The objects displayed in the ‘Objects of Desire’ Exhibition at the MODA in Atlanta are not buildings, but can be seen as an investigation into the processes that will soon enough have an impact on the building community.
The computer has created a new way of understanding our world, and in turn has created the ability for the designer to produce that which was previously inconceivable.
The objects displayed in the ‘Objects of Desire’ Exhibition at the MODA in Atlanta are not buildings, but can be seen as an investigation into the processes that will soon enough have an impact on the building community. Concepts such as modules, sections, and pattern are various ways of extracting from the computer the information needed for the designs to become manifested in reality. Coupled with these modes of transcription, the designers seemed to be extremely specific with materials, their limitations and assets. Each of the projects utilizes the materials they are made of as an integral part of their designs and utilized their attributes as friction for their forms.
The theory of these objects is something that has blurred the lines of the architect and the artist. Each of these objects have function, and so reside on the side of architecture, but through the use of the computer they are able to attack the senses in similar ways to sculpture. The objects create sensation and seek play off of preconceived notions of formal typologies of furniture and ask the viewer to imagine the world in a different way. They ask us to forget the obvious, the standard, and look for the designed and the abnormal. These objects are not always comfortable nor are they always antagonistic. There is a wide breadth of styles and types that give all the opportunity to seek empathy with one and to make foes out of others.
In this piece, ‘Rift’, the digital, the physical, and the conceptual coalesce into a singularity of the object. The form created is a mix of materiality, gravity and design. The modualistic properties of the surface create the variance that allows for emergent form. This piece is a great example of one of the foremost issues that designers deal with. As ‘one who creates’ it is not possible to see and understand every outcome of the design process. If this were the case, we would never have the ability to create anything other than what we already know. This piece and the rest of the pieces of the show ask us to accept conditions unforeseeable in design as a way to propagate our knowledge and our search for the object within our desires. When we allow the reigns of design to flex and relax the outcome produced becomes richer and more vibrant with conflict that gives flavor to the design.
In Atlanta Invasion, we see this conflict purposely inflicted on the object. When what looks to be a stool in one images, we look to another and it is presented as a formidable skyscraper in the Atlanta skyline. This friction codifies Anonymous’s relationship to their children of objects. Never content with the outcome they seek to push for more and see their baby birds fly.
When the objects are not being wrangled into pins they were not intended for, the lessons learned are used to produce intrinsically architecturally scaled projects. ‘Urban Intimacy’ takes the sensibilities of the objects designed. It takes their tangibility, their construction technique, and their core values and amalgamates the content into an environment that has the texture of the object.
While the objects are of desires, they too are objects of the age, objects of the zeitgeist. The pieces are manifestations of the principals of design thought that is being pursued by young professionals in design. The pieces cross the boundaries of architecture, sculpture, and product, made sit in a purgatory of design that wishes not to make claims of one classification over the other. The most powerful aspect of this collection is this recognition of cross discipline design and it willingness to take full advantage of this blurred line.
The exhibition was , contributed and curated by Arseni (Senya) Zaitsev, Founder and Creative Director of Anonymous Studio. Anonymous Studio is a creative laboratory for design that helps bring innovative ideas to reality through experiments in architecture, design, fabrication, material research and management.
[via Scalar Designs]