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