Philips MyCreation: illuminating a sustainable future with 3D printed design solutions

Signify myCreation, a leading lighting company, is revolutionizing the lighting industry through advanced 3D printing technology and a strong commitment to sustainability. The company empowers brands, startups, and designers to create personalized luminaires tailored to specific identities, visions, and needs. This is achieved through an intuitive online configurator that allows users to select from a diverse range of shapes, colors, textures, and lighting specifications. The platform offers over 190 design variants, facilitating the creation of lighting solutions that seamlessly integrate into retail, hospitality, business, and residential spaces. Additionally, all functional lighting solutions are designed to be energy-efficient and can be integrated with connected systems for further energy savings. Signify myCreation is returning to Milan Design Week 2025 with an elegant bar installation at Milan’s Palazzo Giureconsulti. This installation, designed in collaboration with Dekker Zevenhuizen and Triboo, will be illuminated by a curated selection of award-winning luminaires. The exhibition will feature the Gleam and Smooth luminaires, along with the Voila table lamp, showcasing the platform's ability to combine functionality with sophisticated aesthetics and environmental responsibility. A new addition to the Smooth Spotlight series, promising superb adaptability, will also be previewed. The Gleam luminaire, designed by Sebastian Bergne, is a refined bulb-based pendant light known for its serene, heptagon-inspired silhouette and its ability to add a touch of wonder to everyday objects. Available in multiple sizes, the Gleam design aligns with the 3D print grain, with all printed parts made from ISCC Plus certified bio-circular materials. Its minimalist and delicate nature allows it to create intimate atmospheres or serve as a striking interior accent. The Gleam lighting pendant family, recognized with a 2025 iF Design Award, reinterprets the simple glowing pendant globe through alternative geometry and Bergne’s distinctive flair. The flexibility of 3D printing enables horizontal form lines that create a skeleton of uninterrupted harmony, with each piece possessing a unique presence and allure, available in three sizes and one texture. The Smooth Spotlight series, also a recipient of the 2025 iF Design Award, is designed for hospitality and residential settings, offering superior customization in both colors and textures. This allows for the creation of unique lighting formulas to highlight spaces effectively. Its printed components are made from 65% recycled and ISCC Plus-certified bio-circular materials, while the heatsink is crafted from 85% recycled aluminum, ensuring durability and longevity. The minimalist spotlight includes a honeycomb accessory to reduce glare and improve light distribution. Its circular design ensures it can be upgraded throughout its lifespan. The Voila collection of table lamps features charmingly proportioned designs with a vibrant color palette and playful presence. These lamps, reminiscent of 1960s interior design with their petite mushroom silhouettes, are crafted from bio-circular materials like biomass and natural waste, processed into sustainable polycarbonate. The single light source shines both upward and downward, creating a mesmerizing diffused light with a mandala effect through the crafted underside of the lampshade. The Voila lamp, an iF Design Award winner in 2022, is available in various colors such as white, bronze, gold, pink, and green, subtly complementing any interior space with its lightness and versatility. Signify myCreation emphasizes eco-friendly practices by incorporating at least 65% recycled and bio-circular materials in all its products. The 3D printing process reduces material waste and carbon emissions through local, on-demand production, minimizing transportation impacts. The company actively collaborates with research institutions, startups, and industrial organizations to advance 3D printing technology and sustainable practices, having produced nearly 2 million luminaires globally. At Milan Design Week 2025, visitors can explore the potential of personalized, smart, efficient, and sustainable lighting solutions at Signify myCreation’s pavilion. The initiative plans to expand its offerings and improve user experience through enhanced configurators and advanced product roadmaps, aiming for ambitious sustainability goals such as increasing climate action revenues to 72% and achieving zero waste to landfill. Signify myCreation sets new standards in circular lighting design by blending cutting-edge technology with artistic expression and a commitment to sustainability. #LightingDesign #3DPrinting #SustainableDesign #InnovativeMaterials #MilanDesignWeek #CircularEconomy #ProductDesign #SmartLighting #BioCircularMaterials

Elli Design, a brand committed to sustainable and long-lasting furniture with Italian excellence, presents a collection that integrates avant-garde shapes, innovative contemporary designs, and revolutionary technology alongside skilled craftsmanship. The brand's philosophy centers on leveraging the past as a catalyst for innovation, aiming to create products with distinct character and a strong identity while minimizing environmental impact. This approach is evident in their manufacturing processes and material choices, which prioritize sustainability and circularity. At the core of Elli's creative process is an innovative and sustainable manufacturing model. The brand endeavors to redefine traditional design procedures by merging Italian heritage and quality with advanced, eco-friendly technologies. They achieve this through collaboration with a network of expert artisans and the use of cutting-edge methods. A key partnership is with Caracol, an additive manufacturing company that provides 3D printing technology. This technology enables each piece of furniture produced by Elli to be recycled and repurposed into new materials, fostering a circular manufacturing system. Furthermore, their production strategy adheres to a zero-waste logic, fully aligning with circular economy principles. By ingeniously utilizing the inherent properties of plastic, Elli ensures that its products are 100% recyclable at the end of their lifecycle, thereby completing the closed-loop system. Beyond the products themselves, Elli extends its sustainable ethos to packaging. The brand uses reusable packaging crafted from FSC-certified wood, consciously avoiding plastics such as bubble wrap and polystyrene. This wooden packaging is designed for multiple uses, serving as a container, storage unit, or even an urban garden, further reducing waste and promoting resourcefulness. The collection features several distinct pieces, each embodying Elli's design philosophy. The Soho Table showcases a central leg with an organic, slender form, created through a 3D printing process using glossy white PLA (polylactic acid), a bioplastic derived from corn and wheat. Its round top is available in ceramic or Fenix. The Soho Chair represents the brand's core values, combining clean lines and aesthetic references to Italian design history with innovative materials and production methods. The seat is manufactured using robotic 3D printing technology with polypropylene containing glass microfibers, a durable material sourced from 100% recycled content, offering a soft, velvety touch. The Bryant side table is characterized by a distinctive twist in its design, resembling fabric. The structure is made from opaque black polypropylene, also from recycled sources, and its top comes in ceramic or Fenix. This piece exemplifies the fusion of ancient artisanal expertise with modern manufacturing technologies. Finally, the Achille coffee table is a homage to the renowned Italian designer Achille Castiglioni. Its base is crafted from canaletto walnut, featuring opulent shapes with a single tapered leg set into a diagonally cut globe. The round top is made from FENIX NTM®, a nanotech material with a matte black finish. Through these collections, Elli Design demonstrates a comprehensive commitment to innovative, sustainable, and aesthetically refined furniture production. #SustainableDesign #3DPrinting #FurnitureDesign #CircularEconomy #InnovativeMaterials #ItalianDesign #Bioplastics #RecycledMaterials #EcoFriendlyPackaging

The article explores the potential of mycelium, the root system of fungi, as a sustainable and versatile material for 3D printing. It highlights mycelium's environmental benefits, particularly in contrast to materials like plastic and cement, which have significant ecological footprints. Mycelium acts as a natural binder, leveraging its hyphae to fuse with and reinforce other materials like wood or straw, forming a solid, moldable, and printable composite. Its carbon-absorbing properties and ability to thrive on waste materials further contribute to a circular economy. The article details the numerous advantageous properties of mycelium. It is a renewable raw material with cost-effective and low-energy processing requirements, and it is easily recyclable and biodegradable. Mycelium-based materials are harmless to human health, non-allergenic, and non-toxic. Physically, mycelium exhibits excellent heat-insulating, flame-resistant, and hydrophobic qualities, while also being remarkably strong and stable. These characteristics make it suitable as a replacement for a wide array of conventional materials, including leather, wood, cardboard, polystyrene, and insulating wool, broadening its applications across various industries. The integration of mycelium with 3D printing technologies is a key focus. The additive nature of 3D printing, which minimizes waste, combined with bio-based materials like mycelium, offers an ecological production method. Extrusion-based 3D printing is commonly used, where a mycelium composite paste is shaped. The composition of this composite can be varied to achieve specific material properties, and the resulting products can feature diverse colors, textures, and patterns. However, the printing process is complex, requiring careful control of parameters. Mycelium is first enriched with raw materials such as wood, sawdust, paper, or cardboard to create a mycocomposite. This material must then be cultivated to achieve the necessary flowability, elasticity, and malleability for printing. A sterile environment is crucial during printing to prevent contamination, as mycelium is susceptible to bacterial infestation. After printing, a second colonization phase allows the living mycelium to expand and solidify the composite. Finally, heat drying stops the fungal growth, ensuring the material properties remain stable and preventing further spread. The article presents several case studies demonstrating mycelium's applications. In architecture, the Shape Lab at Graz University of Technology developed MyCera, a composite of clay, sawdust, and mycelium, showing promise as a sustainable alternative to cement-based binders. London-based Blast Studio created 'The Tree Column,' an architectural element from waste cardboard and mycelium. ETH Zurich's MycoTree project further explored mycelium and bamboo for stable, branched structures. Mycelium is also being utilized for underwater structures, such as those by Urban Reef. In interior design, companies like Buřinka offer designer furniture from mycelium and wood, and artists like Eric Klarenbeek create lightweight furniture from mycelium and straw. Yasmine Mahmoudieh showcased mycelium furniture at the Architecture Biennale, and bioMATTERS studio developed MYCO ALGA tiles from algae and mycelium. Beyond aesthetics, Fraunhofer Institutes have investigated mycelium's insulating properties for sound absorbers and high-performance acoustic loudspeakers. Intriguingly, mycelium's regenerative capabilities are being explored in medicine, with ETH Zurich and TU Delft developing a self-healing hydrogel from shiny lacquer fungus for potential robotic skin applications. These diverse projects underscore mycelium's potential as a sustainable alternative across numerous fields. #Mycelium3DPrinting #SustainableMaterials #BioBasedMaterials #AdditiveManufacturing #GreenBuilding #CircularEconomy #ArchitecturalInnovation #InteriorDesign #MaterialScience

The shift to working from home has transformed personal living spaces into hybrid offices, prompting a reevaluation of household products and their functionality. Recognizing this new paradigm, New York-based Smart Design embarked on developing a four-piece transitional lighting collection in collaboration with 3D printed lighting manufacturer Gantri. The collection, known as the Aim Collection, was conceived to address the challenges of integrating professional work environments into compact home settings, where space is a valuable commodity. Industrial Design Director Dan Grossman highlighted that the design inspiration stemmed from the need to adapt existing home spaces, such as dining tables, into effective workspaces. This led to the creation of four distinct lighting solutions tailored for various work-from-home scenarios: a floor lamp, a directional task light, a lantern, and an upcoming clamp light. The core principle of the Aim Collection is adaptability, with each light designed to offer simple yet ingenious solutions to modern living challenges. For instance, the Aim Task Light allows users to effortlessly transition between directional task lighting and ambient lighting by simply adjusting its arm. Grossman further noted the intricate connection between mood and lighting, and how traditional task lighting, often designed for specific creative or productive tasks, needed to be reimagined to provide a more comforting experience in an often-stressful work-from-home context. Despite the apparent simplicity and intuitive nature of the Aim Collection's aesthetics, its manufacturing presented significant technical challenges for Gantri. Prior to this collaboration, Gantri had not produced 3D-printed lights incorporating moving parts. The partnership between Smart Design and Gantri leveraged the engineering expertise of both teams to overcome these manufacturing hurdles. A notable challenge was integrating the power cord within the movable arm of the Aim Task Light, requiring the development of internal hardware with round pivots and tension screws to minimize friction and prevent the cord from dislodging. Grossman emphasized that achieving this level of complexity with articulated joints and pivots through 3D printing was a considerable undertaking, necessitating extensive prototyping and testing to refine material constraints, tolerances, weight, and balance. The Clamp Light, another intricate component of the collection, also demanded the production of multiple moving parts. Smart Design's consumer research underscored the relevance of such a flexible lighting solution, as it revealed that work often occurs in unconventional home settings. The Clamp Light was designed to be highly portable and adaptable, featuring a hinge for easy adjustment and a clamp mechanism that allows it to be attached to various surfaces like shelves or table edges, transforming any spot into a makeshift desk. Ultimately, while 3D printing is central to the production process, Grossman stressed that it serves as an efficient means to an end. The primary objective was to create functional, intuitive products that resonate with customers, regardless of the manufacturing method. The Aim Collection, in alignment with Smart Design's overarching philosophy, prioritizes function and the inherent beauty of simplicity, aiming to provide users with valuable and significant lighting solutions that are easy to understand and use. #SmartDesign #Gantri #3DPrinting #LightingDesign #HomeOffice #FurnitureDesign #ProductInnovation #WorkFromHome #IndustrialDesign

econitWood™ presents a sustainable wood manufacturing process that transforms timber scraps and wood residues into innovative materials for design and interiors, addressing critical environmental challenges. This process offers a solution to concerns such as deforestation, carbon emissions, and waste generation associated with traditional wood usage. The core of econitWood™'s approach lies in its ability to convert wood by-products like sawdust, wood chips, and forestry waste into valuable materials such as particleboard and MDF, maximizing resource utilization and promoting a circular economy. Founded in Germany by a multidisciplinary team, econitWood™ aims to tackle the wood industry's environmental impact while meeting the demand for sustainable materials. The resulting materials exhibit high sound-absorbing, thermal insulation, and fire-resistant qualities, potentially leading to CO2-neutral final products. The technology is characterized by a zero-waste philosophy, efficiently using raw materials and reducing the reliance on virgin wood. Sustainability is further integrated into econitWood™'s production process through several key areas. The company employs eco-friendly adhesive technologies, utilizing bio-based or low-formaldehyde content adhesives to improve indoor air quality and minimize harmful emissions. The manufacturing process is designed for minimal energy consumption, incorporating energy recovery systems to capture and reuse heat, thereby lowering the carbon footprint and operational costs. Additionally, the process includes innovative water-saving techniques and closed-loop systems for water treatment and recycling, significantly reducing water consumption. Another significant aspect is the application of 3D printing technology, which allows the material to be shaped into meticulously defined geometric forms. This not only preserves the wood's inherent CO2 absorption capacity but also expands its functional and aesthetic possibilities. This capability was showcased during Milan Design Week 2024, where Italian designer Harry Thaler presented the “Printed Nature” exhibition. Thaler’s collection featured new wooden furniture elements created using econitWood™’s 3D printing process, including sinuous seats, lamps resembling fungi, and functional stools and tables. These pieces, displayed against a backdrop of wood powder, highlighted the vast creative potential and experimental opportunities offered by the technology, balancing functionality, technology, and sustainability. Thaler’s designs explored unexpected proportions and organic shapes, challenging traditional architectural and design boundaries. Beyond furniture design, econitWood™ materials have diverse applications in construction for building materials like flooring, roofing, and wall panels, as well as in manufacturing cabinetry and other interior fittings. The process also provides eco-friendly alternatives for sustainable packaging solutions. The made-to-order approach adopted by econitWood™ minimizes excess inventory and waste associated with mass production, promoting conscious consumption. The craftsmanship involved blends artistic freedom with precision, utilizing advanced technology and sustainable materials to create bespoke pieces that embody environmental stewardship. econitWood™’s commitment to quality, efficiency, and eco-friendliness positions it as a leader in the movement towards responsible consumption and sustainable wood manufacturing. #SustainableDesign #InnovativeMaterials #WoodManufacturing #CircularEconomy #3DPrinting #InteriorDesign #FurnitureDesign #EcoFriendlyAdhesives #ResourceEfficiency

Aztec Scenic Design, an Orlando-based firm, has successfully integrated 3D printing into its custom ceiling design projects, offering a more efficient alternative to traditional methods. The company recently completed an Arabian-inspired ceiling for a client, demonstrating the potential of additive manufacturing in intricate home decoration. Traditionally, detailed ceilings can be a significant expense, often exceeding $30,000, due to the labor-intensive process of creating molds and working with plaster. Aztec Scenic Design, however, pioneered a new approach by utilizing 3D printing to produce the decorative appliqués for their custom ceiling. This innovative method was spearheaded by Marc Leonard, a scenic designer at Aztec, who became captivated by 3D printing and sought to merge it with the company's design work. After convincing owner Gabriel Collazo of the technology's potential, Aztec established its own makerspace, specifically for incorporating 3D printing into various applications. The project began with initial drawings by Benjamin Cremer, based on Arabian patterns. Marc Leonard then translated these sketches into 3D models using 123D Design. Austin K. Butler, a scenic designer and fabricator, joined the team to manage the 3D printing process. The actual printing phase involved several 3D printers, including a Tinkerine Ditto+ and multiple Prusa i3 8-inch printers, and took approximately three weeks to complete. The materials used were around six spools of 3mm ABS filament and three spools of 1.75 PLA filament, costing just over $200, a stark contrast to the potential costs of traditional methods. The ceiling structure consists of nine wood panels, which serve as the base for the affixed 3D printed components. Gold-leafed molding, cut with a CNC router, frames the design. The 3D printed pieces underwent a multi-step finishing process: painting with acrylics, aging with oil stains, and finally, touch-ups and glazing. The entire installation, measuring approximately 18 feet by 14 feet, was completed in just two days. One of the most challenging aspects of this project was managing the approximately 400 individual 3D printed parts and troubleshooting five simultaneously operating printers. The team also faced hurdles in working with various software applications, including 123D Design for modeling, MeshMixer for editing, and Slic3r and Repetier Host for slicing. Despite these challenges, the collaborative effort of the entire Aztec crew, including Gabriel Collazo, Marc Leonard, Benjamin Cremer, Janelle Lyons, Timothy Dameron, and a friend named James, proved successful. This project highlights a significant shift in custom interior design, showcasing how 3D printing can streamline complex processes, reduce material costs, and offer greater design freedom. Aztec Scenic Design's success with this Arabian-inspired ceiling has led to further commissions, including another, more intricate ceiling for the same client's theatre, indicating a growing demand for 3D printed architectural and decorative elements. #3DPrinting #CustomDesign #CeilingDesign #HomeDecoration #AdditiveManufacturing #ScenicDesign #InteriorDesign #ArchitecturalElements #DigitalFabrication

Decimal, a company with bases in Vancouver and Mexico City, is at the forefront of integrating design and technology to produce innovative 3D printed light fixtures. The company emphasizes a novel approach to lighting, departing from the traditional lightbulb and socket paradigm that has persisted since 1879. Instead, Decimal centers its products around a single, high-quality LED module, engineered for longevity and superior performance. These LED modules are designed to last up to 70,000 hours, offering a sustainable and efficient lighting solution. The unique forms of Decimal's light fixtures are made possible through additive manufacturing, commonly known as 3D printing. This technology allows for the creation of intricate and previously impossible shapes and designs, offering a significant advancement in the aesthetic and functional possibilities of lighting. The company highlights that these fixtures are highly customizable, with a variety of attractive colors and finishings available to suit diverse preferences and interior design schemes. This level of customization ensures that each fixture can be tailored to meet specific aesthetic requirements. Decimal operates on a collaborative platform, engaging tech-savvy designers from around the globe to create its 3D printed shades. This international collaboration fosters a diverse range of design perspectives and constantly pushes the boundaries of lighting design. The company aims to appeal to individuals worldwide who possess a passion for both design and technology, offering them access to cutting-edge lighting solutions that merge artistry with engineering. The integration of LED technology and additive manufacturing represents a transformative period in the lighting industry. LED technology provides endless design possibilities by liberating designers from the constraints of traditional light sources, allowing for greater flexibility in form and function. Concurrently, additive manufacturing empowers the creation of complex geometries and intricate details that would be unachievable with conventional manufacturing methods. Decimal positions itself at this intersection, leveraging these advancements to deliver a new generation of light fixtures that are both visually striking and technologically sophisticated. By focusing on a single, optimized LED light source and utilizing the creative potential of 3D printing, Decimal is challenging conventional notions of lighting. Their products are not merely functional items but serve as contemporary design elements that embody the synergy of modern technology and global design talent. This approach promises to reshape consumer expectations for lighting, offering products that are durable, energy-efficient, customizable, and aesthetically revolutionary. #3DPrinting #LightFixtures #LEDTechnology #ProductDesign #AdditiveManufacturing #HomeDecor #TechnologicalInnovation #SustainableDesign

The increasing scrutiny on environmental impact has led designers to innovate, creating solutions that combine creativity with sustainability. This movement is spearheaded by both established and emerging talents who are developing projects ranging from microalgae-powered items to furniture made from paper pulp and fully compostable seating, all while maintaining high aesthetic standards. Fango, founded by Colombian designer Francisco Jaramillo, addresses deforestation by utilizing Yaré, a fast-growing natural fiber, in his 'Ibuju' furniture collection. This project collaborates with local weavers in Colombia, highlighting the relationship between artisans, sustainable materials, and contemporary design through pieces that respect indigenous traditions and environmental needs. Prowl Studio, comprising Baillie Mishler and Lauryn Menard, introduced the 'Peel' chair at Milan Design Week 2023. Developed with M4 Factory, this chair is made from a hemp-based bioplastic derived from industrial hemp waste and biopolymers. The chair's frame composts within six months in an industrial facility, while its hemp foam cushion, upholstered in hemp bio-leather, decomposes as quickly as an orange peel and can be composted at home. Creative director Menard emphasizes a design philosophy that considers the entire lifecycle of materials and products. German designer Stefan Diez, inspired by Japanese bamboo furniture, partnered with Norwegian aluminum manufacturer Hydro to create the 'Boa' table for Hay. This table uses 75% recycled, post-consumer aluminum scrap, employing a unique folding technique reminiscent of traditional bamboo artistry. Its lightweight, flat-packed design and production facility powered by hydropower significantly reduce its carbon footprint. Buyers can customize the tabletop with various finishes or source it locally to fit their style. Alted Materials, founded by Berta Julià Sala, aims to disrupt the building industry by offering architectural products based on circular economy principles. Their 'Alted H01' collection features decorative wall panels made from 'Honext,' a material derived from cellulose waste from the paper industry. These waste-based, plant-based, non-toxic, and recyclable panels come with a take-back scheme, ensuring materials are recycled back into the production loop at the end of their life. Patricia Urquiola, Cassina's art director, designed the 'Moncloud' sofa with a strong focus on sustainability. The sofa features a metal frame wrapped in recycled PET wadding, and the use of polyurethane is minimized by incorporating Circularrefoam, a foam made with recycled polyols. The design allows for complete disassembly, making individual material recycling and recovery easier. Federico Peri collaborated with Bentley to create furniture using Paper Factor, an innovative paper-pulp surface material developed by Riccardo Cavaciocchi. This material, crafted by hand, offers a luxury aesthetic similar to marble, with organic coloring and intricate veining, but with significantly reduced waste and water usage during production. This initiative is part of Bentley's broader sustainability efforts, emphasizing the durability of the material when treated. Chinese designer Fengfan Yang's 'Light on Lives' project explores plant-powered electricity generation using microalgae contained in the lamp's base. While producing minimal power, it is sufficient for a night light, requiring regular water changes. Yang aims to integrate existing technology with everyday products to demonstrate the potential of plant power, highlighting the importance of interdisciplinary collaboration for future applications. Yuma Kano, a Japanese designer, created 'ForestBank' after being inspired by the Hida region's forgotten forest elements. This material combines organic waste such as small branches, leaves, and nuts with resin, showcasing the beauty and unique characteristics of these natural resources. Each design is distinct due to the organic variations and can be applied to various forms like tabletops. Estudio Rain, founded by Mariana Ramos and Ricardo Innecco, developed the 'Rícino' lighting collection from a plant-based castor oil resin. This project, which began in 2018, offers translucent amber fixtures as an ecological alternative to petroleum-based resins. The material is cold-pressed and manufactured without water consumption, indicating a significant step towards sustainable material innovation in design. Honoka Design Lab, a collective of Japanese designers, presented the 'Tatami Refab Project,' a furniture series made from discarded Tatami mats combined with bioplastic to form a green resin-like substance. By transforming Igusa grass mats into striking furniture and lighting with the help of 3D-printing experts ExtraBold Inc, the project seeks to reintroduce the beauty of traditional Tatami to younger Japanese homeowners influenced by Western design trends. #SustainableDesign #EcoMaterials #CircularEconomy #BioplasticFurniture #RecycledMaterials #PlantPoweredDesign #TraditionalCraftsmanship #InnovationInDesign #GreenArchitecture

Dezeen Showroom has unveiled 14 new products this week, featuring a diverse range of furniture, lighting, and finishes for both commercial and residential projects. Among the highlights is the "Technicolour" textile collection by graphic designer Peter Saville for Danish brand Kvadrat. This collection draws inspiration from the colorful sprays used by farmers to mark sheep, translating this rustic aesthetic into a series of vibrant handwoven and robot-tufted rugs with color spots, iridescent curtains, and upholstery made from British sheep's wool. Saville describes the collection as bringing "the industry of the land, in raw form, into the living environment," likening it to "rural graffiti." Other notable product additions include the "Mouro" lamp, designed by Patricia Perez for Case Furniture. This portable and rechargeable table lamp, suitable for indoor and outdoor use, features a disc-shaped LED light that rotates 360 degrees, enclosed within a rectangular frame that doubles as a handle. Rainlight's "Phlox" collection for Okamura offers a comprehensive range of seating and tables, including conference chairs, lounge chairs, high stools, and five table shapes. The collection, characterized by its gently undulating silhouettes, is inspired by the petals of the night-blooming phlox flower. For storage solutions, Bruno Rainaldi's "Ptolomeo" bookshelf for Opinion Ciatti is designed to emulate the appearance of books stacked in high piles while providing structural stability. Named after the founder of the Library of Alexandria, this stainless steel shelf is available in black, white, or Corten effect lacquered finishes. Dedar introduces two new textile collections: "The Art of Jacquard" and a "Textile wall covering collection." The Jacquard collection features ultra-thin yarns woven directly into the fabric to create rich patterns, including tropical bird motifs, nature-inspired designs, bold graphics, and abstract floral landscapes. The wall covering collection, inspired by grand tapestries, includes four patterns, such as screen-printed illustrations on linen and classic weaves of jute and linen, aimed at creating a cozy atmosphere. The "Hymn" lamp by Hiroto Yoshizoe for Ambientec is another portable and durable lighting option for indoor and outdoor settings. It employs two magnets to create constant oscillations, producing a flickering effect reminiscent of a candle flame. GamFratesi's "Beetle Chair," available through Suite NY, has been re-released with four new upholstery options in neutral shades, alongside black or brass leg finishes. John Pawson's "Frame" dining table for Nikari, originally designed for his own farmhouse, is a minimalist piece made from responsibly sourced ash or oak wood with a natural oil finish, boasting a lifespan of over 100 years. Alegre Design's "Talent" desk for Actiu is a versatile, mobile, and height-adjustable workstation designed for educational and training environments, featuring a dry-erase worktop that functions as a whiteboard when folded. Finishes also see new additions with CDUK's expanded "Corian Solid Surface" range, now available in a broader spectrum of neutral and warm colors. This material is lauded for its hygienic, durable, abrasion-resistant, and fade-proof qualities, making it suitable for both commercial and residential applications. Forbo Flooring Systems introduces "Marmoleum Linear," a carbon-neutral, plant-based linoleum flooring made from linseed oil, waste wood flour, and jute, designed to mimic wood with irregular grey and neutral stripes. ADEX presents the "Habitat" tile collection, a sustainable ceramic option for interior walls made with 55 percent white-body ceramics for enhanced durability. Lastly, Decocer's "Crag" tiles offer a family of porcelain tiles that replicate the look of stone and weathered steel, suitable for indoor and outdoor walls and floors, characterized by an industrial aesthetic and textured matte finish. #ProductLaunch #InteriorDesign #FurnitureDesign #TextileDesign #LightingDesign #SustainableMaterials #DesignInnovation #HomeDecor #WorkplaceSolutions

The retail industry is undergoing a significant transformation towards sustainability, with designers and brands increasingly adopting eco-friendly materials and practices. This shift is driven by a growing awareness of environmental issues such as melting glaciers and plastic pollution. Eight innovative retail spaces exemplify this trend by incorporating natural materials, embracing circularity, and minimizing waste. Snøhetta's design for Holzweiler's Copenhagen store integrates natural materials, including clay and oak, drawing inspiration from the brand's Norwegian roots and Scandinavian minimalism. A central, hollow sculpture by artist Ingeborg Riseng, coated in smooth clay on the exterior and craggy on the interior, forms a unique focal point. Oakwood display plinths wrap around the perimeter, connecting to a curved timber partition. The changing area features fabric digitally printed with yellow and pale blue stripes, evoking the Norwegian sky. Existing floors and ceilings were preserved from the previous fit-out, further emphasizing sustainability. Self-Portrait's London boutique, designed by Han Chong and Andreas Kostopoulos, features an interior characterized by natural materials and a minimalist aesthetic. Mint-pigmented Cornish clay covers the walls, providing a textural quality that resembles limewash. Custom terrazzo flooring in white, gray, and mint hues covers most of the floors, while plush carpets in fitting rooms add a softer touch. Mirrored panels extend the retail area, blending seamlessly with the textual clay walls to create an intimate and focused experience free from visual distractions. Nagami's 3D-printed interior for the Ecoalf store near Madrid uses 3.3 tonnes of recycled plastic waste, primarily from hospitals, to create translucent walls, shelves, and display tables. The design mimics melting glaciers, raising awareness about climate change, with natural stone tiles on the floor resembling cracking ice. All components are designed for disassembly, reuse, or recycling, and the plastic itself is nearly infinitely recyclable with minimal structural performance loss, highlighting a circular approach. JamesPlumb's design for Aesop's Cambridge store incorporates locally sourced and handwoven bulrush for shelves, inspired by the River Cam. Hemp, grown at a nearby farm and combined with bio-resin, forms geometric cabinetry for product display and a large sink. The back room's darker walls, inspired by bulrush flowers, create a distinct atmosphere, emphasizing the use of local, carbon-absorbing materials. Nina+Co's design for Big Beauty's first London store embraces waste materials and biomaterials like mycelium. Raw stone edges, metal patination, and earthy tones are combined with soft, rounded forms. The flexible main store, designed for events, features a large travertine stone table sourced 50% from salvage and 50% from offcuts. Expanded cork blocks are shaped into storage units, and salvaged steel is reworked into shelving. Mycelium is grown to form plinths and legs, and reishi mushroom and clay pigment curtains made from seaweed biotextile, creating a calming and natural environment. MRDK's design for the Attitude boutique in Montreal creates a 'journey through nature' with granite blocks set among planted beds. The 93-square-meter space includes a raised ceramic floor that evokes a boardwalk. Granite chunks serve as pedestals for products, with a larger central block featuring carved sinks. Products are displayed on white oak shelves emerging from plant beds, and a refill station encourages customers to replenish aluminum bottles, promoting plastic-free beauty products and sustainability. Nina+Co's MONC store in London features cornstarch-foam shelves and mycelium display plinths. The undulating ceiling installation is made from corrugated cornstarch panels, with thicker blocks forming shelves that can dissolve in water when worn. Mycelium plinths showcase eyewear models, and mirrors are balanced on concrete hunks salvaged from roadworks. The store utilizes VOC-free clay paint and a water-based sealant on existing floors, demonstrating a holistic approach to sustainable materials. FADAA's design for Decoration One in Aqaba, Jordan, uses bio-brick partitions made from crushed oyster, mussel, and clam shells, acting as mashrabiya screens to shade the interior from the sun. Lime-plastered walls and native plants create a healthy indoor environment. Modular oak tables and sheer curtains allow for flexible space organization, complemented by tables crafted from hand-chiseled local basalt and limestone, and a colorful zellige ceramic tiled sales counter. These examples collectively highlight a growing commitment to sustainable retail design through innovative material use, waste reduction, and a connection to nature. #SustainableRetailDesign #EcoFriendlyMaterials #CircularEconomy #Biomaterials #RecycledPlastic #3DPrinting #InteriorDesign #NaturalMaterials

The field of fabrication technology is continuously evolving, with 3D concrete printing emerging as a promising method for creating complex and large structures efficiently. This innovative process significantly reduces the time required for production and minimizes waste by eliminating the need for traditional molds. A notable application of this technology is seen in the collaboration between designer Philipp Aduatz and Austrian manufacturer incremental3D, resulting in a collection of gradient furniture and vases. This collection includes benches, a chair, and a large vase, all fabricated using 3D concrete printing. A key aspect of this project is the ability to dye the concrete directly during the printing process. This approach offers both ecological and economic advantages by reducing labor, material waste, and production delays. While concrete typically possesses low tensile strength, the designs in this collection incorporate steel reinforcement, seamlessly integrated into the structural integrity of each piece. The reinforcement is crucial for ensuring the durability and stability of the furniture, addressing a common limitation of concrete as a primary material in such applications. Philipp Aduatz's artistic vision for this collection is heavily influenced by the concept of gradients. He describes his long-standing fascination with gradients, perceiving them as embodying elegance and harmony. For Aduatz, the gradient is a fundamental design principle that bridges the perception of the physical environment with its digital representation, attributing to it a mathematical aesthetic and precision. His objective with this project was to merge the inherent beauty and structured nature of gradients with functional objects, leveraging advanced fabrication technologies like 3D concrete printing to bring these intricate designs to fruition. The gradient effect is achieved through precise control over the dyeing process during printing, resulting in visually striking and unique pieces. The collaboration between Aduatz and incremental3D highlights the potential of 3D concrete printing to push the boundaries of design and manufacturing. By combining innovative technology with a thoughtful artistic concept, they have created a series of objects that are not only aesthetically pleasing but also demonstrate the practical benefits of modern fabrication techniques. The collection serves as an example of how technological advancements can support and expand creative expression in industrial design, offering new possibilities for material usage and form creation in furniture and decorative items. The pieces showcase the versatility of 3D printing in producing customized, structurally sound, and visually engaging concrete objects for contemporary spaces. #PhilippAduatz #3DPrinting #ConcreteFurniture #GradientDesign #Incremental3D #InnovativeFabrication #SustainableDesign #ModernFurniture #ProductDesign

The article explores the increasing viability of 3D printing in architecture, moving from prototypes to physical projects, and its potential to address affordable housing challenges. Examples like WinSun's 10 houses in 24 hours, the first family living in a 3D-printed house in France, and Dubai's goal for 25% of its buildings to be 3D-printed by 2025, highlight the technology's growing integration into construction. 3D printing offers advantages such as shorter long-term costs, rapid wall printing, and a lower margin of error, all crucial for developing affordable housing without compromising design quality. Historically, affordable housing has faced an image problem, often characterized by drab aesthetics and a lack of architectural appeal. The article emphasizes that 3D-printed affordable housing must avoid these pitfalls and prioritize good aesthetic design alongside cost and speed efficiencies. It presents encouraging examples where aesthetic harmony is a key consideration in recent 3D-printed affordable housing schemes. One such project is a collaboration between construction technology company ICON and non-profit New Story, who in 2019 unveiled designs for two homes in Tabasco, Southern Mexico. This initiative aims to create a community of 50 dwellings for families living below the poverty line. These designs, developed with input from designer Yves Béhar, defy typical expectations of 3D-printed homes, offering genuinely homely and delightful spaces instead of bland, slab forms. The homes are constructed using a local concrete mix, which provides a textured, off-white appearance. Design elements like a cement pad serving as a patio and decorative breeze blocks above windows enhance both functionality (ventilation) and aesthetics. The "Vulcron II" printer used in the project is specifically designed for challenging rural environments with limited resources, demonstrating how 3D printing can be effectively utilized in diverse contexts while still achieving aesthetically pleasing results. The article concludes by stressing the importance of creating 3D-printed affordable housing that is not homogenous and is visually appealing. It draws parallels with successful traditional construction projects, such as Peter Barber’s council homes in the UK, which exemplify how affordable housing can maintain high design standards. As additive manufacturing gains popularity, the article argues that affordable housing should not sacrifice design aesthetics to leverage the benefits of this technological innovation. #3DPrintedHomes #AffordableHousing #ArchitecturalAesthetics #AutomationInArchitecture #ConstructionTechnology #ResidentialArchitecture #SustainableDesign #UrbanDevelopment

Milan Design Week annually transforms the city's historic streets with a multitude of installations, performances, and interventions, captivating visitors with creative displays in shop windows and hidden courtyards. In recent years, fashion brands have increasingly participated, extending their design expertise to furniture, interiors, and architectural spaces. This integration showcases a growing trend of interdisciplinary collaboration between fashion and design industries. Among the highlights of Milan Design Week 2019, Marni's 'Moon Walk' installation draws inspiration from celestial themes, merging 'primitive fascinations with the imagination of the future.' This project features a collection of brightly colored chairs, loungers, stools, and tables crafted from innovative materials by Colombian artisans, with whom Marni has a long-standing collaboration. The designs reflect an exploration of unexplored forms and textures, bringing a unique artisanal touch to the event. Jil Sander's 'Adjacent Field' installation, a collaboration between creative directors Lucie and Luke Meier and artist Linda Tegg, emphasizes sustainability and spontaneity. The Jil Sander headquarters in Milan houses a botanical display comprising mosses, succulents, weeds, herbs, and flowers, illuminated by a sophisticated lighting design by Nic Burnham. This installation transforms the space into a natural oasis, highlighting the beauty and importance of biophilia in urban environments. COS, an early adopter of Milan Design Week participation since 2012, partnered with architect Arthur Mamou-Mani for 'Conifera.' This futuristic bower, constructed from 3D printed wood and bioplastic conical bricks, occupied the courtyard of the historic Palazzo Isimbardi. The project exemplifies the brand's commitment to innovative design and sustainable practices through the use of advanced manufacturing techniques and eco-friendly materials. Tod's No_Code Shelter, a joint effort between Tod's and architect Andrea Caputo, created a multi-room exhibition within a cavernous space adjacent to the National Museum of Science and Technology. Surrounded by reconstructions of Leonardo da Vinci's inventions, the installation delved into themes of shelter, sustainability, and safety in contemporary society, prompting reflection on modern living challenges and solutions. Miu Miu presented 'M/Matching Colourstool,' a playful collaboration with creative agency M/M Paris. This design features a perforated linden wood stool that allows for customization with over 300 colored 'matchsticks,' offering owners a personalized decorative experience. The stool debuted at Milan's Teatro Gerolamo, underscoring Miu Miu's vibrant aesthetic and engagement with artistic expression. Issey Miyake, on its third appearance at Milan Design Week, collaborated with architect Jólan van der Wiel for 'The Strange Attraction of Water.' The piece, 'Journey of a Raindrop,' integrates water and design to simulate a raindrop's journey through various elements, showcasing an understanding of the natural world and its influence on creative expression. This installation offers an immersive experience, blending natural phenomena with artistic interpretation. Finally, Raf Simons and Kvadrat continued their collaboration with 'No Man's Land,' an installation at Garage 21 that explores the 'microarchitecture of yarn.' The exhibit featured apocalyptically styled soft furnishings, a prefab house by Jean Prouvé, and catering from London's Rochelle Canteen. This project highlights the innovative use of textiles and examines the intersection of fashion, architecture, and interior design in creating conceptual spaces. #MilanDesignWeek #FashionInstallations #InteriorDesign #ArchitecturalSpaces #SustainableDesign #ArtisanCraftsmanship #Biophilia #3DPrinting #TextileInnovation #CustomizableFurniture

Starbucks has inaugurated its inaugural fully 3D-printed café in Brownsville, Texas, marking a significant advancement in architectural and construction methodologies for the brand. This 1,400-square-foot drive-thru and pickup establishment was constructed by Peri 3D Construction utilizing a Cobod BOD2 printer. The design prioritizes efficiency and rapid manufacturing, aligning with Starbucks' operational model as a high-volume coffee provider. The building's aesthetic features extruded concrete walls with a layered, ribbed texture, a direct result of the robotic printing process, presenting an industrial and pragmatic appearance. The project reflects a departure from the traditional cozy ambiance often associated with coffee shops, instead embracing a functional, transactional approach. Unlike some of Starbucks' more architecturally unique locations, such as flagships in Dubai or Kyoto, this Texas café is designed for quick service rather than an extended dwelling experience. The structure's limited size (1,400 sq ft or 130 sq m) further reinforces its role as a drive-thru and pickup point, catering to customers who seek convenience and efficiency. The construction process involved the Cobod BOD2 printer, a large-scale robotic system that precisely extrudes a specialized concrete mix according to digital blueprints. This method allows for solid, relatively quick construction and results in a distinctive, almost otherworldly surface texture. While the exact budget for the Brownsville location remains unconfirmed, earlier government filings suggested an investment around $1.2 million, indicative of the advanced technology and innovative construction techniques employed. The choice of 3D printing for this Starbucks outlet can be seen as a symbolic alignment with the brand's overarching identity, which emphasizes speed, standardization, and a utility-like service for urban consumers. The building's character, defined by its layered concrete and industrial design, mirrors the automated and streamlined nature of Starbucks' product delivery. This architectural choice underscores a future vision for construction that prioritizes efficiency, functionality, and rapid deployment, potentially setting a precedent for how commercial spaces are designed and built in the future. #3DPrinted #Starbucks #ArchitecturalInnovation #SustainableConstruction #RapidManufacturing #CommercialDesign #ConcreteConstruction #RoboticConstruction

French architect Clarisse Merlet, through her studio FabBRICK, is demonstrating the significant potential of recycling textile waste into viable construction materials. Originating from a school project, Merlet's initiative addresses the substantial pollution generated by the construction and fashion industries. The fashion industry alone contributes millions of tons of textile waste annually in Europe, with a considerable portion remaining uncollected. FabBRICK aims to transform this discarded textile into insulating, structural, and aesthetic building bricks, which can then be used to create furniture or partition walls. The development process involved extensive experimentation to refine the technique. Initially, discarded textiles are sorted by color, responding to customer preferences as FabBRICK avoids dyeing its bricks, instead deriving color from the source materials. The textile is then shredded into fibers of varying lengths (7mm, 20mm, or 40mm) depending on the project's requirements. A crucial element of the process is the proprietary, 100% ecological binding agent, developed with an engineer, which transforms the textile fibers into a clay-like consistency. This binding agent was specifically formulated to be rot-proof and mold-resistant, overcoming a significant challenge in using organic waste for construction. The mixture of fibers and glue is carefully weighed to ensure consistent density before being manually loaded into a patented machine. This machine compresses the mixture into brick form over approximately 30 minutes. The bricks then undergo a natural drying process in ambient air for 10 to 15 days. Once cured, these bricks exhibit impressive characteristics, including mechanical resistance comparable to concrete blocks, good acoustic and thermal insulation properties, and satisfactory fire resistance. While they possess good water resistance, indoor use is currently recommended. FabBRICK's business model emphasizes local production, with all ingredients and machinery sourced locally in France. This commitment to proximity is a core value, aiming to foster local manufacturing and reduce environmental impact. Despite its local focus, the studio has a global vision, recognizing the ubiquitous nature of fast fashion waste. The long-term plan involves automating the production process to increase recycling capacity and replicating the FabBRICK Factory model first within France and then internationally. This expansion strategy seeks to establish local production units globally, situated close to sources of textile waste, thereby promoting sustainable construction practices worldwide. #SustainableDesign #InnovativeMaterials #TextileRecycling #EcoFriendlyConstruction #CircularEconomy #ArchitecturalInnovation #LocalProduction #FabBRICK

Milan-based designer Libero Rutilo of DesignLibero has developed an innovative method to upcycle PET plastic bottles into aesthetically pleasing vases using 3D printing technology. The collection, which consists of external shells, is designed to transform ordinary half-liter bottles into functional and decorative pieces. This approach not only provides a second life for discarded plastic bottles but also merges sustainable practices with contemporary design. The process involves inserting an empty PET bottle into one of Rutilo's 3D-printed shells. The bottle is then securely screwed into the shell, much like a cap, creating a stable and cohesive unit. The external shell, rather than being a standalone vase, acts as a decorative cover and structural support for the bottle, which holds the water for flowers. This clever integration means that the primary function of holding liquid remains with the original bottle, while the 3D-printed component adds artistic value and a new purpose. The collection features four distinct designs, each characterized by intricate, mesh-like patterns. The 'iSinuous' design showcases a fluid, wavy pattern composed of graceful curves, offering a sense of organic movement. The 'iKnitted' design, as its name suggests, mimics the texture and appearance of knitted fabric, bringing a cozy and handcrafted feel to the piece. The 'iLace' vase features a delicate, crochet-like pattern, evoking a classic and elegant aesthetic. Finally, the 'iSpider' design stands out with its biomorphic pattern, which draws inspiration from natural forms, giving it a unique and organic presence. Libero Rutilo's project highlights the potential of 3D printing in product design and its role in promoting sustainability through upcycling. By focusing on creating external shells, the designer minimizes the amount of new material required for each vase, making the production process more environmentally friendly. The versatility of 3D printing allows for complex and diverse patterns, demonstrating how technology can be used to elevate simple, everyday objects into works of art. This initiative encourages consumers to reconsider the lifecycle of plastic waste and offers a practical and stylish solution for repurposing plastic bottles into home decor items. #3DPrinting #Upcycling #ProductDesign #SustainableDesign #VaseDesign #HomeDecor #LiberoRutilo #PETBottles #DesignLibero

The increasing adoption of additive manufacturing has expanded the role of 3D printing beyond industrial applications, establishing it as a versatile medium in art studios and various creative fields. This technology facilitates the creation of innovative artistic, conceptual, and cultural works, and has even contributed to the digital preservation and reconstruction of historical artifacts and global heritage sites. While not always the central focus, 3D printing often serves as a crucial supporting tool, enabling designers, artists, and artisans to realize new designs and concepts. A prime example of this collaborative approach is found in the Forma Fabrica collection by industrial designer Nir Neria. This collection reinterprets the traditional porcelain vase by exploring the interplay between different materials and design processes. Neria's method integrates slip casting, a ceramic technique typically used for complex shapes that traditionally relies on plaster molds. However, Neria has modernized this ancient technique by combining it with 3D printing and textiles, resulting in a novel, sustainable, and reusable molding process. The design process begins with computer-aided design (CAD) software, where the vase is rendered in 3D. This digital stage allows for precise definition of each mold component and how they will interlock. Subsequently, these mold components are 3D printed. These printed parts are then integrated with fabric, which the artist sews together. The assembled fabric and 3D-printed elements form the mold, ready for porcelain slip casting. During casting, liquid porcelain is poured into the mold and then drained after a sufficient layer has adhered to the inner fabric walls. Once the porcelain reaches the desired firmness, the mold can be disassembled, and the piece is prepared for firing in a kiln. The use of fabric as a molding material imbues the finished vases with distinctive visual and tactile qualities. The impressions of the cloth's texture, stitching, and folds are visibly transferred to the surface of the vessels, creating an intriguing contrast between the perceived weight and malleability of the material. Furthermore, the application of pigments to the inner fabrics before casting introduces an additional dimension, infusing color that mimics marbling or even denim patterns. A significant advantage of this method is the reusability of the mold. The modular nature of the 3D-printed support structure also allows for extensive customization, enabling the creation of numerous unique shapes and configurations from a relatively small set of initial components. The Forma Fabrica collection exemplifies Nir Neria's commitment to innovative design, with 3D printing and sustainable biomaterials increasingly central to his work. #3DPrinting #AdditiveManufacturing #VaseDesign #CeramicArt #SlipCasting #IndustrialDesign #SustainableDesign #TextileIntegration #NirNeria