This project tries to imagine the future, using a figure that has been present in the collective imagination along the history and which symbolizes the strange and unknown: the monster.

The word monster derives from the Latin monstrum, itself derived ultimately from the verb moneo ("to remind, warn, instruct”). Etymologically, a monster is the one who shows, who foretelles.
Despite having acquired a negative connotation over time, a monster is just an hybrid or a mutation, and it is thanks to the mutations that the evolution of the species is possible.

This bestiary is created using the cyborg theory as the theoretical base, which defends human evolution through technology.
A cyborg is a being with both organic and electronic body parts. In other words, it is a monster, a mutation of nature and technology.
Donna Haraway defends in her work “The Cyborg Manifiesto” that the main characteristic of this future cyborg society will be the destruction of the line that separates the concepts of
animal and human, animal-human and machine; and the physical and the non-physical.

This project takes this aspect to create five monsters or beasts that will conform this bestiary of the future, using different creative technics that mix these dicotomies. These technics are generative design, fabric and illustration.

Generative design:
between biology and technology

Generative design focuses on creating parameters and introducing them in a digital software to create a final piece, without the human or the machine having the entire control of the design, but being necesary both parts.
Roughly, generative design could be defined as a method to automatically generate shapes from the modification of the variables that determine them.
It is a similar process to the one that does our genetic code: from four variables (four nitrogenous bases) we have billions of different combinations that conform our genes and diference us from another animals or from each other.
So, the programming code used here could be considered as the monsters’ DNA.

The fabric:
between human and machine work

Programming didn’t begin when computers were created, but much earlier with the textil industry, as a way to automatize the machines that knitted paterns. This way the patern could be knitted houndred of times faster and more effectively without someone having to repeat the process.

The fabric is the first nexus between design and programming, combination of human and machine work.

The illustration:
between imagination and reality.

Hand-illustration is the faster way to portray the imagination into paper.
Is giving shape to something abstract, inmaterial, to an idea that online exist in our head.
In addition, it plays a fundamental part in the creation of the collective imaginary. No one has ever seen a dragon or an unicorn but we all have the same image in our mind because someone draw them that way from their imagination.