Ceramics Anthology

Dirt/Dreams a ceramics anthology

photograph of physical book for this anthology

Co/ntents

4

Abstract

6

Craftsmanship

14

Artisan and Designer

20

Brief One

34

Brief Two

44

Self Reflection

50

References

Ab/stract

This book contains an essay that discusses the significance of craftsmanship and its relevance to contemporary Industrial Design practices. The discussion looks at the relation to both process - what the designer learns through the process, and outcomes - what is achievable, different or desirable outside mass manufacture or high artefacts. The essay and readings around craftsmanship and its role in contemporary Industrial Design are there to put myself in the continuum of human making. To make me think of my individual activity outside of my own self and see myself as part of the continuum of human history and making technology.

The section of Artisan and Designer looks at two different examples where a contemporary designer has worked within the craft or batch production field. It will look into the relation and interaction between the designer and craftspersons, and the process of the production as each have different inputs within the project.

It discusses what each of them bring into the project that increases the value of the overall results.

Brief One is a series of photographs that captures the process of making ceramic cups for an alcoholic beverage. The brief was to produce a box set of six small cups that can be used as a promotional or gift product for an alcoholic beverage company of my choice. In the end of the project, I am to deliver a promotional/gift box that contains five to six cups that suits the brand of choice.

The second brief is also a series of photographs that captures the process of making a ceramic souvenir that represents Melbourne. The brief requires me to design a ‘soprammobili’ - a small object of sentimentality, a knick knack or a souvenir about Melbourne. This product will serve as a remembrance for the user about a certain experience, person or place within Melbourne. The aim of this object of sentimentality is to create an object that will remind the consumer about Melbourne wherever they go.

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Crafts/manship

We are rapidly increasing our production of goods into mass manufacturing and consumerism that we have lost the sense of value that is found within the objects we purchase. Handicraft brings this issue into light. Contemporary Industrial Designers play an integral role into promoting these ethics. In this article we are going to look at how time affects the process of hand making and the impacts of mass manufacturing in the market and how they greatly impact the quality and value of a product. We will also look at the empathetic connections people have with objects, people and places. There is also the concern of environmental impacts and sustainable practices within craftsmanship that can be applied to the practice of industrial design. Craft is an age-old practice that dates many centuries ago and as industrial designers, the modern-day craftsperson, we are ought to look at the continuum of this historic practice and continue to build this platform for future generations.

A primary concern for handcrafts is the time and labour that is put into the process, and for large companies this is not the optimum option for growth and profits. In practice time is limited; we are limited to gain the knowledge of skills that require the time needed to achieve the level of quality. Thus, the quality of our work has diminished the value of the outcome or our product. Learning a skill takes time and does not come naturally into a person overnight. Sometimes others are more talented and will catch on a skill much more readily than others. Talents lie in the hands of skilled artisans; handmade designs clearly help with the understanding of manufacturing and design processes, material properties and with the making of models and prototypes (Keegan, 2011). As designers, engaging in the making of our designs we expose ourselves to materials and processes in developing these tangible products.

Time management has served an enormous role in my design process; and in general. When I was younger, I had a strong background in visual arts. Painting takes time to do, and when you are painting for a deadline you are rushing through your work and skipping important details. I managed my time thoughtfully by doing my work straight when I get home, bringing all the necessary tools. I have never gotten a mark lower than the highest possible mark through my school years, so that motivated me into executing my work within the timeframe. Patience also plays a key aspect in painting as you have to wait for the paint to dry before applying more layers. While the paint dries, I use that time not to be wasted and move onto another subject I can focus on for homework.

The hand craft process takes time, and that time is influenced by the product that is being formed. I realised from my experiences from making objects by hand that it takes time for some things where others require less time and effort. It is often the 7

little things take more time and effort. There was this one time when I was making a device stand for my stationery set where the brass brackets that holds the iPhone in place took me more than three times to get it right, whereas the acrylic sheet had little to no effort or time at all to make. Design is often referred to the “process of translating an idea into something useful” (Spilsbury, 2007). The design process can be tedious and time-consuming and it requires designers to take decisive actions to find the right design outcome (Spilsbury, 2007). At often times there is that sense of tendency where we rush our process, but it is often better to choose to slow down the pace.

Handmade products are often associated as quality. Luxury goods were mostly made by hand because of the degree of skill and precision needed (Norman, 2012).

Small details are also linked to quality as often it’s the finer details that paint the bigger picture. As Caroline Benyon mentions, “The glass-painters’ skills...who’s work will make little sense when viewed close up - but comes together from beyond the footlights.” (Norman. 2012). Quality is paying attention to even the smallest of details, as it is of the smallest of details that creates the bigger picture of the piece of work. Benyon puts this beautifully by saying, “a window far from the eye will be painted differently from the one seen close to.” (Norman, 2012). As a practising Industrial Designer we are taught to look at the overall picture of the design process of our work. Before we engage with creating our products, we are encouraged to look at where the source of the material comes from, the impacts of logistics, down to manufacturing and end of life management or the product. Quality products are often associated with heirloom, where the object can withstand the test of time and passed from generation to generation.

Mass manufactured products reduces the amount of human error and imperfections made by the hand. By the end of the nineteenth century, products that were produced by the hand with formal imperfections was then associated with individuality and gave the object an artisanal pedigree (de Almeida Meroz, 2013).

Hella Jongerius is an Industrial Designer who produced a collection of tableware called the B-set. What made the B-set a notable design in the design world was the intentional use of imperfection in the production process. By purposefully firing the clay at too high of a temperature, each piece deforms slightly in its own way creating a series of porcelain that was unique to the next within serial production (de Almeida Meroz, 2013). The imitation of a handmade process using mass manufacturing methods has created lifeless products that emulate life and value that is only found within the process of hand making.

Technological advances have created many pathways of the production of goods and services. Throughout history technology has improved the production of goods by the use of mass manufacturing. Mass manufacturing not only increased the 8

Image Credits: Clay Modelling by Alex Jones

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quantity of products but also reduced the amount of costs on the production. With mass production, it became time efficient compared to the tedious process of hand crafting. When fabric printing was first introduced in 1783 by Thomas Bell, it gave the opportunity to which Norman (2012) states “instantly meant that identically designed fabrics could be produced quickly in bulk - and cheaply.” Mass production driven by the technological advancement of manufacturing opened a gateway for corporate businesses. The cost of sacrificing hand-making process results in a lower value of the product, thus resulting to cheaper labour and products to help increase sales and profits. Although this sounds beneficial in terms of business, the sense of value has decreased in terms of personal attachment to a product and the personality of the product. As designers, like Antonio Arico, we are trying to design products that are not simply put out there into the overpopulated market, but to design and create things that have value even at batch production sizes.

There is a growth of consumers wanting products that are made by hand because it shows that there is a person behind the making of the object. This effectively creates a sense of worth or even sentimental value towards the product. The curator Mienke Simon Thomas states that there is an “increasingly unconditional appreciation for the handmade” (de Almeida Meroz, 2013). People today are becoming more and more design savvy and are starting to be more mindful with the products they buy. For some people they are looking for the story behind the product; others are looking at supporting fair trade and sweatshop free products, and others prefer handmade items to support their local artisans. The power of making by hand has this personal connection from the creator, to the product, then to the consumer. Gauntlett (2011) creates this concept and calls it “Making is connecting.”

Both making and connecting are one and of the same process to which they are categorised into three key principles: Making is connecting because …

• there is a connection of things (materials, ideas or both) to make

something new

• creativity often encompasses social dimensions which connects people together

• sharing creation encourages engagement with our social and physical environments As designers, we can learn from these principles and achieve designs that go beyond just the aesthetics of things, but exploring the context of the design that will enable connection between the product and the user, and if possible social connections with others.

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Craft often goes through the process of prototyping to allow the individual to visualise the object that has been manifested in their thoughts and reflect on it with how they feel or experience. This process allows the craftsman to have a tangible idea. This is evident in contemporary Industrial Design as we are encouraged to create quick and dirty prototypes before engaging the process of making the final outcome. By doing so, designers can achieve refinement within their design and fix any problems or flaws within the concept and also understand the process of the production. Gauntlett (2011) states that this process becomes a discovery of ideas through the process of making; taking the time to use our hands to create something allowed people the opportunity to have a sense of clarity with their thoughts or feelings, and have a new perspective in this subject matter. Essentially, having to create something physical and tangible to present allowed room for discussion; for example like pin-ups of work to pitch to peers in order to have feedback.

There’s a beauty that comes from hand crafts, we start of as kids learning how to create things from pipe cleaners and paper cut outs. But as we get older, we develop more advanced skills that are later applied to our handcrafts. Today, people are looking at ways to reduce the impacts made on our environment that is caused by our domestic waste. As designers, we are looking for more effective ways of production which overtime will benefit our planet and future generations.

McDonough is a leading visionary designer/architect/writer who first proposed the “cradle to cradle” concept for products (Wasinger, 2009). This concept explored into reusing of products to create an endless cycle of new products from existing products. Craft creates a pathway to creativity as it explores ways to create things from what exists and moulding into something new. As designers we are also looking at the life-cycle management of our products, a practice that is synonymous with Herman Miller.

There are disadvantages to the fast-moving world of manufacturing and consumerism. We are extracting materials at a faster rate than we can to reproduce them (this is called a non-sustainable source). This comes with a cost to our environment and our resources. Gauntlett (2011) states that “environmental concerns have encouraged people to reduce the amount of stuff they consume.” As industrial designers at RMIT University we are encouraged to take into practice the use of sustainable design tactics. Designing a product comes with a cost, not only for sales and buying of materials but environmentally too. In our society today we are raising more awareness towards being sustainable and reducing carbon footprints and greenhouse gases. Our Earth is a finite resource and with the growing population of people, the extraction of resources also increases and is “closely correlated with the global growth in population” (Bruckner, Burger, Frühmann, Giljum & Hinterberger 2009).

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Image Credits: (clockwise from top) Handwelding by Chetan Menaria Carving by Angelina Litvin

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History plays an integral role in our skills and practice of today’s craft. Handmade objects in the past “reveal the developments and innovations that have occurred in each discipline at various points in history” (Norman, 2012, p. 10). Handmade objects in our history reveal “skill and ingenuity that went into making them” (Norman, 2012, p. 10). It is evident that making items from hand requires a lot of skill and practice, especially when there are low tolerances where perfection takes place into producing quality outcomes. Handmade goods are still very alive in our society today, and it holds such high values. I looked at why handmade goods impact the value of a product and the main reason why crafting by hand holds so much value to the cost of an item is because of what Norman (2012) says, “produced works of such fine execution, design complexity and artistic sophistication... were sought-after across continent.” As for Industrial Designers, we are part of a continuum of the past and like what my lecturer said, “Industrial Designers are the contemporary artisans” (Glover, 2015).

There are different qualities of craftsmanship or crafting that have significance to contemporary Industrial Design practice. The relation in both the processes show that time affects the way a craftsman works and for industrial designers who work for clients; to manage a time-frame. In relation to time, quality and costs are greatly affected by the amount of time that is spent in the process for the end product. Mass manufacturing also affects the time and costs of production and the product itself, it devalues the item through the loss of personal connection with the object and the craftsperson. As industrial designers, we are looking beyond ourselves and looking at the bigger picture of how we are part of a continuum of history. Craftsmanship enables industrial designers to continue this age-old tradition, and integrate both practices for forward thinking and leaving a legacy for the generations to come.

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Artisan/designer

x-ray vases, and growing vase. The two designs I will focus on are the press lamps and the inhale lamp as they demonstrate the values from nendo and Lasvit coming together to create an overall innovative craft and design. Lasvit plays a massive role in this collaboration as the atelier combines authenticity of glass craft done through handmade processes and with innovative technologies and creative craftsmanship to produce the collaborative pieces.

Oki Sato x Lasvit This collaboration looks at the partnership between Nendo studio, with Oki Sato (right) as the principle designer of the firm, and the artisans from the Czech-based bohemian crystal and glass company Lasvit.

Oki Sato has gained momentum in the field of design with his studio, Nendo, based in Tokyo and one in Milan. For Sato, he shows no interest for mass production for Nendo instead, their goal is to gather a new perspective with the combination of the philosophy of ecodesign and traditional processes of manufacturing inspired by daily life.

Image: Oki Sato. Retrieved from http://www.gandiablasco.com/ us/designer/nendo/

This perspective allowed him to work closely with the artisans at Lasvit as they create an installation called ‘still and sparkling’. Sato mixed lightness and minimalism to form each work from the installation and as a result, each piece was distorted as he discards traditional glassblowing methods in order to captivate the irregularities that are typically considered as defects within the craft (Chin, 2012). Nendo’s exploration with the material and its production techniques created innovative methods in hand-blown glass which were composed in five various concepts: press lamps, inhale, lamp, innerblow and overflow tables,

Sato explains the process in the production of these installations with him describing that “nothing is controlled”. His input was to give the glassblowers a couple hints and the artisans will start doing the work, which by the end of it produces results that they don’t expect. When they were creating the inhale lamp, Sato was watching the glassblower blow air into the glass and spontaneously told them to stop and suck the air out immediately. At first the artisan was surprised, but after it was finished they noticed that deformation created “beautiful wrinkles” in the glass; which resulted in the inhale lamp.

Sato describes that there are many rules that the glassblowers hold within themselves, and Sato’s role was to open the doors to create opportunities to create new methods, and in the end find a design within the process (designboom, 2012).

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The press lamps has a form that looks as if they have been pinched, and it’s as simple as that. The glass tubes are pressed together, as if they have been pinched, with a light source fitting in between the pinching points so that it is held in place. As an outcome, the structure has no additional structure for it to support the light fitting. This lamp came in two different styles: a pendant lamp and a floor lamp. Since it is handmade, each of the press lamp is unique to the next.

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Kawabe, Y. (2013). Press Lamps. Retrieved from http://www. dezeen.com/2013/06/18/press-lamp-by-nendo-for-lasvit/

designboom. (2012). Press lamp sketch. Retrieved from http:// www.designboom.com/design/nendo-still-sparkling-for-lasvit/

The inhale lamp is innovative in terms of the method used to produce the piece. Traditionally, glassblowing is an age old technique that involves with the inflation of molten glass into a bubble (or parison) with the use of a blowpipe (or blow tube).

But with Sato’s design input with the knowledge of the artisans at the Lasvit atelier, they created a lamp that is formed by blowing glass into the form of an air bubble, then immediately inhaling the air away. This resulted in a deformed bubble. designboom. (2012). Inhale lamp sketch. Retrieved from http:// www.designboom.com/design/nendo-still-sparkling-for-lasvit/

designboom. (2012). Inhale lamp. Retrieved from http://www. designboom.com/design/nendo-still-sparkling-for-lasvit/

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Antonio Aricò x Massimo Lunardon This collaboration looks at the partnership and the relationship between designer Antonio Aricò and the artisan Massimo Lunardon. This particular collaboration looks at the collection of ‘The Blowing Man’ that was designed for Editamateria.

Antonio’s design and works particularly concentrates on the fundamental relationship between art craft and design often integrating a strong sense of emotion towards his work to tell a narrative. He pays immaculate attention to Italian artisanal and artistic characteristics

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with his passion of traditional techniques, working closely with his grandfather Saverio. Antonio’s design approach is simple yet rigorous, often spontaneous and enthusiastic in his work relations, Antonio creates platforms of instinctive solutions in crafting everyday objects with an exceptional interest to high quality materials and attention to details.

Massimo Lunardon is an atelier established by Massimo Lunardon in 1996 to create a space for collaborators to gather their ideas, artistic talents, passion and fantasies to come to life in the form of glass

work. Their collaborators are to participate in an ongoing internal training to allow them to understand the process and establish mutual respect and professionalism for both parties.

Descroll. (2015). Antonio Aricò. Retrieved from http://www. descroll.com/biography/antonio-arico

Zanin, M. (2014). Massimo Lunardon. Retrieved from https:// www.pinterest.com/massimolunardon/portraits/

Antonio was taking part of the Milan 2015 EXPO that proposed the theme of “L’Art de la Table”. His objective on this discipline was not only to “style” a table, but to create a theatrical narrative by placing ‘art pieces’ amongst the plates to create a story. This spontaneous collection places the Man, the creative and the

‘creator’ at the centre of attention.

The collaboration between Massimo Lunardon pushed Antonio past his capability and design boundaries to create a new visual language in his work that was unusual and unique to his typical aesthetics as the two collaborated to explore new possibilities. Antonio tells a story with this collection with a glassblowing man which is portrayed in the design itself. The project approach not only looked at its design aesthetics and functionality, but also an artistic enlightenment to the interpretation to the homage of the art of glassblowing (Antonioarico.com, 2015).

Antonio’s input in this design process was to make sure that the pieces are captivating in the expo amongst other glass art pieces. Antonio says that traditionally the glass works in the expo are transparent which doesn’t really attract and captivate the person in the showroom full of exhibiting collections. So to enhance the narrative of The Blowing Man Antonio told Massimo to sand the glass to give it a matte finish; this in hand emphasises the breath of the glassblowing man in the piece, blowing their fog of breath into these objects to bring it to life.

Pennati, L. (2015). The Blowing Man collection. Retrieved from http://www.antonioarico.com/index.php?/things/the-blowingman/

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Brief /one

in 1873, and unfortunately the 138 year history of the company faced the Great East Japan Earthquake of 2011 which destroyed the brewery completely, but recovered remarkably.

Iwao Niizawa is the current master brewer of the company who took over the fifth generation of the business; Niizawa becoming the youngest master sake brewer in history.

The Japanese sake cups I will be designing are inspired from the story of the brand, using cues from its experience with the earthquake and so forth. The form of the cup takes a contemporary shape in honour of Niizawa; being the current and youngest master brewer. The set is designed for the premium market that the brand represents, namely celebrities and people “in the know”.

Task Description The brief was to produce a box set of six small cups that can be used as a promotional or gift product for an alcoholic beverage company of my choice.

My first approach to the task was to think of drinks that are traditionally drunk from ceramic cups, instead of the conventional glass for most alcoholic beverages. Naturally I looked towards Japan, because I have an interest in their culture. As a result, I chose Japanese sake as my alcoholic beverage; which suited the task. Most Japanese sakes do not have an online

website, so I searched for premium sakes and stumbled upon Haku Raku Sei ( ).

The sake brand Haku Raku Sei does not have a site either, but with extensive research I found their premium range of sakes which they brew and exclusively sold on Kojisake. From my research, I discovered the brand’s philosophy of creating harmonious balanced sake. Being one of Japan’s most celebrated brewery, a few of their brews are served to business class passengers on Japan Airlines. The brewery was established

The final design incorporates the colours of the bottles from the range of sakes from Haku Raku Sei. Being a forward thinking brand, Haku Raku Sei is a contemporary brand which inspired the simplicity of the form of the cups. It will be packaged within a bamboo box to tie in with traditional Japanese materials and the history of the company and their traditional methods. Being a premium brand, bamboo is an exotic material and using black slip ceramic is often seen as luxurious which will suit the target audience of the brand.

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Concept

22

sketches

Quick and Dirty Prototyping

Quick and Dirty Prototyping

paper modelling

modelling clay

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BOTTOM

R1

.5

0

3

70

63

58

A

A 35

3D Printing

3D Printing

CAD modelling

technical drawing

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SECTION A-A

0.50

TOP

3D Printing

3D printed model

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Mould Making

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finished plaster mould

Slip Casting

pouring slip

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Finishing

28

refining the edges

Glazing

dip glazing

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Packaging

30

3D CAD render

Packaging

physical box

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The final design incorporates traditional Japanese aesthetics and integrates contemporary Japanese aesthetics. The brand Haku Raku Sei has a long history in sake brewery, and yet it is very much a forward thinking company having the yougest master brewer in the history of Japan. The simplicity of the cups visualises the contemporary aesthetics of Japan and the brand, and incorporates functionality with the traditional method of drinking sake cups with one hand at the bottom and the other on the side. Tying the historic DNA of the brand I chose to use bamboo, as it is a traditional material used in Japanese culture, to create the package.

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Brief /two

companies such as Alessi, Seletti, the Barilla Group, Lavazza and Beiersdorf. His bio, experience, clients and studio information is at http:// www.antonioarico.com/ Melbourne is known to be one of the sporting capitals in the world and it is notably the sporting capital of Australia. It is also known for having the best coffee in the whole of Australia to the locals. There are many places within Melbourne that can be sentimental, for me personally I have only lived in Melbourne for three years and I think trains and public transport is sentimental. Melbourne also boasts as the largest tram network in the world with one of the best tram network available.

Task Description The brief requires me to design a ‘soprammobili’ - a small object of sentimentality, a knick knack or a souvenir - about Melbourne. The product will serve as a remembrance for the consumer about a certain experience, person or place within Melbourne. The aim of this object of sentimentality is to create an object that will remind the consumer about Melbourne wherever they go.

To approach this task, I looked at three categories to start making concepts based on the concept of Melbourne:

• • •

An object that could be sold to an overseas or interstate visitor An object that could be for a local market and Melbournians would buy An object for yourself about something deeply sentimental about Melbourne

For this brief, we had the pleasure of having guest Italian designer Antonio Arico. Antonio has gained a handful of clientele of some of Europe’s most well-known design and product design companies. He has had the opportunity to work alongside with

With the long research and concepts developed, the final concept design I opted for captivates the sporting culture of Melbourne; the Australian Football League (AFL). The concept is in the form of a salt and pepper collection that are in the form of athletic figurines. It will be made from ceramic and I will be using underglazes to paint jerseys that represents a team within the current AFL pool.

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Concept

36

concept sketches for shaker

Concept

concept refinement

37

Concept

38

concept development

Concept

concept development

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Quick and Dirty Prototyping

40

clay modelling

Quick and Dirty Prototyping

final clay model

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Mould Making

42

holding clay model in place

Finishing

creating holes

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Finishing

Finishing

stencil the design

under-glazing

44

Finishing

finished under-glaze

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The final product captures the essence of Melbourne with their sporting culture and their most beloved sport, Australian Football League (AFL). The form of the Footy Salt and Pepper Collection is a simple human figure who has an athletic physique.

The jersey represented here is the Essendon team called the Essendon Football Club, known as the Bombers or colloquially the Dons, with their iconic red sash across the front and back of their black jersey. At the rear of the shake figure has the words ‘salt’ and ‘pepper’ as if they were the player’s name on the back of the jersey, accompanied with it are the numbers three and seven.

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Self /relflection

I have handled terracotta before which was glazed and fired, but slip casting ceramic was a new technique and skill I have acquired. I learnt the patience behind the process as there was a lot of mixing of plaster, setting the plaster, mixing more plaster then setting the other half of the mould. More patience and waiting for the slip to form, then pour out the excess, then wait for it to set and dry a little bit before the removing it out of the mould. A significant value I’ve gained from this experience overall was the ability to use ceramics and learning how to slip cast with all of these tasks done entirely at home. I have also found a place where I can outsource my firing and played with glazes that were dipped instead of painted on like my experience with terracotta and in brief two.

Ceramics is an age-old craft and I was honoured and privileged to understand its process and gain some skill within the craft itself. Regarding my article on craftsmanship, I picture myself as a continuum of this historic practice and I personally fell in love with the process and the materiality of the product. The form and aesthetics that can be produced with this material along with colours applied to it is very much pleasing and at often times therapeutic. There is a possibility I might pursue to use this medium in the future of my career, otherwise as a side hobby at my own home just like what I’ve done for both tasks in the comfort of my garage and with the amazing connection and help of Northcote Pottery in Brunswick.

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Re/ferences

Adamson, G. (2010). The craft reader (pp. 2-5, 43-46, 147-155,167-176, 321-331). Oxford: Berg Publishers.

Aricò, A. (2015). Self Introduction. Speech, RMIT University.

Bruckner, M., Burger, E., FrĂźhmann, J., Giljum, S. and Hinterberger, F. (2009). Overconsumption?. [ebook] Janetschek, pp.3, 11, 20, 23. Available at: http://www.foe.co.uk/sites/default/files/downloads/overconsumption.pdf [Accessed 12 Aug. 2014].

Chin, A. (2012). nendo: still & sparkling for lasvit. Designboom. Retrieved from http://www.designboom.com/design/ nendo-still-sparkling-for-lasvit/ de Almeida Meroz, J. (2013). Hand Made: Long Live Crafts. The Journal Of Modern Craft, 6(3), 335-338. doi:10.2752/17 4967813x13806265666933 designboom. (2012). nendo: still and sparkling for lasvit. Retrieved from https://vimeo.com/42625696 Doughty, A. Design facilitating a craft process.

Gauntlett, D. (2011). Making is connecting. Cambridge, UK: Polity Press.

Gaw, J. (2009). Handmade in Melbourne (2nd ed.). Docklands, Vic.: Slattery Media Group.

Glover, J. (2015). Historical context of Industrial Design. Lecture, RMIT University.

Keegan, T. (2011, July-August). Hand made design. Engineering Designer, 37(4), 4. Retrieved from http://go.galegroup. com/ps/i.do?id=GALE%7CA277621111&v=2.1&u=rmit&it=r&p=AONE&sw=w&asid=9d6d68ac7ffde6c369cc7491d4fee446 Lasvit. (2015). Inhale Lamp by Lasvit. Retrieved 8 September 2015, from http://lasvit.com/collections/design-lighting/ inhale-lamp--55/about Lasvit. (2015). Press Lamp by Lasvit. Retrieved 8 September 2015, from http://lasvit.com/collections/design-lighting/ press-lamp--59/about Norman, J. (2012). Handmade in Britain. London: V & A Pub. Sennett, R. (2008). The craftsman. New Haven: Yale University Press.

Spilsbury, R. (2007). Design and technical art. 1st ed. Chicago, Ill.: Heinemann Library.

Wasinger, S. (2009). Eco-craft. 1st ed. New York: Lark Books.

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About/author

Christian Veloso is a student from RMIT University who is currently on his second year studying Industrial Design.

When he isn’t trying to finish off his projects and work, Christian volunteers as a leader for a youth group called ‘epic’ under a church called Life located at North Melbourne every Friday night. He also regularly attends the church on Sundays also leading a hosting team. On his spare time, he does graphic design work for the youth group and loves to hangout with friends and family.

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2015