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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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.

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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.

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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.

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.

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.

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