Ayoub Ahmad designs a concept 3D printed titanium watch named STRACTRA with the hours placed over a geometric, 180-degree arc. Inspired by nature, seemingly tree branches slither around the frame, forming uniform lines on the said arc on the right side of the timepiece. Between the gaps of these coffin-shaped structures, the numbers depicting the hours are shown, colored in sunset orange. Even the hand pointing at the hours is in orange, standing out among the color scheme of titanium. For the minutes, there’s a 360-degree ring just below the hand, going in a full circle to complete the time-telling of the concept 3D printed titanium watch.

all images courtesy of Ayoub Ahmad

Organic lines around 3D printed titanium watch STRACTRA

Unlike traditional round or square-shaped timepiece designs, the frame of the concept 3D printed titanium watch STRACTRA appears organic, as the case displays smooth and flowing lines as if they were branches of trees or just natural curves. Designer Ayoub Ahmad imagines his design to use 3D printing for production, with titanium as the main material throughout the watch. The technology can allow him to realize the design of the arc for the hours, the disc for the minutes, and the hexagonal shape of the timepiece’s body.

On the left face of the concept 3D printed titanium watch STRACTRA, there’s a seemingly grille design that may have bumps for tactility, and the creeping lines cross over the minute disc in the middle to demonstrate the growth of tree branches. The arc continues from the hours to the disc in the middle, allowing the wearer to see the gears inside the watch. Next to the ring, the name of the concept 3D printed titanium watch STRACTRA appears engraved. At the time of publishing, the timepiece design is a concept project, and Ayoub Ahmad says the watch is his entry to Dubai Watch Week, which is set to return for its seventh edition between November 19th and 23rd, 2025. 

the timepiece design has the hours placed over a geometric, 180-degree arc

there’s a seemingly grille on the left side for tactility

smooth surface for the rear of the timepiece

detailed view of the minute disc

the name of the timepiece sits next to the minute disc

the lines of the design cross over the dial

at the moment, the timepiece is a concept project

project info:

name: STRACTRA

design: Ayoub Ahmad | @ayoub_ahmad_

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: matthew burgos | designboom

The post 3D printed titanium watch STRACTRA places the hours over geometric, 180-degree arc appeared first on designboom | architecture & design magazine.

This summer, designboom is spotlighting a curated lineup of design competitions from around the globe. From envisioning the most unique staircase to designing the Digital Heritage Museum of Egypt, each competition offers a global platform for creative excellence. Through our platform, we invite architects, designers, institutions, and brands to share their own competitions with our worldwide audience of design professionals, students, and enthusiasts. By featuring your open call on designboom, your project can gain visibility among a vibrant, engaged community always seeking new challenges, inspiration, and opportunities to shape the built and designed environment.

Promote your competition with designboom and reach the world’s creative forefront!

five competitions calling for entries

Discover five global designboom competitions that are calling for entries this summer.

LA MADRESELVA by TerraViva

Organization: TerraViva
Competition name: LA MADRESELVA
Early registration: July 1 – September 19, 2025

Submission deadline: December 5, 2025

La Madreselva is a historic countryside property near San Antonio de Areco, known as the ‘Cradle of Argentine Tradition’. The competition invites participants to design a series of small-scale lodging units and communal spaces, expanding the site’s capacity to host up to 20 guests without compromising its rural soul. Designers are encouraged to develop a project that merges architecture, landscape, and cultural identity: an intervention that enhances the quiet presence of the original structures while providing new experiences for contemporary travellers seeking disconnection and immersive tradition.

The Architect’s Stair Edition #2 by Buildner

Organization: Buildner
Competition name: The Architect’s Stair Edition #2
Last Minute Registration: July 9 – July 24, 2025

Submission deadline: July 24, 2025

From ancient stone steps carved into cliffs to futuristic floating staircases in contemporary design, the stair has served far more than a functional role. This competition invites architects, designers, and creative thinkers to explore the stair as a pure expression of architectural language. Participants are asked to reflect on its symbolism, geometry, movement, and potential—free from constraints of program, material, or scale. There are no limitations on style, function, context, or dimension. Whether monumental or minimal, abstract or inhabitable, real or speculative—what matters is the clarity and creativity of the concept.

Dewan Award for Architecture by Dewan Architects + Engineers and Tamayouz Excellence Award

Organization: Dewan Architects + Engineers, in association with the Tamayouz Excellence Award
Competition name: Dewan Award for Architecture
Last Minute Registration: July 9 – July 24, 2025

Submission deadline: September 30, 2025

Dewan Architects + Engineers, in association with the Tamayouz Excellence Award, announces the launch of the Dewan Award for Architecture 2025. The award invites architects, students, designers, and studios from around the world to participate. Participants are asked to reimagine Baghdad Central Railway Station, a historic landmark in the heart of Iraq’s capital. Once a vital transport hub, the station now features limited services, outdated infrastructure, and minimal public engagement. The structure remains sound and presents an opportunity for architectural renewal.

The Digital Heritage Museum by Design Unlimited

Organization: Design Unlimited
Competition name: The Digital Heritage Museum
Standard Registration: Jun 26 – August 21, 2025

Submission deadline: September 14, 2025

The Digital Heritage Museum proposes a bold architectural response: a new kind of cultural institution that uses emerging technologies to digitally preserve, reconstruct, and reinterpret Egypt’s vast and diverse cultural legacy. This competition invites architects, designers, and students to envision a site-specific, technologically-forward, and culturally-sensitive museum that bridges the past with the future, positioning Cairo as a global leader in the preservation of digital heritage.

The London Design Awards by International Awards Associate (IAA)

Organization: International Awards Associate (IAA)
Competition name: 2025 London Design Awards
Standard Registration: July 26 – September 4, 2025

Submission deadline: December 5, 2025 

The 2025 London Design Awards is an international competition celebrating creative excellence across a wide spectrum of disciplines, from product and architectural design to UX, packaging, and newly introduced fashion design. Open to professionals and emerging talents alike, this global platform invites designers, studios, manufacturers, and students to showcase work produced in the last five years. With blind judging by an esteemed panel of industry experts, winners can earn prestigious titles including Design of the Year, and receive exclusive trophies, certificates, press opportunities, and global exposure.

The post five designboom competitions running this summer and calling for entries appeared first on designboom | architecture & design magazine.

Kosuke Takahashi and 224 Porcelain release Corcelain, a series of ceramic cups and vessels with mountable 3D printed feet and screws. Dubbed the world’s first customizable porcelain vessel, each object comes with a screw hole at the bottom, so users can add vibrant legs, handles, lids, and more under every homeware piece. The design is inspired by a term in traditional Japanese ceramics called Kodai, which is the raised circle shape on the bottom of cups and bowls that allows the homeware to be more stable. In Corcerlain, the ceramic cups and vessels make use of Kodai for the 3D printed feet and parts, raising the objects while giving them a more playful yet functional look.

Because the parts are 3D printed, the users can customize the kind of mountable objects for their ceramic cups and vessels. ‘As a maker and 3D printer user myself, it’s hard to make things safe for food or drink,’ Kosuke Takahashi shares with designboom. ‘Standard materials like PLA and ABS aren’t food-safe, and even with safer filaments, the layered surfaces trap food particles. That’s where the idea of a modular vessel came from. You could mix and match ceramic bases with whatever extensions you dream up. That way, we solve the hygiene issue and, at the same time, give anyone the power to customize everyday objects like cups and plates. Corcelain became a reality thanks to a collaboration with 224 Porcelain, which is a traditional kiln in Yoshida – Saga, Japan.’

all images courtesy of Kosuke Takahashi/ootori

corcelain’s ceramic cups come with custom 3D printed parts

There’s a backstory to why the maker Kosuke Takahashi started Corcelain with pottery manufacturer 224 Porcelain. He tells us that traditional craft industries in Japan are facing a crisis, so he wants to bridge this with the use of current technologies like mountable 3D printed parts for the ceramic cups. He worked with a craftsman named Mr. Tsuji, who has been trained in traditional porcelain techniques that have been around for 400 years. ‘The idea of adding a screw hole to the base only worked because of Tsuji-san’s touch, combining technology with delicate, hands-on adjustments from his artisanal intuition,’ Kosuke Takahashi explains.

This is how he conceived the name Corelain for the series of ceramic cups and vessels with 3D printed feet and screws. It is a blend of ‘co-creation’ and ‘porcelain’, a hint at the use of traditional craftsmanship techniques with present technologies. The manufacturer 224 Porcelain steps in here, too, through its use of machines like CNC and 3D printers in their pottery works, which has allowed Kosuke Takahashi to realize his series. For Corcelain, the inventor also draws inspiration from the Japanese word ‘utsuwa’ which translates to ‘vessel’ or ‘container.’ But this word has its roots in the term ‘utsuho’ which means ‘emptiness’, but one that is waiting to be used. At the bottom of the Corcelain’s ceramic cups, it comes through as the kodai, the hollow bottom, allowing the users to bolt in the custom 3D printed feet, screws, and parts they have designed in varying colors.

Kosuke Takahashi and 224 Porcelain release Corcelain, a series of ceramic cups with 3D printed feet

the design is inspired by a term in traditional Japanese ceramics called Kodai

each object comes with a screw hole at the bottom, so users can add vibrant legs

in Corcerlain, the ceramic cups and vessels make use of Kodai for the 3D printed feet and parts

because the parts are 3D printed, the users can customize the mountable objects for the ceramic cups

the series’ name is a portmanteau of ‘co-creation’ and ‘porcelain’

users can also add handles

detailed view of the handle with circular bottom plate

view of the parts’ printing process

project info:

name: Corcelain

design: Kosuke Takahashi | @ootori_t

pottery: 224 Porcelain | @224porcelain

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: matthew burgos | designboom

The post meet corcelain, a series of ceramic cups with customizable 3D printed feet and screws appeared first on designboom | architecture & design magazine.

In 2025, Pedrali marks a significant milestone, celebrating two decades since the establishment of its wooden furniture manufactory in Manzano, Italy. Located in the Friuli-Venezia Giulia Chair District, this facility quickly became a crucible where iconic designs like Frida, Malmö, and Nemea were brought to life. These creations solidified Pedrali’s dedication to Italian know-how, quality craftsmanship, and a forward-thinking approach to sustainable design. Marking its 20th anniversary, the brand also introduces Griante, its first wooden chair specifically crafted for outdoor use, designed by CMP Design. Griante reinterprets woven seating with a weather-resistant teak frame and a handwoven, fully recyclable polypropylene yarn belt, showcasing Pedrali’s commitment to material innovation and versatile design applications.

Griante blends durable teak with recyclable handwoven yarn | all images courtesy of Pedrali

PEDRALI CONTINUES FRIULI’S WOOD CRAFT AT MANZANO MANUFACTORY 

The Manzano manufactory perfectly exemplifies Pedrali’s philosophy of blending industrial design with outstanding quality, achieved through a fully managed, in-house production process. This approach, deeply integrated with a profound respect for natural resources and collaborative design, leads to products that are not only aesthetically compelling but also built for longevity and environmental responsibility – critical considerations for contemporary architectural and interior projects.

This dedication to quality and regional expertise stems from a clear vision articulated by the company‘s leadership. As Monica Pedrali, CEO of the company, explains, ‘Italy boasts some of the world’s best technologies for manufacturing wooden chairs, and a heritage of expert skills in raw material selection and complex processes that is hard to replicate elsewhere. As seating experts, we couldn’t afford to not have a wooden chair in our collection.’ Moreover, the choice of location was equally decisive. ‘The Friuli region has a tradition and manufacturing know-how of wooden chairs like nowhere else in the world. It is a classic example of an Italian industrial district where the collaboration of many craftsmen with specialised skills creates something unique. Since we decided to open a wooden manufactory, we had no choice but to come to this territory to find the best expertise.’

Pedrali blends Italian know-how and quality craftsmanship | image © Filippo Romano

SUSTAINABILITY AT THE CORE OF WOODWORKING 

Leveraging this regional expertise and collaborative spirit, the Manzano manufactory has been the birthplace of several iconic designs. The Frida chair, designed by Odo Fioravanti and awarded the ADI Compasso d’Oro in 2011, is a prime example. Featuring a three-dimensional curved plywood shell on a solid wood frame, its construction, demanding absolute precision in design and production, demonstrates Pedrali’s ability to push the boundaries in woodworking. Furthermore, numerous collections by CMP Design, such as Malmö, Nemea, and Nym, showcase a versatile design language rooted in thoughtful material application and structural ingenuity.

Frida chair by Odo Fioravanti exemplifies Manzano’s precision in wood processing | image © Piercarlo Quecchia, DSL Studio

All of Pedrali’s wooden products are FSC® C114358 certified, guaranteeing wood sourced from responsibly and adequately managed forests that align with strict environmental, social, and economic standards. This commitment is central to the brand’s deeply ingrained sustainability practice, further strengthened through its adoption of water-based coatings. Composed mostly of plant-derived resins, this choice significantly decreases chemical compounds found in traditional coatings, resulting in a healthier working environment, reduced air pollution, and substantial energy savings. It’s a challenging yet crucial innovation for the wooden seating sector, where solvent-based paints are typically used.

CMP Design’s Nemea chairs showcase a versatile design language rooted in thoughtful material application | image © Piercarlo Quecchia, DSL Studio

Beyond product design, Pedrali’s commitment to environmental responsibility extends to its operational footprint. The Manzano manufactory itself exemplifies this, having undergone a significant expansion in 2019 that included the installation of photovoltaic panels and a full conversion to LED lighting. These substantial upgrades directly contribute to reducing the company’s overall CO2 equivalent emissions, a commitment rigorously measured through its Corporate Carbon Footprint assessment. Additionally, a dedicated vacuum plant for wood waste separation ensures that both clean and treated wood chips are efficiently recycled and reused.

The 20-year milestone of the Manzano production site is not merely an endpoint but a powerful motivation for Pedrali to continue its journey of constant growth and renewal. It stands as a testament to the enduring values of tradition, innovation, and sustainability, driven by the perseverance, passion, and dedication that define Pedrali’s approach to furniture design.

Pedrali’s water-based coatings, derived from plants, reduce chemical compounds and environmental impact | image © Piercarlo Quecchia, DSL Studio

a fully managed in-house production process ensures quality and precise control over every stage | image © Piercarlo Quecchia, DSL Studio

located in the Friuli-Venezia Giulia Chair District, this facility quickly became a crucible for iconic designs

decreasing chemical compounds found in traditional coatings results in a healthier working environment | image © Filippo Romano

Pedrali’s wooden products are FSC® certified, guaranteeing responsible sourcing from adequately managed forests | image © Piercarlo Quecchia, DSL Studio

project info:

brand: Pedrali | @pedralispa

location: Manzano (Udine), Friuli-Venezia Giulia Chair District

The post pedrali celebrates 20 years of woodworking in manzano manufactory with iconic chairs appeared first on designboom | architecture & design magazine.

NIKE co-grows a new breed of orange tulips with thorns, seen across Amsterdam in the Netherlands in time for UEFA Women’s Euro 2025. Named Oranje Fatalis, the brand co-cultivated the flowers in collaboration with Dutch silk flower specialists Bloom & Wolf and the agency W+K to celebrate the competing national team’s spirit and strength of the Netherlands during the match. Tulip is an iconic symbol of the Netherlands, and for the project, the design team with NIKE imagines it to embody the look of boldness for the UEFA Women’s Euro 2025.

Hence, the birth of Oranje Fatalis: oranje is the color of the national team and the country’s royal family, while the Latin word Fatalis suggests deadly or dangerous. Combined together, ‘Deadly Orange’ is a symbol for the competing national team that amidst beauty and power, there is strength and a touch of danger. Fans of the UEFA Women’s Euro 2025 can pick up their orange tulips with thorns arounf some of the florists in Amsterdam during the games.

all images courtesy of NIKE, Bloom & Wolf, and W+K

NIKE co-grows flowers in time for UEFA women’s game

The orange tulips with thorns co-created with NIKE are handcrafted by the silk-flower company, Bloom & Wolf. The artificial flowers are made to look and feel as real and as close to the natural ones as possible. The campaign’s goal is to celebrate the national team, known as the Leeuwinnen (Lionesses), and together with the brand and agency W+K, the silk-flower company designs and handmakes parades of orange tulips for the UEFA Women’s Euro 2024.

The Oranje Fatalis is part of a larger campaign across the Netherlands, and some of the players featured in the campaign include Esme Brugts, Jill Roord, Jackie Groenen, Romée Leuchter, and Wieke Kaptein. Their photos appear next to the orange thorned tulip in posters and videos, visibly using the signature font of NIKE to signal the collaboration. Florists across Amsterdam have these orange tulips with thorns for a period of time, and fans of the UEFA Women’s Euro 2025 can swing by them between July 5th and 13th before watching the match.

the orange tulips with thorns across Amsterdam during Euro 2025

NIKE co-cultivates the artificial orange tulips in time for Euro 2025

the name of the orange tulips shown during Euro 2025 is Oranje Fatalis

the petals of the flowers are made of silk

detailed view of the orange tulips during Euro 2025

so far, the orange tulips are available only during the games

project info:

name: Oranje Fatalis

companies: NIKE, Bloom & Wolf | @nike, @bloomandwolf_amsterdam

agency: W+K | @wkamsterdam

florist information:

July 3rd to 5th

Rembrandt Flowers

Keizersgracht 6671, 1017 DV

July 8th to 9th

Bloemenhoek

Piet & Evelien Witt

Dapperplein, 1093 GP

July 12th to 13th

Florist ‘t Lievertje

Spui 7, 1012 XE

The post NIKE co-grows new breed of orange tulips with thorns in time for UEFA women’s euro 2025 appeared first on designboom | architecture & design magazine.

Reactive bioluminescent algae lights up the haute couture collection and show of Iris van Herpen in Paris. Co-crafted by biodesigner Christopher Bellamy of Bio Crafted, there are 125 million bioluminescent algae embedded into the dress, showcased by the maison during the Paris Haute Couture Week on July 7th, 2025. In an interview with designboom, the biodesigner tells us that the material is an evolution of his previous project, Lucid Life | Marama Ora. ‘It’s a process I initially developed to encapsulate bioluminescent microalgae in collaboration with indigenous artists and scientists in French Polynesia,’ he shares with us. ‘A bespoke 35-step process was developed, which encapsulates the algae in a nutrient gel and a protective coating and allows them to live for many months. This was possible thanks to an artist residency at the University of Amsterdam in the Soft Matters Group.’

Once encapsulated, the algae only require regular sunlight to photosynthesize and maintain their circadian rhythm. The biomaterial can live for many months, even during hot weather conditions, and Chris Bellamy says that he also has samples that have been alive for more than a year. ‘However, as this new material is so experimental, we are still working to understand what exactly is going on,’ he explains to us. ‘To help keep the algae in perfect condition for the show, a bespoke full-size climate chamber was developed for the garment so that it can be exhibited in different locations and maintain its circadian rhythm.’ For the biodesigner and maison, developing the algae dress is a collaborative effort, as they need to keep the microorganisms alive through two heatwaves and while transporting them to Paris for the Iris van Herpen show for the haute couture.

all images courtesy of Chris Bellamy of Bio Crafted, unless stated otherwise

Living microorganisms encapsulated in nutrient gel

The collaboration between Iris van Herpen and Chris Bellamy of Bio Crafted allows the two to tap into the capabilities of living microorganisms such as algae. The biomaterial is reactive too; as the wearer moves, the dress glows gently, emitting a bluish glow that lights up in the dark. The maison and biodesigner say that the bioluminescent algae are placed in seawater and then encapsulated inside a nutrient gel that keeps them alive for a long time. The dress with bioluminescent algae forms part of the collection Sympoiesis, the recent series from Iris van Herpen shown in Paris Haute Couture Week. As the model walks, wearing Iris van Herpen’s algae dress co-created with Christopher Bellamy, the set design also glows in the background through the light sculptures by artist Nick Verstand. These artworks, called biospheric, add more light to the show, making the bioluminescent algae embedded into the Iris van Herpen dress glow even brighter. 

‘The vision to have a fully living garment that illuminated while on the runway in Paris was incredibly ambitious. On top of that, the design had to match the level of intricacy and detail expected with Iris’ work. To achieve this, we had to develop an entirely new process to encapsulate and form the algae,’ Chris Bellamy shares with designboom. It took them and the design team around four months of biotechnological process to develop the dress and match its detail and aesthetics to the rest of the Sympoiesis collection, but the biodesigner tells us that he only had a breakthrough finishing the illuminating material just 24 hours before the deadline. The project was only possible to develop in person, and thanks to an artist residency at the University of Amsterdam in the Biophysics and Soft Matters research group, completing the Iris van Herpen algae dress was realized in time for the show.

reactive bioluminescent algae lights up the haute couture dress of Iris van Herpen in Paris

refrigerated trucks to keep the algae dress alive

Because of the time restrictions, Chris Bellamy and Iris van Herpen had to rely on their intuition and gut feeling in developing the algae dress, instead of approaching it in a scientific manner. Luckily, the biodesigner had been knee-deep into the research for two years then, so he was already backed up by personal experiences with the living microorganisms. ‘The final process was incredibly complex, with 35 steps, and required very specific materials, formulations, and techniques. The final challenge was keeping the dress alive while traveling between countries for the show and in the chaos of a show environment,’ he explains to designboom.

To make this happen, the Iris van Herpen team was involved in a logistical trope, renting refrigerated trucks and putting wireless humidity alarms in place that worked under red light to keep the algae dress alive and ready to glow in the dark during the show. ‘Iris was the perfect collaborator, pushing and challenging the design but also learning and adapting as we understood more about the living organism and their behaviors,’ says Chris Bellamy. Back in 2024, the biodesigner worked on and researched the bioluminescent microalgae for just about over nine months. The same algae now flows through the Sympoiesis dress of Iris van Herpen during the Paris Haute Couture Week, which runs between July 7th and 10th, 2025, following the signature coral-inspired designs of the fashion designer.

for the dress, a 35-step process was developed, which encapsulates the algae in a nutrient gel

a protective coating allows the algae to live and glow for many months

detailed view of the dress

once encapsulated, the algae only require regular sunlight to photosynthesize

the algae dress showcased during Iris van Herpen’s show in Paris | image courtesy of Iris van Herpen

project info:

name: Sympoiesis

maison: Iris van Herpen | @irisvanherpen

biodesigner: Christopher Bellamy of Bio Crafted | @bio.crafted

light artist: Nick Verstand | @nickverstand

event: Paris Haute Couture Week

dates: July 7th to 10th, 2025

The post reactive bioluminescent algae illuminate iris van herpen’s haute couture show in paris appeared first on designboom | architecture & design magazine.

SICIS steps up the game in aquatic architecture with a transformative take on swimming pool design, turning decorative glass into a glowing, underwater surface. At the private residence known as Olympic Villa in Phnom Penh, Cambodia, the Italian brand showcases the potential of its signature glass panel system, Vetrite, applied in a fully submerged, illuminated installation. 

Unlike traditional pools that reflect their environment, this one emits a luminous glow from beneath the surface. Made possible by the patented Neptune system, the project merges SICIS’ technical expertise with a purpose-built lighting solution engineered specifically for underwater use. Vetrite panels from the Gem Glass collection create a mineral-inspired pattern that lights up the water both day and night, enhancing the pool’s presence as an immersive and ever-changing visual centerpiece.

swimming pool at Olympic Villa glows with SICIS’ Vetrite decorative glass panels | all images courtesy of SICIS

FROM MOSAIC TO UNDERWATER INNOVATION WITH DECORATIVE GLASS

For centuries, decorative glass was largely considered too delicate for the demanding conditions of aquatic environments. Integrating it safely and effectively below water required technical reinvention. That’s where SICIS comes in. Known for its roots in fine mosaic craftsmanship, the Italian brand has continuously expanded its material research to develop surfaces that balance artistic impact with structural resilience.

Based in Ravenna — the historic heart of Italian mosaic — SICIS draws on traditions of manual skill and visual storytelling to inform its contemporary production methods. What began as a vision to modernize the mosaic has evolved into a full-spectrum interior design brand, encompassing furniture, lighting, textiles, and architectural surfaces.

Vetrite surfaces from the Gem Glass collection bring depth and luminosity to the water

BACKLIT TECHNOLOGY DESIGNED FOR AQUATIC ENVIRONMENTS

Vetrite, the material at the heart of the Olympic Villa project, is a large-format decorative surface made by fusing glass with polymer films. Its unique composition lends visual depth and a gem-inspired translucency, while maintaining the durability required for challenging environments, including underwater applications.

For this particular installation, 120×120 cm slabs from the Vetrite Gem Glass collection were cut and arranged in a bookmatch layout, ensuring that the mineral-inspired pattern repeats symmetrically across the pool’s surface. The result is a continuous, flowing aesthetic that echoes natural crystal formations — organic yet meticulously controlled.

SICIS’ patented Neptune system enables fully submerged lighting beneath decorative glass

Bringing this vision to life beneath the surface is Neptune, SICIS’ patented system engineered for submerged backlighting. It uses a very low voltage power supply, ensuring total safety even in direct contact with water. A specialized matrix evenly distributes light, accentuating the visual complexity of the material while withstanding water pressure, humidity, and temperature changes.

The effect is a pool that emits a stable, ambient glow — visible even during the day and dramatically intensified at night. When illuminated, the Vetrite surface comes alive, shimmering with aquatic tones and revealing intricate layers of light and texture. During daylight hours, it reflects its surroundings with subtlety and elegance.

the mineral-inspired pattern transforms the pool into a dynamic visual centerpiece

The Vetrite and Neptune combination is designed for widespread use in luxury resorts, wellness centers, and spa environments, offering architects and designers a way to integrate light and surface in a single, unified gesture. Collections like the Gem Glass provide a range of visual options, each customizable in format, finish, and lighting intensity.

glass and light converge to create an immersive swimming experience at Olympic Villa

the surface collections provide a range of visual options, each customizable in format, finish, and lighting intensity

underneath the surface, SICIS’ neptune system integrates lighting for a custom underwater performance

the project demonstrates SICIS’ technical mastery in underwater surface applications

project info: 

name: Vetrite

company: SICIS | @sicis_official

collection: Gem Glass

system: Neptune system

location: Olympic Villa, Phnom Penh, Cambodia

The post SICIS creates glowing swimming pool surface with decorative glass for cambodian villa appeared first on designboom | architecture & design magazine.

Time Warp draws design inspiration from ice caves, plant cells, and hexagons for the stage designs inside the techno music festival. An annual event since 1994, the event takes place in different cities, including Madrid (October 10th and 11th, 2025); Mannheim, the founding place (November 7th and 8th, as well as March 21st), and New York City (November 21st and 22nd, 2025). In an interview with designboom, Time Warp festival’s technical director Anatol Fried says that the design team wants the audience to feel fully surrounded by the stage settings and not just by the techno music. ‘It was natural for us to try to surround people with light and scenography along with the music,’ he tells designboom. There are five stages in the Time Warp techno music festival, and instead of going traditional by adding lights on the ceiling, the team spread more than 200 lights around the floor, audiences, and performers, lighting them up from all directions. ‘For us, it somehow worked,’ adds Anatol Fried.

Across the five stages, the theme of nature comes through, but Anatol Fried sees the word more as what everyone can see every day rather than just only greenery. He worked with different designers per stage inside the Time Warp techno music festival, all of which followed a fluid brief on nature. Take The Cells designed by Greg Sullivan and The LED Cells by Valentin Lüdicke and Anatol Fried. The former looks like a simplified visualization of plant cells, while the former mimics the lines and visuals of a leaf under a microscope. ‘These stage designs’ impact is the volume they add to the room. The sheer amount of surface you can play on with lights, and the contrasts you can generate with lights and shadows due to the 3D elements, is stunning. Standing underneath it, the audience can feel what I meant before about being surrounded by an experience,’ Anatol Fried shares with designboom.

The Cells | all images courtesy of Time Warp | photos by Marko Edge, unless stated otherwise

Caves and meteors as artistic influences for the spaces

Natural phenomena also appear as a theme that runs through the stage designs in the Time Warp techno music festival. Inside The Meteors, an ensemble of rock-looking fixtures hangs above the audience as they party, glistening as the hundreds of lights shine their beams on them. The Cave, designed by Valentin Lüdicke, resembles an ice cave through a series of suspended semi-translucent white cloths. ‘The idea here was to shape a room and create the perspective you have looking into an ice cave, but it also offers perspectives from positions other than the perfect angle,’ says Anatol Fried. Because of this undulating design, the stage design moves as the breeze comes in.

Valentin Lüdicke has created a second version of this space in the Time Warp techno music festival, rightfully naming it The Cave 2.0. Here, the idea has slightly changed, while still following the brief on nature. Above the audience are seemingly singular panels depicting a wavy form. When the light shines on it, the sculpture, made of a black material typically used to block out light in the agricultural industry, comes alive, appearing to move through the lights. For the technical director, it feels as if the audience were looking up in a forest and seeing the sky through trees and leaves. ‘The impact is the strong contrast between the upper lit side of the silver fabric and the pitch-black lower side that doesn’t catch any light,’ Anatol Fried explains to designboom. ‘With the huge amount of LED lights above it, it almost looks like the room moves.’

The Cells resemble a honeycomb structure

Replicating geometry, space and nature in music festival

In the other rooms within the Time Warp techno music festival, Anatol Fried has (co-)designed the spaces, from Chaos, where the style resembles patterns of strobe lights, to Strings, a wire installation he created with Valentin Lüdicke, inspired by the ideas of mathematics, geometry, even-sided triangles, and hexagons. ‘We are currently working on a design called Einheitskreis, which will hopefully come to life soon,’ the technical director shares with designboom. Instead of starting with the materials, the team leads the stage designs in the Time Warp techno music festival with an inspiration, which is nature in this case. 

That is the underlying, connecting theme between the spaces, even if they look distinctive from each other. ‘These stage designs were all inspired by some looks or details we found outside the event industry – like nature, space geometry, or mathematics – that we tried to replicate and put inside a venue. If you look up in a forest on a sunny day, you can see a strong contrast between sky and leaves. That’s basically the effect of ‘The Cave 2.0’, for example, so when we knew the look we were seeking, we started looking for a material that suited the look, instead of the other way around,’ says Anatol Fried. 

The Meteors | photo by GuilleGS

At times, designing the stages in the Time Warp techno music festival is a bit challenging, and Anatol Fried gives The Cells as an example. Here, the ceiling resembles a honeycomb structure, lighting up in patterns through the LED strips. Instead of the normal LED lights, the design team uses a series of tailored aluminum ones. The idea, as the technical director tells us, is to emit light in two directions. ‘An indirect source of light to the structure above and the direct source of light visible from below,’ he adds. ‘This was not available on the market, and therefore we produced an aluminum profile that had space for three LED light sources and also had the cord edge profile in place.’ 

This stage may be the most complex they’ve done so far since manufacturing the structure above the LED lights had to come from 700 differently shaped pieces of blackout fabric. But it was all worth it in the end because the audiences attending the Time Warp techno music festival feel the music while experiencing the performative stage designs instead of these two being separate. At the moment, visitors who want to see these spaces can first-hand experience them in Madrid (October 10th and 11th, 2025); Mannheim, (November 7th and 8th, as well as March 21st), and New York City (November 21st and 22nd, 2025).

a cluster of rock-looking sculptures suspend above the audience

Optics stage design

swirling patterns sit on the ceiling in this set design

Glass Dome

the Glass Dome has transparent windows above the visitors

The Cave 2.0

the sculpture is made of a black material used to block out light in the agricultural industry

project info:

name: Time Warp | @time_warp_official

technical director: Anatol Fried 

designers: Anatol Fried, Valentin Lüdicke, Greg Sullivan | @voll_lustig_licht

upcoming dates: Madrid (October 10th and 11th, 2025); Mannheim, (November 7th and 8th, as well as March 21st), and New York City (November 21st and 22nd, 2025)

photography: Marko Edge, Tyler Allix, GuilleGS | @marko_edge, @tylerallix

The post ice caves, plant cells and hexagons inspire stage designs of time warp techno music festival appeared first on designboom | architecture & design magazine.

Designed by Louisa Graupe and Julika Schwarz, Water from Air is a mobile device that extracts potable water directly from the atmosphere using advanced material technology. The prototype addresses the increasing global demand for accessible drinking water by employing Metal-Organic Frameworks (MOFs), a class of materials known for their high porosity and capacity for selective absorption. These materials are capable of capturing water molecules from ambient air and releasing them as usable freshwater. Research into MOFs is currently underway at institutions including the Institute for Materials Chemistry at the University of Vienna and the University of California, Berkeley.

At any given time, the atmosphere holds more water than all of Earth’s rivers combined. Water from Air is a design response that translates this scientific potential into a functional product. While MOFs have predominantly been studied in laboratory contexts, this project proposes a real-world application through a compact, scalable, and energy-independent form.

all images courtesy of Louisa Graupe and Julika Schwarz

Water Production under Changing Climate Conditions

The prototype functions as a self-contained water production and storage unit. It is designed to operate autonomously and adapt to diverse geographic and socio-economic environments. With a daily yield of approximately 6 liters of water over a 24-hour cycle, the system is optimized for household use and can be scaled for larger demands. The device’s housing was primarily fabricated using 3D printing, enabling efficient production of customized parts and modular components. The design prioritizes mobility, ease of use, and independence from existing water infrastructure, making it suitable for decentralized deployment in both urban and rural contexts.

By integrating material research with product design, Water from Air, developed by designers Louisa Graupe and Julika Schwarz, explores how atmospheric resources can be harnessed to address water scarcity under changing climate conditions. The project presents a viable framework for decentralized, off-grid water access through material innovation and spatial adaptability.

opening the valve allows the water to drain downwards

filling containers

100% clean drinkable water

attending to the global demand for accessible drinking water

3D printed prototype from recycled filaments

easy transport

all parts of the device

autonomous water harvesting cycle

project info:

name: Water from Air
designers: Louisa Graupe, Julika Schwarz

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post mobile 3D printed device extracts drinking water directly from air appeared first on designboom | architecture & design magazine.

We continue to highlight open entries on the designboom courses platform in July 2025. As a dedicated destination for showcasing innovative academic programs, it connects institutions with students from around the globe. This month, open courses span multiple disciplines, ranging from interaction design and social ecological design to products of design.

Submit your course to reach designboom’s global audience.

four COURSES calling FOR APPLICATIONS

Explore four standout designboom courses accepting students:

Master of Arts in Interaction Design course by IED Torino

School: IED Torino
Course: Master of Arts in Interaction Design
Location: Torino, Italy
Course Dates: November  2025 – June 2027.
Application Deadline: 31 October 2025

At IED Torino, the two-year Master of Arts in Interaction Design invites students to rethink how they engage with technology, combining emerging tools with a human-centered perspective. The program trains designers to navigate the complexity of digital transformation by blending technical skills with deep empathy for users and real-world contexts.

MFA Products of Design course by School of Visual Arts (SVA|NYC)

School: School of Visual Arts (SVA|NYC)
Course: MFA Products of Design
Location: New York, NY, USA
Application deadline: 2 September 2025

At School of Visual Arts (SVA)’s MFA in Products of Design, students are trained as multilingual designers — fluent across physical, digital, social, and business design. The school’s no-grades policy fosters risk-taking and mentorship, not measurement. Its NYC location offers unmatched access to leading design studios and groundbreaking organizations. As well, the faculty are all industry leaders, blending real-world experience into daily teaching.

Master in Social Ecological Design course by IED Torino

School: IED Torino
Course: Master in Social Ecological Design
Location: Torino, Italy
Course dates: November 2025 – March 2027
Application deadline: 31 October 2025

At IED Torino, the immersive and experimental Master in Social Ecological Design reimagines design as an act of care. The program is grounded in critical theory, hands-on material exploration, and direct engagement with places and communities across Italy. Over 16 months, participants move between classroom learning, individual research, and fieldwork—taking part in urban labs in Turin, community projects in Sicily, off-grid experiences in the Alps, and an eco-bootcamp in Tuscany.

Master of Arts in Design X Other Species course by IED

School: IED – Istituto Europeo di Design
Course: Master of Arts in Design X Other Species
Location: Milano, Italy
Course dates: October 2025 – 2027
Application deadline: 30 September 2025

The Master of Arts in Design X Other Species by IED in Milano, Italy explores transdisciplinary design as an ecological practice that fosters coexistence between humans and non-humans. Addressing climate change and biodiversity loss, the program promotes non-anthropocentric approaches through collaboration with experts in ecology, sociology, and environmental humanities. Students engage in real-world projects — from multispecies habitats to biodiversity-enhancing products — gaining skills to design for entire ecosystems.

The post designboom courses open in july, from interaction to social ecological design appeared first on designboom | architecture & design magazine.