Esper Hand is a prosthetic arm with "human-like dexterity"

New York-based engineering startup Esper Bionics has developed a prosthetic arm with intuitive self-learning technology that can predict intended movement faster than similar prosthetics.

Esper Hand uses an electromyography-based brain-computer interface (BCI) – a computer-based technology system that gathers brain activity or information – to trigger movement.

When the wearer wants to control the hand, their brain sends impulses to specific muscles to activate them.

Esper Hand is a prosthetic arm that can be controlled by the mind

Over 30 non-invasive sensors that connect the stump socket to the wearer's skin pick up on this muscle activity or "electrical cues" and relay the information to trigger an action in the hand.

BCIs are often used by paralysis patients to control machines with just their thoughts. Dima Gazda, co-founder of Esper Bionics claims that the arm is three times faster than many of the prosthetics currently available on the market.

It has over 30 sensors that gather information from the wearer's skin

"We sought to create a light and durable hand with human-like dexterity that learns over time and can help people with limb differences live their best lives confidently," Gazda told Dezeen.

"Inspired by the beauty of the human body and the lightness and durability of aviation technology, the self-learning robotic hand embodies elegance, functionality and endurance," she said.

"Esper Hand is three times faster in control than other hand prostheses available in the market."

These electrical cues dictate how the arm moves

Esper Hand has five movable digits and can rotate and grip in multiple ways, allowing the wearer to perform everyday tasks such as opening a bottle, driving a car, using kitchen utensils or tapping a phone screen.

The 380-gram arm is made from a combination of polyoxymethylene plastic, fluoroplastics, nylon, aluminium, steel, titan, bronze and three types different types of silicone. It comes in four sizes and five colours.

The arm comes in four sizes and five colours

To create the arm, Esper Bionics employed electromechanics, a field of engineering that merges electrical and mechanical engineering to make sure the hand can "perform all the necessary functions".

This included conducting durability tests on 3D-printed versions of the hand and adjusting its shape and size.

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"We create the design of the future hand making sure that it's as human-like as possible," said Gazda.

"We go through a series of iterations to eliminate engineering and design mistakes and choose the right materials for the final version of the product."

Esper Hand can be connected to a cloud-based platform via a smartphone

According to the company, the resulting arm is "lighter than a human hand" and at 380 grams, it is lighter than many limb prosthetics on the market.

The flexible hand has modular fingers that can form multiple common grasps including flexing, pinching fingers together, cupping and making a fist.

It also has a "special mechanism" that allows the wearer to easily disconnect the hand which can be useful for example when the wearer is changing clothes.

The arm can form multiple common grasps

Esper Bionics also created a cloud-based platform that can be connected to the arm to help improve its performance over time.

Dubbed Esper Platform, the solution can be connected to the wearer's smartphone or laptop. It collects and stores data about the user's movements, effectively "learning" what the wearer's next action will be so that it can predict movements faster.

It is made from plastic and metal

"Thanks to all the collected data, the platform updates the control algorithms of the hand so that next time the preferred grip will have a higher priority to be chosen in the same situation," explained Gazda.

"The hand perceives a certain situation to be 'the same' if it receives similar data to what it received before from all the sensors," she said.

"Ultimately, the more the wearer uses the hand, the faster it suggests the right grip."

The arm weighs just 380 grams

Gazda believes that the technology used for Esper Hand can help improve the quality of amputees' lives.

"We see assistive devices as the foundation for the future ecosystem of electronic implants which we believe have the biggest potential in unleashing human abilities, eliminating diseases and prolonging lives," she said.

Other recent prosthetics featured on Dezeen include a prosthetic leg for amputee ballet dancers by Jae-Hyun An and an exoskeleton that paralysed individuals can control with their mind creaed by researchers at Grenoble university.

The photography is courtesy ofEsper Bionics.

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Textures fabric collection by Dedar

Dezeen Showroom: designed to feel soft while offering long-lasting strength, Dedar's Textures collection intend to showcase the beauty and luxuriousness of natural fibres.

Dedar aims to emphasise the natural beauty of irregularity with the Textures collection, whose fabrics feature bumps, ripples and visible weaves.

A Perfect Flower has an even warp and weft, and comes in a range of 27 rich hues

Among the collection is the wool fabric called A Perfect Flower, which is made from an ondé yarn that Dedar describes as having "an exuberant personality" that "ripples" the surface.

Available in 27 intense colours, A Perfect Flower is characterised by the evenness of warp and weft pattern, which Dedar says makes it a perfect match for modern Nordic style.

Per Inciso is a soft Jacquard chenille with great variation in texture

Another fabric in the Textures collection is Per Inciso, a Jacquard chenille with a visible contrast between its soft white yarn and glimpses of delicate coloured thread.

Per Inciso is also available in a metallic version, and as with all fabrics in the Textures collection, it has a softness and durability that makes it a good choice for upholstery.

Product: Textures

Brand: Dedar

Contact: info@dedar.com

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Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen's huge global audience. For more details emailshowroom@dezeen.com.

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Ohhcean sex toys are made from recycled ocean plastic

Danish brand Sinful has created a range of three sex toys using ocean plastic collected in Southeast Asia.

The Ohhcean collection comprises a wand and two vibrators — all made entirely from ocean-bound plastic. A thin layer of silicone covers the products to make them waterproof and pleasurable.

"The question was how to take something that already exists and put it to new use?" Mathilde Mackowski, co-owner of Sinful told Dezeen.

"The answer for us, at this moment, was ocean-bound plastic – we want to focus on different ways to approach production and think in new ways concerning material," she said.

Ohhcean is a range of vibrators and wands made from ocean plastic

The brand worked with Tide, a Swiss manufacturing company that turns waste plastic into products, to create the Ohhcean range.

In collaboration with local fishermen, Tide sources thermoplastic polyethene terephthalate (PET) plastic from shorelines around oceans, streams and lakes in Thailand.

For Ohhcean, the company collected plastic bottle lids that were then washed and shredded into small pieces before being processed using renewable energy.

The sex toys come in aqua colours

The resulting sex toys – a magic wand, vibrator and body massager – are available in a variety of hues, from sea green to royal blue.

As well as being made from natural materials, the sex toys have an organic look, with curved shapes and a smooth feel. They are all fully rechargeable and the vibrators come with seven different vibration patterns.

"The ocean has been our inspiration from day one so naturally, we've been influenced by soft shapes," explained Mackowski. "The organic meeting of the waves when they clash and the curves of a drop."

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Mackowski embarked on creating the range after noticing that there was nothing available on the market that was made fully from recycled plastic.

"The ocean plastics emergency has never been so widely reported, and rethinking plastic production within the sex toy industry had to arrive sooner or later," she said.

"We just weren't ready to wait for anyone else to get moving," she added.

The plastic is collected from oceans in Southeast Asia

Eventually, Mackowski hopes that the same material will be used to expand the range, but she believes that it will take time for recycled plastics to be as easily accessible as those typically used for sex toys.

"Reducing the impact of my products on the planet became an obsession, but it also proved to be a long and complex journey met with many challenges, but consideration for the environment was first and foremost," she said.

"The products from Ohhcean by Sinful had to be nothing short of a luxurious sex toy but this is just the beginning," she added.

Plastic has long been used to produce sex toys, but the material's environmental impact has led some consumers to opt for less damaging options across products of all kinds.

In response, designers including Shahar Livne have turned to ocean plastic to create fossil-like jewellery for Balenciaga, and brands such as Adidas have used the recycled material for a range of apparel.

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#all #design #products #productdesign #plastic #sextoydesign #oceanplastic #recycledplastic #recycling

M|R Walls by Mario Romano for CDUK

Dezeen Showroom: designer Mario Romano has created the M|R Walls line of decorative walls for CDUK, featuring motifs sharply cut into smooth Corian solid surface material.

Created in collaboration with lighting manufacturer Applelec, M|R Walls are textured with nature-inspired patterns designed by Romano, a designer specialising in digital fabrication and architecture.

Mario Romano created patterns informed by nature, including Leaf

Romano used custom digital tools, CNC machining and moulding to create the designs, which are unlimited in scale and have a smooth, continuous appearance, despite being easy to install in puzzle-like pieces.

Twelve different M|R Walls patterns are available in a choice of five Corian shades of white and grey. Bespoke options are also available on request.

The multidimensional feature walls can be completed with backlighting, surface lighting or smart lighting

M|R Walls are non-porous, easy to clean, and impervious to water, bacteria and mould.

The feature walls can be customised with surface lighting, smart lighting, or backlighting, taking advantage of Corian's translucency.

Product: M|R Walls

Designer: Mario Romano

Brand: CDUK

Contact: info@cdukltd.co.uk

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Kaleidoscope collection by Karndean Designflooring

Dezeen Showroom: flooring brand Karndean Designflooring has released its Kaleidoscope collection of vinyl flooring combining wood, stone and block colour styles.

The Kaleidoscope luxury vinyl tiles come in eight geometric shapes, including herringbone-style Apex and cube-like Cubix, which can be arranged into custom patterns.

The Kaleidoscope luxury vinyl tile collection features wood and stone effects as well as solid colours

Ideal for busy commercial environments, Kaleidoscope allows designers to create a natural aesthetic while enjoying the added durability and flexibility of luxury vinyl tiles.

"The tiles and planks, combined with borders and inset strips, can be formed into many 'standard' designs, but Kaleidoscope designs push this to a new level of design, allowing complete freedom for unique shapes, sizes, colour combinations and patterns," said Karndean Designflooring London specification manager Richard Strong.

The tiles are ideal for busy commercial environments such as hospitality venues

Through the layout of tiles, Kaleidoscope can be used to partition large rooms into zones or to facilitate wayfinding with subtle directional guidance.

Designers can explore the possibilities using Karndean Designflooring's CGI visualisation tool, which inserts the flooring into 360-degree virtual environments.

Product: Kaleidoscope

Brand: Karndean Designflooring

Contact: commercial@karndean.co.uk

Dezeen Showroom

Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen's huge global audience. For more details emailshowroom@dezeen.com.

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Souhaïb Ghanmi uses animal bones instead of plastic for minimalist sockets and light switches

Waste bovine bones from the meat industry have been ground into a powder and turned into a collection of light switches and electrical outlets by ÉCAL graduate Souhaïb Ghanmi.

The Elos range features sinuous silhouettes modelled on different parts of the human skeleton, including a socket designed to resemble the head of a thigh bone that is capable of rotating in its baseplate like a hip joint.

The Elos collection encompasses sockets (above), switches and USB-charging ports (top image)

Matching light switches and USB charging ports are cast in moulds that reference the organic shape of a cross-sectioned femur but still resemble their conventional plastic counterparts.

By harnessing bone's natural properties as an electric and thermal insulator, the collection finds a renewed purpose for this age-old material, which was traditionally carved into tools or fired to create bone china.

The fittings are made from bone powder mixed with a bio-based binder

Ghanmi hopes that his project can help to break our reliance on fossil plastics while making a dent in the more than 130 billion kilograms of bone waste produced by slaughterhouses every year.

"This mineral material, which has no commercial value today, has been used for the manufacture of domestic objects by various peoples throughout history," he told Dezeen.

"In the past, bone was the equivalent of plastic, and nowadays plastic is one of the biggest ecological problems. It is therefore obvious to me to return to this primitive material to apply it to our daily lives."

Phones can rest on the protruding baseplate of the USB port while charging

Ghanmi came up with the idea for the collection after staying with his father's family in rural Tunisia during the Muslim festival of Eid al-Adha, when a ritual animal is sacrificed and its meat split equally between family, friends and those in need.

The festivities allowed Ghanmi to witness first-hand the vast amount of biological waste – such as hooves, hides and tendons – that is generated in the process of slaughtering an animal.

"My uncle used to recover the bones after the festivities and make knife handles out of them," Ghanmi remembered. "Thanks to him, I became curious about this material, which before I considered as waste."

The sockets can rotate to protect cables from wear and tear

In Canada and the US – one of the most meat-fed countries in the world – farms and slaughterhouses generate more than 31 million tons of inedible animal by-products every year.

A large part of this ends up in landfills or incinerated, releasing greenhouse gases during decomposition or combustion.

Just over half, around 16 million tons, is processed into useful products by rendering companies. Here, the bones are cleaned, dried and crushed to make fuel, fertiliser, animal feed and gelatin.

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Ghanmi sourced the bone powder for his Elos collection from one of these rendering plants and mixed it with a bio-based binder.

As part of his research, the designer experimented with multiple different binder options, including bioresins and different glues made using bovine nerves and bone collagen.

"As I'm currently working on it for a possible development, I'm afraid I can't share specific details of the production," he said. "However, the aim is for the material to only use bones itself and for it to be durable and recyclable."

The light switches are modelled on the shape of a cross-section thigh bone

After being mixed with a binder, the material is cast into the desired shape in a process not dissimilar from the one used traditionally to create switches and sockets, which are compression-moulded using urea-formaldehyde (UF).

This thermosetting plastic does not remelt when exposed to heat, making it suited to use in electronics but at the same time exceedingly difficult and uneconomical to recycle.

In a bid to offer a circular alternative to this, Ghanmi is working on optimising the durability and recyclability of his bone composite so that it can be crushed back into a powder and formed into new products.

The protruding baseplate can also act as a cable reel

Certified for safety and performance, he says bone could be used to substitute plastic components in lighting and electronics, which would help to drive up the demand for animal by-products and create an increased financial incentive for keeping them out of landfills.

Alongside switching to regenerative agricultural practices and reducing meat production overall, this could ultimately help to create a more responsible way of farming livestock.

With a similar aim, Icelandic designer Valdís Steinarsdóttir has previously created vessels from animal bones and collagen that dissolve in hot water, while ceramicist Gregg Moore created tableware for a nose-to-tail restaurant in New York using waste bones from its kitchen.

The photography is byNoé Cotter.

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#all #products #design #materials #technology #highlights #bones #écal #studentprojects #plugs #graduates

HP calls for "seamless remote working" for architects and engineers

Promotion: technology brand HP has identified how its range of large-format printers can support architecture, engineering and construction professionals working from home.

As remote working has become the preferred option for many since the pandemic, HP is focused on improving connectivity for teams working across different locations.

Recognising the importance of collaboration in the architecture, engineering and construction (AEC) sector, it has identified how its products can support a concept of "seamless remote working".

HP printers can support team communication when working from home

"Creating the spaces and workplaces of tomorrow is the great challenge of today; to design and build spaces for people to work and live in that are more secure, sustainable, and inclusive," said HP.

"Because the fixed office is no longer a given, hybrid spaces are the ways in which we will live and work in the future," it continued.

"Success lies in having the means to stay connected, creative and healthy while working from home."

Printers can support integration between physical and digital working

Industry research suggests that two thirds of construction firms will retain home working after the pandemic, while 77 per cent of professional architects plan to work from home to save money.

HP has developed guidance to show how its large-format printers can support these remote working setups.

Printed drawings can help to reduce communication errors

It firstly advises the use of high-spec computer hardware, to enable fast networking and cope with various software packages such as BIM, augmented and virtual reality, and 3D design tools, which can put a strain on operating systems.

It suggests that HP large-format printers can support integration between physical and digital working, helping to make sense of complex plans and reducing errors.

"Digital representations are useful but can introduce errors by confusing distances and relative positions, whereas printed versions are unambiguous," said HP.

HP large-format printers allow users to print from anywhere

These printers can also support collaboration, by creating opportunities for real-time brainstorms and white-boarding.

Connected tools make it possible for users to print from anywhere, from any device, while built-in scanners make it easy for sketches or hand-annotated drawings to be shared with colleagues.

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Endpoint protection is incorporated, to offer optimal security from hackers.

The guidance also advises a focus on wellbeing. Tips include substituting a commute for a morning walk, creating an ergonomic workspace and making a conscious effort to improve nutrition.

Built-in scanners allow colleagues to share hand-annotated drawings

"Reliable and intuitive technology" can support all of these activities, according to HP.

"By relying on the right environment, routines and equipment, such as large-format printers, AEC professionals can maintain productivity, collaboration and relationships with team members and clients who are also working remotely," it said.

"Technology and collaboration will help talented teams redesign and rebuild the world more sustainably and effectively."

_For more information about HP's DesignJet range,visit the brand's website. Register now for HP's AEC webinar series, which aims to explain how leading specialists are helping to build a better world through smarter design and construction. _

Partnership content

This article was written by Dezeen for HP as part of a partnership. Find out more about Dezeen partnership contenthere.

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#all #products #technology #promotions

Dotplot device monitors changes in breast health

Postgraduate students at the Royal College of Art have created a portable tool to help women check their breasts for abnormalities.

The handheld device, called Dotplot, is a breast health monitoring tool that uses sensing technology – a technology that uses sensors to acquire information by detecting the physical, chemical, or biological property quantities and convert them into readable signal – to build a map of the user's chest and take readings of their breast tissue.

Dotplot is a breast monitoring device

Dotplot is programmed to identify different areas around the breast in order to map the reading to a specific point, meaning that any changes in tissue density can easily be detected.

When used over a period of several months, it's able to provide month-by-month comparisons of breast tissue, helping to flag abnormalities as soon as possible. The long-term goal is to help more women detect potential breast cancer earlier.

It uses sensing technology to create a map of the user's breasts

"Our goal at Dotplot is to eliminate the confusion and misconceptions surrounding self-checks," Royal College of Arts (RCA) students Debra Babalola, Shefali Bohra, Himari Tamamura and Yukun Ge told Dezeen.

"We want women to take care of their breast health with confidence, clarity and ease," they continued.

The device can be connected to an app that guides users as they check their breasts

Women can connect the Dotplot device to an app via Bluetooth and while pressing the device to their chest, they can read a step-by-step guide on how to check each area of their breasts.

Instructions include prompting women to follow the on-screen marker to move the device across the chest to cover the entire chest.

The app provides real-time feedback and at the end of each check, it creates a report which can be compared to statistics gathered from previous months. It also reminds users to conduct a check each month.

The tool builds a map of the user's chest and takes readings of their breast tissue

The first phase of developing the device prototype involved asking a group of women of different ages how regularly and in what ways they check their breasts.

The students found that many women are confused or even scared of conducting breast self-checks, despite it being a key method in helping to detect breast cancer in its early stages. This feedback informed the final design.

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"We were surprised to hear that women who had been shown how to conduct self-checks by their general practitioners were still not 100 per cent sure that they were doing them correctly," said the designers.

"Others worry that the moment a lump is found, death is certain and this has deterred women from checking their breasts as regularly as they should, in fear of feeling a lump or abnormality."

"It highlighted that the demonstrations, pamphlets and tutorials provided for breast health care – though useful – were insufficient," they continued.

It comes in a choice of colours

The students hope that Dotplot will help prevent more cancer diagnoses while encouraging women to make a habit of checking their breasts.

"We aim to make breast health care routine and demonstrate that discovering changes in your breast tissue is not something to be feared – especially when detected in good time," they said.

"We then asked ourselves, how can we ensure that women perform these checks correctly in order to reduce the number of deaths per incidence of breast cancer?" they added.

"The good news is that early detection increases survival rates to 93 per cent, so when caught on time the prognosis is significantly improved."

The students hope that it helps more women detect cancers earlier

Babalola, Bohra, Tamamura and Ge developed Dotplot as part of studies on Innovation Design Engineering, a course run by RCA and Imperial College London.

Past designs by students at the RCA include Nat Martin's Scroll ring which enables wearers to interact with augmented reality and Brian Black's virtual-reality proposal that would give people the opportunity to drive NASA's rovers in space.

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#all #products #design #technology #royalcollegeofart #studentprojects #gadgets #health #healthproducts

Si vous fréquentez encore les supermarchés, un petit rappel sur les produits et
#marques liées à #Monsanto et aux #OGM : à snober d'urgence
Monsanto and gmo #PRODUCTS AND #brands to avoid

Leica M11 First Impressions: It Could Actually Be Your Primary Camera

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Kelly Wearstler creates modernist Gingerbread Dreamhouse

Interior designer Kelly Wearstler has put an architectural spin on a Christmas classic, creating a gingerbread house in a California modernist style.

Wearstler designed the limited-edition Gingerbread Dreamhouse in collaboration with pastry chef Mark Tasker from New York restaurant Balthazar and entrepreneur Richard Christiansen from food retailer Flamingo Estate, with all proceeds going to charity.

The Gingerbread Dreamhouse is a modernist take on a festive tradition

"Gingerbread houses are such an iconic and traditional staple of the holiday season but Richard Christiansen of Flamingo Estate and I wanted to give them a classic Californian contemporary spin," Wearstler told Dezeen.

Instead of the typical gabled cottage, Wearstler's gingerbread house has the intersecting flat planes of a low-lying modernist home. Porthole windows and a white checkerboard icing facade, with varying sizes of checks, complete the look.

The house is made entirely from gingerbread and icing, with features such as a checkerboard facade and round windows

"We drew inspiration from many iconic mid-century and brutalist homes in Southern California, particularly Rudolph Schindler and Frank Lloyd Wright's iconic architecture," Wearstler said.

The structure is built entirely from gingerbread biscuits with icing as the bonding material.

While coming up with a design that would be strong and stable under these constraints was challenging, Wearstler found that mid-century style was actually perfectly suited to the task.

"The main challenge was designing an incredible house that could be easily assembled in the classic gingerbread style," said Wearstler. "We really leaned into the flat-pack, simple planes of modernist architecture and it truly all fell into place."

Wearstler devised the Dreamhouse design in collaboration with Richard Christiansen of Flamingo Estate

"In the end, we designed a house we would actually like to live in," she continued. "We often think of gingerbread homes existing in cold, alpine climates but ours is a desert home with sharp lines and a modern attitude."

One hundred Gingerbread Dreamhouses have been made in total, and are available to purchase via the Flamingo Estate website for US$650 (£490).

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All proceeds will go to Create Structure, a charity that aids communities to rebuild after natural disasters.

Wearstler founded her design studio in 1995 and is best known for her hotel projects, such as San Francisco Proper, which combines vintage European design for an eclectic look.

Her recent work has included the renovation of a 1950s Malibu beachfront cottage and a virtual house-garage hybrid designed for basketball player LeBron James' electric Hummer.

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#products #all #architecture #design #christmas #cakes #kellywearstler

Stuart Semple develops White 2.0 as world's "brightest white paint"

British artist Stuart Semple has unveiled the "whitest white paint" in his latest quest to produce the most pigmented versions of colours for painting.

Having already laid claims to the world's pinkest pink and the blackest black, Semple has now developed what he claims to be the whitest white paint available for artists.

White 2.0 is made from a specially developed acrylic base, high-quality pigments, resins, optical brighteners and mattifiers, which allow it to reflect 99.98 per cent of light and make it dazzlingly bright. According to Semple, White 2.0 is 50 per cent brighter than the bestselling white paint.

"It really is the brightest white paint I've ever seen, and I couldn’t believe it when the lab results came back to say it was 50 per cent brighter than any other," Semple told Dezeen.

White 2.0 is a bright white acrylic paint by Semple

White 2.0 builds on a "beta version" of the white paint, which Semple created as a prototype with his team of scientists a few years ago, following varied research.

"We drew inspiration from the ghost beetle, but we also looked at luminescence in plants and natural whites that reflect light across the whole visible spectrum," he said.

"We looked at surfaces that diffused light, not just from nature but human-made materials like the barium paints that were used as early as the 15th century by the likes of artists like Caravaggio."

The artist claims the paint is the whitest available for artists

During the coronavirus lockdown, Semple then enlisted the help of 2,000 artists to trial three versions of the material while painting at home. The artists were asked to fill out a questionnaire about the paint after use.

This enabled him to understand exactly what users were looking for while working with the paint.

"Then we set about making a hybrid of all the features we knew it needed, which took a further couple of years and was a huge process of testing and trial and error," he recalled.

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](https://www.dezeen.com/2019/02/05/black-3-0-stuart-semple-anish-kapoor-vantablack/)

The final version of the paint has been made using instant recoat technology, which means that it doesn't require multiple layers to achieve the desired opaque effect, even when applied to more challenging surfaces.

It can be applied with a brush, spray it onto a variety of materials including paper, wood, metal and glass.

"One of the most powerful qualities of White 2.0 is its incredible opacity, removing the need for layers and layers of paint upon darker surfaces," explained Semple.

The paint was designed using research on luminescence in plants

Although an extremely white paint by Purdue University is already available for industrial purposes, Semple hopes that his paint – which costs £19.99 – will be used by anyone regardless of their artistic capabilities.

Semple has made headlines over the last five years during his battle to develop the blackest black in the world. In 2019, he produced Black 3.0, a black paint that rivals sculptor Anish Kapoor's Vantablack.

Prior to that, he released a cherry-scented version of the black pigment which can be purchased by anyone apart from Kapoor.

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#products #all #design #news #art #materials #stuartsemple #paint #colour

Intricate InstaSwab by OPT Industries was designed to enable better medical testing

Advanced manufacturing company OPT Industries has used computational design techniques to create a medical swab that aims to improve clinical testing during the coronavirus pandemic and beyond.

The InstaSwab is made of precisely engineered polymer fibres, each thinner than a human hair.

Five different InstaSwab models by OPT Industries

These fibres are arranged into patterns that allow the swab to morph, twist and expand more than a traditional cotton or nylon swab.

This means that the swab can absorb more fluid than regular swabs and expel it quickly when squeezed into a vial, which provides a higher sample concentration for better diagnostics, OPT Industries said.

The pattern of fibres in each bulb allows the swab to morph, twist and expand

After developing the innovation at the Massachusetts Institute of Technology Media Lab, designer and researcher Jifei Ou founded OPT Industries to mass-produce the InstaSwab.

Ou was able to manufacture throughout the Covid-19 pandemic, when traditional swabs were in short supply. The company believes its product is ideal for rapid diagnostic kits requiring high sample sensitivity, such as those used during the pandemic.

For Covid-19 testing, there are nasopharyngeal, mid-turbinate, anterior and saliva-based sampling swabs

"As an advanced manufacturing company, we see the value in building micro-scale technologies that solve macro-scale challenges," said OPT Industries.

"Taking inspiration from systems built by nature, these fibres can morph, twist, and transform into any pattern, capturing fluids more accurately than before and releasing samples effortlessly for testing."

OPT Industries says its product is ideal for rapid diagnostic kits

The InstaSwab comes in a range of shapes and sizes for various different kinds of testing and can be also be customised.

The Covid-19 collection, for instance, includes nasopharyngeal, mid-turbinate, anterior and saliva-based sampling swabs.

In addition to its diagnostic benefits, the company claims the Instaswab is more comfortable to use for the patient, as it has a flexible shaft and soft compressive tip that are more gentle on the nasal cavity.

To make it easy to use, the swab also has a textured handle to prevent slipping and a customisable depth indicator.

OPT Industries manufactured its swabs during the coronavirus pandemic

The handle is notched at the midpoint to allow it to be easily broken off and deposited into test vials.

OPT Industries makes the swabs using its own proprietary design software and an advanced digital manufacturing process.

The swabs can absorb and expel fluid more efficiently than traditional cotton or nylon products

The process includes optical lithography, which involves creating patterns in material using light, as well as computational optimisation and functional polymer processing.

OPT Industries is now building off InstaSwab to develop sampling solutions for environmental testing, including testing for water pollution and agricultural infestations.

The fibres of the InstaSwab are finer than a human hair

Ou's previous work at MIT has included making inflatables that fold themselves from flat sheets into complex origami and 3D-printing hair-like structures.

InstaSwab is shortlisted in the product design category of the Dezeen Awards 2021. Other designs in contention include a build-your-own football for impoverished children by Nendo and the Japanese wood-coloured Forest Crayons by Playfool.

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#products #all #design #technology #mit #health #healthproducts #coronavirus

Watch: Dragon scale solar tiles installed on Google buildings in Silicon Valley

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Some 90,000 individual solar panels will generate enough electricity to cover around 40% of the electricity use in two buildings for Google.
https://pv-magazine-usa.com/2021/10/26/watch-dragon-scale-solar-tiles-installed-on-google-buildings-in-silicon-valley/
#pv, #industrial, #google, #integrated, #photovoltaic, #building, #products, #commercial

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Mathieu Lehanneur designs 3D-printed sculptures based on population statistics

French artist Mathieu Lehanneur has used population data from 140 countries to create a collection of 3D-printed aluminium sculptures.

Called State of the World, the sculptures were presented at an exhibition at Design Miami/Basel.

Top: State of the World was exhibited at Design Miami/Basel. Above: the sculptures are based on population data

Each solid sculpture represents one individual country. The country's birthrate, life expectancy and history are reflected in the shape of the sculpture, with each individual groove representing an age from 1-100.

At the base is newborn children, while the peak represents the elderly. Most of the sculptures are bottom-heavy, demonstrating how few people in society live to be 100 years old.

Lehanneur sourced the data from a UN database

"The idea was to make visible and to also understand all the people who are living right now on the same planet," Lehanneur told Dezeen.

"I wanted to change the two-dimensional statistics into a three-dimensional object – like a spinning object," he said. "You can see that every single silhouette is different from one another."

Each groove represents an age from 1-100

Lehanneur retrieved the population data from a United Nations (UN) database, where it was originally depicted in mathematical graphs.

In order to accurately represent each age demographic to the half millimetre, he 3D-printed the sculptures from aluminium.

"I decided to use the aluminium because when you mash it in carefully, you can absolutely respect every single dimension," he said.

"For me, it makes sense to be extremely precise because every single millimetre means thousands of years."

Lehanneur also created a silver sculpture that represents the population data for all of Earth, which is much wider at its base than its top, showing how young the majority of the planet's population is.

A single silver sculpture represents data from the entire planet

State of the World is the continuation of an earlier series of sculptures by the designer, called The Age of the World, created in 2009.

That project, a collection of ceramic urns, represented the ages of the population in France, the USA, Japan, Egypt and Russia.

Although he started the project a decade ago, Lehanneur believes that 2021 was the right year to finalise and exhibit State of the World because of the coronavirus pandemic.

"This is a turning point in the history of humanity," he reflected. "It's super rare that the entire world basically lived the same catastrophe."

"This moment of the reopening of the world was the right moment," he added.

Lehanneur is known for artwork that explores the relationship between the living world and objects, such as a black marble table that looks like the sea.

The artist also created a range of black marble furniture sculptures that mimic waves in the ocean.

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#products #all #design #mathieulehanneur #art #sculptures #designmiamibasel

Ten lesser-known designs by women from the past century

Architect Jane Hall's Woman Made book celebrates the work of over 200 women designers from the past century. The author picks 10 items designed by lesser-known women from the book.

Illustrated with images of objects made by female designers, including Zaha Hadid and Ray Eames, Hall's book charts 100 years of work using a simple A-Z structure that focuses on one product per designer.

The book serves as an encyclopedia of household objects made by women. According to Hall, the book aims "trace how women's roles have changed throughout the 20th and 21st century".

Woman Made: Great Women Designers includes designers from over 50 countries around the world and with products made by both household names and lesser-known women.

"I wanted it to be as far-reaching as possible in a way that a lot of other books of the same ilk don't really offer or don't really attempt to do," Hall told Dezeen.

"Often these narratives can end up being a little bit one-sided, or just creating a well-known history of women that already exists, so hopefully there are quite a few surprises in this book," said the designer.

Hall is co-founder of Turner Prize-winning architecture studio Assemble. Below, she chooses 10 projects by women designers from her book, most of whom she believes are relatively unknown.

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Photo by Soft Geometry

Elio light, 2020, by Utharaa Zacharias

"Originally from Kochi in southern India, co-founder of Soft Geometry, Utharaa Zacharias moved to New Delhi to study product design at the National Institute of Fashion Technology, where she met co-founder, Palaash Chaudhary.

"Describing New Delhi as 'ripe with inspiration, materials, tools, and ingenuity', Zacharias and Chaudhary went on to study furniture design at the Savannah College of Art and Design in the US. The Elio Light was inspired by a photo series capturing the interplay between light and transparency on glass, water, skin, and even dust."

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Photo by hedwig-bollhagen.de

Watering can, 1955, by Hedwig Bollhagen

"At 20 years old while still a student at a technical college, Hedwig Bollhagen became the supervisor of an entire department of 'paint girls' in a stoneware ceramics factory near Berlin.

"Bollhagen created simple, affordable ceramics and in 1934 became the artistic director of a ceramic workshop previously owned by Bauhaus ceramicist Margarete Heymann-Loebenstein.

"The ceramic 766 Watering Can is notable for its absence of a handle, instead featuring two ergonomic indentations. Despite her influential legacy, Bollhagen herself described her work as 'just pots'."

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Photo by Archivo Privato Gegia Bronzini

Striped fabric, 1964, by Gegia Bronzini

"Gegia Bronzini, fascinated by the work of the female farmers in Marocco, Venice, was inspired to purchase a loom and went on to found a small weaving school there.

"She began experimenting with colour and texture, incorporating unusual materials such as broom bristles and corn husks into natural silk and linen yarns.

"The heavy silk seen here features bands of horizontal stripes in rich hues. Described in 2020 by Domus magazine as a "textile diva," Bronzini also designed furniture for notable Italian designers including Ico and Luisa Parisi."

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Photo by Modest Furniture / Arne Jennard

Karelia easy chair, 1966, by Liisi Beckman

"Finnish designer Liisi Beckmann is somewhat of a mystery. Although she moved to Milan in 1957 and established a successful career designing for Italian design firms, her designs remain mostly invisible, with the exception of the Karelia easy chair designed for Zanotta in 1966.

"Its undulating form of expanded polyurethane foam covered in vinyl is inspired by the coves of Karelia in Finland where Beckmann grew up. Beckmann's designs from this period are now held in the Helsinki Design Museum."

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Photo by Design by Leva Kaleja

Milo chair, 2018, by Marie Burgos

"Marie Burgos's furniture designs and product line are inspired by her appreciation of mid-century design and the aesthetics of both the natural landscape and built environment of the Caribbean island of Martinique, her ancestral home.

"A certified master in feng shui, Burgos pairs opposites, such as clean lines with curves, hard textures with soft, to achieve a sense of balance. The Milo Chair, for example, combines handcrafted wood legs with raspberry-hued velvet upholstery; its plush, curvy form is suggestive of a hug."

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Photo by Kartell US

Componibili modular storage system,1967, by Anna Castelli Ferrieri

"Anna Castelli Ferrieri was heavily influenced by European architecture circles; she helped to organise the Congrès Internationale d'Architecture Moderne (CIAM) 1949 meeting and edited the architectural and product design magazine Casabella.

"She began working for the Italian postwar Neo-Rationalist Franco Albini, whom she called her 'maestro', and his partner, Franca Helg.

"She was the first woman to graduate in architecture from the Politecnico di Milano and founded the plastic furniture fabrication company Kartell. Many of her designs are still in production, including the popular Componibili Modular Storage System."

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Photo by Eliseu Cavalcante

Dune collection, 2017, by Lisa Ertel

"The Dune collection, described by designer Lisa Ertel as a family of archaic seating, is made from solid spruce wood, sandblasted to create a textured surface throwing the wood's grain into relief. This transforms the annual rings of a tree that reveal its age into a tactile surface.

"The German-born designer based the forms of Dune on traditional German Ruhsteine, stone benches placed on the side of roads where historically travellers would stop to rest and was designed while Ertel was still a student of product design at the State College of Design Center for Art and Media."

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Photo by Hannah Whitaker

Kenny dining table, 2018, by Egg Collective

"Egg Collective began through informal weekly dinner meetings between its three founders, Stephanie Beamer, Crystal Ellis, and Hillary Petrie. The trio chose the name Egg Collective to symbolise the group's creative design incubation while also referencing a naturally occurring sculptural form.

"All of their woodwork is fabricated, finished, and assembled in-house at their base in New York.

"Core designs like the Kenny Dining Table establish confident forms that are then iterated using a variety of materials, such as the walnut top and base seen here. The group frequently promotes the work of women in the industry, as organisers of the exhibition Designing Women for the non-profit arts organization NYCxDESIGN."

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Photo by Blend Interiors

Counter stool, c 1970s, by Cleo Baldon

"Cleo Baldon was already the owner of a successful landscape design business, Galper-Baldon Associates, before she founded a sister company, Terra, to manufacture furniture to accompany some of the 3,000 swimming pools she herself designed across Southern California.

"Baldon drew on the ubiquitous Spanish colonial motifs of Los Angeles, combining wrought natural wood and leather upholstery, as seen in these typical Counter Stools."

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Photo by George Nakashima Woodworkers

Concordia chair, 2003, by Mira Nakashima

"Mira Nakashima's pieces celebrate the knots and idiosyncrasies found in timber, reflecting the dictum of her father, George Nakashima, that there is a perfect and singular piece of wood for each design. Nakashima inherited her father's woodworking studio in 1990 after studying architecture in Tokyo.

"Her approach has introduced more angles and curves to the work of Nakashima Studios, which continues to be based on the craft-based traditions of her father with the richness and texture of wood still very much in evidence. The walnut Concordia Chair was created for a group of local chamber musicians."

The images are courtesy of Phaidon.

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#furniture #all #products #design #books #features #phaidon #roundups #womeninarchitectureanddesign #diversity #janehall

Holliwood-like movies are a jail for the human mind.

https://notesandsilence.com/2021/08/30/therefore-im-bored/

#consumerism #practice #psychology #manipulation
#mind #silence #peace #meditation #freedom #mass #products

This Lens Kit Turns Your Room Into a Right-Side-Up Camera Obscura

Finnish company Bonfoton has launched the BonfotonUP, a new device that allows users to project a camera obscura image right-side-up in contrast to how the visual phenomenon -- projected onto walls -- is traditionally formed upside-down.

Camera obscura, which means "dark chamber" in Latin, is an early ancestor of the photographic camera. The phenomenon can be achieved by blocking out any incoming light in a room and creating a small hole that projects the outdoor scene into the room. The brighter it is outside, the more crisp the projected details and colors are.

By Tommi Pirnes

The visual effect works as sunlight transfers images through straight moving rays of light that are then reflected in all directions. When those rays enter a darkened or blacked-out room through a small hole, the alive and colorful image is then projected upside-down on all the room's walls.

Although anyone can create their own DIY version of camera obscura at home using office supplies to create a simple pinhole, the Finland-based company Bonfoton released its own camera obscura lens in 2017 that helps focus light onto walls, which then creates a sharper and brighter image compared to using a pinhole. The new lens helped project a more vibrant scene, but it was still upside down.

This time, however, Bonfoton has developed an improved optomechanical device called the BonfotonUP -- with the help of an optical system design professor and a mechanical engineer -- that can project the scene the right-side-up. The BonfotonUP kit includes two switchable lenses for use in different room sizes, has a direct attachment to the window screen using a strong suction cup, is compatible with tripod use, and the image position on the wall can be adjusted vertically using the optical head tilting mechanism.

By Tommi Pirnes By Tommi Pirnes

To achieve an upright view, the device uses a large optical-grade glass prism that weighs 400 grams (0.9 lbs). This prism facilitates the inversion of the propagating light, along the longitudinal axis of the prism for the second time by 180-degrees, thus creating a clear and colorful upright image.

By Tommi Pirnes

Although the camera obscura phenomenon can make for interesting photos and timelapses, it can also be used for educational purposes to introduce newcomers to photographic principles. The BonfotonUP kit is available for €439 ($515) on the company's website and the Bonfoton Instagram page showcases many different photos achieved by those who use the company's products.

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Image credits: All images individually credited and provided courtesy of Bonfoton.

#equipment #news #products #bonfoton #bonfotonup #cameraobscura #educational #lens #newlens #pinhole #projector

Carbon-capturing Celour paint allows anyone to "participate in CO2 removal in their daily lives"

Design graduate Kukbong Kim has developed a paint made from demolished concrete that is capable of absorbing 20 per cent of its weight in carbon.

Called Celour, the paint can sequester 27 grams of CO2 for every 135 grams of paint used.

"That is the same amount of carbon dioxide that a normal tree absorbs per day," Kim said.

The indoor-outdoor paint is made of waste concrete powder, a cement-based residue from concrete recycling that is normally buried in landfills, where it can alkalise the soil and have a detrimental effect on local ecosystems.

Celour is a carbon-capturing paint that comes in three colours

Through a chemical process called mineral carbonation, which takes place when the paint reacts with the CO2 in the surrounding air, Kim says Celour can reabsorb a significant part of the emissions that were generated by producing the cement in the first place.

Eventually, she hopes to optimise the capturing capacity of the paint so that it completely negates the carbon footprint of the cement it is made from.

"I think it is too early to describe Celour as carbon neutral," Kim said. "It needs further study but I want to make it a carbon-negative product. That is my goal."

"It's not enough if we just stop emissions, as we already have high levels of CO2 in the air," she added. "We need to participate in CO2 removal in our daily lives."

Concrete naturally reabsorbs some of the carbon it emits

Cement is the most carbon-intensive ingredient in concrete and is responsible for eight per cent of global emissions.

But when concrete is recycled, only the aggregate is reused while the cement binder is pulverised to create waste concrete powder and sent to landfill, where it can disturb the pH balance of the surrounding soil.

"Waste concrete powder is high in calcium oxide," Kim explained. "And when it is buried and comes into contact with groundwater or water in the soil, it turns into calcium hydroxide, which is strongly alkaline."

The waste concrete powder is filtered, pulverised and mixed with a binder, water and pigments

With her graduate project from the Royal College of Art and Imperial College London, the designer hopes to show the usefulness of this industrial waste material by maximising its natural ability to capture carbon.

Studies have shown that cement already reabsorbs around 43 per cent of the CO2 that is generated in its production through the mineral carbonation process.

This is set off when concrete is cured by adding water, which reacts with the calcium oxide in the cement and the CO2 in the air to form a stable mineral called calcium carbonate or limestone.

A traditional concrete block continues to cure throughout its life but because this process is reliant on exposure to air, only its outer layers will react with the CO2 while its core will remain uncarbonated.

Celour could store carbon for thousands of years

But Kim was able to improve the material's carbon-capturing capabilities by turning the waste concrete pounder into a paint, mixed with a binder, water and pigments.

This is spread thinly on a surface so that more of the material is exposed to the air and can carbonate.

In addition, the coarse powder was further filtered and pulverised to increase the relative surface area of the particles while a polyvinyl alcohol (PVA) binder creates small gaps for air to enter.

"I have done a lot of experiments with different ingredients to maximise carbon absorption by increasing the surface area that comes into contact with carbon dioxide in the air," she explained.

"Graphene, which can capture lots of carbon thanks to its structure, was also considered as a binder but excluded because it is currently priced high and cannot be mass-produced."

The paint can be used both indoors and outdoors

Cement has long been used to create traditional paint, which is also capable of sequestering CO2. But Kim hopes to harness these carbon-capturing benefits while keeping a polluting waste material out of landfills and avoiding the emissions associated with making new cement.

How long the paint is capable of storing carbon is dependent on what happens to it after it is no longer needed. But Kim says it could be locked away for thousands of years unless exposed to extreme heat, which would alter the chemical structure of the carbonate.

As part of our carbon revolution series, Dezeen has profiled a number of carbon capture and utilisation companies that are working on turning captured CO2 into useful products from bioplastic cladding to protein powder and concrete masonry units.

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#all #products #design #royalcollegeofart #productdesign #concrete #studentprojects #materials #graduates #paint #cement #carboncapture #carboncaptureandutilisation #mineralcarbonation

Ohmie is a 3D-printed lamp made from orange peels

Milan-based start-up Krill Design has 3D printed Sicilian orange peels into a tactile lamp that can be composted along with organic household waste.

The designers at Krill Design turned to orange peel to create the lightweight lamp because of the citrus fruit's ubiquity in Sicily, Italy.

Each lamp is made from the discarded peels of two or three oranges sourced from a family-owned food producer in the Messina province of Sicily.

Top: each lamp is made from two or three oranges. Above: Ohmie retains the natural bumpy feel and smell of oranges

"We needed a material that would not run out and given that Sicily alone produces about 3 per cent of global oranges, that allows us to stock up on the peels and be able to always produce Ohmie," Krill Design told Dezeen.

"We are keen on promoting a local and fully Italian supply and production chain. Oranges are one of the many Italian produces renowned worldwide and we believe it is a nice symbol."

Ohmie is made from locally sourced Sicilian oranges

From its patterned surface to its orangey smell and vibrant colour, the 23-centimetre-tall lamp was designed to reflect its origins.

The designers hope the lamp demonstrates how food waste can be successfully repurposed into an "eco-design product that is both "beautiful and functional".

The peels are ground down and combined with starch before being 3D printed

After use, the Ohmie lamp can be broken down by hand into smaller pieces before being thrown away with the household's organic waste, the studio explained.

"The orange lamp, at the end of its life, can simply be broken into fragments and tossed with the household's organic waste to be disposed of in composting facilities and be turned either into compost or biofuel depending on local dispositions," said Krill Design.

Currently, the remains have to be sent to a composting facility instead of decomposing straight into nature.

"We decided to develop a material that, for now, would only decompose in industrial facilities for performance and durability reasons, but we would like to research more and achieve a biopolymer that can be durable and sturdy as well as easy composted in nature or in an at-home compost," it added.

The light can be broken down and composted in a composting factory

Krill Design used 3D-printing techniques to "avoid any form of waste during production". The orange peels are ground down and combined with vegetable starch before being 3D printed.

"Once the peels have arrived in our office in Milan they are dried – the organic scraps need to have moisture level below 4 per cent – ground to a fine powder and sifted to make sure all grains are fine enough," the studio said.

The designers hope to show how food waste can be effectively repurposed

The peel powder is then sent to a compounding facility where it is added to a biopolymeric vegetable starch base. Afterwards, the orange biopolymer is produced in the form of pellets.

This is the only part of the production phase that is outsourced, the brand said.

"Only this phase of the process is outsourced as the machinery needed is extremely bulky and expensive," Krill Design explained.

"After this, we extrude the orange filament from the pellet and use it within a 3D printer to bring Ohmie to life."

Fruits have been used in a number of designs. Copenhagen-based brand Beyond Leather combined apple juice leftovers with natural rubber to create Leap, a plant-based alternative to leather, while Júlia Roca Vera has created a cosmetics line made from discarded fruits.

Photography is byKrill Design.

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#all #lighting #design #products #lamps #productdesign #homewaredesign #3dprinting #homeware #compostablematerials