In the ideal geometries of Classical design and the efficient and functional ones of Modern design, there is at bottom an enchantment with ideas. Designing is the willful imposition of preconceived ideas on what would otherwise be passive and chaotic matter. It seeks to make legible and maintain its ideas despite the dense material aura in which they are caught. My work tacitly maps a shift in the general regimes of designing away from their Classical eidetic and Modern functional appropriation toward their resolution in the material, morphological play of continuous variation. Resisting the sovereign, static, transcendental geometries of Classical and Modern design, my work concocts supple, dynamic, material processes of interminable production. It is the consequence of surrendering to material conditions that, coaxed, throw off their own forms suggesting design. Objects, architecture, and images emerge unexpectedly in the design process. While the work produces an interminable formal vocabulary, it does have, through fabrication and production, a practical desire. It achieves a limit and tumescence that would otherwise be absent. It moves from morphological fiction to morphological fact.