Fifteen years after the international patent for FDM (Fused Deposition Modeling) 3D printers expired, a technological renaissance has quietly reshaped design and manufacturing. What was once a novelty has now matured into a versatile tool embraced by both large corporations and individual creators alike. This shift has not only introduced new production methods but has also revived a spirit of craftsmanship that seemed to be fading in a world dominated by mass production.
In this edition of the “Prusa Story,” we explore Shin-Kougeisha, a design collective that integrates digital fabrication technologies, like 3D printing, into their product design and manufacturing processes. True to their name, Shin-Kougeisha is deeply rooted in traditional craftsmanship, yet they approach it with a distinctly modern sensibility. Their work, which merges meticulous craft with a clear philosophical vision, has garnered attention for its innovative yet high-quality creations. Our printers are an integral part of their manufacturing process which requires the highest quality 3D printing.
To gain deeper insight into their work, we visited the “Shin-Kougeisha New Product Reservation Sale 2024 Summer” held at the SHUTL gallery in Ginza, Tokyo, from June 28 to July 14, 2024. There, we met with Hiroshi Mitachi, the group’s founder and guiding force, who shared his journey and vision, both of which have been profoundly shaped by the open-source culture surrounding 3D printing.
“Tilde”: Transforming the Imperfections of FDM 3D Printing into Art
After studying design at the Kyoto Institute of Technology and its graduate school, Mitachi worked as a product designer for a major manufacturer. He later joined YOKOITO, a Kyoto-based company specializing in 3D printing solutions, where he led the design department. While working extensively with 3D printers in a professional capacity, he also pursued independent projects, leading to the creation of the “tilde” series.
The “tilde” series is characterized by a texture reminiscent of knitting, a stark departure from the usual smooth, polished surfaces expected in modern design. FDM 3D printers, which build objects layer by layer, typically leave visible lines, often regarded as a flaw. But Mitachi saw potential in these imperfections. He developed a technique called “woven layering” that carefully controls the printer’s path and extrusion volume, transforming those lines into a warm, organic texture that challenges the cold, mechanical look typically associated with 3D printing. The result? A range of everyday items, from vases to pens to lampshades, that blend form and function in surprising ways.
The inspiration for this approach came from a tactile experience: the feel of tatami mats, whose “slipperiness in one direction” reminded him of the layered texture in FDM prints. This connection led him to view the process as a form of weaving. Instead of striving for higher precision with finer layers, he deliberately opted for thicker, more pronounced lines. It was a bold choice that paid off. Initially, a standard slicer was used, but to eliminate the seam lines where layers start and end, a custom G-code generator was later developed by Ryo Kosaka, who joined Shin-Kougeisha.
“Tilde was born from the desire to turn what’s usually considered a defect—the visible layer lines—into something with its own unique charm,” Mitachi explains. “Interestingly, the thicker layer pitch also improves productivity, making it a project that aligns with modernist principles by combining aesthetics with functionality.”
The “ANOMALO” Series: The Allure of the Unreasonable
Shin-Kougeisha began its journey in 2020 as a project within YOKOITO, later becoming an independent LLC in 2023. They’ve consistently showcased their work at exhibitions and sales events, gaining a following for their design philosophy, which is rooted in the idea of “new craftsmanship.” Their founding statement reads: “It has become possible to synchronize one’s sensibility with machines and phenomena through computers, and to challenge oneself to create something with a high degree of completion. This is similar to how a craftsman once had his own kiln. This could be the start of a new era of craftsmanship.” Viewing 3D printers as modern kilns, the group’s craft-like approach to design led them deeper into exploring design history.
The “ANOMALO” series, introduced at their most recent exhibition, embodies this exploration. With its bold colors and deliberately unbalanced geometric forms, the series includes functional objects like clocks and radios that challenge traditional notions of “good design.” The products in the series are visually jarring, lacking the usual rationality associated with modern consumer goods, yet they have an undeniable appeal. Their inspiration? Japan’s product boom of the 1970s and ’80s.
“The 1970s and ’80s in Japan were a time of explosive diversity in product design,” says Mitachi. “There were these chaotic devices that combined multiple household functions into a single, bizarre form. As mass production refined and streamlined products over time, we moved toward a more rational ‘good design.’ But this series, named after Anomalocaris—a strange creature from the Cambrian explosion—harkens back to a time before that rationalization took over.”
While today’s technology often favors sleek, modular designs optimized for efficiency, 3D printers offer the freedom to create objects that don’t necessarily fit within those constraints. The “ANOMALO” series is a tribute to that freedom, reviving the kind of exuberant design that once flourished in Japan.
Mitachi notes, “Most clocks are designed around the shape of a rectangular or circular module for the movement, but the ‘ANOMALO Clock’ disassembles and rearranges the movement into a sculptural form, causing the proportions to shift significantly with time. Before the widespread use of modules in the ’70s and ’80s, engineers designed at the component level. I was inspired by their passion and the creative freedom that approach allowed.”
The “ANOMALO” series, rooted in the exuberant spirit of 1970s and ’80s Japan, reimagines the possibilities of 3D printing in today’s world by embracing designs that prioritize expression over strict functionality.
“M600”: Where Decoration Meets Modernism, Born from Vienna’s Past
While the “ANOMALO” series draws on Japanese industrial history, the “M600” series takes its inspiration from Europe. On a trip to Vienna, Austria, Mitachi encountered the legacy of Vienna Modernism firsthand. In the early 20th century, the city was at the forefront of a shift away from the ornate designs favored by royalty and toward more accessible, functional products for the public. This trend, emphasizing efficiency and practicality, became a cornerstone of modernist design.
“When I saw actual Vienna Modernist pieces in museums, I was struck by how they balanced simplicity with subtle decoration,” Mitachi recalls. “Even in seemingly straightforward designs, they hadn’t completely abandoned ornamentation. The style of incorporating repeatable patterns within simple geometric shapes felt intuitively compatible with computational design. It made me reconsider the value of decoration, even in modern design.”
Mitachi observed that the rejection of decoration as wasteful stemmed from the belief that it required manual craftsmanship, and therefore added unnecessary cost. However, with 3D printing, adding decorative elements does not significantly increase production expenses. This insight led to the creation of the “M600” series, which blends minimalist form with intricate, digitally generated patterns.
One standout piece in the series is the “M600 Stool Homage to Josef Hoffmann,” which juxtaposes an industrial aluminum frame with decorative 3D-printed panels. The panels, though purely ornamental, contrast sharply with the utilitarian frame, offering a subtle commentary on the relationship between function and decoration. The series’ name, “M600,” is a nod to the G-code command for filament changes, a detail that resonates with those familiar with 3D printing.
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Reimagining the Past: What If 3D Printers Had Emerged 30 Years Ago?
Shin-Kougeisha has exhibited both domestically and internationally, drawing attention not only to the visual appeal of their work but also to the technological possibilities behind it. At their recent show, they used talks and text displays to highlight changing attitudes toward making things. Perhaps the most striking element of the exhibition was a recreated room from the Metabolism architecture masterpiece “Nakagin Capsule Tower Building.” This room envisioned “a possible past” in which 3D printers existed in 1985, when the tower was built.
In this speculative scene, a Macintosh computer runs G-code commands on its CUI interface, while an “atom”—the first 3D printer Mitachi used in college—sits nearby. The room is filled with various 3D-printed products, imagining a world in which such technology was already available when the Nakagin Capsule Tower was still in its prime.
Looking back, the basic principles of 3D printing were actually invented in Japan in 1980. However, the technology’s development was delayed when a U.S. company secured the patent, preventing its widespread release until 2009. When the patent finally expired, the open-source 3D printer “RepRap” emerged, planting the seeds for today’s thriving maker community. Mitachi’s installation presents a vision of a future that could have arrived 30 years earlier.
“When I first encountered a 3D printer as a student, I was amazed that I could produce objects that previously I could only buy,” Mitachi reflects. “If the idea of ‘not just buying and using plastic products, but also processing them ourselves’ had taken hold 30 years ago, Japan might look very different today.”
In one corner of the room, a tree diagram charts the evolution of the RepRap ecosystem, showing the many variations derived from the Prusa Mendel. Shin-Kougeisha currently relies on about eight Prusa 3D printers and ten Ender 3 printers, configured for different printing techniques. They’ve even adapted an Ender 3 with a motor capable of extruding molten pewter, pushing the boundaries of what consumer-grade machines can achieve.
Looking Forward: Craftsmanship in a Digital Age
As our conversation neared its end, Mitachi looked to the future, expressing his hope that young designers continue exploring the intersection of traditional craftsmanship and digital technology. He envisions a future where 3D printers are not merely tools for mass production, but instruments that can carry forward the spirit of artisanship into the digital age. “The open-source nature of these machines gives designers an unprecedented degree of freedom to create new aesthetics, while still honoring the past,” he says.
Shin-Kougeisha’s work reflects this ethos, blending the wisdom of Japan’s design heritage with the possibilities of cutting-edge technology. As they continue to push the boundaries of what’s possible with 3D printing, their approach challenges us to rethink the relationship between art, craft, and industry in a world increasingly shaped by digital tools.
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