This work examines the aesthetic significance of imperfection, traces, and beauty in the tension between chaos and order. Based on theoretical positions on fractals, Wabi-Sabi, tracking, and rhetorical design, imperfection is understood not as a defect, but as design potential. In the practical part, traces are photographically documented, analyzed, experimentally investigated, and finally translated into a piece of furniture. The resulting “Traces Sideboard” combines industrial precision with temporal change through patina and shows beauty as a process-like, open state.
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