Living Room Collective uses live cyanobacteria within 3D printed biostructures to capture carbon dioxide from air in the Canada Pavilion at the Venice Architecture Biennale 2025. Named Picoplanktonics, the exhibition commissioned by The Canada Council for the Arts is on view from May 10th to November 26th, 2025. designboom speaks with Living Room Collective’s lead and biodesigner Andrea Shin Ling about the project. In our interview, she says that architecture often uses the term ‘regenerative design’ when referring to circular or upcycled material systems. ‘In Picoplanktonics, we are talking about the biological definition of regeneration, which means the literal ability to regenerate or renew from damaged or dead parts,’ she tells designboom.

The research team has merged two ancient metabolic processes for Picoplanktonics: photosynthesis and biocementation. For the former, they turn to cyanobacteria, one of the oldest groups of bacterial organisms on the planet. ‘Cyanobacteria are among the first photosynthetic organisms and are believed to be responsible for the Great Oxygenation Event, where 2.4 billion years ago, the atmosphere transformed from a high CO2 environment to a high O2 environment because of photosynthesis,’ Andrea Shin Ling explains. They can also produce biocementation, or the process of capturing carbon dioxide from air and turning it into solid minerals, like carbonates. Because of this, the resulting minerals act like ‘cement’ and can store the carbon permanently, keeping it out of the atmosphere.

all images courtesy of The Living Room Collective | photos by Valentina Mori, unless stated otherwise

Infusing the bacteria during the printing stage

Before bringing them to Venice, Andrea Shin Ling and the Living Room Collective fabricated the 3D printed biostructures at ETH Zürich’s laboratory. The biodesigner shares with us that when they make these structures, they already infuse the living cyanobacteria during the printing stage instead of later on. Then, they need to let the bacteria grow and take care of them so they can grow. This means they have to provide enough light, warmth, and humidity so that they can proliferate and slowly harden the prints.

‘The idea is that the bacteria cooperate in a human-initiated fabrication process and, with our care, can continue and finish that process (in this case, hardening the printed structures they live in),’ says Andrea Shin Ling. She adds that for the 3D printed biostructure with live cyanobacteria in Venice, favorable conditions mean warm sunlight, high humidity, and access to salt water. ‘These are conditions that are common in Venice and achievable in the Canada Pavilion, which informed our design process,’ the biodesigner explains to designboom.

Living Room Collective uses live cyanobacteria within 3D printed biostructures to capture carbon dioxide from air

Microorganisms that can repair themselves to a healthy state

In Picoplanktonics, the Living Room Collective works with bacteria as the living component of their material system. It has the ability to grow and die within the 3D printed biostructures, as shown in Venice, and the colony can restore itself under favorable conditions after periods of decline. Andrea Shin Ling says, however, that the process isn’t necessarily consistent since it depends on the environmental conditions at a particular point in time.

‘So, for instance, a bioprint might dry out if the air is too dry that week, and many of the bacteria die. But because the system is regenerative, the bacteria population has the potential to restore itself when favorable conditions return and then continue their carbon sequestration work,’ she shares with designboom.

these biostructures are inside the Canada Pavilion at the Venice Architecture Biennale 2025

During their research process, the group has also had samples where the bacteria have gotten ‘sick’, worn out, or where they looked like they were over-oxidized. With some care, the live cyanobacteria were able to repair themselves back to a healthy state. This is what Andrea Shin Ling means when she describes regenerative design. It looks more into the potential of biological material systems that are dynamic and restorative.

‘But their responsivity can also create situations that we don’t want. So much of the project is then trying to understand what is causing these situations and monitoring conditions so that we can respond accordingly,’ the biodesigner adds. Visitors to the Venice Architecture Biennale 2025 can see the research process and progress of Picoplanktonics firsthand inside the Canada Pavilion. It remains on-site from May 10th to November 26th, 2025.

the research group takes care of the bacteria throughout the exhibition to maintain their healthy state

the bacteria need warm sunlight, high humidity, and access to salt water to thrive

the research group already infuses the living cyanobacteria during the printing stage | image © designboom

the bacteria harden the printed structures they live in | image © designboom

the research team has used ancient metabolic processes for Picoplanktonics | image © designboom

the cyanobacteria can also produce biocementation, or the process of capturing carbon dioxide from air

Living Room Collective’s lead And biodesigner Andrea Shin Ling

the exhibition is on view until November 26th, 2025

project info:

name: Picoplanktonics | @picoplanktonics

group: The Living Room Collective

team: Andrea Shin Ling Nicholas Hoban, Vincent Hui, Clayton Lee

commission by: The Canada Council for the Arts | @canada.council

event: Venice Architecture Biennale 2025 | @labiennale

location: Calle Giazzo, 30122 Venice, Italy

dates: May 10th to November 26th, 2025

research and development: Andrea Shin Ling, Yo-Cheng Jerry Lee, Nijat Mahamaliyev, Hamid Peiro, Dalia Dranseike, Yifan Cui, Pok Yin Victor Leung, Barrak Darweesh

photography: Valentina Mori | @_valentinamori_

production

eth zurich: Huang Su, Wenqian Yang, Che-Wei Lin, Sukhdevsinh Parmar; Tobias Hartmann, Michael Lyrenmann, Luca Petrus, Jonathan Leu, Philippe Fleischmann, Oliver Zgraggen, Paul Fischlin, Mario Hebing, Franklin Füchslin; Hao Wu, Nicola Piccioli-Cappelli, Roberto Innocenti, Sigurd Rinde, Börte Emiroglu, Stéphane Bernhard, Carlo Pasini, Apoorv Singh, Paul Jaeggi; Mario Guala, Isabella Longoni;

toronto metropolitan university: Venessa Chan, Minh Ton, Daniel Wolinski, Marko Jovanovic, Santino D’Angelo Rozas, Rachel Kim, Alexandra Waxman, Richard McCulloch, Stephen Waldman, Tina Smith, Andrea Skyers, Randy Ragan, Emma Grant, Shira Gellman, Mariska Espinet, Suzanne Porter, Stacey Park, Amanda Wood, Lisa Landrum, Dorothy Johns, Cedric Ortiz

university of toronto: Daniel Lewycky, Philipp Cop

visualisation: Adrian Yu, Nazanin Kazemi, Ariel Weiss

structural advisors: Andrea Menardo, Kam-Ming Mark Tam

graphic design: Shannon Lin

website: Sigurd Rinde, Shannon Lin

local project logistics: Tamara Andruszkiewicz

project advisors: ETH Zurich, Benjamin Dillenburger, Mark Tibbitt

support: Canada Council, Digital Building Technologies, Institute of Technology & Architecture, D-ARCH, ETH Zurich, Department of Architectural Science, Toronto Metropolitan University, John H. Daniels Faculty of Architecture, Landscape and Design, University of Toronto, Royal Architectural Institute of Canada; Advanced Engineering with Living Materials (ALIVE) Initiative, ETH Zurich; Additive Tectonics GmbH; ABB Switzerland; Vestacon Limited and NEUF Architect(e)s

The post 3D printed biostructures with live bacteria capture carbon dioxide from air at venice biennale appeared first on designboom | architecture & design magazine.

MVRDV’s Winy Maas sits down with designboom to discuss the making of the kinetic Sombra Pavilion and the 3D printed Biotopia installation at the Venice Architecture Biennale 2025. Before the exhibition’s public opening on May 9th 2025, the Dutch architect, and the M of MVRDV together with Jacob van Rijs and Nathalie de Vries, explained the making and thinking behind the SOMBRA pavilion and the Biotopia installation. ‘It’s nice that the pavilion is not solar. In this case, it’s only the air pressure. What we use is our knowledge of the sun. We work a lot on shadow and light, and create and research complex solar programs. For Biotopia, I imagine a fully recyclable, biological world that combines all the properties we need: energy, oxygen, animals, shelter, light, flexibility, and changeability,’ the architect tells designboom during the interview.

One project uses physics to create shade without electricity, while the other imagines a future where buildings grow like living organisms. The SOMBRA pavilion – designed by a team led by MVRDV founding partner Jacob van Rijs – is at the European Cultural Centre’s Giardini Marinaressa, part of the Time Space Existence show. The Biotopia installation is at the Arsenale, part of the main exhibition curated by Carlo Ratti. Both of them are on view until November 2025. For the pavilion, built in collaboration with with Metadecor, Airshade, and Alumet, the structure turns reused beams into large arches, supported by metal ribs. This frame holds triangular panels fitted with perforated metal screens. The pavilion operates without electricity or motors. It relies on physics: when direct sunlight heats small air canisters located within the structure’s ribs, the air pressure inside increases. This pressure inflates small airbags attached to the panels. As an airbag inflates, it contracts, pulling its corresponding panel closed to create shade. When the sun moves and the canisters cool, the pressure decreases, and the panels reopen.

portrait of Winy Maas | image © designboom

Progress to building a biotopic world

Heading to the Arsenale of the Venice Architecture Biennale 2025, Winy Maas and his think tank The Why Factory collaborate with visual artist Federico Díaz to sculpt and present BIOTOPIA. The installation is in two parts. First, the 3D printed sculpture made of polymer. The second is an accompanying film documenting the Dutch architect’s research and how he imagines biotopia will be, which brims with self-sustaining systems. The kind of future here makes biology the foundation for all design. It reimagines cities as forests and architecture as something that grows like a tree. The core concept is a global Sponge, or a type of dynamic biomatter architecture. This Sponge would perform functions like cooling the air, filtering water, and generating energy, all while adapting like a living thing.

The sculptural installation with Federico Díaz, called Propagative Structures, gives physical form to the idea of living matter, of architecture built from living organisms. The work emerges from research into biomimicry, or a field of design that takes inspiration from natural systems. The installation’s forms draw on the structure of mangrove root networks, a suggestion of a future where habitats are not built but cultivated like plants. In our interview with the architect, Winy Maas discusses the future of urbanism, our progress to a biotopic world, the use of computational designs and algorithms in architecture, and what lies ahead for MVRDV, to name a few.

all images courtesy of MVRDV | photos by Federico Vespignani, unless stated otherwise

Interview with Winy MaAs at Venice Architecture Biennale 2025

Designboom (DB): It’s wonderful to see you here in Venice, Winy. We saw the Sombra Pavilion in the garden on our way here. We also read that it’s kinetic?

Winy Maas (WM): It’s a kinetic structure, yes. It doesn’t need energy. Air pressure is generated by a heat difference within the structure itself. That helps to close or open panels, cooling the building at certain corners or not. That, of course, depends on the sun. It’s good to see it in the afternoon too because they placed it next to a tree, so it stands out. The film will be made in the coming months, so we can see the functioning of this air-driven structure. It’s nice that it’s not solar. In this case, it’s only the air pressure. 

What we use is our knowledge of the sun. We work a lot on shadow and light. We create and research complex solar programs. After that, we can start working on the solar panel industry. Sun Rock, for example, which is our project in Taipei for the Taipower Electricity company, is a building covered with solar panels. It’s an example of how we use the sun. It’s a nice project too, and I love it. 

the project uses physics to create shade without electricity

DB: So, the Sombra Pavilion is one project of MVRDV here at the Venice Architecture Biennale 2025. In the Arsenale, you have another titled Biotopia under The Why Factory, which is the think tank and research institute that you lead. Here, it comes in two parts. The first a 3D printed model with the visual artist Federico Diaz that explores the idea of living matter in continuous transformation. The other is a movie that documents and visualizes this future. First off, how do you see a biotopic world?

WM: Biotopia is a dream. Imagine a fully recyclable, biological world that combines all the properties we need: energy, oxygen, animals, shelter, light, flexibility, and changeability. There’s a huge list of properties we demand from our materials and surroundings. Biotopia philosophizes and speculates on the idea that if we create a material or combination of materials that can facilitate these needs precisely when desired by humans, nature, or animals, that will lead to a city you can’t yet imagine. I’m pursuing a few things with my Utopia concept. 

First, I’m trying to paint a sketch. The seven-minute accompanying film visitors see needs improvement, so it will progress over time, to the next step. Second, I’m creating a timeline sequence of materials, an interesting research project I’ll publish in a book. This timeline will detail all the properties we need, measured in time per second, for an average population density. That’s a crucial part. We calculate what we can do with current materials and what’s possible if certain material innovations occur. 

the pavilion is at the European Cultural Centre’s Giardini Marinaressa | photo by Jaap Heemskerk

WM (continued): There are three epochs in these steps, with the current epoch of innovation per technology, like improved 3D printing. The entire MVRDV group is part of this research. A lot is already happening; we have old materials and new materials emerging. We see this more and more, with layers of wood combined with glue, like glulam and CLT. We also have more types of sandwich constructions. Materials are becoming collaborative.  But what if this collaboration becomes more intense?

Materials could help provide light, others energy, and perhaps they could even move. That’s what this timeline aims to explore, too: what kind of collaborations are needed. We’ll depict these in the final timeline, the Blend, where everything is so interactive and active. It could lead to a completely different type of architecture or urbanism. Finally, we’re developing prototypes. These are diverse. One is 3D printing, aiming to move beyond current prefabrication methods. While prefab is fine, 3D printing offers more flexibility.

the structure turns reused beams into large arches, supported by metal ribs | photo by Jaap Heemskerk

DB: We were told that the sculptural installation at the Arsenale was supposed to be made of living organisms instead of 3D printed from polymer. 

WM: Yes, and I’m still completely open to it, but that’ll most likely be after the Venice Architecture Biennale 2025. There’s this dream of using 3D printing that involves two components, or three elements, that are not currently part of 3D printing. The first is what we call the material bank. Carlo Ratti adopted this idea, which involved a machine design where you have various materials. You feed these materials into the 3D printer, which could have multiple nozzles – one for concrete, one for stone, one for glass, one for steel, one for minerals, and one for wood. 

This allows you to select the desired material as you print, changing nozzles along the printing line. This is part of the design. The second component is the printer itself, which is a mixed printer and an ‘un-printer.’ This allows materials to be changed and adapted. To achieve this, an analyzer scans the surface, determines its composition, and then initiates a destruction operation. This process varies depending on the material. For example, 100% glass is easy to break and can be burned in two steps. 

when direct sunlight heats small air canisters, the air pressure inside increases | photo by Jaap Heemskerk

WM (continued): You remove the material, burn it, and the burner sends it to the material bank, from which it can be returned to the printer. This applies to all types of materials. So, we have the mixer, the printer, the ‘un-printer,’ and the material bank. The final component is the monitor, where you design and input data. This input isn’t just for design; it’s also a control mechanism. During printing, you need to monitor the process to prevent cracking. 

This can involve adding more water because the printing material is like a pudding that needs to be as fluid as possible for adhesion. Adding more water helps with the drying period, and you can also use other polymers. I can provide the diagram, but I should patent it first. This is the dream, so far. There’ll also be these robots that would be there to help construct these. I also have a sequence of mycelium tests that I want to do with the school in Jakarta.

the frame holds triangular panels fitted with perforated metal screens | photo by Jaap Heemskerk

DB: That was our follow-up question: the use of biomaterials. It seems that you’ve already used them in your recent projects. In line with this, you’ve also had a talk discussing computational design and algorithms in architecture and design. In what ways have you and MVRDV adopted them into your workflow?

WM: We have our specialties as an office and research group. I cannot do everything, so we need to collaborate extensively. I’m proficient in scripting; our office was one of the first to adopt it, and now our department excels in it. Our team is well-trained in computation and computer science, which I believe is a significant asset. We are skilled in space design, like any architect, and we are also strong in visualization.

DB: What do you think is our progress towards a biotopic world?

WM: There’s a wide range of research I’m trying to gather and collect. We have the example of 3D printing and mycelium. I’m also looking into the lignification of lignin from trees to accelerate this process in the farming industry. This would make the material more fluid, more like willow. I’m also incredibly interested in the electrical changeability of materials, like electrical rubber, for instance. In short, it’s a long process, but the beauty of it is fantastic.

view of the Biotopia installation at the Arsenale | all exhibition photos by Celestia Studio

DB: Are there other materials you want to work or experiment with? What’s next for you?

WM: I like the lignin and the washing-stone technology. This is a new technique we’re developing with Eindhoven. You add a layer of stone, which washes away, and then it assembles into soil. So, it’s essentially accelerating soil creation through erosion and its distribution. This helps plants grow, especially in shadowy areas. We’ve already applied this concept in Dubai for a new pavilion. 

Let’s go back to what you said before we started the interview. We’re sitting in a park, and you asked if I have a relationship with nature. My background already explains it, and I think our architecture is involved in that, meaning nature. I think we make it possible to reconnect people with nature. I like your question about what’s next because that’s the topic of the book we’re making. My lectures are always about what’s next, and they include slides. There are many subjects. I can dream about utopia as a kind of end result, if that’s possible. 

Then, I also have to study mobility. I need to consider when I move and what makes sense, so we’re doing a new study on velocity with different industries. We’re checking how the city would look with a certain kind of mobility: if I walk only, or if I have horses, or if I have three types of mobility. I also want to add properties to drones. It’s not about sending packages, which we can already do. We have a drone skycar in Shenzhen, and surveying is another use. But you can also construct. So I ask my collaborators and clients, ‘What can I do if I want to build a house in the sky?’ Just as a hypothesis. We’ll see.

the installation comes with an accompanying film documenting the building of Biotopia

the first part of the installation is the 3D printed sculpture made of polymer

Winy Maas and his think tank The Why Factory collaborate with visual artist Federico Díaz for the sculpture

the installations are on view in Venice until November 2025

project info:

architect: Winy Maas

firm: MVRDV | @mvrdv

Biotopia

lead architect: Winy Maas

think tank: The Why Factory

artist: Federico Díaz | @federico_diaz_hands

location: Arsenale

event: Venice Architecture Biennale 2025

dates: May 10th to November 23rd, 2025

photography: Celestia Studio, The Why Factory | @celestiastudio

SOMBRA Pavilion

lead architect: Jacob van Rijs

collaboration: Metadecor, Airshade Technologies, MVRDV, Alumet, Van Rossum Raadgevend Ingenieurs, Arup, Kersten Europe, the AMOLF Institute | @metadecor, @airshadetechnologies, @mvrdv, @alumet_nl, @vanrossumbv, @arupgroup 

exhibition: Time Space Existence

location: Giardini Marinaressa

address: Riva dei Sette Martiri, 30122 Venice, Italy

photography: Federico Vespignani, Jaap Heemskerk | @federico_vespignani

The post MVRDV’s winy maas on kinetic sombra pavilion and biotopia installation at venice biennale appeared first on designboom | architecture & design magazine.

British artist Stuart Semple unveils Bloom, a sprawling, glow-in-the-dark installation of 5,000 vividly colored 3D printed flowers at Jersey Zoo, UK, transforming the grounds of Les Augrès Manor into a surreal meadow. On view from June 6 through September 2025, the artwork commemorates the visionary approach of British naturalist Gerald Durrell to zoo-led conservation while embodying Semple’s activist-driven practice rooted in accessibility and ecological responsibility.

Measuring seven by seven meters, the floral field is filled with six of Durrell’s favorite flowers—chrysanthemums, freesias, roses, scarlet pimpernel, crocuses, and pink magnolias—each sculpted from sustainable bioresin made of recycled castor oil and plant fibers. The flowers are hand-painted in radiant hues and coated with Semple’s proprietary ‘Lit’ pigment, allowing them to absorb sunlight and emit a gentle glow after dark. 

images courtesy of Durrell Wildlife Conservation Trust / Stuart Semple

a vibrant call for collective action

Stuart Semple, whose multidisciplinary practice spans sculpture, performance, and social intervention, describes Bloom as a personal full-circle moment. ‘Ever since I visited Jersey Zoo as an 8-year-old child, it’s had a place in my heart,’ the artist shares. ‘This project means the world to me, because now more than ever, Gerry’s philosophy and his conservation ethics are vital to the planet.’ Known for his colorful provocations and democratizing gestures—such as developing the Pinkest Pink and campaigning for open access to creative materials—Semple brings the same ethos to Bloom, using art to empower public agency and celebrate collective impact.

Stuart Semple presents Bloom

the installation is a living tribute to gerald durrell’s legacy

Positioned in the heart of Jersey Zoo, the installation is commissioned by the Durrell Wildlife Conservation Trust as part of GD100, the year-long celebration of what would have been naturalist Gerald Durrell’s 100th birthday, holding special significance for the community. ‘The flowers in Bloom are some of Gerry’s favorites, and I know he would’ve loved to see the colorful meadow pop up in the courtyard of his cherished Les Augrès Manor,’ says Lee Durrell, Honorary Director of the trust. 

Each bloom in the installation is both a tribute and a call to action. By offering the flower sculptures for public purchase, Durrell and Semple invite individuals to literally take a piece of conservation home. Proceeds directly support the trust’s global mission to save species from extinction, with each flower symbolizing a node in the larger network of supporters, scientists, and dreamers who share in Durrell’s original vision of a wilder, healthier world.

a sprawling, glow-in-the-dark installation of 5,000 vividly colored 3D printed flowers

transforming the grounds of Les Augrès Manor at Jersey Zoo, UK, into a surreal meadow

the artwork commemorates the visionary approach of British naturalist Gerald Durrell

the floral field is filled with six of Durrell’s favorite flowers

chrysanthemums, freesias, roses, scarlet pimpernel, crocuses, and pink magnolias

the flowers are hand-painted in radiant hues and coated with Semple’s proprietary ‘Lit’ pigment

sculpted from sustainable bioresin made of recycled castor oil and plant fibers

the flowers absorb daylight

known for his colorful provocations and democratizing gestures, Semple brings the same ethos to Bloom

Semple’s ‘Lit’ pigment allows the meadow to glow at night

each bloom in the installation is both a tribute and a call to action

project info:

name: Bloom

artist: Stuart Semple | @stuartsemple

location: Jersey Zoo, Channel Islands, UK

dimensions: 7 x 7 meters

dates: June 6 – September 2025

commissioner: Durrell Wildlife Conservation Trust | @durrell_jerseyzoo

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OZRUH and ETH Zurich regenerate marble dust waste into 3D printed stone installation at the Venice Architecture Biennale 2025. On view between May 10th and November 23rd, 2025, the project attempts to look into how architecture can address waste using modular structure and regenerative materials. It’s a two-part project for the design teams. The first one is the modular 3D printed marble dust, located at the Pavilion of Türkiye. The next, a documentary film in the Artificial section of the Arsenale curated by Carlo Ratti, where the robots are present, too.

A focus on the 3D printed marble dust: it’s called Anti-Ruin. OZRUH and ETH Zurich use the byproduct of the marble extraction processes at the Lasa Marmo Quarry in South Tyrol for the installation. The teams process the dust using a binder jetting method developed by Dr. Pietro Odaglia at Digital Building Technologies, ETH Zurich. It adopts a liquid binder to solidify the dust. The process, then, doesn’t need molds or formwork. As a result, the teams have two columns and a horizontal slab, all of which are modular. They form the ensemble of the 3D printed marble dust.

all images courtesy of OZRUH | all photos by Lloyd Lee

Stone installation at the Venice architecture biennale 2025 

One of the columns isn’t connected to the slab; the user can adjust or move it. The structural engineering team at formDP turns to computational tools to produce it like this. The software helped them calculate the center of gravity and internal load paths of the slab. The reason it is adjustable is because OZRUH and ETH Zurich want to explore the boundaries of architectural completeness at the Venice Architecture Biennale 2025. Instead of viewing buildings as either finished or unfinished, Anti-Ruin lets each construction phase and piece function independently and be modular, a growing trend in recent architecture. The 3D printed marble dust installation forms part of the ‘Grounded / Yerebatan’ exhibition at the Pavilion of Türkiye, curated by Bilge Kalfa and Ceren Erdem, commissioned by İKSV.

Since the project integrates recycled materials from quarry waste, it can be disassembled and reused. The accompanying film at the Arsenale by Troy Edige and Beyza Mese documents the design, printing, and construction stages. It includes footage from ETH Zurich and the Lasa Marmo Quarry. The next stop of Anti-Ruin is at the World Design Congress at the Barbican in London, between September 9th and 10th, 2025. This phase applies the same system to alternative construction waste, including crushed brick and demolition dust. In this way, the 3D printed marble dust continues as an installation that focuses on recycling and making modular components for architecture.

3D printed installation at the Venice Architecture Biennale 2025 from marble dust and recycled components

the project, led by OZRUH in collaboration with ETH Zurich, looks into how architecture can address waste

it’s a two-part project, with the first one being the modular 3D printed marble dust

the installation by OZRUH and ETH Zurich is inside the Pavilion of Türkiye

OZRUH and ETH Zurich use the byproduct of the marble extraction processes at the Lasa Marmo Quarry

the teams process the dust using a binder jetting method

the process doesn’t need molds or formwork to function or be produced

detailed view of Anti-Ruin

there’s an accompanying documentary film in the Artificial section of the Arsenale

the movie documents the teams’ process

project info:

name: Anti-Ruin

design: OZRUH | @ozruh_official

institution: ETH Zurich | @ethzurich

engineering: formDP | @form_dp

photography: Lloyd Lee

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

edited by: matthew burgos | designboom

The post OZRUH and ETH zurich repurpose marble dust into 3D printed stone installation in venice appeared first on designboom | architecture & design magazine.

Dust Order is a sculptural furniture collection by Roc H Biel that reimagines the elegance of Corinthian columns through a modernist lens, transforming classical proportions into flowing, lightweight forms. Crafted from upcycled, compacted beech wood dust — a waste byproduct usually swept off workshop floors — and 3D-printed composites, the sculptural chair and modular desk system explore material contradiction, architectural rhythm, and surreal aesthetics.

Shot on a Welsh slate quarry, the highest in the UK, the project captures a striking contrast between industrial waste and soft, dreamlike forms, offering a poetic reflection on legacy, adaptability, and the blurred lines between physical and digital reality. The work was recently presented at Salone Satellite 2025 during Milan Design Week, with each object telling a story of perception, contradiction, and new material possibilities.

all images courtesy of Roc H Biel

roc h biel upcycles beech wood dust for the furniture series

Roc H Biel’s collection deconstructs the capital, shaft, and entablature elements of the classical architecture to highlight a sense of movement and visual lightness, while maintaining a reverent connection to historical form. The chair is made by compacting and stacking beech wood dust into a monolithic, sculptural form. At first glance, its surface appears stone-like or sand-cast, tricking the eye with its granular texture. But what looks dense and weighty is surprisingly light and circular in origin. Geometry shifts subtly from base to top, octagon to circle to square, while strategic negative space lets light pour through, creating a visual rhythm that gives the piece a sense of gentle drift. The result is a quiet optical illusion: motion from stillness, airiness from mass.

The desk uses 3D-printed columns formed from a bonded mix of magnesium and beech wood dust, resulting in a tactile composite with the look and feel of compacted sand. It is also a modular three-piece system, designed to reconfigure from stool to bench, bench with side table, desk, or dining table. Borrowing the classical logic of column components, each element becomes a versatile building block, allowing users to choreograph space in response to need. ‘I treat classical motifs as raw material, reshaping them through a modern lens until they feel both familiar and strangely futuristic,’ says the designer. ‘They see something that looks ancient or heavy, but then they touch it and everything shifts. It’s about that moment of wonder; when material, memory, and perception all clash in the best way.’

Dust Order reimagines the elegance of Corinthian columns

crafting new ‘architectural relics’

The collection sits at the edge of digital surrealism, deliberately creating objects that look rendered but are intensely real. While AI-generated images strive for realism, Roc H Biel flips the script: crafting tangible objects that feel dreamlike, inviting viewers into a liminal space where physical and pixel blur. This tension is echoed in the photographs, shot on location in a Welsh slate quarry that was once a site of extraction and sharp industrial waste. Its black, jagged landscape offers a dramatic contrast to Dust Order’s smooth, sand-coloured forms.

Set against a backdrop of clouds, the pieces appear almost suspended in the sky, as if gravity itself were uncertain. The result is a visual paradox: weight and weightlessness, ruin and refinement, the earthly and the surreal, all colliding in frame. Dust Order will be available as a limited edition collectible, produced upon request as part of Roc H Biel’s ongoing journey into sculptural, one-off design objects.

the project is a formal study in silhouette and void

the sculptural chair, photographed on quarry stone, juxtaposes mass and levity

made from upcycled, compacted beech wood dust

shot on a Welsh slate quarrry, the project captures a striking contrast between industrial waste and soft, dreamlike forms

the desk uses 3D-printed columns formed from a bonded mix of magnesium and beech wood dust

two columns on stone, playing with scale, history, and distortion

organic textures mark these new ‘architectural relics’

deconstructing the capital, shaft, and entablature elements of classical architecture

project info:

name: Dust Order
designer: Roc H Biel | @roc.h.biel

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: ravail khan | designboom

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DeepForest³ is a microbial architectural installation developed by ecoLogicStudio in collaboration with the University of Innsbruck and the Bartlett UCL. The project is part of the We the Bacteria: Notes Toward Biotic Architecture exhibition at the 24th International Exposition of La Triennale di Milano, curated by Beatriz Colomina and Mark Wigley. The installation proposes a domestic space structured as an active microbial ecosystem. It utilizes biotechnological systems to establish a functional relationship between architecture, biological processes, and environmental conditions. The spatial arrangement includes components that perform photosynthesis, biodegradation, and carbon storage, forming an integrated biotic infrastructure.

At the center of the installation are three types of architectural components: Photosynthesizers, Biodegraders, and Carbon storers. Photosynthesizers, filled with 50 liters of living cyanobacteria, actively capture CO₂ from the gallery environment and convert it into oxygen and biomass. These glass vessels are arranged to form a breathable membrane, both wall and filter, alive with metabolic activity. Biodegraders, built from 3D printed bark-like shells made of algae biopolymers, host living mycelium networks. These fungi feed on spent coffee grounds, a readily available urban waste, and grow into dense, fibrous forms that line the space like living insulation, mimicking salvaged birch trunks but grown from synthetic matter. Carbon storers, such as reclaimed wood elements and active lichen colonies, integrate with these systems to stabilize and reframe the aesthetics of waste as beauty, turning the byproducts of decay into architectural ornament.

all images by Xiao Wang, courtesy of ecoLogicStudio and the Synthetic Landscape Lab

ecoLogicStudio merges biology with digital fabrication

The design strategy followed by ecoLogicStudio’s team aligns the architectural system with Italy’s history of landscape engineering, drawing a comparison between historical interventions and microbial resilience. The spatial configuration compresses forest ecologies into a controlled interior scale. Floor and wall assemblies incorporate engraved and porous substrates, enabling air exchange, moisture retention, and microbial colonization. ‘We are now more and more aware that our own nature is cyborgian and collective, and that our own identities extend far beyond the limits of our bodies. We are microbial ecosystems, we are algorithmic networks. It is a necessary consequence that our home becomes an extension of these ecosystems and networks. Our home is our microbiome,’ shares Prof. Claudia Pasquero.

The installation emphasizes visibility of technical systems. Algae growth chambers, mycelial substrates, air and CO₂ pumps remain exposed, functioning as both operative systems and formal features. This approach integrates the mechanical and biological processes into the architectural language rather than concealing them. ‘The installation aims to celebrate the first time microbial architecture enters the Italian temple of design, the Milano Triennale. I think this is an epochal moment. For this reason, we took great care in its design and detailing. DeepForest³ is really more than just a temporary installation, it delivers a fully functional and tangible biotechnological living system, grounded in the metabolic cycles of algae and fungi, but brought to life through bespoke digital design and unique material craftsmanship,’ comments Dr. Marco Poletto.

DeepForest³ installation presented at the 24th International Exposition of La Triennale di Milano

DeepForest³ exhibits open-source biotechnological integration

A secondary feature of the installation is the Zolla bench, made from modular cork blocks and honeycomb cardboard base. The bench is designed for live mycelium cultivation, which gradually transforms the surface through colonization and mushroom growth. This component demonstrates real-time material transformation and user interaction with biologically active surfaces. The installation supports cyclical material use, passive environmental modulation, and open-source system integration. It is conceived as a domestic prototype for future biotechnological applications in architecture, emphasizing accessible and distributed cultivation of photosynthetic and fungal organisms within built environments.

DeepForest³ forms part of an ongoing research initiative by ecoLogicStudio and the Synthetic Landscape Lab. Parallel projects include Tree.One, Bio.Lab, FundamentAI, and CryoflorE, which extend this inquiry across multiple international venues including the Venice Architecture Biennale, Bundeskunsthalle Bonn, and MUDAC Lausanne. The installation opens to the public on May 12th, 2025.

visible systems turn the walls into a living, cyber-organic laboratory

air pumps circulate air and CO₂, supporting algae and mycelium growth

engaged with the living installation

Carbon storer made from reclaimed trees and 3d printed barks

Carbon storer made from reclaimed trees and 3d printed barks

Photosynthesizers and AIReactor in action

Zolla bench is composed of mycelium colonizing cork, with mushrooms starting to sprout

project info:

name: DeepForest³

designer: ecoLogicStudio | @ecologicstudio

location: Milan, Italy

lead designers: Prof. Claudia Pasquero, Dr. Marco Poletto

commissioner: Triennale di Milano

exhibition curators: Beatriz Colomina and Mark Wigley

academic partners: Synthetic Landscape Lab IOUD Innsbruck University, Urban Morphogenesis Lab BPRO The Bartlett UCL

design team: Prof. Claudia Pasquero, Dr. Marco Poletto, Jasper Zehetgruber, Francesca Turi, Alessandra Poletto

prototyping support team: Jonas Wohlgenannt, Korbinian Enzinger, Felix Humml, Bo Liu, Mika Schulz, Michael Unterberger, Marco Matteraglia, Beyza Nur Armağan, Beatriz Gonzalez Arechiga and Xiao Wang

photographer: Xiao 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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During the Green Design Days 2025, Mario Cucinella Architects (MCA) unveils A Flower in San Servolo, a 3D printed amphitheater in Venice’s San Servolo Island. Designed as a space for dialogue, performance, and community, the open-air structure blossoms like a flower, melding poetic form with a low-impact construction process. Created in collaboration with local innovators and built using sustainable, lime-based modules produced directly on the island, the amphitheater stands as a symbol of environmental and cultural synergy, timed to coincide with this year’s Venice Architecture Biennale. ‘Thanks to 3D printing and the use of sustainable materials, the structure integrates into the landscape with an organic form that, like a flower, emerges from the ground,’ shares the architect. ‘It is not just a stage space but a place for meeting and dialogue, where tradition and innovation merge in harmony with the environment.’

all images by Niccolò Baccega

750 dry-assembled blocks compose the structure

The project stems from a shared vision between architect Mario Cucinella and San Servolo srl, the public company managing the island. The goal is to create an inclusive, reversible structure available to students, residents, and visitors. Set against the cinematic backdrop of San Lazzaro degli Armeni, the amphitheater is conceived as an architectural gesture that grows from the earth and belongs to the lagoon.

Built from approximately 750 dry-assembled blocks across 62 unique types, each module is 3D printed from a certified sustainable material composed primarily of natural lime. An on-site printer ran for nearly 200 hours, reducing transport emissions and enabling precise, high-quality production. The structure was built using a dry assembly method, making it easy to take apart and reuse. Its modular design uses one interlocking piece, giving the amphitheater strength and a uniform look.

the open-air structure blossoms like a flower from the Venetian landscape

created in collaboration with local innovators and built using sustainable, lime-based modules

the amphitheater stands as a symbol of environmental and cultural synergy

built from approximately 750 dry-assembled blocks across 62 unique types

each module is 3D printed from a certified sustainable material composed primarily of natural lime

a dedicated printer operated on-site for nearly 200 hours

the modular design guarantees structural integrity and visual harmony

project info:

name: A flower in San Servolo

architect: Mario Cucinella Architects | @mario_cucinella_architects, @mariocucinella

location: San Servolo Island, Venice, Italy

lead architect: Mario Cucinella, Lori Zillante, Lapo Naldoni

event: Green Design Days 2025, in conjunction with the 19th International Architecture Exhibition – La Biennale di Venezia

client: San Servolo srl

3D printing partner: Erratic srl

collaborators and supporters: 7Solutions, Abet Laminati, Erre Costruzioni, Global Power Service, Infinityhub, Kubee, Pieces of Venice

photographer: Niccolò Baccega

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The remote village of Mulegns in the Swiss Alps has welcomed the dubbed tallest 3D printed white tower in the area, Tor Alva. Unveiled on May 20th, 2025, it is the Origen cultural foundation that led the work in collaboration with ETH Zurich. From May 23rd onwards, the 3D printed white tower is open every day for guided tours. Then, starting July 2025, the space can host staged performances. Tor Alva plans to stay in Mulegns for around five years. After that, it can be dismantled and re-erected elsewhere, but there’s no news yet on where it can head next.

The construction of the White Tower in the remote village of Mulegns in the Swiss Alps began on February 1st, 2024, with the introduction of 3D printed columns of the Tor Alva architecture. The first 8 columns of the lower floor were 3D printed by a robot that extruded soft concrete into multilayered print paths at ETH in Zurich, resulting in a series of joint-based, twisting hollow columns for the White Tower. The 3D printed architecture requires no framework, while the necessary steel reinforcement was inserted in the robotic production process.

all images courtesy of Michael Hansmeyer and Benjamin Dillenburger | photo by Birdviewpicture

Inside the process of the 3D printed white tower

The White Tower, or Tor Alva in Mulegns, Swiss Alps, is designed by architects Benjamin Dillenburger and Michael Hansmeyer. The Digital Building Technologies group of ETH Zurich is developing the tower’s technology in collaboration with the Institute of Structural Analysis and Design (CSBD) and the Institute of Building Materials (PCBM) in the context of the National Competence Center Digital Fabrication. Based on the timeline that Michael Hansmeyer detailed, the 3D printed White Tower had its columns assembled in May 2024.

3D printing became the main tool that realized the architecture of the White Tower. Soft concrete emerged as the key ingredient, and as the robot extruded thin layers of soft concrete through a nozzle, it instinctively directed itself to form geometric, hollow columns until it reached a certain height. The material, being soft concrete, was malleable enough to bond to form homogeneous components. As soon as it hardened, which it did quite quickly, it supported the successive freshly layered extrusion. The design team says that by saving mass and cement, the 3D printing process can also entail a reduction in the carbon emissions generated during production.

the remote village of Mulegns in the Swiss Alps has welcomed Tor Alva | photo by Birdviewpicture

3D printed Tor Alva as an artistic and cultural space

At 30 meters high, including the base, the White Tower may take home the crown for being the tallest 3D printed building in the world. Another feature that the design team highlights comes through the absence of the formwork, given that the concrete is not poured in 3D printing but rather layered in extruded strips by a robot. Adding to this, dismantling the 3D printed White Tower can be easy. In fact, the design team has this in their minds since they might think of rebuilding Tor Alva someplace else after serving its five-year life in the Swiss Alps. It helps that the architecture has a modular design that allows the individual components to be easily assembled and dismantled, and be connected using removable screws instead of adhesives.

Diving into the project’s background, the 3D printed White Tower, or Tor Alva, rises at 30 meters along the Julien mountain in the remote village of Mulegns, Switzerland. It is designed for Fundaziun Origen, functioning as a space for art installations, music, and theater performances. The recently printed hollow columns echo the central interior of the architecture, with the facade being windowless and open, adorned by the criss-cross structure natural to the 3D printing process. The White Tower presents itself as the byproduct of computational design, digital fabrication, structural engineering, and materials science, gradually emerging from the use of soft concrete extrusion.

the tower was unveiled on May 20th, 2025 | photo by CheWei Lin

From the get-go, the 3D printed White Tower already embodies an installative character. If this springs as the first thought, then treating it as a venue for intimate concerts, art affairs, and cultural mediation becomes complementary. Glancing at its design, Tor Alva consists of 32 branching columns that wrap around a series of abstract and atmospheric rooms. From the ground, visitors ascend through the vertical stairs, and once they reach the top floor, the vaulted concert venue greets them alongside the panoramic horizon across the Julier valley. The design team says that the White Tower’s characteristics are reminiscent of the craftsmanship of the master builders of the Baroque era in Grison, brought to life again by 3D printing.

The story was updated on May 21st, 2025, to announce the opening of the tower.

the soft concrete, was malleable enough to bond to form homogeneous components | photo by Benjamin Hofer

view of the 3D printed columns | photo by Nijat Mahamaliyev

inside the Tor Alva | photo by Benjamin Hofer

the 3D printed architecture requires no framework | photo by Nijat Mahamaliyev

view of Tor Alva during wintertime | photo by Michael Hansmeyer and Benjamin Dillenburger

view of the White Tower in village of Mulegns | photo by Benjamin Hofer

the tower can change its lighting color | photo by Michael Hansmeyer and Benjamin Dillenburger

at night, the tower lights up | photo by Michael Hansmeyer and Benjamin Dillenburger

project info:

name: White Tower / Tor Alva

architects: Benjamin Dillenburger, Michael Hansmeyer

technology: Digital Building Technologies of ETH Zurich, Institute of Structural Analysis and Design, Institute of Building Materials

location: Mulegns, Switzerland, on the Julier Pass

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At the 19th Venice Architecture Biennale, amid reflections on climate crisis, displacement, and dwindling resources, Clouds Architecture Office offers an otherworldly proposal for an underwater settlement on Mars. Mars Hydrosphere joins the main exhibition at Corderie dell’Arsenale, speculating a symbiotic city for 10,000, which draws on the properties of water — abundantly found on Mars and an effective shield against radiation. Submerged within a vast water reservoir, a necessity for sustaining life, the new city is composed of tensile inflated domes made from transparent film and fiber cables imported from Earth, and structural elements fabricated from 3D printed local regolith.

The project builds on popular, ongoing imaginations of interplanetary migration to Mars. ‘Companies are actively developing rocket-based transportation systems, some with the goal of moving a million people to Mars. But where will they live?’ question the architects. As a result, the project transforms a Martian crater into both dwelling and life-support system in the water, with the architecture itself forming a hybrid: drawing on terrestrial engineering know-how while adapting to the constraints and material possibilities of in-situ Martian production.

image by Luca Capuano, courtesy of La Biennale di Venezia

a speculative aquatic commons at venice architecture biennale

The crater’s elevation and geological clarity suggest a promising presence of subsurface ice which is an essential resource, both for sustaining life and for structuring the architecture itself. It also forms the perfect location for a migratory spaceship to drop off new residents of the merchant city on Mars. Clouds Architecture Office imagines this reservoir as the literal ground for a new kind of city that is suspended just five meters beneath the surface, with the water performing multiple roles at once: it thermally insulates, shields against cosmic radiation, and, more conceptually, binds the settlement into a shared commons.

For the architects, the project works with the harsh environment and its limited natural material palette to create a settlement that sensitively adapts to the terrain. Within the core, sealed, pressurized dome — held at a breathable 1.0 atmosphere — the settlement creates a conditioned ‘bubble’ where public life unfolds. Its submerged location offers both physical protection and psychological continuity, and the water, transparent and vast, becomes a liquid sky above the city. It diffuses sunlight into the interiors and preserving circadian rhythms that would otherwise falter under Mars’ days and nights. This would not help maintain circadian rhythms and mental wellbeing, while increasing functionality and productivity for residents.

Clouds Architecture Office proposes an underwater settlement on Mars | image courtesy of Clouds Architecture Office

Inside, the domes follow a formal logic dictated by pressure and material behavior. Each dome spans 400 meters in diameter, pushing the limits of catenary geometry while maintaining a low 25-meter profile, a shape calibrated by the physics of underwater balance. The architecture organizes itself around a central compression ring, an inflated beam that stabilizes the enclosure, and is anchored to the Martian floor by repurposed transport rockets. These vertical structures then double as circulation shafts and infrastructural cores, rooting the floating city to the crater bed while supporting life above.

Though Mars Hydrosphere is first a survival scenario, it also forms an architectural proposition centered on the values of water as a medium. In doing so, it reframes resource use as an active design material. The reservoir’s saline composition, held in a pressurized state, reflects the Martian reality of phase shifts and freezing points, while desalination pods convert this body into drinkable water, filtered for human consumption. Waste heat from the city is also utilized to warm the reservoir.

image by Luca Capuano, courtesy of La Biennale di Venezia

Mars Hydrosphere speculates a symbiotic city for 10,000 | image courtesy of Clouds Architecture Office

tensile domes made from transparent film and fiber cables from Earth | image courtesy of Clouds Architecture Office

structural elements are fabricated from 3D printed local regolith | image courtesy of Clouds Architecture Office

inside, the domes follow a formal logic dictated by pressure and material behavior | image courtesy of Clouds Architecture Office

submerged within a vast water reservoir | image courtesy of Clouds Architecture Office

project info:

name: Mars Hydrosphere

architect: Clouds Architecture Office | @clouds_ao

location: Corderie dell’Arsenale, Venice, Italy

program: Venice Architecture Biennale | @labiennale

dates: May 10th — November 23rd, 2025

project designer: Ostap Rudakevych, Masayuki Sono, Maria Clara Machado

structural engineer: Jun Sato, The University of Tokyo + Jun Sato Structural Engineers Co Ltd

technical collaborator: Joseph Dituri PhD (University of South Florida), Kevin Kempton (NASA Langley Research Center), Kirby Runyon PhD (Planetary Science Institute), Luca Gamberini (Nemo’s Garden)
Jeffrey Montes (Blue Origin), Stefan Harsan Farr (identityplus), Jared W. G. Atkinson, PhD (Impossible Sensing Energy Inc)

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Architects and marine biologists at Florida International University develop BIOCAP tiles, a series of 3D printed coral reefs that combat climate change by creating cooler microenvironments. Designed to support marine life, these modular tiles reduce the impact of waves along the seawalls. They’re designed to help water cities like Miami adapt to the rising sea levels, all the while restoring the ecological balance along the shorelines. So far, the 3D printed ‘coral reefs’ are set to appear along Morningside Park, a neighborhood park in Miami with views of Biscayne Bay. It’s the same city of OMA and Shohei Shigematsu’s ReefLine, its first underwater public sculpture park.

The researchers, led by Sara Pezeshk and Shahin Vassigh, enumerate some ways that the 3D printed coral reef seawalls can help fight climate change. Each BIOCAP tile, for example, has shaded grooves, crevices, and small, water-holding pockets. Because of these, they mimic the natural shoreline conditions. They also construct tiny homes for barnacles, oysters, sponges, and other marine organisms that filter and improve water quality. Design-wise, the BIOCAP tiles have swirling surface patterns that increase their overall surface area. On top of that, they give the marine life more space for colonization.

all images courtesy of Florida International University and Sara Pezeshk

3D printed tiles inspired by coral reefs

There are shaded recesses around the 3D printed coral reefs, which regulate the temperature to provide cooler and more stable microenvironments for the nearby marine life. This thermal buffering supports the species when the rising water’s temperatures change as well as during the frequent heat events driven by climate change. Postdoctoral fellow Sara Pezeshk says that the bouncing back of the waves can increase erosion at the base of the seawalls, which can result in hazardous conditions during storms. 

With the textured surfaces of the BIOCAP tiles, they diffuse this wave energy by replicating the natural, untouched shorelines like rocky coasts or mangroves and slowly break up wave energy. The tile shapes also come from how water interacts with different high-tide and low-tide surfaces. Along these 3D printed coral-reef-inspired designs, there are concave surfaces that deflect the waves away and reduce their direct impact on the seawalls.

the BIOCAP tiles combat climate change by creating cooler microenvironments

two-year pilot phase for the BIOCAP project

At the present time, the BIOCAP project has entered a two-year pilot phase. The research team needs to see and check how efficient and effective these seawall tiles are. Part of the trial is to also measure how the tiles influence biodiversity, water quality, and wave energy reduction. They use underwater cameras to collect time-lapse images of marine organisms that settle on the tile surfaces. They allow for tracking species presence and habitat use over time. The prototype 3D printed coral reefs have embedded sensors in them. 

These devices monitor the water quality as well as measure the pH levels, dissolved oxygen, salinity, turbidity, and temperature in real time. The researchers analyze the water attenuation by comparing pressure sensor data collected from both the BIOCAP tiles and adjacent sections of traditional seawall. The pilot BIOCAP tiles are installed on the existing seawall in Morningside Park, Miami, in the spring of 2025. The project has also received funding from the National Science Foundation and the Environmental Protection Agency.

these modular tiles reduce the impact of waves along the seawalls

each BIOCAP tile has shaded grooves, crevices, and small, water-holding pockets

the shapes also construct tiny homes for barnacles, oysters, sponges, and other marine organisms

the pilot project in Miami begins in the spring of 2025

project info:

name: BIOCAP

researchers: Sara Pezeshk and Shahin Vassigh | @sara.pezeshk

institution: Florida International University | @fiuinstagram

study: here

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