Turning sunflower seeds into sustainable, cocoa-free chocolate has netted Munich-based B2B food tech startup Planet A Foods (formerly QOA) a $30 million Series B funding round. Now, the Y Combinator alum is gearing up for industrialization, with the funds set to be deployed to scale its production capacity by around 7.5x. The round fast follows a $15.4 million Series A back in February.Currently, the startup is producing 2,000 tons of ChoViva, as it calls its cocoa-free, lower carbon chocolate alternative, per year. It plans to step that up to over 15,000 tons as it adds capacity and kicks off international expansion outside an initial trio of European markets.Opening its first U.S.-based production facility is on the cards. Building on the three local markets (Germany, Austria, and Switzerland) where its chocolate substitute is already in food products that aim to tempt sweet-toothed consumers, it is also eyeing launches into the U.K. and France during the first quarter of 2025. Brands buying into ChoViva so far include Lambertz, Lindt, Rewe Group, and even the German train operator, Deutsche Bahn, which doubtless pops a lot of chocolate treats on customers tea trays every day.So far, the startup has around 20 customers for its alt chocolate ingredients, mostly major European food manufacturers but also some U.S. brands. As it grows capacity, itll be aiming to add more strategic partners too.Cocoa, not so sweetThe problem Planet A Foods is tackling is making a staple sweet treat (chocolate) less of an environmental horror. Traditional cocoa-based chocolate production raises serious sustainability issues, since the crop grows in areas with rainforest, which can be cut down to make way for cocoa bean plantations. Global demand is also outstripping an increasingly fragile (and ethically fraught) supply, leading to inflated costs and fears for the future of the cocoa bean in a rapidly warming world.Supplying the food industry with an alternative chocolate-esque ingredient that just like the real deal can be baked into or folded onto snack products like breakfast cereals, confectionary, and cakes is Planet As mission. And its not a trivial goal: The startup reckons an annual toll of some 500 million tons of CO2 could be avoided through switching bulk chocolate production away from cocoa beans to its more sustainable method that avoids deforestation and localizes ingredients sourcing.The ingredients it uses to produce ChoViva have been selected in part as they can be grown locally (oats are another of its staples) hence it claims a carbon footprint thats up to 80% lower than conventional chocolate (but note that higher bound is for the vegan version of ChoViva which, unlike other blends, doesnt contain any milk products).Were not against chocolate, stresses co-founder and CEO Dr. Maximilian Marquart, one half of the brother-sister founder team behind Planet A Foods. CTO Dr. Sara Marquart is the food scientist who developed the process for making the cocoa-free chocolate. Thats very important. So were not taking away your [premium] chocolate. Were after all the snacking applications [confectionary such as] M&Ms, Snickers, Mars, Bounty, you know, all that stuff.Premium chocolate is a tiny market compared to the bulk business of mass market confectionary that Planet A Foods is targeting. And in this domain, where environmental degradation occurs at terrible scale, the quality of the chocolate thats used is generally lower, often because its lower in actual cocoa-content hence [Maximilian] Marquart argues theres no difference between how ChoViva tastes, and the stuff consumers are routinely being sold in mass market products. Its indistinguishable, he suggests.My sister Sara . . . found out that actually 80% of the typical chocolate flavors come from the processing of the cocoa beans and not from the beans itself so . . . if eight out of 10 flavors are actually coming from fermentation roasting, why do you need cocoa beans?Scaling for impactThe economics also make ChoViva an attractive switch for the industrial food industry, as the startup tells it, since the product is not subject to the price volatility that can hit cocoa beans as a limited resource. But for such a switch to happen, the startup needs to be able to produce its alternative at the volumes that food giants demand so theres a long road of scaling ahead for the team.At this point, the production capacity for ChoViva still represents an incredibly tiny portion of the global cocoa bean harvest which [Maximilian] Marquart notes is between 4 million and 5 million tons annually. So it will require giant leaps in production capacity to have the massive positive sustainability change the Marquarts want.Weve already acquired the machines [for this stage of industrialization]. So we are already in the scale-up runs, and we have some real industrial clients already, so were currently just trying to cope with the demand in Europe, he says, adding: Were automating. Were improving the processes. We are also commissioning new machines. Plus, we are currently planning another facility in the States.They are also exploring how the business might respond to demand from Asia ([Maximilian] Marquart happens to be on a business trip to Japan when we talk). But he says they also recognize that, as a startup, they do need to focus, too.Were a startup . . . were not naive. So we cant conquer the world alone, he tells TechCrunch. I think U.K. and U.S. are the main markets where we will expand. However, in Asia we have a lot of demand, so were currently investigating what we do here what we can do alone, and together with partners eventually.Supply chain all-nighters Being in the (quasi) chocolate-making business might conjure up quaint images of high-hatted chocolatiers gently whipping batches of sweet stuff in charmingly rustic environs. But dont be fooled: the business of manufacturing ChoViva is already sweating toil.Having everything in place to be able to precisely produce tons of cocoa-free chocolate to ship out exactly when customers need it has required the founders to pull some all-nighters at the plant. And [Maximilian] Marquart says a big focus for this tranche of scaling is automation so they can reduce the risk of human errors causing supply chain headaches.We slept under those machines . . . Every day our life is a hell given the challenges that we have in the supply chain.I think currently were at a scale industrial scale that no one else is, he suggests when asked about the competitive landscape for cocoa-free chocolate. Other startups he name-checks are Foreverland, Nukoko, WinWin, and Voyage Foods. They are using various methods and base ingredients (including cereals, broad beans, carob, grape seeds, and more) to blend up rival cocoa-free chocolate products. So theres a range of approaches in play.In this context, and, indeed, for almost any kind of startup, succeeding takes more than just developing a product or, in this case, an ingredient in a lab and [Maximilian] Marquart says this invention element represents only 5% of the challenge theyve set themselves.The main challenge lies in building up production, building up quality management, building up the supply chain. Every day, two 40-ton lorries leave our factory with our product. And thats something that someone else needs to figure out. Its really a challenge, he emphasizes, adding: Sara my sister and I, we slept under those machines. We really figured out the supply chain. Its a big hassle. Every day our life is a hell given the challenges that we have in the supply chain.The startups management team, with its brother-sister co-founder duo pictured centerImage Credits:Planet A FoodsMost of the other competitors, they have great products, but they need to bring that into reality, and need to be really able to deliver it to their customers, and that lies ahead of them. Its incredibly difficult to deliver 40 tons of chocolate to a customer in time, at the right place, at the right recipe, the right quality.Planet A Foods Series B was co-led by Burda Principal Investments and Zintinus, with participation from AgriFoodTech Venture Alliance, Bayern Kapital, Cherry Ventures, Omnes Capital, Tengelmann Ventures, and World Fund.R&DScaling aside, funding will also go on further research and development, as the team is working on an alternative to cocoa butter, which is another key ingredient for the food industry. Being able to offer a replacement for palm oil is another goal, as that also creates huge sustainability problems. The startup also believes its approach could work to replace other specialty fats that are used in food production, such as stearin, an animal fat, or coconut oil, per [Maximilian] Marquart.[Sara] developed a kind of full fermentation platform where we can make bio identical coco butter, he notes, saying bio identical in this context means the right mouthful, the right snap, the right melting point, the right properties.With our fermentation technology, we can offer a bio identical cocoa butter using fermentation at a much lower price than conventional cocoa butter, and thats really a game changer in the future, he suggests. I think were the only company that is actually able to produce cocoa butter using fermentation at a lower price than natural cocoa butter.Theres an additional challenge here, though. For one version of the cocoa butter, which [Maximilian] Marquart suggests yields the best set of properties, they use precision fermentation. Its a biotech method that involves genetically engineered microorganisms. This version of the product has to be approved as a novel food before it can be sold. And since European regulations are more stringent, he suggests it could hit the U.S. market first.

Breakdown & ShowreelsRebel Moon Part Two The Scargiver: VFX Breakdown by Scanline VFXBy Vincent Frei - 05/12/2024 Rebel Moon Part Two: The Scargiver takes action to a whole new level with an unforgettable battle scene brought to life by Scanline VFX. Watch Jimmy unleash chaos with stunning realism and heart-stopping intensity!WANT TO KNOW MORE?Scanline VFX: Dedicated page about Rebel Moon Part Two: The Scargiver on Scanline VFX website.Marcus Taormina: Heres my interview of Production VFX Supervisor Marcus Taormina.WATCH IT ON Vincent Frei The Art of VFX 2024

InterviewsThat Christmas: Simon Otto DirectorBy Vincent Frei - 05/12/2024 In 2014, Simon Otto shared insights into his work on How To Train Your Dragon 2 and later directed episodes of Dragons: Race to the Edge, Trollhunters, and Love, Death + Robots. Today, he discusses his journey in directing his first animated feature film, That Christmas.What drew you to Richard Curtiss That Christmas as your first animated feature as a director?I had been in conversation with Locksmith Animation during the third installment of the How to Train Your Dragon films. They had courted me over the years to be a Head of Animation on Rons Gone Wrong and then invited me to come and develop a feature film idea of theirs. I was worried that I would move my family to the UK, only to then be mostly working as a Head of Animation, which I had done for the past 12 years at DreamWorks. By then, in between the Dragon films, I was already directing on several TV series at DreamWorks Animation (Dragons: Race to the Edge, TrollHunters), so I had really caught the bug and wanted to commit to a career as a director.When they approached me again, this time with a childrens book called The Empty Stocking from Richard Curtis, I got curious. Firstly, because Im a big admirer of Richards work, but also because by now, Locksmith had managed to bring Bonnie Arnold on board as a producer. Bonnie produced all of the Dragon films and so it felt a little like a guarantee that Locksmith was aiming high.It was only in those early conversations that we realized that a second and third book were being published and that we could perhaps weave the three stories together and really go for it with a feature film. The idea that Richard would write the screenplay for an animated movie was the single biggest selling point for me and so, I moved my family to London and the adventure began.What were the biggest challenges in adapting a beloved childrens books into an animated film?The three books are telling rather small, but charming stories. But we were aiming to create a film that would be a sweeping, cinematic experience for the whole family and blend the ideas from the books into one film. To do that in an exciting way, we had to expand on the books.But the multi-threaded nature of the story also meant that I had to learn and embrace a different way of thinking. In animation we tend to tell single hero stories in a fantastical world with villains and big ideas. You cant just reorder sequences in those types of linear stories, it wouldnt make sense. But in a story with several principal characters, you can reshuffle events and sequences in all sorts of ways. The challenge is to maintain the story tension and keep the core story questions alive as we move from storyline to storyline. We had to be extremely careful not to confuse the audience or reset them each time we pull them out of a storyline.The film intertwines several stories. How did you balance these narratives to ensure they flowed seamlessly?A lot of it was by trial and error to be honest. But we quickly learned to focus on the emotional arc of the overall film, rather than the logical plot progression in each of the storylines. And we had to find ways to relate the kids experiences to each other whenever we cut to a different storyline. We were also trying to contrast the events in an entertaining way, so the audience would get something out of a sequence transition and wanting to go along with it. An example of this would be when the barn kids finally celebrate Christmas with a colorful Karaoke Party, we cut to the parents stuck on top of the van, solemnly singing the Happy Birthday, Jesus song from the school play.What unique visual style or storytelling approach did you aim to bring to That Christmas to make it stand out in the crowded holiday genre?Our approach was to fully commit to the idea of making a movie that would fit into the canon of Richards most successful films and live up to them. But we also wanted to bring the charm, appeal and timelessness of animation to it. As a result of that thinking, I wanted nothing to stand between the audience and the film. I wanted our audience to immediately get lost in the reality and authenticity of our world and feel the contrast between the cold exteriors and the cozy, decorated interiors. We didnt so much ask ourselves what we wanted our film to look like, but what we wanted the audience to feel. We loved the textural feel of stop motion and the whimsey of a sophisticated illustration. So, we hunted for a nice balance between a tactile realism in things like hair, snow or the textures of cloth and materials, but kept our character designs simple and accessible.The themes of love, family, and loneliness are universal, but did you aim to infuse them with any Swiss perspectives or nuances?As the resident tourist on the production, I was focused on keeping the world accessible to an international audience while making it as authentically British as we could. Sometimes outsiders have a way to point out things that locals cant see anymore. For example, the first thing I noticed was that in England chimneys have these tiny pipes on top of them and I wondered how on earth kids in England believe in the idea that Santa enters the houses through their chimneys.And I wanted the film to represent my personal memories of Christmas and winter in general, which I hoped would help make the film as truthful as possible. And as a result, between the authenticity of the world and our own various personal experiences of Christmas, the film would be universally accessible. I remember feeling so much joy, excitement and bursts of creativity with the arrival of snow and the Christmas season in my childhood.Youre Swiss-borndid you include any Swiss Easter eggs or cultural nods in the film for keen-eyed viewers?Yes, its littered with little winks and references, which I thought was fun.And when we were looking for a backstory for the tough teacher, the idea of a winter honeymoon in Zermatt made sense story-wise. The Matterhorn is the single most iconic mountain in the world, which makes for a quick read. So if you pay attention, youll spot, Switzerland stickers, Toblerone shaped chocolate, snow globes of Zermatt and pictures of Switzerland.How did your background and upbringing in Switzerland influence your storytelling or visual approach to That Christmas?I grew up in the tiny ski resort village of Gommiswald and worked as a professional snow sculptor for a winter in my youth. That understanding of what snow should feel like was helpful. Snow was such a huge part of our world. We wanted to make it fun and creative for the audience, but also use it to make the audience feel specific emotions.By simply adding a little snowfall to a shot it would feel different. But there are so many kinds of snowfall. If you alter the size of the flakes, or add wind or atmosphere, the snowfall could feel playful, ominous, threatening or scary. So, we created a terminology to describe about 10 different types of snowfall that we could use to direct the Lighting and FX departments.Were there any specific Swiss traditions or personal life aspects that inspired elements of the films world-building or characters?Each storyline has an element of my experience growing up. I had a rather naughty older brother that would often stress me out, yet we spent every minute together. Bernadettes desire to reinvent traditions and make Christmas playful is something that Ive always felt and pushed for. And I took my then 12-year-old son out of his life in Los Angeles and brought him to London to make this film. His journey from sad, lonely outsider to becoming part of a gang of kids has directly influenced that storyline.Youre well-known for your work on How to Train Your Dragon. How did your experience as an animator and head of character animation influence your approach as a director on That Christmas?With every movie that you work on, you grow and learn. The experience of the Dragon movies taught me so much about crafting a cast of characters with an idiosyncratic, entertaining and relatable idea at the heart of each one of them. But I also learned from Dean DeBlois and Chris Sanders, to leave plenty of room for animators to explore the characters. To me, animation is an extension of the story team. If you cant let the characters drive the story to a degree, you risk limiting the performances.How did you collaborate with your animation team to ensure the characters felt authentic and emotionally resonant?Because we were aiming for something relatively grounded, I asked Kapil Sharma, our excellent Head of Character Animation to have the animators present their acting references to me. That way we could explore ideas together upfront. We were lucky to have some excellent actors on our film, like Estelle Costedoat, our Bernadette lead, for example. So, there was a lot of sharing of acting references also.Uwe Heidschtter, our character designer, was also present during animation dailies. Since Uwe and I had many in-depth discussions around the specificity of our characters during the design phase, he was an excellent sounding board for what we were doing in animation. He would then give the animators draw-over sketches to keep them as appealing and specific as we could.Were there any specific lessons or techniques you brought from your time at DreamWorks Animation to this project?We had a lot of DreamWorks alumni on the film, so its likely that this DreamWorks know-how was applied all over the production. The biggest one I can think of was our character design process. Leo Sanchez, with whom I had collaborated very closely during Dragons 2, created all of our 3D character designs.We had developed a circular type of process at DreamWorks, which allows you to go forward fast and discover potential design issues early. This process allowed us to refine the designs with an eye towards performance and look, including surfacing and hair. Uwe Heidschtter, Leo Sanchez and his team created almost finished characters before we even engaged with DNEG. So, we worked with proto rigs, cloth and hair simulators in our design process and in the smallest group possible. This paid off hugely from a creative point of view.Were there any unexpected technical or creative challenges encountered during the production?We underestimated how many shots would require some level of specific snow sculpt, snow effect or snow fall simulation. The original budget had us at 30% of the shots and in the end it was closer to 80%.So, we needed a clever process that allowed us to tackle this massive challenge. Our Locksmith in-house visual development team, led by our VFX Supervisor Doug Ikeler, created a snow making system in Houdini that DNEG then adopted. It placed snow on everything procedurally. Then giving the artist access to the depth and surface detail to increase the resolution where specific sculpting was desirable.Creating a Christmas film comes with high expectations. How did you ensure the movie captures the magic and nostalgia of the holiday season?This sounds counter-intuitive, but my answer to that was not to think of it too much. Like any other movie, I just simply wanted to dive into the research of the world we were creating, the towns we were referencing, the inner logic and emotions of our characters and the nuances of Richard Curtiss approach to filmmaking. In my mind this was a movie about a community full of interesting characters and the expectations we lay onto family events. The films backdrop just happened to be a seaside town lost inside a Christmassy snow globe.The holiday genre often appeals to a wide audiencechildren, families, and adults. How did you craft the film to resonate with viewers of all ages?I mean at its heart, the story explores the collision of kids and adult behavior. So, a lot of what were playing with is naturally multi-layered. And the idea that the kids suffer the consequences of adult failure is fun for everyone. But I never really thought about making films for kids. I want to be entertained and laugh at it all myself. I do have a pretty strong sense of what I enjoyed watching as a kid, which Im sure played into the choices we made. I like to caricature the real world around me, so I think it naturally plays on multiple levels.If theres one key message or feeling you hope audiences take away from That Christmas, what would it be?First and foremost, I want the audience to laugh along and have a great time. If the outcome is that people have a sense of joy and the desire to be together with their loved ones during this Christmas season, Id be very happy.Secretly, I hope that people are inspired to think of Christmas traditions through the eyes of their kids. If it was up to our kids, several traditions would probably be reimagined a bit, wouldnt they?Looking back on the project, what aspects of the visual effectsare you most proud of?Im most proud of the authenticity of the world and the characters.How long have you worked on this film?About 5 years.What is your next project?I wish I knew, haha.A big thanks for your time.WANT TO KNOW MORE?DNEG: Dedicated page about That Christmas on DNEG website.Locksmith Animation: Dedicated page about That Christmas on Locksmith Animation website.WATCH IT ON Vincent Frei The Art of VFX 2024

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Binder jet 3D printer manufacturer voxeljet has agreed to sell its entire business to Anzu Partners LLC in an asset deal valued at approximately 20 million. The agreement includes the transfer of liabilities and a 1.7 million cash payment. Expected to close in March 2025, the sale seeks to secure voxeljets financial future and achieve sustainable profitability.The Anzu Partners purchase agreement is subject to customary closing conditions, including foreign investment clearance in Germany and approval at voxeljets General Meeting. The companys management and supervisory boards have indicated that they will encourage shareholders to approve the transaction. If approved, the deal will see Anzu acquire voxeljets core operating business, including its manufacturing facilities, 3D printing technology, customer contracts, and leadership team.The new agreement includes a 45-day go-shop period before the General Meeting. During this window, expiring on January 12, 2025, voxeljet will actively initiate, solicit and consider alternate acquisition proposals from third parties. A superior offer could see voxeljet terminate the deal with Anzu Partners to pursue a more favorable agreement.Anzu Partners reportedly harbour a strong commitment to voxeljets existing customers, suppliers and employees. The firms Managing Partner, Whitney Haring-Smith, will chair the future businesss Board of Directors while voxeljet CEO Rudolf Franz will stay on to lead the new enterprise.In a LinkedIn post, Franz stated that he is truly excited about the future of voxeljet and the opportunities this new chapter will bring for our company and everyone involved.He added in an official press release that The combination of voxeljets world-class talent and extraordinary franchises with Anzus technology network, access to talent, ambitious vision and shared commitment to investing in the next generation of breakthroughs will help ensure our continued success in an increasingly competitive industry.Sign at voxeljet HQ. Photo via voxeljetAnzu Partners to acquire voxeljetAnzu Partners, a venture capital and private equity firm with extensive expertise in the industrial technology sector, manages assets of approximately $1 billion. It recently participated in 6Ks $82 million Series E funding round, building on its support for the earlier $51 million Series C round in 2021.The agreed purchase price is based on a 20,033,000 valuation of voxeljet. This will be paid through the assumption of the 3D printer manufacturers liabilities and approximately 1.7 million in cash. Simultaneously with the transactions resolution, shareholders will decide on the liquidation of voxeljet, which is set to occur following the sales closure.Morrison & Foerster LLP and Hogan Lovells International LLP are serving as Anzu and voxeljets legal counsel, respectively. BNP Paribas acted as voxeljets financial advisor.This sales agreement follows the news earlier this year that voxeljet withdrew from the NASDAQ Stock Exchange and terminated its registration with the U.S. Securities and Exchange Commission (SEC). The company decided to end its financial reporting obligations with the SEC to reduce expenses and strengthen its financial position. voxeljet now trades on the over-the-counter (OTC) markets under the ticker VJTTY.Before this, the firm initiated a formal review to evaluate strategic alternatives for the company in October 2023, which included possible mergers, acquisitions and joint ventures. voxeljets Q3 2023 financial results suggested that economic motivations were behind this decision. The company reported an operating loss of -2.8 million, up 12% from -2.5 million in Q2 2022. At the time, voxeljet attributed this increased loss to high administrative expenses.Two of voxeljets VX1000 3D printers. Image via voxeljet. 3D printing mergers and acquisitionsAdditive manufacturing market consolidation has become a prominent talking point within the industry, driven by heightened mergers and acquisitions activity.Israeli electronics 3D printer manufacturer Nano Dimension is leading the M&A push. Earlier this year, the company announced its Desktop Metal acquisition in an all-cash transaction worth approximately $183 million, or $5.50 per share. Yoav Stern, Nano Dimensions CEO, stated that this combination will result in the creation of a larger, more diversified global innovative company set to generate long-term value creation for shareholders, and achieve profitable growth.The new 3D printing company will reportedly feature a strong financial profile, with join revenue of $246M, 28% of which is recurring revenue. Desktop Metals CEO Ric Fulop commented that the deal ended the companys two-and-a-half-year search for a buyer amid concerning sales performance and a weakening financial outlook. In a call with investors, Fulop emphasized that failing to complete this deal could lead to a fatal prognosis for Desktop Metal.Nano Dimensions 2024 acquisition spree continued in September with the agreement to purchase leading FDM 3D printing company Markforged in a $115 million all-cash transaction. The deal will see Nano acquire all outstanding shares of Markforged at $5.00 per share. This represented a 71.8% premium over Markforgeds volume-weighted average price (VWAP) as of September 24, 2024. With the inclusion of both Markforged and Desktop Metal, the combined companys revenue based on fiscal year 2023 figures is projected to reach $340 million.In other mergers and acquisitions news, industrial manufacturing firm Siemens is set to acquire Altair Engineering Inc. in a deal worth approximately $10 billion. This move seeks to strengthen Siemens position as a leading technology firm and software provider. Siemens CEO Roland Busch believes that combining Altairs computational and artificial intelligence expertise with Siemens Xcelerator platform will create the worlds most complete AI-powered design and simulation portfolio.All the news from Formnext 2024.Who are the leaders in additive manufacturing? Vote now in the 2024 3D Printing Industry Awards!What does the future of 3D printing hold?What near-term 3D printing trends have been highlighted by industry experts?Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news.You can also follow us on Twitter, like our Facebook page, and subscribe to the 3D Printing Industry Youtube channel to access more exclusive content.Featured image shows a sign at voxeljet HQ. Photo via voxeljet

Shenzhen-based 3D printer manufacturer Bambu Lab has launched the Christmas Ornament Maker, a creative tool designed to bring a personalized touch to holiday decorations.Released on November 28, 2024, as part of theMakerlab platform, the tool enables 3D printing enthusiasts to craft unique, vibrant 2D ornaments that reflect their style and creativity. Available exclusively during the festive period, the ornament maker offers a straightforward way to design decorations that stand out. Alongside this release, Bambu Lab has also announced Year-End Discounts on its range of 3D printers and accessories, adding extra cheer to the holiday season.Ornament Maker features and 3D printer discountsThe ornament maker allows users to select between two styles, Cutout and Solid, with the flexibility to switch between them at any point. It also provides extensive customization options, including text additions with a variety of predefined fonts, stickers and emojis from a comprehensive library of Christmas-themed graphics, and the ability to upload custom SVG files for a more personalized design.Users can further enhance their ornaments by deciding on the number of rings, creating a dynamic, rotating effect. With support for multicolor designs, the tool ensures a polished, festive look for every creation. More details are available on the Makerlab platform.In conjunction with the release of the ornament maker, Bambu Lab has introduced significant year-end discounts on its 3D printers and accessories, providing an opportunity for enthusiasts to expand their setups. It is important to note that this promotional period runs from December 3, 2024, to January 4, 2025, and includes substantial price reductions across various products.Cutout and Solid Style Christmas ornaments. Photo via Bambu Lab.Originally priced at $299, the A1 Mini is available for $199, offering a savings of $100 along with a $20 coupon. For those seeking additional features, the A1 Mini Combo is priced at $349, a reduction of $110 plus the $20 coupon.Special holiday bundles are also part of the promotion, with the A1 Mini Holiday Bundle, including four premium filament rolls, available for $239. The A1 Mini Combo Holiday Bundle, also featuring four premium filament rolls, is priced at $385.For larger models, the A1 is reduced to $339, offering $60 in savings, while the A1 Combo is priced at $489, reflecting a $70 discount. The X1C is available at $1,099, with $100 in savings, and its combo version, the X1C Combo, is priced at $1,299, offering a $150 reduction. Similarly, the P1S is available for $599, with a $100 discount, while the P1S Combo is priced at $799, saving customers $150. The P1P sees the most significant price drop, now available at $499, reflecting a $200 reduction.In addition to the hardware discounts, Bambu Lab is offering up to 30% off on filaments, consumables, and accessories. These store-wide savings make it an ideal time for 3D printing enthusiasts to stock up on essential supplies while enjoying substantial cost reductions.Access to the Christmas Ornament Maker app is now available.3D printing industry embracing the holiday spiritThe holiday season has long inspired creativity in the 3D printing community, with companies tapping into this enthusiasm by hosting challenges and providing tools that encourage personalization and innovation. For instance, 3D design software company Vectary partnered with MyMiniFactory to host a festive challenge of 3D designs for Christmas decorations.Participants used Vectarys browser-based 3D design platform to submit their creations, competing for prizes such as a MakeX M-Jewelry 3D printer valued at over $3,500. A bonus category encouraged creators to share YouTube tutorials that highlighted their workflow. To foster creativity, Vectary provided templates and video guides, making the holiday-inspired event an engaging and accessible experience for all participants.Back in 2014, online 3D printing service provider i.materialise hosted its annual Christmas Challenge, inviting participants to design 3D printed ornaments for the holiday season.Designs were required to be made for polyamide and fit within 10 x 10 x 10 cm. Winners received a print of their design, a 50 i.materialise printing voucher, an Autodesk Premium Membership, and an Instructables Pro Membership. The contest encouraged creativity, suggesting themes ranging from traditional Christmas motifs to unique interpretations.Vote now in the2024 3D Printing Industry Awards!Catch up on all the news fromFormnext 2024.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 Cutout and Solid Style Christmas ornaments. Photo via Bambu Lab.

Hi, I have a problem with this effect, I dont really know how to fix the ribbon. I want it to end after it hits the ground but Im a bit stuck with the animation stuff as its the second time I have used it. Please help me.Also any tip to make it cooler, would be nice! 1 post - 1 participant Read full topic

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The United Nations Secretariat Building | The BlowupThe United Nations Secretariat Building on Manhattans East River was designed between 1947 and 1951 as part of the United Nations headquarters. The project was led by American architect Wallace K. Harrison, with contributions from a global team, including Le Corbusier of France and Oscar Niemeyer of Brazil. Rooted in the principles of the International Style, the building introduced New York Citys first glass curtain wall skyscraper, emphasizing simplicity, functionality, and modern construction techniques.The United Nations Secretariat Building Technical InformationLead Architect1-13: Wallace K. HarrisonBoard of Design Members: Le Corbusier, Oscar Niemeyer, Nikolai G. Bassov, Gaston Brunfaut, Ernest Cormier, Liang Seu-Cheng, Sven Markelius, Sir Howard Robertson, G.A. Soilleux, Julio VilamajLocation: Turtle Bay, Manhattan, New York City, USAClient: United NationsHeight: 505 ft (154 m)Floor Area: 889,000 sq ft | 82,600 mProject Year: 1948 1951Photographs: Unsplash Users, See Caption DetailsThe United Nations building is 100% the architecture and urbanism of Le Corbusier. Le Corbusier 1The United Nations Secretariat Building PhotographsView from the River | Gabriel TovarFacade Front ViewFacade Detail | Tomas EidsvoldNight View | Terry Mosley1960s PhotographInteriorInteriorInteriorThe United Nations Secretariat Building Context and OriginsStanding on Manhattans eastern shore, the United Nations Secretariat Building symbolizes international diplomacy. Designed to house the administrative arm of the United Nations, the Secretariat Building transformed a once run-down district into a beacon of global unity.The journey began in 1946 when John D. Rockefeller Jr.s donation of an 18-acre site in Turtle Bay paved the way for the UNs permanent headquarters. Located on extraterritorial land, the site allowed the United Nations to operate independently of local jurisdiction, marking its unique international status. An eclectic team of architects led by Wallace K. Harrison was tasked with creating this monumental structure. Among them were modernist luminaries like Le Corbusier and Oscar Niemeyer, whose collaborative, though sometimes contentious, efforts birthed the Secretariats iconic form.The design brief called for a 39-story skyscraper without setbacksa radical departure from Manhattans prevailing architectural language. Despite debates about the role of individual contributions, the buildings slab-like form became a hallmark of modernist architecture, embodying the ideals of simplicity and functionality.Architectural Design and StyleThe United Nations Secretariat Building is a quintessential example of the International Style, characterized by its clean lines, minimalist aesthetic, and emphasis on material honesty. At 505 feet tall, the structure is a narrow rectangular slab oriented north-south, maximizing daylight exposure. The facades are a contrast study: the east and west elevations feature glass curtain walls. At the same time, the north and south ends are clad in Vermont marble, creating a powerful juxtaposition of transparency and solidity.This was New York Citys first skyscraper to utilize a glass curtain wall, an innovation that revolutionized the citys skyline. The curtain walls, with their blue-green glass panels, offered both aesthetic appeal and functional advantages by reducing heat gain on the western elevation. Inside, the buildings modular design reflected the hierarchical needs of its occupants, with secretarial staff situated centrally and diplomats occupying perimeter offices with views of the East River or Midtown Manhattan.Le Corbusiers early concept sketches introduced brise-soleil, or sun-breakers, as a shading device for the facade. However, these were omitted due to cost and maintenance concerns, highlighting the compromises inherent in such an ambitious project.Challenges, Renovations, and LegacyConstructionConstructionFrom the outset, the Secretariat Building faced numerous challenges. Delays and budget constraints plagued early construction, forcing the architects to downsize certain elements. Post-construction, the building grappled with practical issues, including frequent leaks in its pioneering curtain walls and inefficiencies in its heating and cooling systems.By the late 20th century, the Secretariat Building had become technologically outdated and environmentally unsustainable. A significant renovation began in 2010, addressing these shortcomings while respecting the buildings architectural legacy. The overhaul replaced the original single-pane glass with energy-efficient, blast-resistant panels. Outdated mechanical systems were upgraded, and asbestos was removed, ensuring compliance with modern building codes. The project also incorporated green building features, reaffirming the buildings status as a forward-thinking landmark.Despite these updates, the Secretariat has faced its share of criticism. Architectural commentator Lewis Mumford called it a superficial aesthetic triumph, while others pointed to its reliance on air conditioning and its lack of adaptability. Yet, even its detractors acknowledged its symbolic significance, with Mumford noting that it represents bureaucracy ruling the world.Influence on Modern ArchitectureThe Secretariat Buildings impact extends far beyond the boundaries of the United Nations complex. Its revolutionary use of a glass curtain wall inspired a wave of modernist skyscrapers, including Manhattan landmarks like Lever House and the Seagram Building. These structures, in turn, influenced office tower design worldwide, cementing the Secretariats legacy as a pioneer of high-rise architecture.Moreover, the building exemplifies how architecture can serve as a vehicle for diplomacy. Its transparent facades and clean geometric lines reflect the ideals of openness and collaborationvalues central to the United Nations mission. As a global icon, the Secretariat Building is not only a functional workspace but a testament to the enduring relevance of modernist principles in architecture and governance.The United Nations Secretariat Building PlansFloor Plan | FLC / ADAGPAxonometric View | FLC / ADAGPModel | FLC / ADAGPModel | FLC / ADAGPPerspective Drawing | FLC / ADAGPSketch | FLC / ADAGPThe United Nations Secretariat Building Image GalleryAbout Wallace K. HarrisonWallace K. Harrison was a prominent American architect known for his influential role in shaping modernist architecture in the mid-20th century. Born in Worcester, Massachusetts, Harrison studied at the cole des Beaux-Arts in Paris before co-founding the firm Harrison & Abramovitz. His career is marked by iconic projects, including the Rockefeller Center, the Lincoln Center for the Performing Arts, and the United Nations Headquarters in New York City, where he served as the lead architect. As the Director of Planning for the UN headquarters, Harrison collaborated with a global team of architects, merging modernist principles with international ideals. His work epitomizes the fusion of functionality, simplicity, and bold aesthetics that defined the era, leaving a lasting legacy in both American and global architecture.Notes & Additional CreditsThe quote highlights Le Corbusiers strong belief in his contributions to the project, despite it being a collaborative effort. He viewed the design, particularly the iconic Secretariat Building, as embodying his modernist principles, even though compromises were made during the planning and construction phases.Lead Architect: Wallace K. Harrison (Director of Planning)Board of Design Members: Le Corbusier (France), Oscar Niemeyer (Brazil), Nikolai G. Bassov (Soviet Union), Gaston Brunfaut (Belgium), Ernest Cormier (Canada), Liang Seu-Cheng (China), Sven Markelius (Sweden), Sir Howard Robertson (United Kingdom), G.A. Soilleux (Australia), Julio Vilamaj (Uruguay)Interior Designer: Abel SorensonFacade Manufacturer: General Bronze CorporationSteel Engineer: David Fine (United States Steel)Main Contractors: George A. Fuller Company, Turner Construction, Walsh Construction Company, Slattery Contracting CompanyArchitectural Style: International StyleStructure: Steel superstructure with marble and glass facadeFacade Materials: Blue-green heat-absorbing glass curtain walls (west and east facades), Vermont marble slabs (north and south facades)Building Dimensions: 72 ft by 287 ft (22 m by 87 m)Curtain Wall Glass Area: 300,000 sq ft (28,000 m)Floor Count: 39 above-ground stories, 3 basement levels