Elodie Mallet

Objects in the making have the power to reveal perspectives on the cultural, social and political meanings of design that would remain invisible if we only focus on finished objects. My research looks at prototypes and their changing natures and functions in the 1980s and 1990s, a period of intellectual and technological advancements and challenges. 

Contrary to common belief, despite the development of the computer technology importance continued to be given to the skills of the hand. The prototyping phase was slowly turned into a real learning adventure, during which designers particularly engaged with their practice.

Some designers chose to exhibit their work (most of the time, prototypes) to make statements about the value and power of their craft. While this new trend raised many issues about the relationship between art and design, it succeeded in opening new avenues for designers eager to work in the margins of the (post) industrial world. Influenced by the postmodern idea that there is not one way of doing things and that everyone should have a voice, prototyping also became a participatory activity involving both the designer and the consumer.