Introduction - “Instead of a Manifesto” Exhibition and Spatial Design
Conceptual Programme - The Jerusalem Nature Museum
“The Outdoor Sculptures Project” - The Israel Museum
“Einstein’s Masterpiece” - The Israel Academy of Sciences and Humanities
“Blue and White Pages” Exhibition - The Israel Museum
“Secrets and Ties” Exhibition - The Israel Museum
“Einstein” Exhibition- The Bloomfield Science Museum
Active/Interactive Environments and Design for Special Needs “Discovery Garden” Path and Activity Zones - The Jerusalem Botanical Gardens
Sensory Activity Play Elements – Venezuela/Kalisher Special Education Elementary School
“Katie Manson Sensory Garden”- Elwyn Israel, Sabbah Centre
“The Human Body Activity Park” - The New Asuta Hospital
“Flying Letters and Burning Scrolls” - The Centre for Jewish Heritage, Heichal Shlomo
Active/Interactive Objects “Holes in the Memory” for “Amnesia” Exhibition - Zochrot Gallery
“Piecing Together The Past”, “The Nuremberg Mahzor”, “I Will Lift Up Mine Eyes” and “Reflections Of The Temple”
Yavnéel Visitor Centre and Hartuv Historical Museum - “The Society for Conservation of Historical Buildings and Sites” Treatment Clinic - “Marlene Cosmetics”
“Lizard” Study and Activity Environment - “Hameuhad” Arts and Sciences Elementary School, Yerucham “It’s About Time” Exhibition - The Israel Museum
“Fire and Water” - Carmel Carpets Ltd. for Experimental Exhibition
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“Niagara Falls” for “Water In Art” Exhibition - The Israel Museum, Youth Wing
“Feeling Guilty #3” for “Dream Makers” Exhibition - The Israel Museum
“Catch The Silhouette” for “Shadow & Silhouette” Exhibition- The Israel Museum, Youth Wing
“The Rules Of The Game” for “Sport & Art” Exhibition- The Israel Museum, Youth Wing
“Need” for “A Matter Of Taste” Exhibition- The Israel Museum - Youth Wing And for “PromiseDesign” Exhibition -
La Triennale Di Milano, Milan; Designmai Festival, Berlin; Copenhagen International Furniture Fair, Copenhagen.
“Wheat Field on a Roof” for “A Matter of Taste” Exhibition- The Israel Museum, Youth Wing
“One More Chair” for “Ayoon” Exhibition - Ami Steinitz Gallery for Contemporary Art
“Felix and Marlene” for “Hands” Exhibition- The Israel Museum - Youth Wing
“Skeletons in the closet” for “The Box” Exhibition- The Israel Museum - Youth Wing
Design for Dance And Theatre “Multimedia Puppets” for “One Dimensional Man” Performance - Opla Compania
“TripoD” for “Chamber Dance” Project.
Product Design – Medical, Digital Communication And Other 145
“G-View” - Odf Medical Ltd.
“IGI” - Den-X Ltd.
“7d Tracking Camera” - Den-X Ltd.
“2c” - Den-X Ltd.
“Dentsim” - Den-X Ltd.
Display Units - Magink Display Technologies Ltd. And Niti - Medical Technologies Ltd
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003 / Introduction
Instead of a Manifesto I believe in multilayered objects. Most of the objects I make are intended to be used by a wide variety of people - young and old, Art educated and not, people from many different cultures. I try to make the objects interesting and appealing on many levels. They should arouse curiosity, beckon people to come nearer, and preferably raise some questions in their minds. The objects should always be visually compelling, even for people that have never encountered an art object or heard of design as a profession. One of my personal tools for measuring success is listening to people inventing new meanings for the objects I make. These meanings were not intended or premeditated by me, often they show me something I havenâ€™t noticed, or give me a new angle of understanding. It is a type of gift the people who use my products give me. Part of what I like about designing, is that it leaves many possibilities open even after the work is done. I will never know exactly what people will do with the products or objects I design. I can find real answers only by allowing people to use my products for long enough so that I can observe their actions and try to decipher their meanings.
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conceptual programme for The Jerusalem Nature Museum / 2010
The 2nd report of the scientific committee Though still at their early stages, the plan for a new Nature museum in Jerusalem, a first of its kind in Israel, are very exciting. The mission included the writing of the conceptual programme, and defining the design and architectural guidelines. Further work included extended examples of potential exhibits demonstrating the scientific, design and conceptual principles. The guidelines and ideas were published in â€œThe 2nd report of the scientific committee for the establishment of the Jerusalem Nature Museumâ€?. The report will serve as a guide to an architectural competition due to take place by the end of 2010, and later on as a basis for the work of the future museum directors and curators. In Collaboration with Scientific coordinator Avi Muller.
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“The Outdoor sculptures project” at The Israel Museum / 2010
Israel Museum Renovation The recent extensive renovation of the Israel Museum required a repositioning of existing sculptures and archeological elements, as well as positioning of recently acquired new sculptures and redesign of many sculpture pedestals. The project included close work with the curatorial team, carefully matching content, concept and composition. Though considered one project, it is in fact many different projects, each sculpture, or cluster of archeological elements requiring their specific design treatment.
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The renovation of the Israel Museum was a good chance to reconsider positioning and design character of pedestals for Archeological elements. The architectural elements that were usually placed on the ground were raised to create a more meaningful experience. Special care was taken in both design detail and three dimensional positioning to refrain from creating a mistaken simulation of the elements original placement in their architectural surroundings.
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The core of the design challenge was becoming familiar enough with each of the 57 sculptures and elements in order to understand its needs and requirements. This mission has many technical aspects, but above all, it is about trying to perceive the sculptor and the sculpture in a way that will allow the sculpture to â€œliveâ€? its artistic life in the way best suited for its individual character.
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“EINSTEIN’S MASTERPIECE” exhibition at The israel academy of sciences / 2010
Einstein’s Manuscript exhibition An exhibition displaying Einstein’s 46-page handwritten explanation of his general theory of relativity in its entirety for the first time. The exhibition was designed in honour of the Israel Academy of Sciences 50th anniversary. A number of constraints acted as both design guidelines and a design challenge: confined space, firm regulation of temperature, humidity and light level, and the fact that the pages of the manuscript had to lie strictly horizontally. The design brief called for an atmosphere of awe and wonder, conveying a feeling of being exposed to the holy-grail of modern physics, considered by some to be “the most important scientific manuscript of all times”. The exhibition was designed and produced in an extremely short period of time, including the graphic design and production of a special annotated facsimile edition of the manuscript (1).
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a series of small exhibitions at The Israel Museum / 2010
â€œPiecing Together the Past: Ancient Fragments of Song of the Seaâ€? A small temporary exhibition pavilion was built in the entrance hall to the Shrine of the book. I was asked to design four consecutive exhibitions, each one displaying remarkable manuscripts and special exhibits from the museum collection.
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a series of small exhibitions at The Israel Museum / 2009
â€œThe Nuremberg Mahzor: A Medieval Masterpiece Unveiledâ€? The main challenge was to create a highly dignified atmosphere in a temporary, extremely low budget pavilion.
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a series of small exhibitions at The Israel Museum / 2009
â€œI will Lift up mine eyes: Prayer in Judaism, Christianity and Islamâ€? The solution was to design a set of high quality display accessories (lighting, showcases) for all four exhibitions, its various elements to be reused and rearranged as far as possible when designing the next exhibition.
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a series of small exhibitions at The Israel Museum / 2008
â€œReflection of the Temple: Images and Idolsâ€? Diversity was created through careful use of light, sound and colour.
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“Blue and white pages” exhibition at The Israel Museum / 2008
60 years of documents from the treasures of The National Archives In â€œBlue on White pagesâ€? I was asked to be curator, designer and producer of the exhibition. The idea of curating a document exhibition struck me as an opportunity to look at historical documents as artifacts rather than pages carrying information. Luckily I was granted the freedom to curate with a design and culture rather than an historical focus. The brief called for highlights from the little known or exposed treasures of the national archives, but much worry was expressed regarding the interest the wider public would take in such an exhibition, especially when it is shown in an art and ethnography rather than an historical context. As a remedy a number of parameters were laid down early on in the conceptual development of the exhibition. Curating in collaboration with Yigal Zalmona, Chief Curator-at-Large of the Israel Museum.
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The national flag competition and blue colour committee The more colourful part of the exhibition showed a selection from the hundreds of wonderful proposals for the national flag. A special place was reserved for the cloth specimens chosen by the committee that was given a mandate to select the specific hue of the national flag.
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The State Emblem competition Next to the flag proposals a selection of state emblem proposals was displayed. The competition participants were laymen as well as well known artists and graphic designers. This type of documents is rarely seen as important in an historical perspective, but holds much value in a cultural/ visual museum context.
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The exhibition had many highlights and emotionally moving documents - the declaration of independence, the blood stained copy of the “song for peace” found in the late prime ministers Rabin‘s pocket and many more. Still, in my eyes the most moving showcase was the one juxtaposing Ilan Ramon’s diary, with the report on the finding of Absalom Feinberg’s body under a date palm near Rafah.
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These documents have the rare quality of opening a window into the roots of a cultural Myth. In Ilan Ramonâ€™s case it is a cultural myth in the making, pages fallen from a burning chariot in the sky. In Feinbergâ€™s case the real life proof of the unbelievable mythological tale about the dates in his pocket that sprouted a palm tree.
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Part of the curating work had to do with discovering various types of exciting connections. One such case was a telegram written by artist Ludwig Blum asking for a written permission to enter the first meeting of the Constituent Assembly to prepare a sketch for an historical painting. A visit to Blumâ€™s daughter revealed that the sketch and the painting discussed in the telegram actually existed. We were very happy to display them side by side.
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Many people discovered a piece of their personal history, on the wall, or between the lines.
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“Secrets and Ties” exhibition at The Israel Museum / 2008
Art, ethnography, archaeology and design, highlights from the Israel Museum collections The main design challenge of â€œsecrets and tiesâ€? was creating the right tension between the works of art and the design of the exhibition. This was especially difficult since a lot of the art work had been exhibited at length many times before. Together with curator David Ibgui new relationships were deciphered. Luckily I received a lot of freedom in choosing unconventional positioning and new heights and proportions for the sculpture pedestals.
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After being exhibited on floor level in wide empty halls, I thought that raising Mark Wallinger’s “Ecce Homo” on a tall narrow pedestal would do the sculpture more justice (and refer to its original position in Trafalgar square).
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This gigantic Bedouin bride’s dress (1) was usually exhibited on a dummy as it was originally worn: with its many folds flowing. I found that viewing its full length was particularly impressive and served the “family and marriage” zone of the exhibition quite well. Juxtaposing Ettore Sottsass’s “Carlton” (2) with Nam June Paik’s “Allan & Allen” was a real “anthroporobomorphic” delight.
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“Einstein” exhibition at the Bloomfield Science Museum / 2005
Work on â€œEinsteinâ€? included Spatial and lighting Design and partial design of exhibition furniture and accessories. The exhibition arrived pre-designed but due to the particular spatial constraints of the science museum it had to be carefully adapted. Large Lycra and Cordura screens were used to block out sunlight, to create the correct atmosphere, and subdivide the space without the usual loss of footprint associated with drywall construction.
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The exhibition space of â€œEinsteinâ€? was located deep inside the Museum. In order to guide the visitors, some that came to the Museum especially for this exhibition, concave/convex vacuum formed signage was developed in the spirit of a science museum exhibit and Einsteinian humour.
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A special â€œEinstein for saleâ€? shopfront showcase was designed as a home for the collection of Einstein commercial products owned by the Einstein Archives at the Hebrew University.
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Hartuv Historical Museum & Yavneâ€™el Visitors Centre / 1995-98
Two out of a number of projects for the society for protection of historical buildings and sites Some highlights: At the Yavne’el visitors centre (1) a section of the original wall was kept as a backdrop for a special exhibit showcase ,and various furniture was designed and produced for the visitor centre as well as the ”active archive” and children’s study area. At Hartuv (2) some of the more graphically compelling documents were silk-screened onto cushions to create curiosity and a sense of investigation in a visitor centre with very few exhibits on display.
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“Marlene Cosmetics” Treatment clinic / 1993
Interior design, lighting and furniture â€œI want to feel like I am in a small treasure chestâ€?. This was what Marlene told us after we interrogated her for the fourth time about what she thought her tiny place should feel like. We immediately went to work; it was the best brief a client could ever give her designer. In collaboration with Daniel Charny
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“Discovery Path” at the Jerusalem Botanical Gardens / 2009
An adventure path with theme related activity zones The “Discovery path” project is part of the revival of the large and beautiful but seldom visited botanical garden in the heart of Jerusalem. The path is both a recreational and an educational project, intended mostly for 3-12 year old children and their families. Special emphasis is put on creating a relevant attraction to Jerusalem’s highly varied population, among others: Ultra-orthodox Jewish families, Arab-Muslim schoolchildren, grandparents with their grandchildren and many more. The path “visits” four zones: water, rocks, trees and roots, and in a sense is also an activity element in itself, offering surprises and activities along the way. The studios’ involvement in this project from a very early stage, including the invention of most of its elements, helped create a sound basis for the design work that followed. In collaboration with “Tsurnamal- Turner” landscape architects.
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Rocky â€“ rock zone The rock zone includes a number of elements, one of which is a miniature landscape play area. This miniature land will celebrate natural rock formations as well as a variety of man made buildings, bridges and elements to act as â€œseedsâ€? for free imaginative child play. Children will be encouraged to bring dolls and action figures from home, as well as create their own figures from natural materials they will collect in their tour of the garden.
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Treewalk The treewalk is a 100 meter long elevated ramp, floating an average 5 meters off the ground in an area thickly populated by Eucalyptus trees. It is a chance to walk in the air and experience life high up in the trees. While walking along the path visitors will meet treehouses, and a rope, ladder and slide array that will lead down to a physical activity area (also accessible from below for non-climbers). Along the treewalk there are a number of nesting boxes/houses that range in size from child size to bird size. Some will be inhabited by real birds, allowing independent or guided bird watching as part of the garden experience.
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Water zone The water zone consists of a number of sub-zones. The waterplant pool shown here has an interactive waterfall/fountain â€œgrowingâ€? on its banks. It consists of three distinct elements connected by the water flow. Visitors will be able to affect the volume and direction of water flow through a number of water taps and levers.
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The Jerusalem Botanical Gardens Children’s Discovery Garden, June 2009
The Path – Special activity - Cellular Photo Monopod
“The active path” As part of the path related activities, discreet spots along the path will offer monopods for cellular or Digicam photography. Visitors collecting a number of these snapshots will discover an intended collective meaning, an answer to a riddle, or just a beautiful collection of colourful flowers in the background of a loved ones portrait.
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The Jerusalem Botanical Gardens Children’s Discovery Garden, June 2009
The Jerusalem Botanical Gardens Children’s Discovery Garden, June 2009
The Jerusalem Botanical Gardens Children’s Discovery Garden, June 2009
The Path – Zone Introduction –
The Path – seating for rest and observation
Waterworks Rocky The Path – Poetry & Prose
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Roots - root zone The root zone offers an underground crawling/climbing area with a rest and scenic view deck above.
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Part of the landscape design process included an in depth analysis of the accessibility of the existing garden paths in an attempt to resolve the conflicting needs of providing maximum accessibility while refraining as far as possible from creating new paths and uprooting existing plants.
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Sensory activity play elements at Beit Venezuela / 2009-10
Elementary school for children with special needs The elements for this rooftop activity area are part of a continued investigation into sensory activity zones for people with special physical and mental needs. (See also and in more detail the “Katie Mansfield garden of senses” on the next page) This project is the outcome of a long dialogue with school staff, and a number of observations undertaken in order to satisfy both the children’s and the professional teams’ needs. The design brief called for the creation of audio, tactile and visual stimulation on a 400 m2 school rooftop dominated by an existing wooden structure poorly adapted to the children’s special needs. During the design process special emphasis was given to the unique ergonomics of the children, an effort directed at creating elements that will allow the children to be active rather than passive.
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“The Katie Manson Sensory Garden” at Elwyn Sabbah centre/ 2008
An exercise and recreation garden for mentally and physically disabled people The “garden of senses” project is the fruit of a long period of research, observation and development. The garden’s main functional concept is the need for isolation of sensory activity and exercise, a conclusion of the professional occupational and physiotherapeutic team, and the main guideline of the garden’s design brief. The garden is therefore divided into four distinct sensory zones: visual, tactile, auditory and olfactory. The design and production were preceded by much iteration. Working models were tested to establish effectiveness and reception by the garden visitors. Though initially designed for residents of the sabbah centre and the adjacent village , the garden is now regularly visited by groups from other institutions and has created a demand for better and more suitable learn and play elements for mentally disabled people. In collaboration with Landscape Architect Ilana Ofir.
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Sight Cut into the stone tiles, and cast with pigmented epoxy resin, paths of distinct shape and colour lead to similarly shaped and coloured transparent windows. Visitors can exercise wheeling, walking or jumping skills while learning to identify and follow shape and colour.
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The transparent windows offer many simple visual games and exercises, some like the red window in the ceiling of the garden arbor offer an experience for those of the visitors that are limited to wheeled beds.
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An activity table (1) and a distorted mirror (2) are readily accessible by wheelchairs. The mirror has a large colourful bead that allows those not comfortable with seeing their distorted image to watch the bead changing shape instead.
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The visual activity table offers mirror and magnifying glass experimentation. All elements in the garden were designed and produced to withstand the extreme outdoor conditions of the Jerusalem climate.
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Tactile Rub your back on these beads and feel like a bear rubbing on a tree. The tactile zone is dedicated to the diversity of our sense of touch, including the differences in the sensation of rubbing backs and buttocks, hands, cheeks and feet.
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The gloved apparatus allows for a variety of squeezing and finger digging sensations. The large gloves are filled with polymer globules, the gloves can be pulled inside-out, and the whole apparatus flips into various positions to allow for wheelchair seated or standing users to experience its various functions.
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During initial observations at the centre I noticed that many of the residents start their day by taking their shoes off. They gave me the idea for this varying texture bare-feet path. The specially cast tiles offer three degrees of intensity; the grass in the middle, a soft retreat.
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Part of the tactile area deals with balance. The gently rocking stool offers the experience of the difference between a back-and-forth and side-to-side rocking motion.
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Sound The sound area contains a variety of musical instruments. The barrel shaped xylophone allows use by visitors with limited motor control. The rectangular bell is specially designed to offer very long vibration time, allowing visitors with hearing impairment to â€œfeel the soundâ€? with their fingers.
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The sound table, which serves as a soundbox, contains tubular bells, and a â€œguitarâ€?. Visitors that choose to put their heads on the table are rewarded with full harmonies.
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The “singing ventilator” was inspired by watching some of the centres’ residents enjoying the fluttering sound effect created by singing at a standard electrical fan. This device is crank operated, allowing for speed (and sound) variation and encouraging cooperation between more than one visitor (“I sing, you crank”). Special consideration was given to height adjustability, and finger safety.
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The sound of trickling water can be isolated and listened to at the blue capped fountain (1) physical energy translates into low note drumming on the puck-puck (2) and long distance conversations can be made on the talk-tubes (3) accessible at different locations of the sound zone. The design of the talk tubes guarantees they do not collect rain, while their flexibility allows their use by wheelchair seated visitors.
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Smell The olfactory zone is mainly based on a variety of herbs, spices and flowers. The activity table in this zone is therefore a custom made planting table (1) to allow for easier planting work for different levels of physical and mental disabilities. Small chopping boards, collecting bowls and planters are interchangeable (2). The independent chopping and pounding board (3) can be positioned on a variety of wheelchairs.
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The “spice flowers” were developed as a durable tool to introduce smells that are not readily available in locally grown plants. By rubbing the “flower” on an abrasive surface at the base of the apparatus a layer of the encapsulated spice is exposed and its smell is released.
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Various elements of the garden under production During design and development some of these were used as working models in order to check and refine various functional features.
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“The Human Body Garden” at The new Asuta hospital / 2007
A recreational/educational park The new Asuta hospital is intended to become one of Israel’s most advanced medical centres. As part of its campus a unique park is planned on the green strip between the medical centre and the Yarkon Stream. The concept of the park is Challenging – to create a strong image for people looking at the park from the multi-storied building, a healthy human body image, as well as a set of recreational and educational play/learn elements for the people that will actually use it. The park will be open for the general public as well as long term medical patients. An educational programme for visiting classes of school children will be built around the park and its various elements. In collaboration with “Kav Banof” landscape architects.
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“The Heart Fountain” Like most of the parks’ elements, the heart fountain has both recreational and educational functions. It displays the mechanism of liquid flowing through the heart chambers as well as offering a wet play environment.
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â€œThe Nose Tunnelâ€? Though the project is still in preliminary design stages, much thought was given to questions of use and accessibility. The nose was designed to offer a horizontal/vertical crawl/climb challenge for children alongside a more peaceful ride along aromatic plant beds suitable for patients on wheelchairs or parents with baby carriages.
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The Eye chamber The eye chamber is a light and colour experience, dealing with questions such as: â€œWhat does it feel like to see from inside the eye? What happens when an eyelid opens and closes?â€? The surrounding periscopes, kaleidoscopes and telescopes celebrate different sight and optical phenomena.
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The Left hand Deck Modelled after the traditional “Hamsah” good luck charm, the Deck overlooking the Yarkon stream is one of a few cultural rather than medical references dispersed through the park to balance the usually negative medical context with a more positive one.
Information station Throughout the park digital information stations will provide access to explanations and Data regarding the human body. Hospital patients as well as visiting groups from city schools will be given a “stethoscope” which will allow them to connect to these stations and hear and see audio-visual clips about the surrounding elements and their human body function.
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â€œFlying letters and burning scrollsâ€? at Heichal Shlomo / 2006
Multimedia show/installation/exhibition Through a number of original films and a variety of authentic objects, books, documents and Torah scrolls, the show aims to create a provocative discussion about the role of the written word in Jewish tradition. The initial nucleus and motivation for the exhibition were a few hundred defaced Torah scrolls given to the state of Israel by the Lithuanian government in year 2000. The main conceptual and design challenge was to transcend the usual holocaust museum exhibition and create a fresh, lively and relevant discussion on the role of books and culture.
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A large wall in the main exhibition hall (1 - detail) is a reference to the famous Vilna â€œStrashounâ€? library - one of the most important Jewish libraries in Europe that was completely annihilated during WWII (2). The library at the exhibition is designed to create an illusion that it is endless, its shelves and columns continuing in all four directions. The books are displayed with their backs to the wall, preventing the spectators from reading the titles and authors. The library represents hundreds of destroyed libraries in Vilna alone, tens or hundreds of thousands destroyed in greater Europe.
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Though the space resources of the exhibition/show were extremely limited (barely totalling 100 m2), a long Corten Steel Clad entrance corridor was created in order to allow visitors a psychological and sensory buffer between everyday life and the strong emotional experience of the show.
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The show is digitally timed, the film projection appearing on monitors, floors, walls and a number of screens that are raised and lowered at different times. A guide directs the visitors, opening and closing showcase boxes and doors. The combination of a computer controlled show with a human guide allows for flexibility in the content and length of the experience. An important part of the design had to do with the locations, size and balance of the projections relative to the physical objects on display.
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Opposite the library book stacks refer to a testimony from the Vilna Ghetto Uprising where for lack of sandbags books were used as literally physical barriers against Nazi bullets. The crude showcases display personal diaries, calendars and prayer books survivors of the ghetto chose to take with them when escaping from the burning ghetto.
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Production photos show some of the complexities of turning a relatively small office space, part of the historical “Heichal Shlomo” (seat of the chief rabbinate in the1960-70’s) into a sophisticated exhibition space.
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“Lizard- study and activity environment” - Yerucham / 2001-05
Interactive Sculpture- Arts and Sciences Park From its conception the Lizard was an immense challenge - to create a meaningful, interactive, and long lasting experience for the children of Yerucham; historically a neglected development town. While working on the conceptual programme the main ideas and themes gradually took shape: The Lizard will have to be interesting and compelling for children that will meet her almost every day for the duration of their six years of elementary school. This meant that activities will have to be varied as well as allow for growth change and development. All of her parts will have to more than just convey pieces of data. She will have to seamlessly combine art and science, creating both an â€œAtelierâ€? and a laboratory to enhance the schools main agenda. The Lizard as the main design concept seemed to fit well with these and other requirements: It is a local desert reptile, one that could become a great friend and already signifies in many cultures a sign of good luck, its limbs and organs could become separate yet connected activity zones, its size would allow for both physical activity and outdoor classes. The Lizard would become both a play and a study centre situated in the middle of a large school yard. In collaboration with architect Assaf Shalit.
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Design Participation The Lizard project suggested itself as particularly suitable for designing cooperatively with children and school staff. The participatory design process began by requesting all teachers at the school to work with the children on the subject of lizards. The professional design team created a set of basic questions but asked the staff to feel free to “roam” the subject. We were happy to discover that both teachers and children were enthusiastic. We received stories, paintings, sculptures and many folk tales the children brought from home. The children’s work was carefully analysed and a few themes and features were found suitable for integration into the design of the Lizard.
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Models and studies A significant part of the initial design stage was invested in study and form exploration of Lizards. The main challenge was to create an abstraction of a lizard, designed to be able to contain the various art and science elements while retaining its appeal.
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As a generalisation Children like a mixture of suspense even a bit of fear, with a sense of security and amiability. It is this precise mixture that was sought after in the lizardâ€™s character.
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“Sky well” The “Sky well” is a special type of periscope. It is designed to bring the changing colours of the sky inside the lizard’s body in such a way that the sky is viewed downwards into a “well”. The Sky-well serves as a tool for a range of art and science exploration. Suggested activities include creating a “painted diary” where the children would paint the colour of the sky during the year, creating both an exhibition and a database for comparing the colour changes that have to do with the time of day or the change of seasons. On the scientific side, classes could deal with the use of mirrors, or the science behind colour, clouds and the change of season.
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Mirror& Telescope The great size of the Lizard, the way it was positioned in the school grounds, and the special effort to leave all existing trees in the schoolyard intact, prevent the children from seeing it is a whole. The convex mirror on the roof of the main school building together with a telescope peeking from the lizard itself would enable a birds-eye-view of the complete lizard.
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Musical instruments A number of instruments were developed for this project, some more complicated like the bicycle operated bagpipe wind instrument, some more simple like the tubular bell array.
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Different sizes and positions were investigated with stand alone devices like the â€œpuck-puckâ€? wind percussion instrument or the domed bell array with its sound boxes integrated into the body of the lizard.
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Sun calendar A number of sundials and sun calendars were devised for the lizard. The calendar shown here is embedded in the concrete floor, it has a light ray that seems to travel back and forth along the lines signifying weeks and months with the equinox and solstice marked by brass buttons. The children are invited to mark holidays, birthdays and other special occasions with chalk, and follow the advance of the light ray until the date arrives.
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Sundial This sundial was designed in such a way that the hour is read as projected light on the last segment of the lizards tail.
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Periscopes Different sized and periscopes bring various views of Yerucham into the head and body of the lizard.
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Communication centre A special switchboard allows an â€œoperatorâ€? to connect other children speaking into sound-tubes in special sound stations scattered in the schoolyard.
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Meteorological station A large â€œVenturi tubeâ€? that measures wind speed is combined with a swiveling windvane to create the centre for a meteoreological station.
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Windvanes A number of windvanes were developed for this project, one showing the relative movement of the planets in the solar system, another allowing a rollerskating bird to travel back and forth along a steel cable.
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Maze As part of the integration of science and art, a maze was created that is based on a “Fibonacci spiral” with golden mean proportions. The maze’s nodes simulate the Lizards eggs, and create the basis for an ever changing maze created by tying and weaving between the nodes. Children are encouraged to plan new mazes and periodically cut existing “walls” and create new ones.
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“Liliput” A miniature land created in a corner of the school yard. This land is divided into areas of the past, present and future allowing for both history and archeology lessons and games, as well as town modelling and planning. The area is subdivided into geographical features such as caves, a river with dams and a lake. Liliput also has a “workshop” zone with the required facilities for the creation of elements to be displayed and played with in its various subzones.
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“It’s about Time” Exhibition at The Israel Museum / 2000
An Art and interaction exhibition about the many faces of time The Israel museum’s youth wing specialises in exhibitions that mix interactive educational exhibits with authentic, world class Art pieces. “Its about Time” was particularly challenging in the sense that time is a subject difficult to grasp, especially for small children. The exhibits developed for this exhibition were varied, some funny and instinctive, some more intellectual and thought provoking. In collaboration with designer Tal Gur
Active-interactive environments / 104
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Content panels and category signage A special type if signage was developed for the time exhibition. The signs which were the headers of different subject zones in the exhibition were actually small showcases, each showing a type of clock or watch that was conceptually relevant to the signified subject.
Active-interactive environments / 106
Deep time and speed This (1) bicycle set in concrete was created as an attempt to demonstrate exceptionally long periods of time. Each revolution of the pedals is equal to one year, the digital display was set at zero when the exhibition opened, visitors were encouraged to try and move time forward from the â€œbig bangâ€? to now. According to my calculations, and considering the opening hours of the museum and highly energetic visitors, it would take approximately 270 years to reach the goal. This fact did not seem to deter children from trying.
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Other exhibits show the visitor’s pedalling speed relative to animals and vehicles (2) and a “hangman’s hood”(3) a part of an apparatus that offers visitors an attempt at guessing: “how long are 30 seconds?”
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340 meters a second In order to demonstrate the speed of sound, 340 meters of large diameter piping were mounted on the museum roof, the visitors were asked to sing (or shout) into the mouthpiece and hear their own voice reach them in the earpiece after a one second delay. A visual demonstration of Time-Space.
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Domino ebb and flow This pseudo â€œperpetuum mobileâ€? is the improbable meeting of a domino rally with an aquarium in an exhibit dedicated to time as a cycle. The rows of dominoes trip back and forth, the tank slowly fills up with water raising the domino pieces back into an upright position. The water slowly disappears and the dominoes fall again and so it goes on and on. Though designed as one of many exhibits the domino quickly became a major attraction best exemplified by the fact that by the second day of the exhibition the museum guard moved his chair in front of the exhibit, soon to be followed by a bench pulled over by eager spectators.
Active-interactive environments / 110
â€œThe pastâ€? A series of historical Caricatures were created by the provocative Israeli Caricaturist Dudu Geva, and displayed in large light boxes each dealing with a significant period or era. Children were encouraged to walk between these boxes and explore the past.
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The future Specially designed capsules were given to celebrities from various fields (politics, literature, sports, music and design) and displayed on the “Time capsule wall” (1). The celebrities were asked to fill the capsules with “something they want to send into the future”. Another exhibit referring to the future had a line of pink showcases (2) exhibiting young designers reactions to quotes of children imagining “what will happen in a thousand years?” For example, the designed reaction to a child that said that by year 3000 Israel will be at peace with its neighbours was a meticulously produced fossil of an “Uzi” sub-machine gun.
Active-interactive environments / 112
“holes in the memory” for “Amnesia” exhibition at Zochrot Gallery / 2008
An interactive exhibit commemorating the Palestinian Nakbah Creating an object for this exhibition was both a meaningful experience and a duty. I use cultural materials in my everyday work. I have a duty to the memory of the people who are sharing this small country with me. I may see things differently, but I can not deny their feelings. I made an object that evokes memories. Part of its function is that it will evoke different meanings for different individuals. The materials are both physically and symbolically significant: toasted wheat grain held together by resin, inspired by a lump of almond tree resin found on a tour of a collection of objects left behind by Palestinian refugees and kept in a storeroom in Nazareth. The grinding stone is basalt, the wooden block made of cedar, imported from Lebanon to build a temple. Rub, smell and remember. Yasmin Daher wrote a personal poem for each object in the exhibition. I found her poem chillingly beautiful, and precise.
Active/interactive objects / 114
“Fire and Water” at Carmel Carpets Ltd. / 2008
Carpets designed and manufactured for an experimental exhibition by Bezalel Academy lecturers Islam offers us the heat of fire and the coolness of water. A series of 7 industrially manufactured carpets will allow each believer to choose the precise mixture of fire and water that suits his belief. Allah Karim.
Active/interactive objects / 116
“Niagara Falls” at The Israel Museum / 2007
An interactive water fountain for the “Water in Art” Exhibition This fountain is homage to a fantastic piece of Israeli copywriting: “The Niagara” otherwise known as the not-so-glorious toilet flushing water tank apparatus. When the water level in one of the fountain tanks reaches a magnetic sensor, a water pressure activated piston presses the release button and causes the water to flow to the tank below. The water flows through custom made ceramic nozzles, each with a different spray pattern. Visitors can pull on a flushing cable to activate the fountain, or watch its natural cycle. In collaboration with Yoav Reches
Active/interactive objects / 118
Nozzle design and production The Nozzles were designed to mock the design language of ceramic toilet elements. Nevertheless, the design is such that it allows the creation of all the nozzles from the same mold. Each piece is then perforated before being kiln fired and glazed. The different assembly orientation allows for a wide range of water spray effects.
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Prototyping The Niagara project required extensive prototyping and testing. Visual effect, technical operating principal, functional reliability, and resistance to aggressive use were carefully considered.
Active/interactive objects / 120
“Feeling Guilty #3” at The Israel Museum / 2006
An object for “Dream Makers” exhibition “Dream Makers” challenged designers to define the potential hidden in digital three dimensional printing. I chose to explore the personal/cultural potential. The bowl is created by using a laser scanned file of my mother’s face, integrated into a digital design of a soup bowl. It raises a personal dilemma: Should I finish the soup exposing my mother at the bottom of the bowl, or leave the soup in the bowl knowing that “a good boy always leaves an empty plate”? It is part of a series of objects (yet to be produced) dedicated to the infamous feeling of guilt.
Active/interactive objects / 122
“Catch the Silhouette” at The Israel Museum / 2006
A light installation for the “Shadow & Silhouette” exhibition Instructions: A silhouette is projected on the wall for a few seconds. You must stand between the light source and the projected silhouette and mimic the original pose. Run after the moving light and catch the silhouette….
Active/interactive objects / 124
“The rules of the game” at The Israel Museum / 2004
Three manipulated ping-pong tables for the “Sport & Art” exhibition The exhibition was about sport and art, my viewing angle had to do with looking into “rules of the game”, or the changing of the rules of the game. When does a sport game become a different one? When does it become “unplayable”? When do the rules of the game become “unfair”? I have taken the official measurements of the ping-pong table and played around with them to see what happens. A sports laboratory, where the outcome may be stupid, funny, frustrating, become a new game or become obsolete. I offered the museum about 15 versions; they commissioned three, and put the other (sketches) on the wall.
Active/interactive objects / 126
“Need” at the Israel museum and a travelling exhibition / 2002-05
Shopping cart for a year for “Food and Art” and “Promisedesign” exhibitions The shopping cart is almost 5 meters tall and holds food consumed by an average Israeli person in one year. A fair amount of statistical data went into the design of the contents, so it is quite precise. The bottom up positioning of the ingredients reflects a vertical order from basic to luxury and from natural to highly processed food. Next on the agenda are other annual food carts: A Palestinian cart, a Chinese cart, an American cart, a Sudanese cart, a Colombian cart, a Papua- New Guinean cart. There are many places in the world where people eat a considerably smaller number of different foods. This usually has to do with being poor, but not always. For instance in some areas of India people eat an immense variety of vegetables, fruit, herbs and spices. The Sepik river dwellers of Papua-New Guinea, eat almost exclusively one type of starch (Sago from the sago palm tree) and two or three types of fish from the river. They do not use oil or spices. The strongest visual difference from the Israeli cart would probably be a colour difference.
Active/interactive objects / 128
Since the raw data was generally defined in weight and generic food ingredients, careful translation into volume and types of commercial food was needed. Data from the central bureau of statistics was compared with data from large supermarket chains to come up with subdivisions between (e.g.) fresh and canned tomatoes or flour and pasta.
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The cart was chosen as the leading Image of â€œPromisedesignâ€?, a travelling exhibition of new Israeli design exhibited in Milan, Berlin and Copenhagen.
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“Wheat field on a roof” at The Israel Museum 2002-03
An installation for â€œA Matter of Tasteâ€? exhibition Wheat does not usually grow on roofs. The setting of the exhibition suggested a rare opportunity to juxtapose a wheat field and the Israeli parliament. Homage to the late Queen Marie Antoinette.
Active/interactive objects / 132
“One more chair” at the Ami Steinitz gallery / 1997
A tingling cloud of 1017 chairs for the “Ayoon” exhibition “Enter the gallery, if you want to keep going you will have to walk through a breast high cloud of tingling chairs”. It is a sensory/auditory experience, but also an opportunity to discuss the transformation of a standard Aluminium profile into an icon of a chair through a limited number of repeated actions. It is both about the danger and the poetry behind the industrial process.
Active/interactive objects / 134
Two automata for “Hands” exhibition Automata hold a great fascination for many people. Creating Automata is a great joy. It is part design, part craft, part choreography and part storytelling.
“Felix and Marlene” at the Israel Museum
An automata for “The Box” exhibition The skeletons are shaking the walls of the box, just when the box seems to close on itself another wall opens, and so it goes.
“Skeletons in the closet” at the Israel Museum Active/interactive objects / 136
multimedia puppets for â€œOne Dimensional Manâ€? Opla Compania / 2004-09
Design and production of various elements for multimedia stage performance. “One Dimensional Man” is the culmination of a 5 year process that included shorter projects like “XYGod” and “Song for X”. Two dancers/operators for each character on stage use a digital projector and mask contraption to make this sophisticated theatre show come alive. My involvement in this project included design development and production of various elements for this multimedia stage performance. First and foremost the development of the mobile projection contraption, but also the specialized video filming headset, the masks and other off and on-stage accessories. Work on this project was very challenging, and similar in a sense to the more complex R&D projects done on medical devices such as the “Dentsim” and the “IGI”. The development of the contraptions and devices required sophisticated industrial design thinking: complex ergonomics, accurate physical interface, good repeatability and interchangeability, flexibility, fluid functionality under strenuous working conditions and clear aesthetics.
Design for dance and theatre / 138
The contraptions, though painted black and in the background, are always partially visible and part of the distinct flavour of the show. The contraptionâ€™s distinctive look was later chosen as part of the showâ€™s graphic identity.
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Filming the video tracks for the show was a challenge in itself. A special â€œvideo helmetâ€? headset was constructed to allow the actors to play as freely as possible while being videotaped in a stable and accurately lighted manner.
Design for dance and theatre / 140
Mask & Projector Contraption development The projection & mask contraption went through a large number of configurations including some that were carried by a single operator, and others that were operated by two dancers/actors in tandem. The final configuration was chosen both for its functional flexibility and its theatrical â€œBunrakuâ€? like effect.
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Mask development Early stages of work required manual development of molds for mask manufacturing. After experience was gained, three dimensional computer generated characters were CNC milled directly to create accurate molds. Vacuum formed models were created, these models could be tested, and corrections were then made to the original files.
Design for dance and theatre / 142
“Tripod” for chamber dance project / 1993
Development of a composite material collapsible tripod for dancer Ahuva Korn. Ahuva had a vague idea about what this tripod should do. She knew it needed to be strong enough to support her while she jumped, rolled and tilted the tripod over the stage, while being light enough for her to easily lift and manipulate. It also had to be collapsible. The connector at the centre opens to allow for easy transportation between shows. The main challenge was the fine tuning of the rigidity/flexibility factor to work accurately with the choreography demands. After some R&D The poles were made from a concentric â€œsandwichâ€? of Aluminium tubing, silicone, and fibreglass fuel pipes.
Design for dance and theatre / 144
“G-View” for ODF Medical Ltd. / 2004-07
Medical camera The G-View is designed to provide a solution to meet the 0bstetricianâ€™s, the Gynaecologistâ€™s and the patientâ€™s most critical needs, while substantially improving their well being. The g-view allows an examination to be performed with the patient sitting or lying down and covered, offering both enhanced comfort and a better privacy. Much effort was invested in creating a simple and intuitive device, with an easy to use graphic user interlace. Work channels allow insertion of tools and accessories for standard procedures, digital image storage features enable full documentation and other important functions. Image augmentation and Image understanding capabilities afford the physician with data not available to the naked eye, and assist high quality diagnosis. Initial design studies were centred around the fact that the product is first and foremost intended for women, later influencing design decisionmaking. A female designer joined the team to allow for better representation of the feminine point of view in this clearly delicate medical situation. A self use version for the product was suggested as part of a telemedicine remote consulting system.
Product Design / 146
A number of prototyping techniques, and much iteration and field testing was used to design and fine tune the functional aspects of the handle. These included grip comfort, logic and physical design of controls, and communicative colour coding. Special care was given to design as a major contributor to medical safety. Excellent handle ergonomics were regarded as a major design goal and special effort was made to provide the physician with an extremely comfortable handle without sacrificing patient comfort or safety.
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Colour schemes were investigated, including focus group interviews. â€œFeminineâ€? colour combinations were tested on both female patients and female physicians.
Product Design / 148
“IGI” for Den-X medical simulation and Imaging / 1997-2003
Image guided Implant – Surgical system The “IGI” is a computerized navigation system designed to guide the placement of dental implants in real-time. IGI offers freehand implant navigation empowered by highly accurate motion tracking technology that tracks the positions of the dental drill and patient throughout the surgical procedure. It is partially an outcome of the development of the Dentsim dental simulator and is made possible by other components such as the “7D” and the “2C”. IGI’s main components are a computerized workstation, an extremely accurate motion tracking system, High resolution imaging data and precise localization devices. The IGI is a clinical surgery system which means that safety, accuracy and ergonomics are of supreme importance.
Product Design / 150
Work on the IGI included an effort to create a small and stable system that will fit easily in the already overcrowded surgery room. The greatest design challenge had to do with resolving the contradicting demands of the various system parts. These included the surgeonâ€™s and assistantsâ€™ line of sight, Tracking camera line of sight, drilling handpiece balance and comfort, stable reliable and unobtrusive tracking accessories attached to the patient and a large number of pipes and cables leading to and from the system.
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Tracking Camera The “7D” is a twin camera on a sophisticated carbon fiber piping and the heart of the “Dentsim” and “IGI” tracking systems. The overall volume of the camera was significant and challenged the design team to create an object as light and small as possible, but one which would eventually fit well into the general scheme of the surgical environment.
“7D” for Den-X / 1997-2003 Product Design / 152
â€œ2Câ€? for Den-X medical simulation and Imaging / 1998-2003
System Handpiece The 2C is one of the most demanding of the tracking system components. Its design brief called for an extremely challenging set of requirements: ultra high precision and stability, a constantly clear line of sight to the tracking camera and no tolerance for surgeon hand movement limitation or collision with the patientâ€™s body and other system accessories. The 2C also had to be easily removed and accurately returned to the drill for sterilization, and have the ability to flip over for upper and lower jaw procedures. LED positions needed to be accurate to the 0.005th of a millimeter requiring high performance glass reinforced polymers, and extra coordination between the design and plastics engineering teams.
Product Design / 154
â€œdentsimâ€? for Den-X medical simulation and Imaging / 1994-2003
Computerized simulation system for dental training and practice Dentsim is a unique interactive system combining a phantom patient, an online instructor and an extensive data bank of dental procedures, medical data and course syllabi. Prior to the introduction of the Dentsim, dental training was a pure trial and error â€œdrill-in-the- darkâ€? experience. The work on the Dentsim was a major undertaking. The process from concept to final product spread over a long period of time and included the design and development of many subsystems and accessories. IDBruno Studio work included most design aspects of the physical product, but also design management of anything from the company logo to the graphic user interface, and meaningful contributions to engineering and manufacturing solutions. Special care was given to pedagogical aspects of the system, striving to create a work area as similar as possible to real life patient treatment. Creating a high quality ergonomically sound learning environment was an especially challenging task considering the complex technical constraints of the system.
Product Design / 156
Phantom Head development Design of the phantom head was influenced by a large number of considerations. At early design stages an in depth investigation was conducted to decipher the appropriate character for the phantom. Models of varying sizes and degrees of realism were created. The brief called for a uni-sexual slightly abstract figure, a lot of effort was invested in steering away from the highly grotesque dummies which were and still are the dental simulation industry standards. A complex mechanical system had to be incorporated into the head to allow for both the extremely high accuracy needed by the system, and the flexibility of mouth opening, jaw movement and soft tissue simulation.
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R&D in a pre-digital design studio environment required a large number of mock-ups and models created in a wide variety of in-house modeling techniques.
Product Design / 158
Many different technical solutions were tested, requiring a variety of different design approaches.
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Much thought was given to the flexibility of the system including its ability to serve both right and left handed students without unnecessary extra parts and complicated assembly. Optional equipment was developed to allow for a variety of dental school educational approaches creating a modular product.
Product Design / 160
Extensive study of classroom spatial organization was undertaken. A significant number of alternatives was considered and discussed with dental school staff, before settling on the â€œQuadâ€? model. The Quad created an efficient solution allowing a maximum number of workstations per floor space, good student communication, easy movement between work positions, a pleasant and relatively informal setting, and the required protection of sensitive electronic equipment from accidental water spray.
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After years of development Dentsim became an international benchmark for dental education simulators, currently installed in at least 25 schools world wide.
Product Design / 162
Display Unit Design and production of display units for CACâ„˘ Series - Compression Anastomosis Clip Based Devices. The design brief required an attractive visually compelling unit for the display of a simple and non attractive medical device. The display unit had to be designed, manufactured and delivered in 3 weeks, in time for an important commercial exhibition.
NITI Medical Technologies Ltd. / 2005
Display Unit A display unit designed to enhance Magink’s technology’s advantages. The design brief was “create something thin, sleek and sexy in ten days including manufacturing time.” After studying the technical demands and the physical proportions of the internal components, it was clear that thin and sleek are out of the question. I suggested instead that a fortune teller’s crystal ball image would be more appropriate. The suggestion was accepted and the crystal ball successfully secured a large venture capital investment in Magink.
Magink Display Technologies Ltd. / 2003 Product Design / 164
Thanks to the many people who have worked with me for longer or shorter periods of time, in better or very difficult conditions. Design is a team effort, good design is always the outcome of more than one person working together. A special thanks to my talented and devoted workers and assistants: Shai Zvieli • Yossi Revivo • Vered Zaikovsky • Shai Goitein • Iris Zohar-Sofer • Eran Lederman • Arnon Bernstein • Ilan Lior • Assaf Varshavsky • Vlady Spitkovsky • Ziv Bar-Ilan • Maya Vinitsky • Sharon Modan • Udi Avitsur • Nimrod Harel • Carmel Meirav • Alexey Girenko • Daemon • Yoav Reches • Binya Reches • Inbal Lizorik • Omri Ben-Artzi • Meidad Marzan • Itai Galim • Shay Shafranek • Keren Assaf • Hadas Matalon • Elad Ozery • Iohanna Pani
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THANKs / 166