Š 2012 Andrew Slade Ottawa, Ontario.
Kinetic Kontraption
Kinetic Kontraption
Contents A’Design Award & Competition Brief
vii
Foreword
viii
Photography
2
Alternative Compositions
8
Assembly and Parts
22
Technical Information
24
Conceptual Process
28
Contact
33
Submission Requirements: Dimensions
Format
Main Image*
3600 x 3600 pixels
JPEG
High-Resolution clear shot or rendering, showing the work in a preferably white background
Optional Image #1
1800 x 1800 pixels
JPEG
A Shot or rendering of the work with a composition of the same work showing different material, color or configuration options
Optional Image #2
1800 x 1800 pixels
JPEG
A Shot or rendering showing a detailed view of the product or focusing on a unique feature, explosion, layered or sectional views if required
Optional Image #3
1800 x 1800 pixels
JPEG
Showing the work in a setting where the design is utilized (such as an interior space or outdoors)
Optional Image #4
1800 x 1800 pixels
JPEG
An action shot, where a user interacts with the design in the designated site where the product would be used
Documentation
Max. 40 x A4 Pages
Explaining technical aspects, blue prints, details, commercial presentation or other notes about the design
Video File
Max. 10 MB. 45 Sec.
AVI
3D Rotation View, Conceptual Video, Short Feature or Advertisement of the Product
* Required.
Notes
Brief_ 01. FURNITURE, HOMEWARE AND DECOR ITEMS DESIGN AWARD Chairs, Tables, Stools, Benches, Seating System, Embedded Furnitures and More. Introduction The A’ Furniture, Homeware and Decor Items Design Competition is a specialized design competition open to both concept stage and realized furniture designs, homeware and decor items by talented designers, furniture manufacturers and producers worldwide. The A’ Design Award for Furniture, Homeware and Decor Items Design is not just an award, it is the indicator of quality and perfection in design, the award is recognized worldwide and takes the attention of design oriented companies, professionals and interest groups. The A’ Award attracts the eyes of designers and architects worldwide, winners will be able to find better and higher profile leads, get a step ahead in their commercial life. The winners of the A’ Furniture, Homeware and Decor Items Design are provided extensive and exclusive marketing and communication services to promote the success of winning the A’ Award. Furthermore, the winning designs appear on the A’ best designs book which is available worldwide, this book is furthermore distributed to the high-profile magazine editors, design oriented companies and relevant parties. The winning designs are also exhibited in Italy, and the best designs will be picked for the permanent exhibition. The winners of Furniture, Homeware and Decor Items Design appear on magazines, newspapers, webzines and many other publishing mediums. For concept stage works, the A’ Award is an early indicator of success for the concept stage products, this lets young designers, architects and design companies to register and patent winning products for commercial value generation, furthermore the A’ Award connects young designers and design companies to a large industry base and setups the links between the designers, design companies and the producers. For realized designs, having the A’ Award gives added value to your products and separates them from the rest of commoditized goods, it is an excuse to communicate your product to the media, a reason for press releases. Each winner design receives the trophy, published online and at our best designs book, receives a certificate and sticker templates to be attached to the products, the A’ seal of design excellence is also included in the winners package, this seal is valid for the entire product lifecycle without yearly fees.
/ vii
Foreword The relationship between architecture and furniture design is ubiquitous. From the careful selection of materials to the precise detailing needed to put together an assembly of parts; both disciplines require a care for product durability, process efficiency, user contingencies, and most importantly perhaps, designer responsibility. Surely visual appearance, quality, and craft are important aspects as well, but these characteristics almost go without saying in today’s design market. As it seems there is always going to be an interest to create attractive new ideas, experiment with innovative technologies, and fundamentally challenge conventional standards. The point is, we live in a fast-pace world where change and transformation is not only experienced and accepted, but becoming an increasingly valuable part of our daily lives. It is for such reasons that the quote above, “ALL ARCHITECTURE IS BUT WASTE IN TRANSIT,” has such a strong impact and resonance with the ‘SPONTANEOUS: Custom Design’ philosophy. How do we build for change; for future use and our products’ lifecycles? Can design flow with our transforming world rather than resist it? Many companies today tend to talk about this issue through the lens of sustainability; by either promoting a scientific analysis of energy
efficiency, or in contrast, a loose symbolic analogy to organic processes of nature. ‘SPONTANEOUS’, on the other hand, would like to ask: What happens if we simply focus on the ‘unavoidable’ processes that effect our designs; like ageing and weathering for example? Much like designing a building for public, residential, or commercial use, creating a product for a person that is meant to last long and change with its users over time, opens up a range of unpredictable opportunities and design possibilities. For instance, thinking about durability can help us question the types of joints and connections we make with materials. Is this product meant to last one, two, five, or twenty-years – or an entire lifetime? These are indeed important problems to solve; however, solutions to design longevity can only be enhanced if we also consider the product’s future re-appropriations. While some designers aim for permanence (or ‘eternal beauty’) in their work (which actually resists change), ‘SPONTANEOUS: Custom Design’ follows quite a different approach. Multi-use and future appropriations are two main characteristics we feel are necessary for the contemporary home, work, or commercial environment and as a result all our products are designed to be used in a variety of different ways.
The product described in this booklet, Kinetic Kontraption, has over eight other uses which not only prolong its product lifecycle, but also make this design efficient in the sense that it can serve a range of functions that would have previously required multiple pieces of furniture. In addition, all materials selected for ‘SPONTANEOUS’ products are designed to naturally age and weather. From the use of greying cedar panels to a self-healing and oxidizing Cor-Ten steel (which becomes a beautiful earthy red colour), all our products are designed to transform aesthetically over time. As a final point, the most important task for ‘SPONTANEOUS: Custom Design’ is to ensure that all our ‘design intentions’ are sincere. That is why all our products are donated to local Community Centres across Ottawa, Ontario to test and understand how our ideas are used and experienced by various people on a daily basis. Enjoy!
Is architecture a free-floating object or is it embedded in some context? _K. Michael Hays Michael K. Hays, “Theory, Media, and the Question of Audience,” Assemblage, No. 27, Tulane Papers: The Politics of Contemporary Architectural Discourse (Aug., 1995): 43, accessed October 6, 2011, http://www.jstor.org.proxy.library.carleton.ca/ stable/pdfplus/3171428.pdf?acceptTC=true.
Durability
Con ngency
Efficiency
responsibility?
Building Lifecycles / ix
Kinetic Kontraption
Photography_ From just a few images one can see the simplicity and ingenuity inherent in the Kinetic Kontraption’s design. The beauty of this product may lie in its aesthetic minimalism for some; however for others – more curious about the product’s performance – it is worthy to mention that its functional benefits are countless. Though this product has a diverse range of uses and alternative options, the real value it offers to its users is found within its ease of maneuverability and customization, allowing it to comfortably suit virtually any setting or event.
/3
SIMPLICITY OF DESIGN The Kinetic Kontraption is primarily composed of two different elements: (2) wood boxes and (1) a metal frame [which can collapse for easy storage]. Since these are essentially the only components of the design, it was both visually and practically important to think about how these elements were ‘joined’ together. In contrast to other [more traditional] furniture designs where the ‘joint’ between materials is often celebrated, this design’s challenge was to find a way to entirely remove this ‘tertiary [third material] joint’ for easier assembly, disassembly, and customization.
/5
BEAUTY OF THE MANEUVERABLE SYSTEM Other design products that attempt to offer various customization options and moving parts have had difficulties in the past because of the complexities of their assembly systems; be it a result of too many ‘small parts’ that ultimately get lost and broken or the lengthy set-up time required to change options. In contrast, the assembly and disassembly of the Kinetic Kontraption is quick and effortless. Visually, the design decision to remove the ‘tertiary joint’ helps emphasize the purity of both the wood boxes and metal frame materials, while at the same time, the way these materials are pragmatically clamped together devises a system that is user-friendly, adaptable, and therefore a long-lasting and environmentally sustainable investment for its purchasers.
To see an example of how the product works please follow this link to view a short instructional video, https://vimeo.com/42786391
/7
Alternative Compositions_ This section of the book explores a variety of ways that the Kinetic Kontraption can be used. On the following pages, there are six different visualizations accompanied by a short description explaining some of the customization options ‘SPONTANEOUS’ has noticed are most popular with its users. We would like to encourage our customers to find new configurations and send us photos so that we can integrate your ideas in our future products.
standard
tv stand
book shelves
display pieces
flower box
[!?]
/9 coffee table
light table
LIGHT TABLE The ‘Light Table’ function is perhaps the most unique quality inherent to this configuration; however, as one can see in the following photo, this option could serve many other purposes as well. For instance, the glass top could make a nice surface for an indoor or outdoor table that is easy to clean while protecting the wood and metal assembly below. Furthermore, the entire top could be substituted for nearly any material which provides this product the ability to fit in with anyone’s existing furniture, landscaping, or décor.
/ 11
TV STAND What can be said about a ‘TV Stand’ today? In a world where movies, games, and television shows are all starting to become transmitted from one single provider, we are slowly beginning to reduce all those ‘cluttered cords and wires’ that used to hide behind tinted glass cabinet doors. Nowadays, instead of hiding our electronic devices, it seems more and more common to put these [often ‘shiny and flashy’] machines on display.
/ 13
DISPLAY PIECES This configuration is by far the most simple in its use, yet it is congruently the most fluid and adaptable alteration as well. In pursuit of original and innovative ideas, designers sometimes miss the opportunities that are revealed in the most obvious situations. The ‘Display Pieces’ configuration is a perfect example of this observation. In the ‘upright’ configuration [3ft high] as shown in the following image, the wood boxes make a perfect surface for plants, vases, key dishes, or any other object one would like to see or reach with ease. *Optional shelves can be accommodated to fit this configuration.
/ 15
COFFEE TABLE The ‘Coffee Table’ modification is basically no different than the standard Kinetic Kontraption model; however, it is important to describe because it offers a unique range of versatility in comparison to some of the other options. Through a variety of testing measures conducted on the product, it was noticed that this smaller [more compact] table option was predominately used in two different situations: (1) in the event that two couches sat face-to-face which allowed people a place to set their drinks, books, and various accessories while remaining close in conversation with one another, and (2) in situations where people needed one wood box for a ‘Display Piece’ this variation allowed them to keep a fairly adequate version of the standard Kinetic Kontraption option.
/ 17
BOOK SHELVES With a bit of creativity, this alteration has many interesting effects on the space in a room. The following image shows one of the more conventional looks for the ‘Book Shelves’ by displaying a basic cantilevered shelf with hidden wall mounts, but perhaps for those more interested in playing with the wall surface that these shelves rest on, it would be tempting to imagine in-setting these boxes into the wall; horizontally, or even vertically between the wall studs for an easier installation.
/ 19
FLOWER BOX The ‘Flower Box’ option may not be the first choice of configuration for most purchasers of the Kinetic Kontraption, but this does not mean it won’t find some appreciation later on in its lifecycle. As the product ages and weathers over time – especially if it is used as outdoor furniture – a planter, garden box, or landscaping feature might become a reasonable use for this product. The wood boxes are essentially a unit [like a brick or a concrete block] and therefore many different custom design ideas can be constructed from these wooden elements. Additionally, for a commercial owner that might buy a few of these products, the design possibilities become increasingly interesting.
/ 21
Assembly and Parts_ Please follow the ‘pink arrows’ and ‘diagrams’ on the following page to see how the Kinetic Kontraption is set-up in its standard configuration. The ‘dashed-line bubbles’ along the perimeter of the page refer to various details characteristic of both the wood boxes and metal frame. The top two details are more technical and about the product’s construction whereas the bottom two details are more about how to temper and maintain the product to suit different environments.
Solid maple frame with maple veneer plywood panels. *various alternative panel options
Bisketing and splining to conceal joints at corners and edges
Place wood BOXES in the centre of the metal frame
Open METAL FRAME (as shown on the right) to lock wood boxes into position
Twist ADJUSTERS to compensate for uneven surfaces
Use WING NUT to tighten or loosen frame if needed The weight of the wood boxes will hold the metal frame in position and keep it from moving / 23
Technical Information_ WOOD BOXES These elements appear to be quite simple and elegant from afar; yet, when someone eventually gets close to them, they will quickly notice the careful detailing used to achieve this round shape. At a distance, the boxes look like they are made of a homogeneous and continuous material, but in reality these elements are constructed with a combination of solid maple timber and maple veneer plywood. Since solid maple is used for all the edges and corners, the plywood panels in between are virtually non-structural and therefore can be removed or customized as our customers desire.
ELEVATION 3/4� thickness
x2
Solid maple Maple veneer plywood panel
Maple veneer plywood panel Solid maple Sol
PLAN
/ 25
METAL FRAME Much like the ‘Wood Boxes’, the frame is composed of two different metal structures: solid round rod and tubular round. The reason for this is to (1) cut down on the overall weight of the frame to make it easier to move, carry, and store, and (2) to allow for a tight 1” radius to be used for the hooks at the top of assembly [see elevation]. *Tubular round metal cannot bend at such extreme angles without buckling and cracking first. Likewise, solid metal rod is much more difficult to flatten and this is why the tubular round components were used at the center of the assembly where they overlap like a pair of scissors [see plan].
ELEVATION 1/2” Ø diameter
x2 Solid round
Tubular round
Max. open position Max. closed position
PLAN
/ 27
Conceptual Process_ The collection of sketches and images shown in this section document the designing process used to conceptualize and eventually build the Kinetic Kontraption. The majority of this material was created while working in a wood shop, and as a result, the detail in this product embodies an acute attention to craft, quality, and functionality as guided by various material explorations and ‘hands-on’ shop techniques. *The sketches to the right represent what someone might call an ‘Ah-ha!’ moment in design.
/ 29
Some ideas here were driven by machining processes, some machining processes were driven by outside ideas. Nevertheless, even though a certain aesthetic, image, or sculpture was never settled on until the design was finished, important principles – as discussed in the forward – influenced every decision along the way. (1) Alternative Clamping System, (2) TV Tray Stand – Inspiration from scissor joint, (3) Rounded Corner Milling (4) Hidden Welding Details – Solid to hollow metal (5) Potential Uses for Community Centre in Ottawa, Ontario. / 31
Customize your own Kontraption . . .
Contact Andrew Slade (B.A.S, M.ARCH) 1375 Prince of Wales Drive, Ottawa, Ontario K1S 4G6 C. 1.613.000.3771
*For more information, please see http://issuu.com/acbslade/docs/ spontaneous_custom_design_-_kinetic_ kontraption?mode=window&background Color=%23222222 or https://vimeo.com/42786391
Kinetic Kontraption