Rethink the ordinary: when everyday objects challenge expectations
Katerina Kamprani has transformed the way people perceive design by deliberately making it impractical. As a Greek architect and designer, it is the creative force behind discomfort, a collection of everyday objects that seem functional at first glance but reveal unexpected and often humorous defects in use. From a wine glass that imprison the drinker's nose to a watering that defies his own goal, his work subverts expectations with playfulness, urging the public to reconsider their relationship with design.
His trip to unconventional design was not a calculated career decision but an organic process motivated by curiosity. With architecture training, she first explored industrial design, to abandon formal studies after a semester. Instead, it started sketching absurd objects that have disrupted their planned function, such as the toilets accessible only via the scale. This playful experience has finally evolved in discomfort, a project that highlights the invisible ease of good design by stripping it. Thanks to subtle but impactful modifications, Kamprani exposes the hidden complexities of everyday objects, which makes viewers aware of the transparent functionality that they often hold for acquired.
The essence of his work lies in discomfort – not in an aggressive or nasty way, but as a tool of humor and conscience. While some could interpret her creations as a criticism of too complicated aesthetics, she insists that her main objective is to explore the delicate balance between conviviality and frustration. Each object is sabotaged just enough to maintain its identity, allowing users to recognize its function while fighting to use it effectively. This thin line between functionality and absurdity is what makes discomfort so convincing.
Katerina Kamprani: Disturbing design with a smile
Unlike many designers who aim for efficiency and conviviality, Kamprani deliberately gives the conventions of conviviality. Rather than being inspired by personal frustrations, it adopts an analytical approach, dissecting items by piece to identify their most essential functions. Its process is to ask a deceptively simple question: what is the smallest possible change that can disrupt an object while keeping it recognizable?
This method is illustrated in one of its best known pieces, the “uncomfortable wine glass”. At first glance, it seems that it is a standard container, but the positioning of the bowl forces the nose of the drinker uncomfortable in the glass. The object works technically – it holds liquid and can be used to drink, but not effortlessly that people expect. This subtle change obliges users to reconsider their interaction with an everyday article, creating a moment of surprise and fun.
Kamprani underlines that his work is not intended to be purely satirical. Although some can interpret its conceptions as a comment on over-conceived and impracticable consumer products, it considers them more as experiences of thought. By introducing minor drawbacks, she encourages people to reflect on the role of design in their lives. Its creations ride the line between art and function, existing in a unique space where discomfort becomes a fun and stimulating tool.
The challenges of building discomfort
While discomfort began as a series of digital rendering, Kamprani finally went to the creation of physical prototypes. The transition from the concept to the tangible object presented unexpected challenges, in particular in terms of materials and construction techniques. Each piece required meticulous planning to ensure that it maintained its intended dysfunction while being structurally healthy.
One of the most complex projects was its modified watering box. Which seemed to be a simple alteration – adjust the position of the beak to make the flow almost impossible – surprisingly proven to make. To obtain the right effect, it had to print the object in several parts in 3D and assemble it meticulously. This test and error process has become a fundamental aspect of its creative exploration, strengthening the idea that even erroneous design requires a lot of effort.
The public's reactions to his physical pieces have gone from laughing to deep philosophical interpretations. While most people find humor in the experience of struggling with their objects, some have looked for deeper meanings, by theorizing existential symbolism or hidden messages. Kamprani embraces the two perspectives, appreciating the spontaneous commitment that his work generates. His ideal vision is an interactive exhibition where visitors can directly discover the frustration of his creations – well, as she notes, certain pieces, are very fragile or could be difficult to share hygienically.
