Saturday 22 October 2011
Wednesday 19 October 2011
Peer Comments
http://thesolidstate.blogspot.com/2011/10/up-cycling-unwanted-materials-lamp.html?showComment=1319016322586#c7174991070555167977
http://dougcusack-ides1031.blogspot.com/2011/10/blog-post.html?showComment=1319016551958#c8871129929214295475
http://robertvlahovic.blogspot.com/2011/10/blog-post.html?showComment=1319016647380#c8957839289289543776
http://patrickdunnindustrialdesign.blogspot.com/2011/10/blog-post.html?showComment=1319016871821#c2217296907940569150
http://kosukedesign2011.blogspot.com/2011/10/project-2-upcycled-utility.html?showComment=1319017050988#c3000425423074727873
http://dougcusack-ides1031.blogspot.com/2011/10/blog-post.html?showComment=1319016551958#c8871129929214295475
http://robertvlahovic.blogspot.com/2011/10/blog-post.html?showComment=1319016647380#c8957839289289543776
http://patrickdunnindustrialdesign.blogspot.com/2011/10/blog-post.html?showComment=1319016871821#c2217296907940569150
http://kosukedesign2011.blogspot.com/2011/10/project-2-upcycled-utility.html?showComment=1319017050988#c3000425423074727873
Upcycled Utility - Rationale
The overall design of my light went through many different stages within the design process. It saw the alteration and experimentation with different techniques, shapes, patterns, sizes etc but from the beginning, I knew that no matter what I changed, I wanted it to be based around the concept of using a singular uncut piece of material. I wanted to keep it simple, clean and elegant. Eventually I decided to use an origami-style folding pleat pattern that evokes powerful shadows when it is lit up (as my experimentation showed).
My final shape came simply from the natural form and result of the material being manipulated in the way that it was. It was all about 'evoking the essence of the material' and for me, that came through in a few different aspects. First of all was the fact that only one side of the material has printing on it, meaning that if the white side is used for the outer surface, it becomes a beautiful feature piece when not lit up, but as soon as the light is switched on, the colourful pattern on the other side shines through and brings what was previously lifeless, to life.
Secondly, the fact that this material has paper-esque properties, I used a folding technique that is familiarly associated with paper. The result of this is a very crisp and interesting pattern that seems to be aggressive (with all the V shaped ridges) but overall is very smooth and elegant. The bustier-like shape is the result of the pleats being tighter towards the middle part of the shade and the outer edges being much looser. I also feel that this shape focuses the attention directly to the light source, which is located in the narrowest part of the light. To compliment all of these features, this particular folding technique allows the entire shade to compressed to a 4cm thick strip which helped me greatly during the flat-pack process.
The assembly of the light is extremely quick and easy. It is an 8 step process that can be completed and working within 5 minutes. The globe is also very easy to replace, simply by reaching underneath the shade. The dimensions of the shade are quite awkward in relation to the sheet of material we were given so the wastage is about 20%, nevertheless it could always be resized to have 0% wastage.
This light is aimed towards a sophisticated market that would search for a minimalistic product that still manages grab the attention of viewers and attract them. Its ability to be flat packed and made from a small and diverse amount of components means that it is open for many alterations and improvements. If it were to be mass produced, the folded pleat pattern could be vacuum formed, rather than hand folded, in which case making mass manufacture an option that is definitely possible.
My final shape came simply from the natural form and result of the material being manipulated in the way that it was. It was all about 'evoking the essence of the material' and for me, that came through in a few different aspects. First of all was the fact that only one side of the material has printing on it, meaning that if the white side is used for the outer surface, it becomes a beautiful feature piece when not lit up, but as soon as the light is switched on, the colourful pattern on the other side shines through and brings what was previously lifeless, to life.
Secondly, the fact that this material has paper-esque properties, I used a folding technique that is familiarly associated with paper. The result of this is a very crisp and interesting pattern that seems to be aggressive (with all the V shaped ridges) but overall is very smooth and elegant. The bustier-like shape is the result of the pleats being tighter towards the middle part of the shade and the outer edges being much looser. I also feel that this shape focuses the attention directly to the light source, which is located in the narrowest part of the light. To compliment all of these features, this particular folding technique allows the entire shade to compressed to a 4cm thick strip which helped me greatly during the flat-pack process.
The assembly of the light is extremely quick and easy. It is an 8 step process that can be completed and working within 5 minutes. The globe is also very easy to replace, simply by reaching underneath the shade. The dimensions of the shade are quite awkward in relation to the sheet of material we were given so the wastage is about 20%, nevertheless it could always be resized to have 0% wastage.
This light is aimed towards a sophisticated market that would search for a minimalistic product that still manages grab the attention of viewers and attract them. Its ability to be flat packed and made from a small and diverse amount of components means that it is open for many alterations and improvements. If it were to be mass produced, the folded pleat pattern could be vacuum formed, rather than hand folded, in which case making mass manufacture an option that is definitely possible.
Monday 17 October 2011
Bill Moggridge - What is Design?
The mail concept of Bill Moggridge's presentation is that he believes "everything is designed".When he talks about 'everything' he literally means everything. Many people commonly just associate 'design' with fashion, products, art and architecture but these people do not realise that literally everything, in all industries, in all areas, is designed. It is usually the items that we take for granted, or use a very simple interface, that we forget are actually designed. Everything that is designed is created in such a way that increases the natural relationship with humans hence making it more comfortable and intuitive to use.
Moggridge explains that in order to recognise what good design is, we first recognise bad design. He emphasises that we do not always pick up a well designed object and compliment its features, but if we were to pick up a poorly designed product, we will notice its flaws much quicker. For example the Japanese 'iMode' system had a good concept, but the fact that it took 30 minutes to actually complete the process made it into a terrible design.
Especially in such areas that involve complex technology or extensive digital systems, it is the job of designers to make the interaction between humans and this technology as simple and natural as possible. It is the good designs that do this successfully and the ones that don't tend to be ridiculed and made redundant.
Moggridge then continues on to discuss the design process. He has identified two components within this process, one being 'sophisticated prototyping' and the other being 'understanding people'. He describes his prototyping process in three phases: inspire, evolve and validate. He describes prototyping as anything from a sketch to a model, physical or software-based. Personally, I think these three phases are a very suitable way of describing the prototyping process.
He then goes on to describe the design process which is divided into ten different stages: Constraints, synthesis, framing, ideation, envisioning, uncertainty, selection, vizualisation, prototypes and evaluation. I feel that this is a comprehensive description of the design process as it acknowledges that there are many stages in the design process.
I can definitely say with confidence that Moggridge makes some extremely well planned out points. The way he has divide the prototyping and design processes up into several comprehensive categories is a technique that I find very useful when considering the processes. I feel that in order to categorise different elements of these processes, it is necessary to divide them up into different levels and stages. by doing this, the design and prototyping processes have an element of organisation and structure.
Moggridge then continues on to discuss the design process. He has identified two components within this process, one being 'sophisticated prototyping' and the other being 'understanding people'. He describes his prototyping process in three phases: inspire, evolve and validate. He describes prototyping as anything from a sketch to a model, physical or software-based. Personally, I think these three phases are a very suitable way of describing the prototyping process.
He then goes on to describe the design process which is divided into ten different stages: Constraints, synthesis, framing, ideation, envisioning, uncertainty, selection, vizualisation, prototypes and evaluation. I feel that this is a comprehensive description of the design process as it acknowledges that there are many stages in the design process.
I can definitely say with confidence that Moggridge makes some extremely well planned out points. The way he has divide the prototyping and design processes up into several comprehensive categories is a technique that I find very useful when considering the processes. I feel that in order to categorise different elements of these processes, it is necessary to divide them up into different levels and stages. by doing this, the design and prototyping processes have an element of organisation and structure.
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