2012 Our contemporary style of living forces us to rethink our surrounding. The virtual digital environment makes our physical neighborhood as big as the whole world, and our possibilities for being is as endless as the web. This international state penetrates our physical surrounding and makes our lives more dynamic than ever before. Our personal belongings are becoming things that we need to move occasionally from home to home. We move between apartments, cities, states and even continents. Following our international life style, one day we are here, and in the other we live far far away. Sometimes it seems that our possessions are defined by the size of the moving van or the container we need to move our self, and by that our moving foot print is more important than our present foot print. What happens to our belongings that fail to move with us? Can they keep on existing? Can a non-collapsible sofa still exist in the contemporary life style? And what will be the life span of a non-collapsible chair, one that will just take too much space in the moving van?

2012 Our contemporary style of living forces us to rethink our surrounding. The virtual digital environment makes our physical neighborhood as big as the whole world, and our possibilities for being is as endless as the web. This international state penetrates our physical surrounding and makes our lives more dynamic than ever before. Our personal belongings are becoming things that we need to move occasionally from home to home. We move between apartments, cities, states and even continents. Following our international life style, one day we are here, and in the other we live far far away. Sometimes it seems that our possessions are defined by the size of the moving van or the container we need to move our self, and by that our moving foot print is more important than our present foot print. What happens to our belongings that fail to move with us? Can they keep on existing? Can a non-collapsible sofa still exist in the contemporary life style? And what will be the life span of a non-collapsible chair, one that will just take too much space in the moving van?

2012 Sticks and Stones is a collaborative approach between the maker and the consumer in the frame of a table light product. Table lamps are usually an assembly of a base, a light source, and an elevating wrist. the light source is an LED lamp, that has to be bought from accurate industry while the elevated wrist can be produced with simpler means, by probably any workshop. Almost every piece of stick can be used in this case. And thus, I propose that the elevated wrist will be produced by a local maker, who will also implement within it the LED light source, as a purchased item. This assembly is sold to the end user, without the last component, the base. The base is the easiest part to produce in the assembly, while also the heaviest and biggest, as the two others can be relatively small thanks to the use of LED light source. The base is left for the user to add, and by that to reduce transportation of heavy and space consuming part, never the less the consumer has the opportunity to modify the purchased lamp, turn it into his own, and naturally adopt it to the future space it will be situated in. it can be a local stone, a heavy sculpture the consumer has, or a bag of rice laying in the consumer domestic environment. Creating a strong connection between the purchased and the place of functionality and existence.

2012 Sticks and Stones is a collaborative approach between the maker and the consumer in the frame of a table light product. Table lamps are usually an assembly of a base, a light source, and an elevating wrist. the light source is an LED lamp, that has to be bought from accurate industry while the elevated wrist can be produced with simpler means, by probably any workshop. Almost every piece of stick can be used in this case. And thus, I propose that the elevated wrist will be produced by a local maker, who will also implement within it the LED light source, as a purchased item. This assembly is sold to the end user, without the last component, the base. The base is the easiest part to produce in the assembly, while also the heaviest and biggest, as the two others can be relatively small thanks to the use of LED light source. The base is left for the user to add, and by that to reduce transportation of heavy and space consuming part, never the less the consumer has the opportunity to modify the purchased lamp, turn it into his own, and naturally adopt it to the future space it will be situated in. it can be a local stone, a heavy sculpture the consumer has, or a bag of rice laying in the consumer domestic environment. Creating a strong connection between the purchased and the place of functionality and existence.

Rough focus on a connection between existing objects found thrown away on the side of the street, or between objects and the spot they were left in. Wondering around, finding pieces and manipulating them on the spot they were found by connecting them to other thrown away objects, to an existing infrastructure, or just framing them in the spot they are. Using duct tape as mean of production, and a mobile phone camera + web site as a mean of archiving and distribution. The focus is not on the final result rather than on the action. The manipulation result should be as ridicules as possible in order to place the spot light over the action itself, the ease of making, the temporarity, the improvisation, and the place of making, using the public domain as a playground to experiment and reflect on means of production, the ever transforming value, and their transforming existence, from functional objects, to garbage, to newly collected functional objects. Never the less, this this activity researches the street as a place for display, while some busy areas demand a heavy intervention in order to exist and be noticed, other clean and well organized streets function almost as a gallery space, while all of the streets components are disappearing from the eye in their commonness, just like a wall socket in a gallery disappears from the eye, only a very small action needs to be made like taping a border around a thrown away object, in order to make it stand out and be meaningful, or completely meaningless.

Rough focus on a connection between existing objects found thrown away on the side of the street, or between objects and the spot they were left in. Wondering around, finding pieces and manipulating them on the spot they were found by connecting them to other thrown away objects, to an existing infrastructure, or just framing them in the spot they are. Using duct tape as mean of production, and a mobile phone camera + web site as a mean of archiving and distribution. The focus is not on the final result rather than on the action. The manipulation result should be as ridicules as possible in order to place the spot light over the action itself, the ease of making, the temporarity, the improvisation, and the place of making, using the public domain as a playground to experiment and reflect on means of production, the ever transforming value, and their transforming existence, from functional objects, to garbage, to newly collected functional objects. Never the less, this this activity researches the street as a place for display, while some busy areas demand a heavy intervention in order to exist and be noticed, other clean and well organized streets function almost as a gallery space, while all of the streets components are disappearing from the eye in their commonness, just like a wall socket in a gallery disappears from the eye, only a very small action needs to be made like taping a border around a thrown away object, in order to make it stand out and be meaningful, or completely meaningless.

2012 In the project - Pegs, I break down the structure of a simple object, the peg. Pegs are extremely cheap to purchase, as a molding of one would cost around 0.02 US dollars and the flexible metal wire will cost around the same. The peg, similarly to other objects is just an assembly of two long pieces of whatever substance existing, connected with a flexible joint. In this series I try to draw a making manual that will describe the simple process of making, not by describing specific steps of making, just like usually made with manuals, but just as a set of examples for the maker, to be inspired, and find a local solution suitable for his needs and local existing materials. Thus creating his own version of a simple product, using a global idea and description of a peg, but applying his own interpretation, defined by his local means and existing raw material. Means of creation can vary between one place to another, and between one class to anther.

2012 In the project - Pegs, I break down the structure of a simple object, the peg. Pegs are extremely cheap to purchase, as a molding of one would cost around 0.02 US dollars and the flexible metal wire will cost around the same. The peg, similarly to other objects is just an assembly of two long pieces of whatever substance existing, connected with a flexible joint. In this series I try to draw a making manual that will describe the simple process of making, not by describing specific steps of making, just like usually made with manuals, but just as a set of examples for the maker, to be inspired, and find a local solution suitable for his needs and local existing materials. Thus creating his own version of a simple product, using a global idea and description of a peg, but applying his own interpretation, defined by his local means and existing raw material. Means of creation can vary between one place to another, and between one class to anther.

2012 A series of furniture designed for simple production process, with basic metal bent machining. In the frame of simplicity, production drawings can be easily distributed.

2012 A series of furniture designed for simple production process, with basic metal bent machining. In the frame of simplicity, production drawings can be easily distributed.

2012 Light Fixtures for domestic as well as professional environment use. Based on Oree's. planar LightCell Technology. The design approach is to add as minimum as possible parts to the LightCell in order to preserve the LightCellTM as the focal center in the product. In collaboration with Shlomi Eiger Visit Oree's web page

2012 Light Fixtures for domestic as well as professional environment use. Based on Oree's. planar LightCell Technology. The design approach is to add as minimum as possible parts to the LightCell in order to preserve the LightCellTM as the focal center in the product. In collaboration with Shlomi Eiger Visit Oree's web page

2012 - 2012 While working at D-led and as a freelance designer, I have developed several Architectural Illuminations with D-led, and under the product management of the R&D director, Yaron Ronen. These products are designed for a professional market, should be rigid and long living in indoor environment as well as outdoors. The projects demand complex assemblies within low foot print enclosures, with high quality outputs, as well as competitive as possible production prices to reach marketing goals.

2012 - 2012 While working at D-led and as a freelance designer, I have developed several Architectural Illuminations with D-led, and under the product management of the R&D director, Yaron Ronen. These products are designed for a professional market, should be rigid and long living in indoor environment as well as outdoors. The projects demand complex assemblies within low foot print enclosures, with high quality outputs, as well as competitive as possible production prices to reach marketing goals.

2008 - 2012 While working at NekudaDM, as well as an independent design, product design, development, and production management.

2008 - 2012 While working at NekudaDM, as well as an independent design, product design, development, and production management.

Branding, Graphic design, and Web Development for: www.oree-inc.com www.kashani.co.il www.newstarventures.com www.crosslinkconsultingllc.com In collaboration with Sandy Yadav

Branding, Graphic design, and Web Development for: www.oree-inc.com www.kashani.co.il www.newstarventures.com www.crosslinkconsultingllc.com In collaboration with Sandy Yadav

2008For My Bachelor diploma, I have created a series of products that will maintain the characteristics of political conflict in the Israeli society.Using low tech technology of rotational molding at my back yard, using improvised self made molds and bone fire oven.The idea is to create 'local' products, ones that reflect the Israeli political situation as well as the economical situation.Locally characterized, and locally produced.

2008For My Bachelor diploma, I have created a series of products that will maintain the characteristics of political conflict in the Israeli society.Using low tech technology of rotational molding at my back yard, using improvised self made molds and bone fire oven.The idea is to create 'local' products, ones that reflect the Israeli political situation as well as the economical situation.Locally characterized, and locally produced.

2008 Examining the architectural symbols around occupied territories, Israel Together with Yonatan Assouline.

2008 Examining the architectural symbols around occupied territories, Israel Together with Yonatan Assouline.

2007 The Polyethylene milk crate have a long history of use a engineering. along the years, it has reached the maximal inefficiency structure to maximize the ability of containing. The creates are almost an international objects. and thus are 'miss used' in many different forms. In the project, the goal was to use their versatility, and to define an object as a body (containing box) and accessories. The pressented objects use the 'body' and with the use of accessories, shift the defined object from one to another. Following this process, I tryed to define a modular system of objects, that break a whole environment into different size boxes, and accessories.

2007 The Polyethylene milk crate have a long history of use a engineering. along the years, it has reached the maximal inefficiency structure to maximize the ability of containing. The creates are almost an international objects. and thus are 'miss used' in many different forms. In the project, the goal was to use their versatility, and to define an object as a body (containing box) and accessories. The pressented objects use the 'body' and with the use of accessories, shift the defined object from one to another. Following this process, I tryed to define a modular system of objects, that break a whole environment into different size boxes, and accessories.

2012 A simple system of outdoor furniture, made up of 3 different containing modules, and other accessories, that define the product - a table, a seat, a containing volume, or any other. Made together with Hadas Arnon.

2012 A simple system of outdoor furniture, made up of 3 different containing modules, and other accessories, that define the product - a table, a seat, a containing volume, or any other. Made together with Hadas Arnon.

2007 Walking in an arranged space of repetitive objects and approach path, describe in a sense an urban landscape, vertical container piles and connecting approach paths between use. Is this the minimum required for an urban landscape to be drawn? and if so, what are the characteristics that define a good city? is the order crucial, or rather the points in which the order break?

2007 Walking in an arranged space of repetitive objects and approach path, describe in a sense an urban landscape, vertical container piles and connecting approach paths between use. Is this the minimum required for an urban landscape to be drawn? and if so, what are the characteristics that define a good city? is the order crucial, or rather the points in which the order break?

2008 Focusing on criticism towards the way we use objects with extreme caution, In many cases fragility is a greater value than usability, and the need to preserve an object overcomes the need to comfortably use it. The value of well preserved object can be greater that the value of useful object. Taking example from third world decoration of cars, and a their comparison of perfectly preserved ones in the first world, describes a miss judgment of useful objects role.

2008 Focusing on criticism towards the way we use objects with extreme caution, In many cases fragility is a greater value than usability, and the need to preserve an object overcomes the need to comfortably use it. The value of well preserved object can be greater that the value of useful object. Taking example from third world decoration of cars, and a their comparison of perfectly preserved ones in the first world, describes a miss judgment of useful objects role.

2006 How does it feels to step on familiar texture placed out of context? Together with Yonatan Assouline.

2006 How does it feels to step on familiar texture placed out of context? Together with Yonatan Assouline.

2008 Wooden Bathtub furniture, designed for CNC milling slice by slice (5 to 10 cm each slice) and hand assembly polished, coating and selective painting, For Kashani Israel, The project includes branding graphic design, and web design at www.kashani.co.il Together with Yonatan Assouline. Visit the Kashani web site

2008 Wooden Bathtub furniture, designed for CNC milling slice by slice (5 to 10 cm each slice) and hand assembly polished, coating and selective painting, For Kashani Israel, The project includes branding graphic design, and web design at www.kashani.co.il Together with Yonatan Assouline. Visit the Kashani web site