Few cinematic antiheros have captured our collective techno-anxiety quite like the T-800 Terminator. That chrome skull with piercing red eyes has haunted our dreams since 1984 when Arnold first uttered those now-legendary words: “I’ll be back.” Four decades later, the endoskeleton design remains a masterclass in mechanical menace, a perfect fusion of human anatomy and cold machine precision. The exposed pistons, hydraulic jaw detail, and that unwavering death stare somehow manage to be both familiar and utterly alien. James Cameron’s creation tapped into something primal about our relationship with technology – the fear that one day our creations might look back at us with those same emotionless eyes.

Now that iconic design has found a brilliantly practical new purpose on your desktop. Someone has finally answered the question nobody thought to ask: what if the relentless killing machine from the future could hold your Sennheisers? The result is this meticulously crafted 3D-printed Terminator Endoskeleton Headphone Stand, and I’m absolutely here for this unexpected fusion of 80s sci-fi nostalgia and modern desktop organization. Standing at approximately 8.5 inches tall, this menacing little skull transforms the mundane act of storing your headphones into something with far more cult weight than your minimalist wood or metal stand. Etsy seller by the name of ‘ProperCrafts’ offers it in two finishes, and judging by the photos, both capture the weathered metallic sheen that made the original so compelling.

Designer: ProperCrafts

The true showstopper here is undoubtedly the glowing red LED eyes, powered via USB. They cast an ominous glow across your desk that hits the perfect balance between practical lighting and nostalgic fan service. The lights activate when plugged in, bathing your workspace in that signature Skynet red that instantly communicates “cybernetic organism” rather than “plastic headphone stand.” This feature transforms what could have been a simple novelty into something genuinely atmospheric. The wiring is cleverly concealed within the stand itself, maintaining the clean aesthetic while providing that essential touch of authenticity.

The side of the cranium features detailed mechanical elements that would make Industrial Light & Magic’s original model makers nod in approval. Even the base has been thoughtfully designed with enough stability to prevent toppling when supporting even the heaviest audiophile-grade headphones.

For the 3D printing enthusiasts looking to take this piece to the next level, an acetone bath can smooth out the visible layer lines for an even more screen-accurate finish. Fair warning, though: this finishing technique requires significant experience with 3D printing materials and can easily ruin the entire piece if performed incorrectly. The standard finish looks fantastic out of the box, so novices should resist the urge to experiment unless they’re comfortable potentially sacrificing their new cybernetic desktop companion to the gods of DIY finishing. A little masking, a little spray paint, and you can actually turn this plastic piece into a shimmering chrome skull that should have the average mother fervently whispering “Santa Maria” every time she enters your room.

While modern CGI has given us more elaborate killer robots, nothing has quite replaced the primal fear of that chrome skull with glowing red eyes. Priced between $121-151 depending on finish options, it’s on the expensive side for sure, but feels reasonable once you consider that it also serves as a detailed movie prop with a fair bit of functionality (just like this Sauron headphone stand). For anyone who grew up watching the Terminator films or simply appreciates retrofuturistic design, this headphone stand delivers both nostalgia and utility in equal measure. Your headphones finally have a resting place worthy of Judgment Day.

The post This Terminator T-800 Headphone Stand Is A Must-Have for Sci-Fi Audiophiles first appeared on Yanko Design.

The intersection of biotechnology and traditional craftsmanship reached a defining moment at Copenhagen’s 3 Days of Design 2025, where MycoWorks’ Reishi biomaterial took center stage in a groundbreaking exhibition that challenges our understanding of sustainable luxury materials.

Curated by: Marie-Louise Høstbo

A Living Material Meets Visionary Designers

“Reishi in the Nordic Light” brought together five of Denmark’s most celebrated design studios in an unprecedented collaboration. Curated by Marie-Louise Høstbo at Galerie MøllerWitt from June 18-20, the exhibition explored how this mycelium-based material responds to the subtle interplay of natural and artificial light that defines Nordic design philosophy.

The timing couldn’t be more significant. As the design world increasingly seeks alternatives to environmentally damaging materials, Reishi has emerged as a genuine contender in the luxury market. More than just an eco-friendly leather alternative, mycelium leather has luxury brands excited because of its remarkable quality. Major fashion houses including Hermès, Stella McCartney, and Calvin Klein are already partnering with mycelium innovators like MycoWorks.

Beyond Traditional Materials: The Science of Sustainable Luxury

Reishi represents a significant advancement in biomaterial technology. MycoWorks has developed a patented mycelium-based technology called Fine Mycelium, resulting in luxury mycelium leather that looks and feels like fine animal leather but with much lower environmental impact. The material meets or exceeds furniture industry benchmarks for flexibility, abrasion resistance, colorfastness and aging, while producing only 6 pounds of carbon dioxide equivalent for every 11 square feet manufactured, far less than animal or synthetic leathers.

The commercial validation is impressive. Reishi recently debuted in a Ligne Roset couch and on the inner door panels of a concept electric General Motors Cadillac. MycoWorks operates a 136,000 square foot plant in Union, South Carolina, using artificial intelligence and robotics to automate production, with materials shipped for tanning to Igualada, Spain.

Masters of Modern Danish Design

The exhibition featured an extraordinary roster of talent, each bringing decades of expertise to this biomaterial exploration. Cecilie Manz, who founded her Copenhagen studio in 1998, has become synonymous with refined industrial design through collaborations with Bang & Olufsen, Iittala, Muuto, and Hermès. Her recent work includes the launch of Bang & Olufsen’s A1 3rd generation speaker in May 2025 and the Maku screen collection, demonstrating her continued relevance in contemporary design. Named Scandinavian designer of the year in 2024, Manz’s participation signals the serious consideration biomaterials are receiving from established designers.

OEO Stamp

OEO Studio, founded in 2003 by Thomas Lykke and Anne-Marie Buemann, has garnered international recognition for redefining contemporary Scandinavian style. Their recent projects include designing the interiors for Noma Kyoto’s 2024 pop-up, and their work spans from Michelin-star restaurant interiors to medieval hotels in Italy. With pieces in the permanent collection of London’s Victoria and Albert Museum, their involvement with Reishi represents a significant endorsement of biomaterials in high-end design applications.

Maria Bruun

Maria Bruun brings particular gravitas to the collaboration. The 2022 Wegner Prize recipient also won the prestigious Danish Finn Juhl Prize in 2021, making her one of Denmark’s most decorated contemporary furniture designers. Her approach to working with natural materials, exemplified by acclaimed pieces like the Pioneer stool and Islets table for Fredericia, makes her collaboration with Reishi particularly compelling. Currently participating in the Bruno Mathsson Design Residency 2025, Bruun’s sculptural designs showcase a deep understanding of material properties.

Frederik Gustav

Frederik Gustav, established by Royal Academy graduates Frederik Weber and Gustav Dupont, continues pushing boundaries of construction and materiality from their Amager workshop, while atelier axo, founded in 2019 by Rose Hermansen and Caroline Sillesen, brings a crossdisciplinary approach characterized by poetic and structural sensibility.

Market Forces Driving Change

This Copenhagen showcase represents more than aesthetic experimentation. It signals a broader shift driven by market realities. The mycelium leather market, which reached $12 million in 2024, will soar up to $336 million by 2033, indicating massive growth potential for biomaterials. The global leather goods market exceeded $400 billion in 2021 and is expected to surpass $720 billion by 2030, creating enormous opportunity for sustainable alternatives.

The exhibition’s focus on light interaction reveals another crucial aspect of material design. By emphasizing how Reishi responds to Nordic lighting conditions, the designers demonstrated that sustainable materials can enhance rather than limit creative expression. Each object is designed to capture and diffuse light, emphasizing texture, subtle detail, and emotional resonance.

The material’s versatility was demonstrated across multiple venues during the Copenhagen event. Beyond the main exhibition, Reishi appeared at ADORNO, showcasing the DUK floating side table conceptualized with Studio TOOJ, and at BIG’s Materialism presentation, indicating broad industry validation.

The Future of Conscious Design

What makes this collaboration particularly significant is its demonstration that sustainable luxury doesn’t require compromise. As mycelium leather becomes more accessible, it serves as an excellent choice for designers looking to create quality products with a low carbon footprint. MycoWorks has focused on refining the material’s unique properties rather than attempting to imitate leather, creating what they call “not an alternative material, but a new category altogether.”

For designers and manufacturers watching this space, the Copenhagen exhibition offers a clear message: sustainable materials have moved beyond experimental status to become viable options for high-end applications. When designers of this caliber, from Manz’s industrial precision to Bruun’s material poetry, choose to work with emerging materials, it signals approaching mainstream adoption.

The exhibition ran from June 18-20, 2025, but its impact on sustainable design thinking will likely extend far beyond those three days in Copenhagen. As the design industry continues to grapple with environmental responsibilities, collaborations like this provide a roadmap for how traditional craftsmanship can evolve without losing its essential character and perhaps discover new expressive possibilities in the process.

The post When Nature Meets Nordic Design: MycoWorks’ Reishi Transforms Danish Craftsmanship first appeared on Yanko Design.

If you’ve dived into indoor gardening recently, you’re probably no stranger to the endless parade of pots and planters on the market. From starkly minimalist ceramics to high-tech self-watering planters, there’s no shortage of options for every plant lover. Still, so many of these designs play it safe, focusing on pure function or understated looks. Sometimes, your green space just needs a little extra lift-off.

That’s where the RocketPot comes in, ready to propel your plant collection to new heights, literally and figuratively. This rocket-inspired plant pot is all about personality, standing out with a retro-futuristic design that looks straight out of a sci-fi adventure. With RocketPot, your favorite succulent graduates from being a houseplant into a brave explorer, charting new territory from your windowsill or desk.

Designer: HpInvent

The pot’s playful design starts with its three-legged base, giving the whole piece a stable yet dynamic, ready-for-launch stance. The “capsule” top sits right above the “engine” module, so watering, cleaning, and repotting are easier than ever. This two-part construction means you can care for your plants without fuss or mess, and the removable design adds to the fun of assembling your own tiny rocket.

RocketPot doesn’t skimp on the details, either. Look closely and you’ll spot vent-like grooves and sleek, fin-shaped legs—clear nods to classic sci-fi rockets from your favorite movies or cartoons. These touches turn the planter into a little work of art, perfect for anyone who wants their decor to tell a playful story.

Of course, it’s not all about looks. The base includes a well-designed drainage tray, featuring a starburst pattern that keeps roots healthy and your shelves dry. Whether you’re nurturing herbs, succulents, or small leafy plants, RocketPot is available in several sizes to suit any greenery you want to launch into your indoor universe.

For plant fans with a love of space, design, or just a good sense of humor, RocketPot lets you show off your love for growing things in the most imaginative way. It transforms the humble plant pot into a little mission to spark joy, creativity, and maybe even a few conversations whenever friends come over. With RocketPot, your indoor garden can finally reach for the stars, figuratively only, of course.

The post Rocket-inspired 3D Printed Plant Pot Launches Playful Style for Indoor Gardens first appeared on Yanko Design.

Je ne suis pas nerd de l’impression 3D même si j’adore ma Bambulab parce qu’elle fonctionne à tous les coups sans me demander 3h de réglages. Et je sais aussi reconnaitre quand une idée est cool et c’est le cas ici avec cette imprimante 3D qui utilise un tapis de course comme plateau, ce qui lui permet d’imprimer de longues pièces.

On appelle ça une imprimante à bande et dans le commerce c’est vendu par exemple par Creality pour un peu plus de mille euros… Mais la faire soi-même avec du matériel de sport, c’est quand même plus cool. Surtout quand on trouve des tapis de course sur Leboncoin à 50 balles, abandonnés par leurs propriétaires après trois sessions de cardio et une prise de conscience que Netflix et les M&M’s c’est quand même bien plus sympa que de transpirer.

Except for the obviously portable kind, most lamps are designed to be left alone where you installed them, especially if they’re placed on walls or ceilings. Even desk lamps are rarely moved unless you’re redesigning your interior or replacing it with something else. You don’t even have any direct interaction with lamps these days, especially smart ones that you can either command with your voice or automate away completely.

In complete contrast, this lamp is almost designed to be played with. Yes, even for the variant that would hang from your ceiling. With a design that seems inspired by some fantasy clockwork contraption, this 3D printed Gear Cube Lamp brings more than just light but also an interactive experience that’s nothing short of a large fidget toy.

Designer: Ruven Bals

Playing with a lamp sounds a bit foolhardy. After all, there is heat as well as electricity involved. Even more worrisome if it’s a design that was just 3D printed and assembled on your own. And yet, that’s part of the adventure with this Gear Cube Lamp, which feels like a journey from start to finish, one that admittedly has a satisfying ending if you do reach the destination.

At first glance, the lamp looks simply like an elaborate cube with pieces whose internal edges are shaped like the tooth on a gear. Twist one corner, however, and all the other pieces turn in sync with each other. It’s reminiscent of the inner workings of a mechanical clock, or some steampunk contraption that threatens to unravel reality with each turn.

Making this elaborate interactive lamp is as much a puzzle as it is a work of art. You 3D print no less than 17 parts of different shapes and sizes, assembling them with the same precision as a model ship. You can opt to use a glueless construction, in which case you need to 3D print 24 additional connectors, or you can fall back to using glue when all else fails.

The end result might very well be worth all that effort, because you will have a lamp that is not only a light fixture but also, in some ways, a toy. The desk lamp variant definitely fits this better, as it can be within reach and easily lets you twist and turn the corners to get your mind wandering. At the very least, it’s an interesting decorative lamp whose form you can change every so often to add a bit of flavor to your space.

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Going to CES is a lot like going on a treasure hunt. You know you’re going to be surrounded by tech, but a lot of the stuff you see is either mediocre or iterative. Only one in maybe a thousand or two thousand products actually achieves something so game-changing, you stop, observe, interact, and then praise. At this year’s CES in Las Vegas, the Haply MinVerse was that product for me. At first glance, it looked like an unassuming input device, but the moment I placed my hand on it, everything changed. This wasn’t a typical mouse. It moved in ways no mouse ever had before—through three dimensions instead of two—and, more importantly, it let me feel what was happening on the screen.

The MinVerse, developed by Haply Robotics, introduces a level of tactile interaction that redefines digital creation. Instead of passively gliding through surfaces, it reacts to the virtual world, pushing back when encountering solid surfaces, offering the sensation of weight, and making digital objects feel real. Sculpting in 3D suddenly felt natural, as if I was actually pushing clay rather than manipulating polygons. Controlling objects felt precise, like my hands were directly influencing on-screen physics. I’ve spent years playing VR games knowing fully well that the virtual wall in front of me isn’t real… but with the MinVerse, I tried touching a 3D surface, and the mouse stopped my hand the moment it hit resistance. That’s truly mind-bending.

Designers: Felix Desourdy & Romain Bursi

Click Here to Buy Now: $670 $1500 ($830 off). Hurry, only 13/15 left! Raised over $80,000.

The MinVerse was developed by the folks at Haply Robotics as an iterative improvement to their Inverse robot. The Inverse (which I saw first) is a 3D input and haptic feedback device designed for industrial and scientific applications. It’s impressive, but it isn’t consumer-grade. Realizing that 3D input should be for consumers and smaller creators too, Haply designed the MinVerse, a smaller, flatter, and more advanced version of its predecessor. About the size of a large power-bank, the MinVerse sits at just 40mm or 1.5 inches in height, with the ability to be used on its own, attached to a computer mouse, or even a stylus – effectively revolutionizing fields like design, engineering, creative coding, game development, and even gaming itself.

The device measures 240mm (9.4 inches) wide, 120mm (4.7 inches) deep, and 40mm (1.5 inches) tall when folded shut. Open it and you notice how unique it looks compared to any mouse you’ve ever seen, but you also immediately get the hang of it in minutes without really any learning curve. The mouse’s parallel linkage arms allow for any movement on a 2D plane, but lift your hand off the floor and you realize that you can now manipulate the same cursor in another axis.

A 4kHz refresh rate means smooth usage whether you’re modeling or gaming. Plus, its force feedback, ranging from 2N to 4N, ensures that users don’t just see virtual objects but physically sense them. If a cursor hits a wall, the MinVerse pushes back, making the digital barrier feel solid… and I can’t stress enough how much of a quantum leap this combination of 3D manipulation and haptic reaction is for a lot of professions.

For 3D artists and designers, it offers a way to sculpt, model, and manipulate objects with realistic force feedback. Instead of relying solely on visual cues, they can feel the depth, texture, and weight of their creations. Game developers using software like Blender and Unity can position assets, adjust camera angles, and refine animations with an intuitive sense of touch, making workflows more natural.

Engineers and robotics enthusiasts benefit from the precise force feedback when controlling robotic arms or piloting drones. Instead of abstract joystick movements, they can physically feel the machine’s response, leading to more accurate and immersive control. Even gamers will find the experience transformative—whether it’s feeling the tension of a bowstring, the weight of a sword, or the kickback of a firearm, the MinVerse brings digital interactions closer to reality.

Imagine designing a product and being able to feel how its parts fit together before manufacturing. Or training in a simulated environment where the controls respond like real-world machinery. This technology has the potential to go beyond creative industries, extending into education, medical training, and even remote-controlled robotics.

I’ll be honest – Haptic feedback isn’t new, but integrating it into a consumer device at this level is a major leap forward. The device recreates the sensation of textures, resistance, and force, allowing users to feel surfaces, materials, and physical interactions as if they were truly there. The MinVerse does for mice what the Oculus Rift did in 2012 for VR headsets – make them popular, affordable, compact, and potentially create a new device category for consumers and professionals.

The MinVerse is available for a discounted price of $670 for early adopters, studios (both design and gaming), robotics startups, engineers, and 3D modelers/animators. It’s not cheap – but devices that are a generational leap aren’t supposed to be budget-focused. It comes in a gorgeous matte-metallic space-grey finish along with a comprehensive kit of modules. The modular attachments—including a stylus, a 2D mouse mode, and a VR controller—allow the MinVerse to switch functions seamlessly. The MinVerse connects via USB-C and features a wireless stylus, with a wireless mouse mode coming soon.

Click Here to Buy Now: $670 $1500 ($830 off). Hurry, only 13/15 left! Raised over $80,000.

The post Game-Changing Haptic 3D Mouse Lets You Feel Digital Objects Like They’re Real… We Tried It first appeared on Yanko Design.

In a seamless blend of technology and ecology, artist Raphaël Emine pioneers a new frontier in sculpture by creating 3D-printed ceramic works that serve as hotels for insects and small wildlife. Collaborating with WASP, a leading 3D printing company, Emine utilizes cutting-edge technology to craft intricate, nature-inspired habitats that offer refuge to various species. Named Les Utopies Entomologiques (Entomological Utopias), these structures not only showcase innovative design but also contribute to biodiversity conservation in urban and natural landscapes.

Designer: Raphaël Emine

Drawing from the natural world, Emine’s sculptures embody structural patterns found in honeycomb cells, worm and spider webs, plant fractals, and geodesic mineral formations. These inspirations manifest in the intricate detailing of his 3D-printed ceramic pieces, from their large, welcoming entrances to the decorative, spherical elements adorning their exteriors. Unlike conventional monolithic sculptures, Emine’s creations feature an array of galleries, tunnels, corridors, and balconies, offering insects and small wildlife a safe and dynamic space to inhabit.

Designed for outdoor spaces, these ceramic hotels support multiple cycles of insect and wildlife activity, even accommodating species through metamorphosis and seasonal changes. The porous and textural quality of the clay enhances their suitability as natural shelters, allowing them to seamlessly blend into ecosystems. Emine has successfully installed two of these works: Utopies Entomologiques I in 2023 and Utopies Entomologiques II in 2024. Both installations highlight the durability and adaptability of WASP’s 3D printing technology, particularly with the use of WASP 40100 LDM and Delta WASP 2040 Clay.

Beyond their ecological function, Emine’s sculptures explore baroque and biomorphic aesthetics, invoking a sense of organic grandeur. Their flowing, intricate forms recall elements of utopian architecture, transforming them into both artistic and functional entities. Installed in the palm grove of Parc Maison Blanche in Marseille, these ceramic nests are designed to be either freestanding or suspended from trees, allowing diverse interactions between the sculptures and their environment. Over time, these pieces have attracted a variety of insects and small wildlife, validating their effectiveness as alternative habitats.

The post Artist 3D-Prints Ceramic Homes For Insects In The Forest Inspired By Natural Habitats first appeared on Yanko Design.

Graphene batteries are developing into the next big improvement in our everyday devices. As opposed to Lithium-ion, these have the potential to improve the performance of our gadgets, but their disposal (like that of their counterparts) is also going to be a hazardous problem. This is where a new biodegradable fungal battery from the Swiss Federal Laboratories for Materials Science and Technology (Empa) may help.

Courtesy of this breakthrough by Swiss researchers, fungi – which can feed on sugar instead of charging – could be used to power devices in the near future. This is achieved through a 3D printed fungi for battery, which is biodegradable. It can digest itself from the inside once it has served its life purpose, a researcher suggests.

Designer: Empa

The fungal battery is 3D-printed using fungi cells mixed with printing ink (which is nutritious for the fungi and completely biodegradable) that can feed on sugar and be stored in a dried state for transportation and activated by “adding water and nutrients.” This is for the first time, according to the researchers that two types of fungi – yeast fungus for negative (or anode) side and a white rot fungus on the positive (cathode) side – have been combined to create a functioning fuel cell.

“Strictly speaking, the cell is not a battery, but a…microbial fuel cell.” Empa researcher Carolina Reyes informs. The fungi fuel cell has been developed over a period of three years. It does not generate a lot of electricity to maybe power your smartphone today, but can produce enough to “power a temperature sensor for several days.”

So, if you were thinking, these fungi cells are not going to replace the batteries in your everyday devices, instead such batteries when encased in beeswax “can power small sensors to monitor temperature, light, and humidity in agriculture and environmental research in remote areas.” In addition to running devices in the outdoors, these can decompose safely leaving no harmful traces behind. There is no information about making these cells commercially available anytime soon, but the research opens new horizons for the use of fungi to produce electricity and become probable battery alternatives for our portable devices.

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Apple has always been hailed as a trailblazer, breaking new ground in product design and services. Sometimes, however, some of the ideas it generates never materialize, especially if they seem too far ahead of their time. That dream may become a common thing decades later, as proven by one of Apple’s genre-defining products: the iPad.

Although it may seem that it was patterned after the tablet PCs of its time, the Apple iPad actually had an older pedigree, one that never saw the light of day. Thanks to modern technologies like 3D printing and accessible electronics, it is now possible to give those ideas flesh, so to speak, making us wonder what could have been if this portable Macintosh actually made it to market.

Designer: Kevin Noki (original Hartmut Esslingers)

The so-called “FlatMac” was envisioned by industrial designer Hartmut Esslingers back in the 80s as part of his portfolio that gave birth to the Apple IIc, Macintosh SE, and even Steve Jobs’ NeXT Cube. This was a time when tablet computers were basically unheard of outside of science fiction, and computers that could fit in a briefcase were a luxury very few could afford. While the FlatMac’s design is definitely archaic by today’s standards, it’s also the perfect target for a nostalgic reimagining.

Thanks to the ubiquity of 3D printers and 3D printing services, designing and making the distinctive shell of this portable computer turned out to be the easiest part of the project. The video, however, shows just how much we’ve romanticized the process by skipping important but painstaking laborious parts like sanding 3D-printed pieces down repeatedly. There’s definitely a considerable amount of manual labor involved, and that’s not yet getting to the electronics.

The bulk of the work for this real-life implementation of the FlatMac concept involves designing the custom-made keyboard, retrofitting hubs and power banks to fit the design, and even soldering new parts together. Fortunately, most of the parts can be bought off the shelf, but that doesn’t make the work easier. Ironically or perhaps fittingly, the display for this iPad predecessor was actually taken from a broken iPad. Even more ironic, the heart and brains of this contraption is also named after a fruit: the Raspberry Pi.

The end result is a truly impressive product that demonstrates not only the capabilities of modern technologies but also the vision of Esslingers’ original design. This FlatMac implementation even uses an actual floppy disk drive that can be used to install an old Macintosh OS via an emulator. It does support one modern feature that was never available in the 80s: a stylus like the Apple Pencil. It would have been a designer’s dream machine back then, though we can only judge that now thanks to hindsight.

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Lexus has collaborated with Bratislava-based research and design studio Crafting Plastics to create an installation that revolves around material objects. Dubbed Liminal Cycles, the creation is inspired by the all-electric Lexus LF-ZC (Lexus Future Zero Catalyst), implementing an abstract installation that explores the various senses and elements of a vehicle. This is in tune with the brand’s AI-driven software.

The mesmerizing kinetic structure is a layered skeletal made out of 3D-printed bioplastic (called Nuatan) in the shape of LF-ZC’s body. This installation designed by Germane Barnes, Michael Bennett (Studio Kër), Suchi Reddy, and Tara Sakhi is on display at the sculpture garden of the Institute of Contemporary Art, Miami. This breathable sculpture acknowledges the adaptability and responsive technology of the developing concepts of SDVs (Software Defined Vehicles) that envision the software-enabled customization of luxury vehicles.

Designer: Lexus and Crafting Plastics

The culmination of automotive technology and global art and design audience, the installation is a first mover advantage in the “bold and uncompromised experiences for the next generation,” according to Lexus’ press release. This 1:1 version of the real thing is not harsh to the environment in any way as the bioplastic material is based on 100% renewable resourcing with no traces of microplastics left behind. To enhance the dynamism of the sculpture it is coated with UV-responsive material skin. Thus, it reacts to environmental stimuli including changing position of lights, the intensity of UV radiations, or the viewer’s proximity. Based on these dynamic changes the sculpture can expand or contract in real-time, just like breath-like movements, thus representing the harmony between nature and technology.

Along with the replica of the LF-ZC, there are three complementing satellite installations that incorporate the design elements of the car to showcase the sensory inputs ranging from audio and visual cues. One of them is a flower-like sculpture representing the futuristic steering wheel of the car in a rugged earthy texture. It reacts to the user’s touch, responding with fluctuation in the volume and intensity of the sound composition. The second complementing installation is a reinterpretation of the headrest that emanates a Lexus-inspired perfume in response to the user’s interaction. The last one is a wind-activated lattice-like sculpture that responds to any active stimuli to reveal the brand’s logo, owing to the sensitivity of the bioplastic material in response to the shift in UV radiation.

The post Lexus Liminal Cycles is a multisensory installation based on the LF-ZC luxury EV first appeared on Yanko Design.

Even though a lot of coffee shops offer discounts if you bring your own mug or tumbler when you buy from them, there’s still a lot of disposable plastic cups that go to waste, staying in landfills for decades. Since people will still probably continue using them, we need to find a way to be able to properly recycle of this particular kind of waste.

Designers: Yoonjeong Lee, Minjoeng Kim, Changyu Seo, Songhee Kim, Geunyeong Do

Loop is a concept for a 3D printer that will be able to do just that. It actually looks like a coffee maker or a water storage device but its function is to actually turn those plastic cups to create scrubbers that can also be used at the cafes. Therefore it really lives up to its name as it creates a sustainable circulation structure.

The 3D printer melts the plastic cups that you put in it by grinding them into small particles. They are heated to turn them into a “soft and malleable state” then cooled to solidify. They are then extruded into the desired filament shapes for printing. The scrubbers can then be used in washing dishes at the cafe.

The suggestion of the product designers is for cafes to use this to incentivize their customers into returning the plastic cups instead of just throwing it. It would be interesting to see if something like this can actually change consumer behavior.

The post Loop 3D printer concept turns plastic cups to scrubbers first appeared on Yanko Design.

Quite literally the opposite of Back to the Future, this iPhone 16 Pro case is more like “Forward to the Past”.

When you buy a phone, chances are you spring for a case immediately for one of two reasons – to either protect your phone, or to personalize it. However, Printables user Retron Print may have invented a new reason to add a case to your phone. Meet the iPhone Retro Case – a case that takes your cutting-edge smartphone and transforms it into a marvel of old-school technology. The two-part case sandwiches your phone in between, turning it into an old-timey CRT monitor (albeit with a functional main camera and dynamic island). To complement the case’s old-school design, Retron Print also equipped the phone with a retro home screen and custom icons and widgets. Although I’d personally love to have the iPhone stick to a Macintosh-based system, this one is unabashedly Windows, with a non-functional Clippy icon on the screen. Quite a downgrade from Siri and Apple Intelligence, no?

Designer: Retron Print

The beauty of the case is that it justifies every aspect of its retro design without compromise. Look at monitors from times of yore and they often had thick, chunky bezels. While most monitors came with a ‘chin’ which would either house a floppy disk reader or just control buttons, this retro case shifts the asymmetric chin to the side, with front-facing buttons that actually work. Built cleverly into the case’s mechanism are buttons that face forwards, but trigger the action and volume buttons on the side of the iPhone. The detailing’s prebuilt into the case’s design, and all you need to really do is 3D print and then assemble.

On the front, the case features an oval frame reminiscent of old CRT monitors, although it doesn’t obstruct the screen in any way. It’s a small but meaningful detail that gives the case a distinctly vintage vibe. Around the back, long, deep grooves evoke the look of classic desktop computers and also provide better grip. These thoughtful design elements ensure that while the case embraces nostalgia, it still offers the user a modern experience with improved functionality and tactile appeal. Meanwhile, speaker systems are accounted for too, with slots on the top and bottom that let you listen to audio from your iPhone.

When it comes to color options, Retron Print suggests using filament in shades like sandy beige, gray, or light brown to fully capture the retro essence. These muted tones are reminiscent of the classic electronics from decades past, enhancing the nostalgic appeal. This attention to detail extends to the print process itself. The case’s front and back panels are best printed on a textured print plate, adding an extra dimension to the overall look and feel, while the buttons should be printed on a smooth plate to maintain their tactile nature.

For those eager to bring a bit of retro flair to their iPhone, the case is available for iPhone 14 and iPhone 15 models. You can purchase the STL files for just $10 on Printables.com and print the case yourself, although this just includes the retro case’s 3D files and not the wallpaper and app icons. When it comes to color options, Retron Print suggests using filament in shades like sandy beige, gray, or light brown to fully capture the retro essence. These muted tones are reminiscent of the classic electronics from decades past, enhancing the nostalgic appeal.

However, commercial use of this model is restricted. To sell prints of this design, users must become a member of the Retron Print Commercial Club, ensuring that the creator, AndrzejG, receives credit and support for their work. This stipulation ensures that while the model is available for personal use, it remains protected against unauthorized distribution.

The post This Retro iPhone Case turns it into a Makeshift Old Windows PC with Clippy and Internet Explorer first appeared on Yanko Design.

Dubbed the CRANE WASP, this 3D printer is also known as “the infinity 3D printer”. The impressive printer utilizes locally sourced clay, mud, or cement to 3D-print affordable homes. The printer even uses agricultural waste as aggregate to build homes. Currently, this system is being employed to construct some much-needed housing in Colombia.

Designer: United Nations Development Program (UNDP)

The United Nations Development Program (UNDP) recently purchased a Crane WASP to build affordable and effective homes in Colombia. The homes are built using local soil and resources. The printer is priced at around US$180,000, which is no small amount. Currently, more than a quarter of Columbian households are suffering from a lack of decent housing – an estimated 3.7 million. Two of three families who do have homes aren’t in great condition either, since the dwellings are subpar and need structural improvements. By utilizing locally sourced soil, the UN won’t need to bring in expensive materials from other lands. This tactic is bringing down costs significantly.

The Crane WASP ( World’s Advanced Saving Project) draws inspiration from the Mason Wasp – a little yet hard-working insect that uses mud to make its own nests. The UNDP intends to install the printers in challenging terrains, where it is difficult to set up expensive and conventional equipment. This equipment would have limited access as well. The Crane WASP is complemented by the local soil, and both work excellently to build homes for the impoverished or homeless.

The post This Wasp-Inspired 3D-Printer Is Making Homes To Tackle The Housing Deficit Problem In Colombia first appeared on Yanko Design.

Handheld gaming consoles are rocking the market again, in no small part thanks to the success of the Nintendo Switch nearly eight years ago. But for all the technological marvels these powerful computers bring today, they’re really just rehashing time-tested formulas, at least when it comes to the way we see and interact with games. Just like with much of computing, we’re simply seeing images rendered on a flat screen rather than the way we naturally see and interact with the world in three dimensions. Mixed reality and spatial computing are trying to challenge the status quote when it comes to typical computing scenarios, while this concept for a unique kind of console proposes a literally different perspective when it comes to the video games we play.

Designers: Tatsuya Kato, Shion Ito, Toshikatsu Nakamura, Toshiki Sato

Uplight definitely looks like no other gaming console, not just because of the different controller configuration but primarily for the lack of a screen. The design concept flips the convention of game design, with the experience being designed to conform to the unique traits of the console rather than the other way around. In this case, the unique characteristic is a projector hidden in the base of the console that displays the game on three-dimensional acrylic screens that can take on different object shapes specific to the nature of the game.

Think about those 3D puzzle games that require you to rotate a cube around to see it from different sides to solve the puzzle, except that cube is a literal and physical cube existing in the real world. This cube, made from translucent acrylic, is mounted on top of the Uplight console and displays the game projected into it. Players can use the console’s unusual controls to move the displayed image around or, better yet, use their own hands to actually turn the cube.

The 3D acrylic screen can be any shape, in theory, depending on the game experience being designed. It could, for example, be a giant translucent jellyfish for an aquatic adventure game, or even a tree branch for a game related to planting or vegetation. The possibilities are nearly endless, limited only by the angle that the integrated projector can reach and, of course, the size of the console.

That said, such a unique system will require games specifically designed for it, which also means designing new experiences that involve three-dimensional thinking as well as direct tactile interaction. Very few of today’s games have that, which will definitely challenge the creativity and ingenuity of game designers should Uplight ever become an actual commercial product.

The post Uplight game console concept with an interactive 3D screen changes the way you play first appeared on Yanko Design.

At the prestigious Salone Del Milano 2023 in Milan, Italy, the design lab HONOKA showcased their innovative TATAMI ReFAB PROJECT furniture series. This project, conceived by a team of forward-thinking product designers, leverages advanced manufacturing techniques like 3D printing to breathe new life into traditional Japanese tatami mats. The result is a fusion of heritage and cutting-edge technology that reintroduces the essence of tatami into contemporary living spaces.

Designer: HONOKA LAB

Tatami mats have been a staple of Japanese interiors for centuries, renowned for their aromatic qualities, humidity regulation, and odor reduction capabilities. HONOKA’s project aims to integrate these traditional benefits into modern furniture design. By blending recycled tatami with biodegradable plastic, they have created a sustainable material that is both adaptable and durable. This innovative composite can be 3D printed into a variety of functional and decorative home products, embodying the future of artisanal design while retaining a distinct connection to Japanese culture.

One of the key highlights of this project is its commitment to sustainability. Traditional tatami production often results in significant material waste, with nearly half of the plant-based material discarded. Honoka addresses this issue by recycling tatami waste and combining it with biodegradable plastic, significantly reducing the environmental impact. This material is not only eco-friendly but also versatile, allowing designers to explore new aesthetic possibilities and create unique forms that enhance modern living spaces.

The collection features several distinctive pieces that exemplify the versatility and beauty of the tatami-resin composite:

SORI and MUKURI:

These knitted tatami-resin furniture pieces reinterpret traditional Japanese shapes and textures through 3D printing. The unique structure of these items offers moderate transparency and varying visual expressions depending on the viewing angle. They are sturdy enough to support glass and other heavy materials, making them ideal for dining tables.

CHIGUSA:

Inspired by the traditional Japanese “Sen-suji” pattern, this stool combines multiple 3D-printed parts. The vertical pattern of the elastic and durable tatami-mixed resin provides a resilient and comfortable seating experience.

TABA:

A lighting fixture designed to resemble bundled grass, TABA uses a dripping technique in its 3D printing process. The tatami-mixed resin diffuses light beautifully, with light spilling through the gaps in its branches, creating a soft, natural ambiance.

TACHIWAKI:

This self-standing basin, inspired by the Japanese “Tachiwaki” pattern, features multiple stripes created by varying the purging speed of the 3D printer. Its water-resistant nature makes it suitable for innovative bathroom designs.

YOCELL:

A stool that draws from the traditional Japanese “Asanoha” pattern, it uses the layer marks of the 3D printer to create unique visual effects by aligning them in different directions. The modular shape makes it sustainable even for transportation and packaging.

AMI:

Combining the aesthetics of traditional Japanese 2D weaving with modern 3D printing, the AMI stool and lampshade feature intricate designs created by dripping resin from the air. The resulting pieces change their expression based on the viewing angle.

KOHSHI:

This lattice-like vase is reminiscent of Japanese architecture and allows for flexible plant arrangements, inspired by the art of Ikebana. This design has such a lightweight aesthetic, making any room feel airy. It’s perfect for minimalistic homes.

The post The TATAMI ReFAB PROJECT Is A Product Of Fusing Japanese Traditions With 3D-Printed Sustainability first appeared on Yanko Design.

To celebrate 8 years of cutting-edge devices that have helped the creative community build like never before, Snapmaker announces a Premium version of their flagship Artisan all-in-one making device. The Artisan, which debuted in 2022, is a multipurpose desktop device that laser cuts, 3D prints, and even CNC machines all thanks to a compact form factor and a brilliant modular design that lets you swap out 3D printing, CNC, and laser modules whenever you need. A whopping 400x400x400mm work area means you can create, prototype, or set up a factory line right on your table, and the Artisan Premium now features an upgraded 40W laser module that’s 4x more powerful than the one on its 2022 model. Along with this, the company is also ushering in its 8th anniversary with a 48-hour Makerathon event that fans can watch online, coupled with offers, gifts, and a referral program that gets you rewards!

Designer: The Snapmaker Design Team

Click Here to Buy Now: $2,599 $2999 ($400 off). Hurry, deal ends in 48-hours!

The Artisan Premium is Snapmaker’s top-of-the-line creating tool. A 3-in-1 device that prints, engraves/etches, and CNC machines, the Artisan Premium offers a large work area and still saves space by offering so many functions in one workstation. An all-metal design ensures factory-grade precision, an enclosure contains the dust and protects your eyes from laser damage, and a control unit with a 7″ touchscreen allows you to easily operate the Artisan with ease. On the inside, a modular interface lets you plug in any of Snapmaker’s variousmodules, giving the Artisan its functions.

3D Printing: Thanks to the optimized transmission system and motion control algorithm, Artisan features a high dimensional accuracy when printing at a high speed.

Laser: Coming with the 10W Laser Module, Artisan is capable of faster and deeper cutting on more materials, and delivering refined laser engraving.

CNC: The high-rigidity linear modules and high-speed spindle empower the CNC module to carve or cut smoothly on various materials with a high dimensional accuracy.

The new 40W laser module is now more powerful than ever, allowing you to cut through thicker and tougher materials faster, giving you mastery over paper, fabric, leather, wood, plastic, metal, brick, glass, and many more materials. The 3D printer features a dual-extruder design that lets you print in multiple colors or add different material supports, and the 200W CNC machine is perfect for subtractive prototyping from wood, or even soft metal and stone. The 400x400x400 working area gives you the ability to build large-scale models, and the inclusion of an air pump in the Premium variant helps clear the working area while the Artisan is doing its job.

Along with the reveal of the Artisan Premium, which goes on sale on May 28th with an MSRP of $2999 USD, or €3299 EUR (vat included) if you’re in Europe, Snapmaker is even holding a 48-hour Makerathon with the theme “Play Well” that reflects the company’s roots in fun and exploration and its ongoing commitment to innovation and creativity. Held on 31st May and 1st June, the Makerathon will see Snapmaker’s entire company divided into 10 teams that will then participate in a series of challenges where they’re required to “Make Something Wonderful”. The event will stream on Snapmaker’s Facebook page, and will also coincide with Snapmaker’s Print & Play Challenge, a video contest that all Snapmaker users can participate in.. All you need to do is print anything you can play with (toys, games, music instruments, etc.) and film a video of yourself playing with it. The first five submissions will be screened at the Makerathon, and the Print & Play Challenge will continue all the way up until the 16th of June or Father’s Day. You can participate in the Print & Play Challenge, or even visit Snapmaker’s website to explore tonnes of new content, including printable 3D models of Snapmaker’s 3-in-1 machines, massive discounts on all products, and a referral program that offers a FREE 1064nm IR Laser Module to anyone whose friend buys an Artisan Premium.

Click Here to Buy Now: $2,599 $2999 ($400 off). Hurry, deal ends in 48-hours!

The post Snapmaker unveils a powerful all-in-one desktop device for 3D printing, laser cutting, and CNC, for its 8th anniversary first appeared on Yanko Design.

Unless you are Elon Musk and believe chess is “too simple to be useful in real life,” you know, chess is a strategic and competitive game. It requires meticulous planning and clear objectivity. If you don’t have an objective in mind, your moves will be directionless and you will end up wasting time thinking and moving without purpose. Through the gameplay, it instills cognitive thinking, benefits mental well-being, and can now be a source of thoughtful restoration in the war-torn Ukraine.

Cuibiono, a design-first not-for-profit, has been at the forefront of providing aid to the regions where geopolitical conflicts like war have damaged humanity. With the new chess set, it has conceived using recycled biomaterials (PLA) and 3D printing, the NGO is giving everyone a chance to jump onto their journey of creativity, sustainability, and giving back, helping make a difference and restore homes in Kharkiv, Ukraine.

Designer: Cuibiono

The stackable chess set is inspired by the war-torn and displaced Kharkiv, which has been on the receiving end of the Russian invasion. Called the Kindachess – S, this set 3D-printed from naturally degradable bioplastics – features a board segmented to depict the nation under war. It is designed as fractures on the earth’s crust. But when it’s stacked to be stored, the dividing lines on the board form the Ukrainian flag to depict unity and the satisfaction of returning home.

The idea of a chess set whose profit from sales proceeds would go into restoring homes in Kharkiv is the brainchild of designer Liam Hwang of Cuibiono. The compact, stackable chess set is 3D printed sustainably in Hackney, London. It measures 200mm x 200mm when laid out for playing and fits into a case measuring 290mm x 164mm after use.

This is not Cuibiono’s first such sustainably driven product with the idea of giving back. The NGO states, “we are committed to sustainability.” All the products designed in their facilities are crafted with eco-friendly materials (like recycled PLA in the case of the chess set). The chess set, selling in two color contrasts: wheat and sky, ivory and walnut, is now available at £200 (approximately $250). Buy now, and support the cause becoming a part of the community that cares.

The post 3D Printed Chess Set pays respect to the Ukraine invasion with a poignant war-themed design first appeared on Yanko Design.