Frankie Hildrick Process Book
2020/21
02
Thelastpiece
Thelastpiece
Frankie Hildrick
“ Good design is radical only because
of its uncompromising essence. Its form and communication are relevant to the life of the product and not simply to the shop.” Sam Hecht
FMP 02 (continued)
Introduction As an extension of Book 01, this document follows the second half of my final major project as part of Northumbria University’s Design for Industry program. It is an accumulation of the work I have produced during my final year, serving as visual and textual evidence of my design process along the way. Book 02 follows the refinement and fabrication stages of my project. I have included both rough and neat work in this book, some to show how I go about my design process from exploration right through to communication, and others to illustrate my own unique methods of creativity that I have acquired and developed over the course of my 4 year journey at Northumbria University.
Contents Refinement 8 Recap 12
Deliverables
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Prototyping
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Chat with Joe Linden
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Finer Details
36 Add-ons 44
Stacking
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Prop Series
56 CMF
Fabrication & Communication 64
Project Notes
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Website Design
70 Animation 74
Fabrication
78 Finishing 82
Assembly
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Communication
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The last piece
108 Validation 111
Final Project Notes
Review In the previous book I began my project with a view to create a product that caters for the ever-changing needs of modern life, tackling the issues that those lifestyles bring. After some exploration into material and methods of achieving flexibility, I moved towards a more conceptual outcome, but quickly realised that my direction had wandered from original intentions to create a product that reduced furniture waste. After some reflection and guidance from industry experts, I re-aligned my focus towards achieving a flexible product with longevity. With the integration of a circular model and durable design, I created an initial concept with some promising attributes. The focus on longevity was shown through not only a product with durable materials and an honest, timeless aesthetic, but also the ability to be reconfigured into a different typology of furniture. The integration into a collaborative consumption concept results in a product that can adapt to differing spaces and needs in the long term. I then turned my attention to the short term flexibility of the system. By focusing on the different uses of living spaces, I imagined a set of additional products to be used in conjunction with the table, adding functionality. Following that, reading up on the design theories of Sam Hecht and Kim Colin gave me a new perspective on the add-ons. This led to a greater consideration for context, resulting in a more human-centred set of products. For the remainder of the project, I will begin the refinement stage, making the final tweaks and adjustments before communication.
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Transforming setting, Book 01
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Deliverables For the final stretch of the project, I have set myself some deliverables to produce an effective communication of my design. I have chosen a mixture of physical models, video prototypes and digital mock-ups in order to strike a balance between showing the product and effectively telling its story.
- 1:5 scale physical models of each configuration and add-ons - Full scale track segment with a selection of add-ons - Video prototype using 1:5 scale models - Keyshot animation to show details and product story - Product Brochure - Digital Product renders/visualisations - Product Photography - Website configurator mock-up
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Prototyping Having chosen a family of add-ons to be used with the table, I began prototyping. At this time, I know that the add-ons will plugged into the table, but I am not exactly sure how. I wanted the table to retain its visual simplicity, whilst allowing for a straight forward system of attaching the add-ons to the central channel. After some rough sketching I decided to explore the possibility of using modular panels with sockets, designed to hold individual add-ons and allow for a range of set-ups. I spoke to Johnny and began mocking up a 1:1 scale model of the cable tray and panels, followed by each of my chosen add-ons. I chose to use cardboard to begin with; at this stage the prototypes served as tools to test out the modular panels with the add-ons, so aesthetic quality wasn’t too important.
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Having mocked up the channel and modules, I had gained a sense of scale, which I was relatively happy with. The add-ons felt proportional to the cable tray and seemed appropriate for their various functions. In regard to the modules, I knew straight away that some changes were needed. I tested a range of socket placements which added some flexibility, but the panels were much too thick and felt restrictive and awkward to use. The set number of modules meant that the user was limited to three add-ons at a time, reducing functionality and the freedom that I had initially intended.
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Testing modular panels
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After some deliberation I attended my weekly peer group meeting to show the progress I had made during the prototyping stage. Anthony agreed that the modules were too restrictive, and added that they compromised the honesty of the system overall. As a possible solution, he suggested that I look into track lighting as a way of maximising flexibility and reverting back to simplicity. Track lighting is not something I am familiar with, but I had previously considered using a continuous slot to hold the addons in place, so I conducted some research into low voltage tracks, and decided to prototype once more. The new central track would use a low voltage to provide the add-ons with power, through contact pins. This allows the addons to be locked into place with ease, avoiding any restrictions to configurations. I quickly mocked-up a rough prototype to test the functionality of the new design,
Low voltage Track, Nordic Aluminium
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Playing around with the new track system prototype
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Initial prototypes
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As the central track has been taken directly from an existing innovation, I did not have to iterate the design too much; the key factor is making sure that it blends it into the system seamlessly to maintain the aesthetic that I was looking for, and retains its function of pinning the surfaces to the frame. After prototyping the new track system, I began refining the add-ons through soft foam models, 1:1 scale in order to imagine some of the finer details as refinement progresses.
Electrified Track system, based on track lighting
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Finished prototypes
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Charlotte Road Studio, Barber Osgerby
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Chat with Joe Linden Joe is an ex-DFI graduate now working for Barber Osgerby in London, a highly commended studio, with a wealth of experience in high-end furniture design. I got in touch with Joe to get some pointers regarding the refinement of my design. Joe seemed to be impressed with my project overall, and had some valuable points for me to think about going forward. He mentioned that the frame and surface materials might be more effective if they were swapped around. A metal frame is better suited to the machining required to achieve elegance in reconfiguration, whilst the natural warmth of wood is more appropriate, and favoured by users as a surface material. Another point that Joe made related to the colour of my product. At this stage I wasn’t quite sure how to choose a colour palette, but Joe urged me to offer a range of options for users to choose from. He explained that colour is important to add some character to the product, it’s all about finding a balance between being overly conservative and too bold. Joe also had some reservations over the inclusion of a rental model, questioning whether it would catch on in reality. This is something that I am aware of with furniture rental being a relatively new concept, but having spoken to relevant validators I was confident that it could work, and so stuck by it.
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Finer details After receiving some helpful feedback from Joe, I wanted to focus in on the fine details of the product in order to add value to my designs, from the main furniture system to the add-ons. Attention to detail is something that I like to think I have done well in previous projects, so I wanted to go even further this time. Keeping in mind the theory I had read on Industrial Facility’s practices, I thought about ways to make the product more useful, more characterful, and enjoyable for the user. And so, I began by looking at the add-ons, iterating through sketches initially before moving to foam modelling.
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Base sizing As the base is intended to carry the add-ons when disconnected from the track, it is important that it is sized appropriately, in order to share a visual cohesion with the add-ons. The products that will be used most often outside of the system are the task lamp and candle holder, so I set out to find a balance between these two products, experimenting with cardboard, and then foam. After some deliberation, I chose to move forwards with a 110mm puck-like base, complete with a 5mm dip to contain various ‘things’.
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Various base sizes
Chosen base in use
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A platform for ‘things’ Designing a feature for the base that enhances its usefulness is something that I have been thinking about for some time, so naturally, I started with that. The base may seem like a very simple product, but I would argue that it is one of, if not the most important of the add-ons. Without the base, all of the other add-ons are left to be restricted to the table. If the base did not exist then the add-ons would cause a conundrum regarding storage, when the user wanted a clear surface, for example. The key detail that the base has inherited is something that I have ‘borrowed’ from the functional characteristics of a tray, and the natural behaviour of people that comes with that. The slight lip; the curved profile of a tray that has been applied to the base, acts as a prompt towards subconscious behaviour. Users see it as a safe place to keep the things that may not have a permanent home in their house; things like coins, pens, bits of scrap paper that have something important scrawled across them. The behaviour is mostly intuitive, so this feature, although intentionally subtle, will undoubtedly be used without instruction.
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Some may initially view the slot in the base as an inconvenience, but I have decided to keep it open at all times, rather than have a cap or plug for use without an additional accessory. Not only does this make its intended use more straightforward, but it also provides extra surfaces that may be used by the user in whichever way they see fit.
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Task lamp Details on the task lamp have been purposefully reduced to a minimum. I feel it is important to maintain a minimal aesthetic for something as functional as a lamp. After all, it is the light that is the key feature, so the form should not distract from that. As the lamp can hold its charge, the user may use it as a portable light, or stand it in the base, so a symmetrical form seemed the obvious choice. One feature that I have added is a slight extension of the shade to reduce glare from the light source. Simple, but effective in its use.
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Work screen The work screen has been designed to provide privacy for those working from home, as well as a platform for any notes or memos that users may want in their line of sight. It is probably the product that is closest to crossing over the world of office products, but in today’s climate, it is necessary to have the ability to change your kitchen into a functional office space in seconds.
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Candle holder The candle holders primary purpose is to change the mood and setting of a space, and at first can come across as almost comical. This is purely because a candle is stereotypically seen as a sign of romance, but that is what makes it so effective in its intention. Much like the base detailing, I decided to add a slight concave to the top surface. The thinking behind this was to catch the wax from a lit candle, but it also serves as a place to rest used matches, which again, I believe will be an impulsive behaviour on the users part.
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Table-top power I tried to keep the USB port as functional as possible. The cylindrical form fits with the language of the add-ons, but is also a near-direct match to the candle holder, and therefore has the ability to hide in plain sight alongside its counterpart. I felt this was an important design decision, as it reduces the need for extra storage space, and avoids an overly technical aesthetic.
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Stacking After considering Joe’s comments regarding the frame and surface materials, I decided to follow his advice and swap them around. This gave me the freedom to explore more elegant solutions for the feet, stacking connectors and caps, reducing the visual impact that often comes with modularity. After sketching some initial ideas and bringing them to life with CAD software, I sent the concepts to Joe for some feedback. He liked the concept overall and thought that I had developed a smart system, but highlighted some areas to improve on in order to increase security and reduce costs without significantly impacting the aesthetic simplicity.
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Early sketches of connectors
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Connector digital visualisation
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After some slight tweaks I had updated concepts for each of the stacking components that I was happy with, but wanted to bring them to life to test their functional and aesthetic qualities. I chose to use accentuated connectors, designed to offer security without overtly expressing functionality. All of the connectors use the same language, but are adjusted slightly to suit various functions.
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The feet are arguably the most important of the injection moulded components. They can be used with an additional aluminium beam to provide support for lower shelves, or alone when used in the table/desk configuration. With gravity doing most of the work, all connectors are precisely machined to allow for a push-fit connection, reducing the need for screws and allowing for a smooth reconfiguration process. 48
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Standard aluminium tube leg with slot
Injection moulded connector, extended at one end to cover slot in leg Collar to prevent slipping M6 connecting bolt with countersunk collar
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Prop Series Now that I have finalised the designs for each of the furniture configurations and add-ons, I can begin looking into more of the details regarding the CMF palette. My aim is to create a product with longevity and flexibility, so finding the right balance between colour options with personality, but that are neutral enough to last the test of time is really important at this stage.
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Prop Table
Prop Desk
Prop Sideboard
Prop Shelving Unit
Prop Add-ons 53
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1. Add-ons Anodized Aluminium 2. Power Track Anodized Aluminium 3. Surface Moulded Beech Veneer 4. Cable Tray Anodized Aluminium 5. Frame Anodized Aluminium
6. Connecting Nut Reinforced Polypropylene 7. Feet Reinforced Polypropylene
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Colours, materials and finishes The first decision to make now that the details have been finalised is the CMF. I’ve been thinking about this aspect of the product for some time, but being decisive is important to keep the project moving forward. In order to gain a better sense of what the product might look like with the chosen CMF applied, I produced some quick digital visualisations for each of the components. This also allowed me to finalise the details I had explored with greater accuracy.
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Frame The frame will be constructed from standardised aluminium tubing, finished with a range of anodizes, including clear, grey and black. Accentuated connectors will be injection moulded from reinforced polypropylene for a cost effective, but highly durable result. The connectors will be available in a soft colour palette of blues, greys and beige, allowing users to add a splash of character to their products.
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Surfaces The surfaces have two main purposes that drive the design decisions. The surface has to be functional - it has to give the user faith that it will be able to support whatever is placed upon it, or whatever task the user chooses to conduct at the table. It also has to be inviting - to make the user want to pull up a chair and sit, place their things but more importanlty themselves. Beech gives the product the warmth that allows it to belong in the home, but is also material that is approprioate for machining, and the functional task at hand.
Water based lacquer options
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Add-ons For the add-ons, I decided to keep the CMF palette to one option, for which I chose aluminium, finished in a clear anodize. This allows the add-ons to be used with all colour palettes, providing a neutral but strong aesthetic for the various setups.
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Fabrication & communication
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Project notes Now that the design is now completely finalised, it is time to move onto fabrication and communication. I am pleased with the progress I have made so far, but executing the visuals will be key to illustrating the complexity of the design, which is hidden by a simplistic aesthetic. As the project has progressed in recent weeks, I have adjusted my deliverable slightly. I will now be creating two animations as opposed to a video, as this will allow me to show the construction of the product system in greater detail.
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Website Design In order to create a strong narrative of the product system, I have created a website mockup, showing the journey that a user might take when purchasing and configuring products. Within the website, I feel it is important to push the ethos of my brand ‘thelastpiece’, as well as construct a detailed configurator page, with options to customise, and choose curated packages for the Prop products.
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Website wire-frames
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Final web pages 68
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Animation For my first animation, I wanted to tell the story of one user’s journey through rental/ownership of Prop products. I decided to use the ‘Toon’ material in KeyShot to create a line drawing style of animation. I think that this helps to place the ficus on the narrative f the animation, rather than the products themselves. The animation moves through a lifetime of a product, including relocating, starting a family to getting a new job. With each lifechanging event, Prop adapts to suit the user’s new needs each time.
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Animation stills
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The second animation shows the simple complexity of Prop. I decided to use realistic materials this time, to show the product series in much closer detail. To fit with this theme, the animation shows close ups, exploded views and various components to give a sleek overview of the Prop Series.
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Fabrication As part of my deliverables I will make a full scale model of the Task Lamp, Base Tray, and Candle Holder. Unfortunately, at this stage time is tight, so I have had to remove the 1:5 scale models from my deliverables, but I think the animations are a fitting replacement. After speaking to my tutor Anthony, and Johnny, the design technician, I have decided to use a dense foam for the Candle Holder main body, and Task Lamp shade, these will be turned on the lathe. I will also be 3D printing the Base Tray and pins, whilst the Task Lamp stem will be made from aluminium tubing.
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Sketchbook plans
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Turning the candle holder
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Finishing Having finished fabricating the components for the full scale models, painting is the next step in the process. I have chosen to use a metallic chrome paint to replicate the anodized aluminium finish that I have selected for the final designs. At this stage, I am not sure if this paint will give me the desired finish, but only time will tell.
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Montana Gold chrome spray paint
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Fitting Acrylic diffuser
Assembly Having successfully sprayed the components I assembled my models, using a laser-cut diffuser to add a final touch to the Task Lamp, cut from frosted acrylic. The chrome paint has come out much better than I initially anticipated, giving the products a subtle texture similar to anodizing.
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Final models
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Communication Now that my final models are complete, I have made the first steps towards final communication. In order to get the aesthetic that I have imagined for the product photography, myself and a coursemate hired the ‘Hidden Heights’ Studio in Gateshead, where we could stage appropriate photos, allowing for a clear communication of the various product interaction points.
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The last piece... Furniture has been rented before, but no furniture has been designed for renting. The ability to change the mood of a space in seconds. Four typologies, each following a common vocabulary, but that can act as individuals, excluded from any system. Materials that offer simplicity and durability, as well as a simultaneous warm welcome. A product laced with intricate details, but ones that are cleverly covered, and integrated for a subconsciously seamless experience. Rented furniture may have its doubters, but Prop is here to change that - you just might not know it yet.
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Fighting against furniture waste. One. piece. at. a. time. 88
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Prop has been designed to take care of the uncertainty that comes with modern lifestyles, but to cater for uncertainty’s consequences, waste, materials must be carefully considered. Materials have been chosen to provide the necessary durability to create a long-lasting product, but also with a circular endof-life solution - materials that demonstrate thelastpiece’s drive towards sustainability. A timeless, reconfigurable design means that Prop can grow with you, or you can leave it behind, and it will grow with someone else. With Prop’s design and service model, there are outcomes to cater for everyone, stories to be made by anyone, and the materials and design allow that to happen.
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Prop Task Lamp, Base Tray
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Joe Linden, Industrial Designer at Barber Osgerby
Validation “As far as final major projects go yours is an absolute stunner. I’m super impressed by the overall execution of the concept. [The] models and photography look amazing and the document is presented as well as anything I’ve seen from any of the big furniture brands.” “You’ve done a great job in terms of composition - It’s pretty rare to see such a technical project carried off with this level of finesse.”
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Final project notes Throughout the course of this project, I have challenged myself to a degree that I have never before. I think the level of detail that I ave gone into in the project is what makes it, but I felt that anything less would have risked an underwhelming outcome. At times in the project feelings of doubt crept in, as in any design project, but the amount of work that I had set myself at points in the project seemed like a push, a stretch as to whether I would be able to achieve. Despite this, there are still many things that I can improve. With time I think my digital visualisation skills will develop, and my projects will be all the better for it. But I am pleased with the final design and its characterful nature. If I tackled this project again I would experiment more with the design and construction of the furniture. I have made it to be simple for a reason, but I think there is still room for improvements when it comes to reconfiguration ,and the user’s experience of assembly. A lot of people that I spoke with during the year had warned me that I wasn’t a furniture designer, but I tackled the project with the mindset of an industrial designer, and I think the final design is more considered and systemic as a result.
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Thanks to, Anthony Forsyth Johnny Hayes Joe Linden George Pegasiou Laimis Narsutis Eddie Hamilton Lynne White Samuel Wilsher
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