MICRO TOOLS: THE INVISIBLE SYNAPSE continues KooZA/rch’s research into the process of making. With the aim of exploring the theme of ‘Tools’, the first in its Abstraction series, we aim to establish a discourse which goes beyond the tool as extension of the human body but rather asks the *designer to reconsider all that lies beyond the body. Before pen & paper, the micro-tools are the inner software of designers, the “immemori memorie” which subconsciously ignite our designs. Taking as a first platform the context of the Design week where in 2017 more than 1841 exhibitors from 33 different countries showcased products at the intersection of design, technology, and sustainability, we want to uncover the unacknowledged apparatuses which lie at the start of the creative process. From the ‘macro’ tools through which we model our ideas to the ‘micro’ tools of inspiration we collect daily and which inevitably but almost invisibly leave an imprint.
On this occasion we join (ab)Normal in inviting a curated selection of architects & designers to unveil and reveal their sources of inspiration. At a time when digital platforms have become our Mecca of inspiration, from the likes of pinterest to tumblr, instagram amongst others, we strive to draw our attention back to the physical object as well as its space of exchange. Inspired by Duchamp’s ‘Boîte-en-valise’, a portable miniature monograph of the artists’ work, we ask to present and design ones own ‘valise of inspiration’ contained within a maximum volume of 40x40x15cm. This can ‘contain’ objects, emotions, material fragments or can in itself be a ‘novel’ interpretation of inspiration within the 21st century. From the chapter of a book, to the touched surface to the glimpse of a detail in the daily journey to work, the intervention will exhibit all the absolute material moments of our tangible world.
The installation transforms the room of Alcova. Scenography and scene merge into one creating a system in continuous dialogue inside the room, a landscape as exhibition: the visitor’s eye, pervaded by a thousand shades of color and material, lingers fleetingly on every single detail — the cave, the cone, the suitcase, the pedestal.
The shimmering graphics — archaic and digital at the same time —, an underlying character of the design of (ab)Normal, project the viewer into a parallel dimension, creating a utopian scenario that revolves around and reflects the contributions of the guest designers.
Another chapter in our investigation on tools, the fil rouge that ultimately links all the multifaceted utensils of the profession, before CAD & BIM, VR and the Screen. Before pen & paper, the micro-tools are the inner software of architects. Rather than limiting oneself to the notion of the container and the contained, we ask to challenge and question the very idea of how we collect, process and frame inspiration.
As Stewart Brand said in “Whole Earth Catalogue”, we are ‘stressing one’s potentiality to decide is own educations, to find his inspiration, to shape his ambience and share this journey with whoever is interested.’
We thrive for the bold and invasive as much as a small absurdity.