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Databall_ is a pinball machine that visualises the flow of personal data, making kids aware of their online tracks in a playful way.

Children grow up in a digital world without understanding the true value of personal information. Through their smart phones and tablets they leave traces all over the internet without realising it. This fun game shows the score and boosts awareness.

Sixty balls represent the data, which cover all aspects of daily digital life – from chat history to photo’s and online purchases. They bounce past interested parties: data traders, the government, supervising authorities and criminals. Hitting the data trader pop-bumpers wins you points, but beware of getting hacked: then it’s game over.

“Do we continue to play this game, knowing that we forfeit our data?”


"We communicate, and sometimes it goes wrong." 

That is the essence of what childeren need to learn about data. But what data is collected about you? Who is involved? And how does data get traded?

How would data look if it would be an outdoor urban playground? Or as a boardgame, a marble run, or a pinball machine? This exploration shows translations of the data system into different types of games that incorporate an element of flow.

I did further research into how childeren are taught about online behavior, social media, and personal data, including the teaching tricks like the feedback loops of popular games, and game elements of pinball machines.

Databall was first prototyped in various shapes of cardboard scale-models. After this in a full size cardboard model, which was used to prototype the initial projections, and the pinball electronics. This model I copied into a 3D drawing to help choose material finishes, colors and details with different renderings. The final digital drawing was then used to prepare drawings for lasercutting of the sheetmetal parts that made the final machine. Several pinball pop-bumper electronics were reverse engineered to fit and work. After lots of metal bending, welding, electrical soldering, designing the projection and sound effects, Databall_ came to life.


Have you ever stood waiting in line, felt bored on a toilet, or been kept on hold for too long? During moments of lost time we reach for our phones — immediately occupying ourselves with meaningless socials. Yet herein lies an amazing opportunity to create, play and enjoy.

BLUR restores your daily dose of daydream: attaching to the back of your smartphone, transforming it into a mesmerizing spinning interface.

Design and video production by Felix Mollinga, music by Remy Borsboom

Additive Crystal

“The frames are identical, their skin is unique”

Additive crystal is a collection of lamps that combines two additive manufacturing techniques. Man-made, 3D-printed frames continue to grow after the printing is done, developing their own crystal skin.

The process of 3D-printing and the forming of mineral crystals seem worlds apart, but are actually based on the same principle, slowly materializing layer by layer. Fascinated by their similarities and differences, I managed to manipulate them into a co-creative unity. Both materials need a day to complete their part of the structure. The printing is controlled, precise, and industrial. The crystals are unpredictable, stubborn, and organic. One strengthens fragility and the other contributes sparkle and translucency.

Interior photoshoot styling by Charles Dello.

This series of lamps combines two additive manufacturing techniques: 3d printing and mineral crystals. Both processes take several days, slowly adding material layer by layer, growing their own complexity. The printing is controlled, precise, and industrial. The crystals are unpredictable, stubborn, and organic. This contrast highlights their co-dependence: one strengthens fragility and the other contributes sparkle and translucency.

What if 3D prints could grow?

The project I want to realize is to combine modern 3d printing techniques with the oldest ancient form of 3d printing: mineral crystals.

Mineral crystals are in a way a form of additive manufacturing that has existed since before there were even living organisms, forming solids layer by layer in the earth crust under completely natural circumstances. In contrast, industrial printing uses high tech machines in a controlled environment to create completely manmade shapes. Both processes build up material in layers. Both are not fast techniques, slowly growing to completion. These are two techniques that have a completely different form language, one organically unpredictable and one very precisely man-made. They have different strengths and weaknesses and both have their own design restrictions. But down to the essence, they are based on the same process.

The past months I have been experimenting with growing crystals, understanding this process, trying different chemical solutions and exploring the possiblities of the aforementioned combination. When combining these materials, I aim to make them co-dependant. The crystals cannot grow in thin air, they are fragile, look precious, and will cling to any support they can grab onto. 3D printing allows for any shape, virtually unlimited intricacy, and a way to 'design the crystals'. They are a perfect fit.

I've found that making crystals follow the desired shape isn't easy but creates a magnificent effect. In nature crystals are stubborn. You'll not find them growing in straight lines, in perfect circles or in regular patterns. While in the past weeks I've accomplished just that, setting them to my own hand.



These photos show the first 3D printed structures combined with growing materials. These experiments were the start of the research around the question "What if our 3D prints could grow?" 

Can 3D prints break the size barrier by growing?
Can printed structures be filled in by organic materials?
How do printed and growing materials interact when combined?

3D printers have become more and more refined; ironically making products smaller and more detailed, instead of bigger. I wanted to use this refinement and break with it at the same time. Precision is great, but with it come long print times. If i could make the print a skeleton for the growing material, I would save time, material and money. While the growing material also adds uniqueness. 

Salt crystals growing on PLA woodfill print
Seeds sprouting inside and on silicone print
Foam expanding through ABS print


Unidentified male

Needs OBSURV to keep his face out of public online datasets, after involvement in a scandalous leak and living in fear of being located. He leads a secluded life in a small social circle, but his dog will not follow him on walks if he cannot see his eyes.

Unidentified female

Wears OBSURV because she dislikes the idea of strangers googling a picture if her face and finding her online presence based on a facial match. She believes in honest first impressions and likes the possibility of looking into a person's eyes when having a conversation.

Unidentified male

Uses OBSURV daily because his facial features falsely trigger AI-driven security algorithms. He enjoys living an ordinary life without being detained for questioning three times a month simply because he is unlucky to have a stereotypically criminal face.


GRID Tablestands designed and produced during an internship at NathanYongDesign in Singapore.


Think of Acoin as a USB flash drive for money. It stores cash electronically and displays the amount stored. Acoin anonymizes electronical payments, by existing as an offline node in our online interconnected world.

Our spending habits create an outline of who we are. You might think targeted advertising is all there is to this story, but your data gets traded with whoever is willing to pay. Acoin is designed for a future where governments have gotten rid of cash. Not if, but when this happens: how much freedom will we have left?

This project came about after living in Singapore, and feeling observed all the time. Even when there is nothing illegal about your actions, the awareness of being watched leads to a forced obedience and conformity. This suppresses behavior: creativity and critical thinking are muted and democracy is thrown out the window.

Acoin works together with your phone. From your e-banking app, you can transfer money to the device. This money is now offline. When making a payment, there are three possibilities:
1. By holding Acoins together you can send the value on your Acoin, or a pre-set amount, to another Acoin. Confirmation of sending money occurs through the fingerprint reader. 
2. You can erase your fingerprint, and swap Acoins. In this scenario, one Acoin contains money, and the other does not. The only transaction is the data stored on the device, as the exchange of hardware is mutual, and therefore zero. 
3. When making large payments, you can give Acoin away, together with the data it contains. 

Because of this unpredictability, no one can tell where your money came from, and through whose hands it passed. The money on Acoin becomes untraceable, and paying with it anonymous. For storing money, Acoin relies on cryptocurrency keys.

For storing money, Acoin relies on cryptocurrency keys. Cryptocurrencies like Bitcoin are a decentralized form of currency, free from all government controlled banking systems. The integrity of the system is maintained by the community of users. Every connected phone or computer becomes a node in a network that verifies the validity of transactions. This ensures the safety and stability of the currency.

Cryptocurrencies are relatively new forms of currency. Acoin relies on them for their anonymity and ability to store money electronically on storage that is physically on the device instead of in a cloud. So when you lose your Acoin, your money is gone. Just like cash. This also means that as the money is offline it can be passed around freely. 

Please donate bitcoin for further development of Acoin

Please donate to Bitcoin address: [[address]]

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Ascension is inspired by the culinary philosophy of Brazilian chef Alex Atala. He believes that food is a cycle: from the land to the plate. "Behind every dish there is death", as food needs to be harvested or killed in order to be eaten. Yet this is not to mourn, as the dish can be seen as a celebration of a life lived, completing the transformation of the cycle and starting it over again. This set of tableware consists of three items: two cloches and a plate, that all stack over each other. The diner lifts one after the other, which is a poetic translation of passing through the stages of the cycle.

Seven Headed Naga

The seven headed naga: the serpent that forms a bridge between life and afterlife. Set with seven black onys stones.

This piece was inspired by a trip to Cambodia, where I saw the temples of Angkor Wat. All of them richly decorated with seven headed nagas, garudas and more mythical creatures.

For enquiries about personalised jewellery, please drop me and email at felix_mollinga@hotmail.com

Sequence Rings

A set of three​ personalised rings. Each incorporates references to a family member, a location, and a period of life. For enquiries about personalised jewellery, please drop me and email at felix_mollinga@hotmail.com