Novelty: According to Sant’Elia, “the major contrast between the modern world and the previous one is determined by all those things which didn’t exist in the past” (Asim & Shree, 2018) (Sant’Elia, 1914). QERMEZi’s sense of novelty in design is dynamism and fluidity in form, and a delirious attempt to overthrow the static sense in objects and add mobility capability into every design.
Undoubtedly, this is an extension of robotic technology wherein humans are closer to thoughts and nerves edge rather than their arms and legs edge. This donation of arm and leg power to robots and the surrounding objects enables humans to allocate their physical capabilities to objects to value their own nerves more and roam more.
Therefore, it could be claimed that a shift of dwelling is taking place: a shift from dwelling in a physical environment into their own neurochemical stations. So the idea of trading physical dwelling for taking a journey in the neurochemical path is achieved in futuristic furniture. In this sense, the empowerment takes place equivocally for the surrounding designed objects and human-being to the same extent.
Chronological distance: This is another major theme in differentiating contemporary or any pre-existing design from futuristic ones. A futuristic design is presumed to target a substantially far chronological point in addressing users’ needs.
These needs, albeit, are in higher levels of the currently defined ones. For instance, a designed object such as furniture is no longer perceived as a mere relaxing-upon thing, rather, it could be understood as a spot where a user or even a walker could dwell their imagination upon with high delightful and comfort sense without even sitting on or even imagine the idea of sitting.
Therefore, the idea of stepping beyond is always intertwined with any futuristically designed product. This is the way it could be clearly observed that how the concepts of physical comfort and sitting evolutionize as humans develop more advanced neurological systems.
Mega Sizing: Another aspect of futurist design is the magnanimity of the project or the targeted area. As one of the pioneers of 20thcentury in futurism believes that “We must invent and rebuild the Futurist city like an immense and tumultuous shipyard, agile, mobile and dynamic in every detail; and the Futurist house must be like a gigantic machine.” (Sant’Elia, 1914).
In the realm of furniture, however, this quality is thought to be less facile, compared to the other types of design entities such as architecture of machineries. In QERMEZi, the idea of mega-looking appearance in design is attempted by designing plus-size looking furniture such as considering trunk-less bodies with long limbs and this might add a slight amount of satirical tone to the shapes which renders them as more exhilarating visually.
