Talk:Neri Oxman

Works section

@MaskedSinger and Sj: Thank you for your above comments and general approval of the proposed restructure.

I see that some changes have been made to the Career and Personal life sections. While my proposed changes are being considered further, please allow me to share what I have in mind to replace the Mediated Matter section, which is currently subdivided by fabrication, 3D printing, and "other":

Works

Oxman and her team use computational design, digital fabrication, materials science, and synthetic biology to work with structures from the microscopic to architectural in scale. Oxman has published methods of imaging biological samples, algorithmic structural generation based on biological samples, and manufacturing processes to create objects with the results of the algorithm. This has been accomplished largely through 3D printing techniques, and Oxman and her team have developed new methods of 3D printing with glass as well as worked with companies such as Stratasys to create 3D printed objects. Projects have included 3D printed wearable objects, such as masks and a spacesuit concept integrated with photosynthetic microorganisms, biodegradable architecture, and construction platforms. Oxman's work has been described as "otherworldly—defined by neither time nor place" by Andrew Bolton, the curator of the Metropolitan Museum of Art's Costume Institute.

Early works

Much of Oxman's early work focused on 3D printing related to human uses, including projects like Carpal Skin, which used the profile of pain for a person with carpal tunnel syndrome to ease their discomfort, and Imaginary Beings (2012), a collection of 3D printed pieces which includes a wearable lung. In 2012, Oxman collaborated with Iris van Herpen on Anthozoa, a 3D printed cape which The Harvard Crimson described as evoking "the texture and appearance of its eponymous lifeform."

Another early creation of Oxman was Monocoque (2007). French for "shell," Monocoque demonstrated a way to flip current building practices by having structures support their weight via their exteriors rather than interior supports.

Gemini

In 2014, Oxman worked with fellow MIT professor and materials scientist W. Craig Carter to create Gemini, a chaise lounge made of a milled wood frame and 3D printed upholstery. The piece was made with sound-absorbing materials and designed to recreate a womb-like environment to create "an architecture for calming the mind," according to Oxman. The SFMOMA later acquired the piece.

Wanderers

Also in 2014, Oxman worked with German designers Christoph Bader and Dominik Kolb to develop prototypes for Wanderers, a series of 3D printed spacesuit concepts that contained microorganisms that could sustain life in a hostile environment. The garments were made with bitmap 3D printing, a methodology that allows for finer control over properties such as color, rigidity, and opacity. The project won Fast Company's Innovation by Design for Fashion award in 2015.

Rottlace

Rottlace is a series of masks designed by Oxman for Icelandic singer-songwriter Björk in 2016. The masks were based on scans of the singer's face and the mask was designed to look and react in a similar fashion to muscle tissue. Björk wore one of the masks during the first 360-degree virtual reality live stream at the Miraikan in Tokyo, Japan.

Glass

In 2015, Oxman and her team developed a new way to use glass in additive manufacturing. The process, called G3DP, allows users to 3D print with molten glass. G3DP is the first glass 3D printer to make optically transparent glass products, and its process creates a sturdier structure than previous glass 3D printing efforts.

The machine developed by the Mediated Matter team heats glass in a kiln above an aluminum nozzle, and molten glass is then extruded through the nozzle into the preprogrammed shape. Changing the height and speed of the nozzle changes the deposition pattern, creating loops and coils in a manner described as being akin to a "glass sewing machine." A collection of pieces printed in this fashion were displayed at the Cooper Hewitt, Smithsonian Design Museum in 2016.

Aguahoja

Aguahoja I was a piece developed in 2015 by Oxman and her team. Resembling "enormous, folded cicada wings," the 5-meter-tall structure is made of a biocomposite of chitosan (derived from crustacean shells), pectin (from fruit), and cellulose (from plants). It is designed to be biodegradable. The Aguahoja project won Fast Company's 2020 World Changing Idea award in the art and design category and was Dezeen's 2019 Design Project of the Year. Aguahoja II, a pavilion made of natural pigments and dyes in beetroot, butterfly pea flower, squid ink, and turmeric, "proposes a future in which the built environment can further communicate and cooperate with living ecologies." Aguahoja III (2021) is a "sister" pavilion to Aguahoja I and serves as a control.

Digital Construction Platform

In 2016, Oxman and a team led by her first PhD student, Steven Keating, developed a large-scale robotic 3D printing system called the Digital Construction Platform (DCP). The DCP is based on the Altec aerial work platform and is equipped with sensors that allow the system to respond to environmental stimuli like topography and radiation. The machine works as an onsite 3D printer, building structures with a nozzle at the end of a robotic arm. The team is exploring methods to use more materials with the DCP and NASA has expressed interest in the technology.

Silk Pavilion and Synthetic Apiary

Several of Oxman's works have involved fabrication by, for, or with living creatures or natural processes. Most notable among those is Silk Pavilion II (2019), a 20-foot-long structure made by guiding more than 17,000 silkworms to form its shape. It was the centerpiece of Oxman's 2020 MoMA exhibition. Oxman said the work demonstrated a more sustainable way to produce silk without killing the worms and was based on a similar project called Silk Pavilion I (2013).

Another of these projects, Synthetic Apiary (2015), created a room-sized structure in which honey bees were raised. Designed to create the conditions of "perpetual spring", Synthetic Apiary allowed researchers to study the bees and monitor their health. The project allows researchers to examine colonies more closely and investigate solutions for pollinator decline. Synthetic Apiary II (2021) "investigates co-fabrication between humans and honey bees through the use of designed environments." The structures built by bees are analyzed by CT scans to allow digital reconstruction.

Vespers

A three-part collection, Vespers (2016–2018) is a series of 15 death masks. The collections' parts, Past, Present, and Future, explore the biological and cultural perpetuation of life through the death masks. It builds on the work of another Oxman project, Lazarus (2016), which was designed to contain a wearer's last breath. The Vespers masks were created with a custom spatial mapping algorithm and have minerals and bacteria embedded in them. The colors and structures of the masks build upon each in series, which Oxman says "conveys a sense of metamorphosis."

Totems

Since 2018, Oxman and her team have been working on Totems, a project that explores methods of synthesizing and extracting melanin from different natural sources to be used in 3D printed objects. One process involved extracting mushroom enzymes to convert amino acids to melanin, another synthesizing melanin with bacteria, and another extracting the pigment from cuttlefish ink and bird feathers. The Totems are objects designed with computationally designed channels for liquid melanin to flow through. The pigment changes color over the course of a day as light conditions change, with hues ranging from pink to brown. The team released a proposal for incorporating multiple types of melanin into a glass architectural structure that responds to environmental stimuli.

References

Some of the claims in the current article are unsourced, others are inappropriately sourced. I'm hoping you'll agree this version is a more organized and well-sourced overview of Oxman's work. I will have some additional requests for the remaining sections, but this is the largest improvement I plan to propose.

I'd appreciate if you would review and implement as appropriate, and I'm happy to address concerns. Thanks again! SM at OXMAN (talk) 19:15, 6 January 2022 (UTC)

Hello SM, better sources are always welcome. Particularly secondary sources - analyses and contextualization, not just description that a new work or project has come out; also citable patents, extensions, or discussions by collaborators. Where possible, cites to interviews can be replaced w/ those to reviews or analyses.

The whole current section would bear condensing + rebalancing, rather than expanding. This is a range of different sorts of changes; I'll look in more detail later this week. – SJ + 23:43, 10 January 2022 (UTC)

Since you are here, some open questions you may be able to answer or source:

Monocoque -- regarding supporting weight via the exterior (if worth including): any quantification of this, or discussion by 2d parties?

Gemini -- is there any detail about earlier chaises? an image of the two pieces? what happened to what were called Alpha + Beta? currently left ambiguous in the article.

Rottlace -- do you know how many masks were produced? where are they now?

Glass -- is there a separate name for the set of displayed works? Reference works + catalogs love proper names. It would be helpful to better distinguish each of the project, the glass-printer (patented, prototyped), exhibits of works produced by the printer, and the names o the collections of objects displayed in those exhibits (which persist in collections after the exhibit ends). The latest video suggest an ongoing project name Glass and the exhibit names (Glass I and II).

G3DP -- what has happened with the printer itself since 2017? Any other outputs or product lines? It looks like at least 2 patents (1, 2) have been granted. Is G3DP 2 (as a fabrication platform) or its descendents in active use?

Aguahoja -- naming again! Was Aguahoja I equivalent to Ocean Pavilion [as the name of the first installation], or only part of that install? Are there names for the chitosan composite, the machine, or the overall process, separate from the name of the series of installations? Are there images of Aguahoja II or III? those need specific detail or sourced analysis or images to include.

Silk Pavilion and Synthetic Apiary -- for installations, were they one-time or permanent? If permanent, where are they now? "allows researchers to investigate solutions for pollinator decline." -- is there any citable example?

DCP -- Is this in active development (by the original team or others)? what materials did it work with at first / what new materials are considered? what size structures were produced? I didn't find any links to completed rooms. has it produced temp/permanent installations? what would NASA do with it / are they considering a specific test or collaboration?

Totems -- sources seem to reference a range of things: from a proposal to small physical items to installations. How many of these were produced? The proposal could use a primary source. Re: changing color over the course of a day: is this a new composite, a realization of an existing (citable) substrate in a new context? does the color change back with the removal of light?

Thanks again for engaging here w/ these updates and links. Better images for all of the above would be most useful, including especially the background-studies into materials or methods that have been included in books and videos. These are among the most effective ways to teach people about new techniques and disciplines. – SJ + 00:54, 9 January 2022 (UTC)

Revised slightly for clarity around naming issues. 14:25, 27 January 2022 (UTC)

Hello, User:Sj. Thanks again for these excellent questions! Please find below my answers to your questions, including related links wherever possible.

Monocoque

Quantification of structural loads does not appear to be available online. It may be clearer to say: "French for 'single shell,' Monocoque demonstrated a construction technique for the design and digital fabrication of structural skins, which bear load through an object’s exterior skin rather than its internal structure. Here, material properties of the 3D printed object were varied according to a vein-like Voronoi pattern, the density of which corresponds to multi-scalar loading conditions, including shear stress and surface pressure." Additional discussion and information may be found at these links: https://www.asminternational.org/documents/10192/1894392/amp16612p04.pdf/68b4756a-a883-4848-b65a-2d094c3b5604/AMP16612P04 https://www.architectmagazine.com/practice/materialecology-com_o https://www.moma.org/collection/works/115851 https://neri.media.mit.edu/projects/details/monocoque-1.html https://oxman.com/projects/monocoque Related publication: http://dx.doi.org/10.1080/17452759.2011.558588 Related patent: https://patents.google.com/patent/US20110079936A1/en

Gemini

While sources from early 2014 refer to Alpha + Beta parts of the chaise, it appears that this terminology was deprecated by late 2014. There is just one chaise, which appears in all images and videos related to Gemini. It may be worth noting that within the general Gemini project, a new large-scale sub-project called Gemini Cinema has been announced and will be on display Feb–May 2022 at SFMOMA (https://www.azuremagazine.com/events/nature-humanity-oxman-architects/). These additional sources may be helpful: https://www.stratasys.com/explore/blog/2014/color-3d-printing-neri-oxman-gemini-chaise https://www.dezeen.com/2014/04/03/3d-printed-chaise-longue-by-neri-oxman-forms-a-multi-coloured-cocoon/ https://3dprint.com/111105/moma-acquires-gemini-chaise/ https://www.tctmagazine.com/additive-manufacturing-3d-printing-news/neri-oxman-unveils-gemini-chaise-longue-made-using-stratasys/ Related publication: https://doi.org/10.1089/3dp.2014.1505

Rottlace

Only one mask was physically produced for Björk. It is retained by Neri and periodically exhibited in museums; for example, it will be on display Feb–May 2022 at SFMOMA. According to this link: "At least a dozen mask designs were presented to Björk, who selected one to be printed for her live performance": https://www.architectmagazine.com/technology/neri-oxman-designs-rottlace-a-series-of-3d-printed-masks-for-bjork_o

Glass

Within this general project (Glass), there are two specific sub-projects (Glass I; Glass II). Each sub-project involves a collection of objects referred to by the same name (Glass I; Glass II) and one enabling technology platform (Glass 3D Printer ‘G3DP’; Glass 3D Printer 2 ‘G3DP2’) used to produce the objects. Subsets of objects from a collection have been displayed as various exhibitions/installations under the respective collection name (Glass I; Glass II). The platform and the exhibits are thus not fully equivalent. All objects and technology platforms are retained by Neri or museums and are periodically exhibited in museums; for example, several objects will be on display Feb–May 2022 at SFMOMA (an image of Glass II objects is shown on the exhibition website). I did not find any online record of other exhibits since 2017 Milan Design Week. Some Glass I objects were acquired by the permanent collection of Cooper Hewitt in 2016. The G3DP and some Glass I objects were acquired by the permanent collection of the Boston Museum of Science in 2017. Some Glass I and Glass II objects were acquired by the permanent collection of MoMA in 2018. SFMOMA: https://www.sfmoma.org/exhibition/nature-x-humanity-oxman-architects/ Cooper Hewitt: https://collection.cooperhewitt.org/people/68774479/objects/ Museum of Science: https://www.mos.org/node/45157161 MoMA collection: https://www.moma.org/artists/33046 You are correct that patents have been granted and papers have been published: Patent 1: https://patents.google.com/patent/US9896368B2/en Patent 2: https://patents.google.com/patent/US10464305B2/en Patent 3: https://patents.google.com/patent/US9919510B2/en Patent 4: https://patents.google.com/patent/US10266442B2/en Inamura 2018: https://doi.org/10.1089/3dp.2018.0157 Brun 2017: https://doi.org/10.1098/rsta.2016.0156 Klein 2015: https://doi.org/10.1089/3dp.2015.0021 The Dezeen article says the "project" is titled G3DP, apparently referring to the "glass printing process" and not the printed objects. 3DPrintingIndustry equates Glass I to G3DP and Glass II to G3DP2, grouping each collection of objects with its enabling technology; and says, "G3DP2, or GLASS II, is a progress update on the group's efforts in 3D printed glass": https://3dprintingindustry.com/news/mit-presents-the-g3dp2-platform-a-first-for-architectural-scale-3d-printed-glass-146187/ These sources refer to the printed structures collectively as Glass: https://www.archpaper.com/2020/02/neri-oxman-grows-tools-for-the-future-at-moma/ ("Glass, pseudo-cylindrical printed structures, were created with The Mediated Matter Group’s 2015 invention G3DP, or Glass 3D Printer") https://www.theartnewspaper.com/2020/02/20/neri-oxman-harnesses-the-powers-of-17000-silkworms-for-new-york-show ("for another series, GLASS, they created the first known glass-printing technology") Other potentially helpful sources: https://oxman.com/projects/glass-i https://oxman.com/projects/glass-ii https://oxman.com/projects/glass-3d-printing https://www.media.mit.edu/projects/g3p/overview/ ("Glass I was active from January 2014 to May 2018") https://www.media.mit.edu/projects/g3p-II/overview/ ("Glass II was active from September 2015 to May 2018") https://tlmagazine.com/neri-oxmans-material-ecology/ (MoMA) https://www.3ders.org/articles/20190103-mit-upgraded-their-glass-3d-printer-g3dp2.html https://www.liebertpub.com/doi/abs/10.1089/3dp.2018.0157?journalCode=3dp

Aguahoja

The Ocean Pavilion may be considered a precursor to the Aguahoja I pavilion. Within the general Aguahoja project, there are three sub-projects: Aguahoja I, Aguahoja II, Aguahoja III. Aguahoja I involves one architectural pavilion (the Aguahoja I pavilion), a library of material artifacts (the Aguahoja I 'wall', 'artifacts', or 'prototypes'), and several enabling technology platforms or processes, including the Water-based Digital Fabrication (WBDF) platform, which was used and refined for further use in the fabrication of all Aguahoja objects. Aguahoja II involves one architectural pavilion (the Aguahoja II pavilion), a library of material artifacts (the Aguahoja II 'wall', 'artifacts', or 'prototypes'), and several enabling technology platforms or processes, including WBDF and Sequential Multi-material Additive Manufacturing. Aguahoja III involves one architectural pavilion, described in the Dezeen source, with further information not yet available online. Subsets of pavilions and artifacts are periodically displayed as exhibitions/installations under the related sub-project or general project name. "Chitosan composite" can be considered a general term for the biocomposite materials used in all Aguahoja objects; multiple chemical formulas were used to achieve different material properties and behaviors, as described further in various publications. https://www.media.mit.edu/projects/aguahoja/overview/ ("Aguahoja I includes three artifacts: an architectural pavilion, a library of material experiments, and a set of associated hardware/software and wetware enabling technologies developed by the Mediated Matter group") Ocean Pavilion publication (see Fig. 1): https://neri.media.mit.edu/assets/pdf/IASS2015_MediatedMatter_small.pdf Aguahoja II pavilion: https://collection.cooperhewitt.org/objects/2318798847/ Aguahoja II pavilion: https://www.dezeen.com/2019/05/15/cooper-hewitt-design-triennial-is-a-call-to-action-against-climate-change/ Aguahoja II publication: https://doi.org/10.1089/3dp.2020.0171 Aguahoja III (includes a full list of related publications): https://www.dezeen.com/2021/11/19/neri-oxman-aguahoja-iii-pavilion-robotically-fabricated/ Aguahoja I: https://www.archpaper.com/2019/04/mediated-matter-group-aguahoja/

Silk Pavilion

Within the Silk Pavilion project, there are two sub-projects: Silk Pavilion I and Silk Pavilion II. Silk Pavilion I was constructed on-site by silkworms as a dynamic installation in the MIT Media Lab in 2013. Since then, videos and images of it have been included in exhibitions. Silk Pavilion II was constructed in Italy, then installed at MoMA for the exhibition Material Ecology (2020). It is now on display at the Integral Textile Facility in Guilin, China (image & description can be found here: https://www.esquel.com/integral). https://www.dezeen.com/2020/06/29/neri-oxman-silk-pavilion-ii-video/ https://www.theartnewspaper.com/2020/02/20/neri-oxman-harnesses-the-powers-of-17000-silkworms-for-new-york-show ("Initially, the idea was to have the silkworms do their spinning on site in MoMA's galleries, but the museum could not source or import the required number, so it turned to one of Europe's largest silk producing cities, Padua.") https://worldarchitecture.org/architecture-news/effnz/neri-oxman-s-mediated-matter-group-releases-the-process-of-silk-pavilion-ii-spun-by-17-532-silkworms.html https://post.moma.org/a-new-materiality-neri-oxmans-craft-for-the-biological-age/

Synthetic Apiary

Within the Synthetic Apiary project, there are two sub-projects: Synthetic Apiary I and Synthetic Apiary II. SA I was a 3-month-long installation and active research project in 2016 (see Architect Magazine source below); it is no longer active. It was an apiary—a physical room in which bees were kept—in which researchers investigated bee health, behavior, and environmental needs, which are relevant to understanding how to solve bee population decline, and it served as a model for building future apiaries for similar research. In their initial experiment, "the honey bees' natural cycle proved to adapt to the new environment, as the Queen was able to successfully lay eggs in the apiary… suggesting that natural cultivation in artificial spaces may be possible across scales." (from the current Arch Daily source; a video of the first egg hatching is here: https://www.youtube.com/watch?v=xQZHTZfps_U&t=150s). Since then, videos of the project have been included in exhibitions. SA II is a collection of designed environments and honeycomb structures built by bees; these objects are periodically exhibited in museums. https://www.architectmagazine.com/technology/mits-mediated-matter-group-builds-a-synthetic-apiary-to-help-save-bees

DCP

This is not in active development by the original team. The material 3D printed by the DCP robot was polyurethane foam; the printed foam mold could be then filled with materials such as traditional concrete, sand, soil, ice, or moon dust. In other preliminary experiments, the DCP demonstrated local material gathering through excavation, solar charging, collection of on-site environmental data (radiation measurements), and construction with local materials. Preliminary fabrication explorations also included: direct arc welding of metal to replace rebar, direct arc sintering of sand, thermally deposited ice structures, and compressed earth forms. More information can be found in the Keating 2017 paper. No public installations were produced. According to Keating, NASA was "very excited to use ice for printing on Mars because ice absorbs a lot of cosmic radiation" (from the Fast Company source). Some additional info may be found here: https://www.advancedsciencenews.com/neri-oxman-and-the-age-of-material-ecology/ https://www.designboom.com/technology/mit-dcp-3d-print-buildings-04-28-2017/ https://www.futureofconstruction.org/blog/in-the-future-humans-may-live-in-3d-printed-space-colonies/ https://www.axios.com/this-robot-constructs-buildings-from-moon-dust-ice-and-dirt-1513302026-291e929e-9932-43af-9e8b-5c5f50e164c6.html

Totems

Within the general Totems project, there are two sub-projects: Totems and the architectural pavilion. Totems involves a physical collection of several small objects and four larger columns, plus the enabling technology (namely Data-Driven Material Modeling) and research samples (such as the Melanin Library). The proposal for the architectural pavilion was initiated by Ravi Naidoo and first introduced by Oxman and The Mediated Matter Group at Design Indaba (2018) in Cape Town. The columns were commissioned for the XXII Triennale di Milano and were displayed together with the proposal at the exhibition Broken Nature: Design Takes on Human Survival (2019) in Milan. Melanin Library: https://www.designboom.com/art/schinkel-pavillon-survey-surreal-landscapes-futuristic-scenarios-eco-catastrophe-05-07-2021/ Data-Driven Material Modeling publication: https://www.science.org/doi/10.1126/sciadv.aas8652 Re: changing color, the team appears to speculate that the Totems and pavilion could change color over the course of a day due to the properties of an ancient material: melanin, the same pigment that colors our skin and hair. The channels of the Totems objects contain multiple types of liquid melanin that were synthesized in a lab and/or extracted from natural sources. The team writes that "the genes for melanin production can be engineered into bacterial species, and thereby controlled," as this could give it the potential to not only break down but also regenerate in response to environmental conditions (i.e., sunlight), changing color as it does in skin. I'm having a hard time finding secondary sources to elaborate on this; but these may be helpful: https://news.artnet.com/art-world/neri-oxman-revolutionizing-biology-design-1787466 https://www.aiany.org/membership/oculus-magazine/article/fall-2019/living-in-the-material-world-of-neri-oxman/ https://www.dezeen.com/2019/04/04/neri-oxman-totems-technology/ https://oxman.com/projects/totems

I hope these initial responses and sources are helpful as you continue to review the proposed text and update the article. I'll give some thought to images as well. Thanks again! SM at OXMAN (talk) 18:48, 3 February 2022 (UTC)

@Sj: Hello again! I was wondering if you have a moment to revisit this discussion. I've provided some answers to your questions, along with many (hopefully!) helpful sources. I've also shared a trimmed Recognition section below for your consideration. Thanks again for your continued assistance – SM at OXMAN (talk) 22:33, 2 March 2022 (UTC)

SM: this is fantastic, exactly what I was looking for. The sources are immensely helpful. I will get back to this soon. (I haven't seen a good model for a permanent source list for additional cites, but I may make a subpage for that here since it would be shame to let this work go to waste; one never knows which sources will go offline.) – SJ + 17:24, 30 March 2022 (UTC)

Recognition section

User:Sj, thanks for reviewing the above request! I am working on answering some of your questions, but in the meantime, I'd like to share an expanded and updated "Recognition" section for consideration. Here's a chronological overview in prose form (instead of partial bullets):

In 2008, Oxman received the Next Generation award at the Holcim Awards, which are presented by the Holcim Foundation for Sustainable Construction. She was also recognized as a "revolutionary mind" by Seed magazine. In 2009, she received an Earth Award in the "future critical design" category, and was named one of the "best and brightest" by Esquire. Additionally, Fast Company ranked Oxman number 43 on a list of "most creative people" of 2009, and the architecture magazine Icon included her on a list of the "top most influential designers and architects to shape our future".

Oxman was included on Building Design+Construction's "40 Under 40" list in 2012. In 2014, Oxman received the Boston Society of Architects's Women in Design award, the Carnegie Corporation of New York's Pride of America award, and the Vilcek Foundation's award for design. She received the Architectural League of New York's Emerging Voices award as well as Fast Company's Innovation by Design award in 2015.

In 2016, Oxman served as a culture leader at the World Economic Forum and received MIT's Collier Medal. She was included on Architizer's list of 26 women "who changed architecture". In 2018, Oxman received a National Design Award from Cooper Hewitt, Smithsonian Design Museum and a Design Innovation Medal from the London Design Festival. In 2019, she received the San Francisco Museum of Modern Art's Contemporary Vision Award. Aguahoja I was named "Sustainable Design of the Year" and "Design Project of the Year" by annual awards presented by Dezeen. Aguahoja won in the art and design category of Fast Company's 2020 World Changing Ideas Awards; the work also earned honorable mention in the North American "best world changing idea overall" category. Oxman was named a Royal Designer for Industry by the Royal Society of Arts in 2021. Works by Oxman and The Mediated Matter Group have also received nominations for the European Commission's STARTS Prize.

References

I'd appreciate if editors could review and implement as appropriate. Same as before, I'm happy to address concerns.

Thank you! SM at OXMAN (talk) 21:00, 26 January 2022 (UTC)

Hello again SM -- This is an area where Wikipedia style tends to differ from other online bios, leaving out most nominations, lists, and awards that don't have their own article or section. There is a spectrum from verbose to compact, but all should be fairly compact. If you could identify highlights that are awards notable in the field (I'm always wary of awards from publications like Fast Company), or clusters of awards that are for the same aspect or medium of work (more useful than a chronological list, for cross-disciplinary work), that would be an improvement.

And thanks for looking over those questions, let me know if I can clarify any of them. Regards, – SJ + 02:49, 28 January 2022 (UTC)

Thanks again for reviewing, Sj. Please go ahead and trim the proposed text as you see fit! If helpful, here is a new version focusing on the most notable awards:

In 2008, Oxman received the Next Generation award at the Holcim Awards, which are presented by the Holcim Foundation for Sustainable Construction. She was also recognized as a "revolutionary mind" by Seed magazine. In 2014, Oxman received the Boston Society of Architects's Women in Design award, the Carnegie Corporation of New York's Pride of America award, and the Vilcek Foundation's award for design. She received the Architectural League of New York's Emerging Voices award in 2015. In 2016, Oxman served as a culture leader at the World Economic Forum and received MIT's Collier Medal. In 2018, she received a National Design Award from Cooper Hewitt, Smithsonian Design Museum and a Design Innovation Medal from the London Design Festival. In 2019, she received the San Francisco Museum of Modern Art's Contemporary Vision Award. Aguahoja I was named "Sustainable Design of the Year" and "Design Project of the Year" by annual awards presented by Dezeen. Oxman was named a Royal Designer for Industry by the Royal Society of Arts in 2021.

References

This trimmed version removes mention of the Earth Award, Esquire, Fast Company, Icon, Building Design+Construction, Architizer, and STARTS Prize. Again, please feel free to adjust! Thanks, SM at OXMAN ([[User talk:SM at OXMAN|talk) 22:46, 3 February 2022 (UTC)

Yes, very helpful again. Thank you :) – SJ + 17:24, 30 March 2022 (UTC)

Bibliography

Hi again! While I'm waiting for the above requests to be reviewed, I'd like to make a suggestion for the "Publications and essays" section. I'm not sure if there's a limit to the number of entries to display, but below I've shared the 10 publications I think are most important and helpful to readers:

• Smith, R. S. H., Kraemer, F., Bader, C., Smith, M., Weber, A., Simone-Finstrom, M., Wilson-Rich, N., & Oxman, N. (2021). A rapid fabrication methodology for payload modules, piloted for the observation of queen honey bees (Apis mellifera) in microgravity. Gravitational and Space Research, 9(1), 104–114. doi: 10.2478/gsr-2021-0008
• Smith, R. S. H., Bader, C., Sharma, S., Kolb, D., Tang, T.-C., Hosny, A., Moser, F., Weaver, J. C., Voigt, C. A., & Oxman, N. (2020). Hybrid Living Materials: Digital design and fabrication of 3D multimaterial structures with programmable biohybrid surfaces. Advanced Functional Materials, 30(7), 1907401. doi: 10.1002/adfm.201907401
• Bader, C., Kolb, D., Weaver, J. C., Sharma, S., Hosny, A., Costa, J., & Oxman, N. (2018). Making data matter: Voxel printing for the digital fabrication of data across scales and domains. Science Advances, 4(5), eaas8652. doi: 10.1126/sciadv.aas8652
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Some additional formatting may be required (I've used external links instead of inline citations), but I'm hoping editors can expand or replace the existing list of articles with this Bibliography section. I've shared 10 since the article currently has 10 entries. Sj and other editors, please feel free to update the Bibliography in the ways most appropriate for Wikipedia. Thanks again! – SM at OXMAN (talk) 17:20, 9 March 2022 (UTC)

Great. The "Cite" tool in the visual editor supports autogeneration of cites, so it ca be enough to post the raw URL or DOI. There's no strict limit - generally all monographs + high profile papers. The work covered by the latest papers (fabrication for space payload modules, hybrid living materials) are both worth mentioning directly. – SJ + 17:24, 30 March 2022 (UTC)