Pietro Odaglia on the Anti-Ruin project and the path it set for his next venture.

“Anti-Ruin offered me the chance to test the new functionalities implemented after ARZO, with the added complexity of relatively high-volume production, since we had only a few weeks to finalise all 14 parts – roughly 2,000 litres of material in total,” says Pietro. “Printing and handling each element, averaging around 300 kilograms, offered valuable insights into the process. To my eye, each part of Anti-Ruin looks slightly better than the one before.”

The result is an artefact printed at millimetric resolution, prioritising durability and scalability, produced directly with recycled stone and industrial by-products, unlocking large-scale, structurally capable applications. Anti-Ruin offers a glimpse into an architectural future where material circularity meets digital precision. By combining recycled matter with computational design, the project challenges conventional notions of permanence, labour, and ornament in construction. It demonstrates how large-scale additive manufacturing can reintroduce richness, variation, and context-specificity into the built environment without relying on resource-intensive methods. As a prototype, it points towards a new synthesis of craft and automation, waste and form. 

“If I had to choose the one aspect I’m most satisfied with, it would be the surface texture,” says Pietro. “It brings something new to 3D printing, somewhere between the coarse finish of concrete extrusion and the hyper-resolution of conventional binder jetting.”

Despite the focus on automation, the production of Anti-Ruin retained a hands-on dimension. “Working on a sculptural project, even within a tight schedule, requires attention to detail. I personally sanded and touched up each part until satisfied,” says Pietro. In today’s industrial context, where additive manufacturing is increasingly paired with automated post-processing, this approach reintroduces a space for digital–craft hybrids, suggesting new roles for authorship and refinement in computational fabrication.

Exhibiting at the Venice Biennale, a unique venue where architectural experimentation meets public and professional discourse, also opened up valuable conversations. “I had the opportunity to speak with leading figures in both design and fabrication,” says Pietro. “And I also want to mention how rewarding it was to collaborate with Levent and Danae, an exceptional team from the very first days of the project.”

Finally, when asked what comes next, Pietro has a clear and direct answer: “Spin-off. Completing Anti-Ruin convinced me once more that this technology offers a new bridge between design and material, and that it can open new dimensions in how we approach prefabrication. Now we just need to build the market for it!”