Today, the expression “form follows function” is no longer a representative statement of the design world. The shift has gone toward a more honest materialization of design thinking – in other words, the process. To that end, I use a liquid method of research to question the functional meaning of the process and to explore the idea of objects producing other objects.
The liquid modernity of Zygmunt Bauman gave me a fresh new perspective of the context in which I live in, and how it is important to be “constantly ready to change”. As an observer I’m interested in the notion of progress by using the facilities that my environment is providing me.
This design proposals are more than objects are a visualization of a research method. With it I want to take the moment of transformation from the factories and to bring it closer to the domestic context. Therefore, my designs are objects that are their own factories. Through time, the materials performance’s become the visual traces of the process, and those traces are the object. In the future objects should become a clear representation of their own process, for the consumer to have a better understanding of the way objects (world) are being produced.
The process is a system of constant interaction in which all the elements (materials, technique, form, function) inter-change in order to enhance the functional need of the object. The process is finished when the cycle of transformation is closed and this is the moment when the object remains still.
Therefore, in Process – The Performance of Matter, the approach is focused on the moment of transformation itself. This research explores the idea of a “liquid process”, essentially seeking a more fluid way of working. The question of whether an object could produce another object was the starting point of the research process, in which every action had a functional relevance.
The Teapot’set is a single teapot mold that produces a whole tea set. By using a fixed amount of liquid clay, the production of each object leaves less material to make the next one. The coloring of the clay is a visual translation of this process, where the first casting reveals the initial mixing of two different colors that eventually start to blend into a single color as the clay is poured in and out of the mold, continuing the process.
In the same vein, Wood Casting is a wardrobe that creates its own mirror. By casting aluminum in a wooden mold, the process of transformation generates its own ornament and function through a material interaction. The mirror is created by the process of pouring and polishing, revealing the reflective potential of the aluminum. The wooden section is visibly charred by the aluminum, and likewise, the aluminum mirror frame is imprinted by the wood that originally encased it.
One object creates another object according to the functional need; they exist because of each other.
“In nature nothing is destroyed nothing is created, everything is transformed”. (Lavoisier)