ABSTRACT
Human Object – a disobedient pathway towards a more resonant design practice is an Artistic Research project that explores the entangled relationship between design and nature, and between human and designed objects. The project grew from my experiences as a furniture designer in the international design industry, recognising that I was more interested in the human-object ‘intra-actions’ (Barad 2007) than in creating profitable products for mass production. This interest, along with my concern for the state of the Earth, created a dissonance within me and a desire to find ways for my practice as a designer to correspond with my values as a human.
The project belongs to the expanded field of design, viewing design not as a science but as a liberal art (Buchanan 1992). The project relates to Discursive Design (Tharp and Tharp 2018) because it emphasises design as a tool for reflection and building relationships rather than for utilitarian purposes. I am part of a community of designers aiming to change design from being human-centred to becoming more-than-human-centred (Coulton and Lindley 2019). I start my research by revisiting my past design practice to identify which aspects I valued and what caused the most friction. I articulate these aspects as conditions I want to expand on, reorient, or break with to become a resonant designer. This process marks the beginning of a series of practice experiments within my PhD project.
‘Disobedience’ (breaking with) and ‘entanglement’ (immersion in) are the key concepts guiding the research, focusing on two topics:
1. Design’s relationship to waste and (over) consumption
2. Design serving as a tool to tame nature and humans
These topics interweave throughout the practice, as do disobedience and entanglement. However, the emphasis on the unwanted elements that refuse to be categorised permeates the entire research. I invite the hammer into the process, both as a cultural prop I reflect on and as a companion I reflect with. I also welcome people to engage with my research through exhibitions, workshops, and other events. My reflections happen both during practice and afterwards, as I contemplate my actions. I realise that a resonant designer attunes herself to the situation before acting, and pays attention to the different voices and actants present.
PROCESS
Click here to access the process page and view the practice.