Sustainable Decadence v2.0 (2026)
Ross Stevens
Ross Stevens’ passion for reuse, 3D printing, and hot baths converge in Sustainable Decadence 2.0—a project that balances indulgence with environmental responsibility.
As an experienced industrial designer, Stevens has long been interested in finding new uses for discarded industrial waste. This interest first took shape in the original Sustainable Decadence project in 2011. One of the enduring challenges, however, has been how to transform a collection of eclectic, found elements into a coherent and resolved design. The need to mediate between these disparate parts ultimately led to the development of a large-scale 3D printer capable of producing architectural prints—allowing missing components to be created precisely and seamlessly.
At the heart of the project is a simple belief: in the midst of life’s pressures, small moments of pleasure deserve to be prioritised. These moments may appear decadent, but they contribute meaningfully to wellbeing. Sustainable Decadence 2.0 explores how such pleasure can be enhanced without placing excessive demands on the environment. The project incorporates an old stainless-steel industrial jam cooking vat, ventilation pipe, incorrectly measured double-glazing window, and a leftover piece of balustrade glass. Large-scale 3D printing is used to connect these elements, transforming them into a cohesive and thoughtfully designed bathing experience. A defining feature is the large 3D-printed pivoting roof, which provides both protection and insulation when the pool is not in use, and offers indoor–outdoor flexibility during bathing. The extended tube pivot point disperses stress across the 3D printed structure, allowing the roof to open fully in fine weather. When conditions are less favourable, the roof can be partially closed, enabling users to enjoy the experience of rain from a sheltered position. For greater privacy, the roof can be fully enclosed, altering the acoustics so that water ripples are amplified, while the double-glazed skylight prevents any sense of claustrophobia.
The printed stairs and balustrade flow seamlessly around the reused stainless-steel vat, demonstrating the capacity of digital design and 3D printing to mediate between complex, irregular forms. The balustrade is 3D printed in PETG and reinforced with dual continuous 16mm nylon ropes encased in epoxy resin (Norski 4 to 1). A continuous hand recess runs along its length, providing a more secure and ergonomic grip.
This iteration also reflects technological and material developments since 2011. The original design relied on wind power to reduce the energy required to heat and filter the water. In version 2.0, this has been replaced with solar panels, which are both more affordable and more widely accessible. Untreated timber (macrocarpa) has been substituted with 3D-printed bio polymer (PLA) for the roof & stairs. To enhance long-term durability, all 3D-printed components are coated with a water-based two-pot epoxy (Regis Epotread AQ-1) and finished with a specialised paint that reduces heat build-up and mitigates sun damage (Resene Cool Colour). Ultimately, the project invites a reconsideration of value and authorship in design. In this case, the previously abandoned objects may well be the true protagonists, while the 3D-printed elements act as supporting structures—quietly enabling their transformation. Together, they highlight the beauty, potential, and ongoing relevance of materials that might otherwise have been overlooked.
This research project has been supported by the MADE group at Victoria University of Wellington Te Herenga Waka and NZ Product Accelerator (NZPA)