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Qermezi, an Array of Futuristic Furniture

Qermezi, an Array of Futuristic FurnitureQermezi, an Array of Futuristic Furniture

Getting familiar with the principal elements of futuristic design is a prerequisite for investigating the way futuristic aesthetics contribute to the overall environment. 

These elements include: outer space environments, linearity, asymmetrical low gravity forms, a sense of survival, the representation of feelings in forms, bio-mimicry, curve-linear forms, perpetual motion in forms, exotic designs, higher cosmic harmony (either with planet or space), alienated organic forms, blurry borders between sitting and go, and emotion and coldness.

In QERMEZi LLC, aesthetic and functionality are intertwined into one single futuristic trend and dialogism.

The high-tech products with functional purposes, determine the vocabulary of material and form in the development of furniture in futuristic contexts. Either technology, as the core determinant of furniture aesthetics, or functionality is an epitome of futuristic design.

Sangil Lee, in his article published in 2017, states, “New technologies and materials enable designers to create forms and surfaces that were extremely difficult and expensive to produce in the past, resulting in a design that appears futuristic… beyond current capabilities." 

He attests three principles of future design as functionality, perceptions of history, and aesthetics.

The dynamic interplay of form, surface, and material born out of advanced science and technology highly different from the past clarified what futuristic design is meant in furniture categories.

Moreover, engaging the users to ponder upon concepts to foster their imaginative thinking and to roam more in innovation is a core agenda of any futuristic furniture design. According to Lee, “Curvilinear forms, modularity, integration of furniture and architecture, formable materials, and digital fabrication became the focus of this futuristic vocabulary.”

Aesthetics Versus Functionality in QERMEZi 

Here at QERMEZi, extra efforts are put into taking a non-classification approach towards the cliché discussion of “aesthetics and functionality dichotomy”. It could be firmly argued that there is no such thing as this dichotomy and that there could not be any clear demarcation sign between these two aspects.

For instance, aesthetically valued products could serve their highest functionality for users’ psychological well-being, and therefore, interpreted as invaluably functional products as well. Yet, by believing intrinsically in a holistic approach, futurist users will apprehend the interconnectedness of past and future, now and then, here and there, fluidity and dynamism.

Critique of Aesthetics and Functionality in QERMEZi

There might be a variety of discussions with the common denominator of aesthetics and functionality dialectic. Although most discussions might favor the priority of form and aesthetics over functionality, the intricate nature of the discussion requires more detailed elaborations on their subjectivity. 

For instance, once geometrized yet organic forms collide, the appearance and disappearance of demarcation lines turn the end product into an "elusive-to-define" form or functionality. Hence, the overall alignment of the furniture with geological forms elicits a higher cosmic aesthetic and functionality sensation from users, they might express more favorable opinions towards both aspects.

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