In the framework of the Re-thinking Craft Project, Eigenform aimed to reconfigure roles in the process of designing surfaces by channeling the voices of materials and environment, thereby mediating into the production of artisanship an active participation of elements extrinsic to the designer.Over the last few years, several constructions in Berlin have been torn down in order to implement the infra-structural framing of the city. Through these transactions one can observe an interesting choreography between order and chaos, as well as shifting values to objects. By objects we are considering not only artefacts but all that related to one’s “exterior”. We could also observe in a smaller scale how these material transformations highlight our entangled relation to objects. A wood plate, which once composed a fully functional and aesthetically pleasing piece of furniture, which once was comprised from a tree through manymoretotrace procedures, and suddenly is discarded at the mercy of environmental agents, which then becomes something else, something about to, a sort of field of potentialities waiting for a causality – whether this causal relation will be invented by a designer or recognized by her/him – to receive its other form, other meaning.
Through these lenses, the definitions and boundaries between object and subject - and more specifically to this context, the standpoints of designer and material/product – are put into question and can no longer be understood under such fix parameters. The designing process, and even what we recognize as starting point and final result, are seen as a constant game of recognition of patterns, of assembling pieces of information and displaying them with the tools we have in the moment.The design strategy used in Eigenform is very much based on the considerations above. Starting from the emergence of a material, found and collected in an area of transition. The designer then listens to the object, reads its script, encrypts the information it gathers from what it has experienced with nature. From the constellations traced on the material, the designer then works on his/her own interpretations of that, rearranges that what he/she recognized, responds. This communication happens not only between designer and material, but once the environment has its role in this play, all voices involved are actually impossible – and maybe pointless – to trace. Outermost, the boundaries between exteriority and interiority are permeable membranes connecting inside and outside, confusing them with one another, allowing the outside in, making the inside out, dividing them but also forming an ambiguous transition between one and the other.
RE_THINKING CRAFTS I Textile/Surface Design, Weißensee Kunsthochschule Berlin, DE, 2014