Dov Ganchrow and Ami Drach are the creators of Man Made, BC-AD, a series consisting of nine stone age tools which have been given a 3D printing upgrade.
Zaha Hadid Architects is an international architecture and design firm founded by Zaha Hadid. They work at all scales and in all sectors, creating transformative cultural, corporate, residential and other spaces that work in synchronicity with nature. They are well versed in all areas of design, including 3D printing and digital fabrication.
Nick Ervinck created Wolfkiam by combining traditional designs with modern materials using 3D printed technology.
Jenny Wu founded the 3D printed design line LACE in 2014. Jenny is a partner in the architecture office Oyler Wu Collabrative.
Eyal Gever 3D printed Collision I Truck vs. Truck for The Sixth Element Collection.
Neri Oxman 3D printed a prototype using eight different materials for a chaise lounge called Beast.
Nick Ervinck is an artist and designer that uses 3D printing to create modern and complex 3D printed art.
Noa Raviv is a fashion designer known for her use of grid patterns and employment of 3D printing in her couture creations. She attended Shenkar College of Engineering and Design, graduating in 2014.
ThreeASFOUR designers – Gabi Asfour, Angela Donhauser, and Adi Gil – continue to reference inspiration from natural, biological forms in their 3D printed works.
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.
Alvin Huang, AIA is an architecture professor at the University of Southern California and a principal at Synthesis Design + Architecture. Huang designs projects ranging from high-rise towers and mixed-use developments to 3D printed furnishings.
DUROTAXIS CHAIR, 2014
By Alvin Huang, in collaboration with STRATASYS
Produced on a Stratasys Objet500 Connex3 3D Printer
‘Oscillation’ is a 3D printed dress, draws from an interplay of energies evident both within the body and across the wider universe.
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) .
The Sporophyte Collection, comprised of three ready-to-wear, high-end fashion pieces by Julia Koerner were 3D printed using Poly Jet based materials. . The collection, which is Koerner's first solo venture as a designer demonstrates an interest in biomimicry inspired by the natural structures found in fungi and kelp.
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
