Hannah Joy Polys IAPD 824: Advanced Furniture Design Studio/Workshop
ACKNOWLEDGMENTS Department Head: Katherine Ankerson, MS, IDEC, IIDA, NCARB Major Professor: Rod Troyer, Associate Professor Director of Graduate Studies: Neal Hubbel, Associate Professor Shop Professors: David Brown, Associate Professor and Steve Davidson, Assistant Professor Student Reviewers: Elizabeth Stadterman, & Katelyn Nigus
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Furniture Design Workshop | IAPD 824 | Kansas State University
“Eventually everything connectspeople, ideas, objects. The quality of the connections is the key to quality per se.� -Charles Eames
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Furniture Design Workshop | IAPD 824 | Kansas State University
TABLE OF CONTENTS
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OVERVIEW…………………………………….…..............6 Problem Statement………………………………..…..8 Goals & Objectives ……………………………….…10
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RESEARCH………………………………………..............12 User Concerns……………………………………….14 Physiological Needs……………………………….…24 Psychological Needs…………………………………42
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PRECEDENTS & TRENDS……………………..….............52 Precedents………………………………………......54 Trends in the Market………………………………….68
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PROGRAM……………………………………….............82 Analysis…………………………………………….84 Product Approach....…………………………………96 DESIGN PROCESS………………………………...........106 Project Expectations………………………………...108 Generative Intention...……………………………….110 Function Structure…………………………………..112 Scheme Development ………………………………114
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FINAL PRODUCTION……………...……………...........124 Fabrication Process…………………………………126 Key Features………………………………………..142 Final Design………………………………………..152 Brand Development…………………………………156 Marketing Development……………………………..158 Final Remarks…………………………………........164
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BIBLIOGRAPHY…………………………………..…......172
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Furniture Design Workshop orkshop | IAPD 824 | Kansas State Sta University iversity
1 OVERVIEW PROBLEM STATEMENT GOALS & OBJECTIVES
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PROBLEM STATEMENT The historic act of sitting down at a table to study may not be the best option for those currently within higher education. College campuses are evolving just as technology is changing every day. New discoveries are being made and human behavior is changing as an outcome of these discoveries. Designing a product that is a departure from the typical table and chair incorporating research of human engineering, ergonomics, issues of proxemics, and technology, is of key concern; while keeping in mind basic concepts of beauty and comfort. Historically, chairs have been known for their prominence. Chairs were seen as places for dignitaries and nobles, keeping that in mind a chair must seek a presence in a room to be seen and acknowledged as a destination. The outcome of this understanding will be to design a product (chair) that could live within a college campus, and a bustling student union, while catering to the needs of the generation currently enrolled in higher education and changing the environment we sit down to study in.
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Furniture Design Workshop | IAPD 824 | Kansas State University
“A funny thing about a Chair: You hardly ever think it’s there.” -from “The Chair,” by Theodore Roethke
Overview
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GOALS & OBJECTIVES GOAL #1: ENHANCE THE NON-CLASSROOM LEARNING ENVIRONMENT
Objective 1a: Provide opportunities for studying or quiet work among the daily activity of student union spaces in higher education campuses Objective 1b: Design a spatial experience for students which moves them from the standard desk-chair relationship to one which is more responsive to the learning needs of the current generation of students
GOAL #2: DESIGN A FURNITURE PIECE TO HOST A VARIETY OF POSTURES
Objective 2a: Accommodate for various relaxed or reclined postures within the identified user group Objective 2b: Incorporate flexibility for various work modes and integration of technology
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Furniture Design Workshop | IAPD 824 | Kansas State University
GOAL #3: PROVIDES OPPORTUNITY FOR INTERACTIONAL AND FOCUSED WORK
Objective 3a: Create an adaptable product to meet the user’s needs for solitary study as well as collaborative work Objective 3b: Consider behavioral trends of people in group settings as well as acoustical control in the design features of the product
GOAL #4: EXPAND UPON THE HISTORIC CHARACTER OF FURNITURE
Objective 4a: Include relevant ergonomic and anthropometric data in the design of the product Objective 4b: Ensure integrated technology or material innovation will be durable and longlasting. Objective 4c: Accommodate for future technology or interface upgrades to ensure the maximum life-span of the product
Overview
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Programming- IAPD 815 | Kansas State University
2 RESEARCH USER CONCERNS PHYSIOLOGICAL PSYCHOLOGICAL
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USER CONCERNS By studying and analyzing the program for a student union, as well as investigating approaches to the design with senses in mind, a case can be made for the potential for furniture in the modern work of higher education. This research project is focused on the design of a chair for a productive user living within the confines of a university student union. This chair will live in a space that defines a lounge area within its program with the potential for this chair to work alone or in a group (idea of isolation or collaboration). The lack of design in the current student union environments does not foster collaboration amongst peers. Creating body-conscious design should be our main goal as designers, keeping in mind those human concerns of anthropometrics and ergonomics (Cranz, 1998), along with those reoccurring historical trends that we as designers should acknowledge (Damierre, 2006). While also looking into demographics and generational concerns of the users within the Higher Education roles, we can better understand what the user needs will be and how they will function when confronted with a new product.
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Furniture Design Workshop | IAPD 824 | Kansas State University
Research
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USER CONCERNS
STUDENT UNION DESIGNS Student Union design fits within the realm of an educational campus plan given that it has a minimum of two essential programming areas including the academic and administrative components but could expand to the areas of housing, recreation/athletics and student services. Each of these will have specific programming facility needs which will dictate their proximity and relationships to each other. (Neuman, 2003, p. 9-11) Other functions for a student union design come from the fact that the union will be a place where it can make up spaces and study situations that may be lacking in other academic buildings on an individual campus. The reason the programming concerns for a Student Union are so vital is because it must fit the ever-changing needs of the students and campus administrators (Solheid, 2014, p.7). Some generalized functions of a union facility would include lounges, food service, and meeting spaces- each of these could be multi-use areas with the idea of flexibility
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and adaptability for a variety of functions and users (Neuman, 2003, p. 228- 230). Student unions are truly a “laboratory of social interaction” (Solheid, 2014, p. 34), and Union design is meant to promote the idea of community as well as a feeling of accessibility and transparency. Given the example of Third space, a theory brought to the attention of the public by a sociologist named Ray Oldenburg, we begin to understand that as humans, we have our your first place or our home, second place or where we work, and that third place referring to an informal community space. Third space being a “variety of public places that host the regular, voluntary, informal and happily anticipated gathering of individuals beyond the realms of home or work” (Oldenburg, 1999, p. 16). The union setting supports the concept of Third Space, a place that activities are driven by conversation, as well as a place where you could be in solitude among the masses of a student population.
Furniture Design Workshop | IAPD 824 | Kansas State University
*Graphics :http://www.kstatecollegian.com/2013/03/25/your-unioncampaign-seeks-student-support-for-union-renovation/
STUDENT UNION DESIGN FEATURES
HOUSING
ACADEMIC
STUDENT UNIONS
ADMINISTRATION
RECREATION/ ATHLETICS
STUDENT SERVICES
FUNCTIONS
LOUNGES
FOOD SERVICES
FLEXIBILITY ADAPTABILITY SOCIAL
MEETING SPACES
PROMOTING IDEAS OF
COMMUNITY
ACCESSIBILITY
TRANSPARENCY
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USER CONCERNS COMFORT
FUNCTION
EMOTIONAL SATISFACTION
MODERN WORK ENVIRONMENTS Multiple concerns arise in the issue of designing for the modern world. Comfort, function and emotional satisfaction all combine to create environments that can foster spaces where people feel productive as well as displayed improved engagement (“Work Well Live Well,” 2014). Designers must deal with all the senses in a work-type environment. The first concern for designing built objects are how people see, approach, and begin to interact with and touch the object. This assists the user in gaining a sense of comfort. But as a designer you cannot rule out stimuli including the issues of sound dealing with acoustic control within a space. Irritating noises, especially the noises of those conversations around us can be detrimentally distracting to our productivity (“The Privacy Crisis,” 2014, p. 54-58). Leading us to understand that there needs to be a barrier of acoustic privacy that could take a physical form, a potential for design.
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As many companies around the world make moves toward innovation to deal with the massive changes in the market place, human needs and concerns need to be at the forefront of a design strategy for moving forward. In an innovative workplace of today there is a trend to move toward an open office, collaborative type of space. This is also true with the changes in how students are being taught within higher education situations. Informal work places that are flexible and adaptable are critical for those Gen Y students that are currently the main demographic of higher education institutions. They expect different things to be readily available to them, such as technology and the idea of instant gratification (“Rethinking Higher Education Spaces,” 2010, p 5-7). The hot topic of collaboration amongst peers is much more pronounced in this new age and should be considered within design of education spaces.
Furniture Design Workshop | IAPD 824 | Kansas State University
http://theultralinx.com/
http://mashable.com/
Modern work environments can be created from anything: a inviting intimate corner, to a privacy screened area, or even a small pad of felted rocks creating a place to work.
http://mashable.com/
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DEMOGRAPHICS HIGHER EDUCATION In order to design for people within the Higher Education environment, one must fully understand the current users and demographics. Currently this group within higher education is seeing a shift to a larger percentage of adult and part time students. Understanding the implications that are associated with this trend helps us understand what age group that would need to be designed for within this community. (“The Effect,� 2014.)
Looking at current data of the ages graduating with a bachelor degree, we can see that there is an increase of those in the 30 plus age category but still a large amount in the traditional age range of students. This creating a wider user group that would have been previously found in the higher education sector.
30 OR OLDER 15.4% 23 OR YOUNGER 64.8% 24-29 19.8%
AGE AT BACHELOR DEGREE AWARD
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Furniture Design Workshop | IAPD 824 | Kansas State University
*Info taken from (Demographic and Undergraduate College Characteristics, 2014).
MAJORS By looking at the types of majors being pursued by the general undergraduate population in 2014, ti is apparent that many non-STEM degrees are prevalent. Science, technology, engineering, and mathematics (STEM) majors have different study styles than non-STEM majors or other creative fields. STEM MAJORS
OTHER
NON- STEM MAJORS
BACHELOR’S DEGREE MAJOR
PERCENTAGE
STEM major (science, technology, engineering, and mathematics)
16.2
Computer and information sciences
2.9
Engineering and engineering technology
6.0
Biological and physical sciences, science technology, mathematics, and agricultural sciences
7.3
Non-STEM major
83.8
General Studies and other
3.0
Social Sciences
15.2
Humanities
11.7
Healthcare Fields
7.6
Business
23.3
Education
5.2
OTHER
14.9 *Info taken from (Demographic and Undergraduate College Characteristics, 2014).
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GENERATIONAL CONCERNS
BABY BOOMERS
GENERATION X
born from 1946-1964 (following WWII)
born from the early 1960s to early 1980s
cultural ethos: prosperity, counterculture
cultural ethos: disillusionment, information
general outlook : Optimistic
general outlook : Skeptical
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traditional values
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highly educated
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most active & physically fit generation
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independent
GENERATION Y (aka Millennial)
GENERATION Z (aka selfies)
born from the early 1980s to the early 2000s
born from the early 2000s
cultural ethos: globalization, social responsibility
cultural ethos: popularity & technology driven
general outlook : Hopeful
general outlook : undetermined
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responsible
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hashtagers
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diverse
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growing
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Furniture Design Workshop | IAPD 824 | Kansas State University
*Generational Info (“The Perfect Name,” 2014)
DESIGNING FOR DIFFERENT GENERATIONS Designing for people within Higher Education is a constant demographic and generational battle. People currently in higher education represent a wide variety of individuals and generations: from those Millennial that are attending college for the first time; those Generation X and Baby Boomers that may be fulfilling a life goal of going back to school and those people of the future, Generation Z who are quickly approaching the age to be considered in the design of a place to study in higher education (“The Perfect Name,” 2014). THE LEARNING STUDIO Engaging students of any age is a difficult task. There are unique characteristics of how the current college age and pre-college age students are learning within a classroom. Within the traditional classroom setting the design will dictate how learning will be implemented for each student. Straying away from a white boards and digital projector screens should be encouraged. Millennial students want to increase their engagement in the classroom leading to the extinction of lecture style learning as an option for a teaching style. According to the National Survey of Student Engagement (NSSE) engagement is measured in a series of five benchmarks (Engaging Students, 4): • • •
Active and Collaborative Learning Student-Faculty Interaction Support for learners (supportive environment) • Academic Challenge • Student Effort while enriching educational experiences These benchmarks are leading the change in spaces where people learn during both class
time and non-class-time activities, called The Learning Studio Concept (research by Herman Miller 2009). This learning studio physical spaces is distinctive in the following ways (“Engaging Students,” 2009, p.4): •
Comfort is at the forefront of the design of the space achieved largely though a combination of different kinds of seating giving individual choice • A place to foster social and collaborative settings, that can allow variety by movement of people and furniture, giving opportunity for movement of the instructor or focal point of presentation • Keeping in mind the use of technology as well as lighting and acoustic control. • This reinvented idea gives opportunity for faculty and students to customize their spaces Results creating these flexible environments encourages interaction and teamwork while creating a classroom with purpose, to encourage a collaborative learning environment. Other findings include that faculty become more approachable and know their students better. Facility being from the Baby Boomer and Generation X generations are not as quick to adopt these methods but are learning how to connect with the Millennial generation(“The Perfect Name,” 2014). DESIGN IMPLICATIONS •
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Keeping the idea of collaboration as well as individual work spaces as design drivers to create an adaptable product to meet the user’s needs for solitary study as well as collaborative work As well as consider behavioral trends of people in group settings as well as acoustical control in the design features of the product Research
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PHYSIOLOGICAL NEEDS Understanding human dimensions and the way we move through and perceive spaces is important. The difference between the structural dimensions of our bodies and dimensional requirements of spaces result from how we interact with a space, how we walk, sit and stand, and even to the point of how we reach up to get a book off the self or how we bend down to pick up something off the floor. Understanding the variations of the norms of human dimensions is important for all design. Seeing that the design of something must be comfortable for both the 99 percentile man and the 1 percentile woman and everyone in-between. Through studies of both Anthropometrics and Ergonomics, we can see that there is extensive research on these areas, but how we choose to design with this information is a different issue.
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Furniture Design Workshop | IAPD 824 | Kansas State University
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ANTROPOMETRICS | MEN
99 PERCENTILE MAN
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Furniture Design Workshop | IAPD 824 | Kansas State University
*Graphics (Tilley, A., 2002).
1 PERCENTILE MAN
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ANTROPOMETRICS | WOMEN
99 PERCENTILE WOMAN
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Furniture Design Workshop | IAPD 824 | Kansas State University
*Graphics (Tilley, A., 2002).
1 PERCENTILE WOMAN
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ERGONOMICS
RELAXING CHAIR FOR EXECUTIVES EVERYDAY USE AND TRAVEL
WORK CHAIR FOR ATTENTION AND ALERTNESS
EASY CHAIR CONSIDERED A RAISED MOVABLE OTTOMAN BACKREST GREATER THAN 30O FROM THE VERTICAL REQUIRE HEAD SUPPORT
RECLINED CHAIR CUSTOM DESIGN FOR THE INDIVIDUAL. THIS POSTURE IS NOT GOOD FOR READING OR WATCHING TELEVISION AND IS NOT CONDUCIVE TO CONVERSATION.
UNDERSTANDING ERGONOMICS Ergonomics is about designing for people and how they interact with their environments around them. Ergonomics is about people, and making things and places easier to use, more comfortable, safer, and more efficient (“What is ergonomics?,” 2014).
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Ergonomics can be better understood through posture studies of knowing the limitations of the bodies comfortable zones and the adjustability/flexibility that is requires.
Furniture Design Workshop | IAPD 824 | Kansas State University
*Graphics (Tilley, A., 2002).
UNDERSTANDING THE DIMENSIONS THE BODY
*Graphics (Panero, J., & Zelnik, M., 1979).
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ERGONOMICS MINIMUM - SEATING FOR THREE AT BAR
OPTIMAL - SEATING FOR THREE AT BAR
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Furniture Design Workshop | IAPD 824 | Kansas State University
*Graphics (Panero, J., & Zelnik, M., 1979).
MINIMUM - SEATING FOR THREE AT SQUARE TABLE
OPTIMAL - SEATING FOR THREE AT SQUARE TABLE
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ERGONOMICS WOMAN- SOFA SEATING CLEARANCES
MAN- SOFA SEATING CLEARANCES
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Furniture Design Workshop | IAPD 824 | Kansas State University
*Graphics (Panero, J., & Zelnik, M., 1979).
SEATING AND SURFACES SUGGESTED DISTANCES
SEATING AND CIRCULATION
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ERGONOMICS CIRCULATIONS WITH SEATING
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Furniture Design Workshop | IAPD 824 | Kansas State University
*Graphics (Panero, J., & Zelnik, M., 1979).
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POSTURE STUDIES
THE DRAW
THE MUTI-DEVICE
THE TEXT
THE COCOON
THE SWIPE
THE SMART LEAN
THE TRANCE
THE TAKE IT IN
THE STRUNCH
STEELCASE STUDY With their release of the Gesture™ task chair, Steelcase released their global posture study that was used as inspiration for the design. The global posture study consisted of observing over 10,000 people on 6 continents in the wide variety of postures people are in while their bodies are at work. Their discoveries included that new technologies are changing our behavior and there is a lack of seating options that address these issues. The chairs tag line “Gesture™ is the first
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chair designed to support our interactions with today’s technologies. Inspired by the human body. Created for the way we work today,” addresses the issue that current seating solutions are not adequately fulfilling these interactions. While technology is a source for boosting productivity it can cause a disruption in our work environment and our failures to concentrate (“Gesture,” 2013) . Gesture’s top three postures form men and women were the Multi-Device, Trance, and Strunch. Men prefer working with laptops while women work most with their smart phones. (“Global,” 2013)
Furniture Design Workshop | IAPD 824 | Kansas State University
*Graphics (“Global,” 2013)
RANGE OF USERS Steelcases global posture study confirmed that today’s workforce is incredibly diverse in both body size and shape in both gender and generations. These are all seen as preference points for design (“Gesture,” 2013). WHY STEELCASE STUDIED Their posture study driven to be used for the design of their Gesture™ chair was designed for the interface between user and technology. Inspired by the movement of the human body and created for the way we work today (“Global,” 2013). WORKERS TODAY Steelcase’s global posture study found that workers today hunch forward, leave arms without support while trying to work on their laptops and other small devices. They are in turn decreasing blood flow in their limbs because of the new perched way of sitting. The constant “on” of their technology leads to using devices anywhere, anytime with no comfortable supported posture (“Global,” 2013).
HUMAN INSPIRED DESIGN Steelcases goal for their design was to create a sitting experience. They wanted to stop looking at chairs and start looking at people, understanding the body and how it moves and those postures that result from those movements and pauses (“Gesture,” 2013). The three key interfaces of the design of their Gesture™ chair included core, limb, and seat. Studying the full range of postures, new and existing, introduced the need of all three of these interfaces. The core interfaces supports our body both back and legs. The upper limb interface included the arm supports that move and to be moved with the bodies desired postures. The seat interface is designed to conform to the body and distribute weight to make it comfortable to sit longer and reduce the amount of pinch points that would impede circulation of your lower limbs (“Global,” 2013).
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POSTURE STUDIES
SASQUAT
CONTRARIAN
BACKSEAT DRIVER
TWISTED SITTER
THE TURNCOAT
LOW RIDER
COMA CHAMELEON
FLYING COACH
RIDING THE PINES
GOING COMMANDER
KI STUDY With their release of their MyWay Lounge, KI Seating collection states that, “The way you sit says a lot about you.” A variety of postures were considered in the design for in the MyWay tablet arm chair, letting you
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DRIVING THE CLOWN CAR
YOGA TO BE KIDDING ME
connect and collaborate with your peers in a posture right for you. KI takes a different approach to defining their postures with horoscope type written statements explaining who you are while you sit in this chair in this new age of multitasking (“What does your sitting style say about you?,” 2014).
Furniture Design Workshop | IAPD 824 | Kansas State University
*Graphics (“What does your sitting style say about you?,” 2014)
WHAT DOES YOUR SITTING STYLE STAY ABOUT YOU? Taken from KI’s MyWay “What does your Sitting Style say about you?” promotional poster (2014).
SASQUAT You are the elusive and mysterious type. Documented sightings of you actually sitting back in your chair are rare, but they have been known to occur. Despite your apparent lack of commitment to your chair, you manage to get things done in it. Now could you please sit back? You’re making us nervous. CONTRARIAN You march to the beat of your own drum. If everyone’s drinking beer, you order wine. If they’re sitting, you find a way to do it in your own unique way. And while your nonconformity is admirable, it’s also a bit annoying— you’d make a better door than a window. BACKSEAT DRIVER You are often the center of attention. Wherever you’re sitting, you appear to be holding court—always perched a few notches above your subjects. And why not? After all, you’re the go-to source for office gossip, fantasy football tips, and home remodeling advice. You’re also really short. TWISTED SITTER You are an incredibly flexible person. And while your twisted sitting style is a source of mild amusement to your fellow loungers, what’s really impressive is your ability to remain pretty darn productive in some very unconventional looking positions. THE TURNCOAT You come across as pretty self-important. Or are you just being polite by turning around to take that call from your mom? Either way, your habit of unexpectedly showing your back to your lounge mates mid-conversation is a bit rude. You just say “back atcha.” LOW RIDER When it comes to crafting your public image, you’re definitely in the driver’s seat. You see yourself as a cool character—ready to shoot the breeze with whomever happens to sit next to you. Everyone else sees you as that annoying guy who looks like he’s driving a ’66 Impala. Ride on!
COMA CHAMELEON You and your chair are one. You are extremely adept at blending in with your environment, whether it’s the lobby or the library. To some, it may appear you’re snoozing, but they don’t know you’re just getting ready… picking the perfect time to make your move—just not quite yet. FLYING COACH Your sitting style may seem cramped. The fact is, you’re just a person who takes things seriously— whether it’s waiting for the dentist or watching a reality show in the lounge. Now, put your seatback and tray table in an upright position and go get us both a cold one while we wait. RIDING THE PINES You are the strong, silent type— often taking a backseat to your fellow lounge-sitting peers. Certainly no introvert, you’re always ready to join in the conversation when your number is called. Until then, you are content just watching the world go by. Hey, at least you’re not the water boy. GOING COMMANDER You are the undisputed master of your domain— even if your domain happens to be the podiatrist’s waiting room. Your commanding presence gives you rightful ownership of every TV remote in the room, as well as every magazine. Warp speed ahead. DRIVING THE CLOWN CAR While your compact sitting style may appear ridiculous, you are anything but. In fact, you are the most together person in the lounge, able to juggle multiple mobile devices while sipping a double decaf espresso skinny latte. Now that’s funny. YOGA TO BE KIDDING ME You are a real go-getter. You’ve got something to do every minute of every day. You can even manage to be productive while you wait for your kale-flavored chai. In short, you’re simply not the type to sit on your hands. Your head, maybe.
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PSYCHOLOGICAL NEEDS Understanding the needs on a deeper level of a potential user is important. From the ideas set forth by Maslow’s Hierarchy of Needs, to the ideas of Proxemics and Universal Design. They bring the ideas of how to design for humans by taking into account how a person sees themselves in a space, to their perception of how others are approaching it. Always keeping in mind that a design must be useful as well as simple and intuitive.
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Furniture Design Workshop | IAPD 824 | Kansas State University
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PSYCHOLOGICAL NEEDS SELFACTUALIZATION
SELF-ESTEEM
LOVE/ BELONGING
SAFETY
PHYSIOLOGICAL
MASLOWS HIERARCHY OF NEEDS Maslow’s Hierarchy of needs suggests that basic human needs must be satisfied before higher-level secondary and tertiary needs can be satisfied. Those ideas of physical safely and security along with food, clothing, and shelter (wellbeing) are the most basic needs in the hierarchy. This perception of safety depends on and varies amongst individuals based on age, gender, health, etc (Maslows, 2013).
PHYSIOLOGICAL: breathing, food, water, sex, sleep, homeostasis, excretion. SAFETY: security of the body, of employment, of resources, of morality, of the family, of health, of property LOVE/BELONGING: friendship, family, sexual intimacy ESTEEM: self-esteem, confidence, achievement, respect of others, respect by others SELF ACTUALIZATION: morality, creativity, spontaneity, problem solving, lack of prejudice, acceptance of facts.
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Furniture Design Workshop | IAPD 824 | Kansas State University
Seen as the basic concept of the distance between two or more individuals, which can be perceived differently by each individual. Virtually everything that man is and does is associated with space. Man’s sense of space is a synthesis of many sensory inputs: visual, auditory, kinesthetic, olfactory, and thermal (Griffin, 2014). Typically in western culture, the first zone closest to you is your intimate zone (0-18”), this zone is mainly shared with people who have a strong bond or level of intimacy, invasion by a stranger can result in discomfort. The next zone, your personal zone (18”-4’), is occupied by casual friends, those
PUBLIC ZONE - 12’- 25’
SOCIAL ZONE- 4’-12’
PERSONAL ZONE - 18”-4’
INTIMATE ZONE- 0”-18”
PROXEMICS
you may do daily work with, or a member of a club- the conversations would have low voice levels. The next zone out is the social zone (4’-12’), maintained by people who know of one another but not enough to go within the boundary of personal zone. This would include your friends of friends and casual acquaintances and when you communicate, it would occur at raised voice levels. The last zone is the public zone (12’25’), this zone is ever reaching outward. At this distance communication is not necessary but may be used similarly to how a public speaker communicates with an audience. Louder voice levels with clear enunciation are required at these lengths (Griffin, 2014).
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PSYCHOLOGICAL NEEDS THE USER THE PRODUCT
THE TASK
Universal design makes things more accessible, safer, and convenient for everyone. With this design for all attitude better design can be made for the masses. (“The Seven,” 2014) With this idea there are “eight measurable outcomes and goals of Universal Design (2014):“ 1.
BODY FIT—accommodating a wide range of body sizes and abilities;
2.
COMFORT—keeping demands within desirable limits of body function and perception;
3.
AWARENESS—insuring that critical information for use is easily perceived;
4.
UNDERSTANDING—making methods of operation and use intuitive, clear, and unambiguous;
5.
WELLNESS—contributing to health promotion, avoidance of disease, and prevention of injury;
UNIVERSAL DESIGN “The seven principles of universal design” are as follows (2014): 1.
EQUITABLE USE: The design is useful and marketable to people with diverse abilities
2.
FLEXIBILITY IN USE: The design accommodates a wide range of individual preferences and abilities
3.
SIMPLE AND INTUITIVE: Use of the design is easy to understand, regardless of the user’s experience, knowledge, language skills, or current concentration level
4.
PERCEPTIBLE INFORMATION: The design communicates necessary information effectively to the user, regardless of ambient conditions or the user’s sensory abilities
6.
SOCIAL INTEGRATION—treating all groups with dignity and respect;
7.
PERSONALIZATION—incorporating opportunities for choice and the expression of individual preferences;
5.
TOLERANCE FOR ERROR: The design minimizes hazards and the adverse consequences of accidental or unintended actions
8.
APPROPRIATENESS—respecting and reinforcing cultural values and the social and environmental context of any design project.
6.
LOW PHYSICAL EFFORT: The design can be used efficiently and comfortably and with a minimum of fatigue
7.
SIZE AND SPACE FOR APPROACH AND USE: Appropriate size and space is provided for approach, reach, manipulation, and use regardless of user’s body size, posture, or mobility
Designing for diversity is a goal for many companies today and should be thought about within every design for humans. (Steinfeld, 2014)
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Furniture Design Workshop | IAPD 824 | Kansas State University
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CODE REQUIREMENTS BIFMA (Business and Institutional Furniture Manufacturers Association) creates a series of standards documents, most recently released in 2012, that cover the product safety and performance standards as a guidelines for furniture manufacturers to follow. These standards are intended to provide manufacturers, specifiers, and users with a common basis for evaluating the safety, durability, and structural adequacy of different types of seating. Lounge and public seating standards: “Lounge and public seating is normally used in indoor public spaces such as waiting, reception, or gathering areas. Lounge and public seating includes products with single seat units, units with multiple seating positions within one unit or ganged seating units. Lounge and public seating may be restrained from moving by attaching to the building structure or freestanding. Lounge and public seating products are generally not adjustable for personal use. This standard does not address general-purpose or task-oriented office chairs, or seating used for stadiums, auditoriums, lecture rooms, airports/train stations and similar high-use public seating areas (BIFMA, 2012).” Educational seating standards: “This standard is intended to provide manufacturers, specifiers, and users with a common basis for evaluating the safety, durability, and structural adequacy of Educational Seating, including units with integrated desk or table surfaces. The tests in this standard are intended to evaluate seating for students in pre-school, elementary, middle school, high school, adult education, trade school, and college, for learning and common space environments. These tests are not intended to evaluate products used in living/dorm environments. The educational seating products covered by this standard are normally used in schools and colleges and include those typically referred to as chairs, stacking chairs, tablet-arm chairs, chair/desks, stools, and convertible bench/tables. Neither folding chairs nor seating products that are anchored to the building floor or structure are covered by this standard. Chairs with tilting seats and/or backs such as executive/management chairs, task/secretarial/teacher chairs, side/guest chairs may be used in educational environments... Similarly, items such as lounge seating may also be used in the educational environment (BIFMA, 2012).”
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Furniture Design Workshop | IAPD 824 | Kansas State University
Research
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SUSTAINABILITY BIFMALevel® is a third party sustainability certification program for furniture. It was create as an evaluation method to see the environmental and social impacts of furniture products in the built environment. This looks selections, and human and ecosystem impacts, addressing the impacts of sustainability from multiple levels and perspectives (“level,” 2014). The score card looks similar to the LEED score card for buildings but looking at aspects of materiality, energy, human and ecosystem health, and social responsibility of a furniture piece and manufacturer (“level,” 2014).
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Research
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Programming- IAPD 815 | Kansas State University
3 PRECEDENTS & TRENDS PRECEDENTS TRENDS IN THE MARKET
53
PRECEDENTS This is a in-depth look into a variety of previously completed projects that successfully or unsuccessfully came up with a design solution for integrated work. These studies look into client and intended user groups, features, materials, and other important facts about each piece. An comparison of the case studies includes dimensions, materiality, important surfaces, storage, form and incorporated technology.
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PRECEDENTS | Lagunitias
LAGUNITIAS PROJECT TYPE: TYPE Casual Seated Work Space LOCATION: Office/Academic LOCATION DESIGNER: Toan Nguyen, Coalesse as part of Steelcase DESIGNER USER Creating a destination for the user within a standard workplace. Creating a place to work together USER: or alone becoming social and collaborative. DATES: 2013 Best of NeoCon Gold Award DATES DIMENSIONS: 1 seater: 49.2W x 34.1D x 50H, DIMENSIONS 2 seater: 67.7W x 34.1D x 50H , 3 seater/lounge: 85W x 34.1D x 50H FEATURES Ranging from 1, 2, or 3 seaterâ&#x20AC;&#x2122;s, high and low panels, seating + table = additional FEATURES: options, storage underneath seat. Integrated power option MATERIALS: Standard Knit Material with Perforations (special colors available) MATERIALS FACTS Used as a system. The back cushion articulates to help the user changes between a more FACTS: upright work postures to a more relaxed posture. There is a handle on the cushion to make it an easy process to move from one mode of work to another.
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A variety of layouts are available for the Lagunitias line of furniture. Ranging from single person to three people. With the addition of multiple parts working as a larger collaborative whole.
The screens work to create a varying degree of privacy. Within this smaller system the taller privacy walls enclose the user to create a focused productive environment.
IMAGES: http://www.coalesse.com/products/lagunitas/
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PRECEDENTS | Massaud Collection
MASSAUD COLLECTION PROJECT TYPE: TYPE Lounge Chair and Ottoman LOCATION: Alternative Office LOCATION DESIGNER: Jean-Marie Massaud, Coalesse as part of Steelcase DESIGNER USER Creating part work, part refuge for the user. The user will be comfortable while still being USER: connected to technology giving an alternative destination to work contemplate or relax. DATES: North American Debut at NeoCon in Chicago June 10-12, 2013 DATES DIMENSIONS: Lounge: 41.3H x 36.8W x 32.9D DIMENSIONS Work Lounge: 41.3H x 41.3W x 32.9D Ottoman: 14.0H x 26.0W x 20.5D FEATURES Swivel tablet surface, wire management through seat cushion, adjustable headrest FEATURES: (removable pillow insert), Swivel base with auto-return function. Storage ottoman with pull tab. MATERIALS Base paint, inner and outer seat, arm caps, removable pillow, and ottoman in fabric or MATERIALS: leather, Work lounge tablet in fusion fabric only. FACTS Balances productivity with residential sensibility, creating the idea of work in the mobile sense FACTS: of mind.
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The swivel mounted tablet is covered in a fusion fabric to keep your belongings from slipping off. Keeping in mind of comfort and posture while still design to serve technology and transient work needs
This collection also includes a storage ottoman that can store files and other items while also acting as a place to prop up your feet. This also included a side storage pocket for easy access to your belongings.
IMAGES: http://www.coalesse.com/products/massaud-collection/
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PRECEDENTS | MyWay
MY WAY TABLET ARM CHAIR PROJECT TYPE: TYPE Casual Seated Work Space LOCATION: Office/Academic LOCATION DESIGNER: KI DESIGNER USER Creating a “third-place” environment to be together or alone to compliment a variety of USER: education, business settings. DATES: Released April 2014 DATES DIMENSIONS: 40W x 34.5D x 29.5H DIMENSIONS FEATURES: Power in chair, drink holder, tablet arm, sled base, storage area underneath. FEATURES MATERIALS: Collaboration with Pallas Textiles, Felt and other non-manufacturer fabrics. MATERIALS FACTS This chair lets you comfortably connect, collaborate, and socialize with those different postures FACTS: in mind.
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A variety of postures were considered in the design for in the MyWay tablet arm chair, letting you connect and collaborate with your peers in a posture right for you.
KI designed a comfortable and engaging piece of furniture that lets you sit the way you want to sit and do things your own way.
IMAGES: http://www.ki.com/products/collection/myway-collection/
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PRECEDENTS | Harbor Work Lounge
HARBOR WORK LOUNGE PROJECT TYPE: TYPE Casual Seated Work Space LOCATION: Office/Academic LOCATION DESIGNER: Haworth DESIGNER USER: Casual work surfaces for come and go activities. Seen as Artful, Versatile, and Productive. USER DATES: Debut at NeoCon in Chicago June 10-12, 2013 DATES DIMENSIONS: 16W x 36D x 36H DIMENSIONS Ottoman: 16.5-19.5H x 24.9W x 17.9D FEATURES: Seat wing with integrated cup holder, movable sliding tablet, casters or glides FEATURES MATERIALS Fully upholstered in Fabric or Leather. Writing tablet in laminate or wood. Metal glides MATERIALS: and casters. FACTS Won Best of Neocon 2013: Silver - Seating/Collaborative Work and Good Design Award 2013FACTS: Furniture. The use of dual work surfaces you are able to spread out your work on your integrated sliding tablet and the seat wing with cup holder.
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The Harbor Work Lounge by Haworth provides work areas on both its integrated sliding tablet and its upholstered seat wing with cup holder. This provides room for electronics, personal items and a beverage that are all vital to a productive but versatile work environment. The matching ottoman provides comfort while the user is working alone but can also work as a pull up stool for collaboration.
IMAGES: http://www.haworth.com/home/seating/lounge/harbor-work-lounge
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PRECEDENTS | BuzziHive
BUZZIHIVE PROJECT TYPE: TYPE Casual Seated Work Space LOCATION: Office/Academic LOCATION DESIGNER: Alain Gilles for BuzziSpace DESIGNER USER: Those wanting to collaborate within the masses. USER DATES: Debut at NeoCon in Chicago June 10-12, 2013 DATES DIMENSIONS: 91.34W x 56.30D x 82.28H DIMENSIONS FEATURES: Acoustic paneling, standalone or work in a group. Fold down work desk. FEATURES MATERIALS: Felted panels and upholstery. MATERIALS FACTS This acoustic cocoon is created from looking at train compartments, ensures that a maximum FACTS: of three people can hold a meeting in total privacy, peace and quiet, without losing contact with their surroundings.
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The BuzziHive can be used as a stand-alone element in any space, but it can also be combined with other BuzziHives, thus creating a beehive effect.
IMAGES: http://www.buzzispace.com/products/buzzihive/images_custom
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PRECEDENTS | Compare LAGUNITIAS
DIMENSIONS
MATERIALITY
SURFACES
1 seater: 49.2W x 34.1D x 50H, 2 seater: 67.7W x 34.1D x 50H , 3 seater/lounge: 85W x 34.1D x 50H
Standard knit material for cushions. Perferated fabric in the upright privacy screens.
Additonal table as part of Lagunitias family
Lounge: 41.3H x 36.8W x 32.9D Work Lounge: 41.3H x 41.3W x 32.9D Ottoman: 14.0H x 26.0W x 20.5D
Options for leather and fabric coverings. Tablet covered in fusion fabric. Painted Swivel base.
Integrated swivel tablet surface.
40W x 34.5D x 29.5H
Fabric covered with wooden tablet. Metal seld base.
Integrated stationary tablet arm.
Lounge: 16W x 36D x 36H Ottoman: 16.5-19.5H x 24.9W x 17.9D
Fully upholstered in Fabric or Leather. Writing tablet in laminate or wood. Metal glides and casters.
Seat wing with integrated cup holder, movable sliding tablet.
91.34W x 56.30D x 82.28H
Felted panels and upholstery.
Fold down work desk.
www.coalesse.com/products/lagunitas/
MASSAUD COLLECTION
www.coalesse.com/products/massaud-collection/
MYWAY TABLET ARM CHAIR
www.ki.com/products/collection/myway-collection/
HARBOR WORK LOUNGE
www.haworth.com/home/seating/lounge/harborwork-lounge
BUZZIHIVE
www.buzzispace.com/products/buzzihive/ images_custom
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STORAGE Room left underneath for storage capability
FORM
TECHNOLOGY
THINGS TO CONSIDER
Grows from a 1 person Option for a powered Typical form with a twist. chair to a lounge. model. Outlets and USB Upright walls help create outlets mounted under privacy cushions.
Additional Ottoman created within the Massaud Collection for storage of work materials.
Standard Lounge chair with Ottoman
Cord Management through the base so power can get to the tablet surface without interruption.
Concealed Technology.
Room left underneath for storage capability
Combination of Lounge chair and Easy chair.
Option for outlets and USB outlets located under the tablet arm.
Chance for Multiple Postures.
Provides surfaces for temporary storage while sitting.
Modern lined Lounge chair with ottoman.
n/a
Modern lines.
Room left under seat for temporary storage.
Incased booth type seating
n/a
Privacy.
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TRENDS IN THE MARKET By looking into the trends that are currently influenced the market - ranging from trends in furniture style, innovate of popular materials, methods of productions, and changes in technology - we can better understand how design needs to address specific market demands. David Zac (2010), a professionally trained futurist explains why looking at trends is important: “Trends are more adult-like because they take longer-term attention span to notice. They often involve a sense of investment, whether that is with a long-term stock, the growth or decline of a company or even the way that we invest in the rearing of our children. They take time and if we reacted to every little change with our investments, we cause more harm than good. We work with trends because that’s where our work will do the most good - long-term thinking applied to the notion of leveraging our resources and efforts to multiply the outcome. If you can pull some fads in to help achieve this goal, trends can work even better (p. 1).” Seeing the effects of trends, we are able to see our projected impact in the marketplace. This is important for anyone trying to fulfill a need for a specified user group.
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TRENDS IN THE MARKET | Furniture MULTI-FUNCTIONAL Furniture is making a change. If it doesn’t serve more than one purpose its out the door as an idea.
1
VINTAGE Reuse and repurpose is all the rage and a little bit of old with new doesn’t hurt. The furniture of the 50s and 60s is making a comeback. Eames, Eero, and Corbusier would be so happy.
2
GOING GLOBAL With the use of culturally significant motifs and materials a person can give the feeling of being abroad without having to leave their own home. It is now the time to bring foreign culture into your spaces.
3
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*Info taken from (“15 Fresh Furniture Trends”, 2014).
TECHNOLOGY INTEGRATION The integration of technology within daily use furniture is changing the way people look at new additions to their spaces. Integrations into desks, chairs and other form of furniture is desirable if it will charge multiple devices of technology.
4
GLAMOR Over the top showiness is appreciated every now and again. The opting in for the furniture that shows excessive lavishness gives a sense that you have an extravagant free side within the design of your space.
5
GETTING SMALLER As population grows, spaces in family homes are shrinking so in turn the things that occupy your home are getting smaller too. There is a noticeable shift in size and ornateness of furniture to smaller and less ornate.
6
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TRENDS IN THE MARKET | Materials SALVAGED MATERIALS Barn wood and the use of old siding, windows, and doors is currently the trendiest way of reuse. Even the easy ways to make furniture from wood pallets is making an impact on replacements for normal every day store bought furniture.
7
FELT Tired of traditional upholstery fabrics. Why not go with the new trend of upholstering with felt. This older material is making a comeback. Felt is very resourceful product because it can be made from the waste of other materials fibers.
8
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*Info taken from (â&#x20AC;&#x153;15 Fresh Furniture Trendsâ&#x20AC;?, 2014).
HAIR ON HIDE Why not? If you arenâ&#x20AC;&#x2122;t against leather, you might as well keep the natural beauty of the hair on the hide. It adds a depth to the leather that you donâ&#x20AC;&#x2122;t get with a hairless hide.
9
BLONDIES Blonde wood is trending. The lighter the better. Birch, Oaks, Maple, and Pines are making their way into furniture makers shops.
10
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TRENDS IN THE MARKET | Methods of Production 3D PRINTING Specialized printers create 3D objects with the building up of plastics. This can be used to recreate objects or create new objects according to the geometry made in a computer based 3D model.
11
BENDING PLYWOOD Bent plywood is formed by vacuum bags or steam pressing that can create multiple layers of wood into a desired shape. Bending plywood is harder to bend if more than one axis of bending is desired due to the nature of the material fibers.
12
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*Info taken from (â&#x20AC;&#x153;15 Fresh Furniture Trendsâ&#x20AC;?, 2014).
CNC With the use of a computer based drawing, routers can be used to create 3d forms including profile cuts, pockets and other joinery. Most CNCs are limited by the depth of the bit used so more than 2 inches of depth is all it can accommodate.
13
LASER & PLASMA CUTTING Cutting with a laser is a particularly new method. It can create small cuts and voids and can engrave and raster an image onto a variety of materials. Most of the time this would not be considered a structurally sound material but could be used as an inset layer.
14
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TRENDS IN THE MARKET | Color
15
PANTONE COLOR OF THE YEAR
2014
Pantones color of the year in 2014 was Radiant Orchid. “Spruce up interior spaces by incorporating this eye-catching hue in paint, accent pieces and accessories. As adaptable as it is beautiful, Radiant Orchid complements olive and deeper hunter greens, and offers a gorgeous combination when paired with turquoise, teal and even light yellows (“Pantone.” 2014).”
15
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15
COLOR AND BRANDING Color is impor tant to our perception of spaces. Color can also give cues to relationships within design. Color is used as a method of branding, a place for formation of an architectural experience through the use wayfinding and symbolism (Eckstut, J., & Eckstut, A., 2013).
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TRENDS IN THE MARKET | Lighting TASK Task lighting is usually located above a surface giving a light to a specified area for certain tasks. This is normally movable or adjustable to aim the light for a specific need.
AMBIENT Creating ambient light is a way to let users function in a space as if it were day-lit to the minimum required light value.
SURFACE The use of incorporated lighting in surfaces allows for enhancements of user functions or can be completely for aesthetic purposes.
TACTILE Lighting that is adjustable is key to any area of design being comfortable. Preferences are different from person to person.
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16
17
19
18
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TRENDS IN THE MARKET | Technology NATURAL FORMS OF INTERFACE The development of touch, voice, and gestural interfaces are altering how we interact with technology in different office and home settings. These interactions are effecting human behavior and social interactions
COMPUTING ELSEWHERE Smart Phones are being used in new contexts and environments. We are wearing phones on our wrists like George Jetson and able to connect screens at the drop of a hat.
20
SMART DEVICES Portable devices, such as your phone or tablet, with the technology of cloud based application technologies give people remarkable choice on how, when, and where they want to work.
UNIFIED COMMUNICATION CHANNELS There is new types of software that enables people to connect with each other in real time and they are changing how groups of people interact with each other within both personal and professional setting.
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INFO: (New Technologies, New Behaviors, 2012)
21
23
22
SOURCES 1.
http://freshome.com/2014/04/02/15-fresh-furniture-trendswatch-2014/inventive-small-home-solutions/
2. 3. 4.
http://wabisabi-style.blogspot.se/ https://www.facebook.com/photo.php?fbid=419223651557737 http://www.steelcase.com/en/products/category/seating/collaborative/ i2i/pages/overview.aspx http://www.thecollegeprepster.com/ http://www.designsponge.com/2012/09/sneak-peek-sarah-rupert.html http://www.stylingandsalvage.com/2012/12/new-drawer-units-at-elemental.html?m=1 http://www.benjaminhubert.co.uk/works/furniture/pod/ http://www.restorationhardware.com/catalog/product/product.jsp?productId=prod360096&categoryId=cat1537048 http://cocolapinedesign.com/2014/06/11/three-times-3d/ http://www.ldvc.net/Mesh-ring http://superfuture.com/sf/image/asset/00022344/image/51654a587c60d.jpg https://www.flickr.com/photos/jrosenk/4976365470/ http://www.ironagegrates.com/category/installation-gallery/trenchdrain-grates http://www.pantone.com/pages/pantone.aspx?pg=21111&ca=90 http://www.thecoolist.com/disco-chair-by-kiwi-pom/disco-chair_by_ kiwi-and-pom_1/ http://inhabitat.com/nadia-belalia-transforms-simple-colanders-into-stunning-lamps/ http://www.trendhunter.com/slideshow/branch-decor#4 http://vjeranski.tumblr.com/post/44359975723/jellyfish-chandelier http://www.theverge.com/2013/10/1/4779568/samsung-galaxy-gear-review http://www.huffingtonpost.com/jaleh-bisharat/7-habits-of-highly-succesful-women_b_3713126.html http://www.onegoodthingbyjillee.com/2014/02/get-the-gunk-outof-your-gadgets.html http://www.steelcase.com/en/products/category/workspace/freestanding/bivi/pages/gallery.aspx
5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23.
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4 PROGRAM ANALYSIS CONCEPTUALIZATION
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ANALYSIS This section explores and analyzes items directly influencing the proposed thesis project. First, an analysis of current student-used technology and its implications will be addressed. Secondly, the currently available seating across the Kansas State campus will be inventoried. Thirdly, the individuals needs in a study space verses the needs of a group will be incorporated. Lastly, information on the renovations planned for the Kansas State University Student Union will be incorporated for their contextual nature. These final analyses will inform what will become the user and final interior environment the product will live in.
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Program
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STUDENT USED TECHNOLOGY The EDUCAUSE Center for Analysis and Research (ECAR) in 2014 partnered with 213 higher education institutions in 45 states to investigate undergraduate information technology experiences and expectations. They have been collecting data for the past 11 years, track long-term technology trends, and ask students about what they think the emerging technology issues will be (p.6). More than 75,000 students responded to the online survey where they ask them what devices they own, how they use their devices, and what their general perceptions of technology is at their respective colleges and universities (p. 7). Understanding what technologies are important to them within their studies and which technologies they would like to see used more often were the main aspects of this research project. This study also dove into the preferences individuals have which helps to break the stereotypes that may have been perceived by the general public about students using technology. They also did a side by side study with faculty of these institutions(p.7).
213
institutions
45
states
STUDENT STUDY PARTICIPATION OVERVIEW
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*Graphics (â&#x20AC;&#x153;ECAR,â&#x20AC;? 2014)
“Technology is embedded into students’ lives, and students are generally inclined to use technology. However, technology has only a moderate influence on students’ active involvement in particular courses or as a connector with other students and faculty. (ECAR, 2014, p.8)“ THE STUDY ECAR asked students to place themselves on a series of 100-point semantic differential scales related to three different areas (p.8). These included technology: • DISPOSITION - enthusiastic versus reluctant, early versus late adopter, technophile versus technophobe
• •
ATTITUDE - satisfied versus dissatisfied, pleased versus perturbed, useful versus useless, enhancement versus distraction USAGE PATTERNS - always versus never connected,central versus peripheral, new versus old media, frequent versus infrequent (p.8)
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disposition score
71 70
attitude score usage score
MEAN SCORES OF STUDENT SEMANTIC DIFFERENTIAL TOWARD TECHNOLOGY THE SCORES The three scores averaged creates the “tech inclination score,” meaning those with the higher scores where more inclined to use technology than those with lower scores (p.9). The study found out that what would be thought to be the assumption that there would be connection to the demographic factors (age, gender, ethnicity, enrollment and residence type), but that was not the case. The faculty scores were pretty in-tune
with the scores of the students breaking the stereotype that younger students are typically more inclined to use technology than the older faculty. It is seen that technology is embedded in the idea of upper education and is now expected that students would be prepared for this in their classroom situations but in turn technology should enhance their learning environment (p.9).
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STUDENT USED TECHNOLOGY “More students own mobile devices now than ever. Although students rate network performance as generally good, projected increases in connected devices could soon challenge even the most robust campus networks (ECAR, 2014, p.14).“ DEVICE OWNERSHIP HISTORY AND 2015 PROJECTIONS 100%
LAPTOP SMARTPHONE
Percentage owning
75
Adult population, Pew survey
TABLET
50
E-READER
25
0%
2012
ECAR study
’13
’14
2015
ECAR projection
windows devices still dominate the market (ECAR, 2014, p.16). The ECAR survey noticed that many students are now using smart-phones or tablets for academic purposes, although more likely if their instructor encourages them to do so in-class. (2014, p.17). The main concern with mobile devices are that they are seen as a distraction in an academic environment because of their quick connection to non-class-related information such as social media. However, there is opportunity for using hand-held mobile devices for various student related activities including: •
Communication with other students about class-related matters outside of class sessions
•
Checking grades
•
Look up information while in class
•
Use the course or learning management system (based on his/her college/ university)
•
Reading e-texts
•
Capturing static images of in-class activities or resources.
•
Registering for course
•
Participating in interactive class activities
•
Using mobile devices as a digital passport for access or identification
•
Record instructors lecture or in-class activities
THE DEVICES Mobile device ownership is higher than ever, with 86% of undergraduates owning a smartphone in 2014 and nearly half of students (47%) owning a tablet which is up from 2013 by 18%. The laptop ownership has leveled with 90% of students in higher education owning a laptop (ECAR, p.14). The trends of mobile devices include 54% use an iPhone and 43% having an Android device. The older students (ages 25 plus) prefer Android than the students of ages 18-24 who prefer Mac/iOS products, but in the trend of laptops,
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*Graphics (“ECAR,” 2014)
DESIGN IMPLICATIONS The student use technologies of Laptops, Smart-phones, Tablets, and E-Readers is seen as an opportunity for engaging students in the classroom. It is recorded that 9 out of 10 students rate themselves for having favorable technology experiences. However, the students lack the motivation, opportunity, or aptitude to use the full potential of technology for academic purposes. (ECAR, 2014, p.34) With the access to mixed-modality learning environments students will thrive. They are wanting the blend of online and face to face, individual and collaborative.
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CURRENT AVAILABLE SEATING COMPUTER LABS If you are lucky your computer labs will provide task chairs for you to sit in while you work on school work, but some campuses will specify a more affordable stackable option that can be moved easily for cleaning.
LECTURE HALLS Current lecture halls seems to be more forgiving with some of their chairs having ergonomics in mind. Providing both left and right handed tablets for writing on. Though you may notice the cramped foot space and limited area for storage of your belongings during class.
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*Graphics by Hannah Polys
STUDIO Studio environments are bring-your-own situations. They provide uncomfortable stools and high tables for working. Your stool maybe short so you can sit, or taller so you can perch.
LIBRARIES Libraries provide an array of seating and study options. They have standard tables and chairs and focused-work study corrals. Libraries are seeing a shift in usage changing from the typical quiet areas to more collaborative zones for study groups and meetings.
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INDIVIDUAL VS. COLLABORATION WORK
VS.
INDIVIDUAL NEEDS
GROUP NEEDS
The needs of a solitary studier would include :
Needs of a group of students collaborating is:
•
A quiet, focused place to study; this would include acoustic control and privacy.
•
Comfort is the main need of any user.
•
•
Visual signals to show others that they wish to not be disturbed.
Mobility to the product so that it can eb and flow with the needs of the group.
•
•
Incorporated surfaces so that they could spread out their study materials
Incorporate surfaces that combine for a larger group to use (both horizontal and vertical)
•
Comfort with the understanding of the human body’s dimensions.
•
Acoustic control for those who may be in proximity to not be disturbed.
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EXAMPLES OF SCHOOL-RELATED ACTIVITIES INCLUDE:
EXAMPLES OF NON-SCHOOLRELATED ACTIVITIES INCLUDE:
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Typing a paper
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Typing personal e-mails
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Creating a post on student forum
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Non-school-related texting
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Doing homework on publisher-provided web tools
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Emailing an instructor or classmate about a school-related topic
Editing a digital file (such as word processing, video, or audio) related to a hobby or other personal use
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Personal writing (such as blogging)
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Texting a classmate about a schoolrelated topic
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Surfing on social media
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Paying bills online
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Researching on the university Library website to find sources for a paper
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Online shopping
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Searching Google for a school-related purpose
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Personal reading
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•
Watching a school-related video
Watching a movie for personal entertainment
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Reading a school related article
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Listening to music
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Listening to a recorded lecture
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Researching products for possible future purchase
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Looking up homework online
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Looking up grades
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KANSAS STATE UNION RENOVATION
NOW & PROPOSED “The K-State Student Union provides products, services, and programs to enhance the quality of life of its students, faculty, staff, alumni, and guests, with particular emphasis on students. It fosters an environment that promotes respect for all peoples and values diversity, leadership development, and the free exchange of ideas (“Kansas State,” 2014).” THE RENOVATION
SEATING AND LOUNGE SPACES
The Union was first built in 1956 and founded by students for students and has since become an important building for students on campus.
The seating and lounge space will be 15,000 square feet, distributed, non-reser vable, flex ible a nd infor m al sp ace for st udy, relaxation, encourage collaborative work, and overflow dining (“Kansas State,” 2014, p. 43). The furniture and equipment will be different types of furniture that can be rearranged for the different tasks and will be used to regulate privacy and openness. The use of electronic displays and other technologies will be suggested in these sp aces for alter n ative st udy solu tions (“Kansas State,” 2014,p.43). As a design consideration a variety of different meeting spaces will be located on the first floor and lounge space should be broken up into spaces with unique character (“Kansas State,” 2014, p.43).
The need for improvements for the building is required to fit the needs of the growing student population. The project is expected to increase the Union’s meeting areas as well as student lounges, retail and dining spaces with an overall goal to make better experiential circulation paths within the building. The plan also includes a new southwest entrance, which will be in close proximity to the new welcome center on campus, and new east building addition both creating an inviting environment on campus(“Kansas State,” 2014, p. 7).
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CENTER FOR STUDENT INVOLVEMENT Student Organizations are consolidated around the existing courtyard space, positioning them at the center of activity within the building. Social spaces are designed to be open and affront private office spaces, allowing student groups control over their space, while being a part of the larger collaborative space. NEW COURTYARD STAIR AND ELEVATOR A new Grand Stair connects the Ground level, First Level, and Second Level, creating a strong physical and visual connection between the three floors, while providing an exciting and experiential way to occupy and animate the existing courtyard space. SOUTH ENTRANCE / LANDSCAPE A new South Entrance provides an opportunity to create an amazing first impression while forming a strong connection to the Welcome Center across the street. The front porch of the K-State Student Union, it is the first impression for prospective students, a main gateway to campus, and the face that the University displays to the Manhattan community. (“Kansas State,” 2014, p.71)
GROUND LEVEL DINING / FOODSERVICE The Kitchen is right-sized and reconfigured for an updated food service model. Microrestaurants back up to a series of smaller kitchens clustered at existing service elevators and are linked to a Loading Dock that remains in the same location with access from the West. The new dining venues are distinct in character and incorporate some seating within each area while other dining seating areas are absorbed into adjacent Lounge space. COFFEE HOUSE The coffee house becomes the heart of the K-State Student Union, located prominently at the center of activity. CIRCULATION A new circulation path through the building allows opportunities to engage with the building’s interior courtyard, circling throughout the first floor along a path of smaller scale, dispersed, and individual lounge spaces and individual restaurants and eateries. SPORTS PUB Located in a prominent location with exterior access to a south facing outdoor balcony, the Sports Pub could be operational 24 hours a day, the perfect stop for students on their way to or from Aggieville. (“Kansas State,” 2014, p.73)
FIRST LEVEL *Graphics (“Kansas State,” 2014, p.71-73)
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PRODUCT APPROACH The conceptualization of this project concludes with defining the user groups as well as the product, marketing, and branding strategies. It is important to understand the users as they are the client for the product, while also understanding the strengths, weaknesses, opportunities, and threats of the product.
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MEET THE USERS The user will be currently enrolled in higher education with classes on campus. This includes both traditional and non-traditional types of students; from those who are going to college right after high school and those who have decided to come back to college or attend college later in life. This will range from a variety of age groups that would include the Baby Boomers, Generation X, to the Millennial.
FACILITY MANAGERS They may not use this product but they sure want it in there building to create an image for their campus that is up to date with current trends. They aspire to have the best products for their campus facility so that students can learn and collaborate while still being comfortable and durable.
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ONES A CROWD A solitary studier is one type of user of this product. They want to create areas of prospect and refuge, while in the masses but fly solo while studying.
Furniture Design Workshop | IAPD 824 | Kansas State University
*Graphics by Hannah Polys
PARTNERS IN CRIME Sometimes it just takes two. There is one person you just click with in a class and give them the title of â&#x20AC;&#x153;study buddy.â&#x20AC;? A product must work together as well as apart is necessary creating an area of close collaboration.
THE BIG CAHOONA For some reason, teachers just love giving out group projects. These groups need a efficient and successful collaborative work environment that caters to the needs of working in a group of three or more.
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PRODUCT STRATEGY
By creating a product that lives in the Education environment, there is an option to play with form and materiality. It is understood that a user group of students and some faculty from higher education are from a wide variety of generations. This product will accommodate interactional and focused work. This spatial experience will change the once static education environments to a dynamic one. Hosting a variety of postures that include technology will be a design driver. A product feature will create an ergonomically friendly surface for productive work to happen. Materiality will include some upcoming trending products that are forcasted in the market to last and not date the product, as well as understanding the forecasts for technology changes so that incorporated technology will stay up to date and last the required life cycle of the product (10 years).
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Interactional vs. Focused work
Safely Concerns
Incorperated Technology
Distractions of Multiple Group Types
WEAKNESSES
STRENGTHS OPPORTUNITIES
Spatial Experience
THREATS
Change to Collaborative work Environment
Constant Technology changes
Acoustical Control
Hosting a Variety of Postures Lighting Control
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MARKETING STRATEGY
PRODUCT
PLACE
PRODUCT PIONEERING ADVERTISING The intent to send a new idea to the marketplace for the first time requires certain product strategies. Pioneering advertising refers to a launch campaign of a new product category, as opposed to the marketing of a single product within a developed marketplace. The purpose of pioneering advertising is to inform consumers of the arrival of an entirely new concept and explain its benefits (Roennevig, n.d.).
PRICE
PROMOTION
of a typical study environment. The purpose of product pioneering advertising it to introduce a potential new concept and create a buzz around the launch of a new product that is unique to the marketplace. By it being a unique concept there is no need to compare it to the competitors,an the designer can better concentrate their efforts on explaining how their concept works and what it means for that potential new customer (Roennevig, n.d.).
The project hopes to create a brand for a product that would ultimately live in a family of education-type furniture, but change the norm
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The 4Ps is one way – probably the best-known way – of defining the marketing mix, and was first expressed in 1960 by E J McCarthy. The 4Ps are Product (or Service), Place, Price, & Promotion and are questions to consider: Questions taken from The Marketing Mix and the 4Ps of Marketing (2014).
PRODUCT/SERVICE
PRICE
•
•
• • • • • • • • • •
What does the customer want from the product/service? What needs does it satisfy? What features does it have to meet these needs? Are there any features you’ve missed out? Are you including costly features that the customer won’t actually use? How and where will the customer use it? What does it look like? How will customers experience it? What size(s), color(s), and so on, should it be? What is it to be called? How is it branded? How is it differentiated versus your competitors? What is the most it can cost to provide, and still be sold sufficiently profitably?
• •
• •
PROMOTION • •
PLACE • • • •
•
Where do buyers look for your product or service? If they look in a store, what kind? A specialist boutique or in a supermarket, or both? Or online? Or direct, via a catalogue? How can you access the right distribution channels? Do you need to use a sales force? Or attend trade fairs? Or make online submissions? Or send samples to catalogue companies? What do you competitors do, and how can you learn from that and/or differentiate?
What is the value of the product or service to the buyer? Are there established price points for products or services in this area? Is the customer price sensitive? Will a small decrease in price gain you extra market share? Or will a small increase be indiscernible, and so gain you extra profit margin? What discounts should be offered to trade customers, or to other specific segments of your market? How will your price compare with your competitors?
•
•
Where and when can you get across your marketing messages to your target market? Will you reach your audience by advertising in the press, or on TV, or radio, or on billboards? By using direct marketing mailshot? Through PR? On the Internet? When is the best time to promote? Is there seasonality in the market? Are there any wider environmental issues that suggest or dictate the timing of your market launch, or the timing of subsequent promotions? How do your competitors do their promotions? And how does that influence your choice of promotional activity?
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BRANDING STRATEGY COLOR Different colors have different effects on people and can also depend on cultural upbringing. In western culture here are some typical associations colors can have (Eckstut, J., & Eckstut, A., 2013): •
Red: stimulates brain activity, increases heart rate, increases blood pressure
•
Pink: appetite suppressant, relaxes muscles, soothes
•
Orange: energizes, stimulates appetite
•
Yellow: energizes, relieves depression, improves memory, stimulates appetite
•
Green: soothes, mentally and physically relaxes, mitigates depression and anxiety
•
Blue: calms, lowers blood pressure, decreases respiration
•
Violet: suppresses appetite, inspires the sense of a peaceful environment, helps alleviate migraines
•
Black: inspires self-confidence, strength, power
•
White: elicits sense of clean, virginal, and angelic
The Color Wheel
This would be taken into account when looking into how to brand an product that will live in an educational environment.
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THE RIGHT FONT
LETTER SPACING
Serif fonts have a line at the end of each stroke and are seen as Traditional and professional.
Tracking is overall letter spacing between a line of letters. Kerning is the space between a pair of letters.
Sans serif fonts don’t have that line at the end of each stroke and are seen as crisp and modern. Script fonts (and italics) are generally formal and decorative. Sophisticated and feminine.
Tight tracking, especially with a bold font, can be very impactful. Loose tracking can be a beautiful treatment for a modern, sophisticated look, particularly with all caps.
Handwriting fonts tend to be casual and personal. Friendly and approachable. Display fonts are widely varied in design and style. These can be great choices for textonly logos as they can be so unique. CAPITALIZATION
LETTER SCALING Whether it’s narrow or wide, horizontal scaling can be used as a defining design style.
UPPERCASE can create a more streamlined look. Lowercase can be more casual and friendly
INFO: (“Here are 7 design options to consider for the typography of your logo:”)
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5 DESIGN PROCESS PROJECT EXPECTATIONS GENERATIVE INTENTION FUNCTION STRUCTURE SCHEME DEVELOPMENT
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PROJECT EXPECTATIONS Thesis-level project-based work accomplished in Advanced Furniture Design Studio/Workshop represents a culmination of research, process, and solutions demonstrating your ability to apply design process(es) and to integrate information and theory in order to arrive at creative solutions to complex design problems. This output may be represented by combinations of fullscale models, graphic imagery, written work, video or other media, scaled explorations through models or prototypes; and in each case should represent the level of consideration of both theoretical and practical issues at multiple scales and be considered as they affect resources, the human condition, human contact, behavior and social factors. Ultimately, the work should contribute to the body of knowledge, through innovation in consideration, application, process, or by other means. Creative proposals to each part of the problem presented, regardless of scope, are the expectation. It is expected that each decision reached (regardless of how seemingly minor or major it is) will be approached and explored in a creative manner and through a variety of processes. Projects will demonstrate studentsâ&#x20AC;&#x2122; competency in concepts presented as well as in problem solving and presentation techniques. Each phase of the design and project process will be evaluated based on four major merit areas described below (Process/Consistency, Completeness/Depth, Presentation/ Craft, and Design/Clarity).
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Info Taken from Syllabus
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GENERATIVE INTENTION ENCOMPASS The idea is to perceive, understand, watch, observe, discover, recognize, visualize, examine, read, and look to identify the broad spectrum of possibilities, actives, functions, attitudes that this seating piece will encompass. This permeable product will provide versatile and dynamic opportunities to its users, enveloping the user with opportunities for focused or collaborative work with incorporated elements of both contrast and harmony.
HOW CAN DESIGN CHANGE THIS? The idea of enveloping the user to be in a focused educational environment, while giving an isolative retreat promoting both physical and acoustic privacy. Using adaptable components creates an opportunity for users to collaborate and host a variety of postures. The goal is to create a permeable product to ultimately give a feeling of place for the user.
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FUNCTION STRUCTURE ARRIVE
Transport to Campus walk? bus? ride bike? drive & park? Did you carpool? Do you both have the same destination or different?
ATTEND CLASS
Find building Pick seat... is it assigned? is it your power spot? have you previously attending a class in this room and had a previous spot?
BREAK
SUSTENANCE
Pack up items that you had out in class
get coffee is it lunch time? do you need a full meal? gather food/drink
Pick what you want to do next
Bring proper materials for class? Does your backpack hold all the necessary things for class? Does the class require a book or some sort of technology?
WHAT IS A FUNCTION STRUCTURE? A sequence of events leads up to how you interact with a product. There are more things to be thinking about. A student for example has to first choose to head to campus before any interaction can occur.
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INTERACTION SURVEY OPTIONS
do you need a chair to sit in?
do you want to be away from people?
What do you have with you? What is in your bag?
What do you need to study? -books -connection to Internet -writing utensils -something to take notes (technology/ pen&paper) are you collaborating?
grab waste put things away prioritize
are you going to be collaborating with someone? Pick Seat
INTERACTION
INTERACTION
do you want to take a break/nap/ sleep?
Spread out
CLEAN UP
“STUDY”
INTERACTION
do you just need a place to set your stuff down?
GET SETTLED
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SCHEME DEVELOPMENT The schematic phase was looking at the preliminary design possibilities. It was suggested to look into many options for use within space, and the relationships they have between each other. This is not the phase to sabotage ideas from the get go but the actively explore and gain feedback to see if the design is going in the right direction. Two designs where explored and presented and are given both pros and ideas to move forward.
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SCHEME ONE
LOWER LUMBAR SUPPORTING PILLOW
PRIVACY WALL
DROPDOWN TABLE
WIDER SEATING CATERING TO MULTIPLE POSTURES
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‘DROPZONE’ STORAGE
*Photos & Graphics by Hannah Polys
PRODUCT APPROACH Scheme one is a very orthogonal approach to design. Fulfilling the needs and wants while staying within planar form. There is integrated surfaces as well as storage and privacy paneling. User comfort was at the forefront of design. There oversized largely padded seat gives opportunity for a residential feel within a strictly work-type environment.
PLANAR
INTEGRATED
PRIVACY
PROS
IDEAS
•
Comfort of the user.
•
•
Integrated surfaces and storage
Look into strategies for selective privacy panel system
•
Planar surfaces dictate order
•
Think about technology integration.
•
“Cocoon” shelter from visual distractions
•
Include non-planar objects
•
Intimate Setting in an Open Space.
•
Introduce the idea of Ganging
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SCHEME TWO CANTILEVERING ARMREST TO GIVE ADDITIONAL POSTURES
TABLET WRITING ARM
SCULPTED SEAT WITH LOWER LUMBAR SUPPORt
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EXTENDED FLOOR PRINT FOR THE CHANCE FOR MULTIPLE USERS
Furniture Design Workshop | IAPD 824 | Kansas State University
*Photos & Graphics by Hannah Polys
PRODUCT APPROACH Scheme two is a untraditional approach to design. Its softened edges and cloud-like form would be a statement in any room. Open from multiple angles it is approachable from any side. Its extended floor print creates a chance for multiple users.
SOFTENED
OPEN
STATEMENT
PROS
IDEAS
•
Breaks up the idea of angular furniture
•
Encompass a variety
•
Encourages different postures
•
•
Intriguing form
Marketability can be enhanced through a multiple part system
•
Explore the kit of parts.
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VALUE OPPORTUNITIES Value Opportunities provide a basis to determine if the design features of a new product you may be designing is well designed to fit different categories. These different categories include emotion, ergonomic, aesthetics, identity, impact, core technology, quality, and other. The other category are not value opportunities but key ideas that indicate the overall success of the product. These opportunities help the back up the fact that products may cost more but the users will pay more for value. Each of these value opportunities contribute to the overall experience of the product and relate to the value characteristics of useful, usable, and desirable (Cagan, 2013.)
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EMOTION
IMPACT
Sense of Adventure? Feeling of Independence? Sense of Security? Sensuality? Confidence? Power?
Brand? Profit? Social? Environmental?
ERGONOMIC
CORE TECHNOLOGY
Comfort? Safety? Ease of Use? Flexibility?
Reliable? Enabling? Updatability?
AESTHETICS
QUALITY
Visual? Auditory (sound)? Tactile (touch)? Olfactory (smell)? Taste?
Craftsmanship? Durability?
IDENTITY
OTHER
Point in time? Sense of place? Personality? Lifestyle driven?
Profit impact (across the company)? Brand Impact (on company brand)? Expendable?
INFO: (Cagan, 2013)
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DESIGN DEVELOPMENT The design development phase of the design process initially involved making a decision based on schematic design phase and critique of which design or combined design portions to carry forward. This decision is based on (but not limited to) input from others and from self-evaluation concerning functionality, conformance to programmatic goals and objectives, and aesthetics. The design development phase is where all of the project decisions are fully explored and sub-sequentially finalized, so that the designer’s intentions are clear and articulate. Furniture Design- During this phase, you will “finalize” the material selections, form, finish, and functionality decisions. As you work through the development of each decisions, work graphically in plan, section, elevation and three-dimensions: and physically in prototype form.
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6 FINAL PRODUCTION FABRICATION PROCESS KEY FEATURES FINAL DESIGN BRAND DEVELOPMENT MARKETING DEVELOPMENT FINAL REMARKS
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FABRICATION PROCESS
10 4 10
48 10 30 40
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15
42
26
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FABRICATION PROCESS BASE The base was cut from a 4x8 sheet of 3/4 Baltic birch plywood. Using a very large compass the two ends were able to be marked by hand. The piece was then cut out with a jig saw and rounded over with a router to create soft edges for upholstering.
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FABRICATION PROCESS BACKREST The backrest was created by table-sawing 3/4â&#x20AC;? Baltic birch plywood. The backrest is 14 inches high and 10 inches deep at the base tapering to 8 inches deep at the top. Stops were glued in to create a place for the ash top to rest.
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FABRICATION PROCESS LOUNGE LEGS The legs were glued up to be 4â&#x20AC;? wide. The legs were tapering to 2 - 1/2â&#x20AC;? wide using the lathe. Consistency was kept by using calipers to measure during the lathing process. The legs were attached to the base plywood with 5 decking screws that were countersunk into the plywood.
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Leg detail. Showing how the legs were attached to the plywood base.
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FABRICATION PROCESS WIRING The design of Union included incorporated USB and standard duplex receptacle outlet. The outlet was wired to a panel socket and was protected by plastic conduit and junction boxes.
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DUPLEX RECEPTACLE
PANEL SOCKET
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FABRICATION PROCESS TABLE STRUCTURE The table required gluing of two boards to make it wide enough for the table. The table was then cut down and finger-jointed. It was then trimmed to the correct width with a slight taper to make the piece look more grounded. The grain of the wood was kept in mind and is continuous from leg to top to leg.
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FABRICATION PROCESS ATTACHING CASTERS With the help of a dowel jig a hole was drilled for the caster sleeves. The caster sleeves had to be altered because the width of the material was smaller than the diameter of the sleeve. The casters were then attached simply by inserting them into the sleeve.
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FABRICATION PROCESS UPHOLSTERING The base with attached legs and the backrest were upholstered separately then screwed together from underneath. The backrest was upholstered in an accent color and the base in a dark neutral.
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KEY FEATURES
KIT OF PARTS Union uses its 5 different pieces to make any space customizable to its users. From its lounge, table, screen and two different sized ottomans there are many versatile options.
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KEY FEATURES
INCORPORATED TECHNOLOGY Union includes a duplex receptacle with two USB chargers. This is connected to a panel socket with a fuse holder so that multiple length power cords could be introduced.
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INTEGRATED SURFACES Union Lounge has a low back upholstered and is topped in hardwood so that there is hard surface to set your coffee down or place your phone to charge.
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KEY FEATURES
AGAINST THE WALL
IN THE OPEN
PRIVACY Unionâ&#x20AC;&#x2122;s shape caters to being either nestled against a wall or out in the open. The occupant can have a feeling a privacy with the use of the screen .
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KEY FEATURES DEPTH
LUMBAR SUPPORT
SPLAYED FEET
TAPERED LEGS
DESIGN DECISIONS There were a lot of design decisions that were made during the fabrication process that helped complete the piece. The legs were placed in a splayed position inviting the users in. The lounge height was finalized to fit under the table (24 inch tall from floor to top of back with 26 inch high table). The table needed visual weight and some consistency to the form to the tapered back
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LOUNGE HEIGHT
lumbar support. The depth of the table was sized to fit a standard 3 ring binder without hanging off the edge. The backrest has an integrated surface to create another drop zone for your coffee and the first things to set down so you can start to get settled. These decisions were made to create a piece that was both visually interesting and supported with research.
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MATERIAL SELECTIONS
1
HARD WOOD ELEMENTS White Ash was chosen as the wood for the “bridge” table and legs. Ash is valued for its strength and pale color with distinctive grain pattern. Using a hardwood helps to break the norm of typical materials used in an educational environment.
BASE FABRIC A sturdy knit fabric in a dark neutral tone for the base fabric helps to ground the piece.
2
ACCENT FABRIC A sturdy knit fabric in a wide variety of accent colors helps the product fit within a brand of a university or work environment. Having this customizable option gives a more personalized feeling to any space. 3
LOCKABLE CASTERS Using lockable casters give freedom and versatility to adjust the space to more of what you need and lock in place when you don’t want things to move. 4
POWER OUTLET Duplex receptacle with two USB chargers giving the opportunity to charge up while studying.
5
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SOURCES
1. 2. 3. 4. 5.
https://quimicasthai.files.wordpress.com/2011/06/ash-wood.jpg https://www.knoll.com/knolltextileproductdetail/Hourglass https://www.knoll.com/knolltextileproductdetail/Hourglass http://www.amazon.com/gp/product/B009PF89WC/ref=oh_aui_ detailpage_o01_s01?ie=UTF8&psc=1 http://www.amazon.com/gp/product/B00J3PMU06/ref=oh_aui_ detailpage_o01_s00?ie=UTF8&psc=1
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FINAL DESIGN FULL SCALE PROTOTYPE The full scale prototype was created to help portray my idea for the design of Union- a chair for higher education. It is truly an interaction of people and parts creating a micro-environment within a college campus. With its residential inspired materials it breaks away from the norms of educational furniture materiality.
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FINAL DESIGN UNDERSTANDING POSTURE Posture was a big component within my design. Understanding the different ways we sit and adjust our body positions to get comfortable or change within different modes of work. In one of my precedents, the Lagunitas lounge by Coalesse, it discussed the need for a change in posture to change from relaxed to focused work. With my design you are able to move about the expansive piece to relax, discuss, etc, with the freedom to change in and out of modes of work.
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BRAND DEVELOPMENT The brand for this system of furniture is developed around its ideal home of a student union. Unions combine personal, social, and collaborative spaces that help to create a sense of place for not just students but faculty and staff. Thus, the interaction of parts and people.
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MARKETING DEVELOPMENT The marketability of this project is greatly influenced by its ability to fit within a variety of academic and workplace situations. Not just limiting itself to a student union, it is available to be used within work lounges, libraries, dormitory lounges, etc. The systemâ&#x20AC;&#x2122;s ability to be customizable with its multi-part system creates a wide range of versatility and dynamic opportunities. Movable work tables, serpentine wall partitions, and three lounge height seating pieces work together to create a micro-environment that creates an interaction of parts and people. Marketed towards academic facilities we are able to see that there are key features and design decisions that were made because of generational habits and needs. The incorporated charging station is a vital component to fulfill the needs of the tech savvy millennial generation. The main seating pieces low profile is to mimic a lounge like experience versus the typical desk and chair.
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THE LOUNGE. 92W x 40D x 24H You can plug in for the long haul with its incorporated charging station or just find a place to unplug.
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THE TABLE. 42W x 15D x 26H This large expansive surface straddles the depth of the piece. It is versatile and can be moved giving the opportunity to cater to one or more occupant. Final ProducĆ&#x;on
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THE SCREEN. 48W x 30D x 60H Dividing the room both optically and acoustically this screen can keep you connected to the energy to the room.
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THE OTTOMANS. 30ø & 40ø Adding variety to any space these two can be used together or apart providing a landing for collaboration or just a moment to rest. Final ProducƟon
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FINAL REMARKS In the end, any product must be evaluated by its experience with users. The expectation in design is to have good look and feel- the things that attribute to our senses- that manifest in design styles while being marketed and engineered with the understanding of its target market and main performance features. Goals were set in the beginning and design decisions were made from those. These goals included 1) enhancing the non-classroom work environment, 2) providing opportunity for interactional and focused work, 3) designing a piece to host a variety of postures, and finally 4) expanding on the historical character of furniture.
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GOALS ACHIEVED GOAL #1: ENHANCE THE NON-CLASSROOM LEARNING ENVIRONMENT Solution: Union enhances the learning spaces by providing opportunity to study amongst the daily activity of a student union. Helping to create a micro-environment that can help focus an individual to study or just have a minute to relax away from the classroom/lecture room environment.
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GOAL #2: DESIGN A FURNITURE PIECE TO HOST A VARIETY OF POSTURES Solution: Union uses the understanding of anthropometric and ergonomic factors in its design. Creating a piece within the range of seating heights. There is a possibility to exchange the technology using an incorporated access panel within the piece to stay current during the lifetime of Union.
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GOALS ACHIEVED GOAL #4: EXPAND UPON THE HISTORIC CHARACTER OF FURNITURE Solution: Union uses the understanding of anthropometric and ergonomic factors in its design. Creating a piece within the range of seating heights. There is a possibility to upgrade the technology using an incorporated access panel on the bottom of the piece to stay current during the lifetime of Union.
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GOAL #3: PROVIDES OPPORTUNITY FOR INTERACTIONAL AND FOCUSED WORK Solution: Unions large bean like shape gives the option to cradle yourself within the middle of the two end protrusions- along the center of the backrest - giving a feeling of comfort and security. With the incorporation of these serpentine s-shaped wall you can enhance the micro-environment and change the degree of privacy when the lounge is placed within the middle of the room. The lounge also is designed with a flat edge/ back so it can also be nestled along a wall, for added feeling of security.
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CONCLUSION In conclusion, Union addresses the needs of the generations within a higher education environment. A student should not be limited to studying at just a table or within a chair but should be incorporated within a micro-environment with chances for a shelter from visual distractions. The user should feel as if they are in an intimate setting with in a larger open space. As groups or individuals gather around Union they should instantly feel invited in - from how the legs are positioned, to the natural bean-shaped form.
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Furniture Design Workshop | IAPD 824 | Kansas State University
SPECIAL THANKS. A special thanks to my extremely supportive family, friends, and professors who helped make this project a reality. Without their support and feedback I wouldnâ&#x20AC;&#x2122;t be arriving to this project I have come to this semester. I would love to thank my four (wo)man studio for keeping me motivated and giving me the critical eye I needed when designing Union. I want to personally thank my Major Professor, Rod Troyer, for keeping us on our toes and understanding when we needed a push for a design decision. His years of experience were vital in understanding how to engineer this very large undertaking to create a life-size prototype. Though it all the blood (literally), sweat (a little too much) and the (happy) tears I was able to achieve the goals I set for myself last semester. At the end of the day I am proud of my accomplishment within the Interior Architecture and Product Design department here at Kansas State University. -Hannah Joy Polys
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