There is something inherently temporary about jello. It trembles, folds, and gives way under the slightest pressure. Balloon sculptures behave much the same way, holding their shape only until the air begins to escape. MAJU’s Jello Lamp takes these fleeting forms and gives them permanence.

Designed by Hyu Lim, the sculptural table light translates the soft wobble of gelatin desserts and the inflated curves of balloon animals into a 3D-printed object. The result is playful without becoming novelty-driven, balancing generous proportions and rounded edges with the visual precision of digital fabrication. The lamp’s form is built around repetition. A fluted shade expands outward in soft, scalloped volumes, while the base continues the same inflated geometry below. Together, the two elements create a silhouette that appears almost compressible, despite being printed as a rigid, continuous body.

Designer: MAJU

That tension gives the lamp much of its character. Its shape suggests movement, softness and instability, while its construction fixes those qualities in place. MAJU uses one of the most controlled contemporary production methods to capture something loose and unpredictable. When illuminated, the object begins to soften again. Light passes through the translucent shade, diffusing into a warm 2700K glow that gathers along the ridged surface. The flutes become less defined, and the lamp takes on a fluid, almost edible quality.

It is here that the Jello Lamp moves beyond a visual reference. Rather than simply resembling a moulded dessert, it recreates its translucency and sense of suspended volume. The light source becomes part of the form, turning the lamp into an illuminated sculpture rather than a fixture with a decorative shade. Each piece is 3D printed to order in MAJU’s workshops in California and Singapore using plant-based, biodegradable PLA. The process allows the studio to produce the lamp’s curved geometry without conventional moulds, while also reducing excess inventory and material waste.

The visible texture of additive manufacturing is not concealed. Fine printed ridges run across the surface, catching light and revealing how the object was made. Instead of disrupting its softness, they add another layer of detail, sitting somewhere between the grooves of a dessert mould and the traces of a machine-built object.

The lamp is also designed as a modular system. Its shade and base can be replaced or upgraded independently, extending the life of the object rather than treating it as a sealed product. An integrated cord organiser is built into the base, keeping the cable from interrupting the lamp’s compact silhouette. Measuring 9.5 × 9.5 × 12.25 inches and weighing approximately half a pound, the Jello Lamp is light enough to move easily through domestic spaces. Its 2.9W bulb is intended to produce ambient illumination, positioning it as a quiet atmospheric object rather than a primary source of light.

Shown in Cottage Core Pink, the design leans into its confectionery associations. The colour, rounded profile and luminous surface recall something sweet and familiar, while the printed construction keeps the object rooted in contemporary production.

The Jello Lamp forms part of MAJU’s broader collection of plant-based home objects, shaped by the studio’s position between Singapore and California and by a combination of Eastern and Western design influences. Its most compelling quality, however, lies in a simpler contradiction. The lamp gives durability to forms that are usually defined by their impermanence. A balloon loses air. Jello collapses. Here, their softness is held in place, glowing quietly on a table.

The post This Glowing Jello Table Lamp Balances Softness and Structure first appeared on Yanko Design.

BIG’s new headquarters for Danish material supplier Dymak turns environmental performance into architecture. Rather than treating sustainability as a technical layer hidden within the building, the studio makes it central to the project’s form, materiality and identity.

Located beside Glisholm Lake in Odense, Denmark, the 2,800-square-metre headquarters is organised as a circular mass-timber structure around an open-air courtyard. Above it, an undulating roof rises and falls across the building, creating a form that recalls a Möbius strip. The result is sculptural and highly recognisable, but it is also shaped by practical concerns.

Designer: BIG

The roof rises towards the north to open views of the lake and surrounding forest, while sloping towards the south to provide shade and reduce solar heat gain. Its surface is covered with 880 custom-shaped photovoltaic panels, turning the roof into both an energy-producing system and the building’s main visual feature.

This combination of performance and spectacle is characteristic of BIG. The studio often transforms practical constraints into clear architectural gestures, and the Dymak headquarters follows the same approach. Solar orientation, shading and landscape views are not treated as separate problems. Instead, they are brought together within one continuous form.

The project also functions as a full-scale showcase for Dymak’s material portfolio. Mass timber forms the primary structure, while clay, cork, eelgrass and recycled paper fibres are used throughout the building. These materials are not displayed as isolated samples. They appear across the floors, ceilings, walls and structural elements, allowing visitors to experience them through texture, sound and scale.

BIG describes the building as a “living catalogue”, and the phrase captures its dual role. It is both a workplace and a demonstration of what Dymak’s materials can achieve. The architecture becomes part of the company’s identity, communicating ideas of craftsmanship, sustainability and material innovation.

This gives the headquarters a warmer atmosphere than the polished glass-and-steel language commonly associated with corporate buildings. Timber remains visible, brick-tiled flooring extends across interior and exterior spaces, and natural fibres soften the ceilings. The materials create a sense of tactility that reinforces the company’s focus while making the workplace feel less formal.

At the same time, the building clearly operates as a branding tool. Its solar roof, natural finishes and landscaped spaces present Dymak as environmentally responsible and forward-looking. Sustainability is not simply part of the building’s performance; it becomes part of the company’s public image.

At the centre of the circular plan is a landscaped courtyard conceived as a green amphitheatre. Planted terraces and stepped seating create space for informal meetings, gatherings and moments of rest. The courtyard is surrounded by glazing, allowing daylight and vegetation to remain visible from the surrounding interiors.

Unlike the dramatic roof, the courtyard does not rely on a strong visual metaphor. Its value is more direct. It creates a protected outdoor space, brings nature into the workplace and offers an alternative to desks and enclosed meeting rooms. Brick flooring continues across the threshold, reducing the distinction between inside and outside and making the garden feel like an extension of the office.

The ground floor contains a showroom, photo studio and fitness facilities, while the upper level includes open-plan workspaces, meeting rooms and lounge areas. A mezzanine connects the two floors, and the circular layout creates a continuous route around the courtyard.

The headquarters succeeds most when its sustainable ideas are experienced rather than simply announced. The warmth of timber, the shaded interiors, the continuity of the brick flooring and the presence of landscape all influence how the building feels in everyday use.

Still, the roof is likely to dominate how the project is remembered. Its Möbius-strip form is visually striking and easy to communicate, but it risks overshadowing the building’s quieter achievements. The use of low-carbon and bio-based materials, the creation of shared social spaces and the careful relationship with the surrounding landscape may ultimately be more significant than the headline image.

The project is not a universal model for office design. Its custom roof, circular plan and carefully selected materials make it highly specific to Dymak. Yet this specificity is also what makes it persuasive. By presenting timber, clay, eelgrass and recycled fibres within a polished corporate environment, the headquarters shows that low-carbon materials can support both technical performance and architectural ambition.

BIG’s Dymak headquarters does not attempt to disappear into the Danish landscape. It performs, advertises and turns sustainability into a statement. Its strength lies in showing that environmental responsibility can shape not only how a building performs, but also how it looks, feels and represents the organisation within it.

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