A solid wood shelving system that could hardly be simpler in its construction and
production and yet, as an architectural sculpture, not only provides storage space, but also structures the space itself.

Define the problem/need you are solving or addressing with your project. How does it address the Open Call criteria, such as environmental impact, social engagement, circularity, user experience, resource efficiency, and community-driven solutions?

Dealing with the question of storage space and room division is probably not one of the biggest problems of our time. But it is precisely on a small scale that we can develop the necessary profound respect for the materials, experiment with suitable production techniques and thus address and discuss fundamental questions. My design is made from a renewable raw material and does not require any composite materials, even the individual components are neither glued nor screwed together, but are simply clamped. The shelf is made only from wood and is manufactured in a way that promises a long service life, as the durability of an object must be the basic premise for sustainability. This idea is also continued in the modularity of the design: needs change and it can only be an advantage if the objects that surround us are able to cope with these changes.

Please describe your project, reflecting on the concept, inspiration, materials, technical aspects, methods and process(es).

My design is developed in solid wood and consists of only three different parts. As fasteners are not required, the shelving system can be assembled and disassembled without tools. Two half-round rods, tapered at both ends, meet in holes in a shelving board. One rod is inserted from above, the second from below. As soon as the rods together reach the diameter of the hole, they lock together with the shelf. The interplay between the short and long rods of the same shape results in a wide range of installation options. Stable and accessible from all sides, the shelf can move freely away from the wall and create new spaces.

What do you think makes your project innovative compared to the existing efforts and ideas in the field it addresses?

My design practice is based on going back and forth within my craft as I explore different approaches to the material to gain new perspectives on how the contemporary can be rooted in tradition. It is this new look at tradition that can offer the potential for innovation. A traditional technique in woodturning is the “paper joint”, on which my design is based. After turning, the workpiece can be split exactly in half lengthwise along a glued-in layer of paper. The result is a construction reduced to the essentials, which nevertheless possesses an independent and unique aesthetic. This technique also minimizes waste during the production of the half-round rods. A process that can be scaled up for serial production and is still geared towards small scale manufacturing.

Does it impact or reflect young people need(s) and how?

Objects to which an emotional bond is formed are enhanced, used more consciously and subsequently experience adequate handling, care and maintenance. It is therefore worthwhile working on how a substantial relationship between users and products, can be fostered as early as the design process. The lives of young people in particular are in a state of flux. Flexible and durable pieces of furniture are the right companions. My design is based on the idea of producing tangible objects of experience. Transparency is therefore of crucial importance: as a user, I have to understand how I can participate. The decisive factor here is that the possibility of involving the user in the completion of an object must be coherent from the design, part of the use, as it were, and must not be justified by cost minimization. Transparency favors interactivity, interactivity holds the potential of listening to the things.