3D printing service bureaus Forecast 3D, FKM, Hasenauer & Hesser, and RapidCenter have integrated DyeMansions Powerfuse S vapor smoothing technology into their operations, signalling a shift across the 3D printing industry toward environmentally friendly practices.By moving away from traditional PFAS-based solvents in favor of green alternatives, these companies are aligning high-quality production standards with an increasing emphasis on environmental responsibility. Describing Powerfuse S as a scalable, eco-friendly solution, RapidCenters Managing Director, Floris Stam, highlighted how the technology aligns with their goals for innovation and sustainability.Compared to conventional solvents, green alternatives reduce both safety infrastructure needs and regulatory burdens, streamlining operations while lowering emissions and the costs associated with specialized extraction systems. This shift brings both logistical and environmental advantages.DyeMansions Powerfuse S post-processing system. Image via DyeMansion.A shift toward sustainable vapor smoothingIntroduced by DyeMansion in 2019, Powerfuse S marked a major development in vapor smoothing by adopting a closed-loop system that recycles green solvents, curbing environmental impact and operational expenses.Previous vapor smoothing processes often relied on open solvent baths, later transitioning to closed systems that used HFIP, a PFAS forever chemical known for its persistence in the environment. With over 50 units now in use across the industry, DyeMansion has emerged as a leader in steering vapor smoothing technology toward sustainable solutions.By providing precision smoothing for intricate geometries, Powerfuse S allows 3D printing service providers to achieve consistent quality and meet specific certifications, including FDAs 21 CFR and EUs 10/2011 standards for food safety. This capability facilitates entry into regulated markets, expanding application possibilities for 3D printed products.Recently, Forecast 3D joined DyeMansions Production Partner network, incorporating Powerfuse S to enhance its range of services. Alongside companies such as Endeavor 3D, SNL Creative, Solaxis, and Prototal, Forecast 3Ds partnership with DyeMansion grants access to the comprehensive Print-to-Product workflow.Endeavor 3Ds CEO, Phil Arnold, emphasized that early adoption of DyeMansions green technology has aligned with their goals for lean and responsible production, benefiting their clients over the past three years.As more companies adopt green solvents, the 3D printing industry is steadily shifting toward sustainable manufacturing practices, with companies moving away from PFAS chemicals in favor of greener alternatives. This transition reflects a broader industry trend toward environmentally conscious production methods in industrial applications.Novel post-processing solutionsWhile DyeMansions Powerfuse S addresses sustainable vapor smoothing, other companies are advancing post-processing technologies across a range of applications.For example, Swedish post-processing solutions provider AM Efficiency recently launched UNPIT, an automated post-processing machine for entry-level Selective Laser Sintering (SLS) 3D printers, which will debut at Formnext 2024.Designed for SMEs, UNPIT handles unpacking, de-powdering, cleaning, and material recovery, reclaiming up to 100% of unused powder to reduce waste and operational costs. Adaptable with Selective Laser Sintering (SLS) brands like Formlabs and Sinterit, the machine integrates seamlessly into workflows, automating processes that traditionally require manual labor. Developed in partnership with Siemens, UNPIT shipments are set to start in early 2025, aiming to enhance efficiency for SLS users.Austrian 3D printing firm M&H incorporated Solukons SFM-AT1000-S depowdering system to enhance post-processing of complex metal parts. This advanced system removes powder residues from intricate internal channels and heavy components up to 1,000 mm in height and 800 kg in weight.Equipped with servo-driven rotating axes and a high-frequency knocker, it ensures thorough cleaning while meeting safety standards for reactive materials. M&Hs integration aims to meet the rigorous demands of industries like aerospace and international racing, positioning the company for large-scale manufacturing.Catch up on all the news fromFormnext 2024.Voting is now open for the2024 3D Printing Industry Awards.Want to share insights on key industry trends and the future of 3D printing? Register now to be included in the2025 3D Printing Industry Executive Survey.What 3D printing trends do the industry leaders anticipate this year?What does the Future of 3D printing hold for the next 10 years?To stay up to date with the latest 3D printing news, dont forget to subscribe to the 3D Printing Industry newsletter or follow us on Twitter, or like our page on Facebook.While youre here, why not subscribe to our Youtube channel? Featuring discussion, debriefs, video shorts, and webinar replays.Featured image shows DyeMansions Powerfuse S post-processing system. Image via DyeMansion.

Hey guys, I want to expand my knowledge on electrical effects a bit more, so I wanted to see if you guys had any resources/ideas on how to create what Ive been trying to do.Effectively, Im trying to make arcs of lightning come out of an object without using Sprite Particles, just Mesh Particles and shaders or Beams.The beam method I actually have a decent understanding on to a degree thanks to dismantling some effects, though I couldnt figure out how to make the center of the beam climb outward, like electricity tends to do. Still experimenting there. Im more invested of learning the mesh path that can mimic beams, like Soulercoasters.Would it be better to go with say, a 2/3 circle that expands upward with scaling mesh on the Z axis and use point velocity to make it appear like its growing out at different angles? Or maybe using a flipbook across the mesh to give it the appearance of bouncing from one point to the next? The only method Ive found that uses meshes like this did something similar for electricity, but was a full circle with a pinched end, that was more used for electric explosions, which is sort of what Im aiming for, a sort of electric boom from the applied target.Or would beams, with a hand-drawn stylized texture for the beam, probably be better suited for something like this? Definitely seems like theres more resources/videos with that method. Speaking of, if you have any great references or videos about this, thatd be a huge help.

Hello everyone,i just finished this new VFX and I would like to see if it fits VFX principles, if there is feedback I am willing to hear, or if there are ideashttps://youtu.be/Zd1kQYwnoow 1 post - 1 participant Read full topic

Boston City Hall Aerial ViewBoston City Hall is one of Americas most controversial yet enduring symbols of mid-century Brutalism. Its creation emerged from a pivotal period in post-war American urbanism, as cities sought to reinvent themselves with bold modernist statements. Following World War II, a wave of urban renewal swept through Boston, heavily subsidized by federal programs to revitalize neglected city cores. This renewal movement sought architectural icons that would reflect a forward-looking vision of civic progress.Boston City Hall Technical InformationArchitects: Kallmann, McKinnell, & KnowlesLocation: Government Center, Boston, Massachusetts, USATopics: BrutalismArea: 47,845m2 | 513,000 Sq. Ft.Project Year: 1963 1968Photographs: Various, See Caption DetailsWe distrust and have reacted against an architecture that is absolute, uninvolved and abstract. We have moved towards an architecture that is specific and concrete, involving itself with the social and geographic context, the program, and methods of construction, in order to produce a building that exists strongly and irrevocably, rather than an uncommitted abstract structure that could be any place and, therefore, like modern manwithout identity or presence Michael McKinnellBoston City Hall PhotographsAerial View Peter Vanderwarker Peter Vanderwarker Peter Vanderwarker Utile and Reed HilderbrandCourtyard Raj Das Photography Raj Das PhotographyCourtesy Kallmann McKinnell & Wood ArchitectsBoston City Hall Design Philosophy and InfluencesBostons civic leaders were driven by a desire for a city hall embodying transparency, modernity, and the openness of democratic government. In 1962, an international design competition set the stage for Kallmann, McKinnell, & Knowles, a young firm with little prior notoriety, to redefine Bostons architectural identity. Their winning design presented an audacious interpretation of government architecturea Brutalist structure that defied conventions and embodied an unfiltered, powerful civic presence in concrete.The brutalist approach of Kallmann, McKinnell, & Knowles sets the building apart from typical civic designs. Rather than opting for a classical or glass-clad modernist form, the architects embraced Brutalism, a style characterized by its raw materiality and monumental scale. This design choice carried a deliberate intent: Boston City Hall was meant to be a tangible expression of civic transparency and order. Its bold, uncompromising forms rejected the decorative flourishes that often masked governmental architecture, replacing them with a structure that felt both strong and grounded.The organization of spaces within Boston City Hall mirrors a civic hierarchy. The lower levels, open to the public, are designed to feel accessible and inviting, with large open areas that evoke a sense of openness and democratic participation. In contrast, the upper floors house administrative offices, a layered approach that suggests civic transparency and structural order. The architects used this spatial organization to articulate a message about governance, drawing clear distinctions between the buildings public and bureaucratic functions.Architectural and Structural FeaturesBoston City Halls aesthetic is defined by its honesty, seen in the prominent use of exposed concrete, steel, and glass. At the time of its completion in 1968, this stark materiality challenged traditional notions of civic beauty. Rather than relying on polished finishes, the architects showcased raw concrete with its natural imperfections. This choice embraced Brutalisms core tenet: an architectural aesthetic rooted in material authenticity.Structurally, the building is a remarkable engineering work, utilizing dramatic cantilevers, deep setbacks, and modular elements to achieve sculptural monumentality. The design features strong, overhanging concrete forms that define the structures striking facade. These elements are more than stylistic choices; they reinforce the buildings structural integrity while symbolically grounding the institution within the city. The deep shadows and bold geometric forms create a play of solid and void, emphasizing the buildings monumental presence within the Government Center. Through this architectural language, Kallmann, McKinnell, & Knowles imbued Boston City Hall with a civic gravity that was both imposing and, at the same time, refreshingly modern.Legacy, Reception, and Conservation ChallengesSince its inauguration, Boston City Hall has sparked polarized reactions. Initially, it was celebrated within architectural circles as a revolutionary approach to government architecture, a forward-thinking symbol for Bostons modern era. However, as public tastes evolved, the buildings raw, unadorned Brutalism became a target for criticism. Some Bostonians saw it as cold, uninviting, and even oppressivea far cry from the accessible civic space the designers envisioned. In the following decades, Boston City Hall became emblematic of the aesthetic divide over Brutalism itself, with some advocating for its preservation as a landmark while others argued for its demolition.Boston City Hall PlansSketch | Kallmann McKinnell & Wood ArchitectsFloor Plans | Kallmann McKinnell & Wood ArchitectsSection | Kallmann McKinnell & Wood ArchitectsSection | Kallmann McKinnell & Wood ArchitectsSketch | Kallmann McKinnell & Wood ArchitectsPerspective Drawing | Kallmann McKinnell & Wood ArchitectsBoston City Hall Image GalleryAbout KMW ArchitectureKMW Architecture, initially founded in 1962 as Kallmann McKinnell & Knowles, was established by Gerhard Kallmann, Michael McKinnell, and Edward Knowles. The Boston-based firm rose to prominence with its Brutalist design for Boston City Hall, a project that cemented their reputation for creating impactful civic architecture. Over the years, KMW has expanded its portfolio to include educational, institutional, and cultural buildings globally, consistently focusing on designs that resonate with their social and geographic environments.Notes & Additional CreditsDesign Team: Kallmann, McKinnell & Knowles (Architects), Campbell Aldrich & Nulty (Associated Architects)Structural Engineers: LeMessurier ConsultantsClient: City of BostonMaterials: Exposed concrete, steel, glass, brickProject Cost: Around $22 million (equivalent to approximately $180 million today, adjusted for inflation)

As part of its master parks plan for The Village, Oklahomaa city of less than 10,000 peoplelandscape architecture firm LAUD Studio rehabilitated six residential parks. But demolishing a dilapidated apartment complex between the library and city hall created an opportunity to build a connector between them as well as a new plaza in collaboration with local design firm Common Works. Its called Village Park. The city just never had the classic town square, said LAUD Studio founder Brent Wall. The park is an attempt to create a hub in the heart of the city.Common Works Architects designed two rectangular cedar-clad, pale green pavilions around a concrete stage. (Leonid Furmansky)Common Works Architects designed two rectangular cedar-clad, pale green pavilions around a concrete stage for programming on the plaza. We wanted consistency along the whole park and to maintain that traditional park feel, designer Chandler Brown said. The choice of cedar versus concrete or steel and softer colors lends warmth and references a more traditional park setting that is also more approachable. A U-shaped pavilion envelopes an outdoor gym. (Leonid Furmansky)While only a few hundred feet apart, each pavilion is tailored to its specific location. One, at 60 feet long and 20 feet wide, is narrower and airier, with open seating under four shed-shaped structures with 14-foot roofs. The other pavilion measures 100 by 20 feet, offering more space for picnic tables and a public bathroom under pitched steel roofs complete with hanging lights and ceiling fans.There is ample space for play and family outdoor recreation. (Leonid Furmansky)The citys goal to promote physical and mental health also shaped the design for a final white pavilion. Set farther back from the main plaza, a U-shaped structure envelopes an outdoor gym and play area serving children, young adults, and family outdoor recreation. For Brown, a big concern was creating visual privacy during the day while still connecting to the landscape. As a solution, metal fins serve as a buffer between the visitor and the street, allowing kids to play and adults to exercise without prying eyes.James Russell is a freelance writer in Fort Worth, Texas, who writes about art, the built environment, and politics for multiple outlets, including Arts and Culture Texas, Texas Architect, and Landscape Architecture Magazine.Project SpecificationsDesign architect: Common Works ArchitectsArchitect of record: LAUD StudioLandscape architect: LAUD StudioStructural engineering: 360 EngineeringElectrical engineering: CECCivil engineering: Johnson & AssociatesLighting design: HessPlay equipment: Greenfields Outdoor Fitness, Lappset, PoligonWater fountains: Most Dependable Fountains, Delta FountainsOutdoor furniture: Fermob, Kim, 3Form, Forever Lawn, Landscape Forms, Santa & Cole, Belson Outdoors, Vestre, mmcit

A new bill that does away with broker fees for renters in New York passed today. The Fairness in Apartment Rentals (FARE) Act, shepherded by City Councillor Chi Oss of Brooklyn, was approved by the New York City Council this afternoon. It goes into effect in 180 days. New Yorkers regularly pay brokers on average 15 percent of the annual rent on an apartment for simply turning a key, detractors of the system often say. And when you add last months rent and a security deposit to the equation, a new flat might cost you upward of $10,000 before you can even set up your mattress frame.The FARE Act changes this. Now, property owners looking to rent out their units will have to shoulder the broker fees, not the tenants. (But tenants who hire brokers will still have to pay for those services.) Landlords will also be required to disclose all upfront fees to prospective tenants. The legislation had 32 sponsors from New York City Council, which has 51 seats. On November 13, FARE Act earned a veto-proof majority. It stands to free up thousands of dollars in cash for millions of renters.Mayor Eric Adams, who was once a real estate broker, didnt support the measure. Previously, Mayor Adams argued that the bill would drive up rents because, in his view, landlords will make their money back by charging more on every flat; a critique thats similar to what Elon Musk said about Kamala Harriss plan to build 3 million new homes. The Real Estate Board of New York (REBNY) also fought against the bill. In a statement issued before todays approval, REBNY said: Wednesdays vote is yet another instance of prioritizing ideology over economic and practical reality when it comes to the citys rental housing stock.The FARE Act will make it harder for tenants to find housing, raise rents, and make the hard work of real estate agents even more difficult, the Real Estate Board of New York continued. REBNY will continue to pursue all options to fight against this harmful legislation on behalf of our members and the renters they serve.The FARE Act was approved one day after the U.S. Supreme Court struck down a challenge from the real estate lobbyto a rent stabilization law from 2019, marking another big win for the citys rentier class, which constitutes about 5.8 million people, or 69 percent of the populace.

The Poland Springs Bottling Plant and Spring House contribute to the rich history of what was once a major American spa resort. In as early as 1797, Jabez Ricker founded a hostelry at the springs on his property in Poland, Maine, and later claimed that drinking the water saved him from a serious illness, a claim that was expanded by other members of his family for generations. In 1876, Hiram Ricker, Jabezs grandson, opened the Poland Spring House, a watering place or spa, acclaimed for its health-giving environment. While the grand hotel burned in 1975, the bottling plant and spring house designed and built in 1907, still remains on the grounds. In 1903 Hiram Rickers son, Edward P. Ricker, wrote to architect Harry C. Wilkinson, a native of Poland, Maine, to solicit a design for his proposed bottling plant and Spring House to allow visitors to drink the natural spring water. His idea of bottling the spring waters for transport and sale, which would eventually be the main catalyst for Poland Spring water today! The extravagant Italian Renaissance Revival style buildings sit side-by-side and are of a high-style despite the relatively utilitarian purpose of the facility. Both structures are very well-preserved and are operated as museums, to learn more about the history of the spring water and resort here.

Curiosity Box. All images Laura Kramer, shared with permissionLaura Kramers Glass Sculptures Intersect Aesthetics and ArchaeologyNovember 13, 2024ArtNatureJackie AndresMaterial culture is an important aspect of understanding past and present histories. Used in anthropology and archaeology, the concept refers to the the cultural significance an object may hold. Whether it be tools, religious articles, clothing, or even art, physical items have always been a reflection of the societies that wield them. Glass artist Laura Kramer is driven by this phenomenon.Into her work, Kramer carries personal experiences from studying anthropology and archaeology and participating in excavationsor digs in St. Eustatius, an island in the Caribbean. I am interested in the connection of the imbued spirit within the object, she explains. My work is deeply influenced by the cabinet of curiositiesodd objects that may not be easily categorized.CinnabarFrom her studio in Rhode Island, Kramer sculpts organic forms encrusted in ornate textures that mimic the natural formation of crystals. Sometimes using found objects like wasp nests, the artist creates peculiar sculptures that defy generally accepted systems of classification. Challenging the typical boundary between the manmade and natural, her sculptures land in a liminal space when examined from an anthropological point of view.See more from Kramer on Instagram.MarieMemento MoriAzuriteMaryCrystal BowlNext article

Zhai-Liza (Angel). All images courtesy of Hans Op De Beeck and Templon, shared with permissionImagination and Introspection Suffuse Hans Op de Beecks Immersive Whispered TalesNovember 13, 2024ArtKate MothesIn his characteristically gray, monochrome palette, Hans Op de Beecks current solo exhibition Whispered Tales at Templon fashions enigmatic narratives from lifelike silhouettes. The immersive, sprawling presentation brings together a mix of new and previous work, inviting viewers into an atmospheric, introspective space.People and dioramas appear frozen in time in Op de Beecks sculptures, as if plucked from a memory or dream. Zhai-Lia (Angel), for example, portrays a young girl wearing fairy wings and a holding a wand, seated pensively in front of a swathe of bamboo. In Zhai-Lia (mothers shoes), she wears a tutu and oversized high heels.Installation view of Zhai-Lia (mothers shoes) in Whispered Tales at Templon, New YorkThe artist often depicts children who interact with the adult world yet remain innocent to concerns beyond their own, channeling the engrossing otherworldliness of youthful imagination and play. The invariable flatness of the gray palette makes the figures appear removed from reality, while lending a universal feel to their presence.Time also finds purchase in works like Danse Macabre, in which a miniature carousel is raised to eye level on a pole and a skeleton stands amid celestial objects in Victorian-era garments. Along with a sculpture titled Vanitas Table in which a classic still life setting features a human skull, Op de Beeck taps into the tradition of memento mori, the reminder that life inevitably ends.The way the artist plays with the perception of scale and atmosphere sparks a disconnect, a feeling of strangeness when confronted with scenes lifted out of the ordinary, says a gallery statement. Each work offers us the seed of yet another possible story [and] transforms the prosaic into an almost magical experience where simplicity gives birth to the unexpected.Whispered Tales continues through December 21 in New York. Find more on the artists website and Instagram.Danse MacabreDetail of Danse MacabreDetail of MauriceInstallation view of Whispered Tales at Templon, New YorkInstallation view of Whispered Tales at Templon, New YorkInstallation view of Zhai-Liza (Angel) in Whispered Tales at Templon, New YorkMy Uncles Country HouseInstallation view of Whispered Tales at Templon, New YorkPrevious articleNext article

Join Fox News for access to this content You have reached your maximum number of articles. Log in or create an account FREE of charge to continue reading. By entering your email and pushing continue, you are agreeing to Fox News' Terms of Use and Privacy Policy, which includes our Notice of Financial Incentive. Please enter a valid email address. The FBI and the Cybersecurity and Infrastructure Security Agency (CISA) said that People's Republic of China (PRC) hackers breached commercial telecommunication service providers in the U.S.The breached entities have been warned, and the agencies are proactively alerting other potential targets of elevated cyber activity."The U.S. government's continued investigation into thePeople's Republic of China (PRC) targeting ofcommercial telecommunications infrastructure has revealed a broad and significant cyber espionage campaign," the agencies said Wednesday in a joint release.CHINESE HACKERS ATTEMPTED TO BREACH TRUMP AND HARRIS CAMPAIGNS' CELLPHONE DATA The FBI and the Cybersecurity and Infrastructure Security Agency (CISA) say Chinese hackers breached commercial telecommunication service providers in the U.S. (Chip Somodevilla/Getty Images)The agencies said that PRC-affiliated actors have compromised networks at multiple telecommunications companies to enable the theft of customer call record data, as well as private communications of a "limited number of individuals who are primarily involved in government or political activity."The joint statement said that the PRC actors also copied "certain information that was subject to U.S. law enforcement requests pursuant to court orders.""We expect our understanding of these compromises to grow as the investigation continues," the agencies noted. The U.S. government is investigating China for targeting commercial telecommunications infrastructure in America. (CISA)The agencies said that they are working to "strengthen cyber defenses," and encouraged organizations that believe they were impacted to contact their local FBI field office or CISA."The FBI and the CISA continue to render technical assistance, rapidly share information to assist other potential victims, and work to strengthen cyber defenses across the commercial communications sector," the agencies said. "We encourage any organization that believes it might be a victim to engage its local FBI Field Office or CISA." The reports of continued Chinese interference in the U.S. come after hackers targeted the Trump and Harris presidential campaigns. (Paul Yeung/Bloomberg via Getty Images)The reports of continued Chinese interference in the U.S. come after hackers targeted President-elect Trump and Vice President Kamala Harris' campaigns during the thick of the race for the White House."After the FBI identified specific malicious activity targeting the sector, the FBI and the Cybersecurity and Infrastructure Security Agency (CISA) immediately notified affected companies, rendered technical assistance, and rapidly shared information to assist other potential victims," the FBI and CISA previously told Fox News Digital in a joint statement.Fox News Digital has reached out to the FBI for comment.