METHODS & RESEARCH MITCHELL
ROSE
S3167611
INDEX PROPOSAL
...2
LITERATURE REVIEW
...5
CHAPTER REVIEW
...12
TIMELINE
...13
METHODS GLOSSARY
...17
BIBLIOGRAPHY
...19
LEARNING TESTIMONIAL
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PROPOSAL Keywords:
Fibonacci, Golden Ratio, Aesthetic, Less Is More, M.A.Y.A, My main message is that designing for a need or for the needs of consumers is not compulsory. Design is quite capable of satisfying the consumer’s wishes and fulfilling their desires. I started this proposal with a mindset to create a chair that will extensively utilise the knowledge I will have developed and evolved previously in Kjell Grant’s Steam Bending Studio, as well as studying the methods and techniques of steam bending wood from literature and other designers. With this technology and method I will engineer the chair to produce a highly visual aesthetic appeal which will further progress my understanding of the steam bending procedure and technique. These discoveries from analysing my design process are extremely important as the methods and research conducted can be directly adjusted and applied to future endeavours. The process can be fast tracked and the final outcome developed to appear even more precious.
I will be researching the methods and techniques used in designing a chair. The steam bending of wood will be implemented. The knowledge developed from Kjell Grant’s New Wave Steam Bending as well as studying the method techniques from literature and other designers such as Matthias Pliessnig and the ply forming techniques of Charles and Ray Eames will be used as a foundation. Other various materials used in a complimentary fashion will also be implemented as not to limit the design to timber. In doing so will further emphasise the tradition of the steam bending process. This synergism of materials will develop into a key point of the design and change, hopefully, people’s perspectives of furniture and house wear products. I will need to establish the capability to conceptualise an outstanding piece of furniture. This can be achieved by studying the techniques and methods practiced by those before me; learning from the past. Researching the techniques and methods practiced by individuals such as Marcel Breuer, Ludwig Mies Van Der Rohe and Raymond Lowey. Understanding how these individuals produced such outstanding designs could possibly aid me in doing the same, so researching the methods and techniques developed by these designers will be undertaken. As my intention is to produce a chair, understanding human form and proportions will also be an imperative area of study.
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The research regarding designers as Marcel Breuer, Ludwig Mies Van Der Rohe and Raymond Lowey will hopefully, as previously stated, aid me in my design exploration. Marcel Breuer is very inspirational. Breuer’s methods have a large influence on my design process. Breuer enjoyed working without having to philosophise before every move. For example “a chair, should not be horizontal, vertical, nor should it be expressionist, not constructivist, nor designed purely for expediency, nor made to “match” a table. It should be a good chair, and as such it will “match the good table” (Magdalena Droste, Manfred Ludewig, Bauhaus-Archiv. Marcel Breuer. Benedikt Taschen, 1992). Breuer secured himself a creative freedom through not philosophising. This freedom led to design solutions unlike any designer before him. Another method which Breuer implemented was designing from two separate angles. The first being the “social angle”, where price can be afforded by the greatest number of consumers. The second angle was that Breuer viewed his designs as a means of shaping the future.
Raymond Lowey’s philosophy is also important. “The adult public’s taste is not necessarily ready to accept the logical solutions to their requirements if the solution implies too vast a departure from what they have been conditioned into accepting as the norm” (Industrial design / Raymond Loewy, 2007,Duckworth). This quote reflects Lowey’s M.A.Y.A principle, Most Advanced Yet Acceptable. Although the “norm” has evolved, the principle is still valid and is a moral value. The main achievement is not to over complicate the presently difficult life of the consumer. Seeking excitement and taking chances, Lowey “was all ready to fail in order to achieve something large”. Matthias Pliessnig (http://www.matthias-studio.com/) is another designer which I find extremely interesting. The use of steam bent wood is laboriously crafted into one off pieces. After constructing a boat, Pliessnig applied the techniques and knowledge to building seating furniture. Computer aided curves are developed and then the steamed wood is bent around mold’s to create absolutely stunning pieces of furniture.
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Pliessnig’s providence bench is purely constructed through the use of steam-bent White Oak. Pliessnig wanted to design a form which constructs a physical conversation involving the individuals using it and the form itself. I have found the techniques of Pliessnig to be absolutely stunning and his process of steam bending extremely helpful in my knowledge and understanding on the technique.
Although there is a sence of altruism involved in that mentality, this proposal isn’t looking into this at all. It is about my lust to provide to the consumers wishes and desires, not their needs. Every studio brief has been received with the objective of designing to a need. I am intending to set myself free from this “need”. To design for wishes and desires of consumers, rather than design an instrument which solves a need.
I intend to go into production with the chair designed, although in a limited run batch production. This possibility of a business venture, selling my design to individuals or the design to a company, is exciting and would be an even more exciting challenge. It should be a business venture if the chair’s visual aesthetic is worthy of such effort, as the final goal is to become a practicing designer and earn a living. The capability of earning a small income from my design, while I am still learning at university, is certainly not out of reach. “Keeping one eye on the cash register and the other eye on the imagination” quoted by Raymond Lowey (Industrial design/Raymond Loewy, 2007, Duckworth), is a very realistic approach. Fulfilling consumer’s needs and changing the world as a designer seems to be the practicing status quo, a rather humouress picture on the internet which states “Design won’t change the World. Go volunteer in a soup kitchen you pretentious fuck” backs up this status quo, as does countless mentalities and philosophies from even more countless designers.
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LITERATURE REVIEW Through consulting literature to procure information regarding the discourse of furniture design and acquiring an ability to specifically analyse key themes. By focusing on the designs from the past and collecting references regarding relative topics. The topics include Historical Analysis, Scale Modelling and “Being your customer”. Obtaining information about Starck’s Wash basin mixer and looking at its ancestral roots. Researching the methods Med-Lectric Corporation used in developing the Delta scanner. Reviewing the reasons behind a designs message and providing my opinion. A review of what companies, in this case Schiavello, takes into account when designing for consumers and the process the company involves themselves with in “becoming their customer”. Frameworks: Historical Analysis. A Historical Analysis compares features of an industry, group or design to precedents which have occurred previously and how they relate to what has come before the object under analysis. In such a case, Philippe Starck’s Wash Basin Mixer, 1994 (Starck, 2000, Benedikt Taschen Verlag), has extremely strong historical genes. These genes, inspirations and contemporary styling’s can be traced back to the
silhouettes of reciprocating positive displacement hand operated water pumps. The modern styling of the faucet radiates a glamorous and simplified aesthetic. The vertical stem of Starck’s design represents the piston pumping mechanisms housing. The water spout, making the ancestral water pump’s version seem antediluvian and decrepit. The L shape being replaced with a sleek cylindrical shaft which flows water on a slanted plane. The pumping handle, reconstructed into the water flow control handle. Starck’s historical analyse of the water pump has led to the realisation and creation of an instrument from a bygone era. The form’s silhouette has been modernised. Its long dexterous handle, no longer required to be used. A lever which would pump water from a well, scaled down for functionality. Historical analysis has the certain possibility to be applied to the design process. I love reading and learning about 20th century design movements. The curvaceous flowing lines from Art Nouveau, the simplistic nature of Bauhaus and the extravagances from Art Deco. Analysing these design flavours helps me to produce a palette of quality. This can be directly applied to my design process. The timeless design pieces from these movements inspire the masses, understanding how these pieces did so will hopefully aid me in becoming a celebrated designer.
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Be Your Customer. Becoming your customer/role playing is a helpful method which can reveal a designers/client’s perceptions of how the target market will interact with the design. It provides information regarding customers experiences with the product. Jens Andersson (http://www.dh.umu.se/default. asp?highLight=braun&P=1706, http://www.coroflot.com/public/individual_file.asp?portfolio_ id=824068&individual_id=33986) placed himself in the shoes, or rather swimwear, of troubled swimmers and lifeguards when he designed the Rescue Buoy in 2005. As a life guard Andersson described, enacted and outlined what difficulties occur during a shift at work. Becoming his customer forced Andersson to think like a lifeguard. Being able to spot troubled swimmers from the shoreline is a simple objective. Although once in the surf; with tides, waves and fear moving the distressed swimmers location the difficulty in locating the same swimmer is a common occurrence. To solve this problem and help the Lifeguard to plan rescuing tactics and protocols, Andersson conceptualised a rescue buoy. A robot that can propel itself, in the form of a remotely controllable buoy.
It aids the lifeguard in monitoring the beach. As the customer/lifeguard, Andersson wanted to indentify and rescue the frantic swimmer as fast as possible. This timeframe Andersson was aiming for would reduce the panic and drain of energy the swimmer would endure. With the buoy already in the water, Andersson visualised the capability that one Lifeguard could control the buoy’s movements. Propelling it towards to swimmer while another lifeguard entered the surf to extract and rescue. Andersson believed that this quick manoeuvring plays a vital role in the protection from oceanic predators and weather issues. The buoy, designed as a fleet, with one rescuing buoy monitoring a 150 meter radius, is highly visible to the Lifeguard in the surf. Acting as a beacon or target which the Lifeguard can see above waves etc. Thus being easy for the Lifeguard, or Andersson, to spot the troubled swimmer. Being your customer can have a profound effect on the sales of my designs. Taking this method into account I can visualise what my “customer” or “client” needs. Or rather, building atop of the proposal, visualise the desires and satisfaction of the customer.
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Scale Modelling. Scale modelling is used to create design spaces/mock up models which clients, peers and ones self can utilise to understand spatial awareness of a design. It is a method which can raise awareness to underlying needs and for example used to change details early in the design process. Ross Lovegrove (Supernatural The work of Ross Lovegrove, 2004, Phaidon press limited) has used scale modelling/ rapid prototyping in his design process of the design of the Biowood sculpture and the Ty Nant PET bottle. This product scale modelling is a rapid process where models can essentially be produced before the end of the working day. Clients and stakeholders can have a physical scale model in front of them. Becoming spatially aware of proportions and details, this invaluable method creates the ability for executive decisions regarding accuracy to scale and detail, branding placement, technical feasibility as well as being used for purposes such as evaluation of the product and user feed back demonstrations. Another example of scale modelling can be found in the Automotive industry. Harley Earl (Harley Earl and the Dream Machine, Stephen Bayley, 1985) was the pioneer who introduced clay scale modelling into the automotive industry. During 1916, Earl had developed the method of implementing clay to produce scale models.
Earl discovered that clay as a medium produced a malleable advantage over plaster and wood. Allowing more models to be produced and varied aesthetic differences to be considered for production. Scale modelling has been implemented previously in my design practice. The rapid prototyping of scale models was undertaken during the rapid prototyping jewellery elective. The process allowed me to visualise a material object which represents the final form and aided me in understanding how people interact with the piece. A 1:10 scale model was also produced for the Zero-Car studio. This scale model allowed people to further understand my design more clearly and realise aesthetic features/details previously overlooked. Scale modelling bridges the gap of 3D thinking for those who may not have developed the skill. This is an extremely important method which can sway the decisions of stakeholders. It allows such people to “feel� the design as well as develop emotions previously unstirred from sketches and 2D representations.
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Precedents: Historical Analysis Discoveries point out that historically based research methods are relevant to further understand designing for context. Examining past precedents has been implemented to inspire such aesthetic styles as retro. This can suggest historical analysis can give information on design strategies. Reoccurring cultural themes are also demonstrated in historical analysis which proves the saying “everything old is new again”. Questioning these demonstrated cultural themes can lead to designers rethinking how the produced designs are interacted with by the consumers.
Historical analysis can spur the imaginations of designers by providing a scope of the present situation, how has the area changed? As well as leading into future forecasting. Ultimately historical analysis is used as a background research method. Examining texts, newspapers, reports, diaries, patens, historical literature, magazines, cultures and catalogues. Giving an understanding of what has been and what is yet to come to past. Be Your Customer. Schiavello implements “be you customer” into their design process through formulating and articulating product and furniture design. They become their customer when they ask who their product is for.
Looking through historical analysis the information on how products are developed is also broadened. Products are becoming further tailored to support an individual with designers moving in the opposite direction to a multiple of people or families being designed for.
Evaluating areas such as demographics, Schiavello’s understand the amount of customers they are able to reach and design for. Examples of areas include: The lifestyle of their customers; thinking of the customers from varying social backgrounds, age groups and stereotypes.
“Those who can not remember the past are condemned to repeat it”. This quote from George Santayana argues that the exploration of the past aids us in discovering who we are today and the directions we are heading towards tomorrow. Discovering the past of design can deepen a designers understanding of the context they are designer for, introducing who has previously used the product and who else they include in the target market.
Motivational and aspirational aspects; what motivates their customers, attributes from every day living that the customer lives for or enjoys involving themselves with. Aspirational motives, what is the customer looking to procure from life, what area are they including themselves within the social hierarchy.
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Value parameters; what values do their customers have. Facets of the customer’s personality such as valuing sustainable materials, honest design and honest living. The customer’s limitations surrounding the availability of space and how much they can spare. Further involving themselves as their customer, Schiavello’s takes into account how the product can best suit the customer’s organisational constraints. The functionality of the product, how will the customer use the product, as well as the product serving multiple functions. The value of the product; will the customer be satisfied with their purchase. The customers appreciation of the design and feel of the product. Considering which design will sell the best. Moving the most numbers and ultimately producing the best profit margin for the company. Customer value is broken up into 3 critical components while Schiavello’s is role playing as their customer. These critical value dimensions are price, product quality and design. The customer takes into account the cost of the product and evaluates it with the quality and the design. Scale Modelling. Scale modelling was used by the Med-Lectric Corporation during the production of the Delta scanner. Moving through several changes in the forms aesthetics Med-Lectric utilised scale modelling. Combing the use of stereo lithography and urethane casting.
These scale modelling methods were employed to produce a range of accuracy in scale and detail. Building models to evaluate, demonstrate and study features was useful for engaging technical feasibility, structure, userinterfaces and brand labelling. The scale modelling resulted in the product being tested for ergonomic and cosmetic design by users. Feedback of invaluable information was procured allowing the product to be produced faster and more economically. Review: Nicolas Thomkin’s, Yin Yang chaise lounge (http://www. yankodesign.com/2007/03/21/dedon-yin-yang-furnitureby-nicolas-thomkins/), has been inspired by stones which were hollowed out by the tidal surf or sand dunes in a desert; Appearing and disappearing, with which you can embed yourself and drift along. Simone Le Amon’s Lepidoptera chair(http://www.contemporist.com/2009/03/12/lepidoptera-chair-by-simoneleamon/) and Bowling arm, implement recycled materials. Utilising textile remnants from automotive textile manufactures, or cricket ball leathers. Essentially creating something from nothing. I would purchase these pieces, although I find the background meaning to the design process is a personal/ private journey. I would refer to designing as almost being like a magician.
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Everybody wants to know the secret behind the trick, when you tell them the secret the mystery of the piece escapes. But when you don’t reveal the secret they are intrigued and captivated by mystery, as humans are curious creatures.
Marcel Breuer explains “a chair should not be vertical, not should it be horizontal, nor should it be expressionist, nor should it be constructivist, nor designed for expenditure, nor made to “match” the good table. It should be a “good” chair and as such will match the good table”
The necessity for this “inspirational knowledge” is personally annoying, having to find reasons to justify every single millimetre of progress. I believe that designers, academics, theorists and consumers get to involved analysing and reviewing objects. Criticising and nit picking minuscule details regarding the designer’s journey and process to which they utilised to travel to their final destination. Agreeing or disagreeing obsessive and compulsive habits clouding their vision of the product. People will always judge books by their covers. So to speak, the consumer’s decision will always be based upon appearance. Psychological studies proving first impressions are concluded within seconds and minutes.
( Magdalena Droste, Manfred Ludewig, Bauhaus-Archiv. Marcel Breuer. Benedikt Taschen, 1992).
Form ever follows function. Although a chairs primary function is to sit at, as a dining table’s function is to be used as a surface which meals etc are placed upon. The piece with the most beautiful aesthetics will always draw people to it, like moths to a flame.
This freedom from having to philosophise was not only enjoyed by Breuer, but it allowed him a creative freedom which led to astounding design solutions, such as the Wassily chair. Michael Graves did not “indulge” in theory either, although one could argue that this is why the bird whistle melted on the Tea Kettle produced by Alessi. “It must all start with an inspired, spontaneous idea”. This quote from Raymond Lowey (Industrial design / Raymond Loewy, 2007,Duckworth) suggests that a message behind a design is not necessary, but the “spark” certainly is. The relational thought process of spontaneous ideas can lead to “design accidents”. Or as Kjell Grant refers to them; “design happenings” and “design serendipities”. With Grant’s “Puzzle Piece”, he was clearing out a desk draw when puzzle piece fell to the ground. Grant visualised these pieces of puzzle extruded and capable of being sat on.
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The meanings behind the design I believe should be less criticised and less important, with the actual physical body of work celebrated. In the material/real world we use the fore mentioned physical body of work. We sit on the chair, we eat off the table. One can embrace the meaning behind the design, but one certainly can not use it. So is the pen really mightier than the sword?
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CHAPTER REVIEW PRESENTATION TECHNIQUES
A guide to drawing and presenting design ideas. Dick Powell. 1990. MacDonald & Co Publishers Ltd. Pg. 62-63 Presenting concepts, ideas, generating concepts through sketching, rendering and visual representations, for me, is a subject of interest, an activity of joy and leisure. I find it interesting how lines on a 2D surface can evoke emotion and aid people in realising your concepts and what is happening in ones thought process. I get joy out of sketching, finding it relaxing to sit down and sketch forms. Obtaining satisfaction from receiving complements regarding sketching and rendering skills. Working so hard to improve the skills and look back at old work and see evidence of progression. Dick Powell’s Presentation Techniques give the reader a plethora of information regarding techniques to present their designs in 3D space on a 2D surface. Powell introduces the medium of markers. Powell describes how the marker tip leaves ink on the 2D surface, how markers are unforgiving and how soft gradual toning is difficult to achieve. Even suggesting pastels for soft and organic forms. The best approach for using markers is a bold approach, as applying colour in a bold fashion will achieve the best results. This is a tip Powell suggests for beginners as he continues to evaluate how students tend to be very tight and are required to loosen up to progress their abilities.
Using markers is so fast and immediate beginners can be often indecisive, over concerned and treat a sketch too preciously, commonly over working the rendering. Powell uses markers to give an impression rather than present a true picture. Explaining that if enough information is rendered the mind can draw off visual experience to complete the picture. Advising to simplify the image, as if viewing it through squinting, rendering with more contrast and bolder strokes that what would be there in reality. Stating rendering is occasionally a question of where not to place colour, rather than where to put colour. I believe that to be a good designer you must be able to effectively sketch and show concepts in a confident manner. Having this ability enables others to understand the design, allows one to better educate themselves about the design and solve problems encountered during the design process. Sketching and rendering should not be a laborious chore, but rather a fun and exciting. Sketching and rendering is used in the design process during researching, concept generation and product presentations. It is used to generate concepts in a time economic fashion. Sketching and rendering helps the designer to solve problems, helps stakeholders to understand the concept, aids in selling the idea to the stakeholders through emotive and persuasive presentations and is used to construct 3D forms on a 2D surface.
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TIME LINE Week 1
Weeks 2 to 16
Construct a brief 1.) Define - the problem, or the task. a.)a clear statement explaining what the issue is and why it is an issue.
Research • Read product reviews. • Analyse design expo reviews. • Analyse furniture design case studies, articles, literature. • Read and conduct interviews. • Interview companies or individuals with knowledge regarding the discourse of furniture design. • Understand the target market/audience. • Research the target market/audience’s background. • What do they respond to form wise, colour wise, what are their mannerisms, what do they want from the product. • How can I use the above mentioned examples to my advantage to design the best possible products. • Market research. What else is on the market, what is selling the fastest and why. • Holding discussions with peers • History of the market. Who and what has already been, what made these so successful • Review case studies regarding the markets history. Re-evaluate the brief and review if it still applicable after the research is completed.
2.) Dissect - define clearly all major factors involved. a.) departments b.) resources c.) outsources d.) processes 3.) Identify - within each section/factor involved a.) identify what’s working and what’s not working b.) begin to mark where changes can be made. 4.) Design Process - redefining factors a.) suggest new creative design solutions and elements needed to successfully implement successful results. b.) clearly articulate how each new design concept involved will affect the process and what to expect. 5.) Implement - case study, implementing design a.) back up your new design with support and research b.) test new design c.) feedback is important 6.) Results
Possibly tweak the brief to coincide with any changes regarding the desired direction.
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Weeks 16 to 32 Concept generation • Visual brainstorming. • Thumb nailing. • Thumb nail refinement. Concept refinement • Refine selected generated concepts. • Implement design details or remove details. • Visualisation of 3D forms on 2D space. Prototype • Engineering drawings, mock ups, C.A.iD, scale models. • Construct rapid prototypes used for 3D space realisation. • Refine rapid prototypes. Test •
Test using refined rapid prototypes .
After concluding refined prototype testing, analyse any changes required and conduct the required changes. Return to the concept refinement stage to establish this step. • •
Refinement • After testing and re-evaluation, refine the product. This can be repeated several times. Present and Exhibit • The refined product is completed and ready for submission. Manufacturing • The product is in a stage which is ready to be manufactured. Project Budget: A project budget is moderately irrelevant. Any costs required during the process are exempt from reason. The process is relevant to my education and reasonable costs can be met. A maximum of 5,000 to 7,000 AUD can be accounted for. This “kitty” can be used to develop rapid prototyping, procuring relevant materials, covering labour costs and producing a final outcome. This however does not mean a spending spree of outsourcing will occur. I am more than eager to apply myself to produce the final outcome and purchase the necessary materials I require so that I can involve myself in making the product.
Gather questions and answers from testing. Refine the concept according to the above statement.
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Idea
Research
Tweak brief
Conceptualisation
Test
Answers
A week by week overview and breakdown of the year. The graph includes what actions will be taken and when they will occur. The short overview is a timeline of these actions.
Outcome
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Semester 1 Research
Two 16 week semesters.
Intergration of research and design.
Semester 2 Design
Triangle funnel graph. Semester one begins, consisting with no designing but purely research. As the semester continues to proceed, research slowly stops and designing beings. The intergration of both research and design starts, this transition is the point where changes to the brief can be executed. Semester two begins. Research slows almost completly. Visual concept generation begins. The semester The end product is established as the semester ends.
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GLOSSARY TERMS Three over three
Burl
A Three over three configuration in furniture design refers to a couch which is designed with three back cushions and three seat cushions. With each back cushion being designed and positioned right above the seating cushion. This configuration provides three very distinct seats.
A hard hemispherical deformity in a timber, often due to stress or injury to the bark, trunk or major limb of the tree, commonly caused by fungus, insects, humans and gene deformities. Burls are highly sort after for the whorls and patterns which are found in the solid timber growth. Burl’s are collected and ripped to create beautiful veneers and solid pieces
Scagliola A technique which produces ornamental marble through the implementation of plaster chips and pigmented gypsum. The craft flourished across Europe in the 18th and 19th centuries. As a labor intensive process, scagliola has become a technique of the past. However, lately Scagliola has been renewed and re-explored to enable the conservation of earlier work not only in furniture, but architecture as well.
Chiffonier
French Polishing
Antique
A finishing technique of wood resulting in an extremely high gloss, deep colour and tough surface. Applying many thin coats of french polish , which is shellac dissolved in alcohol with a rubbing pad. The rubbing pad used is made up of wadding inserted into a square piece of cotton and is referred as a fad. A very lengthy and very repetitive process. With the finish being obtained through a specific combination of different rubbing motions consisting of circles and figure-eights, waiting for considerable drying time, building up layers of polish and then spiriting off any streaks left in the surface.
An Antique is any item which is 100 years old or older (according to U.S. customs laws).
Pronounced ”shiff-on-near”. A tall slender chest of drawers or lingerie chest, sometimes Chiffoniers include a swiveling mirror attached to the top. The name originates from the French word for rag-gatherer, which leads to belief the original purpose of a chiffonier was to serve as storage for for all kinds of odds and ends.
Usually procured based on rarity, unique design features, condition of the item, desirability, family heirloom or profit for resale.
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Historical Analysis The comparison of features in a group, industry, organisation, market through various stages in development. Historical analysis aids in the identification of trends and cycles of how products are used and the customers behavior regarding the products. It is also implemented to aid in future projection to establish how these patterns will reoccur. Scale Modeling A spatial prototyping method which is used to provide an understanding of form. Quality of the scale model can range from highly detailed/presentation quality down to basic modeling used to represent the items proportions. Pre-made fabricated parts and specifically made parts can be utilised to establish form. Scale Modeling is used to establish a spatial model which individuals without the ability to read 3D forms on a 2D surface such as a computer screen or paper.
As the sequence continues higher and higher the closer two consecutive Fibonacci numbers of the sequence divided by each other will approach the golden ratio (approximately 1 : 1.618 or 0.618 : 1). Dagmar bumpers A 1950’s slang term for a styling element which was formed like an artillery shell. Found on the front bumper of Cadillac automobiles. Design by Harley Earl. Dagmar Bumpers where a direct reference to Virginia Ruth Egnor, an early 1950s television personality. Well known for her pronounced cleavage. Egnor’s ...physical attributes... were further enhanced by low-cut gowns and the shape of her bra cups, which were somewhat conical. Egnor was amused by the tribute.
Fibonacci number sequence The Fibonacci sequence of numbers is a series of numbers where each number is the sum of the previous two numbers. Beginning with 0 and 1. The sequence followers as 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610 etc.
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BIBLIOGRAPHY
Charlotte & Peter Fiell, Industrial Design A-Z, 2006, Taschen Contains an alphabetical A to Z list regarding iconic design objects. From U-2 spy planes to Apple computers. This book was interesting due to the range of objects it contained and the information regarding the objects. Icons of Design The 20th Century, 2000, Prestel Verlag Much the same as the book above, but with different products and designers. Industrial design / Raymond Loewy, 2007,Duckworth This book gave an insight to Loewy’s personal life and listed the variety of his design career. From locomotives to the BP petrol station logo. Magdalena Droste, Bauhaus, 2006, Taschen An overview of the Bauhaus curriculum and examples of students work. It has photographs of the Dessau campus and a timeline of the Bauhaus. Magdalena Droste, Manfred Ludewig, Bauhaus-Archiv. Marcel Breuer. Benedikt Taschen, 1992 Similar to the Lowey book. This book contained information regarding Breuer’s methods and examples of his design contracts.
Starck, 2000, Benedikt Taschen Verlag A compilation of Stark’s work and a biography of his life and design career. Supernatural The work of Ross Lovegrove, 2004, Phaidon press limited An in depth explanation of Lovegrove’s designs. The processes involved and reasons regarding design choices. Dick Powell. 1990. MacDonald & Co Publishers Ltd www.cc.gatech.edu/~beki/c29.pdf accessed 1st of September 2009 www.alphaprototypes.com/urethane-castings.aspx accessed 1st of September 2009 business.vic.au/busvixwr/-assests/main/lib60040/10_ schiavello_casestudy.pdf accessed 1st of September 2009 http://www.matthias-studio.com accessed 13th of August 2009 http://www.contemporist.com/2009/03/12/lepidopterachair-by-simone-leamon/ accessed 1st of September 2009
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http://images.google.com.au/imgres?imgurl=http://www. iaacblog.com/2008term01/course05/wp-content/uploads/2008/11/blog32.jpg&imgrefurl=http://www.iaacblog. com/2008term01/course05/%3Fcat%3D59&usg=__5peH QlH-eFi11ClwoSBjr3qVzw=&h=1622&w=1994&sz=834& hl=en&start=13&um=1&tbnid=Ki6UwMhqzr65OM:&tbnh= 122&tbnw=150&prev=/images%3Fq%3Dsteam%2Bbendi ng%2Bfurniture%26gbv%3D2%26hl%3Den%26sa%3DG %26um%3D1
For peer review I reviewed Daniel Hood’s Proposal and Lit. Review.
http://danielshood.wordpress.com/the-proposal/ http://danielshood.wordpress.com/the-literaturereview-annotated-bibliography/
accessed 13th of August 2009 (tinyURL explained that this sight could not be accessed due to being blocked) http://www.yankodesign.com/2007/03/21/dedon-yin-yangfurniture-by-nicolas-thomkins/ accessed 1st of September 2009 http://www.dh.umu.se/default. asp?highLight=braun&P=1706 accessed 1st of September 2009 http://www.coroflot.com/public/individual_file. asp?portfolio_id=824068&individual_id=33986 accessed 1st of September 2009
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LEARNING TESTIMONIAL DESIGN STUDIES STREAM STUDENT LEARNING CONTRACT 2009 YOUR FULL NAME:
Mitch Rose S3167611
STUDENT NUMBER:
RMIT EMAIL ADDRESS:
s3167611@student.rmit.edu.au
PLEASE CIRCLE OR HILIGHT THE COURSE YOU ARE ENROLLED IN: SEMESTER ONE GRAP 1041: DESIGN STUDIES 1
GRAP 1O43: DESIGN STUDIES 2
SEMESTER TWO GRAP 1042: DESIGN STUDIES 3
GRAP 1044: DESIGN STUDIES 4
GRAP 2225: METHODS IN DESIGN RESEARCH AND PRACTICE
Methods in Design research and practice. Dr. Scott Mayson
TUTORIAL TITLE: LECTURER:
Briefly discuss what capabilities you are aiming to learn / develop and what challenges you will set for yourself in this tutorial:
I aimed to learn design methods and techniques implemented by other designers through researching a variety of information. I challenged myself to understand how and why these techniques were/are used. To better understand them and procure the information as to why the methods and techniques were created in the first place. I aimed to produce the best possible work I could get out of myself so that I could procure a sound understanding of the design discourse I wanted to select for my final year at RMIT.
In signing and lodging this form I agree to fulfill the following: • I commit to an active class participation rate of no less than 80% • I commit to engaging in all peer review activities • I will keep track of my learning and discuss my aspired grading with my lecturer • I will submit all assessment tasks on the due date as specified by your lecturer • I will ensure that all work that I engage in will be done so in accordance with RMIT Universities policy on academic integrity Please HIGHLIGHT the grade that you are aspiring to attain so that your lecturer has a clear idea of your actual level of your commitment to the course in view of what you aim to learn and how you aim to demonstrate that learning through assessment tasks: (see over for description of what each grade means)
Your signature:
PA Pass 50-59%
CR Credit 60- 69%
DI Distinction 70- 79% Date:
HD High Distinction 80- 100%
15/10/09
NOTE: TO BE COMPLETED, PRINTED AND PROVIDED TO YOUR LECTURER BY WEEK 3 OF THE COURSE
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