Ori Orisun Merhav
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Ori Orisun Merhav graduated from Design Academy Eindhoven, NL in 2022, shortly after founding Made By Insects in Brussels, while living and intersecting with Espace Aygo. She launched the first 3D printed objects in the lac polymer with Ginger Additive, Reflexlab, Aeditto in 2023. The designer was appointed as an associated researcher at the Bio-Polymer Lab of Avans Hogeschoo in 2024. Ori has been shortlisted for awards such as the Bio Art and Design Award 2023 and the Kazerne Design Award 2023. Her pieces are part of Jan van Eyck's Future Materials Bank permanent collection. Her innovative designs have been featured in Elle Decoration, Dezeen, and the Financial Times. As of 2025, her work ' has been acquired by the Centre Pompidou in Paris as part of their permanent collection.
In the near future, our interiors may be grown instead of built, with unconventional materials and techniques shaping our surroundings into circular ecosystems that intertwine the natural and industrial environments. ״What if tiny insects would be our architects?״ Asks Designer and Material Researcher, Ori Orisun Merhav.
Aspiring to forge a new bond with the natural world, Ori has spent the past three years exploring forgotten and under-used materials. Her research investigates the world of 'Kerria Lacca’ insects, a unique natural phenomenon where female scales transform tree sugars into a polymer. Her practice, Made by Insects, unveils innovative approaches to this polymer, from blowing it like glass to 3D printing. These novel techniques not only reveal intriguing new aesthetics but also revive the material’s relevance and utility. Ori's journey began in Thailand, where she immersed herself in the fields and engaged with the local community to study the insects in their natural habitat. It was there that she first encountered the concept of 'mutualism': "I was moved by the insects' ability to consume just enough to survive without disrupting the tree's ecosystem," she reflects. "The idea of two species coexisting without harming one another inspired me to further explore bio-inclusivity".
Since then, she has been working at the intersection of design, nature, and technology, collaborating with scientists and engineers to continually push the boundaries of this material. At her Brussels-based studio, these innovations are translated into collectible designs, installations, and artworks. These pieces bridge the gap between laboratory knowledge and everyday life, meticulously crafted to emulate the universe of the insects. They imitate the way insects construct their cocoons while integrating various materials, as if grown or sourced from the future Ori envisions.
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Works
Ori Orisun Merhav
Morphocatalysis, 20263D printed insect polymer (shellac)64 H x 43 W x 43 D cm
25.1 H x 16.9 W x 16.9 D inDescription
Through metabolic alchemy, the tree’s sugars are transformed into polymer in the encounter between insect and host tree. What once flowed as liquid through the veins of the tree becomes a resinous secretion, carefully architected by Kerria lacca insects into a protective cocoon — a collective womb where new offspring are nurtured before departing in search of a new host. When they leave, the cocoon remains. It holds and commemorates the female insects: the collective womb becomes a collective urn, preserving their bodies in resin, still clinging to the tree — a material memory of life. This inquiry gave rise to an evolving body of research, Insects Craftology, which observes insect bodies as nature’s own extruders. By adapting Ginger Additive Technology into our custom “insect printer,” Merhav began to reimagine how technological systems can echo biological intelligence. Following the acquisition by the Centre Pompidou, Merhav spent three months developing a coded language by scanning textures from insect cocoons and translating them into algorithms that imitate their architectural logic and patterns of growth. Morphocatalysis is our interpretation of the insect’s womb — extruded through our custom “insect printer,” using a code derived directly from the cocoon itself. This rigorous research process is shaped by trial and error, marked by continuous failures and discoveries. The belly of the piece reveals a mosaic-like section, composed of fragments of failed experiments and misprints. These remnants are not discarded, but carefully assembled into a meticulous patchwork — a way of commemorating the process and embedding its memory into the object. Morphocatalysis is imagined as an artifact discovered during archaeological excavations along the Silk Road. Its origin appears uncertain, as if displaced in time — perhaps from a future where humans fabricate nature, or from a distant past in which insects and humans co-created. This work is part of an edition of 26 sculptural vessels, through which this language and narrative will continue to unfold.7of 7ARTIST FILM
Under the Insects - A film by Fitzbrien Studios
