M  A  N  I  F  E  S  T

Designers exist solely via the simple structure of crisis in which solutions, manipulations and incarnations counterbalance perpetual problems, challenges and obstacles.

We are the mediators of fact that regurgitate inarticulate laboratory knowledge into legible three-dimensional translations.

The majority of ‘designers’ are not inventors or innovators, they are alchemists, perpetually searching for a means to create gold from the bare bones of science. Designers appropriate scientific fact and mediate this immaterial knowledge in such a way as it can perform a practical function to both the ‘user’ and big business.

We represent the lens of elucidation through which science and technology are simultaneously projected back onto the human body.

P  E  R  P  E  T  U  A  L   C  R  I  S  I  S

How Can we turn a crisis into a positive opportunity?
The best way is to create a 'domino effect' or perpetual state of crisis.
By instinctively solving one crisis, your resolution could, in turn create the next emergency situation that needs to be rectified.
This takes the refined decision making process of "what to design next?" out of your hands, leaving you unprejudiced and more perceptually aware.



O  B  S  O  L  E  S  C  E  N  C  E

Rather than manufacturing in crisis with "Planned Obsolescence," I want to design for manufacture that is considered obsolete.

George Fereday

George Fereday
/////////////////Royal College of Art, Design Products, Platform 10

george@georgefereday.com


Crisis Shop - Sold Out!

Crisis Shop - Sold Out!
22nd - 27th April @ Milan Salone Furniture Fair 2009

Crisis Shop featured in.....

Monday, 16 November 2009















Modular Book Shelves For :


THE BIBLIOTHEQUE DU CENTER AERE

The Bibliothèque du Centre Aéré (BCA) collect books of interest that are out of print or missing traditional distribution channels. The collection comes in the form of facsimiles available on-site consultation, on loan and also in exchange (cons another book that may interest us). This choice of cheap facsimile instead of 'precious' originals de-dramatise the 'precious books reading approach'. And more practically, allows us to let the Library live by itself without inviligating. We count on the reader, the deal is in its hand, stolen items are replacable. Taking advantage of its facsimile situation, TheBibliothèque du Centre Aéré is obviously multiple, transportable and can be physically located in several place simultaneously (galleries, bookshops, events, or in a tree,...)


The Bibliothèque du Centre Aéré is in continuous extension, so potentially infinit. Which mean, that the BCA Furnitures (the one you will design) are the windows openned on this imaginarly bigger library. They house from time to time, from place to place, a selected sample of the Library. It's in a way like an small exhibition space (but a space to place in another space). A kind of miniature theater that belongs to the world of books and libraries. It calls on books, mostly (but book shelves houses sometimes other things). It's a space to curate around books. Another thing: A library catalog will be Published regularly.


THE BCA CLASSIFICATION SYSTEM ( The Curator constraints)

As every library, the BCA has a classification system to index and organize the library materials. It was born of the need to find an alternative to Universal Decimal Classification (UDC) used in most libraries of the world. The UDC favors archiving. It distributes books in hierarchical and absolutes classes that cover all the knowledges. On the contrary, the CAC (Centre Aéré Classification) is a relative system that promote transdisciplinary research. Due to its structure, it can not classify all knowledges and is limited only to those entering the Library. This system is intentionnaly designed to emphasizes stray, wandering idle and random cross disciplinary discovers. It also prevent an overview of the library to potentially extend it to the infinite.










Wednesday, 11 November 2009


Ceiling Storage for hoarders:

Tuesday, 10 November 2009







I went to Chichester to speak to Will Davis about his plastic extrusions factory. I wanted to understand the extrusion process better and talk through technical details of the process from the dies, to the temperatures involved, etc. etc. 







































Monday, 9 November 2009




I've been looking at a freestyle form of plastics extrusion... more to follow...




Could coiling add strength to extruded parts?




Big Cain for Catenary Arch Project (?)





Monday, 26 October 2009


We have been imagining the city with Zero Energy. What would we make? how would we make it? and how would our lives change?
I wanted to look specifically at the use of unfired London Clay. Having seen vinyl extrusions I was keen to try to extrude London clay into shapes for construction in an energy depleted city.

Historically brick making using the city's rich supplies of clay thrived in areas such as 'Brick Lane' since the 15th century.
Historically the volume of foundations cut out for a new house would have been sent off to make the 'london bricks' that would have built the house. I love this symbiotic relationship between local waste and re-use.











I went to the RIBA Library to research extrusion-like construction techniques.
These include the CINVA Ram for local brick making (video below), and soil filled bags that are compounded into strips and laid one on top of the other.

















Dig from one end... Extrude from the other


















A FEW OTHER EXTRUDERS...





Anish Kapoor Extrusions, Royal Academy, London.

Anish Kapoor Extrusions, Royal Academy, London, 2009

Anish Kapoor Extrusions, Royal Academy, London, 2009


Source: makeitdo.wordpress.com

It would be nice to be able to extrude structures and shapes without a mould. To be able to have a hand held extrusion device that extrudes material you could direct in the same way icing is built up on a cake.




An example by Tom Dixon :
“Extruded” chair, 2007
Extruded PETG plastic. 32 1/2 in. (82.6 cm.) high Hand-made by Tom Dixon, UK. Number two from an edition of 12. 
Source : http://www.chairblog.eu/category/chair-designer/tom-dixon/