflection on Longings and Belongings)” (2021) by Athene Galiciadis is displayed on the 2026 OLED TV S95H. The work becomes an ongoing relationship. Meanings can shift over time and details that initially went unnoticed may suddenly become important. As the viewer changes, the work changes too. This reflects how I understand art: not as a fixed message, but as something open that continues to generate new associations.
      “Some of the most meaningful encounters with artworks happen not in museums, but in the spaces where we live and spend our time.”

      Q. For viewers who may discover your work for the first time through Samsung Art Store, what would you hope they take time to notice?
      I would invite them to spend a little time with the work and allow their eyes to wander. At first glance, my paintings may appear structured, repetitive or geometric. But if you stay with them for a while, small shifts, irregularities and transformations begin to emerge.
      I hope viewers notice that nothing is ever entirely fixed. Forms repeat, but they also change. Colors overlap, reveal and conceal one another. What may initially seem stable gradually becomes more fluid and complex.
      Perhaps most of all, I hope people allow themselves to experience the work without feeling the need to immediately understand or interpret it. Much of my practice is concerned with things that exist between categories: between belonging and displacement, order and unpredictability, memory and imagination. These are experiences that cannot always be translated into words.
      If viewers take the time to notice the rhythms, layers and subtle variations within the work, they may discover that the painting is less about providing answers than about creating space for reflection, curiosity and personal associations. I hope everyone can find their own point of entry and build their own relationship with the work over time.
      ▲ Samsung’s 2026 Art TV lineup offers digital collections of curated artworks through Samsung Art Store.
      (From left) 2026 OLED S95H, The Frame Pro and Micro RGB. Samsung Art Store is an art subscription service available on Samsung Art TVs. The service offers more than 5,000 artworks in 4K quality from over 800 artists through more than 80 partners. Available across Samsung’s expanded 2026 Art TV lineup, Samsung Art Store brings curated artwork into everyday spaces through Samsung’s display technology and design.
      View the full article





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