Talk:Neri Oxman/Archive 1

Archive 1

Archive 2

Databases to search for lists of works

Is there an online archive like ArchNet that tracks all works by a designer? There are some listed on material ecology, which seems a personal site rather than the group's site; others on the Media Lab group. Projects like the Silk Pavilion don't appear on either, though they were mentioned in design press. I'll check with the group, but it would be ideal to find a catalog of all exhibited works. – SJ + 05:13, 18 June 2016 (UTC)

I haven't found a database, but these three pages seems a fair start. – SJ + 13:24, 2 July 2016 (UTC)

Gallery

I've pinged the group about releasing their media under a free license; they seem willing and started with their videos. I'm waiting for clearance on most of the images; the current gallery isn't a selection of what is novel or well-known, it's just what was freely available online. – SJ + 17:07, 9 October 2016 (UTC)

Some progress here, mainly for videos. Around 15 image requests outstanding, mostly for photos by a single photographer, and confirmation about the infobox photo (else could crop and use this one). – SJ + 21:55, 22 February 2017 (UTC)

GA Review

This review is transcluded from Talk:Neri Oxman/GA1. The edit link for this section can be used to add comments to the review.

Reviewer: Shearonink (talk · contribs) 20:54, 21 February 2017 (UTC)

Giving this article a Review for possible GA status. Shearonink (talk) 20:54, 21 February 2017 (UTC)

GA review – see WP:WIAGA for criteria

1. Is it well written?

   A. The prose is clear and concise, and the spelling and grammar are correct:

   B. It complies with the manual of style guidelines for lead sections, layout, words to watch, fiction, and list incorporation:

   I re-read the lead section and think that one of the sentences needs to be adjusted:

   Stylistic trademarks include brightly colored and textured surfaces with structure at many scales, and composite materials whose hardness, color, and shape vary over an object. The results are often designed to be worn or touched, and inspired by nature and biology.

   This sentence might seem to be perfectly clear to the writer but I am concerned that these particular adjectives are not specifically addressed within the main body. Am willing to be convinced otherwise - let's discuss. Shearonink (talk) 22:03, 23 February 2017 (UTC)

   See below - this has been fixed. Shearonink (talk) 07:08, 9 March 2017 (UTC)

2. Is it verifiable with no original research?

   A. It contains a list of all references (sources of information), presented in accordance with the layout style guideline:

   The reference-styles are fine. It would be better if all the dates were broth into agreement with each other, there are some with month day year (August 15, 2011) and some with yyyy-mm-dd (2011-08-11). Shearonink (talk) 22:03, 23 February 2017 (UTC)

   B. All in-line citations are from reliable sources, including those for direct quotations, statistics, published opinion, counter-intuitive or controversial statements that are challenged or likely to be challenged, and contentious material relating to living persons—science-based articles should follow the scientific citation guidelines:

   References #20, 63, 66 have all gone dead. Reference #60 timed-out & seems broken - there seems to be some kind of technical issue from the website's end. Shearonink (talk) 03:16, 22 February 2017 (UTC)

   Fixed. Shearonink (talk) 22:03, 23 February 2017 (UTC)

   C. It contains no original research:

   D. It contains no copyright violations nor plagiarism:

   Copyvio tool found no problems. Shearonink (talk) 03:16, 22 February 2017 (UTC)

3. Is it broad in its coverage?

   A. It addresses the main aspects of the topic:

   Giving this another readthrough. Shearonink (talk) 03:16, 22 February 2017 (UTC)

   B. It stays focused on the topic without going into unnecessary detail (see summary style):

4. Is it neutral?

   It represents viewpoints fairly and without editorial bias, giving due weight to each:

5. Is it stable?

   It does not change significantly from day to day because of an ongoing edit war or content dispute:

   No edit-warring, very stable. Shearonink (talk) 03:16, 22 February 2017 (UTC)

6. Is it illustrated, if possible, by images?

   A. Images are tagged with their copyright status, and valid fair use rationales are provided for non-free content:

   The infobox image is problematic - the source image was deleted from Commons because it lacked the permissions parameter so I'm not sure this derived-image should even be on Commons. Shearonink (talk) 03:16, 22 February 2017 (UTC)

   I am passing this criteria because the original image did have the proper permissions and the nominator/editor is working on getting them back for this image. Shearonink (talk) 22:03, 23 February 2017 (UTC)

   B. Images are relevant to the topic, and have suitable captions:

7. Overall:

   Pass or Fail:

   This review is On Hold pending the "Remaining issues" concerns. Shearonink (talk) 16:41, 28 February 2017 (UTC)

   Congrats, it is now a GA. Shearonink (talk) 07:08, 9 March 2017 (UTC)

Hi Shearonink, I fixed or added archival links to the 3 above, and made a couple other tweaks. Thanks for caching the profile photo, I'm pretty sure there was an email release last year. Looks like the original was deleted quickly b/c it wasn't in use, I will doublecheck on the release. Regards, – SJ + 23:56, 22 February 2017 (UTC)

@Sj: Thanks for fixing those. That one sentence in the lead is my main are of concern at this point. I will be giving the article another proofreading type read through to see if there is anything I missed. Shearonink (talk) 22:03, 23 February 2017 (UTC)

I'll work this weekend on specific references to that related to each work. And if the original profile photo isn't accepted, it can be swapped for this one. Regards, – SJ + 21:28, 25 February 2017 (UTC)

I replaced the first photo with a high-resolution one which I believe has been cleared via OTRS (no on-wiki confirmation yet). – SJ + 02:48, 1 March 2017 (UTC)

@Sj: I don't know if you've noticed but the image is due to be deleted around March 7th or so unless the permissions-issue is fully-corrected, please check File:Neri Oxman by Noah Kalina.jpg. Thanks, Shearonink (talk) 03:57, 1 March 2017 (UTC)

Remaining issues

@Sj: The remaining single issue for me is the sentence in the lead section that describes Oxman's work:

• Stylistic trademarks include brightly colored and textured surfaces with structure at many scales, and composite materials whose hardness, color, and shape vary over an object. The results are often designed to be worn or touched, and inspired by nature and biology.

This POV-description is not directly stated or referenced within the main body of the article. Since the lead is supposed to be a summary of the main body of the article, this statement is 1)out of place and 2)also not sourced from a reliable source. If this statement is verifiable from a reliable source then that source needs to be cited. Shearonink (talk) 16:41, 28 February 2017 (UTC)

Thank you @Shearonink: – I added details of the multi-material and multi-scale work for some of the relevant pieces (Beings, Mushtari, Rottlace). Some of the current sources mention or showcase these features, and I added two more. Regards, – SJ + 22:44, 28 February 2017 (UTC)

@Sj: Much better, your edits lay out the stylistic parameters of Oxman's work according to reliable sources...well-done. The last remaining issue is the infobox-image's permission. Once that is completed I will be able to finish up my review. Shearonink (talk) 03:57, 1 March 2017 (UTC)

Infobox image permission

@Sj: The file is still lacking the proper permission. I know that the uploader/Noah Kalina indicated that permission was emailed in to (I think?)Commons, but you should be aware that Wikipedia:Contact us - Licensing states "Please note that submissions made by email may take several weeks to process." I think the best course of action going forward is to post on Commons:OTRS/Noticeboard and ask about the status of the email/OTRS ticket. Another way for the photo to remain on Commons would be for the photographer to donate it, please refer to Wikipedia:Donating copyrighted materials#Donating your photographs. Hope this helps, I'd hate for the article to lose the image because of the permissions issue. Shearonink (talk) 19:01, 6 March 2017 (UTC)

Thanks for the links. I've asked a couple OTRS users if they could confirm. If it takes weeks to process those emails, I don't see why Commons users propose deletion within a week! – SJ + 05:19, 8 March 2017 (UTC)

Me neither but that's the way it is...the various Wikimedia projects are so very careful of anything that has to do with WP:BLPs. Image-permissions are not my strong suit. The photog could donate the image with one of the CC-BY-SA licenses but not everyone wants to do that & give up their rights to the image. Maybe you could ask someone over at Commons? In any case, no worries about the Review - I'll hold it until we hear something. If the issue for deletion is that it's being used in an article, can the image be held "backstage" until the permissions/OTRS info comes through? Shearonink (talk) 06:31, 8 March 2017 (UTC)

Progress: now it's being processed rather than deleted. I believe the photog already granted all rights to the subject, and the subject is confirming they are donating them under BY-SA. Be well, – SJ + 08:27, 8 March 2017 (UTC)

Image permission is in-process, all is well. Shearonink (talk) 07:08, 9 March 2017 (UTC)

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Brad Pitt

Predictably, some self appointed content cops are fighting a rearguard action to avoid contamination of this esteemed woman scholar’s page with tabloid gossip. But if this was a dude academic who suddenly found himself BFF with a VS model, you can be sure that not only would it get into the article, said dude would *want* it in the article. What there is no place in Wikipedia for is sanctimonious censoring. Pitt is a significant fact in this context and his name should be mentioned in the article. His absence is now glaring. 2600:387:A:15:0:0:0:66 (talk) 07:42, 20 April 2018 (UTC)

Wikipedia is not about what ‘some dude’ wants in his article. The daily mail is not a reliable source. The sources, even unreliable only say they’re spending time together. WP:BLPGOSSIP. Heliotom (talk) 11:42, 20 April 2018 (UTC)

Other work

I need to find details for these; leaving them here for now. – SJ + 19:11, 3 June 2018 (UTC)

New water-soluble material w/programmable decay time (ocean pavilion v.2?): Aguahoja

3D printing of data sets with high-resolution colored printing, via "dithered material deposition". Written up in Science Advances. used in Vespers? paper suggests many materials + printers could be used.

MIT Media Lab

I work for Rubenstein and on behalf of Neri Oxman, I would like to flag an inaccuracy in the last sentence of the lead section. The sentence says:

She directed her students in the lab to send Epstein a gift despite the concerns about Epstein they brought to her attention.

The Boston Globe article used as the citation indicates a single student raised concerns.

I would like to edit the sentence to reflect one student raised concerns, not multiple students as indicated in the current version of that sentence:

She directed a student in the lab to send Epstein a gift despite the concerns about Epstein the student brought to her attention.

NinaSpezz (talk) 19:34, 17 September 2019 (UTC)

References

Reply 17-SEP-2019

  Edit request declined  

• She directed a student in the lab to send Epstein a gift despite the concerns about Epstein the student brought to her attention. — The source does not confirm the bolded requested changes.

Analysis

There are two issues here.

1. The gift, and who was asked to send it
2. Who had concerns about the gift, and who raised those concerns

The text states the following about issue No.1, who was asked to send the gift:

And in 2017, Ito requested that her design lab, which often produced donor gifts for the university, send a token of appreciation to Epstein: a grapefruit-sized, 3-D printed marble with a base that lit up. It came with a pair of gloves to avoid getting fingerprints on the surface.

The text also states the following about issues No. 1 and 2: who had concerns, who raised them, and who was asked to send a gift:

But former students say that Oxman may have been in a better position than most to raise concerns. She was among Ito’s close circle at the Media Lab, she was well-respected by top MIT leaders, and she traveled to Europe and across the country to showcase her work. And at least one student raised concerns to Oxman about Epstein’s ties to the lab in 2017. That’s when Oxman asked those in her lab to prepare and send a gift to Epstein, according to documents shared by an MIT employee. A graduate student, seeing Epstein’s name, flagged him as a potential problem. “Have you read the articles about this Jeff Epstein? He seems pretty shady. . . . Just wanted to point it out in case you weren’t aware,” the student wrote to Oxman, who was in Barcelona at the time. “Joi and I are aware,” Oxman wrote back. “I’ll share more in person when I return.”

Conclusion

• The text from the article makes it clear that more than one student was asked to send a collective gift, that more than one student later expressed concerns, and that one student raised those concerns at the time.

Regards,  Spintendo  23:22, 17 September 2019 (UTC)

Notes

References

raycounting

I removed this confusing para:

Oxman has used raycounting in her work, a technique that is the opposite of photo sculpting. In raycounting a flat surface is conversed into a highly curved one through a specific layout of light parameters. An algorithm calculates the intensity, position, and direction of one or multiple light sources placed in a given environment and assigns local curvature values to the relation between geometry and light performance. Then produced by stereolithography, the three double layered, translucent objects show resin pockets wherever these surfaces intersected.[1]

It wasn't grammatical or well sourced, and seems to apply to just one trio of pieces. If this was a significant instance of the art technique and it is cited elsewhere, could be re-added w/ a more direct cite. – SJ + 02:59, 19 April 2021 (UTC)

platforms

Currently, some of the generative toolchains used to produce known works (co-fabrication, hybrid living materials, data-driven material modeling, glass 3d printing, water-based digital fabrication) are listed or referenced in places as 'platforms' but I haven't found named tools or services associated with any of them.

Each has at least one paper, and some (the glass + chitosan printers) have a potentially reusable hardware platform. Perhaps there are other docs (roadmaps, manuals, patents?) that describe how they work and whether they will be general-use tools for others; in which case it could make sense to have a section for platform designs. – SJ + 22:08, 20 April 2021 (UTC)

notability of techniques

Related to the above, for techniques that are described in a popular paper but still unique: when does a novel production method move from neologism to notable - is there an equivalent of multiple independent references for a production method? E.g., multiple implementers of the glass printer ([1]) feels different from a technique used for one set of works. 10:54, 28 April 2021 (UTC)

Early life and education section

Hello! My name is Stephanie and I'm here representing OXMAN on behalf of Neri Oxman. I've registered an account so I can submit update requests and other improvements here on the discussion page. I'll avoid editing the article myself and will seek assistance from Wikipedia community members to update the entry on my behalf. I'm specifically hoping User:Sj, who promoted the entry to Good Article status back in 2017, can help with updating. Looking forward to working together!

I see the "Early life and education" section has multiple claims supported by MIT and Neri's website. I've drafted the following replacement text for consideration:

Neri Oxman was born in Haifa, Israel, the daughter of architecture professors Robert and Rivka Oxman. Oxman has a sister, Keren, who is an artist. She grew up in Israel, spending time in her parents' architecture studio and at her grandmother's house, which Oxman said, "cultivated in me a sense of wonder."

She served two years in the Israeli Air Force and reached the rank of first lieutenant. Following her military service, Oxman attended Hebrew University's Hadassah Medical School for two years before switching her studies to architecture. She began her architectural studies at Technion Israel Institute of Technology and finished her degree at the Architectural Association School of Architecture in London, graduating in 2004 with a RIBA Part 2 certificate. In 2005, Oxman began her Ph.D. studies in architectural design and computation at the Massachusetts Institute of Technology, advised by William J. Mitchell. Her thesis focused on material-aware design. She graduated from the doctoral program in 2010.

References

This is an improvement over the existing text because all claims are sourced and better sources are used. I've tried to generally cover all the same details.

I would also like to propose removing the image of Rivka Oxman. The photograph appears on her page and there are plenty of other images which I think should be used to illustrate Neri's article. I'm hoping User:Sj and other editors can review the text I've proposed and update the article appropriately.

Thank you! SM at OXMAN (talk) 18:05, 7 December 2021 (UTC)

Thanks SM for the new cites; they are indeed better. As for images -- suggestions welcome; if you have any updates from recent research + exhibits, those sections are out of date, and only you can license images of new work! :) And while Wikipedia has constraints on editing articles related to your work, you are welcome to post images directly to Wikimedia Commons. – SJ + 21:38, 8 December 2021 (UTC)

@Sj: Thanks for responding to this edit request. Is this request complete? If so, can you close this request by replacing {{edit COI}} with {{edit COI|A}}? This will remove this request from the queue. Thanks. Z1720 (talk) 15:01, 10 December 2021 (UTC)

Hi Z, updated + moved the image req below. – SJ + 16:08, 10 December 2021 (UTC)

Images of recent work

Is there a section of any more recent sites / digital exhibits with freely licensed images? I haven't found any replacement for the MIT and youtube streams. Self-licensing by the creator is much easier than asking for permission after the fact. – SJ + 16:08, 10 December 2021 (UTC)

[Note to GLAM: it would be lovely to have a world-class museum that by default worked w/ all displayed artists to get a Commons-friendly image of each displayed work :] – SJ + 16:08, 10 December 2021 (UTC)

Pinging @SM at OXMAN: who asked first about the images. Artem.G (talk) 16:12, 10 December 2021 (UTC)

Career section

@Sj: Thank you for reviewing my initial request and updating the article. I will be proposing some updates re: research and exhibits, and I will also consider which illustrations might be best. Thanks for pointing out Wikimedia Commons. For now, continuing down the article body, I'd like to focus on the "Career" section.

I'd like to propose a slight restructure to the framework here: instead of having the subsections "Design philosophy" and "Television appearances", which has just one sentence, I propose having the subsections "Academic career" and "Industry career" and making "Design philosophy" a standalone section.

The current text uses MIT Media Lab and Oxman's website, so I've replaced these with secondary coverage. I've also merged the Netflix docu-series claim into "Industry career" and removed mention of her appearances on magazine covers. I hope you will agree that this proposed text helps the information have a better flow while also improving the citations in these sections. I've drafted the following replacement text for consideration:

Career

Academic career

Oxman became a professor at MIT in 2010, was awarded tenure in 2017, and founded the Mediated Matter Group at MIT's Media Lab, an academic lab that focuses on interdisciplinary work. Oxman's research interests focus on the intersection of nature and design, creating concepts like a "skin" for buildings that can tan in the sun to create shade and a biodegradable polymer. She coined the term for and started developing the field "Material Ecology" in 2006. In 2016, Oxman assisted with the launch of the Journal of Design and Science, an "antidisciplinary" academic journal which journal co-founder Joi Ito described as "working in spaces that simply do not fit into any existing academic discipline." Oxman is a member of the non-peer-reviewed journal's editorial board.

Industry career

Oxman's designs and artworks are in the permanent collections of several museums, including at the Museum of Modern Art in New York City, the Museum of Applied Arts in Vienna, Austria, the Smithsonian, and the San Francisco Museum of Modern Art, among others. In 2020, the MoMA staged an exhibition of her work, the first time it had been displayed as a collection.

Oxman worked with Icelandic musician Björk in 2016 to create a mask based on facial scans of the singer and worked with Dutch fashion designer Iris van Herpen to develop 3D printed wearable items. She moved to New York City in 2020 and announced plans in March 2021 to build a 36,000-square-foot research lab in Manhattan.

The Netflix docu-series Abstract: The Art of Design featured Oxman in its second season.

Design philosophy

Oxman created the design field and philosophy Material Ecology in 2006 while a graduate student at MIT. The approach combines 3D printing techniques with biology, engineering, materials science, and computer science to create objects and structures through growth and without assembly. Material Ecology posits that the future of design must "combine the grown and the built" to place humanity in harmony with nature. Her approach uses nature for inspiration and incorporates living elements into the fabrication process, as she did with Silk Pavilion, which used silkworms to construct a dome, and Wanderers, a series of spacesuit concepts with bacteria inside to convert the environment into human-usable elements. She has written that science, engineering, design, and art should be more actively connected, with the output of each serving as input for another. MoMA senior curator Paola Antonelli described the goal of Oxman's work as a way to "detect and decipher nature's myriad structural and essential design lessons and render them digitally for future application at all scales, for the benefit of architects and designers."

In 2016, Oxman introduced the Krebs Cycle of Creativity, her drawing inspired by the Krebs Cycle used by aerobic organisms to produce energy as a means of understanding the cycle of knowledge and design. According to Oxman, transitioning between art, science, engineering, and design generates "intellectual energy", each building off the others.

A 2015 TED Talk Oxman gave on Material Ecology had received more than 2.7 million views as of December 2021.

References

When I preview this request, I see a few instances of "cannot be previewed because it is defined outside the current section or not defined in this article at all", but the citations are already used in the current article so the markup should be correct if copied over. Sj, if you agree this is an improvement over the existing text, would you be able to update the article appropriately? Thanks again for reviewing! SM at OXMAN (talk) 21:13, 10 December 2021 (UTC)

Moved from article

Oxman also led her team to give Epstein a gift of a grapefruit-sized 3D-printed marble despite student protest.

This feels undue here; it was added alongside some explicit attacks. – SJ + 09:54, 6 January 2022 (UTC)

References

Personal life section

I'd like to submit another request, this time for the "Personal life" section. First, I noticed the use of "Argentine composer". Most often "Argentinian" is used as an adjective and "Argentine" is used as a demonym. Therefore, I propose changing to "Argentinian". Also, I propose adding mention of Oxman's affiliation with the Pershing Square Foundation. I propose replacing the current article's text with the following:

Oxman was previously married to Argentinian composer Osvaldo Golijov. She married activist investor and hedge fund manager Bill Ackman in January 2019. The couple have a daughter, Raika. They are co-trustees of the Pershing Square Foundation, a charitable organization founded by Ackman.

References

Continued thanks to User:Sj and others for reviewing and updating the article on my behalf! SM at OXMAN (talk) 14:37, 17 December 2021 (UTC)

Hi SM at OXMAN, I will take a look at this and get back to you. MaskedSinger (talk) 10:54, 24 December 2021 (UTC)

The new cites + restructure look good. For the first section, do you have any updates on the New York lab? – SJ + 00:58, 25 December 2021 (UTC)

@Sj: Thank you. You may wish to add detail on the New York lab such as: "She moved to New York City in 2020 and announced plans in March 2021 to build a 36,000-square-foot research and design lab in Manhattan, slated for completion around the end of 2022." She states this timeline detail in this Dezeen interview (0:40–1:00). Other related sources include Dezeen, The Wall Street Journal, and Designboom.

Relatedly, Neri released a new film in November 2021 that provides a comprehensive overview of her design philosophy and five major works. Should this link be included, perhaps under "Design philosophy" as it relates to humanity in harmony with nature, or "Industry career" as an intro to the work that will be taken on at the new lab? SM at OXMAN (talk) 19:05, 6 January 2022 (UTC)

That's a fine detail, I'll take a look. Does the film say explicitly what elements will be worked on in the future / in the new lab? – SJ + 00:54, 9 January 2022 (UTC)

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
• Keating, S. J., Leland, J. C., Cai, L., & Oxman, N. (2017). Toward site-specific and self-sufficient robotic fabrication on architectural scales. Science Robotics, 2(5), 1–15. doi: 10.1126/scirobotics.aam8986
• Bader, C., & Oxman, N. (2016). Recursive symmetries for geometrically complex and materially heterogeneous additive manufacturing. Computer-Aided Design, 81, 39–47. doi: 10.1016/j.cad.2016.09.002
• Bader, C., Kolb, D., Weaver, J. C., & Oxman, N. (2016). Data-driven material modeling with functional advection for 3d printing of materially heterogeneous objects. 3D Printing and Additive Manufacturing, 3(2), 71–79. doi: 10.1089/3dp.2016.0026
• Bader, C., Patrick, W. G., Kolb, D., Hays, S. G., Keating, S., Sharma, S., Dikovsky, D., Belocon, B., Weaver, J. C., Silver, P. A., & Oxman, N. (2016). Grown, printed, and biologically augmented: An additively manufactured microfluidic wearable, functionally templated for synthetic microbes. 3D Printing and Additive Manufacturing, 3(2), 79–89. doi: 10.1089/3dp.2016.0027
• Klein, J., Stern, M., Franchin, G., Kayser, M., Inamura, C., Dave, S., Weaver, J. C., Houk, P., Colombo, P., Yang, M., & Oxman, N. (2015). Additive manufacturing of optically transparent glass. 3D Printing and Additive Manufacturing, 2(3), 92–105. doi: 10.1089/3dp.2015.0021
• Duro-Royo, J., Mogas-Soldevila, L., & Oxman, N. (2015). Flow-based fabrication: An integrated computational workflow for design and digital additive manufacturing of multifunctional heterogeneously structured objects. Computer-Aided Design, 69, 143–154. doi: 10.1016/j.cad.2015.05.005
• Patrick, W. G., Nielsen, A. A. K., Keating, S. J., Levy, T. J., Wang, C.-W., Rivera, J. J., Mondragón-Palomino, O., Carr, P. A., Voigt, C. A., Oxman, N., & Kong, D. S. (2015). DNA assembly in 3D printed fluidics. PLOS One, 10(12), e0143636. doi: 10.1371/journal.pone.0143636

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)

I've updated publications and awards, incorporating most of the above + other recent changes. There's additional material on the new site + youtube channel[2], and a Long Now interview[3] pointing to future work, including around imagining the distant future of cities, that seems imnportant but isn't included yet. – SJ + 17:52, 22 May 2022 (UTC)

Complimentary quotes from others?

There are a number of promotional type quotes in the career section. How is this typically handled? What would other editors propose to be done about this to make this article the best it can be? LWu22 (talk) 21:01, 27 October 2023 (UTC)

There is a response to this question on the good article page here: Wikipedia talk:Good article reassessment - Wikipedia

It seems as though the quotes are ok but have to be moved to the correct location in the article.

It was also pointed out that the lead has to be updated to more accurately reflect the contents of the article. I will work on these two points in my upcoming editing sessions. Also sharing it here incase other editors would like to work on it.

Finally, I had some additional questions about best practices which I also asked in my response on that page. Feel free to update per response (there is no response as of right now as I just posed it). LWu22 (talk) 21:25, 29 October 2023 (UTC)

Complimentary quotes from others?

There are a number of promotional type quotes in the career section. How is this typically handled? What would other editors propose to be done about this to make this article the best it can be? LWu22 (talk) 21:01, 27 October 2023 (UTC)

There is a response to this question on the good article page here: Wikipedia talk:Good article reassessment - Wikipedia

It seems as though the quotes are ok but have to be moved to the correct location in the article.

It was also pointed out that the lead has to be updated to more accurately reflect the contents of the article. I will work on these two points in my upcoming editing sessions. Also sharing it here incase other editors would like to work on it.

Finally, I had some additional questions about best practices which I also asked in my response on that page. Feel free to update per response (there is no response as of right now as I just posed it). LWu22 (talk) 21:25, 29 October 2023 (UTC)

I moved and shortened the obvious ones. It's more common to have quotes from reviews, some of these need more context to be kept. – SJ + 20:16, 6 January 2024 (UTC)

Missing mention of motives (ie, antisemitism) of accusers against Oxman

Allegations of plagiarism came after Bill Ackman's support of Israel. Should the article should include details of antisemitism, etc. 76.27.200.197 (talk) 05:56, 8 January 2024 (UTC)

Do you have any reliable sources which argue that? Labelling journalism which revealed the mistakes of a Jewish person as ‘antisemitism’ is pretty strange. It’s more likely the motivation was simply to expose the hypocrisy after Ackman went after Claudine Gay. Zenomonoz (talk) 21:13, 8 January 2024 (UTC)

This WaPo article is a bit more clear. It’s the owner of Business Insider, a company which aligns itself with Israel, who is alleging there might be anti Zionist or semetic motivations. Not sure if this is too trivial to mention here tbh. Zenomonoz (talk) 21:26, 8 January 2024 (UTC)

notably it's a company that requires a loyalty pledge to ... israel ... for it's european media subsidiaries. Yes I'm confused too but Germany is weird.

it was in the news when it acquired politico because they didn't make the employees sign the pledge but did confirm they would enforce it.

For what it's worth, Bill Ackman mentioned Axel Springer and KKR (the majority shareholder of Axel Springer) in one of his first tweets addressing Business Insider so that likely has something to do with their investigation.

Sources:

https://www.timesofisrael.com/new-owners-wont-make-politico-employees-sign-pro-israel-pledge/

https://www.haaretz.com/israel-news/2021-10-17/ty-article/new-politico-owner-says-will-enforce-pro-israel-policy/0000017f-f763-d47e-a37f-ff7f63b90000

https://twitter.com/BillAckman/status/1743792226591723914 2600:4040:278C:CA00:6D54:33B7:ECD1:36FD (talk) 00:01, 9 January 2024 (UTC)