A short-lived temporary environment (and one constructed in rapid effort for constant public consumption over the course of five days this past May), the Home of the Future was simultaneously a container of products, a habitable environment for hundreds of visitors, and a projective surface capable of emitting and receiving color, light, and shadow. The structure and wrapping, made of off-the-shelf fencing and canvas mesh, was a collection of domestically-scaled vessels that encouraged visitors to interact with technology, to engage with projected light and sound, and to collide with each other, often in improvisational, unplanned fashion.
Sited in a gymnasium in Soho, NYC, and in place for just five days, the luminous, translucent, and illuminated spaces became locations for dance, for the playing of video games, for spinning aimlessly on cool plastic furniture from Herman Miller, and for a series of unplanned performances by both children and adults. The exhibition was formed by an architecture that housed objects whose use and handling was actually encouraged. The design was simply an armature for action, for projection, a kaleidoscopic environment defined by tactile materials and new technologies.