Objects with a free, non-classifiable morphology, which put aside functionalist certainties to recover the original sense of design, expressed in open and protean generative flows

The project lives on reason and sentiment. Like an energy that flows from the depths of memory, both personal and cultural, creativity draws on ancient stratifications buried by time and life, which become usable again when a contingent stimulation (some call it 'inspiration') rekindles them.

The resulting wave is powerful, generous, immediately channeled into a well-defined shape. Designing means balancing this original creative drive with the vigilance of rationality, in a sort of tug-of-war between control and liberation, in which the less the role of reason, the greater the prodigality of creation.

This is precisely the case of a recent trend in the design world which, grafted onto a trend dating back to Art Nouveau and Gaudí, and then to the biological morphologies of Carlo Mollino and Animali Domestici by Andrea Branzi, today arrives at an 'informal' language in the literal sense of the term, giving life to object bodies in which the primeval design energy still beats.

Examples are the Womb lamp by Jan Ernst , both in the table and wall-mounted versions, and the modular chairs Flowers by Olga Engel, part of the Unspoken Duality collection for Mia Karlova Galerie, or the sinusoidal shapes of the ToSummer flagship store in Beijing that F.O.G. Architecture has designed how water sculpts the rock.

From this point of view, it is no coincidence that an object-sculpture like Hop Step by Aldo Bakker appears difficult to classify in the standard types, melted and merged in this object presence from 'alien' aspect that seems the fruit of nature and artifice at the same time, incredibly similar in this to the Martian rocks that NASA probes are showing us more and more frequently.

In fact, this of design freed from form is an ancient and never dormant trend in the culture of design, the primary impulse of creativity intercepted when it emerges from the fault line that separates (and therefore unites) the continent of art and that of design.

This is demonstrated by an installation such as Floating Towers by Cristián Mohaded for Sarah Myerscough Gallery, or as the collection of objects in wood and acrylic Volax by the Greek duo Objects of Common Interest for Carwan Gallery.

The fact that we are here between 'free' and 'constrained' production is no coincidence but depends on the hybrid nature, exuberant, rebellious to any caging of this primeval energy.

Of course, it is not easy to imagine non-forms like these, literally not 'predictable' and therefore, in a certain sense, not 'projectable'.

But this is precisely the role of the informal vein in the culture of the project, a role comparable to that of the heart in the body, which beats without reason and control, feeding the life that lives there.

And that this reference to the sense of corporeality is more than a metaphor is demonstrated by a brand like Dame Products, founded by Alexandra Fine with the mission of bridging the 'pleasure gap' that still stigmatizes female sexual pleasure compared to the male one through objects with a high aesthetic and cultural content.

This fueled by the original energy of the project is in fact a fetal design, luxuriant, hormonal, to be preserved all the more today that, besieged by cold and shiny instruments, we risk losing sight of the original fracture from which the genetic magma of the project gushes like life from the spring groove that marks the woman's body and, therefore, of humanity.