LfdNr
|Kat Nr. / |Designer und Beteiligte / Designer and|Objekt / Object |Material / Technik |Credit Line |Bild |
|Inv. Nr. | |Datierung / Dating | | | |
| | | |Measurements [HxWxD] | | |
| |Opening Gallery | | | | |
|0US-1101 |Elinor Carucci |1997 |C-print |Elinor Carucci, New York, NY, USA |[pic] |
| | |Covered Belly, | | | |
| | | | | | |
| | |Description: Elinor Carucci’s | | | |
| | |photographs look up-close at human | | | |
| | |skin, revealing the rituals of | | | |
| | |beauty through surprising, | | | |
| | |sometimes alarming, detail. Many of| | | |
| | |the photographs deal with the | | | |
| | |intersection of natural skin with | | | |
| | |the technologies of health and | | | |
| | |beauty. | | | |
|0US-1102 |Elinor Carucci |1996 |C-print |Elinor Carucci, New York, NY, USA |[pic] |
| | |Hand in Bathroom, | | | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Carucci photographs) | | | |
|0US-1103 |Elinor Carucci |1999 |C-print |Elinor Carucci, New York, NY, USA |[pic] |
| | |Holding Eran's Wounded Hand, | | | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Carucci photographs) | | | |
|0US-1104 |Elinor Carucci |1999 |C-print |Elinor Carucci, New York, NY, USA |[pic] |
| | |Lips and Hair, | | | |
| | | | | | |
| | |Description | | | |
| | |(use one description for all | | | |
| | |Carucci photographs) | | | |
|0US-1105 |Elinor Carucci |2001 |C-print |Elinor Carucci, New York, NY, USA |[pic] |
| | |Nails, | | | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Carucci photographs) | | | |
|0US-1106 |Elinor Carucci |1997 |C-print |Elinor Carucci, New York, NY, USA |[pic] |
| | |Nipple Hair, | | | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Carucci photographs) | | | |
|0US-1107 |Elinor Carucci |1996 |C-print |Elinor Carucci, New York, NY, USA |[pic] |
| | |Red Curtain, | | | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Carucci photographs) | | | |
|0US-1108 |Elinor Carucci |1999 |C-print |Elinor Carucci, New York, NY, USA |[pic] |
| | |Zipper Mark, | | | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Carucci photographs) | | | |
| |Beauty, Horror, + Biotechnology | | | | |
|0AF-1101 |Leora Farber |2000 - 2001 |DVD |Leora Farber, Melville, |[pic] |
| | |Four Minor Renovations: Revamp, | |Johannesburg, South Africa | |
| | |Rufurbish, Retouch, Refine, | | | |
| | | | | | |
| | |Description: Artist Leora Farber | | | |
| | |was permitted to videotape a series| | | |
| | |of plastic surgeries. The resulting| | | |
| | |video reveals the methodical care | | | |
| | |of the surgeon’s art and the | | | |
| | |malleability of the patient’s body.| | | |
| | | | | | |
|0AU-1101 |Donna Franklin |2004 |Fungi (pycnoporus and |Donna Franklin, Perth, Western |[pic] |
| | |Fibre Reactive, |aureobasdium), silk, organza,|Australia | |
| | | |acrylic case, wood base | | |
| | |Description: Encrusted with living,| |Special thanks to Oron Catts and | |
| | |growing fungi, this garment | |Ionat Zurr at SymbioticA: The Art | |
| | |addresses the commodification of | |and Science Research Laboratories, | |
| | |living entities. We are accustomed | |and to Gary Cass at The Faculty of | |
| | |to wearing the processed | |Natural and Agricultural Sciences | |
| | |by-products of life, but rarely do | |Laboratories, The University of | |
| | |we wear materials that are in an | |Western Australia. | |
| | |active state of growth. | | | |
| | | | | | |
|0AU-1101-1 |Donna Franklin |2004 |Silent, colour DVD, 4 min. 38|Donna Franklin, Perth, Australia |[pic] |
| | |Fibre Reactive: A Living Garment in|sec. plus credits | | |
| | |a Mediated Space, | | | |
| | | | | | |
| | |Description: Filmed and edited by | | | |
| | |Sharon Custers | | | |
| | | | | | |
| 0JP-1101 |Takao Someya |Flexible Robot Skin (hand), | |Takao Someya, The University of |[pic] |
| | | |18 x 8 x 8 cm |Tokyo, Japan | |
| | |Description: Engineer Takao Someya | | | |
| | |set out to make a flexible, | | | |
| | |pressure-sensitive robot skin that | | | |
| | |was also inexpensive to produce. | | | |
| | |Potential applications for this | | | |
| | |technology range from patient | | | |
| | |monitoring in health care settings,| | | |
| | |to monitoring the alertness of | | | |
| | |drivers through their car seats, to| | | |
| | |security systems in buildings. | | | |
| 0JP-1102 |Takao Someya |Flexible Robot Skin (Skin Sample), |8 x 8 cm |Takao Someya, The University of |[pic] |
| | | | |Tokyo, Japan | |
| | |Description: | | | |
| | |(one description for both objects) | | | |
|0NL-1101 |Jurgen Bey |1999 |PVC coating, existing wooden |Jurgen Bey, Rotterdam, the |[pic] |
| | |Kokon Double Chair, |chairs |Netherlands, Artist/Designer | |
| | | | | | |
| | |Description: Jurgen Bey’s Kokon | | | |
| | |series encloses traditional wooden | | | |
| | |furnishings inside a tight wrapping| | | |
| | |of PVC, often binding two or more | | | |
| | |objects into a new whole. The | | | |
| | |natural interior is at once | | | |
| | |concealed and objectified within | | | |
| | |its plastic cocoon. Bey employs the| | | |
| | |spiderweb technique, which is used | | | |
| | |in aircraft construction to cover | | | |
| | |open parts. | | | |
|0US-1111 |Peter Menzel |2000 |Digital print |© Peter Menzel, ,|[pic] |
| | |#117 (Third Generation Face Robot),| |Napa, CA, USA from the book project,| |
| | | | |Robo Sapien, MIT Press | |
| | | | |Program leaders: Fumio Hara and | |
| | |Description: Today, robots are | |Hiroshi Kobayashi, Science | |
| | |being manufactured for the purpose | |University of Tokyo | |
| | |of expressing and responding to | | | |
| | |human emotions. These face robots | | | |
| | |are intended as a mechanical | | | |
| | |companion for children and old | | | |
| | |people in an era of scarcity of | | | |
| | |human caretakers. Photographer | | | |
| | |Peter Menzel has documented | | | |
| | |robotics engineeering around the | | | |
| | |world. | | | |
|0US-1112 |Peter Menzel |2000 |Digital print |© Peter Menzel, ,|[pic] |
| | |#95 (Second-Generation Face Robot),| |Napa, CA, USA from the book project,| |
| | | | |Robo Sapiens, MIT Press | |
| | | | |Program leaders: Fumio Hara and | |
| | |Description: | |Hiroshi Kobayashi, Science | |
| | |(use one description for both | |University of Tokyo | |
| | |Menzel photographs) | | | |
|0US-1109 |Elke Gasselseder |2002 |DVD |Anonymous Lender |[pic] |
| | |Beauty, Horror and Biotechnology, | | | |
| | | | | | |
| | |Description: This video is a | | | |
| | |montage of clips from films about | | | |
| | |cyborgs, aliens, and artificial | | | |
| | |life. Each film comments on the | | | |
| | |disturbing overlap between natural | | | |
| | |and artificial skins. | | | |
|0US-1128 |David Hanson |2005 |Frubber™ platinum silicone, |David Hanson, Hanson Robotics, |[pic] |
| | |Face Robot (sample material) |titanium, carbon fiber, |Dallas, Texas, USA | |
| | | |popsicle sticks, stratasys | | |
| | |Description: Frubber™ is Hanson’s |rapid prototype ABS plastic, | | |
| | |patent-pending, spongelike |teflon, Spiderwire, | | |
| | |elastomer-rubber, structured to be |super-glue | | |
| | |far stronger, stretchier and more | | | |
| | |fleshlike than any pervious robotic| | | |
| | |material. Closely matching the | | | |
| | |physics of human skin and thus | | | |
| | |requiring 1/20th the energy and | | | |
| | |weight of previous materials, | | | |
| | |Frubber™ is the key to the extreme | | | |
| | |expressiveness of Hanson’s robots | | | |
| | |and may eventually be used in | | | |
| | |prosthetics, surgical simulators | | | |
| | |and a wide variety of consumer | | | |
| | |products. | | | |
| 0US-1129 |David Hanson |2005 |DVD |David Hanson, Hanson Robotics, |[pic] |
| | |Face Robot (DVD), | |Dallas, Texas, USA | |
| | | | | | |
| | |Description: David Hanson is a | | | |
| | |robotics designer and engineer who | | | |
| | |specializes in expressive robots. | | | |
| | |One of his innovations is the | | | |
| | |material Frubber, which closely | | | |
| | |resembles human skin. A naturally | | | |
| | |expressive robot requires a skin | | | |
| | |that flexes, expands, and retracts.| | | |
|0US-1113 |Organogenesis, Inc. |1998 |Simulated artificial skin |Organogenesis, Inc., Canton, MA, USA|[pic] |
| | |Apligraf, | | | |
| | | | | | |
| | |Description: Apligraf is a | | | |
| | |cellular, bi-layer living skin | | | |
| | |substitute. It is grown on a layer | | | |
| | |of collagen that is seeded with | | | |
| | |living human skin cells, harvested | | | |
| | |from the circumcised foreskin of an| | | |
| | |infant boy’s penis. Thousands of | | | |
| | |skin grafts can be grown from this | | | |
| | |single human harvest. The product | | | |
| | |is shipped on a bed of nutrients | | | |
| | |via normal FedEx and has a shelf | | | |
| | |life of five days. Apligraf is used| | | |
| | |for the repair of venous leg ulcers| | | |
| | |and diabetic foot ulcers, which are| | | |
| | |common ailments. The sample | | | |
| | |displayed here is a model only. | | | |
|0US-1171 |Victor Chu |2006 |Cashmere wool blend, Lycra, |Victor Chu, Fashion Technologist, |[pic] |
| | |“Twilight” Grey Lycra Luminex |fiber optics, PowerFilm® |New York, USA | |
| | |Illuminating Fiber Optic Textile |flexible thin solar cells | | |
| | | | | | |
| | |Description: This design prototype | | | |
| | |features an integrated Powerfilm | | | |
| | |printed and flexible solar panel | | | |
| | |that is sewn to the outer edge of | | | |
| | |the blanket. The flexible solar | | | |
| | |panel powers the blanket's fiber | | | |
| | |optic/Lycra blend fabric. At one | | | |
| | |end of the bundled Luminex fibers | | | |
| | |are a set of white LEDs that | | | |
| | |transmit light through the fiber | | | |
| | |optics. The blanket glows and | | | |
| | |shimmers as it is folded. In | | | |
| | |combination with luxurious cashmere| | | |
| | |blends, the solar-powered blanket | | | |
| | |is a conceptual embodiment of solar| | | |
| | |warmth, illumination, and beauty. | | | |
| | | | | | |
| | |To accommodate continuous display | | | |
| | |inside the gallery, wiring to the | | | |
| | |light emitting diodes has been | | | |
| | |modified to run on the museum's | | | |
| | |electrical power system. | | | |
|0CH-1042 |unbekannt/unknown/inconnu |2005 | |Purchased for exhibition |[pic] |
| | |Nike MaxSight Lenses | |Manufactured by Bausch & Lomb | |
| | | | | | |
| | |Description: They are tinted soft | | | |
| | |contact sunglasses; acting like | | | |
| | |in-eye sunglasses to reduce glare | | | |
| | |and filtering 95% UVA and UVB and | | | |
| | |more than 90% of blue light. | | | |
| |Luminous Objects, Luminous Surfaces | | | | |
|0DK-1101 |Ditte Hammerstroem |2000 |Wool, silk, cotton, light |ParadiseParkDesignStudios, Ditte |[pic] |
| | |Blanket, |bulbs |Hammerstroem, Copenhagen, Denmark | |
| | | | | | |
| | |Description: An ordinary object of | | | |
| | |domestic comfort becomes a | | | |
| | |responsive organism. The edge of | | | |
| | |the blanket is bordered with tiny | | | |
| | |light bulbs, providing illumination| | | |
| | |for reading in bed or in an | | | |
| | |armchair. The border lights up when| | | |
| | |touched. The wool outerlayer can be| | | |
| | |removed and washed. | | | |
|0GB-1103 |Trent Jennings |2005 |Polypropylene |Blue Marmalade Ltd., Edinburgh, |[pic] |
| |Tom Marsh |Stealth Floor Lamp, | |Scotland | |
| | | | | | |
| | |Description: When the light is | | | |
| | |switched off, it appears white, but| | | |
| | |when it’s turned on, it reveals | | | |
| | |hidden color. The shade is 100% | | | |
| | |recyclable. Electric components | | | |
| | |are recyclable where facilities are| | | |
| | |available. | | | |
|0GB-1102 |Shin Azumi |2005 |Mouth-blown acid-etched |Mathmos, London, UK |[pic] |
| | |Airswitch Az, |glass, metal base, 2 60W | | |
| | | |bulbs | | |
| | |Description: Using Air Switch™ | | | |
| | |technology, the light turns on and | | | |
| | |off by passing your hand over the | | | |
| | |opening. Move your hand vertically | | | |
| | |to make the light brighter or | | | |
| | |dimmer. | | | |
| 0GB-1106 |Lucy Nunn |2005 |Mouth-blown acid-etched |Mathmos, London, UK |[pic] |
| |Toby Snowdowne |Airswitch Tc, |glass, plastic base, 40W bulb| | |
| | | | | | |
| | |Description: (one description for | | | |
| | |all parts of project) | | | |
| 0GB-1104-A-L |Aaron Rincover |2001 |Silicone, LEDs, rechargeable |Mathmos, London, UK |[pic] |
| | |Red Bubble, |battery, charger | | |
| | | | | | |
| | |Description: Aaron Rincover’s soft,| | | |
| | |ball-shaped, rechargeable, | | | |
| | |battery-operated lights are turned | | | |
| | |on by a squeeze of the hand. These | | | |
| | |portable units provide comfort for | | | |
| | |the nomadic life. The switching | | | |
| | |interface is sensual and direct. | | | |
| 0GB-1105-A-C |Héctor Serrano |2000 |Latex, salt, compact |Héctor Serrano, London, UK |[pic] |
| | |Superpatata, |fluorescent light | | |
| | | | | | |
| | |Description: This soft, touchable | | | |
| | |lamp can be used as a pillow, | | | |
| | |antistress device, or an object to | | | |
| | |warm your bed, as well as for | | | |
| | |direct or ambient illumination. It | | | |
| | |consists of a latex bladder filled | | | |
| | |with salt that has a fluorescent | | | |
| | |bulb at its core. The lamps can be | | | |
| | |stacked on top of each other, | | | |
| | |mounding together like nesting | | | |
| | |creatures. | | | |
| 0GE-1210-A-J |Ben-Or Uri |1998 |Silicone, standard light bulb|Purchase from |[pic] |
| | |UBOLIte, | | | |
| | | | | | |
| | |Description: A standard light bulb | | | |
| | |is encrusted with dollops of | | | |
| | |silicone. These relatively low-cost| | | |
| | |bulbs can be used in common light | | | |
| | |fixtures, instantly transforming an| | | |
| | |ordinary lamp into an alien | | | |
| | |artifact. | | | |
|0GE-1211-1-7 |Herzog & de Meuron |2001 Designed /2005 Produced |Silicon |Belux AG, Birsfelden, Switzerland |[pic] |
| | |Jingzi, | | | |
| | | | | | |
| | |Description: The Jingzi lamp | | | |
| | |consists of a thin-walled, | | | |
| | |translucent silicon tube that | | | |
| | |contains all the technical | | | |
| | |components of the fixture. The | | | |
| | |natural silicon casing diffuses the| | | |
| | |bulb’s light and has inherent | | | |
| | |irregularities. A process developed| | | |
| | |in-house affords the industrially | | | |
| | |manufactured product a seemingly | | | |
| | |high degree of craftsmanship. The | | | |
| | |length of the Jingzi suspension | | | |
| | |lamp can be individually | | | |
| | |determined. The lamps are activated| | | |
| | |and deactivated by touching the | | | |
| | |silicon casing. | | | |
|0IT-1106 |Ilaria Marelli |2004 |Frame in clear methacrylate |Zanotta S.p.A., Nova Milanese, Italy|[pic] |
| |Diana Eugeni |Lucciolo (geometrical), |with phosphorescent designs | | |
| | | | | | |
| | |Description: This table is made | | | |
| | |from a single skin, bent to form | | | |
| | |top and legs. The skin is tatooed | | | |
| | |with a glowing phospherescent | | | |
| | |pattern. | | | |
|0SP-1101 |Héctor Serrano |2000 |Nylon net, polyester printed |Altalinea, Neuss, Germany |[pic] |
| | |Top Secret, |strips | | |
| | | | | | |
| | |Description: This lamp is made from| | | |
| | |acetate that has been passed | | | |
| | |through a shreading machine. The | | | |
| | |acetate strips are held together | | | |
| | |inside a clear nylon net. The | | | |
| | |result is a translucent cocoon of | | | |
| | |irregularly massed material. | | | |
|0US-1119 |Yves Behar/fuseproject |2004 |Aluminum, electroluminescent |Yves Behar, fuseproject, San |[pic] |
| | |Inner Light (large), |film, fiberglass resin |Francisco, CA, USA | |
| | | | | | |
| | |Description: A ribbon of material | | | |
| | |glows from within. The lamp uses | | | |
| | |electroluminescent film, a thin | | | |
| | |flexible material, in place of a | | | |
| | |bulb. | | | |
|0US-1148 |Pablo Pardo |2003 |Vinyl-coated mesh fabric |Pablo Designs, San Francisco, CA, |[pic] |
| | |Ventana Lamp, |featuring polycarbonate light|USA | |
| | | |tube with Lexan and acrylic | | |
| | |Description: This hybrid lighting |accents. | | |
| | |fixture serves as both a room | | | |
| | |divider and a lamp. The curtain can| | | |
| | |be rolled down when needed for | | | |
| | |privacy and rolled up and out of | | | |
| | |the way to create open space. | | | |
|0US-1169-A-J |Don Carr |2000 |3D mesh textile, lighting |Donald Carr, WooSpace, Manlius, NY, |[pic] |
| | |WooOrb, |hardware |USA | |
| | | | | | |
| | |Description: The shade of the | | | |
| | |WooOrb is made from molded 3D | | | |
| | |fabric. The lamp can rest on a | | | |
| | |table or hang from a ceiling, | | | |
| | |singly or in groups. | | | |
|0US-1172 |Sheila Kennedy with |2005 |Textile integrated |KVA - Kennedy & Violich |[pic] |
| |KVA Design Team: Tonya Ohnstad, Sloan |Portable Light: Luminous Reading |photo-voltaics with solid |Architecture, Boston, MA, USA | |
| |Kulper |Mat, |state lighting | | |
| | | | | | |
| | |Description: Portable Light is an | | | |
| | |interdisciplinary research, design,| | | |
| | |and engineering project to create a| | | |
| | |portable, de-centralized first | | | |
| | |infrastructure to serve the large | | | |
| | |number of people—more than 2 | | | |
| | |billion—who lack access to electric| | | |
| | |light or power. Textile-integrated | | | |
| | |flexible photovoltaics harvest | | | |
| | |solar energy by day and provide | | | |
| | |electrical power and generate light| | | |
| | |by night. The system is | | | |
| | |lightweight, easily rolled or | | | |
| | |compressed, and readily shipped. | | | |
| | |The textile infrastructure is a | | | |
| | |fully autonomous, off -the-grid | | | |
| | |light “engine” that can be | | | |
| | |manufactured at a global scale for | | | |
| | |education, household economic | | | |
| | |development, and community-based | | | |
| | |health care and cultural practices.| | | |
| | | | | | |
| | |To accommodate continuous display | | | |
| | |inside the gallery, wiring to the | | | |
| | |light emitting diodes has been | | | |
| | |modified to run on the museum's | | | |
| | |electrical power system. | | | |
|0US-1173 |Sheila Kennedy with |2005 |Textile integrated |KVA - Kennedy & Violich |[pic] |
| |University of Michigan Design Team: |Portable Light: Community Bag |photo-voltaics with solid |Architecture, Boston, MA, USA | |
| |Charles Garcia, Erin Crowe, Kelly | |state lighting | | |
| |Rohr, Chris Wilson |Description: | | | |
| | |(use one description for all | | | |
| | |Portable Light components) | | | |
|0US-1174 |Sheila Kennedy with |2005 |Textile integrated |KVA - Kennedy & Violich |[pic] |
| |KVA Design Team: Jason O’Mara, |Digital Lantern: Portable Workshop |photo-voltaics with solid |Architecture, Boston, MA, USA | |
| |Patricia Gruits, Casey Smith, Andrew | |state lighting | | |
| |Khouri |Description: | | | |
| | |(use one description for all | | | |
| | |Portable Light components) | | | |
| 0US-1175 |Sheila Kennedy |2005 |Textile integrated |KVA - Kennedy & Violich |[pic] |
| |KVA Design Team: Jason O’Mara, |Digital Lantern: Standing Lantern |photo-voltaics with solid |Architecture, Boston, MA, USA | |
| |Patricia Gruits, Casey Smith, Andrew |for School Children |state lighting | | |
| |Khouri | | | | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Portable Light components) | | | |
| 0US-1176 |Sheila Kennedy |Portable Light: DVD, |DVD |KVA - Kennedy & Violich | |
| | | | |Architecture, Boston, MA, USA | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Portable Light components) | | | |
| 0US-1177-1-3 |Robert & Granger Moorhead |2005 |Silicone, wiring, electric |Moorhead & Moorhead, New York, USA |[pic] |
| | |Rubber Lamp, |lamp | | |
| | | | | | |
| | |Description: This lamp by | | | |
| | |architects and industrial | | | |
| | |designers Robert and Granger | | | |
| | |Moorhead consists of a flexible | | | |
| | |silicone shell that flips up or | | | |
| | |down to provide either task or | | | |
| | |ambient lighting. The glowing | | | |
| | |rubber flesh resembles a pod or | | | |
| | |cocoon harboring alien life. | | | |
| | | | | | |
| |Erotics of the Artificial | | | | |
| 0US-1124 |Carla Ross Allen and Peter Allen |2001 |Fiberglass, resin |Knowear: Peter Allen and Carla Ross |[pic] |
| | |Skinthetic: Chanel_01, | |Allen, Brooklyn, USA | |
| | | | | | |
| | |Description: Skinthetic is a series| | | |
| | |of design proposals for “implant | | | |
| | |and explant” products that might in| | | |
| | |the future be used to extend | | | |
| | |consumer branding directly to the | | | |
| | |human skin. With Skinthetic: | | | |
| | |Chanel: 01, a quilted pattern | | | |
| | |derived from Chanel’s brand | | | |
| | |identity is applied to the human | | | |
| | |torso. | | | |
| 0US-1125 |Carla Ross Allen and Peter Allen |2001 |Digital Print |Knowear: Peter Allen and Carla Ross |[pic] |
| | |Skinthetic: Chanel_03, | |Allen, Brooklyn, USA; Photograph by | |
| | | | |Will Taylor | |
| | |Description: | | | |
| | |(use one description for two | | | |
| | |Skinthetic components) | | | |
| 0US-1127 |Carla Ross Allen and Peter Allen |2001 |Digital Print |Knowear: Peter Allen and Carla Ross |[pic] |
| | |Skinthetic: Chanel_02, | |Allen, Brooklyn, USA; Photograph by | |
| | | | |Carlmike Lagasca and David Waage for| |
| | |Description: | |coolio studio, inc; Model - | |
| | |(use one description for two | |Christina Anders @ ID Models | |
| | |Skinthetic components | | | |
| 0US-1126 |Carla Ross Allen and Peter Allen |2000 |Silk, vacuum-formed foam, |Knowear: Peter Allen and Carla Ross |[pic] |
| | |TechnoLust, |metal, foam, silk, cast steel|Allen, Brooklyn, USA | |
|0US-1126-1 | | |base | |[pic] |
| | |Description: TechnoLust is a | | | |
| | |prototype for a zip-on suit with | | | |
| | |integral electronic functions. | | | |
| | |Using 3D body scanning and vacuum | | | |
| | |forming processes, the suits would | | | |
| | |be manufactured on demand to fit | | | |
| | |individual needs, from body | | | |
| | |contours to technology preferences.| | | |
| | |Using such emerging technologies as| | | |
| | |nanochips, flexible printed | | | |
| | |circuitry, and LED screens, | | | |
| | |TechnoLust looks at the future of | | | |
| | |computing and communication | | | |
| | |technologies. The configuration of | | | |
| | |TechnoLust shown here—just one of | | | |
| | |many potential product | | | |
| | |variations—is a wireless, | | | |
| | |self-sufficient gaming suit, | | | |
| | |designed to allow the user to play | | | |
| | |virtual erotic games from any | | | |
| | |location. | | | |
| | | | | | |
| | |Mannequin is vintage Henri Bendel | | | |
| | |dress form. | | | |
| | | | | | |
| 0US-1126-1 |Carla Ross Allen and Peter Allen |2000 |Metal, foam, silk, cast steel|Knowear: Peter Allen and Carla Ross | |
| | |TechnoLust (Mannequin), |base |Allen, Brooklyn, USA | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Technolust components) | | | |
|0JP-1103 |Matthieu Manche |1998 |Latex, metal |Matthieu Manche, Tokyo, Japan |[pic] |
| | |Untitled (Fresh Series), | | | |
| | | | | | |
| | |Description: Use on description for| | | |
| | |Manche pieces; see below. | | | |
|0JP-1104-1-2 |Matthieu Manche |1998 - 2000 |Latex |Matthieu Manche, Tokyo, Japan |[pic] |
| | |Untitled (Fresh Series), | | | |
| | | | | | |
| | |Description: When used to | | | |
| | |manufacture condoms or gloves, | | | |
| | |latex closely follows the contours | | | |
| | |of the human body. Artist and | | | |
| | |designer Matthieu Manche uses latex| | | |
| | |to suggest, instead, an elaboration| | | |
| | |and overflowing of the body. | | | |
| | |Pouches and containers for new | | | |
| | |growths appear across the surfaces | | | |
| | |of his clothing and furniture, | | | |
| | |while tubes of latex link body | | | |
| | |parts and entire bodies into new | | | |
| | |configurations. | | | |
|0US-1114 |Yves Behar with Angie |1997 |Light-sensitive PVC, zipper |Yves Behar, fuseproject, San |[pic] |
| |Tadeo/fuseproject |Fuse Secondskin, | |Francisco, CA, USA | |
| | | | | | |
| | |Description: Industrial designer | | | |
| | |Yves Behar created this complete | | | |
| | |suit out of shiny vinyl, recalling | | | |
| | |the flamboyant Pop fashions of the | | | |
| | |1960s. | | | |
|0NL-1105 |Hella Jongerius |1996 |Soft polyurethane |Hella Jongerius, Rotterdam, The |[pic] |
| | |Pushed Washbasin, | |Netherlands | |
| | | | | | |
| | |Description: This soft washbasin is| | | |
| | |eminently suited for use in cramped| | | |
| | |spaces. The oval shape is generated| | | |
| | |by gently pushing the round basic | | | |
| | |shape inward. The bowl is fixed in | | | |
| | |place by the thickness of the | | | |
| | |surrounding skin. | | | |
|0US-1145 |Hella Jongerius |1996 |Soft polyurethane |Purchase from Droog BV, Amsterdam, |[pic] |
| | |Bathroom Mat, | |The Netherlands, droogdesign.nl | |
| | | | | | |
| | |Description: Hella Jongerius’s | | | |
| | |bathroom mat is bubbled with soft, | | | |
| | |domed protrusions. Like drops of | | | |
| | |water captured in a solid state, | | | |
| | |the bubbles massage the feet within| | | |
| | |the typically hard, cold space of | | | |
| | |the bathroom. | | | |
| | |. | | | |
|0NL-1106-1-2 |Hella Jongerius |1996 |Soft polyurethane, silicone |Hella Jongerius, Rotterdam, The |[pic] |
| | |Soft Urn, Pink and Natural, | |Netherlands | |
|ONL-1107-1-2 | | |Polyurethan-Elastomer, | |[pic] |
| | |Description: These soft vases by |Silikon | | |
| | |Hella Jongerius assume a classical | | | |
| | |shape but are rendered in |28 x 15 cm | | |
| | |nontraditional materials. With | | | |
| | |Natural Urn, Jongerius sought to | | | |
| | |make plastic—a material associated | | | |
| | |with youth and newness—feel old, | | | |
| | |showing scratches, bubbles, and | | | |
| | |seams from the molding process. | | | |
| | |Rose Urn was made later from the | | | |
| | |same mold, but from fresh, pink | | | |
| | |silicone. | | | |
|0GE-12 |Gaetano Pesce |1994-97 |Polyurethane |Purchase from Vitra Design Museum |[pic] |
| | |Amazonia Translucent | |Store, Weil am Rhein, Germany | |
| | | | | | |
| | |Description: Amazonia Translucent | |Manufactured by Fish Design, Milan, | |
| | |is a unique and original piece by | |Italy | |
| | |Gaetano Pesce, the result of a | | | |
| | |manufacturing process which allows | | | |
| | |the design, craftsman and materials| | | |
| | |to participate every time as the | | | |
| | |first time. Its bubbles and | | | |
| | |imperfections are an intergral part| | | |
| | |of this vase´s uniqueness. | | | |
|0US-1153 |Marcel Wanders |1997 |Porcelain |Anonymous Lender; Manufactured by |[pic] |
| | |Egg Vase, | |Moooi | |
| | | | | | |
| | |Description: The molds for the Egg | | | |
| | |vase are made by stuffing a latex | | | |
| | |condom with chicken eggs. Cast in | | | |
| | |white porcelain, the resulting | | | |
| | |objects are at once organic and | | | |
| | |hygienic, as the fertile forms of | | | |
| | |the eggs press against the | | | |
| | |protective sheath. | | | |
|0US-1142 |Nicola Costantino |1999 |Silicone, leather |Deitch Projects, New York, and the |[pic] |
| | |Human Furrier: Bustier, | |artist | |
| | | | | | |
| | |Description: The Argentine artist | | | |
| | |Nicola Costantino creates objects | | | |
| | |that comment on the meat and | | | |
| | |leather industries. In the | | | |
| | |surrealist tradition, these | | | |
| | |handbags and shoes are imprinted | | | |
| | |with tiny images of human nipples | | | |
| | |and anuses. Recalling the look of | | | |
| | |ostrich leather, the effect is at | | | |
| | |once decorative and alarming. | | | |
|0US-1143 |Nicola Costantino |Human Furrier: Soccer Ball, |Silicone, leather |Deitch Projects, New York, and the |[pic] |
| | | | |artist | |
| | |Description: | | | |
| | |(use one description for both | | | |
| | |objects) | | | |
|0US-1188 |Nicola Costantino |Human Furrier: High Heel Shoes |Silicone, leather |Deitch Projects, New York, and the |[pic] |
| | | | |artist | |
| | |Description: | | | |
| | |(use one description for both | | | |
| | |objects) | | | |
|0NL-1104-1-6 |Hella Jongerius |2000 |Porcelain, glass, packing |Hella Jongerius, Rotterdam, The |[pic] |
| | |Grove and Long Neck Bottles, |tape |Netherlands | |
| | | | | | |
| | |Description: Both glass and | | | |
| | |ceramics are based on earth—sand or| | | |
| | |clay—and both need heat in order to| | | |
| | |become transformed. Yet the | | | |
| | |chemical aspects of these | | | |
| | |materials’ production processes | | | |
| | |have until now prohibited their | | | |
| | |unification in one element. Hella | | | |
| | |Jongerius began experimenting with | | | |
| | |ways to combine the two materials. | | | |
| | |The connection of the glass and the| | | |
| | |porcelain element is a specially | | | |
| | |designed packing tape. | | | |
|0NL-1108 |Jan Melis |2003 |Stoneware, silicon, rubber |Jan Melis, Rotterdam, The |[pic] |
| |Ben Oostrum |Lo-Res (Inside-out), | |Netherlands | |
| | | | | | |
| | |Description: Jan Melis and Ben | | | |
| | |Oostrum used rapid prototyping | | | |
| | |manufacturing and software to | | | |
| | |create a new package for Dutch | | | |
| | |Jenever, a distilled beverage | | | |
| | |traditionally sold in a brown | | | |
| | |ceramic jar. A CAD image of a | | | |
| | |standard bottle has been “rendered”| | | |
| | |in 3-D at low resolution, so that | | | |
| | |the tool paths used by the software| | | |
| | |to describe the shape of the bottle| | | |
| | |are perceptible to the eye and | | | |
| | |hand. | | | |
|0NL-1109 |Jan Melis |2003 |Stoneware, silicon, rubber |Jan Melis, Rotterdam, The |[pic] |
| | |Lo-Res (Crosswire), | |Netherlands | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for both | | | |
| | |versions of the bottle) | | | |
|0US-1118 |Yves Behar, Johan Liden/fuseproject |2002 |Undergarments packaged in |Yves Behar, fuseproject, San |[pic] |
| | |Devo Underwear and Packaging, |biodegradable cornstarch |Francisco, CA, USA | |
| | | | | | |
| | |Description: The packaging of these| | | |
| | |undergarments, made from | | | |
| | |biodegradable cornstarch, | | | |
| | |disappears in the laundry. | | | |
|0US-1140 |Tonita Abeyta |2000 |Latex and aluminum |Tonita Abeyta, San Francisco, CA, |[pic] |
| | |Sensate, | |USA | |
| | | | | | |
| | |Description: Tonita Abeya is | | | |
| | |designing a full line of latex | | | |
| | |garments, with and without built-in| | | |
| | |male or female condoms. The female | | | |
| | |condom will not slip out while in | | | |
| | |use and does not require an outer | | | |
| | |ring to stay in place. Some pieces | | | |
| | |in the Sensate line are pure | | | |
| | |fashion (such as tops, gloves and | | | |
| | |stockings). The garments are made | | | |
| | |by dipping a mold (called a | | | |
| | |mandrel) into liquid latex. A | | | |
| | |single mold can be used to create | | | |
| | |garments with different cuts, such | | | |
| | |as bikinis and briefs. | | | |
| 0US-1140-2 |Tonita Abeyta |2000 |Digital Print |Tonita Abeyta, San Francisco, CA, |[pic] |
| | |Sensate (rendering), | |USA | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Sensate components) | | | |
|0US-1144 |Martin D'Esposito |2004 |Formed plastic |Donated and Manufactured by Ligne |[pic] |
| | |Drink Tray, | |Roset, New York, NY, USA | |
| | | | | | |
| | |Description: A hand appears to be | | | |
| | |emerging through the surface of | | | |
| | |this serving tray; the effect is at| | | |
| | |once surprising and functional. | | | |
|0US-1146 |Tonita Abeyta and Pablo Pardo |2000 |Self-skinning |Pablo Designs, San Francisco, CA, |[pic] |
| | |Cush, |injection-molded polyurethane|USA | |
| | | |foam | | |
| | |Description: The Cush pillows by | | | |
| | |Pablo Pardo and Tonita Abeyta | | | |
| | |support the body in ways | | | |
| | |traditional pillows do not, by | | | |
| | |reflecting the body’s curves with | | | |
| | |subtle indentations. Each | | | |
| | |polyurethane foam cushion is | | | |
| | |self-skinning, meaning that the | | | |
| | |aluminum mold is first sprayed with| | | |
| | |a coating to match the color of the| | | |
| | |polyurethane foam. As the foam | | | |
| | |expands, it bonds with the spray | | | |
| | |coating to create an integral skin.| | | |
|0US-1150 |Karim Rashid |1999 |Vinyl dipped PVC |Karim Rashid, New York, NY, USA |[pic] |
| | |Desktop Landscape Vessel, | | | |
| | | | | | |
| | |Description: These flexible | | | |
| | |containers by Karim Rashid are made| | | |
| | |by dipping the mold twice into the | | | |
| | |liquid materials, once for each | | | |
| | |color. The result of this simple | | | |
| | |yet ingenious process is soft | | | |
| | |vessels that shift color from top | | | |
| | |to bottom or from inside to | | | |
| | |outside. | | | |
|0US-1151 |Karim Rashid |1999 |Polypropylene |Karim Rashid, New York, NY, USA |[pic] |
| | |Dishrack, | | | |
| | | | | | |
| | |Description: This plastic rack for | | | |
| | |drying dishes creates a curving | | | |
| | |landscape on the kitchen counter. | | | |
|0US-1152 |Karim Rashid |2004 |Silicon |Karim Rashid, New York, NY, USA |[pic] |
| | |Menorahmorph, | | | |
| | | | | | |
| | |Description: In honor of its | | | |
| | |centennial, The Jewish Museum | | | |
| | |commissioned designer Karim Rashid | | | |
| | |to design this menorah. The candle | | | |
| | |holders appear to grow out of an | | | |
| | |artificial landscape. | | | |
|0US-1187 |Karim Rashid |2005 |Rubber |Karim Rashid, New York, NY, USA |[pic] |
| | |LECIE Skwarim | | | |
| | | | | | |
| | |Description: This soft casing for a| | | |
| | |hard drive is inscribed with Karim | | | |
| | |Rashid´s signature "Morph" pattern,| | | |
| | |which conveys a three-dimensional | | | |
| | |effect across a two-dimensional | | | |
| | |surface. | | | |
|MDO-1009-1 |Mario Bellini |1972 |Plastic, rubber |Collection Vitra Design Museum |[pic] |
| | |Divisumma 18 | | | |
| | | | |Produced by Ing. C. Olivetti & C. | |
| | |Description: Bellini personalized | |spa, Milan, Italy | |
| | |the electronic printing calculator | | | |
| | |through an inventive use of form | | | |
| | |and materials. What is especially | | | |
| | |intriguing is the continuous | | | |
| | |flexible, rubber skin keyboard, a | | | |
| | |variation on the stretched | | | |
| | |membrane. The skin, which protects | | | |
| | |the machine from dust, is | | | |
| | |anthropomorphically suggestive. | | | |
| | |Here the emphasis is not on | | | |
| | |calculating and power, but on | | | |
| | |stimulating a sense of pleasure. | | | |
|MDO-1302 |Mario Bellini |1972 |Plastic, rubber |Collection Vitra Design Museum |[pic] |
| | |Divisumma 28 | | | |
| | | | |Produced by Ing. C. Olivetti & C. | |
| | |Description: (use one description | |spa, Milan, Italy | |
| | |for all Sensate components) | | | |
| | | | | | |
|MDO-1118 |E. Sottsass, M. Zanini, M. Susani |1984 |Plastic, rubber |Collection Vitra Design Museum |[pic] |
| | |Table-telephone | | | |
| | | | |Produced by Enorme srl, Milan, Italy| |
| | |Description: Before 1984, the | | | |
| | |telephone was a hard, usually | | | |
| | |plastic device. Using rubber, | | | |
| | |Sottsass, Zanini and Susani created| | | |
| | |a telephone with a squeezable | | | |
| | |hand-set – in complete contrast to | | | |
| | |the hard edge look of this | | | |
| | |sculptural object. | | | |
| | | | | | |
|0US-1147 |Pablo Pardo |2001 |Fused polyester mesh, clear |Pablo Designs, San Francisco, CA, |[pic] |
| | |Medina Bin, |polycarbonate plastic |USA | |
| | | | | | |
| | |Description: This mesh wastebasket | | | |
| | |has one flat side, so that it can | | | |
| | |sit against the wall, becoming | | | |
| | |integral to the surface of the | | | |
| | |room. | | | |
|0NL-1110 |Chris Slutter |1999 |Steel, wood and silicone |Chris Slutter, Amsterdam, The |[pic] |
| | |Latex Cupboard, | |Netherlands, christslutter.nl | |
| | | | | | |
| | |Description: Chris Slutter has | | | |
| | |designed a cabinet with a | | | |
| | |latex-covered door; the objects | | | |
| | |placed inside press mysteriously | | | |
| | |against the cabinet’s outer | | | |
| | |membrane. | | | |
|0DK-1102 |Ditte Hammerstroem |2001 |Wood, Felt |ParadiseParkDesignStudios, Ditte |[pic] |
| | |Hangout, | |Hammerstroem, Copenhagen, Denmark | |
| | | | | | |
| | |Description: Hangout is conceived | | | |
| | |as an extra room in the room for | | | |
| | |shoes and coats. A thin sheet of | | | |
| | |material is cut and folded to | | | |
| | |become a three-dimensional, | | | |
| | |multi-functional surface. | | | |
|0GB-1101 |Trent Jennings |2002 |Hybrid polypropylene polymer |Blue Marmalade Ltd., Edinburgh, |[pic] |
| |Gaston Namon |i b pop Chair, | |Scotland | |
| | | | | | |
| | |Description: This chair is 100% | | | |
| | |recyclable and produced from | | | |
| | |recycled materials. The surface is | | | |
| | |a different color on each side; a | | | |
| | |two-dimensional skin is shaped into| | | |
| | |a three-dimensional object. | | | |
| 0GE-1201 |Werner Aisslinger |2002 |Steel and aluminum alloy |Werner Aisslinger, Berlin |[pic] |
| | |Cappellini Gel Chair (Blue), |frame with TechnoGel |Manufactured by Cappellini | |
| | | | | | |
| | |Description: The chair is padded | | | |
| | |with a slab of TechnoGel. The gel | | | |
| | |protects the user’s body from the | | | |
| | |supporting straps, providing a | | | |
| | |luxurious yet hygienic surface, | | | |
| | |wipeable and waterproof. | | | |
|0GE-1202 |Werner Aisslinger |2003 |Air-moulding plastic |Werner Aisslinger, Berlin |[pic] |
| | |Nic Chair, | |Manufactured by Magis | |
| | | | | | |
| | |Description: The perforations in | | | |
| | |the Nic chair vary in size, | | | |
| | |creating relative degrees of | | | |
| | |transparency (as well as a varied | | | |
| | |tactile effect) as light passes | | | |
| | |through the chair seat and back. | | | |
|0IT-1105 |Fabrizio Bertero, Andrea Panto |1999 |Plastisol |Zanotta S.p.A., Nova Milanese, Italy|[pic] |
| | |Globulo (phospherescent white), | | | |
| | | | | | |
| | |Description: The Italian | | | |
| | |manufacturer Zanotta introduced | | | |
| | |some of the first mass-produced | | | |
| | |inflatable furniture in the late | | | |
| | |1960s. Zanotta recently issued | | | |
| | |Globulo, a series of inflatable | | | |
| | |poufs resembling bright translucent| | | |
| | |candies. Structure and skin | | | |
| | |converge in these invertebrate | | | |
| | |objects. Air becomes a physical | | | |
| | |material, given form by the | | | |
| | |surrounding membrane. | | | |
|0IT-1108 |Konstantin Grcic |2004 |Expanded polyethylene, |Moroso, Udine, Italy |[pic] |
| | |Dummy, |heat-sealed fabrics | | |
| | | | | | |
| | |Description: The Dummy chair is | | | |
| | |made of iron tubing and covered in | | | |
| | |expanded polyurethane combined with| | | |
| | |welded fabric. Designer Konstantin | | | |
| | |Grcic explains, “The form of the | | | |
| | |chair is obtained by crushing a | | | |
| | |rolled sheet of polyurethane foam | | | |
| | |onto a supporting structure. Dummy | | | |
| | |is an invitation to reconsider the | | | |
| | |way upholstered furniture is | | | |
| | |constructed.” | | | |
|0US-1141 |Damian Barton |2002 |Sheet of tubular aluminum |Damian Barton, Miami, FL, USA |[pic] |
| | |Quark Cafe Table, | | | |
| | | | | | |
| | |Description: The top surface of the| | | |
| | |table folds around itself to create| | | |
| | |an inner shelf or cavity. The table| | | |
| | |is inspired by studies in geometric| | | |
| | |patterns recoded from sound | | | |
| | |frequencies which are then | | | |
| | |interpreted and translated into a | | | |
| | |fluid and functional 3-dimensional | | | |
| | |form. | | | |
|0US-1178 |Dakota Jackson and Marissa Brown |2001 |Laminated glass and acrylic, |Dakota Jackson, Inc., New York, NY, |[pic] |
| | |DB-2, |translucent PVC skin, |USA | |
| | | |powder-coated steel, rubber, | | |
| | |Description: A soft, translucent |nylon glides | | |
| | |skin wraps around a skeleton of | | | |
| | |rigid materials. Like a slice | | | |
| | |through a living creature, the edge| | | |
| | |view of the table reveals the | | | |
| | |layering and the interpenetration | | | |
| | |of diverse materials. | | | |
|MIT-1017-4 |Gaetano Pesce |1984 |Polyurethane |Collection Vitra Design Museum |[pic] |
| | |Pratt Chair | | | |
| | | | | | |
| | |Description: In 1983, the Pratt | | | |
| | |Institute in New York, one of the | | | |
| | |most reknowned design academies, | | | |
| | |commissioned designer Gaetano Pesce| | | |
| | |to produce a range of chairs. This | | | |
| | |end he came up with an experimental| | | |
| | |series of nine chairs, with which | | | |
| | |he probed the boundaries of art and| | | |
| | |design as well as the limitations | | | |
| | |of the material polyurethane in | | | |
| | |varying degrees of thickness. The | | | |
| | |series kicks off with a chair whose| | | |
| | |material is so soft that it cannot | | | |
| | |even support its own weight. Thanks| | | |
| | |to its robutness the final chair in| | | |
| | |the series is the only one that can| | | |
| | |be put to any practical use. | | | |
|Chair: |Chair: Ron Arad |2006 |Chair: Polypropylen, steel |Ron Arad by Moroso, Udine, Italy + | |
|0IT-1111-1-2 |Cloth (garment): Issey Miyaki and Dai |A-POC Trampoline and Ripple Chair |A-POC: Nylon |A-POC by MDS, Tokyo, Japan |[pic] |
| |Fujiwara | | | | |
|A-POC: | |Description: Blurring the lines | | | |
|0JP-1107 | |between designer clothing and | | | |
| | |designer chairs, Trampoline is at | | | |
| | |once a streamlined, body-cushioning| | | |
| | |pillow and clothing. It is made of | | | |
| | |A-POC fabric, an innovative | | | |
| | |technology that allows garments to | | | |
| | |be constructed without sewing. | | | |
| | | | | | |
|0GB-1107 |Marcus Tomlinson |2006 |Digital print |Courtesy of the Artist, Marcus |[pic] |
| | |A-POC Trampoline Photographic | |Tomlinson | |
| | |Series (6 Photos) | | | |
| | | | | | |
| | |Description: Marcus Tomlinson | | | |
| | |catches the transformation of the | | | |
| | |Ron Arad´s Ripple Chair from a | | | |
| | |dressed chair using Issey Miyake´s | | | |
| | |cover to a nude chair and the model| | | |
| | |wearing the cover as clothing. | | | |
| |Body Armors | | | | |
|0IT-1107 |Gianfranco Barban and Gregg Brodarick |2003 |PVC, fluid |B.Lab Italia, Interactive Surface |[pic] |
| | |Living Floor, | |Design, Gallarate, Italy, | |
| | | | | | |
| | |Description: These PVC modular | | | |
| | |floor tiles contain colorful fluids| | | |
| | |that generate evolving patterns | | | |
| | |when walked upon. | | | |
|0GE-1203 |Alba D'Urbano |1997-2000 |Digital print on fabric |Alba D'Urbano, Leipzig | |
| | |Il Sarto Immortale (The Immortal | | |[pic] |
| |NUR EINE KLEIDER – 1 KLEID |Taylor): Couture, | | | |
| | | | | | |
| | |Description: This series of | | | |
| | |garments cover the body with | | | |
| | |detailed photographic images of | | | |
| | |itself. The result is a fragmented,| | | |
| | |contradictory visual condition that| | | |
| | |oscillates between naked and | | | |
| | |clothed, flatness and | | | |
| | |dimensionality. | | | |
|0GE-1212 |Alba D'Urbano |2000 |DVD |Alba D'Urbano, Leipzig |[pic] |
| | |Il Sarto Immortale (The Immortal | | | |
| | |Taylor): Couture: Divina, | | | |
| | | | | | |
| | |Description: Use on description for| | | |
| | |whole project. | | | |
|0IT-1101 |Moreno Ferrari |2000 |Rainproof rubberized |C.P. Company, Milan, Italy |[pic] |
| | |The Transformables: Tent (shown as |run-proof nylon mesh | | |
| | |coat), | | | |
| | | | | | |
| | |Description: CP Company’s | | | |
| | |Transformables are jackets designed| | | |
| | |to change into various structures, | | | |
| | |including a chair, tent, and | | | |
| | |sleeping mattress. | | | |
|0IT-1101-1 |Moreno Ferrari |2000 |Rainproof rubberized |C.P. Company, Milan, Italy |[pic] |
| | |The Transformables: Tent (shown as |run-proof nylon mesh | | |
| | |tent), | | | |
| | | | | | |
| | |Description | | | |
| | |(use one description for variants | | | |
| | |of any object shown) | | | |
|0IT-1102 |Giada Dammacco |2003 |Aerogel padding |Grado Zero Espace / Giada Dammacco /|[pic] |
| | |Absolute Zero, | |Empoli (Fl), Italy, | |
| | | | | | |
| | |Description: Aerogel is the | | | |
| | |lightest substance on earth; it | | | |
| | |also is an excellent insulator, | | | |
| | |making it an appropriate material | | | |
| | |for expeditions—to outer space or | | | |
| | |the Arctic Circle—requiring | | | |
| | |lightweight protection from the | | | |
| | |elements. Invented in the 1930s, | | | |
| | |Aerogel was used to insulate the | | | |
| | |Mars Pathfinder. To create this | | | |
| | |hyperinsulated jacket, the Italian | | | |
| | |Grado Zero Espace sewed small bags | | | |
| | |of powdered Aerogel between two | | | |
| | |layers of fabric, creating an | | | |
| | |extremely warm, extremely | | | |
| | |lightweight coat. | | | |
|0IT-1103 |Giada Dammacco |2003 |Nylon, leather, plastic |Grado Zero Espace / Giada Dammacco /|[pic] |
| | |Cooling System, |tubing |Empoli (Fl), Italy, | |
| | | | | | |
| | |Description: This jacket is based | | | |
| | |on a miniaturized air conditioning | | | |
| | |system that was commissioned by the| | | |
| | |U.S. army during the Cold War. It | | | |
| | |was designed to be fitted to the | | | |
| | |inside of combat clothing, allowing| | | |
| | |soldiers to fight and survive | | | |
| | |conditions of extreme heat—perhaps | | | |
| | |after a nuclear blast. A similar | | | |
| | |system is used for cooling | | | |
| | |astronaut’s suits. Fifty meters of | | | |
| | |2 mm-wide plastic tubing are needed| | | |
| | |to construct the internal cooling | | | |
| | |circuit of Grado Zero Espace’s | | | |
| | |Cooling System Jacket. The result | | | |
| | |is a beautifully crafted surface | | | |
| | |with an astounding technical | | | |
| | |capacity. | | | |
|0IT-1104 |Mauro Taliani |2003 |100% nettle fabric |Grado Zero Espace / Giada Dammacco /| |
| | |Nettle Jacket, | |Empoli (Fl), Italy, |[pic] |
| | | | | | |
| | |Description: Mauro Taliani for | | | |
| | |Grado Zero Espace/Corpo Nove has | | | |
| | |exploited the natural insulating | | | |
| | |characteristic of nettle fibers in | | | |
| | |his Nettle Jacket. Because the | | | |
| | |fibers of the stinging nettle are | | | |
| | |hollow, air accumulates and | | | |
| | |circulates inside them. | | | |
|0IT-1109 |Giada Dammacco |2006 |Impermeable laminated |Grado Zero Espace / Giada Dammacco /|[pic] |
| | |Quota Zero |textile, tridimensional |Empoli (Fl), Italy, | |
| | | |fabric, bielastic textile, | | |
| | |Description: This protective |ultra resistant fabric, | | |
| | |garment for mountain climbers |Nanogel padding | | |
| | |responds to environmental | | | |
| | |conditions endured at altitudes of | | | |
| | |6000 metres and higher. The jacket | | | |
| | |is extraordinarily light while | | | |
| | |maintaining high thermal | | | |
| | |performance. The external layer is | | | |
| | |water and wind resistant yet | | | |
| | |breathable, while the inner layer | | | |
| | |is thermally insulating. Padding as| | | |
| | |well as flexible or reinforced | | | |
| | |fabrics are integrated | | | |
| | |strategically throughout the | | | |
| | |garment to account for the backpack| | | |
| | |load, perspiration, humidity | | | |
| | |control, and more. The glove is | | | |
| | |integrated with the sleeve, | | | |
| | |preventing the loss of gloves | | | |
| | |during strong winds. A central zip | | | |
| | |closure is reserved for the | | | |
| | |climbers' rope. | | | |
|0JP-1105 |Kohama Izumi and Moulin Xavier for ixi|2001 |Cordura and Nylon fabrics, |ixi, Okinawa, Japan | |
| | |[Homewear] Pufybag, |PVC inflatable ring, plastic | |[pic] |
| | | |zippers, Velcro | | |
| | |Description: Pufybag is worn over | | | |
| | |the shoulder like a backpack. A | | | |
| | |Velcro fastening allows the user to| | | |
| | |adjust its size. Objects can be | | | |
| | |stored inside the bag, which has a | | | |
| | |PVC inflatable ring around the main| | | |
| | |pocket. The bag thus serves as a | | | |
| | |portable stool as well as a | | | |
| | |container—furniture that you can | | | |
| | |wear. | | | |
|0JP-1106 |Kohama Izumi, Moulin Xavier and Kakazu|2005 |Cordura and nylon fabrics, |ixi, Okinawa, Japan |[pic] |
| |Yoshinari for ixi |[Homewear] High Tension, |nylon straps, metal rings, | | |
| | | |fasterners, foam pads | | |
| | |Description: This garment holds the| | | |
| | |body into a semi-reclining position| | | |
| | |with a system of straps. The | | | |
| | |garment can position the body for | | | |
| | |reading, sitting, reclining, and | | | |
| | |other activities, becoming a kind | | | |
| | |of wearable furniture and system of| | | |
| | |soft suspension. | | | |
|0US-1115 |Yves Behar with Tina Lutz |2001 |Teflon-coated cashmere |Yves Behar, fuseproject, San |[pic] |
| | |Y Way Windbreaker, | |Francisco, CA, USA | |
| | | | | | |
| | |Description: Yves Behar has updated| | | |
| | |a traditional, luxurious, natural | | | |
| | |material—cashmere—by coating it | | | |
| | |with Teflon. The water-repellant | | | |
| | |windbreaker was commissioned by | | | |
| | |Lutz & Patmos, maker of cashmere | | | |
| | |garments and accessories in a | | | |
| | |modern idiom. | | | |
|0US-1116-1-2 |Yves Behar/fuseproject |2003 |TPU, Stainless Steel |Yves Behar, fuseproject, San |[pic] |
| | |Mini_motion Watch, | |Francisco, CA, USA | |
| | | | | | |
| | |Description: This bracelet watch | | | |
| | |uses a flexible rubber-steel | | | |
| | |compound to emulate the natural | | | |
| | |contour of the wrist. The digital | | | |
| | |display switches from horizontal to| | | |
| | |vertical, allowing for easier | | | |
| | |reading. | | | |
| | | | | | |
|0US-1117 |Yves Behar, Youjin Nam/fuseproject |2003 |Injection-molded ABS, |Yves Behar, fuseproject, San |[pic] |
| | |Aliph Jawbone Headseat, |aluminum |Francisco, CA, USA | |
| | | | | | |
| | |Description: The Jawbone Headset is| | | |
| | |worn directly around the user’s | | | |
| | |ear. Made of a mix of hard and soft| | | |
| | |materials, the piece is both | | | |
| | |jewelry and equipment. | | | |
|0US-1186 |Yves Behar, Angie Tadeo/fuseproject |2006 |Polyethylene microfibers, |Yves Behar, fuseproject, San |[pic] |
| |with DDC Lab NY |MINI_Motion Climate Control Jacket |stitch bounded with |Francisco, CA, USA | |
| | | |nylon/lycra yarn |Manufactured by DDC Lab NY, USA | |
| | |Description: Neither knit nor | | | |
| | |woven, the jacket's fabric is made | | | |
| | |from millions of polyethylene | | | |
| | |microfibers that are exploded | | | |
| | |randomly and then reassembled, | | | |
| | |producing a super-resilient | | | |
| | |material with a unique appearance | | | |
| | |and feel. The fabric's | | | |
| | |unconventional structure allows it | | | |
| | |to breathe and wick moisture. It is| | | |
| | |so resistant to compression that | | | |
| | |its thermal properties remain high | | | |
| | |even under stress. Random shading | | | |
| | |and subtle color changes have been | | | |
| | |engineered into the fabric to | | | |
| | |create visual interest. | | | |
|0US-1121 |BodyMedia, Inc. |2004 |Multi-sensor conductive |BodyMedia, Inc., Pittsburgh, PA, USA|[pic] |
| | |SenseWear® Patch Body Monitor, |textile | | |
| | | | | | |
| | |Description: The SenseWear® Patch | | | |
| | |is a wearable body monitor that | | | |
| | |attaches to the body like a simple | | | |
| | |Band-Aid®. The patch collects, | | | |
| | |processes, and stores the wearer’s | | | |
| | |heart rate and other data. This | | | |
| | |data is uploaded to a computer for | | | |
| | |viewing by the wearer or a health | | | |
| | |care professional. The patch | | | |
| | |employs a skin-sensitive, | | | |
| | |multi-sensor, conductive textile | | | |
| | |that can be replaced from wearer to| | | |
| | |wearer. | | | |
| 0US-1123 |Carla Ross Allen and Peter Allen |2001 |Silk, felted wool, 3 LCD |Knowear: Peter Allen and Carla Ross |[pic] |
| | |Facade of the Synthetic, |screens, mannequin |Allen, Brooklyn, USA | |
| | | | | | |
| | |Description: The future of fashion | | | |
| | |branding could be transformed with | | | |
| | |these tiny, built-in billboards, | | | |
| | |which display motion graphics on | | | |
| | |miniature LCD screens. It could | | | |
| | |also represent a new form of | | | |
| | |tattooing by placing the LCD screen| | | |
| | |directly onto the skin allowing the| | | |
| | |wearer to change the tattoo at | | | |
| | |will. | | | |
| 0US-1130 |unbekannt/unknown/inconnu |Level A Protective Suit, |DuPont Tychem-Tk |Lakeland Industries, Decatur, AL, |[pic] |
| | | | |USA | |
| | |Description: This suit is designed | | | |
| | |to protect rescue workers during a | | | |
| | |chemical or biological emergency. | | | |
| | |It creates a loosely fitting | | | |
| | |micro-environment around the | | | |
| | |wearer. | | | |
|0US-1132 |unbekannt/unknown/inconnu |Fastskin™ FSII Full Bodyskin |Fastskin™ and Flexskin, |Speedo International Ltd, |[pic] |
| | | |Polyster, Elastane |Nottingham, England | |
| | |Description: Fastskin™ Fabric is | | | |
| | |based on a shark´s skin. The secret| | | |
| | |of the shark’s speed is mimicked in| | | |
| | |the v-shaped ridges and denticle | | | |
| | |print of the fabric. This allows | | | |
| | |the body to slip through the water | | | |
| | |more smoothly. | | | |
|0US-1133 |Jeremiah Sullivan |2001 |Vectran (liquid crystal |Jeremiah Sullivan, Neptunic |[pic] |
| | |Nemo II, |polymer fiber), steel mesh, |Sharksuits, San Diego, CA, USA | |
| | | |carbon fiber laminate | | |
| | |Description: Jeremiah Sullivan | | | |
| | |pioneered the steel mesh shark suit| | | |
| | |in the early 1980s to enable | | | |
| | |researchers and enthusiasts to swim| | | |
| | |with sharks. The Nemo II and | | | |
| | |Neptunic “C” suits are made of | | | |
| | |proprietary fabrics that are | | | |
| | |light-weight and bite-resistant. | | | |
| | |They are worn with a submersible | | | |
| | |helmet and steel mesh gloves and | | | |
| | |socks. Sullivan explains, | | | |
| | |“Interaction with nature’s | | | |
| | |predators can be dangerous | | | |
| | |business, and no suit can protect a| | | |
| | |fool from himself. The shark suit | | | |
| | |was designed to provide man with | | | |
| | |the opportunity to more safely | | | |
| | |interact with the sea and all its | | | |
| | |spectacular inhabitants.” | | | |
|0US-1134 |Jeremiah Sullivan |2005 |Steel, polycarbonate, nylon |Jeremiah Sullivan, Neptunic |[pic] |
| | |Neptunic ‘C’ Suit, |webbing |Sharksuits, San Diego, CA, USA | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for both Shark| | | |
| | |suits) | | | |
|0US-1135 |unbekannt/unknown/inconnu |1999-2001 | |SWATCH AG, Jakob Stämpflistrasse, |[pic] |
| | |Swatch Skin Selection: | |94, CH-2500 Bienne 4, | |
| | |SFK 103 A/B Paved in Silver | | | |
| | |SFK 106 Dream Like | | | |
| | |SFK 111G Simple Like | | | |
| | |SFK 119 Ligne de Vie | | | |
| | | | | | |
| | |Description: Swatch’s Skin | | | |
| | |Collection features an extremely | | | |
| | |thin watch mechanism housed in a | | | |
| | |variety of faces with coordinating | | | |
| | |bands in diverse materials. Some of| | | |
| | |the watches feature translucent | | | |
| | |plastic that reveals the internal | | | |
| | |mechanism as well as the skin of | | | |
| | |the wearer. Others use metal, | | | |
| | |rubber, or vinyl in designs that | | | |
| | |recall traditional jewelry styles | | | |
| | |in a stylized, technology-inflected| | | |
| | |manner. Swatch’s Skin Collection | | | |
| | |treats the watch both as functional| | | |
| | |jewelry and as expressive fashion | | | |
| | |accessory. | | | |
|0US-1149 |Karim Rashid |2005 |Packaging, metalic board |Karim Rashid, New York, NY, USA |[pic] |
| | |Safe Bandages | | | |
| | | | | | |
| | |Description: Safe Bandages were | | | |
| | |originally designed for an Aids | | | |
| | |Awareness Campaign. They are a | | | |
| | |colorful new interpretation of a | | | |
| | |Band-aid®. | | | |
| |Living Architectures | | | | |
| 0GE-1204 |Jan Edler & Tim Edler |2003 |Digital print |realities:united, Berlin |[pic] |
| | |BIX Media Facade, Austria | | | |
| | |(Construction), | | | |
| | | | | | |
| 0GE-1205 |Jan Edler & Tim Edler |2003 |Digital print |realities:united, Berlin - |[pic] |
| | |BIX Media Facade, Austria, | |Photograph ©2003 Harry Schiffer, | |
| | | | |Graz | |
| | |Description: | | | |
| | |(one description for all parts of | | | |
| | |project) | | | |
| 0GE-1206 |Jan Edler & Tim Edler |2003 |Digital print |realities:united, Berlin |[pic] |
| |John deKron, Jeremy Rotsztain, Peter |BIX Media Facade, Austria (Digital | | | |
| |Castine |Simulator), | | | |
| | | | | | |
| | |Description: | | | |
| | |(one description for all parts of | | | |
| | |project) | | | |
| 0GE-1207 |Jan Edler & Tim Edler |2003 |DVD |realities:united, Berlin |[pic] |
| | |BIX Media Facade, Austria | | | |
| | |(Trailer), | | | |
| | | | | | |
| | |Description: | | | |
| | |(one description for all parts of | | | |
| | |project) | | | |
| 0GE-1208 |Jan Edler & Tim Edler |2003 |DVD |realities:united, Berlin |[pic] |
| | |BIX Media Facade, Austria | | | |
| | |(Documentary), | | | |
| | | | | | |
| | |Description: | | | |
| | |(one description for all parts of | | | |
| | |project) | | | |
| 0GE-1209 |Jan Edler & Tim Edler |2003 |Digital print |realities:united, Berlin |[pic] |
| | |BIX Media Facade, Austria (Exploded| | | |
| | |Rendering), | | | |
| | | | | | |
| | |Description: | | | |
| | |(one description for all parts of | | | |
| | |project) | | | |
|0GE-1213 |Jan Edler & Tim Edler |2003 |Digital Print |realities:united, Berlin | |
| | |BIX Media Facade, Austria | |Photograph by Paul Ott | |
| | | | | | |
| | |Description: | | | |
| | |(one description for all parts of | | | |
| | |project) | | | |
|0GE-1214 |Jan Edler & Tim Edler |2003 |Digital Print |realities:united, Berlin | |
| | |Bix Media Facade, Austria | |Photograph by Paul Ott | |
| | | | | | |
| | |Description: | | | |
| | |(one description for all parts of | | | |
| | |project) | | | |
|0GE-1215 |Jan Edler & Tim Edler |2003 |Digital Print |realities:united, Berlin | |
| | |Bix Media Facade, Austria | |Photograph by Paul Ott | |
| | | | | | |
| | |Description: | | | |
| | |(one description for all parts of | | | |
| | |project) | | | |
|0US-1154 |Adam Yarinsky |2004 - 2005 |CNC (Computer Numeric |Architecture Research Office LLC, |[pic] |
| |Stephen Cassell |CNC Fiberboard Lattice Panel, |Controlled) milled medium |New York, NY, USA | |
| | | |density fiberboard (MDF) | | |
| | |Description: The panels were | | | |
| | |created for use in a Manhattan | | | |
| | |apartment to filter light and | | | |
| | |provide shifting views. Changes in | | | |
| | |the perforations of the panel occur| | | |
| | |in a three-dimensional way, | | | |
| | |creating a complex skin with | | | |
| | |fluctuating transparency. Areas of | | | |
| | |greater openness favor views from | | | |
| | |specific orientations in the | | | |
| | |apartment. A computer-controlled | | | |
| | |three-axis router is used to create| | | |
| | |patterns on medium density | | | |
| | |fiberboard. The designers created | | | |
| | |numerous small-scale study models, | | | |
| | |using equipment in their own | | | |
| | |studio, to develop the final | | | |
| | |patterning. | | | |
|0US-1155 |Adam Yarinsky |2004 |Laser cut on the bias |Architecture Research Office LLC, |[pic] |
| |Stephen Cassell |Corrulam, |corrugated cardboard |New York, NY, USA | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Corrulamp components) | | | |
|0US-1156 |Adam Yarinsky |2004 |Corrugated cardboard, |Architecture Research Office LLC, |[pic] |
| |Stephen Cassell |Corrulamp-1, |lighting element |New York, NY, USA | |
| | | | | | |
| | |Description: The lamp is made from | | | |
| | |layers of laser-cut cardboard, | | | |
| | |stacked together to create a | | | |
| | |volume. Subtle variations in the | | | |
| | |thickness and angle of the cutting | | | |
| | |create a complex surface of varying| | | |
| | |opacity. ARO is known for | | | |
| | |transforming simple materials into | | | |
| | |expressive surfaces using digital | | | |
| | |manufacturing technologies. | | | |
|0US-1157 |Adam Yarinsky |2004 - 2005 |Digital print |Architecture Research Office LLC, |[pic] |
| |Stephen Cassell |Photographs of Installed CNC | |New York, NY, USA | |
| | |Fiberboard Lattice Panels, | | | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Lattice Panel elements) | | | |
|0US-1158-1-6 |Adam Yarinsky |2004 - 2005 |Laser-cut Museum Board |Architecture Research Office LLC, |[pic] |
| | |Laser-cut Museum Board Studies | |New York, NY, USA | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Lattice Panel elements) | | | |
|0US-1159 |Anthony Aziz |2000 |C-print |Aziz + Cucher, New York, NY, USA |[pic] |
| | |Glory, | | | |
| | | | | | |
| | |Description: Aziz + Cucher create | | | |
| | |digitally modified photographs of | | | |
| | |objects and spaces covered in skin.| | | |
|0US-1160 |Anthony Aziz |2000 |C-print |Aziz + Cucher, New York, NY, USA |[pic] |
| | |Interior #6, | | | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for Glory #2 | | | |
| | |and Interior #5) | | | |
|0US-1161 |Anthony Aziz |2002 |DVD |Aziz + Cucher, New York, NY, USA |[pic] |
| | |Passage, | | | |
| | | | | | |
| | |Description: Aziz + Cucher create | | | |
| | |digitally modified photographs of | | | |
| | |objects and spaces covered in skin.| | | |
| | |This digital projection merges with| | | |
| | |the surrounding architecture. | | | |
|0US-1162 |Sulan Kolatan and William MacDonald |2004 |Urethane-infiltrated, gypsum |KOL/MAC, New York, NY, USA |[pic] |
| | |Resi-Rise Structural Chasis Double |based powder fabrication | | |
| | |Tower Model (Double Skin), |using 3D solid printing, |Sponsor/Fabricator: Z Corporation, | |
| | | |computer aided manufacturing |Burlington, MA, USA | |
| | |Description: Resi-Rise is a project| | | |
| | |for a vertical urban environment, | | | |
| | |whose pod units would be leased and| | | |
| | |constructed more like cars than | | | |
| | |like traditional real estate. The | | | |
| | |undulating shape of the building | | | |
| | |makes use of the maximum allowable | | | |
| | |zoning envelope; deformation | | | |
| | |account for site influences such as| | | |
| | |views and adjacencies. Resi-Rise | | | |
| | |uses experimental materials such as| | | |
| | |plastics that undergo molecular | | | |
| | |restructuring with stress; smart | | | |
| | |glass that responds to light and | | | |
| | |weather conditions; antibacterial | | | |
| | |woven glass-fiber wall coverings; | | | |
| | |smart interior walls that control | | | |
| | |climate; and pultruded | | | |
| | |fiberglass-reinforced polymer | | | |
| | |structural composites. | | | |
|0US-1163 |Sulan Kolatan and William MacDonald |2006 |Waterclear stereolithography |KOL/MAC, New York, NY, USA |[pic] |
| | |INVERSAbrane |model | | |
| | | | |Design and Fabricator: w.inc., | |
| | |Description: INVERSAbrane is a | |Christopher Whitelaw, New York, NY | |
| | |project for a high-performance | |and Atlanta, GA, USA | |
| | |ecological building membrane. An | | | |
| | |undulating skin is generated by | | | |
| | |digital scripting techniques and | | | |
| | |derived from mathematical "minimal | | | |
| | |surfaces." This membrane serves as| | | |
| | |the surface and structure of the | | | |
| | |building, as well as the water | | | |
| | |collector and distributor, solar | | | |
| | |collector, air pollutant extractor.| | | |
| | |The material becomes an exterior | | | |
| | |shell, like the fuselage of a | | | |
| | |plane. | | | |
|0US-1164 |Sulan Kolatan and William MacDonald |2004 |DVD |KOL/MAC, New York, NY, USA | |
| | |Resi-Rise (digital animation), | | | |
| | | | |Film: C. Bruun, E. Schuldenfrei | |
| | |Description: | | | |
| | |(use one description for all | | | |
| | |Resi-Rise components) | | | |
|0US-1166 |Greg Lynn |2000 |Styrene, aluminum mesh, |Greg Lynn FORM, Venice, CA, USA |[pic] |
| | |Kleiburg Block Competition (model),|acrylic | | |
| | | | | | |
| | | | | | |
| | |Description: This transformation of| | | |
| | |a large-scale residential housing | | | |
| | |block in the Bijlmermeer | | | |
| | |neighborhood in Amsterdam marks the| | | |
| | |first use of escalators in social | | | |
| | |housing. The new circulation is | | | |
| | |supported by over 150 uniquely | | | |
| | |shaped vertical steel trusses that | | | |
| | |are clad in a semi-transparent | | | |
| | |stainless steel fabric. Through | | | |
| | |these vegetally shaped trusses the | | | |
| | |new escalators and circulation are | | | |
| | |hung on the existing concrete | | | |
| | |structure. | | | |
|0US-1167 |Greg Lynn |2000 |DVD |Greg Lynn FORM, Venice, CA, USA |[pic] |
| | |Kleiburg Block Competition (video),| | | |
| | | | | | |
| | | | | | |
| | |Description: | | | |
| | |(Use one description for all | | | |
| | |Kleiburg elements) | | | |
|0US-1168 |Research Frontiers Inc. |2004 |SPD film laminated within |Research Frontiers Inc., Woodbury, |[pic] |
| | |SPD Light-Control Window, |monolithic glass, aluminum |NY USA | |
| | | |frame, four-way controller | | |
| | |Description: The SPD (suspended | | | |
| | |particle device) technology at the | | | |
| | |heart of SmartGlass allows a user | | | |
| | |to quickly, easily, and precisely | | | |
| | |control how much light, glare, and | | | |
| | |heat come through a window. The | | | |
| | |technology is adaptable to windows | | | |
| | |on buildings, automobiles, and | | | |
| | |transit vehicles, as well as for | | | |
| | |mirrors, eyewear, displays, and | | | |
| | |specialty filters. | | | |
| |SPECIAL INSTALLATIONS | | | | |
|0US-1138 |Hella Jongerius |2004 |Felt, wool, cotton, polyester|Hella Jongerius, Rotterdam, The |[pic] |
| | |Paravent (#2, Big Pot) |stitching |Netherlands | |
| | | | | | |
| | |Description: These blankets by |Limited Edition | | |
| | |Hella Jongerius are pieced together| | | |
| | |out of old blankets. Their | | | |
| | |irregular surfaces speak of skins | | | |
| | |that are not sleek and seamless but| | | |
| | |aged and discontinuous. | | | |
| | |The blankets are made with | | | |
| | |needle-punching, a machine | | | |
| | |technique that uses hundreds of | | | |
| | |barbed needles to push up and down | | | |
| | |through a base textile to entangle | | | |
| | |fibers, creating a non-woven fabric| | | |
| | |mat. This technique is commonly | | | |
| | |employed in the making of carpets. | | | |
| | |Jongerius has further embellished | | | |
| | |these blankets with embroidery. | | | |
|0US-1139 |Hella Jongerius |2005 |Felt, wool, cotton, polyester|Hella Jongerius, Rotterdam, The |[pic] |
| | |Paravent (#5, Deer) |stitching |Netherlands | |
| | | | | | |
| | |Description: |Limited Edition | | |
| | |(Use one description for all Hella | | | |
| | |blankets.) | | | |
|0US-1136 |Petra Blaisse |2003 |Printed wallpaper |Donated and Manufactured by |[pic] |
| | |Touch Wallcovering Series, | |Wolf-Gordon, New York, NY, USA | |
| | | | | | |
| | |Description: These wallcoverings by| | | |
| | |Petra Blaisse feature photographic | | | |
| | |enlargements of tactile surfaces. | | | |
| | |Blaisse is known for her | | | |
| | |architectural textiles, curtains, | | | |
| | |and surfaces. | | | |
|0GE-1217 |Hanna Ernsting |2006 |Printed wallpaper, textile |Hanna Ernsting, the designer |[pic] |
| | |The Knitted Bag |strap, metal attachment | | |
| | | | | | |
| | |Description: The bag, designed by | | | |
| | |Hanna Ernsting, is made from | | | |
| | |wallpaper designed by Petra | | | |
| | |Blaisse. The material has the | | | |
| | |optical characteristics of knitted | | | |
| | |mesh, yet it is smooth to the | | | |
| | |touch, like paper. | | | |
|0US-1137 |Erika Hanson |2006 |Maplex®, LEDs, wood, gypsum, |Donated by EHV Weidmann, St. |[pic] |
| | |Objects for Walls |aluminum reflectors, |Johnsbury, Vermont, USA | |
| | | |transformers | | |
| | |Description: Maplex®, a material | | | |
| | |traditionally used in industrial | | | |
| | |applications, is made from | | | |
| | |compressed, unbleached tree fibers.| | | |
| | |Designer Erika Hanson has been | | | |
| | |working with the manufacturer of | | | |
| | |Maplex® to develop new products and| | | |
| | |applications for this strong, | | | |
| | |lightweight, renewable material. | | | |
| | |Some grades of Maplex® contain a | | | |
| | |high percentage of post-industrial | | | |
| | |recycled fiber, and all grades are | | | |
| | |100% recyclable. For Second Skin, | | | |
| | |Hanson has developed a system of | | | |
| | |wall panels with slits through | | | |
| | |which light emanates. She is | | | |
| | |interested in transforming the | | | |
| | |traditional architectural wall into| | | |
| | |a living, multifunctional surface. | | | |
| | | | | | |
| | |Samples of Maplex® are displayed on| | | |
| | |the side of the wall. | | | |
|0US-1179 |Andrea Valentini |2006 |Industrial felt, steel |Purchase from the Artist/Designer |[pic] |
| | |Skin as an Interface, |rivets, mannequin | | |
| | | | | | |
| | |Description: An infinite wall of | | | |
| | |panels comprised of 10 x 10 cm | | | |
| | |modules of compressed industrial | | | |
| | |felt, nesting into one another, | | | |
| | |layered and riveted into a series | | | |
| | |of spiraling sculptural strands | | | |
| | |that weave and spin vertically, | | | |
| | |spanning about 2 meters wide x 2 | | | |
| | |meters long. To one end of the | | | |
| | |wall, a strand breaks away engaging| | | |
| | |the mannequin in front of it by | | | |
| | |enveloping its upper body. The | | | |
| | |mannequin is dressed in a | | | |
| | |transparent but protective cloak, | | | |
| | |designed using the remains from the| | | |
| | |felted wall screen. | | | |
|0US-1180 |Panelite LLC |Panelite Structural Wall System, |Honeycomb composite material |Purchased from the company and |[pic] |
| | | |with aluminum frame |manufacturer | |
| | |Description: Panelite provides both| | | |
| | |a finished surface and a structural| | | |
| | |material. The honeycomb core | | | |
| | |provides strength and rigidity at a| | | |
| | |very low density; when bonded to | | | |
| | |similarly light-weight facings, | | | |
| | |every honeycomb cell wall acts like| | | |
| | |the web of an I-beam, forming an | | | |
| | |extremely strong, stiff, yet | | | |
| | |light-weight composite panel that | | | |
| | |is both structure and skin, | | | |
| | |requiring no additional finishing. | | | |
| | |This translucent material, | | | |
| | |available in numerous colors and | | | |
| | |textures, has numerous interior and| | | |
| | |exterior uses. | | | |
................
................
In order to avoid copyright disputes, this page is only a partial summary.
To fulfill the demand for quickly locating and searching documents.
It is intelligent file search solution for home and business.