How do users, producers and designers relate to aesthetic durability? Examining the realities of these different stakeholders, with differing priorities, contexts, responsibilities and ethics, this project hopes to identify specific parallel truths, motivations and methods of operations related to aesthetics within the furniture industry. Aspects of human psychology have long been used to uphold a trend-based industry. But what aspects of human psychology and aesthetic preferences can be used to ensure lasting relationships between object and user? Does the industry's new-found focus on circularity give way for toppeling trend-based narratives? Is it possible for a producer to be trend aversive while maintaining economic viability? What motivation do producers have to make objects that last longer? Does aesthetics guided by durability-principles have the power to transcend a users predisposition for wanting the next best thing? How can the designer implement traces of the zeitgeist or artistic distinctiveness within the aesthetically durable?
Taran Neckelmann is a furniture- and product designer that aims to create objects that are rooted in durability and coherence, yet still appeal to our fickle human nature. Her explorations into material and techniques often lead to projects that oscillate between the rational and the sentimental. Taran graduated with a Masters in Design from the Institute of Design, at the Faculty of Fine Arts, Music and Design at UiB in 2022. Her master thesis Reflections on Light was nominated for a Norwegian Light Prize 2022. The thesis revolved around how to translate daylights transient and time-telling characteristics into artificial fixtures. It is a collection of experiments on how to incorporate movement into our light fixtures. Taran is also a part of YTRE Collective, who were nominated as Bo Bedres Newcomer of the Year 2022, and took home an NYCxDesign Award during NYC Design week 2022.