Mycelium as a Material for 3D Printing

MycoWorks has developed Reishi™, a biomaterial crafted from mycelium, which is the root-like structure of fungi. This innovative material serves as a luxurious and sustainable alternative to animal leather. The company recently showcased a collection made from Reishi™ at the Labò Cultural Project in Milan, presenting functional pieces that demonstrate the material's malleability, durability, and longevity. The collection features designs by Studio TOOJ and Fanny Perrier, highlighting Reishi™'s organic texture, which subtly reveals its growth patterns. Studio TOOJ’s DUK x Reishi™ collection includes a side table, pedestal, and corner table. These pieces exhibit the material draped gracefully over solid wood bases, creating idealized folds that flow softly to the floor. The dramatic lighting used in the display accentuates the smooth surfaces and natural-looking drapes, emphasizing Reishi™’s ability to mimic the aesthetic of traditional leather while offering a distinctive organic quality. The designs aim to integrate the natural beauty and characteristics of mycelium into contemporary furniture forms. Fanny Perrier contributed the Mycelium Paravent, a six-panel folding screen inspired by neo-classical and 1930s ornamental screens, such as those by designer Jean-Michel Frank. This paravent utilizes Reishi™ to adorn each recessed panel, providing a textured appearance that replaces traditional leather or parchment coverings. The choice of Reishi™ for such a historically rich design underscores its versatility and aesthetic potential in luxury furnishings, demonstrating its suitability for high-end applications. Reishi™ distinguishes itself from other leather alternatives by being a naturally occurring, fast-growing, and sustainable material that offers the versatility and softness of animal leather without the ethical concerns associated with animal products. This development marks a significant step forward for industries historically resistant to change, like the leather industry. The material’s properties and production process offer a promising and inspirational precedent for future material innovation. The foundation of MycoWorks lies in the biotechniques developed by Philip Ross, who sought to steer material science towards a more holistic direction. Ross began his journey by studying mycology in upstate New York forests and later applied his understanding of reishi mushrooms, initially for medicinal purposes during the HIV crisis in San Francisco. He observed the extraordinary growth patterns of reishi, which varied based on humidity, temperature, and environment. This led him to coin the term 'mycotecture'—the creation of structures and forms from mushrooms. Ross collaborated with artist and writer Sophia Wang to realize MycoWorks, transforming it into a leading research and development entity within a decade. Wang emphasizes the importance of continuous reinvestment in one's core motivations and being authentic about one's role in the project, reflecting on the journey and evolution of MycoWorks in driving industry-wide change. The integration of Reishi™ into furniture and decorative items by designers like Studio TOOJ and Fanny Perrier showcases its potential to revolutionize the home furnishings and interior design sectors. Its unique combination of aesthetic appeal, tactile quality, and sustainable origin positions it as a significant material for future design applications, providing a viable and luxurious alternative to conventional materials while addressing environmental and ethical considerations. #MycoWorks #Reishi #Mycelium #Biomaterial #LeatherAlternative #SustainableDesign #LuxuryMaterials #InteriorDesign #FungusInnovation

In a design landscape increasingly concerned with environmental impact, ALT Design, a French studio founded by Alexandre Touguet and Lise Rissel, has launched ALT Light, a brand focused on sustainable lighting solutions. Their latest offering is a 3D-printed lamp crafted from bio-sourced polylactic acid (PLA), a plastic derived from renewable corn starch. This initiative demonstrates a commitment to integrating advanced manufacturing with eco-conscious material choices, aiming to reduce the environmental footprint of product design. The selection of PLA as the primary material is a key aspect of the lamp's sustainability. Unlike conventional petroleum-based plastics, PLA is biodegradable under industrial composting conditions, offering a more environmentally friendly alternative. This material choice helps mitigate carbon emissions associated with plastic production and minimizes long-term waste. Beyond its ecological benefits, PLA is suitable for 3D printing, allowing for precise and intricate designs that might be challenging with other materials. The use of PLA enables the creation of lamps that are both sustainable and structurally sound. From an aesthetic perspective, the lamp combines modern simplicity with playful elements. It features a rectangular base that smoothly transitions into a flared, sculptural top, echoing traditional lampshade forms while offering a contemporary twist. The surface of the lamp is adorned with vertical ribbing, which not only adds a dynamic texture but also interacts with light in a way that enhances its visual appeal. This design detail provides a sense of movement and makes the lamp a distinct accent piece within any modern interior setting. Functionality and versatility are also central to the ALT Light’s design. The lamps are available in various sizes, including a compact wall light and larger medium and table lamps, accommodating diverse spatial requirements. Customers can opt for either translucent or transparent finishes, influencing how light is diffused. The translucent option provides a softer, more ambient glow, ideal for creating a warm atmosphere, while the transparent version offers a clearer and more directed illumination, suitable for task lighting or highlighting specific areas. One of the most forward-thinking aspects of ALT Light's production model is its made-to-order approach. This method avoids the waste associated with mass production and excess inventory, as each lamp is printed only after a customer places an order. This strategy also facilitates extensive customization options, allowing buyers to select from a range of two-tone color combinations. This bespoke capability ensures that each lamp can be tailored to individual preferences, harmonizing with existing decor or expressing personal style through unique color pairings. This integration of sustainable materials, advanced manufacturing, and customizable design positions ALT Light as a notable example of contemporary product development that prioritizes environmental responsibility without sacrificing aesthetic quality or consumer choice. #3DPrintedLamp #SustainableDesign #BioSourcedPlastic #PLA #HomeLighting #EcoFriendlyProducts #ModernDesign #CustomizableLighting #ALTLight

MushLume Lighting, founded by BioDesigner/Biomimicry Specialist Danielle Trofe and Design Studio Manager Lujan Brown, presents a collection of bio-fabricated lampshades created from mycelium, the root-like structure of fungi. This innovative approach to lighting design transforms a sustainable raw material into aesthetically pleasing and functional products for both residential and commercial spaces. The production process for MushLume lampshades begins with a hemp substrate inoculated with mycelium spores. Under controlled conditions of moderate temperature and humidity, the mycelium colonizes the hemp, breaking it down while simultaneously binding it together. This organic growth occurs within custom-designed, clear lampshade molds, which are carefully lined with hemp. The mycelium proliferates, filling all available space to form a dense and cohesive structure. This critical growth phase dictates the final shape and structural integrity of the lampshade; any inconsistencies in growth can lead to an uneven product. Once the mycelium has fully developed within the mold, the solid structure is extracted and subjected to a drying process. This step is essential as it arrests further growth and solidifies the mycelium into an inert, durable material. The finished lampshades are notable for their lightweight yet robust characteristics, featuring a unique, organic texture. This texture is reminiscent of mid-century woven fiberglass lampshades, but with an added hint of the roughness found in concrete, offering a distinct visual and tactile quality. Aesthetically, each lampshade possesses a slightly varied, organic appearance, ensuring that every piece is unique. When illuminated, the natural patterns and textures of the mycelium cast a warm, inviting glow, creating ambient mood lighting. MushLume Lighting emphasizes the safety and natural composition of their products, clarifying that while the lampshades are grown from mushroom mycelium, they are not edible. The company assures consumers that the lampshades are made from materials safe and healthy for both people and the environment. The collection includes various lighting fixtures such as pendant lights, table lamps, and chandeliers, with the Hemi Sconce highlighted for its resemblance to cup fungus. A key advantage of the MushLume Lighting collection lies in its minimal environmental impact. The entire manufacturing process is eco-friendly, requiring significantly less energy and water compared to conventional production methods. Furthermore, mycelium is biodegradable, allowing the lampshades to decompose naturally in a compost pile or landfill at the end of their lifecycle. Despite their biodegradability, MushLume states that under suitable dry indoor conditions, their mycelium lampshades are designed to last for decades, promoting a truly sustainable and long-lasting product option. #BioDesign #Biofabrication #Biomimicry #BiophilicDesign #Mycelium #SustainableDesign #LightingDesign #OrganicMaterials #EcoFriendly #DanielleTrofe

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

The EufyMake E1 UV printer is presented as an affordable and user-friendly solution for full-color, 3D textured UV printing, positioning itself as a consumer-friendly alternative to professional Polyjet printers. The device arrives meticulously packaged, rivaling the presentation quality of high-end printers like Formlabs and Prusa, and exhibits a refined, robust design. Its initial setup is straightforward, leading to an impressive first print of a textured moon image that demonstrates its innovative 3D texturing capabilities. The printer features a build area of 330x420mm with a maximum printing thickness of 5mm and a weight limit of 1.5kg, accommodating a wide range of objects. Its proprietary software, EufyMake Studio, allows for basic graphic design and image manipulation, along with material selection and print settings, including an AI-powered feature for automatic texturing of 2D images. While suitable for simple tasks, users requiring advanced graphic design are advised to use professional software like Adobe or Corel suites. The E1 includes a camera for scanning the print area and object placement, although it lacks time-lapse functionality or real-time viewing during printing. Performance tests reveal diverse material compatibility, with successful prints on wood panels, steel plates, canvas, and ceramic. The print speed varies significantly based on settings and desired effects. For example, a 12x16-inch wood panel print with CMYK inks takes about 15 minutes for a 'watercolor' effect, while a 'gloss' finish with a white base layer, CMYK, and varnish extends printing time to 135 minutes. Pre-painting items with white spray paint can reduce print times and ink consumption, as textured prints can use up to 100ml of white ink. The printer operates quietly, averaging around 45-55 dB, but the ink smell necessitates printing in a well-ventilated area. Maintenance requirements for the E1 are minimal due to its mechanical simplicity, though ink nozzles may occasionally clog or dry, which is addressed by a built-in cleaning system. Priced at over $3,700 for the complete setup, the E1 offers significant affordability compared to competing UV printers from brands like Roland and Epson, which typically cost upwards of $4,000 without accessories. A set of CMYK, white, gloss, and cleaning fluid cartridges, each 100ml, costs $299. However, the system's reliance on optical alignment and lack of repeatable printing capabilities (such as templates or jig alignment) presents a challenge for batch production, as precise alignment for identical prints is difficult. One notable drawback is the low reputation of the EufyMake app, which has triggered security warnings from Android and antivirus software, though the author notes that these issues seemingly resolved after the app's full release on Google Play. The EufyMake E1 is ideal for individuals or small businesses aiming to create custom, one-of-a-kind prints on various materials, especially for applications like personalized gifts or Etsy-style products. Its ease of use and AI-powered texturing make advanced UV printing accessible to a broader consumer market. #EufyMakeE1 #UVPrinting #3DTexturedPrinting #FullColorPrinting #Consumer3DPrinting #AITexturing #ProductReview #InkjetTechnology #SmallBusinessPrinting

Dutch designer Lieske Schreuder has developed an innovative method for creating floor tiles from colored snail excrement. Her project, which combines biology with art and design, involves feeding snails colored paper and then collecting their feces to form new materials. This unconventional approach highlights the potential for utilizing natural processes and unexpected resources in design. Schreuder's interest in this concept began after observing snails in her garden consuming paper and cardboard. This led her to acquire hundreds of snails from a farm and establish a dedicated laboratory to conduct experiments. In this lab, she systematically fed the snails various colored papers to investigate the resulting excrement. Her findings revealed that snails not only consume colored paper but also produce feces that retain the paper's original hue. The designer explained that snails are unable to absorb the color pigment into their bodies, causing the pigment to pass through their digestive system and be expelled as colored excrement. The laboratory setup includes multiple compartments where snails are provided with sheets of colored paper. The paper's cellular structure is similar to the plant matter snails typically eat, making it a suitable dietary substitute for the experiment. Once the colored excrement is produced, Schreuder collects it. The material possesses a malleable texture, which she then processes using a portable machine of her own design. This machine grinds, mixes, and presses the snail excrement into tiles. The resulting tiles have a distinct, roughly textured surface and maintain the vibrant colors of the paper originally consumed by the snails. Schreuder reflected on the common occurrence of walking on unnoticed snail excrement in gardens and streets, suggesting that if these excrements were colored, they would create a kind of "snail excrement carpet." This observation fueled her exploration into transforming this otherwise overlooked natural byproduct into a visible and functional material. In addition to tiles, the designer has also experimented with pressing the feces into molds using a spatula to create delicate threads. These threads have a five-millimeter diameter, and Schreuder is currently researching potential applications for them. She noted that producing one meter of this thread takes approximately an hour and requires six grams of ground excrement, which is roughly the amount produced by nine snails over five days. This project is part of a larger exhibition titled "Biodesign," held at The New Institute in Rotterdam. The exhibition showcases 57 different ideas that integrate biology with art, architecture, and design, demonstrating innovative uses of biological processes and materials. Schreuder's work exemplifies the interdisciplinary nature of biodesign, pushing the boundaries of material science and sustainable design by repurposing biological waste into novel products. #Biodesign #SnailExcrement #SustainableMaterials #LieskeSchreuder #InnovativeDesign #FloorTiles #MaterialExperimentation #RotterdamExhibition

Bambooder, a Dutch startup founded in 2014 by Marc Bokeloh and Dr.Ir.Ing. Almer van der Stoel, has developed a patented technology for mechanically extracting long bamboo fibers. The company focuses on creating bio-based alternatives to traditional fossil fuel-produced composites. Their primary offerings include technical yarns made from long bamboo fibers, ranging from 12 to 50 cm, suitable for continuous fiber 3D printing, unidirectional (UD) tapes, and textiles. All by-products from this process are utilized to produce short fibers, which find application in non-woven mats, injection molding compounds, and 3D printing filaments. Bamboo offers several advantages as a material. It is lightweight, strong, and highly sustainable, exhibiting faster growth and greater CO2 absorption compared to other plants. This rapid growth also results in a significantly higher fiber yield than other natural fibers, positioning bamboo as a viable competitor to materials such as steel, aluminum, carbon, glass, and other natural fibers, depending on the specific property requirements. The applications of these long bamboo fibers are diverse. Short fiber filaments combined with PLA can be used for 3D printing decorative objects. Bamboo cork sandwich panels, which consist of two outer layers of non-woven short fiber mats and an inner cork layer, provide heat insulation, sound absorption, and electric insulation. Mats made from short bamboo fibers serve as a sustainable substitute for non-woven glass fiber mats and can be incorporated using techniques like hand lamination, thermoforming, and vacuum infusion. Long bamboo fibers are processed into technical yarn for use in continuous fiber 3D printing filaments, UD tapes, and textiles, offering a sustainable alternative to carbon and glass fibers. UD tapes are particularly valuable for their ability to provide stiffness in a single direction, allowing for precise control over product stiffness by stacking tapes in different orientations. This enables the creation of components that can withstand greater loads with thinner walls and without additional ribs. These bamboo-based products have potential across various industries, including transportation (e.g., lightweight elements in trains, trams, metro cars, and buses), sports (e.g., surfboards, skateboards, skis, bikes), energy, as well as automotive, aeronautics, furniture, and lighting design sectors. While Bambooder’s materials offer versatility and sustainability, they do have certain limitations. Their moderate resistance to UV radiation, scratches, chemicals, and weathering makes them less ideal for outdoor applications or situations involving significant chemical or mechanical stress. Despite these specific limitations, the broad applicability and sustainable benefits of Bambooder’s bamboo fiber composites present a significant advancement in material science and design. #BambooFibers #SustainableMaterials #BiobasedComposites #InnovativeMaterials #3DPrinting #MaterialScience #GreenTechnology #CircularEconomy

The article discusses Forust, a new additive manufacturing process developed by Desktop Metal, which utilizes wood and paper waste, specifically sawdust and lignin, to create wood products. Unlike existing wood-infused filaments that lack realistic wood grain, Forust aims to produce items that closely resemble natural wood. The technology employs a single-pass binder jetting method, where layers of sawdust and lignin are laid down and bound together with glue. While the press release does not detail a curing process, typical binder jetting processes often involve post-processing for enhanced solidity and longevity, usually with ceramic or metal-based materials. A key innovation of Forust is its ability to digitally reproduce various wood grains, including exotic types like rosewood, ash, zebrano, ebony, and mahogany. The printed parts can be sanded, stained, polished, dyed, coated, and refinished, similar to traditionally manufactured wood components, and will support a range of wood stains such as natural, oak, ash, and walnut. This capability suggests a potential for creating custom and luxury wood products, from decorative items like pencil cups to furniture, leveraging the geometric flexibility offered by additive manufacturing. The durability and strength of these printed wood items are crucial, especially for applications like furniture, where structural integrity is paramount, as opposed to purely decorative items. Forust's overarching goal is to contribute to environmental sustainability by reducing the need for virgin wood and promoting a circular economy. The company envisions the recycling of its products at their end-of-life into new goods, thereby minimizing waste and conserving natural resources. However, the reliance on the traditional wood industry for its primary materials—sawdust and lignin—raises questions about how truly circular and independent the process can become without a sustained source of wood processing waste. The article also briefly touches upon other methods of working with wood waste in additive manufacturing, such as a printer that stacks particle board layers and carves them with a CNC machine, highlighting the evolving landscape of wood-based 3D printing. The development of Forust represents a significant step towards creating more sustainable and aesthetically versatile wood products, offering an alternative to traditional woodworking methods and wood-infused plastic filaments. The technology's success will depend on its ability to produce strong, durable items that can genuinely mimic the feel and performance of natural wood, particularly for functional applications. #SawdustPrinter #AdditiveManufacturing #WoodWaste #BinderJetting #SustainableMaterials #WoodGrain #3DPrinting #CircularEconomy #Forust

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

Researchers at ETH Zürich, in collaboration with FenX AG, are advancing construction technology through large-scale robotic 3D printing of cement-free mineral foam. This innovative approach utilizes recycled waste materials to create monolithic, lightweight, and inherently insulated wall systems. The primary goal is to minimize material consumption, reduce labor requirements, and cut associated costs in building construction. The cement-free mineral foam is a porous material that offers flexibility in density, allowing for strategic distribution of insulation and structural strength. This adaptability optimizes the thermal performance of walls, consequently decreasing the energy needed for heating interior spaces. Furthermore, the use of a single, adaptable material significantly streamlines future reuse and recycling processes, and it boasts a lower carbon footprint compared to conventional plastic or aerated concrete foams. The project, named 'Airlements,' showcases a prototype wall constructed from four 3D-printed parts. Each hollow segment weighs 25 kg and was printed in under an hour, followed by a week-long hardening process in a controlled environment. This process operates efficiently within a temperature range of 20 to 28 degrees Celsius and a relative humidity of 20 to 70%, eliminating the need for energy-intensive processing steps typically associated with cement-free mineral foams. The design incorporates a corrugated texture in each piece, enhancing the structural integrity and strength of the final wall structure. When assembled, the hollow core of these segments can be filled with additional mineral foam and sealed with a cementless plaster, forming a cohesive monolithic system suitable for non-structural exterior walls. The casting process also allows for the seamless integration of reinforcements and essential infrastructure facilities, expanding the potential applications of this technology. Future research efforts will concentrate on improving the load-bearing capacity of these elements and refining the manufacturing precision of the 3D printing system. This development signifies a notable step forward in sustainable construction practices, offering a more environmentally friendly and resource-efficient alternative to traditional building methods. The collaboration between ETH Zürich and FenX AG highlights the potential of interdisciplinary research in addressing contemporary challenges in architecture and construction, particularly concerning material innovation and automation in manufacturing. The 'Airlements' project demonstrates a practical application of advanced robotic fabrication techniques, contributing to the broader goal of sustainable and cost-effective building solutions. #ThreeDPrinting #ConstructionMaterials #Insulation #WallConstruction #InnovationInArchitecture #MineralFoam #ETHZurich #SustainableBuilding #RoboticFabrication

The construction industry is a major contributor to carbon emissions, accounting for approximately 38% of all CO2 emissions. In response to this environmental impact, architects, designers, and researchers are actively seeking ways to reduce the carbon footprint of building materials throughout their production and use. A significant area of focus is biofacture, which involves utilizing biological organisms to create materials. This approach aims to develop carbon-neutral or even carbon-negative alternatives to conventional building products by leveraging the capabilities of organisms like algae and fungi. Additionally, research is underway to find novel applications for abundant, yet often overlooked, natural resources such as desert sand, soil, and demolition waste. One innovative solution is the development of algae-grown limestone by researchers at the University of Colorado Boulder. Inspired by coral reefs, this method involves cultivating single-celled algae that sequester and store CO2 in mineral form, potentially making cement production carbon neutral or negative. This technology is designed to integrate seamlessly with existing concrete construction practices. Another example is Indus, a bio-integrated wall system featuring tiles layered with microalgae to treat polluted water in developing Indian communities. These tiles, designed with biomimetic patterns, are produced on-site using local materials and 3D-printed molds customized for specific pollutants. The project highlights a localized and adaptable approach to environmental challenges. Ecovative, in collaboration with The Living studio and ARUP, has pioneered mycelium-grown bio-bricks, demonstrating their potential as sustainable building materials. These bricks are produced by combining agricultural waste products with fungi in molds, which grow into the desired shape in less than a week. The resulting material is solidified by deactivating the microorganisms, offering a compostable and carbon-negative alternative to traditional bricks. Karen Kerstin Poulain explores building with soil, introducing a pouring method that creates a concrete-like composite resistant to compression and cracking. This material, made from tepetate, water, and rice husks, requires minimal energy input and also addresses agricultural waste. Carbon Craft utilizes industrial byproducts by transforming "carbon black," a waste material from fossil fuel combustion, into decorative tiles. This process prevents further burning of the carbon black, locking it into a durable product. These tiles are made by shaping, cutting, and mixing carbon black with cement, incorporating a 200-year-old craft tradition and empowering local artisans. TU Delft is developing regenerative bio-concrete by incorporating bacteria into the mix. These water-activated bacteria feed on calcium lactate, producing limestone that can heal hairline cracks in the concrete, thereby enhancing its mechanical qualities and extending its lifespan. Myceen focuses on mycelium-based acoustic panels and furniture, capitalizing on the material's carbon-negative, compostable, high acoustic absorption, low thermal conductivity, and high fire resistance properties. Finite, a material developed by Imperial College London students, offers a concrete alternative using desert sand. Unlike traditional concrete, which relies on increasingly scarce river sand, Finite utilizes abundant desert sand by binding it with organic binders. This composite material can also be remolded for multiple life cycles. Breathe Bricks, designed by Ar. Carmen Trudell, are porous concrete blocks that mimic cyclone filtration to absorb pollution from the air, transferring dust and pollutants to the material's interior. Finally, the WOOL2LOOP project addresses mineral wool waste by transforming it into ceramic or concrete-like geopolymers through alkaline activation. This approach aims to create circularity for a voluminous waste material, offering an alternative to Portland cement with comparable mechanical properties and significantly reduced carbon dioxide emissions. #SustainableBuildingMaterials #Biofacture #MyceliumBricks #WaterPurifyingTiles #AlgaeGrownLimestone #CarbonNeutral #RecycledMaterials #GreenArchitecture #MaterialInnovation

Jonas Edvard has developed a sound-absorbing panel using a composite biomaterial made from mushroom mycelium, hemp, and willow. This innovative project, titled Myx Sail / Floor, was showcased at the Mindcraft Project 2023. The panel, measuring 1m x 1m, demonstrates the structural capabilities of this biomaterial, combining both flexibility and rigidity. Edvard's process involves collaborating with the living mycelium material, allowing it to grow and bond with a plant fiber mixture within a pre-designed mold, creating a flexible room divider. The designer's aim is to highlight the potential for organic materials like mycelium to be integrated into both residential and commercial spaces. Edvard's inspiration stems from observing the natural role of mushrooms as recycling agents in ecosystems, breaking down plant matter into soil. He views responsible design as understanding the synergistic relationship between design choices and their environmental impact, ultimately contributing to more sustainable life cycles. This project forms part of a larger research initiative undertaken by Jonas Edvard in conjunction with Arup Engineers in Germany. Their collaboration focuses on investigating the sound-absorbing properties of mycelium. The panels are specifically engineered to absorb sound frequencies ranging from 200 to 2500 Hz, which encompasses the typical range of human speech and interaction. Edvard envisions a future where natural, organic materials become essential components in building construction and interior architecture. His design philosophy is deeply rooted in respect for nature, emphasizing the intricate connection between raw materials and human existence. He explains that his work involves new research into natural raw materials to forge a new design vocabulary, testing the materials' consistency, durability, and aesthetic appeal to uncover their hidden possibilities and qualities. Edvard's experimental and open-minded approach leads to the creation of novel materials and objects derived from local and organic sources, adhering to a circular and sustainable ethos. During the testing phase, he explored various material combinations to optimize the design, appearance, and functionality of mycelium-based sound-absorbing materials. He highlights the inherent qualities of mycelium, such as its natural, porous, lightweight, and stiff characteristics. His research-driven work aims to recontextualize materials into functional forms, stimulating discourse about the intrinsic value and aesthetic appeal of natural origins. He expresses a desire for people to experience the tactile qualities of these sound-absorbing materials and to foster a new understanding of how natural materials can be seamlessly incorporated into homes and living environments. The project details indicate that the Myx Sail / Floor panel measures 100 x 100 cm and was created in 2023 for the Mindcraft Project event. #Mycelium #SoundAbsorption #Biomaterials #SustainableDesign #JonasEdvard #MindcraftProject #OrganicMaterials #InteriorDesign #MaterialInnovation

Researchers at Virginia Tech have conceptualized an evaporative cooling system utilizing 3D-printed hollow clay columns, designed to reduce ambient air temperature by approximately 10 degrees Fahrenheit (5.56 degrees Celsius). This innovative system has been integrated into a wall partition and is currently undergoing testing to assess its efficacy. The versatility of the design suggests it could be adapted for various interior applications, such as a "cooling chair," or even as a component of a building's facade, functioning similarly to a breeze block. Stefan Al, an architect, urban designer, and affiliate associate professor of architecture at Virginia Tech, along with Brook Kennedy and Georg Reichard, conceived this system. Al emphasizes that the technology offers "free cooling," requiring only water for its operation. The mechanism involves warm air passing through the clay columns, where water stored within internal sand evaporates, thereby cooling the air. The design draws inspiration from historical cooling methods, including the muscatese, an evaporative window design from Oman, and the zeer pot, an ancient clay pot system that functions as a refrigerator through evaporative cooling. These ancient techniques, which have been employed for at least 4,500 years, are rooted in the principle that water absorbs heat as it evaporates, leading to a drop in temperature. Historical examples include the use of wind catchers combined with evaporative water systems in ancient Egypt, and porous clay jars filled with water placed near latticed windows in the Middle East to cool interior spaces. While mechanical air conditioning has largely supplanted these methods in the Western world, Al and his team aim to modernize and optimize these sustainable approaches. Optimization is crucial, given that buildings' operational activities—heating, cooling, lighting, and appliances—account for over 30 percent of global energy consumption and approximately 26 percent of greenhouse gas emissions. A key advancement in this new system is the use of 3D printing with clay, a material with a lower embodied carbon footprint compared to cement-based products. Clay's natural properties also enable it to store and release heat effectively, making it suitable for passive thermal regulation. The research team, including Saeed Sakhdari, Ilan Farahi, and Mohammed Ali, has developed three cylindrical prototypes and evaluated their thermal performance using infrared imaging. The passive cooling effect was found to vary based on the geometry and surface texture of each column, which influence the total evaporative surface area. Material porosity is another critical factor, as it must permit sufficient water evaporation without compromising the structural integrity of the clay columns. To fully assess the system's capabilities, the researchers plan to construct a full-scale room, although current prototypes are limited by the size of Virginia Tech's kiln. The cooling effect is most pronounced when the system is complemented by a fan or situated in an area with strong natural airflow. Due to the localized nature of evaporative cooling, the air directly adjacent to the structure will experience greater cooling compared to the uniform distribution achieved by conventional air conditioning. Despite this, Al believes the system holds promise for targeted applications, such as creating cool microclimates around seating areas. He also highlights the aesthetic appeal of the system, suggesting it could foster greater appreciation for sustainable, ancient cooling techniques, especially as global temperatures continue to rise. #EvaporativeCooling #3DPrinting #Clay #SustainableDesign #PassiveCooling #VirginiaTech #ArchitecturalInnovation #LowEnergyDesign #AncientTechniques

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

Danielle Trofe, through her brand MushLume Lighting, is pioneering a new direction in design by transforming mushrooms into light fixtures. This innovative approach integrates nature, technology, and craftsmanship, offering a forward-looking vision for interior spaces. The article highlights an interview with Danielle Trofe in her Brooklyn studio, where she discussed the origins and development of her mycelium-based lighting products. Trofe's journey into biomaterials began in 2011 with Danielle Trofe Design, initially focusing on hydroponics. However, in 2014, her research into sustainable material alternatives led her to discover mycelium, the root structure of fungi. The realization that she could grow objects into specific shapes using a living organism became a pivotal moment, inspiring her to dedicate a decade to collaborating with a biomaterials company to bring mycelium to the forefront of lighting design. This commitment addresses the growing concern over the environmental impact of mass production by offering a sustainable alternative. Mycelium is a rapidly renewable material known for its strength, fire resistance, and biodegradability. It grows by binding agricultural byproducts, making it an excellent choice for eco-conscious design. Trofe explained that MushLume Lighting utilizes low-heat LED bulbs, which are well-suited to the fire-resistant properties of mycelium. The production process involves hand-packing hemp substrate into molds, allowing the mycelium to grow into a solid structure within 7-10 days, forming the base of the lamps. The lamps’ domes feature natural curves that enhance the interior illumination, creating a soft and inviting glow. The use of natural, VOC-free lime wash provides earth tones that complement the organic texture of the mycelium. Addressing common concerns about using living organisms in home products, Trofe clarified that the mycelium lamps are not 'alive' when they reach consumers. The material undergoes a heat and drying process that renders it inert, eliminating any possibility of mushrooms sprouting from the fixtures. The article notes the challenges Trofe faced in establishing MushLume Lighting, as there was no existing brand to support this novel material. This necessitated creating a new brand to introduce, cultivate, and validate mycelium as a viable product in the market. While MushLume Lighting has been established in the U.S. for a decade, it has recently gained traction in European markets, where sustainability is a central tenet of design. This expansion underscores the alignment of Trofe’s work with the continent's eco-conscious movement. Trofe's passion for nature and sustainability is a driving force behind her design philosophy, emphasizing the need for balance in human creations and a deeper connection with the environment. She expressed inspiration from algae as a potential future material due to its rapid renewability and ability to replace more resource-intensive options. The article concludes with a tour of Trofe's studio, highlighting the hands-on craftsmanship involved in filling molds and observing the mycelium growth process. This blend of scientific innovation and artistic creation reflects Trofe’s thoughtful approach to design. The interview ended with Trofe sharing her ideal dinner guests, including figures like Merlin Sheldrake, Paul Stamets, Tom Dixon, Zaha Hadid, Ray Eames, and Lonneke Gordijn, indicating a broad appreciation for both scientific and design pioneers. #LightingDesign #BiophilicDesign #InnovationDesign #InnovativeMaterials #SustainableDesign #MyceliumLighting #DanielleTrofe #MushLumeLighting

Philips MyCreation, a brand introduced by Signify, a global leader in lighting for over 125 years, is at the forefront of sustainable design, offering innovative 3D printed lighting solutions. This brand was developed in response to growing environmental challenges, aiming to contribute to a circular economy, significantly reduce CO2 emissions, and eliminate waste. At the core of Philips MyCreation's production process is advanced 3D printing technology, where all printed components are manufactured using at least 55% recycled or bio-circular plastics. This approach not only supports environmental sustainability but also enables the creation of unique, custom-fit designs tailored to specific brands and spaces, all while maintaining a minimal carbon footprint. For design enthusiasts and professionals, Philips MyCreation offers two distinct pathways to acquire their ideal luminaires. The first option involves exploring a curated selection of pre-designed lighting solutions. These include a variety of high-quality luminaires such as downlights, projectors, and pendants. Clients can customize these pre-designed products by mixing and matching elements like color, texture, and shape, providing extensive possibilities for personalization. Notable examples from this collection include special edition pendant products such as the Spring Oasis collection, which innovatively repurposes water jugs, and the Coastal Breeze collection, which champions sustainability by utilizing recycled fishing nets sourced from the coast of Cornwall. The Jewels collection, another highlight, has received an IF Design Award, signifying its artistic and functional excellence. The second pathway caters to those seeking truly bespoke lighting solutions through a co-creation process with Philips MyCreation’s expert designers. This collaborative model empowers clients to materialize their vision, ensuring the luminaire perfectly complements their space and brand identity. The co-creation journey is streamlined into six straightforward steps: clients share their project ideas, designers develop initial sketches, and then work with the client to select the design, texture, and color. Further details are specified, a prototype is fine-tuned, and finally, the unique creation is 3D printed and delivered. This methodical process ensures that every custom luminaire is a precise and personalized reflection of the client's requirements. Philips MyCreation's commitment to sustainability extends beyond material use to the entire production lifecycle, ensuring that the future of lighting design is both brilliantly illuminated and environmentally responsible. Whether opting for customizable pre-designed options or embarking on a comprehensive co-creation journey, Philips MyCreation offers unparalleled design possibilities. The brand positions itself as a beacon of inspiration for those looking to integrate innovative and sustainable lighting solutions into their environments. This initiative not only addresses critical ecological concerns but also offers a flexible and creative platform for diverse lighting needs. DesignWanted plans to further explore Philips MyCreation's impact in an upcoming series of articles, delving deeper into how the brand is revolutionizing the lighting industry with its responsible approach to illuminating spaces. #LightingDesign #3dPrinting #SustainableDesign #InnovativeMaterials #CircularEconomy #CustomLighting #EcoFriendly #DesignInnovation

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

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