Zaha Hadid Architects work at all scales and in all sectors. We create transformative cultural, corporate, residential and other spaces that work in synchronicity with their surroundings.
LACE is the leading 3-D printing luxe jewelry line specializing in 3-D printing stainless steel and precious metal statement pieces. LACE was founded in 2014 by Jenny Wu, a partner in the architecture office, Oyler Wu Collaborative. The LACE by Jenny Wu collection reflects Jenny's architectural aesthetic, marrying line-based geometry with intricate organic movement to create avant-garde designs with high level of digital refinement. The intricately detailed design pieces, extend from Jenny’s architectural work, merging her modern design sensibilities with the latest in 3-D printing technology and material.
Architect and designer Neri Oxman is the Sony Corporation Career Development Professor and Associate Professor of Media Arts and Sciences at the MIT Media Lab, where she founded and directs the Mediated Matter research group. Her team conducts research at the intersection of computational design, digital fabrication, materials science and synthetic biology, and applies that knowledge to design across disciplines, media and scales—from the micro scale to the building scale. Oxman’s goal is to augment the relationship between built, natural, and biological environments by employing design principles inspired and engineered by nature, and implementing them in the invention of novel design technologies. Areas of application include architectural design, product design, fashion design, as well as the design of new technologies for digital fabrication and construction.
Oxman coined the term, and pioneered the field of, Material Ecology, which considers computation, fabrication, and the material itself as inseparable dimensions of design. In this approach, products and buildings are biologically informed and digitally engineered by, with and for, nature.
Oxman’s work is included in permanent collections at the Museum of Modern Art (MoMA), the San Francisco Museum of Modern Art (SFMOMA), Centre Georges Pompidou, the Boston Museum of Fine Arts (MFA), Cooper Hewitt Smithsonian Design Museum, the Smithsonian Institution, the Museum of Applied Arts in Vienna (MAK), the FRAC Collection and the Boston Museum of Science, among others including prestigious private collections.
Fostering a cross-pollination between the digital and the physical, Nick Ervinck (°1981, Belgium) explores the boundaries between various media.
Studio Nick Ervinck applies tools and techniques from new media, in order to explore the aesthetic potential of sculpture, 3D prints installation, architecture and design. Through his divergent practice, a strong fascination with the construction of space is noticeable.
Not only does Nick Ervinck focus on the autonomous sculptural object, he also questions its spatial positioning and points to the phenomenological experience and embodiment of space. Ervinck's work in short oscillates between the static and the dynamic, prospecting new virtual or utopian territories.
Nick Ervinck creates huge installations, sculptures, prints, work drawings and animated films. For several years he participated in many individual projects and group shows. Recently he showed work at Ars Electronica Linz, CBK Emmen, Beelden aan Zee Den Haag, Bozar Brussels and LABoral Gijon. His work has been exhibited at MOCA Shanghai, MARTA Herford, Kunstverein Ahlen, Koraalberg Antwerp, Zebrastraat Ghent, HISK Ghent, Odette Ostend, Superstories Hasselt, Brakke Grond Amsterdam, MAMA Rotterdam and Telic Art Exchange Los Angeles/Berlin.
In 2005, he received the Godecharle prize for Sculpture, to be followed by the Mais prize of the City of Brussels and the Prize for Visual Art of West-Flanders in 2006. In 2008, Ervinck was a laureate of the Rodenbach Fonds Award, and he won the audience award for new media at Foundation Liedts-Meesen.
Noa Raviv is a designer and artist, working in the intersection of fashion art and technology.
For her work entitled Hard Copy, Noa created garments that were inspired by computer glitches and digital errors. The work received immediate press recognition and was presented in exhibitions around the world including the Museum of Fine Arts in Boston and the Manus x Machina exhibition at the Metropolitan Museum of Art in New York.
Noa has been invited to present in museums, universities and art institutions around the world, and her work has been featured internationally in publications such as Vogue Japan, Vogue Italy, Vogue UK, Marie Claire, BBC, Wired and many more. In 2016, she was chosen to be included in the prestigious list of Forbes 30under30 and also was selected by Vogue as one of the best 16 young designers of 2016.
Noa Raviv is fascinated by the tension between harmony and chaos, tradition and innovation, and sensitively seeking for the perfect balance. Her work is influenced by the dichotomy of the handmade and machine made, and often combines traditional handcraft with innovative technologies such as 3D printing and laser cutting.
In her work Noa wishes to turn the imperfect, unexpected and faulty into poetical objects.
threeASFOUR is a trio of transnational artists based in New York City who use fashion as their primary medium.
Founded in 2005 by Gabriel Asfour (b. Lebanon), Angela Donhauser (b. U.S.S.R) and Adi Gil (b. Israel), the collective has built a legacy of fusing cutting-edge technology with traditional craftsmanship to create clothing at the intersection of fashion and art. Drawing their core aesthetic from the universal languages of sacred geometry, threeASFOUR is devoted to the creative exploration of themes of consciousness and cultural coexistence.
In 2015, threeASFOUR were the recipients of the Cooper-Hewitt/Smithsonian Museum's National Design Award.
Their work has been the subject of various exhibitions including Making/Breaking, Cooper Hewitt National Design Museum (2017); Force Of Nature, Museum at F.i.T, New York (2017); Manus x Machina, Met Costume Institute, New York (2016); #techstyle, Museum of Fine Art, Boston (2016); The fantastic journeys of energy, Kappatos Gallery, Athens (2016); tree of life, Mana Contemporary Art Center, Jersey City (2016); Fashion Underground, Museum at F.i.T, New York (2016); Body Embellishment, Mint Museum, North Carolina (2015); TOPOGRAPHIC, Canzani Center Gallery, Columbus, Ohio (2015); Dream Weavers, Beit Hatfutsot Museum, Tel Aviv (2015); Killer Heels, Brooklyn Museum, New York (2014); Folk Couture, American Folk Art Museum, New York (2014); Meet D3 Design District, Dubai UAE (2015); FEST, Performa 13, New York (2013); MER KA BA, Jewish Museum, New York (2013); juliaSET, White Columns Gallery, New York (2012); Mode Biennale, Arnhem, Netherlands (2011); New York Minute exhibition, Garage Gallery, Moscow, (2011); Insalaam Inshalom, Beit Ha’ir Cultural Museum, Tel Aviv (2011);Interwoven, Textile Museum, Washington DC, (2011); Superheroes, Costume Institute, Metropolitan Museum, New York (2008); New York Fashion Now, Victoria & Albert Museum, London (2007).
Their designs are in the permanent collections of the Victoria and Albert Museum in London, the Met Costume Institute in New York, the Cooper-Hewitt National Design Museum in New York, the Museum at F.I.T. in New York.
threeASFOUR have collaborated with numerous artists and musicians. including Björk (2011), Yoko Ono (2009) and Matthew Barney (2007), as well as brands such as the GAP (2007) and Kate Spade (2005)
For inquiries: studio@threeASFOUR.com
Designed by Neri Oxman and The Mediated Matter Group
For the the NEW ANCIENT COLLECTION curated by Stratasys
A Series of 15 Death Masks
Produced on a Stratasys Objet500 Connex3 and J750 Full-Color, Multi-Material 3D Printer
Materials: Various
Size: Various
Comprising 15 masks in three sub-series, Vespers portrays the past, present and future, and explores the themes of past worlds and future technologies. Made of a single material, such as wax or plaster, the death mask has historically originated as a means of capturing a person’s visage, keeping the deceased ‘alive’ through memory. Vespers’ death masks, however, are designed to reveal cultural heritage and speculate about the perpetuation of life, both cultural and biological.
Vespers’ designs are entirely data driven, digitally generated, 3D printed, and – at times – biologically augmented. By pushing the boundaries of cusp technologies – such as high-resolution material modelling, full color multi-material 3D printing, and synthetic biology – they express the death mask’s deeper meanings and possible future use, thus bringing it back to life.
Sub-series one of the Vespers collection, entitled ‘Past’, looks at historic origins, exploring life through the lens of death. The second sub-series, ‘Present’, explores the transition between life and death, reflecting the progression of the death mask from a symbolic cultural relic in the first sub-series to a functional biological interface in the third. Rebirth is embodied in the third sub-series of masks, called ‘Future’. Perhaps the most ground-breaking of the trilogy, the final sub-series engages with synthetic biology to explore whether the death mask can drive the formation of new life, repositioning the objects as habitats capable of interfacing with living microorganisms.
Sub-series one of the Vespers collection, entitled ‘Past’, looks at historic origins, exploring life through the lens of death.
Sub-series one of the Vespers collection, entitled ‘Past’, looks at historic origins, exploring life through the lens of death.
Sub-series one of the Vespers collection, entitled ‘Past’, looks at historic origins, exploring life through the lens of death.
Sub-series one of the Vespers collection, entitled ‘Past’, looks at historic origins, exploring life through the lens of death.
Sub-series one of the Vespers collection, entitled ‘Past’, looks at historic origins, exploring life through the lens of death.
The second sub-series, ‘Present’, explores the transition between life and death, reflecting the progression of the death mask from a symbolic cultural relic in the first sub-series to a functional biological interface in the third.
The second sub-series, ‘Present’, explores the transition between life and death, reflecting the progression of the death mask from a symbolic cultural relic in the first sub-series to a functional biological interface in the third.
The second sub-series, ‘Present’, explores the transition between life and death, reflecting the progression of the death mask from a symbolic cultural relic in the first sub-series to a functional biological interface in the third.
The second sub-series, ‘Present’, explores the transition between life and death, reflecting the progression of the death mask from a symbolic cultural relic in the first sub-series to a functional biological interface in the third.
The second sub-series, ‘Present’, explores the transition between life and death, reflecting the progression of the death mask from a symbolic cultural relic in the first sub-series to a functional biological interface in the third.
Rebirth is embodied in the third sub-series of masks, called ‘Future’. Perhaps the most ground-breaking of the trilogy, the final sub-series engages with synthetic biology to explore whether the death mask can drive the formation of new life, repositioning the objects as habitats capable of interfacing with living microorganisms.
Rebirth is embodied in the third sub-series of masks, called ‘Future’. Perhaps the most ground-breaking of the trilogy, the final sub-series engages with synthetic biology to explore whether the death mask can drive the formation of new life, repositioning the objects as habitats capable of interfacing with living microorganisms.
Rebirth is embodied in the third sub-series of masks, called ‘Future’. Perhaps the most ground-breaking of the trilogy, the final sub-series engages with synthetic biology to explore whether the death mask can drive the formation of new life, repositioning the objects as habitats capable of interfacing with living microorganisms.
Rebirth is embodied in the third sub-series of masks, called ‘Future’. Perhaps the most ground-breaking of the trilogy, the final sub-series engages with synthetic biology to explore whether the death mask can drive the formation of new life, repositioning the objects as habitats capable of interfacing with living microorganisms.
Rebirth is embodied in the third sub-series of masks, called ‘Future’. Perhaps the most ground-breaking of the trilogy, the final sub-series engages with synthetic biology to explore whether the death mask can drive the formation of new life, repositioning the objects as habitats capable of interfacing with living microorganisms.
Jose Sanchez is an Architect / Programmer / Game Designer based in Los Angeles, California. He is a partner at Bloom Games, a start-up built upon the BLOOM project, winner of the WONDER SERIES hosted by the City of London for the London 2012 Olympics. He is also the director of the Plethora Project (www.plethora-project.com), a research and learning project investing in the future of online open-source knowledge, and the creator of Block’hood, a city simulator video game exploring notions of crowd-sourced urbanism.
He has taught and guest lectured in renowned institutions across the world, including the Architectural Association in London, the University of Applied Arts (Angewandte) in Vienna, ETH Zurich, The Bartlett School of Architecture, University College London, and the Ecole Nationale Supérieure D'Architecture in Paris.
Today, he is an Assistant Professor at the USC School of Architecture in Los Angeles. His research ‘Gamescapes’, explores generative interfaces in the form of video games, speculating in modes of intelligence augmentation, combinatorics and open systems as a design medium.
Synthesis Design + Architecture is a forward thinking and multi-award winning design firm led by Alvin Huang, AIA and based in Los Angeles, with architectural licenses in California, Arizona, and Colorado. It specializes in producing innovative design work that challenges convention through technological, material and computational innovation, but also work that purposefully enlivens the public imagination and makes a case for the role of innovated architecture in our contemporary creative design culture.
It's work has been published and exhibited widely, and has gained international recognition. Alvin and his firm boast over 30 distinctions at local, national, and international levels including, being honored as the Young Architect of the Year by the American Institute of Architects California Council in 2016, being selected of as one of 50 global innovators under the age of 50 by Images Publishing in 2015, being featured as a "Next Progressive" by Architect Magazine in 2014, and being named one of Time Magazine's 20 Best Inventors of 2013.
WE COLLABORATE.
We design through collaboration. Our role is to facilitate the dialogue between architect, client, user, engineer, fabricator, and builder. By provoking an open dialogue and challenging traditional preconceptions, we are able to extend our clients’ ambitions and produce groundbreaking work.
WE ANALYZE.
We explore design as an exploration of both building and material performance as well as an expression of contemporary society and cultural values. We seek to enhance the way people experience the built environment by capitalizing on the potential of time, space, and form to affect and inspire those who inhabit it.
WE CHALLENGE CONVENTION.
We see constraints as opportunities to question the status quo. We see design as an opportunity to pose a series of thought-provoking questions that establish the problems to solve. We view each project as a unique opportunity to integrate diverse and often contending conceptions and constraints into a coherent whole.
WE LEVERAGE TECHNOLOGY.
We believe that the catalyst for every major advancement within the discipline of Architecture has been a parallel advancement of technology. We focus on the merging of creative, intellectual, and technological design processes with intelligent fabrication and construction techniques to create beautifully crafted designs.
WE SYNTHESIZE.
We seek to balance both the experimental and the visionary with the practical and the pragmatic to achieve the extraordinary.
By Neri Oxman in collaboration with Professor W Craig Carter and Professor Tod Machover
Produced on a Stratasys Objet500 Connex3 3D Printer
Materials: TangoPlus, VeroYellow and VeroMagent
Conveying the relationship of twins in the womb through material properties and their spatial arrangement, Gemini is a two-part chaise lounge. The cocoon-like structure cushions the body within a colored, multi-material 3D printed cocoon, replicating the tranquillity of the womb. A solid wood shell house provides the protective exterior. Lining Gemini from the inside are 44 composite PolyJet digital material combinations in varying shades of transparent and opaque yellows and oranges. The 3D printed ‘skin’ not only targets specific pressure points on the body to form a sensorial landscape, but also creates a unique vibrational acoustic effect for a quiet calming environment, invoking the prenatal experience of the fetus.
Gemini features separate, independent parts that together form an enclosure: Gemini Alpha and Gemini Beta. They are inspired by the mythical relationship between the Dioskouri twins, Castor, born of man (named Gemini Beta after the star in the Northern constellation of Gemini) and Pollux born divine (named Gemini Alpha after the second brightest star in the constellation of Gemini). The creation fundamentally explores the complex and contradictory relationship between twins, which is mirrored in the geometrical forms of the two-part chaise and the dualities that drive their formation, such as the combination of natural and synthetic materials.
Eyal Gever is a cutting-edge contemporary artist whose work sits at the fusion of art and technology. Using just a palette of code, he develops life-like digital simulations of moments in time -- often dramatic or catastrophic in nature -- from which he fabricates 3D-printed sculptures and installations.
Gever, born in 1970 in Tel Aviv, Israel, attended Jerusalem’s prestigious Bezalel Academy of Art and Design, but was injured while performing his mandatory national service with the IDF, where he served for two-and-a-half years as a paratrooper (special operations unit) .
Studio Bitonti identifies new technologies and potential affordances for both consumers and businesses, in order to make design decisions for the products, software solutions and manufacturing technologies they produce today. The firm enables clients to deploy emerging technologies and create next-generation products and customer experiences that are simultaneously aesthetically beautiful and mindful of how the beauty and function of a process or object’s design lives in the present moment and—more importantly—remains relevant in a rapidly evolving cultural landscape fueled by changes in technology.
Daniel Widrig founded his studio in London in 2009. After graduating from the Architectural Association, Daniel worked for several years with Zaha Hadid where he was significantly involved in designing some of Hadid's most iconic buildings and products.
Daniel Widrig's studio now works in a broad range of fields including sculpture, fashion, furniture design and architecture. Embracing digital systems since its early days, the studio holds a unique position in the field and is widely considered to be in the vanguard of digital art and design.
Daniel has received international critical acclaim and has been published and exhibited internationally. He received a number of prestigious awards including the Swiss Arts Award, Feidad Merit Award and the Rome Prize. In 2009 Daniel was named Maya Master, a title awarded by the digital design community and software industry recognizing people reshaping and redefining the boundaries of technology and art.
Prior to founding his studio Daniel was Artist in Residence at the German Academy Villa Massimo in Rome. In 2011 his 3D printed dresses, developed in collaboration with Dutch fashion designer Iris van Herpen were named one of 50 Best Innovations of the year by Time Magazine.
Amongst others his work has been shown at the Centre Pompidou Paris, Pushkin State Museum of Fine Arts Moscow, Gropius Bau Berlin and the Victoria and Albert Museum in London.
Iris van Herpen is a Dutch fashion designer who is widely recognized as one of fashion’s most talented and forward-thinking creators, who continuously pushes the boundaries of fashion design. Since her first show in 2007, van Herpen has been preoccupied with inventing new forms and methods of sartorial expression by combining the most traditional and the most radical materials and garment construction methods into her unique aesthetic vision. She calls this design ethos “New Couture.”
Julia Koerner is an award-winning designer working at the convergence of architecture, product and fashion design - specialising in additive manufacturing and robotic technology. Recognized today at the forefront of 3D printed innovative designs, Julia's work stands out at the top of these disciplines. Her work has been featured in the National Geographic Magazine, the Venice Biennale, Paris Haute Couture including the FRAC Centre in Orleans, the Art Institute of Chicago, the High Museum of Art in Atlanta and the Metropolitan Museum of Art in New York among others. The constant intriguing aspect of Julia’s work is the embodiment of a beautiful organic aesthetic.
Born in Salzburg, Austria; Julia received master degrees in Architecture from the University of Applied Arts in Vienna (with distinction) and the Architectural Association in London. She is currently based between Los Angeles and Salzburg and has previously practiced in London and New York.
Julia is founder of JK Design GmbH, specialising in digital design for 3D-Printing. Her recent collaborations involved 3D-Printed fashion pieces developed with Haute Couture Houses for Paris Fashion week and for 3D printed fashion designs for Hollywood entertainment productions. Her most recent collaboration includes the original design for 3D printed fashions with costume designer Ruth Carter for Marvel's Black Panter movie. In 2015, Julia launched an entirely 3D-Printed ready-to-wear collection entitled ‘Sporophyte’ manufactured by Stratasys.
Since 2012 Julia has been on the faculty in the Architecture and Urban Design Department at the University of California in Los Angeles. She has held previous academic appointments at the University of Applied Arts in Vienna, Lund University in Sweden and the Architectural Association Visiting School in France and Jordan.
Dov Ganchrow is a product designer and senior lecturer in the Industrial Design Department (B.Des, M.Des) at the Bezalel Academy of Arts and Design, Jerusalem, Israel, from which he graduated in 1993.
His interests include all things fringe, alternative music, edged tools, martial arts and trekking. These also form the foundation of contemplation of the Anthropocene as well as our individual identity residing between nature and nurture.
Currently an independent designer, for over a decade and a half he worked together with Prof. Ami Drach (1963-2012) on diverse design projects spanning the fields of medical, consumer, furniture, museum exhibit design alongside the creation of more personal, experimental and conceptual works.
Their works have been shown extensively and are in private and museum collections. These works are often characterized by intelligent use and manipulation of materials and technologies, the incorporation of readymades as well as humor.
Dov Ganchrow website: dov-ganchrow.com
