14 May 2015

Israeli Design.
Noa Raviv

Text: Jessica Sicking, Susanne Heinlein

In form 259 we explore the design in a country that is mainly present in the media because of its political conflicts: Israel. At the same time it has to offer a vibrant and multifaceted design scene, at whose protagonists we took a closer look. You can find more portraits of Israeli designers and studios both in form 259 and form Dossiers.



Noa Raviv only recently graduated from the Shenkar College of Engineering, Design and Art in Tel Aviv, and already has won several awards for her graduation collection. She explores the freedom of the Israeli tradition by applying innovative technologies and going beyond what seems possible. 


Studio: Noa Raviv

Website: noaraviv.comnoaraviv.com

Year of foundation: 2014

Employees: 1

Field of work: fashion design, 3D printing

Clients: self-commissioned, international boutiques



In your opinion, what is special about design in Israel?


Since Israel is a relatively new country, we don’t have all these traditions designers have in Paris or London. In a way, this is very good, because it creates a lot of space for innovation and trying new things. When there is no tradition, there is no right or wrong. Therefore, I think designers in Israel are very diverse in style and distinct from each other, as each of them can be influenced by any other country or from within the different cultures, religions and different landscapes in Israel itself.



What characterises your work respectively your design and style?


I’m fascinated by the tension between harmony and chaos, tradition and innovation – sensitively seeking for the perfect balance. I like to observe and look for the uniqueness and beauty in the mundane and ordinary.


Your work is primarily conceptual. How does this conceptual approach look like? Do you plan designs that are more wearable in everyday life for the future?


I believe that a strong and in-depth research is one of the most important keys to good product design. Alongside the research I develop textiles and look for new materials. And yes, I definitely plan to make collections for everyday life.



How do you make use of new developments (for example 3D software or printing) in your work?


I have deliberately created defective digital images with 3D software. Deformed objects that were created by a command that the software is not able to execute. These objects cannot be printed, nor produced in reality. They exist only in the virtual space. The tension between the real and the virtual world, between 2D and 3D, inspired me to create the Hard Copy Collection. I developed most of the textiles for the collection myself, while the 3D printed parts were created using Stratasys’ Objet 500 Connex 3 Multi-Material 3D printing technology.



Why do these technologies attract your attention? What additional value do they hold for your work?


3D printing enables designers to imagine and produce patterns and products that could not be created in any other way. It is an amazing tool for a designer to work with.


Nº 284
Region of Design

form Design Magazine

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