Tag Archives: 3D-printed

World’s First Robot-Made Ceramic Tiles Change Color With Sunlight

Posted on by

There’s something deeply satisfying about watching a potter’s wheel spin, the way human hands coax wet clay into form. But what happens when you hand that craft over to a robot? Designers Yutao Chen and Yiwen Gu asked that question, and their answer is CeraShingle, a façade system that’s reimagining what ceramic can do for architecture.

Picture a building wrapped in ceramic tiles, but not the flat, uniform squares you’re used to. CeraShingle modules are 3D-printed clay shingles with intricate textures, delicate perforations, and color gradients that flow across the surface like watercolor on paper. Each piece measures roughly 400 by 130 millimeters and weighs just over a kilogram, light enough to handle but substantial enough to feel real. When you install them with calculated overlap, they create a skin that seems to breathe with the light, shifting appearance as the sun moves and as you change your viewing angle.

Designers: Yutao Chen, Yiwen Gu

The magic happens in the making. Robotic arms deposit clay layer by layer, building up surface details that would be impossible with traditional molds. Think micro-ribs that catch shadows, patterns that emerge only at certain times of day, gentle curves that couldn’t be pressed or cast. It’s precision meets poetry. The parametric design workflow means each shingle can be unique while still fitting together on site, varying in thickness, texture, and shape within families of compatible parts.

What strikes me most about CeraShingle is how it refuses the usual digital-versus-handmade debate. Instead of replacing the warmth of craft with cold precision, it uses computational tools to amplify what makes ceramics special. The robot doesn’t erase the human touch; it extends what human hands can achieve. You get the intimacy of clay with possibilities that would make traditional ceramicists weep with joy.

The environmental story is equally compelling. The 3D printing process deposits material only where it’s needed, cutting waste dramatically compared to subtractive methods. Chen and Gu specify locally sourced clay and low-temperature glazes, reducing both transportation costs and firing energy. When a module gets damaged, you replace just that piece rather than a whole panel, extending the façade’s lifespan and keeping embodied carbon low. In an era when construction is responsible for nearly 40 percent of global carbon emissions, these details matter.

But CeraShingle isn’t just solving problems; it’s proposing a new aesthetic language. Contemporary cladding tends toward two extremes: either sleek industrial materials like glass and metal, or nostalgic brick and stone that look backward. CeraShingle occupies a third space. It’s clearly contemporary, born from digital tools and computational thinking, yet it carries ceramic’s ancient warmth. It’s sculptural without being precious, technical without being cold. The system scales beautifully. You could use it for a small architectural installation, an accent wall, or an entire building envelope. The modular logic means projects can grow organically, and repairs stay simple. For architects tired of choosing between innovation and practicality, that flexibility is powerful.

Set to launch in 2026, CeraShingle arrives at an interesting moment. We’re seeing renewed interest in craft and materiality after decades of smooth minimalism. People are hungry for texture, for surfaces that respond to light and touch, for buildings that feel less like sealed boxes and more like living things. At the same time, climate concerns are pushing architecture toward lighter, more efficient assemblies. CeraShingle threads that needle. It gives you the sensory richness of traditional materials with the performance and adaptability of contemporary systems. It’s a building skin that can think, that can vary and respond while staying grounded in earth and fire.

What Chen and Gu have created isn’t just a clever product; it’s a provocation. It asks what happens when we stop treating digital fabrication as a replacement for craft and start seeing it as craft’s next chapter. The answer, wrapped around a building and catching the afternoon light, might just be the future of how we clad our world.

The post World’s First Robot-Made Ceramic Tiles Change Color With Sunlight first appeared on Yanko Design.

World’s Comfiest Mouse looks legitimately ugly… but it somehow works

Posted on by

I remember being in the third year of design college when I was introduced to this massive book titled “Indian Anthropometric Dimensions.” For the uninitiated, this book contained practically all the dimensions of the average (and non-average) Indian person, male and female, old and young. The purpose of such a book was to understand ergonomics numerically, rather than visually. And for designers, this meant adding the ultimate constraint to our wild designs… so humans could actually use them.

This YouTuber’s take on an ergonomic mouse is the antithesis of everything I was taught. The problem is, however, it works! See, designers have to balance this ergonomic approach with actual aesthetics. That’s why ergonomic mice actually look stylish, rather than being shaped exactly like the inverse of your hand. It’s why gun grips look the way they do; why bike seats, or car seats have an abstract-ness to them, and don’t actually have your individual buttocks molded into their designs. The world’s comfiest mouse works, but at a rather painful aesthetic cost!

Designer: Play Conveyor

Play Conveyor’s design process ignites a pretty strong debate between aesthetics and comfort. The Apple Magic Mouse, for example, is a prime example of the former completely ignoring the latter… and almost every mouse (even the ergonomic ones) aim at trying to achieve a balance between the two. Play Conveyor’s experiment swings the pendulum the absolute opposite way – what if a mouse was hideous as sin, but legitimately comfortable?

The process starts fairly simply. Play Context first ripped apart a wired mouse to see what the inner components looked like. He then 3D printed a plastic chassis on which he added play dough, filling in all the negative space created by his hand. This basically turned the mouse into a direct inversion of his hand, creating something that quite literally fit like a glove. After the play dough model was made, he scanned it, refined it, and printed it. What we see here is pure anthropometrics at work – no design, no aesthetic study, nothing.

What’s interesting is how accessible the whole process has become. A decade ago, this would’ve required industrial equipment, professional 3D scanners, and a hefty budget. Now it’s an iPhone, a 3D printer that costs less than a decent laptop, and some squishy molding compound. The democratization of manufacturing tools means anyone can now ask the question: what if products were designed for me, specifically me, and nobody else? It’s selfish design in the best possible way.

The first iteration (top left) was way too sharp, with jagged edges left behind either during the molding process or the scanning process. Play Context merely softened the edges down to create something that looks like, well, the Millennium Falcon covered in goo. Cutouts was added for left and right clicks, but soon ditched for actual hinged buttons, along with a central groove for the scroll wheel.

The final result is, well, a mouse that’s too ugly to be seen in the outdoors. It’s also a mouse that uniquely ONLY fits the ergonomic grip of one user. The justification for this can be two-fold: First, just accepting that there’s no way a company would be able to mass-produce this. People have different grips, different hand sizes, and even usage frequencies. That’s why companies like Logitech or Razer make mice the way they do, blending ergonomics with a healthy dose of aesthetics to have peripherals that actually look good while functioning flawlessly. The second justification, however, is for more edge-cases. Maybe a mouse designed for someone with Parkinsons, or with a genuine handicap or special need. We’ve seen special-needs gaming controllers from Sony for the PlayStation and Microsoft for the Xbox, but they’re mass-produced too. What if we could somehow build outer bodies of gadgets to suit our anthropometric needs? As Play Context demonstrates, the process is fairly easy, requiring only a 3D printer as a specialized equipment. All you need is a fair bit of free will, determination, and play dough!

The post World’s Comfiest Mouse looks legitimately ugly… but it somehow works first appeared on Yanko Design.

Ultra-Compact Open-Source Trackball Has One Button You Can Remap

Posted on by

Most mice and trackballs try to do it all with extra buttons, flashy RGB lights, and complicated software that requires constant updates and configuration tweaks through bloated apps. But sometimes simplicity wins when you just need precise control and reliability without the extras. For anyone who values portability and the freedom to tinker with their gear, finding the right pointing device can be a challenge in a market flooded with gaming-focused options.

The Ploopy Nano 2 trackball is a refreshing alternative that strips away the unnecessary extras and focuses on what matters. It’s ultra-compact, open-source, and designed specifically for customization by users who want complete control over their tools. Priced at $59.99 CAD, about $43 USD, it’s made for makers, coders, and anyone who wants a mouse that fits their workflow perfectly without forcing adaptation to preset configurations.

Designer: Ploopy

The Nano 2 features a compact footprint that sits easily beside any keyboard without dominating valuable desk space for other gear. The 3D-printed body in opaque black, paired with tracking balls in red, blue, or black for personal preference, feels solid and purposeful in use during extended sessions. The minimalist design and low profile make it easy to integrate into any setup, from home offices to creative studios, without clashing with existing equipment.

Roller bearings give the 1.5-inch ball a satisfying, tactile feel during use, though they do make a scratchy grinding sound that’s part of the Nano’s mechanical character and feedback. Some users love the audible feedback as confirmation of movement, while others may find it distracting in quiet library or office environments. The sound is noticeable but adds to the analog, mechanical feel that distinguishes it from silent optical trackballs.

The big upgrade is the PAW-3222 sensor, which delivers a polling rate over 1,000Hz, up to 4,000 CPI, and 10g acceleration for smooth, precise tracking during demanding design or coding work. The new button triggers drag scrolling by default out of the box, but thanks to QMK and VIA support, you can remap it to anything you need instantly, from click to macro to custom functions.

USB-C replaces the old micro-B port found on the original Nano, improving durability and making charging and programming easier for modern setups with universal cables you already own. As with all Ploopy devices, the Nano 2 is fully open-source, with hardware under the CERN OHL license and firmware under the GPL for complete transparency and user freedom. Assembly guides, modding tips, and all design files live on GitHub.

Whether you’re coding complex projects, designing graphics, or just want a minimalist pointer for your laptop bag during travels and commutes, the Nano 2 brings personality and function to your workspace effortlessly without taking up space. Its compact size, open-source roots, and tactile feel make it a conversation starter and a daily companion for anyone who values control and creativity in their desktop tools.

The post Ultra-Compact Open-Source Trackball Has One Button You Can Remap first appeared on Yanko Design.

3D Printed case for Halcyon Elora split mechanical keyboard has magnetic wrist pad attachments

Posted on by

KeyChron brought the world’s first split keyboard that retained the vibe of a regular keyboard to spice up the rather boring accessory, which has seen ergonomic design changes, addition of custom keys, and not much of a design DNA evolution. The idea of a PC split keyboard stems from the notion that it alleviates long-term strain and gives the user more freedom to set up a productive desk layout. The Halycon Elora split keyboard (based on the popular Kria keyboard) has an added row of keys for easier access to numbers and symbols, which all goes well for fast typing. But does this split keyboard take the title for being ergonomically comfortable? Surely not.

That’s the reason why a DIYer decided to create an open-source 3D printable split mechanical keyboard case for the Halycon Elora. With this tweak, the everyday accessory feels more comfortable to work with, especially for long sessions. To take things a step further, the custom design makes sure you have a case to put the keyboard in, literally fitting like a glove.

Designer: Fatih Arslan

The barebone Elora keyboard does look a bit incomplete and could hamper the look of your desk setup. Nor does it provide any support for your wrist, which prompted Fatih to draw inspiration from the Kinesis Wrist Pads to create the perfect split keyboard case for the accessory. After careful planning, he made a prototype that added a 5-degree tilt to the keyboard for better reach, especially for people with small hands. There are customizable top and bottom plates, integrated magnetic wrist pads, and rubber stops for stability and control.

Depending on the user, the case can be attached with a wrist pad or the faceplates, thanks to the optional support for attaching an encoder, touchpad, or display to the Elora keyboard. The new accessory for the split keyboard comes with dual USB-C ports for the left part, and one for the right. Magnetic holes at the bottom base fit the compatible Kinesis leather wrist pads, and the DIYer also created versions that have magnetically snapping top plates for people who prefer a different typing position. There are holes at just the right place to route the cables, which the eager users will appreciate.

Most of all, the custom-designed case makes the mechanical split keyboard sturdier and gives it a more finished look that it lacked earlier.  The accessory comes with 12 top plate designs in total that the maker has put up for download, so that users can 3D print and use right away. Of course, there is the freedom to modify the designs to fit individual needs as well.

The post 3D Printed case for Halcyon Elora split mechanical keyboard has magnetic wrist pad attachments first appeared on Yanko Design.

3D Printed Bricks That Help Baby Trees Survive Climate Change

Posted on by

Sometimes the best innovations look backward before they move forward. That’s exactly what’s happening with TreeSoil, a project that takes ancient farming wisdom and reimagines it with robots, 3D printers, and a whole lot of computational horsepower.

TreeSoil is a robotic 3D printed earthen shelter designed to create microclimates that support the early growth of young trees, developed at the Technion’s Material Topology Research Lab (MTRL) in collaboration with the Tree Lab at the Weizmann Institute of Science. If that sounds like a lot of fancy institutions working together, that’s because this project sits right at the intersection of architecture, material science, and plant biology. It’s the kind of cross-pollination that leads to genuinely exciting breakthroughs.

Designer: Technion’s Material Topology Research Lab (MTRL) x Tree Lab at the Weizmann Institute of Science

The concept is beautifully simple. The project draws on ancient agricultural techniques used in arid landscapes, where stone or earthen enclosures shield crops and saplings from wind, sun, and evaporation. Farmers have been doing this for thousands of years because it works. Young plants are vulnerable, and giving them even a small buffer against harsh conditions can mean the difference between thriving and dying. TreeSoil takes that time-tested principle and asks: what if we could make these protective structures smarter, more efficient, and tailored to each specific sapling and location?

That’s where the robots come in. Each structure is composed of modular bricks produced through large-scale robotic extrusion. Picture a industrial robotic arm equipped with a specialized extruder, methodically building up layers of earthen material into interlocking brick units. These aren’t your standard construction bricks though. Each TreeSoil prototype is informed by local climatic data, optimizing airflow, solar radiation, and moisture retention, with interlocking brick geometry that enables modularity, structural integrity, and efficient on-site assembly.

The material itself is fascinating. The composition is based on locally sourced soil, enhanced with waste-derived fertilizers and bio-based binders, engineered to respond both to the site’s climate conditions and the nutritional needs of the sapling. So the shelter isn’t just a passive structure. It’s actively designed to support the tree it protects, using materials that come from the same ground where the tree will eventually take root.

And here’s where it gets even more interesting. Fully biodegradable, TreeSoil gradually disintegrates into the earth, enriching it as the tree it protects matures. The shelter doesn’t stick around forever as waste or clutter. As the tree grows stronger and develops its own natural defenses against wind and sun, the protective structure breaks down and becomes nutrients for the very tree it was designed to help. It’s a perfect closed loop.

This approach feels especially relevant now, as we’re collectively grappling with how to restore degraded landscapes and support reforestation efforts in increasingly challenging climates. Young trees planted in areas affected by drought, deforestation, or climate change face brutal odds. Traditional reforestation projects often see high mortality rates because saplings just can’t handle the environmental stress.

TreeSoil suggests a path forward that doesn’t require massive infrastructure or ongoing maintenance. The project transforms soil into a modular, interlocking system that mediates between technology and ecology. The bricks can be fabricated on-site or nearby using local materials, assembled relatively quickly, and then left to do their job while naturally returning to the earth over time.

What makes this project particularly compelling is how it refuses to choose sides in the usual nature versus technology debate. Instead, it treats advanced computational design and robotic fabrication as tools that can work in service of ecological goals. The high-tech elements enable precision and optimization that would be impossible to achieve manually, while the low-tech earthen materials and biodegradable design ensure the solution remains grounded in natural systems.

As climate change makes successful reforestation more difficult, innovations like TreeSoil offer a glimpse at how design, technology, and biology might collaborate to give nature a fighting chance. Sometimes helping trees grow isn’t about working harder. It’s about working smarter, with a robotic assist and a respect for the ancient wisdom that got us here in the first place.

The post 3D Printed Bricks That Help Baby Trees Survive Climate Change first appeared on Yanko Design.

3D Printed Bricks That Help Baby Trees Survive Climate Change

Posted on by

Sometimes the best innovations look backward before they move forward. That’s exactly what’s happening with TreeSoil, a project that takes ancient farming wisdom and reimagines it with robots, 3D printers, and a whole lot of computational horsepower.

TreeSoil is a robotic 3D printed earthen shelter designed to create microclimates that support the early growth of young trees, developed at the Technion’s Material Topology Research Lab (MTRL) in collaboration with the Tree Lab at the Weizmann Institute of Science. If that sounds like a lot of fancy institutions working together, that’s because this project sits right at the intersection of architecture, material science, and plant biology. It’s the kind of cross-pollination that leads to genuinely exciting breakthroughs.

Designer: Technion’s Material Topology Research Lab (MTRL) x Tree Lab at the Weizmann Institute of Science

The concept is beautifully simple. The project draws on ancient agricultural techniques used in arid landscapes, where stone or earthen enclosures shield crops and saplings from wind, sun, and evaporation. Farmers have been doing this for thousands of years because it works. Young plants are vulnerable, and giving them even a small buffer against harsh conditions can mean the difference between thriving and dying. TreeSoil takes that time-tested principle and asks: what if we could make these protective structures smarter, more efficient, and tailored to each specific sapling and location?

That’s where the robots come in. Each structure is composed of modular bricks produced through large-scale robotic extrusion. Picture a industrial robotic arm equipped with a specialized extruder, methodically building up layers of earthen material into interlocking brick units. These aren’t your standard construction bricks though. Each TreeSoil prototype is informed by local climatic data, optimizing airflow, solar radiation, and moisture retention, with interlocking brick geometry that enables modularity, structural integrity, and efficient on-site assembly.

The material itself is fascinating. The composition is based on locally sourced soil, enhanced with waste-derived fertilizers and bio-based binders, engineered to respond both to the site’s climate conditions and the nutritional needs of the sapling. So the shelter isn’t just a passive structure. It’s actively designed to support the tree it protects, using materials that come from the same ground where the tree will eventually take root.

And here’s where it gets even more interesting. Fully biodegradable, TreeSoil gradually disintegrates into the earth, enriching it as the tree it protects matures. The shelter doesn’t stick around forever as waste or clutter. As the tree grows stronger and develops its own natural defenses against wind and sun, the protective structure breaks down and becomes nutrients for the very tree it was designed to help. It’s a perfect closed loop.

This approach feels especially relevant now, as we’re collectively grappling with how to restore degraded landscapes and support reforestation efforts in increasingly challenging climates. Young trees planted in areas affected by drought, deforestation, or climate change face brutal odds. Traditional reforestation projects often see high mortality rates because saplings just can’t handle the environmental stress.

TreeSoil suggests a path forward that doesn’t require massive infrastructure or ongoing maintenance. The project transforms soil into a modular, interlocking system that mediates between technology and ecology. The bricks can be fabricated on-site or nearby using local materials, assembled relatively quickly, and then left to do their job while naturally returning to the earth over time.

What makes this project particularly compelling is how it refuses to choose sides in the usual nature versus technology debate. Instead, it treats advanced computational design and robotic fabrication as tools that can work in service of ecological goals. The high-tech elements enable precision and optimization that would be impossible to achieve manually, while the low-tech earthen materials and biodegradable design ensure the solution remains grounded in natural systems.

As climate change makes successful reforestation more difficult, innovations like TreeSoil offer a glimpse at how design, technology, and biology might collaborate to give nature a fighting chance. Sometimes helping trees grow isn’t about working harder. It’s about working smarter, with a robotic assist and a respect for the ancient wisdom that got us here in the first place.

The post 3D Printed Bricks That Help Baby Trees Survive Climate Change first appeared on Yanko Design.

This 3D-Printed Soufflé Lamp Is Rising to the Top in Paris

Posted on by

You know that magical moment when a soufflé rises in the oven, all light and airy and impossibly delicate? That’s exactly the energy Paris-based AEREA STUDIO captured with their Soufflé Ceramic lighting design, and honestly, it’s the kind of piece that makes you want to rethink everything on your shelves.

AEREA STUDIO is both a design studio and Parisian brand creating collectible design pieces that blend innovation with artisanal craftsmanship. Founded by designer Camille, the studio draws inspiration from the golden age of design, specifically movements from the 1940s to 1970s, with a focus on creating pieces that combine quality, durability and innovation. But here’s where it gets interesting: they’re not just looking backward for inspiration. They’re using cutting-edge 3D printing technology to create pieces that feel simultaneously retro and futuristic.

Designer: Aerea Studio

The Soufflé Ceramic comes in multiple configurations, including table lamps and pendant versions, each one a sculptural object that commands attention even when switched off. The exterior features that signature matte, pale celadon finish with horizontal striations that are the telltale mark of 3D printing. These aren’t flaws to be hidden but rather design elements celebrated for their rhythmic, organic quality. Each ridge catches light differently, creating subtle shadows that shift throughout the day.

But the real surprise happens when you turn it on. The piece reveals a glossy, jewel-toned interior in vibrant shades of pink, red, orange, and purple that contrasts beautifully with the understated exterior. It’s like cracking open a geode to discover brilliant crystals inside. The colored glaze creates this warm, saturated glow that transforms the ceramic shell into something almost alive. When lit, concentric ripples on the interior become visible, spiraling inward toward the light source like a vortex of color.

What makes AEREA STUDIO’s approach so compelling is how they’re merging old and new. Their sculptural objects play with optical effects and unique textures to transform perception and redefine functionality, all within a sustainable design approach. In an era when “sustainable” often means compromising on aesthetics, they’re proving you can have both innovation and environmental consciousness without sacrificing beauty.

The 3D printing process they use allows for textures and forms that would be nearly impossible to achieve through traditional ceramics methods. Those horizontal ripples, the irregular edges, the way each piece feels both controlled and spontaneous? That’s the magic of computational design meeting artisanal sensibility. And because each piece is printed on demand, there’s minimal waste in the production process. The technology enables walls thin enough to let light pass through while maintaining structural integrity, something that would require exceptional skill and patience with hand-thrown ceramics.

The Soufflé Ceramic’s form itself is worth examining. It’s bulbous and asymmetrical, with gentle waves and peaks that make it look like it’s mid-rise, caught in that perfect moment before it collapses. Some versions are more rounded, others taper to a point like an onion dome. The opening reveals just enough of that brilliant interior to intrigue, creating a sense of discovery. It’s sculptural furniture that happens to be functional, rather than lighting that happens to look nice.

For collectors and design enthusiasts, pieces like the Soufflé Ceramic represent an exciting intersection of technology, craft, and artistry. They’re collectible not just because they’re beautiful or limited, but because they capture a specific moment in design history when digital fabrication became truly accessible and expressive. Twenty years from now, early 3D-printed ceramics from studios like AEREA will be the mid-century modern pieces of their generation.

If you’re looking to add some sculptural lighting to your space, or you just appreciate innovative design that pushes boundaries while staying grounded in craftsmanship, the Soufflé Ceramic deserves a spot on your radar. It’s proof that the future of design isn’t about choosing between technology and tradition. It’s about finding ways to make them rise together.

The post This 3D-Printed Soufflé Lamp Is Rising to the Top in Paris first appeared on Yanko Design.

3D printed earhole covers helps football players drown out the crowd

Posted on by

I don’t watch any American football but I’ve seen some actual footage (and movie scenes as well). I can only imagine how noisy it gets within the stadium, whether it’s college football or professional football. It will probably be hard to listen to anything else except the crowd’s cheers (and jeers). So what if you needed to hear what your teammates or coaches are saying?

Designer: Tamara Reid Bush and Rylie DuBois

A mechanical engineering professor and a biosystems engineering major at Michigan State have been able to produce something that can help athletes with that problem. Some teams previously just put duct tape inside the earhole of their helmets but they were able to make something better with the power of design thinking and 3D printing” earhole inserts.

These inserts were made from a bio-based plastic called polylactic acid and produced through a 3D printer. They were put into the helmet earholes and the challenge was actually to produce different sizes since different helmets of course had varying sizes. The main purpose is of course to drown out the crowd noise so they can hear play calls and the recently approved coach-to-player helmet communications in the NCAA.

While the around 180 sets they have produced are used by the Spartans, some of the Bowl Subdivision programs are also creating similar tools. For example, the Houston Texans have approached XO Armor Technologies, which can 3D print athletic wearables. After that, around 60 teams have already contacted them to produce sound-deadening earhole covers for their respective teams.

The post 3D printed earhole covers helps football players drown out the crowd first appeared on Yanko Design.

3D-printed chairs are made from 100% recycled plastic from donation program

Posted on by

3D-printed furniture is still not as common as regular furniture but we’re seeing a lot of movement when it comes to designs and concepts. Aside from the fact that it’s easy to adapt this in actual production, it can also be sustainable and eventually impactful. Most of these 3D-printing concepts try to create something that’s recyclable or made from recycled materials therefore making it more sustainable than regular furniture.

Designer: Ethan Solodukhin

The Revo Chair Concept, with Revo meaning “revolutionary”, is a collection of 3D-printed furniture and is powered by the PlastiVista Atelier program. The program actually encourages homes, schools, and communities to donate their plastic waste and those that can be used for 3D printing converted into filament. The collection includes the Revo Chair and the Stoool (yes that’s not a typo). They are made from 100% recycled plastic.

The Revo Chair uses a single-piece design and it can serve as both an actual chair but when used with a different orientation, it can also serve as storage. The photos show it’s a box-like storage although it’s not really shown how it can be turned into that although the surfaces can be something you can place objects on. The Stoool meanwhile just serves as a seat with its compact surface, although you can probably also use it as a side table if you want to.

The renders of these chairs reminds me of those small, plastic phone holders that you can get for cheap. The question of course for these 3D-printed chairs would be if they are durable enough and comfortable enough for people to sit in for a long period of time.

The post 3D-printed chairs are made from 100% recycled plastic from donation program first appeared on Yanko Design.

3D-Printed Banana Lamp is a Cheeky Nod to Maurizio Cattelan’s Most Iconic Artwork

Posted on by

A glowing bunch of bananas might sound like a quirky Maurizio Cattelan artpiece that comments on society, but the Banana Lamp by Gazzaladra is a serious nod to creativity and clever design. Crafted using precise 3D scans of real bananas, this lamp leans into nature’s whimsy, turning an everyday fruit into an arresting piece of functional art. It’s not just about illumination—it’s about sparking conversations, turning heads, and challenging the mundane with a cheeky twist.

Each lamp in the collection captures the organic details of a banana bunch with startling authenticity. From the subtle ridges on the peel to the delicate curve of each fruit, it’s evident that this isn’t just a cartoonish attempt at mimicking nature. Gazzaladra’s design merges the accuracy of high-resolution 3D modeling with a sense of humor, resulting in a lamp that feels both oddly lifelike and undeniably modern. Whether perched on a desk or suspended from the ceiling, its playful design ensures it’s more than just a light source—it’s an experience.

Designer: Gazzaladra

The Banana Lamp’s charm lies in the marriage of form and function. It’s easy to dismiss a banana-shaped lamp as a novelty, but closer inspection reveals a thoughtful balance of aesthetics and utility. The design speaks to a broader audience—not just design enthusiasts but anyone with a sense of fun and a love for standout décor. The lamp doesn’t just sit quietly in the background; it demands to be noticed, celebrated, and even laughed about. It’s a rare example of how everyday objects, when reimagined creatively, can transcend their usual roles and become something extraordinary.

Available as a 3D model on the thangs.com 3D model marketplace, the Banana Lamp is designed to be tinkered with. The hollow bananas feature a 1.6mm wall thickness, making them ideal for translucent filaments that create a glowing effect. Want a more dramatic look? Play around with painting techniques to replicate anything from green, unripe bananas to the golden hue of perfectly ripened fruit. The lamp essentially invites you to collaborate with the design, making it a unique, hands-on experience for users.

Obviously it goes without saying, but the lamp’s designed only to be used with LED bulbs. Given that plastic (especially materials like PLA or ABS) melt fairly quickly under sustained heat, the Banana Lamp isn’t made for being used with incandescent bulbs. In fact, maker ‘gazzaladra’ even recommends trying out a bulb with a sample 3D print before installing one in your house. In fact, if your printer supports PET-G or Nylon filaments, opt for those over traditional PLA filaments that are very prone to warping or melting.

The Banana Lamp is available in four distinct versions, tailored to suit different needs and aesthetic preferences. Whether you’re looking for a pendant lamp to crown your kitchen or a desk version to brighten up your workspace, there’s a banana—or a bunch—for you. Each variant is compatible with common socket kits, such as the Ikea Strala, ensuring that even the technical side of this lamp remains approachable. A thoughtful design element allows for single or multicolor printing, so you can either keep it minimal or let your imagination run wild with custom-painted ripeness levels.

Gazzaladra’s Banana Lamp feels like an art exhibit brought into the home, a nod to the idea that even the most mundane objects can inspire joy. It’s a reminder to take design less seriously sometimes—to embrace the quirky and unexpected. Whether it’s lighting up a dinner party with its cheeky charm or simply sitting as a silent conversation starter in your living room, the Banana Lamp is an invitation to look at the world through a more playful lens.

The post 3D-Printed Banana Lamp is a Cheeky Nod to Maurizio Cattelan’s Most Iconic Artwork first appeared on Yanko Design.