Spine Armor / Flexible Corset
2012, Digital Materials
Centre Pompidou, Paris, France
From Gregor Samsa's metamorphosis to Odradek, both of which are included in Borges' Book of Imaginary Beings, Kafka's 'imaginary beings' lie at the heart of 20th century mythology. Kafka's intentional use of ambiguous terms in The Metamorphosis and other works, inspired here an equally ambiguous use of physical properties and behavior embedding several functions and thus proposing a physical, wearable metamorphosis; a material counterpart for Kafka's chimerical writing. Here, Kafka himself is transformed into a chimerical being composed of multiple animal parts: a human spine printed in soft rubber-like material provides support and flexibility to the torso shell. Wrapping it is a stiff armor providing protection and support as well as semi-flexible neck elements to interface with the human body. The ornate soft-printed texture covering the shell is informed by the curvature of the armor. Denser patterned regions appear in regions of high curvature such as those located around spinal joints, providing for more flexibility. An insect's soft internal shell combined with stiff human armor and semi-stiff leopard's spots represent the 'chimerical torso' in this Bestiary series.
In collaboration with W. Craig Carter (MIT) and Joe Hicklin (The Mathworks)
About the collection
Design and Mythology are both media for storytelling that represent general cultural truths and their human meaning. Like design, mythology is a universal language by which to decode human culture; and as in design, myths often employ the augmentation of human power in expressing the super-natural. Indeed, throughout the history of design, humans have attempted the unattainable. From Da Vinci's human-powered aircraft as inspired by the wings of Icarus, to inventions of material self-repair and regeneration dating back to the myth of the Promethean liver, design has consistently dealt with amplifying human powers or compensating for human limitations. It is not surprising then, that mythological 'beings' are often portrayed as personifications of natural forces. Indeed, the myths that tell of these earlier gods fulfilled the role of explaining the existence of nature. The collection includes 18 prototypes for the human body inspired by Jorge Luis Borges' Book of Imaginary Beings. An encyclopedia of fantastic zoology, the book contains descriptions of 120 mythical beasts from folklore and literature. Situated within and against the forces of nature, Borges' bestiary provides the site for coupling the 'cultural' with the 'natural' in design, by designing a collection of nature-inspired human augmentations. Imaginary Beings : Mythologies of the Not Yet postulates that futuristic design afforded by technological advancements, is rooted in fantasy and in myth: from the Golem of Prague to robotic exoskeletons, from Daphne's wings to flying machines, from Talos' armor to protective skins; mythemes - the design kernel of the myth as defined by Claude Levi-Strauss - provide us with eternal archetypes of the super-natural and its material expressions. Each 'being' in this series encapsulates the amplification and personalization of a particular human function such as the ability to fly, or the secret of becoming invisible. What was once considered magic captured by myth, becomes actuality as design and its material technologies offer more than meets the skin: spider suits, wing contraptions, and ultra-light helmets; these are all what one may consider mythologies of the "Not Yet". In projecting the future, this work makes use of new and innovative material technologies enhancing both the physical and environmental properties of these wearable myths and habitable contraptions. A library of algorithms inspired by form found in nature informs the design and fabrication process. Novel multi-material 3-D printing technologies along with new design features such as bitmap printing and property textures have been developed to support material performance and expression. Revealing nature's design language, this collection of objects represents a library of design principles inspired by nature suggesting that the ancient myth and its futuristic counterpart unite where design fabrication recapitulates fantasy.
Photos: Yoram Reshef