The future doesn‘t lie in the invention of something new but rather in the reinvention of the old.
This up-cycling and tuning
is the focus of product designer Werner Aisslinger
. Under the curation of Katja Blomberg, the museum “Haus am Waldsee”
in Berlin will exhibit Aisslinger’s ideas for the “Home of the Future”
. Freed from the commercial restraints of industry, the designer can within this artistic context give free rein to his visions of utopia.
He transforms the floors of the museum into two sections. On the ground floor, he shows new installations created specifically for the house. In five different living situations, the installations display how one can utilize the latest technical materials to achieve the goal of sustainability.
On the upper floor, a retrospective of the designer’s work further explores this question. The Wilhelmian villa is set to become a laboratory of the future
Up-cycling & tuning
In the driveway, right in front of the house, a sports car from the 1970s covered in textile fabrics is parked in seemingly casual fashion. The car‘s outfit is a colourful reminder of the possible further uses of old cars, if they are freshened up aesthetically in the sense of a “car fashion.”
Upcycling & tuning are considered here as a tool for prolonging the life cycles of products.
After all, the CO2 footprint of a newly manufactured car is hard to justify, despite its lower fuel and energy consumption. The designer turns into a redesigner of pre-existing objects here. The façade of the exhibition space has also been subjected to a textile modification. The villa is wrapped in textile colour fields, changing its proportions and coating it in a pixelated colour gradient. Like the dressed-up car, the existing building has undergone a temporary update. This concept does not propagate renovation or construction in existing contexts but a temporary aesthetic upgrade.
The bathroom-installation arranged in the middle of the room integrates plants into a natural water cycle that requires no additional resources. Here, the invention of fog collecting fabrics, which can filter drinking water from morning mists, is utilised as a wall covering in the shower absorbing the steam from the hot water and passing it on to the plants integrated into the installation.
The bathroom is turned into a textile environment, countering the hard materials that dominate traditional bathrooms with a soft, nature-oriented vision. The textile washbin and bathtub are designed to change their volume when their exteriors are “rolled up” – adjusting the amount of water to the respective usage.
The kitchen of the future is less of a spaceship but rather a place for the production of food.
Trends like “urban farming” and “integrated farming”
are not just ecotopias of an urban bohemia but are actually tested in Paris or Berlin
, surpassing industrial agricultural efficiency standards fifteen fold.
The Kitchen farming-installation consists of a simple counter and a kind of hothouse array of shelves turning the entire ensemble into a kitchen laboratory that is all about production: Aquaponic, a cycle of fish farming and vegetable cultivation, in which the fish provide the manure for the plants, just like the mushrooms growing on coffee grounds, form part of this Kitchen farming-vision.
Honeycomb structures are archetypes. Everybody knows these additive modules from nature. Human beings primarily socialised in the orthogonal grid of the urban environment yearn for natural phenomena and their integration into their daily lives. The Honecomb Landscape-installation made of uniform textile honeycombs, which, taken together, display a colour transformation, make for a place of refuge, a “hideaway” from everyday life that gives us an opportunity for a “mind reset.”
Staircase-Sofa & Design-Chamber of Marvels
Mankind is permanently present in the digital world by means of the media. In this installation, however, we find ourselves in an analogue situation. The Staircase-Sofa invites us to linger and thus becomes an abode, opening a view of the nature that surrounds Haus am Waldsee.
Opposite, placed between couch and garden, there is an elongated plateau on which geometrical objects, plants, geodetic constructions as well as found objects, models and material samples are displayed in a design chamber of marvels directing our attention towards a ha tic, object-centred world.
The retrospective upstairs displays individual objects which continue the themes introduced in the ground floor installations. Modern materials and production techniques are removed from their original manufacturing purposes and used for furniture hybrids which reconcile advanced technology with the principles of nature.
Mirjam Fruscella/Daniele Manduzio/studio aissling