Major Projects 2011

2011 Projects Social and Sustainable Design Soumitri Varadarajan

Social & Sustainable Design

Soumitri Varadarajan | Year 4 tutorial | 2011

Social and Sustainable Design Social and Sustainable Design deals with projects that focus upon design as a socially engaged and negotiated creative practice with a strong sustainable design or service deign focus. The design process in these projects typically includes stakeholder consultation, codesign and co-creation within the four stage progression that is ieid ©: immersion, exploration, intervention and demonstration. Project outcomes in this mode of practice are variously designs of products, services or product service systems and in some instances the visualization of social innovation enterprises extends all the way up to construction of service blueprints and business plans.

In the current studio are to be seen engagements with social issues (such as urban violence, disability and shame, womenʼs body image), and sustainability (micro power generation, recycling tyres and bottles).

A few projects have extended the social and sustainable to include culture theory, art practice and contemporary aesthetics through the articulation of a position of both the postprofessional and the industry of one. A project dealing with an urban community of free runners was undertaken within the community of Traceurs (as parkour practitioners are called). Another project was a collaborative art practice focused upon the body and sensory perception where the design process significantly used visualization by making. The last was a project that used the year as a journey into theoretical aesthetics to arrive at a material practice that apprehended nature as a generated artifact.

Hutchison, Georgia Charlotte Project name: Wild Order Wild Order is a design project exploring aesthetics for living. Informed by research into the aesthetic themes of impermanence and imperfection, Wild Order interrogates the relationships we have with the objects that we surround ourselves with.

The home in this account emerges as a personal museum that reflects the ethics and ideals of the inhabitant. Objects in this context become manifestations of the way we connect with the world.

Amplifying design practice as the industry of one, the Wild Order project adopts practices such as craft, the bespoke, the tactile - embracing in this fashion both the ordered and chaotic in processes and materials. The project generates a collection of domestic artifacts from an aesthetic study.

Honouring honesty in materials and exposed processes, this project aims to set up a reengagement with materials and their sources in the environment. Drawing from a palette of ‘resonant and responsive’ materials, the project alludes to a beauty which is found in attrition, wear and time.

WILD ORDER Georgia Hutchison

WILD ORDER project abstract

Wild Order is a design project exploring aesthetics for living. Informed by research into the aesthetic themes of impermanence and imperfection, Wild Order interrogates the relationships we have with the objects that we surround ourselves with.

The home in this account emerges as a personal museum that reflects the ethics and ideals of the inhabitant. Wild Order contemplates the threshold between natural and cultural artifacts, blurring the processes and connotations and so, objects in this context become manifestations of the way we relate to the environment around us.

Amplifying design practice as the industry of one, the Wild Order project adopts practices such as craft, the bespoke, the tactile — embracing in this fashion both the ordered and chaotic in processes and materials.

Through a process of heuristic exploration and experimentation, Wild Order translates aesthetic and philosophic concepts into material artifacts.

WAYS OF WORKING

industry of one & community of practice

The twenty-first century has delivered a world where perfection is possible and visual language is universal, thanks to the advent of technological progress and globalisation.

In reprisal, a new subjectivity in design has arisen, where personal quality is asserted, imperfection is honoured and the creators’ own leitmotifs are made integral to products. (campbell, 2001) A new way of working has arisen — the industry of one. In this model, one person acts as designer, maker and entrepreneur.

This practice often has ‘a new emphasis on and re-appraisal of the idea of craft, and a new kind of entrepreneurship.’ (campbell, 2001) Working as a new craftsperson, this methodology gives an ownership of process from ideation through to the creation of market-ready objects.

The industry of one model places value on experimentation and knowledge of materials. This way of working induces a necessary understanding of my capabilities and limitations in regards to materials and experience. Aside from the conceptual areas of the project, and industry of one model requires and understanding of the pragmatic realities of being a maker.

There is a necessary understanding of my own hand skills, and development of these through observation, manipulation, repetition and practice. Working closely with a particular material (in this case, porcelain), gives an intimate knowledge of its timing and pace. Each material has its own vocabulary of processes and tools, and the process of experimentation allows traditional

techniques to be used, but also stretched and misinterpreted, borrowing from other crafts.

When the experimentation and development is resolved, the quantities of production must be considered, as well as the realities of producing multiples.

Equipment and physical studio space, suppliers and services, budgets and costing all become relevant and effect the outcome of the project when scaled up.

Working as an industry of one is empowering.

This way of working removes constraints often found when outsourcing or working for a second party. It gives the freedom to play and experiment. It gives the highest level of control, the only limit is the natural and chaotic processes inherent in the material. Being a new craftsperson gives the time and space to work as an ‘artist’ and develop a close relationship with the material to understand and manipulate the imperfections and improbabilities.

Being an industry of one however, is by no means working independently. Communities of Practice arise amongst practitioners working within disciplines — people sharing an interest, craft or profession. A Community of Practice gives a framework for support, reference and discourse. The community informs itself through the work, ideas and discussion held between people.

Approaching the finish of my current studies, I will walk away with a set of processes and thinking methods specific to the Industrial Design profession. This is the domain I am trained to think within. My experience prior

SUPER MAKERS hands on

to the study of Industrial Design has placed me in different disciplines — including visual art, graphic design, jewellery, ceramics and exhibition design — however I now take Industrial Design thinking to each of these.

Different projects and associations allow access to multiple Communities of Practice.

I have found the most vibrant life to be on the edges of these tribes, when people from different disciplines come together.

The fringe between communities cultivates exciting discussions which help to define and grow the discourses flowing across projects.

I involve myself with multiple Communities of Practice, who provide support, development and influence. I have been located within and on the fringes of multiple communities. Working from Industrial Design, I consider this community my centre.

The community includes RMIT Industrial Design as a resource and a collection of thinkers and makers, practitioners and advisors. During this project, my choice of material located me within the Fine Art Ceramics community — working with RMIT Ceramics department, students, technicians as well as family, colleagues and acquaintances who also share discussions about the technical and creative aspects.

In addition to material based communities, I would consider myself a part of a broader community of practitioners linked by shared ideologies and methodologies. There are super makers working as an industry of one who have become known for their designed objects that show evidence of the intensive process of tactile experimentation.

I am familiar with the works of the self employed contemporary designer, Max Lamb. Typifying the industry of one, Lamb’s practice takes him through an entire material process, with experiments pushing processes and informing the shapes.

His studio projects combine industrial production with hand craftmanship, working with high and low tech processes.

In a recent interview with British Council’s Design Museum, the evidence of a rigorous material process in Lamb’s work was said to ‘suggest a need for realism and honesty in the products around us’. (DESIGN MUSEUM 2007)

Netherlands-based Maarten Baas is another designer who is working for himself as an industry of one. His Clay Furniture collection characterises the process — all pieces handmade, with no moulds used in the process, making each piece unique.

Clay Furniture’s functional imperfection is exhibited — including Baas’ fingerprints.

This exposed process suggests an attitude of unrest, and a reclamation of material processes. No longer content with producing sleek Identikit creations, designers today are embracing a raw, surreal and idiosyncratic approach to their work. (DESIGN MUSEUM 2006) These super makers, and their creative output exemplify the need to have ownership and control over the craft and materials.

NEW PRIMITIVISM atavistic spirit

A new primitivism emerged with Post Modernism; a behavioural and often terra-centric primitivism, a search for axis mundi, the ‘centre’ of the universe in which we inhabit. Artists and designers have often used primitivist devices and totemic materials in modes of expression, to discuss potential human interactions with objects and the world.

The adoption of new primitivism in design is shifting from a pure materiality of honest craftmanship to include imbued behavioural primitivism — emancipating objects from a contemporary product culture, with an attempt to alter their prescribed uses.

‘In stark contrast to recent ethereal and romanticised design, or designs that transfer directly from computer to machine manufacture without human intervention’, the atavistic spirit seen in design today shows the discourse of new primitivism has allowed expressive freedom and space to communicate primitive longings, opposed to contemporary concerns and ideals. (CAMPBELL, 2010) The term ‘primitive’ may have shifted since discussing the work of early Modernists, however, now in the twenty first century, we have inherited a device which permits

discussion of materiality and fundamental human needs. If the motive is to increase engagement with objects, we can look to the discourse of primitivism to allow a space to communicate naturalism and human need through materiality.

IMAGES: RICHARD LONG, KILKENNY CIRCLE, 1984 ANDREA BRANZI, ANIMALI DOMESTICI, 1985-1986 TAKURO KUWATA, CUPS, 2011 SUSUMU KOSHIMIZU, PAPER, 1969

JAPANESE AESTHETICS existence and impermanence

There is a language of impermanence and imperfection in Japanese aesthetics. In this philosophy, everything is metaphysically either ‘devolving toward or evolving from, nothingness’. (KOREN, 1994) Objects in the tradition of Wabi-Sabi communicate this temporal shift by framing material moments, accommodating degradation and attrition. (KOREN, 1994) The physicality of Wabi-Sabi artifacts is in essence an acknowledgement of the inevitability of time. Artifacts are crafted from materials that evidence vulnerability to the effects of weathering and human treatment. ‘Nicks, chips, bruises, scars, dents, peeling and other forms of attrition are a testament to histories of use and misuse’.

(KOREN, 1994) The ideal of purity is intransigent, despite attempts to reproduce perfection in products. Time and user are inevitable, and so Wabi-Sabi believes corrosion, contamination and expansion of sensory information engender rich experiences.

Elasticity and resilience are found in ambiguity and contradiction.

‘To repeatedly enchant, a product must first possess an ability to grow and change.

If anything, a product’s ability to enchant must increase not decrease. Having it in your life should be a rich and fruitful journey, an unfolding process of punctuated revelations, each one more personal than the last.’

(CHAPMAN, 2005)

Japanese aesthetics suggest ways of cultivating moral sensibilities: to respect innate characteristics of an object, as well as honouring and respecting human needs. This philosophy can be illustrated

through a garden analogy. Following the request of an object, ‘the gardener should first install one main stone, and then place the other stones... in such a way to satisfy the request of the main stone’. (SAITO, 2007) The gardener should observe the natural growth pattern of the tree, and then prune it to bring out its inherent scenic qualities’.

(SAITO, 2007) Work closely with, rather than in spite of or irrespective of, the material’s natural endowments. In Japanese tradition, manipulation of natural materials is often discreet, however the enhancement of a materials’ qualities can sometimes lead to the hyper-natural.

The design development of Wild Order begins with the phrase vessels for wildness, and the incidental form of a porcelain branch. This form comes to be a symbol of both a natural and cultural object — the intersection between chaotic and ordered processes. This is the beginning of a heuristic exploration — experimenting with levels of control over a medium, and manipulations of chaotic processes.

Using illustration, photography and collage, natural branching forms and patterning were studied to inform the porcelain works.

Manipulating forms and process, experimenting with Southern Ice porcelain to find a process of producing multiples.

Hand building branches into coarse forms, whittling when leather dry, bisque firing, refinement and high firing.

In parallel, the three dimensional forms were translated back to two dimensional to study angles, facets and negative space between the forms. Experimentation with construction techniques and firing methods.

Experimentation with glazing, finishing and binding techniques. Developemtn of glaze and a medium for binding clay body.

Working with technicians to acheive a glaze suitable for this circumstance.

Refining the entire process from wet clay, carving, bisque, glazing and firing to produce the final outcome.

Georgia Hutchison is a young designer working across experimental, exhibition, craft and object design. Her projects are compelled by narrative, and curiosity of the relationship we have with our material world.

A CHAOTIC OBJECT A glass jar, well proportioned in circumference and height Threaded top, once paired with metal lid Used by people as a vessel for preserve A glass jar finds itself alone It sits amongst dry stone at the top of a hill Views the grass filled valley below, a vessel for wildness A very ordinary human artifact took dominion Its presence ordering the wildness like a light in the darkness Would a chaotic object contaminate an ordered material landscape?

Releasing hidden wildness in its neighbours

00 61 432 668 371 PO BOX 16 EAST BRUNSWICK 3057 GEORGIA.CHARLOTTE@GMAIL.COM WWW.GEORGIACHARLOTTE.NET

Wild Order — Major Project Bachelor Design (Industrial Design) RMIT 2011 Under guidance from Soumitri Varadarajan

Lowther, Simon Christopher Project name: The euphony maze project We live in a predominantly image based culture wherein visual interaction lies at the forefront of our everyday life; in the way we navigate our surroundings, identify objects, and interpret the world. This heavy reliance on the virtual and the visual has caused the other senses to fade somewhat into the background. This phenomenon is impoverishing the potential of the human body as a knowing entity.

The euphony maze is a hand-held marble maze, contained within an opaque facade that disallows the user to visually gauge where the marble is. This concept aims to encapsulate rich and meaningful multi-modal interaction with an object while intentionally disengaging visual interaction. In doing so, an interactive experience that engages the mind and body in focussing on tactile and auditory feedback is created.

This project is a re-examination and re-development of a first-year educational toy design project. The desire to expand on this concept comes from recognizing the inherent value and philosophical relevance the idea holds in its relationship with human perception and experience.

the euphony maze a study of sensory perception with a focus on creating highly engaging interactive objects.

- by Simon Lowther

project synopsis

the euphony maze project The euphony maze is a hand-held marble maze, contained within an opaque facade that disallows the user to visually gauge where the marble is. Instead the user guides the marble through this maze by using a series of sound prompts and engaging the memory. This concept aims to encapsulate rich and meaningful multi-modal interaction with an object while intentionally disengaging visual interaction. In doing so, an interactive experience that can engage the mind and body in focussing on tactile and auditory feedback is created.

This project is a reexamination and redevelopment of a first-year industrial design project that looked at incorporating the basic principal of disengaging visual interaction for educational purposes. The desire to expand on this concept comes from recognizing the inherent value and philosophical relevance the idea holds in its relationship with human perception and experience. We live in a predominantly image

based culture wherein visual interaction lies at the forefront of our everyday life; in the way we navigate our surroundings, identify objects, and interpret the world. This heavy reliance on the virtual and the visual coupled with the diminishing need to rely on our other senses for survival has caused the other senses to fade somewhat into the background. This phenomenon is impoverishing the potential of the human body as a knowing entity.

sound prompt experiments • •

marble rolls along Corridor like in the maze

determining level change sounds.

Xylophone key experiments.

when falling to the next level the marble strikes the xylophone key and triggers the sound

once marble is on next level it can’t rest against xylophone key. This allows note to ring.

one of the requirements of the maze is that the user is informed via some kind of feedback that the marble has reached the next level. One method of achieving this is by incorporating separate xylophone keys that the marble strikes when falling to the next level.

The mechanism relies on the slight momentum accumulated while the marble is rolling in the direction of the user’s tilt.

Xylophone keys The Xylophone keys are what indicate the progress from level to the next inside the maze. When the ball rolls down the hole the maze will have to be tipped in a particular direction. This momentum will carry the marble into the surface of the xylophone key and emit the note. Carefully positioned barrier components prevent the marble being able to rest against the xylophone key once it has reached the floor of the maze.

This would deaden the note before it could ring.

The notes in descending order are CBAG and F in the key of C major. The keys are set up in the maze so that each level down emits the next note in this descending sequence. This allows the user to determine the level reached. It also feels approproate for the descending scale to indicate descending through the maze.

Sound tests to tests the sounds of different materials I set up these experiments using the ribbed floored corridoors. The sounds I found distinct enough and quite pleasing were using solid wood and the acrylic sheet. One of the ribbed floors stood out from the others as being louder and more distinct. I carried these dimensions into the next prototyping stage.

mock up one

mock up one_CAD

side view front view

cross section cross section

The internal maze structure is made using 3mm laser cut acrylic and 3mm Spotted Gum wood.

These different materials offer different sound qualities to be emitted from the different levels of the maze. This way the user can identify what floor the marble is on.

The levels of the maze are then constructed and the xylophone keys are put in place. The whole maze structure is then carefully placed inside the casing and the final panel is glued on. The pressure the box has on the maze structure holds it all in place.

Using CAD to construct the maze allows the plan of the actual route of the maze levels to be figured out. It also allowed me to effectively transfer the maze to an accurate construction method.

This ensures the maze will fit inside the casing nice and snug and will be held in place.

Internal Maze Structure

Final model

the perferations on the four side panels of the case allow sound to escape the maze more effectively. They also relate to the visual laguage of the sound speaker, and communicate to the user that sound is meant to escape this device. Although this is an element of visual interaction it can also be felt and does not detract from the intentional disengagement of visual interaction.

The perferations on the final model are not all uniform diameters. The smaller holes indicate that in that position on the inside of the maze there is a component of the maze pressing up against the case. It is not important for the user to know this. It is just an interesting way to relate the exterior of the maze to the interior without directly implying or communicating anything explicitly.

The positioning of the entry and exit holes will vary from maze to maze, depending on what layout the maze ends up taking. The positioning of the entry on the top of the maze is intentional as it seems logical this would not be the exit of the maze. The exit is positioned on the side so that when the last xylophone chime rings the user will know the ball can now be rolled out of the maze in one move.

Simon Christopher Lowther industrial designer

I am a Melbourne based industrial designer and completed my Bachelor of Design at RMIT in 2011. I strive to merge the creative practices of the designer-maker with propositional concepts, with a focus on experience design on the human scale. Always interested in exploring edgy and abstract ideas, I aim to engage design in a way that can enrich lives, excite the senses and improve the quality of people’s lives. Each project I aim to place within a carefully considered theoretical positioning that excites my own personal interests. It is my hope that this will, in turn, excite others too. contact details: lowthersimon@@gmail.com +61 0401028280

Denshire-­‐Key , Tim Project name: Everyday Studio Everyday Studio has evolved in response to community interviews conducted in the pre major phase of the project. The interviews looked at perceptions of violence amongst the community in the regional city of Albury, NSW. Everyday Studio is a service proposed which looks to build creative confidence and problem solving skills. Everyday Studio takes the design studio experience out into the real world. Everyday people involved in social issues, become studio participants to create solutions for their own problems.

Creative confidence is that ability to put together disparate dots. Not being too worred about failure. Instead taking measured (or a complete stab in the dark) risks. Slowly learning, failing, building, going forward, getting side tracked. But being able to reflect and learn from the process. I’m interested in getting people to experience that feeling which melds surprise, excitement, satisfaction and independence. The feeling you get from creating something yourself.

The scale and scope of the effects of Everyday Studio will be down to the individual. But holistically the aim is to encourage a more stimulated, connected community.

Everyday Studio a collaborative community service agency

Project by Tim Denshire-Key

1.30AM

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Everyday Studio is a service proposed which

looks to build creative confidence and problem solving skills. Everyday Studio takes the design studio experience out into the real world. Everyday people involved in social issues, become studio participants to create solutions for their own problems.

The aim is to encourage stakeholder ownership of the co-created projects. To be a project facilitator rather then iniatator.

But being able to reflect and learn from the process.

I’m interested in getting people to experience that feeling which melds surprise, excitement, satisfaction and independence. The feeling you get from creating something yourself.

The scale and scope of the effects of Everyday Studio will be down to the individual. But holistically the aim is to encourage a more stimulated, connected community.

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Creative confidence is that ability to put together disparate dots. Not being too worried about failure.

Instead taking measured (or a complete stab in the dark) risks. Slowly learning, failing, building, going forward, getting side tracked.

Stakeholder Map

mapping out perceptions of violence in Albury The Aboriginal community has it’s own issues when it comes to violence.

Generally the violence is spurred by peer pressure or disputes between groups.

Aboriginal community worker There is a need for more after hours services.

As a society we are too risk adverse.

There is too much of a consumer culture in town.

Young people don’t have any money so are only seen as a nuisance.

There needs to be more recognition of the arts in Australia.

Empathy divide between younger and older generations.

The context of the violence has changed. Overall there are less attacks, but they are more brutal.

The regular school system is too rigid and constraining. There needs to be more physicality to it.

Albury needs to encourage a more diverse nightlife, rather then restricting it.

The key to any successful program is to plan for it’s on going sustainability.

The environment plays a very important part in encouraging/ discouraging ways of living.

Plans to leave town once study is complete.

University student Sees Albury’s younger population as quite transient. Here for work or study for fixed time spans.

School teacher The youth cafe is doing a good job, but needs to be broader then just music.

Albury has a lot of programs, but sustainability is a major issue.

There is a high cost barrier for kids to be involved in out of school activities.

There should be more voluntary spirit in the arts community.

The effect of prescription/illegal drugs with alcohol, is slowly being recognised in the community.

Local councillor

The media sees bad news as good for business and puts too much emphasis on it.

Drama teacher

There is a lack of genuine effort in regards to programs targeting Aboriginal youth.

Sees publicising the violence through the media as a way to draw attention and get action.

Journalist

Technology combined with changing values have a large impact that is not fully understood.

Difficult to maintain sustainability of programs due to lack of mentors and long term participants.

It’s important to keep young people engaged with school or community programs.

Sees violence as part of broader problem.

The violence is a generational thing. Kids are seeing their parents being violent and imitating this.

Doesn’t see violence as a problem amongst her friends.

Doesn’t like current solutions such as the lock out. Means you have to plan your night too far ahead.

Media focuses too much on the negative pursuits of young people.

Needs to be more active community support for creative initiatives.

Doesn’t think that drug and alcohol issue is being taken seriously especially by venues.

Young professional

Too much emphasis on sport in the community, not enough on creative talent.

Solutions put forward to address violence only restrict people’s access and don’t address root causes.

The media overplays the issue.

Media focuses on youth as problem, but highest alcohol consumers are 40+ at home.

There is a new expectation that you should be safe when down the street at night.

Grief counsellor

The mixing of alcohol with illegal or prescribed drugs is an issue not being addressed.

Domestic violence is an issue that is prevalent but not spoken about.

Council doesn’t provide long term support for events to build momentum.

Creative pursuits can be a ‘saving grace’.

Violence has always been there, now it’s in ‘red highlight’.

Thinks issues can be exaggerated by local media at times.

There needs to be more continuity in the council’s cultural programs.

Night time transport is an issue that isn’t dealt with adequately, especially with Albury’s growing population.

There are very few other socialising options other then the pubs.

There’s a need for more social options that don’t revolve around alcohol.

People need to have more empathy for bar staff.

Violence is a problem.

Work pressures mean families aren’t as close as they used to be.

Direct link with violence and its effect on business.

Creates bad reputation.

Publican

Albury needs to grow it’s cultural fabric, it hasn’t kept up with population growth.

Architect

Violence is not as bad as it used to be, though people seem more aggressive.

Kids are mixing illegal drugs with alcohol now.

Sport can be a good medium to teach kids life skills.

Alcohol abuse down to loss of identity.

Violence is more public now then in the past.

Community carer

Finds the atmosphere down the street to be quite aggressive.

Alcohol fuels this in part.

Community worker

Butcher

Violence is getting worse.

The cost of living is forcing parents to work more and parent less.

Violence is a community wide issue, you can’t pin it on a particular age group.

Youth worker Youth boredom, petty crime, alcohol abuse and family violence are more pressing.

Alcohol fuelled violence is an issue, but not one of the major ones that needs to be addressed.

The best you can do is try and make everyone feel part of a wider community in various ways.

Illegal drugs have had a noticeable effect.

Sees value in tangible solutions, eg. Better lighting, more security, cameras etc.

Albury’s pubs are quite regulated compared to other towns, but there isn’t the signage and education to explain it.

Illegal drugs have had a growing impact.

Young people are losing their respect for authority figures.

There is more media coverage then before.

Programs need to be given more time to have a good chance of succeeding.

Security

Security training isn’t thorough enough, and needs more ongoing training.

Wodonga puts more focus on festivals and cultural events compared to Albury.

Lack of live music venues.

Research grounding via service design tools Project Albury: Perceptions of violence in a regional city During the research section of the project my main aim was to connect with the community. The topic of investigation was the perception of alcohol-fuelled violence amongst the community. Did people think it was a problem? Why did they think it was happening? Were there deeper issues that needed to be addressed?

I used a series of service design tools in order to gain insights. I began by using contextual interviews. These interviews allowed me to connect with a variety of community stakeholders, and gain insights into their perceptions of violence in town. Through the interview process more pressing issues emerged. Interviewees highlighted: - A lack of understanding between the generations.

- Narrow options for socialising.

- Strong focus on alcohol consumption as means of socialising.

- Few creative outlets.

I then took the data gathered from the interviews and processed it to create personas. These personas allowed me summarise the views of each stakeholder. By using these personas I was able to map out the varied relationships within the community via a stakeholder map. The map illustrated the variations of responses and areas of agreement. Both the personas and stakeholder map form a useful means of communicating the project to both engaged stakeholders and outsiders.

I reflected on the material gathered during the interview process, combined with the insights gleaned from the personas and stakeholder map. I used an ideas generation process to respond to the deeper root issues that emerged.

The outcome was a broad array of concepts, each which proposed a means to address one or more of the above issues. This brought the pre major to a close, and laid the ground work to develop a service design proposal from.

Idea generation a selection of the concepts which responded to issues raised in Project Albury

Party Bikes

Inter-generational Connections

Holiday Mentors

Empathic Game Play with Technology

Going Out: Now and Then

Campaign for Positive Social Behaviour

Young Design for Old

Inner City Exchange

Concept development Designing a service design response via an iterative process

In order to develop a service design response to the research completed I initiated a conversation with the wider community in Albury. To do this I experimented with social media and a blog to act as feedback mechanisms. The online presence allowed me a wider platform where the community could access the insights gathered so far, and the ideas proposed, and have the opportunity to comment. This formed the first service iteration process.

The second iteration was ‘Feed the Seed’. It was a more refined service design concept, focused around creating change rather then gaining insights. More of a focus on facilitating projects rather then initiating them. Here there was a more co-ordinated collaboration with a series of community stakeholders. The Border Community Cycleworks (a bike skills share community organisation) and a student group from Charles Sturt University (CSU) were involved in the process of organising a series of bike polo skill share workshops. These covered how to build the equipment and then play the game.

The ends result were two well attended skill share workshops, with the potential for the games to continue independent of Project Albury. A live test of an element of a broader service design framework. Off the paper and into the real world. By going through this iterative process I was able to further refine the key ideas into the final outcome.

Feed the Seed service design concept Iteration #2 Go into community and spend time to understand it’s character. Find out what’s happening and what issues the community is grappling with.

Find an idea, group that has potential to effect the community in a positive way but needs help in someway.

After a point step back and see where it goes.

Work with this seed project to help support it grow and develop.

Bike Polo skill share workshop:

Service design prototyping for Feed the Seed concept

‘Thanks for a great afternoon on Wednesday. I had a ball and am hooked on bike polo now! It is fun, fast, exciting, and unco! The best thing is that anyone can play. You don’t have to be a primed athlete to enjoy it, and friends are made instantly over laughter...’

- Carol, bike polo workshop participant

Final Service Design proposal Phase one: Locating the studio

Everyday Studio process

Phase two: Connecting with participants Phase five: Reflection, evaluation and futuring

Phase four: Celebration and sharing

Phase three: Studio process

Design scenario: Albury and alcohol fuelled violence Setting the scene Alcohol fuelled violence is raised as an issue by constituents and seen to be a growing problem.

The council have brought in methods to restrict people’s actions, such as a night 1.30AM time curfew and no glass/shots after midnight, in an effort to reduce violence.

*&^%$?

#@!*

*&^%$?

There is a perception amongst the community and in the local media that young people under the influence of alcohol are the main cause of the violence.

#@!*

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Despite the restrictions, violence is still perceived to be an unresolved problem.

Everyday Studio involvement

Everyday Studio brought in by council to run a studio with young people.

Studio run to firstly investigate the environment that has created these problems and perception.

Contextual interviews – personas –journey maps- stakeholder map

Everyday studio recruits a studio team in collaboration with council officers referrals, local schools, TAFE, universities, govt. services.

Then idea generation session run to co-create possible solutions.

Resolution P

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E V E R Y D A Y S T U D I O

Potential solutions packaged into a report for council, as well as a public exhibition to showcase to the wider community. Exhibited at several locations around the city. Libraries in Albury and Lavington.

At the university and TAFE. The ideas are then developed to be included in the council’s alcohol and drugs policy.

Bio G’day! My name is Tim Denshire-Key. I’m an Industrial Design graduate from RMIT University.

I’m interested in sustainable design, social innovation and service design.

I like to make things.

I like to get things happening.

I like to help others realise they can do this too.

If you’d like to have a chat or find out more about Everyday Studio, get in touch.

-Tim

W: timtdesign.com / projectalbury.wordpress.com E: T.Denshire.Key@gmail.com M: +61421226669

Vanspall, Michelle Judith Project name: Flex As we grow older, our body slowly starts to lose the abilities that once made us feel like we could do anything! To just name a few: our metabolism slows down, our bone mineral density decreases, we lose muscle mass and our joints lose the synovial fluid that allow for smooth movement. My design picks up on the current paradigm shift in the fitness industry, to realise the most effective methods and reasons for exercise as we grow older. By exploring the shift from isolation to compound exercises, as well as the expanded age and gender bracket for weights training, I have aimed to design a product that would appeal to women.

The solution combines the two aspects of the fitness industry that are already directed at women – resistance bands and fashionable fitness wear – to create a fashionable resistance suit. The aim here has been to come up with a solution that encourages women to combine their regular cardio training with a level of resistance, opening the potential benefits of weight training without dealing with the common disillusions revolved around weight lifting.

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Michelle Vanspall

an industrial design project

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s we grow older, our body slowly starts to that

few: our

LOSE THE ABILITIES once made us feel like we could do anything! To just name a metabolism slows down, our bone mineral density decreases,

we lose muscle mass and our joints lose the synovial fluid that allow for

SMOOTH MOVEMENT.

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PARADIGM SHIFT in the fitness industry, to realise the most effective methods and reasons for exercise AS WE GROW OLDER. By exploring the shift from isolation to compound exercises, as well as the expanded age and gender bracket for weights training, I have aimed to design a product that would APPEAL TO WOMEN. y design picks up on the current

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ALREADY DIRECTED AT WOMEN – resistance bands and fashionable fitness wear – to create A FASHIONABLE RESISTANCE SUIT. The aim here has been to come up with a solution that encourages women to COMBINE their regular CARDIO TRAINING WITH A LEVEL OF RESISTANCE, opening the potential benefits of weight training without dealing with the common disillusions revolved around weight lifting. he solution combines the two aspects of the fitness industry that are

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Recent research has shown that strength training is not limited to exercise enthusiasts. It is proven to be a vital course of action to take to prolong and maintain quality and vitality during a lifetime by all populations. This includes pre-adolescent children, males and females, older adults and the injured.

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proven reasons why strength training should be incorporated to anyone’s exercise routine.

Increase or maintain lean body mass Increase bone mineral density Promote faster fat burning and a leaner physique Increase functional strength Increase power and sporting performance Increase joint strength and stability Increase vitality and quality of life Increase metabolic rate Improve posture Promote rehabilitation from injury Decrease risk of osteoporosis Decrease risk of injury Decrease risk of degenerative joint disease Decrease blood pressure Decrease risk of type 2 diabetes

The truth about weights and the eldery

Weight training with moderate to heavy weights builds muscle mass, improves strength, endurance and bone health. According to the American College of Sports Medicine, the most damaging effect of aging is the loss of muscle mass. This reduction of muscle mass exposes elderly persons to numerous medical conditions, including premature disability, hospitalization and a premature enrollment in assisted living and nursing home centres.

Elderly persons maintaining and increasing strength are able to maintain their functional abilities, Daily activities like cooking, eating, bathing, driving and gardening are just to name a few.

As we mentioned earlier progressive overloading improves bone health and joint stability. According to a 2009 article in the American College of Sports Medicine’s Health and Fitness Journal, falls are the leading cause of injury, death and disability among persons 65 years and older. ‘The American College of Sports Medicine says after the age of 40, regardless of sex, bone mass decreases about half a percent or more per year.’ Weight training reduces the rate of falls by improving an elderly person’s muscular and joint strength and reaction time to maintain their balance.

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The truth about weights and women

Due to myths and fallacies being ingrained in women’s psyches for decades, you still find the majority will slog their way through an hour of cardio hoping to achieve their weight loss goals. The preference for cardio over weights is nothing new. Weightlifting has become a fear where most women will avoid at any cost. The only issue is that weight training is the only effective method to achieve the results these women so desperately yearn for.

The most common myth is the idea of women bulking up. This is next to impossible for 98% of the population.

(Unless you try extraordinarily hard.) Women do not produce enough testosterone to increase muscle size. Even that 2% of the population who are genetically predisposed to do so must endure a very specific way of training and follow a very detailed and strict eating plan to make this happen. For instance naturally skinny women simply cannot have muscle hypertrophy without the use of performance enhancing drugs such as steroids, which inject an artificial level of testosterone. Bulking up does not come naturally to women. All weightlifting does do is tighten your body and improve your physical capabilities.

There are a very small number of women who have crossed over the uncharted weights section of the gym.

However it seems to be a common thought that high reps

and light weights is the women’s equivalent to weight lifting.

To put it simply, ‘to strengthen muscles, you must stress them. To stress them, you must lift heavy weights and lift them fewer times’.

Paradigm shift

Over centuries there has always been a shift in what level people regarded their health and fitness. With this constantly changing industry, we need to stay with the times, rather two steps ahead. We are currently in the midst of yet another paradigm shift. We are leaving isolation exercises behind and replacing them with compound. We are moving away from typical machine weight movements and focusing on simulating functional everyday movements. We have even opened up the age bracket for which exercise is essential and those who were not considered before are thought of more now than ever. With the rising life expectancies, the need for the increase in the overall quality of life is substantial.

Right now in gyms all over Australia gym instructors and personal trainers are including a weights program in everyone’s workout. But not just the same repetitive weight training but the encouragement to continually increase the weight. As recently realised, the benefits for weight training are not gender discriminatory.

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One of the newer updates regarding weights are tackling isolation exercises which used to be the key to gaining maximal levels of fitness. Now it’s all about compound exercises. Firstly isolated exercises are those that target single joint actions or to isolate individual muscle groups such as leg extension, leg curls, pec deck and bicep curls.

Compound exercises are those that involve the coordinated action of more than one joint. This means you are engaging the target muscle, the supporting muscle to the target muscle as well as the surrounding stabilizing muscle groups.

Whereas isolated exercises works only the target muscle / muscle group. Examples include squats, dead lifts, bench press and chin ups.

To

So why do more compound than isolated? “Compound exercises replicate functional movement patterns in terms of joint actions (the style of joint movement), applied joint forces as well as muscle recruitment patterns”. Isolated exercises are training the body in movements that are not seen in everyday life. Look at the daily activities such as walking or running or climbing stairs and you will realise that the knee does not work alone.

Considering all of the above, here is my proposal.

Since this shift has only started taking place within the last decade, the current gym equipment still in use are mainly designed for isolation exercises. Compound machines are very slowly creeping into gyms but they are mainly one standing object with several components coming off it so that you work your way around the machine using each different component to get that full body work out. What I would essentially like to do is to study repetitive functional movements and devise a product whereby you simulate a typical functional movement in one motion as you would in everyday life, with some resistance, using one piece of equipment.

Compound exercises should make up the core of any fitness regime. Considering you have limited energy at high intensity, does it not make sense to exert that energy to a more effective full body workout?

put it simply, here is a list of the benefits of

compound training.

• • • • • • • • • •

More functional Heavier loads can be lifted More training stimulus Increased neurological activation Higher muscle activation Higher hormonal response Promotes joint stability and strength Less stressful across joints Trains smaller assistant muscle groups Stabilize abdominals

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Resistance bands is the key.

A major difference between free weights and stretch bands is the consistency of the resistance that stretch bands provide throughout an exercise’s range of motion. This helps optimize your workouts, as your muscles are engaged at all times.

There

are multiple benefits for resistance band

•

They do not rely on gravity to provide resistance

training.

To just name a few:

• Weights can only be done on a vertical plane where the bands work in both the vertical and horizontal planes • Movements such as twisting, side kicks and punches or turning while carrying a heavy box can be simulated

• It gives the ability to change the direction of the pull, meaning you can target more specifically whether it is for rehab, aesthetics or sport specific. For example when doing a squat, the greater tension on the hamstrings means the more emphasis on strengthening the joints around the knee

• It provides continuous tension working a full range of motion of the muscles by working both the eccentric and concentric muscle groups • It has more than just a linear variable resistance meaning as the range of motion increases, aiding in flexibility, the resistance of the tubing increases as there is a

greater pull, in turn engaging more muscle fibers

• This means it mimics the strength curves of most muscles. I.e.: the bicep curl. The bicep is at its weakest when the dumbbell is held at the bottom, when it is bought half way up, that is the strongest point of the bicep. However the weight is limited to the biceps weakest point and is not getting adequate tension at its strongest. The bands however increase the resistance with greater pull so it is providing the necessary tension for the bicep at its strongest point.

Business as usual does not seem to cut it at the moment. Things need to change. There needs to be something that inspires excitement about the fitness industry being accessible to any and all social groups. The fitness industry needs a revamp. There is such a minute percentage of the population who own a gym membership and an even smaller percentage of people who use their gym memberships so maybe we need to take fitness to the people. This means that the equipment needs to be modular, adaptable and customizable, at least within its aesthetics. We need to show that fitness is for everyone. All age groups, any gender, and any level. In order to appeal to the wider audience, we need its aesthetics to be interchangeable within people’s busy lives and/or personalities. The future of fitness depends on whether this shift will appeal to the intended audience and draw onto the other 90% of non exercisers.

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Michelle has a vigorous and enthusiastic approach to design issues, tackling problems head on with deep research, an open mind and innovative design thinking to push a project towards an innovative outcome. She is a very methodical person which means each step of the design process is taken on from every angle providing clearer courses on actions to improved solutions. Her passion and drive to take the ordinary into the ‘extraordinary’ is what defines her abilities.

She aims to provoke thought, and instigate conversation around aspirations to improve the overall quality of daily life.

She has always been attracted to working in highly social surroundings and is a chronic ‘people watcher’; she is constantly learning about people through her continuous interactions with them and is always fascinated by the way innovative objects unconsciously become embedded into

email: elle.vanspall@gmail.com

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routine. Her work in the fitness industry gives her a unique insight into ergonomics and how the body interacts with the man made world. Michelle’s overwhelming need to improve is derived from her to ability to push her body and mind towards high goals she sets out to achieve in projects. She feels the most effective way in which to develop a complete resolution is to know its intended placement.

Michelle has always searched for pathways which lead her to new experiences, new learning’s as she always has a craving to develop and excel. She has always been drawn to creativity and the notion of making, as she is a firm advocate of the influence of design and its connections to society. She is convinced that design provides her a platform to materialize her visions for a world better in small ways.

phone: 0423 276 521

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website: www.michellevanspall.com

Wong, Hui Ming Project name: Out and Proud Hearing loss is a common disability, though what is not commonly known is that a lot of people with this condition do not wear hearing aids. The project focus upon this sense of ‘shame’ and challenges the traditional design responses that have focussed upon to making ever smaller and hidden-­‐behind-­‐the-­‐ear hearing aids. By using the title ‘out and proud’, the project proposes an alternative approach to the design of hearing aids: one when the device is larger (so it can accommodate better electronics) and has a design value as a fashion accessory.

The project has been informed by collaboration with hearing aid users and manufacturers.

Utilizing contemporary capabilities such as interfacing with smart phone and computer, the design enables high quality and user customisable audio sound. The project also separates the electronics from the casing to enable the potential an interactive service enterprise where the user can freely customize the form and features of the device, or even be the owner of system product with multiple user-­‐generated configurations. The project ‘out and proud’ has aimed to unpack the paradigm of hearing aids by a formalistic approach of interpretations and images.

Out & proud

Re-concptualizing hearing aids

abstract Hearing loss is a common disability, though what is not commonly known is that a lot of people with this condition do not wear hearing aids. The project focus upon this sense of ‘shame’ and challenges the traditional design responses that have focussed upon to making ever smaller and hidden-behind-the-ear hearing aids.

By using the title ‘out and proud’, the project proposes an alternative approach to the design of hearing aids: one when the device is larger (so it can accommodate better electronics) and has a design value as a fashion accessory.

The project has been informed by collaboration with hearing aid users and manufacturers. Utilizing contemporary capabilities such as interfacing with smart phone and computer, the design enables high quality and user customisable audio sound.

The project also separates the electronics from the casing to enable the potential an interactive service enterprise where the user can freely customize the form and features of the device, or even be the owner of system product with multiple usergenerated configurations. The project ‘out and proud’ has aimed to unpack the paradigm of hearing aids by a formalistic approach of interpretations and images.

target audience

Further

per 10,000

will acquire a hearing impairment that requires

per 10,000 live births

Hearing loss patient in Australia

hearing aids

will be born with a

by the age of 17 through accident, illness or other causes.

moderate or greater

hearing loss in both ears

men

half

Over the population in their

have a higher incidence of hearing loss than

of those over the age of

of those over the age of

suffer from hearing loss

and currently costs the economy in excess of

Hearing loss is predicted to affect Australians by

this is likely to become one of the biggest health and social issues of our time as

&

per annum

of the hearing aid on the current market isn’t fitted properly.

70 80

more people giving up/ lost trust on hearing aid

Australian Hearing (2008), Australian Hearing’s Health Report: Is Australia Listening: Attitudes to hearing loss, www.hearing.com.au/upload/Is-Australia-Listening.pdf Australian Hearing (2008), Hearing loss in Australia, www.hearing.com.au/upload/Is-Australia-Listening.pdf

contextual interview

no Denial or Acceptance?

Patient first concern about hearing aid is how will the hearing aids looks like on their ear and how will it affect their appearance. They are paranoid about others response. They may also be embarrassed by the idea of wearing a hearing aid and are concerned about the cosmetics.

Denial is a psychological process and is often the first reaction people have when faced with evidence of hearing loss.

After adjustment period, when they used to wearing hearing aid and feel comfortable about wearing it, they tend to focus on the function of hearing aid.

Aesthetic and behavior impact through well designed hearing aid: •To contribute user confidence •To help user understand their advantage of their disability •To encourage a positive attitude •Hearing aid is not a symbol of hearing loss, it is a gift to allow user empower their personal identities.

"My hearing is not bad enough to wear a hearing aid" "If my hearing gets worse then I will do something about it"

"I can simply ask people to repeat what they have said"

"I have very bad experience in the past and I am not going to experience that again”"

“My hearing will get better over time”

yes “ I want others to knowI have bad hearing so other shall show some respect instead of guessing the slow or least response was due to impolite or mental problem.”

“ Small hearing aid quality is very bad.

The bigger the better!”

“I want to feel the hearing aid and be reminded that Iam using hearing aid because I don’t want to lose the expensive device.”

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those has interacted with hearing aid user: • Hearing aid user is not deaf.

• Hearing aid users are able to cope with normal conversation as long as the hearing aid is fit properly.

• Sometimes they can’t even tell if the people are a user or not as today hearing aids are designs to be hidden.

those knows about hearing loss from family members: • They tend to pick up the appearance change easier from hearing aid.

• Pay more attention to the conversation and be more patience at the response.

Skin colour design makes it look worse

• Mostly aged people.

• Disabled.

• Hearing aid is distracting but also curious about it. They curious about what does hearing aid user actually hear in terms of real life sounds through their device.

• No discrimination • Some may have misunderstood that hearing aid user is deaf.

• Feel sympathy about hearing aid user however it will also depends on how hearing aid user present themselves.

• Uncertain about communicating with them as they do not know how the speaking volume should be like.

• Hearing aid user speaks louder.

It should be personalised to suit individual’s identities

How would you describe hearing aid?

Ugly

Plain in colour

Assistance device to remove the communication barriers between users and nonusers

Not fashionable

Enables ones to improve his hearing abilities with bigger frequencies.

Socially unattractive

Dirty looking

large

Survey for Non-User

What is your impression of hearing aid user?

noticeable

those may not have experience communicating with hearing aid user:

ever communicate with a hearing loss patient

small, discreet and hidden

case study: ear appliance aesthetic Hearwear: The future of hearing Venue: V&A (Victoria and Albert Museum.

London) Time: 26 July 2005 - 5 March 2006 Presented by V&A, RNID, blueprint and Wolff Olins exhibition.

Technology of hearing aid has been through a significant jump ever since it is invented however, as an ear wear, the investment of style and design are maintaining concealing.

In fact, ear wear is one of the popular fashion accessories.

People are wearing head phone all the time as MP3 player, IPOD, mobile phone were introduced.

Confronting fact is even normal head phone has more design features than a hearing aid.

Therefore, RNID, Blueprint and Wolff Olins raised a thought: what more can we do with the hearing aid technology with design investment. It should be presenting hearing loss instead of hiding and cause a hearing fashion statement.

Hearwear reconceptualised a potential future that shift hearing health technology from disability to desirability.

Hearwear invites 15 designers to visualise the concept and public to amplify their senses.

designboom(2000-2010), hearwear – the future of hearing, http://www.designboom.com/contemporary/hearwear.html

Top: • ‘Wearhead’ by Hulger Expressive and pround to present. It illustrate user confidence especially those shut the world down with music.

From left to right: • ‘The Beauty Of Inner Space’ by Ross Lovegrove Elegant and light in carbon composite with gold and silicone. It explores the possibilities of technology as body adornment.

•‘Surround sound’ by The Industrial facility It incorporates hearing technology into the glasses.

•‘Table Talk’ by IDEO It is a range of bar furniture with built in electronic loop. Customers simply buy inexpensive earpieces at the bar which pick up sounds within the loop and amplify them.

Great for social activities in noisy environment.

design ideation visualization The journey of exploring aesthetic study

The blurring edges among hearing related electronic devices The expedition of visualizing functionality with a gorgeous thought

Bespoke Hi Fidelity and Aesthetically Performed super hearing devices The expedition of visualizing functionality with a gorgeous thought

Hook is too far away from ear, readjustment to approach head is required for stability and comfort.

3 parts instead of 2. Dedicated to customizable pattern, body top and body bottom. Snap fit for all to interlock each other.

Curve doesn’t sit well on most user ear.

Snap fit to be improved.

error analysis With AMP assistance, the benefit of rapid prototyping is demonstrated. The printed physical mock up translates form precisely according to CAD and provide easy access to user testing.

This allows me to analyse the design mistake and work on the refinement.

5

user demonstration 4

3 2

1. Lift up the top part of the product 2. Take out electronic and battery capsules 3. Separate the hook from body 4. Remove interchangable decorative panel 5. Detach the sof pad from the body

storyboard

mild hearing loss

1

2 Zara is presenting with hearing problem.

She is diagnosed to have mild hearing loss after series of hearing tests. She is being indicated to hearing aid for rehabilitation.

auris

5

6

Zara visited Auris website and impressed by the Auris product range. It doesn’t look like the hearing aid she has in mind, which she hated so much. She immediately customized her hearing aid and makes her order via internet.

Zara is being allocated back to Kevin for hearing aid fitting. As soon as Kevin received Zara’s order, he contacts Zara for her first fitting.

auri

9 Zara downloaded Auris Smartphone application immediately. It sync with her Auris hearing aid and enable her access to modify the setting accordingly. Now she has more control to her hearing aid.

10 Arius after care package with schedule follow up helps Kevin to keep Zara hearing aid fitting updated.

auris

3

4 Zara is anxious about wearing hearing aid and the social stigma she may need to deal with.

7 Zara returned Kevin’s hearing aid and provide her feedback.

According to Zara responses and the hearing statistic, Kevin completes the fitting for Zara first Auris hearing aid.

Her audiologist, Kevin understands her concern and introduced her to Auris. Kevin also presents her a pair of hearing aid so she could start to experience hearing aid.

8 As part of the deal offered with Auris purchased, Zara received hearing aid training from Kevin to answer all her doubt.

designer Huiming grew up in an industrial park in Malaysia where her parents ran the family owned printing company. She flies among different industries like a working bee, collecting industrial scraps and making honey. She observes and explores the potential of materials and she listens to people’s opinions and learns from feedback.

Until the small industrial park can hold her curiosity and creativity flow no more, she has come abroad to Melbourne. Currently undertaking final year in an industrial design course at RMIT University, Huiming is developing her design practice around the idea of designing for the disregarded.

hello

Muhamad, Ahmad Shafiq Affandi Project name: PROJECT 40K One of the waste products that are seldom recycled are vehicle tyres. Often after as little as 40,000km of road use tires reach the end of their life, and usually end up in landfills. Tyres are a challenging product to recycle – to separate the rubber from metal wires – and only a very small number of specialised recycling companies have the capability to efficiently reprocess them. Project 40K is a campaign project to divert tyres to a path of upcycling – by becoming furniture in this instance.

My solution is located at the user end of the product life cycle where at the end of life of the product the user is faced with the proposition of upcycling tyres themselves. I approached my project through a process of playing with scale models and tension structures. The tyre in this story becomes a tough rubber band that wraps around a customizable set of elements. My search for extreme simplicity led me to visualize solutions that are significantly user side technologies where the product is held together by the properties of the materials and of opposing tensile forces, and where I dispense with fasteners to achieve a stable design.

20K

PROJECT

Ahmad Shafiq Muhamad. Major Project. 2011/ S.V

PROJECT 20K Muhamad, Ahmad Shafiq Affandi One of the waste products that are seldom recycled are vehicle tyres.

After 20,000km of road use, what usually happens to old tyres once they've reach the end of their usability? Well, they usually end up in landfills, as an unusable waste product, extremely difficult to breakdown a composite material such as a vehicle tyre and extract/separate the rubber from steel metal wires with the exception of a very small percentage of specialised recycling companies that are have the capabiltiy to efficiently re-process vehicle tyres. My project deals with coming up with a solution to the tyres in the waste stream. Why not to recycle tyres into useful "MAKE-DO" products.

This is a kit where you can take old used tyres and turn them into unique and usable furniture designs. I hope this project will help to promote a more sustainable lifestyle through “RECYCLING+DESIGN”, utilising what’s around you. These kits are collapsable, and most importantly no type of adhesive/ nut&bolt will be implemented in the design, only held together under tension. This is Project 20K.

Concepts

Final development

Name: Ahmad Shafiq Affandi Muhamad.

Email: S3127831@student.rmit.edu.au

shafiqus.muhamad@gmail.com Contact Number: 0450385777 Nationality: Malaysian Hometown: Kuala Lumpur Academic Career: -Lyndhurst Prepatory School, Hampstead, London, UK 1993-1996 (Common Entrance qualifications) -Mill Hill Secondary School, Mill Hill East, London, UK 1996-1998 -Alice Smith School International, Kuala Lumpur, Malaysia 1998-2002 (IGCSE qualifications) -Middlesex Univeristy, London, UK 2003-2005 (Foundation in Product Design) -RMIT University, Victoria, Australia 2006-2011 (Bachelor of Design)

Yu, Cheuk Hang (Harris) Project name: Bot Craft BotCraft aims at creating new functions and providing a new life to the common glass bottle that becomes waste. Manufacturing companies through to households throw away enormous amounts of waste every day. Metal containers, timber structures, plastic bags, glass bottles just to name a few. Most of these objects become waste as soon as they accomplish their intended function. However, such objects continue to retain qualities of aesthetics and durability which could be utilized for another purpose.

Australia produces a large waste stream of glass bottles partly due to its rich culture of wine making. Most of the bottles are beautiful which it a shame just to be thrown away. Some restaurants just re-use them as water jugs. Bot Craft intends to do much more than that.

Bot Craft aims to design decorative products which utilise recycled glass bottles as the main material. Variability within products is key. What if a product could change its appearance at the will of the user? What if it could change its shape, colour or surface pattern? The project explores technologies and mechanisms that allow users to play with the form aesthetics and surface detail of everyday glass bottles.

BOTCRAFT REBO industries Connector

Introduction

This project is divided into three parts. The first part identifies the design enquires for the project, the second and third part shows 2 different projects: the BotCraft industry and the ReBo connector. ÂŹ The project investigates on existing methods in sustainable waste management and identifies various methods in recycling. The research concluded that the process of recycling involves high energy input, wasting resources in the process of saving material. The project then raises the question: how can we recycle in a more sustainable way?

The core concept of the project is to reuse waste material without using energy intensive processes such as remelting and moulding. The project looks at ways to reuse the materials with minimum modification of its original form. Alcohol glass bottles are chose as the subject of reusing as it is one of the most common waste produced in Australia.

In the BotCraft project, various ways of cutting glass bottles are researched and experimented. A glass bottle cutting machine was produced at the end, aiming to provide a cheap and easy solution to manipulate these waste products without much energy.

The second project (ReBo connector) first explores design concepts that utilise cut glass bottle section as product body, then went on developing a series of connector tools. These tools turn glass bottles into individual modules which could be connected to form larger structures.

World Problem

Human population is increasing rapidly all across the world. Consequently, the needs and wants of people are also on an upward rise. Mass production is the main marketing strategy to cater to these needs and wants.

As the amount of mass production goods increase, so do the waste generated by consumers.

The disposal of waste products is one of the methods for the government to overcome problem of over production.

People started to deal with waste disposal since the 19th century. The biggest investment in recycling occurred in the 1970s, and this shows that governments had realised the impact of waste since the 70s. However, waste disposal remains one of the biggest issues for the government in every country.

There are currently three different methods for waste disposal- recycling, dissolution by nature and landfill.

However, with each method, there are again some other negative impacts on the environment. As nonrenewable sources are overused, the amount of raw material continues to reduce significantly all across the world. Landfills are also reaching their limit, taking up valuable space while creating a toxic environment. The development of recycling methods is the most ideal solution to the over production of waste. Sources will not be depleted as quickly and the use of landfills can be reduced.

Recycling

Recycling is the most popular and common method in sustainable waste management. It is also perhaps the most widely recognised concept in solid waste management. There are two critical advantages when recycling- it saves energy and resources. However, higher costing and pollution are the disadvantages of waste recycling.

The advantages of waste recycling Energy

Recycling material can save up to 60 percent of the energy required to make the same product from virgin material. Recycling aluminium can even save up to 95 percent of energy. In fact, using any recycled material to produce new products will require less energy than using raw materials. For example, the process of mining and refining 1 tonne of raw aluminium to production grade requires 14,000 kilowatt hours of electricity per month.

In addition, a large amount of heat will be produced from the refining process which negatively impacts the environment. Recycled aluminium only uses 5% of the energy required in mining, so it will be produced less heat during the process. However, the energy required to collect and transport these waste for recycling must be brought into account, which in this case, the total energy required may be the same or greater than that requirements of virgin material.

Resources Sources of materials are reduced significantly daily.

Many sources are confronted with the possible crisis of extinction. For intense, petroleum is the main source of energy, people over used oil production since as 1973.

There was an Oil Crisis in 1973. In addition, the Global economists said that “1973 oil crisis will be a small glass of water compared to the vast ocean of problems the world will have to face in 2017.�

Excessive use of materials is the main reason of sources being depleted and the environment being destroyed.

For example, producing a tonne of printing and writing paper would take approximate average of 24 trees, which about 40 feet tall and 6-8 inches in diameter.

Overusing paper would lead to more trees being used.

In 2008, it was over 1.26 million tonnes of paper waste in Singapore. This was just a country paper consumption.

Million and million trees were cutting down for making for paper, hundreds and hundreds of forest destroyed every ten years. In addition, the growing process of tree also need to takes very long time. The tree cannot grow fast enough for people consumption.

Recycling material is the method for saving our energy source and rebuilding our natural resource. Recycle material can use less energy for the refining process.

Besides, recycling can also take less material form the natural resource, so the natural resource can take time to rebuild.

The disadvantages of waste recycling Higher Cost

Although using recycled material will consume less energy than using virgin material in making the same product, using recycled material will cost more than raw material if the energy required to collect and transport these waste for recycling must be brought into account, which in this case, the total energy required may be the same or greater than that requirements of virgin material.

Pollution

Pollution is a big issue in recycling. Chemicals are used for some recycled materials to clean and reprocess these materials for use. For example, effluents and solid waste are the main pollutants from recycle paper.

Using chemicals to detach ink and blending are the basic technique for recycle paper. Hydrogen peroxide and sodium hydrosulfite are the most common bleaching agent. Then the ink particles would stick together by using fatty acid soap. Hydrogen peroxide is a hazardous chemical. Aging and cancer are issues could get that from hydrogen peroxide. Waste paper pulping also produces sludge, which contains heavy metals. Some of the industrialized countries will cremate the sludge. But most of the country will use for landfill or sold out.

Project Direction Recycling is the best method to deal with waste disposal, but it is not the best strategy in terms of material use.

Recycling requires huge amount of energy to operate which leads the project to take on a different approach in recycling.

Reassigning new functions to used products is the main focus of this project. The project aims to use less energy by limiting the production processes. This would eliminate any pollution issue and achieve a lower cost throughout the entire process.

Many materials work well with reusing and recycling.

Most of the recycled materials are melted down and remade into a new product, such as plastic, glass bottle and metal. Although recycled material reduce energy consumption, malting down the material need to spend a very high temperature which use huge amount of energy. It also produces masses of CO2, which affect the greenhouse effect. However, melting down is not the only way to reuse the recycle material, and that might not the best to reuse the material.

In conclusion, melting down is not the best method in reusing materials, because melting materials requires a huge amount of energy during the process. The project aims to develop a more sustainable solution in recycling and reusing material, cutting down energy usage within the process and explore methods for up-cycling instead of recycling.

Glass bottle will be the main recycling material focused on in this project, because a huge amount of glass bottles consume in Australia. Australia is a first rank beer consumption country in Asian and top 5 drinking countries in the world. In addition, glass bottle is a short life production. People will throw away when the alcohol finish, so it also need to take a large amount of energy for recycle. Using low energy and reuse the material is the main aim of this project. Besides, glass bottle production also has potential to create a beautiful reborn product.

This project is separated into two parts, the BotCraft and the ReBo connectors. The Botcraft project explores various methods in cutting glass bottles, providing a good understanding of the waste product and its material properties. A glass bottle cutting machine is built at the end of the project, providing a quick and easy solution in cutting glass bottles. The Rebo project investigates on the relationship between the user, product and recycled materials. In this project, a series of connectors is developed, which turn glass bottles into modules to create larger structures.

Bottle Sun

is a concept developed from the Sun Ring. This concept not only improved the joinery of the bottles and frame, but it allows multiple rings to be connected in various angles to form a spherical structure.

Different sizes of the Sun Ring lamps could be connected together. Although small connectors were developed to connect the rings with relative ease, the overall assembly process is still too complex for consumers. The project therefore shifts focus into designing simple connector tools that allows bottles to be joined in easier ways.

REBO Connector

BOTCRAFT industries

When the strength and weakness of the material is fully understood, designing the cutting tool was the bridge to connect more design on the following part. After the cutting tool made, making a design for using glass bottle was the next stage.

Pen Frame

Clamp

There are two pulleys located in the right side of the machine. They connect with a blat, so they can move together as the same speed. One of the pulley connects with the motor.

The pan frame works up and down, because the bottom part of the frame connects with the lever and the frame is locked in the track which make in the left and right board.

The top part of the frame connects with the fire pen, so the pen can go up and down with the frame. The reason for make the frame up and down is make the glass bottle cutting with inclined surface

Cam As the metal shaft is been rotated 360 degree, the clamp will slowly retract itself into the locking position with the glass bottle. The reason of making clamp like this can be fix any kind of bottle as long as the basic of the bottle is smaller than the basic plate. In addition, there is a hole located in the centre part of the clamp, so it can be hold the bigger bottle up side down in the same location.

Lever The lever is connect with the cam and pen frame. When the cam rotates the frame will move up and down.

Pulley The cam moves when the pulleys are moving. As the cam rotates, the connecting lever moves as well.

Front board There is a window and it could let you see thought what is going on in the inside. This design is for making the making process more interesting. There is a clear plastic just back of the window.

The clear plastic can do the protect, if the glass bottle breaks.

Motor The Motor is a 25W induction motor. It could use everything in Australia. The motor is connecting with the pulley, so it could make everything move. The speed of the motor is 40 RBM, it would not too fast for rotates the glass bottle.

Cobase

REBO Connector

This is the connection tool for holding the bottom part of the bottle. It also connects Mouthfit for hold Short leg and Hugga.

Hugga

It holds bottom Cobase and top Mouthfit in the right position. Also It does the handle part, let user to curry around in package situation.

Besides, It can do hanger use, when it in Rebo situation.

Mouthfit

It uses for holding the beer bottle, and make sure the beer bottle would come off. There is a snap fit inside the body. It can hold the bottle strongly from the top, and Mouthfit can connect with the Hugga, Cobase, Short Leg and Rebo Main body. Therefore, the bottle will not drop off from it.

Short Leg

It mainly works with Mouthfit. It just does the connection between Mouthfits.

REBO Connector Package Using different parts of Rebo to create the package for the beer is the idea for Rebo getting into the market. There are four different Rebo parts to create the package.

When the package disassemble, user can use the parts from the package and re-create (assemble) the connection for making some useful and playful object.

Cheuk Hang Yu (Harris) Industrial Designer In the early stages of my career I moved from Hong Kong to study graphics design in Melbourne. However, after studying graphic design for a year I came to realise that I had a big passion for model making and creating products that could benefit the users.

In search of my passion I came across industrial design at RMIT University and thought it was a possible career path I could pursue for the rest of my life as it contained a lot of content that I was interested in.

During my time at RMIT I came across a few bumps along the road. However, I was able to overcome these obstacles to succeed and it taught me a lot of things which I didn’t know before. The course also exposed me into programs such as Solidworks which I then became more comfortable and capable in over time. These past few years taught me to be more confident in myself to tackle problems and as well finding solutions.

Some of my other interests are drawing, comics and movies.

Luc, Steven Project name: walk-­‐run-­‐fly Le Parkour (Parkour or PK), a method of movement focused on moving around obstacles with speed and efficiency. Traceurs (those who practice Parkour) who run up, off and through buildings, railings and other urban built forms wear out their footwear quite quickly. Traceurs modify their footwear to improve their performance, as no currently available shoe design fucuses upon their particular needs. The project – walk-run-fly – worked with the Parkour community though stakeholder consultation and co-creation sessions to develop the design. The project proceeded in a visible fashion through sketches and digital drawings keeping the stakeholders in dialogue though the process.

Alongside this I worked with makers of handcrafted shoes to co-create the upper of the shoe. The sole of the shoe was made on CAD to enable it to be digitally printed. The resulting shoe prototype is to be trialled by the Traceurs for feedback and further development.

WALK RUN FLY

STEVEN LUC S3198998 MAJOR 8

abstract.

Le Parkour (Parkour or PK) is a form of practice and art that trains oneself to overcome the obstacles efďŹ ciently through mind and body, as well as a means to ďŹ nding oneself. Traceurs (those who participates in Parkour) needs to have speciďŹ c footwear to maximise their performance. Parkour footwear is a product that is relatively new to the market. It opens up the opportunity to look into what the current preference of footwear is on the market and identify what issues that needs to be addressed. This project hopes to have some collaboration between the Australian Parkour Association (APA) in order to get to grab some attention to manufacturers to produce a Parkour sneaker rather than a sneaker that could be utilized for parkour. The aim of this project is to create an identity for parkour in the form of a sneaker and to help them maximise their performance.

observation summary.

During my visits to the Australian Parkour Association classes I’d observe their movements and their sneakers and tried to understand why they needed a more durable shoe not only in the outsole but also the midsole and some parts of the upper.

Here I was able to do a collaboration with Melbourne’s traceurs and see their sneaker and were the most wear and tear are located. I also found that traceurs would use shoe glue on the areas where they take the most beating to extend the lifespan of each sneaker.

research summary.

AREAS OF WEAR AND TEAR:

KEYWORDS FOR SNEAKERS: WEIGHT

DURABILITY

COMFORTABILITY

cost LOW CUTS

THIN SOLE

GRIP

FLEXIBILITY MONEY SPENT ON A PAIR OF SNEAKERS:

FOOTWEAR INICATION DATA:

AVGERAGE AGE GROUP: GRIP

26-30 yrs old

SOCIAL STATUS:

SENSITIVITY

COST FLEXIBILITY

Varity range of people

PARKOUR HRS/WEEK:

$100

$50

$150

COMFORTABILITY

SUSTAINABILITY

PREFERRED SOLE: 3 HRS

PARKOUR LOCATION:

BREATHABILITY

Thin and in-between thin and thick sole

SHOCK ABSORPTION

WEIGHT

PREFERRED CUTS:

CUSTOMIZABLE

DURABILITY AESTHETICS

City or local

SNEAKER’S LIFESPAN: Most Important

Least Important

1 week - 5 months

SNEAKER’S AFTERLIFE: Thrown out, tried to get fixed or other activity useage then thrown out.

OVERALL SUMMARY: Flat cuts

Low cuts

FLATS OR ARCH: Flats or little bit of arch

INJURIES OR STRESS: Rarely any injuries, if so spraint ankles and perhaps the ankle carries most of the stress.

In this online research summary based on the survey and questionaire I conducted and sent into an online forum, the parkour shoes that needs to be designed has to function well rather than focusing on the aesthetic form of the shoe. On average, a traceurs parkours for 5 hours a week which quickly deteriorates the shoe they wear specifically for it. For some they have two pairs which the can switch up every now and then. Most wear, tear and stress are in the area of the forefoot. The sneaker’s afterlife is usually thrown out or fixed to extend its lifespan. The value of sustainability is almost non-exsistent and but some have a curiousity for it. Durability, comfort, flexibility and grip are the major concerns for a traceur.

material summary.

EVA

C RI

TRACT

SOLI DR UB BE

Y

S

ARC H

POLY UR

E

GY LO O

AS NV

N TO

AES TH

SUED E

M

PHYL ON

M I

CU S

MAT E

CO

T GH

NO

IP

ON HI

R BBE RU

CA + RUBBER TC5

WE I

E OL DS

ON RB

R

Y LIT BI

VA

GUM RU BB E

IC ET

W

D

O

N IO

GHT EI

FA B

PHYL ITE

FLE XI

GR

CO T

CA

POL YE N O L RS E H T

R

ABILIT UR

DUR A

N LO RA DU

ST

DRC

D IZE AN

SE NS

TY LII BI

RT PO UP

ETHANE V UL LYU C PO

NO

ITY IV IT

TECH N

BBER RU

CO

ST

S AL RI

LEATH ER

NE HA ET

NE

H ES

P

VC

ER ST

NY

UPPER

INSOLE

MIDSOLE

OUTSOLE

Polyyester mesh is breathable and flexible. There are variety grading of mesh and off trail shoe mesh is pretty durable from wear and tear.

Poron XRD for shock absorption as well as stabilization.

No midsole to reduce weight and cost.

The TC5+ rubber is built to withstand a harsh environment as well as harsh activities.

These are material proposal what the sneaker could used compared to other sneakers that’s used for PK in a form of a circumplex diagram.

The upper would be made out of a polyester mesh because it is breathable and flexible. Amongst traceurs they would like to see a sneaker that used that material as the upper as long as it is durable.

Since there is no midsole, the insole would have to utilize the Poron XRD material because it allows traceurs’ foot to be steadied inside the shoe from the cushioning technology and absorb great amount of impact. Lastly, the outsole would utilize the Vibram® RinseMaster™ Sole/TC5+ Rubber because from interviews and research, that particular rubber compound is the most durable and provides good traction, The concept would have to be proposed to Vibram for them to allow use to use their technology and material later in the manufacturing process.

package.

LIGHT-WEIGHT COLOURWAYS

UPPER GRIP

SHOE LACE TONGUE

INSOLE MIDSOLE

NO MARK ON WALLS CUSHIONING DURABILITY

OUTSOLE SHOCK ABSORB

concept develepment.

Matthew Chippa is the Australian Parkour Association president. He organizes class, facilities and his knowledge to those wanting to participate in Le Parkour. Chippa has lent me his valuable time to assist me in the process of co-creation and we were able to come up wit a couple concepts. Having myself stay on track I would give Chippa a call and we would meet up and I would showcase my work or works he hasn’t yet seen.

This has also became part of my process to get it the project validated at certain stages. He has been a great help and I would like to stay true to the research and develop a shoe that the PK community could possibly like and buy.

Prototypes and designs that I’ve havd crafted myself. I learnt a lot from talking to Andrew Robinson from RMIT Tafe as well as Jess, the shoe maker as well as watching online videos. With this process I was able to show Chippa and get feedback from him everytime I ďŹ nish a prototype.

final design.

The final design. The side grip adds a layer of protection because that’s the most common place for wear and tear amongst traceurs. The heel cover is assymetrical to help prevent/lessen the chance of rolling your ankle due to having more support on the lateral side of the heel. It provides more stability. The heel counter also replaces a heel counter that would reduce weight and adhesive. The toe guard helps protect the toes and the strap locks the foot down. The upper is made out of leather and mesh. The mesh helps with flexibility, breathability and comfortability. The curve dent on top of the side guard allows the foot to flex without obstruction on the foot from the rubber material on the plantarflexion and dorsiflexion. The cut grooves that makes up the grip pattern allows the foot to natural flex on the eversion and inverson. The strap was shifted from the back to the middle due to the fact that there are more movement in that area than the heel. Finally, the forefoot’s outsole area is a little bit more thicker due to the fact that it is the area that contacts the surface the most.

colourways.

South bank at night time shines bright with vivid colours that is shown in the relfection of the river. South bank is also the place where the traceurs instructors meet up for meetings before class starts. Thus, the colourways reflects on that aspect.

Colour blocking helps me with viewing a quick colourway on the sneaker. The idea behind the colourways is depicting the night of Melbourne, particulary South Bank. In the end I decided that those with the multiple paint splatter colour looks too messy so I’ve decided to chose one colour which is the electric blue. The side grips reminds me of buildings and the electric blue reminds me of the lights being turned on and left on overnight. Although the sneaker is dominate black, the electric blue captures your eyes first due to it being subtle and it is exactly like buildings in the city at night.

ďŹ nal prototype.

The ďŹ nal prototype started off with 3d scanning in a mock up that was made by Jess an cadding around the 3d model in Alias. The CAD model was sent to a rapid prototype manufacturer to be 3d printed in a Tango Black Plus material. Once I got the 3d print back I handed it over to Jess as well as the mesh material I dyed at home and from there he made the upper from seeing the model as well as my technical drawings. I did the spray paint job myself on the sole and once that was done Jess glued the upper and the sole together with a polyurethane adhesive.

biography.

Steven Luc Bachelor of design (Industrial Design) BDes(InDes) During my time at RMIT University studying industrial design, I was able to explore various studios which allowed me to be exposed to different ways of methodology that can be approached in design. I came into this course thinking industrial design as product design when in reality it could be a service, a interface, a furniture, a interaction and a system design.

I am willingly enough to learn new programs as well as developed my skills to work on individual and group projects.

I’ve entered in multiple design competitions which have also helped me strive to broaden my knowledge in different areas of design. I also have an interest in model making because you experience the process of how objects are made and it makes you more appreciative of things that are hand crafted. There’s a sense of integrity and soul within those works.

My personal interest are sneakers, music and basketball.

Mob: 0421812273 Email: luc_steven@hotmail.com

McArdle, Francis James Project name: Piezo Power This project is an exploration into micro power and how we can generate our own energy.

While we heavily rely on grid power, a lot of the things we use only need a small amount of electricity to run. Many products exist which have the ability to produce small amounts of power and each achieve this goal in numerous ways, many by human power; I have explored the use of a technology that hasn’t readily been used in such an area.

Piezoelectricity is an effect by which certain materials, when placed under mechanical strain, produce an electrical charge. I have explored this technology and its potential to be applied within a product powered by people. The outcome of this investigation is a finished product which uses a piezoelectric element as its power source and encourages the use of an alternate charging device.

Francis McArdle Industrial Design Major Project RMIT

RESEARCH

PIEZO POWER This project is an exploration into micro power and how we can generate our own energy. While we heavily rely on grid power, a lot of the things we use only need a small amount of electricity to run. Many products exist which have the ability to produce small amounts of power and each achieve this goal in numerous ways, many by human power; I have explored the use of a technology that hasn’t readily been used in such an area. Piezoelectricity is an effect by which certain materials, when placed under mechanical strain, produce an electrical charge. I have explored this technology and its potential to be applied within a product powered by people. The outcome of this investigation is a finished product which uses a piezoelectric element as its power source and encourages the use of an alternate charging device.

This project began with research into renewable energy and its current or future applications and many other interesting technological developments

RESEARCH

The decision to delve into piezoelectricity and base my project around this technology was simply to do with the fact that is a very interesting area and I felt it opened up many opportunities to design from. I collaborated with electrical engineers from RMIT who helped and guided me on the technical front. Along the project I tested the commercially available piezo material, attempted making my own and looked at whole manner of variations.

RESEARCH

I research many different areas using various methods such as surveys, market studies as well as reading and internet research

RESEARCH

Piezo Kit Readings 60

40

0 15

17

19

21

23

25

27

29

31

Voltage generation 8

-20 7

6

-40

-60

Voltage

5

Time

4

3

2

1

I was able to gain data on the piezoelectric element that I sourced from a US company and Ben Durnin (RMIT electrical engineering student) provided me with graphs and data on the performance of this technology. With this information and validation I was able to further support my design concepts and show the capabilities and short comings of the technology.

0 0

50

100

150

200

250

Time

Voltage usage 7

6

5

Voltage

Voltage

20

4

3

2

1

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20

30

40

50

60

70

80

90

Time

RESEARCH

DEVELOPMENT

Shown here are a range of concepts and CAD development I have explored, trying to find the right application for the technology.

DEVELOPMENT

I developed my concepts further, refining using CAD, rapid prototyping and various test rigs. All these helped the concept to continue to develop and also develop my design skills along the way; being exposed to techniques such as 3D printing is valuable to future practise.

DEVELOPMENT

DEVELOPMENT

PIEZO POWERED CHARGER

FINAL

The finished product functions in images shown. The two applications are the hand crank and bike dynamo and each movement will generate energy. The above illustration shows simply what happens internally with the rotation, the camshaft rotates up and down and moves the element which flexes it and begins storing the electricity in the capacitor.

FINAL

FINAL

LED Light will indicate low battery; this happens when the available voltage drops to 3.2 Volts.

The product wil be used to provide power for bike lights, flashlights and potentially other devices with further refinement. Those who would use this product may be people travelling and camping on a push bike or perhaps in areas where power isn’t available. It is admittedly a niche market but it does offer an alternative to current dynamos and other hand crank powered devices so it is definitely applicable to all people who are wanting to be ‘offgrid’ in some way.

FINAL

BIO I began Industrial Design in 2008 at RMIT and will be a graduate come 2011/12. Industrial design is about connecting people to objects, whether intentional or not, we have a responsibility to think, visualise and engage with products and services. We have an opportunity to make a difference and create beautiful things but in a sustainable way that is going to improve how we live. I have undertaken a broad range of projects and learning experiences in time at RMIT and look forward to future career practising design. Growing up in Melbourne I have been able to enjoy its culture and style and I believe this reflects on how I practise design. Being a considerate, compassionate and innovative designer is my goal.

CONTACT: francis.mcardle@hotmail.com 0432 596 068