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A design workflow process for acquiring and fabricating tiger skin pattern rugs
In collaboration with Guy Megides

The 3D scanning of an artifact with its ‘texture’ (color) has an inherent technical characteristic that allows for a reinterpretation of two related hominin craft traditions: skinning hunted animals and creating sculptural icons of those same animals.
Digital three-dimensional color artifact files are by default constructed out of two separate and linked groups of information: geometric/volumetric spatial information (mesh), and in correlation, the color information (UV map).
In a twist on skinning a wild animal for its hide, we may now scan any of the infinite animal sculptures that have been made over the last 40,000 years, skin it, and repurpose that skin as a rug.

Supported by the 2022 Jerusalem Design Week, The Israel Antiquities Authority, Dror Revach, Doron Altaratz and Moshe Caine, Funbie Studios, MUT – Museum of the University of Tubingen and the State Office for the Preservation of Monuments (Esslingen Office, Germany)

Photography: Guy Megides and Dov Ganchrow