Death mask

source: deezen
Neri Oxman and the MIT Mediated Matter group have unveiled their latest collection of 3D-printed death masks, designed to contain the wearer’s last breath.

The Lazarus masks, described by Oxman as “air urns”, are modelled on the facial features of the deceased individual.

Lazarus masks Designed by Neri Oxman
Each 3D-printed structure encompasses colourful swirling patterns that have been informed by the physical flow of air emitted from their last breath.

“Traditionally made of a single material, such as wax or plaster, the death mask originated as a means of capturing a person’s visage, keeping the deceased alive through memory,” said the team.

Lazarus masks Designed by Neri Oxman
“Lazarus serves as an air urn memento that is a new form of 3D-printed portraiture, combining the wearer’s facial features while serving as a spatial enclosure for their last breath.”

Similar to the group’s previous collection of masks – which although released prior to Lazarus are later in concept – the pieces were formed using a Stratasys Objet500 Connex3 multi-material 3D printer, which constructs 3D forms by depositing polymer droplets in layers.

For the project, the team created custom software that allowed them to model high-resolution and complex shapes based on data.

Lazarus masks Designed by Neri Oxman
First of all, the data for the three main areas is generated, including a heat map of the last breath, a map of the wearer’s face, and the path the flow of air takes across the face.

The software then applies the data to the death mask shape, which is transformed into a three-dimensional design before being 3D-printed.

The Lazarus death masks are the first instalment from the The New Ancient Collection by Stratasys, which is being curated by Naomi Kaempfer.

Lazarus masks Designed by Neri Oxman
Oxman’s masks debuted at the opening exhibition of London’s new Design Museum. Named Fear and Love, it explores a spectrum of issues that define our time and also includes installations by OMA and Hussein Chalayan.

Vespers is the latest 3D printing research project from the Mediated Matter group, a part of the MIT Media Lab. Their previous research includes 3D-printed “wearable skins” designed to facilitate synthetic biological processes and investigations into how to use silkworms to print architectural structures.
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source: modaetecnologia
A jovem israelense Neri Oxman é designer e arquiteta. E faz moda também. Com extenso currículo e estudos que envolvem práticas digitais e interseções entre os campos científicos da biologia, engenharia e computação à sua área de formação, seu trabalho promove a aplicação acurada do pensamento e processo generativos.

Como a digital fabrication é uma das áreas de pesquisa, Neri Oxman e seu time no Mediated Matter derivam trabalhos que são verdadeiras tecnologias vestíveis, como a recente coleção “Viajantes, uma exploração astrobiológica“. As peças, totalmente impressas em 3D, foram projetadas para os “peregrinos” desses novos mundos, com paisagens hostis e ambientes mortais, segundo descreve. Tais peças seriam a única forma dos viajantes visitarem esses novos destinos interplanetários, onde cada design é um código que dá origem a organismos que se multiplicam para criar tais vestimentas, com carapaça impressa em 3D.

Essa “exploração” se daria no próprio sistema solar, onde, com exceção da Terra, nenhuma forma de vida é possível em outros planetas. As vestimentas são desenvolvidas, portanto, para interagir com cada ambiente específico, baseando-se nos clássicos elementos vitais conhecidos pelos antigos – terra, água, ar e fogo – gerando quantidades suficientes de nutrientes para garantir a vida.

Os árabes medievais são conhecidos por seu fascínio pela astronomia. Motivados pela compreensão da criação divina, estudaram as constelações também com o objetivo de se guiarem nas suas viagens. Por isso, em homenagem às suas contribuições seminais para a astronomia, Neri Oximan e o Madiated Matter batizaram as peças com nomes árabes para cada destino dos viajantes: Mushtari (vestimenta para Júpiter), Zuhal (vestimenta para Saturno), Otaared (vestimenta para Mercúrio) e Qamar (vestimenta para a lua).
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source: besttopicsnet

Neri Oxman is an architect, professor, and designer with an impressive CV. She directs the Mediated Matter design research group at MIT Media Lab, where her group researches and applies knowledge in various fields to comprehensive product and architectural design. She has won a fairly staggering amount of awards for her work and has exhibited her works in museums across the world. She has works in the permanent collections of New York City’s MOMA and Paris’ Centre Georges Pompidou Museum, as well as having exhibited in other museums and private collections around the world. At MIT, she even designed her own research area , coining the phrase “Material Ecology” to describe it.

This impressive figure has now teamed up with an impressive figure in the 3D printing world. Oxman and her team utilized Stratasys’ 3D printing technology to bring their latest designs to life — and they’ve just been unveiled at EuroMold, which is running November 25-28. Stratasys’ “The Sixth Element: Exploring the Natural Beauty of 3D Printing” collection is on display this week in Frankfurt. EuroMold Visitors can see four “wearable skins” based on stellar inspiration at Hall 11, Booth FN01.

Oxman’s project itself is titled “Wanderers: An Astrobiological Exploration,” and is a collaboration between members of her Mediated Matter team and Christoph Bader and Dominik Kolb of deskriptiv. Bader and Kolb are a Germany-based design duo who bring together computer sciences and visual arts, focusing on a process- rather than product-oriented process.

The collection currently features four of these wearable skins, each inspired by different parts of the cosmos and human anatomy and biology. This project highlights Stratasys’ triple-jetting 3D printing ability to bring together the natural with the latest technology. Not only are these pieces created using multi-material 3D printing technology, but they are the first such pieces that aim to embed living matter.

“3D printing enables us to customize our designs and produce close to perfect-fit second skins informed by human CAT or MRI scans. The Stratasys triple-jetting technology of the Objet500 Connex3 color, multi-material 3D Production System offers designers unprecedented control over material properties such as rigidity, opacity and color at scales of just several microns. This enabled us to design for movement, as well as being able to implement spatially differentiated, layered channels, folds, pores and pockets. None of this would be possible with traditional fabrication methods,” says Oxman of her project.

Stratasys’ 3D printing technology was clearly vital to these organic designs. Because the wearables can be fitted directly to a specific individual, customization is complete from beginning to end in this process, enabling designers full control over the entire life of the project. Bringing together design, engineering, and the latest in technology, these wearables present “augmented extensions to our own bodies,” as Oxman puts it. The four designs in the collection are based on planetary bodies: Jupiter, Saturn, Mercury, and the Moon are represented as the inspirations for these pieces. Titles for the pieces are inspired the origins of the word “planet” — which comes from the Greek term planētēs meaning “wanderer.”

Likewise, 3D printing capabilities benefited each piece in different ways. Each used the multi-material 3D printing capabilities to enhance different aspects. For example, in ZUHAL, the size, density, and organization vary among the pieces of the textural exterior, enabled by the triple-jetting technology. AL-QAMAR, on the other hand, benefits from the triple-jetting technology in the different materials required: rubber and rigid, transparent and opaque, neutral and colored, and even standard type and bio-compatible material.

“With this collection,” explained Oxman, “we have designed spatially and materially complex wearables pointing towards the possibility of containing living matter that can interact with the environment. Each piece intends to hold life sustaining elements contained within 3D printed vascular structures with internal cavities, made possible with the dimensional stability and high-resolution accuracy of Stratasys’ 3D printing technology. Living matter within these structures will ultimately transform oxygen for breathing, photons for seeing, biomass for eating, biofuels for moving and calcium for building.”

Further work will be done on the collection, with the next stages of growth focusing on integrating living engineered cells into the pieces. The team strives for functional augmentation inspired by natural growth methods. Bader and Kolb’s computational growth process cultivates forms on the human body, drawing inspiration from growing and adapting seeds.