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Warsaw-based 3D printing service bureau 3D Lab is introducing its ATO Suite at Formnext 2024.Designed to provide researchers and manufacturers with greater control over metal powder production, the ATO Suite enables the efficient and sustainable production of high-quality spherical metal powders from various feedstocks, catering to advanced applications such as additive manufacturing.Comprising the ATO Lab Plus, ATO Noble, ATO Induction Melting System, ATO Cast, ATO Sieve, ATO Wipe, and ATO Clean, the ATO Suite is designed for seamless integration, even in space-constrained environments. Each component serves a specific purpose, collectively addressing the entire metal powder production workflow, from feedstock preparation to powder refinement and equipment cleaning.The ATO Suite. Image via 3D Lab.Live demonstrations by 3D Lab in Hall 11.0, Booth B21, will showcase how the ATO Suites modular design and novel technology enable manufacturers to produce custom powders on demand while focusing on sustainability.This launch builds on 3D Labs established expertise in material production and processing, marked by recent milestones.3D Labs powder production legacy3D Lab recently secured patents for its ultrasonic atomization technology in the U.S. and China, advancing the production of premium metal powders for AM and industrial use. In the U.S., the patent addresses methods and equipment for producing heavy metal powders, while in China, it focuses on refining evacuation processes during atomization.These patents support the development of the ATO series, with the ATO Lab Plus standing out as a modular solution for laboratory-scale production. By enhancing powder flowability, ensuring precise particle size control, and lowering oxygen levels, the technology serves critical industries such as aerospace, automotive, healthcare, and 3D printing.Building on its past successes, 3D Lab partnered with jewelry manufacturer Cooksongold in 2019 to create a compact atomizer specifically designed for precious metal powder production. This collaboration led to the development of the ATO Noble, a compact atomizer utilizing patented ultrasonic plasma atomization to optimize the handling of silver, platinum, and gold.Advancing powder production efficiency and versatilityAt the core of the suite is the ATO Lab Plus, a lab-sized ultrasonic metal atomizer that provides on-demand powder production capabilities for reactive and non-reactive metals. Its small footprint and modular design cater to businesses of all sizes, facilitating rapid alloy development with precise particle size control. For industries working with high-value materials, the ATO Noble atomizer is also included incorporating a specialized filtration system to maximize material recovery and quality.Meanwhile, the ATO Induction Melting System (IMS) introduces a versatile solution for processing diverse feedstocks, including 3D printing scraps, into high-purity powders. By combining induction melting and ultrasonic atomization, IMS ensures flexibility, enabling manufacturers to repurpose irregularly shaped materials while maintaining strict chemical purity standards.The ATO Cast vacuum casting furnace supports sustainable practices by enabling users to recycle scraps and leftover powders into new rods for atomization. This reduces costs while promoting a closed-loop material flow for zero-waste manufacturing.Enhancing workflow with complementary toolsOther features within the suite include the ATO Sieve, which ensures powder purity through ultrasonic sieving under inert gas conditions, and the ATO Wipe, an ultrasonic cleaning system for feedstock materials such as wires and rods. These tools prevent contamination and enhance the quality of atomized powders. To ensure efficient transitions between materials, the ATO Clean provides hands-free cleaning of atomizer components, minimizing downtime and the risk of cross-contamination.To further streamline operations, the Revolver Rod Feeding System enables the simultaneous atomization of up to 10 rods, maximizing productivity with precise control over feed speed and rotation. Additionally, the ATO Remote Control tablet allows real-time monitoring and adjustment of atomization processes, reducing operator workload and enhancing efficiency.The Revolver Rod Feeding System. Image via 3D Lab.A key highlight of the ATO Suite is its ability to support sustainable manufacturing through patented ultrasonic atomization technology. Users can recycle 3D printing scraps, oversized powders, and other waste materials into high-quality metal powders, contributing to resource efficiency and reducing reliance on external suppliers. This process aligns with the industrys growing emphasis on sustainability, ensuring that innovation can coexist with environmental responsibility.With its debut at Formnext 2024, the ATO Suite showcases 3D Labs approach to sustainable and efficient metal powder production, offering researchers and manufacturers practical tools for advancing their workflows.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 the ATO Suite. Image via 3D Lab.Ada ShaikhnagWith a background in journalism, Ada has a keen interest in frontier technology and its application in the wider world. Ada reports on aspects of 3D printing ranging from aerospace and automotive to medical and dental.

ADDIMETAL, a leader in metal additive manufacturing based in Toulouse, has unveiled its K-2-2 metal binder jetting 3D printer at the upcoming Formnext 2024 exhibition in Frankfurt. After four years of development and a year-long beta-testing phase, the new system is set to offer manufacturers a new level of precision and efficiency in producing complex metal parts.The K-2-2 is engineered for industrial-scale applications, featuring an 8-liter build volume (200x200x200 mm) that supports both small and large component production. Operating at resolutions from 360 to 1200 DPI, the printer delivers high-resolution outputs suitable for intricate metal parts. A standout feature is its expansive print head, which covers over half the build platform in a single pass, substantially reducing layer printing time and boosting overall productivity.Operator adjusting parameters on ADDIMETALs K-2-2. Photo via ADDIMETAL.Customization is a cornerstone of the K-2-2s design. It offers precise control over various printing parameters, including layer strategy, binder deposition, print speeds, temperatures, and atmospheric conditions. This granularity allows manufacturers to fine-tune the process for specific project needs, ensuring optimal results. Furthermore, the machine supports non-proprietary consumables, enabling the use of a wide range of metallic powders and binders. This flexibility not only lowers material costs but also fosters innovation by allowing the integration of third-party binders with diverse properties such as viscosity, saturation, and debinding performance.Our machines ability to use non-proprietary consumables offers unparalleled freedom to manufacturers, providing the flexibility they need to push the limits of innovation, explained Franck Liguori, CCO of ADDIMETAL. Weve designed the K-2-2 to be versatile, cost-efficient, and easy to integrate into existing workflows, making it ideal for R&D teams and industrial applications alike.JPB Systme, a prominent player in the aeronautics sector, served as an early beta tester for the K-2-2. The company reported significant improvements in both the quality and efficiency of their production processes. In just a few months, the K-2-2 delivered better results compared to other machines we have used, a JPB Systme representative commented. This positive feedback underscores the K-2-2s potential to meet the rigorous demands of high-stakes industries such as aerospace, automotive, and luxury goods.Visualization of the Orion software used in ADDIMETALs K-2-2 3D printer for precise process control and parameter adjustment. Photo via ADDIMETAL.Live demonstrations at Formnext 2024 will showcase the K-2-2s capabilities to industry professionals. ADDIMETALs CEO, Mohamad Koubar, stated, The K-2-2 bridges the gap between lab-scale research and full-scale industrial production. CCO Franck Liguori added, Our machines ability to use non-proprietary consumables offers manufacturers the flexibility they need to push the limits of innovation.The company announced the K-2-2 is available for purchase upon request, with a starting price of under 200,000. Prospective customers can request a direct quote through the ADDIMETAL website.Coming Up at Formnext 2024Caracol is set to introduce its Vipra AM platform at Formnext 2024, integrating robotic deposition technology with automation to facilitate the production of complex industrial components. Vipra AM employs Direct Energy Deposition with wire arc additive manufacturing, offering configurations tailored for both extreme quality and extreme productivity. Vipra XQ (Extreme Quality) utilizes Plasma Arc Deposition for high precision and strength, suitable for structural components in aerospace and energy sectors.Additionally, D3-AM, a subsidiary of Durst Group, is launching its LAB II ceramic 3D printer at Formnext 2024. The LAB II system combines an expanded build platform with Micro-Particle Jetting technology, designed to meet the demand for large-format, high-performance ceramic components. With a build volume of 400 x 480 x 160 mm, the LAB II supports the production of both large and high-quantity ceramic parts in a single print cycle.D3-AMs large-format LAB II ceramic 3D printer. Image via D3-AM.Your voice matters in the 2024 3D Printing Industry Awards. Vote Now!What will the future of 3D printing look like?Which recent trends are driving the 3D printing industry, as highlighted by experts?Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights.Stay connected with the latest in 3D printing by following us on Twitter and Facebook, and dont forget to subscribe to the 3D Printing Industry YouTube channel for more exclusive content.Featured image shows an Operator adjusting parameters on ADDIMETALs K-2-2. Photo via ADDIMETAL.

Hello everyoneOur second course Intro To Houdini Pyro Simulations is now live for pre-order!Heres what youll learn: Build Pyro sims from scratch Render in Karma Export to Unreal Engine Special Pre-Order Bonus:Pre-order and get a FREE 6-month Houdini Educational License. mad-vfx.com VFX in games: Intro To Houdini pyro simulations A MadVFX Course 1 post - 1 participant Read full topic

Hi everyone,Im looking for advice from a fluid simulation expert. Im working on a level using the Grid3D FLIP Hose template, and Im trying to animate the water height level in the sequencer, transitioning from 0 to 350 while simultaneously changing its color.Heres what Ive done so far:Within the Niagara actor, I created a new float user parameter and linked it to the WaterHeight in the Particle Spawn module of the Grid3D_FLIP_FluidControl_Emitter.I added this parameter through the Niagara component in the sequencer.I duplicated the master material and its instance from the template and modified the color attributes.However, controlling the water height level doesnt seem to work. Ive successfully added and animated other forces using the same process, but the water height isnt responding. Additionally, Im unsure how to add the material attributes from the Niagara emitter into the sequencer.Any guidance would be greatly appreciated!

SEVEN Front Facade | Lyndon Douglas SEVEN, located off Park Avenue in New York City, is a project by Adjaye Associates that redefines the interplay between historical preservation and modern intervention. Originally a 1897 carriage house, the structure has been transformed into a contemporary residence that accommodates a young family and their extensive art collection. The project presents an architectural response to the challenges of retaining the historical integrity of the landmark faade while reimagining the interior to meet contemporary needs.SEVEN Residence Technical InformationArchitects: Adjaye AssociatesLocation: Park Avenue,New York, USAArea: 900 m2 | 9,700 Sq. Ft.Original Structure: A 1897 carriage house off Park AvenueCompleton Year: 2010Photographs: Lyndon Douglas, Robert PolidoriThe faade remains true to its history and landmark status, while the interior has witnessed the removal of the old building and excavation of a deep cellar. Adjaye Associates ArchitectsSEVEN Residence PhotographsRear Facade | Lyndon DouglasPatio | Lyndon DouglasEntrance | Lyndon DouglasEntrance | Lyndon DouglasStairs | Lyndon DouglasCourtyard | Lyndon DouglasBathroom | Lyndon DouglasWindow | Lyndon DouglasStairs | Lyndon DouglasLibrary | Robert PolidoriLiving Room | Robert PolidoriSEVEN Residence: Preservation of the FaadeThe faade of the original carriage house, dating back to 1897, has been carefully preserved in adherence to the buildings landmark status. This decision retains the buildings historical identity within the urban streetscape while juxtaposing the radical changes made to the interior.Preservation regulations required precise restoration techniques and design strategies to integrate the faade with a new structural framework. The project navigates these challenges by employing modern materials like black concrete, which contrasts yet supports the restored faade, creating a deliberate dialogue between past and present.Interior TransformationThe interior of SEVEN diverges significantly from its historical exterior. A deep cellar was excavated to provide additional usable space, allowing for a six-story interior while maintaining the external appearance of a more modest structure. This design choice exemplifies how subterranean construction can expand urban living space without impacting the visible scale of the building.Black concrete, a primary material within the house, provides structural stability while introducing a contemporary aesthetic. Its rough texture contrasts sharply with the finely detailed historic faade, inverting traditional expectations of material use. This contrast also emphasizes the different eras represented in the project, visually marking the transition from preservation to modernity.At the center of the building, a courtyard with a fountain serves as an open-air atrium, linking various levels through natural light and spatial continuity. Adjacent to the courtyard, a floating staircase connects the interior spaces and leads to a planted roof garden, further enhancing the vertical flow of the design.Sustainability and the Roof GardenThe roof garden introduces an ecological dimension to the project. Planted with sedum and moss, the garden provides year-round greenery that requires minimal maintenance, contributing to the environmental efficiency of the building. Beyond its sustainability features, the garden serves as a private outdoor space for the residents, integrating nature into the urban setting.This element reflects Adjaye Associates broader interest in embedding sustainable practices into their designs. By incorporating natural elements like the roof garden and central courtyard, SEVEN offers strategies for enhancing environmental performance in dense urban contexts.Through its careful attention to materials, space, and context, SEVEN serves as a case study in navigating the complexities of adaptive reuse. For architects and designers, it offers insights into how history can coexist with innovation in a way that enriches both.SEVEN Residence PlansSection of the Residence | Adjaye AssociatesSEVEN Residence Image GalleryAbout Adjaye AssociatesAdjaye Associates is an internationally renowned architecture and design practice founded by Sir David Adjaye in 2000. With offices in Accra, London, and New York, the firm has become synonymous with innovative and culturally resonant design. Adjayes work spans a diverse range of projects, including private residences, cultural institutions, and public spaces, each marked by a deep understanding of context, history, and materiality. His notable works include the Smithsonian National Museum of African American History and Culture in Washington, D.C., and Ruby City in San Antonio. Notes & Additional CreditsArchitect: Adjaye AssociatesClient: Adam Lindemann and Amalia DayanMechanical Engineer: Altieri Sebor WieberStructural Engineer: Dewhurst Macfarlane & Partners

You know John Wongs work even if you dont. Youve seen it if youve ever visited the Stanford University campus, where over a span of 30 years Wong has evolved and modernized Frederick Law Olmsteds historic landscape. Or if youve stumbled upon Tulsas Guthrie Green, an urban park and outdoor amphitheater that supplies district heating and cooling to the surrounding buildings. Or if youve ever seen Mission Impossible: Ghost Protocol, in which Tom Cruise is framed by the elliptical landforms of Wongs groundscape as the actor scales the Burj Khalifa. Wong is a design principal in SWAs Sausalito office, where he has worked since 1978. His legacy in the field of landscape architecture is freshly evident thanks to a new book, Selected Works of Landscape Architect John L. Wong: From Private to Public Ground, from Small to Tall, a monograph that, at 588 pages, shares something with Wongs oeuvre. Spanning cultures, climates, and scales, the Hong Kongborn landscape architects work has been an influential part of a growing movement to bring the natural landscape back into urban centers and to dissolve the artificial barrier between cities and nature. Timothy A. Schuler spoke with Wong to learn more about the making of the book and its resonance.Cover design of Selected Works, published by Oscar Riera Ojeda Publishers (Courtesy Oscar Riera Ojeda Publishers)Timothy Schuler: Did the book project reveal any new insights about your own body of work?John Wong: Absolutely. Most of the projects are large-scale, mixed-use and have a major impact on urban living. Many were completed during a period when the world was growing. As you know, landscape architecture began in the United States back in Olmsteds day, and many of the skills have only been passed on internationally over the last 30 years. Oscar [Riera Ojeda, the books publisher] was trying to capture how I developed a body of work that spans not just the local or regional but the international scene. He hadnt seen someone like that, until recently. In the last ten years or so, a lot of landscape architects have gone overseas. But I started in the 1980s. I was very fortunate to be part of that opportunity, riding the waves and working with many different clients, engineers, and architects. It taught me a lot about how to design in a different culture, in a different setting. What have you learned over the years about designing in not just climatically responsive but culturally grounded ways?I approach projects with one general design methodology, and that doesnt change from one place to anotheralthough the application will be different. I try to teach our young people, as well as students, that you want to have a full understanding of the place. You need to go there. You need to walk it, learn it. What is the vegetation? What is the topography? Is there something that is part of the overall ecological system? When I was at graduate school, I had lunch with Dan Kiley many times, and he always said, John, whenever I go to a place, I just walk around the block and look at what trees do the best. And thats how I develop my plant palette. I do that too. But I go beyond just learning about a palette of trees and shrubs. I learn about materials, about weathering. You know, this handrail, how come its falling apart? For me, theres no boundary between culture and environment. Its about the importance of the place. You have to respect it. You have to learn from it.SWAs public realm design for Expo 2020. (David Lloyd)The books title is The Selected Works of Landscape Architect John L Wong. Many people might know that these are SWA projects but not associate any one name with them. Has the anonymity that came with working at SWA ever been a struggle?I decided to do the book to highlight that, yeah, I was part of SWA, but for all the projects that are showcased, I was the principal in charge, meaning these are projects I brought in myself, through my own work and through my own [relationships]. Its a little bit of ego on my part, right? But I also wanted to show that you might be working for a company, but that doesnt mean that all the work is designed in a certain way or under a single direction. You have a lot of say. You can be your own person, and you can provide your point of view.When I look back, the most important thing I hope the book does is inspire students and young professionals. We need more young practitioners. The field is overwhelmed with opportunities, and were just not able to meet the challenges with the talent that we have. Wong has worked on the Stanford University campus for over a span of 30 years. (Jonnu Singleton)How many of the comments from colleagues and friends have been about the weight of the book? Its very big.[Laughs] Everybody weighed it. It varies between 9.5 and 9 pounds, 7.5 ounces. The good news is I made it to all their coffee tables. I consider that a success.Timothy A. Schuler is an award-winning writer and design critic whose work focuses on the intersection of the built and natural environments. He lives in Manhattan, Kansas.

Its been decades since the mighty Don River fed into Lake Ontario through Torontos Inner Harbor. A levee, aptly called the north plug, stood in the way, that is until last week when the stop was removed, and the water sources were reunited at last. The north plug was taken out on November 8 at a ribbon cutting ceremony, eliminating the barrier between Keating Channel and the Don River, south of Lake Shore Bridge. The occasion marked a major milestone for federal, provincial, and city leaders looking to transform the Port Lands, an area on the eastern shoreline ravaged by settler-colonial industrialization.A crane removes the last remnants of the north plug (Waterfront Toronto/Vid Ingelevics/Ryan Walker)The project to rectify Torontos eastern shoreline, the Port Lands Flood Protection and Enabling Infrastructure Project, constitutes the largest public works project in Canadian history. Michael Van Valkenburgh Associates (MVVA) is leading the $1.4 billion program. MVVAs master plan also extends public transit and cycling options along Queens Quay East, opening up the eastern shoreline to development. Now that the north plug has been removed, and with new transit options underway, the city has its sight set on a new island, Ookwemin Minising, where it hopes to build homes for over 100,000 people and createnew parkland.The restoration project is sited near a new bridge. (Waterfront Toronto/Vid Ingelevics/Ryan Walker)Today, much of Torontos eastern shoreline is infill land. But for thousands of years, before industrialization, the area was First Nations territory, and home to countless wildlife species.That all changed in the 19th century, when the city of Toronto was established, and the eastern shoreline saw its coast dotted with petroleum factories, and other industrial uses. The Don River quickly became one of the most polluted water sources in the world. In 1954, Hurricane Hazel flooded much of Toronto, revealing the downsides of infilling marshland to make buildings. Three decades later, in 1989, federal, provincial, and city government leaders got serious about fixing the problem, put their heads together, and began ideating solutions.The restoration also includes new playgrounds for children (Waterfront Toronto/Vid Ingelevics/Ryan Walker)MVVA first joined the project in 2007, after beating out two other firms in a competition for the commission. Its master plan will deliver new public parks, restored habitats, and mixed-use development informed by leading-edge sustainability and smart growth principles, designers said.Ookwemin Minisings planning is part of Toronto Mayor Olivia Chows Reconciliation Action Plan, which centers First Nations peoples in development processes.

Opened in 1962 as the Newton Savings Bank, this unique Mid-20th century Modern banking structure showcases the forms and materials not conceived in previous decades. The building is located on the Newton Centre Green, adjacent to the former Newton Centre Methodist Episcopal Church, and provides a sharp contrast between the stone building in the Romanesque style and more contemporary forms. The bank was designed by Bastille and Halsey Associates, established in 1953 by partners, Robert Adams Bastille and William Ashbaugh Halsey. Now occupied by a Citizens Bank with professional offices also inside, the building exhibits precast concrete zipper banding between floors that are broken up by solid brick masses in the facade. What do you think of these corporate modern buildings?

This building, the former Newton Centre Methodist Episcopal Church, is Romanesque in style, and is one of the more notable adaptive reuse projects in Newton. The church was designed by the esteemed architectural firm of Andrews, Jacques & Rantoul and completed in 1899 for the local Methodist Episcopal congregation. The edifice is built of locally quarried rubblestone, often called Roxbury Puddingstone, and trimmed with rough cut Milford granite. The granite is used at the windows, forming the arches and heads, and most strikingly in the large arched entrance. The church eventually closed and was renovated with modern windows, additions, and more, and currently houses a restaurant, bank, book store, and professional offices.