Alba — Section Design de Produits · Projet #3 / SCD0522-1 · 2025–2026
BREAKFAST AT KOROVA'S
The corruption of innocence, a speculative ceramic breakfast set, exploring the normalization of corruption through domestic ritual and seductive design.
Table Set —
Film into Object
Design a table set, constrained to a strict A3 format, by extracting the visual and narrative language of a chosen film. The work must translate not only aesthetic codes (color, material, form, texture) but the film's emotional charge: its tensions, ambiences, and thematic content.
Objects must communicate atmosphere, narrative, and tension through their form. Literal reproduction of film elements is explicitly discouraged. The deeper the atmosphere is felt in the objects, the more successful the project.
A Clockwork Orange
Stanley Kubrick, 1971 · Crime Dystopique / Sci-Fi
- 01 Moodboard (printed)
- 02 Research and concept
- 03 Concept sketches, 3D model
- 04 Renders
- 05 Physical maquette
- 06 Invitation card
ACLOCKWORKORANGE
In a near-future Britain, Alex DeLarge leads a gang of violent droogs. After brutal crimes, he undergoes the Ludovico Technique, aversion conditioning that strips him of free will under the guise of rehabilitation. Kubrick uses the film to interrogate the systems meant to civilize us.
Corruption disguised as nourishment. Pleasure as a vector for control. The infantilization of violence through ritual and routine. Innocence as a surface concealing harm. The domestic space weaponized, the familiar made sinister.
All-white fibreglass figures against pure black walls. The female body objectified as furniture. Brightly colored wigs as the only chromatic rupture in a monochrome space. Gloss, sterility, and clinical stillness. Milk as both sustenance and poison.
Keywords
- Innocence
- Nourishment
- Dehumanization
- Corruption
- Control
Visual Codes
- Monochrome — black walls, white fibreglass figures.
- Colored wig — the only chromatic rupture in an otherwise sterile space.
- Body as object — women as tables, chairs, milk dispensers.
- Gloss and ceramic — sterile, seductive, deceptive.
- Oversized forms — infantile scale colliding with adult content.
- Bi-functional objects — each piece conceals a second, darker purpose.
Trojan Horses of Corruption
The collection investigates how design disguises corruption through familiarity. Objects present a childhood language, oversized ergonomics, rounded white ceramic forms, domestic scale. Beneath this innocence lies a darker secondary function: addiction, behavioral control, ritual harm.
This is not a project about drugs. It is a project about how aesthetics and familiarity normalize what they should alarm us about. Design shapes behavior, morality, and emotional perception, often without the user realizing it.
Object Breakdown
Six objects. One corrupted breakfast.
Defines and restricts eating space. A domestic constraint disguised as etiquette, the Korova's architecture miniaturized.
Infantilizes addiction. A child's drinking vessel recast as conduit for corrupted nourishment, the Korova's Moloko Plus made domestic.
Children's meal tray proportions. Divides the table into controlled, clinical compartments, the breakfast table as behavioral system.
A dual object. The spoon rest accommodates a spoon, or a cigarette. Ambiguity embedded in the form by design.
The spoon's form physically transformed into a smoking instrument. Innocence made harmful. Childhood weaponized in ceramic.
Tines bent inward. Resists natural use. Submission embedded in the form itself, the Ludovico Technique, in cutlery.
TRIVET
The trivet acts as a territorial boundary. Inspired by the oppressive geometry of the Korova Milk Bar, it transforms a domestic object into a subtle behavioral device. It defines where the user may place, eat, and exist within the table.
SIPPY CUP
The sippy cup infantilizes addiction through familiarity. By transforming the ritual of consumption into a childish gesture, the object disguises danger behind comfort, innocence, and domestic nostalgia.
SECTIONAL PLATE
The plate disguises preparation rituals behind familiar dining behavior. Its segmented geometry subtly references organization, dosage, and control while maintaining the innocence of a breakfast object.
BOWL / ASHTRAY
The bowl collapses nourishment and destruction into a single object. Its ambiguity forces the user to confront the normalization of contradiction through design.
SPOON PIPE
The spoon mutates from a nurturing utensil into an object of dependency. Familiarity becomes weaponized through subtle transformation.
FORK
The fork becomes an instrument of obedience. Its altered geometry subtly controls movement, behavior, and posture during consumption.
A Corrupted Domestic Ritual
Individually, each object appears playful, innocent, and familiar. Together, they reveal a complete behavioral system inspired by the Korova Milk Bar, a breakfast ritual where comfort becomes manipulation, and domestic design subtly normalizes corruption.
The vivid palette references the colored wigs in the Korova scene, while reinforcing the childish and deceptive innocence of the collection.
THANK YOU
BY KARL GEORR