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Neri Oxman Material Ecology ANTONELLI THE NERI OXMAN CALLS HER DESIGN APPROACH MATERIAL ECOLOGY— A PROCESS THAT DRAWS ON THE STRUCTURAL, SYSTEMIC, AND AESTHETIC WISDOM OF NATURE, DISTILLED AND DEPLOYED THROUGH COMPUTATION AND DIGITAL FABRICATION. THROUGHOUT HER TWENTY- ECOLOGY MATERIAL NERI OXMAN NERI OXMAN YEAR CAREER, SHE HAS BEEN A PIONEER OF NEW MATERIALS AND CONSTRUCTION PROCESSES, AND A CATALYST FOR DYNAMIC INTERDISCIPLINARY COLLABORATIONS. WITH THE MEDIATED MATTER MATERIAL GROUP, HER RESEARCH TEAM AT THE MIT MEDIA LAB, OXMAN HAS PURSUED RIGOROUS AND DARING EXPERIMENTATION THAT IS GROUNDED IN SCIENCE, PROPELLED BY VISIONARY THINKING, AND DISTINGUISHED BY FORMAL ELEGANCE. ECOLOGY PUBLISHED TO ACCOMPANY A MONOGRAPHIC EXHIBITION OF OXMAN’S WORK AT THE MUSEUM OF MODERN ART, NEW YORK, NERI OXMAN: MATERIAL ECOLOGY FEATURES ESSAYS BY PAOLA ANTONELLI AND CATALOGUE HADAS A. STEINER. ITS DESIGN, BY IRMA BOOM, PAYS HOMAGE TO STEWART BRAND’S LEGENDARY WHOLE EARTH CATALOG, WHICH CELEBRATED AND PROVIDED RESOURCES FOR A NEW ERA OF AWARENESS IN THE LATE 1960S. THIS VOLUME, IN TURN, HERALDS A NEW ERA OF ECOLOGICAL AWARENESS—ONE IN WHICH THE GENIUS OF NATURE CAN BE HARNESSED, AS OXMAN IS DOING, TO CREATE TOOLS FOR A BETTER FUTURE. Moma Neri Oxman Cover.indd 1-3 9.01.2020 14:24 THE NERI OXMAN MATERIAL ECOLOGY CATALOGUE PAOLA ANTONELLI WITH ANNA BURCKHARDT THE MUSEUM OF MODERN ART, NEW YORK × Silk Pavilion I Imaginary Beings: Doppelgänger Published in conjunction with the exhibition Published by Neri Oxman: Material Ecology, at The Museum of The Museum of Modern Art, New York Modern Art, New York, February 22–May 25, 2020. 11 West 53 Street CONTENTS Organized by Paola Antonelli, Senior Curator, New York, New York 10019 Department of Architecture and Design, www.moma.org and Director, Research and Development; and Anna Burckhardt, Curatorial Assistant, © 2020 The Museum of Modern Art, New York 9 FOREWORD Department of Architecture and Design Certain illustrations are covered by claims to copyright cited on page 177. GLENN D. LOWRY All rights reserved 12 THE NATURAL EVOLUTION OF ARCHITECTURE Distributed in the United States and Canada by The exhibition is made possible by Allianz, ARTBOOK | D.A.P. PAOLA ANTONELLI MoMA’s partner for design and innovation. 75 Broad Street, Suite 360 New York, New York 10004 Generous support is provided by www.artbook.com The International Council of The Museum 40 LIMBS OF NATURE of Modern Art and The Modern Women’s Fund. Distributed outside the United States and Canada by Thames & Hudson Ltd. HADAS A. STEINER This publication is made possible by the Nancy Lee 181A High Holborn and Perry Bass Publications Endowment Fund. London WC1V 7QX www.thamesandhudson.com Produced by the Department of Publications, MATERIALECOLOGY The Museum of Modern Art, New York Printed in Turkey 48 ARMOUR / METAMESH Christopher Hudson, Publisher Curtis Scott, Associate Publisher Front and back covers: 52 RAYCOUNTING Hannah Kim, Business and Marketing Neri Oxman and The Mediated Matter Group. Director Silk Pavilion I. 2013 (see page 98) 58 CARTESIAN WAX Don McMahon, Editorial Director Image modified by Irma Boom Marc Sapir, Production Director 64 MONOCOQUE / BEAST Edited by Emily Hall and Jennifer Liese Designed by Irma Boom Production by Marc Sapir EXTRUSIONS Printed and bound by Ofset Yapımevi, Istanbul 74 AGUAHOJA This book is typeset in Neutral. 96 SILK PAVILION The paper is 115gsm Munken Print White. 116 GLASS Library of Congress Control Number: 2020930268 ISBN 978-1-63345-105-6 INFUSIONS 134 IMAGINARY BEINGS 142 VESPERS / LAZARUS 166 TOTEMS 174 SELECTED BIBLIOGRAPHY 180 ACKNOWLEDGMENTS 184 TRUSTEES OF THE MUSEUM OF MODERN ART Project texts by Neri Oxman (Materialecology and Imaginary Beings), and by Neri Oxman and The Mediated Matter Group (all others) Foreword With the founding of the Department of The term Material Ecology, coined by Oxman Architecture and Design, in 1932, The Museum around the same time as Design and the Elastic of Modern Art began its posi tioning of design Mind was conceived, encapsulates one of our as a means for building a better present and priorities in collecting and exhibiting design future. The depart ment’s influential programs in the twenty-first century. Material Ecology and displays have highlighted new techniques, is a pragmatic philosophy: a method of design typologies, and technologies, and have explored and production that brings together humans, how they might change all of our lives for the automated processes, and nature to transform better. Early exhibitions such as Modern architecture into a hybrid act of building and Architecture: International Exhibition, in 1932, growing. The striking objects included in the and Machine Art, in 1934, introduced inno vative exhibition and in this publication are not architects and buildings from all over the sculptures, but neither are they architectural world and presented the elegant precision fragments or design items—at least not in the of industrial objects by showcasing them way we are accustomed to think of architecture reverentially on pedestals “like Greek sculptures,” and design. They are demonstrations of the according to the press release for Machine Art. kinds of tools that should and will be available This was just one of the ways in which Philip to architects and designers, perhaps sooner Johnson, who organized both exhibitions than we think; displayed with videos of the (the former in collaboration with Henry-Russell experiments that generated them, they paint Hitchcock), used the language of art to elevate an incisive picture of a possible future. the role of architecture and design in cultural discourse. I thank Paola Antonelli, Senior Curator, and Anna Burckhardt, Curatorial Assistant, in the Neri Oxman’s work honors Johnson’s vision Department of Architecture and Design for and turns it on its head. At first glance, her organizing this extraordinary exhibition, which arresting artifacts could easily be confused for brings to MoMA the work of an archit ect and sculpture. Their aesthetic elegance, however, designer who is paving the way in her field, is only a function of the pro cesses they embody: proposing a path forward in this era of anxiety the advanced science and technology— and uncertainty, galvanizing her community, including syn thetic biology, digital comput ation, and stimula ting cross-disciplinary collabora tions and additive manuf acturing—through which in order to advance positive change. I would she and her collaborators are designing new also like to thank the many colleagues who ways of building. They envision dynamic have collaborated with the curators to bring materials and techniques that produce objects this complex exhibition to life. that behave as if grown in response to their context and environmen t—customizable, I am also deeply grateful to Allianz, whose intelligent, and specific. Her first appearance generosity has made this timely project at MoMA was in 2008, in the exhibition possible, and to The International Council of Design and the Elastic Mind, Paola Antonelli’s The Museum of Modern Art and The Modern compr ehensive foray into design’s relations hip Women’s Fund for their support. with science. Over the past twelve years, her work has been an important part of MoMA’s Glenn D. Lowry evolving vision of architecture and design’s The David Rockefeller Director present and future roles—a vision that extends The Museum of Modern Art, New York beyond buildings to include processes, materials, and strategies privile ging an ecosystemic view. Now, with Neri Oxman: Material Ecology, our investigation into the relationship between design and science continues, in an exhibition that surveys a selection of Oxman’s work since 2008, some of it now in MoMA’s collection, as well as a new commission, the site-specific installation Silk Pavilion II. Imaginary Beings: Arachne 9 Silk Pavilion II nicate with each other without relying fig. 3 Subterrain. Diagram detail. on technology—a well-meaning but THE NATURAL sometimes misleading interpreter. Indeed, technology was played down in the exhibition as an instrument with EVOLUTION OF which scientists and designers could realize their joint visions and ventures. On display were mighty examples of ARCHITECTURE scientists’ and designers’ unbridled collaboration, organized according to PAOLA ANTONELLI scale—albeit a new set of dimensions that took the digital universe into account, one based not only on physical size but EVERYTHING FLOWS, AND also on complexity. NOTHING STAYS THE SAME. Norten was right: Oxman and her work —HERACLITUS 1 were the embodiment of the exhibition’s thesis. An architect by training, Oxman fig. 2 Neri Oxman in collaboration with W. Craig Carter. fig. 4 Subterrain. Micrograph image of a butterfly wing started medical school before following Subterrain. 2007. Wood composite, 20 × 20 × 2 ¼ in. (left); analysis of material behavior according to stress, (50.8 × 50.8 × 5.7 cm). The Museum of Modern Art, New York. strain, heat flow, stored energy, and deformation from the family tradition (both parents are Gift of The Contemporary Arts Council of The Museum of applied loads and temperature differences (middle); One of the most distinctive characteristics architects), attending Tel Aviv’s Technion Modern Art reconstructed tissue (right). of the human species is a fraught relation- and London’s Architectural Association. Micrograph image of scorpion-claw tissue. The image ship with change. Inescapable, change Her belief in science did not wane, was analyzed and reconstructed in three dimensions using a CNC mill and wood composite. touches each creature, community, and however; she learned its language and system uniquely; to each, it manifests dialects in order to be able to engage at distinct speeds and scales and in dif- scientists in productive conversations At the time of Design and the Elastic ferent cycles. Most entities—glaciers, and collaborations. She also immersed Mind, Oxman was also ambitiously plankton, clouds, tigers, or dandelions, herself in technology, understanding its contemplating working across scales.
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