Dreamlike and futuristic, the work of designer Iris van Herpen is set to show at the Brooklyn Museum in New York in May 2026. The opening will mark the North American debut of the traveling exhibition, dubbed Iris van Herpen: Sculpting the Senses, which brings more than 140 couture works into dialogue with design and scientific artifacts.

The museum has a long history of fashion exhibitions, and this one situates Iris van Herpen’s practice within a broader design conversation. Exhibits showcase how her garments operate as constructed environments for the body, shaped by material research, digital fabrication methods like laser-cutting and 3D printing, and a sustained engagement with natural systems.

Iris Van Herpen, Morphogenesis Dress, from the Sensory Seas collection, 2020. laser-cut and screenprinted mesh, duchesse satin, and laser-cut Plexiglas. collaborator: Philip Beesley. model: Yue Han. photo © David Uzochukwu

digital fabrication for dreamlike creations

Throughout the galleries of the Brooklyn Museum, Iris van Herpen’s garments appear as sculptural forms in motion and unaffected by gravity. Laser-cut meshes, layered polymers, and translucent synthetics register subtle shifts in posture and movement. This way, the designer gives each piece a sense of responsiveness as rippling designs often hover between rigidity and flexibility.

Many works foreground the mechanics of making. Three-dimensional printing, hand pleating, and experimental bonding techniques remain visible, so that the visual language is defined by its fabrication processes. This emphasis on construction aligns the exhibition closely with industrial design and architecture, where form is guided by material behavior rather than just decoration.

Iris van Herpen, Labyrinthine Kimono Dress, from the Sensory Seas collection, 2020. glass organza, crepe, tulle, and Mylar. model: Cynthia Arrebola. photo © David Uzochukwu

iris van herpen’s scientific references

Scientific reference points shape the exhibition design of Iris van Herpen: Sculpting the Senses, as marine biology, anatomy, physics, and astronomy inform the sequencing of the Brooklyn Museum galleries. As such, the progression of spaces moves from themes of aquatic environments toward cosmic scales. But these disciplines are more than just backdrops. They influence how garments occupy space and how viewers circulate among them.

Scientific artifacts and contemporary artworks appear alongside the couture pieces to reinforce this approach. Fossils, skeletal structures, and even optical experiments echo the garments’ geometries. The effect remains measured and deliberate, encouraging close observation rather than quick a walkthrough.

Iris van Herpen. Sensory Seas Dress, from the Sensory Seas collection, 2020. PETG and glass organza. collaborator: Shelee Carruthers. models: Cynthia Arrebola and Yue Han. photo © David Uzochukwu

Iris Van Herpen, Morphogenesis Dress, from the Sensory Seas collection, 2020. laser-cut and screenprinted mesh, duchesse satin, and laser-cut Plexiglas. collaborator: Philip Beesley. model: Yue Han. photo © David Uzochukwu

project info:

name: Iris van Herpen: Sculpting the Senses

artist: Iris van Herpen | @irisvanherpen

museum: Brooklyn Museum | @brooklynmuseum

location: 200 Eastern Parkway, Brooklyn, NY

opening: May 16th, 2026

photography: © David Uzochukwu | @daviduzochukwu

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Digital by Nature: The Art of Miguel Chevalier at Kunsthalle München presents the artist’s largest solo exhibition in Europe to date, curated by Franziska Stöhr. The exhibition surveys Miguel Chevalier’s practice from the early 1980s to the present, tracing his sustained engagement with digital technologies as both tools and subjects of artistic inquiry.

Born in 1959 in Mexico City and based in Paris, Chevalier has worked with computers as a creative medium for more than four decades. The exhibition brings together approximately 120 works that reflect the evolution of his approach, from early experiments with pixels, binary code, and algorithmic systems to recent projects that explore the intersections of digital and analog processes, technology and nature, and human interaction with computational environments.

The presentation includes a wide range of media and formats, such as 3D printed sculptures produced in ceramic and recycled plastic, robot-generated drawings, machine-produced embroidery and tapestries, and video works created using artificial intelligence. Large-scale generative and interactive installations form a central component of the exhibition. In these works, algorithmic systems continuously generate visual compositions that respond to visitors’ movements, establishing a reciprocal relationship between human presence and machine-driven processes. These installations are accompanied by sound compositions by Jacopo Baboni Schilingi, which further structure the spatial and sensory experience.

Complex Meshes | music: Jacopo Baboni Schilingi, software: Cyrille Henry, Antoine Villeret, image: Thomas Granovsky

visualizing Interaction, Growth, and Transformation

Two works were developed specifically for Kunsthalle München. Complex Meshes Robot Drawings is a performative installation in which a robot produces drawings based on visual motifs from Chevalier’s interactive series Complex Meshes. The artist defines the parameters by selecting the paper and drawing tools, while the robot executes the marks. Originally designed for industrial repetition, the robotic system is reprogrammed to produce variable, gesture-like drawings that foreground the translation between programmed movement and hand-drawn expression.

The second new work, In Vitro Pixel Flowers, expands Chevalier’s ongoing exploration of digital botanical systems. The installation presents his largest virtual herbarium to date, allowing visitors to generate plant forms through an online interface and observe their development within a greenhouse-like environment. The digitally generated plants emerge, evolve, and disappear in continuous cycles, forming a shared, participatory landscape that visualizes processes of growth, variation, and renewal.

Across its diverse works, Digital by Nature positions digital technology not only as a means of production but as a framework for examining systems, transformation, and interaction. The exhibition emphasizes Chevalier’s long-term investigation into how computational tools can shape visual form, spatial experience, and collective participation within contemporary art contexts.

Complex Meshes | music: Jacopo Baboni Schilingi, software: Cyrille Henry, Antoine Villeret, image: Thomas Granovsky

The Origin of the World | music: Jacopo Baboni Schilingi, software: Cyrille Henry, Antoine Villeret, image: Thomas Granovsky

Complex Meshes | music: Jacopo Baboni Schilingi, software: Cyrille Henry, Antoine Villeret, image: Thomas Granovsky

Meta-Nature AI | music: Jacopo Baboni Schilingi, software: Claude Micheli, image: Nicolas Gaudelet

The Origin of the World | music: Jacopo Baboni Schilingi, software: Cyrille Henry, Antoine Villeret, image: Thomas Granovsky

In Vitro Pixel Flowers | software: Samuel Twidale, image: Thomas Granovsky

Complex Meshes Robot Drawings | industrial robot, felt-tip pen, paper, software: Ludovic Mallegol

The Eye of the Machine | software: Claude Micheli, image: Thomas Granovsky

In Vitro Pixel Flowers | software: Samuel Twidale, website: Ollie Smith, interface: Elise Michel

Fractal Flowers | software: Cyrille Henry, image: Thomas Granovsky

Euphorbia Alchimica Veritas of Rousseau 1 > 12 | image: Thomas Granovsky

Brain Corals Stratigraphy | image: Thomas Granovsky

project info:

name: DIGITAL BY NATURE – The Art of Miguel Chevalier Kunsthalle München / Munich
artist: Miguel Chevalier | @miguel_chevalier

location: Munich, Germany

museum: Kunsthalle München / Munich | @kunsthallemuc

dates: September 12th, 2025 – March 1st, 2026

curator: Franziska Stöhr

curatorial assistant: Jasmin Gierling

music: Jacopo Baboni Schilingi

director: Roger Diederen

exhibition production: Voxels Productions

exhibition design: Martin Kinzlmaier

photographer/videographer: Thomas Granovsky

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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CIRCULUS Atelier is the working studio of Oka Architecture Design & Co., Ltd. (OAD) and a built application of the practice’s CIRCULUS architectural framework, which examines circularity, continuity, and long-term adaptability in design. Conceived as both a workplace in Yokohama, Japan, and a prototype, the project investigates how digital fabrication can inform architecture as a system that integrates exterior enclosure and interior spatial treatment within a unified material logic.

The building’s exterior is defined by KNIT, a modular facade system developed and fabricated by the practice using large-scale 3D printing. Rather than functioning as a conventional cladding, the facade operates as a woven surface composed of repeated printed units. Variations in geometry across the modules create depth and shadow, allowing the facade to respond to changing light conditions over time. The fabrication process remains legible, with the method of production directly expressed in the architectural surface.

all images courtesy of Oka Architecture Design & Co., Ltd. (OAD)

Suspended 3D Printed Elements Shape CIRCULUS Atelier’s interior

Inside the atelier, Studio Oka Architecture Design & Co., Ltd. (OAD) applies the same material approach in a different manner. Flexible 3D printed elements are suspended from the ceiling, forming a draped installation that introduces a soft overhead layer above the workspace. This suspended system filters daylight, moderates acoustics, and defines spatial zones without enclosing them. The ceiling is treated as a hanging field shaped by gravity and material behavior rather than as a rigid, fixed plane.

The interior installation relies on the inherent flexibility of the printed material, allowing elements to fold, overlap, and deform naturally. Through digital fabrication, softness becomes a controlled architectural attribute rather than a purely ornamental effect. Both the KNIT facade and the interior components are designed to be demountable, repairable, and reconfigurable, aligning with the CIRCULUS framework’s emphasis on reuse and adaptability.

overall view of the CIRCULUS atelier, wrapped in a 3D printed KNIT facade resembling a woven surface

a studio Designed for Adjustment, Reuse and Long-Term Flexibility

All elements are produced in-house using 3D printing, enabling precise geometric control while limiting material waste. Architecture is treated as an evolving assembly rather than a finished object, capable of adjustment and transformation over time. As a working studio, the atelier provides a setting in which material performance, spatial comfort, and durability can be evaluated through daily use.

CIRCULUS Atelier operates as both a functional workplace and a test site for architectural research. By integrating design, fabrication, and occupation within a single environment, the project presents an approach to architecture that prioritizes continuity, material behavior, and long-term flexibility within a circular design system.

detail of the KNIT facade around the window opening reveals the layered rhythm of the 3D printed components

the KNIT modules showcase subtle variations created through digital fabrication

interior view of the atelier workspace beneath a softly draped, textile-like suspended 3D printed installation

after 3D printing, the discharged material is reused as a wall-mounted object, reflecting circular principles

close-up of a soft, flexible 3D printed component used in the suspended interior installation

rejecting the fixed geometry of conventional shelving, 3D printed cells are assembled to form a unique shelf

light passing through the suspended elements creates a layered and atmospheric ceiling condition

a folded 3D printed screen resting on a chair, emphasizing the softness and flexibility of the material

the draped installation gently defines zones within the workspace without enclosing the space

oblique view of the suspended elements, emphasizing depth, repetition, and material softness

project info:

name: CIRCULUS Atelier
architect: Oka Architecture Design & Co., Ltd. | @o.a.d.co.ltd

location: Yokohama, Japan

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Located on Jambiani beach along Zanzibar’s east coast, Drifting Cloud is a kinetic installation by Vincent Leroy that interacts directly with the wind. The sculptural work is constructed from carbon rods, 3D printed joints, and kite-canvas discs, forming a lightweight structure capable of responding to subtle air currents.

The installation’s modular components move independently while remaining part of a connected whole, generating a dynamic, constantly changing composition. Movements vary according to wind strength, ranging from fine vibrations to broader gestures, producing an organized yet unpredictable rhythm.

all images courtesy of Vincent Leroy

Vincent Leroy integrates coastal context into kinetic artwork

Positioned above the shoreline and amid the seaweed farms, the installation by Paris-based artist Vincent Leroy integrates with its environment without interfering with local activity. Its floating arrangement translates wind into visible motion, offering a spatial and temporal reading of environmental forces. Drifting Cloud demonstrates the interplay between lightweight materials, modular construction, and environmental responsiveness in a coastal context.

Drifting Cloud is a kinetic installation on Jambiani beach, Zanzibar

the work responds directly to the coastal winds

modular components move independently yet remain connected

carbon rods, 3D printed joints, and kite-canvas discs form its lightweight structure

movements shift dynamically with the wind’s strength

each element contributes to an organized yet unpredictable rhythm

Drifting Cloud’s kinetic rhythm mirrors the movement of the shoreline and wind

project info:

name: Drifting Cloud

designer: Vincent Leroy | @vincent_leroy_studio

location: Zanzibar, Tanzania, Africa

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Tùr House is a speculative architectural research project by Barry Wark Studio that explores adaptability, disassembly, and long-term material reuse as foundational design principles. The proposal challenges conventional notions of buildings as fixed and disposable objects, instead framing architecture as a system capable of evolving over time through repair, modification, and reconfiguration.

The residential project is centered on a single-material building envelope composed of large-scale 3D printed sand blocks. This facade operates as an independent outer layer, separated from the structural frame and interior spaces. By avoiding complex, multi-layered wall assemblies, the design proposes a simplified and circular construction approach in which materials can be removed, reused, or replaced with minimal waste. Each sand block is printed at a scale sufficient to form a thick, load-bearing facade that also functions as the building’s thermal barrier. Openings are carved directly into the monolithic elements, with recessed glazing that maintains thermal continuity while admitting daylight. The fractured geometry of the elevations allows individual components of the facade to be added or removed over time without disrupting the overall architectural coherence.

the white, 3D printed blocks when first built | all images by Analog1

Flexible Interior Framework Supports Long-Term Spatial Change

Behind the envelope, a lightweight structural system of steel and 3D printed columns supports a flexible interior layout. Glass partitions provide acoustic separation while allowing internal spaces to be reconfigured independently of the outer shell. The spatial sequence progresses vertically, with open communal areas at ground level transitioning into more private rooms above, before expanding again into a double-height living space and mezzanine.

The house is initially situated at the edge of a forest and is conceived to change alongside its environment. Recesses and ledges within the thick facade are designed to collect organic matter such as leaves, moss, and lichen, allowing weathering to become an integral aspect of the architectural expression. Rather than resisting environmental influence, the building incorporates gradual transformation as part of its material and spatial logic. Through material density, controlled openings, and long-term adaptability, Tùr House by Barry Wark Studio positions architecture as a durable framework capable of evolving slowly over time in response to both use and landscape.

entry pathway to the house, 100 years later

forest has grown around the building over time

100 years later, blocks weather and merge with the environment

the project by Barry Wark Studio explores adaptability, disassembly, and long-term material reuse

rain and leaves begin to take hold of the facade

Tùr House in the landscape when first completed

large-scale 3D printed sand blocks are used as Tùr House’s sole facade material

living room with a large, sliding picture window with views over the landscape

living room with monolithic blocks and timber wall

kitchen view with 3D printed stone column

project info:

name: Tùr House
architect: Barry Wark Studio | @barry_wark

renders: Analog1

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Set beneath a dense canopy of trees in India’s Ashoka University, The Hungry Caterpillar by Lyth Design rethinks the idea of a food street as a place of shelter, curiosity, and ecological responsibility. Designed by architect Apoorva Shroff, the project moves beyond the logic of fast consumption, proposing a child-friendly environment shaped by nature-inspired form, low-impact construction, and material efficiency.

The concept takes shape through the simple yet evocative image of a caterpillar feeding calmly within its habitat, protected by foliage and form. From this initial intuition, the bamboo structure evolves into a cocoon-like street structure that invites lingering.

Sustainability is embedded into Ashoka University’s canteen at multiple scales, beginning with its kitchens. Inspired by food trucks, the modular cooking units are 3D printed in concrete and assembled on-site. Produced by Micob Pvt. Ltd. in Ahmedabad, the printing process uses an additive method that deposits material only where needed, reducing construction waste compared to conventional building techniques. The automated fabrication shortens construction time and lowers energy demand, while the cavity between the printed walls acts as thermal insulation, limiting heat transfer and improving energy performance.

all images courtesy of Lyth Design

bamboo gridshell by Lyth Design shields the project in India

Overhead, Mumbai-based practice Lyth Design unifies the food street by a distinctive bamboo gridshell that gives the project its caterpillar-like identity. Drawing from natural geometries, the shading structure curves in two directions, achieving strength through form rather than mass. Like a leaf that folds efficiently toward sunlight, the bamboo shells use minimal material while spanning large distances. The longest gridshell extends 19 meters and is composed of four layers of bamboo poles, each measuring 30 to 50 millimeters in diameter and laid at 45-degree angles. A crushed bamboo mat completes the surface, reinforcing the structure while maintaining a low environmental footprint.

The structural system was developed by Atelier One in London, with architectural detailing by Jurian Sustainability, and construction carried out by Jans Bamboo. The use of slender bamboo sections enables the complex double curvature, resulting in a lightweight yet expressive canopy that balances craftsmanship, engineering precision, and ecological sensitivity.

Seating elements, developed by Placyle, are made from recycled plastic waste, transforming discarded material into weather-resistant pieces suited for outdoor use. Rather than treating sustainability as an abstract principle, the furniture translates it into a tangible, everyday interaction, where reuse and longevity become part of the user’s physical experience of the space.

a bamboo gridshell canopy arches over the food street

a shaded public space beneath the tree canopy

the double-curved bamboo structure frames views across the campus

woven bamboo members create a lightweight gridshell that spans the food street without heavy supports

the bamboo gridshell bends and narrows

emphasizing the caterpillar-like form that inspired the project

3D-printed concrete kitchen units sit beneath the bamboo canopy

organized as modular food stalls

outdoor seating is arranged along the shaded walkway between kitchen units

recycled plastic tables and chairs provide durable seating for everyday campus use

the bamboo canopy rests lightly on the ground

project info:

name: The Hungry Caterpillar

architect: Lyth Design | @lythdesign

location: Ashoka University, Sonipat, Haryana, India

lead architect: Apoorva Shroff

structural engineering: Atelier One, London

architectural detailing: Jurian Sustainability

bamboo construction: Jans Bamboo

fabrication: Micob Pvt. Ltd., Ahmedabad

furniture: Placyle

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Forte3D introduces 3D printed cellos and violins that use carbon fiber as the main material instead of wood, providing resistance to cracks and deformities. Assembled by hand, the string instruments adopt the lightweight material, which doesn’t react to temperature and humidity and avoids any morphing when the environment changes over time. The idea stems from lead inventor and CEO Alfred Goodrich and Yale Engineering senior student Elijah Lee, co-founders of Forte3D, when Elijah was asked by Alfred, his high school orchestra director, if he could use his 3D-printing skills to help design a cello that was strong, low-cost, and easy for more people to use. The pair worked with computer-aided design tools so they could test different thicknesses of the instrument. 

They could shape the sound in a more controlled way with this, and Elijah Lee explained it helped them ‘dial in’ the acoustics because they controlled every part of the structure. The final design of the cello doesn’t copy a traditional wooden one, as the top and back panels are made from flat sheets of carbon fiber. The ribs, neck, and scroll are made by 3D printing, using polymer material. Some old parts stay the same, including the sound post, fingerboard, and bridge. The resulting instruments allow musicians to bring their cello or violin to places without fear of damage, all the while keeping the quality of the sound the same as their wooden counterparts.

all images courtesy of Forte3D and Yale University

Adjustable string height system for each musician’s needs

The company adds that playing comfort is essential since, if the strings are too high or too low, the musician feels pain in the hands and their personal technique becomes harder. The team added an adjustable string height system so each player can move the strings up or down on their 3D printed violin or cello. They only need a small tool, and luckily, this comes with the carbon fiber-made instrument. The cello comes with tuning pegs that move smoothly as well as devices for stopping wolf tones. The bridges sit in the correct place with the help of a printed guide, and all these design parts work together to support playing and sound production.

Forte3D’s violin also allows players to adjust its string height. Its body has a hole at the back to support sound flow, and the violin ships with strings and tuning pegs that make tuning easier. Like the cello, it can handle weather changes and bumps. Compared to wood, cleaning is simpler with the carbon fiber-made musical instruments because a cloth and common household cleaners are enough to polish them, unlike with wood, which may need special products for maintenance. For the team, their 3D printed violins and cellos aren’t about style. It’s about what people need, they say, which means less worry about damage, easier carrying, simpler care, and lower cost.

by using carbon fiber, the instruments may have a sturdier frame

detailed view of the string system

assembled by hand, the string instruments adopt the lightweight material

detailed view of the wooden bridge

Forte3D co-founder and Yale Engineering senior student, Elijah Lee with the 3D printed cello

side profile of the cello

view of the 3D printed violin

the violin can also resist deformities and cracks

the parts are assembled by hand

rear view of the violin

project info:

name: Carbon Fiber Cello and Violin

company: Forte3D | @forte3dinstruments

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Meet Tinytron, a portable tiny TV that can play movies using an SD card and stream videos from computers connected to WiFi. Built with a 3D printed case, the miniature device runs on a rechargeable battery and has only one control button. Its main heart lies in the use of the ESP32-S3 chip, which chip handles the display output, WiFi features, and file access. The screen is a 1.69-inch panel fixed directly to the development board, and the device can read MJPEG video files from a microSD card. When it’s not present, it streams video from a computer through WiFi using a web interface, which means the user only needs a browser to set it up (no need to install extra software).

The designer, named Tom, wants to use as few hardware parts as possible for his portable tiny TV called Tinytron, hence the use of only three main materials, namely the ESP32 board, an SD card reader, and a battery. The device uses one physical button for all commands. A short press pauses or resumes playback. A double press plays the next file. A long press turns the device on or off. The system also monitors the battery voltage and shows the value on the screen and in the web interface. When the portable tiny TV Tinytrone starts, it switches to SD Card Mode and looks for MJPEG .avi files stored on the card. When files are found, the device plays them in alphabetical order.

all images courtesy of Tom via Youtube and Github

How to make your own miniature television

For those who want to build the miniature device, the designer documents the process in his post, including the many design influences he draws from to create his gadget. The assembly begins with the SD card breakout board. A six-pin header is soldered to the board, and the pins on the underside are trimmed. This step creates the main connection point for the microSD card system. The next task is the preparation of the SPI cable that comes with the ESP32 development board. The cable contains several wires, but not all of them are needed for this project (the instructions detailed in the post list which wires stay and which ones must be cut). The remaining wires link power, ground, and data lines between the ESP32 board and the microSD reader. Electrical tape is wrapped around the male pins to form a simple connector that can be removed when needed. 

The instructions warn that reversing the connector would swap power and ground, which would damage the hardware. After the wiring step, the bezel is glued to the front case piece. The method uses tape as a hinge to keep the alignment steady before the glue sets. The rest of the case connects with snap-fit parts, so it does not require tools. The display is inserted first, with attention to the position of the push button and the USB-C port. The SPI cable must be plugged into the SD board with the blue wire on the left. When closing the back case, care is needed to avoid pressing the battery, which could be unsafe if damaged. Then, the case can be reopened through a small side notch with a flat tool. So far, the maker has only uploaded the video of assembling the portably tiny TV Tinytron, and he has long commented on his plans to make a demo video to show how the device works.

USB port at the top of the portable tiny TV, Tinytron

the case connects with snap-fit parts

the cable contains several wires, but not all of them are needed for this project

side view of the portable tiny TV, Tinytron

the miniature device can play videos using the SD card

the shell of the device is 3D printed

project info:

name: Tinytron

design: Tom

instructions: here

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Essesi Design Studio designs Nimble, a concept modular 3D printed prosthetic fin that can help athletic amputees swim again. An attachable technology, the assistive object replaces the foot and lower leg that users have lost. It uses a carbon fiber for the shell, and inside this main body sits a lattice structure made of rubber material.

This part bends during movement, so in this case, when the swimmer kicks, the lattice structure flexes, creating thrust that moves them forward through water. The same lattice structure handles another task: it absorbs impact to protect the remaining limb section from experiencing discomfort or pain during swimming.

all images courtesy of Essesi Design Studio

Modular assistive device features bendable lattice structure

The design studio shapes the outer shell from carbon fiber to make the modular 3D printed prosthetic fin lightweight and robust. They then print the internal lattice component from rubber, and a plastic section connects these two parts and attaches the overall design to the user’s limb. The geometric structure within the piece returns to its original shape during swimming and extreme movements, thanks to the use of rubber. Five objects make up the modular 3D printed prosthetic fin. The first is the main body, which shelters the torch-shaped lattice structure. 

To lock the geometric piece inside, the top and bottom come with rotatable locks, with the upper part suitable for prosthetic attachment. The last piece is the fin, which is secured at the bottom using a twist lock. It is time to swim, then. When the swimmer kicks downward, the lattice compresses and stores energy, and when they complete the kick, it snaps back to how it was before. This snap creates the thrust force, which is the same compression action that distributes forces across the lattice structure instead of concentrating them at the attachment point on the user’s limb. This may make it easier for the athletic amputees to swim without exerting too much effort. So far, the modular 3D printed prosthetic fin by Essesi Design Studio is still a concept.

Essesi Design Studio designs Nimble, a concept modular 3D printed prosthetic fin

the assistive object replaces the foot and lower leg that users have lost

the lattice structure made of rubber material flexes during swimming

the structure also absorbs impact to protect the remaining limb section from discomfort

so far, the attachable assistive object is a concept project

project info:

name: Nimble

studio: Essesi Design Studio | @albertoessesi

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Software engineer Alastair Roberts builds Alma, a 3D printed synthesizer for toddlers that lets young users produce and play child-friendly electronic music. Complete with an onboard sound module and a built-in speaker, the musical toy can play sounds without connecting to a computer or external equipment. The design includes several control knobs for tempo, volume, scale, pitch, and instrument type, allowing the young users to change how the loop behaves. There’s an OLED screen on the front that gives visual feedback, and it also displays a small animated panda to help the young DJs understand when and what kind of notes are playing.

The small box comes with four sliders, each of which controls one note in a four-step loop. When a slider is moved up, the pitch becomes higher, and when it is moved down, the pitch becomes lower. The loop repeats continuously, so the user can move the sliders at any time to change the sound. The internal electronics are mounted on a custom printed circuit board, and the outer shell is 3D printed. These parts form the complete body of the synthesizer for toddlers, colored in pink to make producing child-friendly electronic music more playful.

all images courtesy of Alastair Roberts

Hand-building child-friendly musical toy from scratch

The device’s idea came from a Montessori activity board Alastair Roberts received earlier. The board had switches, knobs, and lights, and this reminded the software engineer of the layout of electronic musical instruments. He, then, decided to try building a version that produced sound and allowed creative play, but since he had no hardware experience, making the synth was also a chance for him to learn microcontrollers, PCB design, and 3D printing. 

The designer then learned computer-aided design to create the synthesizer for toddlers and turn it into a child-friendly device for producing electronic music. His friend had helped print the parts before he fully assembled them and used hand-wired parts on a printed circuit board. He also added an OLED screen with a dancing panda to project the information about the notes, and in the final version, the fully functional electronic music synthesizer for toddlers features a 3D printed body powered by AA batteries. Aside from gifting it to his daughter, the engineer has plans to produce a small batch of the device units, as well as upgrade them with a more powerful microcontroller.

the shell of the device is 3D printed

there’s a small OLED screen with a dancing panda to show the information about the notes played

the child-friendly musical toy comes with four colorful sliders

the device is powered by three AA batteries

view of the custom printed circuit board inside

project info:

name: Alma

engineer: Alastair Roberts 

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