Michal Soreni
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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. -
NSF Summer Institute on Nanomechanics, Nanomaterials
NSF Summer Institute on Nanomechanics, Nanomateriials and Micro/Nanomanufacturing NSF Summer Institute Short Course on Materiomics—Merging Biology and Engineering in Multiscale Structures and Materials Location: Massachusetts Institute of Technology, LeMeridien Hotel (former Hotel@MIT) Chair: Markus J. Buehler, Massachusetts Institute of Technology ([email protected]) Dates: May 30 (Wednesday) morning to June 1 (Friday) evening, 2012 Course Objectives: Theme-based introduction into emerging science at the interface of engineering and biology This course will provide an introduction into the emerging science at the interface of engineering and biology, with a focus on the integration of multiscale modeling and experiment. Applying material design principles derived from biology—and specifically, the concept of developing diverse hierarchical structures composed of universal and simple design elements, used to derive sustainable and robust materials—is crucial for the next-generation engineering materials that are highly functional while satisfying multiple design constraints. This finds practical applications for example in regenerative medicine for de novo tissue growth, advanced carbon-based materials that are not only strong and tough, and self-learning material systems whose properties can be tailored by solely changing the structure without a need to introduce new building blocks. This Summer Institute features experimental, computational and theoretical instructors from various areas of science, dealing with multiple length-scales, from nano to macro. Participants and instructors will engage in in- depth discussions on the frontiers, challenges, and opportunities in this emerging field referred to as materiomics. A unique feature of this short course is the participation of scientists from disparate fields that includes engineering mechanics, synthetic biology and architecture. -
Untitled (Forever), 2017
PUBLISHERS DISTRIBUTED BY D.A.P. SP21 CATALOG CAPTIONS PAGE 6: Georgia O’Keeffe, Series I—No. 3, 1918. Oil on Actes Sud | Archive of Modern Conflict | Arquine | Art / Books | Art Gallery of York board, 20 × 16”. Milwaukee Art Museum. Gift of Jane University | Art Insights | Art Issues Press | Artspace Books | Aspen Art Museum | Atelier Bradley Pettit Foundation and the Georgia O’Keeffe Foundation. PAGE 7: Georgia O’Keeffe, Black Mesa Éditions | Atlas Press | August Editions | Badlands Unlimited | Berkeley Art Museum | Landscape, New Mexico / Out Back of Marie’s II, 1930. Oil on canvas. 24.5 x 36”. Georgia O’Keeffe Museum, Gift Blank Forms | Bokförlaget Stolpe | Bywater Bros. Editions | Cabinet | Cahiers d’Art of the Burnett Foundation. PAGE 8: (Upper) Emil Bisttram, | Canada | Candela Books | Carnegie Museum Of Art | Carpenter Center | Center For Creative Forces, 1936. Oil on canvas, 36 x 27”. Private collection, Courtesy Aaron Payne Fine Art, Santa Fe. Art, Design and Visual Culture, UMBC | Chris Boot | Circle Books | Contemporary Art (Lower) Raymond Jonson, Casein Tempera No. 1, 1939. Casein on canvas, 22 x 35”. Albuquerque Museum, gift Museum, Houston | Contemporary Art Museum, St Louis | Cooper-Hewitt | Corraini of Rose Silva and Evelyn Gutierrez. PAGE 9: (Upper) The Editions | DABA Press | Damiani | Dancing Foxes Press | Deitch Projects Archive | Sun, c. 1955. Oil on board, 6.2 × 5.5”. Private collection. © Estate of Leonora Carrington. PAGE 10: (Upper left) DelMonico Books | Design Museum | Deste Foundation for Contemporary Art | Dia Hayao Miyazaki, [Woman] imageboard, Nausicaä of the Valley of the Wind (1984). © Studio Ghibli. (Upper right) Center For The Arts | Dis Voir, Editions | Drawing Center | Dumont | Dung Beetle | Hayao Miyazaki, [Castle in the Sky] imageboard, Castle Dust to Digital | Eakins Press | Ediciones Poligrafa | Edition Patrick Frey | Editions in the Sky (1986). -
Form and Function
For m and Function FUTURE PERFECT Robert Sullivan pays a visit to the high-tech lab of Neri Oxman, the MIT designer and architect who is quite literally designing the fashion of tomorrow. eri Oxman’s work space in MIT’s fabled Media pants that incorporate photosynthetic bacteria. Wanderers wouldn’t Lab is a kind of cross between the Museum of just cover you—they’d also nourish you, as the living matter within Natural History and the Starship Enterprise. them would transform into “oxygen for breathing, photons for seeing, “We have a wasp nest somewhere here,” she says, biomass for eating, biofuels for moving, and calcium for building.” nodding past a set of skeletal prototypes toward Naturally, scores of medical applications hang in the balance. In the a robotic arm. Oxman, the leader of MIT’s Medi- meantime, Oxman’s work has garnered exhibitions and honors from ated Matter team, is showing off a recent baglike places like the Museum of Modern Art and the Pompidou Center. creation—translucent and very beautiful, reminiscent of something “Neri is both artist and alchemist,” says Andrew Bolton, curator you might find at the edge of the sea—produced with the aid of a 3-D in charge of the Met’s Costume Institute. “Her works hint at magical Nprinter from a substance derived from crustaceans. properties that convey a strange, almost haunting presence. As objects, For years now, Oxman has been the designer and architect working they are otherworldly—defined by neither time nor place.” at the forefront not just of the things we make but of how we make Oxman is equally at ease discussing Louis Kahn as riffing on David them and what we do with them.