Latest in the series of groundbreaking projects by Mediated Matter Group (MIT Media Lab) is the new successor to the Silk Pavilion (2013) project, results currently on show (subject to COVID-19 restrictions) at the Museum of Modern Art in New York. The project utilizes an integrated kinetic mandrel designed to guide the natural spinning motion […]
Developed at the MIT Media Lab’s Mediated Matter Group, ‘Data-Driven Material Modeling’ refers specifically to the process of the creation of high-resolution, geometrically complex, and materially heterogeneous 3D printed objects at product scale.
Designed by the Mediated Matter Group in collaboration with Stratasys and inspired by her most recent album—Vulnicura, The Rottlace is a series of masks for Björk, exploring the themes associated with self-healing and expressing ‘the face without a skin’.
Developed by the team at the MIT Media Lab’s Mediated Matter research group, the following research demonstrates multimaterial voxel-printing method that enables physical visualisation of volumetric data.
Wanderers is a collaborative project between Neri Oxman + Mediated Matter Group, Christoph Bader & Dominik Kolb to create four digitally grown and 3d printed wearables.
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Created by the Mediated Matter Group and the MIT Media Lab, GLASS II is the group’s most recent work in the area of 3D printing optically transparent glass now at architectural scale.
New project by Neri Oxman and the team at the Mediated Matter Group / MIT Media Lab explores the possibility of a controlled space in which seasonal honeybees can thrive year-round.
Created as a collaboration between Mediated Matter Group (MIT Media Lab) and the Glass Lab (MIT), GLASS G3DP is a additive manufacturing process that enables 3d printing of optically transparent glass that also allows tunability by geometrical and optical variation that drives form, transparency, color variation, reflection and refraction in all things glass.
Developed at the MIT Media Lab’s Mediated Matter group, Living Mushtari is a 3D printed wearable with 58 meters of internal fluid channels designed to function as a wearable microbial factory that uses synthetic microorganisms to convert sunlight into useful products for the wearer.
As per tradition each year, December is when we look back at the amazing work published on CAN. From ingenious machines and installations to mesmerising experiences that leverage new mediums for artistic inquiry – we added scores of projects to CAN’s archive in 2019. Here are some highlights.
Created by the team at the Mediated Matter Group at MIT Media Lab, Aguahoja I is project/installation that is digitally designed and robotically manufactured out of the most abundant materials on our planet—the very materials found in trees, insect exoskeletons, apples and bones. Cellulose, chitosan, pectin and calcium carbonate are combined and compounded with high […]
Created by the team at MIT Media Lab’s Meditated Matter Group, Fiberbots is a digital fabrication framework fusing cooperative swarm robotic manufacturing with abilities to generate highly sophisticated material structures.
At its best, creative inquiry offers intellectual nourishment, empowerment and solace. At the end of 2016, we need all of those, which is why remembering – and celebrating – the outstanding work done this year is all the more important. Over the past twelve months we’ve added more than 100 projects to our archive – and with your help we’ve selected the favourite ones!
As 2015 winds down we look back at almost 200 extraordinary projects we’ve covered this year on CAN. And as is the case every year, picking the ten ‘best’ is hard if not impossible, as each of them has driven the conversation around the state of art and design in their own unique way. And yet, the following ten works stuck with us and, if anything, make great starting points for reflection and inspiration as we head into the new year. Until we continue our coverage in early January: happy holidays and thank you all for a great 2015!
At CAN we don’t really care for lists. But as we look back as the year winds down, we’re known to make an exception. To keep up with our tradition, we present our most memorable projects of the year.
Project explores the relationship between digital and biological fabrication by using silk threads laid down by a CNC machine followed by a swarm of 6,500 silkworms spinning flat non-woven silk patches.
In November 2019, CAN joined the biannual ECAL Research Day to find out how methodologies borrowed from science and engineering can strengthen creative practice—and drive the conversation.
Report from the inaugural CAN-curated event series ‘Document #.’ examining new forms of cross-disciplinary art and design practice.
As 2018 comes to a close, we take a moment to look back at the outstanding work done this year. From spectacular machines, intricate tools and mesmerising performances and installations to the new mediums for artistic enquiry – so many great new projects have been added to the CAN archive! With your help we selected some favourites.
Huge stroboscopic datastreams, hypnotic human-machine choreographies, a cacophony of Korean, Japanese, English, German, and French – ten weeks ago, from November 25th to 28th 2015, an unlikely cross-cultural exchange took over the all new ACT Center in Gwangju, South Korea. More than a hundred artists, designers, curators, and educators answered our invitation to add their work and voice to the inaugural edition of ACT Festival, an opening celebration for the center’s monumental facilities.
CentrePasquArt’s super-group show Short Cuts invites viewers to trace ideas, influences, and positions across five decades of work by merely taking a few steps.
Drawing on his expansive knowledge of the history of representation, artist and scholar Pablo Garcia ruminates on the significance of the selfie in response to the ‘New Perspectives’ theme of HOLO 1’s PERSPECTIVE section.
It’s that time of the year when we take a week break and unplug from the internet. Before we step away, it is our duty to highlight some of the projects that we found to be the most memorable.
Landscape Futures is a recent book edited by Geoff Manaugh that unpacks the wildest intersections of landscape architecture, technology and perception. CAN interviewed Manaugh about the book last week to provide a window into this ambitious curatorial (and now editorial) project.