Monday, October 25, 2010
Project 2 - Upcycling - Rationale
For this project choosing what up cycling material/s to use was broad. E waste has a particularly big range of materials that I thought was interesting to explore for up cycling as a lot of it becomes useless, in a state of disrepair, obsolete, or replaced by renewed technology every year. It is said that:
I decided to narrow down the aspect of e waste that contributes to the above figures by up cycling a range of cabling. As our world is constantly developing electronics, attached with cabling that have become extinct. Deciding to focus on using RWY cables as they are used for basic audio video cables on analogy/stereo sound systems but since our entertainment systems are converting to digital/ HD quality reception these cables are useless. I also focused on using any cable of any thickness or lengths that are round depending on the weave I used that suited best. I decided to take the unused or broken cabling from mobile phone charges, laptop charges, electronic mice, printing cables, and internet connections due to their curvature profile. With this cabling I manipulated it by weaving to create a Bike Basket.
The idea of designing a bike basket for this particular project came whilst exploring for a product that utilised the properties these cables had. The cables have strength, flexibility – weave, durable, rigidity and are good with general temperatures. So doing extensive forms of research from looking through magazines, around homes and going to scrap yards, created a bike basket out of wire was a solid idea that embraced the cables capabilities.
The form of which I weaved contributed to the necessities of the basket as the nots/twists are close together to enclose items inside without falling out. This particular weave is seen to be one used for shopping bags that have the same particular purpose as a bike basket. I vied away from the tradition basket weave of an in and out/ under and over motion as it wasn’t able to provide an interesting aesthetic appeal wanted on the form of a bike. It provided an old traditional appeal rather than a contemporary look. I wanted to move away from the common to provide more craftsmanship and value through time spent on the detail of the weave. By doing so, it added elegance and/or sophistication to the basket. It also articulates to being more refined and suggestive to greater strength for a basket.
The choice of black cabling was due to the majority of electronics being black. The colour black also provides a neutral aspect to suiting majority of bikes but also acts as a feature to being sleek and contemporary for this generation of people. The coherent usage of the only black tones of wire but coordinating thickness added variation to the basket avoiding the very cheap and boring basket.
Looking at bike frames, basket weaving it was found that most needed a metal frame to support and make the basket rigid. So decided to use the idea of “up cycling” and extend that into finding a frame that is at its end of use. It is seen that only 44% of metal in 2003 was recycled were it is estimated that it could be 60 – 65% so by using this product could assist this recycling process. One that was found and used supposedly came from a filing cabinet system. It is seen to be at the end of its use as most paper work is becoming electronic and the up grading to more practical filing systems having been developed. I innovatively and originally adapted the wire frame to fit the structure of the bike. This was done by cutting down the frame to be a manageable and proportional sized basket for the bike. The basket had to be attached to the bike by bending the ends of the frame that retracted under the brakes and supported by the handle bars. This not only created an up cycled product but also an original self supporting system to attach to a bike.
The frame provided a very elongated and streamlining and geometrical structure. It enables to capture the language of being a simple basket that objects can be placed within. The addition of wrapping the wire along the external structure provided a defined line to the basket but also softened the hard frame. By using a different cable choice for the handles acted as a visual indicator as to which way round the basket should be.
- More than 17 million TVs, computing and electronic wiring is thrown into landfill each year.
- In a 2006 report, the International Association of Electronics Recyclers have reported that the current growth and obsolescence rates of various categories of consumer electronics had reached an average of 400 million units of e waste per year.
- Also the IAER stated that the US e waste is still the fastest growing municipal waste stream, from 3.01 to 3.16 million tons, where only 13.6% of that can be recycled and that most people don’t recycle it. Around 90% of this recyclable electronic material makes it to the landfill every year.
I decided to narrow down the aspect of e waste that contributes to the above figures by up cycling a range of cabling. As our world is constantly developing electronics, attached with cabling that have become extinct. Deciding to focus on using RWY cables as they are used for basic audio video cables on analogy/stereo sound systems but since our entertainment systems are converting to digital/ HD quality reception these cables are useless. I also focused on using any cable of any thickness or lengths that are round depending on the weave I used that suited best. I decided to take the unused or broken cabling from mobile phone charges, laptop charges, electronic mice, printing cables, and internet connections due to their curvature profile. With this cabling I manipulated it by weaving to create a Bike Basket.
The idea of designing a bike basket for this particular project came whilst exploring for a product that utilised the properties these cables had. The cables have strength, flexibility – weave, durable, rigidity and are good with general temperatures. So doing extensive forms of research from looking through magazines, around homes and going to scrap yards, created a bike basket out of wire was a solid idea that embraced the cables capabilities.
The form of which I weaved contributed to the necessities of the basket as the nots/twists are close together to enclose items inside without falling out. This particular weave is seen to be one used for shopping bags that have the same particular purpose as a bike basket. I vied away from the tradition basket weave of an in and out/ under and over motion as it wasn’t able to provide an interesting aesthetic appeal wanted on the form of a bike. It provided an old traditional appeal rather than a contemporary look. I wanted to move away from the common to provide more craftsmanship and value through time spent on the detail of the weave. By doing so, it added elegance and/or sophistication to the basket. It also articulates to being more refined and suggestive to greater strength for a basket.
The choice of black cabling was due to the majority of electronics being black. The colour black also provides a neutral aspect to suiting majority of bikes but also acts as a feature to being sleek and contemporary for this generation of people. The coherent usage of the only black tones of wire but coordinating thickness added variation to the basket avoiding the very cheap and boring basket.
Sunday, October 10, 2010
Design for Life - Episode 6
Now there are only 2 participants left. The competition is based on the success and development of their projects to result in a winner. Philippe Starck continues to give advice and wisdom about design. He wants to see elegance in the design for demographics. He has standards in being a hard task master. He doesn’t believe everything is easy, everything is work, work, and work. He states that “if you start on a bad platform the rest will result reflecting that”.
As a designer if you get to the point where the product you have developed is unworkable or unmanufacturable you’re a failure. Design is about designing things that need to be done not developing dreaming objects.
When it comes to advertising it is a vital asset to make your product succeed. This is done through marketing your product. If your want people to buy your product they have to now about it.
The series ends with one winner being announced. It was because of her ambition that successfully got her through her project whilst fulfilling the brief.
As a designer if you get to the point where the product you have developed is unworkable or unmanufacturable you’re a failure. Design is about designing things that need to be done not developing dreaming objects.
When it comes to advertising it is a vital asset to make your product succeed. This is done through marketing your product. If your want people to buy your product they have to now about it.
The series ends with one winner being announced. It was because of her ambition that successfully got her through her project whilst fulfilling the brief.
Desgin for Life - Episode 5
The 4 remaining applicants are working on their prototype. Reaching the prototype stage is a vast investment for a designer. It is up to the designer to believe in their design enough to see it succeed. The applicants now have to gain professional cliental to convince them their design is feasible to being made and makeable. When it comes to prototyping it means that everything needs to be finalised in all aspects from aesthetics to functionality.
W e learn that as a designer you should always stick with the final idea and always be prepared to change them for an easier manufacturing process, unless for good reason as it may start as a great creation and turn out to be a disaster.
We are given an insight to the marketing world. The applicants find out that in order for your product to succeed, it can be through the branding. As the brand becomes familiar and know to the audience they automatically recognise its success and realisation to the target market making them buy it. It is highlighted that a brand is an experience, memory and promise. The applicants have to see how they can adapt the language of their product with the target market.
It can be seen through their development that there will be struggles and disappointments. They are put down over and over again but through all the criticism, it is a learning curve to see who will win.
W e learn that as a designer you should always stick with the final idea and always be prepared to change them for an easier manufacturing process, unless for good reason as it may start as a great creation and turn out to be a disaster.
We are given an insight to the marketing world. The applicants find out that in order for your product to succeed, it can be through the branding. As the brand becomes familiar and know to the audience they automatically recognise its success and realisation to the target market making them buy it. It is highlighted that a brand is an experience, memory and promise. The applicants have to see how they can adapt the language of their product with the target market.
It can be seen through their development that there will be struggles and disappointments. They are put down over and over again but through all the criticism, it is a learning curve to see who will win.
Design for Life - Episode 4
The applicants are going through an emotional journey as they are facing rejection. They are questioning their confidence and abilities. The project continues for the applicants to be developed to the prototype stage.
We are told that when you build a prototype you are making something real. It is what design is about and proving an idea to what it needs to be. Design starts with ideas. It comes from your memories, recollection of the mind that you get from outside and viewing the world. You as a designer have the ability to design and engineer. Communication is very important. The pitch and the visual communication are vital to succeeding as a product designer.
When it comes to getting help from outside sources it is questioned to the point as to what is really your design and what is someone else’s. Like getting ideas for logo’s should be developed from the beginning by you but it is seen to be only accepted when experts are needed in drawing or advise to develop in areas you aren’t an expert in.
Getting inspiration for a design project can come from unusual or normal things e.g from plants, nature or living. Inspiration can come from anywhere e.g. chair inspired by a leaf and water drop inspired the apple mouse. When it comes to technique it should be keep in mind that simple can be better. Philippe Starcks now selects four applicants to enhance their ideas into prototypes.
We are told that when you build a prototype you are making something real. It is what design is about and proving an idea to what it needs to be. Design starts with ideas. It comes from your memories, recollection of the mind that you get from outside and viewing the world. You as a designer have the ability to design and engineer. Communication is very important. The pitch and the visual communication are vital to succeeding as a product designer.
When it comes to getting help from outside sources it is questioned to the point as to what is really your design and what is someone else’s. Like getting ideas for logo’s should be developed from the beginning by you but it is seen to be only accepted when experts are needed in drawing or advise to develop in areas you aren’t an expert in.
Getting inspiration for a design project can come from unusual or normal things e.g from plants, nature or living. Inspiration can come from anywhere e.g. chair inspired by a leaf and water drop inspired the apple mouse. When it comes to technique it should be keep in mind that simple can be better. Philippe Starcks now selects four applicants to enhance their ideas into prototypes.
Design For Life - Episode 3
Philippe Starck has now decided to give them a generic task to test and develop their way of thinking. In the next project he wants to see the thought behind magnificent, the real product that can be sold. So their brief is to design any product that is ethical, ecological, demographic for daily use and not electronic. He wants to see and feel the honesty, soul and morals they have as designers. His goal for them is to invent more than redesign due to the necessity and purpose of redesign.
Philippe Starck’s designs reflect mainly sustainability. He wants the students to learn that his briefs are very broad as for them to be creative and not design. He believes that creation is creativity and not speaking design. He doesn’t want this project to be a redesign of a chair. He states “I don’t want redo redo redo”. Starck wants them to create a product which satisfies ethics, ecology and is demographic like the wind up radio. So we see their journey into the discovery of an idea through visiting the environment and seeing how people interact with it and from there improving a product to help them but also experiencing first hand. E.g. one person sleeps as a homeless person.
The applicants have to have self believe and confidence as Tom Edison states “invention was 90% perspiration and 10% inspiration but getting things to work is where the stress lies”. Starck wants his student to be convincing through the role they play as a designer who they are designing for. So he has asked them to go to a circus and be one of them. Meaning he wants them to think a certain way, take a risk and have someone intrigued by it. He has unconventional methods as to measure performance in pitching an idea on every level not just presentation like capturing consumers attention when a product is manufactured and global.
It is a crucial idea that we experience and understand the needs of the people as designers. But they may not know what they need so we have to be them to know. Designers need to be, feel, act like our market. We get told that getting fully formed ideas in less than a week is possible. To Philippe Starck it is important to know every aspect of your design.
Philippe Starck’s designs reflect mainly sustainability. He wants the students to learn that his briefs are very broad as for them to be creative and not design. He believes that creation is creativity and not speaking design. He doesn’t want this project to be a redesign of a chair. He states “I don’t want redo redo redo”. Starck wants them to create a product which satisfies ethics, ecology and is demographic like the wind up radio. So we see their journey into the discovery of an idea through visiting the environment and seeing how people interact with it and from there improving a product to help them but also experiencing first hand. E.g. one person sleeps as a homeless person.
The applicants have to have self believe and confidence as Tom Edison states “invention was 90% perspiration and 10% inspiration but getting things to work is where the stress lies”. Starck wants his student to be convincing through the role they play as a designer who they are designing for. So he has asked them to go to a circus and be one of them. Meaning he wants them to think a certain way, take a risk and have someone intrigued by it. He has unconventional methods as to measure performance in pitching an idea on every level not just presentation like capturing consumers attention when a product is manufactured and global.
It is a crucial idea that we experience and understand the needs of the people as designers. But they may not know what they need so we have to be them to know. Designers need to be, feel, act like our market. We get told that getting fully formed ideas in less than a week is possible. To Philippe Starck it is important to know every aspect of your design.
Design for Life - Episode 2
Some designers design things that are known by very few people, put in rare shops and are high in value and price meaning bought by few. He doesn’t like this idea. He wants demographic design, design for everyone. It is about creating objects that benefit everyone through value, are sustainable and function.
Now there are ten participants left. They move into a Muse house which is structured in a way that everyone has to bond with everyone. We learn that drawing, being an artist isn’t all about design by one of the contestants. Philippe Starck articulates that when we design something good or bad it is always bad which causes designers to challenge the design. New and more contemporary things are being brought into society and the art is in the experience of it. This reflects some of Starcks work which has been subjectively critique due to the originality and confusion of what is good and bad. He directs his participants to also take this view to extend their creativeness.
The most important thing Starck wants in design is sustainability. It is his duty to share a good design with the maximum of people. So the next project is about the evolution of products. He wants them to design to help Humanity to achieve its purpose and full potential. He wants them to get deep into the history of human mutation, to design an object that fits in the big world but most importantly to benefit humanity. E.g. jumbo jet, wind up radio, microwave, zippers, paper clips, and the purify straw. The brief is broad as he wants them to explore their creativity, to see their ambition. It will separate the good designer from the bad.
In approaching this project they have to learn about people. They have observed and seen problems with people around them before they start. They need to immerse themselves into the environments of other people to understand their behaviours. They go to a science museum for ideas but it is easier to look at smaller specific groups of people and design to benefit their lives and then make it generic. It ends with two contestants leaving due to their lack of effect and no innovation.
Now there are ten participants left. They move into a Muse house which is structured in a way that everyone has to bond with everyone. We learn that drawing, being an artist isn’t all about design by one of the contestants. Philippe Starck articulates that when we design something good or bad it is always bad which causes designers to challenge the design. New and more contemporary things are being brought into society and the art is in the experience of it. This reflects some of Starcks work which has been subjectively critique due to the originality and confusion of what is good and bad. He directs his participants to also take this view to extend their creativeness.
The most important thing Starck wants in design is sustainability. It is his duty to share a good design with the maximum of people. So the next project is about the evolution of products. He wants them to design to help Humanity to achieve its purpose and full potential. He wants them to get deep into the history of human mutation, to design an object that fits in the big world but most importantly to benefit humanity. E.g. jumbo jet, wind up radio, microwave, zippers, paper clips, and the purify straw. The brief is broad as he wants them to explore their creativity, to see their ambition. It will separate the good designer from the bad.
In approaching this project they have to learn about people. They have observed and seen problems with people around them before they start. They need to immerse themselves into the environments of other people to understand their behaviours. They go to a science museum for ideas but it is easier to look at smaller specific groups of people and design to benefit their lives and then make it generic. It ends with two contestants leaving due to their lack of effect and no innovation.
Design For life - Episode 1
The design for life series explores the mind and world of designer Philippe Starck. He describes himself as a door or bottle opener to creativity, the future and vision. The episodes are based on him finding new designers. His philosophy is based around how good design speaks of life and how it affects life. This is what he is looking for in other peoples products. He narrows it down to twelve applicants which are now let into the world of aspirations of Philippe Starck in Paris. He teaches them how they should be questioning everything, every design decision in a product and how their design decisions affect everyone in the future. In doing so challenges them with projects which will result in two people going home every week and the winner is awarded a six months placement at his agency.
His ethics on the design world are very strong not caring about how better designers are from each other. He is considered the bad boy of the design world due to his controversial aspect of design from the gun lamp to the clear chair. His design is a power to change society. He is going to try and teach that to his applicants. He wants them to understand and design objects to be beautiful, sustainable and useful that can be liked by everyone. He questions its purpose. For the applicants to get a feel of Philippe Starck’s soul they are staying in a personalised hotel full of his objects as a way to immerse them to him.
The first thing he states to the applicants is that it is a school of creativity not design and to speak less of design and more about things around us. He wants them to focus on creating things to improve society and civilisation. He tells them he is a professional dreamer. Whilst going through each applicant’s choice to join he indicates that he hates sculpture, he wants an object that belongs to someone.
In Project one he wants to see and understand how they understand creativity. He wants to get into their heads, to see what makes them tick. They are given 100 Euro to buy two products in an hour. The 2 products they choose have to fit one of these categories:
Function – useful and useless.
The idea behind this project is to see how there are too many designs and that we should be thinking about how they are useful and sustainable. The result of this project wasn’t successful for many. He wanted them to talk about the symbolism of the product and how they display the language of the above catagories. He wanted to see the story behind the product.
His ethics on the design world are very strong not caring about how better designers are from each other. He is considered the bad boy of the design world due to his controversial aspect of design from the gun lamp to the clear chair. His design is a power to change society. He is going to try and teach that to his applicants. He wants them to understand and design objects to be beautiful, sustainable and useful that can be liked by everyone. He questions its purpose. For the applicants to get a feel of Philippe Starck’s soul they are staying in a personalised hotel full of his objects as a way to immerse them to him.
The first thing he states to the applicants is that it is a school of creativity not design and to speak less of design and more about things around us. He wants them to focus on creating things to improve society and civilisation. He tells them he is a professional dreamer. Whilst going through each applicant’s choice to join he indicates that he hates sculpture, he wants an object that belongs to someone.
In Project one he wants to see and understand how they understand creativity. He wants to get into their heads, to see what makes them tick. They are given 100 Euro to buy two products in an hour. The 2 products they choose have to fit one of these categories:
Ecology – environmentally sound and not environmentally sound.
Gender – one that is female and male. Function – useful and useless.
The idea behind this project is to see how there are too many designs and that we should be thinking about how they are useful and sustainable. The result of this project wasn’t successful for many. He wanted them to talk about the symbolism of the product and how they display the language of the above catagories. He wanted to see the story behind the product.
Monday, September 20, 2010
Project 1 - Slimline Spoons - Rationale
Looking at the existing measuring spoons it was found that most were made of plastic making them very cheap looking and to bright for the modern home. There were also spoons made of only stainless steel making them very industrial looking, to common and commercial for a high class professional women. There was no real beauty in this kitchen utensil. There was no elegant or sophistication to match these women.
These measuring spoons are targeted at professional, high class women who live in much organised, big contemporary homes. These women want something simple, slimming, practical, compactable and contemporary to match the overall appearance of their home decor. Their homes may consist of objects made of stainless steel, plastic or ceramic with simplistic organic and plain shapes with sleek appearances. So through the form proposed being very elongated and streamlining has enable to uncapture the language of these people being simple and fluid. The shape provokes a classy and contemporary vibe that flows. The addition of the rubber black band offers a new contemporary and easy method to collate the spoons together rather the common chain and nesting method.
Problems like the handle not being long enough to hold to scoop in deeper packages or containers and sitting flat on the bench while not in use were also resolved. By applying a flat base to the spoon, it will not rock and topple the contents out and making the handle longer than existing one will allow reaching in deeper places. By doing so not only added to the form but was able to construct one that articulates this target market. This makes the measuring spoon functionally better by scooping easy, being decorative as well as practical.
It being this shape also complies with the standard function of being a measuring spoon as the proportional shape is able to hold the capacity of all four sizes – 1 tablespoon, ½ teaspoon, ¼ teaspoon and 1 teaspoon within a unified shape. The unified shape also articulates a contemporary simplistic idea that conformity brings out beauty in an object. These women also buy objects for their beauty which through this shape provides a sense of beauty that can add to the decor of the house. Also the way you put them together adds to the visual appeal. They can be collated together 3 ways and tied with the band.
The width, length and depth of the handles are able to ergonomically fit that of a women’s thumb comfortably. The long square handles add pleasure for the user as they are thin and wide enough to place the thumb and the finger on. The thinner end invites the user to hold it from this end. The slim feel has even movability which reflects easy usability.
These spoons are made of high gloss white ceramics as it suits the style of these women being simple and generic but adds value and class to a kitchen utensil. The choice of using ceramics for the measuring spoons was as they can be easily washed like plates, they retain their shape are lightweight and aren’t bulky shaped. Using the ceramics enhances a high quality standard these people want. It being high gloss provides that level of visual quality and beauty in appearance and sophistication that these women want in their homes.
The colour white conveys the idea of cleanliness which is what a kitchen tool should provide as these women are concerned about their health and the food they consume. The single colour use on these measuring spoons reflects the simple and delicate personalities of these women. They have easy going lifestyles which they don’t want complicated. So the measuring spoons being formed in such a way to fit within each other, stackable, enhances their want and need to be easy accessible and simple.
These measuring spoons are targeted at professional, high class women who live in much organised, big contemporary homes. These women want something simple, slimming, practical, compactable and contemporary to match the overall appearance of their home decor. Their homes may consist of objects made of stainless steel, plastic or ceramic with simplistic organic and plain shapes with sleek appearances. So through the form proposed being very elongated and streamlining has enable to uncapture the language of these people being simple and fluid. The shape provokes a classy and contemporary vibe that flows. The addition of the rubber black band offers a new contemporary and easy method to collate the spoons together rather the common chain and nesting method.
Problems like the handle not being long enough to hold to scoop in deeper packages or containers and sitting flat on the bench while not in use were also resolved. By applying a flat base to the spoon, it will not rock and topple the contents out and making the handle longer than existing one will allow reaching in deeper places. By doing so not only added to the form but was able to construct one that articulates this target market. This makes the measuring spoon functionally better by scooping easy, being decorative as well as practical.
It being this shape also complies with the standard function of being a measuring spoon as the proportional shape is able to hold the capacity of all four sizes – 1 tablespoon, ½ teaspoon, ¼ teaspoon and 1 teaspoon within a unified shape. The unified shape also articulates a contemporary simplistic idea that conformity brings out beauty in an object. These women also buy objects for their beauty which through this shape provides a sense of beauty that can add to the decor of the house. Also the way you put them together adds to the visual appeal. They can be collated together 3 ways and tied with the band.
The width, length and depth of the handles are able to ergonomically fit that of a women’s thumb comfortably. The long square handles add pleasure for the user as they are thin and wide enough to place the thumb and the finger on. The thinner end invites the user to hold it from this end. The slim feel has even movability which reflects easy usability.
These spoons are made of high gloss white ceramics as it suits the style of these women being simple and generic but adds value and class to a kitchen utensil. The choice of using ceramics for the measuring spoons was as they can be easily washed like plates, they retain their shape are lightweight and aren’t bulky shaped. Using the ceramics enhances a high quality standard these people want. It being high gloss provides that level of visual quality and beauty in appearance and sophistication that these women want in their homes.
The colour white conveys the idea of cleanliness which is what a kitchen tool should provide as these women are concerned about their health and the food they consume. The single colour use on these measuring spoons reflects the simple and delicate personalities of these women. They have easy going lifestyles which they don’t want complicated. So the measuring spoons being formed in such a way to fit within each other, stackable, enhances their want and need to be easy accessible and simple.
Project 1 - Slimline Spoons - Moodboard
These measuring spoons are targeted at professional, high class women who live in much organised, big contemporary homes. These women want something simple, slimming, practical, compactable and contemporary to match the overall appearance of their home decor. Their homes may consist of objects made of stainless steel, plastic or ceramic with simplistic organic and plain shapes with sleek appearances.
Monday, September 13, 2010
Task 6: Objectified
The main idea of the Objectifies documentary was how objects speak as to who put them there. It is indicated that when we see an object we make assumptions about it in seconds. We analysis it personally through function, weight and cost. We think about how that designer thought of it, developed it, manufactured it. Now taking it from the designers and manufactures point of view they think about how it connects to you, its feel, smell, touch and how you hold it – ERGONOMICS but also the materials, forms, colours and textures used and issues associated.
We are introduced to Alice Rawsthorn who talks about how the main goal of industrial design is mass production. She sees how products are produced to be consumed by millions of people, ranges of different target markets rather than one. It was seen from Chinas Emperor that each bow was made differently to fit the persons bow. This came to reason that they had to standardise sizes to fit all. She continues about how designs are taken for granted due to the familiarly of them. E.g. posted notes, people don’t realise that we are surrounded by objects that are designed one way or another for people.
“Every object tells a story if you know how to read it” by Henry Ford. Andrew Blauvelt articulates this through how each object has a story, a decision made about the object. His example of the Japanese toothpick – at the end of the toothpick it has groves so it could be broken to signify usage but also acts as a tiny rest for the tooth pick when not in use. This is a cultural context but it may not be used this way because the US doesn’t read it that way.
Dan Formosa indicated that every designer’s common interest is to understand people and what their needs are in any area. Designers design for the extremes, weakest, people with disease, athletes etc. not specifics of age or gender because they understand them. David Stowell tells a story on how a friend’s wife had trouble with the peeler due to arthritis. A product that people don’t really think about can be explored to fit these peoples need through comfort but also other people generally.
Agnete Enga indicated how to understand a person is to understand the product through experiences like trialling existing products and find the pressure points, frictional points. E.g. the hedge cutter with straight edges is squeezed harder if the tool is used downwards as it has to be held off the ground so creating a curved hand reduces that. Through prototyping they are able to control the ergonomics of design. So mainly looking how everyday objects can be redesigned to improve people’s interaction, use and daily life.
Dieter Rams wants a positive reaction, a clean understanding of things. He doesn’t like objects that aren’t necessary. He says that good design is innovative, makes a product useful, aesthetically pleasing, understandable, honest, unobstuctive, long living, consistent in every detail, environmentally friendly and possible. There are only a few companies that do so. One is Apple. Jonathan Ive, senior VP of Apples philosophy is that “a design is the way that you look at the world”, why things are designed the way they are. We are constantly designing. When a product is designed we can see the thought behind it. The ways we design are through attributes that may be through materials or forms. He communicates the beauty of an object by making 6 parts from just one. E.g. the Ibook Mac screen cut out used to make the key board frame. He makes it clear that manufacturing and testing is a key point in design. He also emphasises that if a part is not indicating something, it shouldn’t be there.
The documentary continues saying that we are going into a generation were the form doesn’t bear any of the function. E.g. the iphone, its form doesn’t indicate its application. Whereas in the antilog stages with no electronics the form follows function worked. E.g. a spoon indicates through shape it is used to feed with.
The micro chip has replaced this providing led tension and conflicts in designs. There are 3 stages 1. Formal relationship 2. Symbolism – the content of the object and language it portrays to its use 3. Contextual text – the technological, ergonomics of an object. We as designers are always looking for form through different processes to get them. Two French designers articulate that they understand what people need better than they do ergonomically and space. They want to create an appropriate product to make the consumer feel happy. They design simply so they can maximise the unity and melody in the object.
Marc Newson approaches design through the interest in materials. He looks at the materials to use and finds a way to use it instead of the other way around. He wants to design for the future, design for an external frame of reference. His philopshy is to be non disposable – objects that will not date badly. He also believes that a product “designed” should not mean it costs more. Designers use that to their advantage for marketing. Paola Antonellie says that having an expensive piece of design doesn’t mean you’re rich.
Target developed the fundamental purpose of design being something you want, it distinguishes you. The documentary states that it’s no always a group of designers solving the top ten issues but developing things for a company. This can be developing things with a newer look but the problem is that everyone is also trying to do this. These are always changing. BMW says that designer’s think of the emotional energy given off their cars even though it is bending the plastic or metal as a way of changing a car every season. Design is a story told through an object that reflects you.
The documentary comes to an end articulating how designers are really making an affect and making a change. But most importantly design has to be sustainable. Why are we designing for 10% of the world when we should be design for the other 90% as well which don’t even have the basics. Sustainability is not only able recycling the product materials but more about redesigning a product that can be disposed of ethically and environmentally friendly. Things should be permanent if we want new things all the time. It’s not only about created but also disposing.
We are introduced to Alice Rawsthorn who talks about how the main goal of industrial design is mass production. She sees how products are produced to be consumed by millions of people, ranges of different target markets rather than one. It was seen from Chinas Emperor that each bow was made differently to fit the persons bow. This came to reason that they had to standardise sizes to fit all. She continues about how designs are taken for granted due to the familiarly of them. E.g. posted notes, people don’t realise that we are surrounded by objects that are designed one way or another for people.
“Every object tells a story if you know how to read it” by Henry Ford. Andrew Blauvelt articulates this through how each object has a story, a decision made about the object. His example of the Japanese toothpick – at the end of the toothpick it has groves so it could be broken to signify usage but also acts as a tiny rest for the tooth pick when not in use. This is a cultural context but it may not be used this way because the US doesn’t read it that way.
Dan Formosa indicated that every designer’s common interest is to understand people and what their needs are in any area. Designers design for the extremes, weakest, people with disease, athletes etc. not specifics of age or gender because they understand them. David Stowell tells a story on how a friend’s wife had trouble with the peeler due to arthritis. A product that people don’t really think about can be explored to fit these peoples need through comfort but also other people generally.
Agnete Enga indicated how to understand a person is to understand the product through experiences like trialling existing products and find the pressure points, frictional points. E.g. the hedge cutter with straight edges is squeezed harder if the tool is used downwards as it has to be held off the ground so creating a curved hand reduces that. Through prototyping they are able to control the ergonomics of design. So mainly looking how everyday objects can be redesigned to improve people’s interaction, use and daily life.
Dieter Rams wants a positive reaction, a clean understanding of things. He doesn’t like objects that aren’t necessary. He says that good design is innovative, makes a product useful, aesthetically pleasing, understandable, honest, unobstuctive, long living, consistent in every detail, environmentally friendly and possible. There are only a few companies that do so. One is Apple. Jonathan Ive, senior VP of Apples philosophy is that “a design is the way that you look at the world”, why things are designed the way they are. We are constantly designing. When a product is designed we can see the thought behind it. The ways we design are through attributes that may be through materials or forms. He communicates the beauty of an object by making 6 parts from just one. E.g. the Ibook Mac screen cut out used to make the key board frame. He makes it clear that manufacturing and testing is a key point in design. He also emphasises that if a part is not indicating something, it shouldn’t be there.
The documentary continues saying that we are going into a generation were the form doesn’t bear any of the function. E.g. the iphone, its form doesn’t indicate its application. Whereas in the antilog stages with no electronics the form follows function worked. E.g. a spoon indicates through shape it is used to feed with.
The micro chip has replaced this providing led tension and conflicts in designs. There are 3 stages 1. Formal relationship 2. Symbolism – the content of the object and language it portrays to its use 3. Contextual text – the technological, ergonomics of an object. We as designers are always looking for form through different processes to get them. Two French designers articulate that they understand what people need better than they do ergonomically and space. They want to create an appropriate product to make the consumer feel happy. They design simply so they can maximise the unity and melody in the object.
Marc Newson approaches design through the interest in materials. He looks at the materials to use and finds a way to use it instead of the other way around. He wants to design for the future, design for an external frame of reference. His philopshy is to be non disposable – objects that will not date badly. He also believes that a product “designed” should not mean it costs more. Designers use that to their advantage for marketing. Paola Antonellie says that having an expensive piece of design doesn’t mean you’re rich.
Target developed the fundamental purpose of design being something you want, it distinguishes you. The documentary states that it’s no always a group of designers solving the top ten issues but developing things for a company. This can be developing things with a newer look but the problem is that everyone is also trying to do this. These are always changing. BMW says that designer’s think of the emotional energy given off their cars even though it is bending the plastic or metal as a way of changing a car every season. Design is a story told through an object that reflects you.
The documentary comes to an end articulating how designers are really making an affect and making a change. But most importantly design has to be sustainable. Why are we designing for 10% of the world when we should be design for the other 90% as well which don’t even have the basics. Sustainability is not only able recycling the product materials but more about redesigning a product that can be disposed of ethically and environmentally friendly. Things should be permanent if we want new things all the time. It’s not only about created but also disposing.
Monday, August 30, 2010
Task 5: Design Confusion
Monday, August 23, 2010
Task 6: Life Pscycle-ology – The secret life of a little Mobile Phone
This short video animation reflects the life and value an object has, in this case, a mobile phone to a customer. It demonstrates the idea of built in obsolesces, meaning the process of a product becoming obsolete or not functional to a user after a certain period of time (e.g. a year) which can be planned or designed by the manufacturer or designer through its appearance, function, applications or influence by social life etc. It is seen that after a year a product can be put away and forgotten due to its in capabilities compared to newer models. It is conveying that a mobile phone needs new abilities and direction to succeed.
We are taken through the life cycle of the mobile phone from cradle to grave which is from the production of the mobile phone (materials it’s made of) to its resulting end of being eventually replaced. Through the simplicity of an animated approach of the video we are shown:
To see the video go to: http://www.thesecretlifeofthings.com/
We are taken through the life cycle of the mobile phone from cradle to grave which is from the production of the mobile phone (materials it’s made of) to its resulting end of being eventually replaced. Through the simplicity of an animated approach of the video we are shown:
- The mobile phone starts from little bitsof metal supplied by, ranging from gold from South Africa, Palladium from Brazil, Platinum from Russia, Silver from Mexico, Nickel from Australia and many more.
- There is then the transportation of it materials to factories.
- They are then formed to mass produce the same mobile phone.
- The mobile phones are sold and overly used by customers leading to disappointment of customers’ needs. Its functions are degrading, losing memory and durability of the battery.
- Leading to a replacement of a new more developed phone which acts more efficiently.
The video continues to demonstrate how the obsolescence of a phone can be caused through the disappointing functional abilities it lacks causing customers to continuously replace them. With the new application of having a camera, the phone is replaced. The video also highlights how designers should take responsibility for the end use of the previous phone to avoid the disregard to waste of a phone. It points out that a phone should be designed better through:
- Design for Disassembly – recycle parts of the phone for re usability of materials or components e.g. shape, memory, alloy.
- Design for Longevity – to design with high quality materials, modular design, long lasting materials, appropriate coupling of materials, , upgradeable capability, not merely FAD fashion design, to avoid discarding meaning NO PLANNED OBSOLENSCENES. This only happens to 1% of 1 billion phones that get recycled to be reused.
- Designing for the environment – The end use of the phone is found in tips or waste yards but some are shredded to recover the most valuable pieces.
Monday, August 16, 2010
Task 6: Emotional Design
Donald Norman’s approach to design is reflected through his opening statement “the new me is beauty”. His charismatic and humorous nature draws us in as he explains the importance of a products emotion as it reflects its end use. For example he has Philippe Spark’s famous orange juicer which he doesn’t use for juicing but it is a product he has for its pure beauty, emotion and sense of fun that it portrays. It highlights his theory of emotion which consists of 3 components beauty, functionality and reflection. For example the global cutting knife takes a wonderful fluid shape, its beauty is balanced to hold and feel, with the functionality of cutting effortlessly. He wants us to see and think of products the same way.
He explains how people are seeing products, their designs, but not noticing them. He clarifies this as the subconscious mind taking a design for granted. He is trying to make us understand that a products emotion, through its aesthetics and functionality should be fun and full of life. He states that “I really have the feeling that pleasant things work better...” For example he reviewed the mini cooper automobile, it was advertised to be a car of faults, although through his personal experience with the car, he found that this design can be neat, fun and controlled. It enables us to see that the emotion of a design can be portrayed through the physical being and experience one has with it. The idea of noticing the fun side of a product provides a better response for its quality than a review.
He moves on to explain how the emotion of oneself reflects on a products use. He demonstrates that a product needs to reflect a pleasant fun emotion for human interaction with it. He illustrates how intense fear paralyses you, it affects the way your brain works causing “depth first” processing as to focus and not be distracted. He gives the example were a group of students are told that an IQ test is going to be taken to determine their life. In a room two strings hang from the roof, they are told to tie them together but couldn’t due to this focus producing anxiety. Another group came in and was given candy. This made them feel happy and relaxed which reflected them solving the problem. It shows that when you’re happy your more susceptible to thinking outside the box, being more relaxed and creative. In relation to Donald Norman it shows that good ideas come out of a relaxed designer reflected in their work. The emotion put into a design then reflects the encouragement of consumers using it and how they use it.
This comes to my next point that the way a product is seen and felt to a consumer provides its different uses. Donald Norman states that human emotions are set “We dislike bitter tastes, we dislike loud sounds, and we dislike hot temperatures, cold temperatures. We dislike scolding voices, we dislike frowning faces, we like symmetrical faces.” This reflects our understanding and interpretation to products. He presents the idea of a visceral level of processing meaning when it comes to the design and emotion a product is portrayed through the colours, fonts, shape etc. which influence our emotion towards it. E.g. People buy the water bottle because of the bottle not the water, they keep it and not throw it away using it as a decoration they are emotionally connected. It’s about the visceral appearance. We use colour to portray emotion. The next level is behavioural design which is the feeling of control that a product should portray in usability, understanding, and feel. Emotion here is about communication and acting the way it is shown. e.g. The teapot shown, depending were the teapot is positioned expresses an emotion to the waiter that it’s finished brewing the tea. Then reflecting the ability to understand the emotions the design has.
He explains how people are seeing products, their designs, but not noticing them. He clarifies this as the subconscious mind taking a design for granted. He is trying to make us understand that a products emotion, through its aesthetics and functionality should be fun and full of life. He states that “I really have the feeling that pleasant things work better...” For example he reviewed the mini cooper automobile, it was advertised to be a car of faults, although through his personal experience with the car, he found that this design can be neat, fun and controlled. It enables us to see that the emotion of a design can be portrayed through the physical being and experience one has with it. The idea of noticing the fun side of a product provides a better response for its quality than a review.
He moves on to explain how the emotion of oneself reflects on a products use. He demonstrates that a product needs to reflect a pleasant fun emotion for human interaction with it. He illustrates how intense fear paralyses you, it affects the way your brain works causing “depth first” processing as to focus and not be distracted. He gives the example were a group of students are told that an IQ test is going to be taken to determine their life. In a room two strings hang from the roof, they are told to tie them together but couldn’t due to this focus producing anxiety. Another group came in and was given candy. This made them feel happy and relaxed which reflected them solving the problem. It shows that when you’re happy your more susceptible to thinking outside the box, being more relaxed and creative. In relation to Donald Norman it shows that good ideas come out of a relaxed designer reflected in their work. The emotion put into a design then reflects the encouragement of consumers using it and how they use it.
This comes to my next point that the way a product is seen and felt to a consumer provides its different uses. Donald Norman states that human emotions are set “We dislike bitter tastes, we dislike loud sounds, and we dislike hot temperatures, cold temperatures. We dislike scolding voices, we dislike frowning faces, we like symmetrical faces.” This reflects our understanding and interpretation to products. He presents the idea of a visceral level of processing meaning when it comes to the design and emotion a product is portrayed through the colours, fonts, shape etc. which influence our emotion towards it. E.g. People buy the water bottle because of the bottle not the water, they keep it and not throw it away using it as a decoration they are emotionally connected. It’s about the visceral appearance. We use colour to portray emotion. The next level is behavioural design which is the feeling of control that a product should portray in usability, understanding, and feel. Emotion here is about communication and acting the way it is shown. e.g. The teapot shown, depending were the teapot is positioned expresses an emotion to the waiter that it’s finished brewing the tea. Then reflecting the ability to understand the emotions the design has.
Sunday, August 8, 2010
Task 4: Design Excellence - Laundry POD
Analysing the product through line, shape, colour, texture, pattern, balance, rhythm, harmony, scale and proportion enables a greater understanding to the reason why a product looks the way it does and how visual communication affects a consumer’s reactions and understanding of its use.
Task 3: Product Sketching
This task was to go to the 80’s is Back Exhibition, the Re-loved Exhibition, the Australian International Design Awards Exhibition, the 20 years of Industrial Design Exhibition at the UNSW, the Workshopped Exhibition in Chifley Plaza and the Society for Responsible Design Exhibition. There we were surposed to sketch a total of 5 objects which were the best design. These are it:
The Australian International Design Awards Exhibition displayed a lot of innovative ideas but the one that struck out the most was the Signos Pocket sized Ultrasound system as the designer has reproduced an existing product making it portable. The ability of the design to do so has solved a problem when it comes to getting an ultrasound by pregnant women that may not be able to travel to a clinic. I was able to see the vital significance and convenience of the product and its ability to help women anywhere in the world that aren’t able to get an ultra sound.
From the ID20, 20 years of Industrial Design Exhibition at the UNSW, the above object was the most appealing due to its shimmering and metallic exterior appearance.
From the Workshopped Exhibition in Chifley Plaza, The Chris Hardy – Oru and Powder Chair stood out the most as the most appealing as I wanted to recline in the chair and relax. It portrayed a firm and simplistic structure that can be sat in with ease.
The project by Xindong Che, Halo – conceptual surgical light from the Society for Responsible Design Exhibition, I found to be the best due to his conceptual idea of redeveloping a surgical light fulfilling its purpose but more innovatively. His design enbling to capture the light capacity in a surgical room by differing its shape to being curvature is brilliant.
One design that stood out from the 80’s is Back Exhibition was the Sony Walkman. It was the best design of the lot as I was able to see how technology has evolved exceptionally since the 80’s. I was able to compare how technology has changed from plastic cassettes to mp3/mp4 digital files to store music and how the consumers needs have changed from a simple want of listening to music to progress on having a devise that should be smaller, compact, big in capacity and stylish as well. Also being a person who owned one of these as a kid I was able to relate to this product, seeing how once it was the best way to listen to music on the move and how it was sought by everyone like the IPod nano is now.
From the Re-loved Exhibition, the design that was the best of the lot was the chair which was made out of one piece of plastic as if it was moulded to fit the human body. I liked this design the most due to its simplistic yet innovative approach enabling to produce a chair that is able to hold the average human weight in one piece.
From the ID20, 20 years of Industrial Design Exhibition at the UNSW, the above object was the most appealing due to its shimmering and metallic exterior appearance.
From the Workshopped Exhibition in Chifley Plaza, The Chris Hardy – Oru and Powder Chair stood out the most as the most appealing as I wanted to recline in the chair and relax. It portrayed a firm and simplistic structure that can be sat in with ease.
The project by Xindong Che, Halo – conceptual surgical light from the Society for Responsible Design Exhibition, I found to be the best due to his conceptual idea of redeveloping a surgical light fulfilling its purpose but more innovatively. His design enbling to capture the light capacity in a surgical room by differing its shape to being curvature is brilliant.
These are other sketches I produced whislt at these exhibitions.
Monday, August 2, 2010
REVIEWING - David Kelley: Human Centred Design
David Kelley’s approach to design has more depth and intellect when it concerns a products interaction and centred need to humans. He gave examples of the Heart stream defibrillator that is saving lives and his recent release of the Zinio reader which in my opinion functions very similarly to Apple’s iPad. This technology deliberates on his expression of climbing “Maslow’s hierarchy” as a way to focus on human centred designs. He states that there is a “broader definition of design in products and services and environments” which highlights his philosophy on how design is changing to focus on human interfacing by designing behaviours and personality into products.
This change is seen as designers shift from building 3D models and rendering as an initial communication point to organising groups to take the designs and put them into motion to experience the man machines relationship and human interfacing. An example of this is the cubicles for Gilbert. This ultimate cubicle explored problems and extremes of a cubicle but also the endless possibility one space can have. Comments of feeling trapped, enclosed by people, feeling captive in a box also the sense of chaos were taken and explored to develop a cubicle.
This example clearly shows how through design and elements put into an environment creates a place with personality and behaviour. It elaborates on how this cubicle design in particular has focused on the human needs and wants in an environment and how the developing technology combine with design change in bringing two world closer together.
David Kelley talks about how human centred design, this change of focus of design, wanting personality and behaviour in products is to benefit the relationship products have with humans, designing them for their needs and specifications. For example the project on assisting Prada with technology in their retail stores was by designing a device that gathered and managed customer’s specifications. In doing so scanning items the customer is interested in, gathering information on a screen, looking at colour, size, appearance on a runway. This technology was developed for human purposes. It is able to show how humans are centring their designs to the importance of the fashion world.
The technology continues in the dressing room with the use of liquid crystal glass room doors that become opaque at a touch, while changing and open for opinion. Also the magic mirror which is a plasma screen of multi angle views with a three second delay, to view all angle of you. This project was to design custom technology embracing the idea of human centred design.
Through this example it is seen how David Kelley’s philosophy on design is accurate to our contemporary world. It provides a reason for the why we design things like the IPod touch, smart boards, touch cube, bionic ears, 3D visuals, Wii consoles, wireless systems etc. It is for our benefit as we are designing for ourselves.
Watching this video it gives you an insight on how the world is developing and how designing is becoming a part of our lives in ways to develop a better environment to live in, survive and be happy. It shows how designers address the needs of humans in most designs and the process they go through to satisfy the problem. Through the Appro Tec project of using manufactures in Kenya shows how we as designers make the world function through an economical advantage in helping others and ourselves. I have discovered the designing world interfacing with technology is growing and so will our capabilities to improve previous designs and past problems.
It is important for Industrial Designers to see this video as it allows them to see what capabilities we have and how we are affecting the world in a positive way. We are able to see other people’s designs and see their reasons and philosophies in doing so. We are able to aspire to become as great as David Kelley and know that design takes more than one mind but through team work as well.
This change is seen as designers shift from building 3D models and rendering as an initial communication point to organising groups to take the designs and put them into motion to experience the man machines relationship and human interfacing. An example of this is the cubicles for Gilbert. This ultimate cubicle explored problems and extremes of a cubicle but also the endless possibility one space can have. Comments of feeling trapped, enclosed by people, feeling captive in a box also the sense of chaos were taken and explored to develop a cubicle.
This example clearly shows how through design and elements put into an environment creates a place with personality and behaviour. It elaborates on how this cubicle design in particular has focused on the human needs and wants in an environment and how the developing technology combine with design change in bringing two world closer together.
David Kelley talks about how human centred design, this change of focus of design, wanting personality and behaviour in products is to benefit the relationship products have with humans, designing them for their needs and specifications. For example the project on assisting Prada with technology in their retail stores was by designing a device that gathered and managed customer’s specifications. In doing so scanning items the customer is interested in, gathering information on a screen, looking at colour, size, appearance on a runway. This technology was developed for human purposes. It is able to show how humans are centring their designs to the importance of the fashion world.
The technology continues in the dressing room with the use of liquid crystal glass room doors that become opaque at a touch, while changing and open for opinion. Also the magic mirror which is a plasma screen of multi angle views with a three second delay, to view all angle of you. This project was to design custom technology embracing the idea of human centred design.
Through this example it is seen how David Kelley’s philosophy on design is accurate to our contemporary world. It provides a reason for the why we design things like the IPod touch, smart boards, touch cube, bionic ears, 3D visuals, Wii consoles, wireless systems etc. It is for our benefit as we are designing for ourselves.
Watching this video it gives you an insight on how the world is developing and how designing is becoming a part of our lives in ways to develop a better environment to live in, survive and be happy. It shows how designers address the needs of humans in most designs and the process they go through to satisfy the problem. Through the Appro Tec project of using manufactures in Kenya shows how we as designers make the world function through an economical advantage in helping others and ourselves. I have discovered the designing world interfacing with technology is growing and so will our capabilities to improve previous designs and past problems.
It is important for Industrial Designers to see this video as it allows them to see what capabilities we have and how we are affecting the world in a positive way. We are able to see other people’s designs and see their reasons and philosophies in doing so. We are able to aspire to become as great as David Kelley and know that design takes more than one mind but through team work as well.
Saturday, July 31, 2010
Task 2: My Design Career
The reason I want to be an Industrial Designer is my desire to design products that benefit the greater community. I want to be part of an innovative world which is able to utilise my creative and imaginative mind to create products that can develop the world from the very small to the very big. I thrive on the willingness to work independently or as part of a team constructively and articulately to design objects that will benefit a diverse target market.
My passion for pursuing this career came to me through thoroughly enjoying and successfully completed 6 years of studying Design and Technology at High School. I always remained coherently at the top class level due to this enthusiasm in whatever I was given to do. I had the attitude of wanting to do it rather than I had to do it. It became clear to me that designing products was what I liked to do, which lead me to want to do this for my future. This idea of designing was also recognised when I was at a much younger age. If I had the choice between reading a book, playing with Lego blocks or play dough, the choice was obvious. My interest on creating and constructing was what preoccupied me most of the time, leading me on the path to design.
When it came to choosing what Bachelor of Industrial Design course interested me the most, it was at UNSW compared to other universities I had attended on open days. The course appeared to be able to expand my understanding of product development and realisation processes, trends, creativity, 3D drawing, modelling and rendering, building objects that benefit the environment, utilising materials and techniques and refining my skills in all areas of a design project. I wanted a course that would be able to broaden my knowledge of design to an elite level which the UNSW will enable me to do. It will provide me with knowledge of the aesthetics, function, ergonomics and marketability that will extend in the near future to benefit my career in this field. Also the choice of attending and studying at the UNSW was because of the universities recognition globally compared to others. Also the distance of travel needed to attend the university suited me as I live close by.
In the future as an Industrial Designer I will hopefully be an important member of a team successfully developing Australian products which will continuously be recognised as Australian and in demand world wide advancing to designing my own unique products and be well known for them.
My passion for pursuing this career came to me through thoroughly enjoying and successfully completed 6 years of studying Design and Technology at High School. I always remained coherently at the top class level due to this enthusiasm in whatever I was given to do. I had the attitude of wanting to do it rather than I had to do it. It became clear to me that designing products was what I liked to do, which lead me to want to do this for my future. This idea of designing was also recognised when I was at a much younger age. If I had the choice between reading a book, playing with Lego blocks or play dough, the choice was obvious. My interest on creating and constructing was what preoccupied me most of the time, leading me on the path to design.
When it came to choosing what Bachelor of Industrial Design course interested me the most, it was at UNSW compared to other universities I had attended on open days. The course appeared to be able to expand my understanding of product development and realisation processes, trends, creativity, 3D drawing, modelling and rendering, building objects that benefit the environment, utilising materials and techniques and refining my skills in all areas of a design project. I wanted a course that would be able to broaden my knowledge of design to an elite level which the UNSW will enable me to do. It will provide me with knowledge of the aesthetics, function, ergonomics and marketability that will extend in the near future to benefit my career in this field. Also the choice of attending and studying at the UNSW was because of the universities recognition globally compared to others. Also the distance of travel needed to attend the university suited me as I live close by.
In the future as an Industrial Designer I will hopefully be an important member of a team successfully developing Australian products which will continuously be recognised as Australian and in demand world wide advancing to designing my own unique products and be well known for them.
Task 1: Shape of a Scent – SmeLL? ShApe ? TeXTure ? LiNe ? ColOUr? ProPOrtion ? EmoTion ?
This task was to create a “bottle” which captures the essence of scent.
The resulting outcome for the “bottle” shape for scent 13 made out of plasticine. Clues to what Scent 13 smelt like were: fresh, cool, breezy, hygienic, feminine, floral essence, elegant, simple, flowing, continuous, smooth, joyous, happy, proportional, free, natural and fluid. If this were to be developed into an actual bottle it would appear with a frosty exterior to depict the breezy freshness the scent provided.
First I produced initial rough sketches to elaborate the scent above.
The resulting outcome for the “bottle” shape for scent 13 made out of plasticine. Clues to what Scent 13 smelt like were: fresh, cool, breezy, hygienic, feminine, floral essence, elegant, simple, flowing, continuous, smooth, joyous, happy, proportional, free, natural and fluid. If this were to be developed into an actual bottle it would appear with a frosty exterior to depict the breezy freshness the scent provided.
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