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Neri Oxman

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Neri Oxman
Neri Oxman by Noah Kalina.jpg
Oxman in 2017
Born
נרי אוקסמן

(1976-02-06) February 6, 1976 (age 45)[1]
Haifa, Israel
NationalityIsraeli, American
Alma materThe Hebrew Reali School in Haifa, Israel
Technion – Israel Institute of Technology (BA)
Hebrew University of Jerusalem
Architectural Association (MA)
Massachusetts Institute of Technology (PhD)
OccupationAssociate professor of media arts and science[2]
Notable work
Silk Pavilion (2013)
Wanderers (2015)
Material Ecology (2020)
Spouse(s)Osvaldo Golijov (divorced)
Bill Ackman (2019–present)
Children1
AwardsVilcek Prize, 2014
Earth Award, 2009
Military career
Allegiance Israel
Service/branchAir Force Ensign of Israel.svg Israeli Air Force
RankIAF segen.svg First lieutenant

Neri Oxman (Hebrew: נרי אוקסמן‎; born February 6, 1976) is an American–Israeli designer and professor at the MIT Media Lab, where she leads the Mediated Matter research group. She is known for art and architecture that combine design, biology, computing, and materials engineering.

Her work embodies environmental design and digital morphogenesis, with shapes and properties that are determined by their context. She coined the phrase "material ecology" to define her work, placing materials in context.[3][4] Stylistic trademarks include brightly colored and textured surfaces with structure at many scales, and composite materials whose hardness, color, and shape vary over an object. The results are often in collaboration with or inspired by nature and biology.

Many of Oxman's projects use new platforms and techniques for 3D printing and fabrication. They include co-fabrication systems for building hybrid structures with silkworms (Silk Pavilion),[5] bees (Synthetic Apiary), and ants; Ocean Pavilion, a water-based fabrication platform that built structures such as Aguahoja out of chitosan;[6] and Glass I and II,[7] the first 3D printer for optically transparent glass.[8] Some of these platforms are being developed for broader use.[9]

Other projects include 3D-printed clothing and wearables,[10] often using new materials (such as resins containing biosynthetic bacteria[11]).

Oxman has had exhibitions at the Museum of Modern Art,[12] Boston's Museum of Science, and Paris's Centre Pompidou, which have some of her works in their permanent collections.[13] MoMA curator Paola Antonelli called her "a person ahead of her time, not of her time",[14] and Bruce Sterling called her work "shatteringly different from anything before".[15]

Early life and education[]

Rivka Oxman, mother of Neri Oxman and professor at the Technion – Israel Institute of Technology

Oxman was born and raised in Haifa, Israel, to a Jewish family.[16][17] Her parents, Robert and Rivka Oxman, are both architects. Her younger sister, Keren Oxman, is an artist. Oxman graduated from the Hebrew Reali School in Haifa in 1994. Oxman grew up "between nature and culture", spending time in her grandmother's garden and her parent's architectural studio.

Oxman served in the armed forces, enlisting in the Israeli Air Force, achieving the rank of first lieutenant.[18] After her service, she moved to Jerusalem to enter Hebrew University's Hadassah Medical School. After two years, she switched to studying architecture at the Technion, and then at the London Architectural Association School of Architecture, graduating in 2004.[19][20]

In 2005, she moved to Boston to join the architecture PhD program at MIT, under adviser William J. Mitchell. Her thesis was on material-aware design.[21] In 2010, she became an associate professor at MIT in the MIT Media Lab.

Career[]

Neri Oxman with Chuck Hoberman of Harvard Graduate School of Design

Oxman's work has been displayed around the world, with pieces in the permanent collections of the Museum of Modern Art, the Cooper Hewitt Design Museum, the Centre Georges Pompidou, Vienna's Museum of Applied Arts, SFMOMA, and Boston's Museum of Fine Arts and Museum of Science.[22] In 2020 a major retrospective of Oxman's work opened at the Museum of Modern Art.[23][24]

She published papers on parametric and contextual design, and developed engineering techniques to realize those designs in various materials. In 2006, she launched an interdisciplinary research project at MIT called materialecology, to experiment with generative design.[25][26] This project and related collaborations informed her early art. She has promoted the idea of finding new ways to communicate about and collaborate on design. In 2016, she helped launch the open and multidisciplinary Journal of Design Science.[27]

She has appeared on the covers of Fast Company,[28] Wired UK,[29] ICON,[30] and Surface magazine.[31] Her work is mentioned as an inspiration for changing how materials and structures are designed, and her artistic works were described by Andrew Bolton as "otherworldly—defined by neither time nor place".[32]

On becoming a professor in 2010, Oxman founded the Mediated Matter research group at the MIT Media Lab. There she expanded her collaborations into biology, medicine and wearables.

Design philosophy[]

Oxman writes about the world and environment as organisms, changing regularly and responding to use, full of gradients of color and physical properties rather than sharp boundaries. She proposed developing a material ecology with "holistic products, characterized by property gradients and multi-functionality" – in contrast to assembly lines and “a world made of parts". On the interplay between design and fabrication methods, she said "the assumption that parts are made from single materials and fulfill predetermined functions is deeply rooted in design... [and] enforced by the way that industrial supply chains work.”[33]

Oxman at Pop!Tech 2009

She describes her work as pursuing "a shift from consuming nature as a geological resource to editing it as a biological one."[34][35] This leads to using multi-scale biological shapes and textures for inspiration, and including living elements in fabrication processes, such as the glowing bacteria in Mushtari and the silkworms in the Silk Pavilion.[5] She has written that science, engineering, design and art should be more actively connected – with the output of each discipline serving as input for another.[36]

Oxman has given presentations on digital and cross-disciplinary design, and on moving beyond mass-produced design elements. These include a presentation on form generation and environmental design[37] cited by rapid prototypers in other fields,[38] and a popular TED talk on designing "at the intersection of technology and biology".[33] Her 2016 keynote at the American Institute of Architects conference proposed "a more profound role for architecture in society", by working hand-in-hand with science and engineering.[39]

Television appearances[]

Oxman was the focus of an episode of Netflix docu-series Abstract: The Art of Design (season 2, episode 2).[40]

Mediated Matter[]

Oxman's research and design lab at MIT, the Mediated Matter group, uses computational design, digital fabrication, materials science and synthetic biology to work with both small and large structures.[22][34] Published methods have included taking images of a biological or natural sample, developing algorithms to produce similar structures, and developing new manufacturing processes to realize the results. Projects have included wearable clothes and tools,[41] solar-powered and biodegradable designs,[42] new artistic techniques, and construction of surfaces, walls, coverings and load-bearing elements.

Organic and natural fabrication[]

A number of Oxman's works have involved fabrication by animals or by natural processes.

The Silk Pavilion, an installation designed in 2013, was noted for its fabrication method as much as its final form. It was woven by 6,500 free-ranging silkworms on a nylon-frame dome.[43] Experiments with the silkworms identified how they would respond to different surfaces, and what would encourage them to spin onto an existing structure rather than spinning a cocoon. The frame of a large polyhedral dome was loosely woven by a robotic arm out of thin nylon threads, and suspended in an open room.[44] The dome was designed with gaps where it would be warmest. Silkworms were released onto the frame in waves, where they added layers of silk before being removed. This involved engineering, sericulture, and modeling sun in the room. The resulting pavilion was hung so that people could stand inside it.

The Ocean Pavilion, an installation from 2014, included a water-based fabrication platform where structures were built out of chitosan, a water-soluble organic fiber similar to chitin. Structural pillars and long leaves were made by varying how the fibers were deposited. The result was a combination of hard and soft structures, changing from solid to willowy over the length of a branch or leaf, made from the same base material.[6]

The Synthetic Apiary, a room-sized installation built in 2015, studied the behavior of bees in an entirely indoor environment, including how they built hives in and around different structures. This was developed in collaboration with a beekeeping company, as a way of testing possible responses to colony loss, and exploring how biological niches could be integrated into buildings.[45]

3D printing developments[]

Mediated Matter works extensively with various 3D printing techniques, developing their own methods and collaborating with printing companies such as Stratasys. Projects have ranged in scale from enclosures and large furniture, to artwork and clothes, to biocomposites, artificial valves, and DNA assembly. The group designed a prototype printer with a robotic arm that could build 8-foot tall structures around itself in outdoor spaces, and a quick-curing printer that makes free-standing objects without support structures.[46]

In 2012, Oxman printed her first set of body-sized wearables, a collection titled Imaginary Beings and inspired by legendary creatures. This was followed by Anthozoa, a dress developed in collaboration with fashion designer Iris van Herpen and materials engineer . These were some of the first examples of multi-color and multi-material 3D printing a human scale,[47] using a bright palette with granular control of color and texture. In 2015, she designed the Wanderers collection with and , inspired by ideas of interplanetary exploration. That earned Fast Company's award for Design Innovation. The most influential of the Wanderers was the Living Mushtari chestpiece, a model digestive tract filled with liquid and a colony of photosynthetic bacteria and E. coli.[48] Producing Mushtari required new modeling methods for printing long flexible tubes with varying thickness.

In 2015, she designed Gemini, a large chaise longue combining a milled wood shell with a 3D-printed surface. Both the outer shell and the texture of the inner surface were designed to produce a soothing acoustical environment for someone reclining in it. Gemini was later acquired by San Francisco Museum of Modern Art (SF MoMA).[49]

In 2016, she produced Rottlace, a set of 3D-printed feathered, filamented, and textured masks. These were made for the artist Björk,[50] based on a 3D scan of her face. Björk wore these in the world's first 360° VR performance.[10][51] Oxman also began designing Vespers, a collection of 15 death masks. Described as "like something out of Alien", each mask is a curved translucent shell the size of a face, within which patterns are printed in clouds of color and shadow. This tested the limits of how small voxels of color could be inside a 3D-printed solid.[52][53]

The G3DP glass printing process

The group has also developed new platforms and tools for printing. In 2014, a Mediated Matter team developed G3DP,[54] also known as Glass I,[55] the first 3D printer for optically transparent glass.[56][57] At the time, sintering 3D printers could print with glass powder, but the results were brittle and opaque.[58] G3DP was designed in collaboration with MIT's Glass Lab and the Wyss Institute, emulating traditional glass working processes. Molten glass was poured in streams and cooled in an annealing chamber, yielding precision suitable for art and consumer products, and glass strength suitable for architectural elements.[59] The process allowed close control of color, transparency, thickness and texture.[60] Changing the height and speed of the nozzle produced uniform loops, turning the printer into a "molten glass sewing machine".[61] A set of glass vessels made with this printer went on exhibit at the Cooper Hewitt and other museums,[62] and a 10-foot tall sculpture of light and printed glass, YET, was designed for the 2017 Milan Design Week.[63]

Other developments[]

Starting in 2018, the Mediated Matter lab developed the Totems project, exploring ways to extract melanin from different species and embed it in 3D-printed structures. This led to a concept for buildings with facades that respond to sunlight.[64][65]

In 2019, an MIT report revealed that the lab had received $125,000 from Jeffrey Epstein, part of a series of donations he made to the Media Lab and its director Joi Ito.[66][67]

Publications and essays[]

  • 2016: What if our buildings were grown, not built?[34]
  • 2014: Material Ecology[68]
  • 2014: Gemini: Multi-Material Digital Design Fabrication[69]
  • 2011: Variable Property Rapid Prototyping[70]
  • 2006: Tropisms: Computing Theoretical Morphospaces of Branching Growth Systems[71]

Group publications

  • 2018: Making Data Matter[72]
  • 2016: 3D Printed Multimaterial Microfluidic Valve[73]
  • 2015: DNA Assembly in 3D Printed Fluidics[74]
  • 2015: Flow-based Fabrication[75]
  • 2015: Additive Manufacturing of Optically Transparent Glass[76]

Exhibited works[]

Oxman's early projects took the form of surfaces, furniture, or objects that could be worn or put on display. Most were exhibited in museums. Since 2013, most exhibits have included temporary and interactive installations. Some, such as the Ocean Pavilion and Glass I, included a production process;[59] others, such as the Silk Pavilion and Synthetic Apiary, included biological observation and research on the exhibit.[45]

Selected works[]

  • Cartesian Wax, Monocoque, Raycounting[77] (2007, MoMA)[78]
  • Carpal Skin[79] (2010, Museum of Science)
  • Imaginary Beings (2012, Centre Pompidou)
  • Silk Pavilion (2013), installation
G3DP bowl
  • Anthozoa (2013, MFA), couture dress
  • Ocean Pavilion (2014), installation
  • Gemini (2015, SF MoMA), acoustical chaise
  • Wanderers collection (2015,[80] incl. Living Mushtari)
  • Glass I (2014), 3D printer & glasswork[81]
  • Synthetic Apiary (2015), installation[82]
  • Rottlace (2016, Björk), masks[10]
  • Vespers (2016–2018), death mask series[53]
  • Aguahoja I & II (2017-2019), biocomposite structures[83]

Gallery[]

Art, surfaces, and furniture

  • Cartesian Wax surface

  • Raycounting, multiply lit

  • Pneuma 2

  • G3DP printed glasswork

Wearables, machines, and installations

Selected exhibits[]

Awards and recognition[]

Oxman is a senior fellow in the Design Futures Council, and won the Vilcek Prize in Design in 2014.[90]

In 2009, she was on ICON's list of the “20 Most Influential Architects to Shape Our Future.”[91] In 2012, Shalom Life ranked her number 1 on its list of “most talented, intelligent, funny, and gorgeous Jewish women in the world."[16][17]

Other awards include:

Personal life[]

Oxman was previously married to Argentine composer Osvaldo Golijov.[14] She married American investor and hedge fund manager Bill Ackman in January 2019.[99] Oxman and Ackman have a daughter,[100] Raika.[101]

References[]

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  3. ^ "Material Ecology website". Retrieved October 15, 2011.
  4. ^ "Material Ecology". The Dirt. August 20, 2009. Archived from the original on July 18, 2011. Retrieved April 25, 2011.
  5. ^ a b Silkworms and Robot work together to weave silk pavilion, Dezeen, June 3, 2013.
  6. ^ a b Mogas-Soldevila, Laia; Duro-Royo, Jorge; Lizardo, Daniel; Kayser, Markus; Patrick, William; Sharma, Sunanda; Keating, Steven; Klein, John; Inamura, Chikara; Oxman, Neri (2015). "DESIGNING THE OCEAN PAVILION: Biomaterial Templating of Structural, Manufacturing, and Environmental Performance" (PDF). Proceedings of the International Association for Shell and Spatial Structures (IASS) Symposium. Retrieved September 16, 2016.
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  39. ^ "Perspectives on BEST of SHOW 2016", Architosh, June 3, 2016. The talk proposed "a more profound role for the architecture field in society", and received a standing ovation.
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  42. ^ “Mushtari” Is a 3D Printed Wearable That Makes Products from Sunlight, ArchDaily. July 12, 2015.
  43. ^ Oxman, Neri; Laucks, Jared; Kayser, Markus; et al. "Silk Pavilion: A case study in fibre-based digital fabrication" (PDF). Fabricate: Negotiating Design and Making. gta Verlag. pp. 249–255.
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  50. ^ From "Roðlaus", Icelandic for "skinless".
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  74. ^ Patrick, William G.; Nielsen, Alec A. K.; Keating, Steven J.; Levy, Taylor J.; Wang, Che-Wei; Rivera, Jaime J.; Mondragón-Palomino, Octavio; Carr, Peter A.; Voigt, Christopher A.; Oxman, Neri; Kong, David S. (December 30, 2015). "DNA Assembly in 3D Printed Fluidics". PLOS ONE. 10 (12): e0143636. Bibcode:2015PLoSO..1043636P. doi:10.1371/journal.pone.0143636. ISSN 1932-6203. PMC 4699221. PMID 26716448.
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  79. ^ Prototype for a Carpal Tunnel Syndrome Splint
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  86. ^ 3-D printing produces a fresh creative outlet for artists, L.J. Williamson, LA Times. March 10, 2013.
  87. ^ What is the future of fashion?, Joe Incollingo, Boston Globe. March 7, 2016.
  88. ^ Remora – EXEMPLARY: 150 YEARS OF THE MAK, MAK Blog. July 8, 2014.
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  92. ^ 2019 Contemporary Vision Award, SFMOMA
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  96. ^ "Senior Fellows - Design Futures Council". Design Futures Council. Archived from the original on March 24, 2017. Retrieved March 23, 2017.
  97. ^ Neri Oxman named winner of first Earth Award, Bustler, January 13, 2009.
  98. ^ "Top sustainable construction projects in North America honored", Holcim Foundation
  99. ^ Mallozzi, Vincent (January 19, 2019). "As If by Design, Their Connection Was Inevitable". The New York Times. Retrieved September 14, 2020.
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External links[]

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