The Found Object in Design

The Found Object in Design Chris Ford
University of Nebraska - Lincoln

Fig 1. Nightstand by student Casey Roberts, Spring 2011.

Introduction

While artists, such as Robert Rauschenberg and Kurt Schwitters, have a body of work and an established record of scholarship regarding the role of found objects, there is a disappointing lack of scholarship that considers the role of found objects in Design. This can first be attributed to the different motivations by which an artist and a designer choose to incorporate a found object.

Discipline-centric Motivations

While it is possible for a single individual to make as either an artist or a designer, the larger disciplines of Art and Design are neither synonymous nor interchangeable. In comparison, we find that artists are creative thinkers who
produce aesthetic objects that respond to problems of their own creation. However, designers are both creative and analytical thinkers engaged in the production of functional solutions for performance-based problems demonstrated by the needs of others. Between Art and Design, the defining characteristic between these two realms is the level of utility found in the results produced. However, upon closer examination, we find the threshold between Art and Design to be the single location where equal weight exists upon both the aesthetic and pragmatic qualities of a specific solution. As this threshold is enjoying an increasing amount of scholarship, makers from a variety of original disciplines are renewing an interest in the discipline of Craft. Makers whose work is particularly expressive of Craft principles include George Nakashima, Dale Chihuly, and the Teutul family.

Returning to our interest in found objects, this defining characteristic between Art and Design illuminates the reasons for Found Object selection are rooted in the source

disciplines themselves. The found object in art has no responsibility to perform beyond its aesthetic affect, and the found object in design has no further responsibility beyond its pragmatic (i.e. mechanical, structural) affect.

Across all disciplines, design solutions typically require the deliberate processing of raw materials to produce a new solution that is compositionally and performatively consistent throughout its entirety. This holistic approach enables designers to combine the desired structural and performative attributes thereby finding an economy in design that is not burdened with extraneous and superfluous parts. In turn, the integrated aesthetic dimension of a design solution can either be of deliberate consideration or of collateral effect.

The Impact of Found Objects

The decision to incorporate a found object in a design solution presents interesting generative opportunities that are not otherwise available in more traditional acts of design.

While some designers are personally comfortable with, and effectively operate within, the openness afforded by traditionally-formed design problems, the decision to incorporate a found object impacts the structure of the design problem with a high degree of new information. No longer does design generation begin in response to an assessment of constraints; now there is a physical artifact within the larger problem-space that exudes intelligible information regarding its own structural, mechanical and compositional qualities. In many ways, this advanced starting point for design thinking also advances the maturity of the final solution, further illuminating the importance of good decisions in the selection of found objects in the first place. While the found object effect can positively disrupt the performative and aesthetic expectations of end users and find new appreciation, it can also bomb when the merit of the final designed craftwork fails to transcend the incorporated found object on its own terms, thereby revealing a kitsch appreciation for the found object incorporated and exuding an unhelpful reverence for the original found object.

Because the incorporation of found objects is non-essential to all design solutions, there is a need for designers to explicitly understand the benefit of incorporating found objects, the criteria for their selection, their impact on design thinking, and their ramifications for use. There remains however, a range of explanations for why designers choose to incorporate found objects in new design solutions. This essay identifies four generative strategies for how found
objects are / can be used within the design discipline: Resourcefulness, Political Heuristics, Creative Heuristics and Aesthetic Heuristics. While these generative strategies are non-exclusive to each other, focused attention to each of these strategies on their own terms will illuminate shared characteristics between the structuring of certain design problems, and the type of affects that are achieved.

Resourcefulness

For non-designers solving their own problems of need, using found objects in an ad-hoc manner is the most popular strategy found in contemporary society. While the examples featured on websites such as www.therrifo.edit.com are not the result of professional design services, the solutions are very much the result of an act of design by non-designers, however precarious, short-sighted, or illadvised. For these ad-hoc solutions, found objects present a means for practical solutions to problems rooted in necessity.

Resourcefulness is a strategy typically found at the lower end of the economic spectrum, and the work of the Rural Studio at Auburn is particularly expressive of this. Without denying the Rural Studio any Creative Heuristics that were also in play, it remains that these students sought to achieve the most architecturally between the diminished financial resources and abundant material resources available to them in the field. Whether dumped tires, road signs, glass bottles, wax-impregnated cardboard, or donated replacement windshields, these resources have themselves become obsolete and have found new use in an architectural application. However, Resourcefulness may also be in play independent of financial circumstances.

Since 1991, RoTo Architects has developed an approach to architectural design that welcomes uncertainty and openness. For RoTo, the final design solution is not conceived in an idealized state which requires thorough documentation, but rather is conceived in a comparatively loose way allowing for the joint shaping of the final solution by their conception, by other stakeholders such as the client and builder, and by the availability of new resources not yet known at the time of original project conception. While their internal office design process works to eliminate individual authorship, RoTo oftentimes achieves this with final solutions that capitalize upon the “availability of recyclable materials and skills that are within the comfort level of the builder.” RoTo Architects’ designs for both the Sinte Gleska University in South Dakota and the Carlson-Reges residence in downtown Los Angeles exemplify this.

The Carlson-Reges Residence is for a couple already living in a former electric company cabling structure amidst an industrial salvage yard with an inventory accumulated over two generations. This design provided an expanded ability to publicly showcase a collection of two and three dimensional art, but without impeding upon their more private living spaces. The solution incorporates many components found throughout the salvage yard, and was dependent upon the construction skills of the client / builder. While industrial steel sections were plentiful for re-use as architectural columns and beams, cylindrical gasoline tanks from the client’s materials yard were modified to serve as a second floor pool. According to Michael Rotondi, “all nonstructural steel detailing [for the Carlson-Reges Residence] occurred on site in an improvisational fashion and was determined by the availability of materials and labor.” ${ }^{\text {" }}$

For designers solving problems of need, using found objects from a generative strategy of Resourcefulness requires a suspension of the level of control typically found in professional design projects. However, for those willing to entertain design solutions that are both uncertain and open at the time of conception, then the opportunity-based incorporation of a found object will achieve heightened design economy in the absence of either new raw material resources or the means to deliberately process them.

Political Heuristics

When a designer chooses to incorporate a found object to signify a larger political position, whether it be a protest of a politico-socio system or a personal position in support of a larger political context, then Political Heuristics are in play. For Charles Jencks in 1973, Ad-Hocism provided a vehicle for combating the standardization and limitation of choice by large corporations and was believed to trigger a "rebirth of a democratic mode and style, where everyone can create [their] personal environment out of impersonal subsystems…"6

In 2012, we find a number of designers who are incorporating found objects prompted by their respective position on environmental issues and who seek to reduce their ecological footprint. These green-minded designers intentionally recycle found objects and reclaim other materials that have outlasted their original usefulness as it relates to their self-perceived role in a larger handling of waste.

While the repurposing of a found object lessens the overall embodied energy for construction materials, this strategy often leads to solutions that have no larger holistic aesthetic
agenda. At its extreme, this design strategy can produce aesthetically-schizophrenic solutions that lack an overarching vision for design wholeness. However, this is perfectly acceptable for the designer using political heuristics, as the resulting aesthetic is circumstantial to the larger politicallycharged act of designing with reclaimed and repurposed material.

Mr. Dan Phillips is the principal of Phoenix Commotion homebuilding based in Huntsville TX and has successfully built (14) residences that incorporate found objects from a political heuristic sensibility. While Mr. Phillips will acquire approximately $80 \%$ of his construction materials from other builders’ construction sites, “to him, almost anything discarded and durable is potential building material.” ${ }^{\text {9 }}$ Found materials already incorporated into his residences include picture frame samples for an interior ceiling, misshapen bricks, broken ceramic tiles and mirrors, wine corks, worn DVDs, and cattle bones from a nearby cattle yard. While the overall look and feel of these residences are quirky and circumstantial, they are completely codecompliant and have already proven their resale value to a more affluent audience.

For those designers using founds objects as a Political Heuristic, there is a lessened appreciation for wholeness, clarity and legibility of use, and a heightened satisfaction from knowing they have lessened the respective wastestream for its design field. Furthermore, the resulting aesthetic achieved is one that, however holistic or not, cannot be preconceived independently from working with the actual found materials at 1:1 scale.

Creative Heuristics

In this instance, the designer looks to exploit the generative potential of found objects that stem from an assessment of the found object’s mechanical and/or structural properties, and then allow that assessment to determine the program or use for a forthcoming design solution. If a Creative Heuristic is in play, then no longer is the final design solution in response to an articulated need. Instead, the use and function for the final design is only determined after the designer has entered into a dialogue with the qualities of the found object.

Fig 2. Aircraft Restoration and Maintenance, Tucson AZ

Fig 3. Aileron Shelf by Baker + Hesseldenz Inc.

For furniture designer Scott Baker of Baker+Hesseldenz Inc, the moment of design conception occurred immediately upon viewing the found object. More specifically, Mr. Baker was browsing the only remaining publicly-accessible military aircraft salvage yard in Tucson AZ when he came upon an aileron bracket amongst other components and began handling it. As he rotated it in space, he began visualizing the aileron bracket as a single support for a long shelf on a painted drywall surface. Mr. Baker designed three new components to be made from cherry wood, and he fabricated the final Aileron shelf himself. Although the shelf was a personal endeavor for Mr. Baker’s own satisfaction, it is currently a consignment piece at Metroform Ltd.

The deliberate act of beginning with a found object from a Creative Heuristic sensibility guarantees desirable characteristics within a larger solution for design problems not strictly defined. While this generative strategy holds the most promise for creative design solutions, it also explains why it is the rarest of types. In a designer’s commitment to addressing the needs of others, the pre-selection of a found object for creative action does not empower the level of
analytical consideration necessary for generating solutions with material or compositional wholeness.

Aesthetic Heuristics

A designer who decides to incorporate a found object from a sensibility of an aesthetic heuristic is one who believes a found object is either particularly beautiful or cool. In short, this sensibility explains why designers choose to incorporate a found object for its own sake. In this scenario, there is larger design value in maintaining the legibility of the original found object, thereby prompting the opportunity for end users to simultaneously recognize the found object’s respective origin while also appreciating its role in a new design solution. In these instances however, it is particularly challenging for the found object to transcend its original use, and calls to question the overall helpfulness to a creative process or ultimate value to the new design solution. While it is possible within this generative strategy to allow nostalgia to creep into one’s design thinking, it can also conversely establish the underpinnings of distinguished architectural practices such as LOT-EK in New York City and Richard Goodwin in Sydney Australia.

ARCH 516: “Modern Craft”

Fig 4. Wood Joints by ARCH 516: “Modern Craft” students at the University of Nebraska - Lincoln, Spring 2012.

As a general position for architectural education, all schools of architecture should have strong respective cultures of Making. To this end, it is necessary for our design curricula to guarantee multiple opportunities for working and experimenting with “live” materials at a 1:1 scale. In light of this, I created a 3 credit hour course titled “Modern Craft,” which is open to students of fifth year, sixth year, and PhD standing. The course examines Craft as its own creative discipline, and is composed of equal parts lecture, seminar and lab. Whereas the seminar portion anchors the conversation in issues surrounding craft objects and industrial products, the lab component effectively offers Architecture students their first curricular opportunity to

consider material-based investigations, in an explicit way, for (16) weeks.

FOCO: The Found Object Craft Object

Since first seeing the Aileron shelf by Tucson designer Scott Baker in 2003, I have become increasingly interested in the creative heuristics that found objects provide when incorporated into design solutions. To this end, I enjoy issuing an eight-week design assignment titled “FOCO: The Found Object Craft Object,” in the “Modern Craft” course. This assignment requires student designers to argue how found objects ought to be used in design, and demonstrate their creative effectiveness firsthand through the conception, development and execution of a new craft object.

Per this assignment, all FOCOs must:

1. incorporate a found object that is chosen only after careful consideration. The selection of the found object must not be incidental.
2. incorporate a found object that has structural or mechanical merit. Found objects with emotional resonance are in fact not found objects, and are strictly prohibited.
3. be designed using the observable properties of the found object as a point of departure. The purpose and use of the FOCO shall be determined only after the found object is considered on its own terms and selected on its own merit.
4. incorporate a found object that plays a performative role within the larger FOCO solution - The craft object incorporates the found object, yet the found object does not equal the craft object.
5. re-purpose the original found object within the intentional and deliberate design of a new craft object.
6. commit to a particular type of site (i.e. stands on floor, anchors to table, wall-mounted, suspended from ceiling) without committing to a site-specific place (i.e. my apartment living room, my parents’ mantle, my brother’s patio).
7. recognize their role as craft objects in the $21^{\text {st }}$ Century, and consider their own materiality.

Across the course enrollment, there is typically a genuine enthusiasm for this assignment as it presents an opportunity that students have not yet experienced in their respective design studios. Since its first issue in Spring 2009, I have tweaked the source and methods for Found Object
acquisition to better test observations about this design methodology, and it also prevents future students from anticipating forthcoming designs.

Fig 5. Examples of found objects acquired through open acquisition.

In the most open model, I have asked students to conduct found object reconnaissance over their Spring Break in salvage yards, pawn shops, antique shops, auctions, yard sales, or their grandparents’ attic. Each student was required to bring three found objects for discussion, and the group then took turns speculating upon the various ways in which each found object could function in larger structural or mechanical applications. This produces the greatest range of found object types: In one particular year, students selected an engine dolly, a $75-\mathrm{lb}$ steel caster, a cast aluminum combustion chamber from a Mazda RX-7 rotary engine, a pair of suspension swingarms, a clutch assembly, a pair of ice skate blades, a poker chip holder, and a hand-operated apple peeler.

Figs 6 & 7. Students assessing and identifying found objects with creative potential at an automotive salvage yard.

In a more controlled model, I ask students to meet at an automotive salvage yard, where I then establish a two hour window in which they are expected to identify, select, and

purchase no more than three found objects of interest. The students do not have to commit to a particular single found object by this time, but the object ultimately chosen must have been identified within this window.

Fig 8. Students previewing found objects that have been predetermined by the course instructor, prior to personal selection.

Fig 9. If found objects are pre-selected by the course instructor, then students will respond differently according to their personal satisfaction with the object chosen.

In the most closed model, I personally determine the inventory of found objects to be used, display them in a small room, allow students to preview them, draw numbers to determine pick order, and then release each of them back into the room for their found object selection.

Since the purpose or use of the larger forthcoming FOCO is to be determined after the selection of the found object, students are dealing with a design problem in which use no longer preceeds their search for design solutions. In turn, they must enter into a dialogue with the found object, assess its structural and mechanical characteristics, and only then design uses for the found object. Across the various solutions that have emerged, the final FOCO solutions vary widely in terms of their utility, level of found object incorporation, and overall compositional complexity.

Figs $10 \& 11$. Upon found object selection, design charettes are instrumental for both stimulating design thinking and provoking the transcendence of a found object from its original design application.

Front-End Suspension Swingarms

Mr. Dodson was attracted to both the structural and compositional qualities of a pair of cast steel automotive components. As kinetic structural horizontal supports found in an automobile’s front suspension, these swingarms can resist considerable weight and force. Compositionally, these cast steel swingarms have several large “lightening” holes within its profile, and also feature several bolted hole connections.

During preliminary design, Mr. Dodson would position the swingarms in an upright position, and it became possible to perceive the swingarms as structural supports that capitalize upon the circular ends to serve as actual bearing points for the forthcoming assemblage. Once this observation was made, the use of the FOCO was determined to be a coffee table.

Figs $12 \& 13$. Coffee table by John Dodson.

After considering some design options with a blockish symmetrical proportion, Mr. Dodson decided to elongate the structural gesture in order to showcase the table elements requiring new construction. The structural spine was shaped from a single piece of maple, and was accentuated at both ends with walnut bearing points. Whereas one end is a modest shaped footing that comes in contact with the ground plane, the other end is a shaped connector stout enough to receive the $1 / 2$ " diameter bolted connections with both swingarms. Mr. Dodson subcontracted a local glass supplier to provide a shaped tempered glass profile, and this glass rests on three new rods. While these rods were conceived as appropriate attachments to the found compositional qualities of the swingarms themselves, an identical rod was used in an identical geometry and attached directly to the maple structural spine.

Engine Dolly

When Mr. Mielke secured three found objects of varying scale for consideration, he was drawn to working with his
largest since this was the scale he was most comfortable. The found object is a dolly for lifting and storing pulled engines from automobiles. The dolly is essentially three pieces of tube steel butted and welded together to form “T” configurations in both plan and side elevations. The dolly meets the ground with three $1 / 4$ " diameter rolling casters and interfaces with engines only through a pipe fitting that caps the top of the single vertical tube steel member. This particular dolly became obsolete when one of its small steel casters jammed, and no one took the initiative to service or repair it.

The dolly originally had a bright orange painted finish, but this finish has weathered from both heavy use and lack of care. Mr. Mielke decided early that he was interested in retaining the weathered finish quality of the dolly, and wanted to creatively contrast it with highly refined new construction.

From its side “L” profile, one notices the composition of this dolly anticipates cantilevering the engine over its lower half. In response to this, Mr. Mielke projected regulating lines from hard material edges found on the dolly and allowed these 2 d lines to act as planes to demarcate the extents of a pair of three dimensional volumes.

Just as a suspended engine would have airspace trapped below, then so do these volumes hover over the dolly assemblage and connect back only at the vertical support. These persimmons volumes are physically identical to each other in overall dimensions, and both work together as saddlebags to balance the load about the high structural support armature made of steel flatstock. However, one volume is a chest of drawers with full extension glides, and the other is a single vertical drawer with adjustable shelving. To the best of my knowledge, the one steel caster remains jammed.

Figs $14 \& 15$. Chest of Drawers by Karl Mielke.

Industrial-Scale Caster

At a curb weight of 75 lbs., this large caster is one from a set of four identical casters that supported an automotive sled used by body repair services to move car chassis within a garage.

Figs $16 \& 17$. A desk for a home office by Brandon Reimers.

Mr. Reimers started his process with a series of sketches of upright furniture pieces that integrated the caster as a heavyweight footing and bearing point with the ground plane. After considering the likely physical awkwardness of moving these upright pieces, the proportion of the furniture piece then became low and long. This proportion was found to offer more leverage and ease to the user, and would allow for moving the piece with less effort and greater control. After diagramming a wheelbarrow-like proportion to the FOCO, Mr. Reimers determined its purpose would be a new desk. Beyond knowing that this desk would require a prominent horizontal surface to accommodate various deskbased actions, Mr. Reimers found it difficult to explore design options without using a photograph of the caster’s side profile as a point of departure for his larger design thinking.

The final desk design is characterized by two steel bases with white painted finish which are rigidly attached to an orange desk surface. Although this orange desk component appears as one piece, it was fabricated from a solid-core door and laminated plywood shapes for the downturn. Both of these pieces read as one due to several layers of bondo work and several coats of automotive-grade painted finish. The desk surface has integrated handles for moving the desk and its repositioning.

Ice Skates

Figs $18 \& 19$. An end table by Chris Williams.

Mr. Williams’ found object(s) with the best creative potential was a pair of antique ice skates. These ice skates possessed a number of attractive material features including the worn leather ice skate envelope, the excessively-long cloth laces, the shaped steel ice skate blades, and their nailed connection to the underside of the skate’s sole.

Upon further evaluating the skate blades, Mr. Williams became interested in the creation of a FOCO that would
become structurally co-dependent with the skate blades themselves. In order to best focus upon this compositional expectation, he was encouraged to work in a scale relatively smaller than his colleagues, and decided then to design an occasional table.

The first iteration of this table design was drawn in marker pen, and was dismissed by the author due to its resemblance to a woman’s shoe. However, the second iteration had a changed proportion and still possessed the desirable trait of structural co-dependence between the two found objects and the new construction. Mr. Williams began fabrication of this table by laminating a series of plywood shapes to then be shaped using electric and hand sanding methods. Once the ice skate blades were attached to the new wood construction, this assemblage serves as the table base. The table surface itself is a single piece of 16 gauge sheet metal shaped in an ovular form, and is connected to the neck of the wood base with a series of piping connections that intentionally resemble the eyelets found on the original ice skates. All steel edges at this connection were brought to align with the outer surfaces of the wood.

Conclusion

Figs 20 & 21. FOCOs by ARCH 516: “Modern Craft” students Dennis Krymuza and Joe Wallace, Spring 2012.

Across the four years in which this eight week design problem has been assigned, the polemical arguments for how found objects ought to be used in design have varied. Nonetheless, each argument reveals the impetus in which each student discovered the incorporation of a found object to be personally meaningful. In turn, it was an analysis of their written responses that helped forge the four larger design strategies on which this essay is based.

^[1]

${ }^{10}$ Jencks, Charles and Nathan Silver. Adhocism: The Case for Improvisation. Garden City: Anchor Press, 1973, p15.
${ }^{11}$ Murphy, Kate. “One Man’s Trash…,” Home & Garden, The New York Times. September 02, 2009.