Breaking Boundaries: How FANZI's "Optical Flow" Merges Art, Function, and Perception in Interior Design
In recent years, the interior design field has been undergoing a profound transformation, one that challenges traditional boundaries between functionality and artistry. Designers across the globe are redefining how we perceive the relationship between the two, and this shift is not just about creative innovation but also the interplay of technology and culture.
A striking example of this evolution is the “Optical Flow” exhibition by Taiwanese design collective FANZI, which debuted at the 3daysofdesign in Copenhagen. This exhibition offers a glimpse into how design is bridging the gap between object and environment, creating a seamless fusion of art and utility.
The concept behind “Optical Flow” revolves around the dissolution of boundaries between objects and their surrounding environments. Drawing inspiration from optical flow algorithms in visual computing, which track pixel movement across video frames to create fluid transitions, FANZI’s design team adapts this technical concept to physical spaces.
This approach is rooted in a deeper understanding of human perception as a kinetic, dynamic process rather than a static one. In essence, FANZI’s works embody the idea that perception is not fixed but ever-evolving.
Unlike traditional interior design, which often focuses on either functionality or artistic expression, FANZI's works incorporate both dimensions in a single gesture. Their creations seamlessly blend art with everyday objects, transforming functional items into thought-provoking pieces of contemporary art.
For instance, the exhibition plays with the notion that as we move through space, objects and lighting shift in resonance and form. This fluidity mirrors the way we continuously engage with the world around us and rethink what art and design can be.
One of the standout pieces in the exhibition is the work of Marie-Louise Høstbo, the only Danish designer in the collective. Høstbo's “Yoga Storage System” offers a fascinating exploration of cross-cultural dialogue. This piece exemplifies how design can elevate daily rituals into a form of quiet ceremony.
By addressing the body’s dual need for concealment and revelation, the design reflects the intimate relationship between space, function, and personal experience. Høstbo’s work illustrates how design can transcend its purely functional role, enriching the user’s interaction with space and elevating the seemingly mundane to a more profound level of consciousness.
The inclusion of such cross-cultural perspectives in this exhibition highlights the significance of global dialogue in contemporary design. As the world becomes increasingly interconnected, designers are more focused than ever on merging traditional craftsmanship with modern technologies.
FANZI's exhibition offers a compelling example of this trend by incorporating digital manufacturing techniques that combine traditional handcraft with cutting-edge technology. This fusion allows for a broader exploration of materials and processes, resulting in innovative designs that honor both tradition and the future.
The rise of digital technologies has made it possible to push the boundaries of materiality and form, providing designers with new tools to experiment with space in ways previously unimaginable. Through digital fabrication, FANZI’s works embody the future of design, where the relationship between art and utility is no longer defined by rigid boundaries.
Instead, the pieces exist in the fluid spaces between functionality and artistic expression, tradition and innovation. The exhibition suggests a future in which design no longer conforms to fixed categories, but instead exists in the intersections of these categories, allowing for endless possibilities.
Looking beyond the Taiwanese designers, we can also see similar movements within the global design community. For instance, American designer Irene Hwang’s “Flowing Space” offers a parallel exploration of dynamic perception within interior design.
By integrating light, shadow, and spatial interaction, Hwang’s work creates environments that constantly evolve depending on the viewer’s position. Such designs challenge traditional notions of space, offering experiences that change with time and context, further emphasizing the importance of perception in shaping how we interact with the world around us.
This focus on dynamic perception has become a growing trend in both Europe and the United States. Designers in these regions are increasingly exploring ways to infuse spaces with fluidity and movement, using technology to enhance the sensory experience of a room. Whether through the manipulation of light, the use of interactive materials, or the innovative application of digital fabrication, designers are embracing new tools that allow them to create environments that are not static but constantly shifting, offering multiple interpretations.
The significance of this approach is not just aesthetic but also philosophical. By embracing a dynamic understanding of perception, interior design has evolved from being simply a functional practice to an artistic and cultural exploration. It is no longer just about creating spaces that serve a purpose but about designing environments that engage with the body, the mind, and the emotions. As designers continue to experiment with this fluid interplay between function and art, it becomes clear that interior design is no longer confined to traditional boundaries.
The “Optical Flow” exhibition serves as a powerful example of this shift, showing how design can transcend the functional and aesthetic divide. By embracing the fluidity of human perception and the technological possibilities of the digital age, FANZI has created a space where objects and environments interact in profound ways. This exhibition challenges us to reconsider the role of design in our lives, encouraging us to see everyday objects not just as tools but as dynamic, living pieces of art that shape our experience of the world.
Looking ahead, it is likely that we will see more and more designers adopting similar approaches, blending art, function, and perception in new and exciting ways. The future of interior design lies in these fluid spaces—spaces where boundaries dissolve, and where the distinction between utility and aesthetics, tradition and innovation, becomes ever more ambiguous. FANZI’s “Optical Flow” marks a key moment in the ongoing evolution of interior design, one that is increasingly defined by its ability to adapt, change, and engage with the sensory experience of the viewer.
In this new era, design is no longer just about creating physical spaces; it is about shaping experiences, perceptions, and interactions. Through the lens of “Optical Flow,” the future of design looks poised to be as dynamic and multifaceted as the human experience itself.