LfdNr
|Kat Nr. / |Designer und Beteiligte / |Objekt / Object |Material / Technik |Credit Line |Bild |
|Inv. Nr. |Designer and |Datierung / Dating | | | |
| | | |Measurements [HxWxD] | | |
|0AF-1101 |Leora Farber |2000 - 2001 |DVD |Leora Farber, Melville, |[pic] |
| | |Four Minor Renovations: Revamp, Rufurbish, Retouch, Refine, | |Johannesburg, South Africa| |
| | | | | | |
| | |Description: Artist Leora Farber was permitted to videotape a series of| | | |
| | |plastic surgeries. The resulting video, which has a slow, soothing | | | |
| | |musical score, is at once shockingly graphic and strangely peaceful, | | | |
| | |revealing the methodical care of the surgeon’s art and the malleability| | | |
| | |of the patient’s body. | | | |
| | | | | | |
|0AU-1101 |Donna Franklin |2004 |Fungi (pycnoporus), silk, organza, |Donna Franklin, Perth, |[pic] |
|NEW | |Fibre Reactive, |acrylic case, wood base |Western Australia | |
| | | | | | |
| | |Description: Encrusted with living, growing fungi, this garment |198 x 120 x 68 cm | | |
| | |addresses the commodification of living entities. We are accustomed to | | | |
| | |wearing the processed by-products of life, but rarely to we wear | | | |
| | |materials that are in active state of growth. | | | |
| | | | | | |
| | |Special thanks to Oron Catts and Ionat Zurr at SymbioticA: The Art and | | | |
| | |Science Research Laboratories, and to Gary Cass at The Faculty of | | | |
| | |Natural and Agricultural Sciences Laboratories, The University of | | | |
| | |Western Australia. | | | |
| | | | | | |
|0AU-1101-1 |Donna Franklin |2004 |Silent, colour DVD, 4 min. 38 sec. |Donna Franklin, Perth, |[pic] |
| | |Fibre Reactive: A Living Garment in a Mediated Space, |plus credits |Australia | |
| | | | | | |
| | |Description: Filmed and edited by Sharon Custers | | | |
|0DK-1101 |Ditte Hammerstroem |2000 |Wool, silk, cotton, light bulbs |ParadiseParkDesignStudios,|[pic] |
| | |Blanket, | |Ditte Hammerstroem, | |
| | | |150 x 90 x 1 cm |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 outerlayer of the | | | |
| | |blanket is wool and can be removed and washed. | | | |
|0DK-1102 |Ditte Hammerstroem |2001 |Wood, Felt |ParadiseParkDesignStudios,|[pic] |
|NEW | |Hangout, | |Ditte Hammerstroem, | |
| | | |190 x 160 x 85 cm |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., |[pic] |
|NEW |Gaston Namon |i b pop Chair, | |Edinburgh, Scotland | |
| | | |740 x 520 x 520 mm | | |
| | |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. | | | |
|0GB-1102 |Shin Azumi |2005 |Mouth-blown acid-etched glass, metal |Mathmos, London |[pic] |
|NEW | |Airswitch Az, |base, 2 60W bulbs | | |
| | | | | | |
| | |Description: Using Air Switch™ technology, the light turns on and off |48,26 x 21,59 cm | | |
| | |by passing your hand over the opening. Move your hand vertically to | | | |
| | |make the light brighter or dimmer. | | | |
|0GB-1103 |Trent Jennings |2005 |Polypropylene |Blue Marmalade Ltd, |[pic] |
|NEW |Tom Marsh |Stealth Floor Lamp, | |Edinburgh, Scotland | |
| | | |690 x 310 x 300 mm | | |
| | |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-1104-A-L |Aaron Rincover |2001 |Silicone, LEDs, rechargeable battery,|Mathmos, London |[pic] |
| | |Red Bubble (x12), |charger | | |
| | | | | | |
| | |Description: Aaron Rincover’s soft, ball-shaped, rechargeable, |7,5 cm | | |
| | |battery-operated lights are turned on by a squeeze of the hand. Whereas| | | |
| | |a traditional electrical fixture is installed within a specific | | | |
| | |domestic tableau, 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 fluorescent |Héctor Serrano, London |[pic] |
| | |Superpatata (3), |light | | |
| | | | | | |
| | |Description: This soft, touchable lamp can be used as a pillow, |20 x 20 x 20 cm | | |
| | |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. | | | |
| 0GB-1106 |Lucy Nunn |2005 |Mouth-blown acid-etched glass, |Mathmos, London |[pic] |
|NEW |Toby Snowdowne |Airswitch Tc, |plastic base, 40W bulb | | |
| | | | | | |
| | |Description: Using Air Switch™ technology, the light turns on and off |24,13 x 12,7 cm | | |
| | |by passing your hand over the opening. Move your hand vertically to | | | |
| | |make the light brighter or dimmer. | | | |
| 0GE-1201 |Werner Aisslinger |2002 |Steel and aluminum alloy frame with |Werner Aisslinger, Berlin |[pic] |
|NEW (MAY NOT | |Cappellini Gel Chair (Blue), |TechnoGel | | |
|TRAVEL) | | | | | |
| | |Description: The chair consists of a slab of TechnoGel over a web of |76 x 47 x 40 cm | | |
| | |nylon straps. The gel protects the user’s body from the supporting | | | |
| | |straps, providing a luxurious yet hygienic surface, wipable and | | | |
| | |waterproof. | | | |
|0GE-1202 |Werner Aisslinger |2003 |Air-moulding / gas-injection plastic |Werner Aisslinger, Berlin |[pic] |
|NEW | |Nic Chair, | | | |
| | | |82,5 x 51,4 x 53 cm | | |
| | |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. In the world of | | | |
| | |images, similar gradations in a pattern of dots are used in to create | | | |
| | |photographic halftones. | | | |
| | | | | | |
|0GE-1203-1-9 |Alba D'Urbano |1997-2000 |Digital print on fabric |Alba D'Urbano, Leipzig |[pic] |
| | |Il Sarto Immortale (The Immortal Taylor): Couture, | | | |
| | | | | | |
| | |Description: Artist Alba D’Urbano has created a series of garments that| | | |
| | |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-1204 |Jan Edler & Tim Edler |2003 |Digital print |realities: united, Berlin |[pic] |
|NEW | |BIX Media Facade, Austria (Construction), | | | |
| | | | | | |
| | |Description: The Berlin-based architecture group realities:united | | | |
| | |transformed the curved blue envelope of the Kunsthaus Graz (designed by| | | |
| | |Peter Cook and Colin Fournier with Spacelab.UK) into a giant media | | | |
| | |screen. The screen consists of 930 ring-shaped flourescent lights | | | |
| | |installed inside the building’s translucent skin. A crude, | | | |
| | |low-resolution image is made by dimming the lights to varying degrees. | | | |
| | |(A simlar system is used to create shades of gray in halftone | | | |
| | |reproduction.) The display system was conceived and built as an | | | |
| | |integral part of the architecture. The images pulse from within the | | | |
| | |body of the building. | | | |
| | | | | | |
| | | | | | |
| 0GE-1205 |Jan Edler & Tim Edler |2003 |Digital print |realities: united, Berlin |[pic] |
|NEW | |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] |
|NEW |John deKron, Jeremy |BIX Media Facade, Austria (Digital Simulator), | | | |
| |Rotsztain, Peter Castine | | | | |
| | |Description: | | | |
| | |(one description for all parts of project) | | | |
| 0GE-1207 |Jan Edler & Tim Edler |2003 |DVD |realities: united, Berlin |[pic] |
|NEW | |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] |
|NEW | |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] |
|NEW | |BIX Media Facade, Austria (Exploded Rendering), | | | |
| | | | | | |
| | |Description: | | | |
| | |(one description for all parts of project) | | | |
| 0GE-1210-A-J |Ben-Or Uri |1998 |Silicone, standard light bulb | |[pic] |
| | |UBOLIte, | | | |
| | | |15,24 x 10,16 cm | | |
| | |Description: The Ubo light is a standard light bulb 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 |Jingzi, |Silicon | |[pic] |
|NEW | | | | | |
| | |Description: Like a primitive worm, the Jingzi lamp consists of a |1500 mm (3) | | |
| | |thin-walled transparent silicon tube. All the technical components are |2500 mm | | |
| | |contained inside this single flexible membrane. The natural silicon |1900 mm | | |
| | |casing diffuses the bulb’s light. Jingzi takes advantage of the unique |1700 mm | | |
| | |properties of silicon, whose flexibility yields irregularities in form.|1600 mm | | |
| | |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 Jingzi floor| | | |
| | |lamp includes a ready-made support structure for the silicon sphere; it| | | |
| | |can be mounted onto any solid surface without the use of a retainer. | | | |
| | |Both the standing lamp and the floor lamp are activated and deactivated| | | |
| | |by touching the silicon casing. | | | |
| 0GE-1212 | | | | | |
| |Alba D'Urbano |2000 |DVD |Alba D'Urbano, Leipzig |[pic] |
| | |Il Sarto Immortale (The Immortal Taylor): Couture: Divina, | | | |
| | | | | | |
| | |Description: Video projection of the fashion show. | | | |
| 0IT-1101 |Moreno Ferrari |2000 |Rainproof rubberized run-proof nylon | |[pic] |
| | |The Transformables: Tent (shown as coat), |mesh | | |
| | | | | | |
| | |Description: CP Company’s Transformable are jackets are designed to |2 x 1,9 m | | |
| | |change into various structures, including a chair, tent, and sleeping | | | |
| | |mattress. | | | |
| 0IT-1101-1 |Moreno Ferrari |2000 |Rainproof rubberized run-proof nylon | |[pic] |
| | |The Transformables: Tent (shown as tent), |mesh | | |
| | | | | | |
| | |Description |1,5 x 2 m | | |
| | |(use one description for variants of any object shown) | | | |
| / |Giada Dammacco |2003 |Aerogel padding |Grado Zero Espace / Giada |[pic] |
|0IT-1102 | |Absolute Zero, | |Dammacco / | |
| | | |73,66 x 50,8 x 1,27 cm | | |
| | |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. | | | |
| | | | | |[pic] |
|0IT-1103 |Giada Dammacco |2003 |Nylon, leather, plastic tubing |Grado Zero Espace / Giada | |
| | |Cooling System, | |Dammacco / | |
| | | |76,2 x 55,88 x 1,27 cm | | |
| | |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 |[pic] |
|NEW | |Nettle Jacket, | |Dammacco / | |
| | | |80 x 65 cm | | |
| | |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-1105 |Fabrizio Bertero, Andrea |1999 |Plastisol |Zanotta S.p.A., Nova |[pic] |
| |Panto |Globulo (phospherescent white), | |Milanese, Italy | |
| | | |22 x 70 cm | | |
| | |Description: The Italian manufacturer Zanotta introduced some of the | | | |
| | |first mass-produced inflatable furniture in the late 1960s. Zanotta | | | |
| | |recently issued its own contribution to the revival of 60s Pop design: | | | |
| | |Globulo, a series of inflatable chairs resembling bright translucent | | | |
| | |candies. Structure and skin converge in these invertebrate objects. Air| | | |
| | |becomes a physical material, given form by the surrounding membrane. | | | |
| 0IT-1106 |Ilaria Marelli |2004 |Frame in clear methacrylate with |Zanotta S.p.A., Nova |[pic] |
|NEW |Diana Eugeni |Lucciolo (geometrical), |phosphorescent designs |Milanese, Italy | |
| | | | | | |
| | |Description: This table is made from a single skin, bent to form top |44 x 40 x 36 cm | | |
| | |and legs. The skin is tatooed with a glowing phospherescent pattern. | | | |
| 0IT-1107 |Gianfranco Barban and Gregg |2003 |PVC, fluid |B.Lab Italia, Interactive |[pic] |
|NEW |Brodarick |Living Floor, | |Surface Design, Gallarate,| |
| | | |10 x 10 m |Italy, | |
| | |Description: These PVC modular floor tiles contain colorful fluids that| | | |
| | |generate evolving patterns when walked upon. | | | |
| 0IT-1108 |Konstantin Grcic |Dummy, | | |[pic] |
|NEW | | | | | |
| | |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.”| | | |
| | | | | |[pic] |
|0JP-1101 |Takao Someya |Flexible Robot Skin (hand), |18 x 8 x 8 cm | | |
|NEW | | | | | |
| | |Description: Someya’s Lab 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. | | | |
| | | | | |[pic] |
|0JP-1102 |Takao Someya |Flexible Robot Skin (Skin Sample), | | | |
| | | |8 x 8 cm | | |
| | |Description: | | | |
| | |(one description for both objects) | | | |
| 0JP-1103 |Matthieu Manche |1998 |Latex, metal |Matthieu Manche, Tokyo, |[pic] |
| | |Untitled (Fresh Series), | |Japan | |
| | | |70 x 30 x 30 cm | | |
| | |Description: This stool is equipped with uncanny excresences of skin. | | | |
| 0JP-1104-1-2 |Matthieu Manche |1998 - 2000 |Latex |Matthieu Manche, Tokyo, |[pic] |
| | |Untitled (Fresh Series), | |Japan | |
| | | | | | |
| | |Description: When used to manufacture condoms or gloves, latex closely | | | |
| | |followes 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, while tubes of latex link body parts and | | | |
| | |entire bodies into new configurations. | | | |
| | | | | | |
|0JP-1105 |Kohama Izumi and Moulin |2001 |Cordura and Nylon fabrics, PVC |ixi, Okinawa, Japan |[pic] |
| |Xavier for ixi |[Homewear] Pufybag, |inflatable ring, plastic 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 |120 x 35 x 23 cm | | |
| | |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 |2005 |Cordura and nylon fabrics, nylon |ixi, Okinawa, Japan |[pic] |
|NEW |and Kakazu Yoshinari for ixi|[Homewear] High Tension, |straps, metal rings and 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,|180 x 0 x 0 cm | | |
| | |sitting, reclining, and other activities, becoming a kind of wearable | | | |
| | |furniture and system of soft suspension. | | | |
| 0NL-1101 |Jurgen Bey |1999 |PVC coating, existing wooden chairs | |[pic] |
| | |Kokon Double Chair, | | | |
| | | |80 x 45 x 90 cm | | |
| | |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 familiar, humanly-scaled limbs of the | | | |
| | |found objects press through the artificial exterior. 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. | | | |
| 0NL-1102-A-C |Simon Heijdens |2004 |Craquele ceramic 3 - small plate 20 | |[pic] |
|NEW | |Broken White, |cm; plate 30 cm; bowl 12 cm | | |
| | | | | | |
| | |Description: The surface of this ceramic pot changes with time, showing| | | |
| | |its age on its skin. | | | |
|0NL-1103 |Simon Heijdens |2002 |Conductive silkscreen on paper | |[pic] |
| | |Moving Wallpaper, | | | |
| | | | | | |
| | |Description: The surface of the paper changes. | | | |
| | |OBJECT NOT AVAILABLE | | | |
| 0NL-1104-1-6 |Hella Jongerius |2000 |Porcelain, glass, packing tape |Hella Jongerius, |[pic] |
| | |Grove and Long Neck Bottles, | |Rotterdam, The Netherlands| |
| | | |38.5 x 18.5 cm | | |
| | |Description: Working on the idea of families of objects in which each | | | |
| | |individual item has its own, distinct personality yet shares common | | | |
| | |traits with its 'relatives', Hella Jongerius began thinking about the | | | |
| | |similarities between glass and ceramics. Both materials 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. Always curious | | | |
| | |about new materials and techniques, 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-1105 |Hella Jongerius |1996 |Soft polyurethane |Hella Jongerius, |[pic] |
| | |Pushed Washbasin, | |Rotterdam, The Netherlands| |
| | | |31 x 60 x 30 cm | | |
| | |Description: This bathroom sink exploits the full potential of soft | | | |
| | |polyurethane. 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. Whereas most bathroom fixtures are hard to the touch,| | | |
| | |this soft washbasin is eminently suited for use in cramped spaces. | | | |
| 0NL-1106-1-2 |Hella Jongerius |1996 |Soft polyurethane, silicone |Hella Jongerius, |[pic] |
| | |Soft Urn, Pink, | |Rotterdam, The Netherlands| |
| | | |28 x 15 cm | | |
| | |Description: These soft vases by Hella Jongerius assume a classical | | | |
| | |shape but are rendered in 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. | | | |
| 0NL-1107 |Jan Melis |1998 |Magnetic rubber, steel |Jan Melis, Rotterdam, The |[pic] |
| | |Magnet Cabinet, | |Netherlands | |
| | | |40 x 40 x 12 cm | | |
| | |Description: This cabinet has a magnetized rubber door. To open the | | | |
| | |cabinet, the user peels back the skin. A surface one expects to be | | | |
| | |hard proves to be soft and flexible. | | | |
| 0NL-1107-1-2 |Hella Jongerius |1996 |Soft polyurethane, silicone |Hella Jongerius, |[pic] |
| | |Soft Urn, Natural, | |Rotterdam, The Netherlands| |
| | | |28 x 15 cm | | |
| | |Description: | | | |
| | |(use one description for both Soft Urn, Pink and Soft Urn, Natural) | | | |
| 0NL-1108 |Jan Melis |2003 |Stoneware, silicon, rubber |Jan Melis, Rotterdam, The |[pic] |
|NEW |Ben Oostrum |Lo-Res (Inside-out), | |Netherlands | |
| | | |30 x 8,5 cm | | |
| | |Description: The designer created a new package for Dutch Jenever, a | | | |
| | |distilled beverage traditionally sold in a brown ceramic jar. Rapid | | | |
| | |prototyping manufacturing and software is used to create the new | | | |
| | |bottle. 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] |
|NEW | |Lo-Res (Crosswire), | |Netherlands | |
| | | |30 x 8,5 cm | | |
| | |Description: | | | |
| | |(use one description for both versions of the bottle) | | | |
| 0NL-1110 |Chris Slutter |1999 |Steel, wool and latex | |[pic] |
| | |Latex Cupboard, | | | |
| | | |37,49 x 40 x 4,98 cm | | |
| | |Description: Chris Slutter has designed a cabinet with a latex-covered | | | |
| | |door; the objects placed inside press mysteriously against the | | | |
| | |cabinet’s outer membrane. | | | |
| 0SP-1101 |Héctor Serrano |2000 |Nylon net and polyester printed |Metalarte, Barcelona, |[pic] |
| | |Top Secret, |strips |Spain | |
| | | | | | |
| | |Description: This lamp is made from acetate that has been passed |35 x 45 x 45 cm | | |
| | |through a shreading machine. The acetate strips are held together | | | |
| | |inside a clear nylon net. The result is a semi-transparent cocoon of | | | |
| | |irregularly massed material. | | | |
| 0US-1101 |Elinor Carucci |1997 |C-print |Elinor Carucci, New York |[pic] |
| | |Covered Belly, | | | |
| | | |76,2 x 106,68 cm | | |
| | |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 |[pic] |
| | |Hand in Bathroom, | | | |
| | | |76,2 x 106,68 cm | | |
| | |Description: | | | |
| | |(use one description for all Carucci photographs) | | | |
| 0US-1103 |Elinor Carucci |1999 |C-print |Elinor Carucci, New York |[pic] |
| | |Holding Eran's Wounded Hand, | | | |
| | | |76,2 x 106,68 cm | | |
| | |Description: | | | |
| | |(use one description for all Carucci photographs) | | | |
| 0US-1104 |Elinor Carucci |1999 |C-print |Elinor Carucci, New York |[pic] |
| | |Lips and Hair, | | | |
| | | |76,2 x 106,68 cm | | |
| | |Description | | | |
| | |(use one description for all Carucci photographs) | | | |
| 0US-1105 |Elinor Carucci |2001 |C-print |Elinor Carucci, New York |[pic] |
|NEW | |Nails, | | | |
| | | |76,2 x 106,68 cm | | |
| | |Description: | | | |
| | |(use one description for all Carucci photographs) | | | |
| 0US-1106 |Elinor Carucci |1997 |C-print |Elinor Carucci, New York |[pic] |
|NEW | |Nipple Hair, | | | |
| | | |76,2 x 106,68 cm | | |
| | |Description: | | | |
| | |(use one description for all Carucci photographs) | | | |
| 0US-1107 |Elinor Carucci |1996 |C-print |Elinor Carucci, New York |[pic] |
|NEW | |Red Curtain, | | | |
| | | |76,2 x 106,68 cm | | |
| | |Description: | | | |
| | |(use one description for all Carucci photographs) | | | |
| 0US-1108 |Elinor Carucci |1999 |C-print |Elinor Carucci, New York |[pic] |
| | |Zipper Mark, | | | |
| | | |76,2 x 106,68 cm | | |
| | |Description: | | | |
| | |(use one description for all Carucci photographs) | | | |
| 0US-1109 |Elke Gasselseder |2002 |DVD | |[pic] |
| | |Beauty, Horror and Biotechnology, | | | |
| | | | | | |
| | |Description: This video is a montage of clips from films about cyborgs,| | | |
| | |alliens, and artificial life. Each film comments on the disturbing | | | |
| | |overlap between natural and artificial skins. | | | |
| 0US-1110 |David Hanson |2005 |Frubber(r) platinum silicone, | |[pic] |
|NEW | |Face Robot, |titanium, carbon fiber, popsicle | | |
| | | |sticks, stratasys rapid prototype ABS| | |
| | |Description: David Hanson is a robotics designer and engineer who |plastic, teflon, Spiderwire, | | |
| | |specializes in expressive robots. |servomotors, super-glue, | | |
| | |One of his innovations is the material Frubber, which closely resembles|Microcontrollers, composite cameras, | | |
| | |human skin. A naturally expressive robot requires a skin that flexes, |artificial eyes, phased array | | |
| | |expands, and retracts. |microphones, Multimodal speech | | |
| | | |recognition software, Cognitec | | |
| | | |FaceVacs biometric identification | | |
| | |Exhibition will include video, not actual working robot |software, Acapela speech synthesis | | |
| | | |software, Intel open computer vision | | |
| | | |library, NevenVision facial feature | | |
| | | |tracker, Jess rules engine, latent | | |
| | | |semantic analysis hyper-threaded PC | | |
| | | | | | |
| | | |48,26 x 40,64 x 27,94 cm | | |
| 0US-1111 |Peter Menzel |2000 |Digital print |© Peter Menzel, |[pic] |
| | |#117 (Third Generation Face Robot), | |, Napa,| |
| | | |76,2 x 50,8 cm |CA, USA | |
| | |Description: Robots are no longer emotionless automatons. Today, robots| | | |
| | |are being manufactured for the purpose 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. | | | |
| | | | | | |
| | |Jon: be sure that the engineer of the face robot is credited, as well | | | |
| | |as the photographer. This credit is in our Skin book and database. | | | |
| 0US-1112 |Peter Menzel |2000 |Digital print |© Peter Menzel, |[pic] |
| | |#95 (Second-Generation Face Robot), | |, Napa,| |
| | | |76,2 x 50,8 cm |CA, USA | |
| | |Description: | | | |
| | |(use one description for both Menzel photographs) | | | |
| 0US-1113 |Organogenesis, Inc. |1998 |Simulated artificial skin |Organogenesis, Inc., |[pic] |
| | |Apligraf, | |Canton, MA, USA | |
| | | |12,7 x 12,7 x 2,54 cm | | |
| | |Description: Apligraf is a cellular, bi-layer living skin substitute. | | | |
| | |It is grown in a petri dish on a layer of collagen that is seeded with | | | |
| | |living human skin cells. (The cells are harvested from the circumcised | | | |
| | |foreskin of an infant boy’s penis; this neonatal tissue is ideally | | | |
| | |suited for growth.) Thousands of skin grafts can be grown from this | | | |
| | |single human harvest. The product is shipped on a bed of nutrients, | | | |
| | |which keep it nourished while it travels. The product is placed in a | | | |
| | |plastic bag and sealed; it is then sent 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 extremely common ailments. | | | |
| | |The sample displayed here is a model only; the color derives from the | | | |
| | |nutrient bed, not from the skin itself. | | | |
| 0US-1114 |Yves Behar |1997 |Light-sensitive PVC, zipper | |[pic] |
|NEW | |Fuse Secondskin, | | | |
| | | |157,48 x 43,18 cm | | |
| | |Description: Industrial designer Yves Behar created this complete suit | | | |
| | |out of shiny vinyl, recalling the flamboyant Pop fashions of the 1960s | | | |
| 0US-1115 |Yves Behar |2001 |Teflon-coated cashmere | |[pic] |
| | |Y Way Windbreaker, | | | |
| | | |86,36 x 152,4 cm | | |
| | |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 |2003 |TPU, Stainless Steel | |[pic] |
|NEW | |Mini Motion Watch, | | | |
| | | |5,08 x 6,6 x 3,17 cm | | |
| | |Description: This bracelet watch uses a flexible rubber-steel compound | | | |
| | |to emulate the natural contour of the wrist. The digital display | | | |
| | |switches form horizontal to vertical, allowing for easier reading. | | | |
| 0US-1117 |Yves Behar |2003 |Injection-molded ABS, aluminum | |[pic] |
|NEW | |Aliph Jawbone Headseat, | | | |
| | | |47 x 12 x 12 mm | | |
| | |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-1118 |Yves Behar |2002 |Undergarments packaged in | |[pic] |
|NEW | |Devo Underwear and Packaging, |biodegradable cornstarch | | |
| | | | | | |
| | |Description: The packaging of these undergarments, made from |26,67 x 30,48 cm | | |
| | |biodegradable cornstarch, disappears in the laundry. | | | |
| 0US-1119 |Yves Behar |2004 |Aluminum, electroluminescent film, | |[pic] |
|NEW | |Inner Light (large), |fiberglass resin | | |
| | | | | | |
| | |Description: A ribbon of material glows from within. The lamp uses |213,36 x 203,2 x 30,48 cm | | |
| | |electroluminescent film, a thin flexible material, in place of a bulb. | | | |
| | | | | | |
| | | | | | |
| 0US-1121 |BodyMedia, Inc. |2004 |Multi-sensor conductive textile |BodyMedia, Inc., |[pic] |
|NEW | |SenseWear® Patch Body Monitor, | |Pittsburgh, USA | |
| | | |92,2 x 50,8 x 8,4 mm | | |
| | |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 |Facade of the Synthetic, |Silk, felted wool and 3 LCD Screens |Knowear: Peter Allen and |[pic] |
|NEW |Allen | | |Carla Ross Allen, | |
| | |Description: The future of fashion branding could be transformed with |58,42 x 35,56 x 22,86 cm |Brooklyn, USA | |
| | |these tiny, built-in billboards, which display motion graphics on | | | |
| | |miniature LCD screens. | | | |
| 0US-1124 |Carla Ross Allen and Peter |2001 |Fiberglass and resin |Knowear: Peter Allen and |[pic] |
| |Allen |Skinthetic: Chanel_01, | |Carla Ross Allen, | |
| | | |68,58 x 35,56 cm |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. The skin of the quilted garment becomes continuous | | | |
| | |with the skin of the body. | | | |
| 0US-1125 |Carla Ross Allen and Peter |2001 |Digital File |Knowear: Peter Allen and |[pic] |
| |Allen |Skinthetic: Chanel_03, | |Carla Ross Allen, | |
| | | | |Brooklyn, USA | |
| | |Description: | | | |
| | |(use one description for two Skinthetic components) | | | |
| 0US-1126 |Carla Ross Allen and Peter |2000 |Silk and vacuum-formed foam |Knowear: Peter Allen and |[pic] |
| |Allen |TechnoLust, | |Carla Ross Allen, | |
| | | |147,32 x 40,64 x 22,86 cm |Brooklyn, USA | |
| | |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. | | | |
| 0US-1126-1 |Carla Ross Allen and Peter |2000 |Metal, foam, silk, cast steel base |Knowear: Peter Allen and |[pic] |
| |Allen |TechnoLust (Mannequin), | |Carla Ross Allen, | |
| | | |147,32 x 40,64 x 22,86 cm |Brooklyn, USA | |
| | |Description: | | | |
| | |(use one description for all Technolust components) | | | |
| 0US-1127 |Carla Ross Allen and Peter |2001 |Digital File |Knowear: Peter Allen and |[pic] |
| |Allen |Skinthetic: Chanel_02, | |Carla Ross Allen, | |
| | | | |Brooklyn, USA | |
| | |Description: | | | |
| | |(use one description for two Skinthetic components | | | |
| | | | | | |
| | | | | | |
| 0US-1129 |David Hanson |2005 |DVD | |[pic] |
| | |Face Robot (DVD), | | | |
| | | | | | |
| | |Description: David Hanson is a robotics designer and engineer who | | | |
| | |specializes in expressive robots. | | | |
| | | | | | |
| | |(this belongs with other Hanson entry) | | | |
| 0US-1130 |unbekannt/unknown/inconnu | |DuPont Tychem-Tk | |[pic] |
| | |Level A Protective Suit, | | | |
| | | |182,88 x 81,28 cm | | |
| | |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-1131 |North Face |2002 |Polyester fleece with conductive | |[pic] |
|NEW | |MET 5 Jacket, |heating fibers, four-way stretch | | |
| | | |nylon shell, powershield semi-air | | |
| | |Description: Designed to maximize human comfort in extreme cold, this |permeable membrane | | |
| | |jacket conducts heat through a network of microscopic conductive | | | |
| | |fibers, each finer than a human hair. The heating fibers are |101,6 x 101,6 x 20,32 cm | | |
| | |concentrated around the chest, where the body’s main circulation | | | |
| | |occurs, increasing the wearer’s sense of warmth. User can adjust heat | | | |
| | |during periods of activity and inactivity, as when skiing or mountain | | | |
| | |climbing. | | | |
| 0US-1132 |unbekannt/unknown/inconnu | |Nylon, Lycra spandex - Fastskin and | |[pic] |
| | |Fastskin FSII Full Bodyskin, |Flexskin | | |
| | | | | | |
| | |Description: The surface of this garment simulates the ridged skin of a| | | |
| | |shark, enhancing the performance of competitive swimmers. | | | |
| 0US-1133 |Jeremiah Sullivan |2001 |Vectran (liquid crystal polymer |Jeremiah Sullivan, |[pic] |
| | |Nemo II, |fiber), steel mesh, carbon fiber |Neptunic Sharksuits, San | |
| | | |laminate |Diego, CA, USA | |
| | |Description: Jeremiah Sullivan pioneered the steel mesh shark suit in | | | |
| | |the early 1980s to enable researchers and enthusiasts to swim with |182,88 x 90,53 x 30,48 cm | | |
| | |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’s suits | | | |
| | |offer substantial protection againist shark attacks. He 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 webbing |Jeremiah Sullivan, |[pic] |
|NEW | |Neptunic ‘C’ Suit, | |Neptunic Sharksuits, San | |
| | | |182,88 x 91,44 x 30,48 cm |Diego, CA, USA | |
| | |Description: | | | |
| | |(use one description for both Shark suits) | | | |
| 0US-1135 |unbekannt/unknown/inconnu |2002 - 2006 | | |[pic] |
| | |Swatch Skin Selection, | | | |
| | | | | | |
| | |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. By using minimal | | | |
| | |materials in an openly expressive way, Swatch’s Skin Collection treats | | | |
| | |the watch both as functional jewelry and as expressive fashion | | | |
| | |accessory. | | | |
| 0US-1136 |Petra Blaisse |2003 | | |[pic] |
|NEW | |Touch Wallcovering Series, | | | |
| | | | | | |
| | |Description: These wallcoverings by Petra Blaisse feature photographic | | | |
| | |enlargements of tactile surfaces. Blaisse is known for her | | | |
| | |architectural textiles, curtains, and surfaces. | | | |
|0US-1137 |Erika Hanson |2006 | | |[pic] |
|NEW | |Objects for Walls (Maplex), | | | |
| | | |300 x 200 x 40 cm | | |
| | |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. | | | |
| 0US-1138 |Hella Jongerius |2004 |Needle-punched wool | |[pic] |
|NEW | |Sampler Blanket #2 (w/squirrel), | | | |
| | | |210 x 140 cm | | |
| | |Description: These blankets by 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 needles to entangle fibers together to create a | | | |
| | |non-woven fabric mat. This technique is commonly employed in the making| | | |
| | |of carpets. The barbed needles push up and down through the base | | | |
| | |textile to entangle the fibers together. Jongerius has further | | | |
| | |embellished these blankets with embroidery. | | | |
| 0US-1139 |Hella Jongerius |2005 |Needle-punched wool | |[pic] |
| | |Sampler Blanket #8 (w/reindeer), | | | |
| | | |196 x 89.5 cm | | |
| | |Description: | | | |
| | |(Use one description for all Hella blankets.) | | | |
| 0US-1140 |Tonita Abeyta |2000 |Aluminium/aluminum |Tonita Abeyta, San |[pic] |
| | |Sensate, | |Francisco, CA, USA | |
| | | |22,86 x 43,18 cm | | |
| | |Description: Tonita Abeya is designing a full line of latex garments, | | | |
| | |with and without built-in male or female condoms. The female condom | | | |
| | |rendered at left 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). They coordinate with the | | | |
| | |wearable condoms for a complete “look.” Abeyta believes that a sense of| | | |
| | |fun and comfort will help achieve the larger goal of integrating safer | | | |
| | |sexual practices into the public consciousness. 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 bikini and | | | |
| | |briefs. | | | |
| 0US-1140-1 |Tonita Abeyta |2000 |Aluminium/aluminum |Tonita Abeyta, San |[pic] |
| | |Sensate (mandrel), | |Francisco, CA, USA | |
| | | |31,75 x 31,75 x 20,32 cm | | |
| | |Description: | | | |
| | |(use one description for all Sensate components) | | | |
| 0US-1140-2 |Tonita Abeyta |2000 | |Tonita Abeyta, San |[pic] |
| | |Sensate (rendering), | |Francisco, CA, USA | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all Sensate components) | | | |
| 0US-1141 |Damian Barton |2002 |Sheet and tubular aluminum |Damian Barton, Miami, USA |[pic] |
|NEW | |Quark Cafe Table, | | | |
| | | |76,2 x 81,28 x 81,28 cm | | |
| | |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-1142 |Nicola Costantino |1999 |Silicone, leather |Courtesy Deitch Projects, |[pic] |
| | |Human Furrier: Bustier, | |New York, and the artist | |
| | | |33,02 x 38,1 x 6,98 cm | | |
| | |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 | |Silicone, leather |Courtesy Deitch Projects, |[pic] |
| | |Human Furrier: Soccer Ball, | |New York, and the artist | |
| | | |20,32 cm | | |
| | |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-1144 |Martin D'Esposito |2004 |Formed plastic | |[pic] |
|NEW | |Drink Tray, | | | |
| | | |3 x 35 cm | | |
| | |Description: A hand appears to be emerging through the surface of this | | | |
| | |serving tray; the effect is at once surprising and functional. | | | |
| 0US-1145 |Hella Jongerius |1996 |Soft polyurethane | |[pic] |
| | |Bathroom Mat, | | | |
| | | |4 x 60 x 40 cm | | |
| | |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. | | | |
| 0US-1146 |Tonita Abeyta and Pablo |2000 |Self-skinning injection-molded | |[pic] |
| |Pardo |Cush, |polyurethane foam | | |
| | | | | | |
| | |Description: The Cush pillows by Pablo Pardo and Tonita Abeyta support |10,16 x 45,72 x 15,24 cm | | |
| | |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-1147 |Pablo Pardo |2001 |Fused polyester mesh and clear | |[pic] |
|NEW | |Medina Bin, |polycarbonate plastic | | |
| | | | | | |
| | |Description: This mesh wastebasket has one flat side, so that it can |40,64 x 38,1 x 20,32 cm | | |
| | |sit against the wall, becoming integral to the surface of the room | | | |
| 0US-1148 |Pablo Pardo |2003 |Vinyl-coated mesh fabric featuring | |[pic] |
| | |Ventana Lamp, |polycarbonate light tube with Lexan | | |
| | | |and acrylic accents. | | |
| | |Description: This hybrid lighting fixture serves as both a room divider| | | |
| | |and a lamp. The curtain can be rolled down when needed for privacy and |274,32 x 38,1 x 11,43 cm | | |
| | |rolled up and out of the way to create open space. | | | |
|0US-1149 |Karim Rashid |2005 |Solid polyeurythene top and steel | |[pic] |
|NEW | |Blob Table, |chrome-plated base | | |
| | | | | | |
| | |Description: The table has a soft, heat-senstive surface that changes |110 x 120 x 70 cm | | |
| | |color when touch. | | | |
| | | | | | |
| | |This object may not be available! | | | |
| | | | | | |
| | | | | | |
| 0US-1150 |Karim Rashid |1999 |Vinyl dipped PVC | |[pic] |
| | |Desktop Landscape Vessel, | | | |
| | | |12,7 x 15,24 x 26,67 cm | | |
| | |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 froom inside to outside. | | | |
| 0US-1151 |Karim Rashid |1999 |Polypropylene | |[pic] |
|NEW | |Dishrack, | | | |
| | | |15,24 x 43,18 x 35,56 cm | | |
| | |Description: This plastic rack for drying dishes provides a curving | | | |
| | |landscape for the kitchen counter. | | | |
| 0US-1152 |Karim Rashid |2004 |Silicon | |[pic] |
| | |Menorahmorph, | | | |
| | | |9,52 x 27,94 cm | | |
| | |Description: In honor of its centennial, The Jewish Museum commissioned| | | |
| | |designer Karim Rashid to design this unique menorah. The candle holders| | | |
| | |appear to grow out of an artificial landscape. | | | |
| 0US-1153 |Marcel Wanders |1997 |Porcelain | |[pic] |
| | |Egg Vase, | | | |
| | | |10 x 9 x 9 cm | | |
| | |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-1154 |Adam Yarinsky |2004 - 2005 |CNC (Computer Numeric Controlled) | |[pic] |
|NEW |Stephen Cassell |CNC Fiberboard Lattice Panel, |milled medium density fiberboard | | |
| | | | | | |
| | |Description: The panels were created for use in a Manhattan apartment |48 x 96 x 1 inches | | |
| | |to filter light and provide changing views. Changes in the perforations| | | |
| | |of the panel occur in a three-dimensional way across the surface, | | | |
| | |creating a complex skin with fluctuating transparency. Areas of greater| | | |
| | |openness favor views from specific orientations, which relate to the | | | |
| | |design of 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 corrugated |Architecture Research |[pic] |
|NEW |Stephen Cassell |Corrulam, |cardboard |Office LLC, New York | |
| | | | | | |
| | |Description: |7 1/2 x 36 x 1/2 inches | | |
| | |(use one description for all Corrulamp components) | | | |
| | | | | | |
| | | | | | |
| 0US-1156 |Adam Yarinsky |2004 |Corrugated cardboard, lighting |Architecture Research |[pic] |
| |Stephen Cassell |Corrulamp-1, |element |Office LLC, New York | |
| | | | | | |
| | |Description: The lamp is made from layers of laser-cut cardboard, |10 x 24 x 6 inches | | |
| | |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 technology. | | | |
| 0US-1157 |Adam Yarinsky |2004 - 2005 |Digital print |Architecture Research |[pic] |
| |Stephen Cassell |Photographs of Installed CNC Fiberboard Lattice Panels, | |Office LLC, New York | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all Lattice Panel elements) | | | |
| 0US-1158-1-6 |Adam Yarinsky |2004 - 2005 |Laser-cut Museum Board |Architecture Research |[pic] |
| | |Laser-cut Museum Board Studies (six), | |Office LLC, New York | |
| | | |8 1/4 x 21 inches | | |
| | |Description: | | | |
| | |(use one description for all Lattice Panel elements | | | |
| 0US-1159 |Anthony Aziz |2000 |C-print | |[pic] |
|NEW | |Glory #2, | | | |
| | | |152,4 x 76,2 cm | | |
| | |Description: Aziz + Cucher create digitally modified photographs of | | | |
| | |objects and spaces covered in skin. | | | |
| 0US-1160 |Anthony Aziz |2000 |C-print | |[pic] |
|NEW | |Interior #5, | | | |
| | | |172,72 x 121,92 cm | | |
| | |Description: | | | |
| | |(use one description for Glory #2 and Interior #5) | | | |
| 0US-1161 |Anthony Aziz |2002 |DVD | |[pic] |
|NEW | |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 |2004 |Urethane-infiltrated, gypsum based | |[pic] |
|NEW | |Resi-Rise Structural Chasis Double Tower Model (Double Skin), |powder fabrication using 3D solid | | |
| | | |printing, computer aided | | |
| | |Description: |manufacturing | | |
| | |Resi-Rise is a project for a building with an undulating skin that | | | |
| | |serves as both the surface and structure of the building. The material |30,48 x 76,2 x 60,96 cm | | |
| | |becomes an exterior shell, like the fuselage of a plane. | | | |
| 0US-1163 |Sulan Kolatan | |Resin-infiltrated thermopolymer using| |[pic] |
|NEW | |Resi-Rise Structural Chassis, Single Tower with Pods, |3D Multi-Jet Modeling, Computer Aided| | |
| | | |Manufacturing | | |
| | |Description: | | | |
| | |(use one description for all Resi-Rise components) |8 x 8 x 18 inches | | |
| 0US-1164 |Sulan Kolatan |2004 |DVD | | |
|NEW | |Resi-Rise (digital animation), | | | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all Resi-Rise components) | | | |
| 0US-1165 |Ellen Lupton |2006 |DVD | |[pic] |
|NEW | |Flesh, Bones, Skin, | | | |
| | | | | | |
| | |Description: This video was shot and edited during the renovation of | | | |
| | |the Köhlenwasche. The video talks about the skin of this important | | | |
| | |building, whose construction was innovative in its time. | | | |
| 0US-1166 |Greg Lynn |2000 |Styrene, aluminum mesh, acrylic | |[pic] |
|NEW | |Kleiburg Block Competition (model), | | | |
| | | |38,1 x 358,14 x 152,4 cm | | |
| | |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 a | | | |
| | |series of 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 | |[pic] |
|NEW | |Kleiburg Block Competition (video), | | | |
| | | | | | |
| | |Description: | | | |
| | |(Use one description for all Kleiburg elements) | | | |
| 0US-1168 |Research Frontiers Inc. |2004 |Patented suspended particle device |Research Frontiers Inc., |[pic] |
|NEW | |SPD Light-Control Window, |(SPD) film laminated within |Woodbury, NY USA | |
| | | |monolithic glass; aluminum frame; | | |
| | |Description: The SPD (suspended particle device) technology at the |four-way controller | | |
| | |heart of SmartGlass allows a user to quickly, easily, and precisely | | | |
| | |control how much light, glare, and heat come through a window. The |1,8 x 1,52 x 0,11 m | | |
| | |technology is adaptable to windows on buildings, automobiles, and | | | |
| | |transit vehicles, as well as for mirrors, eyewear, displays, and | | | |
| | |specialty filters. | | | |
| 0US-1169-A-J |Noel Carrington |2000 |3D mesh textile and lighting hardware| |[pic] |
| | |WooOrb (10), | | | |
| | | |13,33 x 13,33 x 13,33 cm | | |
| | |Description: The shade of Don Carr’s WooOrb is made from molded 3D | | | |
| | |fabric. The lamp can rest on a table or hang from a ceiling, singly or | | | |
| | |in groups. | | | |
| 0US-1170 |Victor Chu |PowerSol (48 inches), |Polyvinyl, solar cells |Victor Chu, Fashion |[pic] |
|NEW | | | |Technologist, New York, | |
| | |Description: This blanket features an imprintable, flexible, |121,92 cm |USA | |
| | |solar-powered surface. The cells gather energy from the sun by day and | | | |
| | |emit a glow by night. | | | |
| 0US-1171 |Victor Chu |PowerSol (24 inches), |Polyvinyl, solar cells |Victor Chu, Fashion |[pic] |
| | | | |Technologist, New York, | |
| | |Description: |60,96 cm |USA | |
| | |(Use on description for both blankets.) | | | |
| 0US-1172 |Sheila Kennedy |2005 |Photovoltaic textile with solid state| |[pic] |
|NEW |KVA Design Team |Portable Light: Luminous Reading Mat, |lighting | | |
| | | | | | |
| | |Description: Portable Light is an interdisciplinary research, design, |12 x 26 x 16 inches | | |
| | |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 Portable Light | | | |
| | |provides a versatile textile medium that can be woven, owned, carried, | | | |
| | |and used as needed, facilitating the adoption and stewardship of | | | |
| | |contemporary technology in traditional cultures. 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. | | | |
| 0US-1173 |Sheila Kennedy |2005 |Photovoltaic textile with solid state| |[pic] |
| |KVA Design Team |Portable Light: Digital Lantern, |lighting | | |
| | | | | | |
| | |Description: |40,64 x 60,96 x 45,72 cm | | |
| | |(use one description for all Portable Light components) | | | |
| 0US-1174 |Sheila Kennedy |2005 |Photovoltaic textile with solid state| |[pic] |
| |KVA Design Team |Portable Light: Portable Workshop, |lighting | | |
| | | | | | |
| | |Description: |40,64 x 50,8 x 45,72 cm | | |
| | |(use one description for all Portable Light components) | | | |
| 0US-1175 |Sheila Kennedy |2005 |Photovoltaic textile with solid state| |[pic] |
| |KVA Design Team |Portable Light: Portable Workshop II, |lighting | | |
| | | | | | |
| | |Description: |40,64 x 50,8 x 45,72 cm | | |
| | |(use one description for all Portable Light components) | | | |
| 0US-1176 |Sheila Kennedy |Portable Light: DVD, |DVD | | |
| | | | | | |
| | |Description: | | | |
| | |(use one description for all Portable Light components) | | | |
| 0US-1177-1-3 |Robert & Granger Moorhead |2005 |Silicone, wiring, electric lamp |Moorhead & Moorhead, New |[pic] |
|REVISED DESIGN | |Rubber Lamp, | |York, USA | |
| | | |30,48 x 20,32 cm | | |
| | |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. | | | |
| 0US-1178 |Dakota Jackson |2001 |Laminated glass and acrylic, | |[pic] |
| | |DB-2, |translucent PVC skin, powder-coated | | |
| | | |stell, rubber, nylon glides | | |
| | |Description: A soft, translucent skin wraps around a skeleton of rigid | | | |
| | |materials. Like a slice through a living creature, the edge view of |50,8 x 55,88 x 40,64 cm | | |
| | |the table reveals the layering and the interpenetration of diverse | | | |
| | |materials. | | | |
| 0US-1179 |Andrea Valentini |2006 |Polyethelene with vinyl topstrate | |[pic] |
|NEW | |Second Skin Object, | | | |
| | | | | | |
| | |Description: This project features a series of custom-made panels made | | | |
| | |from an original material developed by designer Andrea Valentini. | | | |
| 0US-1180 |Christian Mitman |Panelite Structural Wall System, |Honeycomb composite material with | |[pic] |
|NEW | | |aluminum frame | | |
| | |Description: Panelite provides both a finished surface and a structural| | | |
| | |material, with numerous interior and exterior uses. Panelite’s sandwich| | | |
| | |construction typically is exploited in the aerospace industry. The | | | |
| | |structural honeycomb core provides strength and consistent 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, is as beautiful as| | | |
| | |it is functional. | | | |
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