Finn Miro
van Tol

Design Academy Eindhoven Graduation project
2022

With Symbiotic Design, design objects are protected to remain in their natural habitat while becoming a canvas for new creations: their exoskeletons forge new aesthetics and create new forms to manifest the current zeitgeist. The hybrid objects are therefore an ode to the preservation of design heritage and at the same time to the position of the designer in contemporary societies.

In architecture, parasitism in the form of façadism is often employed to bridge the preservation of cultural heritage and the progress of project development. Modern extensions seem to be grafted onto old buildings, although only the façade remains while the interior of the old building is demolished, giving the impression that the façade is the element of value, not its interior and the objects that it holds.



However interior design objects are precious artefacts of previous times: not only created to fulfil a function they also are the expressions of their designers: they embody the aesthetics, material, texture and colours of the former zeitgeist. Indeed, they indicate the path which led to contemporary design, bearing witness to the historical events and identities of people and cultures. Just like buildings, art or monuments, these interior design artefacts must continue to maintain their right to exist owing to their value in the documentation of the human story.

Unfortunately, an artefact  –such as a vase– is threatened to disappear if thrown away because its aesthetics are no longer desired or when it gets damaged. In case of the latter, the owner faces several possibilities: to buy the vase again, buy a different vase, or not buying a vase at all. But for people to be able to purchase the same object once again, it has to remain available in stores; the object's survival is thus ensured through production, which expands or balances its population.

When production of the object stops it sets the process of extinction in motion.

Not only does an object fall out of production when becoming unfashionable, but often due to other reasons:

- Economic problems or bankruptcy of the producing company

- The resources have become too scarce

- Materials –such as plastic are being shunted

- The expanding awareness of the ecological harm of capitalism, mass production and abundance of consumer choice on the planet results in advocating for reducing the scale of production and limiting the number of different products.

Although it might appear rare, even the most common products –omnipresent staple objects of our times, owned by almost everyone and seemingly destined to continue production for hundreds of years - can still risk extinction. Indeed, glass producer Duralex announced, in October 2022, its decision to halt its production for half a year due to the rise of energy prices.



In order to guarantee protection, the user often places these artefacts in a closet, on a shelf or in a chest, away from the danger of activity and use. Similarly, museums master the art of preserving objects to ensure their existence long after the end of production, and through their archives, they certify an item of survival –should it disappear everywhere else, it will always remain within their collection. However, these protocols diminish the design object to a solely visual reference, away from its original use. The artefact thus spends the rest of its life in captivity.



Moreover ‘What can the designer add to a world of plenty?’ ('Beyond the new, a search for ideals in design', Hella Jongerius & Louise Schouwenberg). Indeed, in an era of overproduction, it seems nearly impossible for a designer to create something new, and something that will not quickly fall into disuse. The position of a designer is constantly being redefined today, concerning the plethora of products already made. Needless to reinstate the importance of self expression, designers should also be aware of the turning point we find ourselves in, and the importance one should take in preserving cultural heritage.


How can new designs be created while preserving design heritage in their natural habitat: the home, hotels, and offices…where they can perpetuate their function and be enjoyed by users?


With Symbiotic Design, iconic, everyday and forgotten design objects are protected from potential extinction by applying a custom exoskeleton protecting them from damage. The object and the exoskeleton come together in symbiose: a term from biology describing the cohabitation of two lifeforms where both parties thrive thanks to each other's services. Through Symbiotic Design the exoskeleton provides protection and renewal, shaped in such a way which allows the artefacts to continue to fulfil their function –people can still drink from the glass, a vase can still adorn itself with flowers– and remain in dialogue with the interior, in their natural habitat. The artefacts in turn become a canvas on which the exoskeleton forms a new aesthetic. Both the artefact and the exoskeleton act as a pedestal: both parties merging into one object that honours and manifests the old and the current zeitgeist.