As discussions about the future are inevitable, it’s interesting to take notice of the recurring visual identity for dystopian futures drawn up throughout decades of science fiction anthologies. Minimalist sensibilities are often applied with no holds barred, bringing forth a plethora of archetypal elements such as monochromatic cues and geometry-based structures. Thus, the vision of what would be ideal is deeply rooted in simplicity and efficiency. Caravanserai is of these visions.
Cincinnati-based designer Hank Beyer flexes his creative muscle asking himself what kind of form factor deserves to be carried over to a future where contemporary technology, as we know it, has been destroyed. Unsurprisingly, minimalism is put forth as an indisputable aesthetic.
In Caravanserai there exists no true urban centres. As the world’s resources became depleted, sparse and difficult to continuously extract, humanity sought space and spread. Technology exists in an entirely new way. —Hank Beyer
The sculptural quality of the mysterious device brings to mind the box-like quality of the futuristic design of the 70’s, or more precisely, the work of worldwide renowned H. C. Dieter Rams. The functionalist school of industrial design is masterfully portrayed in Beyer’s creation. No matter if the function is a riddle at this stage, as Caravanserai is still a work in progress.
It’s refreshing to see quality production design brought forth through speculative fiction. Minimalism lives on as a strong reference point for the future.