The Future of Design: "Anti-Furniture" Analysis & Interview with Reeta Hafner

Case Study Analysis of Anti-Furniture

It is with the last words of the interview with Reeta Hafner, that the selection of this case study came into being. Particularly the concept of uncomfortableness is key to this artwork, but also its social problem-solving nature which is possible without any digital or technological input. In the evolving landscape of design, where the intersection of human behavior, technology, and speculative futures converge, the exploration of discomfort, fear, and vulnerability is often tackled as something that should be hidden or solved behind the curtains. This case study does the complete opposite, by exposing these vulnerabilities and creating public, even performative solutions, from and in front of the audience. The sculpture collection by Fyodor Pavlov-Andreevich entitled Anti-Furniture, explores how design challenges traditional perceptions of comfort and fear, drawing on the critical design movement known as "dark design." This movement, as articulated by Dunne and Raby in Speculative Everything, seeks to use design not merely as a means of creating aesthetically pleasing objects but as a tool for provoking deeper reflection on the complex darker manifestations of human nature (p. 24-26). Furthermore, my personal observation and interaction with the sculptures took place during their inaugural exhibition at the Design Museum in London on September 26, 2023. This experience was particularly insightful as it was one of the first times I interacted with speculative design objects that were not confined behind museum glass but were instead open to the public to touch, sit on, climb, and even swing. This was a pivotal moment in my research, showing the potential of handcrafted product design that, while resembling traditional furniture, serves a completely different purpose. Their “final cause” was to not provide comfort, or to be functional in making everyday activities more efficient and easier, but the opposite - to push people out of their comfort zone, and to have a mental function instead of physical. Each piece in the series is designed to evoke specific phobias, pushing participants to confront their fears through physical discomfort and purposeful endurance, as Pavlov-Andreevich notes on the description of the work on his website.

The series consists of eight sculptures listed below and shown in figure below:

1. Bunker-Bed: This piece explores scopophobia (fear of being watched) and sociophobia (fear of meeting new people), creating an environment where participants must engage in extended eye contact with another person, drawing attention to the discomfort and fear associated with vulnerability in social interactions.

2. Procrustes: Named after the mythical Greek figure, this sculpture evokes claustrophobia and the fear of being trapped, forcing participants into tight, restrictive spaces that challenge their physical and mental endurance.

3. Lord-Of-The-Fishes: Inspired by the experience of refugees and the fear of physical pain (algophobia), this sculpture forces participants into cramped, uncomfortable positions, mirroring the conditions faced by those fleeing danger and highlighting the physical and psychological toll of such experiences 4. Push-Me-Pull-You: This sculpture taps into the fear of trusting others (pistanthrophobia) and the frustration of unmet expectations. Participants must navigate the sculpture without direct visual contact with their partner, echoing the challenges of trust and coordination in high-stakes situations like disaster rescues. 5. Rock-n’-Desk: Addressing agoraphobia (fear of open spaces) and demophobia (fear of crowds), this sculpture mimics a sense of safety and security by allowing participants to "rock their fears to sleep", highlighting the paradoxical comfort found in confronting one's anxieties.

6. The Leg-Opener: Associated with phobias such as algophobia (fear of physical pain) and erotophobia (fear of sexual love or sexual abuse), this sculpture forces the participant into a vulnerable position, prompting a reflection on the body's exposure and the fears associated with physical and emotional vulnerability.

 7. Egoboat: Addressing fears such as OCD, cymophobia (fear of waves), and the fear of air raids, this sculpture simulates the precariousness of homelessness and the constant threat of external dangers, inviting participants to reflect on the mental toll of living in a state of perpetual uncertainty.

8. Centipede: This sculpture plays on acrophobia (fear of heights) and futurophobia (fear of the future), requiring participants to climb and navigate precarious structures, symbolizing the collective anxiety of facing an uncertain future.

Figure: Self-made collage of the eight sculptures consisting of the Anti-Furniture collection of designed sculptures. Images sourced from Pavlov-Andreevich's official website http://fyodorpavlovandreevich.com/.

From a distance, these sculptures appear as beautifully crafted objects, yet upon closer inspection, their true purpose becomes apparent. The exhibition challenges the traditional boundaries of museum spaces, where art objects are typically untouchable. Instead, Anti-Furniture invites visitors to physically engage with the sculptures, thereby confronting their fears in a public setting—a scenario that adds another layer of discomfort (Pavlov-Andreevich, 2023).

Anti-Furniture as Dark Design

The concept of fear is central to Anti-Furniture. As Pavlov-Andreevich explains, "The world of phobias is enticing, varied, and all-encompassing. It can never be fully explained, but it also tells us everything about human behavior". This exploration of fear aligns with the principles of dark design, which, according to Dunne and Raby in the chapter Design as Critique in Speculative Everything book, applies the "positive use of negativity" to deliberately engage with complex, uncomfortable, and even disturbing themes to provoke deeper reflection and awareness. Dark design does not shy away from unpleasant emotions but rather embraces them as a means of engaging with the complexities of human nature. It challenges the traditionally limited range of emotional and psychological experiences present when interacting with consumer products. By incorporating elements like humor, satire, and irony, dark design’s goal is not cynicism or pessimism, but rather to jolt viewers out of complacency and encourage a more profound contemplation of potential futures (p. 24-26). 

To understand these concepts from another intriguing example, let’s take the Huggable Atomic Mushrooms: Priscilla (37 Kilotons, Nevada 1957), from the collection Designs for Fragile Personalities in Anxious Times by Anthony Dunne and Fiona Raby, created in collaboration with Michael Anastassiades in 2008. These objects are designed as plush, soft sculptures representing atomic bomb explosions, with each "mushroom" corresponding to a specific nuclear test, such as the name of the red cushion “Priscilla (37 Kilotons, Nevada 1957)” explains by itself. The concept behind these objects is rooted in exposure therapy, a psychological treatment used for phobias, where individuals are gradually exposed to the source of their fear in controlled doses (p.26).

Figure: Priscilla, 37 Kilotons, Nevada, 1957 from the "Huggable Atomic Mushroom" collection by Dunne & Raby and Michael Anastassiades (2004-05). Images sourced from Dunne & Raby official website https://dunneandraby.co.uk/.

The huggable atomic mushrooms serve as a metaphor for confronting fears—in this case, the existential dread of nuclear annihilation. Their design, which combines a soft, comforting texture with the disturbing imagery of atomic explosions, creates a powerful juxtaposition. This contrast is meant to evoke conflicting emotions in the viewer: the instinct to seek comfort from something inherently terrifying. The softness and slumped form of the mushroom, which seems almost pathetic in its helplessness, further complicates the viewer's reaction, as they are confronted with the absurdity of finding solace in a symbol of destruction.

This approach highlights the underlying philosophy of dark design: to engage with the viewer on a deeper, more emotional level, encouraging them to reflect on their fears, the nature of comfort, and the complex interplay between safety and danger. By blurring the lines between familiar, comforting objects and the symbols of our deepest anxieties, dark design seeks to provoke thought and inspire new ways of understanding and addressing the challenges of the modern world.

The Performative Potential

In Anti-Furniture, fear is not just an abstract concept but a physical experience. The sculptures force participants to inhabit uncomfortable positions that evoke specific phobias, thereby transforming the act of viewing art into a participatory, embodied, and introspective experience. This approach challenges the conventional role of the artist and the viewer, blurring the lines between creator and participant.

As a performance artist, Pavlov-Andreevich has employed a unique approach to conceptualizing this collection. It is only through a profound and intuitive understanding of the human body and its emotional expression that these sculptures are able to evoke emotions when interacted with—whether someone sits on them, rocks with them, lies on them, or otherwise engages with them. Ultimately, the exhibition transforms into a group performance, with many participants interacting with the sculptures, moving with them, and connecting with each other. While performance art traditionally centers on the artist's body as the primary medium, Pavlov-Andreevich subverts this convention by replacing his body with that of the visitor. Pavlov-Andreevich argues that, in this way, "together they will substitute for my physical presence," thus allowing him to remain a performance artist, but through the medium of the sculptures and the external bodies of the participants. This performative aspect of Anti-Furniture underscores the role of the audience as active participants in the creation of meaning, rather than passive observers, as Hafner also reflects upon. Dunne and Raby note that "Dark design is driven by idealism and optimism, by a belief that it is possible to think our way out of a mess and that design can play an active role" (2013, p.24-26). Similarly, the furniture collection is meticulously designed to first embody and confront our deepest fears and phobias, and then gradually guide us towards breaking down these psychological barriers, ultimately allowing us to regain a sense of comfort and ease. In an interview with the art historian Bella Kesoyan about the exhibition, Pavlov-Andreevich reflects on how one of the most provocative aspects of Anti-Furniture is its reimagining of the museum as an inherently unsafe space. Traditionally, museums are seen as places of contemplation and security, where visitors can engage with art at their own pace and comfort level. However, Pavlov-Andreevich challenges this notion, suggesting that the museum is, in fact, the most dangerous of all public spaces because it lulls visitors into a false sense of security - "The museum is the most dangerous of them all, as you cannot see how, when and by what you will be affected" (Pavlov-Andreevich, 2023).

This perspective is deeply rooted in the principles of dark design, which seeks to disrupt the viewer's complacency by confronting them with uncomfortable truths. By transforming the museum into a space where personal boundaries are breached, where visitors intentionally are made to fear, Anti-Furniture forces visitors to reconsider their relationship with both art and public spaces. 

The Political Potential

While Anti-Furniture primarily explores human fears and vulnerabilities, it also offers a critique of the broader societal and environmental issues associated with the Anthropocene. For instance, the sculpture "Lord-of-the-Fishes" serves as a commentary on the refugee crisis and the impact of human migration. Pavlov-Andreevich in his interview with Kesoyan reflects on the conditions faced by refugees:

"500 people might squeeze into a boat meant for just 50. How? What condition were their bodies in while they were aboard that vessel?...What niches, nooks, and corners exist for them? “Lord of the Fishes” tells a story of a body that is not welcome anywhere."

This critique extends to the post-pandemic housing market and modern architecture, which often prioritizes profit over livability. By forcing participants to contort their bodies into uncomfortable positions, Lord-of-the-Fishes highlights the inhumane conditions that many people are forced to endure in their daily lives. In dark design too, negativity and discomfort are used as tools for social critique and ignition of change.

The Therapeutic Potential

Despite its focus on discomfort and fear, Anti-Furniture also offers a therapeutic dimension. By confronting their phobias in a controlled environment, participants have the opportunity to process and, potentially, overcome their fears. Pavlov-Andreevich emphasizes the importance of this process, stating that every fear arises from our consciousness, and only by shifting our perception, we can transform our consciousness in a way that could alleviate, or perhaps even overcome, our fears.

To guide this therapeutic journey, an essential element of Anti-Furniture is the role of the invigilators or guards, who act as both facilitators and co-creators of the visitor experience. The artist likens them to Greek mythological figures who stand at the threshold between the ordinary and the extraordinary - "The invigilators are granted the freedom to act as co-creators—even demiurges, like the Horae themselves" (Pavlov-Andreevich, 2023).

By giving the invigilators the power to shape the visitor experience, Pavlov-Andreevich underscores the idea that art is not a static object but a dynamic, evolving process that involves multiple actors. This perspective is consistent with the principles of experiential futures, which often involves collaboration and co-creation as a means of exploring new possibilities.

Anti-Furniture as an Experiential Futures Project The Centipede is the only piece in the Anti-Furniture collection that directly engages with the concept of futures, specifically addressing the fear of uncertain futures, or futurphobia. As individuals sit stacked upon each other, they are left in a state of unease, questioning when the structure might collapse. However, through my research in speculative design and experiential futures, I've found that Pavlov-Andreevich's entire collection possesses immense potential for reimagining both our interior and exterior spaces. Each sculpture is highly effective in confronting various phobias, addressing the widespread lack of consideration from urban and interior designers for atypical minds and bodies. Urban and landscape designers especially tend to assume that people are highly functional extroverts, with “inclusive design” often limited to addressing only physical disabilities (Gómez-Upegui, 2022). These sculptures challenge us to consider how our lifestyles might change if we engaged with pieces like the Rock-N-Desk whenever we felt overwhelmed by the presence of hundreds of colleagues in large, open office spaces. Or how the Pull-Me-Pull-You could be used to build deeper trust - whether in couples therapy sessions, or in children’s playgrounds. As urban theorist Jane Jacobs famously noted in The Death and Life of Great American Cities, "Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody" (1961, p. 238). Supporting the vision for integrated design, in the “How it could be”, the second part of the book Design for the Real World, Victor Papanek describes it as a comprehensive approach that deals with the interconnectedness of all human functions—breathing, balancing, walking, perceiving, consuming, symbol-making, and society-generating. He advocates for replanning and redesigning the tools, products, shelters, and settlements of humans into an integrated living environment capable of growth, change, mutation, adaptation, and regeneration in response to human needs (p.293-296). This holistic view underscores the importance of considering the psychophysical wholeness of human beings in design, which is precisely what Fyodor Pavlov-Andreevich has shown in his sculptures.

Summary The chapter begins with an interview with Reeta Hafner, a foresight facilitator at Media Evolution, who shares her insights on the educational applications of collaborative foresight. Hafner discusses the importance of integrating creativity into futures-oriented processes and the role of collaborative foresight in building competence and fostering inclusive, sustainable futures. Her approach highlights how speculative design can be used as an educational tool to engage participants in imaginative thinking and to address both societal challenges and personal development.

Following Hafner’s insights, this chapter examines a case study of Fyodor Pavlov-Andreevich's Anti-Furniture collection within the context of speculative design and experiential futures. The analysis explores how these sculptures challenge traditional design by addressing psychological vulnerabilities and phobias, thereby serving as a form of speculative design with significant educational potential. This chapter advocates for a broader application of experiential futures in design education, and vica-versa, emphasizing the importance of addressing not only physical but also psychological dimensions of human experience of the future and how they can be shaped for more inclusitivity. Through this exploration, the chapter underscores the role of design in shaping more resilient and empathetic futures.