Exploring the complex emotional connections that people can have with inanimate objects, we describe how individuals can develop deep attachments to certain objects, seeking comfort and solace in their presence. These items, often referred to as transitional objects, can serve as a psychological refuge in times of anxiety and uncertainty. Despite the genuine and powerful emotions experienced by these individuals who love objects, they are often stigmatised and considered pathological by society. Our project aims to bridge this gap, promoting understanding and acceptance through interactive media.
Inanimate Object Dependence
Exploring the complex emotional connections that people can have with inanimate objects.
Caring SocietySocial CareInclusivity
Service Design (MA) IYR
Digital Direction (MA) 1YR
Information Experience Design 2022 (MA)
Interior Design (MA) 1YR
Our Approach
Exploring the complex emotional connections that people can have with inanimate objects we describe how individuals can develop deep attachments to certain objects, seeking comfort and solace in their presence. These items, often referred to as transitional objects, can serve as a psychological refuge in times of anxiety and uncertainty. Despite the genuine and powerful emotions experienced by these individuals who love objects, they are often stigmatised and considered pathological by society. Preserving the object they depend on from wearing out and maintaining their original feeling became a challenge over time.
Our design output uses virtual space (VR) as a digital platform to help the people rely on the inanimate object, to better preserve the objects they rely on and to record their memories or feelings with them. The VR platform can also act as a bridge between the public and this group. People who have inanimate object independence can choose to share their virtual space with their relatives, friends, etc. to experience.
As an important part of the garden landscape, Petunia bears witness to human activities and urban changes, and is also the carrying point of life memory. The artist has used 3D technology to recreate the trajectory of its growth, using the surrounding vegetation to reveal the tranquillity and security of the attachment's home. In addition, realistic images are combined with abstract textures to present another existence of the afternoon garden in a digital way.
Through interviews with object lovers whose fetish objects are plates, I found that people have special emotions for the patterns and materials of plates.
Therefore, in the construction of the scene, I focused more on the tactile and visual sensation when people come into contact with the plates, and infinitely magnified the ceramic material of the plates and the uneven and beautiful patterns, so that the first viewpoint of people is in the centre of the plates, creating an unreal world in the plates.
For objectophilia, the toys that accompany them are truly alive, and the plush touch brings them a lot of comfort. Therefore, this space simulates the heart of the toy and the state of blood flow, giving the toy real life. The presence of plush throughout the room amplifies the objectophilia's feelings about plush. At the same time, experiencers can also see everyday scenes through the window of the room and view the real world from the perspective of toys.