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A project by Erez Nevi Pana and Marlene Huissoud, commissioned by the Jerusalem Design Week 2017.

This year the White House has ordered the construction of a wall between the US and Mexico (3218km). For us, as designers, this is a call for action. It seems as if we are living on a borderline, a delicate and unstable phase vibrating of contrasts and divisions. A deep duality is created between people and societies, moving between extremes – order and disorder, physicality and virtuality, safety and vulnerability, east and west, local and global. These opposites face each other, creating a secluded whole of insecurity. ‘Borderline’ explores the ways in which design can imagine unity within diversity, facing the global upsurge of nationalism, xenophobic attacks and record numbers of refugees. Objects grow into a coiled representation of the length of walls from different global contexts using thin yarn. Dipping the yarn in wax connects them into one wick, and the shaped objects become giant candles. The joined wick is then electrically rotated on a pipe, shaped by the designers from distance. Finally, these objects function as a dialog between contrasts: between black and white, liquid and solid, slow and fast, chaotic and harmonic, static and dynamic, presence and detachment.

When the objects are not used, they appear to be a ticking time bomb.




Walls: (from left to right)

West Bank Barrier: 780km

Hadrian’s Wall: 135km

Baia Mare: 60km

Trump Wall: 3218km

The Moroccan Wall of Western Sahara: 2700km


Twenty four rolls of white yarns are stretched by two engines throughout the space of the installation. The yarns are pulled up and down between eight bars – four of them be- ing fixed to the floor, four others to the ceiling -, forming a conceptual wall that is constantly moving forward. The “wall” starts to unite into one yarn which is then dipped into an aquarium full of black wax and pulled out as one wick. The endless rotation of the engine is pulling the wick around a roll and forms a mass which becomes the candle itself. To control the shape we use a joystick which enable us to have control over the speed and the movement of the engines.




Collaboration with Erez Nevi Pana
Commissioned by Jerusalem Design Week
Engineer Eli Uberbaum
Curator Tal Erez

Images by Dor Kedmi