Portfolio

Preface

This book contains a collection of illustrations featuring generic, stereotypical, domestic furniture typically found in the northwestern hemisphere. These illus­trations demonstrate the ongoing process of evolution as applied to furniture. Each illus­tration represents the first instance of an innovative functional phe­no­type¹ within the canon of furniture. The manifestations of each new phenotype are caused by either the mutation² or hybridization³ of a pre-existing structure or pre-existing structures, respectively.

Initially, my research findings were meant to guide me in the creation of several hybrid iterations using various different furniture pairings. To do this, I asked the following questions:

1. How can something new be created without creating more of the same?
2. Can the evolutionary process be used as a model for iterative furniture-making?

As I began answering these questions, the potential of this collection became ap­par­ent and I found that it could not only serve my interest in creating furniture but, more importantly, the resulting information could serve as a reference for anyone interested in furniture.

In order to create this book, I applied current knowledge dealing in genetics and evolution that seemed relevant. For example, I use the term generic, which derives from the word genus, as opposed to specific, which relates to the word species. Genus sits above species in the taxonomic hierarchical system. The following il­lus­trations do not represent any species (or specific) of furniture pieces, such as those attributed to well-known designers, manufacturers, or brands. Instead, I took in­ter­est in certain furniture structures that possessed a previ­ously non­existent, func­tional phenotype, and contributed to the cre­ation of another piece of furniture with this same characteristic. These furniture pieces were complied in list form, and then contributed to a furniture cladogram. My research also led to the cre­a­tion of another list containing a variety of genotypes⁴. I recorded all possible genotypes, both dominant⁵, and recessive⁶, amongst the furniture that fit my con­straints, and then graphed their relationships with one another. Next, I cate­go­rized the furniture, forming five families⁷, representing the five basic functions that any one piece of furniture can serve.

1. Sitting surfaces
2. Laying surfaces
3. Setting surfaces
4. Storing surfaces
5. Dividing surfaces

Sitting surfaces includes any furniture that supports the human body in an upright sitting position, and sometimes furniture that supports the feet while the body is in this position. Lying surfaces includes any furniture structure that supports the human body in a horizontal rest, or sleeping position. Setting surfaces includes any furniture structure that supports objects used by humans. Storing surfaces includes any furniture structure that houses objects used by humans for longer periods of time; the structures are typically enclosed. Dividing surfaces includes any vertically standing partitions that separate the space within a room.

In the course of creating this collection, I gained insight into the process of in­nova­tion, specifically relating to furniture. I believe that in­no­vation is cyclical in nature. With every problem we encounter, we strive to find new solutions (the best of which are innovative), and in doing so, we create more problems to solve. By plotting the innovations in furniture, I am attempting to draw parallels between human cultural evolution and natural evolution. I am tracking our col­lective (hu­man) will to progres­sively continue to cope with our surroundings, needs and de­sires. Surroundings being the key word, which also could be in­ter­preted as con­text. In design, I have encountered form and function as a key pairing on many occasions, however, it was not until completing this project that I realized that sur­roundings is just as impor­tant. Innovation is triggered by context. It is my ul­ti­mate hope that studying the leaps and breakthroughs in the logical trajectory of furniture will lead to my own furniture evolution.

This was a collaboration between Mónica García, Stephanie Leib, Rachel Tepper, and myself. The map was designed to be picked up at either the exhibition or downloaded off the web. The front leads the user to areas populated with mid-century modern structures. The back gives a brief back­ground on these struc­tures, along with perforated shapes or cut-outs of mid­century modern buildings for the user to build. These modular units could be mixed to create various mid-century modern-like paper structures. Each unit was modeled after essential attributes we found in mid-century modern structures, corresponding to those on the map. Along with designing the paper models, I created several logo forms used for the exhibition (see gallery), as well as the exhibition splash page. Just incase you missed the tour, feel free to download the final version of the “self–guided driving tour map of neigh­borhoods and individual projects that epitomize Austin's mid­century modern architecture.”

an—thro—po—guise
noun

1. Apparel that takes on the form of man.
2. A suit made of synthetic materials resembling human skin.
3. A second skin, enhancing both physical ability and aesthetic attributes of the user.

new era in body image enhancement arises with the introduction of the an­thro­poguise, or thrope. The first generation, semi realistic skin suits, were ini­tially created for military reconnaissance. Thropes prove ex­tremely versatile and allow the user to change his or her physique, while also at­taining the physical abilities and aesthetics the spe­cif­ic body type in use. This is possible, due to the existence of the nano-bot tech­nology existing within every suit. A trickle down effect occurs, and celebrities soon find out about this tech­nol­ogy and shell out millions of dollars for their chance at attaining one of these suits. Thropes cater to this market per­fectly as they offer a plastic surgery finish along with hyper­human abilities in an instant. As time passes, news of the thropes leaks to the public caus­ing an up­roar. The disabled and overweight are the first to take to the thropes. Because of the nano tech installed in the suits, users report feelings of youthful rejuvenation. At this point in time, the thropes are used as a form of underwear. Slowly, the general public be­comes infatuated with the thrope suit, and new and creative uses arise daily. People who were once too afraid to get tat­toos buy thropes to cover with every tattoo they ever dreamed of having. Some use the suits to compete in a va­ri­ety of sports. Men and women, with gender identity disorder, use thropes in the obvious manner, rendering sex change op­era­tions obsolete. Social implications of the thrope start to become prominent. When peo­ple can finally afford multiple suits, thrope fashion gradually transitions to the over-wear sector. People begin to mix and match parts and body styles. Eve­ry­day one person can take on multiple bodies. Eventually, this topic becomes a con­tro­ver­sial po­lit­ical issue. Weather thro­pes help or hinder issues of race, gender, age, eth­nic­ity, or class, is left to be decided.

I co-designed and built all of the display furniture necessary for the exhibition. These units were designed to encourage interactivity with the work on dis­play, and were made from 2x4's, plywood and wire. Every shelf or pedestal was color coded to match its respective category in the show (provoke= magenta, experience= black, translate= cyan, and explore= yellow).

• www.superalright.com
  (new version in development, see gallery for preview)
• www.playingintrafficrecords.com
• www.sweetheartsoftheprisonrodeo.com