The 20-deck-high Icon of the Seas, which has room for 7,600 guests and 2,350 crew, set off from Miami last month for its first cruise in the Caribbean.
World’s largest cruise ship sets sail amid sustainability concerns
“The stuff of nightmares”
Dezeen readers were quick to question the rationale. Henry felt it was “a physical embodiment of the madness of our species”. Cezary Marek was also far from impressed, calling it a “grotesque and pointless waste of resources”.
For Alfred Hitchcock, it was “the stuff of nightmares”. They continued “I can’t think of many things worse than being trapped on a huge floating, gimmicky hotel full of imbeciles”.
John Lakeman was in the same boat and thought that “it sounds like a nightmare vacationing with 7,000 people!”
However Frank Lloyd Wrong raised the point that “the buffet must be epic”.
“Poetic,” wrote Trewus, while Matheus called the project “sublime” and Mark Zudini commented “blurring the boundaries, beautiful”.
“Does anybody else believe this guy is the architect doing the most amazing architecture in the last, say, five years?” asked impressed commenter Anarc.
However, other readers were unconvinced about how well the building would function as a museum. “This structure cannot be a museum” wrote Leo, with Dik Coates agreeing: “for long-term storage, museums need to have a pristine environment”.
Commenters were unanimous in their response to the design.
“Gosh, it looks so dated, cold and really quite horrible,” wrote Alfred Hitchcock. “I thought Maggie’s Centres were meant to be warm, comfortable and welcoming – you would probably want to avoid this one”.
Rick Bradner thought it was “dreadful”. They went on to suggest that “the stark cognitive dissonance between this architecture and its supposed end users is striking”.
Commenter J Hardman was in disbelief, asking “how is architecture like this still being commissioned!?”. Cezary Marek agreed, writing “joyless for me, and rather predictable”.
Dezeen is the world’s most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days.
Architecture studio NYAWA has restored and updated a traditional timber home in Toyama, Japan, to create a pared-back holiday home where visitors can “feel the passage of time”.
The home’s Tokyo-based owner tasked the studio with creating a holiday rental that would “incorporate the local climate and culture”, while also updating its structure to be earthquake resilient.
Typical to many historical dwellings in the region, the building is organised around a large gathering space known as a hiroma, wrapped by sliding doors that allow it to be open to a covered porch or engawa.
Shoji screens are used to shift levels of light and privacy
Throughout the ground floor, the original wooden structure, including decorative carvings, has been restored and reinforced, with the addition of bench-like seating and glass partitions to maximise views and sight-lines.
A variety of floor finishes demarcate different areas in this open space, with wood and tatami floors in the seating areas, concrete in the kitchen space and areas of pebbles in between.
Looking to blend these more traditional spaces with modern amenities, the upper-storey bedrooms have been given new walls, floors and ceilings, painted white with built-in storage.
The traditional home was updated to include a guest house
“Retaining and showing the old wooden structure, including the roofing system, gives a sense of the long passage of time in this house,” NYAWA founder Yoh Miyashita told Dezeen.
“[However], we thought that simply leaving the old things and cleaning them up would not complete what is comfortable for people today,” he added.
Sliding doors open up from the gathering space to a covered porch
For new surfaces in the living areas, NYAWA used materials that were both traditional to the area and would also visibly weather to create a dialogue with the existing structure.
Silk curtains work with the sliding doors to allow the connection to the outdoors to be mediated, while a copper-clad ceiling in the koagari (raised seating area) bounces light around the space.
“In the newly finished areas, we consciously used materials that reflect light; this is because cloudy weather is common in Hokuriku, and reflection is important for a bright interior,” Miyashita told Dezeen.
“Copper is a traditional material in this region, and we thought it was particularly appropriate,” he added.
Original decorative carvings were restored and reinforced
Alongside traditional shoji screens, corrugated polycarbonate screens have also been used to provide varying degrees of light and privacy.
The landscaped garden that surrounds the home was left largely untouched apart from improvements to drainage, and provides a backdrop to the living areas as well as a visual buffer from the street.
A variety of flooring types differentiate between the spaces
People buy and use alarm clocks to wake them up at the right time, but let’s face it, almost everyone ends up extending their sleep by five or ten more minutes or at least want to. With the advent of smartphones, that has become even easier with the built-in snooze functionality in apps. But just as reaching for your phone before bedtime can be bad for your health, doing the same when you just want to snooze your alarm could also end up keeping you from going back to sleep instantly. What you probably need is an alarm clock whose only purpose, ironically, is to get you to sleep longer, which is what this device concept offers in addition to looking like one of Apple’s stylishly minimalist products.
Designer: Antoine Brieux
Useful as they are, our smartphones are notorious for also being sources of distractions. At night, those incessant notifications and the screen’s blue light keep us awake, but our phones also prevent us from snoozing properly again in the morning. Few of us dare to slide the screen blindly for fear of pushing the phone over the edge and breaking it, so we’re forced to open our eyes, get blinded by the screen, and be tempted by the number of unread notifications. There goes your plan to continue that sweet dream!
You know those shows or cartoons where people simply push or smash a button on their bedside clock to silence their alarms, all without even looking at the thing? Well, that’s what this alarm clock concept design also lets you do, except it doesn’t stop the alarm from sounding. The big, though flat, button on top of the small box has one and only one purpose: to snooze the alarm and let you extend your sleep, all without pulling you out of your slumbering state completely. No fumbling over which button to push. You can even hit it with your eyes closed, which is the point entirely.
With such an extremely focused purpose, the design of the device can’t be any more complex than it needs to be. It’s a perfect opportunity to apply some of Apple’s famous minimalist design language, leaving a small cube that’s bereft of any unnecessary feature other than a small LCD screen on the front, a USB-C charging port on the back, and Apple’s iconic logo on top. That said, the design is also so simple that it can actually be easily used by other brands, for example, a LEGO-inspired yellow block.
The alarm clock does have another hidden functionality. It can charge your iPhone, but only if you place it on the iPhone’s back. It makes for an awkward position where the iPhone has to lie face down on a flat surface, which risks scratching its screen. Of course, the bigger question is whether there’s a real need for such a device that does only one thing, especially if that one thing encourages and even rewards sleeping in when you really should be getting up.
Plastic-free, fake fur made from nettle, hemp and flax fibres envelops these special edition bags that Danish fashion brand Ganni has unveiled at Copenhagen Fashion Week.
The one offs are a riff on Ganni‘s classic Bou bag made in collaboration with materials company BioFluff, which claims to have developed the “world’s first plant-based fur”.
Unlike existing faux furs, the shaggy textile contains zero plastics or petrochemicals, according to the manufacturer. Instead, its hairy fibres are extracted from plants and agricultural waste using special enzymes that are also plant-derived.
Ganni unveiled special editions of its Bou bag at Copenhagen Fashion Week
“We source the fibres in Europe and create the fur in Italy using our patented process,” BioFluff co-founder and CEO Martin Stübler told Dezeen.
“We use a combination of existing textile technologies, science and the savoir-faire of the Italian fur industry,” he continued.
“The fur ‘hairs’ are genuine plant fibres, meaning we do not process the fibres into yarn, which avoids the energy-intensive yarn spinning process.”
The fluffy bags are enveloped in plant-based fake fur
Although a full lifecycle analysis is still in the works, early estimates suggest that BioFluff produces 50 per cent fewer emissions than plastic faux fur while cutting out the issue of microplastics.
BioFluff also estimates that its fur produces up to 90 per cent fewer emissions than real animal fur by eliminiting the need to raise and feed livestock and the extensive processing required for pelts.
BioFluff is made from nettle, hemp and flax fibres
For the plant fibres, BioFluff uses a mixture of nettle, hemp and flax, half of which the company says can be sourced from agricultural waste streams.
The natural brown colour of the resulting textile can be bleached to become off-white or dyed using mineral pigments – pink and black in the case of the Ganni bags, which were finished with a braided handle made of recycled leather.
BioFluff fur would break down in an industrial composting facility after “several weeks”, Stübler estimates, although no compostability study has been completed so far.
Marrying Stübler’s background in biochemistry with the textile know-how of his co-founder Steven Usdan, the company has been able to create a range of different finishes – some resembling fur while others are closer to fleece or shearling.
“We have a different range of products, some more similar to animal fur while others have a unique aesthetic and feel, and we are constantly developing and improving,” said Stübler.
“We achieved this through iterations and feedback from brands like Ganni.”
The bags are an updated take of Ganni’s Bou bag
This year marked the first time in 10 years that Ganni has failed to show at Copenhagen Fashion Week.
Instead, the brand staged the Future, Talent, Fabrics exhibitions to spotlight emerging Nordic designers and innovative materials the company is exploring as part of its Fabrics of the Future platform.
However, climate experts are increasingly warning that the fashion industry’s investments in more sustainable materials are not enough to offset the climate impact caused by its overproduction.
Future, Talent, Fabrics was on show as part of Copenhagen Fashion Week from 31 January to 2 February 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
Dezeen Showroom:designer Travis Clifton drew on the shape of retro 1960s tables in her collection of multifunctional tables for furniture brand HBF.
The Firma Collection includes seven tables at a selection of scales suitable for a range of uses. Each of the designs shares distinctive traits, including a broad tabletop supported by similarly wide legs set flush at either end, similar to Parsons tables of the 1960s.
Seven tables make up the collection
The side, coffee and console tables are designed to blend seamlessly into lounges and seating areas and have a timeless and discrete design.
The larger conference, counter height, bar height and ADA-compliant height tables provide accessible tables for people of all abilities and requirements, and are available with integrated task lighting and power outlets to enhance productivity.
The tables are informed by mid-century design
All tables are durable and can be specified for use in workplaces, educational institutes, mixed-use spaces and hospitality venues among other interior applications.
The tables come in a selection of wooden finishes, while the tabletops come in glass or terrazzo. All pieces are made in the USA.
Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.
Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.
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The Dezeen team are reporting live from Stockholm Design Week in the Swedish capital (5-11 February) . Read on for all the coverage from day two (Tuesday 6 February) – and follow the live feed for today’s activity!
5:30pm After a long day at the furniture fair, some of the Dezeen team are relaxing with raspberry cocktails in designer Gustaf Westman‘s Stockholm studio – skål!
Westman shared stories of how his designs came about, including his stackable circle-shaped coffee mug.
The designer thought of the idea while out on a run and had to draw the design in the mud and then come back to sketch it. – Cajsa Carlson
Images by Cajsa Carlson
5:00pm As the opening day at Stockholm Furniture Fair draws to a close, Dezeen’s Jane Englefield has made it to see I Inherited a Forest, an exhibition by designer Monica Förster at The Mess on Mäster Samuelsgatan.
After inheriting 130 hectares of forest in Lapland, open to the public to roam by Swedish law, Förster has created a collection of carpets and tapestries informed by the forest with textile brand Ogeborg.
The rugged textiles feature various colours and threads that convey the wildness of the forest and were produced entirely in Europe.
Forster displayed ephemera picked from the forest in an accompanying glass case to “bring out the beauty in the small things”.
Images by Jane Englefield
4:30pm Swedish street furniture brand Nola‘s stand takes the form of a garden, featuring planters filled with flowers and a patio-like floor made from recycled bricks (set to be recycled again after the show).
4:00pm Students from the University of Gävle collaborated with Swedish lighting brand Fagerhult to reimagine the appearance and function of outdoor lighting.
The resulting products include a luminaire whose purpose is to subtly emit colour to create a distinctive landmark that makes drivers aware of their surroundings at night.
One project is an interactive pole with a built-in speaker. The modular light was designed to be easily installed into existing paving stones. – Jane Englefield
Images by Jane Englefield
3:15pm Visitors to the Stockholm Furniture Fair were turning their heads today as actor and comedian Will Ferrell was spotted perusing the furniture displays.
Image courtesy of Anthony Hill
Married to Swedish actor and producer Viveca Paulin, Ferrell often visits her homeland. On this occasion, he was at the fair to see Paulin’s cousin’s new furniture brand Lumberyard Project.
Image by Max Fraser
Set up by designer Lars Hofsjö after making a variety of timber furniture items during Covid lockdown, he’s exhibiting at the fair to find a producer of his Donald Judd-inspired furniture. – Max Fraser
3:00pm Nick Ross, a Scottish designer based in Stockholm, is exhibiting as part of Älvsjö Gård, Stockholm Furniture Fair‘s showcase of experimental and limited-edition works.
Ross has created furniture pieces made from different woods, including maple, pine and birch, and cast metals including copper, bronze and aluminium. They all share a formal language of simple linear forms.
“The concept was based around working with standard formats of wood and basic metal casting techniques, and arranging the pieces in different ways,” he told Dezeen editor-at-large Amy Frearson. “They are inspired by very simple, almost Stone Age constructions.”
Images by Amy Frearson
2:30pm Jordens Arkitekter created a hemp pavilion, which is on display as part of the studio’s Framing Architects presentation.
The exhibition includes plans for a living model informed by blue zones – places around the world where people are known to live longer lives. – Jane Englefield
While it looks traditional, the course features furniture that has upholstery made from iron ore and flooring that has been made with spray-on denim fibres.
“These commercial fairs can sometimes come across as controlled and unsentimental places, so we’re bringing a bit of chaos and nostalgia into the mix,” designers Victor Isaksson Pirtti and Axel Landström told Dezeen. – Cajsa Carlson
Image by Cajsa Carlson
12:00pm Following their relaunch last night (see 10:15am entry below) Dezeen’s Cajsa Carlson has interviewed Iittala‘s creative director Janni Vepsäläinen.
How do I inject newness into the brand while still keeping the core alive?
The reinvention of the Finnish brand, traditionally known for its glassware, aims to build on its founding identity of “experimental, boundary-pushing” design, Vepsäläinen told Dezeen.
Image is courtesy of Iittala
Finnish designer Janni Vepsäläinen, who joined Iittala last year from fashion brand JW Anderson, aims to make sure the brand stays relevant and innovative, something she believes is in its DNA.
“My challenge is how do I inject newness into the brand while still keeping the core alive and interesting and bring a bit of novelty into that?” she said.
11:00am On their large open stand at Stockholm Furniture Fair, Swedish brand HEM presented their own new furniture designs as well as projects in collaboration with Soft Baroque, Marco Campardo and Faye Toogood.
We have to kill modernism
Speaking to Dezeen’s Max Fraser, HEM CEO Petrus Palmér proclaimed “we have to kill modernism. It’s not relevant anymore. So much today is a race to the bottom and we can’t do it anymore. We need a new appreciation of craftsmanship and to let go of the idea of mass producing everything at the cheapest price for everyone.”
HEM’s CEO Petrus Palmér addressing visitors at the brand’s stand
“We stopped working with industrial designers because they design to optimise. It’s too rational. We need to invest in people with ideas and culture at their core. Maybe that’s not logical but that’s what drives our agenda,” Palmér continued.
Marco Campardo explaining his new Bullnose Chair for HEM, made using varying lengths of the same bullnose-cut timber profiles. Images by Max Fraser
10:30am Launching today at Stockholm Furniture Fair, the Patch sofa system from Swedish brand Massproductions is designed to offer “just the right amount of character” to a room.
The standout detail is the corner, where the roundness of the modular cushions is emphasised.
The Patch sofa from Massproductions
Speaking to Dezeen editor-at-large Amy Frearson, the brand’s co-founder and designer-in-chief Chris Martin said their challenge was to “design something with enough charisma to make it new and interesting, but not so much design that it becomes overwhelming for something you live with every day”.
Image by Amy Frearson
“The design uses pocket springs, rather than big blocks of foam,” Martin said, explaining that this provides a high level of comfort and reduces the amount of oil-based materials used in the production.
Chris Martin of Massproductions, sitting on the new Patch sofa. Image by Amy Frearson
10:15am Other reports from last night’s festivities across Stockholm continue to trickle in. Finnish brand Iittala presented its relaunch in the most unusual venue of the week so far (and perhaps overall!) – the KTH Reactor Hall.
The space, which once housed Sweden’s first nuclear reactor, was transformed for a performance by sound artist Damsel Elysium.
Images by Cajsa Carlson
Beneath the bunker’s concrete ceiling – marked with numbers to convey different levels of radiation – Elysium performed on glass instruments, which they had designed with Iittala.
Iittala creative director Janni Vepsäläinen aims to create these kind of unusual events and collaborations to make sure the brand remains culturally relevant, she told Dezeen deputy editor Cajsa Carlson.
9:45am International journalists gathered for a light press breakfast and the official opening of the Stockholm Furniture Fair by the fair’s director Hanna Nova Beatrice.
A testbed for new ideas
The assembled press were briefed on what to expect from the week, including a series of talks from a range of exhibitors – and “more bars, more parties”.
9:30am The Formafantasma design duo was invited to create an installation for Stockholm Design Week.
The result is a large-scale “reading room” cloaked in a Maharam pink curtain. The duo filled the space with iconic Artek stools and thin Flos lighting, which illuminates a series of books on ecology and design spread across timber tables.
All of the installation components will be reused at various locations after the event.
The room is “somewhere to sit down” and reflect, according to designer Andrea Trimarchi. At a design fair, “you need it!”
Photography by Amy Frearson
Two books in the display that Andrea Trimarchi suggested everyone should read were The Life of Plants: A Metaphysics of Mixture by Emanuele Coccia and Staying with the Trouble: Making Kin in the Chthulucene by Donna Haraway. – Jane Englefield
9:15am Last night, ahead of the fair’s opening today (6 February) Dezeen’s Max Fraser attended a dinner to celebrate Stockholm Furniture Fair‘s guest of honour, Formafantasma
The dinner took place at Nordiska Galleriet 1912, one of the city’s original retailers of contemporary design, and was hosted by director of Stockholm Furniture Fair Hanna Nova Beatrice
Alongside Formafantasma co-founder Andrea Trimarchi (his partner Simone Farresin stayed in Milan with Covid), the dinner brought together many of the design industry’s leading designers including Eero Koivisto, Monica Förster, Marco Campardo and Bethan Laura Wood.
Meanwhile, we kick off with the unveiling of a project from design duo Foersom & Hiort-Lorenzen and furniture brand Norman Copenhagen, as part of Stockholm Design Week.
The Mat collection features two plant-based chairs; one is made from hemp – a type of cannabis plant – and the other combines this material with eelgrass, a marine plant similar to seaweed.
These biomaterials were used instead of injection-moulded plastic to create a shell chair, which sits on powder-coated steel legs. – Amy Frearson
Mat chairs surrounded by the hemp plants they’re made from
See Dezeen Events Guide for all the latest information you need to know to attend the event, as well as a list of other architecture and design events taking place around the world.
Fashion house Bottega Veneta has opened a boutique designed by its creative director Matthieu Blazy inside the Galleria Vittorio Emanuele II shopping arcade in Milan.
Bottega Veneta‘s two-storey store is distinguished by three primary materials: glass, Italian walnut and green Verde Saint Denis marble.
A spiral staircase greets shoppers at the Bottega Veneta store in Milan
This trifecta is applied in strict grids to evoke Italian modernism and provide an organising principle in the various rooms.
“There are different experiences of space in the store,” said Blazy. “I wanted to express the idea of a domestic interior referring to Italian modernist architecture that contrasts with the aesthetic of a spaceship and to capture the intimacy and the imagination of getting dressed.”
Grids are used throughout the store to organise materials
From the galleria, shoppers are greeted by a dramatic spiral staircase made entirely from Italian walnut – a material used throughout the interior as panelling, modular shelving and furniture.
Green marble is laid in squares across the floors, separated by strips of walnut and occasionally swapped for larger patches of dark green wool carpet.
Glass blocks are integrated into the walls and ceilings
Square glass blocks are similarly arranged into grids across walls and ceilings, illuminated from behind to produce a soft warm glow throughout the store.
Green leather chairs and benches are accompanied by custom rounded wood tables and stools to form lounge areas.
“Throughout the space, soft textures are found in leather seating and wool carpets, while modular shelving units build a sense of discovery and play,” Bottega Veneta said.
The fitting rooms feature leather niches that provide a place to sit
Fitting rooms are fully lined in walnut, except for leather-wrapped niches that provide a small seat, giant mirrors with built-in lighting and more green carpet.
Sculptural polished metal elements form the door pulls and clothes hooks, their smooth surfaces contrasting with the more textured golden planters and entrance handles.
On the upper level, recesses formed by the Galleria’s arched windows provide nooks for seating and plants, as places to look out onto the highly decorative arcade.
Designed in 1861 by architect Giuseppe Mengoni, the neo-classical Galleria Vittorio Emanuele II is one of Milan’s most desirable shopping destinations.
Polished metal sculptures form door pulls and clothing hooks in the fitting rooms
The four-storey, glass-vaulted double arcade is located in the city centre, close to other landmarks like the Duomo and the Teatro alla Scala.
The new Bottega store is the latest to open under Blazy since he took the reigns of the luxury brand in 2021, following locations on London’s Sloane Street and the Avenue Montaigne in Paris.
The new store is located in the historic Galleria Vittorio Emanuele II shopping arcade
For the brand’s Spring Summer 2023 runway show, Bottega Veneta collaborated with Italian designer Gaetano Pesce, who envisioned a colourful resin-covered floor and 400 bespoke cotton-and-resin chairs for the set.
Pesce later went on to create a pair of handbags for the brand, which were designed to suggest different bucolic landscapes.
These designey 1938 faucets and handles are by Italian faucet manufacturer Mamoli.
The inspiration for them came from the company’s own back catalog:
“Sometimes the best ideas come from looking backwards,” the company writes. “It was while leafing through an old company catalog that we rediscovered Zenith, a series designed and produced by Mamoli in 1938.”
“We studied the technical drawings of the time, asking the architect Fabrizio Batoni to adapt them to current needs and we recreated the molds of this series in Deco style of which all the components are made of brass and the handles feature precious inlays with a [physical vapor deposition] finish.”
Have you ever wished to put your knickknacks and small treasured mementos in your personal Metaverse room? Or maybe you need a replacement part for a toy or machine that has long gone out of production. You can try modeling these real-world objects using sophisticated 3D software, but not only is it a painstaking process, the end result might not be as accurate and precise as the real thing. What you need is a simple yet powerful tool to digitize physical objects, and that’s what Revopoint’s upgraded MINI 2 handheld 3D scanner offers, providing designers, makers, and all kinds of creatives the power they need to scan small objects not only with speed but, more importantly, with accuracy and precision as well.
3D scanning was once confined to large machines inside professional studios, but thanks to advancements in technology, you can now hold such a scanner in your hand that offers a high level of accuracy and an accessible price tag. You might think that a handheld, portable device would have to sacrifice features just for the sake of size, but the Revopoint MINI 2 3D scanner breaks from the mold and surpasses expectations. With its blue light-powered single-frame precision of up to 0.02 mm and an accuracy reaching up to 0.05 mm, it makes short work of any small object you throw at it, quickly turning real-world three-dimensional objects into their virtual 3D counterparts.
Single Capture Range @ Nearest Distance 52 x 64 @ 120 mm
Single Capture Range @ Furthest Distance 168 x 132 @ 250 mm
An insect scanned by Revopoint MINI 2. Credit: PUTV
The Revopoint MINI 2 presents a significant upgrade from its predecessor across the board. Its single-frame scanning range now reaches 168 mm x 132 mm at a distance of 250 mm, and the scanning speed is now faster at 16 fps. The RGB camera doubles its pixel count and even comes with a larger aperture that lets more light in, allowing it to capture more intricate color details than before. And with a new flash LED system that removes shadows from the object, you can get more uniform colors as well.
Up to 16 fps Scanning Speeds – Create ready-to-use models in seconds.
A 50-cent coin scanned by Revopoint MINI 2. Credit: PUTV.
A ring scanned by Revopoint MINI 2. Credit: PUTV
The MINI 2 isn’t just a leap in power, it is also easier to use as well. A 9-axis IMU (inertial measurement unit) makes sure you still get properly aligned frames, even with shaky hands or fast movement. Revopoint also added tactile buttons directly on the device to make it easier to start or pause the scan and adjust the depth camera’s exposure right then and there, saving you from having to fumble for the right buttons to tap on a phone or a computer. And to make sure the scanned data is also transmitted quickly, the new MINI 2 gets a new USB-C port and support for Wi-Fi 6 for wired and wireless connectivity options.
Up to 2 Megapixels Depth/RGB Cameras Resolution
With more powerful features in a compact and portable package, the Revopoint MINI 2 creates a world of possibilities when scanning small objects quickly and accurately. Scan a part of a toy or a machine to 3D print a replacement when parts are no longer available. Scan pieces of art or historical artifacts to preserve mankind’s legacy for future generations. Or scan designs, prototypes, and other physical items to integrate these objects into your creative workflow. Whether you’re 3D printing gears for replacements, scanning body parts for non-invasive medical analysis, or designing for realistic virtual worlds, the Revopoint MINI 2 3D scanner delivers the precision and power you need to get the job done right at a shockingly cost-effective price point.
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