Researchers at the University of Texas at Austin have developed a novel resin system for multicolor digital light processing (DLP) 3D printing that enables rapid fabrication of freestanding and non-assembly structures using dissolvable supports. The work, led by Zachariah A. Page and published in ACS Central Science, combines UV- and visible-light-responsive chemistries to produce materials with distinct solubility profiles, significantly streamlining post-processing. Current DLP workflows are often limited by the need for manually removed support structures, especially when fabricating components with overhangs or internal joints. These limitations constrain automation and increase production time and cost. To overcome this, the team designed wavelength-selective photopolymer resins that form either an insoluble thermoset or a readily dissolvable thermoplastic, depending on the light color used during printing. In practical terms, this allows supports to be printed in one material and rapidly dissolved using ethyl acetate, an environmentally friendly solvent, without affecting the primary structure. The supports dissolve in under 10 minutes at room temperature, eliminating the need for time-consuming sanding or cutting. Illustration comparing traditional DLP 3D printing with manual support removal (A) and the new multicolor DLP process with dissolvable supports (B). Image via University of Texas at Austin. The research was supported by the U.S. Army Research Office, the National Science Foundation, and the Robert A. Welch Foundation. The authors also acknowledge collaboration with MonoPrinter and Lawrence Livermore National Laboratory. High-resolution multimaterial printing The research showcases how multicolor DLP can serve as a precise multimaterial platform, achieving sub-100 μm feature resolution with layer heights as low as 50 μm. By tuning the photoinitiator and photoacid systems to respond selectively to ultraviolet (365 nm), violet (405 nm), or blue (460 nm) light, the team spatially controlled polymer network formation in a single vat. This enabled the production of complex, freestanding structures such as chainmail, hooks with unsupported overhangs, and fully enclosed joints, which traditionally require extensive post-processing or multi-step assembly. The supports, printed in a visible-light-cured thermoplastic, demonstrated sufficient mechanical integrity during the build, with tensile moduli around 160–200 MPa. Yet, upon immersion in ethyl acetate, they dissolved within 10 minutes, leaving the UV-cured thermoset structure intact. Surface profilometry confirmed that including a single interface layer of the dissolvable material between the support and the final object significantly improved surface finish, lowering roughness to under 5 μm without polishing. Computed tomography scans validated geometric fidelity, with dimensional deviations from CAD files as low as 126 μm, reinforcing the method’s capability for high-precision, solvent-cleared multimaterial printing. Comparison of dissolvable and traditional supports in DLP 3D printing. (A) Disk printed with soluble supports using violet light, with rapid dissolution in ethyl acetate. (B) Gravimetric analysis showing selective mass loss. (C) Mechanical properties of support and structural materials. (D) Manual support removal steps. (E) Surface roughness comparison across methods. (F) High-resolution test print demonstrating feature fidelity. Image via University of Texas at Austin. Towards scalable automation This work marks a significant step toward automated vat photopolymerization workflows. By removing manual support removal and achieving clean surface finishes with minimal roughness, the method could benefit applications in medical devices, robotics, and consumer products. The authors suggest that future work may involve refining resin formulations to enhance performance and print speed, possibly incorporating new reactive diluents and opaquing agents for improved resolution. Examples of printed freestanding and non-assembly structures, including a retainer, hook with overhangs, interlocked chains, and revolute joints, before and after dissolvable support removal. Image via University of Texas at Austin. Dissolvable materials as post-processing solutions Dissolvable supports have been a focal point in additive manufacturing, particularly for enhancing the efficiency of post-processing. In Fused Deposition Modeling (FDM), materials like Stratasys’ SR-30 have been effectively removed using specialized cleaning agents such as Oryx Additive‘s SRC1, which dissolves supports at twice the speed of traditional solutions. For resin-based printing, systems like Xioneer‘s Vortex EZ employ heat and fluid agitation to streamline the removal of soluble supports . In metal additive manufacturing, innovations have led to the development of chemical processes that selectively dissolve support structures without compromising the integrity of the main part . These advancements underscore the industry’s commitment to reducing manual intervention and improving the overall efficiency of 3D printing workflows. Read the full article in ACS Publications. Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news. You can also follow us onLinkedIn and subscribe to the 3D Printing Industry YouTube channel to access more exclusive content. At 3DPI, our mission is to deliver high-quality journalism, technical insight, and industry intelligence to professionals across the AM ecosystem.Help us shape the future of 3D printing industry news with our2025 reader survey. Featured image shows: Hook geometry printed using multicolor DLP with dissolvable supports. Image via University of Texas at Austin.

The In-Side Collection of outdoor furniture by Thomas Heatherwick resembles an impossible shell, formed to protect a creature not from this world. The shapes warp naturally around themselves, for a surprising finish at the end: a burst of bright multicolored spots made of recycled plastic, growing in great numbers across the surface. A beautiful example of rotational molding, this collection produced for Magis brings innovative technology and imaginative design together in harmony. Following several months of testing the rotational moulding technique using a blend of two types of recycled polyethylene, Magis observed that while the exterior of the material seemed fairly standard, slicing it open exposed an unexpected, unevenly speckled interior. “The idea behind this new collection is to use waste materials and reveal their inner beauty in an unexpected way,” says Heatherwick. The thought and experimentation that went into the In-Side Collection is exemplary of Heatherwick’s style – rigorous research goes into materiality, production methods, and detailing. This collection features rippled molding on the outside, a clever use of the capabilities of rotational molding. Coupled with the colored flecks on the interior, the material is a blend of post-consumer and post-industrial recycled polyethylene, part of extensive research into the impact recycling can have on our collective waste streams. Discarded bottles can now become luxury furniture through imagination and work. Flecks gain traction on the inside of the chair, adding pops of confetti-like color in contrast to the soft, muted exterior color palette of Sage, White, and Terracotta. The collection features an armchair, sofa, and low table, all rated for outdoor use. Organic form reigns supreme, not staking any claim on the natural environment but instead blending in, adding interest and elegance to any landscape. Thomas Heatherwick is a British designer focused on the human experience. He explores architecture, urban planning, product design and interiors projects, centering the axis of his studio around originality, inventiveness, and identity. Since 1994 when his studio was established, he has challenged convention, sustainability, and a strong sense of materiality at the forefront of his work. As our world becomes more globalized, his ideals of democratic design and cleverness of craft remain evocative of another time, while his aesthetic decisions stay cutting-edge. Since 1976, Magis has been pushing the boundaries of design, striving to incorporate the values of respect, honesty, and loyalty to their work. Based in the Veneto, a region of Italy known for it’s high-quality craftsmanship and level of finish within design, they strive to employ Italian craftspeople from as close to the locale as possible. This ensures that they can maintain close relationships with suppliers, and produce as much local commerce as they can. In their Code of Ethics, rare for a furniture brand, they detail their commitment to their employees, customers, and suppliers in that order, establishing where their commitments lie overall – to their people, ensuring Magis products will be made well by respected artisans for decades to come. To learn more about the In-Side Collection by Thomas Heatherwick for Magis, head to magisdesign.com. Photography courtesy of Magis.

As a fan of Final Fantasy, part of the fun in checking the lists of Magic: The Gathering’s Final Fantasy cards is seeing how my favorite games and characters have been adapted to the language and mechanics of the first TCG I played in my life. I had many questions, especially about the Final Fantasy 14 cards. Is Tataru going to help me generate infinite mana? How many Loporrits tokens can I put on the field? Something I definitely did not expect to see was one of the saddest moments in Final Fantasy 14 being represented in this collection. The event in question is centered around Papalymo Totolymo. He was a noble Lalafell, one of the founding members of the Scions of Seventh Dawn, and a wise thaumaturge. He made a name for himself during A Realm Reborn as the more mature member of the group and a diligent pupil of Louisoix Leveilleur.  It is in one of the last important events of Heavensward, the first expansion for Final Fantasy 14: A Realm Reborn, that the name Papalymo was carved into our memories. [Ed. note: This article contains spoilers for FF14: Heavensward.] In order to stop a man called Griffin from attacking Baelsar’s Wall, Papalymo, alongside Yda, Alphinaud and the Warrior of Light (us), do their job and run toward the imminent danger to save the day. What they find is pure chaos, a “massacre” in Yda’s words. The conflict reaches its climax when Griffin dies to summon a primal – Final Fantasy 14‘s equivalent to the series’ famous summons, which are god-like creatures powerful enough to destroy the world.  By this point, I wasn’t considering anything too serious would happen. I was the Warrior of Light — the savior of Eorzea. But not this time. Even I could not stop the primal. So, in order to prevent this creature from bringing destruction to the world, Papalymo sacrificed himself to cast the same spell his master, Louisoix, used to trap Bahamut at the end of Final Fantasy 14 1.0.  I don’t even know where to start in explaining how emotional this moment felt for me. It is the first time the Warrior of Light isn’t capable of solving things. We see in Papalymo’s last words – “Now let us see how good a student I truly was” – his desire to fulfill his role and honor his friends and master. We even have a dramatic version of A Realm Reborn‘s theme song “Answers” playing in the background, but only the lyrics, almost like a prayer. Now, when bringing the Final Fantasy 14 universe to the Magic: The Gathering cards, the team behind the project didn’t forget my favorite Scion. Papalymo Totolymo is coming to MTG as a multicolor legendary Dwarf Wizard. The art on the card directly depicts the moment he raises Tupsimati, his master’s staff, to conjure the spell that takes his life. This is not, however, the only reference to his noble sacrifice. Papalymo’s card has an ability that reads: “Pay 4, Tap, Sacrifice Papalymo Totolymo: Each opponent who lost life this turn sacrifices a creature with the greatest power among creatures they control.” In other words, we can relive that tragic event on the top of Baelsar’s Wall whenever we play this card. Although he will enter the field to die, Papalymo is going to live in the MTG cards.

The US is less than 250 years old, but some of its most important archaeological sites are older than the Viking seafarers, the Roman Empire, and the pyramids.Many help tell the story of how the first humans came to North America. It's still a mystery exactly how and when people arrived, though it's widely believed they crossed the Bering Strait at least 15,000 years ago."As we get further back in time, as we get populations that are smaller and smaller, finding these places and interpreting them becomes increasingly difficult," archaeologist Kenneth Feder told Business Insider. He's the author of "Ancient America: Fifty Archaeological Sites to See for Yourself."Some sites, like White Sands and Cooper's Ferry, have skeptics about the accuracy of their age. Still, they contribute to our understanding of some of the earliest Americans.Others are more recent and highlight the different cultures that were spreading around the country, with complex buildings and illuminating pictographs.Many of these places are open to the public, so you can see the US' ancient history for yourself. White Sands National Park, New Mexico Footprints at White Sands. National Park Service Prehistoric camels, mammoths, and giant sloths once roamed what's now New Mexico, when it was greener and damper.As the climate warmed around 11,000 years ago, the water of Lake Otero receded, revealing footprints of humans who lived among these extinct animals. Some even seemed to be following a sloth, offering a rare glimpse into ancient hunters' behavior.Recent research puts some of these fossilized footprints at between 21,000 and 23,000 years old. If the dates are accurate, the prints would predate other archaeological sites in the US, raising intriguing questions about who these people were and how they arrived in the Southwestern state."Where are they coming from?" Feder said. "They're not parachute dropping in New Mexico. They must have come from somewhere else, which means there are even older sites." Archaeologists simply haven't found them yet.While visitors can soak in the sight of the eponymous white sands, the footprints are currently off-limits. Meadowcroft Rockshelter, Pennsylvania The archeological dig at the Meadowcroft National Historic Site in 2013. AP Photo/Keith Srakocic In the 1970s, archaeologist James M. Adovasio sparked a controversy when he and his colleagues suggested stone tools and other artifacts found in southwestern Pennsylvania belonged to humans who had lived in the area 16,000 years ago.For decades, scientists had been finding evidence of human habitation that all seemed to be around 12,000 to 13,000 years old, belonging to the Clovis culture. They were long believed to have been the first to cross the Bering land bridge. Humans who arrived in North America before this group are often referred to as pre-Clovis.At the time, skeptics said that the radiocarbon dating evidence was flawed, AP News reported in 2016. In the years since, more sites that appear older than 13,000 years have been found across the US.Feder said Adovasio meticulously excavated the site, but there's still no clear consensus about the age of the oldest artifacts. Still, he said, "that site is absolutely a major, important, significant site." It helped archaeologists realize humans started arriving on the continent before the Clovis people.The dig itself is on display at the Heinz History Center, allowing visitors to see an excavation in person. Cooper's Ferry, Idaho Excavators at Cooper's Ferry in 2013. Loren Davis/Oregon State University One site that's added intriguing evidence to the pre-Clovis theory is located in western Idaho. Humans living there left stone tools and charred bones in a hearth between 14,000 and 16,000 years ago, according to radiocarbon dating. Other researchers put the dates closer to 11,500 years ago.These stemmed tools are different from the Clovis fluted projectiles, researchers wrote in a 2019 Science Advances paper.Some scientists think humans may have been traveling along the West Coast at this time, when huge ice sheets covered Alaska and Canada. "People using boats, using canoes could hop along that coast and end up in North America long before those glacial ice bodies decoupled," Feder said.Cooper's Ferry is located on traditional Nez Perce land, which the Bureau of Land Management holds in public ownership. Page-Ladson, Florida Divers search in the sediment at the Page-Ladson site. Texas A&M University via Getty Images In the early 1980s, former Navy SEAL Buddy Page alerted paleontologists and archaeologists to a sinkhole nicknamed "Booger Hole" in the Aucilla River. There, the researchers found mammoth and mastodon bones and stone tools.They also discovered a mastodon tusk with what appeared to be cut marks believed to be made by a tool. Other scientists have returned to the site more recently, bringing up more bones and tools. They used radiocarbon dating, which established the site as pre-Clovis."The stone tools and faunal remains at the site show that at 14,550 years ago, people knew how to find game, fresh water and material for making tools," Michael Waters, one of the researchers, said in a statement in 2016. "These people were well-adapted to this environment."Since the site is both underwater and on private property, it's not open to visitors. Paisley Caves, Oregon One of the Paisley Caves near Paisley, Oregon. AP Photo/Jeff Barnard Scientists study coprolites, or fossilized poop, to learn about the diets of long-dead animals. Mineralized waste can also reveal much more. In 2020, archaeologist Dennis Jenkins published a paper on coprolites from an Oregon cave that were over 14,000 years old.Radiocarbon dating gave the trace fossils' age, and genetic tests suggested they belonged to humans. Further analysis of coprolites added additional evidence that a group had been on the West Coast 1,000 years before the Clovis people arrived.Located in southcentral Oregon, the caves appear to be a piece of the puzzle indicating how humans spread throughout the continent thousands of years ago.The federal Bureau of Land Management owns the land where the caves are found, and they are listed on the National Register of Historic Places. Swan Point, Alaska Excavators working at the Swan Point site in June 2016. Charles Holmes/University of Alaska, Fairbanks Whenever people arrived in the Americas, they crossed from Siberia into Beringia, an area of land and sea between Russia and Canada and Alaska. Now it's covered in water, but there was once a land bridge connecting them.The site in Alaska with the oldest evidence of human habitation is Swan Point, in the state's eastern-central region. In addition to tools and hearths dating back 14,000 years, mammoth bones have been found there.Researchers think this area was a kind of seasonal hunting camp. As mammoths returned during certain times of the years, humans would track them and kill them, providing plentiful food for the hunter-gatherers.While Alaska may have a wealth of archaeological evidence of early Americans, it's also a difficult place to excavate. "Your digging season is very narrow, and it's expensive," Feder said. Some require a helicopter to reach, for example. Blackwater Draw, New Mexico A palaeontologist excavating a mammoth in Portales, New Mexico, circa 1960. Dick Kent/FPG/Archive Photos/Getty Images In 1929, 19-year-old James Ridgley Whiteman found mammoth bones along with fluted projectile points near Clovis, New Mexico. The Clovis people who made these tools were named for this site.Researchers studying the site began to realize the artifacts found at the site belonged to different cultures. Clovis points are typically larger than Folsom flutes, which were first found at another archaeological site in New Mexico.For decades after Whiteman's discovery, experts thought the Clovis people were the first to cross the Bering land bridge from Asia around 13,000 years ago. Estimates for humans' arrival is now thought to be at least 15,000 years ago.Eastern New Mexico University's Blackwater Draw Museum grants access to the archaeological site between April and October. Upper Sun River, Alaska Excavations at the Upward Sun River, Alaska. Ben Potter/University of Alaska, Fairbanks One reason the dates of human occupation in North America is so contentious is that very few ancient remains have been found. Among the oldest is a child from Upward Sun River, or Xaasaa Na', in Central Alaska.Archaeologists found the bones of the child in 2013. Local indigenous groups refer to her as Xach'itee'aanenh t'eede gay, or Sunrise Girl-Child. Genetic testing revealed the 11,300-year-old infant belonged to a previously unknown Native American population, the Ancient Beringians.Based on the child's genetic information, researchers learned that she was related to modern Native Americans but not directly. Their common ancestors started becoming genetically isolated 25,000 years ago before dividing into two groups after a few thousand years: the Ancient Berignians and the ancestors of modern Native Americans.According to this research, it's possible humans reached Alaska roughly 20,000 years ago. Poverty Point National Monument, Louisiana Poverty Point in Louisiana. National Park Service Stretching over 80 feet long and 5 feet tall, the rows of curved mounds of Poverty Point are a marvel when viewed from above. Over 3,000 years ago, hunter-gatherers constructed them out of tons of soil. Scientists aren't sure exactly why people built them, whether they were ceremonial or a display of status.The artifacts various groups left behind indicate the site was used off and on for hundreds of years and was a meeting point for trading. People brought tools and rocks from as far as 800 miles away. Remains of deer, fish, frogs, alligators, nuts, grapes, and other food have given archaeologists insights into their diets and daily lives.You can see the World Heritage Site for yourself year-round. Horseshoe Canyon, Utah The Great Gallery in Horseshoe Canyon. Neal Herbert/National Park Service Though remote, the multicolored walls of Horseshoe Canyon have long attracted visitors. Some of its artifacts date back to between 9,000 and 7,000 BCE, but its pictographs are more recent. Some tests date certain sections to around 2,000 to 900 years ago.The four galleries contain life-sized images of anthropomorphic figures and animals in what's known as the Barrier Canyon style. Much of this art is found in Utah, produced by the Desert Archaic culture.The pictographs may have spiritual and practical significance but also help capture a time when groups were meeting and mixing, according to the Natural History Museum of Utah.It's a difficult trek to get to the pictographs (and the NPS warns it can be dangerously hot in summer) but are amazing to view in person, Feder said. "These are creative geniuses," he said of the artists. Canyon de Chelly, Arizona The Antelope House at Canyon de Chelly National Monument. Michael Denson/National Park Service Situated in the Navajo Nation, Canyon de Chelly has gorgeous desert views and thousands of years of human history. Centuries ago, Ancestral Pueblo and Hopi groups planted crops, created pictographs, and built cliff dwellings.Over 900 years ago, Puebloan people constructed the White House, named for the hue of its clay. Its upper floors sit on a sandstone cliff, with a sheer drop outside the windows.Navajo people, also known as Diné, still live in Canyon de Chelly. Diné journalist Alastair Lee Bitsóí recently wrote about visiting some of the sacred and taboo areas. They include Tsé Yaa Kin, where archaeologists found human remains.In the 1860s, the US government forced 8,000 Navajo to relocate to Fort Sumner in New Mexico. The deadly journey is known as the "Long Walk." Eventually, they were able to return, though their homes and crops were destroyed.A hike to the White House is the only one open to the public without a Navajo guide or NPS ranger. Mesa Verde National Park, Colorado Visitors line up at Mesa Verde National Park. Shutterstock/Don Mammoser In the early 1900s, two women formed the Colorado Cliff Dwelling Association, hoping to preserve the ruins in the state's southwestern region. A few years later, President Theodore Roosevelt signed a bill designating Mesa Verde as the first national park meant to "preserve the works of man."Mesa Verde National Park holds hundreds of dwellings, including the sprawling Cliff Palace. It has over 100 rooms and nearly two dozen kivas, or ceremonial spaces.Using dendrochronology, or tree-ring dating, archaeologists learned when Ancestral Pueblo people built some of these structures and that they migrated out of the area by the 1300s.Feder said it's his favorite archaeological site he's visited. "You don't want to leave because you can't believe it's real," he said.Tourists can view many of these dwellings from the road, but some are also accessible after a bit of a hike. Some require extra tickets and can get crowded, Feder said. Cahokia, Illinois A mound at Cahokia in Illinois. Matt Gush/Shutterstock Cahokia has been called one of North America's first cities. Not far from present-day St. Louis, an estimated 10,000 to 20,000 people lived in dense settlements roughly 1,000 years ago. Important buildings sat atop large mounds, which the Mississippians built by hand, The Guardian reported.At the time, it was thriving with hunters, farmers, and artisans. "It's an agricultural civilization," Feder said. "It's a place where raw materials from a thousand miles away are coming in." Researchers have also found mass graves, potentially from human sacrifices.The inhabitants built circles of posts, which one archaeologist later referred to as "woodhenges," as a kind of calendar. At the solstices, the sun would rise or set aligned with different mounds.After a few hundred years, Cahokia's population declined and disappeared by 1350. Its largest mound remains, and some aspects have been reconstructed.While Cahokia is typically open to the public, parts are currently closed for renovations. Montezuma Castle, Arizona Montezuma Castle, a cliff dwelling, in Arizona. MyLoupe/Universal Images Group via Getty Images Perched on a limestone cliff in Camp Verde, Arizona, this site is an apartment, not a castle, and is unrelated to the Aztec ruler Montezuma.The Sinagua people engineered the five-story, 20-room building around 1100. It curves to follow the natural line of the cliff, which would have been more difficult than simply making a straight building, Feder said."These people were architects," he said. "They had a sense of beauty."The inhabitants were also practical, figuring out irrigation systems and construction techniques, like thick walls and shady spots, to help them survive the hot, dry climate.Feder said the dwelling is fairly accessible, with a short walk along a trail to view it, though visitors can't go inside the building itself.

We test a lot of smart home devices, most of which are meant to work indoors. But there are also plenty of great gadgets that work outside, whether it's to balance the pH content of your pool, mow your lawn, or keep an eye on your property when you're out of town.Here, we've gathered some of the best backyard-friendly gadgets we've tested. It's a diverse selection, from beach-friendly speakers to robotic pool cleaners. There's even a TV you can keep out in a thunderstorm. So, if you're looking to bring the technological comforts of home to the great outdoors, look no further. Best Floodlight Camera Eufy Floodlight Camera E340 4.5 Excellent Keep your driveway or yard fully illuminated and secure with the Eufy E340 floodlight camera. It isn't solar-powered like the S340 below it and so you'll have to wire it, but it has a 2,000-lumen floodlight and mechanical pan-and-tilt so you can cover every inch of your property in its range. Eufy Floodlight Camera E340 review Best Battery-Powered Projector Anker Nebula Mars 3 4.0 Excellent The Anker Nebula Mars 3 is a capable 1080p projector that's ideal for use in the backyard or at a vacation rental thanks to its water-resistant design and its battery that can last up to five hours (in Eco Mode, or two hours at full-blast). It features Android 11, so you can stream from plenty of services without plugging in another device. Plus, it has a useful handle so you can lug it anywhere. Anker Nebula Mars 3 review Best Budget Outdoor Security Camera TP-Link Tapo Indoor/Outdoor Home Security Wi-Fi Camera C120 4.5 Excellent If you want to monitor the outside of your home without spending much money, the TP-Link Tapo C120 Indoor/Outdoor is worth looking into. For just $40, it's loaded with features usually only found on more expensive models, including 2K resolution (2,560 by 1,440 pixels), color night vision, and local video storage. The camera records video when it detects motion and offers free intelligent alerts that differentiate between people, pets, vehicles, and other motion events, a feature many competitors charge extra for. It requires a nearby GFCI outlet for power but saves you a lot of money compared with wireless 2K alternatives. TP-Link Tapo Indoor/Outdoor Home Security Wi-Fi Camera C120 review Best Affordable Bluetooth Speaker Anker Soundcore Motion 300 4.0 Excellent The Anker Soundcore Motion 300 is a deceptively small, cheap outdoor speaker, considering the sound it can produce. It offers robust sound with high-res LDAC Bluetooth codec support and is also completely waterproof. Best of all, it's well under $100 and easy to slip into a bag. Anker Soundcore Motion 300 review Best Portable Speaker JBL Charge 5 4.0 Excellent JBL’s portable, outdoor-friendly Charge 5 Bluetooth speaker is an excellent choice for parties. It has a dust-tight build for the beach, with powerful drivers and dual passive radiators to deliver an impressive amount of sound for its size. You don't get a speakerphone function or an adjustable EQ in the companion app, but those are relatively minor drawbacks. For less than $200, you can't do much better. Best Robot Lawn Mower Husqvarna Automower 435X AWD 4.0 Excellent As with every robot lawn mower we've reviewed, the Husqvarna Automower 435X AWD doesn't come cheap, but it does an excellent job of mowing and trimming your lawn. It features both GPS and cellular radios, plus it connects to a slick companion app that enables remote controls, mowing schedules, and IFTTT integrations. Best of all (depending on your yard), it won't struggle to handle hilly terrain. Best Outdoor Smart Plug TP-Link Kasa Smart Wi-Fi Outdoor Plug EP40A 4.0 Excellent TP-Link’s dual-outlet Kasa Smart Wi-Fi Outdoor Plug EP40A ($29.99) doesn't care what smart home system(s) you use: It works with all the major platforms, including Amazon Alexa, Apple HomeKit, Google Assistant, and Samsung SmartThings. That broad compatibility and an IP64 weatherproof rating make it a good choice for bringing smart features to your backyard appliances. TP-Link Kasa Smart Wi-Fi Outdoor Plug EP40A review Best Robot Pool Cleaner Polaris Freedom Plus Cordless Robotic Pool Cleaner 4.0 Excellent Polaris robotic pool cleaners have long been among our favorites because of their sturdy build and superb cleaning performance, and the cordless Freedom Plus continues the streak. It's battery-operated, which means it can clean the pool without a cable for power. It has Bluetooth and Wi-Fi to activate it in its charging station and a light-based remote for controlling it underwater. Otherwise, you can simply let it roam around until it comes back up to charge and empty. Polaris Freedom Plus Cordless Robotic Pool Cleaner review Best Smart Sprinkler System Rachio 3 Smart Sprinkler Controller 4.5 Excellent If you love your lawn enough to install a sprinkler system, you need a good sprinkler controller. The Rachio 3 is one of the best: It supports up to eight separate sprinkler zones with automatic weather-based or custom app-controlled watering schedules. You can even control it with Alexa or Google Assistant voice commands and IFTTT applets. Best Smart Hose Timer Orbit B-Hyve Smart Hose Faucet Timer With Wi-Fi Hub 4.0 Excellent You don't need a full sprinkler system to automate watering your lawn. The Orbit B-Hyve Smart Hose Faucet Timer turns your ordinary garden hose into a smart watering system that you control from your phone, complete with programmed watering schedules and smart weather-based watering. It's a breeze to install and program, and it works with Amazon Alexa voice commands. Best Pool Water Monitor Crystal Water Monitor 4.0 Excellent The Crystal Water Monitor keeps track of your pool's health, with plenty of water analysis features beyond simple pH levels including oxidation reduction potential (ORP) and total alkalinity. It's a bit pricey and requires a subscription after the first year, but the subscription includes a continuous warranty and replacement sensors when needed. Crystal Water Monitor review Best Wireless Outdoor Security Camera Eufy SoloCam S340 4.0 Excellent The Eufy SoloCam S340 is one of the most feature-filled wireless outdoor security cameras available, starting with a built-in solar panel for keeping its battery charged. It also features dual lenses, 3K video, color night vision, mechanical pan and tilt, a built-in spotlight, and local video storage. That's a lot packed into a single camera, and it easily justifies its high price if you want to keep a close eye on your home. Eufy SoloCam S340 review Best Smart Lock Ultraloq Bolt Smart WiFi Deadbolt Fingerprint Edition 4.5 Excellent The Ultraloq Bolt Fingerprint is one of the most flexible smart locks we've seen for securing your front door. You can use an app, your fingerprint, a key, or a PIN code to unlock it. It also works with every major smart home standard except Matter. Ultraloq Bolt Smart WiFi Deadbolt Fingerprint Edition review Best Speaker for Outdoor Parties Sony ULT Field 7 4.0 Excellent If you really want to drive an outdoor party, the big and booming Sony ULT Field 7 is the speaker to get. It's a chunky, completely weatherproof cylinder with stereo woofer/tweeter pairs that can easily fill your backyard with music. It also has colored lighting effects and a mic input for karaoke. Sony ULT Field 7 review Best Smart Bird Feeder Bird Buddy Smart Feeder Pro 4.5 Excellent The Bird Buddy Smart Feeder Pro sends highly shareable snapshots and video postcards of the local bird population to your phone, while its companion app is smart enough to call out their species. Overall, the Bird Buddy is a charming piece of tech for naturalists and an Editors' Choice winner—if you're going to get a smart feeder, get this one. Bird Buddy Smart Feeder Pro review Best Video Doorbell Tapo D225 Video Doorbell 4.0 Excellent Besides a good front door lock, you probably want to be able to see who's knocking or who might be stealing your packages. The TP-Link Tapo D225 video doorbell offers sharp video, both local and cloud storage, and plenty of smart home integration options, and it's surprisingly affordable. Tapo D225 Video Doorbell review Best for Roku-Centric Households Roku Outdoor Smart Plug 4.0 Excellent Roku's Outdoor Smart Plug SE features an IP64 weatherproof build, and makes it easy to control appliances and other electronics with your phone or voice and conveniently tracks how much power they use. It's appealing if you also use Roku devices since you don't need to set up anything else to control the plug from your couch. It also works with Alexa and Google Assistant voice commands, but the TP-Link EP40A offers offers better third-party device support. Roku Outdoor Smart Plug review Best Outdoor TV SunBriteTV 55-Inch Veranda 3 Series (SB-V3-55-4KHDR-BL) 4.0 Excellent Most TVs aren’t built to survive the elements, let alone pouring rain, blowing snow, flying sand, or scorching heat, but SunBriteTV’s Veranda Series 3 is up to the task. It offers a few key advantages over previous Veranda models, including a brighter and much more colorful picture with support for Dolby Vision, as well as a full suite of Android TV features such as streaming media services, Google Assistant voice controls, and the ability to mirror your phone. Best Outdoor Party Lights Govee Lynx Dream Bluetooth & Wi-Fi Outdoor String Lights 4.0 Excellent Light strips are ideal for subtle effects, but if you want a more festive way to illuminate your patio, porch, or any other outdoor space, you're better off with smart string lights like the Govee Lynx Dream. Available in lengths of 48 or 96 feet, each string has dimmable multicolor LED bulbs that you can control with your voice or phone. They also support IFTTT applets, and you get a generous selection of preset lighting scenes and a fun Music Sync mode that's great for parties. Best Smart Door Feather River Doors Smart Glass 4.0 Excellent Smart locks and doorbell cameras might make your front door safe but don't add much to the aesthetic appeal. If you want to give your front door a real high-tech makeover, the Feather River Doors Smart Glass is a unique, expensive option. It's a door with a smart glass window that lets you flip between frosted opaque and completely transparent with the push of a button, a voice command, or an app. Feather River Doors Smart Glass review Protect Your Packages Yale Smart Delivery Box 4.0 Excellent Packages get purloined from porches pretty often, so protect those parcels with the Yale Smart Delivery Box. It's a large drop box you can secure to your porch so delivery drivers can safely set anything that will fit inside. Share an access code in the delivery details section of your orders from Amazon and other services, the driver will enter it into a keypad, the box will open, you'll get a notification, and the lid will automatically lock. Yale Smart Delivery Box review Best Smart Padlock Igloohome Smart Padlock 2 and Bridge 4.0 Excellent Smart locks are good for homes, but what about sheds and backyards? The Igloohome Smart Padlock 2 has you covered. It's a solid, waterproof padlock you can control via Bluetooth and Wi-Fi. It supports unlocking directly through the app, or you can control who can unlock it and at what times by issuing one-time or scheduled PINs and Bluetooth keys. Igloohome Smart Padlock 2 and Bridge review Best Smart Mosquito Repellent System Thermacell LIV Smart Mosquito Repellent System 4.0 Excellent Pesky mosquitoes can ruin an otherwise enjoyable evening in your backyard, but traditional bug sprays are usually unpleasant to use. The Thermacell LIV Smart Mosquito Repellent System is a high-tech alternative that relies on heat-activated repellent cartridges to create 20-foot barriers of protection. The system worked well in testing and we didn't see any vapors or smell any chemicals. You get three repellers in the basic kit, but keep in mind that the system specifically defends against mosquitoes, which means other types of bugs might continue to buzz about. Regardless, it supports both app and voice controls for maximum convenience. Best Wood-Fired Smart Grill Brisk It Origin 940 4.5 Excellent The Brisk It Origin 940 works like any other wood pellet grill, giving you the ability to roast, smoke, bake, and barbecue without having to deal with the mess of charcoal grilling or the taste of lighter fluid. Moreover, it uses generative AI to offer up countless recipes that you can send directly to the grill. In testing, its AI supplied foolproof recipes for pulled pork and whole bass and the grill delivered mouthwatering results. Brisk It Origin 940 review Best Smart Charcoal Grill and Smoker Kamado Joe Konnected Joe Digital Charcoal Grill and Smoker 4.0 Excellent The Kamado Joe Konnected Joe Digital Charcoal Grill and Smoker helps you cook charcoal-fired food to perfection every time. This tank-like kamado grill is simple to use and clean, offers precise temperature control, and works with lots of high-quality accessories. The app is intuitive and has hundreds of recipes you can follow. Kamado Joe Konnected Joe Digital Charcoal Grill and Smoker review Best Smart Gas Grill Weber Genesis EPX-335 Smart Gas Grill 4.0 Excellent The Weber Genesis EPX-335 Smart Gas Grill is built to last and has plenty of smart tech features to enhance the cooking experience. It features Wi-Fi and Bluetooth connectivity, an illuminated cooking chamber, a user-friendly mobile app, and hundreds of programmable recipes. Moreover, there’s plenty of built-in storage for utensils, cooking racks, and cleaning accessories. Weber Genesis EPX-335 Smart Gas Grill review

to 3d or not to 3d What I learned from my first few months with a Bambu Lab A1 3D printer, part 1 One neophyte's first steps into the wide world of 3D printing. Andrew Cunningham – May 22, 2025 7:30 am | 21 The hotend on my Bambu Lab A1 3D printer. Credit: Andrew Cunningham The hotend on my Bambu Lab A1 3D printer. Credit: Andrew Cunningham Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more For a couple of years now, I've been trying to find an excuse to buy a decent 3D printer. Friends and fellow Ars staffers who had them would gush about them at every opportunity, talking about how useful they can be and how much can be printed once you get used to the idea of being able to create real, tangible objects with a little time and a few bucks' worth of plastic filament. But I could never quite imagine myself using one consistently enough to buy one. Then, this past Christmas, my wife forced the issue by getting me a Bambu Lab A1 as a present. Since then, I've been tinkering with the thing nearly daily, learning more about what I've gotten myself into and continuing to find fun and useful things to print. I've gathered a bunch of thoughts about my learning process here, not because I think I'm breaking new ground but to serve as a blueprint for anyone who has been on the fence about Getting Into 3D Printing. "Hyperfixating on new hobbies" is one of my go-to coping mechanisms during times of stress and anxiety, and 3D printing has turned out to be the perfect combination of fun, practical, and time-consuming. Getting to know my printer My wife settled on the Bambu A1 because it's a larger version of the A1 Mini, Wirecutter's main 3D printer pick at the time (she also noted it was "hella on sale"). Other reviews she read noted that it's beginner-friendly, easy to use, and fun to tinker with, and it has a pretty active community for answering questions, all assessments I agree with so far. Note that this research was done some months before Bambu earned bad headlines because of firmware updates that some users believe will lead to a more locked-down ecosystem. This is a controversy I understand—3D printers are still primarily the realm of DIYers and tinkerers, people who are especially sensitive to the closing of open ecosystems. But as a beginner, I'm already leaning mostly on the first-party tools and built-in functionality to get everything going, so I'm not really experiencing the sense of having "lost" features I was relying on, and any concerns I did have are mostly addressed by Bambu's update about its update. I hadn't really updated my preconceived notions of what home 3D printing was since its primordial days, something Ars has been around long enough to have covered in some depth. I was wary of getting into yet another hobby where, like building your own gaming PC, fiddling with and maintaining the equipment is part of the hobby. Bambu's printers (and those like them) are capable of turning out fairly high-quality prints with minimal fuss, and nothing will draw you into the hobby faster than a few successful prints. Basic terminology Extrusion-based 3D printers (also sometimes called "FDM," for "fused deposition modeling") work by depositing multiple thin layers of melted plastic filament on a heated bed. Credit: Andrew Cunningham First things first: The A1 is what’s called an “extrusion” printer, meaning that it functions by melting a long, slim thread of plastic (filament) and then depositing this plastic onto a build plate seated on top of a heated bed in tens, hundreds, or even thousands of thin layers. In the manufacturing world, this is also called “fused deposition modeling,” or FDM. This layer-based extrusion gives 3D-printed objects their distinct ridged look and feel and is also why a 3D printed piece of plastic is less detailed-looking and weaker than an injection-molded piece of plastic like a Lego brick. The other readily available home 3D printing technology takes liquid resin and uses UV light to harden it into a plastic structure, using a process called “stereolithography” (SLA). You can get inexpensive resin printers in the same price range as the best cheap extrusion printers, and the SLA process can create much more detailed, smooth-looking, and watertight 3D prints (it’s popular for making figurines for tabletop games). Some downsides are that the print beds in these printers are smaller, resin is a bit fussier than filament, and multi-color printing isn’t possible. There are two main types of home extrusion printers. The Bambu A1 is a Cartesian printer, or in more evocative and colloquial terms, a "bed slinger." In these, the head of the printer can move up and down on one or two rails and from side to side on another rail. But the print bed itself has to move forward and backward to "move" the print head on the Y axis. More expensive home 3D printers, including higher-end Bambu models in the P- and X-series, are "CoreXY" printers, which include a third rail or set of rails (and more Z-axis rails) that allow the print head to travel in all three directions. The A1 is also an "open-bed" printer, which means that it ships without an enclosure. Closed-bed printers are more expensive, but they can maintain a more consistent temperature inside and help contain the fumes from the melted plastic. They can also reduce the amount of noise coming from your printer. Together, the downsides of a bed-slinger (introducing more wobble for tall prints, more opportunities for parts of your print to come loose from the plate) and an open-bed printer (worse temperature, fume, and dust control) mainly just mean that the A1 isn't well-suited for printing certain types of plastic and has more potential points of failure for large or delicate prints. My experience with the A1 has been mostly positive now that I know about those limitations, but the printer you buy could easily change based on what kinds of things you want to print with it. Setting up Overall, the setup process was reasonably simple, at least for someone who has been building PCs and repairing small electronics for years now. It's not quite the same as the "take it out of the box, remove all the plastic film, and plug it in" process of setting up a 2D printer, but the directions in the start guide are well-illustrated and clearly written; if you can put together prefab IKEA furniture, that's roughly the level of complexity we're talking about here. The fact that delicate electronics are involved might still make it more intimidating for the non-technical, but figuring out what goes where is fairly simple. The only mistake I made while setting the printer up involved the surface I initially tried to put it on. I used a spare end table, but as I discovered during the printer's calibration process, the herky-jerky movement of the bed and print head was way too much for a little table to handle. "Stable enough to put a lamp on" is not the same as "stable enough to put a constantly wobbling contraption" on—obvious in retrospect, but my being new to this is why this article exists. After some office rearrangement, I was able to move the printer to my sturdy L-desk full of cables and other doodads to serve as ballast. This surface was more than sturdy enough to let the printer complete its calibration process—and sturdy enough not to transfer the printer's every motion to our kid's room below, a boon for when I'm trying to print something after he has gone to bed. The first-party Bambu apps for sending files to the printer are Bambu Handy (for iOS/Android, with no native iPad version) and Bambu Studio (for Windows, macOS, and Linux). Handy works OK for sending ready-made models from MakerWorld (a mostly community-driven but Bambu-developer repository for 3D printable files) and for monitoring prints once they've started. But I'll mostly be relaying my experience with Bambu Studio, a much more fully featured app. Neither app requires sign-in, at least not yet, but the path of least resistance is to sign into your printer and apps with the same account to enable easy communication and syncing. Bambu Studio: A primer Bambu Studio is what's known in the hobby as a "slicer," software that takes existing 3D models output by common CAD programs (Tinkercad, FreeCAD, SolidWorks, Autodesk Fusion, others) and converts them into a set of specific movement instructions that the printer can follow. Bambu Studio allows you to do some basic modification of existing models—cloning parts, resizing them, adding supports for overhanging bits that would otherwise droop down, and a few other functions—but it's primarily there for opening files, choosing a few settings, and sending them off to the printer to become tangible objects. Bambu Studio isn't the most approachable application, but if you've made it this far, it shouldn't be totally beyond your comprehension. For first-time setup, you'll choose your model of printer (all Bambu models and a healthy selection of third-party printers are officially supported), leave the filament settings as they are, and sign in if you want to use Bambu's cloud services. These sync printer settings and keep track of the models you save and download from MakerWorld, but a non-cloud LAN mode is available for the Bambu skeptics and privacy-conscious. For any newbie, pretty much all you need to do is connect your printer, open a .3MF or .STL file you've downloaded from MakerWorld or elsewhere, select your filament from the drop-down menu, click "slice plate," and then click "print." Things like the default 0.4 mm nozzle size and Bambu's included Textured PEI Build Plate are generally already factored in, though you may need to double-check these selections when you open a file for the first time. When you slice your build plate for the first time, the app will spit a pile of numbers back at you. There are two important ones for 3D printing neophytes to track. One is the "total filament" figure, which tells you how many grams of filament the printer will use to make your model (filament typically comes in 1 kg spools, and the printer generally won't track usage for you, so if you want to avoid running out in the middle of the job, you may want to keep track of what you're using). The second is the "total time" figure, which tells you how long the entire print will take from the first calibration steps to the end of the job. Selecting your filament and/or temperature presets. If you have the Automatic Material System (AMS), this is also where you'll manage multicolor printing. Andrew Cunningham Selecting your filament and/or temperature presets. If you have the Automatic Material System (AMS), this is also where you'll manage multicolor printing. Andrew Cunningham The main way to tweak print quality is to adjust the height of the layers that the A1 lays down. Andrew Cunningham The main way to tweak print quality is to adjust the height of the layers that the A1 lays down. Andrew Cunningham Adding some additional infill can add some strength to prints, though 15 percent usually gives a decent amount of strength without overusing filament. Andrew Cunningham Adding some additional infill can add some strength to prints, though 15 percent usually gives a decent amount of strength without overusing filament. Andrew Cunningham The main way to tweak print quality is to adjust the height of the layers that the A1 lays down. Andrew Cunningham Adding some additional infill can add some strength to prints, though 15 percent usually gives a decent amount of strength without overusing filament. Andrew Cunningham For some prints, scaling them up or down a bit can make them fit your needs better. Andrew Cunningham For items that are small enough, you can print a few at once using the clone function. For filaments with a gradient, this also makes the gradient effect more pronounced. Andrew Cunningham Bambu Studio estimates the amount of filament you'll use and the amount of time a print will take. Filament usually comes in 1 kg spools. Andrew Cunningham When selecting filament, people who stick to Bambu's first-party spools will have the easiest time, since optimal settings are already programmed into the app. But I've had almost zero trouble with the "generic" presets and the spools of generic Inland-branded filament I've bought from our local Micro Center, at least when sticking to PLA (polylactic acid, the most common and generally the easiest-to-print of the different kinds of filament you can buy). But we'll dive deeper into plastics in part 2 of this series. I won't pretend I'm skilled enough to do a deep dive on every single setting that Bambu Studio gives you access to, but here are a few of the odds and ends I've found most useful: The "clone" function, accessed by right-clicking an object and clicking "clone." Useful if you'd like to fit several copies of an object on the build plate at once, especially if you're using a filament with a color gradient and you'd like to make the gradient effect more pronounced by spreading it out over a bunch of prints. The "arrange all objects" function, the fourth button from the left under the "prepare" tab. Did you just clone a bunch of objects? Did you delete an individual object from a model because you didn't need to print that part? Bambu Studio will arrange everything on your build plate to optimize the use of space. Layer height, located in the sidebar directly beneath "Process" (which is directly underneath the area where you select your filament. For many functional parts, the standard 0.2 mm layer height is fine. Going with thinner layer heights adds to the printing time but can preserve more detail on prints that have a lot of it and slightly reduce the visible layer lines that give 3D-printed objects their distinct look (for better or worse). Thicker layer heights do the opposite, slightly reducing the amount of time a model takes to print but preserving less detail. Infill percentage and wall loops, located in the Strength tab beneath the "Process" sidebar item. For most everyday prints, you don't need to worry about messing with these settings much; the infill percentage determines the amount of your print's interior that's plastic and the part that's empty space (15 percent is a good happy medium most of the time between maintaining rigidity and overusing plastic). The number of wall loops determines how many layers the printer uses for the outside surface of the print, with more walls using more plastic but also adding a bit of extra strength and rigidity to functional prints that need it (think hooks, hangers, shelves and brackets, and other things that will be asked to bear some weight). My first prints A humble start: My very first print was a wall bracket for the remote for my office's ceiling fan. Credit: Andrew Cunningham When given the opportunity to use a 3D printer, my mind went first to aggressively practical stuff—prints for organizing the odds and ends that eternally float around my office or desk. When we moved into our current house, only one of the bedrooms had a ceiling fan installed. I put up remote-controlled ceiling fans in all the other bedrooms myself. And all those fans, except one, came with a wall-mounted caddy to hold the remote control. The first thing I decided to print was a wall-mounted holder for that remote control. MakerWorld is just one of several resources for ready-made 3D-printable files, but the ease with which I found a Hampton Bay Ceiling Fan Remote Wall Mount is pretty representative of my experience so far. At this point in the life cycle of home 3D printing, if you can think about it and it's not a terrible idea, you can usually find someone out there who has made something close to what you're looking for. I loaded up my black roll of PLA plastic—generally the cheapest, easiest-to-buy, easiest-to-work-with kind of 3D printer filament, though not always the best for prints that need more structural integrity—into the basic roll-holder that comes with the A1, downloaded that 3MF file, opened it in Bambu Studio, sliced the file, and hit print. It felt like there should have been extra steps in there somewhere. But that's all it took to kick the printer into action. After a few minutes of warmup—by default, the A1 has a thorough pre-print setup process where it checks the levelness of the bed and tests the flow rate of your filament for a few minutes before it begins printing anything—the nozzle started laying plastic down on my build plate, and inside of an hour or so, I had my first 3D-printed object. Print No. 2 was another wall bracket, this time for my gaming PC's gamepad and headset. Credit: Andrew Cunningham It wears off a bit after you successfully execute a print, but I still haven't quite lost the feeling of magic of printing out a fully 3D object that comes off the plate and then just exists in space along with me and all the store-bought objects in my office. The remote holder was, as I'd learn, a fairly simple print made under near-ideal conditions. But it was an easy success to start off with, and that success can help embolden you and draw you in, inviting more printing and more experimentation. And the more you experiment, the more you inevitably learn. This time, I talked about what I learned about basic terminology and the different kinds of plastics most commonly used by home 3D printers. Next time, I'll talk about some of the pitfalls I ran into after my initial successes, what I learned about using Bambu Studio, what I've learned about fine-tuning settings to get good results, and a whole bunch of 3D-printable upgrades and mods available for the A1. Andrew Cunningham Senior Technology Reporter Andrew Cunningham Senior Technology Reporter Andrew is a Senior Technology Reporter at Ars Technica, with a focus on consumer tech including computer hardware and in-depth reviews of operating systems like Windows and macOS. Andrew lives in Philadelphia and co-hosts a weekly book podcast called Overdue. 21 Comments

This Record-Setting Robot Can Solve a Rubik’s Cube Faster Than You Can Blink Designed by a group of undergraduate students at Purdue University, the robot completes the puzzle in 0.103 seconds "Purdubik's Cube" was developed and built by undergraduate students Junpei Ota, Aden Hurd, Matthew Patrohay and Alex Berta. Purdue University Blink and you might miss it: A new robot developed by college students can solve a Rubik’s Cube in 0.103 seconds, setting a new world record. “We solve in 103 milliseconds,” says Matthew Patrohay, one of the electrical and computer engineering undergraduates at Purdue University who designed and built the robot, in an announcement from the university. “A human blink takes about 200 to 300 milliseconds. So, before you even realize it’s moving, we’ve solved it.” The high-speed robotic system—named “Purdubik’s Cube”—now holds the Guinness World Record for the fastest robot to solve a puzzle cube. Patrohay, along with fellow students Junpei Ota, Aden Hurd and Alex Berta, officially set the record in a laboratory on the university’s campus in West Lafayette, Indiana, on April 21. Purdubik’s Cube handily beat the previous record of 0.305 seconds, which was set last year by a Mitsubishi Electric robot. “[The students] said, ‘You know what? I think we can do better,’” says Milind Kulkarni, who leads the university’s electrical and computer engineering department, in a video accompanying the statement. Though developing the robot was a team effort, it was Patrohay who initially spearheaded the project. His love affair with the scrambled, multicolored puzzle cube dates back to the fourth grade. “There was a competition, and you get a prize if you could solve it, and I could never solve it,” he tells NPR’s Ailsa Chang. “And I wanted to win the prize, so a few friends and I tried to learn how to solve it.” Then, while he was in high school, he heard about a pair of MIT students who’d designed a robot that solved a Rubik’s Cube in 0.380 seconds in 2018. He was immediately intrigued. “I thought, ‘Hey, someday, I should try and beat that,’ and here I am,” he tells NPR. Purdue ECE students shatter Guinness World Record for Fastest Puzzle Cube-Solving Robot Watch on When Patrohay got to Purdue, he learned everything he could to make his dream a reality. After spending time building the necessary skills for the project, the group actually constructed the robot in just one semester for their senior design class. To develop a robot that could solve a Rubik’s Cube in record time, the students integrated several systems and technologies, including machine vision for color recognition, custom algorithms and industrial-grade motion control hardware. They also optimized the Rubik’s Cube itself, designing a strong, custom internal core to hold all the pieces together as it moves at a rapid pace. “The cubes themselves just kind of disintegrate,” Patrohay says in the video. “The pieces just snap in half and fall apart.” Though 0.103 seconds is fast, Patrohay is optimistic that Purdubik’s Cube might be able to work even faster. “We’re going to give one last little effort to try and push below 100 milliseconds, so we can say we’re even faster,” he says in the video. “But realistically, I think 103 milliseconds is going to be very tough to beat.” The Rubik’s Cube was invented in 1974 by Hungarian architect Ernő Rubik. Five decades later, it’s the most popular puzzle toy in the world—especially among “speedcubers,” or competitors who try to solve it as quickly as possible. For humans, the world record for solving a 3x3x3 rotating puzzle cube is 3.05 seconds, set by Xuanyi Geng of China a little more than a month ago. “Speedcubers” have also set world records for solving them while underwater, while running 100 meters, while blindfolded, while roller skating, while upside down and while juggling. Get the latest stories in your inbox every weekday.

Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial CompetitionSponsored ContentSave this picture!Courtesy of BuildnerBuildner has announced the results of its competition, the In recognition of this treaty, Buildner invites conceptual designs for a memorial to be located on any known decommissioned nuclear weapon testing site. The conceptual memorial is intended to reflect the history and ongoing threat of nuclear weapons, aiming to promote public awareness of nuclear disarmament. The challenge is intended to bring attention to the history and dangers of nuclear weapons. Participants are tasked with designing a space that commemorates nuclear warfare victims and conveys the need for a nuclear-free future. As a 'silent' competition, submissions are not allowed to include any text, titles, or annotations.The next edition of this competition, the , has been launched with an early bird registration deadline of June 12, 2025.The briefThis competition invites designers to conceive a memorial that meaningfully engages the public with the critical issue of nuclear disarmament. Memorials play a crucial role in capturing history and facilitating collective reflection, shaping how future generations understand and respond to global challenges. The proposed memorial will specifically address the legacy of nuclear warfare, emphasizing the urgency of diplomatic solutions and international solidarity in preventing nuclear conflict.Design proposals are encouraged to consider the following core principles: Vision of Peace: Proposals should embody the aspiration for a world free of nuclear threats, incorporating symbolic or abstract representations that inspire unity and harmony. Reflection and Remembrance: Designs must foster a thoughtful and enduring dialogue, offering visitors a contemplative environment where they can reflect upon the consequences of nuclear weaponry. Educational Impact: The memorial should provide visitors with accessible insights into the historical realities and ongoing dangers of nuclear arms, actively promoting public knowledge and awareness. Emotional Engagement: Successful memorials will create a powerful emotional connection, provoking personal and collective introspection on peace, responsibility, and the human cost of nuclear conflict. Sustainable Stewardship: Designs must embrace environmental sustainability, reinforcing the memorial's overarching message of responsible stewardship and enduring peace. Save this picture!Jury PanelThis year's submissions were reviewed by a distinguished jury panel featuring experts from architecture, urbanism, and the arts:  Olha Kleytman, founder of Ukraine-based SBM Studio, brings expertise in architecture and urban design, alongside her humanitarian work through the NGO "Through the War."  Flora Lee, Associate Partner at MAD Architects, has contributed to major international projects including the Lucas Museum of Narrative Art.  Peter Newman, a London-based artist, explores humanity's relationship with space and modernity, with exhibitions spanning Trafalgar Square, the Hayward Gallery, and the Guggenheim Museum in Venice.  Vincent Panhuysen, co-founder of KAAN Architecten, integrates contextual sensitivity into large-scale projects, such as the Netherlands American Cemetery Visitor Center.  James Whitaker, founder of Whitaker Studio, is an architect known for his widely published Joshua Tree Residence.  Wu Ziye, co-founder of China's Mix Architecture, has received international acclaim for his studio's exploration of spatial consciousness, materiality, and integration with nature. Buildner's other ongoing competitions include: the 10th edition of MICROHOME competition, in collaboration with Kingspan and Hapi Homes; the Mujassam Watan Urban Sculpture Challenge aimed at finding innovative sculptures reflecting Saudi Arabia's heritage, modern achievements, and future ambitions; and the Howard Waterfall Retreatcompetition, which invites architects to propose designs for a multi-generational family retreat at the scenic and historically significant Howard Falls in Pennsylvania, USA. Each of these competitions aims to build the winning designs.Projects:First Prize Winner + Buildner Student AwardProject title: Urbs AeternaAuthors: Alessia Angela Sanchez, Erminia Cirillo and Adele Maria Saita, from ItalyThe project presents a memorial using sand and metal to depict a post-apocalyptic vision of what appears to be Rome reduced to an archaeological remnant. The design evokes the destruction and preservation paradox, allowing viewers to observe the site from above or navigate its fractured streets leading to a central void. A ghostly wireframe reconstruction of a vanished temple stands as the focal point, symbolizing loss and memory. The restrained material palette reinforces themes of impermanence and time. While conceptually strong and visually compelling, its cost and environmental impact raise questions. The experience unfolds gradually, inviting contemplation.Save this picture!Save this picture!Second Prize WinnerProject title: The Rainbow Of RenewalAuthors: Chen Yang, Ruijing Sun and Chao Li, from the United StatesThe project envisions a memorial for the last nuclear bomb through a landscape intervention that transforms destruction into renewal. A circular water installation generates mist, evoking the image of an explosion while simultaneously creating rainbows, symbolizing hope. The design's ephemeral quality enhances its poetic impact, making it a striking presence on the horizon. The intervention integrates with the natural environment, fostering an evolving atmospheric experience.Save this picture!Save this picture!3rd Prize Winner + Buildner Student AwardProject title: Projected DestructionAuthors: Marco Moreno Donohoe of Washington University in St. Louis , WUSTL, the United StatesThis project envisions a memorial set within a cratered landscape. A striking linear structure cuts through the void, acting as both a bridge and a viewing platform, inviting visitors to experience the vastness of destruction. The interplay of light and shadow within the perforated walls creates dynamic spatial effects, offering different perspectives from above and within. The scale and placement evoke a sense of isolation and reflection.Save this picture!Save this picture!Highlighted ProjectsProject title: Mycelial Rebirth: Fungi Restoring Nuclear Wounds Authors: Shengfeng Gao, Zhuohan Zhou and Shengnan Gao from the United StatesThis project envisions a memorial landscape where fungi serve as agents of ecological healing in a post-nuclear context. A dense forest setting is activated by a grid of ultraviolet lights that stimulate mycelial growth, enhancing the fungi's capacity to absorb and break down radioactive contaminants. As the soil regenerates, the design allows for gradual ecological succession, beginning with mushrooms and pioneering vegetation. The illuminated ground plane forms a quiet, immersive field that marks both decay and recovery. Over time, the site transforms into a living testament to resilience, where nature's unseen networks remediate and renew.Save this picture!Save this picture!Project title: Nuclear Living ForceAuthors: Luis Manuel Carcamo Cura of company LUIS CARCAMO ARQUITECTOS, from MexicoThis project responds to the atomic age by offering a message of harmony over despair, using the human eye as a central metaphor for awareness and reflection. A series of monumental, petal-like structures rise from a crater-shaped void, recalling both the iris and the bomb site in Santa Fe. Surrounding this core, the Flower of Life geometry guides the masterplan, symbolizing universal patterns and organic regeneration. The design emphasizes nature's resilience, referencing ecosystems like Chernobyl where life has returned unaided. Rather than mourning destruction, the project celebrates life, order, and the potential for collective transformation.Save this picture!Project title: The Illusion of ChoicesAuthors: Ruiqi Yao, University of Edinburgh from the United KingdomThis project explores the illusion of choice within the existential tension between nuclear war and peace. Set inside a vast crater, visitors begin their journey in a monumental spherical chamber, where a singular path ends abruptly, symbolizing unreachable goals and the false promise of nuclear power. Descending into a subterranean network, seven red-lit paths depict ruin and inevitability, while one blue-lit path offers a narrow route toward peace and introspection. The final space contrasts confinement with openness, guiding visitors through mirrored walls toward a hopeful exit. Through spatial transitions and stark lighting contrasts, the project stages a powerful moral journey.Save this picture!Save this picture!Project title: Möbius Elegy: Red Warning and Green ReturnAuthors: Daii Shimada, Mai Nakano and Midori Watanabe, from JapanThis project imagines a regenerative forest emerging from the scars of nuclear devastation. Set within a vast desert crater, a radial pattern of multicolored vegetation radiates outward, suggesting seasonal cycles and ecological diversity. The planting strategy appears gradual and deliberate, with craters used as microclimates for reforestation—each acting as a node in a larger ecological system. A lone figure stands before the transformed landscape, underscoring the scale and ambition of the intervention. Through time-lapse-like sequences, the imagery suggests the forest's steady expansion, turning the desert into a sanctuary of life. The memorial becomes a living archive of resilience and renewal.Save this picture!Project title: Soft FalloutAuthors: Louis Bourdages and Cedric Harvey, from the Université Laval School of Architecture, CanadaThis project proposes an immersive memorial defined by a luminous, amorphous structure suspended over a crater. From the outside, the glowing yellow form evokes a captured sun or lingering explosion, radiating both warmth and unease. Inside, visitors enter a soft, undulating landscape of quilted fabric that molds to the human body, allowing for stillness, reflection, or playful interaction. Light filters through the translucent skin, creating a surreal atmosphere suspended between comfort and disquiet. The form's biomorphic geometry contrasts the rationality of war, transforming the site into a sensorial space of pause and presence.Save this picture!Project title: "Used to be there"Authors: Hữu Nhân Hoàng, Hoàng Kỳ Lê and Anh Khoa Huỳnh, VietnamThis project constructs a memorial as a collective reflection on memory, identity, and everyday life disrupted by nuclear war. Set in a radial formation across a barren landscape, semi-transparent glass panels display ghosted historical photographs—scenes of people, architecture, and ordinary moments—layered over the present. Visitors navigate between these life-sized images, encountering echoes of the past embedded in space. The transparent surfaces blend time periods and dissolve boundaries, inviting viewers to see themselves within the continuity of human experience. Rather than focusing on devastation, the project quietly honors what stands to be lost: ordinary lives, familiar places, and shared memories.Save this picture!Visit the website for the recently launched , to take part and learn more, before the early bird registration deadline of June 12, 2025. Image gallerySee allShow less Cite: "Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial Competition" 21 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030195/buildner-announces-winners-of-the-5th-annual-last-nuclear-bomb-memorial-competition&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

News Genetics What gene makes orange cats orange? Scientists figured it out Calico and tortoiseshell cats also carry an X-chromosome mutation Orange fur in domestic cats usually arises from a specific DNA deletion in the X chromosome, two new studies suggest. Stefano Stefani/Getty Images By McKenzie Prillaman 7 hours ago Orange cats are so goofy that people joke that the chaotic kitties share one communal brain cell. But most of these domestic felines — along with multicolored calicos and tortoiseshells — actually do share something: a single genetic mutation that makes their fur ginger, researchers report in two studies published May 15 in Current Biology. The independent teams identified a DNA deletion that causes pigment cells to produce a yellow-red color rather than the default brown-black, solving a mystery that has stumped scientists for decades.  Sign up for our newsletter We summarize the week's scientific breakthroughs every Thursday.

WASP, an Italian manufacturer of large-scale 3D printing systems for sustainable construction, has partnered with Columbia University’s Natural Materials Lab to support the fabrication of Earthen Rituals, a clay-based installation presented at the 19th Venice Biennale of Architecture. The piece is located in the Arsenale’s “Natural” section and will be accessible to visitors until November 23. Earthen Rituals installation on display at the 19th Venice Biennale of Architecture. Photo via WASP. Columbia’s Natural Materials Lab has been using WASP’s 40100 LDM ceramic 3D printer as part of a research project funded by the U.S. National Science Foundation (NSF). The research focuses on earth and fiber-based building materials. For this latest installation, the lab relied on WASP’s Residency Program to carry out production under a tight schedule. Researchers used the WASP 40100 Production system, designed for continuous custom manufacturing, and the 3MT LDM system equipped with a high-density continuous feeding unit. The project involved the 3D printing of hundreds of earth tiles, made from a mixture of construction waste soils and agricultural by-products. The formulation process drew on a “kitchen approach” informed by vernacular construction methods, including Terracruda (Italian), Lehm (German), Toub Laban (Arabic), and Udongo (Swahili). A digitized process converted earthen textures into printable code. Visual and structural references in the installation include techniques such as rammed earth, weaving, basketry, and figurine-making. Lighting and olfactory elements were integrated into the structure. WASP 40100 LDM extrudes earthen paste during tile fabrication. Photo via WASP. Earthen Rituals is framed by its authors as a response to extractive practices, colonial legacies, and global environmental crises. The project outlines three methodological approaches: ceremonial (relating to the interaction between hands, tools, and machines), radical (accepting the variable and porous characteristics of raw materials), and devotional (linking scientific rigor with critical design methods). Project lead Lola Ben-Alon is affiliated with Columbia University’s Graduate School of Architecture, Planning and Preservation (GSAPP). Additional contributors from the Natural Materials Lab include Associate Research Scientist Olga Beatrice Carcassi and Adjunct Research Scientist Penmai Chongtoua. Graduate assistants who participated in the project are Keenan Bellisari, Christopher Tillinghast Sherman, Trella Isabel Lopez, Kelechi Iheanacho, Neil Potnis, Sherry Aine Chuang Te, Nikoletta Zakynthinou Xanthi, and Amani Makee Hill. WASP acted as the technical collaborator, hosting the team at its facility in Italy and providing access to its latest 3D printing technologies. Detail of 3D printed earthen tiles showing layered textures and voids. Photo via WASP. WASP’s prior applications in sustainable and architectural 3D printing At Formnext 2024, WASP introduced a range of technologies focused on material reuse and large-scale additive manufacturing. Highlights included a recycling station for plastics, a multicolor extrusion system, and geopolymer-based construction modules developed with Eindhoven University. The company also presented a 100 m² low-carbon building prototype created by the Institute for Advanced Architecture of Catalonia (IAAC) using a Crane WASP 3D printer and locally sourced soil. Additional displays featured coral reef restoration modules 3D printed in collaboration with rrreefs using the WASP 40100 Production system and Liquid Deposition Modeling (LDM) technology. These modules were printed live at the event. In early 2025, Japanese architecture studio Aki Hamada Architects constructed a 3D printed rest facility for Expo 2025 in Osaka using WASP’s Crane Stand Alone system. The installation, one of 20 rest stations commissioned for the event, included prefabricated panels, cylindrical washbasins, and planter-benches made from a mixture of clay, straw, seaweed glue, pigments, and magnesium oxide hardener. Stone shapes from across Japan were 3D scanned to generate the printed geometries, which were tested for stability and adjusted to meet overhang tolerances. Production took place in Toyama, with elements transported to the Expo site and installed onto timber frameworks using embedded wooden inserts. 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 showcase Earthen Rituals installation. Photo via WASP. Coral reef 3D printing in alliance with rrreefs. Photo via WASP. 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.