Following a scientific based method of research, inspiration was derived from SEM images. SEM, which stands for Scanning Electron Microscope allows scientist to see objects at the micro level, giving insight into the fundamental composition of organic or synthetic objects. These images would provide the basis for further research development.

The final object was one that grew through stages of iterative design, drawing its basic elemental components from various SEM images discovered. The intention of the piece is to remain ambiguous, defining its scale as one that relates to the human body but is defined by rules laid by the Taxonomy and Physiology. The acting purpose of the object was one that could range from a futuristic instrument or a mechanical device to control the speed of a hoverboard. The openendedness of the piece was meant to parallel Raoul France's statement "an invention will not be ready for practical use as long as the road of the natural law has not yet been treaded".

Spring 2019

Critic: Jonas Coersmeier

The primary goal of the image collection and critical research was to develop a design aesthetic that combined the spatial qualities of five distinct categories. Within each a specific set of images was chosen (bone tissues, dinoflagellates, silicates, viruses and polymers). The classifications were loosely based on concepts from readings of both Raoul France and Detlef Mertens. The development of an artefact would begin to postulate different experiences of light, mass and form in contrast to the terminology laid forth by the aforementioned references.

The object’s form could be handled in a few different positions. However, each distinction was characterized by a relationship to the human hand. This allowed for a ambidextrous usage as well as being transformed into various purposes, such as a mechanical tool or modern accessory for a performing arts show.