Hylē explores the technical impression of certain material appearances and its actual process of making. The term Hylē means „matter“ or „stuff“ getting informed to a „gestalt“ by „techne“, which can be described as craftmanship. Technological creations with yet uncanny appearances are often received under the influence of prefabricated expectations. This expectations can be seen as a consequential approach which according to Vilém Flusser originate from „Kalkulieren und Komputieren“. The here applied process of actual manual labour is often beeing referred to generative production methods, suggesting that outsourced production processes in general are attributed more virtuosity than craftmanship.
Simultaneously to the work on an essay about Eileen Grays architecture first sketches for the Loungechair „TRANS“ evolved. The typology is oriented on the specific term “style camping” coined by Gray in 1927, when she built her first house E 1027 including the adequate furniture in Roquebrune- Cap- Martin.
Centerpiece of the Loungechair TRANS are the specially developed wooden joints, which were milled multilateral with a „KUKA KR120 R2500 “ robot, whilst being finished and glued together manually. Due to the geometry of the used milling tools, which logically inform the formal appearence of the furniture a very short milling time for each single part is resulting. The parametrically programmed milling process is the only production step which is not performed manually by craftsmen and -women.
The implementation of robotic fabrication and automation is significantly rising from the automotive industry to porcelain production or even smaller businesses, such as joineries or the carpentry business.
This ongoing shift towards partially outsourcing craftsmanship has to be considered from the very first sketch on, long before the production comes into play.
photographs black on black by Alexander Firmberger