Treauring Time

Art Nouveau Peacock Design Tool

The art style Árt Nouveau' was organic, feminine , and free flowing without restriction of lines or space. In today's world I find that designers sometimes get lost in the need to deliever beautiful organic design, because of a growingly fast and technological world.

The tool aims to help designers stimulate ideas based on organic form from Beard Beasley's painting 'Peacock Skirt''. In this way the interactive tool, featuring a light feature based on artifucal or natural light, whereby the user can edit there own curves and form through rotation and trace these. Each template also slides up from the top of the stand, and thus the sleepers become handles to easily manourve the templates on a flat surface.

Transparent perspex was used to create a dreamy effect, as the art nouveau style was seen as coming from a fantasy world. The pale colours, also add a modern touch to the tool to attract a wider target market. More so, the feature when not in use is an instresting scultural form.

A mirror in the form of a womens face as seen in the 'Peacock shirt' painting was used as a device to reflect the colours and form from all angles, thus the notion of treasuring time looks the user into the face. More so, feminity was seen as a striving force in the period.

Bad Design

Context: Birkenhead Point



Sensor Bathroom Tap

Problem
As an employee working at Birkenhead Point, it is commonplace to find frustrated and confused women and mothers with small children unable to turn; what should be a simple functional bathroom sink ‘on’. Therefore making what should be a quick consumer encounter in visiting public toilets into a dreaded and sometimes humiliating experience.

The designer’s focus on designing a modern, slick and environmentally friendly sink, involving the removal of taps to increase hygiene and reduce wastage, has lead to the misjudgement of the basic functional necessities people relate and interact with when using bathroom sinks. Human error as made evident in the pictorial exhibition, is thus inevitable. The introduction of a sensory system, misleading the consumer by a large black hole centrally located in the sink, does not turn the tap on. It is in fact two small dots unseen to the human eye, below the head of the tap that acts as the sensory device.

• Human Error 1
  After noticing the absence of taps, the consumer immediately puts their hand underneath the head of the water tap. No water flows.
  


• Human Error 2
  The consumer directed to a large black hole at the front of the sink, places their finger inside. It’s hollow, and the tap doesn’t turn on.
  
  
• Human Error 3
  After the failure of pushing the black hole, the consumer, in response to confusion quickly swipes over the hole at a comfortable distance, underneath the head of the sink. No response.
  
  
• Human Error 4
  In frantic frustration, the consumer begins to hold and touch the sides and head of the tap, in search of a sensory motion on the tap itself.
  

At last….
Two small dots placed at the bottom of the tap, blinded to the human eye, towering directly over the head, lay a sensory device.


Improvement
I propose three concepts to significantly decrease human error, while also maintaining a modern and environmental sink to create a pleasant consumer experience while visiting public bathrooms.

The sensory device will be constructed of silicone rubber making it aesthetically pleasing and user-friendly. The consumer will immediately connect to the symbol of the tap templates and can either swipe or tap the circles to activate the sensor.

The moveable tap allows a mother to move the tap lower for a child to wash their hands or position it upright to even fill up a drink bottle. A tap that many consumers can immediately relate to in bathroom design.

The feminine organic basin and surface communicates to the consumer immediately to place their hands inside the basin, to wash their hands. The massaging sink head, significantly adds a pleasurable experience for women, while washing their hands. Instead of white the colour of the front surface could compliment the colour of the basin, to create liveable objects within the bathroom.

Video Reflection 6

Designing Dream Machines

Leading British designers Richmond Semore and Dick Powel provide an interesting insight into the design process behind industrial design. Specifically focusing on the ‘X- factor’ of design, these designers attempt to transform everyday objects into desirable machines.

The precision and passion of the concept development behind the new ‘Batam’ motorcycle design in particular is admirable. Pantone markers, pens and tracing designs, is key to show the development of the design, and also allows the designers to continually improve and take control of the form of the design.
Today, young industrial designers increasing look to CAD and Rhino modelling to generate quick concept ideas. However, I strongly believe concept ideas should firstly be realised and explored on paper in order to generate a wide variety of ideas, with standing the limitations of the software. It is with this principle designers can begin to create an X-factor in product design.

The first step into any design process is brainstorming, as made evident in the video. The thoughtful collaboration of engineers and industrial designers, generated an advanced kettle and food processor with matching power charged bases, ahead of its time. The kitchen appliances immediately became an object of desire as it featured a funky colour scheme, organic form and function that stood out from other white traditional products. The easy to clean and access food processor bowl satisfies the target market needs, while the kettle acts as a liveable object, engaging a unique human experience in the kitchen.

The success of this product communicates that it is important for designers to be confident in designing products with hindsight. Thus in doing so, challenging traditional methods of form, function and materials. I believe this principle is of the essence in order to survive in a growingly competitive market today.

Postal Presents

FLAT PACK HAT

Designed for young career women, the flat pack hat can be safely packaged within a women's handbag, briefcase or by hand. Constructed of EVA foam and cotton, the hat is durable, breathable, washable, environmentally friendly, and wont loose its form after repetitive use.

This product was the result of a long learning design process whereby I evolved from paper materials and tyvek, to synthetic materials, foam and fabric. The concept of the design was to try and create an interesting hat for women, that was slick, feminine, and flat. More so, after conducting market research I discovered that there were not many cap hats for women, therefore I wanted to make a stylish and suitable hat for the workforce.

Video Reflection 5

Annie Leonard ‘The Story of Stuff’

The realisation of a product design linear system from extraction to disposal, consuming over 1/3 of our global resources, is frightening.
As individuals this system not only makes us question its practicality to strive and maintain a sustainable future, but more so, it questions us as consumers in the way we interact with products and our consumer behaviours.

This video challenges the worldview of international industrial designers. With 99% of products being trashed within 6 months of purchase, and a US daily garbage toll of 4.5 L.B.S, indicates product design today needs to move away from built in and perceived obsolescence. Instead designers need to design sustainable, ecological and durable products, to decrease eco-footprints. In this way, designers can break down consumer habits of perceived obsolescence, and design aesthetical and functional sustainable products.

On average over 100,000 hazardous synthetic chemicals are used in product design. It is evident from this statistic, collaboration between design and manufacturing industries is lacking. Research into sustainable user- friendly materials and production techniques, has the potential to significantly decrease harm to the consumer and the environment. Furthermore, the development of a cycle product design system, whereby products are designed, produced and then recycled to create new products is also ideal.
In this way, as I designer I hope to continually research new ecological materials and find a balance between aesthetical/functional design and sustainable design, to achieve good design.

Leonard’s video notes that the rate of US national happiness has decreased since 1970 due to beginnings of consumer culture. Therefore, this suggests that as consumers we are growingly entering into a world of idealism, where we see products as a way to escape from reality or showcase our personalities or desires. As designers, we need to think strategically and tap into how consumers view and interact with products, to produce good design. In saying this, I will research consumer behaviourism, in order to design wholesome products to protect the environment and suit the needs of the consumer.

Pleasure Enrichment

Physio-pleasure

• Anthropometric designed handle


• Contoured handle adds grip and texture


• Easy to grasp and inviting


• Soaks natural oils

Ideo-pleasure

• Organically designed


• Sculptural spade


• Suits natural bbq outdoor environment


• Constructed of only 3 materials


• Durable as it collects fat and oil by hand

Socio-pleasure

• BBQ is a focal point for social interaction


• Bottle opener


• Interesting organic design may facilitate a talking point


• Sculptural design indicates status and lifestyle

Psycho-Pleasure

• Multi-functional


• Natural movements


• Emotionally satisfying to interact with pop. scoop. stab. spike

Rationale

It was the initial reading of a 'Sunday life' magazine that inspired me to design a product pleasurable for men. This quote facilitated my need

"My husband loves great design and unusual gadgets. Can you suggest some suitable gifts?"

I really wanted to design a product that was organic and a outdoor living object for my target market fathers and husbands. With this inspiration I designed a bbq utensil, that does of alot what the original bbq mate can't do.

Designed with a fork, formed into a spoon, the bbq utensil is ideal for picking up anything rounded on the bbq including potatoes, prawns, and vegetables. Furthermore, the tool can also stab and spike sausages, a key functionality for any bbq.

The most pleasurable aspects of the product include an ambidextrous organic contoured ergonomic handle, allowing the user supportive grip while anywhere on hand. A bottle opener, formed into the bottom of the handle, not only is a great tool for light refreshments with family and friends, but also acts as a stand to keep the tool upright and ready to use. Constructed of stainless steel and timber, the utensil illustrates a collaborative design approach between traditional and contemporary, ideal for any outdoor environment today.

Task 3: Product Sketching

'Michael Hirst Chair' by Clement Meadore
1959-65

Designed in the 20th century the chair is well ahead of its time. The simple steel frame furniture is well crafted, a classic white and is an ideal companion for any patio. The structure of the chair creates a unique shadow on any surface adding to its design features. More so, the organic seat pan creates an organic composition to the back rest and the simple leg structure, that gently sits under the base of the chair.


'Razor Scooter'
Purchased 2001

This innovative design revolutionized the outlook of how teenagers could interact with speed, style, endurance, ergonomically good design and while being safe. The slick sliver scooter, an alternative to the bicycle, has become a design icon and is found in many family households today.


'Track Chair' by Ideation Design, Track Engineering Pty Ltd

An easy to steer and wheel with one hand wheelchair, was a fantastic design to improve the overall lifestyle of many disabled people. The rotational design of the chair allows the user to carry objects and open doors, that could not have be effectively achieved with other wheelchairs. More so, the chair is also designed to be self-assembled, whereby the user has access to a wide variety of designer chair combinations, increasing its comfort and use.



'Peanut Chair' by Marc Newson,

Tokyo 1990.

This furniture design has an innovative and interesting structure. The ability to manipulate hard materials into a beautiful smooth organic seat is desirable, nurtured by its simple nature. The union the material coming together creates a sense of sanctuary and completes the design.

Video Reflection 4

Paul Bennett ‘Design is in the Details’.

As designers we need to be continually conscious of our surroundings and how we socially interact within these, in order to explore human solutions in everyday products.

In this way, product design can be used as a vehicle to specifically focus on small details within this human interaction, which in effect can greatly improve the overall lifestyle of the user. The human condition of comfort and support, influenced the design of an easy to use hand held data information mechanism for nurses to use while operating, so the other can hold the patient’s hand is a prime example of this process.

As stated by Paul “reframing the ordinary”, by walking inside the consumer’s shoes to truly understand and explore their worldview is fundamental for designers to seek solutions that once weren’t so bleeding obvious. The Kenyan water pump is a great example to show how Paul’s design team at IDEO put this in practice to design a pump that was lightweight, easy to transport on bicycles and fit for anyone to use.

Today, in a fast moving society, it is essential for product designers to explore needs and solutions that will actually benefit the consumer, instead of following the common trait of novelty icons that is greatly impacting the design market today.

For the current assignment on ‘experience enrichment’, I now truly understand how important the target market is, in defining the needs of the consumer and plan to be conscious of how they socially interact in different settings. As a designer I will be conscious of the small brush strokes that paint a very large portrait of the consumer to find solutions in everyday needs.

Video Reflection 3

Yves Behar: ‘Creating objects that tell stories”

“As designers we bring value to the consumer”.

Yves design process suggests the most fundamental motivation behind design is the ‘value’ that the product can offer to consumers.
This framework is seen in the conceptual four pleasure analysis of product design, whereby Yves places emphasis on the fourth and final pleasure the ‘ideological. Classified by Lionel Tiger in his book “The Pursuit of Pleasure”, the ideological pleasure relates to the aesthetics of a product and the values that the product embodies. In this way, Yves and his design team design products inside out, firstly to explore the core value the product is going to entail, and then it’s aesthetic, contributing to the consumer experience.

The simple design of the condom container, valuable in the way the design was inviting, while also promoting safe sex and the innovative symmetrical playful water bottle designed as a healthy alternative to soft drinks; both communicate possibilities of how value in design can be pleasurable and significantly improve lifestyle choices.

More so, the $100 laptop example clearly shows how values in a product can not only improve the value for the consumer, but also the designer’s worldview. The value of the laptop designed as a cheap, accessible, and fun learning device for children in Kenya, is taken a step further as the sheer passion behind the originality of this idea, heightened by the collaboration of the design team and the engineers actually pushed manufacturers to produce the product unrestrictive of finance. This is truly inspiring.

As a designer, I aspire to embody this mentality, in order to design a product with value, motivated by passion to help others. In Yves words “it helps us to only imagine what we could do for the world”.

Video Reflection 2

Ross Lovegrove ‘The power and beauty of organic design’

Lovegrove’s passion for organic design and exploring the ‘soul’ of form is inspiring. His extensive research in natural forms, especially exploring natural growth patterns that are unrestricted by form, allows Lovegrove to liberate form in his designs, and consequently makes him unique.

The design method, ‘bio-mimicry’; design inspired by nature, has not only been utilized to create the soul of form, but, however has been effective in exploring new modern materials, and consumer interaction. As a result, he creates a new dimension of design, for example, the innovative organic solar powered car, that transforms into a hanging street lamp. Such a design practice has greatly influenced how and where design can take me in the contemporary world.

By being very sensual, organic design encourages humans to interact with new technology and material science that otherwise would be viewed as alien. In effect, the gap between technology and human experience is bridged. For all these reasons, Lovegrove’s passion and confidence in his designs, has nurtured my outlook in the world of the design, and he is one that I can aspire too.

Video Reflection 1

David Kelley 2002 “The future of design is human centred”

Product design focused on realising the human experience is fundamental to our future today. As this video demonstrates the importance of designing a ‘consumer product’ grounded on human behaviour and personality is necessary to provide consumers a new thoughtful and interesting way to interact with their daily lives.
Numerous examples, that Kelly and his team IDEO have contributed too, show the depth and possibilities of human centred design globally, from a luxury necessary in a shop, to an educational experience in the museum and water recycling plant and finally to exploring products to improve farming in Kenya.

It’s interesting to note, as enforced by Mr Kelley, that human centred design has been around for sometime, however with new smart technology today this idea is slowing revolutionising how we view design in the future. After researching Achille Castiglione, in Industrial Design Fundamentals Semester 1, Castiglione was influential in designing mass-produced icons to explore behaviour interaction through a narrative approach to “communicate messages of curiosity, amusement and affection” upon the user. It’s with this philosophy that designers can look forward to a new and engaging future of design focused on human experience.

Task 2: Good Design

TLKR T3/T5 Walkie Talkies

Designer: Motorola 2007

Manufacturer: Motorola Inc 2007

Bronze, International Design Excellence Awards 2008

Motorola’s innovative and stylish two-way talk radio range specially designed to create a new system of communication and interaction within the family, provides adventurous families and friends a cost effective and easy method of communication while experiencing the outdoors.

Although attracting a functional 5km to a 6km radius depending on terrain and conditions, the radio system is eco-economical and universal, as all conversations are free and independent of any network. The new walkie-talkie is practical, resiliant for outdoor conditions and easy to use as families can “hook it, hang it, or clip it” [1] while on the move.

Visual Design Analysis:

Motorola has successfully developed two different styles of TLKR radios: T3 and T5 to attract distinguished audiences through the use of colour, form and function

• Both T3/T5 formulate around the principle of the curvilinear, whereby oval shapes have been used to create the shape of the product, and geometric patterns such as buttons and speaker holes to create rhythm and visual harmony throughout the design.
• Contrasting textures featuring a smooth plastic finish encompassed by ergonomically gripped contours complete of rubber have been used to increase support, strength and resliance; making it the ideal modern accessory.
• Colour and line contrast of the vibrant coloured and curved shape of the radio in comparison to the grey vertical ribbed outer body, has been used to create a dynamic eye catchy product, while maintaining sustainability.
• Balance has been achieved through repetition of a looping form featuring at the top and bottom of the T3. Even though the T5 does not feature a repetitive looping form, it achieves visual balance as the geometric speaker holes extends and effectively curve in unison within its outer oval shape.

TLKR T3

TLKR T3 featuring in colours orange, red and blue has been designed by Motorola to attract a young adventurous market. This is enforced in the scale and proportion of the product, in comparison to the T5. The radio itself is considerably shorter anthropometrically designed for a younger face.

TLKR T5

TLKR T5 featuring in colours black, red, blue has been designed for independent adults, made evident by its slick and sophisticated design. The radio is proportionally much longer and slimmer than the T3 and has a larger LCD screen.

References:

• www.motorola.com/walkie-talkie/english/index

• http://www.motorola.com/mediacenter/news/detailpf.jsp?globalObjectId=8653_8582_23

• http://www.engadget.com/2007/09/12/motorola-lets-loose-tlkr-t3-t5-walkie-talkies/

• http://www.idsa.org/IDEA_Awards/gallery/2008/award_details.asp?ID=739
  
  [1] www.motorola.com/walkie-talkie/english/index.html