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Marie-Virginie Berbet (French, born 1979)
École Nationale Supérieure de Création Industrielle (ENSCI-Les Ateliers) (France, est. 1982)
Narco from the Analeptic project. Prototype. 2006
Polycarbonate, 70 7/8 x 47 ¼ x 63” (180 x 120 x 160 cm)
Image by Véronique Huygues
Elio Caccavale (Italian, born 1975)
Elio Caccavale Design Studio (UK, est. 2004)
MyBio-reactor Cow. Prototype. 2005
Fireproof nylon and polyester stuffing, 7 ½ x 13 ¾ x 9 ½” (19 x 35 x 24 cm)
Image by Ingrid Hora
Rudolf Bannasch (German, born 1952) and Leif Kniese (German, born 1968) of EvoLogics GmbH (Germany, est. 2000)
Markus Fischer (German, born 1966) of Festo AG & Co. KG. Corporate Design (Germany, est. 1925)
Aqua_ray. Prototype. 2007
Fiberglass-reinforced plastic, CURV® water-jet carved, polyamide with
elastane skin, and Torcman brushless motor, 5 5/7 x 37 4/5 x 24 1/5”
(14.5 x 96 x 61.5 cm)
Image by: Walter Fogel; Carl-Zeiss, 3-D Metrology Services
Nicholas Negroponte (American, born 1943) of OLPC (USA, est. 2005)
Yves Béhar (Swiss, born 1967) of fuseproject (USA, est. 1999)
Engineering: Gecko (USA, est. 1996), Quanta (Taiwan, est. 1988), fuseproject (USA, est. 1999), and Squid Lab (USA, est. 2004)
One Laptop Per Child. 2006-ongoing
PC/ABS plastic and rubber, 9 ½ x 9 x 1 1/8” (24.2 x 22.8 x 3 cm)
Manufactured by Quanta and OLPC, China (2007)
Image by fuseproject
James King (British, born 1982)
Design Interactions Department, Royal College of Art (UK, est. 1837)
Dressing the Meat of Tomorrow. Concept. 2006
Glassfiber reinforced polyester and red cabbage
Image by James King
Joris Laarman (Dutch, born 1979)
Studio Joris Laarman (The Netherlands, est. 2006)
Bone Chair. 2006
Aluminum, 29 ¾ x 29 5/6 x 17 ½” (75.6 x 75.8 x 44.5 cm)
Joris Laarman Bone Chair process: Image by Opel
Mathieu Lehanneur (French, born 1974)
O Oxygen Generator from the Elements project. Prototype. 2006
Glass, aluminum, spirulina platensis, magnetic stirrer, white LEDs, and oxymetric probe, 18 ½ x 16 ½” (47 x 42 cm) diam.
Image © Véronique Huyghe
Michele Gauler (German, born 1973)
Design Interactions Department, Royal College of Art (UK, est. 1837)
Digital Remains. Prototype. 2006
Video and audio, aluminum, wood, acrylic, and electronics, 8' 9" x 6' 6 3/4" x 6' 6 3/4" (270 x 200 x 200 cm)
Image by Michele Gauler
Susana Soares (Portuguese, born 1977)
Design Interactions Department, Royal College of Art (UK, est. 1837)
BEE’S. Prototype. 2007
Blown handmade glass, 14 1/8 x 9 7/8” (36 x 25 cm) diam.
Prototype by Crisform, Portugal (2007)
Image by Susana Soares
Oron Catts (Australian, born 1967) and Ionat Zurr (Australian, born 1970)
The Tissue Culture & Art Project hosted by SymbioticA, Art and
Science Collaborative Research Laboratory, School of Anatomy and Human
Biology, University of Western Australia (Australia, est. 1996)
Victimless Leather. Prototype. 2004
Biodegradable polymer, connective and bone cells, nutrient media, glassware, peristaltic pump, and tubes, various dimensions
Image by Ionat Zurr
Design and the Elastic Mind
February 24–May 12, 2008
The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor
In the past few decades, individuals have experienced dramatic changes in some of the most established dimensions of human life: time, space, matter, and individuality. Working across several time zones, traveling with relative ease between satellite maps and nanoscale images, gleefully drowning in information, acting fast in order to preserve some slow downtime, people cope daily with dozens of changes in scale. Minds adapt and acquire enough elasticity to be able to synthesize such abundance. One of design's most fundamental tasks is to stand between revolutions and life, and to help people deal with change. Designers have coped with these displacements by contributing thoughtful concepts that can provide guidance and ease as science and technology evolve. Several of them—the Mosaic graphic user's interface for the Internet, for instance—have truly changed the world. Design and the Elastic Mind is a survey of the latest developments in the field. It focuses on designers' ability to grasp momentous changes in technology, science, and social mores, changes that will demand or reflect major adjustments in human behavior, and convert them into objects and systems that people understand and use.
The exhibition will highlight examples of successful translation of disruptive innovation, examples based on ongoing research, as well as reflections on the future responsibilities of design. Of particular interest will be the exploration of the relationship between design and science and the approach to scale. The exhibition will include objects, projects, and concepts offered by teams of designers, scientists, and engineers from all over the world, ranging from the nanoscale to the cosmological scale. The objects range from nanodevices to vehicles, from appliances to interfaces, and from pragmatic solutions for everyday use to provocative ideas meant to influence our future choices. The exhibition will be accompanied by a fully illustrated catalogue.
Organized by Paola Antonelli, Curator, and Patricia Juncosa Vecchierini, Curatorial Assistant, Department of Architecture and Design.
For more information go to The Museum of Modern Art
--Joanne Molina
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