↘
DO—
NOTHING—
MACHINES
In praise of idleness.
Industrialised societies strive for productivity and efficiency. In these systems, doing nothing often has a bland aftertaste or is itself subject to a strict schedule. We mark time for relaxation in our calendars, monitor and optimise our sleep. Have we long forgotten the art of idleness, the dolce far niente – the sweet nothing? Between studies, work, family and self-expression, where is the freedom to simply be?
The devaluation of idleness since the Reformation is a relatively recent development. In ancient times, idleness was considered a privilege of free citizens and the nobility, and essential for the development of art and culture. In the Middle Ages, the spiritual mystic Hildegard von Bingen even warned against excessive activity: »But man must beware of killing his body by too much work« (1).
The Alcoa Solar Do-Nothing Machine by Ray and Charles Eames (1957) symbolises the explorations of this course. It was not designed to fulfil a ‘practical’ function (2). It is a fascinating dance of colour and movement with no utilitarian purpose – an ode to curiosity, playfulness and the joy of pure observation of movement. The machine challenges our conventional understanding of function and utility and reminds us that there is value in pure experience. In these unstructured moments of leisure, the mind can wander and creativity can flourish.
From the aimless walk as an activity of intrinsic value, to the power nap and the sobremesa, the Spanish culture of resting after a meal (3), to procrastination, the course looked intensively at doing nothing, at leisure and at breaks and what they mean to us and our social interactions. In contrast to laziness (and doomscrolling), the projects are designed with and for the conscious decision to pause, perceive and reflect.
The devaluation of idleness since the Reformation is a relatively recent development. In ancient times, idleness was considered a privilege of free citizens and the nobility, and essential for the development of art and culture. In the Middle Ages, the spiritual mystic Hildegard von Bingen even warned against excessive activity: »But man must beware of killing his body by too much work« (1).
The Alcoa Solar Do-Nothing Machine by Ray and Charles Eames (1957) symbolises the explorations of this course. It was not designed to fulfil a ‘practical’ function (2). It is a fascinating dance of colour and movement with no utilitarian purpose – an ode to curiosity, playfulness and the joy of pure observation of movement. The machine challenges our conventional understanding of function and utility and reminds us that there is value in pure experience. In these unstructured moments of leisure, the mind can wander and creativity can flourish.
From the aimless walk as an activity of intrinsic value, to the power nap and the sobremesa, the Spanish culture of resting after a meal (3), to procrastination, the course looked intensively at doing nothing, at leisure and at breaks and what they mean to us and our social interactions. In contrast to laziness (and doomscrolling), the projects are designed with and for the conscious decision to pause, perceive and reflect.
(1) von Bingen, H. (2024) Heilige Inspiration in Weisheit der Welt (Band 23).
(2) Neuhart, J., Neuhart, M., Rams, R. (1989) Teams Design. The Work of the Office of Charles and Ray Eams, New York.
(3) Randolph, M. (2018) A uniquely Spanish part of the meal. www.bbc.com ↗ Accessed Februar 13,2025.
Supervision Prof. Judith Glaser
Summer Term 2025
(2) Neuhart, J., Neuhart, M., Rams, R. (1989) Teams Design. The Work of the Office of Charles and Ray Eams, New York.
(3) Randolph, M. (2018) A uniquely Spanish part of the meal. www.bbc.com ↗ Accessed Februar 13,2025.
Supervision Prof. Judith Glaser
Summer Term 2025
What comes after death poses so many questions to humanity, as it isn’t something that can be experienced or a story that can be told. Life is the only existence that humans know, whereas death is often viewed as the polar opposite, a state of not consciously existing any longer. With this, many cultures, groups, religions, and individuals have different beliefs when it comes to the afterlife, some posing the question as to whether or not there even is one. The transition between life and death is a complex topic, which truly raises more questions and room for contemplation than it does in providing any one answer.
Each project uses visual imagery such as specifically chosen colors, symbols, forms, and text existing within planes of space that deliver their own separate narratives surrounding the same concept. Despite all of our projects being centered around death and the afterlife, the results of our craft goes to show how differently each person’s interpretation may be and what particular motifs and concepts are significant to the individual.
