Le 8 octobre 2013 a eu lieu l’exposition 3D : Printing the Future au Science Museum de Londres. L’occasion de découvrir les dernières avancées et prouesses dans le domaine de l’impression 3D, notamment grâce à des photos de Oli Scarff. Plus d’images des projets sur le site et dans la suite de l’article.
News: Asda is to become the first UK supermarket to offer an in-store 3D scanning and 3D printing service, allowing customers to capture and print scale models of their possessions or even themselves.
From Tuesday, customers at one Asda store in York will be able to have anything up to the size of a car scanned and reproduced as a 20-centimetre model, though the brand expects people will mostly order figurines of themselves.
The scanning process will take two minutes, using a hand-held scanner, then the digital files will be sent away to be printed ready for collection one week later. Prices will start from £40 and the models will be available in white, bronze or painted in full colour.
The service will be trialled at the York store of the Walmart subsidiary.
Printing and packaging firm The UPS Store became the first mainstream American retailer to offer in-store 3D printing in August.
Meanwhile Microsoft has partnered with MakerBot and office-supplies chain Staples has teamed up with 3D Systems to sell desktop 3D printers for the consumer market on their shop floors.
Japanese creative agency Party set up a 3D-printing photo booth in Tokyo last year and MakerBot introduced a photo booth to print 3D models of customers’ faces at its New York store last November.
We had the Dezeen team scanned and 3D-printed as part of our Print Shift magazine all about additive manufacturing earlier this year.
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Product designer Alan Nguyen has taken a series of extreme close-up photos of 3D-printer filament waste, revealing how the machines can produce detritus of surprising beauty.
A product designer at Amsterdam 3D printing firm Freedom of Creation, Alan Nguyen created the images using blobs of filament generated when changing the cartridge of plastic on a Cube 3D Printer.
“Normally people just throw them away, but I’ve been collecting these strands of filament for over a year now and they are just so beautiful,” said Nguyen.
“It’s pure poetry,” he explained. “Being produced from a machine that is designed to create exact physical copies of predefined digital code dictating where they should be laid down by Cartesian coordinates, they are free-moving spontaneous bursts of purely saturated awesomeness.”
Cube 3D Printers work by feeding a roll of plastic less than two-millimetres-wide into the extruder head, where it’s melted and squeezed out to draw the 3D product layer by layer.
The gradients in these images are created when swapping from one colour of filament to another, and the squiggles are produced when calibrating the print head after adding new material.
“If you’ve ever noticed when you use a normal printer, immediately after loading a new cartridge you might get a bit of bleeding of colours because it needs calibration, or some old ink leaked a bit,” said Nguyen. “This is exactly the same thing that happens with the Cube 3D Printers while loading a new cartridge.”
“A bit of the old filament is left behind when unloading the plastic and mixes with the new filament resulting in these beautifully perfect gradients,” he continued. “All of the drama at the top is created purely by chance from external forces either by friction, the ambient climate or somebody simply walking past and altering the flow.”
The designer is currently working on a limited run of artist’s prints for this series and will release another series soon.
Produced by Cubify, which together with Freedom of Creation is owned by American firm 3D Systems, the Cube became the first desktop 3D printer to be available through a major retailer when US chain Staples began to stock it earlier this year.
Freedom of Creation founder and Cubify creative director Janne Kyttanen talked to Dezeen about how such machines promise the kind of plug-and-play simplicity we have come to expect from the electronic products in our home, in a movie report we filmed as part of Print Shift, our one-off publication about additive manufacturing.
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Dezeen and MINI World Tour: in our next movie from the UK capital, senior curator at the V&A Kieran Long explains why the London museum has controversially acquired the world’s first 3D-printed gun.
As revealed first by Dezeen, earlier this month the V&A acquired two prototype 3D-printed guns developed and successfully fired by Texan law student Cody Wilson, displaying a copy of one of them during London Design Festival.
“I’m really passionate about this acquisition,” says Long, who is senior curator of contemporary architecture, design and digital at the V&A and was heavily involved in acquiring the gun.
“It has caused a lot of fuss in the press, that the V&A would acquire something like this. But what I’ve been pleased about is that most people have seen it not as something deliberately shocking but as a really good signpost to where manufacturing might be going and the implications of new technology.”
Long is also one of Dezeen’s new Opinion columnists and his first piece for us set out his guidelines for modern museum curation, where he asserted that “ugly and sinister objects demand the museum’s attention just as much as beautiful and beneficial ones do.”
The original prototypes did not arrive at the museum in time for London Design Festival, so the museum printed out a copy in London based on Wilson’s blueprints.
“We have guns in the collection; we have all the relevant licences to import firearms,” Long explains. “The only problem we have is getting an export licence. We’ve had the Department for Culture and Media here involved, we’ve had all of our technical services people involved. It’s been an immense bureaucratic effort.”
Wilson, a self-proclaimed anarchist, made the blueprints for the weapon available online through his Defence Distributed website, before the US government ordered them to be taken down. Long says that the politics of Wilson’s gun is what gets him excited.
“Something that I’m really passionate about at the V&A is to show the political backgrounds of things, even when they might not be palatable,” he says.
“I don’t believe everyone should be carrying guns and that’s not what we’re advocating here. What we are saying is this is possible and we might have to do something about it if we don’t want these things to happen.”
He continues: “The design of the gun and its distribution online is an act of politics as much as an act of design and that’s when I get really excited because I think design is something that can tell us about the world.”
Long believes the weapon has also turned the conversation about the future implications of 3D printing on its head.
“There’s been a lot of technocratic optimism around 3D printing, particularly in the design world,” he says.
“But when Cody Wilson released [the digital files for his 3D-printed gun online] it really transformed that conversation. It changed it into ethical issues around how we want to live together, how new technologies affect our relationships with one another. This gun, just sitting there, is pregnant with all of those questions.”
He continues: “Design for me is the thing that really focusses those questions. And when you see this thing for real you think: ‘All these things, can they go together and kill someone?’ The answer, simply, is yes.”
We drove to the V&A in our MINI Cooper S Paceman. The music featured in the movie is a track called Temple by London band Dead Red Sun.
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kill someone? The answer is yes.” appeared first on Dezeen.
Interview: 3D printing will revolutionise the way buildings are designed and built – and could herald a new aesthetic, according to Bart Van der Scheuren, vice president of Belgian additive manufacturing company Materialise.
“I do believe that in the not-too-distant future we will be able to print really large-scale architectural objects,” Van der Scheuren said. “We will really see it on a level of houses and so on.”
Van der Scheuren spoke to Dezeen earlier this year when we visited leading 3D-printing company Materialise in Belgium as part of our Print Shift project, which documented cutting-edge developments in the 3D-printing world.
In this previously unpublished extract from the interview, Van der Scheuren predicted that 3D printing would first be used to manufacture cladding for buildings, before being used to print structures containing integrated services such as plumbing and electrical conduits.
“You could think of making plastic structural components, which are covered by metals for aesthetic reasons, or [print] insulation [inside] the structure,” he said. “It’s certainly something that I can see developing in the next 5-10 years.”
This will give architects radical new aesthetic freedom, he predicted. “I see certainly in the coming years a development where architects will be able to become more freeform in their design and thinking thanks to the existence of 3D printing.”
At the start of this year several architects announced plans to build the first 3D-printed house. In January, Dutch firm Universe Architecture unveiled designs for a dwelling resembling a Möbius strip.
Shortly after, London studio Softkill published a proposal for a home made of interlocking fibrous plastic modules (main image). The DUS Architects from Amsterdam announced that they were constructing a canal house in the city, using an on-site printer.
However, none of these proposals have yet been realised.
See our movie in which Van der Scheuren explains the three most common 3D-printing processes. Read more about 3D printing in our print-on-demand magazine, Print Shift.
Here’s an edited transcript of the interview with Van der Scheuren:
Marcus Fairs: Is 3D printing of architecture a realistic possibility?
Bart Van der Schueren: There is a potential for 3D printing of architecture. If we are honest with ourselves, 3D printing started in architecture. It started in Egypt, stacking [stone blocks] on top of each other, layer by layer, and that way they created the pyramids. But of course what we mean by 3D printing is slightly different from what the Egyptians did.
What I am seeing happening is that there is a lot of research going on in the development of concrete printers; large gantry systems that extrudes concretes in a layer by layer basis [such as Enrico Dini’s D-Shape printer]. I do believe that in the not-too-distant future we will be able to print really large-scale architectural objects. We will really see it on a level of houses and so on.
But it’s not necessary in architecture to use those large printers. You can see it [working] also on a slightly smaller scale, like the panels that are required to cover architectural structures. Today in lots of cases those panels are limited in complexity because of the fabrication problems. These architectural elements can take advantage of 3D printing’s freedom of design complexity. So here I see certainly in the coming years a development where architects will be able to become more freeform in their design and thinking thanks to the existence of 3D printing.
Marcus Fairs: So it could affect the way buildings look?
Bart Van der Schueren: Yes. It could also affect other things like the integration of facilities into components, like the integration of air channels and cable guides and insulation in one single piece. Or you can think of the integration of loudspeakers in furniture and things like that, so they’re interior architecture. I’m expecting that there will be a big change and shift in the way that architects are thinking and looking and working, and making products as a result of that.
Marcus Fairs: How could 3D printing change architecture beyond the cladding? Could it be used to print more efficient structures?
Bart Van der Schueren: More organic-looking structures are already being investigated. There is research going on to make use of topological optimisation. This is a kind of computer design by which you define by boundaries of certain conditions and then the computer will organically grow a structure that matches the boundary conditions.
This can result in very organic shapes. It will still take a little bit of time, but for cosmetic uses or smaller components it is already possible today.
Marcus Fairs: What new developments are you expecting to see in the near future?
Bart Van der Schueren: 3D printers today are built typically to print with only one material. There are a couple of exceptions but typically a 3D printer will use a single material. What I am expecting is that printers in the future will combine different materials and in that way you can start thinking of making gradients or graded materials where you can then really change the function of the components. From an architectural point of view this can really have fantastic opportunities.
Marcus Fairs: Can you give some examples of this?
Bart Van der Schueren: An example would be mixing metals and plastics. In that way you could think of making plastic structural components, which are covered by metals for aesthetic reasons, or to [print] insulation [inside] the structure. There is still a lot of research to do but it’s certainly something that I can see developing in the next 5-10 years.
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“in the not-too-distant future” appeared first on Dezeen.
New York designer Francis Bitonti worked with students to 3D-print this dress using commercially available MakerBot machines (+ movie).
Francis Bitonti created the dress while leading a three-week digital fashion workshop over the summer, which aimed to introduce students to computer software and additive manufacturing equipment.
“The project wasn’t to design a garment, the project was to design a method of making form on the computer that could be deployed across the body,” said Bitonti.
During the New Skins Workshop, students experimented with form-building software and created samples of their designs using the 3D printers.
“The MakerBot provided the students a direct link with the material world,” said Bitonti. “While they’re working on all these complex computer simulations they were able to get tactile, physical results through the MakerBot.”
Interim reviews of the groups’ work took place with guest critics, including designer Vito Acconci, who chose their favourite 3D-printed dress designs to develop.
Intricate patterning from one group and the silhouette from another were combined to create the final design, which was then printed in sections using a new flexible filament created by MakerBot.
“The idea was to create a landscape of geometric effects, things that would have different material behaviours in different parts of the body,” Bitonti said.
The result was a garment that referenced muscle fibres, veins and arteries to look like an inside-out body. It was named Verlan Dress after the French slang word for the reversal of syllables.
The workshop took place at the Digital Arts and Humanities Research Centre of the Pratt Institute in New York.
Bitonti previously worked with designer Michael Schmidt to create a dress for burlesque dancer Dita Von Teese using selective laser sintering. We’ve also featured 3D-printed clothing by Iris van Herpen and Catherine Wales.
Last month Microsoft began selling MakerBots in its US stores, while Makerbot unveiled a prototype of a desktop scanner earlier in the year. Read more about 3D printing in our one-off magazine Print Shift.
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London Design Festival 2013: London designer Adam Nathaniel Furman has created multi-coloured 3D-printed ceramic objects for his Designers in Residence commission at the Design Museum (+ slideshow).
Identity Parade by Adam Nathaniel Furman consists of 3D-printed and ceramic vases and ornaments, painted in luminous colours and busy psychedelic patterns.
The objects were created in response to this year’s Designers in Residence showcase at London’s Design Museum, which challenged four designers to develop a project in response to the theme of identity.
Furman told Dezeen that his response was to create artefacts about the life of a fictional designer. The final ornaments intend to capture the imaginary character’s need for belonging and their fascination for new media and digital fabrication technologies.
“I believe very strongly in the power of character and scenario to tell complex truths about our contemporary state,” said Furman.
The objects were created using a number of production methods including 3D printing laser-sintered nylon in bright colours, 3D-printing ceramics and spray painting.
“I’d always felt that identity was such a protean, gaseous, changeable thing,” the designer said. “It terrified me really. I mean, how inconstant we are, how fluid our identities are and how we change from year to year.”
For the project, Furman also produced a film that he said “compresses all the visual influences and theoretical explorations embedded in the project, in a non-didactic and fun way.” Watch it here:
Here’s a short movie about the designer, produced by Alice Masters for the Design Museum:
Furman is currently working at Ron Arad Architects is and co-director of architecture practice Madam Studio and Saturated Space research group at the Architectural Association School of Architecture.
The Designers in Residence 2013 exhibition opened last week and runs until 12 January 2014. Last year’s Designers in Residence included Oscar Medley Whitfield, Harry Trimble, Uri Suzuki and Lawrence Lek.
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Photographs are by Luke Hayes.
Here’s a press release from the Design Museum:
Designers in Residence 2013
4 Sept 2013 – 12 Jan 2014
Adam Nathaniel Furman
This year’s Designers in Residence were invited by the Museum to respond to the theme of Identity, to explore how design can be used to convey, create or reflect a sense of identity through an object or experience.
Glued to his laptop, locked in his flat, emailing, DM’ing, posting, stressing and Skyping, what sort of a collection could a characterful designer produce in 3 months?
Furman’s project explores the potential of now ubiquitous rapid fabrication techniques to free designers from commercial exigencies, and to instead prodigiously create any number of objects whose delineations are guided by and embody intensely personal narratives. The role of collector and designer collapse into one.
Through a blog he created a character, a fictional tool, who existed for three months in a fever of rumination and production. Each post was a lived scenario which brought together a wider issue such as generalised anxiety or Facebook envy, with a fabrication technique such as 3d printed ceramic, or plaster, or plastic. The character fused these into a dizzying array of designs, each contributing to a collection which tells the story of a search for identity told through the design of objects. A journey which, thanks to technology, any one of us could embark upon in the near future.
Furman terminated the character, and the tripartite display of his project consists of a table on which all the various objects are collected, a miniature museum of the said designer, as well as the blog through which the stories behind each of the objects is relayed, and a film which compresses and conveys in a non-didactic manner, all the various influences and themes embedded in the overall project.
Adam Nathaniel Furman is a writer, designer, teacher and artist. He graduated from the Architectural Association in 2009 and is currently working at Ron Arad Associates. He also co-directs the Saturated Space Research cluster at the AA, and is co-director of the Architecture design practice Madam Studio.
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Adam Nathaniel Furman appeared first on Dezeen.
London Design Festival 2013: designer Philippe Malouin built an analogue 3D printer to create moulds from piles of sugar for this range of plates and bowls (+ movie).
The Dunes collection by Canadian designer Philippe Malouin has been commissioned for Staffordshire ceramics company 1882 Ltd.
Malouin’s custom-made machine features a box frame and a wooden turntable that is powered by a small motor and controlled by a computer.
Grains of sugar are poured into a funnel and fall onto a spinning cylinder positioned on the turntable beneath, where they pile up to form structures like cylindrical sand dunes.
The resulting shape was used to make a silicone negative, then cast in plaster and given to 1882 to produce in bone china. The final bone china pieces retain a sandy texture and have been finished with a matte glaze.
Originally Malouin tried using sand, however explained the material was difficult to use. “I originally started to try and ‘freeze’ these sand dunes by spraying resin onto them, but each time I would try and cast the resulting shape with silicone, the sand would stick to the cast and the shape would be altered,” said Malouin.
He later realised that sugar was the perfect substitute, as any grains clinging to the silicone could be washed away with water.
The printer created shapes that Malouin said could not be designed by hand or a computer and was perfect for creating plates and bowls. “All that was needed was to change the diameter of the sand dune in order to create a smaller dish,” Malouin told Dezeen.
“I was interested in designing the process that would produce the shape of the dishes. Not necessarily designing the dish directly,” said Malouin.
Here’s a video showing the making process:
The Dunes collection is on display – alongside Max Lamb’s crockery made from lumps of plaster – at the Sand & Clay exhibition at Paper Tiger, The Basement, 10 Exhibition Road, SW7 2HF until 22 September.
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Photographs are by Eva Feldkamp.
Here’s some additional information from the gallery:
Dunes by Philippe Malouin
Dunes is a stunning collection of fine bone china tableware featuring skillfully hand-crafted plates and bowls from one of the design world’s most applauded new talents. Slip-cast from plaster models, the collection maximises Malouin’s beautifully minimalistic patterns through analogue 3D printing. The analogue 3d printer made by Malouin, creates shapes that cannot be designed by hand or computer. Only movement, imperfection and randomised material deposition form the pieces. The shapes formed are carefully utilised and transformed into functional china pieces, highlighting the skill of the craftsman and creating a collection that wonderfully exemplifies its title of – Dunes.
About 1882 Ltd
1882 Ltd. is thrilled to announce their new collections for September 2013, fusing 130 years of traditional British heritage with fresh and contemporary new designs. The collections feature works from some of the world’s leading talents. These included an extended collection of ‘Crockery’ by Max Lamb, ‘Fragile Hearts’ by Mr Brainwash, ‘Standard Ware’ by Fort Standard and ‘Gashu’ by Alan Hughes and ‘Dunes’ by Philippe Malouin: all made of fine bone china, harnessing the tradition of the company originally set-up by the Johnson Brothers in the heart of the Stoke-on-Trent potteries in 1882. To this day, 1882 Ltd. remains a family business following its rebirth in 2011 by Emily Johnson and her father Christopher.
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for 1882 Ltd appeared first on Dezeen.
News: London’s V&A Museum has added the world’s first 3D-printed gun to its permanent collection and will exhibit it along with four other newly acquired design objects during the London Design Festival.
The V&A, the world’s largest museum of the decorative arts, has acquired two prototype Liberator guns, which were developed and successfully fired by Texan law student Cody Wilson earlier this year.
The gun sparked widespread concern over the ease with which weapons can now be produced on inexpensive printers, and the acquisition of such a controversial object marks a curatorial shift by the museum, which has traditionally focussed on hand-crafted items.
“Ugly and sinister objects demand the museum’s attention just as much as beautiful and beneficial ones do,” wrote Kieran Long, the V&A’s senior curator of contemporary architecture, design and digital, in an opinion column for Dezeen earlier this week. “Museums should be topical, responding quickly to world events when they touch our areas of expertise.”
Wilson made the guns available for anyone to download and produce on a 3D printer via his company, Defense Distributed.
In a statement about the gun, the museum said: “The invention of this so called ‘wiki weapon’ sparked intense debate and upended discussions about the benefits of new manufacturing technologies and the unregulated sharing of designs online.”
In May this year the US government forced Wilson to remove the blueprints for the gun from the internet. In the same month, the police commissioner for New South Wales in Australia warned of the dangers posed by printed guns after his force downloaded and test-fired one of the weapons. “Make no mistake, not only are these things undetectable, untraceable, cheap and easy to make, but they will kill,” the commissioner said.
The gun is one of five new purchases made thanks to The Design Fund to Benefit the V&A, which was set up in 2011 to allow the museum to acquire contemporary design items. Until now, the purchases have all been pieces of furniture.
The other four items bought this year are vessels from the Botanica series by Formafantasma, The Toaster Project by Thomas Thwaites, Ear Chairs by Studio Makkink & Bey, and the George chest of drawers by Gareth Neal – see below for full details.
Last year the fund purchased items by furniture makers Joris Laarman, Yuya Ushida and Boris Dennler while in 2011 it bought furniture by Nendo, Fredrikson Stallard and BCXSY.
See all our stories about 3D printing and read our feature about how 3D printing is changing the face of weaponry and warfare.
Here’s the full statement from the V&A:
The Design Fund to Benefit the V&A Announces New Contemporary Acquisitions
The Design Fund to Benefit the V&A has this year enabled the Museum to acquire five contemporary design projects ranging from a series of vessels made of natural polymers to a 3D printed gun. They will all go on display at the V&A for the first time during London Design Festival (14-22 September).
Martin Roth, Director of the V&A, said: “The generosity of supporters of the Design Fund ensures that the V&A is able to acquire for our permanent collections some of the best and most exciting design projects of our time. This year’s acquisitions reflect an interesting combination of new technologies working with traditional crafts.”
Yana Peel, Founder of the Design Fund to Benefit the V&A, said: “We are thrilled that in its third year, the Design Fund to Benefit the V&A has continued to enable the acquisition of such meaningful works for the Museum. With 17 exceptional contemporary design projects now acquired through the collective generosity of the Fund’s donors, a legacy is being built to represent the leading trends in design and society of today.”
The Design Fund was set up in March 2011 by arts patron Yana Peel, to bring together design enthusiasts with a shared passion for contemporary design and an interest in supporting the V&A’s aim to enrich people’s lives by promoting knowledge, understanding and enjoyment of the designed world. Over the last two years supporters of the Fund have enabled the V&A to buy a number of pieces by such international designers as Fredrikson Stallard, Joris Laarman and nendo. Some of the pieces are now on permanent display in the V&A’s new Dr. Susan Weber Gallery for Furniture, while others will go into future exhibitions.
These new acquisitions significantly enhance the V&A’s holding of contemporary design, a collection which reflects what is new, influential, innovative or experimental, and what is representative of current trends in design and society. The collection spans all aspects of design and art including fashion, furniture, craft objects, product and graphic design, digital media, architecture, photography, prints and drawings.
Details of the new acquisitions
Defense Distributed (Cody Wilson)
Gun: Liberator, 2013
Texan law student Cody Wilson developed and fired the world’s first 3D-printed gun, the ‘Liberator’, in May this year. His company, Defense Distributed, created designs for guns and gun components that can be downloaded by anyone anywhere in the world and printed out on a 3D printer. The invention of this so called ‘wiki weapon’ sparked intense debate and upended discussions about the benefits of new manufacturing technologies and the unregulated sharing of designs online. The V&A has acquired two Liberator prototypes, one disassembled gun and a number of archive items to enhance its collection of 3D printed objects and represent a turning point in debates around digital manufacturing. www.defdist.org
Gareth Neal
Chest of Drawers: George, 2008/2013 – artist’s proof from an edition of five
Neal is passionately interested in the history of furniture, and believes that designers must ‘look to the past to understand the future’. This 2013 chest of drawers made from ash is a development from an oak model made in 2008 and exhibited at the V&A. In certain positions the viewer can see the outline of a 1780s George III commode emerging from the rectilinear, contemporary chest of drawers. The idea for the surface of this piece came about when Neal made an error while learning computer drawing. To make George, Neal combines computer controlled routing machines, hand carving techniques, traditional craft and contemporary design. www.garethneal.co.uk
Studio Formafantasma (Andrea Trimarchi and Simone Farresin)
Botanica, 2012 – four prototypes and material samples
The vessels of the Botanica series are created as if in an era before oil was commonly used. The designers experimented with natural polymers extracted from plants and animals, aiming to develop a new aesthetic for a post-industrial world. Based on meticulous historic research, the objects challenge our current understanding of plastic materials and suggest new approaches towards sustainable alternatives. This project was commissioned by Plart, an Italian foundation dedicated to scientific research and technological innovation in the recovery, restoration and conservation of works of art and design produced in plastic. www.formafantasma.com
Studio Makkink & Bey (Rianne Makkink and Jurgen Bey)
Ear Chairs, 2003 – prototypes
These chairs were designed for an office reception space. Paired together, they form a mini-environment – the ‘ears’ can create privacy or define space and the arm-rest functions as a small table. The designers combined the chairs with carpet and wall panelling that referenced the Sunday-room of a Dutch farmhouse. Despite this nod to history, the chairs aim to introduce a radical new way of working and living. They have been widely imitated in a range of seating designs in recent years. www.studiomakkinkbey.nl
Thomas Thwaites
The Toaster Project, 2009
British designer Thomas Thwaites decided to build from scratch a simple household appliance that cost £3.49 at Argos. He extracted and processed the raw materials himself using homemade tools and built a crude, but functioning, toaster that he admits “will bear a very imperfect likeness to the ones that we buy – a kind of half-baked, hand made pastiche of a consumer appliance”. If it were to go on sale it would cost £1187.54 – showing the vast economies of scale of large manufacturers. www.thomasthwaites.com
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first 3D-printed gun appeared first on Dezeen.
3D-printed guitars, food, and fashion will be displayed and discussed at Mediabistro’s Inside 3D Printing Conference & Expo next week, September 17-18 in San Jose, California. Join us there and network with leaders in the Silicon Valley tech community.
Design-oriented sessions include “Tools of Creation” and “The Future of Retail and Materials for 3D Printing,” which will be led by Isaac Katz of Electronic Art Boutique and David L. Bourell of Laboratory for Freeform Fabrication.
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