Hasta La Ideas

3D printing might be wonderful and all that, but their usefulness pretty much depends on the designs that you feed them. Of course, some of these can be created using 3D modeling software, but when it comes to reproducing objects from the real world, nothing beats 3D scanning. That technology, however, has traditionally been out of reach of creatives, makers, and hobbyists because of its expensive price tags, bulky forms, and complicated controls. Thanks to advancements in technology and the rise of the maker culture, however, there has been an increased interest in the democratization of these tools to empower more people and help them make their creative dreams come true. That’s the kind of power that the new Revopoint MIRACO 3D scanner brings to the table, delivering pro-level features in a portable and accessible design.

Designer: Revopoint

Click Here to Sign Up Now: Save 40%. Launching on Kickstarter Oct 25.

There is a growing number of 3D scanners available for hobbyists and prosumers, but most of them seem to fall on two extremes. On the one hand, you have powerful but bulky and expensive equipment that you can’t take out of studios. On the other hand, there are small portable devices that have limited applications, particularly for scanning smaller objects only. Building on the 3D vision technologies that brought the successful pocketable INSPIRE 3D scanner to the market, Revopoint is unleashing the new MIRACO 3D scanner to redefine what 3D scanners can offer.

At first glance, you might mistake the Revopoint MIRACO 3D for an extra-large camera, an intentional design decision that sparks familiarity and confidence in how to use the device. Its compact and lightweight (only 750g) body makes it portable and easy to use, while still cramming enough power, including a 2.4GHz octa-core processor and a 5,000 mAh battery, to handle any scanning use case, anywhere. Its all-in-one design means you don’t need to connect it to a phone or PC to use the MIRACO 3D scanner. It even has its own bright 6-inch 2K AMOLED display that can be flipped to 180 degrees, allowing you to scan from any angle, including selfies.

Single Shot – Make tracking loss and difficult-to-scan contrasting surfaces a thing of the past with MIRACO’s single-shot capture mode, making it a breeze to capture any object with ultra-accuracy.

Continuous Shot – When speed is a priority, continuous capture mode is ready to make light work of most small and big objects at up to 15 fps scanning speeds for fast 3D model creation.

Dynamic Accuracy – Get in close to capture fine details with a surgical accuracy of up to 0.05mm at 150mm, or take a step back to scan big objects fast with an accuracy of up to 0.5mm at 600mm.

Jaw-Dropping Color – Experience 3D model color vibrancy like never before with MIRACO’s 48-mega pixel RGB Camera, providing photorealistic single-shot and continuous color scans.

The MIRACO 3D scanner, however, isn’t just convenient. It is also oozing with features and capabilities you’d only encounter in larger and more expensive machines. At the very top of that list are the quad depth cameras that let you scan both large and small objects alike. The scanner also offers excellent single-frame precision of up to 0.02mm at a distance of 150mm and 0.2mm at a 600mm distance, as well as single-frame accuracy of up to 0.05 mm at a distance of 150mm and up to 0.5mm at 600mm distance. With its 48MP RGB camera and LED flash, you can capture not only the shape of the objects but also reproduce their colors and textures with impressive details.

With its convenient, portable design, easy-to-use controls, flexible modes, and powerful features, scanning any object of any size is a breeze. Whether you’re scanning car parts for reproduction, scanning art and designs for virtual worlds, or capturing objects for animation and games, the Revopoint MIRACO all-in-one 3D Scanner brings all the accuracy and power that you need to bring your creative vision to life, whenever and wherever the muses strike.

Click Here to Sign Up Now: Save 40%. Launching on Kickstarter Oct 25.

The post How the Revopoint MIRACO brings a high-precision professional 3D scanner to the masses first appeared on Yanko Design.

Wind turbines are currently in popular demand due to the growing necessity of green energy, but there’s a deep sense of calm involved in watching a much less advanced windmill for the land (turn forever, hand in hand). That’s the idea behind the W.I.P.: Windmill In Play installation by Taiyi Yu, a graduate student in industrial design at the Royal Academy of Art, The Hague, Netherlands.

Windmill In Play is a deconstructed windmill, meaning it takes the classic windmill design and simplifies it using everyday parts that make it easy to build and deploy. You can watch the process of constructing Taiyi Yu’s handmade DIY windmill design in the video linked below, meaning anyone with the time and energy can learn to build one of their own.

Designer: Taiyi Yu

As the windmill turns, it physically powers a series of mechanisms that shuffle sand from the base of the installation into a hopper that gradually displaces the collected sand in a unique shape as the wind moves the windmill around its 360-degree radius.

Most of the materials used in the Windmill In Play design are simple to work with – like wood, fabric, and piping – and it appears that they’re mostly recycled materials sourced directly from the trash. An especially impressive part of the design is the pink sail fabric, sourced and cut from old umbrellas as seen in the construction video.

Windmill In Play is not just a cool science project that creates a potential outlet for recycled materials. According to designer Taiyi Yu, it serves an artistic purpose as well, saying, “The project questions how winds have been harvested through windmills and reflects on how we perceive and appropriate winds.”

“The windmill, as a concrete example but also as a metaphor for modern industrialisation, is implicated in the dichotomy between humans and nature. It exemplifies the rationality of seeing the natural world as a resource, a power that reconstitutes experience through its mechanical structure.”

Even though the windmill itself isn’t designed to produce electricity, it could serve as a direct example of what’s possible with everyday materials – and hopefully, it could become a starting point for even more designers and creators who want to develop their own green energy solutions.

The post This deconstructed windmill installation design highlights the power of wind first appeared on Yanko Design.

It’s a known fact that Apple tolerates nothing less than 100% perfection. That’s why their product renders look absolutely pristine, their website has a wonderful flow, their keynotes are flawless, and their stores look immaculate. Walk into any flagship Apple store and take a look at the devices on display and you’ll probably notice how great they look too. Unless it’s a new iPhone that’s being handled by a hundred people, most devices are spotless, and have screens that look so clean you could eat food off of them. After all, who would want to buy a MacBook or an iPad with fingerprint smudges and dust on the screen, am I right?? Well, a YouTuber figured out how Apple manages to keep all their display units this sparkling and the reason is an inconspicuous little orange bottle that can often be seen on the countertop at some Apple stores. Apple won’t sell this bottle to you, but it’s well known that people working at the Genius Bar use this somewhat secret cleaning solvent to keep all their devices looking absolutely shimmeringly brand new. Apple won’t sell it to you, but you can now buy your own.

Click Here to Buy Now

Known as WHOOSH!, this screen-cleaning liquid is incredibly effective at getting out smudges, dust, and any sort of grime off electronic screens. Whether it’s a ‘soft’ screen like the one on laptops and monitors, or a harder oleophobic screen like the one on your phone or tablet, WHOOSH! gets it right off, also sanitizing your screen in the process (after all you don’t know what sort of germs end up on people’s fingertips, right?!)

The spray is odorless and non-toxic and is accompanied by a microfiber cloth that does a great job of getting your screens looking as good as new, making it perfect for use at a grand electronics store or even at home. Heck, it works with spectacles too!

Click Here to Buy Now

The post The Secret To Why Devices in Apple Stores NEVER Have Fingerprint Marks On Their Screens first appeared on Yanko Design.

Revery Architecture has designed the Sen̓áḵw residential skyscrapers for the Squamish Nation’s land in Vancouver, which will aid economic development and “benefit all Canadians”, according to the Indigenous group.

More than 11 residential towers, with heights ranging from 12 to 58 storeys, are planned for the development, as well as a series of smaller buildings.

Sen̓áḵw will be arranged around the Burrard Bridge, which connects Downtown Vancouver with the southwestern portions of the city.

The parcel of land is owned by the Squamish Nation government and is a fraction of the Indigenous group’s ancestral homeland, which was expropriated from the group by European colonial settlers gradually over the last three centuries.

Sen̓áḵw is planned on land that was won back in 2003 by the Squamish from the Canadian government after a lengthy legal dispute.

Project architect Revery Architecture based the development on the concept of a “village in the park”, which it says was informed “by the values and traditions of the Squamish Nation”.

“The idea is to optimize the public realm with a new urban park supporting various forms of activity, circulation and landscapes,” Revery Architecture principal Venelin Kokalov told Dezeen.

The studio used two distinct typologies when designing the towers, which together spread out like a “Y”, flanking the bridge and extending past it in two directions. The first typology has wider towers with sloped sides and is called “mountain” – the other, “long”, has more vertical towers with copper fins running their height.

The “long” towers have cores that are lifted off the ground to create the sensation of walking through a forest on ground level.

“This gesture increases the openness and porosity through the site, creates natural cover for outdoor areas, and forms a seamless connection between interior and exterior spaces at the ground level,” said Kokalov.

Glass facades will be punctuated with copper details on both structures, a material that was chosen for its “cultural significance” to the Squamish Nation.

Squamish Nation culture to be integrated “at all scales”

The team said it is working with community members to integrate the culture of the Squamish Nation “at all scales of the project”.

“The process was collaborative with a goal to honour the culture and heritage of the Squamish Nation,” a representative from Nch’ḵay̓ Development Corporation, the Squamish government’s development arm, told Dezeen.

“This included consultation with Squamish members leading up to the land designation,” said the representative, adding that a Cultural Working Group has been formed in the development process.

According to Nch’ḵay̓ Development Corporation, possessing a large rental development in the middle of one of the most expensive cities in North America will help the nation on the path to “complete economic independence”.

“As such, the project needs to consider the context of potential future development of the lands nearby, which are expected to increase in density significantly. In this context, the design and density of Sen̓áḵw is appropriate,” the Nch’ḵay̓ representative said.

“It looks like the future of Vancouver.”

While the project will bolster the economic future of the Squamish Nation, it said that it will also help to alleviate the housing crisis in Vancouver by adding thousands of apartments, some affordable, in a “relatively short amount of time”.

“The new development at Sen̓áḵw demonstrates that reconciliation is not zero-sum,” said Nch’ḵay̓ Development Corporation.

“It will ease Vancouver’s housing shortage, will include tens of thousands of square feet of publicly accessible amenities, and will contribute tens of millions of dollars to service improvements in the City of Vancouver.”

Nch’ḵay̓ Development Corporation also noted that the City of Vancouver has been “supportive” and an “excellent stakeholder”, and added that the Squamish have an agreement with the city that works toward integrating the new development with already-existing infrastructure and adding new infrastructure, including a transit hub.

With its focal point on the Burrard Bridge, the Squamish Nation and Revery Architecture have stated that parking will only be available for about 10 per cent of the residences.

“Instead, the project shifts attention on alternative transportation through a unique on-site transit hub, and a transformative new underground bike hub providing storage and maintenance facilities for thousands of bikes,” said Kokalov.

“The intent is to create a new infrastructure for a more integrated, inclusive and sustainable multi-modal network.”

A number of other sustainable infrastructures will be implemented at the site, and the architecture team has claimed it will be the “first large-scale net-zero operational carbon housing development” in the country.

Some of the infrastructure will be built with mass timber, according to Kokalov — and green roofs, permeable paving and rainwater collection will be included on the site.

“Sen̓áḵw is reconciliation in action”

Canada-based energy company Creative Energy will also include and install a system that will utilise excess heat from the adjacent Metro Vancouver’s infrastructure to generate energy.

Sen̓áḵw consists of mostly residential space, all rental, which will be open to the general public, with 250 units reserved for members of the Squamish Nation.

The project comes after the Canadian government’s 2015 recommendations for a policy of reconciliation with Indigenous people in Canada after centuries of violence and expropriation.

It will be developed in phases, with the final occupancy planned for 2029. Kasian Architecture will be the architect of record, while Tandem Studios will carry out the interior design.

“The development at Sen̓áḵw is reconciliation in action,” said Nch’ḵay̓ Development Corporation, which is working alongside local developer Westbank to complete the project.

“When First Nations utilize their lands for value-creating developments within their jurisdiction, everyone benefits. This project is a legacy for the Squamish Nation, but also for the City of Vancouver – and for all of Canada”.

Other recent skyscraper projects in Vancouver include a “sculptural and iconic” skyscraper by Kengo Kuma and a twisted skyscraper by BIG.

The post Skyscrapers planned for Indigenous land “look like the future of Vancouver” appeared first on Dezeen.

The goal of this project, by Madrid-based artist/designer Lucas Muñoz Muñoz, would make a fantastic ID school assignment: Build a lamp with the least amount of materials possible.

Muñoz calls his creations B.A.R.E. Lamps (Brick, Appliances, Rods and Electricity).

“These lamps have been designed to be easily and economically manufactured. Using only off-the-shelf materials like bricks, welding rods and electronic quick connectors.”

“B.A.R.E. Lamps were firstly designed for the exhibition Materia Gris* and for this they were manufactured by the students of Norte Joven Association’s social project.** At Materia Gris, these lights illuminated the exhibited objects and any visitor could pre-buy the fixtures through a QR code. At the exhibition closure the original units were given to their buyers. With this action, funding was raised for Norte Joven Association’s social project. This was one of the circular strategies designed for that exhibition to leave no trace or collaborate in a social cause.”

*Materia Gris was an exhibition at CentroCentro, a cultural center in Madrid, that showcased emerging biomaterials of interest to product designers. Muñoz designed the exhibition to avoid generating the typical garbage levels that such shows produce, and to avoid having to spend money on purchasing fixtures; he and his team scavenged materials left over from previous CentroCentro exhibitions to create the display fixtures.

The only thing purchased to post the exhibition was canned food, used as legs to elevate the plinths (to allow the floor to be mopped). Afterwards some of the food was consumed at an event at Muñoz’s studio, and the rest of the cans were donated to the Norte Joven Association.

**The Norte Joven Association is a Madrid-based nonprofit that targets economically-, socially- and academically-disadvantaged youth, and provides them with vocational training and support services.