SISHE. Final Major Project.
By Ayanna Wilson -N0728095 Development Pack BA (Hons) Furniture & Product Design.
//1
room . dividers
//2
challenging space: through a free-standing room divider, which focuses on the worries of visibility within a private setting.
//3
FMP ideas.
Here is a series of connecting potential ideas to explore from. All connecting with the idea of space, the merging of unconventional items & the possible investigation of space.
//4
Challenging Space.
Colour.
Transparency. Layers.
Privacy.
FMP 1:
Room dividers.
Focusing on shifting how space is used within an environment, by combining a 3D styled furniture piece that is connected to a free-standing background, which effectively creates its own environment. Target Market: Contract sector – social able environments – waiting areas, receptions or business offices. Age: 5 and above. The resemblance of “Sheltered-furniture”.
“The 2 becoming 1.” Transparency.
Colour.
Exposure vs Privacy.
//5
FMP 2: Free standing mirror. Focusing mostly on: rials meets function with the merging of a
matealong mirror.
Creating a distinction of how we see ourselves within an organic form. – may play with organic or man-made tones & materials to create a juxtaposition – which relates to the theme.
//6
Space. Reflection. Merging of materials. Function.
FMP 3: Room dividers without furniture. Creating a divider for privacy within an exposed setting. – Resolving problem * As I like transparency and investigating the use of resin, glass and another material, I’m hoping to create a divider that can create privacy in the certain areas of the 3D design.
Transparency materials.
Layering.
Materials.
Movement. Colour. Privacy. Function.
//7
FMP 4: space design
– bathrooms. Designing a space within a space: Creating a special design for bathrooms and public places that embraces the impact of challenging space.
Reflection.
//8
Perception. Function. Contract market. Boxed formation. Bathroom design.
Consider the sense of an “inside” and an “outside,” of intimacy and exposure, of private life and public space. People everywhere recognize these distinctions, but the awareness may be quite vague. Constructed form has the power to heighten the awareness and accentuate, as it were, the difference in emotional temperature between “inside” and “outside.”
- Tuan, Yi-Fu. Space and Place : The Perspective of Experience 1979
//9
Project Proposal. Major Project: Invading Spaces - Feng Shui. Context: How often do we unscrew blinds, rip apart curtains or tug on curtain chords to let the natural light shine through our rooms? Many of us may dare to let light in, where wondering eyes lurk when getting dressed for the day. Some, find corners of the furthest room to get dressed where it becomes unfamiliar territory and some individuals will get ready in the dark.
Target Market & Audience.
“… lack of control … affects the energetic equilibrium of an environment and subsequently, that of its occupants.” (Evans and Cohen, 1987)
Target Market:
Target audience: - 16 - 40 years.
- Mid/low end range.
My question is: why do we feel visible in our space of privacy?
Brief: To use feng shui principles to produce a free-standing system that embraces the confidence of privacy and ease when getting dressed without thinking of wandering eyes.
Initial Specification: - Organisation characteristics. - Comfort to undress. - Feng shui principles. - form and function. - colour.
//10
balance.
space.
comfort.
environments.
dividers.
light vs dark.
structure.
energy.
challenging privacy.
Project Proposal. Major Project: Invading Spaces/ Challenging Space
Brief: To create a free standing room divider that solely focuses on the worries of visibility within a private space. “vchallenge visibility, privacy, comfort and ease when one feels wandering eyes” shall be the propeller for this focus.
Initial Specification: - Transitions of light and shadows - creating definition of “japandi” - form and function. - colour.
//11
aims . objectives a’s . o’s creating privacy. exposure of light. foldable. functional.
//12
“I didn’t want to close my blinds in the afternoon to get ready for an event. But I had too. The sunset was my light and that light enabled me to navigate my surroundings and to find the objects that I needed for me to get ready.”
approach. “I kept sensing this uncomfortable feeling when I tried to get ready within different times of the day. ”
This project was sparked by the investigator’s personal experience. The first element is to understand the user. experience and the problems that causes variables. This is crucial to diagnosis and understand how I can identify what variable needs to be approached to resolve the problem. The next phase, is to conclude my specification along with the evaluation of the user. This will then highlight the key attributes of my focus along with other explorations that I may want to consider and experiment.
purpose.
design functions.
experience.
context.
users needs.
//13
what is a room. divider. A room divider: is a screen or piece of furniture placed in a way that divides a room into separate areas. Room dividers are used by interior designers and architects as means to divide space into separate distinct areas. Divider: a person or thing that divides a whole into parts. a screen or piece of furniture that divides a room into two parts.
//14
.purpose. To split up a room: acting or reacting for a specific purpose. Creating a new purpose within a space. To be used for privacy – getting changed Now functional screens – to hold/fold clothing items.
//15
user. experience. . . . problems.
“I can’t see“
use artificial light.
“uncomfortable“
solutions.
I want to avoid using artificial light during the day.
Need to approach what makes tha user “uncomfortable“ Need to approach.
“changes my mood“ “where did I put my stuff“
A system that holds the important items. Need to approach.
“conscious of my surroundings“
Need to approach.
“stressful if I’m rushing to get ready“ “crawl or neal when I felt exposed“ “closing my blinds makes my room smaller“
A system that holds the important items. A system that protects but light can be released.
“I would have to scan outside to protect myself“ “Can my neighbours see what’s in my room? or who’s in my room?“ “I would forget that I hadn’t closed my blinds from exiting my bathroom“
//16
evaluations.
Need to approach. Investigating room divider. Investigating divider.
room
variables. . .meanings.
exterior.
“forming, situated on, or relating to the outside of something.”
light.
“the natural agent that stimulates sight and makes things visible.”
“unable to be seen.” invisibility.
or
“concealed from sight; hidden.”
Best way to approach “exterior“ is to understand that it brings in light, darkness and shadows, which primarily is a range of brightness and darkness. It can also be a factor where it can control/ influence or direct a user’s behaviours.
I would want to experiment of how light can shine through and still provide the appropriate amount of privacy.
The approach of design shouldn’t overdue too much invisibility aspects, as it could create a problem of lack of light to fall into the room.
//17
what variables are being protected: windows in a bedroom space
space.
comfort.
the user
light.
protection.
I think it’s important to disclose what aspects or variables are being protected for the purpose of this design to be executed with the right intention. Page 16-17 showcases the experience and feelings of being vulnerable in a comfortable setting. By identifying that the sizes of bedroom windows is what I am challenging and opposing towards as a way of problem solving the listed experiences and factors.
//18
market . research. Every UK home is different and it is important for me to define the scale that I want to work within so that the design is a piece of furniture that creates a connection and enhances a beneficial use, rather than an obsticle that creates a relationship of mistrust, mi-use and misunderstanding.
suggested UK sizes for bedroom: - Master bedroom 20.25m² - Second/guest bedrooms 10.2m² - Children’s bedrooms 6–12m²
The scale of room that I am aiming to design for, are openplanned rooms where the room has a meduim-large window/s.
//19
mood . board .
UK bedroom windows.
//20
These images showcase not only the various sizes of UK homes, but also the various scale of different windows that can reveal exposure of light, what’s on the inside and the person in that space. This also showcases that a few homes that have wide rectangular and square-based window has a greater chance for wondering eyes to lurk through.
The typologies of housing can drastically frame the varaition of scale of a bedroom. By identifying the type of housing, this can lead to an idea of the average bedroom size for the style of housing but also, how the style of housing can play apart in “overlooking“ inside one house to another.
//21 //13
variations of
//22
UK homes.
The importance of showcasing the varaition of different sized homes, is to showcase how each type of house will dictate the amount of space that is avaialble in a home. This could potentially dictate how big bedroom windows arem but also pin-pointing the right target market that will have the right space to be able to use the room divider screens.
//23 //15
what does this all mean? yes in the present, more UK-based res-
idences are reducing in size, but this does not diffuse the idea that particular types of homes, such as apartments, high-rising building lofts and studios, bungalows and terraced houses can also fit within the scale chart of having a large to meduim sized bedroom.
//24
The MINIMUM size for bedroom should be no less than 6.51 square metres, or 70 square feet. 6.51 square meteres can look like: 2m x 3m 2meteres = 6ft: 19800mm 3 meteres = 9f 8 : 2960mm Which is the size of a storage room: ................................... Dreams: Perfect Ratio of Bedroom Spaces:
The most popluar bed size in the UK is the double bed (135cm x190cm). According to Dreams.co.uk/What is the Perfect Ratio of Bedroom to Bed Size? This layout is the recommended guide for which bed should suit which scale of a bedroom. As some people might opt to place a double bed in a room that may not suit the recommended guidelines, this information highlights the UK’s recomended scale of where the meduim or large bedrooms sits within the scale roster. From other sources, it seems as though, the a meduim sized bedroom would be of a scale of: 8-10ft.
//17 //25
brain storm.
Here I am exploring the options of where I can take the project and grasping the ideas of how I can create a design that both shields and reveals the body, light and darkness.
//26
//27
Interview:
Throughout the interview, a lot was spoken about the user’s experience of using a room divider. The main takebacks from the interview is that the user’s screen was handy enough that it provided coverage of their body and he liked that it was easy to “sloppily“ hang his clothing over the screen when appropraite. From discussing a set scenario of being visible when wanting to get dressed for the day, propelled user-based requirements of what they wanted from the set-scenario.
//28
Interviewee’s requirements: revealing light or darkness with movement. ent m e l le ura t x e t
- heavy: centre piece in their room. - Needs to fold clothing
ion.
t aria v t s 1
- Needs a space for grooming kits. - Does not need to move.
2nd variation.
- Needs to easily change the shading of light.
From speaking to the user and investigated what their dream room divider could be if it could be designed, was insightful in the sense that providing two types of space: 1. for clothing and 2. a space for grooming or accessories that aids the user on getting ready was paramount.
//29
drawings. Here I was thinking about ways where the legs could resemble the similarities of a marble table.
Inspired by combining different shapes and forms to fit within the narrative of privacy and visibility.
This shape was inspired by another designer, which propelled me to look more into a mixture fo circular geometric forms that are somewhat merged together .
elongated , circular triangles were explored. Being able to have varius scales of shapes to create a barrier, which would protect the body.
//30
Here , I was inspired by creating a vivid and hazy visual to symbolise both privacy and visibility within a standard room divider/ screen panel shape.
I was very interested within negative and positive shapes being an attribute that would be constructed in a rythmic flow. This shape forged into a room divider was an aspect that I wanted to explore towards.
From looking into mer ric shapes with circular to embody by thinkin man body and how the be designed to shie
drawings. I would say a lot more of my drawings had design details that included mirror fixtures and also represented a simplistic outerframe , but the middle section of the design is the eye-catching variant.
mirror.
thick outlines.
rged geometr forms. I tried ng of the hue shape would The form of the deisgn embodeld the body. ied the humanistic form of the human body, which resembled
A lot of the designs would showcase various amounts of creating and embodying negative space, which would be the playful factor of the design purposefuly challenging the visibility and privacy dynamic.
//31
drawings.
//32
drawings. More inspiration images and drawings of curvature forms, the playful accents of light, shadow and illusions and how the organic shapes embodes movement.
//33
analysis of screen designs.
//34
analysis of screen designs. As my concept and set objectives became clear, I somewhat surrounded by fog upon discovering the form and attributes the design may have. By analysing designs that had curvature forms and design charactersitics that embdyed and played around with light, visibility and privacy was approached. By disecting these characteristics of the various styles that I collected, enabled me to refine the wants and needs of my design. This was quite helpeful as this propelled new modifications and design accents to be explored as potential avenues to consider.
//35
2D drawings to 3D models.
//36
2D drawings to 3D models. As the theme of shape, is among the list of the variations to explore, I focused on creating 1:10 models of 2D drawings would look like and how a mixture of organic and negative space shapes, could compliment the narrative of the project Throughout experimenting with different shapes, most of the designs that I came up with showcases cut-outs of material to reveal a shape, which focuses on the body filing the negative space. This would only highlight certain parts of what is exposed, or to reveal another shape, which creates the illusion of a camoflauge.
//37
2D drawings to 3D models.
Notice how the form of the model changes shape, allowing light and visibility to be explored and challenged.
//38
2D drawings to 3D models.
//39
analysis of screen designs.
Analysing the chara istics of the varaitio room dividers and sc proppelled some dra ideas, but it also al me to see how I coul the boundry within field of furniture.
Highlighting the ch teristics of the desig ated a pros and con which crafted a pathw the design details I either want to explo to adapt to the purpo my project.
//40
analysis of screen designs.
racterons of creens. awings llowed ld test n this
haracgn crens list, way of would ore or ose of
//41
visua
//42
al timeline.
“the remaking of boarders for open spaces.” Observatiosn throughout history: The main features - privacy - history - used to shield oneself when getting dressed - royalty or the rich. Contemporary - to divide a room - to change a room’s ambience - for privacy - can be used in any setting. now - covid-19 = causes of seperation and spacial measures - transparency but for safety.
Throughout my research, room dividers or screens have been developed, adapted and adopted to suit various of needs throughout different culutres and generations. The timeline below will highlight the developmet of the various design details that will showcases the characteristics of its iconic design. Highlighting these dividers and screens will not only showcase how different styles have been designed to explore the notion of isolation, shutting-off environments, making better use for space or requiring privacy. The examples below will be an informative procedure where I am understanding how it’s made; based off of materials or the number of design details that are paramount for the design to work effectively.
//43
16th-19th century
“screens” - Lacquer -foldable - six panels - Based in UK
“Lacquer
an herry
der C
un sants
“Phea
low d Wil
ris and I
es an
t” d Mis
ie Screen
- Oil on wood - inlaid with mother-of-pear -foldable - six panels - Based in Mexico
1645
- pair of six-panel folding screens - Paint + ink work - Based in Japan
//44
s
Tree
Chinoiser
“Folding S creen wit h
the Siege
Scene (re verse) “
of Belgrad e
(front) an
1697-1701
d Hunting
”-
174
740
-foldable panels - deocrative print on wood - Based in New York
“Interiors, Mrs. Haughey, Sitting Room.”-
1898
- Ratten material - three panels - foldable - Based in New York
“FSW (F olding S
creen W ood) “ -
1946
-Molded plywood, birch veneer, canvas -Ray and Charles Eames -Sixpanel folding screen
“Drawing Rooms, Private Residences.”-
1910
//45
mid century-modern era “room divider”
- USA made - No panels - Tension pole Rods - Shelving unit - Butt jointed/ dowelled
om e Style Ro s a c k o o B Sectioned
Divider,
1952
Portable Room Divider for
1959
Tension pole rods Fibreglass material Flush wooden frame USA made Butt jointed/ dowelled -
r 23,
be Decem , r e d i en Div l Kitch
ne lass Pa
Fiberg
//46
Foyer, - Ma
1957
Foam -rubber strip Wooden panels Hardboard Butt jointed/ dowelled -
- Dowelled - metal rods for shelving unit - welded metal rods - USA made - Has legs - biscuit jointed
- Welded/Dowelled - Glass material -metal/wooden barrier material - USA made
ay
-
-
Bassett Danish Bookcase ril er, - Ap
M
id oom Div inimal R
1960
Style Room Divider, January 27,
1961
//47
postmodern contemporary “room dividers”“screens”
- Free standing - Flexible attributes - Slatted pine - Adjustable
- Vintage Frenc - Wood - Minimal upho - Four panels. - Inward middle
1979 ider, 1970s
Pine Room Div
//48
1970’s
Vintage
French
Swan &
Flower
Room D iv
ider
y era
ch design
olstery
e panels.
9
81 “‘Carlton” - 19 gn - Vintage desi ates + Wood in - Plastic, lam - Shelving d - Multi-coloure
-Made in China -Antique style -Wood material - height 122cm - 1 panel
1981 Antique
Style C
hinese
Carved
Hardwo
od Scre
en
1989
//49
90’s era - Free standing - Flexible attributes - Slatted pine - Adjustable
inaldi,
lo R
nge n by A e e r c rt S
A
//50
1990’s
- Free standing - Flexible attributes - wood-paneled - Adjustable
by creen S o t n Parave
Ang
- glass screen - brass frame - etched glass
Room t Glass
rs
Divide
Ar Etched d n a Brass Czech
1993
1990’s aldi
in gelo R
//51
target market.
Specified target market: Midmarket - bespoke - premuim market. Bespoke would suit the design narrative more.
//52
Premuium, I feel as though I would need to change the materials of the design to suit a more preffered “premuim market“.
mood board. explorations.
1 “eco & contemporary”
2 “eco & decorative”
3 “tools”
In the beginning these were my three focus points that I believed to be my avenues to explore. Throughout this process, I relised that these variations were restricting for me as it would probably only allow me to link into smaller variations rather than thinking wanting to explore other avenues.
//53
form.
//54
intricate.
“eco & con” mood board.
patterns.
drawings
//55
form.
delicate.
//56
organic.
intricate.
“eco & decorative” mood board.
-brand value/ value proposition list - sustainable - earthy - living organism that is a part of someon’s lively-hood
//57
simple. //58
hidden.
structure.
useful.
“tools” mood board.
-brand value/ value proposition list
- a systme that is not just a device that sits/stands/collapses in a corner but is a system that enables you to get ready throughout the day. - A system that allows you to keep track of your items and to help organise your items, which could be customised i.e grooming set.
//59
first 1:1 scale model
Within my private setting, front and centre of my room is where I feel comfortable to get dressed for the day. I refrain from opening my blinds fully or at all as I suspect people can catch glimpses. This is what I proposed.
I started off big, to understand the feeling of an “encompassing“ feeling and to give me an indication of the sort of scale, & movements of the device and most importantly the suitability for a dimension of a room it could live in.
The original height of what I was working with (1400mm) was too short. The device DID cover my body, = fit for changing in privacy, but I was personally still “eyeing“ outside for unexpected guests. ... I REALISED....
The initial idea was to start from scratch, not overthink and to practice the idea of privacy and visibility collobrated together.
//60
My body was hidden but the actions behind the screen was very noticable and I personally disliked that feeling. The feeling of being “detected“, “seen“, “known“,
New height is 1700mm. - Produced privacy = great, but blocked out light. - A key purpose of this focus is trying to feeling comofortable and for light to shine through.
Using unconventional materials around me, circular shapes was the way forward to investigating the cohesive joining of privacy and visibility.
The various scaled circular patterns works. = great. - It became the perfect quick experiment of visibility and p rivacy working together. - From this new experiment, this opened up the avenue of “adjustabilty” being introduced.
The style introduced a theme, which urged me to explore more circular boundries across the whole screens. - The design needs to be easily folded. = Investigatory + chosen material needs to be light weight and to have easily mobility.
Rare image of designer to showcase difference in height from original height of screen vs new height with visible design experiment.
//61
first 1:1 scale model
SUSTAINABLE ACTION: WASTE MATERIALS Adjustability was a key attribute to consider within the design process. By using the off-cuts that lets out light and feels less “clumpy“ within the environment.
Utilising materials to resolve individual needs and wants within their comfortable environment.
//62
SUSTAINABLE ACTION: WASTE MATERIALS I tested out a tacticle element where the user can adjust the amount of light coming in, the amount of privacy and and the amount of visibilty.
SUSTAINABLE ACTION: WASTE MATERIALS I tested out for a visual purpose of some off-cuts to not be completly cut-out, but the effect of seeing outwards is more effective. To save some money and to be more environmentally friendly, I would like to test out in another variation to keep some circles to not be cut out and to be experimented. - Opaque materials - letting light in, but creating privacy.
Through this process. Two-screen is not enough and that four screen s is preffered, but I would want to experiment with less to see if it can give more accessibilty to its environment. The curved edges were appointed, which will hopefully explore the form of the body of the screens.
As a pondered thought, I shone a torch light and created amazing reflections of the shapes from the circular patterns. The tacticle element, which has a range of different scaled circles will be adaptable to create different shapes.
These shapes are a lovely addition as it will not only create privacy and visibility, but it will enhance one’s environment throughout the day.
//63
first 1:1 scale model
Amazingly the li through the circular d ed enlarged sequence shapes, which ultimat night-light ase
As light will be the p to showcase these sh sign brings a mult-se which effectively st senses.
//64
mood baord inspo: first 1:1 scale model
ight shining design, creates of reflected tely created a ethetic.
power source hapes, the deensory aspect, timulates the .
These images have a combination of lines, sysmtery and a pattern sequences that can heavily accept the variations of light, darkeness and shadow.
//65
drawings.
//66
These series of drawings was my way of exploring the varaitions of shape and structure and the endless possibilities of what I could design. At the time it was my way of not overthinking what I wanted to disover by looking into a lot of secondary research and mood boards.
drawings.
In the beginning you can see that the first lines of drawings was my starting point of a basic shape of a room divider, which then evolved into exploring and challenging the essense of round, curved forms and how these curvature forms could work as functioning panels.
//67
drawings.
From these developments of drawings, I was struck by this simplistic and curved desugn that I created. From there, the shape became more concrete on the direction of shape and forms that I was exoloring.
//68
scale models. 21st April: 1:10 scale models. These 1:10 scale models were re-created of the drawing that is located on page 66 in colour. The simplicity of the 2D drawing coming to life in a 3D perspective allowed me to make quick decisions and changes.
From creating a 1:1 model, a lot of the observations that were made were evaluated when making my 1:10 models. For example, how the design would move and operate in a designated space and how parts of the design can be adjusted to suit any environment.
//69
scale models. 21st April: 1:5 scale models.
different heights of hinges.
This 1:5 models represents a smaller and modified version of my first 1:1 scale model. This pill shape was a design exploration to see the possibilities of what a room screen could look like but also function. In the process, each panels did fall, but if the hinges were applied onto the middle pill panel, then it would add more structure and support.
pattern design. ASW hinge design.
//70
The design of the hinge, was createc where the flappy parts of the design could be moved to a certain degree, which would simutaneously move the panels in the same direction.
21st April: 1:5 scale models.
The varied scaled offcuts looks much more attractive and definitely ticks the box of revealing light. I aimed at the time to also explore and investigate how I could also hide these offcuts, but at the same time I didn’t want to cover up the circles as it brought an eye-catching attention to the design.
//71
mdf prototype.
21st April: 1:1 mdf prototype.
From the comparison of my 1:1 cardboard model to this MDF version with hinges attatched. I realised that there were a lot of issues that needed to be considered. The thin gap between each panel would need to be modified - This is to support the narrative of the project.
//72
The type of hinge that has been used, which creates the gap.
Adapting the height of the design and investigating how a more rounded scenario of how the panels can cohesively stand.
//73
concealed advantages of concealed hinges::
- The hinges are invisible or (out of sight), which could link with the narrative of your project. - Easy to install - Easy to remove - Impossible to tamper with - Appropriate for cabinetry or furniture - Provides a large opening angle – - Can provide sufficient rigidity - Can be installed on any type of door structure - Due to its invisibility, it is a design that is known as a aesthetic component
//74
hinges:. disadvantages of concealed hinges: - Very pricey. - Most of the parts are quite large and so the width and depth of the panel needs to be taken into consideration – this could also weaken the circular structure.
//75
butt
hinges:.
advantages of butt hinges: - Can come in various sizes and thicknesses - Appropriate for heavy doors/panels - Butt hinges can come in different variations: “ball bearing butt joints” or - “single central pin hinge” - Ball bearing butt hinges better for heavy doors
//76
disadvantages of butt hinges:
- Depending on the metal – brass butt hinges will need to be polished to prevent rust due to oxidation - Butt hinges require a recess (adjusting)
flush
hinges:.
advantages of flush hinges:
- Very light due to the size - Doesn’t require a recess (adjusting) - Eliminate any gap between the door and frame - Sits flush – creating a seamless, clean look
disadvantages of flush hinges:
- Not as durable/strong/sturdy - They only come as one design - Cannot be used on heavy doors
//77
piano
hinges:.
advantages of Piano (continuous) hinges:
- Customise the length of the hinges - It provides even load distribution - Can be screwed or welded on - Can prevent wear and tear from keeping the hinges in place - The hinge automatically dissipates the pressure when opening and closing the door - Less noise - Extended life span
//78
disadvantages of Piano (continuous) hinges:
- The hinges can be rusted (potential of Degradation) - It needs smaller screws – which can rip the hinges from door - May need more than one person to install - Can bend very easily.
butterfly
hinges:.
advantages of butterfly hinges:
disadvantages of butterfly hinges:
- Reasonable price - Universal accessories - Can be places to the right, left inside and outside of the panel
- Can lock and jam - The aesthetic of the hinges can dissipate only used for light doors - Mainly categorised as decorative - Surface of the butterfly needs to be mounted smoothly for it to work - To remove the door – need to unscrew
//79
design observations: - 22nd April 1:1 scale model
With my rectangular panels, drawing the chosen design to be replicated was of value as it allowed me to understand the COG of the design but also the possible troubles and solution to how a curved bottom-face can hold, stand and support itself of a panel and the rest of the unit.
//80
design observations: I was cautious that by the form of the design would be tricky to apply towards as the biggest aspect of the design is to create a structure or a series of panels that will be strong, sturdy and to not fall. Speaking to technitions and lecturers about this design concern, did make me think of adding legs but all suggested that the COG of the panel will be redirected to the strength of the chosen hinge and appropriate positioning.
Here lies a moodboard of some of the inspired curved screen panels that has had a heavy influence to the direction of form and movement. Variations have showcased that for a curved base to be supported it’s either the positioning and strength of the hinge or adding variations of a flat support.
//81
logistics of design.
//82
logistics of design. When sketching onto my 1:1 mdf version, I was hesitant that by adding a curve to at the base of the panels would not provide enough stability to hold itself. At the time the measurements for the base of the divider was 120mm, which I assumed would be a suitable length of a straight line for the design to stand and balance along with the other panels. When speaking about this to technicians, it was argued that the if the base of the panel had a base that was completely circular, it would not affect the stability of it. Due to the stage that I was on, I decided to extended the 120mm length of the bottom of the base to be 170mm length, which should provide more stability.
//83
scale models 22nd April: 1:5 scale models.
By making my 2D version of this 3D design, was important. I didn’t like how long the panels were as the 2D drawing showcases a look where the height and width of the shape seemed of an equal proportion of itself.
//84
drawing of hinge idea:
//85
2D Illustrator drawings. 25th of April
These seven main shapes were the initial shape ideas that enabled me to create a series of design ideas, which also made me think of structure, how the design fits the brief and the purpose that I am trying to convey.
//86
//87
1:10 model scale models. 26th of April
1st variation: - slanted curved accents - split in middle
- diagonal sides.
- open gaps
//88
This design was mostly cncentrating on form as I attempted to create a design where the user would be guarded but slight slithers of visibility can show, which would reveal light. Along with the style, this has also changed the way the design moves. Th middle split has the option of being bending backwards to create a more uniform look amongst the other panels.
2nd variation: - rectangular middle top - curved side panels.
This variation was exploring a mixture of avenues as I wanted to see how the panels would look together and would see if it was stable enough.
- replicated rectangular base - edge of the side panels to show off loew area of the body.
//89
1:10 model scale models. -rounded legs
- circular heads
- unified shape.
This design is very simple and niche look, where the design has specific highlight points, which resemble the structure of the design, such as the legs and head of the panel. I believe that even from my drawings and my models, I am subconsciously creating a design that is not only to fit the human body, but actually embodying the movements and characteristics of the human body.
//90
Here lies two images of an isometric and front facing view of the three variations of models. Each variation has either modified or odopted charactersiticsm but all share a common design attribute, which is movement. How the panels are cut will change the way the panels fold and move and will also showcase how much exposure of the humna body and also light may come through. This design aspiration is challenged throughout these various adaptions of forms and will hopefully showcase more adaptions. These quick scale models were to help explore more interesting shapes from my last 1:5 scale models and to see what other striking designs I could come up with.
//91
1:10 model scale models.
29th model making:
During this time, I was still unsure about what the design would look like and so I decided to explore more variations were the legs are the most exagerated characteristic against the circular form. From making models, I had created an accident, by applying my first panel and my last panel together, to create the design that was in the middle. The design showcased very art nouveau asethetics, which linked back to strong roots of designes such as Louis Majorelle, Charles Rennie Mackintosh works. From here, focusing on a simple form with a hint of curvature features became the drive to develop the design more. first panel design:
second panel design:
the “mistake“ chosen panel design:
//92
artist research. - rounded head.
Louis Majorelle - Orchidee desk, c 1903
-long simplistic body.
Charles Rennie Mackintosh - Interior of Hill House, Helensburgh, Scotland, 1902
Henry van De Velde - Topdesk 1898
- rounded curves connecting to simplistic forms.
//93
exploring the design. During this time within the process I felt as though I spent a lot of my time creating this design outcome from a 2D perspective within a 3D format. I had no idea of how thick the design would be and the direction I wanted to take in regards to material and my set design aspirations.
From these two parallel drawings, here I was just at the beginning stages of approaching how to create a balance of shadow and light, as the form of the design had been finalised. Going to furniture stores was my compass that led me down some options of materials for the design.
//94
mood board of materials. These captured images of furniture products inspired me to investigate what materials that I would want to use and creating different explorations.
shiny.
brass accents:
brown undertones.
dark wood:
rustic. meduim figure.
wood and metal:
orange undertones in the wood.
matte.
orange undertones.
//95
mood . board. shadow.
delicate. form.
organic.
empty space. //96
intricate.
. sunrise . sunset . inspiration.
art nouveau. curves.
This mood board is based around a series of negative and positive patterns that emitted light, shadow and a few dark areas. As this dramatic effect of the light and dark variant balancing off of each other in harmony, I wanted the central piece of my design to convey a similar imagery and feeling.
sketches. developing sketches Most of the drawings presented were the working out stages of what design attributes I wanted to include. As my moodboard of materials, colours, shapes and inspired light and shadow sequences became the reminders of how my design could achieve my set objective. I looked into some examples of wantint to create a sunrise and sunset sequence, which initinally be the pattern or shape sequence to revealing light and also shutting out light.
//97
sketches. developing sketches
//98
Images showcasing the light being refracted from exposed light: From being inspired by my mood board of what the central piece of the design would be and of what material. I decided to try and create some quick sketches of curved angles, loops and lines. The aim was to create a pattern that would resemble soft fluidity of movement, never-ending spirals and curves that would be crafted in a series of directions. With this objective in my mind, I was hoping to test out a series of patterns that would showcase a range of where the light would bounce off from and if there was a potential of the light to be refracted to create interesting shapes, as once, my first 1:1 model showcased.
//99
exploring the design.
The original version of the design was 1800 x 440mm, which in total would make 1800 x 1320mm when all three panels are collapsed to reduce space within its living area (a bedroom). Speaking to Will, “SLIM-LINING“ was an important factor as this could cut costs down and would also reduce wastage of material.
//100
slim-lining.
440mm
I dislike the 400mm scale as it showcases a stretched out form of the design.
1800mm
1800mm
. . .
Adapting the design to be at a width of 400mm, is not my preffered choice but is more appropriate and less-wasteful at this measurement.
The design that was scaled at 440mm, looks more balanced with the height of the panel, but once again, this would create wastage of material and would be more expensive.
400mm //101
slim-lining. From experimenting on SolidWorks of different scales. A smaller width of the panel (350mm) will change the angle of the connecting longer arc, making the design look less uniformed and more lopsided, which structurally is not great.
18000mm
18000mm
Slim-lining the design to a larger scale, showcases it’s obvious thickness, which builds on weight of the panel. I was thinking of the room size and how I wanted to give the user enough space to stretch and collapse the room divider screens in their rooms. By the extra length adding on too much weight would lead the device to being too heavy to move. 350mm width in total of three panels would be: 1050mm.
500mm //102
350mm
500mm in totale of three panels would be: 1500mm.
sketches. construction.
These sketches were guidance from the tutors on how to construct my design. As mentioned before, I was only constructing and viewing my design in a 2D perspective within a 3D format, which had prolonged the design-making and approaches on how to attempt my aims and objectives.
//103
sketches. construction. This drawing showcases one of the few pivotal ideas of how I wanted to create and construct the heart and soul of the project. From taking inspirationg from my mood board, my trip to the furniture store and seeing the relationship between metal and wood working together as one, placed me onto creating a simple disk idea that would be made from a metal material with a particular shade of orange.
//104
colour tones. RAL tones . mood board. With the ranges of RAL orange shades, it was important at the time to get the shade correct as I wanted to use a lovely brown tones wood, which compliment the orange tones of the metal. WHY ORANGE? With my mindset looking into sunrises and sunsets, the shade of orange and the brightness that light emits, was a colour that I assumed would suit well.
Within this moodboard from the Left hind side, I was by a lot of biomimicry attributes, which reminded me of the two central images of the fine line light and the wood undertones. These two images, then links back to design examples of how orange and a brown wood undertone coherently working together.
//105
explorations.
drawings.
//106
experiments.
explorations. These three attributes was going to be the series of my approaches. Creating mini experiments upon these attributes would lead me to a direction of my second material that would expose and shut out light.
colour.
Colour will play with the transparency and layering of tones to create layers of privacy and hints of visibility.
pattern.
Pattern will showcases how layers of shape can repeat in a series of directions that will also enable hints of visibility and privacy.
shape.
Shape will focus on the body of the screens and how that shapes visibility and privacy rather than the material.
//97 //107
experiments:colour. Mentioned in tutorials I was inspired by how colours could be refracted through light and how many designs such as the images represented below, showcases the various ways of how colours can also be an element to create privacy.
//108
experiments:
colour.
berries:
This experiment that sits within the colour test, showcased possbilities of what I could create. Using a fabric with a pattern design that also showcases lighting, was a nice touch to experiment with. I was able to explore natural food colooring, which was heading towards a more sustainable approach.
//109
experiments:colour. avacado experiment:
onion experiment:
//110
Within 15 minute incriments I watched how the natural colours of the food changed and were used to create a series of shades for the ribbon experiments.
experiments:colour. the result: At the time I was thinking of many aspiraitions I could have attemped this, such as making my second material sustainable or something as simple and decorative.
Overall by experimenting with natural dyes, has been interesting but this process does not sit within my target market and target audience. If I was using less expensive wood then this process or choice of approach would be more appropriate.
Here I was testing out to see what this dyed fabric idea would look layered over a spiral disk that I was approaching to develop.
Using natural food dyes would be more sustainable on the environment, but I realise now that I wouldn’t use natural dyes on fabrics as it would stain the chosen wood and to source scrap waste of foods could also be disencouraging of trying to preserve the natural dyes from rotting and the price to maintain this.
//111
experiments:colour.
Creating ribbons once again was an interesting result. I tried a series of quick examples of what I could create with these fabrics, but by speaking to collueges and lecturer’s, adding a fabric that gives off the similar resemblance to a dainty fabric such as lingerie. I agree that by adding this element would change the narrative of what I am trying to design and that how it would be used might not achieve the set objectives.
//112
//113
variation of design. Other vairaiton of idea with metal and cloth materials and welding manufacturing.
//114
mood board. second variation.
This variation is based off the similar characteristics of a trampoline. As I strongly wanted to work with a metal frame, which would compliment and flow with the corten steel disk to achieve the orange tones that I was seeking.
//115
mood board. second variation. mood board of colour pallet, material and construction. Here I explored another variation of the design but using another material, such a metal and cloth. From creating a series of moodboard for the ‘experimets: colour’ activity, I was inspired by wanting to create a series of complimenting colours and tones; based off of the materials used.
//116
//117
materials list:
alternatives:
requirements:
- Plywood + Vaneer - Plastic Lumber - engineered wood
- lightweight - durable - meduim strength - meduim resistance to decay and damage
Western Red Cedar Wood
Redwood Wood
Cypress Wood
American Beech Wood
Swiss Pear Wood
//118
Yellow Birch Wood
American Chestnut Wood
interested woods: - Redwood - Western Red Cedar - Cypress - American Beech - Yellow Birch - Chestnut - Pear Wood
why: I’m looking for a wood tone that has a natural undertone of orange, deep yellow’s, reds and browns to complimenet orange tones.
refinement: Speaking to Steve the technician about my project and my choice of wood, led me into a change of routes of re-researching appropriate woods. It was mentioned that wanting to use Redwood, which is a durable, lightweight and fairly priced softwood would not be the best appropraite wood for creating a design that is aimed for the premuim market.
Redwood Wood
It was instructed to reconsider the approach of using a softwood and to research into a hardwood where the finish of the wood would be of a higher quality and would withstand for a longer working-life.
Cypress Wood
The most important characteristics are: - lightweight - durable - dark tones of wood - hardwood
Douglas Fir Wood
light weight woods:
Ash Wood
Redwood Cypress
Maple Wood
Douglas Fir wood Ash wood Maple wood
African Mahogany (Khaya) Wood
African Mahogany (Khaya)
//119
materials list: Sycamore Wood
European Ash Wood
Birch Wood
Hornbeam Wo
European woods: European Wild Cherry Wood Corsican Pine Wood
Due to time constraints, I feel as though it’s best to experiment with a ligthweigt and European based wood, where the shipping cost of the wood does not exceed an abnormal price and to produce carbon emissions due to transport of receiving the materials.
Lebanon Cedar Wood
As I am approaching this project with using materials that is set for a premium market standard, I do want to experiment and aim for this project to be more enivornmentally friendly in regards to manufacturing costs and choice of materials to succeed in the narrative of the project.
//120
Chestnut Wood
European Larch Wood European Walnut Wood
why: These selected wood options will provide not only the desired wood colour but appropriateness of usability and the properties that the wood possess’s to achieve the set design.
Beech Wood
Acacia Woo
materials list:
ood
Due to previous conversations of the availbaility of woods and the appropriateness of its uses. I was aiming to use a Vaneer MDF that has a dark undertone, which were one of my requirements for the search of woods.
d
Speaking to the technician’s about this decision, was interesting as vaneered wood would be a much more difficult job to use when a design has more curves rather than straight-lined accents.
od
Black Walnut Vaneer MDF sheets by 2440 x 1220mm.
I thought using a vaneered wood be a great fit for the panels, as I am wanting the design of the panel doors to be light weight and to no take too much space when its primary living environment will be stored or in use within a bedroom space.
//121
materials list. Sycamore Wood
European Ash Wood
European Wild Cherry Wood Hornbeam Wood
Beech Wood
//122
Birch Wood
Chestnut Wood
European Waln Wood
Lebanon Cedar Wood European Larch Wood Acacia Wood
materials
properties list:.
nut
d
Acacia Wood and Ash Wood are my top two out of all the 11 options of woods. These two woods have the most properties that can appropreiatly be adapted to my design and that is suitable for the curvature characteristics that my design has.
//123
materials
properties list:book edition.
//124
materials
properties list:book edition. Information based on the wood grain, was interesting as I declaired to find a wood that has a heavy figure on it with matte staining. By understanding the various wood properties and its nature of its wood. This focus to find the the right type of wood with a heavy figure became less important as finding the right attributes stated was more important.
//125
materials Acacia Wood
properties list:book edition. stable and strong.
//126
Important element for room divider to last/live for at least two years of use.
expesnive.
As measurements of design is between 1800x 400 mm. The price to order 3x this length is not suitable for the project.
interlocking grain.
As the design has many tight radius’s, there will probably be a high chance of defects and the strength of the wood depleting.
meduim to heavy: (660kg/cu. m)
The design needs to have an easy mobility for the design to adapt to each person’s environment and lack of space. The wood needs to be lighter.
meduim to heavy: (660kg/cu. m)
The design needs to have an easy mobility for the design to adapt to each person’s environment and lack of space. The wood needs to be lighter.
European Ash Wood stable and strong.
meduim resistance to decay and damange.
Important element for room divider to last/live for at least two years of use.
This is important as the design will be moving a lot and needs to withstand the friction of the floors and how it will be handled.
good for steam bending.
Expensive process to manufacture, but may have some other benefits to the other approaches to bend wood.
lightweight. 670kg/m3
This is great for the user to move, collapse and place the screens in their preffered area within their room.
//127
materials list: It was also suggested that Beech plywood would be a good alternative for the main body of the room divider. As my product rests within the medium market (premium). I am looking for a solidwood that has a smooth grain and meduim figured finish.
benefits of plywood. high impact resistance. high strenth to weight ratio. great strength and durability. different ranges of thicknesses. great for staining, waxing, lacqueering. repellent towards shrinking, warping, twisting and cracking.
//128
- useful in the needs of durability. - design will move constantly and so this factor is important to have a high resistance to damages from movement.
-seeking for a thinkwidth of wood due to the desire for a lightweight mass. - important consideration for when room divder is compressed together to create more space within bedroom setting.
- By finding the appropraite wood that can use less power and energy to manufacture, should be considered when finding the right type of solidwood.
- Due to the desire of adding a metal material which will aim to compliment the tone of the wood. It’s also important from an asethetics perspective of colloborating different tones and materials together.
There are many more benefits, but these six attriubtes were important to consider for my design approach. Each panel has to depend on one another for the design to be useful and to work accordingly.
As the design has many curves, the balance of the panel will have to structurally be strong and have an equal weight and strength ratio for the design to work accordingly. I believe that by using plywood and adding a stain or a finish to reach my target market, could be a useful alternative of wood.
- The decided solidwood should also be a materials that can wistant the design of the curves.
//129
wood jointing.
//130
Reading information about the types of vanners and jointing was of importance as it allowed me to see the appropriate approaches of how I could achieve my bended wood design. With conversations about how to approach how to create my design became an enlighting experience, as I submerged myself into understanding the various ways of how I could approach my design.
//131
the approach.wood jointing.
From researching on YouTube on how to bend wood, I spent some time looking at the various ways of wood and also looking into the four industry techniques to achieving bent woods.
//132
the approach. wood jointing. take backs from experiment: I wasn’t able to achieve the finger jointing as I was instructed that finger jointing would not be a suitable joint for the aim of what I had achieved. A simple butt or dowelled jointing would be much more suitable for wanting to join two parts together.
The importance of testing out what industry led approaches create, was to compare the various styles of techniques, machinery and cost of curving wood. I also wanted to explore this area of bending wood for my own knowledge that would help me to better understand the beginning stages of my design.
- I can use simple approaches such as either glueing the face of the each joint. - Structurally won’t be as strong as adding a butt, dowell, biscuit or domino jointing to obtain strength and to be secure. - This approach showcases that I had cut across the grain, which would result on increasing/adding weakeness to the grain and causing the grain to split. - I would use another process as similar as this, that would cut out the curved forms to get an accurate curve and would also be time-efficient. - This method would be cheaper than using indiustry machinery such as steam bending or kerfing.
//133
wood bending styles.................
pro’s . cons: Steam bending - expensive - labour intensive - less wastage of material. Kerfing - weaker than other methods and labour intensive. Laminating - labour intensive, waste of material, Sawing - weakens the grain due to cut.
//134
.......................................................
//135
testings. At the time I hadn’t taken into account the 30mm thickness that would go all around the panel. This design attribute has limited many variations that would have appropriately alligned with my objectives and the functionality of the project.
Unfortantely, the SOSS hinge that I was aiming to use, can’t fit this design as the width and depth of my panels, which alrady had a 6mm hollow groove, would weakend the strength and jointing of the woodne panels.
//136
The image above and the image below was an observation of importance of where the disk is going to be located and spun from. The main objective was to create a disk that would not hit any other material or design feature that would prevent it from spining.
testings. 21st may:
Testing out my CNC MDF 1:1 model was intersting. By using butt hinges, suited the set objectives and requirements that I wanted. With only two panels the but hinges were able to showcase a strong hold on each heavy panel and rarely wobbled unless applying pressure towards it. This observation of the hinges made me investigate similar types of hinges, as my 30mm thickness shell would not allow the butt hinge to be flush against the wood; due to the middle panel creating a rebate.
//137
the process.lecturer visuals. By understanding my target market, chosen material that reflects the target audience, the narrative and purpose of the project had led to further development of the construction side of the design. In the stages of the design, what I had created from a 2D perspective that was mostly fixated on the outer form of the design than the actual construction. Seeking assistance from my lecturer’s on the approach was valuable as from my own research of understanding wood, the approaches of how to bend wood and on my own account, of making sure that each method is less labour intensive than it needs to be was a enlightning process.
Here are a series of informative drawings from conversations with lecturer’s. These gathered drawings were used as map towards the approach of designing the set aims and objectives.
//138
the process.lecturer visuals.
There had been many conversations around how to approach my art nouvue inspired design as the choice of material showcases only a few variations without limiting the characteristics of the chosen wood.
Overall the series of gathered visual notes, had continued the process of understanding how to build my prototype with efficiency and with appropraiteness.
//139
the wood working.process. 23rd May 2021:
As the design is made up of two shapes, the design showcases 14 parts as each part that is cut using the CNC has a 3mm groove, which is then stuck and clamped together to make a 6mm groove.
Biscuit jointing was appropriate than dowling as the buscuit is longer shaft to fit through but has a less wider width, which is necessary for the dimension scale of the panels.
//140
//141
the process.
Here are a few drawings showcasing the developments of the design and the guidance of constructing the shape and design characteristics. Mentioned before, the shape that I had made is very unique and due to the set dimensions at the time, it also made the approach to find the appropriate method that would suit the design’s characteristics, the purpose of it and so forth.
//142
the process. As you can see from this drawing, each section of the design has a specific purpose, which has been constructed to do the set objectives that was stated in the brief. By understanding each section, allowed me to branch out on various dimensions and scalings of the design, which would not only suit just the narrative of the story but also where the design would live, how I would like the user to use it and so forth.
//143
the process. While I was waiting for my CNC designs to be cut out, I was investigating different options of woods and how that would look against the form of the design. Overall, I had more control over some of the characterstics but the heart and sould of the project, which were the disks was an element that I developed a lot throughout the project.
//144
disk experiments. disk 1:
In this section I created two versions. Disk 1: had a slanted design where all the triangles were placed together to create an illusion.
disk 2:
Disk 2: showcases a simple formation,which would reveal some hints of light and visibility, but still providing a decent amount of privacy to feel comfortable in one’s space.
//145
disk experiments. One of the main reasons I went through these variations of adapting the disk’s scale, was for the one of the disks to move freely without the disk bumping into another material or being prevented from doing so. As you can see here, creating a radius that would be sit on the inside panel, would fill the gaps on the side of the design, which does display a proportion of visibility. These elements of the disk can rotate, but because it is a radius of a continuous circle, the base of the radius would interfere with the middle panel, preventing from the disk to not roate to reveal and shut-out light.
//146
1st variation:
disk developments. 3rd variation:
4th variation:
5th variation:
6th variation: thicker bottom
Throughtout the process of the adapting to the core set dimensions of the panels and also keeping in mind of a easy access for the disks to rotate in between a gap. I have created different thickenss, triangular angles, radius-disks and also a square-domed disk that had the potential to fill the gaps that would promote a lot of light and visibility. Overall, these variaitons were what led me to understand how scale of the wheel needs to be for in order for it to rotate without any friction or boundries that is preventing it from doing its job. I also adapted the design to make sure the whatever scale the disk is going to be, that it would match up to the height of the inner-middle panel and would also sit tighltly inisde the groove of the panel.
7th variation:square-dome shape.
The form of the shape was to reduce light and visibility and to add more control to the user’s preferce.
//147
disk developments. 2nd variation:
disk experiment 5B on CAD.
large and equal parts - completel t shutting out light.
8th variation: large and equal parts - trying to create a smaller and spiral effect.
Withint this stage, I was at the point of beginnign to change the thickenss of the wheel. By creating a metal 1:5 scale - I got an indication of the weight of the metal, which made me realised that I would need to scale down in size, which would drop the mass of the material. I also realised that there would be a higher chance that the disk would rotate with more ease.
//148
9th variation: a thicker version of the 7th variation.
disk developments.
with middle panels.
As well as working out how the disks were going to react and move inside the panel. I created som CAD models to showcase and figure out the appropraite heights of the disks, the design of the base of the inner panel and new variations of the disks. The base of the inner panel was also explored as this was also an attribute could have make or break the functional aspect of the design. For example, having a square-dome design would add more structure, strength and stability of the placments of the disks and would provide more ease of the disk rotating. VS. Adding a metal disk on the top of the panel where it will “kiss”, would be concentric with the form of the outer and inner panel, which is perfect/ suitable for the disk to sit and rotate within, but there’s more of a chance of the bottom part of the disk to come out of place.
//149
disk developments.
with middle panels.
Here are the final three variations, showcasing a flat base and a circular base. Originally I wanted to go with the flat base, as I thought it was interesting for bottom part of the wheel to be hidden, by the two panels; enabling the disks to rotate in peace. I decided to go with the more riskier option as I adding in a groove OR designing for two panels of the that would be hollow all the way to the base of the panel, would allow the vannereed wood to warp and be unstable. Having a solid section as the middle panel, that will sit inside a shell supporting the middle panel, adds more structure and strength to the design and provides a slim base for the bottom part of the disk to live and roatate freely.
//150
disk developments.
with middle panels.
- More suitable - Difficult for radius to rotate as it’s half a radius.
- Not suitable due to lack of material on the inside of the middle panel.
- Has more of a chance of the disk not beign supported.
- Would want the base of the radius to kiss the top face of the middle panel.
//151
developments.
As this chosen design has a lot of visible elements that can discredit the nature and my property values for the project. I started exploring the ways where I could fill up that gap.
//152
I realsied that the only place where the user would need to grip the panel to move it, would be the sides. By using the negative space to add handles seemed like a good idea, as this idea COULD support the disk in regards to where it is. It could also help stabilise the disk more and it can also strengthen the rails on the side that is holding the disk in place.
developments.
the benefits. By adding the some handle on the side it would provide a better user experience for the target market. It will give the user a better grip on ajdusting the system to their preferences. It will also help to fill up the negative space, providing a second use for the design.
//153
developments.
Here I did more investigating and decided to test out what I could do with the negative space that will sprout out in my design. What I have showcases is a way of being able to reap the benefits that has beene explained in page 152. At the time I was unsure if I wanted to go for the square based or the circular base as I was aware that the choice of material for the disk may not be suitable for how it’s positoned.
//154
Here we witness a user testing out the sides rails as a way to move/adjust the panel to their liking. A renderd image also showcases how the design would look like once assembled together and I am seeking to try and find a way to cover up this shape. I feel as thought its important to hide this negative space as I feel as though it doesn’t heavily support the purpose of my design and aim.
//155
developments.
At the time, I was concenred on how the wheel was going to be designed as I figured out from my series of adaptions of creating disks, that one of the disk will be ficed and the other one will be the one to move. This was also thought of by brainstorming these ideas with tutors and to show the appropriateness and simplistic approaches to achieving my set aims and objectives.
//156
design errors.
When I was designign I realised that the radius where inner panel sits in the groove, was not the correct scale. This led onto further adaptions using CAD to showcase the correct measurement for the panel to sit in the groove snug.
//157
design errors.
As the whole body of the design is a shell with a 6mm groove on the inside. I’ve had to modyf the Solidworks file to re-adjust the fitting of the inner panel. To prevent this from happening, it would be best to try and cut out this design usign another method where it’s not done using the CNC.
//158
As the CNC is very quick and also expensive, usign a hand drill and a blade to create these curves would give me the understanding of what mill I would need to chop wood off, for me to geth the right dimensions and fittings.
variations 1st variation:
of axel design. 4th variation: Getting the design of the axel was paramount if I wanted to create one disk that was fixed and the other that would be able to be free and spin. This was also important for the disk to spin, as the front disk would be a the design characteristic that would give or take light away.
2nd variation:
3rd variation:
//159
variations
of axel design. The design of the axel became a success once I understood each component and the need for it. When speaking to a lecturer about it, I hadn’t had any knowledge in regards to desiging my own axel. By understanding what the design has to do, I was able to dictate what neccessary attributes were needed to create the design.
//160
tests.
of axel design. - NYLON WASHER - to prevent metal on metal from rubiing against each other, rusting - which would then prevent the disk from rotating and not achieving the design of the purpose. - AXEL: To be able to hold two metal disk, allwoing it to do inact different jobs. - DILE: To hold in place the axel, to allow the user to have more control on spinnin the pattern of the design. This is essential to being able to reveal or shut out light.
Here I was testing out the axel and the design and purpose of it is a sucess. The only thing that I needed to explore at the time, was how I could create a designed attribute that would enable the user to have more control over thow much they want to shut or reveal light.
//161
tests.
of axel design. At first I went through many repetitive decisions on whether the disks would be float and be held within the inside of the groove or to be rested on the middle panel. Further along, Both disks need to be kissing the inner panel to add more control and stability within the design. As the design will be collapsed and stretched to its maximum width, I would preffere for the disks to be safely secure.
//162
tests. Once again, the inside of the design had an error. Meanwhile I was tested out variations of finishes. The White Osmo Oil brought out the grain and provided a subtle touch to it. If I’d had more time, I would have liked to stain a sample in a different colour.
//163
design errors. Overall I’ve learnt that by doing an MDF piece without using the CNC would have given me better knowledge and would enabled me to spot the errors within the design. By the ash wood being cut out using the CNC, this delayed a lot of set-activities within the project.
Due to this CAD error, ths had induced me to use extra material to line up each part correctly. This was important so that the joints could be strong and stable.
//164
design observation. Once again the design of the metal sheets were looking amazing and where attaching really welll insdide the groove of the raidus head. What I was not liking was that the there was a tiny gap, enablig the disk to float. What I did, was add on extra ash wood pieces (0.4mm) on each side to tighten the grip and for the diskto sit on the inner panel.
//165
design observation. design errors.
One of the sides is slightly slanted, which I feared when gluing. At the time I blelieved that the lining up the face of the radius head to the raisl were not going to match up, which would then effectively be a factor for the disk not being in place and the jointing of the woods not being in place.
Due to my lack of experience of gluing, I realised that my first time gluing the side racks were important. One side of the racks is slightly sitting in the groove in a slanted direction, which will overall effect the placement of the top part of the design, which also holds the mechanisms of the disks, which is the heart and soul of the project.
//166
Amazingly the radius head and the sidebard were able to match u, but what I had to do was add another modification, which was to add more material on both sides of the radius so that the top of the disk could sit inside the groove and also kiss the inner panel.
design errors.
I decided that I wanted to cut the length of the rails. BY measuring the gap that hangs between the top face of the groove, was the amount to measure and to be applied to the side rails of the shell. Due to human error, I had used the wrong disk to measure how much I should take off the rail, which led to a gap between the rail and the disk. To resolve the problem, I had added some measured offcuts to be glued on the face of the radius shell. That way the problem of the gap occurring would be resolved.
//167
developments.
I reflected upon the design and recognised that I wanted to reach the last design requirements, which is to add some sort of hanging system to the design. I experimented with hangers to see how I could add towards the design. From gathering different thoughts upon the inner groove of the design, a lot of people thought the design looked unfinished. The inner panel seems like the best place to add a design feature where I could experiment: I experimented different ways of how I could create more privacy in the negative spaced region and to somehow allow that design feature to become a stationary place to store clothing. I believe that by doing this, this would strengthen the narrative/concept of the project more. This was just a quick way of how I could see the potential attributes of the design to hang
//168
developments. Using cut out cardboard, I tested out to see how I could add some material that would sit within the shape. I preferred the shape where there was a slight gap between the disk and the actual rounded triangular shape. In my drawings I came up with many different variations and all showcased that the design feature would take the eye-catching part of the design. As the design is very simple and niche, I only wanted the eye-catching and complexity aspect of the design to come from the disks, as that is the heart and soul of the project.
//169
design errors.
Even with adding on the the extra pieces, there had seemed to have been a miscalculation, as there’s a still a gap. What enabled me to resolve thos problem, by cutting the rails and sticking them together, which would allow the wheel to move freely.
//170
What started to occur was that,each panel would either be too low or to high for the disk to sit it in. By switcing the radius tops for each disk, allowed the flat base of the radisu head and side bars to be flush.
design errors.
I decided that to investigate to use butt hinges as my research on hinges, showcases soss hinges were best, but gaining the opinions from technicians that have used it, showcased that it’s not that durable. But for the design I would use hinges because the weight of the room dividers is very light and because I would only need two soss hinges on both sides of the middle screen, it would be more durable. For now, I am using butt hinges, which is also another good hinge type, but it doesn’t give me the invisible look that I am seeking, which does occur when using a soss hinge.
//171
design errors.
design observation. To ensure that the top of the radius is secure I went a head to at first domino the radius part to the sidepanels. As the design is 3.5mm thick on both sides with a 6 mm groove it would be more harmful to add a dowel or a biscuit joint inside the panel. Before realising this, I drilled in a dowel than a biscuit joint due to the scale: width and length of the face of the radius. As it’s not long enough and also is split in the middle, I was aware that it would weaken the joint rather than make it stronger. The resolution was to glue the faces of each part and clmap the sides together so that the rail and the raduis head are in synch.
//172
//173
staining.
This shade of white was to poweful that it wasn’t obsorbing into the grain enough.
//174
The osmo oil showcases a sublte touch to the wood, brightening up the grain.
The osmo oil stain, was more chalky but needed a long time to dry.
The osmo oil stain, was more chalky but needed a long time to dry.
staining. White Osmo Oil Stain
No Stain.
//175
design errors.
design observation.
Using piano hinges was not the best choice as from my research, the nature of it is to bend and it’s not as strong and durable like the butt hinges. As the actual prototype is lighter than the MDF model, I would need some strong hinges such a flush hinges to hold the design in place and to enable each panel to move from a 180 degree direction.
The flush hinges are best suited my design as the width of the flush hinges are able to sit flush against my panles that are somehwat thin.
//176
design errors.
design improvements.
With the final touches, the design came out well and was able to stand on its own feet. I noticed that applying the piano hinges, did hold the panels together but did not support the pane’s COG (centre of gravity) well. In future to prevent the panels from slightly being unbalanced, I would use a stronge flush hinge. By using a stronger hinge would grip a better COG within all three panels, allowing more control over the design. Unfortantely the piano hinges, can only turn at a 90 degree angle and not a 180 degree angle. Seeking a 180 degree angle would enable the device to collapse and provide more space in its living area (bedroom.)
//177
final thoughts. Overall I have create a modern inspired art nouveau design, which has been able to carry 3/4 requirements of the set objectives. The considerations that I would develope would be to carry out more testings of how I could hide the circular gap in the room divider, to change the hinges of the design, which would add more stability and will allow the panels to move 180 degrees than 90 degrees. As different homes and rooms have different surfaces, I would consider to add some stoppers, which would add more stability but would also adjust to the flooring so that it’s easier to glide across different floor surfaces.
//178
renders.
//179
//180
//181
sishe
Ayanna Wilson - N0728095 Technical Pack BA (Hons) Furniture & Product Design.
//182
8
7
6
5
4
3
2
1
F
F
ITEM NO.
E 1
QTY.
1
PART NUMBER MIDDLE PANEL OF LHS SHELL.
2
MIDDLE PANEL FOR ROUNDED PILL.
1
3
PILL FRAME. LHS FRAME ASSEMBLEY. DISK ASSEMBLEY. HINGE ASSEMBLEY.
1
4 2
5 6
2
E
2 3 2
D
D 3
4
C
C
5
6
B
BREAK DOWN OF ASSEMBLEY.
B
ALL DIMENSIONS IN MM
Ash Wood. White Osmo Oil. DO NOT SCALE DRAWING Material: Steel Metal. Finishes:
A
Scale:
8
7
6
5
4
A3
Part:
3
Powder Coating.
Revisions 01: Ayanna Wilson N0728095
1:10 1-8
SHEET 1 OF 20
2
//183
Date: 19/06/21
1
A
F
7
SIDE ELEVATION:
6
TOP VIEW:
5
18.00
8
4
3
2
1
F
FRONT ELEVATION
R152.99 R170.00
40.00
E
E R170.00
D
1800.00
D
C
C
R45.00
R15.00
B
30.00
340.00
18.00
400.00
1200.61
GENERAL ASSEMBLEY ALL DIMENSIONS IN MM
Ash Wood. White Osmo Oil. Steel Metal.
SHEET 2 OF 20
Finishes:
Powder Coating.
Revisions 01:
Scale:
1:10
Ayanna Wilson N0728095
Part:
1-8
Date: 19/06/21
DO NOT SCALE DRAWING Material:
A SIDE NOTE:
LHS FRAME ASSEMBLEY IS THE SAME FOR THE RHS FRAME ASSEMBLEY.
//184
8
7
6
5
B
4
A3
3
2
1
A
8
7
6
5
4
3
2
1
F
F FRONT ELEVATION.
ISOMETRIC ELEVATION.
TRUE R200.00
SIDE ELEVATION.
18.00
R200.00
E
D
D
1800.00
E
C
163.41
140.00
13.88°
B
250.00
C
GENERAL SUB ASSEMBLEY.
18.00
400.00
A
7
6
5
Ash Wood.
DO NOT SCALE DRAWING Material:
SIDE NOTE: LHS middle panel is used for the RHS panel.
8
MIDDLE PANEL OF LHS SHELL.
ALL DIMENSIONS IN MM
400.00
4
A3
SHEET 3 OF 20
Finishes:
White Osmo Oil.
Revisions 01:
Scale:
1:10
Ayanna Wilson N0728095
Part:
3
B
1
2
A
Date: 19/06/21
1
//185
8
7
6
5
4
3
2
1
F
F FRONT ELEVATION.
ISOMETRIC ELEVATION.
TRUE R200.00
SIDE ELEVATION.
18.00
R200.00
E
D
D
1800.00
E
C
163.41
140.00
13.88°
B
250.00
C
GENERAL SUB ASSEMBLEY.
18.00
400.00
A
//186
7
Finishes: Scale:
6
5
Ash Wood.
DO NOT SCALE DRAWING Material:
SIDE NOTE: LHS middle panel is used for the RHS panel.
8
MIDDLE PANEL OF LHS SHELL.
ALL DIMENSIONS IN MM
400.00
4
A3
Part:
3
B
SHEET 3 OF 20
White Osmo Oil.
Revisions 01:
1:10
Ayanna Wilson N0728095
1
2
Date: 19/06/21
1
A
8
F
7
6
5
4
3
2
1
SIDE NOTE: INSIDE MIDDLE PANEL: 4MM MDF AND 1MM OF VANEER ASH WOOD ON FRONT AND BACK FACE OF PANEL. *CNC cut.
F
ISOMETRIC ELEVATION.
FRONT ELEVATION.
SIDE ELEVATION.
E
E TRUE R170.00
R170.00
D
881.86
1230.00
1400.00
D
C
C
R170.00
B
160.00
4.24
6.00
GENERAL ASSEMBLEY
ALL DIMENSIONS IN MM
MIDDLE PANEL FOR ROUNDED PILL.
DO NOT SCALE DRAWING Material: Finishes:
A
Scale:
8
7
6
5
4
A3
Part:
3
B
Ash Wood. White Osmo Oil.
SHEET 4 OF 20 Revisions 01:
1:10
Ayanna Wilson N0728095
2
Date: 19/06/21
2
1
A
//187
8
7
6
5
4
3
2
1
SIDE NOTE: EACH PART IS SEPERATE. LOCATED ON SHEETS 7-
F
F SIDE ELEVATION.
E
FRONT ELEVATION.
R170.00
ISOMETRIC ELEVATION.
R200.00
3A
TRUE R200.00 21.21 12.73
E ITEM NO.
3
QTY.
3
PILL FRAME.
1
3A
RADIUS HEAD.
3
3B
LHS PANEL SIDE BAR.
2
3C
PILL SHAPE BOTTOM.
1
D
3B
1420.00
1800.00
D
PART NO.
C
C TRUE R170.00 TRUE R200.00
3C
B
GENERAL ASSEMBLEY PILL FRAME.
ALL DIMENSIONS IN MM
174.36 30.00
160.00
DO NOT SCALE DRAWING Material:
A
//188
8
7
6
5
4
A3
Ash Wood.
SHEET 5 OF 20
Finishes:
White Osmo Oil.
Revisions 01:
Scale:
1:10
Ayanna Wilson N0728095
3
Date: 19/06/21
Part:
3
B
2
1
A
//189
//190
//191
//192
//193
//194
//195
//196
//197
//198
//199
//200
//201
//202
8
7
6
5
4
3
2
1
F
F
ITEM NO.
MATERIAL
QTY.
DIMENSIONS OF PART £/PER PART COST PER UNIT (£)
MIDDLE PANEL OF LHS Ash Wood with White Osmo Oil SHELL MIDDLE PANEL FOR Ash Wood with White Osmo Oil ROUNDED PILL
2
340 x 1460 x 6 mm
1
340 x 1460 x 6 mm
4
THE HEAD
Ash Wood with White Osmo Oil
3
200 x 30 x 18 mm
5
THE LEG
Ash Wood with White Osmo Oil
1
6
Ash Wood with White Osmo Oil
4
70 x 30 x 18 mm 1415 x 30 x 18 mm
7
LHS Panel Left Side Bar LHS Panel Right Side Bar
Ash Wood with White Osmo Oil
2
1350 x 30 x 18 mm
8
LHS Bottom Shell.
Ash Wood with White Osmo Oil
2
9
LHS Panel Arc
Ash Wood with White Osmo Oil
1
185 x 30 18 mm 260 x 30 x 18 mm
10
Moving disk
Steel Metal with Brass Finish
3
11
Fixed disk
Steel Metal with Brass Finish
3
12
Nylon Washer
13
Axel.
Steel Metal with Brass Finish
3
14
Dile.
Steel Metal with Brass Finish
3
15
Piano hinge
Steel Metal with Brass Finish
2
1
E
PART NUMBER
2
£27.41 £13.70
3
D
C
Nylon
3
E
£16.50 £20.00 £16.00 £16.50
£18.00 £23.00 336Q x 336Q x 1.5 mm £8.00
D
400Q x 400Q x 1.5 mm £8.00 39 Q x 39Q x 3 mm £3.00 15 mm x 40Q x 20Q 11mm x 20Q x 16Q 1000 x 32 x 0.24 mm
£25.00 £50.00 £6.50 £895.11
C
Added 20% VAT: £1611.19
B
GENERAL ASSEMBLEY
B
ALL DIMENSIONS IN MM
DO NOT SCALE DRAWING Material:
A
8 7 6 rnkhcvnqjr?d¥‚⁄¢•“–fl¢›?o·–¥‚⁄•M?e–·?hfl¶•·‚⁄•“–fl¢›?t¶ƒ?nfl›…M
5
4
A3
SHEET 20 OF 20
Finishes:
Revisions 01:
Scale:
Ayanna Wilson N0728095
Part:
3
2
A
1 //203
Date: 19/06/21
timeplan. DEADLINE WEEK FOR MINOR.
NOVEMBER: W15-19
OCTOBER: W11-14
DECEMBER : W20-W23
JANUARY: W24-W27
MADE IN 2020. MAJOR PROJECT: - Initial Interest - Focused secondary research - Sketching ideas/concepts - Primary research: Survey - Sketch-models - Concept development - Testing: prototype + analysis - Final design developments:
CRITICAL EVALUATION: - Creating layout for the report - Creating reflective notes on activities weekly. - Creating structure for the evaluation - Converting Notes to essay format
MADE IN 2021.
TASKS
OCTOBER: W11-14
MINOR PROJECT: - minor project details of objectives and tasks
DISSERTATION: - Brainstorm map and initial research - Secondary resarch on defined areas of topics - Feedback work: area of focused topic - anlysing data - Analysis of secondary research - Planning and preparing for Primary research methods - Creating Literature review with set targets - Completion of primary research methods + analysis notes - Writing up data and results found. - Reviewing over sources, grammar, punctuation and clarity of work. - Create title for Dissertation.
MAJOR PROJECT: - Initial Interest - Focused secondary research - Sketching ideas/concepts - Primary research: Survey - Sketch-models - Concept development - Testing: prototype + analysis - Final design developments: CAD, RENDERS, TECHNICAL BOARD - Presentation Pack
CRITICAL EVALUATION: - Creating layout for the report - Creating reflective notes on activities weekly. - Creating structure for the evaluation - Converting Notes to essay format - Refining for dropbox:
//204
Week 2041
Week 12
Week 13
Week 14
Week 15
Week 16
NOVEMBER: W15-19
Week 17
Week 18
Week 19
Week 20
DEADLINE WEEK FOR MINOR. 7TH OF DEC.
Week 21 Week 22 Week 23 Week 24 CHRISTMAS HOLIDAY. 11th Dec - 11th Jan
DECEMBER : W20-W23
JANUARY:
4
FINAL YEAR TIMEPLAN FINAL MAJRO PROJECT DEADLINE: WEEK 43: 17TH MAY
DISSERTATION DEADLINE - Week 31: 22nd of Feb.
MARCH: W32- W36
FEBRUARY: W28-W31
Week 25
FINAL YEAR TIMEPLAN Week 26
Week 27
Week 28
Week 29
Week 30
Week 31
Week 32
APRIL: W37-W40
Week 33
Week 34
Week 35
Week 36
Week 37
MAY: W41-W45
Week 38
Week 39
Week 40
Week 41
DISSERTATION DEADLINE - Week 31: 22nd of Feb.
W24-W27
FEBRUARY: W28-W31
MARCH: W32- W36
APRIL: W37-W40
MAY: W41-W45
CRITICAL EVALUATION DEADLINE: WEEK 44: 24TH MAY
Week 42
Week 43
Week 44
Week 45
FINAL MAJRO PROJECT DEADLINE: WEEK 43: 17TH MAY CRITICAL EVALUATION DEADLINE: WEEK 44: 24TH MAY
JUNE: W46-W49
Week 46 JUNE: W46-W49
JULY: W50-W53
Week 47
Week 48 JULY: W50-W53
//205
conclusion of timeplan. TASKS
Week 2061 OCTOBER: W11-14
Week 12
Week 13
Week 14
Week 15
Week 16
NOVEMBER: W15-19
Week 17
Week 18
Week 19
Week 20
DEADLINE WEEK FOR MINOR. 7TH OF DEC.
Week 21 Week 22 Week 23 Week 24 CHRISTMAS HOLIDAY. 11th Dec - 11th Jan
DECEMBER : W20-W23
Week 25
FINAL YEAR TIMEPLA Week 26
Week 27
JANUARY: W24-W27
MINOR PROJECT: - minor project details of objectives and tasks
DISSERTATION: - Brainstorm map and initial research - Secondary resarch on defined areas of topics - Feedback work: area of focused topic - anlysing data - Analysis of secondary research - Planning and preparing for Primary research methods - Creating Literature review with set targets - Completion of primary research methods + analysis notes - Writing up data and results found. - Reviewing over sources, grammar, punctuation and clarity of work. - Create title for Dissertation.
MAJOR PROJECT: - Initial Interest - Focused secondary research - Sketching ideas/concepts - Primary research: Survey - Sketch-models - Concept development - Testing: prototype + analysis - Final design developments: CAD, RENDERS, TECHNICAL BOARD - Presentation Pack
CRITICAL EVALUATION: - Creating layout for the report - Creating reflective notes on activities weekly. - Creating structure for the evaluation - Converting Notes to essay format - Refining for dropbox:
Due to extended modules, I believe that I had used my time well within the first term of the year and after the dissertation deadline was submitted, the major project continued further from the few small encounters that I could plan in during the second term, while still continuing my disseration module. Improvements: I do believe that I should have also been better at planning more timely experiemnts and being more decisive than indecisive, I believe this would have produced more experiments and development throughout the process.
//206
Week 28
W
FEBRUARY: W28-W3
AN
Week 29
31
Week 30
Week 31
Week 32
Week 33
Week 34
Week 35
Week 36
Week 37
Week 38
Week 39
Week 40
Week 41
DISSERTATION DEADLINE - Week 31: 22nd of Feb.
MARCH: W32- W36
APRIL: W37-W40
MAY: W41-W45
Week 42
Week 43
Week 44
Week 45
FINAL MAJRO PROJECT DEADLINE: WEEK 43: 17TH MAY CRITICAL EVALUATION DEADLINE: WEEK 44: 24TH MAY
Week 46 JUNE: W46-W49
Week 47
Week 48 JULY: W50-W53
//207
//208