Parece que la inteligencia artificial ha vuelto a demostrar su eficacia en el sector de la impresión 3D, concretamente en la fase de diseño. Un equipo ha utilizado la IA para desarrollar un generador de modelos 3D capaz de sintetizar…

En partenariat avec Shining 3D Comme vous le savez, chez 3DVF, nous adorons la numérisation 3D, et cela fait des années que nous explorons différentes manières de scanner des objets, des personnes et des lieux. Cependant, pendant longtemps, certaines

When Leta Sobierajski enrolled in college, she already knew what she was meant to do, and she didn’t settle for anything less. “When I went to school for graphic design, I really didn’t have a backup plan – it was this, or nothing,” she says. “My work is a constantly evolving practice, and from the beginning, I have always convinced myself that if I put in the time and experimentation, I would grow and evolve.” After graduation, Sobierajski took on a range of projects, which included animation, print, and branding elements. She collaborated with corporate clients, but realized that she wouldn’t feel comfortable following anyone else’s rules in a 9-to-5 environment. Leta Sobierajski (standing) and Wade Jeffree (on ladder) \\\ Photo: Matt Dutile Sobierajski eventually decided to team up with fellow artist and kindred spirit Wade Jeffree. In 2016 they launched their Brooklyn-based studio, Wade and Leta. The duo, who share a taste for quirky aesthetics, produces sculpture, installations, or anything else they can dream up. Never static in thinking or method, they are constantly searching for another medium to try that will complement their shared vision of the moment. The pair is currently interested in permanency, and they want to utilize more metal, a strong material that will stand the test of time. Small architectural pieces are also on tap, and on a grander scale, they’d like to focus on a park or communal area that everyone can enjoy. With so many ideas swirling around, Sobierajski will record a concept in at least three different ways so that she’s sure to unearth it at a later date. “In some ways, I like to think I’m impeccably organized, as I have countless spreadsheets tracking our work, our lives, and our well-being,” she explains. “The reality is that I am great at over-complicating situations with my intensified list-making and note-taking. The only thing to do is to trust the process.” Today, Leta Sobierajski joins us for Friday Five! Photo: Melitta Baumeister and Michał Plata 1. Melitta Baumeister and Michał Plata The work of Melitta Baumeister and Michał Plata has been a constant inspiration to me for their innovative, artful, and architectural silhouettes. By a practice of draping and arduous pattern-making, the garments that they develop season after season feel like they could be designed for existence in another universe. I’m a person who likes to dress up for anything when I’m not in the studio, and every time I opt to wear one of their looks, I feel like I can take on the world. The best part about their pieces is that they’re extremely functional, so whether I need to hop on a bicycle or show up at an opening, I’m still able to make a statement – these garments even have the ability to strike up conversations on their own. Photo: Wade and Leta 2. Pandas! I was recently in Chengdu to launch a new project and we took half the day to visit the Chengdu Research Base of Giant Pandas and I am a new panda convert. Yes, they’re docile and cute, but their lifestyles are utterly chill and deeply enviable for us adults with responsibilities. Giant pandas primarily eat bamboo and can consume 20-40 kilograms per day. When they’re not doing that, they’re sleeping. When we visited, many could be seen reclining on their backs, feasting on some of the finest bamboo they could select within arm’s reach. While not necessarily playful in appearance, they do seem quite cheeky in their agendas and will do as little as they can to make the most of their meals. It felt like I was watching a mirrored image of myself on a Sunday afternoon while trying to make the most of my last hours of the weekend. Photo: Courtesy of Aoiro 3. Aoiro I’m not really a candle person (I forget to light it, and then I forget it’s lit, and then I panic when it’s been lit for too long) but I love the luxurious subtlety of a fragrant space. It’s an intangible feeling that really can only be experienced in the present. Some of the best people to create these fragrances, in my opinion, are Shizuko and Manuel, the masterminds behind Aoiro, a Japanese and Austrian duo who have developed a keen sense for embodying the fragrances of some of the most intriguing and captivating olfactory atmospheres – earthy forest floors with crackling pine needles, blue cypress tickling the moon in an indigo sky, and rainfall on a spirited Japanese island. Despite living in an urban city, Aoiro’s olfactory design is capable of transporting me to the deepest forests of misty Yakushima island. Photo: Wade and Leta 4. Takuro Kuwata A few months ago, I saw the work of Japanese ceramicist Takuro Kuwata at an exhibition at Salon94 and have been having trouble getting it out of my head. Kuwata’s work exemplifies someone who has worked with a medium so much to completely use the medium as a medium – if that makes sense. His ability to manipulate clay and glaze and use it to create gravity-defying effects within the kiln are exceptionally mysterious to me and feel like they could only be accomplished with years and years of experimentation with the material. I’m equally impressed seeing how he’s grown his work with scale, juxtaposing it with familiar iconography like the fuzzy peach, but sculpting it from materials like bronze. Photo: Wade and Leta 5. The Site of Reversible Destiny, a park built by artists Arakawa and Gins, in Yoro Japan The park is a testament to their career as writers, architects, and their idea of reversible destiny, which in its most extreme form, eliminates death. For all that are willing to listen, Arakawa and Gins’ Reversible Destiny mentality aims to make our lives a little more youthful by encouraging us to reevaluate our relationship with architecture and our surroundings. The intention of “reversible destiny” is not to prolong death, postpone it, grow older alongside it, but to entirely not acknowledge and surpass it. Wade (my partner) and I have spent the last ten years traveling to as many of their remaining sites as possible to further understand this notion of creating spaces to extend our lives and question how conventional living spaces can become detrimental to our longevity.   Works by Wade and Leta: Photo: Wade and Leta and Matt Alexander Now You See Me is a large-scale installation in the heart of Shoreditch, London, that explores the relationship between positive and negative space through bold color, geometry, and light. Simple, familiar shapes are embedded within monolithic forms, creating a layered visual experience that shifts throughout the day. As sunlight passes through the structures, shadows and silhouettes stretch and connect, forming dynamic compositions on the surrounding concrete. Photo: Wade and Leta and John Wylie Paint Your Own Path is series of five towering sculptures, ranging from 10 to 15 feet tall, invites viewers to explore balance, tension, and perspective through bold color and form. Inspired by the delicate, often precarious act of stacking objects, the sculptures appear as if they might topple – yet each one holds steady, challenging perceptions of stability. Created in partnership with the Corolla Cross, the installation transforms its environment into a pop-colored landscape. Photo: Millenia Walk and Outer Edit, Eurthe Studio Monument to Movement is a 14-meter-tall kinetic sculpture that celebrates the spirit of the holiday season through rhythm, motion, and color. Rising skyward in layered compositions, the work symbolizes collective joy, renewal, and the shared energy of celebrations that span cultures and traditions. Powered by motors and constructed from metal beams and cardboard forms, the sculpture continuously shifts, inviting viewers to reflect on the passage of time and the cycles that connect us all. Photo: Wade and Leta and Erika Hara, Piotr Maslanka, and Jeremy Renault Falling Into Place is a vibrant rooftop installation at Ginza Six that explores themes of alignment, adaptability, and perspective. Six colorful structures – each with a void like a missing puzzle piece – serve as spaces for reflection, inviting visitors to consider their place within a greater whole. Rather than focusing on absence, the design transforms emptiness into opportunity, encouraging people to embrace spontaneity and the unfolding nature of life. Playful yet contemplative, the work emphasizes that only through connection and participation can the full picture come into view. Photo: Wade and Leta and Erika Hara, Piotr Maslanka, and Jeremy Renault Photo: Wade and Leta Stop, Listen, Look is a 7-meter-tall interactive artwork atop IFS Chengdu that captures the vibrant rhythm of the city through movement, sound, and form. Blending motorized and wind-powered elements with seesaws and sound modulation, it invites people of all ages to engage, play, and reflect. Inspired by Chengdu’s balance of tradition and modernity, the piece incorporates circular motifs from local symbolism alongside bold, geometric forms to create a dialogue between past and present. With light, motion, and community at its core, the work invites visitors to connect with the city – and each other – through shared interaction. The Cloud is a permanent sculptural kiosk in Burlington, Vermont’s historic City Hall Park, created in collaboration with Brooklyn-based Studio RENZ+OEI. Designed to reinterpret the ephemeral nature of clouds through architecture, it blends art, air, and imagination into a light, fluid structure that defies traditional rigidity. Originally born from a creative exchange between longtime friends and collaborators, the design challenges expectations of permanence by embodying movement and openness. Now home to a local food vendor, The Cloud brings a playful, uplifting presence to the park, inviting reflection and interaction rain or shine..

There are a few things an interior designer wouldn’t dare put in a bathroom. Carpet? Definitely not. Only overhead lighting? Design blasphemy. But there is one feature that finds its way into the bathroom all the time—rarely questioned, though maybe it should be—and that’s artwork. We get it: who doesn’t want to add a little personality to a space that otherwise is quite functional? Still, design fans are often split on the addition, especially when it comes to certain types of art. Related StoriesAn oil painting resting above a clawfoot bathtub or a framed graphic print next to a mirror infuses your bathroom with warmth and storytelling, a very necessary addition to a space that's often centered around pure function. “In a bathroom, where surfaces tend to be hard and the layout driven by function, a thoughtful piece can shift the entire ambience,” shares interior designer Linette Dai. “It brings dimension to the everyday.”According to designer Ali Milch, art can transform the entire experience from “routine to restorative.” But, is it the bathroom the best (read: most hygienic) place to put a favorite photo or heirloom painting? With moisture in the mix and potential for it being in the “splash zone” (sorry, but it's true), you need to be considerate of the art you bring in and where it’s placed. To help guide your curation, we chatted with interior designers and experts on how to integrate art into your space in a way that is both beautiful and bathroom-appropriate.Be Wary of HumidityMaybe this one is obvious, but when placing art in the bathroom, be sure to look for materials that aren’t prone to water damage. “We recommend framing art with a sealed backing and UV-protective acrylic instead of glass, which is both lighter and more resistant to moisture—an important consideration in steamy bathrooms,” Cathy Glazer, founder of Artfully Walls, shares. “Plus, acrylic is much safer than glass if dropped, especially on hard tile floors, as it won’t shatter.”Dai agrees that acrylic is the way to go when putting framed works into the bathroom, “I usually recommend acrylic glazing to avoid moisture damage. For humid environments, prints or photography mounted directly on aluminum or face-mounted under acrylic are durable and beautiful.”Make It Your Creative CanvasCourtsey of Ali MilchUnless you have a sprawling space, chances are your bathroom’s square footage is limited. Rather than viewing this as a constraint, think about it as an opportunity to get creative. “Because they’re smaller and more self-contained, [bathrooms] invite experimentation—think unexpected pieces, playful themes, or striking colors,” shares Glazer. “Art helps turn the bathroom into a moment of surprise and style.”“It doesn’t have to feel stuffy or overly formal,” Milch adds. “In a recent Tribeca project, we installed a kitschy iMessage bubble with the text ‘I love you too’ on the wall facing the entry. It’s a lighthearted, personal touch.”While it’s fun to get whimsical with your bathroom art (pro tip: secondhand stores can be a great place for unique finds), Dai also suggests still approaching it with a curated eye and saving anything that is precious or too high-maintenance for the powder room. “In full baths, I tend to be more selective based on how the space is ventilated and used day-to-day,” she shares. “Powder rooms, on the other hand, offer more freedom. That’s where I love incorporating oil paintings. They bring soul and a sense of history, and can make even the smallest space feel elevated.”Keep Materials And Size In MindAnother material worth considering adding? Ceramics. “Ceramic pieces also work beautifully, especially when there’s open shelving or decorative niches to display them,” shares Milch. Be wary of larger-scale sculptures, as they could potentially be slightly disruptive to the space. “Any type of artwork can work in a bathroom depending on the spatial allowances, but the typical bathroom is suited to wall hangings versus sculptures,” says Sarah Latham of L Interiors.And don’t forget to be mindful of scale. “As for size, I always opt for larger pieces in smaller spaces, it may feel counter-intuitive, but it makes a tight space feel larger,” Anastasia Casey of The Interior Collective shares. “I look for works that complement the finishes and palette without overwhelming it.”Let It Set The ToneCourtesy of Annie SloanArtwork in the bathroom doesn’t just decorate it; it can define it. “In bathrooms, there’s often less visual competition—no bold furniture or patterned textiles—so the art naturally becomes more of a focal point,” Dai adds. “That’s why the mood it sets matters so much. I think more intentionally about subject matter—what someone will see up close, often in moments of solitude,” shares Dai. Whether it’s a serene landscape photo or storied painting, don’t underestimate what a piece of art can do for the most utilitarian room in the house. With the right materials and placement, it can hold its own—moisture and all—while adding a design moment and feels considered and unexpected.Follow House Beautiful on Instagram and TikTok.

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The 2025 Serpentine Pavilion has opened to the public today, on 6 June, in London's Kensington Gardens. Named A Capsule in Time, the pavilion, designed by Bangladeshi architect and educator Marina Tabassum and her firm, Marina Tabassum Architects (MTA), the design discusses the permanent and ephemeral aspects of the commission. The Serpentine Pavilion will be on view in London's Kensington Gardens from June 6th to October 26th, 2025.The pavilion, which runs along the park's north-south axis, has a center court that lines up with Serpentine South's bell tower and an elongated capsule-like shape. The building, which consists of four wooden sculptures with a translucent façade that diffuses and dapples light as it enters the room, was inspired by summer park visitors and arched garden canopies that filter warm daylight through verdant greenery. A kinetic component that allows one of the capsule forms to move, link, and change the Pavilion into a new area is essential to Tabassum's design.Drawing inspiration from the history and architectural heritage of South Asian Shamiyana tents or awnings, Tabassum's design emphasizes the sensory and spiritual possibilities of architecture through scale and the interaction of light and shadow. Made of cloth and held up by bamboo poles, these structures serve a similar dynamic purpose and are frequently set up for outdoor events and festivities. The potential to bring people together through dialogue, networking, live events, and public gatherings is welcomed by Tabassum's Pavilion's openness.In keeping with Dame Zaha Hadid's philosophy of pushing the limits of architecture, Tabassum's Pavilion will commemorate the 25th anniversary of this groundbreaking project.Like many of Tabassum's earlier projects, the Pavilion is built around a semi-mature Ginkgo tree, a climate-resilient tree species that dates back to the early Jurassic Period. It takes into account the threshold between inside and outside, the tactility of material, lightness and darkness, height and volume. The leaves of the Gingko tree will gradually change from green to a brilliant gold-yellow color during the summer and into the fall. The choice of a gingko was motivated by the species' demonstrated climate change resistance and its contribution to Kensington Gardens' varied treescape. After the Pavilion closes in October, the species—which is immune to many modern pests and diseases—will be transplanted in the park.Tabassum elaborates on her idea for the Pavilion to serve as a multipurpose area where guests can congregate and bond via dialogue and information exchange in an age of growing censorship. The books that Tabassum and her colleagues at MTA have put together honor the diversity of Bangladesh, Bengali literature, poetry, ecology, and culture. It is housed on shelves that are integrated into the building and references the Pavilion's afterlife, which is a library that is accessible to everyone and is no longer located on Serpentine's lawn.“The Serpentine Pavilion celebrates the London summer—a time to be outdoors, connecting with friends and family in Kensington Gardens. We want to celebrate the tradition of park-going. "On a sunny day, the play of filtered daylight through the translucent facade draws on the memory of being under a Shamiyana at a Bengali wedding. Built from bamboo and decorated cloth, Shamiyanas convene hundreds of guests on any occasion," said Marina Tabassum, Architect, Marina Tabassum Architects (MTA). The Serpentine Pavilion offers a unique platform under the summer sun to unite as people rich in diversity. How can we transcend our differences and connect as humans?.""The Serpentine Pavilion offers a place where people of diverse backgrounds, ages and cultures can come together under one roof and call for action, facilitating dialogues that expand our boundaries of tolerance and respect," Tabassum added."We are thrilled to be working with Marina and her team on this year's Pavilion. The project, with its tight timescales and unique engineering challenges, is always particularly rewarding for our team of engineers and project managers," said Jon Leach, Director of AECOM. "Celebrating our thirteenth year on the Pavilion, it is fantastic to work with the Serpentine and the entire team once again to bring this year's design to life," Leach added.In 2024, architect, researcher and educator Marina Tabassum was named as the world's most influential architects in the 2024 TIME100 Next List by TIME Magazine. In 20216, Tabassum was awarded the Aga Khan Award for Architecture with Bait Ur Rouf Mosque, Dhaka, Bangladesh.Founded in 2005 after Tabassum's ten-year partnership with URBANA, Marina Tabassum Architects has created environmentally, politically, and socially concerned architectural designs. MTA carries out research on environmental deterioration in Bangladesh, a country particularly susceptible to the effects of climate change, in addition to buildings situated in Dhaka, the surrounding areas, and other regions of the country.All images © Iwan Baan, courtesy of Serpentine.> via Serpentine Galleries 

When YARA + DAVINA became mothers within a month of each other, they didn't step back from their practice – they stepped forward together. The socially engaged artist duo began collaborating as a job share, determined to remain visible in an industry that too often sidelines mothers. Their work – which spans everything from poetry to bronze public sculptures – is rooted in play, accessibility and political intent, often exploring themes of care, identity, and who art is really for. In this candid Q&A, they reflect on making time (and peace) with imperfection, the pressures of doing it all, and why motherhood has only deepened their creative drive. How has motherhood influenced your creative process or career choices? Brian Sewel, the art critic, said in 2008 that "Female artists fade away in their late 20s or 30s. Maybe it's something to do with bearing children". Yes, motherhood has had a profound influence on our career choices. We became a duo after becoming mothers, and we had a deep wellspring of desire to nurture our babies and also nurture our art practice, not letting it fade away. Being a mum gave us a wider range of being and a deeper depth of what it means to be human. It filled us with more ideas, not less… we had more determination and more creative ideas than ever. In 2016, our hack on motherhood was to start collaborating as a duo as a 'job share'. We had been friends and admirers of each other's work for 11 years prior, and both of us became parents within a month of each other. We realised we both wanted to be present mothers but also visible artists. We literally started working together so we could work part-time but have a full-time practice between us. We are driven to make powerful, playful and fun contemporary art, alongside being mothers, to challenge ideas like Tracy Emin, who said, "There are good artists that have children. They are called men." We are good artists, and we are not only women; we are mothers! Photo credit: Alice Horsley What's been the biggest challenge in balancing creativity and caregiving? Time and some guilt! Quite literally, there is little time to parent and make art. But we were both determined to be part-time mums, part-time artists and full-time friends. This duo works because we both understand the limitations of our free time: we are always there to step up when the other needs a break, has sick children, or craves space for ourselves. It was almost like an intuitive dance, where we had become in tune with each other's outside demands and rhythm. As artists, we often have to travel extensively for work, which can put considerable pressure on our partners and be unsettling for our children. So guilt slips in every now and then. Luckily, we both support each other in those times and remind each other that to parent and care for others effectively, it is essential that we make time for our art practice and thus ourselves. With time, we hope our children will respect and understand the role art played in our lives and why we had to find a balance that worked for us as creative beings. We work together every weekday, and we always find ourselves talking and supporting each other with our parenting alongside making work. We both deeply feel that we were put on this planet to create great art, to push the boundaries of what art is and can be, and with whom it can be made and for whom it can be made. And we can do this while raising children. Photo credit: Alice Horsley Have you felt pressure to 'do it all,' and how do you navigate that? Yes, we feel it all the time, from ourselves as much as from society! One of our mottos that we tell ourselves is 'Good Enough'. We have talked about getting these as matching tattoos ( we love to wear matching outfits). Essentially, it is impossible to do everything really well. We need to prioritise what things need to be brilliant and what things can just be good enough. These priorities shift daily, creating an interplay between our personal and professional lives. Being a duo allows us to pick up each other's slack when needed. Photo credit: Nick Turpin What changes would you like to see in the creative industry to better support mothers? In 2016, we participated in a British Council residency at Portland State University titled 'Motherhood: A Social Practice'. We explored motherhood in the creative world, and our passion was to create more family-focused residencies and secure funding to support childcare. We wanted programmers to consider simple things, such as family-accessible residences, and work around term times. Things have dramatically changed since then, but we need to see more changes. People like Lizzie Humber and her daylight collective are doing amazing things, thinking about programming parent-accessible daytime culture. When we live in a time where Evening Standard art critic Brian Sewell says things like, "Only men are capable of aesthetic greatness.", women, in general, have a tough time, never mind mums! We are passionate not only about supporting artist mothers but also about working with and for mothers. Our public artwork, WOMAN - WHOLE, was created alongside, with, and for mothers on the Regents Park Estate, commissioned by ODAC, Camden. We subverted the idea of manholes, creating a series of bronze-cast covers embedded in the pavements of Camden. These permanent public artworks playfully remind us that, as women, we are whole. Photo credit: Hugo Glendinning

A new central staircase leads to a contemporary basement free of Hausmannian flourishes. Batiik Studio signals the shift with a mix of contemporary materials: a white resin banister curls onto a silvery travertine platform sourced from Artefacts, while bespoke cherry wood shelving rises along the wall. A Rosanna Lefeuvre painting completes the picture. Without erasing the flamboyant bones of the home, Benichou and Jallet skirted around them, crafting wall panels for select sections—like a single stretch in the living room, or a wall behind the primary bedroom’s headboard—that protect and sometimes curve around moldings, scaling back the grandeur. Sculptural by nature and rendered in white, each new plane—some smooth and matte, some textured like the surface of a painting—runs along decorative stretches of molding like a veil, creating clean and contemporary surfaces for hanging art.With Haussmannian details to spare throughout the apartment, the new walls aren’t permanent (future owners can remove them, revealing the original walls again), but eclipse key sections where moldings are almost oppressive. The edited version, a more artful form of White-Out, adds a new contemporary layer that gives the home, and the owners’ art, room to breathe.Clad in white materials that match the walls and with no overhead storage, the cooking area virtually disappears. “The client didn’t want the kitchen to look like a kitchen,” adds Benichou, nodding to the sculptural island. A minimal, travertine Garnier & Linker Lipari task light hangs over granite countertops sourced from Paris’s Artefacts. Vintage Scandinavian stools add texture along with a mixed-media artwork by Eva Jospin, and a Batiik Studio–designed wooden door leads to a new work kitchen (to hide any mess). Batiik Studio designed a one-of-a-kind dining table that breaks into two pieces, depending on how many guests are over (the fixed smaller piece creates space along the wall for things like sculptures and flowers when not in use). With boulder-like legs and a curving shape, it adds complexity against the room’s rectangular symmetry. Frédéric Pellenq chairs from Kolkhoze and a vintage Louis Poulsen Artichoke light enhance the contrast. Beyond the walls, new horizontal surfaces make space for sculptural pieces. In the living room, a faceted fireplace in gray-toned travertine adds sharp geometry to the ornate space. Jutting out on either side and along the mantle are plinth-like surfaces for objects tall and small. In the kitchen’s dining area, Benichou and Jallet flexed their talent for bespoke furniture, creating a dramatic ceramic-topped wooden table that swoops into the center of the room—a stage for rotating sculptures and dinner parties alike.The apartment’s modern basement was, literally, a whole different story. There were no ornate moldings with which to compete, no historic charms to challenge. And so it was a blank slate for Benichou and Jallet to do what they do best: create.With only a small window in the crafts room, using white across all surfaces—even bespoke storage and a resin floor—made the space as bright as possible. A vintage wooden table paired with vintage Pierre Chapo stools atop a beige Toulemonde Bochart Lion rug give warmth to the pristine palette.