Competition Winners 3XN, B+H and Zhubo to Design the New Shenzhen Natural History Museum

Three modern age frontier architecture firms 3XN, B+H, and Zhubo Design marked as first-place winners in an international design competition for the new Shenzhen Natural History Museum. Once complete, the design blazes to be one of Shenzhen’s ‘ten cultural facilities of the new era’. It is the first significant all-inclusive natural museum set to spoondrift in Southern China.

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Entitled as ‘Delta’, the winning proposal by 3XN, B+H, and Zhubo design, ventures as a flamboyant rise from the river. An inviting form plunges the visitors to tread along its accessible green ridge on the roof. A public park outspreads the roof to stream about the museum’s organic fluid geometry. Upon every turn, it splashes a wave of exhilarating views to the neighbouring park, hills, and lake. Devoted observation points on the roof park enable these visual moments.

The design transcends the park network and gears to maximize access to the lush green areas. A range of dedicated activities keeps the site rolling throughout the day. From early morning jogs to late evening strolls. Unlocking an opportunity for the residents and visitors in seamless conversation with nature. The undulating form streams into a ‘cave’ inspired passage. The passage is laced to the museum’s lobby and triggered by many cafes and public areas.

The proposed museum site captures the scenic beauty of the Yanzi lake, located in the Pingshan district of Shenzhen. The new 42,000 square meter facility is the world-class natural science museum. Dedicated to interpreting the laws of natural evolution. Most of the interior spaces will be exhibition space, that confines the display of eye-catching dinosaur fossils, ancient extinct species, and other natural histories.

Curvaceous floors, spiralling stairways and ramps encircle the museum with stories from our history. The design drafts minimalistic and composed lighting into its depths, radiating a warm ambience.

“This building captures the unique atmosphere of a riverfront site and finds the timeless property of water as a concept. The connection between function, site, concept, structure, material, and space is very clear” says Pritzker Prize-winning Yvonne Farrell of Grafton Architects, a judge on the architecture competition that selected the Delta proposal.

Philip Cox, the founder of Cox Architects, underlined the creativity behind the concept specifying that “the continuously sloping exterior wall with the landscaped roof creates a continuous volume and spatial experience. The form of the cliff is very interesting, and the details are handled well. The layout of the museum and its interaction with ramps and walls create interesting spaces.”

Project Name: Shenzhen Natural History Museum
Location: Yanzi Lake, Pingshan Dist., Shenzhen, China
Design Team: 3XN, B+H Architects, And Zhubo Design
Client: Engineering Design Management Center Of Shenzhen Municipal Construction And Public Works Administration
Planned Construction Area: About 42,000 Sqm
GFA: Tentatively 100,000 Sqm
Total Investment: About 3.5 Billion Yuan (Excluding Costs For The Tender)

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rat[LAB] Studio and Shilpa Architects Interprets India’s New Vernacular-Parametric Temple

Vernacular Parametric Temple

A hendecagon folded to form revitalizing interstitial spaces within the geometry is the new Vernacular Parametric Temple by rat[LAB] Studio and Shilpa Architects in India. The design concept reimagines traditional vernacular philosophy in the parametric form. The sacred abode also called Shirdi Sai Baba Temple, will rise on the outskirts of Chennai. On an 11-acre site in Koppur at the epicentre of a 338-acre masterplan.

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Vernacular Parametric Temple

An eleven sided polygon conceived into a three-dimensional polyhedron. It forms a fusion of engineering marvel and sacred geometry in balanced harmony. They combine a plethora of algorithmic process interacting with spatial and structural constraints. Tamil Nadu, also known as ‘the land of temples’, is home to many iconic structures. That have surpassed timeless quality and magnificence. The design thinking by the creators embraces the art, culture and tradition.

Vernacular Parametric TempleVernacular Parametric Temple

As per the client’s brief, the project focuses on the number eleven. Owing to numerology and Vaastu, which is an ancient science of design. The hendecagon evolved in three-dimension, gauges the environmental parameters. It reads factors such as daylight, solar heat gain, and the play of light and shadows.

The interiors sparkle in a glorified ambience. The tiling pattern in the main arena reflects the mathematical looping system. It empowers hendecagon’s eleven vertices to form interstitial spaces in the geometry. A recurring set of curves engages an ecstatic focal point at the ground level. Here the shape bends and lures the visitors into the prayer area.

A spiritual aura emanates by the sunlight streaming in from the decorated oculus. The designers seek the double-fold origami structure to flourish as a rigid structure. The encircling fluidic columns plunge into the interiors summoning the long-span shell-like structure.

Shilpa Architects seeks inspiration from the Gode Neem Tree of Shirdi, Maharashtra. The parametric and vernacular form traces in symbiosis. As they imbibe a deep sense of spiritual ecstasy. The Vernacular Parametric Temple unfolds its prayer halls by 2021-22. The design stirs the Indian culture to an evolved epitome of the vernacular.

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Enter Projects Asia Presents Billowing Rattan Columns In Bangkok’s Spice & Barley’s Interiors

Billowing Rattan Columns

Enter Projects presents a new riveting interior exposition of an installation in billowing rattan columns weaved for Spice & Barley at the riverside in Bangkok. The client minor international seeks to embrace and stimulate innovation and eco-awareness for the work of sculptural rattan work. Incorporating the heritage of the local context, the initial concept of the lounge restaurant encircled around the local historic tale; the adventures of three sisters, May, Zaza & Fei who were born in Sichuan decades ago.

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Billowing Rattan Columns

The story of the three sisters was explored in depth by the design team to compose an inspiring design narrative, knitting the past and present in a ceremonious web of opulent and statuesque billowing rattan columns, enigmatically woven, resembling the characters themselves.

Billowing Rattan Columns
Billowing Rattan Columns

The design team has executed their signature style; a hybridization of 3D digital technology with traditional craft. The natural and renewable rattan material conceives over a sprawling 30-meter-high space with digitally generated structures. The whole outlook recalls spice & barley’s anchorage as a craft Belgian beer destination. The bulbous and curvy sculpting relates to the free-flowing liquid geometries mimicking the pouring of beer into a glass.

Billowing Rattan Columns

The sweeping rattan columns flawlessly frame the backdrop of the three sisters, nodding to the Sichuan cuisine. The visually inspiring gold-painted rattan functionally serves to hide the beer pipes, air-conditioning and other related services, paying homage to the statement that ‘form and function should be a spiritual union.’

Billowing Rattan Columns

As the lounge restaurant overlooks into the Chao Priya river, the mesmerizing rattan structures intoxicate a visual semblance to the high rise towers beyond. The intricately woven geometries surge the ceiling in a continuous balustrade of twists and turns, and the illumination inside bounces to revoke itself as a vibrant beacon from afar.

The design ties emotionally at Spice & Barley colloquially invoking an Asian fusion, a marriage of ideas, crafting a space in which the spectator naturally senses the empathetic blend between the client minor international, and the architect.

Project Name: Spice & Barley
Architecture Firm: Enter Projects Asia
Location: Bangkok, Thailand
Client: Minor International
Construction, Installation: Project Rattan
Completion: March 2020
Photography: William Barrington-Binns

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Renault EZ-ULTIMO: The Autonomous Robo-Car From The Future

A palace on wheels is now more than a dream; the futuristic concept is already here. Renault EZ-ULTIMO is the premium Robo-driven vehicle designed in flamboyant and audacious curves. The concept design has a dashing presence and unfathomable beauty which raises the experience within this self-driven automotive vehicle. Interiors dazzle and soothe in refreshing colours with ebullient furnishings and tranquil comfort.

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Renault has come forward impeccably challenging every modicum of its category, crafting a class apart experience. The Renault EZ-ULTIMO has an aerodynamic body stands well-groomed in glamour and performance. A melange of black and gold along with fine glass, mosaics and crisscross patterns are exposed on the exterior shell. Black and brown shades draft the interior space inspired by the architectural cues from the living room of a luxurious home.

The whole interior space is adequately reflected and composed of French elegance and luxury. The inspirational design of EZ-ULTIMO being driverless, connected, and a hundred per cent electric robot-vehicle reinvents the journey, aimed at all users symbolising the notion of a personal and intimate trip to business and social meetings.

The car is presented with comfortable seating for up to three passengers, provided with a fresh look at their surroundings while being invisible to the outside world. A panoramic glass sunroof and crisscross windows are also encased to the brilliant car.

The intricate details of wooden walnut floors, leather upholstery, and marblework elevate the car’s nature to that of our home. Along with the seats, the marble table streams delineating the edge, looking polished and elegant. An actual hanging lamp is installed to illuminate the inside of the car. A latticed pattern of 600 diamond shapes resembling an architectural detail along the periphery stretches a grilled view of the outside. This ensures privacy and natural light to flock into it. A glass mosaic in the exterior hull emotes to a gemstone on wheels.

The stunning ornamental features simply complement the charm even when the car is still, giving the appearance of a futuristic carriage. The doors slide sideways allowing us to embark and disembark with flair and finesse.

The new vision unveiled by Renault, with shared mobility and future of travel, created waves during the first showcase at the Paris Motor Show in 2018. An elongated majestic profile of 5.6 metres in length, two-tone bodywork and 1.35-metre height that allow EZ-ULTIMO to blend perfectly within a city. The linear lights crevassed into the sharp flaps in the front and back, exhibit a minimalistic suave expression with a neon glow, as the car gently rolls forward in action.

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Kengo Kuma Unveils Cross-Laminated Timber Pavilion Stacked In Diagonal Panels

Stunning sculptural timber frames in criss-cross patterns unveiled in the city of Tokyo. Spiralling into the sky, exploring varied dimensions the design was imaginatively oozed by the master Japanese architect Kengo Kuma to create a Cross-Laminated Timber Pavilion. The filtering of sunlight, like trees in forests and shadows playing hide and seek, showcase an enhanced sensorial experience within the pavilion.

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Kengo Kuma Associates designed the Cross-Laminated Timber Pavilion for capturing events and conducting performances in Harumi. The semi-outdoor space built using steel frame infills laminated timber panels measuring 63 x 138 inches and 8 inches thick.

The gaps between the panels form a transparent TEFKA (a copolymer film made of ethylene and chloro-trifluoro-ethylene) covering. These materials prevent wind and rain from entering the pavilion, yet aids in channelling ample ventilation into the interior space. The lightness of the material makes it easier to relocate and reconstruct.

The trapezoidal CLT panels were sourced from Meiken Lamwood Corporation in Maniwa city in Okayama. The pavilion was commissioned by Mitsubishi Estate Group. After the period of the pavilion’s use, the panels will be transported back to Hiruzen National Park in Maniwa and will be reassembled in an area surrounded by greenery, says Kengo Kuma.

Two event spaces are flanked to the pavilion, where one is envisioned as a sculptural timber stacked staircase using CLT planks. The other space features a play area with wooden toys and stools. An artificial lawn is provided inside with digital screens matched to the diagonal shape in the middle of the lawn. These screens play graphics that change in response to people walking across them.

Harumi was the location for the athlete’s village for the Tokyo 2020 Olympics which was postponed due to the COVID-19 pandemic outbreak. Kuma also designed the Japan National Stadium for the global event with timber lattice that forms its feature.

Kengo Kuma’s take on visualizing this pavilion is highly innovative as he clinically connects on the Japanese history and uses his contemporary philosophy mix to develop a fused form that works incredibly well, respecting each other.

Project Name: CLT Park Harumi
Architect: Kengo Kuma and Associates (KKAA)
Location: Tokyo, Japan
Total Floor Area: 1,631.16 Sqm
Function: Museum
Client: Mitsubishi Estate Group

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Marsha: 3D Printed Huts on the Martian Surface Sculpted by AI SpaceFactory & NASA


AI SpaceFactory in collaboration with NASA has marched in to trigger the fantasy of space-age architecture to initiate human habitation on our red neighbour planet Mars. The dream of picturing structures and buildings on other planets began long ago when humans first observed the thrilling skies and shimmering stars from planet Earth. The Martian project MARSHA is part of the 3D Printed Habitat Challenge established by NASA.

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The current boom in technology, the alliance of humans and machines designing and printing structures in three dimensions, is about to unravel the frontier to the genesis of habitable systems on other planetary worlds.


AI SpaceFactory has revealed intriguing proposals to cylindrical huts after winning a stirring competition to design an efficient habitat for a crew of four astronauts on the red crust. Project MARSHA, as they call, ebulliently exceeds the known visions and illustrations of edifices as low-lying domes or buried habitation pods.


The designers have visualized vertically oriented cylinders with the minimal footprint, crossing creative boundaries, and after long exploratory discussions on the spatial sequences and competence of form. The shape adheres to be highly effective vessels, optimized for the Martian land, bearing the atmospheric pressure and structural stresses, while granting more excellent ratio of usable floor area to volume.


The vision aims to seek the materials harvested on the planet’s surface during construction. A mixture of basalt fibre found on the grounds of the planet, along with renewable bioplastic derived from the plants grown there, eliminates the need for materials transported from Earth.

The cylindrical form of Marsha eases the printing vessel, involving minimum mobility. Mars is known for drastic thermal swings and a harsh environment, which requires anchoring of the structure, by a flanged shell moving on slides with clamps and soil anchors, securing the pod against the uplift. A double-shell splits the interiors encasing with numerous architectural functions.

A water-filled skylight scooped atop the cylinder form allows the living areas to be illuminated by sunlight. The diffusion of light in the interiors reflects earthly conditions. A staircase is abutted between the shells to augment maintenance, circulation, and pique an architectural curiosity.

The entire form perceived in four levels has a garage in the ground, dry lab and kitchen hub in the second, individual cabins and hydroponic pond at the third and a large recreational sky room on the fourth. Each level encircles a one-360 degree window accompanying panoramic views of the alien landscape.

The astronauts will be engaged in specific tasks throughout the day, while also be aided with evocative spaces to encourage their mental health and social wellbeing. The visuals of the spaces look promising and interactive, invoking Earth-like lifestyle to go on while carrying on, with their daily chores. The entire design and settlement will transcend the human race to the futuristic era.

Architect and engineers have now been thrilled and uplifted to break the boundaries of design and weave human habitation on the Martian land. Architecture on Earth has a critical role; however, on the red planet, it exceeds much more to keep us alive and well. Every detail of the design decision is of immeasurable consequence to the success of this mission. Marsha’s vision is much beyond to seize the moment’s greatness and credibility with an alien beauty.

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Dorte Mandrup’s Aerodynamic Whale Museum Rising In the Arctic Circle

Whale Museum

Visualized as a tantalizing parabolic shell resembling the colossal rise of a whale streaming aerodynamically over the ocean waves. Danish architect Dorte Mandrup’s ‘Whale Museum’ is an upcoming masterpiece set near the village of Andenes on the northern island of Andøya, Norway. Encrusted as a cultural museum to celebrate and observe the whales and underwater wildlife.

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The Artic location is remarkable for being the most frequently visited by the fabled animal, during its migration period. And the new vision embarks to unfold the story of the present-day largest salient inhabitants on our planet.

Whale Museum

The Copenhagen based architecture studio Dorte Mandrup Arkitekter has rocked shores on an enthralling landscape to reveal their architectural vision blending to capture the drama that engulfs about the stunning land. Mountainous and marshy areas have given rise to a humbling grand concept casting a thin layer that imitates to softly lift from the earth’s crust, creating a cavity and setting itself as a cultural landmark.

Science, art and architecture have seeped into its depths to carve the extraordinary project. The designers seek to seamlessly dive into the nearby drama while also being an aid to appreciate and prosper the life of whales and preserving marine life.

The design of the Whale Museum has a poetic charm that reminisces on a whale’s tale and behaviour, the museum adapts to its surroundings instead of delineating, it dissolves the borders. The visitors can embrace to catch spectacular views while walking atop the stone covered roof. The parabolic covering is self-supporting, laid in grey roughly worked natural stones, which will merge into the landscape.

Whale Museum

A layer of oxide and moss grows overtime on the roof, thus merging it into the scene. The parametric structure efficiently transmits the forces to the corners, which makes it possible to envisage a vast column less space. The sleek aerodynamic form cuts the turbulence effects and cancels massive snow build-up.

An intriguing layout of paths, walkways, platforms and viewpoints compose the whole environment and landscape of the Whale Museum. Large windows in the interior frame the stunning blue hues of the archipelago. The glint of sun reflecting across the sea, streams into the massive halls cueing an emotional depth. The interiors comprise of exhibition spaces, offices, a café and a store. The museum houses a tidepool, a campfire and steeping stones which invite visitors to discover their man-made and natural surroundings.

Upon entry, the massive open foyer moves into the café towards the north of the building and exhibition spaces set around the south. Inspired by a whale’s journey, the open floor plan emotes the splendour along with a curved wall drafting dynamism through varying sizes and shapes of rooms.

Rocks are sculpted into the structure, invoking a natural connection with the landscape. The whale’s universe is showcased in the exhibition space using architecture, terrain, acoustics, ceilings and floors in a mesmerizing synthesis to narrate the tales of the beautiful creature.

The Whale Museum is expected to open its doors in 2022. The partly submerged structure enhances the ambience and complements the nearshore region, and unites the waterfront location and Mandrup’s purpose to protect, educate and cherish the marine world.

Project: The Whale
Location: Andenes, Norway
Architect: Dorte Mandrup A/S
Expected Completion Year: 2022
Gross Floor Area: 4,500 Sqm
Landscape Architect: Marianne Levinsen Landskab
Exhibition Design: Jac Studios
Engineering: Thornton Tomasetti
Art Consultant: Anders Kold
Whale Researcher: Nils Øien

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Capturing Space And Time

Capturing Space And Time

Topic: Capturing Space And Time – Architectural Photography
Time: January 16-17 / 30-31, 2020
Starts: 16th Jan, 14:00 UTC
Ends: 31st Jan, 16:00 UTC
Duration: 4 Days
Total hours: 8 hours
Format: Online
Location: ZOOM
Registration Deadline: 10th January 2020
Workshop Capacity: 30 Seats
Fee: €100 EURO
First 10 Seats: €80 EURO (20% Discount for the first 10 seats) Closed
Organized By: PAACADEMY

Advance Your Architectural Photography Skills in a 4-day Online Workshop by PAACADEMY.


Whether you have a lot of experience or you are just getting started with a new camera, this online workshop will take you from beginner to advanced photographer in the architecture field.

You will learn professional techniques to develop and advance your photography skills.   

This online course covers the fundamentals of photography including everything on how the camera and lenses work as well as the technical aspect of photography like exposure, focus, depth, lighting, and more.

Key lessons include:

  • How to fully understand and master your DSLR or mirrorless camera
  • Balance shutter speed, aperture, and ISO for perfect exposure and getting out of “auto-mode”
  • How to correctly shoot for a quick and smooth edit
  • How to get the perfect composition
  • Rescuing a problematic image through editing

Filled with detailed walk-throughs, easy-to-follow explanation and plenty of examples you will learn to train your eye in order to capture dynamic and interesting architecture shots, crafting subtle changes to enhance your images and bring your photography work to a professional level.



16 January (Photography Essentials – Understanding The Basics)

  • Balancing the exposure triangle
  • Aperture, shutter speed and ISO
  • Camera modes
  • RAW vs JPEG
  • Photography gear (focus on digital cameras, lenses, tripods and

17 January (Photographing Architecture – Composition & Shooting

  • What is architecture photography
  • Composition
  • Light & weather conditions
  • Preparing to shoot
  • HDR for real estate photography
  • Cityscape photography
  • Photographing tall buildings
  • Long exposure photography

30 January (Photo Editing)

  • What is photo editing
  • Photo editing vs photo manipulation
  • Most common architecture photo edits
  • Live stream image post-processing

31 January (Mobile Photography + Student’s Work Review)

  • DSLR camera vs smartphone camera
  • Phone photography equipment
  • Smartphone camera tips
  • Mind your lines
  • Focus and exposure
  • Rules of composition
  • Editing images on mobile

– One-on-one critique to discuss developing work


Software and Techniques:

The Workshop will run using Adobe Lightroom Classic CC and Adobe Photoshop CC for the photo editing section – no previous experience necessary.

For the mobile editing tutorial, the free app Snapseed will be used – no previous experience necessary.


Level of knowledge:

This workshop is designed for:

  • Beginner photographers with little to no experience who want to improve their photography skills
  • Intermediate photographers who want a deeper understanding of photography concepts
  • Anyone who wants to improve their general knowledge of photography in order to capture beautiful architectural images


About the tutor:

Nancy Da Campo (Architecture photographer and educator).

Capturing Space And Time

Nancy Da Campo is a freelance architecture and interiors photographer born in Milan, Italy, and currently traveling extensively to discover and capture the beauty of the built environment.

Perspectives and the use of lines are two central pillars of her content and she is always looking for new and interesting angles to show her interpretation of a certain building through her camera or drone lens. She regularly works with architectural and cultural institutions, tech brands and tourism boards.

Registration Fee:

  • Payment link will be shown at the end stage of the registration.
  • After the payment you will need to email us the photo of the receipt to [email protected] by putting (Your name – Capturing Space And Time) in subject.
  • You will receive the link for the workshop room after 5th January.
  • The entire workshop will be recorded and after the event, you will have the access to all the videos and data of the workshop with the password.

 *The workshop has a limited attendance. Tickets are non-transferable & non-refundable.

Capturing Space And Time

Topic: Capturing Space And Time – Architectural Photography
Time: January 16-17 / 30-31, 2020
Starts: 16th Jan, 14:00 UTC
Ends: 31st Jan, 16:00 UTC
Duration: 4 Days
Total hours: 8 hours
Format: Online
Location: ZOOM
Registration Deadline: 10th January 2020
Workshop Capacity: 30 Seats
Fee: €100 EURO
First 10 Seats: €80 EURO (20% Discount for the first 10 seats) Closed
Organized By: PAACADEMY

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Bartlett Researchers Create Robot-Built Voxel Chair Using New 3D Printing Software

An enthusiastic team of researchers from the Bartlett School of Architecture contrives plastic made intricate Voxel chair using their newly designed 3D printing software. A complex structure of crisscross formations in multiple iterations, layered as a single continuous system entirely in sync with the robotic arm movements brought the first version v1.0 of the Voxel Chair to life.

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The Bartlett’s Design Computation Lab (DCL), a part of University College London, created the software to open doors to new possibilities for 3D printing. Most of the current 3D printing techniques involve creating forms layer by layer, DCL’s software adheres to a continuous line of material used to envisage the design. The robot configures the commands and translates to machine language, and squirts melted hot plastic onto the print board where it quickly sets and cools down.

Voxel Chair

The software has a functional benefit along with the creation of more intricate patterns, granting the designers a visual plunge to conjure lighter, more efficient forms without using any extra material for necessary load-bearing. It can also be used for the design of large-scale metamaterials, which have an internal structure engineered for certain behaviours, like Hasso Plattner Institute’s all-plastic door latch.

DCL’s co-directors Manuel Jiménez Garcia and Gilles Retsin said that “This approach is not only more functional in terms of performance, but it also offers designers opportunities to really work directly with incredible amounts of data”. An alternate thoughtful methodology is used to approach instead of designing the form of the chair, you have to construct the behaviours and properties of the material directly.

Voxel Chair

The team tested their idea by creating a prototype piece of furniture, the Voxel Chair v1.0. They used biodegradable and transparent PLA plastic with a blue tint to model the iconic S-shaped Panton chair by Danish designer Verner Panton. Due to the shape of this chair being instantly recognisable that prompted a fun challenge for the team to design this cantilever geometry. The original chair is solid plastic, while DCL’s is a complex web of crisscrossed hollows 3D printed by a robot in plastic of one continuous 2.36-kilometre length.

The Panton chair was a pure surface, optimised to mould. This chair’s cloud-like volume is optimised for robotic extrusion, thus making it stand apart from the real Panton chair. On a previous project by them, CurVoxels created a similar filigreed Panton resembling chair as a one-off. After that, they had generalised the idea of using Panton Chair in multiple variations, thus congregating a software that would enable them to test the different perspectives and enable others to replicate it.

Voxel Chair

The software endows the designers with greater control over the 3D-printing journey. They would usually use the software to model an object that would then be slashed into layers or tool paths for printing, with the latest invention, they can manipulate the tool paths directly.

Voxel Chair

The name voxels share its idea from the word pixels but in a three-dimensional environment that is often used in medical imaging and video games. DCL’s software based on voxels grants its users to construct the interior faces of an object other than just the surface. The team also created a new extruder for the robot which directly melts raw plastic pellets rather than using filament. This helped the designers in cutting down the cost and making the process viable on an industrial scale.

Project Credits:
Design: Gilles Retsin and Manuel Jiménez Garcia
Team: Manuel Jimenez Garcia, Miguel Angel Jimenez Garcia, Ignacio Viguera Ochoa, Gilles Retsin, Vicente Soler
Fabrication Support: Nagami Design, Vicente Soler

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