I was determined to make a complete redesign of the "German parlour/living room". I limited the furniture range to the 6 archetypes of the ordinary German living room, the couch, the arm chair, the carpet, the wall unit, the ceiling lamp and finally the traditional German tile table (just now in design phase).Especially on my research on the topic gemutlichkeit/cosiness I found out that terms as taste or comfort are a matter of learning, which are changing at any time and can easily be adapted.Therefore, in an experiment I tried to dissect the familiar image of Cosiness like in movies or television, this very illustrative Cozy of the German 70s, to creatively rearticulate it. I wanted to dissolve the otherwise clear symmetry of furniture and it's just visually coded function (A couch looks like a couch - is a couch ...) .The respective original object shouldn't be reduced just to absurdity. I rather "zeroed" its geometry or sometimes I only rearranged it. A precise assignment of functions of the resulting un-or non-forms is now only possible through their texture (fabric) or applications (fringes, patterns, lace doilies), which are radiating neatness and a certain familiarity in spite of the predominant geometric dissonance. This creates the very disturbing effect of these. Despite its fractal and asymmetric geometry the furniture perfectly meet the demands of ergonomics. Thus I wanted to erupt from the everlasting symmetry of furniture.Furthermore I can't actually understand why at the current state of the techniques hardly one designer is experimenting sculpturally. It seems as if the opportunities offered by a sculptural, process-oriented, generated and unique furniture design (guided by "Design on Demand", e.g. "Sinter Chair", O. Vogt, H. Weizenegger) today, if ever, are to be explored somewhere in scripting ( "Vendome", C. Weisshaar, R. Kram).Quite differently, in my approach/production pipeline I've integrated a deliberately traditional modeling with clay as part of my design work and for a start I would like to place this project under the hybrid term of "digital craft" or "NEOCRAFT" .
And also in relation to a possible production of the pieces, especially in the current production discourse on craftsmanship, I can very well imagine a craft production.
Ultimately, it should be mentioned, that I didn't want to make just furniture. I't was much more important for me that although all objects work excellent as individual pieces, just in the specific arrangement of the "German living room, the design objects become objects for discussion, in order to lead the theoretical design discourse to new ways and approaches.
In my defense my supervising professor considered all of my designs as a "disciplined joke". That frankly falls a bit short for me.