The thesis examines man's relationship with the interior, that is, the way he lives and the needs that have led to the development of innovative and functionally comfortable products. The thesis places a great emphasis on the design of elements of the home interior dedicated to the usability of products, one of the fundamental principles of the Bauhaus school and art community. Their insights have significantly influenced the development or construction of my products. By deconstructing simple metal couches, I explored various forms of their functionality as well as their modularity with actual load testing. Both features are integral to the concept of reuse.
The theoretical part includes an analysis of the functioning of the school and the Bauhaus art community and its principles. The focus of the study program was on creative experimentation, where they learned about the properties and limitations of materials according to the principle of their own vision or the principle of "do it yourself". Another important focus of the learning process was getting to know oneself and one's own being, from which individual creative energy springs. Through the process, in which I also deal with living spaces, lifestyles and needs and meaningfully vary the coexistence of textiles and space, I take up the criticism and reality of the Bauhaus representatives and deal with textile techniques without frills and ornamental accessories. I only use everything that the implementation techniques themselves offer me.
In my design work, however, I concentrate on the development of a family of couches, which I understand in the broadest sense as forms adapted to the human being. I ask myself what is the relationship between a human being and a recliner. Is the horizontal form obligatory for comfort? By deconstructing - cutting up the metal frames of the recliners - I begin to assemble new meaningful wholes in the form of metal rods. A new, intertwined world emerges, striving for the ultimate, holistic work of art according to the principle of modularity. The deconstruction and reassembly into new meaningful wholes is followed by the interconnectedness of the voids between the virtual surfaces that I recognize in the rod of the support structure. By stretching and weaving a thinner cord around the central supporting metal frame, a simple lounging surface was initially created - a very beautiful textile work - which was sufficient for the original loungers, as they were folding products for outdoor use. For even simpler outdoor loungers, however, this time-consuming work was dispensed with and instead of a cord, the strongest possible fabric was used, stretched over a metal frame.The final products suggest that textiles/upholstery and bar metal construction can be brought to life individually, but also in coexistence, as they each offer several functionally useful solutions in their own way, independently or together.
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