Lucy Sparrow’s latest installation, Bourdon Street Chippy, transforms the Lyndsey Ingram Gallery in London into a fully immersive fish and chip shop rendered entirely in felt. Open through September 14th, 2025, the project continues Sparrow’s exploration of everyday environments through soft sculpture, creating a spatial experience and material presence.

The exhibition occupies the gallery’s rooms with a clear intent to emulate the structure and ambiance of a working chippy. From the banquette seating to the framed portraits on the walls, each element is conceived with a distinct attention to layout and proportion. The familiar counter lends a functional threshold between visitor and vendor, while the seating area encourages visitors to linger, treating the project as both a gallery and social space.

images © Lucy Emms (unless otherwise stated)

lucy sparrow exhibits her command of the material

At the heart of the Bourdon Street Chippy installation is artist Lucy Sparrow’s command of material translation. Over 65,000 hand-crafted felt pieces articulate every surface, container, and consumable object within the chippy. What emerges is a material language that captures the texture of linoleum flooring, the gloss of laminated menus, and the sheen of deep-fried food through stitch and shape. Even the chips, with fifteen distinct cuts in five different tones, are organized with the rigor of typological study.

The spatial layout reflects the hierarchical clarity of a traditional takeaway. Circulation paths are defined by counters, queues, and bench seating, while sightlines are organized around key objects: a felt fryer, hand-sewn condiment dispensers, and signage arranged with unified graphics.

Lucy Sparrow transforms Lyndsey Ingram Gallery into a fully immersive felt fish and chip shop

the interactive bourdon street chippy

Lucy Sparrow herself is present at Bourdon Street Chippy five days a week, reinforcing the installation’s interactivity. Her participation blurs the boundary between artist and vendor, and between object and performance. ‘The familiarity of these spaces disarms the viewer,’ Sparrow explains. ‘It’s a way of getting people to let their guard down.’

The choice of a chippy, as opposed to her previously explored subjects including a supermarket or pharmacy, adds a more intimate layer to the work. ‘My relationship with food has always influenced my art,’ she continues. ‘Over time, I came to understand that my practice had become a way to manage difficult emotions.’ In this sense, Bourdon Street Chippy operates as both a personal artifact and a public setting.

Bourdon Street Chippy recreates a familiar high street space

In bringing a High Street staple into the controlled conditions of a commercial gallery, the installation invites questions about access, nostalgia, and gentrification. The gallery’s polished context contrasts with the working-class origins of the fish and chip shop, yet the installation’s warmth and humor hold space for both critique and affection.

‘Lucy is one of the most important and meaningful artists of her generation,’ says gallerist Lyndsey Ingram. ‘Her work blurs the lines between performance and installation art, all in her distinctive felt language.’ The gallery’s transformation is comprehensive as every surface and volume supports the illusion.

visitors navigate a fabric-rendered takeaway complete with counters banquettes and signage

the installation blends sculpture and performance within a curated spatial framework

over 65,000 felt objects include fifteen chip shapes in five colors | image © Alun Callender

Bourdon Street Chippy explores themes of nostalgia, commerce, and craft

Lucy Sparrow is often present in the gallery, engaging directly with visitors

project info:

name: Bourdon Street Chippy

designer: Lucy Sparrow | @sewyoursoul

location: Lyndsey Ingram Gallery, London, UK

dates: August 1st — September 14th, 2025

photography: © Lucy Emms | @lucy.emms, © Alun Callender

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Nik Bentel Studio introduces the Dinner Bag, a multifunctional handbag designed as both a fashion accessory and a portable dining surface. The design integrates key elements of a place setting into a structured leather bag, combining playful storytelling and unexpected materials.

The front of the bag incorporates a ceramic dinner plate alongside a stainless steel fork and knife, all mounted directly onto its surface. This configuration transforms the bag into a mobile dining setup, allowing it to serve as an impromptu eating station.

all images courtesy of Nik Bentel Studio

Compact enough for daily use, curious enough for conversation

Constructed from leather, the Dinner Bag maintains structural integrity while accommodating the added weight of ceramic and metal components. The design is offered in three color variations, black, red, and brown, and is priced at $300.

Although playful in concept, the Dinner Bag is designed as a fully functional accessory, exploring the intersection of utility, fashion, and object design. It follows Nik Bentel Studio’s ongoing interest in reinterpreting everyday forms through material experimentation and conceptual transformation.

designed by Nik Bentel Studio as a wearable dining setup

the Dinner Bag combines fashion and function in a single design

a ceramic plate, fork, and knife are integrated into the front of the bag

structured leather supports the weight of dining elements

a handbag that reinterprets the everyday dinner table

stainless steel utensils are mounted directly onto the bag

designed for occasions where spontaneity meets style

compact enough for daily use, curious enough for conversation

a fashion accessory transformed into an impromptu dining experience

Nik Bentel Studio explores new uses for common items

project info:

name: The Dinner Bag

designer: Nik Bentel Studio | @nikbentelstudio

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

edited by: christina vergopoulou | designboom

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As the Nintendo Switch 2 gains traction, users are already experimenting with its hardware capabilities, particularly its integrated magnetic connectors. GamiFries is a 3D printed accessory that allows users to mount a McDonald’s fries box directly onto the console.

Designed by fan-artist 7R135, GamiFries leverages the Switch 2’s magnetic interface to secure a fry holder in place. The attachment is specifically modeled to accommodate a McDonald’s medium fries container and is intended to function in both handheld and docked controller modes. The 3D print model is available for free on MakerWorld and is custom-crafted to fit the fries box with a secure and satisfying snap.

all images courtesy of 7R135

GamiFries accessory uses the console’s magnetic connectors

The design by user 7R135 addresses common challenges faced by hungry gamers, allowing access to food without disrupting gameplay. GamiFries positions the fries within reach, reducing the need to pause or reposition during use. The model is fully 3D printable and requires no additional fasteners or tools beyond the console’s built-in magnet system. Its form factor ensures a close fit and secure hold.

By incorporating everyday packaging dimensions into its geometry, the GamiFries accessory explores how gaming hardware can be adapted through small-scale fabrication. This fan-made 3D print turns Nintendo’s Switch 2 into the ultimate fry delivery system, mounting a box of McDonald’s fries directly onto the controller using magnets.

GamiFries mounts a McDonald’s fries box directly onto the Nintendo Switch 2

designed by fan-artist 7R135, the accessory uses the console’s magnetic connectors

the 3D printed holder is shaped to fit a medium McDonald’s fries container

the design aligns with the Switch 2’s built-in magnet system for secure mounting

the attachment keeps fries within reach, minimizing in-game distractions

the model’s geometry mirrors everyday packaging for a precise fit

GamiFries allows users to snack mid-game without interrupting play

the accessory reduces the need to pause when hunger strikes

its form factor ensures stability and ease of use during gameplay

compact and practical, GamiFries emphasizes small-scale customization

GamiFries attaches with a satisfying snap, no fasteners required

project info:

name: GamiFries
designer: 7R135

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Menu du Jour is a conceptual installation by Zélé Collective that translates the digital interface of food delivery services into a large-scale physical object. The work takes the form of a restaurant menu measuring 22.13 meters in length and is constructed from data manually gathered from the Uber Eats platform. The installation invites viewers to confront algorithmic excess, decision anxiety, and the paradox of infinite choice.

At exactly 12:00 PM on a weekday, all available dishes, including starters, mains, and desserts, were recorded manually, without the use of scripts or automated tools. This process highlights the extensive, repetitive labor involved in interfacing with algorithmic systems that appear seamless to users. The collected information was formatted following the graphic conventions of traditional restaurant menus: serif typefaces, typographic hierarchy, and red grid lines. These visual cues reference the physical menus typically found in cafés and bistros, establishing a contrast between analog familiarity and digital excess.

all images courtesy of Charles-Antoine De Sousa, Zélé Collective

Zélé Collective prints a physical archive of digital abundance

By presenting this data in a continuous, scroll-like form, the installation materializes the volume of algorithmically delivered choices. The piece explores the cognitive overload caused by choice saturation, and the strange tension between digital fluidity and physical exhaustion. ‘It’s part of an ongoing reflection on our relationship to consumption, decision-making, and information excess in platform culture. Menu du Jour is both humorous and critical, a physical confrontation with the invisible structures shaping our daily appetites,’ shares artist Charles-Antoine De Sousa, member of Zélé Art Collective.

the installation physically visualizes the entire Uber Eats menu

the work critiques algorithmic abundance and its effect on decision-making

Menu du Jour stretches 22.13 meters across the gallery floor

a physical archive of countless digital food choices

endless listings turn into a single, continuous form

Serif fonts recall classic restaurant menu design

analog aesthetics meet digital content in this oversized menu scroll

the installation invites viewers to confront infinite choice as material reality

manual labor contrasts the apparent convenience of delivery apps

the menu scroll evokes the format of traditional bistro menus

a snapshot of digital consumption captured in print

the installation documents the paradox of seamless interfaces and invisible effort

Charles-Antoine De Sousa reinterprets digital routines through physical space

the format emphasizes accumulation and repetition

a commentary on daily interactions with platform algorithms

project info:

name: Menu du jour
designer: Zélé Collective | @zele_collective, Charles-Antoine De Sousa | @desouzzzzz

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FOODres.AI is a desktop 3D printer developed by MIT graduates Biru Cao and Yiqing Wang that converts household food waste into functional objects using artificial intelligence. Integrating object recognition, material processing, and additive manufacturing, the system offers an alternative approach to domestic waste management through small-scale, circular design. The printer is equipped with a custom three-axis extrusion system and an automated material processing module. Kitchen scraps are processed into a printable bioplastic paste using a built-in heating and mixing mechanism. The material is then extruded into preselected forms such as coasters, containers, and simple decorative items.

A mobile application supports the system’s operation. It includes a self-trained object detection model that identifies types of food waste using the phone’s camera. Based on the detected material, the app suggests suitable ‘print recipes’ that account for the physical properties of the waste. The app also provides a library of design templates, and users have the option to upload custom models. The interface is designed for intuitive use, requiring minimal prior experience with 3D printing.

craft prints and the printing materials | all images courtesy of Biru Cao and Yiqing Wang

FOODres.AI 3D printer enables localized reuse of scraps

FOODres.AI, developed by designers Biru Cao and Yiqing Wang, originated as part of MIT’s IDEAS social innovation program and has since received continued institutional support. It was recognized with the iF Design Award (2025) and the Platinum A’ Design Award (2024–2025). The project situates itself within broader efforts to reduce food waste, an issue that accounts for up to 50 percent of household organic refuse in the United States.

Rather than diverting food waste exclusively to compost or landfill, the system enables localized material reuse through additive manufacturing. Its compact format allows for potential integration in domestic, educational, or small-scale workshop environments. The design emphasizes automation, modularity, and user accessibility, aligning with emerging practices in distributed production and sustainability. FOODres.AI proposes a material cycle in which organic waste can be repurposed into durable forms. The system supports experimentation and modular output while reinforcing behavioral change through direct interaction with waste transformation processes.

from AI detection to printed crafts

FOODres.AI printer

user interface of the mobile app

machine design

sharing the work on social media

project info:

name: FOODres.AI Printer
designers: Biru Cao, Yiqing Wang

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

edited by: christina vergopoulou | designboom

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Paysage de Pain is a public installation built from 780 salvaged baguettes, designed by MERO Studios in collaboration with the Montpellier-based nonprofit Pain de L’Espoir. Set in a sunlit courtyard in the Hôtel de Lunas during the 2025 Festival des Architectures Vives in Montpellier, the pavilion explores the potential of food waste, specifically surplus bread, as a spatial and sensory material.

In France, bread is essential to daily life, yet its abundance often leads to waste. According to a 2018 study by ADEME (the French Environment and Energy Management Agency), 11% of bread from bakeries is rejected for sale. Of this unsold bread, 15% is donated, 25% repurposed as animal feed, and 60% destroyed. Paysage de Pain transforms this symbol of waste into an immersive architectural experience. The installation explores gluttony not as excess, but as a lens for sustainable reinvention. 

all images by Paul Kozlowski

Public pavilion repurposes hundreds of leftover baguettes

The installation invites visitors to reflect on themes of gluttony and excess. The structure is a dialogue between indulgence and the urgency of environmental responsibility. Visitors are invited to move through dough-scented walls that cracked and aged in the summer heat, highlighting the tension between nourishment and discard. The project, developed by MERO Studios’ designers, foregrounds food waste as a cultural issue, transforming urban excess into a sensory, temporal monument. Here, gluttony becomes a celebration of transformation, an architectural delicacy that invites exploration and reflection on how we consume, discard, and create. In the spirit of the festival, Paysage de Pain is not only a feast for the senses but also a call to savor resources with care and ingenuity.

780 salvaged baguettes form the core structure of Paysage de Pain

a spatial installation exploring bread waste as architectural material

installed in the courtyard of Hôtel de Lunas for the 2025 Festival des Architectures Vives

Paysage de Pain responds to food waste through material reuse

bread walls crack and age under summer heat, revealing natural decay

visitors navigate dough-scented corridors made from surplus baguettes

bread becomes both material and message in this public installation

a sensory environment built from one of France’s most iconic staples

an ephemeral structure shaped by food, heat, scent, and time

bread waste is transformed into a tactile and temporal monument

the installation encourages reflection on how we consume and discard

Paysage de Pain reimagines gluttony as a site of transformation

MERO Studios explores biodegradable design strategies through a playful approach

project info:

name: Paysage De Pain
designer: MERO Studios | @mero_studios

lead designers: Megan Dang, Rose Zhang
location: Montpellier, France

photographer: Paul Kozlowski | @photoarchitecture.co

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

edited by: christina vergopoulou | designboom

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In their exhibition Movables, Studio Knob presents a small and focused series that transforms iconic ORTIZ sardine cans into miniature sculptural suitcases. This simple gesture opens a conversation about movement, memory, and the personal weight we carry with us. The idea emerged while walking through Tel Aviv’s Levinsky Market, where shelves overflow with goods from distant places. Among them, the bright and bold ORTIZ tins caught the eye and stirred the imagination. Their striking graphic design, vibrant color palette, and timeless maritime motifs suggested stories that extend far beyond the can’s practical origin. Rather than treating the object as static, the artists approached it as something that wants to move. By adding custom 3D printed elements such as handles and corner guards, the can becomes a travel object. The parts are attached without glue, using a dry-fit method and rubber bands, which allows them to be removed and reapplied to other tins.

ORTIZ design remains visible and central, enhanced by custom additions | all images courtesy of Studio Knob

Studio Knob offers a poetic and unexpected transformation

For the artists at Studio Knob, the construction feels like a small puzzle. It invites the viewer to interact, to play, and to consider how objects contain stories even when mass-produced. The project reflects on mobility in a broad sense. It speaks to emotional and physical displacement, to the tension between what is carried and what is left behind, and to the resilience required to preserve memory through material things. At the same time, it nods toward present-day concerns. Food security, global instability, and the environmental cost of industrial fishing all sit quietly behind the bright surface of the work. Curated by Nir Harmat, Movables is an exhibition about the layered nature of memory and identity. In this small series, Studio Knob offers a poetic and unexpected transformation. What begins as packaging becomes a vessel for stories and a symbol of everything that travels with us. A sardine can becomes a suitcase. A suitcase becomes a story. 

the object held in hand, showing its lightweight structure and dry-fit assembly

3D printed brackets, rubber bands, and a paper luggage tag transform the sardine can into a suitcase

the repeated elements emphasize color variation, form consistency, and the object’s modular nature

the gesture frames the objects as tools for storytelling, travel, or open-ended play

the objects maintain their identity as food packaging while suggesting alternate uses through minimal intervention

project info:

name: Foreign Passport
designer: StudioKnob | @studio_knob

lead designers: Adi Azar & Yotam Shifroni

photographer: Meidan Gil Harush | @akameidan

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Ogilvy Colombia develops a prototype of biodegradable packaging or plastic made of whey and cheese waste that decomposes in 300 days. The project is named Self-Packing Cheese because the cheese is wrapped with bioplastic made of materials taken and recycled from the production process. The design teams, comprising Ogilvy Colombia and Nestlé, use microorganisms controlled in a lab to produce PHA, or polyhydroxyalkanoates, which is a type of bioplastic. They mix it then with organic byproducts from cheese production, specifically the whey, or the water-like liquid produced after the cheese is made. Combining these creates small pellets.

all images courtesy of Ogilvy Colombia

Material that can decompose in 300 days

These small pellets, then, are processed with injected air. This creates the thin, plastic-like film of the biodegradable packaging for Self-Packing Cheese. The design teams say that the prototype can help reduce waste and the use of traditional plastic. They add that typical plastic breaks down after around 900 years. With their biodegradable packaging made of cheese, the plastic can decompose as early as 300 days. Design-wise, the film is translucent and lightweight, although it does have a smoky look to it given the whey.

The company can still print over the cheese’s plastic, hinting at the robustness of the biodegradable packaging. The material represents a potential model for circular packaging. It refers to packaging that can be reused, repurposed, or broken down naturally rather than ending up as waste. The biodegradable packaging or plastic, in this case, actually comes from the cheese itself and eventually returns to the environment without completely polluting it. The project also foresees other potential uses of the wrapper. In this case, companies can adopt the material for different products and purposes, helping reduce the use of plastic.

the cheese is wrapped with bioplastic made of materials taken and recycled from the production proces

the design teams use microorganisms controlled in a lab to produce the bioplastic

the wrapper can decompose as early as 300 days

cheese whey makes up the recycled materials of the wrapper

detailed view of the packaging

the company can still print over the plastic

the project aims to reduce the use of traditional plastic

project info:

name: Self-Packing Cheese

companies: Ogilvy Colombia, Nestlé | @ogilvycolombia, @nestle

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3D printed food like salmon, meat, pasta, and dessert can take over the future of the gastronomic industry as software-controlled meals. At first, researchers were curious about whether or not machines could print food. Now, that has been proven, and the topic has broadened. Engineers and scientists use printers to produce personalized food using softened ingredients. Researchers look at these meals as essential kits for astronauts embarking on space exploration and long-term missions. Studies have found that 3D printed food can address medical needs, including making food with specific textures for the elderly and for those who have problems swallowing, known as dysphagia.

Companies and startups have started creating their food with printers to replicate the texture, taste, and look of traditional eats. Chefs tap into the technology to realize designs they’ve wanted to bring out into the culinary sphere. 3D printed food explores food waste production too by using less conventional sources and precisely controlling the amount of ingredients used. Then, computers and digital tools set up and design the food, printers pump out the softened ingredients from the nozzles, and nutritional additives can be added to produce healthier meals. In our deep dive, we look into the reason 3D printed food started, the limitations of the current design software, the engineering behind it, as well as using food waste as ingredients and other new technologies to make food.

Digital Meat: Food Texture Mapping | image courtesy of Dr. Jonathan Blutinger, study here

A brief look into the past of software-controlled meals

For a brief history, the concept of 3D printed food began around 2006 with Cornell University’s Fab@Home project. It’s one of the earliest initiatives that produced the pioneering open-source, multi-material 3D printer that could use chocolate, cookie dough, and cheese as components. At that time, until 2009, Evil Mad Scientist Laboratories had CandyFab under its belt, a machine that used hot air to make sugar sculptures. Other companies tried their hands at producing 3D printed food: Philips with Food Creation Printer in 2008, Choc Edge with chocolate printer in 2012, Natural Machines with food printer in 2014, and 3D Systems and Hershey’s with a chocolate printer in 2014. Recently, companies have built on the existing technologies to improve the software-controlled meal printers.

Even then, there are still limitations to conquer before 3D printed food can make its way into continuous production and consumption. 3D printed food mainly works using an extrusion system tailored for viscous food masses. In general, conventional printers churn out hard plastic or polymers. With food, the ingredients need to be softer, like a paste or similar to bread dough. Take Revo Foods, the startup that uses mycoprotein, or fermented mushroom protein, to produce commercially available 3D printed salmon and cod. ‘In our process, we can integrate two different materials together, such as proteins and fats. This leads to new functional behavior, such as typical flakiness similar to that in fish fillets. Because the fat is integrated into the protein when heated, it melts and creates a new texture,’ Robin Simsa, CEO of Revo Foods, explains to designboom in an interview.

extruded food for people with dysphagia | image courtesy of Dr. Alexandros Stratakos and Oluwatobi Fatola

Digital tools and parametric design to make 3D printed food

The printing process begins with a digital algorithm, at least with Artisia, the 3D printed pasta sibling of the brand Barilla. Antonio Gagliardi, Artisia’s Design and Technology Lead, shares with designboom that they develop their 3D printed pasta using parametric design. Once they have the instructions on hand, they fire up their machine, and it extrudes fresh pasta dough through multiple nozzles simultaneously, building each shape layer by layer. ‘The result is a shape that holds its structure during cooking. Of course, 3D printing is just one step in a broader process. After printing, the pasta undergoes a careful drying phase, making it shelf-stable and ready to be shipped worldwide. It can be cooked like any traditional pasta,’ he shares with designboom.

Because the meals are software controlled, it’s in the hands of the maker to design the food. Engineers can even integrate two different materials together, such as proteins and fats. With fish fillets, for example, the printers can produce the typical ‘flakiness’ often seen in the traditional ones. ‘It’s because the fat is integrated into the protein. When heated, it melts up a bit, which creates the texture,’ Robin Simsa tells designboom. Having to use software and digital tools also allows for design freedom. At one point, Revo Foods printed fish shaped like tennis rackets and sets of balls. The CEO says this shows the kind of flexibility the technology offers to the food industry.

software-controlled desert | image courtesy of Dr. Jonathan Blutinger, study here

Even with the advanced technologies these days, 3D printed food still faces software, design, and production limitations that can hinder it from becoming the future of the gastronomic industry, at least as an affordable option. ‘Most software used in 3D food printing today comes from industrial or architectural modelling and doesn’t fully accommodate the specific behaviors of edible pastes or fluids,’ Antonio Gagliardi tells designboom. Because of this, among others, software-controlled meals lack internal structure. They also tend to look similar or singular, and some of the machines used are relatively for single-use only. The current 3D printers can be slower than other food production methods. They also have a limited volume of materials they can process at once. Because of these, making it commercially available immediately is costly and takes time. 

Printers may need to be adapted too for each specific food material, so there’s no one-printer-prints-all. Then, the initial and maintenance costs can be quite high. In terms of visual appeal to the consumers, 3D printed food hasn’t established a loyal following yet. It’s a hit or miss, depending on the texture and taste of the meal. So far, Artisia has already started resolving some of these issues. Antonio Gagliardi admits to us that Artisia has developed a multi-head printer that produces 36 pieces of pasta simultaneously. ‘That said, many of our manufacturing steps remain manual and artisanal, hence the name Artisia. The most labor-intensive stages are dough preparation and packaging. Customization is key – not just in shapes and doughs, but also in packaging – and full automation would compromise the quality and flexibility,’ he says.

pastes are the most optimal form for printing | image courtesy of Dr. Jonathan Blutinger

Startups and companies serving 3D printed food are confident about the customization of the software-controlled meals. In the process, however, especially with extrusion-based style, these bites can lose their (innate) vitamins and minerals. The way food is handled after it’s 3D printed, like cooking or drying, also impacts its nutritional value, at times more than the process of printing itself. The researchers at the University of the West of England, Bristol, share with designboom that post-printing, the protein structure of the food may change, which affects how our bodies absorb it. Thermal treatments can also change the texture and digestibility of the food, known as starch gelatinization, as well as break down the natural antioxidants of the meals, reducing their health benefits.

Dr. Alexandros Stratakos, Associate Professor in Sustainable Agri-Food Production, and Oluwatobi Fatola, PhD candidate in 3D printing, School of Applied Sciences, add that traditional food preparation methods – like boiling and frying – also affect nutrients a lot, not just 3D printed foods. In ways, then, the real nutritional impact comes from how the food is cooked or processed, not necessarily how it’s printed. The researchers note that the engineers and designers can incorporate specific nutrients into the food matrices. Machines can produce meals enriched with vitamins and minerals, making the food designed for those with nutritional deficiencies. ‘Another example is multi-ingredient 3D printed food developed for people with dysphagia, designed to meet both their textural and nutritional requirements. Also, the use of protein-rich ingredients in 3D printing formulations can improve both the structural integrity and the nutritional value of printed foods. Incorporating proteins into the printing material has been shown to enhance shape fidelity as well as the health benefits of the final product,’ the researchers tell designboom.

The Filet by Revo Foods | image courtesy of Revo Foods, read more here

Because 3D printed food is customizable, the machines can also develop allergen-free meals. The systems allow for a careful selection and exclusion of specific allergens like gluten, soy, or nuts. ‘Because 3D food printing operates in a highly controlled environment, the risk of cross-contamination is substantially reduced,’ say Dr. Alexandros Stratakos and Oluwatobi Fatola. ‘The automation and precision of the process further help to minimize human error and unintended allergen exposure, which is a key concern in traditional food manufacturing. Moreover, this technology opens the door to personalised allergen-free foods that can be tailored to the specific needs of individuals or groups for example, children with multiple food allergies or hospital patients on restrictive diets.’ 

Still, it’s worth noting that users still need to overcome technical challenges. As the researchers explain to designboom, not all allergen-free ingredients have the properties that are suitable for 3D printing. On the upside, it’s an ongoing area of 3D printed food research, including keeping the structure after printing, making visually appealing printouts, and producing digestible bites in terms of texture and flavor. Another post-printing concern related to 3D printed food being the future of meals is its shelf life. Dr. Jonathan Blutinger, a design engineer formerly at Columbia University’s Creative Machines Lab and now with the U.S. Army’s Combat Feeding Division at the Natick Soldier Research, Development, and Engineering Center, tells designboom that it largely depends on the form of the input ingredients and whether they are thermally processed pre- or post-printing.

the startup uses fermented mushroom protein to produce 3D printed salmon | image courtesy of Revo Foods

He adds that ‘the printing process itself doesn’t alter the quality, freshness, or chemical make-up of the food product; it’s merely an intricate assembly technique, so it’s more so a function of the ingredients themselves.’ For a longer shelf life, food makers should consider starting with ingredients in their most basic powder form. Then, they mix it with other liquids before printing them since ‘pastes are the most optimal form for printing Otherwise, storing ingredients in airtight containers prior to printing tends to be the best way to preserve freshness, and then cooking ingredients immediately after printing to kill any potentially harmful bacteria,’ says Dr. Jonathan Blutinger. Still, it’s best to eat the 3D printed food a while after it has been produced rather than letting it sit on the shelf for weeks.

What about the food waste? The software-controlled meals are dubbed to help streamline food production: less conventional sources, less waste. There are ways to recycle 3D printed food’s waste into ingredients for another series of production. The design engineer informs us that the Defense Advanced Research Project Agency (DARPA) has a project called Cornucopia. ‘It aims to utilize resources from the natural environment, on-site where soldiers will actually be eating, to produce food for their field feeding. It could reduce the logistical burden of carrying food and supplies on their person in addition to reducing vulnerabilities in the supply chain. And as part of the U.S. Army’s Combat Feeding Division (CFD), DEVCOM Soldier Center, I see application of 3D food printing technology towards this Cornucopia effort, as a way to craft palatable meals from local resources,’ explains Dr. Jonathan Blutinger.

detailed view of the printed salmon | image courtesy of Revo Foods

Other than the Cornucopia, the 3D printing technology also upcycles food waste materials like fruit peels, vegetable trimmings, and even stale bread into new, edible products. Dr. Alexandros Stratakos and Oluwatobi Fatola share with us that these streams can be processed into printable pastes, or food inks, which are then extruded to create new food. ‘Beyond reducing environmental impact, this method supports a circular food economy by transforming underutilized resources into high-value foods. It also offers opportunities to enhance nutrition, for example, by enriching food inks with fiber, protein, or antioxidants naturally present in the original waste materials,’ the researchers add. Looking into the future, 3D printed food isn’t the only kind that’s ready to innovate the way we eat our meals. Dr. Jonathan Blutinger says that laser cooking can also offer multi-dimensional and versatile cooking possibilities. In this case, machines follow a design and blast a laser to produce cooked products ready to be sold.

Dr. Alexandros Stratakos and Oluwatobi Fatola suggest computational gastronomy, which combines data science with culinary arts to make food. Basically, it uses machine learning and data analytics to generate personalized food meeting the diet needs. This is valuable in the healthcare industry, a strong contender to the ‘bland’ food served at the hospitals. Smart appliances that can cook food on their own are also strong candidates in the future-of-meals discussion. ‘Moreover, cooking and food assembly appliances that aren’t software-enabled or part of the IoT will have a hard time competing with the smarter appliances that are constantly learning and adapting from user habits to become more efficient food-crafting robots,’ says Dr. Jonathan Blutinger. Recently, the growing presence of vertical farming is also noticeable, growing crops in stacked layers using controlled indoor environments. 3D printed food is one of the many technologies revolutionizing the way we eat. As it slowly makes its way into large-scale commercial production, other ways to make food picks up the pace, continuously changing the landscape of gastronomy.

Salix pasta by Artisia | from here, all images courtesy of Artisia

windmill-shaped pasta by Artisia

Artisia uses parametric design to produce its pasta

Artisia’s machines extrude fresh pasta dough via multiple nozzles

project info:

discussion: 3D printed food

researchers: Dr. Alexandros Stratakos, Mr. Oluwatobi Fatola, Dr. Jonathan Blutinger

institutions: University of the West of England, Bristol, Columbia University, Creative Machines Lab, US Army Natick Soldier Research, Development, and Engineering Center | @uwebristol, @columbia, @usarmy

companies: Revo Foods, Artisia by Barilla | @revo_foods, @artisia_pasta

The post 3D printed salmon, pasta and dessert: inside the future of food with software-made meals appeared first on designboom | architecture & design magazine.

Researchers from École Polytechnique Fédérale de Lausanne (EPFL) and the Istituto Italiano di Tecnologia develop a robotic wedding cake with dancing gummy bears using edible rechargeable batteries. Shown at Expo 2025 Osaka in the Swiss Pavilion, the RoboCake is part of the EU-funded RoboFood project in collaboration with pastry chefs and food scientists from EHL in Lausanne. At the top of the wedding cake powered by rechargeable batteries, the two red gummy bears dance, created by the Laboratory of Intelligent Systems at EPFL.

The researchers say they’re made from gelatin, syrup, and colorants. They dance because they have an internal pneumatic system. The injected air in the gummy bears goes through dedicated pathways, and as a result, their heads and arms move. They’re safe to eat alongside the robotic wedding cake with edible rechargeable batteries. In fact, they are chewable, just like the typical gummy bears, plus they have a sweet pomegranate flavor. What makes them sway, other than the pneumatic system, is the set of dark chocolate discs on the bottom tier of the dessert.

all images courtesy of EPFL | photos by Jamani Caillet

Dark chocolate discs power up the dessert

These discs of dark chocolate are the edible rechargeable batteries. It’s the researchers from Istituto Italiano di Tecnologia, coordinated by Mario Caironi, that have developed these. They make them with vitamin B2, quercetin, activated carbon, and chocolate. On top of that, they’re safe to eat, like the gummies. These edible rechargeable batteries on the robotic wedding cake also power up the LED candles. Guests are in for a surprise bite too because the researchers say that the first flavor they taste is dark chocolate.

After that, there’s a tangy kick because of the edible electrolyte mixed in, but only for a few seconds. The researchers have also teamed up with food experts and pastry chefs from EHL Hospitality Business School to make the robotic wedding cake with rechargeable batteries appetizing to eat. So far, the RoboCake appears at Expo 2025 Osaka in the Swiss Pavilion. The research also demonstrates the use of robotic science in gastronomy. It can also potentially reduce electronic waste by producing edible components made of safe-to-eat ingredients.

meet RoboCake, a robotic wedding cake with dancing gummy bears and edible rechargeable batteries

Laboratory of Intelligent Systems at EPFL develops the gummy bears

the researchers use gelatin, syrup, and colorants for the candies

the gummy bears move because they have an internal pneumatic system

they are chewable, just like the typical gummy bears, plus they have a sweet pomegranate flavor

view of the edible rechargeable batteries

researchers use vitamin B2, quercetin, activated carbon, and chocolate for the batteries

they can also power up the LED candles on the dessert

view of the batteries while charging

so far, the dessert appears at Expo 2025 Osaka

project info:

name: RoboCake

institutes: École Polytechnique Fédérale de Lausanne, Istituto Italiano di Tecnologia, EHL Hospitality Business School | @epflcampus, @istitutoitalianoditecnologia, @ehl.lausanne

photography: Jamani Caillet | @jamcaillet

The post robotic wedding cake with dancing gummy bears moves using edible rechargeable batteries appeared first on designboom | architecture & design magazine.