The task is to design small electrical appliances in porcelain.
After the initial plastic euphoria of the 1970s turned into a plastic madness, the first statements about the unbridled spread of plastic were made in the 1990s with the ironic phrase »plastic fantastic«: Growing mountains and islands of plastic waste, the knowledge that our oil reserves are limited, alarming signals from the health discourse about diffusing plasticisers and microplastics in food exacerbate the questionability of plastic as a panacea.
In the sustainability debate, there is a growing realisation that simplicity, durability, reparability, upgradeability, high quality, etc. are key concepts for ecological product design. Against this backdrop, the plastic fantastic project seeks to meet the challenge of replacing plastic housings of small technical electrical appliances such as coffee machines, toasters, computer mice and keyboards etc. with porcelain housings.
The aim is to contrast the appreciation of porcelain with the perceived inferiority of plastic housings. The use of porcelain-clad appliances not only expands the common perception of product standards, but also helps to train mindfulness in everyday life: Porcelain requires care in everyday use because it is considered to be of high quality and durable, but is also known for its fragility.
The project includes guest speakers, a KAHLA company connection, a porcelain symposium, workshop work and an excursion.
Arvid Haeusser – Espresso machine »Seppl«
Washability, heat retention and neutral flavour are properties that make porcelain ideal for handling food and drinks. After extensive deliberations and design ideas, I decided in favour of the kitchen and coffee culture, whereby I was particularly interested in the product family of portafilter espresso machines.
After the first drawings, I tried to visualise the ideas in mock-up models made of paper, foam and plaster to get an impression of the shape and dimensions. Working in 1:1 models is ideal for objects of this size. They are important to understand the volume of the individual components and their effect as a whole.
Dealing with the subject matter was an exciting task. The initially contradictory areas of porcelain and electronics were brought to a conclusive conclusion through intensive theoretical and practical work. The practical design of the project in co-operation with KAHLA provided a wealth of knowledge and experience.
Julia Albert – Vibrator
In a figurative sense, porcelain is meant to symbolise interpersonal relationships, which, just like the material, must be protected, cared for and looked after. The material - known for its fragility - promotes conscious handling during use and thus increases sexual pleasure and enjoyment. Porcelain is thermally conductive, waterproof, easy to clean, hard and radiates a timeless elegance: Vibrator + sexuality = sensuality
With my work, I wanted to define a new space where vibrators have a place. My theme should be a small step towards the end of stigmatisation and towards normality.
To begin with, I dissected a standard model I had bought and approached it with experiments on how vibration is transmitted using porcelain: I filled the mould with paper, unglazed porcelain beads, silicone and much more. I use induction technology for the energy supply.
The idea for my mould design came to me one day when I was drinking coffee: the coffee klatch, usually led by women, is used for communication, relaxation and the release of endorphins. Sexual topics are also discussed in convivial company, good friends know a lot about each other and are not afraid to put everything important on the table. In addition to plates, cups and saucers, traditional items such as candlesticks, milk jugs, sugar bowls and vases are also placed on the table. My porcelain object was intended to fit in here, because provocation was not the intention; I am more interested in slowly familiarising society with the vibrator as a normal object. A classic ornament in the form of a sensitively perceptible structure was to contrast with the simple basic shape.
Roy Müller – Electric kettle
We find a kettle in almost every kitchen, often in an inexpensive plastic version. My search for a graceful porcelain shape is about the idea of turning the kettle into a jug and thus into a high-quality service item. Porcelain gave the kettle a new aesthetic meaning in material terms.
The current range of classic porcelain jug designs fuelled my desire not just to transfer the old-fashioned, familiar jug shapes to a new product group, but to stage straight lines and edges as an alternative design. This led me into dimensions of porcelain production that are not typical of the material: The many curved shapes of current design solutions for tea and coffee pots are ideal for production in porcelain; straight lines, planar surfaces and geometric bodies are completely different and very demanding. I therefore have to be lenient with my prototypes.
