Courtesy of IKEAFurnishing the first place you call your own is a big deal. It needs to be more elevated than your dorm room, but the pieces also need to be affordable. You want quality furniture that will last well beyond your first lease, but it also needs to be adaptable to suit your ever-evolving style. The foolproof solution to all of these needs? IKEA. The retailer has long mastered Scandinavian simplicity, with functional, budget-friendly furniture that works with a range of styles. Here are seven selects to make your first apartment feel like home. The best part? These are proven favorites, with ratings of 4+ stars out of 5 from hundreds, if not thousands of reviews—so you can trust that each and every one will deliver both quality and style.1KALLAX Shelf Unit$80 at IKEAYour dream of built-in bookshelves may be a few years (or decades) away, but that doesn’t mean you can’t fake it. Use the adaptable KALLAX series to build a shelving display that suits your space by combining different-size units.2MALM Bed Frame$219 at IKEAFeaturing clean lines and an unfussy design, the MALM is an IKEA classic, available in three sizes (full, queen, and king) and four finishes (white, blue, and dark brown or oak veneer). The high headboard offers ample back support for those work-from-bed days, and the sides can be adjusted to fit varying mattress heights. If you need extra storage, just add the rolling MALM underbed storage boxes.Advertisement - Continue Reading Below3ÄLVDALEN Sleeper Sofa$449 at IKEAIt’s guaranteed that your friends will want to come for an overnight visit in your first apartment, and you’ll want to do them one better than a blow-up air mattress to sleep on. Enter the attractive and comfortable ÄLVDALEN sleeper sofa. It easily folds out to a full-size bed, and even features storage under the seat to hold the bedding. Plus, it comes with a 10-year limited warranty, so you can trust its durability for years to come.4MICKE Desk$90 at IKEAA full-blown home office may not be in the cards for a first pad, but a sleek workspace that won’t detract from the vibe of your living room certainly is. The streamlined MICKE desk features a long tabletop (at nearly 56 inches, it can fit two chairs) and a cable compartment to keep cords hidden away.Advertisement - Continue Reading Below5LACK Wall Shelf Unit$100 at IKEA“Highly aesthetic,” “modern and so practical,” “sturdy and well-designed”—these are just a few of the comments from 1,300+ reviewers about why they love this shelf unit so much. Use it to turn unused vertical wall space into an artful display of ceramics, photos, and books. Hung vertically, each shelf can hold up to six pounds.6STORKLINTA 3-Drawer Chest$120 at IKEASimple, modern, and highly functional, the STORKLINTA dresser features integrated handles on the upper edge of the drawers for a hardware-free design. The anchor-and-unlock feature reduces tip-over risk by requiring the chest be anchored to the wall for more than one drawer to be opened at once.Advertisement - Continue Reading Below7NISSAFORS Utility Cart$30 at IKEAWhether you need more storage in your tiny kitchen or you’re simply looking for a minimalist bar cart, the NISSAFORS is the answer. It’s made of powder-coated steel, it’s available in four finishes—sophisticated black is our favorite—and it’s been tested to IKEA’s strictest standards for stability and durability, so you know it’s built to last.

Welcome to the Claylight Home, designed by Salma Khaled. In this sanctuary, soft neutrals and warm woods are design elements. The space is designed with intention and layered with natural light. As such, it celebrates calm, comfort, and quiet beauty. From tactile walls to curved furniture, every corner tells a story of understated elegance. If you’ve ever dreamt of living in a home that feels like a warm hug, this is your mood board come to life. The living room at the Claylight Home features curved, cloud-like seating wrapped in tactile boucle. This invites you to sink in and stay awhile, while the layered neutrals create a visual hush that feels grounding. Earthy textures, like the ribbed floor lamp, carved wooden tables, and textured art panels add depth without disrupting the calm. Sunlight filters through sheer drapes, dancing across the natural wood tones. This is not just a place to gather; it’s a place to exhale. The Claylight Home’s dining space is anchored by a solid wood table and surrounded by plush, sculptural chairs. The type that invites slow dinners and long conversations. A trio of pleated pendant lamps floats above (that feel much like candlelight). But what truly sets this space apart is the custom coffee and tea station tucked into a wood-lined niche. This is complete with open shelving, backlighting, and thoughtfully styled ceramics. The kitchen in the Claylight Home is a perfect expression of understated luxury. With its clean lines, matte cabinetry, and seamless stone backsplash, it proves that simplicity can be stunning. Warm wood details wrap around integrated appliances and open shelving. This creates visual continuity with the rest of the home. Every element in this kitchen feels intentional, from the black sink to the curated shelf styling. The bedroom at the Claylight Home is a retreat within a retreat… an intimate cocoon where layers of texture meet sculptural calm. A palette of warm neutrals flows from the ribbed wall panels to the low-profile bed. Frosted glass wardrobes and floating nightstands keep the visual weight minimal, while statement lighting adds style. In the Claylight Home, the nursery is designed as a multipurpose space. This cozy corner brings together baby essentials and adult serenity. The soft curves of the crib and changing station echo the design language of the entire home. The whimsical animal prints and plush toys add playfulness. Next to it, a generously sized sectional invites the whole family to snuggle in. It’s a space made for moments—reading books, sipping coffee, or simply watching your little one dream. The bathrooms at the Claylight Home channels spa-like serenity. Smooth stone tiles, warm wood accents, and ambient lighting set the tone for a tranquil escape. Fluted wall details bring depth without distraction, while the floating vanity and open shelving keep the space feeling light and grounded.

Longchamp has reintroduced its iconic SoHo flagship, unveiling a bold new chapter in its architectural and artistic journey. Nestled in the heart of downtown Manhattan, the La Maison Unique boutique has been transformed into a space that merges retail with an immersive cultural experience – offering more than shopping, but a deep dive into the brand’s design philosophy, legacy, and creative ambition. At the core of this reimagining is the rekindled collaboration between Longchamp and celebrated British designer Thomas Heatherwick. Nearly two decades after his original work on the space, Heatherwick returns to re-envision the site with a fresh narrative. The result is a compelling blend of artistry, innovation, and Parisian warmth, translated into architectural form. The redesign honors the bones of the original building while elevating its purpose. One of the most striking updates is the reinterpreted central staircase. Originally made of steel ribbons, it has been reborn in Longchamp’s signature green – a vibrant pathway of swooping planes that guides visitors up from the ground floor, like ascending a hill. The dramatic feature sets the tone for the boutique’s organic, flowing atmosphere. Above, the retail space has been crafted to feel less like a store and more like an upscale, lived-in loft. Round rugs in rich green tones spill from carpeted columns across warm wood floors, creating a dynamic interplay of texture and form. Vintage and bespoke furnishings – like a 1970s croissant sofa by Raphaël Raffel and sculptural works by David Nash – anchor the room with both history and originality. Longchamp’s ties to the art world are on full display throughout the store. The brand’s private collection, along with newly commissioned pieces, gives the space a gallery-like feel. Highlights include ceramics and sculptures from artists such as Dorothée Loriquet, Bobby Silverman, and Tanaka Tomomi. Their works echo Longchamp’s commitment to natural materials, tactile surfaces, and organic design. In a deliberate shift from traditional retail layout, the central area has been opened to encourage conversation. Instead of focusing solely on product display, the well-lit space invites guests to linger and connect, mirroring the rhythm of a Paris apartment transplanted to a New York context. The visual storytelling continues with intentional quirks: neon signage, hand-drawn graffiti by artist André, and archive objects that trace Longchamp’s early heritage as a maker of leather tobacco accessories and travel games. These nostalgic elements add to the space, providing a bridge between past and present. This revitalization is part of a larger movement within the brand to reshape the in-store experience. It reflects a shift in luxury retail – from transactional to experiential. By creating a space where design, storytelling, and sensory detail converge, Longchamp is championing a new kind of flagship – one rooted in memory and human connection. “Retail moves fast, but architecture should last. We wanted to create something bold and joyful, yet warm and timeless – an apartment-like space that invites people to stay,” Heatherwick Studio partner Neil Hubbard says. “From the swirling green rugs under green-carpeted columns to curved furniture that feels custom but lived-in, everything was designed to feel unified and human. Even the red brick walls downstairs, set to host rotating installations, help ground the space in SoHo’s industrial roots while creating room for surprise.”

Michalina Janoszanka, “Motyl (Butterfly)” (ca. 1920s). Image courtesy of Public Domain Review June 2025 Opportunities: Open Calls, Residencies, and Grants for Artists May 30, 2025 Opportunities Colossal Every month, we share opportunities for artists and designers, including open calls, grants, fellowships, and residencies. Make sure you never miss out by joining our monthly Opportunities Newsletter. Innovate Grant awards two $1,800 grants each quarter to one visual artist and one photographer. In addition, twelve applicants will receive honorable mentions, be featured on the website, and join a growing community. International artists and photographers working in any medium are eligible.Deadline: 11:59 p.m. PST on June 26, 2025.Open Calls Artadia Awards (San Francisco Bay area) Artists receive unrestricted funds of $15,000, and honoraria will also be provided to finalists.Deadline: June 1, 2025.Artists are welcome to submit proposals for temporary, site-specific public art projects to be showcased throughout Nashville during the Artville festival weekend, September 26 to 28, 2025. Selected artists will be invited to accept a grant to bring their creative visions to life, plus the chance for a cash prize. Total cash prizes equal $10,000.Deadline: June 4, 2025.Women in Watercolor International Juried Competition (International)Deadline: June 8, 2025. The Vilcek Foundation will award six $50,000 prizes to young immigrants working in fashion curation, material innovation, makeup, hair, writing, curation, styling, design, and photography. Read more on Colossal.Deadline: June 9, 2025.Art Renewal Center Salon Competition (International)Deadline: 11:59 p.m. PST on June 12, 2025. Weather Photographer of the Year (International) Hosted by the Royal Meteorological Society, this competition showcases the world’s most striking weather and climate photographs and raises awareness about the environmental issues putting our planet at risk. Open to photographers of all ages and abilities, the contest offers a £5,000 cash prize.Deadline: June 19, 2025.AAP Magazine #49 B&W Photography Open Call (International) The contest is open to any interpretation of black-and-white photography. Winners will receive $1,000 and their winning image(s) or full portfolio published in AAP Magazine, vol. 49, There is a $35 entry fee for the first three images, plus $5 for each additional image.Deadline: June 24, 2025.Midwest Open (Illinois, Indiana, Michigan, Ohio, Wisconsin, Iowa, Kansas, Minnesota, Missouri, Nebraska, North Dakota, and South Dakota) The Midwest Open is Woman Made Gallery’s annual exhibition highlighting women and nonbinary artists living in the Midwest. All media and subject matter are eligible, and cash prizes range from $100 to $300. There is a $35 submission fee.Deadline: June 28, 2025.Makers, artists, and crafters are eligible to submit works that demonstrate technical mastery and a connection to cultural tradition through a singular, one-of-a-kind handcrafted piece. The winner will receive $25,000, and four finalists will also receive grant funding.Deadline: June 30, 2025.16th Epson International Pano Awards (International) This panoramic photography contest is open for entries and offering more than $50,000 in cash and prizes. There is an $18 entry fee.Deadline: July 21, 2025.Grants Art Fluent Evolution Grant (International) Art Fluent awards a $1,000 grant to one visual artist each cycle. The unrestricted funds may be applied toward any expense to enhance the artist’s ability to create work. There is a $35 entry fee.Deadline: June 6, 2025.Get Ready Grants provide craft artists with up to $1,000 for activities to safeguard their studios, protect their practices, and prepare for emergencies. Priority is given to applicants who have been underrepresented in the craft community, including BIPOC and folk/traditional artists.Deadline: June 10, 2025.Ian Potter Cultural Trust Emerging Artist Grants (Australia) Two funding rounds annually are open to individual artists working across disciplines who can apply for grants of up to AUD $15,000. This round funds travel or projects that commence after September 19, 2025.Deadline: June 17, 2025.Grants for Artists’ Progress (Washington State) This program offers 65 unrestricted grants of $1,500 for artists working in all disciplines across Washington State.Deadline: June 23, 2025.This $10,000 grant is designed to highlight an existing body of work by a Black trans woman visual artist. Four finalists will also receive $1,250.Deadline: July 2, 2025.Liu Shiming Art Foundation’s Artist Grants (International) Each year, the Liu Shiming Art Foundation selects up to five artists to receive a $5,000 grant. Visual artists working for at least two years (but not more than 10) are invited to apply for a grant in support of a current or new project.Deadline: August 21, 2025.Vital Impacts offers one $20,000 grant to an established environmental photographer, along with six $5,000 grants to emerging photographers from around the world. These funds are specifically earmarked for the development of documentary projects focusing on environmental stories.Deadline: September 15, 2025.The Adolf and Esther Gottlieb Emergency Grant (International) This program provides one-time financial assistance to qualified painters, printmakers, and sculptors whose needs resulted from an unforeseen catastrophic incident and who lack the resources to meet that situation. Awardees typically receive $5,000, up to $15,000.Deadline: Rolling.This fund commissions visual artists to create company projects on a rolling basis. Awardees will receive between $500 and $5,000.Deadline: Rolling.Pollock-Krasner Foundation Grant (International) The foundation welcomes applications from painters, sculptors, and artists working on paper, including printmakers. Grants are intended for one year and range up to $50,000. The artist’s circumstances determine the size of the grant, and professional exhibition history will be considered.Deadline: Rolling.Residencies, Fellowships, & More The Farm Margaret River Residency (International) This five- to eight-week residency is geared toward site-responsive projects and engagement with the land. Residents receive a $7,500 stipend, studio space, accommodations, and travel assistance.Deadline: 5 p.m. AWST on June 2, 2025.Wassaic Project 2026 Residency Program (International) Wassaic Project is accepting proposals for the 2026 summer and winter residencies. Artists receive a semi-private studio space; private room in a shared house (the Family program receives a private house); access to a wood shop, print shop, and kiln; staff support; and programming such as our visiting artist program, artist talks, studio visits, open studios, artist presentations, etc. The residency fee is $900, and fellowships are available. There is a $25 entry fee.Deadline: June 2, 2025.Headlands Center for the Art Artist-in-Residence (International) Residencies of four to ten weeks include studio space, chef-prepared meals, housing, travel, and living expenses. Artists selected for this program are at all career stages and work in all media, including drawing, painting, sculpture, photography, film, video, new media, installation, fiction and nonfiction writing, poetry, dance, music, interdisciplinary, social practice, arts professions, and architecture. There is a $45 application fee.Deadline: June 2, 2025.Banff Centre Artist in Residence – Winter 2026 (International) Individual and duo visual artists at any stage of their career are eligible for this residency, which offers focus in a supportive learning environment. During five weeks, participants are encouraged to self-direct their research and time and cultivate new directions. Studio space is provided.Deadline: June 11, 2025.Prairie Ronde Artist Residency (International) These five- to six-week residencies offer a $2,000 stipend, $500 travel grant, and housing to artists interested in interacting with the former Lee Paper Company mill in Vicksburg, Michigan. There is a $25 application fee.Deadline: June 15, 2025.Stove Works Residency (International) This program invites eight residents for one to three months. Six studios are designed for artists who require significant space in their practice, while the other two are for writers, curators, and academics. There is a $30 application fee. Deadline: June 15, 2025.Women’s Studio Workshop (International) WSW is accepting applications for two programs: A studio residency open to artists working in intaglio, letterpress, papermaking, screenprinting, darkroom photography, or ceramics; and an education residency for artists interested in working with local students. Both tracks offer studio space and housing.Deadline: June 15, 2025.Artists, ecological scientists, and scholars wanting to explore connections to nature, land conservation, historic preservation, agriculture, and community building are invited to apply for this program. Studio space, accommodations, a $200 per week stipend, and more are provided.Deadline: 5 p.m. PST on June 20, 2025.Peters Valley School of Craft Residency (International) This program is open to artists working in blacksmithing, ceramics, fibers, jewelry and fine metals, wood, and printmaking. Residents spend two weeks or one month in fully equipped studios, receive a $500 or $1,000 stipend, and are offered housing. There is a $10 application fee.Deadline: July 1, 2025.Penland School of Craft (International)Deadline: July 2, 2025. The Kyoto Retreat (International) Artists, curators, and writers are eligible for this four-week retreat in Kyoto for research, exploration, and inspiration. Chosen applicants receive a round-trip flight, a private bedroom, and $800 to supplement meals and local transportation.Deadline: July 15, 2025.If you’d like to list an opportunity, please contact [email protected]. Next article

At the entrance to Victoria and Albert Museum’s (V&A) historic home in South Kensington, wide stone steps rise toward an ornate facade of carved Portland stone, with heavy wooden doors set beneath an archway that declares culture as cathedral. It’s built to inspire, yes, but also to intimidate—to display the spoils of a national collection shaped by colonial reach. On the other side of London, the same institution has opened its doors to V&A East Storehouse, with access to over 250,000 objects. The facility designed by Diller Scofidio + Renfro (DS+R) transforms the obscure world of museum storage into a public experience of collecting, conserving, and storytelling. Like the South Kensington museum, Storehouse also leaves its imprint, inspiring wonder at a moment when public trust in cultural space feels so thin. As Tim Reeve, deputy director of the V&A, put it: “Creative industries are one of the very few success stories of the UK economy.” That creativity is being unpacked. V&A East Storehouse is located inside the London 2012 Olympics Media Centre. (© Hufton+Crow) The 262-by-262-foot (80-by-80-meter) cultural warehouse—once the London 2012 Olympics Media Centre—now welcomes visitors through a plain, functional entrance. Its galvanized steel doors are a modest update on the flexible shell designed by Hawkins\Brown. A plain, functional lobby hosts a new outpost of e5 Bakehouse, softened by new plywood interiors by Thomas Randall-Page. Upstairs, into a brief airlock, and onto a narrow walkway lined with classical busts in crates and on palettes, as if not fully unpacked, you glimpse the ladders, forklifts and shelving below, before you are shot into the dramatic central atrium—a towering scaffold of steel walkways and shelving. The Queen Elizabeth Olympic Park is a place still learning what it wants to be. A surplus of sports venues and a scatter of freshly minted towers jostle for identity, and somehow, the V&A opening up its innards fits right in. Storehouse isn’t a museum—there are no labels, no curation, no interpretation. It’s a working storage facility, a peek behind the curtain. Instruments hang beside rows of chairs, statues stand among ceramics, building fragments, archival boxes, and garments—some visible, others swaddled after reaching their “light quota.” It’s a new idea for museum storage, one that began in Rotterdam in 2021 with MVRDV’s Depot and is put on steroids here, but DS+R are not new to shifting paradigms. “It’s an idea whose time has come,” said architect Liz Diller. She notes that the firm’s work on the High Line has been used—perhaps overused—as a reference point ever since it opened: “It becomes a kind of model for others. I think people will interpret the idea in their own ways,” she added. The central atrium is a towering scaffold of steel walkways and shelving. (© Hufton+Crow) “The Storehouse defies the logics of conventional taxonomies,” said Diller. “Where else would you encounter suits of armor, stage cloth, biscuit tins, building fragments, puppets, thimbles, chandeliers, motorcycles in one place next to each other?” These objects were previously hidden away in Blythe House, Olympia, alongside collections from the British Museum and the Science Museum—until the government announced plans to sell the Edwardian bank. This prompted a conversation about what its storage can and could be. The space spans approximately 172,000 square feet (16,000 square meters)—a fraction of the V&A’s over 850,000 square feet (80,000 square meters) at South Kensington—but it’s dense with meaning. It now houses 250,000 objects and has been designed with five years of growth in mind, with plenty of empty shelving still in view. Patrons can request up to five objects from the collection and make an appointment to view them. (© Hufton+Crow) The object collocations feel accidental but profound. What is a Frankfurt Kitchen, with its strict Bauhaus order, doing just down the walkway from the ornate, gilded Torrijos ceiling from Toledo? Why does a safety curtain control panel share a shelf with a bamboo wind instrument? Everyday objects aren’t elevated so much as exposed—invited to speak on new terms, next to things they were never meant to meet. There are smaller, curated exhibits too—some behind glass—assembled using a modular “kit of parts” display system designed by IDK. There are opportunities for the public to view conservators at work. (© Hufton+Crow) Anyone can request up to five objects from the collection and make an appointment to view them. If the objects are small enough, they’ll be brought to you at a table. If they’re big, you go to them in the darker parts of the museum. As Diller put it, the Storehouse is designed with “an inside-out logic,” where the center is public, the middle semi-private, and the outer edge reserved for conservation, research, and protected storage. There are moments where private and public parts interact, for instance in the “conservation overlooks,” where you can watch the conservators at work from public galleries. It quietly teaches that the arts are an industry too; there are opportunities besides being an artist. Instruments hang beside rows of chairs, statues stand among ceramics, building fragments, archival boxes, and garments. (© Hufton+Crow) Some of what Storehouse allows you to see is uncomfortable. The colonial overtones are hard to miss. These are objects taken from across the world—beautiful, rare, complex—and now stored in a warehouse in East London. The Agra Colonnade, from a 17th-century Mughal building, is on the ground floor where visitors can walk on the glass floor above it, breathtaking and fraught. This is a first step—a way of airing our institutional laundry in public, and inviting interrogation, reinterpretation, and hopefully reckoning. The Agra Colonnade, from a 17th-century Mughal building, is among the objects on view. (© Hufton+Crow) Hanging inside is the 1924 Le Train bleu stage cloth for the Ballets Russes in 1922. (© Hufton+Crow) Mostly, there is a sense of happy chaos, but there are moments that stop you. Down a quiet corridor sits a towering black-box space, spanning two floors. Hanging inside is the 1924 Le Train bleu stage cloth for the Ballets Russes in 1922—a reproduction of Picasso’s Two Women Running Along the Beach. “This is the largest space,” said project architect David Allin. “It lets you see oversized objects from two levels and even watch the conservators at work.” This cloth will later be replaced by the one that the tall space was designed around: the larger Firebird—Natalia Goncharova’s 10-by-16-metre stage backdrop. Here is where you can feel the V&A talking to itself across the city: South Kensington in its lofty register of imperially reaching cast courts, and the Storehouse answers with its mirror image. I catch my breath in front of Le Train bleu, first at its vastness, but then at the hulking crate parked behind it. The Storehouse is rewriting the story and showing us its workings. Ellen Peirson is a London-based writer, editor, and designer.

In this edition of SLICED, the 3D Printing Industry news digest, we compile the latest developments across the additive manufacturing (AM) sector, including equipment-sharing partnerships, market expansions in Europe and Mexico, and new standards working groups. Today’s edition features reseller appointments, research consortium launches, large-format platform integrations, dental appliance automation, and calls for conference speakers. Read on for updates from AM 4 AM, Meltio, One Click Metal, Axtra3D, Nikon SLM Solutions, Formnext 2025, and more. Emerging partnerships from AM 4 AM, and Meltio Kicking off with partnerships, Luxembourg’s materials R&D firm AM 4 AM has partnered with Stockholm aluminum powder supplier Gränges Powder Metallurgy (GPM), relocating the Swedish supplier’s materials characterization park to AM 4 AM’s facility. Under the agreement, AM 4 AM will operate GPM’s particle size analyzers, thermal testers, and mechanical-testing rigs to accelerate development cycles and strengthen quality control across both companies’ product lines. AM 4 AM Co-founder Maxime Delmée noted that access to GPM’s instrumentation will enable faster iteration and more data-driven decision-making. Highlighting benefits, GPM Managing Director Peter Vikner explained that relocating the equipment to AM 4 AM addressed both firms’ R&D requirements while leveraging AM 4 AM’s operational capabilities. Moving on, Spanish wire-laser metal 3D printer manufacturer Meltio has announced partnerships with Monterrey-based service provider Alar, and academic institution  Tecnológico de Monterrey.With this move, Alar will integrate the award-winning M600 industrial wire-laser 3D printer into its production lines, while the institution has acquired a Meltio M450 for academic training and industry collaboration.  Additionally, the Spanish manufacturer has also announced additive manufacturing integrator Sitres Latam as its official distributor. Meltio’s wire-feed deposition process, which supports stainless steel, titanium, Inconel, and copper, offers mechanical properties on par with conventionally manufactured parts while reducing waste and emissions. “This alliance with Sitres, Alar, and Tecnológico de Monterrey is fundamental to promoting real and functional metal 3D printing solutions in Mexico,” said Alar CEO Andrea Alarcón. Meltio partners with Alar, SITRES, and Tecnológico de Monterrey to expand metal 3D printing capabilities in Mexico. Photo via Meltio. One Click Metal and Axtra3D Appoint New Resellers in Iberia Turning to resellers and distribution, German metal 3D printing systems developer One Click Metal has expanded into Portugal through a collaboration with Lisbon’s industrial additive manufacturing services provider 3D Ever. The agreement gives local businesses direct access to One Click Metal’s cartridge-based powder handling systems and Lab Module for rapid material changes, alongside region-specific training and post-installation support. Founded in 2017, 3D Ever operates a multi-technology showroom—covering covering stereolithography (SLA), selective laser sintering (SLS), fused filament fabrication (FFF), and direct metal laser sintering (DMLS)—and hosts open-house events and technical workshops to integrate 3D printing into customer workflows. “Portugal is a dynamic market for additive manufacturing,” said One Click Metal’s Global Sales Director Martin Heller, “and 3D Ever’s deep industry knowledge makes them the ideal partner.” Meanwhile, Milan-based photopolymer 3D printer innovator Axtra3D has named Spain and Portugal’s Maquinser S.A. as its professional reseller for Hi-Speed SLA systems. Maquinser will showcase the Lumia X1 platform combining Hybrid PhotoSynthesis and TruLayer technologies at three major industry events through June: the International Machine-Tool Fair (EMAF) in Porto, Portugal; the Subcontratación Industrial & Addit3D expo in Bilbao, Spain; and the MindTECH manufacturing technology fair in Porto. “Axtra3D’s Hi-Speed SLA strikes the balance between surface quality, precision, and material flexibility,” said Maquinser CEO Christian Postigo. Andreas Tulaj, SVP Europe Sales at Axtra3D, added that Maquinser’s regional presence ensures localized support, rapid deployment, and customer-specific solutions across automotive, aerospace, energy, and mold-making sectors. Axtra3D appoints Maquinser S.A. as official reseller for Spain and Portugal. Image via Maquinser. 3MF Consortium and Ecosistema GO! Launch AM Research Initiatives On the research corner, the Microsoft-backed standards organization 3MF Consortium has formed a 6-Axis Toolpath Working Group to define open data structures for robotic and multi-axis AM workflows. The effort invites professionals using industrial robots and advanced CNC platforms to develop a 3MF extension that encodes non-planar toolpath data, enabling seamless interoperability across design, toolpath generation, and machine control software. Originally created to surpass STL and OBJ for complex manufacturing data, the 3MF format already supports units, materials, lattices, slice data, and metadata. This new working group will build on modules like the Beam Lattice Extension to integrate multi-axis motion paths, with open-source reference implementations available via the consortium’s GitHub repository. Elsewhere in Europe, Spain’s Centre for the Development of Industrial Technology (CDTI)-backed Ecosistema GO! Project (coordinated by Leitat with partners Aitiip, Idonial, Aimen, Addimat, HP, and Meltio) has launched to map national AM capabilities and drive industrial adoption. The initiative will publish a structured “map of capabilities” covering infrastructure, specialization areas, and R&D projects, while hosting workshops in automotive, energy, and aerospace to share success stories and define adoption strategies. “Ecosistema GO! aligns capabilities, generates synergies, and accelerates AM’s real incorporation into Spanish industry,” said IAM3DHUB General Secretary David Adrover. Open for new members through December 2025, the consortium aims to serve as Spain’s reference network for additive manufacturing. The 3MF Consortium invites participants to join its newly launched 6-Axis Toolpath Working Group. Image via 3MF Consortium. Dental Production Boosted by DMP Flex 200 Integration at DynaFlex In dental applications, U.S. orthodontic manufacturer DynaFlex has upgraded its digital workflow with the DMP Flex 200 metal 3D printer from 3D Systems, supplied and installed by their official supplier Nota3D. Featuring a 500 W laser and enlarged build platform, the system has increased DynaFlex’s production speeds by up to 80% for small custom components such as fixed appliances and bands. Matt Malabey, DynaFlex’s Director of Operations, noted that integrated software for orientation, nesting, and support generation further streamlines workflow: “Automation tools and improved onboarding allow us to scale smarter and faster.” The Flex 200 supports LaserForm CoCr, Stainless Steel 316 L, and Ti Gr23 alloys, aligning material properties with clinical performance standards. Prusa Research Opens EasyPrint to All Mobile Users Shifting to software, Czech desktop 3D printer maker Prusa Research has launched EasyPrint, a cloud-powered slicer embedded in the official PRUSA mobile app and accessible via Printables.com. It lets users prepare and send G-code directly from smartphones and tablets, automatically detecting compatible printers and applying the correct print profiles. An interactive 3D preview allows models to be moved, rotated, scaled and batch-arranged on virtual beds, while basic settings such as copy count and object size are consolidated into a one-click workflow. EasyPrint began as an invite-only beta used to collect performance metrics and optimize scalability before opening to everyone once preliminary tests proved the service smooth, according to Ondřej Drebota, Prusa’s Head of Country Development Managers & Partnerships Manager. All G-code generation runs in the cloud, enabling even low-powered devices to handle complex workflows, and users can download prepared files for offline printing. Prusa plans to extend EasyPrint compatibility to non-Prusa printers in future updates, broadening its reach across the 3D printing community. Nikon SLM Solutions and DynaFlex Upgrade Metal AM Workflow On 3D platform news, German metal 3D printer manufacturer Nikon SLM Solutions has integrated Freiburg’s automated depowdering specialist Solukon’s SFM-AT1500-S system at its Long Beach, California AM Technology Center. Paired to German manufacturer’s NXG 600E large-format 3D printer, the SPR-Pathfinder-driven unit handles parts up to 1,500 mm tall and 2,100 kg total weight, automating powder removal for industrial-scale metal components. Nikon SLM Solutions’ COO Gerhard Bierleutgeb stressed the importance of closely linking printing and automated depowdering for optimal production flow. Solukon’s CTO Andreas Hartmann added that the SFM-AT1500-S was custom-engineered to meet Nikon’s requirements for high-mass, complex geometries while maintaining a compact installation footprint. Andreas Hartmann, CEO/CTO of Solukon, and Joshua Forster, Production Manager at Nikon SLM Solutions. Photo via Solukon. Formnext 2025 Announces Call for Speakers Looking ahead to events, Germany’s trade-fair organizer Mesago Messe Frankfurt GmbH has opened its call for speakers for the upcoming Formnext 2025, to be held November 18-21 in Frankfurt. Submissions for the Industry Stage (covering sustainability, AI, standards, and talent) and the Application Stage (focusing on sectors like automotive, aerospace, and medical) remain open through June. Mesago’s Vice President Christoph Stüker explained that the multistage program is central to Formnext’s mission of disseminating AM knowledge and driving new applications. Additionally, Vice President Sascha F. Wenzler noted that the speaking slots offer an ideal platform for experts to share insights, build their profiles, and forge valuable industry connections. Adding to that, materials supplier participation at Formnext Asia Shenzhen 2025 has jumped 68% year-on-year, with booth bookings already at 70% capacity for the 26–28 August event at Shenzhen World Exhibition & Convention Center. The expanded materials segment, now covering advanced polymers, composites and specialised alloys, will feature over 30 exhibitors in metal powders (including Acc Material, JSJW New Material and Tiangong Technology), ceramics (Wuhan 3DCERAM, Nanoe France) and polymers (eSUN, SUNLU).  Louis Leung, Deputy General Manager of Guangzhou Guangya Messe Frankfurt, highlighted China’s rapid ascent as an AM leader, noting that national policy support and investment have fuelled double-digit growth in the domestic materials sector. Fringe activities include the 3D Print Farm Conference on filament supply chains and an expanded Laser & AM Forum, while related events, Formnext Asia Forum Tokyo (25-6 September) and Formnext Frankfurt round out the global network. Exhibitor registrations remain open online. A panel discussion recorded live at the Industry Stage during Formnext 2024. Photo via Formnext/Mesago Messe Frankfurt GmbH. Take the 3DPI Reader Survey — shape the future of AM reporting in under 5 minutes. Ready to discover who won the 20243D Printing Industry Awards? Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights. Featured image shows a panel discussion recorded live at the Industry Stage during Formnext 2024. Photo via Formnext/Mesago Messe Frankfurt GmbH. Anyer Tenorio Lara Anyer Tenorio Lara is an emerging tech journalist passionate about uncovering the latest advances in technology and innovation. With a sharp eye for detail and a talent for storytelling, Anyer has quickly made a name for himself in the tech community. Anyer's articles aim to make complex subjects accessible and engaging for a broad audience. In addition to his writing, Anyer enjoys participating in industry events and discussions, eager to learn and share knowledge in the dynamic world of technology.

The kitchenette is minimalist but it manages to include all the essentials. Two primary colors dominate: the yellow found in the kitchen tiles with their zigzag pattern and the blue of the cabinets. And a lemon yellow spineAnd then, like lemons dotting the branches of trees, there are many details in bright yellow. They are like elements of punctuation, never overwhelming the space but introducing moments of light. Prominent among them is the custom-designed “stripe” that runs like a line drawn around the bedroom. Shelves, clothes hooks, mirror frames, and other elements, also in yellow, branch off of it. Holding the space together like a common thread in yellow, it serves as both a functional and a narrative element.Above the bed, the skylight adds an almost poetic touch while also playing its functional role of introducing soft and natural light into the room. “I was interested in having everything speak the same language while having the home still feel light with its stylistic themes always remaining unobtrusive,” the architect explains. “Even the bathroom follows this logic. The ceramics using custom Pantone colors and glazed iron elements were all made by local artisans.”In the bedroom, yellow accents abound most notably in the custom-made iron stripe that runs along the walls. This stripe serves as a support for shelves, a mirror, and other elements and it attaches to the side of the bed. A courtyard with a Mediterranean flavorThe home continues outdoors into a 550-square-foot courtyard where the branches of lemon trees weave together to create a natural pergola. Here, a given homeowner can have lunch, read, or sunbathe on a deck chair while forgetting about the city, which is only steps away. The outdoor furniture was also custom designed. Vietri ceramics from Arcea, like those found inside, pepper the walls of the kitchen and bathroom. Each surface is a small story, a mosaic of color and functionality.

A new review by researchers from the Beijing University of Posts and Telecommunications, CETC 54 (54th Research Institute of Electronics Technology Group Corporation), Sun Yat-sen University, Shenzhen University, and the University of Electronic Science and Technology of China surveys the latest developments in 3D printing for microelectronic and microfluidic applications. The paper released on Springer Nature Link highlights how additive manufacturing methods have reached sub-micron precision, allowing the production of devices previously limited to traditional cleanroom fabrication. High-resolution techniques like two-photon polymerization (2PP), electrohydrodynamic jet printing, and computed axial lithography (CAL) are now being used to create structures with feature sizes down to 100 nanometers. These capabilities have broad implications for biomedical sensors, flexible electronics, and microfluidic systems used in diagnostics and environmental monitoring. Overview of 3D printing applications for microelectronic and microfluidic device fabrication. Image via Springer Nature. Classification of High-Precision Additive Processes Seven categories of additive manufacturing, as defined by the American Society for Testing and Materials (ASTM) serve as the foundation for modern 3D printing workflows: binder jetting, directed energy deposition (DED), material extrusion (MEX), material jetting, powder bed fusion (PBF), sheet lamination (SHL), and vat photopolymerization (VP). Among these, 2PP provides the finest resolution, enabling the fabrication of nanoscale features for optical communication components and MEMS support structures. Inkjet-based material jetting and direct ink writing (DIW) allow patterned deposition of conductive or biological materials, including stretchable gels and ionic polymers. Binder jetting, which operates by spraying adhesives onto powdered substrates, is particularly suited for large-volume structures using metals or ceramics with minimal thermal stress. Fused deposition modeling, a form of material extrusion, continues to be widely used for its low cost and compatibility with thermoplastics. Although limited in resolution, it remains practical for building mechanical supports or sacrificial molds in soft lithography. Various micro-scale 3D printing strategies. Image via Springer Nature. 3D Printing in Microelectronics, MEMS, and Sensing Additive manufacturing is now routinely used to fabricate microsensors, microelectromechanical system (MEMS) actuators, and flexible electronics. Compared to traditional lithographic processes, 3D printing reduces material waste and bypasses the need for masks or etching steps. In one example cited by the review, flexible multi-directional sensors were printed directly onto skin-like substrates using a customized FDM platform. Another case involved a cantilever support for a micro-accelerometer produced via 2PP and coated with conductive materials through evaporation. These examples show how additive techniques can fabricate both support and functional layers with high geometric complexity. MEMS actuators fabricated with additive methods often combine printed scaffolds with conventional micromachining. A 2PP-printed spiral structure was used to house liquid metal in an electrothermal actuator. Separately, FDM was used to print a MEMS switch, combining conductive PLA and polyvinyl alcohol as the sacrificial layer. However, achieving the mechanical precision needed for switching elements remains a barrier for fully integrated use. 3D printing material and preparation methods. Image via Springer Nature. Development of Functional Inks and Composite Materials Microelectronic applications depend on the availability of printable materials with specific electrical, mechanical, or chemical properties. MXene-based conductive inks, metal particle suspensions, and piezoelectric composites are being optimized for use in DIW, inkjet, and light-curing platforms. Researchers have fabricated planar asymmetric micro-supercapacitors using ink composed of nickel sulfide on nitrogen-doped MXene. These devices demonstrate increased voltage windows (up to 1.5 V) and volumetric capacitance, meeting the demands of compact power systems. Other work involves composite hydrogels with ionic conductivity and high tensile stretch, used in flexible biosensing applications. PEDOT:PSS, a common conductive polymer, has been formulated into a high-resolution ink using lyophilization and re-dispersion in photocurable matrices. These formulations are used to create electrode arrays for neural probes and flexible circuits. Multiphoton lithography has also been applied to print complex 3D structures from organic semiconductor resins. Bioelectronic applications are driving the need for biocompatible inks that can perform reliably in wet and dynamic environments. One group incorporated graphene nanoplatelets and carbon nanotubes into ink for multi-jet fusion, producing pressure sensors with high mechanical durability and signal sensitivity. 3D printed electronics achieved through the integration of active initiators into printing materials. Image via Springer Nature. Microfluidic Devices Fabricated via Direct and Indirect Methods Microfluidic systems have traditionally relied on soft lithography techniques using polydimethylsiloxane (PDMS). Additive manufacturing now offers alternatives through both direct printing of fluidic chips and indirect fabrication using 3D printed molds. Direct fabrication using SLA, DLP, or inkjet-based systems allows the rapid prototyping of chips with integrated reservoirs and channels. However, achieving sub-100 µm channels requires careful calibration. One group demonstrated channels as small as 18 µm × 20 µm using a customized DLP printer. Indirect fabrication relies on printing sacrificial or reusable molds, followed by casting and demolding. PLA, ABS, and resin-based molds are commonly used, depending on whether water-soluble or solvent-dissolvable materials are preferred. These techniques are compatible with PDMS and reduce reliance on photolithography equipment. Surface roughness and optical transparency remain concerns. FDM-printed molds often introduce layer artifacts, while uncured resin in SLA methods can leach toxins or inhibit PDMS curing. Some teams address these issues by polishing surfaces post-print or chemically treating molds to improve release characteristics. Integration and Future Directions for Microdevices 3D printed microfluidic devices in biology and chemistry.Image via Springer Nature. 3D printing is increasingly enabling the integration of structural, electrical, and sensing components into single build processes. Multi-material printers are beginning to produce substrates, conductive paths, and dielectric layers in tandem, although component embedding still requires manual intervention. Applications in wearable electronics, flexible sensors, and soft robotics continue to expand. Stretchable conductors printed onto elastomeric backings are being used to simulate mechanoreceptors and thermoreceptors for electronic skin systems. Piezoelectric materials such as BaTiO₃-PVDF composites are under investigation for printed actuators and energy harvesters. MEMS fabrication remains constrained by the mechanical limitations of printable materials. Silicon continues to dominate high-performance actuators due to its stiffness and precision. Additive methods are currently better suited for producing packaging, connectors, and sacrificial scaffolds within MEMS systems. Multi-photon and light-assisted processes are being explored for producing active devices like microcapacitors and accelerometers. Recent work demonstrated the use of 2PP to fabricate nitrogen-vacancy center–based quantum sensors, capable of detecting thermal and magnetic fluctuations in microscopic environments. As materials, resolution, and system integration improve, 3D printing is poised to shift from peripheral use to a central role in microsystem design and production.  3D printing micro-nano devices. Image via Springer Nature. Ready to discover who won the 20243D Printing Industry Awards? Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights. Take the 3DPI Reader Survey — shape the future of AM reporting in under 5 minutes. Featured image shows an Overview of 3D printing applications for microelectronic and microfluidic device fabrication. Image via Springer Nature. Anyer Tenorio Lara Anyer Tenorio Lara is an emerging tech journalist passionate about uncovering the latest advances in technology and innovation. With a sharp eye for detail and a talent for storytelling, Anyer has quickly made a name for himself in the tech community. Anyer's articles aim to make complex subjects accessible and engaging for a broad audience. In addition to his writing, Anyer enjoys participating in industry events and discussions, eager to learn and share knowledge in the dynamic world of technology.

Linea House / Wolveridge ArchitectsSave this picture!© Derek SwalwellHouses•Sandringham, Australia Architects: Wolveridge Architects Area Area of this architecture project Area:  800 m² Year Completion year of this architecture project Year:  2021 Photographs Photographs:Derek Swalwell Manufacturers Brands with products used in this architecture project Manufacturers:  Artedomus, CDK stone, Classic Ceramics, Concrete Resurfacing Systems, Eco Timber, New Age VeneersMore SpecsLess Specs Save this picture! Text description provided by the architects. Blade House sits deeply embedded in its landscaped garden, with every part of the interior visually connected to nature. The clients wanted a home that would evolve as their adult family, and guests come and go, and a floor plan defined by separate wings ensures that will happen. Central to the overall design is the idea of the house not turning its back on the street, while still preserving a sense of privacy and security for the clients and their family. Removing the traditional boundary fence extends the property outwards, generously greeting passers-by and softening the line between public and private space.  Save this picture!Save this picture!Save this picture!Save this picture!Save this picture!The facade is a series of full-height blades and cedar screens, creating privacy for the occupants while still letting in natural light. These external elements also engage with the Jack Merlo-designed landscaping to reinforce the importance of biophilic design in creating a home that facilitates both health and well-being. Internally, the primary ensuites' large picture window lets the outdoors in, the study overlooks a private courtyard, and 3.5m high sliding doors open the north-facing kitchen, living & dining areas up to the garden. These varied connections create a sense of discovery as one moves through the home. Even the home's transitional spaces enjoy a visual connection with the garden, while the kitchen, dining, and lounge also enjoy a physical one, very much positioning them as the central hub of the house. Save this picture!Save this picture!Save this picture!Save this picture!Save this picture!Complementing the scheme is a restrained material palette, which predominantly comprises Australian hardwood timber, travertine, and Venetian plaster internally, with travertine also used generously externally alongside the cedar. In the garden, it all has an effortless resort-like feel, with various recreation zones allowing for easy entertaining, in the outdoor dining/living area or at the pool/spa, with a casual seating area, firepit, and trampoline completing the well-considered design.  Save this picture! Project gallerySee allShow less About this office MaterialsWoodStoneMaterials and TagsPublished on May 23, 2025Cite: "Linea House / Wolveridge Architects" 23 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030384/linea-house-wolveridge-architects&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream