Simplify3D® compatible with all the WASP's 3D printers

Simplify3D® Software

Improve your print quality with the most powerful 3D printing software available. Simplify3D® provides complete control over your print settings, making it easier than ever to create high-quality 3D prints.
Start up quickly with pre-configured settings optimized for WASP 3D printers, review a simulation of your build sequence in the Preview Mode, and begin your 3D print with confidence. Total control means amazing 3D prints!

Simplify3D® Software is now available in our shop

  • The product is an electronic download that is emailed following your purchase.
  • The software is cross platform and can be installed on Windows, Mac OS X, or Linux systems.
  • The software is viewable in English, German, Spanish, Japanese, French or Italian.
  • System Requirements: Intel Pentium 4 or higher processor, 2GB or more of RAM. Windows XP or greater, Mac OS X 10.6 or greater, Ubuntu Linux 12.10 or greater. OpenGL 2.0 capable system. An internet connection is required for the installation and continued use of the software.

Simplify3D® Software and Delta WASP 3MT INDUSTRIAL 4.0

Delta WASP 3MT INDUSTRIAL 4.0 and Simplify3D® is a perfect match! The Simplify3D license is included with the purchase of our Delta WASP 3MT INDUSTRIAL 4.0 3D printer.
Expand your printing options with Simplify3D®, the powerful 3D printing software that gives you total control for amazing 3D prints.

Trabeculae Pavilion 3d printed by Delta WASP

 Trabeculae Pavilion at Politecnico di Milano © Gabriele Seghizzi

A lightweight architecture completely 3D printed by a WASP printer farm

WASP announces the completion of Trabeculae Pavilion, a lightweight architecture completely 3D printed that fuses advancements in 3D printing with bio-inspired computational design.

The synergy of design, material and manufacturing technologies allowed the conceptualization of an innovative construction technique based on an additive process which builds architectural forms conceived with a load-responsive material organization.

Five WASP printers worked H24

The fabrication process of the building components was based on four Delta WASP 4070 and a Delta WASP 60100, a WASP 3d printers farm installed in the laboratories of Department ABC of Politecnico di Milano, where parallel production processes have been run for a continuous production of 4352 hours in total.

The use of WASP Spitfire extruder was introduced for the first time to shape stiff components within a minimized amount of time.

Delta WASP Farm at work during the production © Roberto Naboni

The prototype is the result of the doctoral research of Roberto Naboni who has designed and developed the pavilion at Politecnico di Milano, together with a team of specialists in experimental design and construction.

The project looks into 3D Printing for answers to the emerging problem of scarcity in material resources. The design is based on a computational process that finds inspiration in Nature, specifically in the materialization logics of the trabeculae, the internal cells that form the bone microstructure.

From this investigation, custom algorithms have been developed to support the creation of a cellular load-responsive structure with continuous variations in sizing, topology, orientation and section, in order to maximize material efficiency.

“The last decades have witnessed an exponential growth in the demandof raw materials due to the rapid urbanization and industrialization of emerging economies. This research looks at biological models andat the opportunities offered by the new additive production technologies in order to find sustainable solutions to the exploitation of materials. Our objective is to explore a new model of construction: advanced, efficient and sustainable” declare Roberto Naboni, Architect and currently Assistant Professor at University of Southern Denmark (SDU).

 Trabeculae Pavilion at Politecnico di Milano © Gabriele Seghizzi

The built pavilion is a load-responsive shell composed by 352 components covering a total area of 36 square meters, shaped additively by a 112 kilometers-long extrusion of a high-resistance biopolymer, specifically developed with industrial partner FILOALFA® to elevate Fused Deposition Modelling (FDM) to construction purposes.

The innovative methods involved for the design allow for an efficient material distribution at multiple scales, which permits an extremely resistant and lightweight structure with a variable weight to area ratio of 6 to 10 kg/m2 - about ten times lighter than typical construction techniques with comparable mechanical performance.

Beyond its technical features, the pavilion is an outstanding expression of a tectonic system conceived with and for 3D Printing, which enables multiple high-res optimization logics with the precision of a tenth of a millimeter.


Address: Politecnico di Milano, Piazza Leonardo da Vinci, 32, 20133 Milano, Italy

Completion: July 2018

Area: 36 m²

Weight: 335 kg

Weight to Area Ratio: 9.3 kg/m²

Overall Dimensions: 7,5m x 6,0m x 3,6m

Extrusion length: 112 km

Combined Printing Hours: 4352


Trabeculae Pavilion è un progetto di ricerca promosso da ACTLAB:   Prof. Roberto Naboni (University of Southern Denmark - SDU), Prof. Ingrid Paoletti (Politecnico di Milano)

Team di Ricerca, Design e Sviluppo: Roberto Naboni (Investigatore Principale e Leader di Progetto), Anja Kunić (Design Computazionale), Luca Breseghello (Design Computazionale)

Dottorato sviluppato presso il dipartimento ABC del Politecnico di Milano: Tutor Ingrid Paoletti, Relatore Enrico De Angelis

Fabbricazione e Costruzione: Mithun Kumar Thiyagarajan, Gabriele Seghizzi

In collaborazione con: Francesco Martelli (Analisi Strutturale) and ITKE - University of Stuttgart: Valentin Koslowski, Jan Knippers (Analisi Strutturale e Test Materiali)

Collaboratori: Verley Henry Côco Jr., Rahul Sehgal, Elena Kriklenko, Maia Zheliazkova, Hamed Abbasi, Francesco Pasi, Sibilla Ferroni

Partner Industriali: WASP (Stampanti 3D), FILOALFA® (Materiali Polimerici)

Supportato con il contributo di: SAPERLAB - Laboratorio Unico Dipartimento ABC (Politecnico di Milano), MADE Expo, RESEARCH FUNDS Ingrid Paoletti

Mamou-Mani Studio and WASP in Paris

A Delta WASP 4070 produces design-pieces


Untill October 7th WASP and Mamou-Mani are hosts of AA [n + 1] - Architecture & Analysis transdisciplinary project, in Paris, an independent organization of curators promoting transdisciplinary events between art and architecture. Here, in the exhibition halls of rue de Cléry, London, the French architect Arthur Mamou-Mani based in London,  conducts digital manufacturing labs and produces design objects and pieces with a 3D printer, a Delta WASP 4070.

During the Paris workshops, participants are printing decorative items such as lamps, chairs and stools using the Delta WASP 4070 and Grasshopper software for Rhinoceros3D and Silkworm, a free plugin to generate Gcode.

WASP Hub London

Arthur was at our premises in Massa Lombarda, last February, and during his visit we spoke about Silkworm, the instrument used by the architect, to realize his creation from the dense network casing, that looks like spider-knitted. Silkworm, works on the extruder-route and movement.

In his London studio (that waks also as WASP HUB), Arthur Mamou-Mani mixes architecture and design and was prized and rewarded several tims for his originality and for his innovative vision,

One of his most recent and most spectacular project is the installation called “Tangential dreams”, built for the 2016 edition of the Burning Man festival, a 8 days festival which takes place every year, at Black Rock City, on the salty Black Rock Desert in Nevada (practically nowhere), during this festival every partecipant is free to arrange, organize and perform showrooms exhibitions and performances.

Architect and Maker

Made up of a crowdfunding campaign, "Tangential Dreams" is a sinuous tower created by a digital project and created with zero-cost materials, thin pieces of wood placed one over the other and following a rotation around a central axis. "The Beginning of Many Dreams", a work that everyone can interpret as he wants. "This project shows how an architect becomes a maker through digital manufacturing” - says Arthur. Connect your computer to the machine and make a virtual project real. The goal was to create an artistic project able to meet the requirements of the self radical expression  with  respect for the environment. "

New Fontiers for Architecture

In addition, Arthur and his team have also given shape,  by 3D printing , to all the furnishings of London's "FoodInk", the world's first restaurant that is entirely made up of 3D printed objects, to which WASP also contributed. "The physical world and the digital world are meeting - the architect concludes - today we can produce architecture as it has never been done before. We can create incredibly sophisticated buildings with cheap materials and intelligent connections, integrating cultural and natural forces into design with no man material  contribution".

Experimental 3D printing architecture

Trabeculae Pavilion at Made Expo 2017


Politecnico di Milano presents a preview of Trabeculae Pavilion at Made Expo 2017, an experimental architecture which fuses 3D Printing with biomimetic research. From the 8th until the 11th of March, within the BSmart! area, in Pavilion 10 of Fiera Milano-Rho, will be introduced an innovative prototype of lightweight architecture which demonstrates the revolutionary potential of computational design and 3D printing for constructions. The project is the synthesis of a research concentrated on the use of Additive Manufacturing to provide novel solutions to the emergent necessity for a reduction in the exploitation of material resources.


New additive manufacturing techniques

The pavilion is a full-scale demonstrator entirely 3D printed with a high-resistance biopolymer developed together with industrial partner Filoalfa, in order to elevate Fused Deposition Modelling (FDM) to construction purposes. The fabrication process of the building components is based on a printing farm of WASP Delta printers (Delta WASP 4070 e Delta WASP 60100), capable of delivering high accuracy within a continuous production process. The use of the new SPITFIRE extruder  is introduced to shape stiff components within a minimized amount of time. The synergy of design, material and manufacturing technologies allowed the conceptualization of an innovative construction technique based on an additive process which builds architectural forms conceived with a load-responsive material organization.


The pavilion is fabricated by ACTLAB - Politecnico di Milano with a production center based on a printer farm of WASP delta robots


The building components are printed with the new SPITFIRE extruder and realized with a high-performance biopolymer developed with Filoalfa

Advanced and efficient architecture

“The last decades have witnessed an exponential growth in the demand of raw materials due to the rapid industrialization of emerging economies and the high consumption of materials. This research looks at biological models and the opportunities offered by the new additive production technologies in order to find sustainable solutions to the exploitation of materials. Our objective is to explore a new type of non-standard architecture: advanced, efficient and sustainable,” declare Roberto Naboni, architect and researcher at Politecnico di Milano, and Ingrid Paoletti, Associate Professor in Building Technology at Politecnico di Milano. “We looked into Nature to understand how lightweight and resistant structures work with a minimized material use. Studying the internal bone microstructure, we have created algorithms which allow us to generate three dimensional cellular structures, varying in topology and sizing, with the precision of a tenth of millimeter”


The cellular structure of the pavilion varies in porosity, orientation and topology to enhance its mechanical behaviour, Following the role model of the internal bone microstructure.

Component generated live at Made Expo

At Made Expo 2017 will be presented the interdisciplinary research process which involved the fields of computational design, biomimetics, advanced manufacturing and material engineering. A full-scale prototype of lightweight skin system will be exhibited accompanied by a production centre with 3D printers generating live the components of the Trabeculae Pavilion, which will be subsequently completed and exposed at Politecnico di Milano.

Info: Roberto Naboni

From technology to nature: 3D printed hive

Asya Ilgun, graduated at the Copenhagen Architecture School, has realized a 3D printed Hive using a Delta WASP 4070. A complex but efficient structure, a way to get closer to nature and to promote the animal integration in urban contexts.


Nature gives shape to complex structures, to perfect and wonderful mechanisms. Let’s think of the beehive, one of the most advanced architecture examples, formed by hexagonal honeycombs, the most advantageous geometrical shape, inhabited by a very well organized society, where, each member has its own role. Asya Ilgun, a student graduated at the Royal Danish Academy of Fine Arts - School of Architecture in Copenhagen, has watched the hive, has studied its structure and has reproduced it with a Delta WASP 4070.

Moving the architecture borders…

“My idea was born from a consideration about the architecture borders and from the desire to overcome a distinction between architecture and natural systems which still endures”, she explains. “The architectural design evolution is strictly linked to the technology of a fixed period, and nowadays 3D printing, allows us to face the challenge of this project, and connects the realization of 3D structures to the self construction idea, done by social insects (the honeybees)”.

It’s no accident that WASP inspires to a similar insect: the wasp, an animal which bases its existence on the self-construction, in fact it makes its dwelling with what it has, the natural material it finds in the surroundings.

…bringing nature in the city

Asya concentrates in particular on the inter-connection between nature and urban dwellings,  supposing the realization of 3D artificial structures for animals, allowing the cohabitation between insects and human beings, for a better residential context in the city too.” The exploitation of new urban locations could cause changes and damages to the ecological system, including the possibility of some spices extinction: the choice of inhabitants from nature in urban surroundings, is done to rescue the hybrid origin of the town settlement.


In particular the bees introduction, involves several advantages: let’s think that 85% of vegetation exists thanks to bees’ pollination. A more genuine space where the local product concept assumes a different meaning. 3D printing moves in this direction giving the possibility to reproduce accurately very complex structures like the “honeycomb”.


3D hive put to the test

The Asya’s hive realized  with a Delta WASP 4070, reproduces a natural hive complex structure; full of pillars and bays, built with a porous but resistant material, perfectly suits with insect cohabitation: in May, a 8 months old family (formed by about 500 bees), has been successfully introduced in the artificial hive.

 Asya has learnt a lot from the local beekeepers, who allowed her to look carefully to the traditional hive structure but she will be awarded by the final result. Her job is still a work in progress and new experiments will let her improve this project that connects nature with technology.

Millennium Falcon 3D printing

Here we are with a big 3D printed object, a Millennium Falcon made with a DeltaWASP 4070. After 72 hours' wait for this result, good or bad, judge for yourselves!
Certainly a nerd pride that many people in the office have already tried to steal with different justifications, such as: "I'll take the Millennium Falcon showing to my friends, don't worry I'm going to take back...".

Read more

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

Lelio Leoncini

Lelio Leoncini of WASP Med team recounts the 3D Orthopedics

Scoliosis is the black beast of Orthopedics. 3D Printing permits to make great strides to perfect the current method of acquisition and production, offering a better cure for the body dysmorphia.

Lelio Leoncini, Surgeon specialized in Physical Medicine and Rehabilitation, is fully convinced about this and since December 2014 he has been working with a Delta WASP 4070, experimenting orthopedic corsets.

As is known, corsets are the only one way scientifically-proven to cure vertebral dysmorphia. "First of all I looked for an instrument (Rasterstereografia-Formetric 3D) that permits to constantly supervise without X-ray examinations the evolution of scoliosis - says Lelio - This experience made me able to identify the critical points of orthopedic corsets and their effectiveness, and it was an incentive to search for new technological solutions".

Which advantages we can find using a CAD-CAM System and 3D printing compared with the current method with a plaster cast?

CAD-CAM acquisitions: low costs infrared sensors; simultaneous acquisition of all the torso in half a second with the possibility to make corrections in this phase; possibility to work in the dark; acquisition space reduction; a more accurate system with the possibility to better control corrective actions; modeling in 30 minutes; disposal of plaster cast.

3D Printing: no waste and possibility for recycle corsets; the possibility to post-modeling corsets; low costs; low weight; elimination or reduction of armors; to improve the aesthetic quality.

"Corsets have to be accurate for a good therapy - says Leoncini - It's indispensable to know the biomechanics of the rachis and corrective principles of the Torso orthoses. The synergy between the Medical Doctor and the Orthopedist is necessary (...) and also the digitalization of the orthopedic workshops".

Lelio is sure that the medical environment needs always a technology implementation. "I've always been interested in technology. (...) Medicine is a science and (...) there is always the possibility to develop. The innovation is the right instrument to cut down barriers and give opportunities to disadvantaged people".

Desert Light by Serena Fanara

Wonderful unique pieces in PLA handcrafted with the DeltaWASP 3D printer by Delta WASP 4070.


Desert light, made by Serena Fanara a young Architect and Designer based in Milan, is an indoor or outdoor lighting series. In this video you can see how Serena produces her lights (video by Caterina Alinari).


Wide range of colors and formats in a limited edition, signed and numbered, with the possibility to customize the product. Every light is made with non-toxic and eco-friendly materials. It's the Desert Light line: handcrafted with high-quality design. Also this is Maker Economy!



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 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.