As a designer, I am conceptually driven to create functional objects that arrive from an intuitive, poetic and research based design process. My work explores the line between the object and function and how simplicity and purity of the design is key to the final outcome of that said theory.
Living in Manchester and observing the peoples movements and travel for both pass time and work has influenced me to connect these lines in relation with journey, place and objects. This concept of how journey adds value to design is something that interest me and I have explored how this could be visualized, drawing upon inspiration from spiritual design proportion. Throughout a journey, while moving through space you are in connection with your environment and aware of the small details, elemental material connections and natural processes surrounding you. You see the relations between places and are aware of the lines and the scale of your surroundings.
ANALYSING PLACE EXPERIENCE/// With this I mean thinking from the experience, and highlighting and analysing the exact moment and place the inspiration for a design arrived from. I believe using this as guidance or as a method can be effective. This theory is connected with my design methods as I mapped key thoughts and intuitively translated them in sketches. This is mainly focused on sensorial experience and grasping this atmospheric essence, instead of only observing. The intention of this is to recreate this essence in a design, so that the design is connected to the place where it is.
ADDED VALUE FROM FOUND OBJECTS OF JOURNEYS/// I feel found objects change some part of their existence by the process of âtaking themâ. Through picking up these objects during particular moments, it could be said that the objects start to contain the memory of a new journey or new moment. The value has changed; this added value makes you look differently at the object. These objects can be used in a design or as a starting point for inspiration for material or shape. Visualising the relation or lines between the objects and the journey allows one to make connections with a more grounded and analytical approach. It allows you to realise that you are connecting yourself to a place.
NATURAL FLOW/// I feel elementary simplicity and working with natural material processes is really important for me, for example with working with porcelain and cobalt blue. I ask âWhat does the material want to be?â I aim to make them the most elementary shape and colour, as this is part of the creative flow in the material. The simplicity and honesty of the material connection adds to the atmosphere. Blue is a colour that represents a great deal of significance. For me, the colour cobalt blue has always been in my life. After researching, I realize why it holds this significance. As I grew up in Delft (where Delft blue pottery was all around) ceramics will always hold a meaning of home forâ¨me. Another reason is that hiking is a big part of my life. During walks I feel I can clear my mind and stare to endless faraway, this elusive distance that I am overbridging can feel overwhelmingly inspiring. The blue stands for this distance and in combination with the porcelain material, this possible fragility makes you approach the design in a certain and careful way.
âFor many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. And the color of where you can never go.â by Rebecca Solnit, A Field Guide to Getting Lost written by Elise Zoetmulder, Delft
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