Visible Strength

by Lisa Stohn and Jhu-Ting Yang proposes a flexible, creature-like textile surface that, like an octopus, changes its color and pattern in various ways through muscle stimuli.

Trans.fur

by Karina Wirth and Natalie Peter is the development of intelligent textiles, capable of altering moisture permeability by adjusting their surface structures. Inspiration for this project was the most versatile organ in the human body: skin.

Technology, Temperature, and Textiles

by Stephanie Natrass is an e-textiles material research project that embeds sensing and actuation into textile surface constructions.

Naturanslation

by Babette Wiezorek explores the nature and potential of organically inspired 3D grid structures by applying algorithmic design and 3D printing to microstructures.

Audio Gait

by Agnes Rosengren and Bernardo Aviles-Busch sonifies movements to aid the understanding of body balance while walking. The portable system is an easy learning aid for shin prosthetics training, which translates walking movements into auditory feedback.

Active

by Hans Illiger looks into the rehabilitation process of lower limb amputees, and proposes a service design concept as well as a hardware solution for gathering movement data.

Shortcut

by David Kaltenbach, Maximilian Mahal, and Lucas Rex is a customizable Human Interface Device (HID) for upper limb amputees. The bracelet detects sensory muscular impulses in the phantom hand, translating them into contactless and intuitive computer controlling.

Tactile Sensation

by Nina Rossow explores two possibilities of displaying information through tactile feedback: Sens_mat allows passive tactile recognition of materials when direct contact is not possible. Sens_dia simplifies descriptions in pain diagnostics and offers a non-verbal and body specific communication.

The Aesthetics of the Uncanny

by Carmina Blank and Sandra Stark explores the delicate balance between familiar prosthesis design standards and uncanniness. The team researched how targeted material conception can help to understand and control this phenomenon, and can be taken into conscious consideration during the design process.

Interview

Read an interview elaborating on “Artificial Skins and Bones” at our Ars Electronica Blog.

Artificial Skins and Bones Group

The Artificial Skins and Bones Group (DE) is an interdisciplinary group of young designers from Weißensee Kunsthochschule Berlin. Their expertise ranges from textile, surface and product design to fashion and visual communications. In the Artificial Skins and Bones project the group freely explored the design of, and interaction with, artificial bodies and body parts. The projects presented illustrate a great variety of possible starting points, prototyping techniques, and application scenarios. We hope that the outcome is a valuable contribution to the future exploration of artificial bodies and prosthetic designs.

Project credits

Artificial Skins and Bones Group:
Course Instructors: Prof. Wolf Jeschonnek, Prof. Mika Satomi
Participating Students: Bernardo Aviles-Busch, Carmina Blank, Hans Illiger, David Kaltenbach, Maximilian Mahal, Stephanie Nattrass, Natalie Peter, Lucas Rex, Agnes Rosengren, Nina Rossow, Sandra Stark, Lisa Stohn, Babette Wiezorek, Karina Wirth, Jhuting Yang

Main project partners:
Kunsthochschule Berlin Weißensee, Fab Lab Berlin, Ottobock Healthcare GmbH, Makea Industries GmbH

Fotos: Yannis Vlamos

The designer worked with techniques like injection molding and laser cutting on maze like structures, 3D printing and intricate architectural handwork on dresses, jackets, trousers, skirts, and blouses, giving them dynamic shapes and surfaces that echo the body’s movement. The three dimensional nature and the layering of the garments give them volume.

Fotos: Morgan O’Donovan

Emphasizing light and shadow play, micro webs of lace both veil and reveal the luminescent glow of crystal forms, while triacetate feathers punctuate the soft drapes and volumes. The controlled structure of the clothes is offset by the chaotic structure of the accessories, where, due to the nature of magnetic growth, no two items are alike. The shoes, belts, necklaces, and clutches were “grown” using magnetic fields.

Iris van Herpen

Iris van Herpen (NL), born in 1984, is a fashion designer. She studied Fashion Design at ArtEZ Institute of the Arts Arnhem and interned at Alexander McQueen in London and Claudy Jongstra in Amsterdam. Van Herpen immediately caught the eye with notable shows. In 2007, she started her own fashion label. Iris van Herpen creates women’s wear collections. Her designs require every time a unique treatment of material or the creation of complete new materials. For this reason, Van Herpen prefers interdisciplinary research and collaborations with artists from various disciplines, often on a recurring basis. Since July 2011, she is a guest member of the prestigious Parisian Chambre Syndicale de la Haute Couture, which is part of the Fédération Française de la Couture. She participates in many international exhibitions and creates two collections a year. Her work has been recognized through awards, exhibitions, publications, and the mentioned guest membership.

Project credits

Iris van Herpen
www.irisvanherpen.com
Magnetic Motion Collection in collaboration with the following artist’s:
Philip Beesley, Niccolo Casas, Jolan van der Wiel

About

uh513  is composed of María Castellanos (ES) and Alberto Valverde (ES). María Castellanos has a degree and a PhD in Fine Arts from the University of Vigo. She investigates the body, specifically the perception and sensory deficiencies of human beings. She focuses on the hybridizations between cyborgs and wearables as a paradigm for the expansion of human sensory capabilities.

Alberto Valverde is an artist and technologist with a solid experience in system design, creating interactive environments, web design, and robotics. He has also taught courses on multimedia to Fine Arts students at the University of Vigo. In his work, he investigates chaos as a form of order.