3D printed art installation for Triennale Milano

A 3D printed exhibition for Triennale Milano


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A 3D printed exhibition for Triennale Milano

On the occasion of the 23rd International Exhibition of Triennale Milano, headed by Stefano Boeri, WASP and Space Caviar created an entirely 3D printed exhibition, using eco-sustainable materials of natural origin.

A 3D printed exhibition for Triennale Milano by WASP - view 03
3D printed art installation for Triennale Milano

The thematic exhibition Unknown Unknowns, curated by Ersilia Vaudo, addresses a series of themes including: gravity, seen as “the greatest designer”, an artisan that tirelessly shake the universe to which we belong.

Conceived by Space Caviar and produced by WASP, the exhibition design explores gravity’s ability to shape reality. The exhibition space is designed so that it converses with a hypothetical gravitational point positioned at the center of the museum’s Curva where the exhibition itself is located.



3D printing inside a museum

For the first time ever the exhibition design is completely produced inside the museum itself. For the occasion, WASP has created 32 different pieces in just 10 days.

This collaboration is a brilliant example of how WASP technology is declinable and multidisciplinary.

Un allestimento stampato in 3D da WASP per Triennale Milano - foto di DSL Studio

Crane WASP collaborative 3D printing system

For this project WASP used the architectural 3D printer Crane WASP, a collaborative 3D printing system.

For the needs of this specific setup, WASP transported and assembled Crane WASP within the museum and mixed the material near the printer on the first floor of the Triennale.

Following the values of reuse and sustainability, the staging for the thematic exhibition was realized using only organic materials, largely deriving from the food industry.

This mixture, designed by Ricehouse, was used for the first time by WASP to create a 3D printed wall with embedded stairs in collaboration with IAAC. This work can be considered a first significant step towards the realization of load-bearing earthen structures.





Crane WASP
the Infinite 3d Printer


A 3D printed exhibition for Triennale Milano by WASP - Crane WASP - 01

Exhibition: Unknown Unknowns. An Introduction to Mysteries
Inauguration: July 15 2022, the exhibition will be open until December 11 2022
Location: Triennale Milano

Credits: photo  © DSL Studio

see Press Kit for more details

3D printed store in Dubai

3D printed sculptural walls in a Flagship Store

3D printed store

3d printed  store in Dubai

3D printing is a perfect way to create installations designed with parametric shapes. This leads to a new concept to create sets and scenographies because it permits to build original decorative shapes. In this case La Máquina (by Noumena) printed a flagship store designed by External Reference in Dubai. An immersive space where digital blends with physical world.

An immersive fluid space

The sculptural walls transform the store in a geometric space, where the products (shoes) are perfectly included in the scenography and become a part of it. Everything is perfectly mixed for a complete experience. The sculptural walls are augmented with a layer of interactive 3D mapping that continously change the environment visuals and where customers can communicate and play.

3D printed store in Dubai

Thanks to parametric design, the geometry flows following the curves of the walls. The installation was subdivided in pieces, printed and then assembled. This process is available thanks to additive manufacturing and its way to print simultaneously different parts.

3D printed store in dubai

3D printer for large scale


These walls are built with 3MT HDP, the 3D printer designed for massive prints. With the technology High Definition Pellet, you can print Pellet material fastly and precisely. Pellet granules are 10x cheaper than filaments and they reduce the printing time. In plus, you can print 24/7 thanks to the Continuous Feeding System.

Delta WASP 3MT INDUSTRIAL 4.0 printing on a fabric for the collection TECHNE

3D printing on fabric

3D printing on fabric: an innovative technique

3D p3D printing always surprises us with its wide range of applications: here, we'll discover a new technique to create shapes. It's an innovative way to design: algorithms are used to generate patterns of curves that, through tensions, develop structures.

Design is always influenced by manufacturing, and the change in a process also changes the way to think about shapes that can be reached. The progress of technology permits to rethink of esthetics and creates new cultural values.

Can 3D printers print on fabric?

3D printers can print on fabric, and It is effortless to do! You can easily create new shapes or give a new life to your old fabrics with any printer you have. Here are some tips to print and some case studies from which you can get inspiration.

How to 3D print on fabric

3D printing on fabric is easy, and it doesn't require many other additional components. The only things you need are pins and, in some cases, a platform to raise the printing bed. In this workshop, students learned how to print on textile with their small printers, Delta WASP 2040 PRO. Trying small pieces before shifting to a larger scale is really useful.


The more difficult part is the design process: when you print you don't see the final result until you release the tensions of the pins on the textile. This can be really exciting, for the continous experiments and the discovery of new shapes. It's a totally different way to design.

The textile needs to be stretched on the bed and fixed well to print the layer of curves in the same way. If it is not tested regularly, It can lead to deformed geometry.When the melted filament is deposited on the fabric, it merges with the material, and with the cooling, they are united forever.

Fashion industry: 3D printed clothes

We will see how 3D printing is revolutionizing the fashion industry. It's a new technology in this field, so not many people know how and why to use it. Plus, the design of the clothes is complex: it requires knowledge of 3D modeling and 3D printing. But it's also a new way to visualize the artwork more realistically.Until now, it has been confined to Haute Couture, artists, and passionate hobbyists.

As we expected, the knowledge and enthusiasm are spreading worldwide, and there are many examples also in the mass fashion market. Other than accessories, 3D printing is used more for shoes, bags, and functional clothes. Also, NASA has its research laboratory where scientists study how to upgrade spacesuits with 3D printing.

Flexible filament


The materials that suit the creation process of 3D printed clothes are those with flexible features. TPU is the most used filament to create objects that need to be in contact with skin because it adapts its shape to body curves. So it is widespread in medical and fashion fields. For example, Balenciaga released new pair of 3d printed decolletè, all made in transparent TPU.

Haute couture: Iris Van Herpen

Iris Van Herpen is for sure one of the most iconic example of 3d printed artworks in fashion industry. Her stunning dresses are famous worldwide, worn by actors and singers in gran galà and other important events. Her creations are unique pieces, like sculptures.

Iris Van Herpen fashion runway

She has always combined art and technology, inspired by Leonardo Da Vinci mindset. Nature is her biggest counselor and all colors and shapes combinations come from animals and plants. This interest in nature and eco-systems leads Iris to care about sustainability and the purpose to create pieces environment-friendly.

Fashion and sustainability

Sustainability is one of our generation's battles: choosing the suitable materials to produce in a more respectful way for the planet. Fashion is under pressure for the continuous turnover of new clothes production every season.

Fast fashion is one of the problems of these times, so everybody is now focused on trying to reduce the impact of the industry. 3D printing is a valid partner to face it because it permits avoiding waste of materials and can use recycled materials.

A student creates her 3D printed fashion line

Milan-based student of Politecnico di Milano, Chiara Giusti, has designed and produced a clothing line for her University project. She printed her collection at Superforma, Milan WASP Hub, using WASP's large-scale 3D printer 3MT.

Chiara aims to create fashion and comfortable clothes, adding complex 3D printed patterns to textiles. This example demonstrates that 3D printing clothes can be done by everyone simply at home (with a little bit of practice).

Models wear 3d printed clothes from the collection TECHNE

Art, design and architecture

3D printing on textile is interesting to create something to wear, but it can also be a way to build remarkable structures and furniture pieces. The rigidity that 3D printed curves bring to the textile creates a steady system that can sustain itself.

The shapes created on fabric are also interesting for furniture pieces like lamps. In these examples, created by Drag and Drop Design studio, emerges the structure and the articulate shape achievable with this process.

This large-scale piece exemplifies how 3D printing on fabric can also be applied to significant structures and challenge how we build installations and structures. This effect of soft spikes comes from the tensions of printed layers on the textile.

3D printed on textile pavillion

Large scale 3D printer

large scale WASP 3d printer

All these masterpieces have been created with the 3MT 3D printer. This is the best printer for creating medium-large pieces thanks to its wide printing bed area of 1m in diameter.

3D printed textile workshop

Informed flexible matter

3D printing on textile is a new way to create shapes and esthetic thanks to the propriety of elastic material. You can design and predict the shape of the piece using algorithms (in this case made with Grasshopper software).

WASP, in collaboration with Co-de-It and digifabTURINg, has taken a workshop focused on exploring new techniques behyond the prototyping. In this case the 3D printing on fabric could be a real new manufacturing process to create new products. This method of fabrication become a part of the design procedure.

printing on fabric with Delta WASP 2040 PRO

printing on fabric with Delta WASP 2040 PRO

How to make 3D printed fabric

The process is quite easy: the fabric is fixed on the printing bed with clips. The important thing is to mantain tension on the fabric, as it needs to be planar. Then with the printer, create different lines directly on the textile. Once the print is finished, releasing the clips a new shape will comes out, following the structure made by the curves.

With only one layer of printing, the possible shapes are infinite. The pattern includes information about the structure, encoded as stifness and elasticity. Tension and curves on the fabric become the structural part of the piece.


3D printed geometries on textile fabric

The impact of this new technology is interesting also for the opportunity to scale the process in big dimensions. Surely we'll hear other advancements soon!

3d printed on fabric piece

3d printed on fabric pieces

3D printer for fabric

Delta WASP 2040 PRO printer
Delta WASP 2040 PRO

Delta WASP 2040 PRO is the printer used for create these original pieces.
It's the perfect printer for hobbyst and beginner to experiment thanks to its high quality standard with a cheap cost.

In the previous examples, a circular platform was used to better fix the textile: it is easy to create and if you are interested in using it, write to us at info@3dwasp.com!

Cocoon and Divergent the 3D printed lamps

Printing on fabric for complex shapes

3d printing never stops surprising with the different ways to approach design and modeling. In this article, we'll see the opportunity to reach different shapes through the behavior of different materials in contact.

Drag and drop, a design study located in Bucharest - Romania, has explored large-size 3D printing in all its facets. They mainly print with the 3MT and model with algorithms, discovering new esthetic through materials and their features.

Divergent equilibrium lamp

divergent equilibrium 3d printed lamp

divergent equilibrium 3d printed lamp

Divergent equilibrium is a complex lamp that comes as a result of 3D printing polymeric filaments on textile material. The shape that comes out was studied starting from algorithms that draw curves and curls up the fabric, creating beautiful movements.

divergent equilibirum 3d printed lamp

"Our designs are intimately linked with the additive manufacturing process and we have been exploring the unique aesthetic features which are only made possible by the advent of large scale 3d printing. In our work we celebrate the chunky layers, the material drips and the intricate geometries that are only possible with this technology. As designers we have more control than ever - from the material mix to controlling the machine to promoting the work. It really feels empowering." - Madalin Gheorghe / Drag And Drop

Cocoon lamp

cocoon 3d printed lamp

Cocoon is an intricated lamp where the softness of the textile interacts with the complex system of the 3D printed polymeric lines. The shape comes out by herself following the pattern designed with algorithms. As the result, appearance evokes smooth vibes, but also similar to the moon shape by the lateral view.

cocoon 3d printed lamp

cocoon 3d printed lamp

Here you can see the process of 3D printing on textile: you can see that suddenly after the releasing of the pins, the shape comes out. To create this lamp, Drag and Drop used the large size 3D printer Delta WASP 3MT INDUSTRIAL 4.0.


Large size 3D printer

industrial 3d printer

Delta WASP 3MT INDUSTRIAL 4.0 is the printer used to create these beautiful 3d printed lamp. It's the perfect printer for large size pieces, with filament or pellet materials.

Model wears 3d printed clothes from the collection TECHNE

TECHNĒ, a 3D printed fashion line

3D printed clothes

Milan-based fashion designer Chiara Giusti has collaborated with Superforma Fablab, a digital manufacturing laboratory specializing in 3D printing, to create a 3D printed clothing line called TECHNĒ. As part of her final university project at Politecnico di Milano.

Models wear 3d printed clothing line TECHNE

Italian fashion designer uses Delta WASP 3MT INDUSTRIAL 4.0 to create 3D printing clothing line TECHNE

Giusti used a Delta WASP 3MT INDUSTRIAL 4.0 Fused Deposition Modeling (FDM) printer to deposit Thermoplastic polyurethane (TPU) at high temperatures directly onto stretched textiles to create complex three-dimensional textures and geometries.

3D Fashion Designer

To create TECHNĒ, Chiara studied how 3D printing is used with tension-activated textiles in-depth. Chiara’s main aim was to produce comfortable yet fashionable clothes where 3D printing played a structural and decorative role. Previously, 3D printed materials have been more rigid than most fabrics used in clothing, which is why Chiara used FDM machines to print directly onto apparel to make the clothes comfortable to wear.

Model wears 3d printed clothing line TECHNE

Chiara studied a range of materials and techniques to implement sustainable methods. She believes 3D printed fashion involving machines and craftsmanship can attract a consumer base with a conscious approach to style. She says: “In a moment when everything is carelessly duplicated and synthesized, the combined work of mind, hands, and machines could generate a new fashion system.” 

3D Printer for clothes

Furthermore, SuperForma’s Delta WASP 3MT INDUSTRIAL 4.0 FDM machine helped Chiara fine-tune the printing parameters and experiment with different materials that lead to creating the final clothing line. Chiara added: “It was CEO and founder Mattia Ciurnelli of SuperForma who followed the progress of the experimentation and helped me to manage the available technologies with his competence in digital fabrication.”

Delta WASP 3MT INDUSTRIAL 4.0 prints on fabric for the clothing line TECHNE

Delta WASP 3MT INDUSTRIAL 4.0 prints on fabric for the clothing line TECHNE

Superforma is part of the international WASP Hub network promoted by WASP. Aside from its work with TECHNĒ, WASP has worked on other large-scale structures, such as partnering with the Rossana Orlandi gallery in Milan to showcase the Gaia, a 3D printed eco-house created with sustainable materials. 

Strips of photos of a model wearing 3d printing colthing line TECHNE

Strips of photos of a model wearing 3d printing colthing line TECHNE

Strips of photos of a model wearing 3d printing colthing line TECHNE

Chiara believes her creativity came from her knowledge in pattern making, which then influenced her ability to question, analyze, and rethink it throughout the study of the manufacturing process and experimentation with FDM printing machines. TECHNĒ was created with the ambition to combine form and function in 3D printed clothes. Chiara said: “Usually, 3D printing is used to create showpieces, sculptural structures, and even when printing materials and fabrics merge, additive manufacturing has a mainly decorative/ornamental role.”  

Model wears 3d printed clothing line TECHNE

Model wears 3d printed clothing line TECHNE

Iris Van Herpen as inspiration

Esteemed fashion designer Iris van Herpen, known for her occasional ‘decorative/ornamental’ application of 3D printing in her designs, debuted her 3D printed ‘face jewelry’ at Paris Fashion Week 2019. The collection entitled ‘Cellchemy’ was created by 3D scanning each model’s face to map out a shape highlighting shifts in density and contours of their faces. The final result was a series of lace-like masks created by a high-resolution multi-material printer.    

Model wears 3d printed clothing line TECHNE

Model wears 3d printed clothing line TECHNE

Chiara said: “I definitely believe that 3D printed fabrics could enter the global fashion market soon, but designers should combine their experience with the knowledge of scientists and engineers to further explore this sector, improving and stabilizing techniques and machines to obtain reliable, ergonomic products for the end-user.” 

Large scale 3D printer

stampante 3d industriale

Delta WASP 3MT INDUSTRIAL 4.0 is the perfect printer to create large size pieces, with filament or pellet materials.

3D printed molds

Customized panels

3D printing in large scale has infinite potential, as we can see here, also in the mold sector. In this project, carried out by WASP Hub Denmark, we can see this innovative approach of molds creation through Additive Manufacturing.

Formworks are widely used in architecture to create concrete panels. Their shapes are often standard because the materials most used are wood, metal and polystyrene. The first two are the most solid but the shapes remain always the same and they can not be customized with details or different geometry. To create customized panels, the most used material is polystyrene: it is more adaptable than the others but you can't reach all the shapes.

Now we have a new technique that can transform the way we produce concrete panels: large scale 3D printing. With this technology it's super fast creating big pieces with the wanted shape always in different way.

With 3D printing you can constantly design new geometries and customize the texturing of the panel. This allows you to overcome the limits of the standard formworks and reach new geometric patterns.


Texturing is a process used also in nature to create shapes that have functional features. To show the opportunities of 3D printing in this field, a series of panels in concrete with unique design has been created.

These panels are the results of computational processes and the inspiration comes from nature and abstract shapes. The process of creation involves FDM technology, with upcycled plastic waste in order to re-utilize the material.

Concrete panel

Upcycled plastic mold

3D printing concrete mold

Texturing is a process used also in nature to create shapes that have functional features. To show the opportunities of 3D printing in this field, a series of panels in concrete with unique design has been created. These panels are the results of computational processes and the inspiration comes from nature and abstract shapes. 

3d printed molds details

The process of creation involves FDM technology, with upcycled plastic waste in order to re-utilize the material. This is another plus that makes 3D printing the perfect ally forcreate molds.

Thanks to computational design you can reach always different patterns, generated with algorithms. Here some examples of the different shapes you can reach.

different paterns of 3D printed molds

Project credits

CREATE Group - Led by Asst. Prof. Dr. Roberto Naboni
University of Southern Denmark (SDU), Unit of Civil and Architectural Engineering (CAE)
Team: Roberto Naboni, Luca Breseghello, David W. Jokszies
3D Scanning: at the SDU Prototyping Lab (Prof. Knud Bjørnholt)
Industry Partners: WASP (3D Printers), Hi-Con (High-Performance Concrete)

The printer for large scale objects


The printer used in this project is Delta WASP 3MT Industrial 4.0, the perfect printer for large scale objects. It works with filament and pellet extrusion, in order to use recycled plastics. With its printing bed of 1 meter of diameter, it lets you print big objects in small time.

3D printed sculpture The House of Dust in front of Museum Wiesbaden

Crowdfunding for The House of Dust

The House of Dust with WASP and TinyBE


WASP together with Tinybe, has brought back to life The House of Dust, artwork of Visual Artist Alison Knowles.

external view of the house of dust
3D printed sculpture The House of Dust in front of Museum Wiesbaden
July 2021, The House of Dust in front of Wiesbaden Museum

The peculiarity is the usage of two pioneering technology each time: the first one in 1968 with a rudimentary Artifical Intelligence and now in 2021 with 3D printing earth.

The first two guests that spent a night inside the sculpture

internal view of The House of Dust
Interior view of the scultprue

The House of Dust is available to host guests, in the daytime or at the night. The interiors has been furnished with a Television and a double bed.

Here some videos of the printing process





The printer used is Crane WASP, the printer to build houses and sculpture with a mixture of earth and natural fibers.


Alison Knowles joined the event in streaming, through a Screen placed in front of the sculpture.


Nozzle: 3cm
Slicing software: Grasshopper
Sculpture area: 16 mq

Corwdfunding campaign has been a success!

TinyBE has organized a Crowdfunding campaign to support the printing of a visionary sculpture by visual artist Alison Knowles and asked us to join by providing the 3D printer.

The House of Dust is an evolving artwork that unify poetry, architecture and computer science created by Alison Knowles in 1968. Visual Artist re-proposes her masterpiece now, implementing it with the usage of a 3D printer to build the structure. The printer that it will be used to create it is our Crane WASP.

Model of the concept of The House of the dust by Alison Knowles

The habitable structure will be printed in front of the Museum Wiesbaden, if the Crowdfunding by TinyBe will reach the goal. Here you can find the button to participate in the Crowdfunding Campaign.

Alison Knowles

Alison Knowles is an american Visual Artist internationally renowned for her performances, installations and publications. Born in 1933, she was active in the downtown art scene of New York in the 1960s, collaborating with estimated artists like Marcel Duchamp. She graduated in Fine Arts at Pratt Institute and received an honor doctorate by the Institute in 2015.

Alison Knwoles in her young age

Artist Alison knowles young speaking about performance

She was a founding member of the Fluxus movement, an international network of artists that emphasize the process of making art, more than the final piece. They promote a 'do-it-yourself' attitude, performing in random locations and using all kind of materials to create art.

She is one of the artists that have changed the paradigm of contemporary art. Her artworks are exhibited in many prestigious museums like MOMA. Now she decided to bring to life again one of her masterpieces: The House of Dust, rethinking the building process using the latest technologies. To celebrate her contribution to the world of arts, we can help all together supporting the Crowdfunding Campaign.

Below, the interview of the Artist about her vision of the revised The House of Dust.

Alison Knowles shows the mesh of The House of Dust
Here you can see Alison now, keeping on create mesmerizing artworks.

Interview to Alison Knowles

How would you describe your artwork THE HOUSE OF DUST?

AK: My sculpture for tinyBE – living in a sculpture is the most contemporary iteration of THE HOUSE OF DUST. Generated by a computer as a poem in 1967, it was coded in FORTRAN IV on a mainframe computer with collaboration by James Tenney (Composer in Residence at Bell Labs) as one of the first computer generated poems and an early form of artificial intelligence.

The algorithm generates quatrains describing different houses and their living situations, without repeating before processing its chance set that contains thousands of unique possibilities. After winning a Guggenheim grant for this pioneer computer poem, I created the first architectural structure while I was in New York City.

visitors of the house of dust in 1970

Photo of the House of dust in the 1970

Later, I had it relocated and rebuilt at CAL ARTS, in California, where I was teaching. Since then, other curators and historians have designed temporary structures to be built based on the poem, in academic or semi-academic contexts.
After many years tinyBE presents the new generation of technology for building a livable structure -- THE HOUSE OF DUST realized by automated printing using robotics.

How did you come up with the idea of realizing your artwork THE HOUSE OF DUST using a 3D printer?

AK: The building process is an opportunity to realize the structure in an on-site intermedia-action-event. While the poem is printed and read, it meets up with a three dimensional structure also being printed by computer. THE HOUSE OF DUST has been waiting for this technical break-through implied by poem’s focus.

Casa stampata in 3d, Crane WASP
Crane WASP, the printer that will be used to create the sculpture

Your work is exploring the nexus of art, technology and architecture. In 1968 the computer-generated poem was translated into a physical structure whereby the viewers were invited to interact with the house. In what way will this new edition enable viewers to interact with your work?

AK: The public is invited to observe the printing process. By reactivating the concept of THE HOUSE OF DUST we do not only introduce this pioneering technology to the public, we’ll also use sustainable raw materials such as clay.

Viewers will be able to visit and inhabit a sustainable sculpture. They are taking part in a historical experience, prominently placed in front of the entrance of the Landesmuseum Wiesbaden, a natural environment supported by an institution globally known for its decades long support of Fluxus. THE HOUSE OF DUST will be a habitable space in public and an important contemporary Fluxus experience.

alison knowles with house of dust in 1970

View of the house of dust in the 1970

What makes the work THE HOUSE OF DUST so captivating from your point of view?

AK: THE HOUSE OF DUST has taken into consideration that architecture is becoming more fluid, it provides a linguistic structure that recognizes the inflow of new factors in living. By relaunching (and redefining) THE HOUSE OF DUST I’m able to engage the latest technical advances.

What in your opinion are the advantages of 3D printed artworks?

AK: The cost of printing artworks like the new version of THE HOUSE OF DUST is minimal by comparison to standard construction methods. Not only it is low-cost but also environmentally friendly and fast.

MARCH 2021

Crowdfunding campaign


If the Campaign will reach the goal, the structure will be printed in front of the Museum Wiesbaden and will remain there from 26 June to 26 September 2021. Visitors will be able to enter the house and also stay there for the night. The sculpture exhibition will be hosted by the non-profit organization tinyBE.

What happens with the funding raised?

The House of Dust artwork is being made possible by people like you!
There are already numerous public and private supporters, like Frankfurt's head of culture Dr. Ina Hartwig, Frankfurt RheinMain Kulturfondsthe, City of Wiesbaden, the Hessian Ministry of Science and Art, and others.

The renowned architectural firm Zaeske und Partner is working pro bono for Alison Knowles, but unfortunately, that is still not enough to also produce the sculpture in Wiesbaden with the use of 3D printing. All the money raised from this crowdfunding campaign will be spent on the production of Alison Knowles’ artwork.

The Crowdfunding campaign has raised more money than the set goal, thanks to all the participants. The printing has started the 15th of June and the final result has been presented on 30th of June.

The external view of The house of Dust completed: here you can see the pattern of the walls.



tinyBE is a global platform for artistic visions of sustainable forms of living. As a creative lab tinyBE offers a series of exhibitions of habitable artworks in public spaces and a free space for a discourse on meaningful life: ‘the tinyBE way’.

tinyBe logo

The project has been made possible thanks to the collaboration between WASP, TinyBE, Zaeske Architekten, Karriebau Gruppe. Material supplied by Ricehouse.

Digital Fabrication and Art in dialogue by WASP Hub Venice

Digital fabrication processes, 3D printing, bioplastic and the union between technology and craftsmanship are the elements that make possible new processes of creation and artwork reproduction, in an absolutely detailed, rapid and economic way.

Fablab Venice was recently involved in the creation of a large-format artworks, in collaboration with the London art-gallery SoShiro and starting from a scale sketch by the artist Arlene Wandera.

The work, with a strong symbolic meaning, represents a female figure wearing a large metal necklace, a symbolic representation of the typical jewels of the pokot people. In fact, the artist's work focuses on the issues of everyday life and female empowerment.

Manufacturing follows an articulated process, which explores the great potential of digital fabrication in the artistic field: the 20 cm high sketch, created by hand by Wandera, was scanned obtaining a detailed digital model; this was divided into portions and optimized for 3D printing and subsequent assembly.
For the printing phase, Fablab Venezia used Delta WASP 4070 INDUSTRIAL 4.0, Delta WASP 60100 and Delta WASP 3MT with filament extruder, the material used is PLA.

The assembly phase was followed by the post-production and finishing of the sculpture, using special resins and plaster, the process ended with the roller and brush painting.
For the production of the necklace structure, milling, laser cutting, and hot bending techniques were used.

The result is a powerful work, an exact reproduction of the scale model; the English gallery, at its first experience with digital fabrication, was pleasantly impressed by the intrinsic potential of a technology, 3D printing, which is increasingly venturing towards new applications, beyond prototyping in the manufacturing field.

Article text and images: Fablab Venezia

3D ABS sculpture

Huge 3D printed ABS sculpture


The world of 3D printers is now included in the majority of production processes thanks to technological stability and the improvement of technical materials such as ABS. The fields of applications are endless: medical, construction, production, ceramics up to the world of sculpture.
In this case WASP realized a 4 meter by 2.5 meter sculpture in ABS with the Delta WASP 3MT industrial 4.0 3D printer.

3D Scanning

We started with a small sculpture of a stylized bull, which was later to be replicated on a monumental scale.
Let's start with a 3D scan

3D scanning with Artec Eva

In this project we used the Artec Eva 3D scanner, a tool for acquiring objects using structured light. It is a process in which a luminous pattern is projected onto the surface of the piece that will determine the digital reconstruction of the subject.

The file obtained was resized by scaling it from 20cm to 400cm. To 3D print objects of this size you need a large 3D printer and a quick printing process.

Pellet extruder for ABS

The solution is the Delta WASP 3MT Industrial 4.0 3D printer, which thanks to its size is able to make objects up to 1 meter of print even in ABS. Furthermore, the possibility of printing with the pellet extruder, allows the use of nozzles with a diameter up to 3mm, and therefore print objects with a layer height 10 times higher than normal. .

This means that normally by printing with the classic filament and using nozzles with a diameter of 0.4mm, a 10-hour piece with the pellet extruder can be made in just 1 hour.

On the other hand, the possibility of reducing printing times by raising the layer height value inevitably creates a coarser surface, characterized by the various printing layers. For many in the design world it also becomes an aesthetic and design feature such as the Iride or the Bike Chair.

Before and after ABS post production

But we will see in the following chapters how to eliminate the various layers during post production. .

Continuous printing in ABS with Delta WASP 3MT Industrial 4.0

Once scaled the sculpture, through Meshmixer software it was divided into several parts to optimize the fabrication times. Four printers worked in sync producing 2 pieces per printer per day.

3D printed ABS pieces with Delta WASP 3MT Industrial 4.0
3d printed ABS parts assembling

Thanks to the technical improvements we implemented on the Delta WASP 3MT industrial 4.0 3D printer, in 3 days the 25 pieces in ABS were ready to be assembled.

The 50kg pellet tank with auto power supply and the material end sensor allowed the printers to work 24 hours a day without ever stopping. The system essentially recognizes when the pellet is almost finished inside the extruder and automatically feeds itself.

Tank for Pellet material

3D sculpture: ABS is an excellent material for post production

As the printers finished producing the missing pieces, two WASP operators began assembling the parts already made.

3D printed sculpture in ABS

The choice of the material to be printed is very important, especially in terms of end use:
should it be placed outdoors?
will it be subjected to heat sources?
will it have to withstand impacts or compressions?

In addition, the choice must also be made considering whether the finished product must be sanded, painted or otherwise subject to post-production processes .

3D printed sculpture 4m x 2.5m

The 3D printed sculpture in question had to be smooth, painted and placed in a garden, so the choice of ABS was the perfect solution for this application.

3D sculpture and post production: ABS Juice

A mixture of acetone and ABS granules (you can also use waste or ABS supports), was used as a glue between the various printed parts. . 

ABS parts fixing

The diluted ABS in acetone allows a perfect adhesion / fusion between the various sections making the sculpture a single solid object, resistant to heat and weathering. .
Moreover, if used as a filler, the mixture is perfect to even out the entire surface

Finsihing with ABS Juice

With a spatula, gloves and mask, getting to the smooth piece is a snap.
Finally sandpaper in hand and the sculpture is ready ;-)

Painted sculpture


The Burning Man Festival takes place every year since 1991 in Black Rock City, Nevada desert, with a mood that is very reminiscent of Mad Max. The most important event from which it takes its name is the great fire of a big wooden puppet. This tradition continues since 1986, when Larry Harvey and Jerry James, the Festival's founders, celebrated the summer solstice burning a big puppet on San Francisco's Baker Beach. The spirit of the event is wild and is described by the organizers as a sort of "social experiment", where everyone can feel free to express himself with performances, dances, exhibitions and even workshops.

One of the peculiarities of the Burning Man Festival is the massive presence of mutant vehicles, cars transformed in the most bizarre and creative possible ways. Another important peculiarity is the payment with barter exchange. Participating at the Burning Man Festival is a unique experience full of adrenaline, an opportunity to bring out our most authentic side, without constraints, limits or rules.

In the center of the Festival reserved area every year is build a structure representing the Burning Man Temple: it respect the Festival principles such as "Civic Responsibility" and "Leaving No Traces".

It is one of the most significant places of the Burning Man Festival, it represents a portal for healing, sharing emotional experiences, creating deep connections with yourself and with the others. Then it will be burned down during the last day.

The temple is a special place for the community to pray, to heal and to release pain. It is a place where to cry together for losses, whether it is a loved one or an elderly person.

At the 2018 Burning Man Festival, the famous Architect Arthur Mamou-Mani designed and built the Galaxia Temple. It celebrated hope in the unknown, in the stars, planets, black holes, in the movement that unites us in whirling galaxies of dreams. Galaxia was formed by 20 wooden trusses that converged like a spiral towards a point into the sky.

The triangular trusses formed different paths towards a central space ending with a gigantic 3D printed mandala, the heart of Galaxia. The first wooden modules started large enough to contain small alcoves where people could write in peace the messages that would be burned with the Temple. Then, while people were walking on the path under Galaxia, the wooden modules rose and became thinner towards the sky in order to reach the central mandala.

In the center of Galaxia's heart there was a collection of objects that fell from various heights from the highest part of the temple ceiling. These objects represented the tears of the people inside the "healing from pain" Temple. These objects were 3D printed with bio-plastic materials on Delta WASP 3MT INDUSTRIAL thanks to the open source software Silkworm for Grasshopper3D.

3D Printed Teardrop is the name of the single object created by WASP for Galaxia. It represented the tears of sadness and joy that condensed into a central incandescent movement.​ Then they rose towards the sky while under these suspended tears there was a ripple in the ground, representing the expected tear’s fall.

Here is an image before the realization:

The project was designed in London, the code optimization work was managed remotely by WASP in Massa Lombarda. The fifty 3D Printed Teardrop pieces were realized in Reno with a Delta WASP 3MT printer installed inside The Generator, a space dedicated to the construction of various Burning Man facilities.

The partnership with Studio Arthur Mamou-Mani is a milestone for WASP. WASP founded a WASP HUB in London that collaborates with the Studio in the creation and production of 3D printed pieces of various sizes and materials for international projects.

This video shows the construction of the colossal Galaxia Temple of Burning Man 2018:


You must know that all the activities dedicated to the realization of the Festival are managed by volunteers. The management behind a similar event is huge, but all the volunteers are drove by: a great passion for the project, vision, utopia and love.

Davide and Cristiano from WASP Team flew to Reno to participate voluntarily and actively in the event. The report was made by Cristiano often in bad conditions, which makes it truly authentic.


Here you can see some moments lived by Davide and Cristiano during the event: one of the most exciting of these was the marriage of Arthur.

This fantastic video shows one of the central events of the Festival. We will always be grateful to Davide and Cristiano that allowed us to burn our letters with the temple of healing from pain.


In the pictures above you can see our guys engaged in one of the most important phases: cleaning the desert. Volunteers clean the site so that nothing remains of the passage of the human being. For this reason, during the event, water, food and waste are meticulously managed and controlled.

Large scale 3D printed art installation

WASP & Arthur Mamou-Mani: CONIFERA project for COS

CONIFERA Project is an example of digital fabrication and innovation technology

The fashion brand COS together with the architect Arthur Mamou-Mani presented a large-scale 3D printed architectural installation: CONIFERA Project. It was created for the Milano Design Week 2019 from renewable bioplastic bricks and made by WASP thanks to a 3D printer Delta WASP 3MT INDUSTRIAL 4.0.

CONIFERA Project is really ambitious: Studio Arthur together with the Milan, Venice and Macerata’s WASP Hub created the largest 3D project in the world. This was possible thanks to a WASP Hubs network that created 700 pieces with the DELTA WASP 3MT Industrial 4.0. This new Industry 4.0 line could print big dimensions objects in short times, in this case using bioplastics and recycled plastics.

This is the first real concrete example of widespread manufacturing, a unique project that represents the WASP’s soul. A work realized together with the remote work of this network of digital manufacturing centers that use WASP technology, to create an incredible shared print, one of the largest in the world.

This project is an international work that really explains innovation, versatility, speed and precision of the WASP printers.

700 printed forms.

Single module printing time: 80 minutes
Material: PLA

Designadditive manufacturing are the keyword to create new form and realize new creation forms, to apply also to the industrial sector and not only to the digital craftsmanship.

Conifera project is a 3D printed installation created with Delta WASP 3MT Industrial 
using PLA Designed by Arthur Mamou-Mani

stampante 3d industriale

3d printed vase, spheres composition

An unprecedented art collection of 3D printed vases by WASP and Andrea Salvatori

collezione d'arte stampata in 3d, sfera

Ikebana Rock’n’Roll is the first art collection of 3D printed vases born by the dialogue between Delta WASP 40100 Clay and the artist Andrea Salvatori. It will go on stage at THE POOL NYC in Milan from 3rd April to 31st May 2019.

The one between Andrea Salvatori and 3D printing is an unprecedented, exuberant and at the same time composed confrontation, made of fleeting imperfections and reasoned pauses, which originates from an innate conflict between human creation and technical artifice, between man and machine.
The machine, in this case, is the 3D printer Delta WASP 40100 Clay, designed by WASP to be at the side of the ceramists throughout the artistic process, radically rethinking the idea of the work thanks to the innovative opportunities offered by digital fabrication.


The 3D printing is the symbol of a new artistic current, the result of unique digital repertoires and still not employed by contemporary art. The collaboration between WASP and the Master aims to outline new artistic scenarios, in which mechanical routines and sculptural gestures coexist in the compositional dialogue of the work, generating unique3D printed vases .
Salvatori conceives this relationship with an extremely fascinating intuition: to tamper with the perfection of printing with a miscellany of ceramic insertions. The process of depositing the material and setting the spheres is a central theme in the Ikebana Rock’n’Roll collection, to the point of convincing Salvatori to name the works “Composition 40100”, as if they originated from a musical dialogue of the most varied tones. The artist upsets the algorithm reiterated slavishly by the machine with imperfect musical accents, the result from time to time of spontaneous actions and reasoned processes.

vaso stampato in 3d, processo

The ikebanes, proposed by Andrea Salvatori in the exhibition, transcend the experimental limits of an abstract investigation, representing a concrete territory in which 3D printing and ceramic art co-exist synergistically. The Master challenges the confrontation with the public, becoming also in this sector, precursor of a new genre in which WASP feels itself fully represented.

The world's first 3D Printed biodigital living sculputers featuring at the Centre Pompidou in Paris

The CREATE Group from the University of Southern Denmark and WASP Hub Denmark announces the completion of H.O.R.T.U.S. XL Astaxathin.g, the world´s first 3D Printed biodigital living sculputers, designed by ecoLogicStudio and developed in a research partnership with and the Synthetic Landscape Lab at Innsbruck University. The work is featured in the exhibition “Le Fabrique du Vivant” at the Centre Pompidou in Paris from 20 February to 15 April 2019. The show, part of Mutations-Créations series and curated by Marie-Ange Brayer with Olivier Zeitoun, retraces the archaeology of the living and of artificial life. The installation is intended as speculative 1:1 scale prototype of living architecture, a new generation of thick biophilic architectural skin receptive to urban life. The structure is designed algorithmically and produced by means of large-scale high-resolution 3D printing.

About the Project

In H.O.R.T.U.S. XL Astaxanthin.g, a digital algorithm simulates the growth of a substratum inspired by coral morphology. This is physically deposited by 3D printing machines in layers of 400 microns, supported by triangular units of 46 mm and divided into hexagonal blocks of 18.5 cm. Photosynthetic Cyanobacteria are inoculated on a biogel medium into the individual triangular cells, or bio-pixel, forming the units of biological intelligence of the system. Their metabolisms, powered by photosynthesis, convert radiation into actual oxygen and biomass. The density value of each bio-pixel is digitally computed in order to optimally arrange the photosynthetic organisms along iso-surfaces of increased incoming radiation. Among the oldest organisms on Earth, cyanobacteria's unique biological intelligence is gathered as part of a new form of bio-digital architecture.

The visitors of the exhibition will move freely around and inside the installation, observing the bio-digital landscape made of protuberant 3D printed geometries and engaging in an exchange with the micro-algae. The micro-organisms will absorb the carbon dioxide produced by human breathing and transform it into oxygen in a process that also creates biomass, useful for the production of bioplastic material and energy.

3D Printed System Development and Production

The CREATE Group and WASP Hub Denmark from SDU have contributed to the development of the 3D printed system and the digital fabrication of the structure: “In this jointed research, biological and digital strategies are fused together to conceive a novel model of architecture, able to contribute positively to the urban environment”, explains Roberto Naboni, Assistant Professor at the University of Southern Denmark (SDU). The experimental structure is composed of 185 different construction components which are entirely produced by Delta WASP 3D Printers for a total of 1780 hours and 271 kgs in weight, in between the CREATE Lab/WASP Hub Denmark, and the Synthetic Landscape Lab at Innsbruck University.

The biodigital living sculputers is printed in PETG thermoplastic and characterized by complex morphologies and high level of details. Each component has very differentiated geometry, which has required an individualized study to optimize the printing process for precision and speed. The overall printed structure performs as a symbiotic substratum for the internal proliferation of micro-algae on a biogel suspension and therefore is characterized by an external porous shell which favours the air exchange with the biological compound, high transparency to gain the needed light to run photosynthetic processes, and high chemical resistance. The construction system is based on reversible connections among the components which allow the easy relocation of the prototype.

In spring 2019, H.O.R.T.U.S. XL Astaxanthin.g will be exhibited at the MAK – Museum of Applied Arts in Vienna.na.

About the CREATE Group / WASP Hub Denmark

CREATE is the group for Computational Research in Emergent Architectural Technology, part of the Unit of Civil and Architectural Engineering (CAE) at the University of Southern Denmark. The group, founded and coordinated by Assistant Professor Roberto Naboni, explores novel architectural processes and solutions at the intersection with the fields of computer science, advanced manufacturing and emergent material technologies. The group also coordinates CAE’s activities in the field of Industry 4.0 for Constructions. In its physical infrastructure, the CREATE Lab, are studied future scenarios of architecture, from disruptive concepts to applied research, bringing together design and making through technology. CREATE Lab is the WASP Hub for Denmark and part of an international network of digital fabrication.


Design: ecoLogicStudio (Claudia Pasquero, Marco Poletto, Konstantinos Alexopoulos, Matteo Baldissarra, Michael Brewster)

Research partner for biological as well as 3D Printed systems and production development: Synthetic Landscape Lab, IOUD, Innsbruck University (Prof. Claudia Pasquero, Maria Kuptsova, Terezia Greskova, Emiliano Rando, Jens Burkart, Niko Jabadari, Simon Posch); Photosynthetica consortium (www.photosynthetica.co.uk)

Research partner for 3D Printed systems and production development: CREATE Group / WASP Hub Denmark - University of Southern Denmark (SDU) (Prof. Roberto Naboni, Furio Magaraggia)

Engineering: YIP structural engineering, Manja Van De Worp

Microalgal Medium Material Support: Ecoduna AG


Assistant Professor, Arch. Roberto Naboni

Baby, 3D printed sculpture

The applications related to digital manufacturing are endless. If we combine the fact that the tools used are the Delta WASP 3MT INDUSTRIAL, then 3D printers for large objects, the results are becoming more and more impressive.


Digital sculpt
The artist Luca Tarlazzi, who has been a WASP collaborator for the comic "Viaggio a Shamballa" for a year, has always been linked to the world of sculpture. In recent years, with the development and improvement of software, his sculpture has become digital. In fact, Luca using ZBrush, a digital sculpture software, invests his time in the creation of sculptures. After that the process ends with the printing of the pieces. The limit so far was the size too small and the materials post-workable. Now with the Delta WASP 3MT INDUSTRIAL, Luca manages to achieve his objectives, realizing digital statues in real scale, depositing thermoplastic materials starting from the pellets.

This is how the statue "Baby" was born, a young girl sitting with her eyes turned towards the sky. You do not know what you look at, what dreams, but surely it's something beautiful. A process, the one put in place by Tarlazzi, which fits exactly into the world of digital manufacturing, passing from the idea to the project on the pc, to the 3D printing. This was the development of the statue, which ended with a manual post-processing with stucco and paint to give the final touch. The statue was presented in Milan during the Technology Hub 2018 exhibition, sitting right above the one who gave it life, the Delta WASP 3MT INDUSTRIAL.

Luca Tarlazzi's studio is now continuing with the use of the Delta WASP Clay line, which allows him an even closer approach to traditional techniques.

How do you make a large statue printed in 3D?
The statue was designed with a digital sculpture software: ZBrush.


Errors can occur with software of this kind, like for example open edges. In these cases a very useful software is Mesh Mixer. To make the printing easier, the the same software has been used to divide the statue into several parts, and this have avoided the use of support-materials. So the bust, the legs the arms, being large elements, were printed with Delta WASP 3MT Industrial with Pellet extruder, which allows speed and stability. By replacing pellet extrude with Spitfire extruder in 10 minutes it is possible to switch from fast prints and very high layers printings, to more detailed and precise prints. Thanks to Spitfire on the Delta WASP 3MT Industrial the head, the hands and the feet were realized with a 1.2 mm diameter nozzle and a 0.5 mm layer height.

Assembly e stuccoing
The various parts were welded together with metal pins embedded in the plastic to allow stiffness and tightness. To make the entire surface of the piece homogeneous, an ad hoc stucco was used, easy to apply and excellent for hand-finishing. Finally the statue was painted with acrylic colors. With this approach it is possible to realize in a short time a statue of 2.2 meters in height.

"Baby" by Luca Tarlazzi

3D printed Mannequins at FAB14

3D printed mannequins at the main event of FAB14

At FAB14 2018, WASP Hub Madrid, in collaboration with FABRICADEMY, presents the first series of mannequins 3D printed with the Delta WASP 3MT INDUSTRIAL using the pellet extruder, a technology that could print a single mannequin just in 3 hours.

3D printing at WASP Hub in Madrid

Digital manufacturing and innovation. Fab14 is the international event during which every year over 1200 FabLab, coming from various parts of the world, meet to discuss and share the results achieved so far thanks to their research and their experiments. It is also an opportunity to create important collaborations for the future.

Esp0sizione a Parigi photo credits FABRICADEMY

After the opening event held in Paris, the FabCitySummit, this year Fab14, unfolds in different stages and locations in France, which have been chosen according to the issues addressed: agriculture and food, ecology, economy, education, energy , mobility, science and research, solidarity, until the "main event" in Toulouse, from 16 to 22 July, which will be dedicated to digital manufacturing.

The mannequins with the FABRICADEMY's leaders are exhibited both at the inaugural event in Paris and at the closing event in Toulouse, where on July 20 and 21, Gianluca Pugliese of WASP Iberia will be present.

The Delta WASP 3 MT is a multi-tools printer that allows you to create objects in complete freedom. It can be equipped with several extruders and in this specific case, the pellet extruder (the one which prints directly from granes) was used

For information: info@wasp3d.es

WASP hub Madrid in collaboration with

scenografia stampata in 3d

The first 3d printed Scenography

WASP has printed the scenery of the play "Fra Diavolo", of the “Opera” Theater in Roma.

3d printed scenography

3d Printing at “Opera” Theatre in Rome

A 3d printed scenography for a theatre play. Perhaps it's the first time it happens; for sure there are no similar examples in the other national theater fittings: 3d printing has been used to create masks and furniture components, never an impressive scenic stage.  It happens in Rome, for the Daniel Auber's "Fra Diavolo" play, directed by Giorgio Barberio Corsetti, conductor Rory McDonald, on stage at the Opera Theater on October 8, 2017, in replica until 21: WASP is proud to be a technology partner of this event.


WASP has mounted a Delta WASP 3MT INDUSTRIAL next to the entrance of the Roman Opera. The big printer will be there working until the "first" Sunday of October (8th) , and the WASP engineers will feature in  the 3D printing  of a statue representing the Fra Diavolo character (on a scale 1:1).


When Art generates job and products further to Industry inspiration

"We are sure," said Carlo Fuortes, "that what we experienced  for the first time how to performe a scene in  the technique of the future: 3d print. Moreover, the story of theatrical performance has always been a story of inventions and  experimentation of techniques and materials. Today 3d printing is already present in all design work but also in building elements in various productive areas. Here, for the first time, thanks to WASP's commitment and work, it is employed to build the scenery of a lyric".

"The challenge presented to us by the Opera Theater was a very risky-one - said  Massimo Moretti, WASP founder, during the conference - It had never happened that 3d printing was applied to such a large size project. The plastic we normally use to print has a huge cost when used to produce the 1500 Kg of the scenery. So we decided to  turn to a cheaper material, one  that, when the scenery will no longer be used, can be easily recycled, shredded and reused for a new and different work. For this job at first we rented a shed near our home, now this shed is ours and we are the only 3d printing company able to produce very large objects. This is the case of Fra Diavolo, where art is dragging the industry and opening up new creations and new job opportunities. "


The first 3d printed scenography

When asked to make the scene of the work, the WASP team was surprised, but as it always happens, it immediately accepted the challenge. The works started in mid-April and have ended in mid-July, with the delivery of the scenic components to the Roman Theater.

The venture started when the scenographer gave Wasp a 3d printed model of two deformed historic buildings, two large facades with windows and terraces, similar to a Dalí picture: the deformed perception of reality is a central element of the work, which necessarily reflects also in its scenographic structure. The director, supported by Rome's Superintendent, Carlo Fuortes, who is deeply confident in using 3d printing for studio and stage design, has chosen the 3d printing as the best possible solutions to achieve the desired result.


The 3d model was a unit block, and it had to be subdivided into 223 pieces that could fit into the Delta WASP 3MT print size, which is a 1 meter x 1 meter cylinder. The material used is PLA colored of white pigment. To tackle the work, the WASP team has used 5 printers, working at full speed during the last three months in the new warehouse where this out of the ordinary project, has been planned and realised.


The biggest challenge was not to overtake the deadline. Thanks to a good work planning and to the speed of the WASP machines, the result came without any special problems at the set deadline: in mid-July the warehouse-floor was completely filled with pieces of the scenography, ready to be sent to Rome.

In the capital, within the spaces of the Opera House, the components were assembled and fixed on a wooden carrying structure. A few small inaccuracies did not compromise the outcome, on the contrary they emphasized the craftsmanship and the special character of the work, and the director welcomed the final result with great satisfaction. It was a test, an experiment, and a successful achievement that could pave the way for new future collaboration between theatre and 3d printing industry.


Giorgio Barbiero Corsetti interview:

stampa 3d nell'arte

Delta WASP 4070 brings back in Pompeii 28 ancient statues

After the casts exhibited in Canada, Delta WASP 4070 job in Pompeii ruins carries on: 3d printing role is now  fundamental in artworks reproduction.

Twenty-eight ornamental statues exactly reproduced in detail and placed in the houses’ gardens where they formerly were as decorative objects. This is been possible with 3d-printing and Delta WASP 4070, used for one year in Pompeii thanks to the partnership between WASP and the Archaeological Site Authority of Pompeii, Ercolano and Stabia. First, the printer has been used for bodies’ casts from people died in Vesuvio eruption: these works  are frequently sought abroad and have been recently shown in Canada in the exhibition “Pompeii in the shadow of the volcano”, ended in January after a large public success.


The ancient statues reproduction

This second procedure of artworks  reproduction clearly proves innovative and fundamental 3-d printing role in cultural heritage restoration and preservation. “Usually, original artwork pieces can’t remain outside, open-air, because of the acid rains and other natural elements that would seriously damage them - explains Giancarlo Napoli, technical director of Atramentum, the society in charge of this job -. The authentic little statues that decorated Octavio Quartio and Marco Lucrezio houses are conserved in Torino, but now, thanks to 3-d printing, we can admire them again in their original place”.


3d printing: precision and high definition

Even thought the material is different, it’s not easy to realize that the exposed pieces are copies. “Actually nobody notices it”, says Mr. Napoli. “In the restoration interventions - he explains - it’s better to use different materials instead of the same of the original: in the XIX Century using the marble was very common, with the result that, after many years, the authentic part became indistinguishable from the reconstructed part. Also, polyvinyl plastics and resins allow a high definition and detailed reproduction. To take another example, in these days we have just duplicated the skeleton of a skull of the Sannita age, perforated for a kind of surgery, a frequent operation in that period: the result is highly satisfying, a great job”.

Passing over artworks copy regulations

Furthermore, 3d printing allowed to solve a big problem arose with the introduction of a new governmental regulation that bans artworks direct copies, made by contact with silicone rubber, creating a negative to be filled in with the material. “This procedure undoubtedly generates identical copies - says Napoli - but it can actually damage the originals because of the contact, especially detaching the rubber: for this reason it’s been properly forbidden. So now 3-d printing is the only option”.

Technical note: the shapes of the works derive from the 3D scanning of the originals. they are then 3D printed in PET, filled with epoxy resin, and painted with two-component acrylic colors.

DeltaWASP 4070 working in the ruins of Pompei

Ceramic Art and 3D printing

The collaboration between WASP and artist Francesco Pacelli
to explore the potentialities of ceramics 3D printing

francesco pacelli clay 3d printing artist

The 3D printing of clay or other fluid materials is nowadays a big topic of research in additive manufacturing world. Polymers and plastics are easier to 3D print because they set at room temperature after heating so you don't have too many problems due to collapses or overhangs. When you're layering instead through LDM (Liquid Deposition Modeling) process wet materials such as clays, there are some limitations due to geometries, collapses, drying, shrinkage, so the material extruded assumes a key role for obtaining acceptable final results.

Focusing on this stimulating research direction, during last months a collaboration between Wasproject and artist Francesco Pacelli started in order to deepen the knowledge about LDM process, widening the number of potential extrudable ceramics materials, setting the correct mixtures and printing parameters to obtain functional 3D printed ceramic pieces.

During last months, Wasp designed a smart LDM extruder based on a compressed air tank which feeds an endless screw in order to selectively deposit clay through a stepper motor. The mechanics of deltawasp machines is perfect for clay deposition because you don't have a moving bed, so the print remains still while the extruder is moving layer by layer, avoiding dangerous shakes that could compromise the stability of the final printed part.

The extruder works well, but there was still a big work to do related to materials and shapes achievable through LDM process.

clay 3dprint francesco pacelli wasproject_Orogenesis, porcelain, 2



The collection

clay 3dprint francesco pacelli wasproject_Metal mangrove, ceramics, 2clay 3dprint francesco pacelli wasproject_Metal mangrove, ceramics, 1

Francesco Pacelli / Metal mangrove / clay 3dprint /ceramics.

clay 3dprint francesco pacelli wasproject_Pyromania_ceramics_4 clay 3dprint francesco pacelli wasproject_Pyromania_ceramics_5

Francesco Pacelli / Pyromania /clay 3dprint /ceramics.

clay 3dprint francesco pacelli wasproject_Robotic woman nursing a baby_ceramics_1 clay 3dprint francesco pacelli wasproject_Robotic woman nursing a baby_ceramics_2

Francesco Pacelli / Robotic woman nursing a baby /clay 3dprint /ceramics.

clay 3dprint francesco pacelli wasproject_Chaotic Numerical Control_1 clay 3dprint francesco pacelli wasproject_Chaotic Numerical Control_2

Francesco Pacelli /  Chaotic Numerical Control /clay 3dprint /ceramics.

After graduation in Design&Engineering in 2013, Francesco Pacelli was an academic researcher for two years at +LAB, the 3D printing lab led by Marinella Levi at the Chemical and Material Engineering department of Politecnico di Milano, where he became familiar with LDM process and with the potential extrudable materials. Since october 2015 a collaboration between Wasp and Francesco started to improve the technology, showing its innovative potentialities in many fields. Francesco's work is mainly focused on arts (www.francescopacelli.com), but the potential applications of these machines and LDM process are endless, from design to engineering, from fashion to biomedicals.

So we're very excited about the start of the collaboration between Wasp and Francesco and the opening of this new laboratory, a special place exclusively dedicated to LDM technology for ceramics 3D printing. In next weeks we will share updates about the experiments, the results achieved and the starting interactions with an important and historical place for ceramics such as Faenza and its ceramists, to establish a continuity between the knowledge of the past and the future of this contemporary digital technique.

LIGHT EXTRUDER by Gianluca Pugliese


Lightpainting: Gianluca Pugliese uses a Delta WASP TURBO with a special extruder that will be soon shared.

There is a particular territory, where dreams and reality have changing and shifting boundaries. WASP loves swinging in that particular dimension, the art dimension, in its many different forms: One of them is LIGHT PAINTING.

You can describe this particular technique as follows: Taking a picture (usually in a dark environment) with long exposure times in order to capture all light movements with your lens. In a more simple way, we could say that what a light painting photographer actually does is painting with light. The word photography actually comes from the Greek and it means “drawing with light"

Gianluca Pugliese, aka Owen, has been following this pattern for ages.
But apart from being a photographer, he is also a maker and few years ago, following his intuition, he used a 3d printer and experimented “numerical control” light painting.


“Until that moment all 3d printers were Cartesian printers - he says - and the results I got were pretty good but not enough satisfactory. Then, the Delta printers came along and I finally realized they were all I needed to get what I wanted”.

As only a real maker would do, Gianluca got advantage of an open source project found on the web and started to build its own Delta. That was the turning point.
The results he got were so impressive that he took part to the “Biennale” in Venice in 2014 with his project.
“In Venice I met Sebastiano and Marcello, from WASP. I showed my project and they showed me their machines. A great friendship and a useful collaboration were born”.

light 3d printing_1

At FabLab Torino space in Maker Faire Rome 2014, you can see Delta WASP Open upgraded to Light 3d printer version. 

After several tests with a Delta WASP Open, WASP gave Gianluca a Turbo. He developed a specific extruder, the LightExtruder, that can replace the original one, just as with the extruder for clay. It does not require any power supplies or specific settings.

The key point is: many other 3D light painting projects already exist but Gianluca, following the “philosophy of sharing”, meant to create something accessible to everyone who wishes to experiment such a brand new material for the 3d printing: the light!

It can be used on every Delta WASP but it performs at its best on a Turbo because it allows a faster light movement thus reducing the exposure time. The Light Extruder has a RGB LED on top and a selector to choose the light color.

Gianluca describes what happens next: “All you have to do is put the camera on a tripod just in front of the printer, turn the light off, and then you run the printer and you take the picture with the BULB mode. The printer starts moving as it was printing something (at a higher speed though) and you can see the LED moving around.
The camera is actually capturing all these movement and once the shooting is done the magic trick appears: the object, created with the light, appears on the screen of the reflex”

The words are just not enough to describe how fascinating his works are.

Of course the experiments keep going.
“I’ve recently took several pictures of the same subject, making it turn of 15 degrees in every file. I assembled the pictures in sequence and what I obtained was a video of this object, made of light that turn on itself”


Genius, intuition, fantasy.
But also commitment, hard study and technique.
New technologies applied to the world of art and sharing.
Gianluca Owen Pugliese is without any doubt a WASPER.

Gianluca Pugliese mail: owenlab@gmail.com


_MG_0473 _MG_0472

Delta WASP 4070 working in the ruins of Pompei


WASP’s 3D printers used for the restorative measures

Ten reproduced pieces are going to be sent in Canada

It may be the first time that 3D print has been used so concretely in the restoration of the artistic and cultural heritage. It happens in Pompei, where an important intervention on casts of men, women and children who died two thousand years ago after Vesuvio’s eruption has been made. These bodies were discovered and unearthed in 1863.

The Special Superintendence for Cultural Heritage of Pompei, Ercolano and Scabia asked WASP to collaborate for the restorative intervention. The first step involved the 1:1 reproduction of the casts. There are two Delta WASP 4070 working in Pompei. WASP also supplied some useful materials for the 3D print and technical assistance.

Massimo Osanna, overseer of the project, adfirmed “casts are the most seeked testimonials from abroad”. The problemi s that they’re too fragile for travelling. That explains the need of the perfectly reproduced 3D printed copies. The first prints will be sent in Canada in a few monthes and for sure there will be several requests from all over the world. I twill possibly be an itinerant show.

It is a crucial passage

Pompei is an example of how technology can be usefull for cultural heritage – adfirms Massimo Moretti – Until now WASP didn’t know of how it can give a real contribute in this field. When the supervisors for restoration asked for our help we responded promptly, very proud of being an Italian company which partecipates and contributes to this project thanks to his 3D printers.

In Moretti’s opinion we’re living a crucial passage for 3Dprint: the shift between the rapresentation of projects to their realization. “One of the most interesting areas is that one of restoration, the use of 3D print in cultural heritage” concludes the founder of WASP, the leader Italian company.

The recovery of the bodies

What exactly are Pompei’s casts? The the website www.pompei.net says that during some dig workings the workmen found a cavity in which there were human bones. The archologist Giuseppe Fiorelli ordered that in that hole and in neighboring to be cast plaster. Once the casting was dried, removed the remains of pumice and hardened ash, those cavities revealed the bodies of several Pompei’s citizen that remained buried for millennia. The casts technicque consist of filling with plaster the hole that bodies made. The volcanic material, solidifying, took the shape of what it submerged. These casts, preserved in Pompei’s Antiquarium, are one of the most tragic testimony of the catastrophe which stroke the city. Thanks to Fiorelli’s thecnique we can glimpse the facial expressions, the shapes of the dresses, the positions of the Pompei’s inhabitants when they were submerged by the fury of the volcano. Casts don’t give back just the shape of doors, windows, forniture, but also plants and animals.

Ceramic art and 3D printing - sperimentations

Ceramic art and 3D printing merge in our sperimentations. Here we have a photo gallery by WASP which illustrates this charming relation with some substantial images.

Alternative materials for 3D printing characterize our research, which is evolving towards bigger sizes and always producing unxpected results in the path. In this path, energies meet and link from all over the world. Here we have the synergy of ceramic masters that join 3D innovation.

Between the ones in the photo there are several pieces designed by the English artist Jonathan Keep, who modulated ambient sound and printed them with a DeltaWASP. A lucky meeting the one with Ivo Sassi, a ceramic master who is known all over the world. He was so moved from our work that he wanted to fire the pieces and finish them.

3D printing offers new chances and unreleased solutions to big artists creativity.



.stl and .gcode from Jonathan Keep  / 3d printing by Wasproject / material: white clay / painted and fired by Ivo Sassi 3dprintingclay12 .stl and .gcode from thingiverse / 3d printing by Wasproject / material: white clay / painted and fired by Ivo Sassi 3dprintingclay13

.stl and .gcode from Jonathan Keep  / 3d printing by Wasproject / material: white clay / painted and fired by Ivo Sassi 3dprintingclay14 .stl and .gcode from Jonathan Keep  / 3d printing by Wasproject / material: white clay / painted and fired by Ivo Sassi 3dprintingclay15 .stl and .gcode from Jonathan Keep  / 3d printing by Wasproject / material: white clay / painted and fired by Ivo Sassi 3dprintingclay16 .stl and .gcode from Jonathan Keep  / 3d printing by Wasproject / material: white clay / painted and fired by Ivo Sassi 3dprintingclay17 .stl and .gcode from Jonathan Keep  / 3d printing by Wasproject / material: white clay / painted and fired by Ivo Sassi 3dprintingclay18 .stl and .gcode from Jonathan Keep  / 3d printing by Wasproject / material: white clay / painted and fired by Ivo Sassi / wet object heigth 68 cm 3dprintingclay7 .stl from thingiverse / 3d print Wasproject/ material: polcelain / painted and fired by Jacopo Vitali 3dprintingclay20