QERMEZi’s Futuristic Furnitures Designing futuristic scenarios by QERMEZi’s Futuristic Furnitures and it’s state-of-the-art human-centric forms could reflect optimum sensual energy flow and would concomitantly enable users to feel more, interact more, and roam more. Particularly, representing diverse forms interwoven into one single product is associated with higher abstractionism that, in it’s turn, leads to quenching their thought-provoking desires.
Here, in QERMEZi company, expression of a realistic vision of futuristic furniture is attempted since identifying and addressing key elements of a futuristic design would benefit for both users and yet-to-be designers. A vanguard and futuristic furniture has inarguably proven to be conducive to exponential productivity and overall user satisfaction, according to the existing literature on design science.
Human beings have perpetually sought unstoppable continuity and fluidity when it comes to knowing about next phases and future life.
What would a future look like to the users if no attempt is taken to familiarize or embrace its design for them?! What are the contributing elements that might assist users in perceiving and feeling a sense of future? Here, a diligent attempt is taken to construct a sense of that by embracing the nature of future from scholarly findings recorded in the design literature.
The application of futurology perspective and emergence of future from the very present stance sheds light on how (the appearance and disappearance of borderline between mobility and immobility, future and now, comforted and uncomforted, sit and go, in the design of QERMEZi furnitures as futuristic products,) all elements contribute to the perpetual dynamism and how it serves to the users subjectively. This back and forth between future and now, in it’s turn, adds to the chronological fluidity in harmony with form and energy fluidity.
The Balance on Objective and Subjective Design
The incessant vigilance in taking the user friendliness into consideration leads to an application of a co-constructionist approach in the finalization of QERMEZi products. Products are basically sketched and born into reality out of the most recent findings on design literature and technological science.
The very collective yet scientific stepping into the future would bewilderingly ease the challenges of encountering an unknown time ahead of us. It could be logically claimed that human centric approach would highly facilitate pulling future into NOW and live into it engagingly and thoroughly, instead of extending our neck forward uncomfortably to take a glance at future and then return to the original stance.
Users have highly subjective interpretation and perception of futuristic furniture concepts in various chronological and locational settings. What might seem highly futuristic for a culture, might look mundane and old-fashioned for the other users. A commitment to design the highest end products with edgy futuristic sense is QERMEZi’s guarantee to cover a broad spectrum of users.
The Elements of Futuristic Furniture Design
In this essay, the elements of futuristic design are defined in a list and the way their futurism aesthetics contribute to overall environments are investigated. Elements including outer space environments, linearity, asymmetrical low gravity forms, a sense of survival, extension sense 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 sit and go, emotion and coldness, etc. The high tech products with functional purposes, determines the vocabulary of material and form in a development of furniture in the futuristic contexts.
Technology as the core determinant of furnitures aesthetics or functionality, is an epitome of futuristic design. As Lee (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 design that appears futuristic… beyond current capabilities (S Lee, 2017). He attests three principles of future design as functionality, perceptions of history, and aesthetics (ibid, 2017).
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 in order to foster their imaginative thinking and to roam more in innovation is a core agenda of a 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” (2017).
QERMEZi’s Furniture Categories
Four main categories are clarified in this company to enable users select their intended purchase with higher ease and less cognitive dissonance. Commercial furniture, hospitality furniture, industrial furniture and medical furniture are four main domains for selecting a purposeful function and aesthetics from among.
Commercial category would mainly furnish office environments and high tech spaces, be it interior or exterior, malls, airports and any other spaces for commercial purposes. Hospitality furniture would serve users in spaces such as bars, restaurants, home interior designs, patios or generally speaking, any conversational and warmth provoking atmospheres with a sense of hospitality. The two rest categories are evident in their names and will be more elaborated on in later explications.
The Role of Computational Design on Future of Furniture Design
According to Lee (2017), “the potential of futuristic design options lies in the application of digital fabrication methods, parametric modeling design techniques, and humanistic envisioning of the future”.
In this writing, it has been assuredly argued that despite the latest discoveries on technology, there will be no future without humanistic vision towards future. As Lee confirms, the “future furniture design is not achievable only with high-technology, but in tandem with an augmented imagination of the furniture designer” (2017).
Aesthetics Versus Functionality in QERMEZi
Here at QERMEZi, further attempts are taken towards a non-classification approach towards the cliché discussion of “aesthetics and functionality di-cutomy”.
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-beings, and therefore, interpreted as a invaluably functional products as well! However, believing intrinsically in holistic approach, futurist users well apprehend the interconnectedness of past and future, now and then, here and there, fluidity and dynamism.
Critique on 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 their opinion in the priority of form and aesthetics over functionality, the intricate nature of the discussion yields to more detailed elaborations on their subjectivity. For instance, once geometrized yet organic forms collide, the appearance and disappearance of demarcation lines turns the end product into an “elusive-to-define” form or functionality. Hence, the overall alignment of the furnitures with geological forms elicits a higher cosmic aesthetic and functionality sensation from users, they might express more favorable opinions towards both aspects. Neither critics are an exception from this subjectivity and sensational conclusions.
As Malevich well attests: “a chair, bed, and table are not matters of utility but rather, the forms taken by plastic sensations.. ..[Tlhesensations of sitting, standing, or running are, first and foremost, plastic sensations and they are responsible for the development of corresponding objects of use and largely determine their form… We are never in a position for recognizing any real utility in things and … shall never succeed in constructing a really practical object. We can evidently only feel the essence of absolute utility but, since a feeling is always nonobjective, any attempt to grasp the utility of the objective is Utopian.” (Malevich, 1959).
A central Theme in QERMEZi Furniture Designs
Human imagination, co-mingled with technological wonders, are the essence intrinsically embedded into these futuristic furnitures. As an evident dialogism of technology and human, the common denominator between these two strong forces (technology and human essence) is lucidly observable: “bewildering imagination”! Imagination is fluid and dynamic, per se! As Mertins pens that Zaha Hadid’s“conception of the whole is dynamic, indeterminate, and emergent, rather than static and resolved” (2006).
Furnitures in Modern World
Here, furniture is no longer a mundane disavowed object in modern world. Rather, it is considered to be an intellectually and aesthetically rich concept manufactured by the latest techno-scientific advancements. All ergonomics, material science, computational science, aesthetics, geological studies, social sciences, are aligned with todays’ high end furniture designs. A pioneer in this industry, QERMEZi attemts to push the edges of furniture design into more futuristic sense in order to enrich the imaginative value of their product in the eye of users. This design element gains particular significance when various contexts and applications such as hospitality or commercial come into play.
Technology and its Impact on QERMEi Furniture Design
The wide-spread and delightful Apple Technology experience, is a non-arguable harbinger of a newly emerging trend in product design. The ample production and release of Dopamine Hormone into the blood circulation system, is closely affecting QERMEZi’s perspective on product design.
Dopamine status is associated with ecstatic feeling and wondering heights much resembling a space-exploration ecstasy. We call this expression an “apple trace” or “dopamine trace” in our designs. Designing while using computer-mediated communication undeniably leaves the message senders with dopamine status which in turn, this status will lead to a “dopamine-trace” concept or sketch. Certain characteristics define these products among which are spontaneous overflow of forms, low gravity shapes, perpetual movement sense, itchy-heels trace, elusiveness of flux and dynamism definition, space-ambience, imaginative augmentation, perception of ease and sudden release by the users.
Intended to serve the cyber-dwelling users who switch their moments back and forth between reality and virtuality, QERMEZi products have taken this dopamine essence into consideration while designing their products. Even, to confess the sheer truth, our products are almost hundred percent born into an existence with a rich level of dopamine production in the designers’ blood at the times of free-hand sketching and drawing phase. This is expected to be an interesting research topic that if a designed environments is highly loaded with the above-mentioned dopamine effect, the welcoming perception could be tacitly and fluidly elicited from the target hospitality furniture experiencers.
With the urban transformations, the necessity to arise the aesthetic and functional quality of commercial furnitures appears to be a must without which user-identification with them will barely occur. The application of higher user association with commercial furnitures are significant since users need to carry the identification sense from home to commercial settings, as well.
This user-centered quality is beneficial in entire occasions and assists customers in feeling of more human-human integration, human-object integration, human-context integration, therefore, creating more unity, intimacy, and trust. Highly subjective interpretation of commercial furnitures by the users and their imaginations provoked, are invaluable product attributes that gives credence to its users.
Therefore, we aim to demonstrate that the elaboration of commercial furnitures must take diverse strategies into considerations based on its users while furnishing specific commercial settings or landscapes. For instance, younger generations prove higher compatibility with aesthetic preferences while elderlies prioritize functionality over aesthetics.
QERMEZi has taken an entirely novel perspective to commercial settings in general, and commercial furnitures, in particular. The differenciating element of hospitality furniture from modern furniture lies in the socio-economic aspect of their design considerations. While hospitality furnitures could be utilized for social purposes at their highest priority, commercial ones show preference of economic over social implementations. The distinction might seem a bit tricky, but in general the warmth and serving quality is highlighted more on hospitality settings while marketing could be the sole agenda for both, at certain occasions. We have made our attempts to transcend far beyond these concerns by providing unconditional pleasant sitting experience for our users. Customers and clients could make their advised selections from among a wide array of products to suit their objective and subjective purposes altogether.