Artists, architects, and designers have long experimented with inflatable form as an ephemeral, sometimes permanent, structural component. Until now, few have tested out its application as versatile packaging.

Known for its ability to bridge design and narrative, tech-forward creative studio Tomorrow Bureau teamed up with research-led entity WINT Design Lab to develop Project ARA, a probe into air and biomimicking pattern as a responsive design material, primarily for the protective wrapping of various items.

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The intensive project centered on investigating the resiliency of biological defense mechanics – the innately geometric molecular compositions that make up natural matter and carry a high degree of dynamism.

Close-up of a ceramic surface with a crackled, cell-like glaze pattern in shades of green, beige, and brown.

Design begins with observation. Microscopic textures and cellular geometries serve as the foundation for inquiry. Giving reverence to evolution’s efficiency, we see that what may appear fragile conceals an intelligent structure.

The result: a series of intricately tile-like patterns that form into pneumatic membranes, produced using elastic polymer. Presented through the freshly launched PROTOÉDITIONS platform, the prototypes have potential on a broad scale: from insulating smaller objects to fully encapsulating an architectural enclosure.

A black and white line drawing shows various types of pastries and bread, including loaves, a donut, and other distinct baked goods, arranged on a plain background.

Sketch by WINT Design Lab

Four outlined geometric shapes with irregular diamond-shaped cutouts are displayed on a plain white background.

Sketch by WINT Design Lab

“Inspired by nature’s microstructures, this project journeys from the microscopic to the monumental” says James Earls, Tomorrow Bureau co-founder and creative director. “Structured into three chapters, the narrative explores a design methodology grounded in research, experimentation, and applied imagination.”

A robotic arm with a tool attached is positioned on a work table, with papers and a pen nearby under natural light.

A diagram shows four labeled layers: impact zones, basegrid, adjusted tiling, and air channels, arranged from top to bottom with connecting lines.

Four geometric panels are arranged vertically from flexible to protective, each labeled with thickness, material, and weight per area, connected by lines to corresponding specifications on the right.

These inflatable textiles are agile and far less prescriptive than more conventional packing materials. Depending on their size, they can be used and reused for a wide range of applications. Of course, certain patterns – those that are more pared back versus those with more definition – are more conducive to protecting certain types of items. There’s also a level of engineered modularity that can accommodate awkwardly shaped objects such as a bike frame. They’re both durable and lightweight.

Close-up of an array of translucent, square-shaped inflated plastic pockets arranged in a grid pattern against a white background.

While some of the prototypes form as through-sheets, others are more mesh-like with cutaways emerging between interconnected cells. Both variations are precision produced using a carefully calibrated CNC-router, meticulously adhesing two films at specifically plotted points. The distilled designs were refined using the latest computer-aided modeling software.

A pattern of repeating, three-pronged, white geometric shapes with raised edges, set against a light gray background.

A transparent, rectangular inflatable object with interconnected pillow-like sections and an attached tube on a white background.

For both practices, the endeavor isn’t purely about innovative solution-finding but also a desire to imbue an oft-overlooked facet of our everyday world with more emotional responsivity. The core of that quest: tapping into the inherently transcendent and humanist qualities derived from nature. Moving from two to three dimensional form in a matter of minutes, the soft and amorphous nature of these new materials reflect a level of corporeal resonance.

A white, dome-shaped structure with a geometric, inflated pattern sits on grass under daylight.

A large, white, futuristic structure with curved arches stands inside a spacious warehouse with a high, glass-paneled ceiling.

“Pneumatic and revolution agree well,” the late architectural historian Marc Dessauce once said. “Both are fueled by wind and myth of transcendence; as the balloon enraptures the child, they animate and transport us on the promise of an imminent passage into a perfect future.”

Close-up view of a white, quilted, and padded material with a geometric, puffy texture.

For more information on Project ARA by Tomorrow Bureau and WINT Design Lab, head here.

Imagery and videos courtesy of Tomorrow Bureau and WINT Design Lab.

Adrian Madlener is a Brussels-born, New York-based writer specializing in collectible and sustainable design. With a particular focus on topics that exemplify the best in craft-led experimentation, he’s committed to supporting talents that push the envelope in various disciplines.