Hiltrud Schinzel
How to Conserve Ideas Expressed by Design? Theoretical Reflections on the Conservation of Design Object Introduction In order to reflect a problem in theory it is necessary to strive for a certain objectivity. Often during research in a new field one question leads to another and an overview easily gets lost. Attempts for problem solving might resemble the cutting off of one snake from Medusa’s head, with many new ones growing out of the wound. Therefore, it might be useful to start theoretical reflections by searching for analogue situations on a meta-level. For this aim, let me seduce you to enter the world of Greek myths, and here the story of Orpheus and Eurydice. Both were as intense in love as we contemporaries are with design and lived as happily together as the creator and user of design does when the objects are new and functioning as they should. Unfortunately, Eurydice was stalked by an unloved admirer, she fled, fell down, a snake bit her; she died and had to descend into the dark underworld. Evidently, she died much too early, as early as many synthetic materials do and the cause of their death might look as arbitrary as Eurydice’s. Orpheus could not stand the pain, but, as a gifted musician, he had many chances. He bewitched all guards of underworld and even god Hades by his music. This talent must have been as efficient as inventions of science and engineering. He was permitted to take Eurydice back to life under one condition: she had to follow the sound of his music through the darkness of death land, yet he might not turn round to see if she could follow, until they were in the light of life again. This journey might be compared to the attempts of research and experiment to save synthetic materials, which have to follow the rules of science. Nevertheless, they often are in an experimental state and outcomes cannot be predicted. When Orpheus entered sunny upper world, he turned back to look whether Eurydice had followed. Unfortunately, she was still in the dark – he had been too early in turning round and she had to go back again. In design context this myth can be considered as illustrating a kind of Janus-headedness: 1.
One might say, Orpheus had not enough patience, and insofar as he did not obey the given rules, it was his fault that she had to go back. In design context we might call this the “Try and error method”. 90
