James walsh Metamorphism by jameswalsh

M E T A M O R P H I S M

James Walsh Bachelor of Industrial Design Honours Thesis

RMIT University 2016 Supervisor: Din Heagney

s3290773 jameswalsh.id@gmail.com

All photography and graphics by James Walsh Unless otherwise stated

Index /

Abstract Field Of Practice Context & Application Precedence Methods Eval & Reflection Location Site Visit Metamorphism Waste Material OH&S Initial Experiments SLS

1-2 3-8 9-16 17-26 27-38 39-58 61-64 65-76 77-86 87-90 91-94 95-98 99-110

Slip Casting Collaboration Kiln Volume Test Lava Flows Saggar Iteration Form Design Summary Film Product Range Glossary Bibliography

111-116 117-120 121-130 131-132 135-142 143-148 149-164 165-168 169-174 175-178 179-184 185-186 187-189

ABSTRACT

This project investigates the way traditional materials can be brought into a contemporary design context. Victorian Bluestone has a rich history, which is embedded in the architecture and streets of Melbourne, as well as many rural towns in regional Victoria. Despite the understated beauty and versatility of this ubiquitous material, there is a larger contemporary issue emerging from quarrying practices today, in regards to the vast amounts of unused waste material generated. This project explores how these waste materials can be reformed and designed with a contemporary interpretation of metamorphism. Using a practice-as-research approach (Archer, 1995), this project explores these natural stone materials, such as bluestone powder and sludge, through experimentation using various primitive and contemporary applications of casting, heating and pressurising. At the conclusion of these explorations, a refined process and object is presented with an accompanying documentary and book to enlighten the viewer. What this project aims to achieve is not simply a finished object, but a dialogue around contemporary and traditional materials and processes. This discursive project aims to shift the viewerâ&#x20AC;&#x2122;s perception of quality regarding the idea of waste materials, and to emphasise the designer-makerâ&#x20AC;&#x2122;s role in devising new processes with age old materials.

Bluestone sludge, once dried and crushed

FIELD OF PRACTICE

Just like the revolutionaries of the past, many designers today are going beyond conventional methods of manufacture and material use, and are turning to more experimental, affordable and creative approaches of making. In doing so, these designers are not just creating an object, but are creating a narrative that transcends through the final object to add emotional attachments and longevity.

Industrial designer Phil Cuttance is a prime example of how creatives today are using modern methods in abstract approaches. “Faceture” (Cuttance 2012) is a series of vessels created by Cuttance using a rotation moulding method that is performed by hand as opposed to machine. Another example is Markus Kayser, with his “Solar Sinter” (Kayser 2011) project. Similar to that of Cuttance, Kayser takes inspiration from contemporary methods, and puts a craft-like spin on the process by using natural resources such as the sun and sand. This “recombination of existing assets”, such as “craftsmanship to accessible advanced technology” (Manzini 2015) is the basis for experimental design today, and is making more designers realise that they don’t need to be restricted to generic methods. In the process of forming these new ways of manufacture and innovation, the beauty also lies in the fact that these designers are potentially “setting the basis of a new civilisation” (Manzini 2015), as every experimentation brings forth a new perspective and potential innovation. Many creatives today are no longer concerning themselves with just the end result of a product. Renny Ramakers from Droog studio states that “design is products, but design can be the end of a process. Equally interesting is the beginning of the process, equally interesting is context, relevance and situation” (Ramakers 2014).

Ultimately saying that narrative is one of the most layered and important aspect of design, and by showing this in the design the consumer as well as the designer, can achieve a greater attachment and understanding. Anaïs Benoit Dignac, Arthur Didier and Edrris Gaaloul are the designers of “Low-Tech Factory / Stamp” (THE METHOD CASE 2012). This project not only creates a desirable pendant light, but also demonstrates the processes elegantly, uses material wisely and turns a generically industrial process into one having a craft connotation. Emphasising this idea of going beyond an end result and diving into understanding process and materiality, the “Toaster Project”(Thwaites 2012) by Thomas Thwaites demonstrates the desire to understand an every day object to its core. By reverse engineering a toaster, Thwaites demonstrates its complexity and depth by recreating his own version through raw materials. Aside from demonstrating a complex object’s process and materials, Thwaites demonstrates a shift away from an industrial approach. Concerning himself with how things are made on a small scale, he explores the possibilities of mass manufacture in somewhat of a DIY/craft approach, thus again demonstrating the beauty in marrying modern methods with craft approaches. Like Thwaites, many are turning away from the drawing board and instead heading into

the field for a means of hands on experimentation. Designers such as Max Lamb, Tom Price, Maarten De Ceulaer and Kwangho Lee, all share a very similar respect for material and process exploration in that that they stray away from conventional manufacturing techniques, and instead look at finding the limits of a material through an “investigative approach to making that indicates the final outcome”(Miquel Polidano, 2016).

metals to achieve a high standard finish, so seeing this process applied to a material such as a hand sculpted wax chair is very contradictory. Commonly products that have been electroplated are also high gloss and free from imperfections, Lamb’s objects however question that assumption and in doing so bring the process to the forefront to be critiqued and investigated. Similar to this is Tom Price’s project titled Meltdown Chair. What this project emphasises is a push away from conventional moulding approaches, as Price utilises an off the shelf material such as wax rope, and a single metal mould which is heated using heat guns. After watching the consuming process you as the viewer can understand the energy

Max Lamb’s Nano Crystalline Copper Seats for example are a beautiful combination of craft and industrial processes, incorporating elements of old and new. Electroplating is a common method used for coating

that it takes in creating a single object, and gain an appreciation while getting lost in the countless knots of rope, and drips of blue wax. By experiencing these objects in the flesh is almost not enough validation for the design. Itâ&#x20AC;&#x2122;s only through seeing and understand the process that preceded, that one can grasp the true beauty of its creation and depth of narrative. Witnessing the time, the craftsmanship and the thought process cannot be attained merely by starting at the finish, which is why designers such as these are fulfilling that void through film and documentation, allowing the process to be of equal value to that of the final product.

Maarten De Ceulaer Balloon Bowls http://www.maartendeceulaer.com

EMOTIONS & INTERACTIONS

Despite connecting with users through common place materials, or connecting emotionally through viewing the creator’s interaction of an object, why does this interaction commonly stop here? Why do designers not directly incorporate the end user within the making of their object? Understandably many of these processes can not just be installed in a public setting, but if the process and objects were designed to allow the public to be engaged in the street in a short amount of time, then an emotional experience would be made through direct interaction. This would create an actual memory as opposed to a documentary that’s been watched, or a story that’s been told. Looking at the Low-Tech Factory, for instance, would be an ideal project that could work well in a public setting. The materials are simple and the processes are generally made from one or two steps, allowing for quick, fun and interactive experiences. In a practical sense, very few designers can afford to essentially go on tour to create these types of installations around cities. However if it was the actual process or tools that were sold to the consumer allowing them to make their own objects from home, maybe that would be a more feasible approach. If the process was in its own right an object that was desirable, then this would be of more worth to the consumer.

As the past remains ever so prevalent in today’s manufacturing approaches, it seems that many designers of today are realising that they don’t have to conform to working within industrial approaches, but can invent and innovate their own. All of the designers previously mentioned are going beyond normality, and in doing so are creating a rising trend amongst small batch and designer maker businesses, to make not only their own products but their own process. This not only cuts out potential for other manufacturers to replicate ones products, but it also assures a narrative behind the designer’s objects and in doing so gives the consumer a story to connect with. With many of the projects mentioned, these designers have taken the initiative to think outside of their own field of practice and form an amalgamation. This is exactly the kind of approach needed to develop new paths, and with the rising trend of universities and professionals teaching and practising this cross-dispensary approach, the future looks promising. As creatives continue to merge craft and advanced technology, this forms a perpetual cycle of innovation, and in doing so paves the road for what can be considered normal in the future. Just as the designers of the early 19th century unknowingly developed processes that would be essential or normal in decades to come, designers today also have the ability to shape history through the experimentation of materials and processes.

Remnants of one of the first sand cast moulds

CONTEXT & APPLICATION

THE WHAT This project is an exercise in making, which sets out to discover new forms and textures, through the experimentation of materials and processes. By not being limited to modern materials and modern manufacturing processes, this project seeks to find unique and creative ways in combining the old with the new. With an emphasis on the process, these forms inherently emit a narrative that demonstrates a uniqueness unseen in the mass produced. With a humanistic element in each object, this allows the consumer to connect on an emotional level based off elements of commonality. Human interaction and material choice are key in engaging the user with these elements, as each object not only demonstrates a very hands-on and relatable act of making, but also utilises materials which are common place. Furniture and home wares are constantly being replicated and regurgitated, with originality and innovation lacking. With mass manufacturing, the goal is to keep production constant and consistent, which creates a throw-away element in each object. In an incredibly saturated market, this project challenges common manufacturing techniques by embracing variations in each design. Through human influence, each object tells a different story and achieves individuality. What would be considered imperfections and disparities by machine manufacturing, are defined as features and details that give worth and character to these hand made objects. These differences are what allows the consumer to harness a stronger emotional attachment with the end product, and have the potential to turn an ordinary object into something more cherished and appreciated. Though we might not realise it, all shapes and objects that we interact with from day to day have emotional

attachments and memories. In this project, the natural landscape has been explored from the macro to the micro, allowing these designs to mimic some of the most common shapes that surround us every day. By utilising common forms, these objects have the ability to engage with the consumers memories, and form associations. Through interactions, impressions of memories are cast into these objects, adding to the narrative and emotional attachment. By forming textures from unassuming materials, or exploring processes in playful and unconventional approaches, this project seeks to captivate the user from an early design phase. Commonly there is a detachment from how a product is made, as the process is not always beautiful and exciting. This project however focuses on making each process a fun and playful interaction, that engages the user through documentation of film through the initial making phase. Not only do these documentaries give a sense of explanation and understanding of the design, it also adds a glimpse of the designer’s personality to the narrative. Commonly products are made using the same processes, and the same material application as thousands of other designs. This project however combines both the “rational and the romantic” (Pirsig, 1974) in achieving a “higher quality” (Pirsig, 1974) of design. Through utilising both industrial design knowledge and creative instincts, these objects are able to be formed through experimentation of known materials and processes in unique ways. This design through making approach allows objects to form through iterations, and not be limited to the restraints of a machine.

THE WHO This project is targeted at people who want objects of value; Who donâ&#x20AC;&#x2122;t want to continue purchasing items which have no meaning, or that have a poorly designed function. These objects are designed to provoke the mind of the viewer, and raise questions of the how, what, where and why. They are designed to enlighten, excite and surprise the public on the capabilities of material, process and interaction. As a bigger picture, this project looks at finding new ways of making, and idealistically creating an innovation. What can be considered absurd in one time period, can alternatively be a step forward in another. Looking at designers such as Eames and Breuer they set out to design furniture using processes that had never been applied in certain ways. Now looking at the market of furniture design, it would seem empty without these types of objects. Like that of the designers from the past, and many practicing today, this project seeks to innovate, and create a dialogue amongst creatives and makers. Ideally this project will inspire and influence others in the creative field based on the findings of the various experimentations. Just as Eames and Breuer have inspired this project, hopefully the outcomes from this project can also be a precedent for ideas to come in the future.

THE WHERE

As this project is an exercise in experimentation, the outcomes will be varied based on each inquest. Those which are cheaper and faster to make, will lie within a small batch production market, which will be available for purchase online and in store. On the other hand the experiments that require extensive time in regards to the making process, as well as utilising costly materials will fall amongst a one off market. As these will be considered one offs, they will be made only through commissions, and will be primarily considered exhibition pieces.

? 15

THE WHY What is the worth in designing another mass produced item using the same approaches, if it only puts a new mask on an existing thing? It doesnâ&#x20AC;&#x2122;t create possibilities of progress and it doesnâ&#x20AC;&#x2122;t create excitement. It goes against the grain of evolution, and adds to an existing issue of consumption. What this project aims to create is a feeling of intrigue and fascination. It should not perplex the user to a point that questions cannot be answered, which is why these objects are merely common items. The complexity lies within the application of materials, and the simplification of execution. This approach aims to discover new forms of creation, and to break the mould in expectations of making. As a commercial product, these objects attempt to create a dialogue on the topic of consumption and quality. By opposing the concept of designed obsolescence, these objects look towards a more timeless engagement and appreciation. In an era were we obsess about having the latest and greatest objects, only to be replaced within a year, it seems appropriate that this project looks at adding value outside of the aesthetic and function. Through emphasising that a human influenced object can have more of a meaning than its form and function, this project endeavours to demonstrate that narrative can impact the consumer on such an emotional level, that objects can become considered timeless.

Two bins worth of bluestone sludge, waiting to be fired

PRECEDENCE DESIGN BLOG

HTTP://JAMESAWALSH.TUMBLR.COM

Maarten De Ceulaer, balloon bowls

What I love about this project is that each object is unique, and each are somewhat formed through chance. Using plaster for a finished product is also a clever application of material, as it is commonly used in creating moulds. Though what it is that grabs my attention most of all is the playfulness of this process, and the story of in each creation.

Max Lamb, Nanocrysalline Copper

This project is a beautiful combination of craft and industrial processes, emphasising Max Lamb’s joy in exploration and experimentation of the old and new. Electroplating is a common method used for finishing metals, but never have I seen it applied to a material such as wax. Not only does this project create a playful and somewhat nostalgic object, it’s through the hands-on narrative of the project that gives the desire to touch and pick up the chair. Questions such as how heavy/light the object is are also very inviting as the interior wax is melted out after the electroplating process.

Silo Studio from The Future Laboratory

This project is incredibly playful as an end product in its inflatable aesthetic and engaging colours. It is a lovely combination of an industrial material with the diversity of craft and industrial processes. Its almost as if the objects should be sent to the consumer with the textile mould still attached as if it were the packaging. This would include the consumer in the unveiling of the design, and perhaps add a greater emotional attachment through interaction.

TOM PRICE Meltdown Chairs

With Tom Price’s blend of off-the-shelf materials and craft techniques, it’s no wonder why this project can grab your attention. For me it’s also the way this project has been documented. Seeing the vibrant blue wax dripping down the mould, and the small details being hand woven to finish the product, tell me that this has been a well thought out process. On an emotion level, one can really connect with the project as you can see how much time and effort is being put into the final product.

Max Lamb, Hexagonal Pewter Stool

What makes this project beautiful is that it utilising such a primitive method yet creates such a futuristic and geometric form. This project wastes no material, and costs next to nothing to do, and to be honest looks like a fun way to spend the day. In saying that, it’s through this enjoyment of process that truly attaches me to this project. Its common place, that materials and the interactivity seems fun. All of which creates a relatable experience transcends through the final object.

Standard Steel Bench - Nicholas Gardner

Looking at this project, it seems as though Nicholas Gardner was simply experimenting with folding pieces of paper, and then saying “hey lets make this really big and strong!”. I love the simplicity of this object, and the contrasting energy required to make just a couple of rolls and bends. Despite this process being undertaken in an old fabricators warehouse, I don’t even get the association of old, miserable, greasy men who pump out mass produced products. It seems as though through the playful nature of the origami like object, this enjoyment is evident in the process and thus adds a more pleasant association to the narrative. By creating using relatable approaches such as origami, it seems that it allows the viewer to understand and connect with the project through one’s own experiences of making.

Kwangho Lee, lifelike design

This is someone who has such a beautiful and explorative approach to design. His work is incredibly hands on and comes across as somewhat of a performance in each object. This documentary demonstrates a handful of works by Lee, but personally I find the styrofoam objects the most appealing. The combination of modern materials and a hands on process, creates such an organic aesthetic that it reminds me of the ripples in a sand dune.

Bruce from Jason Stanfield

With every beginning it’s as if Bruce Riley is exploring the process for the first time. Constantly exploring the possibilities of this process reveals beautiful outcomes in colour and interaction. What grabs me the most about the outcomes are the close up details which look as though worlds are forming. Theres such a beauty in the small details that it transports me to a place out of this world, and into somewhere with the brightest and most endless landscapes. “It’s not about an end result”

Morten Grønning, Electric Happaratus glove

This project is a beautiful combination of hand making and modern technology. Demonstrating some absolutely stunning results from some professional sculptures, it makes me wonder what could be achieved by a design student, or design professional, and what techniques could be developed. I feel this product has some great capabilities, and further developments that could allow it to work in just about any type of material.

Phil Cuttance, Faceture

Hard to believe this project came out four years ago. I still remember seeing it for the first time while I was studying product design, and thinking that this is the kind of quality work I want to be producing. This is a great example of a project which is so beautifully refined. Down to the smallest details of the vessels, to the machine and the process, all of which have been considered equals to the outcome. The film itself takes great care in documenting the delicate steps of the process, emphasising the hands-on craft experience. A great element in this project is of course the dynamic outcomes which can be produced. Yes Phil would have a general algorithm to produce each form, but this is an element which can be extensively explored in creating varying designs. The hands-on process itself looks like such an intimate and playful experience, and the slow nature of the process only builds anticipation for the unwrap and revealing of the cast.

Peter Trimble, A Rubbish Stool

This project uses an existing process that is found in the recycling industry. Utilising expanded polystyrene, it is first chipped, heated and compressed/ extruded into a malleable, yet sturdy material once cooled. What I love about this project is that it is utilising a material which is found in abundance, and is also taking advantage of an existing process that would never be used to form an object such as a chair. The film itself provokes a dreary and cold feeling, which are all things reminiscent of Melbourne weather, however once the waste material begins to take shape the excitement in the music builds and the makers interaction evolves.

Hot Wire Extensions by Studio ilio

“Hot Wire Extensions by Studio ilio is an innovative material process using the waste nylon powder of SLS 3D printing. Being able to transform simple wire structures into solid bodies, the un-imaginable freedom in shapes, and the properties of the material mixture make this process easily distinguishable from traditional manufacturing processes.”

ECAL Low-Tech Factory/Stamp

Low-Tech Factory is a project by ECAL/Ecole cantonale d’art de Lausanne, in Switzerland. Students were asked to come up with a project that not only includes a finished product, but more importantly creates an experience. Stamp is one of six projects that demonstrates a craft influence on common manufacturing techniques such as die cutting and heat moulding, and in doing so sheds a new light on mass manufacturing processes. The way this process has been designed emphasises the hand’s on experience with each step being carefully organised and neatly executed. The finished product is certainly a clean design, though if it were to be present within a store there would be no indication that it was created outside of a common factory. There doesn’t seem to be any hand-made influence on the object, meaning there is no variation or chance that exists to distinguish between each object that is made. Despite these projects showing a unique simplified attempt on manufacturing processes, it doesn’t achieve an incredibly stimulating product. If they were to incorporate a more human element whereby the maker had creative input on the output, then this would connect with the consumer/viewer on a more relatable and emotional level.

Melanie Glöckler - Héritage

When first looking at this project, I was a little underwhelmed. I’d never seen a CNC styrocutter in action before, and to be honest I don’t think the possibilities of the process have been explored enough. It seems stale and unexciting, though when you look at Kwangho Lee putting a hand spin on the process when sculpting his chairs and lights, you getting totally mesmorised by his performance. Looking past the process, Melanie Glöckler does an interesting job at combining common place objects with a modern day approach of form finding. Though it seems that this process doesn’t actually feel all that modern, if anything it gives a very analogue feel.

The Creative Factory - Itay Ohaly

The thing I love most about this project is the texture. The process is documented well, though the lack of audio makes everything feel a little bit stark. What stands out to me is the effort that’s gone into creating each machine, and work bench. This shows a definite emphasis on the process in breaking down each step to have an elegant and consistent appearance. With many of these projects there is always an emphasis on process, but this project alongside that of Phil Cuttance have both created a very clean aesthetic to how their objects are made.

Monolith eroded marble tableware by Shira Keret

Marble and the idea of weightlessness are not a common association, but these objects form just that, and rather beautifully. The way Shira Keret has experimented with the capabilities of water jet cutting is amazing, as the results speak for themselves. The finer details are what i appreciate the most in this project, such as the edges of the marble being chipped away and truly emphasising the materiality. The only negative is that I wish there was an attached video, so the process can be seen.

Masters of Studio Glass: Toots Zynsky

Only just had the pleasure to see some of Zynsky’s work at the NGV the other day, and felt it necessary to find out how her objects were made. Listening to her talk about the process is beautiful, as she considers it to be more of a performance or a dance with the material. Similar to that of Maarten De Ceulaer’s work, Zynsky also has as element of chance in each creation, which creates excitement in each reveal. This project however is much more influenced by the creator, as it requires a very hands-on and iterative approach in forming each object. The shapes are beautifully organic, and the use of colours are as fluid as the forms.

Structural Skin from Jorge Penadés

In this project, Jorge has used a material in such a unique way that the leather has lost its assumed form and function. Not only has this transformation formed a visually beautiful end result, but perhaps more importantly has addressed the issue of waste material regarding leather offcuts. The documentation of this project has also been captured beautifully on Jorge’s website, even showing details of cross sections with the use of 3d scans.

Formafantasma De Natura Fossilium

As a precedent I was highly recommended to look into the works of Formafantasma, in particular the De Natura Fossilium project. What this project investigates is the historical and cultural relationship that the people of Sicily have towards Mount Etna and Stromboli regions. Both Andrea Trimarchi and Simone Farresin explored the potential of these basalt planes, at various locations of the landscape. Through various experiments which included melting, blowing, casting and machining, the results that followed were a range of objects that highlighted ideas of time, fragility, as well as the naturally formed and the man made.

Small Pillar, 2014 Basalt, Occhio di pernice basalt, brass, textile. H50 x W35 x D35 cm

What gives this project a strong conceptual meaning is the instant connection to location, which in turn highlights elements of history and culture. With the feedback that I had received in the first semester, I was advised that I needed to locate my project as it creates a much deeper understanding to the audience in regards to context, material choice and form design. When I began to look towards locating my project within Victoria, it then started to take shape as I realising the embedded history in which both granite and bluestone have had over the years. Much of the information that I was uncovering was dating back to the 1800â&#x20AC;&#x2122;s, and even on many of the site visits that followed, all of the towns and old quarries reflected this fading sense of history.

Monti Silvestri, 2014 Basalt, brass, electrical components, lava sand. Each piece: H35 x D35 cm

M E T H O D S

This is a Practice as Research project, which looks into the possibilities of design evolution “as a result of physical process or investigation into the material” (Treuhaft, 2015). With a great emphasis on the human interaction, materials and process, challenges such as finding complimentary composites, analysing qualitative data, and iteration, were explored on a weekly occurrense using such design methods as exploratory research, mind mapping and research through design. Documentary film making was utilised inorder to capture the various experiments undertaken over the duration of the project. Once the finalised design and process were resolved it then was reshot and refined to a high quality production, presenting the narrative of the design to the viewer, and demonstrating the how, what, where and why of the thesis and design mentality.

M E N T A L I T Y & P H I L O S O P H Y

The idea of a craftsman comes to mind when summing up the design mentality of this project. Like that of the craftsman being in “harmony” (Pirsig, 1974) with one’s own mindset as well as the material at hand, are key in achieving a coherent and dynamic interaction and exploration. What this project seeks to achieve is a harmony between the two, and ultimately a deeper value to the designer and the viewer. In each exploration, there will be elements of understanding material and process, which will be divided by elements of impulsive and abstract actions (Frayling, 1993). As this project is based around a range of materials and processes, it requires a broad knowledge of existing ideas and possibilities, which can be classed as a “classic” (Pirsig, 1974) approach

to human thinking. This ‘classic’ approach is based around ‘logic’ and rationality, which relates to the knowledge and understanding of materials and processes. On the other side of the spectrum, there is a very experimental, and creative influence that equally directs this project, being the “romantic” (Pirsig, 1974). The ‘romantic’ can be defined as ideas of aesthetics and abstract thinking that brings one to perceive with “a predisposition towards emotions and intuitions” (Pirsig, 1974). This basis of consciousness will allow both creative and analytical perspectives to be utilised during the many stages of experimentation, and will be evident throughout the many design methods.

“There are circumstances where the best or only way to shed light on a proposition, a principle, a material, a process or a function is to attempt to construct something, or to enact something, calculated to explore, embody or test it.” (Archer, 1995)

Material research, experimentation, case studies and iterative developments are just a handful of steps required in research through design. In this project a large portion of the research will be directed at physical hands on making and testing, in-order to see how certain materials can react, and function. By cutting, breaking, shredding, melting and mixing materials, this will demonstrate a wide range of experiments and data that can then be analysed for later combinations and applications. As this project looks at materials and applications in abstract ways, there will be “circumstances where the best or only way to shed light on a material, a process or a function is to attempt to construct something, or to enact something, calculated to explore, embody or test it”.(Archer, 1995). Though there is a large emphasis on learning through making, this project also must utilise “Secondary design” research, into what has already been gathered around materials. Technical and scientific information on properties, such as melting points, physical structures, weight etc, will inform this project on aspects not achievable through hands on exploration. As this project must first have a strong grasp on existing projects, processes, and material capabilities before attempting to form new ideas, it is important and beneficial that site visits to various types of manufacturers and fabricators are conducted. Reading the facts and data sheets of how processes and materials are utilised is a major part of this project, however understanding through a practical example can add greater value of understanding, as well as

inspiration and ideation. By researching into glass blowers, metal workers, and other traditional and contemporary makers, this will be able to inform the various experimentations and brainstorm methods as to what is more or less feasible in terms of concepts and explorations. In conjunction with site visits, interviews will also be conducted with various fabricators and designers, so as to learn through others experiences of designing within an experimental frame work. Understanding through seeing as well as investigation through conversation and interaction, are both equally beneficial to this project. Both have great potential in revealing certain tricks of the trade only understood through years of experience, and throughout this project will equally be utilised. Both brainstorming as an individual and in groups is a great tool in realising and discovering new ideas. By organising group hack sessions at university, this allows a wide mix of students from Industrial design to brainstorm together and create a dialogue of each others projects. As each students projects are diverse this allows a range of perspectives on each others projects, and forms many views and ideas. Discussion and dialogue is fundamental in discovering new perspective, which is why this method of Brainstorming will be used in regards to many stages of the project. From initial narrative concepts, to material exploration and documentation through film, this tool will allow the project to explore and experiment with ideas in “interesting territories at uncharted edges”(Aspelund, 2006).

/ 32

With the information attained through the various research phases, a basis of knowledge regarding the potential in existing manufacturing or materials will be investigated. Utilising the design method of Exploratory Design, this will allow the project to freely and encouragingly develop with flexibility and “spontaneous interactions and observations” (Hanington & Martin, 2012). These interactions and observations will be based around finding what does and does not work within a material and its process. Performance testing, though mixing and matching various materials and processes, will be just one of the approaches of exploration. This approach will need to be limited with certain restraints, such as time, materials and processes, so as to not get lost in the infinite possibilities and results. Positive results will be defined by compatibility of contrasting materials, uniqueness of aesthetics as well as uniqueness in interaction. Once solid concepts can be identified, refinements and iterations will take shape through inspiration of what is discovered in the material or process, rather than being informed through formal analysis of concrete data. It is one thing to understand a material through case studies and past research, but “to touch and explore a material in a physical way is often the only way to learn how it behaves and to discover what it can and wants to do” (Treuhaft, 2015).

Max Lamb Pewter Stool, 2008 http://maxlamb.org

Film and Documentation With an emphasis on exploration, this project not only allows the designer to learn through doing and making, it also gives the viewer/consumer the opportunity to understand the interactions through film and documentation. Looking at Phil Cuttance’s Faceture (Cuttance, 2012) project, or Maarten De Ceulaer’s Balloon Bowls (De Ceulaer, 2011), there is a close attention in conveying the projects process and materials in a beautiful and ultimately informative way. Not only does this bring the interaction and process to the forefront, it also allows the consumer to know where their products come from, creating an “inherent value” (The finders keepers, 2012). As this project considers its process to be equal to that of the final object, it is only necessary that they are both designed and well thought out as each other. Through research of existing films, such as the Faceture project, certain methods and approaches to film making will be realised and explored. Elements of documentation such as duration, styling, music, etc. will be critiqued, and applied in various ways to achieve a refined and concise documentary. With “Learning channels and educational apps” (Mathewson, 2015) gaining momentum in accessibility, this is creating a growing trend for designers today to take that step further in filming their projects and delivering it to a wider audience online.

Throughout this project many methods and approaches will be utilised, in-order to expand and develop ideas. Experimentation is a key element in this project, which will be utilised not only in the conceptualisation of ideas, but as well as the developmental/iterative phase, and the approach of documentation and film. This project demonstrates a strong emphasis on learning through doing, but there are also elements of learning through secondary knowledge which is where research into case studies and past projects will be required. These areas of research will be commonly looking into the areas of materials and process application and interaction, but this will just be a starting point of inquest. Looking into abstract fields of art and design, as well as science and technology, will all serve as a means in combining cross disciplinary concepts, and facts that will contribute to various explorations and ideas. When researching into precedence, various projects will be investigated regarding their conceptualisation, as well as depth and value of concepts. This will also serve a great purpose in reflection, as it will determine various elements of design narrative, process and interaction that inspire and enlighten the project at hand. In regards to documentation, these precedence will also serve as a great catalyst in creating a documentary. By examining and reflecting open the various projects through film, this will allow certain areas of interest to be identified when considering duration, camera angles, audio, etc.

Wondering through forgotten parts of Mt. Alexander

E VA L U AT I O N & VA L I DAT I O N

Introduction This project looks at creating a dialogue in two major facets. The first is that of the process and understanding of material, and the second being the viewerâ&#x20AC;&#x2122;s reactions towards the designed objects, regarding ideas of value and materiality. How this project will be evaluated and validated will be predominantly through surveys and discussions, from participants in and out of the art and design world. A key aspect of this project is to connect to the viewer through film in demonstrating the narrative, thus this will also be a key feature in determining the userâ&#x20AC;&#x2122;s understanding, appreciation, and enjoyment of the project which aims to reflect the validation of each object.

Exploration Through this project, much will consist of experimentation towards pushing materials in unconventional directions. Some initial ideas will include combining basalt and plastic for injection moulding, and slate and rubber for blow moulding. These will need to go through rigorous testing of the materials properties in order to achieve an accurate and consistent result. These properties such as strength, rigidity, elasticity, workability will all need to be explored and evaluated through physical testing. Depending on the desired form that these materials and processes will be required to produce, they may need to be able to sustain a required amount of weight if the object was a chair or table. The requirements for an object such as a pendant light would be much more loosely stressed, though issues of conductivity as well as weight would need to be evaluated in conjunction with Australian standards. Ideas of experimentation which aim to push the limits of the material and process, will rely heavily on understanding what has already been achieved with the intended machinery and materials at hand. Researching existing projects has been the prime method for understanding what is capable and what has already been achieved, though to validate this project from a viewer’s perspective, this project will rely heavily on the information attained within qualitative surveys.

How this will be validated and tested will be through a three-phase survey, which targets three different groups. These three groups will be given different amounts of information, in order to see how they respond, and how strong their understanding and attachment becomes to the object. In group A, the participants will be given just the concept description as the stimulus, allowing them to interpret the concept for themselves, and this group will be considered the control group. Group B will be shown only the object, which gives the participants a tactile experience, and will force the participants to make assumptions on the material, the process and the concept. Finally group C will be exposed to both the film and the object, demonstrating the interaction of the maker and the material, and of course the tactile interaction of the object itself. Once each group has been exposed to the stimulus, they will then be given a survey which will be based around revealing the viewers experience, emotional attachments, understanding of process and concept, and likes and dislikes. Based on the results of the three groups, this information will be compared and evaluated to see whether or not the group with the most stimulus had the stronger experience. These sample groups will be requested to remain the same throughout the course of the project, to ensure the consistency of the results for the various objects and interactions designed.

Survey Method Control Sample This group will be exposed simply to the concept description, and will focus around how the participants react to the small amount of information given. This will demonstrate whether a small amount of information forces the participants to engage in a dialogue, based on the interest or dismissal of the concept.

Object Sample This group will be exposed to the designed object alone, to engage the participants on a tactile level. The participants will be asked questions on material and process, and be asked to think about how and why the object was made.

Object/Video Sample This sample group will be exposed to both the designed object, as well as the film which demonstrates the making process. This group will be assessed based on how well the project is understood, and if the participants are more or less engaged in the project, as opposed to the prior sample groups.

5x Participants Per Group

Results All groups will be evaluated based on the amount of interest, answers to set questions, as well as likes and dislikes, and will be compared to see if the greater amount of information thatâ&#x20AC;&#x2122;s given returns a greater perception of value or quality towards the project. All three groups will comprise of Design Students, Design Professionals and Non-design Professionals, to insure a broad range of personalities and perspectives on the project.

Evaluation

As this project looks to create a dialogue around the idea of new and old, as well as precious and throw away, the only way to validate this concept within the finished objects is by investigating into the viewers’ thoughts and reactions. As this stage looks at revealing the initial reactions and understanding the viewer encounters, this would be a good time not to interrogate but to listen to the viewers’ thoughts and impressions of the design through conversations as well as more formal online surveys.

By organising a wide demographic of participants ranging from students, peers, and professionals in and out of the creative industry, this forms a diverse range of feedback with many perspectives. This external evaluation will demonstrate whether or not the objects are succinct to the concept, and whether this understanding is comprehended by the majority of the sample group. If the majority do make the desired connections to the objects then it can be confirmed that the objects are valid in communicating the idea of materiality. But if the bulk of the viewers do not connect the dots, then this will validate that the concept and the objects are not aligned close enough, and thus further iterations and developments will be required in bridging the gap between the objects and the viewer. What will guide this feedback will be a survey that will be given to each participant before exposing them to the objects. What this survey will consist of will be

a range of questions which gets each participant to rank various materials in terms of value and quality. In addition, any positive or negative associations that they have with their highest and lowest rated materials will be requested to inform their reasoning. What this will create is a basis of reference for when the participants give feedback on the designed objects. Initially this project seeks to excite the viewer with form and material. As the viewer sees each object, he/she is then ideally intrigued in the way the various materials have been used. Alongside each finished object will be the raw materials in the various forms that it had taken, in order to emphasise the extensive narrative. From the old offcuts of precious materials, to the waste material of SLS printing, the viewer is directed into a conversation which produces a critical reaction in the viewer, towards materiality and form.

Journey

Through film, documentaries will outline the narrative of the design in greater detail with information on the making process, where the materials where sourced, the history, and the interaction of the maker and the materials. This will allow the viewer to understand each object in much greater detail, and emphasise the time, creativity and emotions that may not have been so obvious when simply viewing the final objects in isolation. Once the viewer has experienced all of these phases of the design, a discussion will be conducted regarding the viewersâ&#x20AC;&#x2122; final opinion of the project, with reference back to the initial survey undertaken. What this aims at creating is a new found appreciation for materials, as the viewer can see that in the context of these objects, materials which may have once been considered throw away can be seen in a more complementary light, and on the contrary materials which may have seemed to be precious can be considered the opposite. As this project revolves around value and materiality, having the viewer understand this from the objects and documentaries is paramount. This will only be realised once all components of the project are completed and the viewer has given his/her opinion, which will ultimately determine whether this project is valid, or whether further iterations are needing to be applied to create a more cohesive understanding of the concept.

An abundance of granite , left at a dilapidated quarry in Mt. Alexander

Refinements of Concept

Key Learnings Learning that designing with an intent to critique/ question or highlight an issue gives much greater grounds to a project, as opposed to simply making for the sake of making. It gives meaning to an object, as opposed to just being another consumer product on a shelf. Though I still feel as though my own journey to explore the potential of material and process is a valid approach to a project, I understand that to create a sense of consistency a project needs to be centred around a particular reason, issue, location, etc. to allow the viewer to comprehend the intended goal of the project.

I feel as though the final concept has been achieved, and it is now at the point of the project where drawings need to be tested and become reality. This may be somewhat premature, so I will continue to discuss and get feedback from peers, family, friends etc. to really consolidate my ideas. Something which also makes an impact is the believability and understanding of the people which I tell. It seems the more people that I tell the better, and easier it is to explain, creating a greater understanding to the listener and in turn gives me greater confidence in my ideas/concept. The part of the project which has only been scratched, and is so ready to be investigated, is that of the making process and exploration phase. Many ideas regarding object outcomes have been floating around, and I am really looking forward to getting my hands dirty and to see how certain materials will react, combine, and function as the desired objects.

Further Improvements

Design Direction

Something that I have been pushing in this project is the discussion of the concept. The more people I explain this concept to, the more feedback I get which has assisted in making the adjustments required for the viewer to clearly understand. Locating keywords and touch points which resonate with the viewer/ listener allows me to focus in on what exactly is trying to be said, and allows me to concisely explain and understand the project.

Currently the concept is branching out to various ways of making and material use, as well as brainstorms and sketches of how this concept can be emphasised through objects. The idea of the throw away has popped up a few times, but it has seemed to have only regarded that of plastics as the most common example. Something which may improve this project is to look into this area of interest from the other end of the spectrum, in regards to offcuts of precious materials being reformed. This is another area of the concept which would challenge the idea of the precious and throw away, from a very different angle, and one which may not be expected by the consumer/viewer. Creating objects which utilise both precious and throw away has been an initial thought, and in addition to the material side of this concept, processes which are characteristic of a material are also a key element in this strand of thought. Other ideas such as emphasising new technology with old materials as well as old materials being treated with a mass manufacturing approach, demonstrating a harmony between the naturally formed and the machine formed, and influencing engineered materials to take on the appearance of natural formations, as well as natural formations taking on the appearance of the man made. All of these ideas are aiming at challenging the viewerâ&#x20AC;&#x2122;s perception of value, perception of form, and demonstrating a great transition of time within the old and new. Currently details of form are being evaluated and brainstormed so that the conceptual ideas behind the objects are emphasised by the physical.

Survey Results

After conducting a Google Docs survey amongst a hand full of participants from university, many of the results which came to fruition confirmed my suspicions. These suspicions regarded the emotional connection between person and object, and the strength of emotions under various circumstances. With the population of the participants being that of designers, this did go against what was initially

proposed. Where the plan was to survey a hand full of participants with varying educational backgrounds, as well as interests. However after further consideration it seemed only appropriate to target design-conscious participants, as the project and finished objects are also targeted towards design-conscious consumers. As a summary what was found was that the vast majority considered a deeper connection to an object

after seeing where and how the object is formed. In regards to materials, many of the participants said that natural materials such as marble, granite and slate have a much higher sense of value, as opposed to that of man-made materials. In conclusion, the feedback that was attained from the various surveys confirmed my design approach, and confirmed the need to highlight the design process ideally through filmed

documentation. This survey also concluded that for exhibition it will also heighten the viewerâ&#x20AC;&#x2122;s perception of the finished objects if the viewers can experience the journey taken in making the finalised objects. This will be achieved by displaying not only a handful of the finished objects as well as the documentary film, but also by showcasing the various iterations which lead to the refined outcome.

Present & Future Problems

As this project is focusing towards using waste and off cuts of various stone materials, I have needed to contact and visit a handful of quarries. What has been difficult is that many of these quarries are located outside of Melbourne, and don't tend to allow many people to visit due to OH&S. Though I have contacted numerous businesses, it is becoming a slow process of communication via email. I have been able to find out a lot of information about process, and is lucky that this was all conducted early on in the project. Further difficulties are trying to organise site visits for the not so distant future, to a location called Bamstone. However this is almost a four hour drive from my location. I am beginning to think that I continue to locate my project strictly within Castlemaine and Mt. Alexander region, as it is located only an hour and half drive away, and as I've become familiar with a handful of the businesses down there access is much more welcomed. Regarding the sourcing of materials I have focused in on using waste materials from these particular quarries, which means that purchasing or taking these materials for free is a high possibility. In regards to more modern processes and waste material, I have found that SLS printing powder, which is second hand

material is still a staggering price of $120 per kg. So this may not be practical for my project, unless the objects formed from this material are scaled to small items. The task ahead in terms of experimentation of material and process is not exactly a problem, but merely the project challenge. This will be a lengthy process which will look at creating exciting results, while maintaining that the process and interaction are fun and enjoyable for both the maker and the viewer. Validating that these interactions and processes are in fact enjoyable will be a task in itself, as this will be done through various surveys and interactions with peers and professionals. What may be a problem during this validation phase is keeping a consistency with the participants, who under take the surveys. Due to time restrains relating to work or university, some of these participants may find it difficult to participate in each of the surveys, which may cause an issue of bringing in new participants, and potentially form new variables. Ideally if the same participants are used throughout the course of the project, then all of the information from the start to the finish will be comparable, and consistent.

REFLECTION Once I had received my initial feedback during the mid semester presentation, this project really took a turn and focused more so towards a conceptual idea, as opposed to merely a self guided exploration. What this new focus entailed was that of the precious and throw-away, in a traditional Victorian setting. Referring to both virgin and waste materials found in Victoria, such as bluestone and granite. This has created a much more focused direction, as opposed to simply being ideas which form through brainstorming. Initially I felt that I wanted to explore for the sake of learning through doing, and that would be sufficient. However with this focused take on materialism and exploration, this development in the project does not limit the possibilities of exploration. On the contrary I feel it only creates a degree of worth and reason. From the beginning of the year all of the precedences that were investigated relied on narrative, and if it wasnâ&#x20AC;&#x2122;t for the feedback received by Simone LeAmon I would not have investigated into the history and traditions that make up the backbone and narrative of this project.

Diagram

Abstracting

Exploring

Repurposing

Intriguing

Research as Practise

Material Tactile

Experimentaion Experience

Exciting

INNOVATION

Fun

Captivating

Different

Interaction

Enjoyable

Abstracted

User & maker centred

Dynamic

Trial & Error

Complementary

Contemporary

Mix & Match

Process

Craft

Location Victoria

From the beginning of the gold rush, around the mid 1800s bluestone was quarried extensively around various parts of inner northern suburbs in Melbourne. Clifton Hill, Brunswick and Coburg where just a couple of locations which provided the materials for some of the most historical and iconic buildings of today. Old Melbourne Goal, St. Patricks Cathedral and many of the cobble stoned lane ways and paths around Melbourne date back over 150 years, and remain as timeless as ever. Still to this day bluestone is quarried in various parts of Victoria, and dimensioned for streets and lane ways, as well as extensively in railway ballast, however production is not to the same scale as it once was. Many of the quarries around inner Melbourne have now been converted to parks, landfill and housing developments, but despite the decrease in production, Melbourne sustains its charm and historical beauty through its timeless buildings and lane ways.

Victorian Bluestone Plains Beaufort

Melbourne

Portland

Colac

Victoriaâ&#x20AC;&#x2122;s western bluestone plains extend from Portland to Melbourne, and from Beaufort to Colac extending approximately 20,000 square kilometres. Dating back 4.5 million years, the Victorian bluestone plains are the third largest in the world and consist of more than 400 volcanoes.

Site Visit CASTLEMAINE & MT. ALEXANDER

On the 6th of May 2016, I decided to go for a bit of a drive up to a town called Castlemaine, which has been known for quarrying since the gold rush in the mid 1800s. After a few hours of driving and a few wrong turns, I finally made it into town and it seemed like iâ&#x20AC;&#x2122;d travelled back in time. You could tell it was a bit of a country town by the calmness in the streets, the winding roads, the timber board houses and the bluestone bridges. Again this feeling of a confused time period reemerged after making it to the Pyrenees Quarries. From local craftsmen hand chiseling ornamental projects, to contemporary machinery slicing through five tonne boulders, this setting created the perfect juxtaposition of past and present. Like most businesses, there seems to always be an old man in charge that knows the ins and outs of the whole operation. This old man was Dave. A little weathered with a silvery white beard and a bit of a sore back. After first introductions he said his time was a bit scarce as he was already late for his chiropractic appointment, but still had time to spare for a chat. This is the beauty of small country towns: they all seem to run a little bit slower than normal, and the people are generally happy to lend a hand, or word of wisdom if they see youâ&#x20AC;&#x2122;ve got some genuine interest.

In the short time I had chatting to Dave, we talked about the history of quarrying around Castlemaine, and got onto the topic of Mt. Alexander, which is a beautiful hidden gem comprising of an abundance of both active and overgrown quarries and park land. We spoke a little bit about the machinery used at Pyrenees Quarries, and Dave was more than happy to talk up his new toy, which was a CNC bandsaw for cutting stone. He also stated that typically they work on creating one off pieces for clients, and have the ability to facilitate special requests regarding granite, as they were good friends with the people at Harcourt Granite, located up the road. Before embarking onto my next location, Mt. Alexander, I asked one more question regarding waste material and offcuts. What I was told was that once there was a sufficient amount of waste material they would arrange for a crusher to come in, and turn any waste into rubble for paths. This made me question how a material so precious, which has formed and withstood centuries can be turned into something so ubiquitous and understated. With this thought present in my mind, I said my good byes to Dave and made my way to Mt. Alexander. After a few more wrong turns i’d finally arrived at Joseph Young Drive, which is the road that weaves through the centre of the regional park. Instantly it felt like the landscape had changed from open farm land, to an outback forest. The trees were plentiful and the cockatoos obnoxiously loud. After stopping by an information centre back in Castlemaine, i’d picked up a map which not only directed me to the park, but also showed the various locations and sizes of quarries that were both active and abandoned. The first of the stops was just off the Ballantinia Track, which once far enough away from the main road exposed into a beautifully over grown, and long forgotten quarry, looked as though it could have dated back to the 1800’s. You could see the remnants of the quarry not just from the obvious excavations, but from the subtle pieces of evidence that was scattered around. Old rusted equipment, and large to small blocks of granite sitting deep in the pine needles on the ground. The walls had deep holes drilled into faces in linear configurations, which is a traditional way in dividing and cracking the heavy stone. In the old days they’d either use explosives pushed deep into the drilled holes in order to create the internal pressure, or subsequently take the painstaking job of hammering copper or timber wedges into the holes to achieve the same result.

Later on in the day i’d made my way further down Joseph Young Drive, in search of some larger, more active quarries. When looking on the map I noticed that one of the largest quarries was Harcourt Granite, which was the place Dave from Castlemaine mentioned. I did manage to contact the owner of this quarry, but unfortunately they were out for the day, as they were working on a job at a cemetery. Not too much further down the track, at a spot called Giannarelli 2, I came across a great big gate with an old rusted padlock, and a few ‘No Trespassing’ signs. I decided to see if I could get some photos just from walking around the outskirts of the property, when before I knew it I was being barked at by two large sized dogs and two very small dogs with little man syndrome. Thinking these would be my last minutes on earth I stood as still as possible hoping I would blend into the surrounding trees… this was not working. Finally a husky voice yelled out, the kind which is created not naturally but from a “pack a day” smoker, and called off the hounds. This voice belonged to a woman who’s name now alludes me, so lets just call her Jen. I explained to Jen what it was that I was looking around for, as well as my project and interests, and just like Dave, Jen also turned out to be incredibly kind and helpful, and was more than happy to help out. Jen put the dogs in her car and said it was alright for me to have a walk around the quarry, and to take some photos. Upon entry I noticed that this quarry seemed fairly dilapidated. There were cranes rusted over and bits and pieces of machinery scattered around the property. Jen mentioned that it had been a good while since the quarry was operational, and her role was merely to secure the property from vandals, and make sure no one hurts themselves from climbing onto the cranes. After taking a few photos and having a bit of a chat, I was directed to a pit of granite offcuts which had all been put aside. Jen explained that if the quarry workers split the material incorrectly, then it can form imperfections and leave the material undesirable and ultimately a waste material. In this pit there had to be 50 tonne worth of material just lying there, which

again brought my thought back to the waste material that was at Pyrenees Quarries, with Dave. Something interesting which stayed with me after speaking with Jen, was her interest in a particular piece of granite she had been working on as a gift for her son. It was by no professional standard perfect, but this was exactly why it resonated with her. The way the material had been split would have been considered an imperfection and considered defected, but what this created for Jen was a defining detail or characteristic that was inherent to the material. It gave the material individuality, and a uniqueness which is what connected with her emotionally. What seems to be prevalent in all these visits is the desire for quality. What my site visit demonstrated is that quality takes on dynamic forms, and from one person to the next is something different. In terms of Dave and his business approach, one would consider his outlook on quality to be that of a classic kind. He needed to provide his clients with what was technically correct and specified, and he and his company had a very exact way of doing this. Jen on the other hand was one which searched out for the beauty in the abstracted, and the imperfect. These two approaches to quality are of course both equals, and can’t be defined as being better than one or the other. It is only due to preference, and one’s personality that forms these ideals. As this project looks at materiality and one’s understanding and interpretation of quality, it is only logical to approach this project from both a romantic and classical perspective. Not only does this cater towards a wider audience, but it also adds dimension in terms of experimentation and ideation. Drawing ideas from a technical perspective, and looking at what is possible in terms of machinery capabilities, tolerances, and weight bearing and pressure are just a hand full of concepts which would not be explored if this project intimately worked from an artistic and romantic approach. Just as if letting the outcome of a design rely upon chance, playful interaction and feeling, this would not be explored within a classical approach.

META MORPH ISM 77

â&#x20AC;&#x153;alteration of the composition or structure of a rock by heat, pressure, or other natural agency.â&#x20AC;? (Oxford Dictionary, 2016)

Granite

Granite is a material which is similar to bluestone, as it is also classified as an igneous rock. However granite is frequently found on the Earths surface, as opposed to basalt or bluestone being commonly found on the ocean floor. Granite is a material which consists of a combination of quartz, mica and feldspar, and has a much lighter appearance in colour than basalt, as well as a course grained texture. Granite is considered an intrusive igneous rock, meaning that the predominant material of the granite being magma, set before it came out of a volcano. Alternatively there is extrusive igneous rock like basalt, which cools and hardens as magma flows out from a volcano, having a much quicker cooling time which is what creates such variations in vesiculation. What this cooling process influences in both of these materials properties, is that of strength and durability. Granite has incredible durability when weight is applied on its vertical plane, however gives way along horizontal planes. This density and strength is the reason why granite has been so frequently used in construction, both historically and today.

Limestone

Limestone is a sedimentary rock, formed primarily of calcium carbonate. This material also consists of debris from marine fossils, such as shells, coral and bones, which through compaction and deposition the limestone is formed. As with most natural materials limestone is not always consistent in its make up, thus there are variables which relate to the materials density and colour. As this density can differ, this in turn means that the potential surface finishes of the materials can too. If the material is hard and dense, then the surface of the material can be machined and finished to a satin honed finish. Alternatively if the limestone is less dense then the finishes are more commonly machined and more course finish. The material itself is commonly found to be a white creamy colour, however there are locations where the material is found to appear in a blue-grey, grey and even black colour. As limestone has a rich amount of calcium carbonate, this leaves the material vulnerable to acids, resulting in erosion and surface wear. The material can also show stylolites, which are veins throughout the material. These veins can in fact indicate a weakness in the limestone, as it is commonly made up of clay. If the veins are in fact clay then this can form fractures, leading to â&#x20AC;&#x153;premature failure and surface spallingâ&#x20AC;? (Stone initiatives, 2014).

Bluestone

Bluestone, otherwise known as basalt was formed during the Pleistocene Era, proximately 1.8 million years ago. This material was formed from volcanic lava flows which covered the most of the south west, which is now Victoria. The benefits of using basalt is that it is strong, relatively easy to work with and has a dynamic appearance in texture. This texture occurs from something called vesiculation, which is when the gas bubbles from the lava are trapped within the cooling process, forming small cavities of varying sizes. Bluestone has a variety of natural and machined finishes such as sawn, honed and sandblasted. Within Victoria, bluestone has a darker appearance to that of South Australian Bluestone, as it is mainly a darker, richer blue, as opposed to a brighter and more autumn-tinted colour. Quarrying in Victoria began in the 1830s and 1840s, with locations around Fitzroy, Carlton and Clifton Hill. Quickly becoming a growing industry, quarries began to spread to north and western suburbs of Melbourne, such as Coburg and Brunswick. During the early stages of Melbourne quarrying, throughout the gold rushes, much of what bluestone was used for was to provide ballast for returning ships. And as Melbourne gradually developed, by the 1900s much of the bluestone that was being quarried was used to develop some of the cities most historical and recognisable buildings to date. Flinders Street Station, Melbourne Town Hall, St Paulâ&#x20AC;&#x2122;s Cathedral and many more were all built using locally sourced materials, and even today it is easy to identify the basalt used in some of Melbourneâ&#x20AC;&#x2122;s most tucked away lane ways, and busiest of footpaths.

Melting Temp 1000-1290c

Magma Type Mafic or Basaltic

Solidified Volcanic Rock Basalt

Solidified Plutonic Rock Gabbro

Viscosity Low

Gas Conent Low

WASTE

MATERIAL

When undertaking initial site visits to various quarries in Castlemaine and Mt Alexander, Iâ&#x20AC;&#x2122;d never have realised the extent of waste material found in the industry. On a visit to the Victorian Bluestone Quarry located in Brooklyn, I was shocked to find a skip filled with a strange wet material. When I was approached by the quarry manager Peter, he elaborated that the wet material was in fact a waste material produced by the constant machining of bluestone. Peter mentioned that the material is considered a sludge in the industry, and for the Victorian Bluestone Quarry they produce 15 cubic metres of the waste material a day, which all goes straight to landfill. Peter was more than happy for me to take a sample on my first visit, and on my second visit said I could take the entire skip load if it was possible. As this material is a waste material, Peter emphasised that it was for free and that I would be doing him a favour if I was able to take the material off his hands. This has gotten me thinking that if on the slight chance that this project becomes commercial, then I would have an unlimited supply of raw material for production, and it would be at no expense. As well as this, I would also be turning something which is landfill, something that has no value or consideration, into a potentially cherished and sought-after product.

When working with bluestone, it is best to proceed with a few precautions. First of all, when working with the material one should be wearing appropriate eye and breathing equipment. When doing even the most basic work on bluestone, it is best to be in a adequately ventilated area, ideally outdoors. The dust produced from machining bluestone is known to cause irritation to the eyes, and throat. These symptoms can be avoided if either the dust levels are kept to a minimum, by applying water while cutting, or the individual is wearing a well fitted respirator, and safety goggles. If there is prolonged exposure to bluestone dust, then there is a possibility that the individual could develop pneumoconiosis or silicosis, which are two cases whereby the individual has inhaled dust containing silica. In regards to working with the SLS powder, other wise known as Polyamide - 12, this material is also best used in a well ventilated area. If the user has inhaled a large amount of the material, and or is experiencing irritation by vapours during the thermal processing, a supply of fresh air is recommended. Though if irritation persists it is recommended to seek medical attention. In the instance of a fire, various gases can be released such as carbon monoxide, carbon dioxide and nitrogen oxide. All of this points to the appropriate use of a respirator when working with these two materials, as they both can have harsh effects on oneâ&#x20AC;&#x2122;s breathing, along with skin and eye irritation.

Initial Experiments

At the beginning of the semester, this projectâ&#x20AC;&#x2122;s intentions were to initially speculate with very little limitations. Learning from doing was the task that I had set for myself, so I made the initial phase of this project as open as possible, in order to kickstart the creative process. To get the ball rolling, various materials found in and around the house were utilised. Aluminium foil, plastic bags, plaster, ceramic, paper bark, limestone, slate, bluestone and granite were explored, with the intention of discovering unique textures, details and processes. Through combinations of both craft and industrial processes, these initial experiments formed objects which demonstrated abnormality, detail, and a sense of playfulness. When looking into the area of composite materials, resin, plaster and cement were explored briefly, though there was a lack of excitement around simply mixing two materials, when the results were somewhat predetermined. From these experiments solid outcomes varied only in shades of colour, and occasionally in details such as accuracy of moulding. There was very little that suggested anything fun, exciting or innovative, so these explorations were left to simmer. When working with ceramics and plasters, the initial intentions were to utilise obscure materials for moulds, in order to achieve interesting textures and effects. Heating and warping plastic bags created intricate landscapes, and crinkling aluminium foil gave impressions of detailed cliff faces. Both these two materials worked incredibly well in regards to experimenting with slip casting as both plastic bags, and aluminium foil are soft enough to pull away from complex forms. Traditionally when slip casting, the more detailed and intricate the form is, the greater number of parts are required. However, when utilising a material that can be pulled away as a mould, and not intersect with the undercuts created, this allows for effortless detail and casting.

Plaster and cement casts, with various stone materials

SLS Experiments Fuse forming

In these experiments, the idea was to use a contemporary material such as sls printer powder, as the composite and binding material. By mixing the bluestone powder and the sls powder into a blend and heating it in a mould, in theory the sls powder which is a nylon would begin to melt and form around the stone material. The idea of this process was closely linked to that of slip casting, whereby the longer the mould was being heated, then the thicker the wall thickness would become. This idea played on the idea that the denser an object, then the slower the heat would take to penetrate to the core of an object.

100

101

After confirming that the theory behind this concept would work, the next stage was finding the appropriate material as the mould. This stage was very much a trial and error approach, as this kind of heat moulding had never been done in such as DIY fashion. From trying aluminium foil, stainless steel, mild steel, with and without mould release, to finally experimenting with teflon sheet.

102

What was the issue in just about every experiment was the fact that the material would stick to the surface of the mould material. When using aluminium foil, like that of previous casting experiments with ceramics, I found the foil to be reasonably co-operative as it would commonly pull away from the surface. However, I found that there were a lot of variables which would impede this process. If the foil was heated too much, then the plastic would fuse to the foil surface, meaning that it was rather difficult to take off all of the foil without it ripping and leaving a lot behind. Teflon on the other hand was incredibly successful,in that the cast would leave a perfect impression of the teflon sheet onto the plastic

103

Teflon on the other hand was incredibly successful,in that the cast would leave a perfect impression of the teflon sheet onto the plastic object, though this process required a lot more heat to penetrate through the teflon. When experimenting with heating times, I found this to be an incredibly difficult thing to keep consistent, as my means of heat was either a heat gun, a camping stove top, or a webber. Along with varying temperatures outside, as well as wind, this turned out to be a great challenge in finding a consistent means of heating the material.

When working with Teflon, though this created the cleanest surface finish as well as being incredibly easy to demould, there were instances of chemical aromas. So much so that the smell would be ingrained in the object. The reasons for this reaction could have been one of two options. Either the smell occurred due to the teflon sheet burning, and then being absorbed into the sls material, or the sls material was in fact over heating. If the only issue is that the material is being over heated, then this might be able to be resolved, but this would require a much more stable and consistent means of heating, as opposed to a webber.

104

Close-up of and SLS and bluestone experiment

Final back yard experiment

105

106

107

108

111

Slip Casting

Scratching the Surface Experiments

112

These experiments came to fruition with the idea of a lost wax cast. The idea was that if I was to use a high enough curing material as the ceramic slip, then the bluestone would be able to be melted out, and the texture of the object would appear perforated. This idea still has not yet been explored to its fullest potential, however the initial experiments unraveled into something surprising and somewhat exciting. When releasing the first experiment it appeared as though there was no visible bluestone in the object, other than along the rim, and a strange bubble effect on the inner surface. When cleaning up the seam lines with some sand paper, I began to realise that the more that the surface was agitated, then the more that a speckling effect seemed to emerge.

Mixing ceramic and bluestone powders

Pouring into slip cast

Sand blasting surface

Finished, textured object

Collaboration Ash Allen

"Ash Allen graduated from a combined Bachelor Engineering (Mech) and Bachelor of Arts with Honours from the University of Melbourne in 1996. While he continues his education, currently enrolled in Associate Degree of Furniture Design from RMIT, he also maintains a design practice rooted in sustainability. His original, concept-based work is engineered to have a minimal eco footprint, which is complemented by the ‘heirloom’ quality of many of his pieces, removing any perception of designed obsolescence.Wherever possible, Ash uses sustainable, recycled and recyclable materials, designed for disassembly. His intuitive elegance and simplicity is inspired by natural phenomena and his design ethos reflects this. Ash believes the heart of the creative process stems from meaningful play— whether that is through making time explore novel ideas or simply engaging with his four children. For him, creating is an innate and enriching experience but to minimise our footprint, must be undertaken the utmost reasoning – whether that is exploring a uncertainties, touching emotions, or just wanting to discover something new." The first time I properly met Ash Allen was at 1-Ok Club, 2016. From what I knew about Ash, he’d had a handful of successful designs such as his Dollop lamp, and his Thin Tolix chair which was created for the previous years 1-Ok Club exhibition, though aside from this there was very little that I’d known about him until this collaboration came about. What I quickly found out was that Ash had been working at a family owned rubber factory for some time, and on the side would experiment with waste materials of all kinds. When Ash first heard about this project he was a little bit sceptical about the idea of casting bluestone, but as soon as Ash saw the initial results of the bluestone melted down, he was very interested in seeing this project get off the ground.

117

118

Initial Conversation

Ash

James

hey james, u have got yourself a material :) can I collab with u on this material? It looks sort of metallic and is ready in foyer here at work if u wanna pickup.... :) Maaannnnn that is the best news I’ve had all year!! Haha of course I’d be keen to collaborate. I’d be really interested in testing the process out with the sludge, as that material once dries out is much finer once dried out. And also because there are such high volumes of the stuff that goes to landfill. I can swing by around 3 today if that’s cool, and can bring in a container of the sludge if you want to check it out? Yes 4 sure. Repurposing sludge is a better story and of course cheaper too. R there different colours? Ill be gone by 3 but leave it upstairs in front of air conditioner to dry out over weekend on a tray maybe...will put in kiln on Monday. The bluestone melt has stuck to crucible...if I get time I’ll load up a trial lump on some stainless steel sheeting in the kiln and fire over the weekend I’d say the colours are pretty limited, but I dont see why this couldn’t be applied to something similar such as granite. Granite has a much lower melting temp, though has a high gas content which I’d be worried about. Very interested to see if it sticks to the stainless. Hmmm.. u got any granite powder? Gas= bubbles on surface or are u worried about off- gassing and killing everyine? I have some white granite slabs but no powder... how much time u got to work on this project and when do u hand in? I don’t have any granite powder, but I could get a mix of granite and bluestone powder if I took a drive down to castlemain. Haha yeah the whole killing everyone was my worry. This project is due mid November, so still a fair bit of time I reckon. Ok. Dale H will love the outcome of this project. If I was u, I’d keep it simple and stick with bluestone coz of the local story and there are plenty of variables to play with as is.... Yeah for sure man, the basis of this project was to experiment with such a historic and iconic material. Makes sense to keep it focuses. I might pop by and show dale the sample this afternoon too. I just put next sample in kiln on a stainless steel sheet to fire overnight...

Kiln

Experiments

121

When experimenting with pure bluestone, and especially when working with a kiln, it was important to understand the pyrometric cones system. What this system is, is essentially the programming that relates to the temperature settings. In the experiments undertaken, bluestone powder was heated to various temperatures which all achieves visibly different results. When firing at 5 cones, or 1196 degrees centigrade, the bluestone formed into a solid which visually appeared consistent. There didn’t seem to be any noticeable vesiculation, however the issue lay within strength as this test piece was very brittle which may have been due to the scale of the test sample. When pushing the kiln settings between 6 and 8 cones a speckling texture appeared, which gradually became more and more noticeable as the temperature settings increased. When testing the bluestone powder at a setting of 9 cones, a completely different effect was created. It was as if the speckling disappeared and a large pool of liquid settled on the surface. Based on my observations, I’ve gathered that greater exposure of heat brings out “trace elements or inclusions” (Obsidian, 2016) to the surface, which then settle and once cooled form back into a solid. Further experiments will be taking place in order to determine the variable tensile strength between firing settings, as well as cooling settings.

122

Cone 5 This image shows the result of an experiment with a setting of 5 cones, a medium increase in temperature, and an hour of holding time at maximum temperature. The surface used in this experiment is that of a stainless steel sheet, which showed some issues of extreme warping. The bluestone was able to be taken off from the surface of the stainless steel which was a great success, however the resulting material was incredibly brittle and fragile. On closer inspection of each fragment, the consistency of the material seemed to resemble that of naturally formed stone, as opposed to that of a DIY version of the material, which was very surprising.

123

124

Pyrometric Cones Chart Cone. No

Centigrade

9 8 7 6 5

1280 1263 1240 1222 1196

As well as adjusting the temperature settings, there are also several other options that are required to be adjusted. First of all there is the time in which the temperature rises. Meaning that you can create a very rapid increase in temperature, a gradual rise or a very slow increase. All of the experiments that have been undertaken so far, have all utilised a medium rise setting. Meaning that it is a rather slow increase in temperature. One more important setting is that of programming the desired time that the kiln holds its highest temperature. This can be anywhere from an instant decrease once the kiln hits its peak, or in the vicinity of hours in length. With the experiments undertaken in this project so far, all have withstool an hour in length at which the programmed temperature sits for. All of these settings are variables which can determine the output of results, and are rather vast that they will potentially not all be explored in this project. However with the results that have already been achieved, it is likely that adjusting the cones alone, will be adequate in finding a suitable result.

Green Sand Casting Melting pure bluestone powder

Cooling the lava, and forming a solid

Sacraficing the mould

Left with finished object

127

128

This experiment was the largest volume that we had experimented with, in attempting to create a specific form. As it was the most material that had been melted to date, and was also in a sand mould, Ash and I decided on increasing the kiln settings. What was decided was a four-stage increase in temperature, gaining 300 degrees every hour until reaching maximum temp of 1290 degrees/cone 10. Once the kiln had reached its maximum temperature, it was programmed to hold its temperature for 2 hours and then decline gradually over the course of 12 hours. After the kiln had cooled and the mould was safe to break apart, it was interesting to see just how solid the sand had become. After the firing it is no longer considered a green sand, as all moisture in the material is sucked dry thus creating a much harder, structural material. What was also apparent with the gradient of colour, that the sand had created. From a rich earthy red to a vibrant mustard, it was clear that the base had encountered the most intense contact of heat, and that the higher sections were gradually less and less.

Bluestone Volume Test

131

When firing bluestone powder in a mould, it is difficult to gauge initially the amount of bluestone powder necessary to fill a mould. This is due to the density and state of the bluestone powder. As it is an extremely fine material, the powder requires compacting to truly fill a mould, however this is difficult when working with a green sand casting process. When working with this type of casting, the sand is first compacted independently, and then the impression of the object is left in the sand. Once the sand has its internal shape, molten materials are commonly poured into the cavities, allowing the material to easily flow through the form. For the experiments conducted in this project, there is no pouring of molten material, but instead the bluestone dust is simply funnelled into the cavities as best as possible in its cooled state. The idea behind this is that once the material becomes molten, then the bluestone will gradually flow into the cavity from the top down, simply using gravity. In an attempt to over compensate, the bluestone dust is being mounded in a pyramid to counteract the shrinking of volume. In a preliminary test we created a volume assessment which utilised the form in the current image. This mould initially had a volume of 340g, in a 270cm2 area, and a bulk density of 1.26g/ cm3. Once the firing process had completed and the material was set, the depth of the object was measured in comparison to the preliminary 50mm height. The secondary depth read at 30mm, which means that overall volume shrunk by 40%. Though this wasnâ&#x20AC;&#x2122;t the most accurate test, it still formed a general understanding of how much additional material needs to be added to a mould.

132

Sand impression

Bluestone powder

Lava Flows On Tuesday the 13th of September, I visited the Abar Rubber factory out at Thomastown, to check up on one of the experiments. This particular experiment was created by Ash before he left for a business trip, so I was the first on the scene to see the damage. What I found was an overflow of molten material, that had broken through the sand cast wall and created a channel. This channel to my surprise ran right through to the base of the kiln, which on closer inspection had solidified around a section of a heating element.

135

136

What happens when lava sets around a kilnâ&#x20AC;&#x2122;s heating element

After cleaning out the sand cast and the terracotta base, I attempted to remove as much of the bluestone material as possible. This was not a simple job, as the bluestone had not only sunk into the lowest section of the kiln, but it had also managed to seep under one portion of the kiln plate sticking it to the base of the kiln floor. At this stage I decided not to attempt to take the kiln plate out, as I felt that additional force could potentially snap the plate. However what I did managed to do was chip away a fair bit of the material, but still felt that waiting for Ash to return was the best approach, as it was his equipment. This equipment is also fairly expensive, for example a kiln plate can vary between $300-$400, very similar to that of the heating elements. All of which are put in jeopardy when working with such an unpredictable material. Though this experiment did create a fair bit of damage, there were some results that answered a big question. What this experiment demonstrated was that terracotta would not be a suitable material to encase the molten bluestone in. What was noticeable was a section of the terracotta plate that had cracked, and within this crack had been filled with bluestone. Aside from this, Ash had used terracotta in the form of a plate, which didnâ&#x20AC;&#x2122;t provide a great deal of structural integrity towards the sand cast, nor did it provide protection for any overflow. What this told us was that for one we needed to find a much more heat resistant material, and that our form should be more directed at being a bowl whereby the sand mould is entirely encased. What was probably the biggest issue with this experiment was the channel that was created in the sand. On close inspection this was due to the thickness of sand that was around the perimeter, as well as the lack of support material holding the sand wall together. In initial experiments we had used bricks to form additional support against the sand cast mould, and the time that we didnâ&#x20AC;&#x2122;t do this it created a great amount of damage. After discussing this with Ash what the future experiments would consist of, we both came to the conclusion that we wanted something a bit more permanent and reliable. We agreed that building a custom container/bowl would be the best approach, as we could then set the sand cast within the bowl and have the sand pressing up against the inside wall of the bowl which would then be working as support material for the mould.

139

140

Issues with cooling times and wall thincknesses

Saggar In order to prevent another disaster like the previous over flow, Ash and I began creating saggars for the kiln. What these various saggars do is essentially form a container, which encases the sand casts, catching any over flow from entering the bed of the kiln. On a visit to Walker Ceramics on the 19th of September, I discussed the issue that Ash and I were encountering, and was recommended that a white raku clay would be ideal for the experiments we are conducting. White Raku is a clay which has a melting point of approximately 1780 degrees, and has a high amount of grog. Within this grog, there is a high silica content that aids in the drying time and also reduces the amount of shrinkage when fired. Though Ash and I were not concerned with aesthetics or precision when building these saggars, as they were primarily in place to prevent any spills of magma, we did however create a variety of cylinders in different diameters and heights to open up possibilities for future experiments.

143

Sand cast

Deep dish

saggar

Kiln

144

Barium sulphate

Bluestone powder

Clay saggar

Triple wash sand

Saggars ready to be fired

Iteration

149

150

The curing of the white raku saggars, on the 3rd of October marked the first experiment which utilised this method of containing and compacting the moulds. As the kiln was opened after a nightâ&#x20AC;&#x2122;s worth of firing, it was evident that the saggar had in fact cracked in more than one place, so much so that the saggar had been broken into three parts. Despite this finding, the bluestone cast did achieve a handful of insights. The first thing that was discussed between Ash and myself was that of the type of sand which was being used. As the green sand that we are using does contain a moderate level of silica, this allows the volume of the sand mould to expand when heated. At this sand is being packed heavily into the raku clay saggar, it is resulting in internal pressure, causing these fractures and breaks In regards to this particular experiment, we were wanting to see if it would be possible to create a thin wall thickness, in order to achieve a form that could be applied to an object such as a vase. This was all around the idea that as the bluestone powder became liquid, it would run down the interior wall of the sand cast, and based off the resistance of the mould it would leave a slip of the mould. On demoulding it was evident that it did in fact leave a thin wall at the top of the cast, however this was something which was far too thin and fragile to be utilised in a finished object.

151

152

153

Once we had taken the cast out of the mould and had given it a cleaning, we found that the results were rather pleasing. The surface finish was neat, and consistent despite only minor imperfections known in the casting world as rat tails. These rat tails as seen to the left are commonly formed due to moisture forming within the mould, due to the type of sand which is being used for creating the mould. As the sand begins to heat up in the kiln, any moisture within the sand begins to escape. In turn this creates a significantly softer wall density, allowing the molten material to flow at this point of least resistance and create these imperfections. As an alternative, Ash and I attempted to use a material called barium sulphate as the mould material. Barium sulphate is commonly used in metal casting as a liner and mould release, however with its incredibly fine powdery form we thought that with enough compacting it serve as a decent mould. As well as its ability to be compacted and easily formed, barium sulphate is also free of silica. What this means in comparison to the common green sand that we had been using, is the difference in expansion during the heating process. Ash and I have only undertaken a single experiment to date with the barium sulphate, so there is still much more to investigate. However, the initial experiment did show promise as the clay saggar remained intact. As mentioned, this is only a preliminary experiment, so further testing will be undertaken to see just how robust the barium sulphate and clay saggars are together.

154

155

Zircon, bentonite and barium sulphate have been a handful of alternative casting materials which have been explored. These materials have been alternatives to the traditional green sand material, as these options have the benefit of not containing silica. What Ash and I discovered over the various initial experiments with the traditional green sand, was that once the sand cast began to heat within the kiln it would begin to expand, causing serious cracks and breakages to the saggars. By moving away from a material which doesnâ&#x20AC;&#x2122;t contain silica, this would mean we would also be moving away from the variable of expansion within the mould. Conveniently enough, Ash stocks barium sulphate at his rubber factory, as its commonly used as a filler in plastics to increase the density of a polymer. What we found when using the barium sulphate was that it was incredibly difficult to build. Meaning as it is an incredibly fine powder, it lacked in constructability when trying to form an impression in the mould. A positive that Ash and I took away from this experiment, was that the saggar that was encasing the mould did not break, confirming our suspicions on the silica content issue. Our next hurdle was finding a similar material with the same absence of silica, which could also be constructed with great precision. When working with the traditional green sand for mould material, we found it incredibly easy to achieve a high level of definition in our forms. When experimenting with the barium sulphate what we were finding was a high level of imperfections in the form of rat tails. As our experiments continued, we began looking at creating various blends of materials with the use of the barium sulphate, bentonite and zircon. The logic behind combining various powders and sands was to utilise a variety of granule forms, thus increasing the density and construct-ability of the mould material. This experimentation was very much an iterative process, which involved mixing various ratios as well as the addition of water in more of the later instances. By adding water to the mix this greatly aided in the construct-ability. Though as this water was generating steam within the mould, it was also characteristic of generating rat tails in the demoulded form.

156

Moer issues with cooling times and wall thincknesses

When working with these various materials, there was a conscious decision in attempting to utilise the cheaper of the bunch. As mentioned, the barium sulphate was a material that was easily available in Ashâ&#x20AC;&#x2122;s rubber factory, as well as being inexpensive. The bentonite was a material which was a little less accessible, however five kilos only amounted to $12. The Zircon on the other hand was a material which was somewhat hard to find, as well as being incredibly expensive, at a price of $278.50 for 25 kilos. When experimenting, Ash and I produced a variety of moulds, though we found that a mix of the barium sulphate and the zircon had the best constructability and definition. After various trials and errors, we refined our mould material to a ratio of one part zircon to one and a half parts barium sulphate, which produced our best results to date.

Two saggars and a bed of sand, demonstrating the pretection required in avoiding any more issues

Ash attempting to remelt the surface of a cast, to acheive a glazed finish

Form Design CHARACTERISTICS OF THE PROCESS

165

When designing forms to suit this process, there are many variables which are needed to be considered. The first and most obvious is that of tapering. As this process involves sand casting and requires a solid form to create an impression, the solid form must be designed with tapers so as to easily free from the sand. This also means that undercuts and asymmetrical features increase the difficulty, and with the mould material that is being used, in some cases would be near impossible to achieve. In regards to the variables of texture, there is a considerable difference in terms of surface finish. Once a cast has been fired and cooled, the most noticeable feature that is realised is that of the top surface. This top surface encounters the highest level of heat exposure, creating a highly colourful and glazed appearance. In contrast to the top surface is that of the faces which are in contact with the zircon and barium sulphate mould material. This texture, once cleaned has a much more natural and stone like characteristic. As this process relies on the use of casting with a powder, it means that there is a large decrease in volume in comparison to the final result. What this means in terms of the designed form is that when making the solid forms which create the impression in the sand, they are needing to be designed with additional/sacrificial volume. What this additional volume ensures is that the cast receives more than adequate material, and doesn't compromise the form. As an example, if we were to be casting the form of a vase(bottom left), and did not account for additional volume of bluestone powder, then the base of the final form would begin above the internal cavity. Despite this process being refined to a formula, there is still variables which are encountered based on differences in scale. From one object to another, what differs is the time needed for heat to penetrate to the core of an object. If an object does not get sufficient heat to its core then the bluestone powder will appear crumbly and brittle. To overcome this issue what needs to be explored is holding times, and for these experiments to be standardised to volumes of forms.

166

167

Cast material As this project focuses on producing objects from a waste material, there is an environmental and sustainable aspect to this project. One might object, that by casting the bluestone powder it is only generating the same amount of waste, as the mould material is not reusable. With the scale of production that Ash and myself are producing at this stage, this might be true, however there are great capabilities in harnessing an efficiency with the same casting process. Ash and myself have discussed the possibilities of optimising the amount of casts per saggar, and feel as though if production was to increase then it would be possible to nest each cavity in a single firing, as well as save on energy of each cast.

168

Summary Did i achieve what i set for myself?

169

When setting out for this project at the beginning of the year, the one goal that was made was that of experimentation and learning by doing. This project has taken me on extensive paths around Victoria, as well as dealing with materials and processes on a wide perspective. From visiting sites around Castlemaine and Mt. Alexander, to forming molten materials using a kiln, this project has never had a dull moment. There were times where it looked as though this project would not be fulfilled to its highest capabilities, however I put the project’s resolution down to the partnership and collaboration that Ash Allen and I agreed upon to get this body of work over the line. As a designer there is this mentality of pride and ownership that is somehow inherent in all one’s work, but through this project I realised that for progress to be achieved there is no shame in sharing the ownership of a project, if it results in a higher level of standard and development. In terms of how this project changed over time, the strongest shift occurred after the feedback that I received during a mid-semester critique. I was told that my project was lacking in reason and narrative, and that to harness a story and create a greater concept I needed to locate my project. This advice was something that I took on board very seriously, and is ultimately what pushed me to research the history of Victorian materials. I realised that a narrative in design is something which needs to consist of many layers, and when referring back through history there is a plethora of information that can be discovered and harnessed, which strenthens the user’s interaction and understanding of the end result. At the beginning of this project I could never have predicted the path of this year, and the information and skills that I have taken out of it. This project gave me a very new perspective on design, as it pushed me to look into the unknown of materials and process, as well as help me dive into the world of conceptual and narrative design. As this project was also the first collaborative one that I had ever undertaken, it has given me great confidence in future partnerships, based on the success of Ash and my discoveries with bluestone. As a designer maker, experiencing and developing these skills during this project were my key learnings, and will ultimately be the foundations that assist my future practices and experiments for years to come.

170

Viability of growth As this project utilises a material that is destined for landfill, the viability in terms of production has great potential. In comparison to that of traditional manufacture and production, the raw materials are often a great expense, however in this project they come as a free commodity. In terms of production, this project initially set out to cater for a small batch business model and still does, though I feel that there is a great potential for this waste material to be used on a much larger scale. On visits to the Victorian Bluestone factory, the manager Peter would always joke about offering the entire skipâ&#x20AC;&#x2122;s worth of sludge to me, which always played on my mind. In the hypothetical situation that this project was to gain momentum and scale, then I consider there to be a great potential for Victorian Bluestone to pay Ash and me for the removal of their sludge and our raw material. From a conceptual stand point, it does make sense for this project to have a greater production size than just small batch. Considering how much sludge is produced every day, it only seems appropriate to form a balance in terms of waste material to production.Â From a business stand point, this project also indicates great potential with the process that Ash and myself have developed. In terms of man hours for the production of a cast, this could be refined down to half an hour, and the kiln time is variable depending on the scale of the object. This production process is incredibly simple in comparison to that of slip casting and other common manufacturing techniques, however as we are utilising sand casting there is no reason why we wouldnâ&#x20AC;&#x2122;t be able to create batches of casts within the same kiln to up the production rate. As a project that investigates a new material and process, there are many indications that suggest just how lucrative this design can become, however it depends on how much time and money Ash and I are willing to invest into these developments.

171

172

Dialogue around past and present concepts

173

In Victoria, bluestone has been used for hundreds of years primarily for the construction of houses, streets and bridges. The goal for this project was to create a shift in the way that people associate the historical material with form, function and process. By successfully developing a range of objects with various homeware functions, a conversation is encouraged around ideas of materialism, aesthetics, functionality, location and history. Aside from the various forms created in this project, the other influential component that conjures this dialogue is that of the documentary narrative. Through film, all the major aspects of this project are highlighted and are easily and concisely displayed to the viewer. This documentary demonstrates a shift from a historical setting to that of a contemporary setting. In terms of new and old forms and applications of bluestone, the documentary displays various examples of how bluestone had been utilised in Melbourne, dating back to the 1800s. In the closing scene of the film, there is footage of a wall mounted light, which is a finished product of the contemporary casting method. What this timeline emphasises to the viewer is a development in traditions, while also referring back to this rich history. This project is not trying to say that this new way of casting is better or worse, but seeks to create a conversation around the beauty and versatility of this ubiquitous yet valuable material.

174

Film

DOCUMENTARY NARRATIVE Throughout the making process of the documentary narrative, the intentions from the start of the filming process was to highlight all steps involved. This included highlighting the commonality of the material, as it is found in abundance around Melbourneâ&#x20AC;&#x2122;s CBD, and of course the dimensioning of the bluestone which creates the vast amounts of waste material. When filming the making process, it was important to highlight all steps so as to demonstrate the time, care and craftsmanship of each cast. This amounted to five key scenes, that demonstrated the mixing of mould material, the forming of mould, the removal of the positive from the mould, adding the bluestone powder, and the excavation of mould material which reveals the final form. The final scene in the film is that of the wall light, showcased as a finished and working product. With this final scene, the viewer can connect the life cycle that has been created, and most importantly understand the option of landfill that has been avoided.

James Walsh, Metamorphosis (video still), 2016, HD, run time 00:11 min, colour

175

James Walsh, Metamorphosis (video still), 2016, HD, run time 00:31 min, colour

James Walsh, Metamorphosis (video still), 2016, HD, run time 00:52 min, colour

176

James Walsh, Metamorphosis (video still), 2016, HD, run time 00:55 min, colour

James Walsh, Metamorphosis (video still), 2016, HD, run time 01:04 min, colour

177

James Walsh, Metamorphosis (video still), 2016, HD, run time 01:24 min, colour

James Walsh, Metamorphosis (video still), 2016, HD, run time 01:53 min, colour

178

James Walsh, Metamorphosis (video still), 2016, HD, run time 02:12 min, colour

James Walsh, Metamorphosis (video still), 2016, HD, run time 02:48 min, colour

179

James Walsh, Metamorphosis (video still), 2016, HD, run time 03:12 min, colour

James Walsh, Metamorphosis (video still), 2016, HD, run time 03:26 min, colour

180

Products

Wall light This wall light, titled â&#x20AC;&#x2DC;Igneousâ&#x20AC;&#x2122;, meaning from fire, highlights the material to its fullest. With a bright glow bouncing directly onto the glazed bluestone surface, all valleys and peaks of the landscape are highlighted in an immersive experience.

181

182

Plater With itâ&#x20AC;&#x2122;s impressive diameter, this plater titled Igneous Plater, showcases an intricate and naturally forming pattern that is impossible not to get lost in. With a large chamfer along the edge of the plater, a sense of weightlessness is achieved, as the form appears to be floating in thin air.

183

184

Glossary

185

Metamorphism - â&#x20AC;&#x153;Alteration of the composition

Exploratory design - Designing by doing, with

or structure of a rock by heat, pressure, or other natural agency.â&#x20AC;? (Oxford dictionaries, 2016)

no direct intention of a result in mind

Secondary knowledge - Refers to researching

Practice as research - A learning by doing

past projects such as case studies, to gain insights

approach to research

Dialogue - Refers to the conversation that is

Designer maker - A designer which creates his/

created due to the observation of a form, function, context, history, culture of a design.

her own products by hand with a craft like approach narrative design - designing with an intent to tell a story

Precious vs Throw away - Refers to objects which are either loved and cherished, as opposed to the frivolous and disposable

Cross disciplinary - Working in conjunction with others, from different backgrounds and professions

SLS printing - Or selective laser sintering, Is

a method of 3d printing which utilises a powdered nylon plastic and the precision of a laser in fusing and forming objects

Small batch - Production of product on a small scale, in units of the hundreds as opposed to the thousands.

Viscocity - Refers to the flow of a material. Low

One-offs - Creation of a product/object of a single

viscosity means a material is able to flow quickly, such as water.

item

aesthetics - The overall appeal and a form of an

Slip casting - Is a common process used with

object

ceramics and other materials, commonly achieved with a plaster mould. The raw material such as ceramic is poured into the mould, and over time the material forms a gradual wall thickness which becomes the final object.

Basalt - The stone material which originally formed below the earths crust as magma, and cooled above the earths surface

Igneous - Refers to, from fire

Sand blasting - Is a process which utilises fine

grains of sand and high pressure air, which is shot out of a gun in a confined area. This process is commonly used to strip back the surface of an object.

Sedimentary - Refers to stone material such as limestone, which forms over time due to layering of materials.

Pyrometric cones chart - Is the chart which

Documentary narrative - A Film which

relates to the temperatures and settings of a kiln

demonstrates a story, specifically referring to that of the designer maker and the object which is created.

Green sand casting - A casting method which

is commonly used for casting metals. This process utilises a fine grained sand, which has a high level of constructability in forming a cavity. Once the cavity is formed, the molten material can be poured within the cavity and once the material is cooled the sand can be excavated away.

Romantic - Refers to viewing the world from an aesthetic and even nostalgic perspective`

Classical - Refers to viewing the world from a technical and functional perspective

Case studies - The investigation into previous

Saggar - A protective clay layer, which prevents a

projects to learn from others

Iterative design - Development through trial and error

Brainstorming - The generation of ideas which branch out from keywords, sketches or phrases

casts material from leaking out and getting in contact with the elements of a kiln.

Rat tails - Commonly refers to the imperfections

formed in a metal cast, due to moisture accumulating within a sand cast mould

186

bibliography Field Of Practice

Mathewson, T.G. (2015). Video driving education for next generation of learners. Retrieved 25 April, 2016, from http://www.educationdive.com/news/video-driving-education-for-next-generation-of-learners/401046/

Anaïs Benoit Dignac, Arthur Didier, Edrris Gaaloul - THE METHOD CASE. (2012, November 1). Retrieved August 23, 2015, from http://www.themethodcase.com/low- tech-factory-stamp-by-anais-benoit-dignac-arthur-didier-edrrisgaaloul/ Cuttance, P. (2012). Faceture. Retrieved August 22, 2015, from http://www.philcuttance.com/

Treuhaft, T. . (2015). Core77. Retrieved 25 April, 2016, from http://www.core77.com/posts/36065/Material-Meets-Emotion-An-Interview-with-Max-Lamb-on-Exercises-in-Seating

Kayser, M. (2011). Markus kayser. Solar Sinter. Retrieved August 23, 2015, from http:// www.markuskayser.com Manzini, E. (2015). Innovation, toward a New Civilization. In Design, when everybody designs: An introduction to design for social innovation (p. 11).

VICTORIAN BLUESTONE PLAINS

Miquel polidano. (2016). Revistametalcom. Retrieved 7 March, 2016, from http://revistametal.com/max-lamb/84/ Ramakers, R. (2014). Strelka Talks.”Less More” by Renny Ramakers. Retrieved August 23, 2015, from https://vimeo. com/99821803 Thwaites, T. (2012). The Toaster Project, or a Heroic Attempt to Build a Simple Electric Appliance from Scratch. Reader’s Digest. Pleasantville, Reader’s Digest Association, Inc. 179: 76.

Methods

Archer, B. (1995). The Nature of Research Co-design, 1(1), 6-13. Aspelund, K.A. (2006). The Design Process. New York: Fairchild Publications, INC. Cuttance, P. . (2012). Faceture Project. Retrieved 25 April, 2016, from http://www.philcuttance.com/index.php?/faceture-project/film---making-of-a-vase/ De ceulaer, M. . (2011). Balloon Bowls. Retrieved 25 April, 2016, from http://www.maartendeceulaer.com/BalloonBowls-set Frayling, C.F. (1993). Royal College Of Arts Research Papers. Research In Art And Design, 1(1), 3. Hanington, B & Martin, B. (2012). Universal Methods of Design. United States Of America : Rockport Publishers. Pirsig, R.M.P. (1974). Zen and the art of motorcycle maintenance. New York: William Morrow and Company, Inc.

The finders keepers. (2012). FEATURED DESIGNER: PHIL CUTTANCE. Retrieved 25 April, 2016, from http://www. thefinderskeepers.com/blog/2012/05/featured-designer-phil-cuttance/

Australian government. (2016). Victorian Bluestone: An Affective Cultural History . Retrieved 28 August, 2016, from http:// www.historyofemotions.org.au/research/research-projects/ victorian-bluestone-an-affective-cultural-history.aspx Hamilton. (2010). Hamilton: Heart of Victoria’s western district. Retrieved 28 August, 2016, from http://www.hamiltonvictoria.com.au/Main.asp?_=Volcanic Plain Department of education. (2016). Biodiversity of the Western Volcanic Plains. Retrieved 28 August, 2016, from http://bwvp. ecolinc.vic.edu.au/about

METAMORPHISM

Kim ann zimmermann, K.A.Z. (2013). Pleistocene Epoch: Facts About the Last Ice Age. Retrieved 30 May, 2016, from http:// www.livescience.com/40311-pleistocene-epoch.html King, H.K. (2005-2016). Slate - What Is Slate? What Minerals Are In Slate? What Is Slate Used For?. Retrieved 30 May, 2016, from http://geology.com/rocks/slate.shtml Melocco stone. (2008). History of Bluestone. Retrieved 30 May, 2016, from http://www.melocco.com.au/html/bluestone_history.html Olivia. (2011). Difference Between Basalt and Granite. Retrieved 30 May, 2016, from http://www.differencebetween. com/difference-between-basalt-and-vs-granite/ Stone, C.S. (2008). Quarries and Brickmaking. Retrieved 30 May, 2016, from http://www.emelbourne.net.au/biogs/ EM01213b.htm Stone initiatives. (2014). Which Stone Where?. Retrieved 22 October, 2016, from

187

TUMBLR PROJECTS - PRECEDENCE

ADDITIONAL RESEARCH

Corning museum of glass. (2011). YouTube. Retrieved 17 August, 2016, from https://www.youtube.com/watch?v=IVKO8Jpup48

Belk , R. (2010). Possessions and self. Retrieved 28 July, 2016, from http://onlinelibrary.wiley.com/ store/10.1002/9781444316568.wiem03037/asset/wiem03037. pdf

Dezeen. (2015). Vimeo. Retrieved 17 August, 2016, from https://vimeo.com/134931162

Chapman, J. (2009). Design for Emotional Durability . Design issues, 25(4), 29-35.

Ecal. (2012). Vimeo. Retrieved 17 August, 2016, from https:// vimeo.com/52586355

Demirbilek, O & Sener, B. (2010). Product design, semantics and emotional response . Ergonomics, 46(13-14), 1346-1360.

The future laboratory. (2013). Vimeo. Retrieved 17 August, 2016, from https://vimeo.com/55602615

Dunne, A & Raby, F. (2013). Speculative Everything . Cambridge, Massachusetts: The MIT Press.

Itayohaly1. (2012). YouTube. Retrieved 17 August, 2016, from https://www.youtube.com/watch?v=ZIbyJ20oBgA

Fraying, C. (1993). Royal College of Art Research Papers. Research in Art and Design, 1(1), 1-5.

James walsh. (2016). Tumblrcom. Retrieved 17 August, 2016, from http://jamesawalsh.tumblr.com

Sheil, B. (2005). Design Through Making. An Introduction, 74(4), 5-12.

jason stanfield. (2014). Vimeo. Retrieved 17 August, 2016, from https://vimeo.com/108131655

KILN EXPERIMENTS

Jorge penadĂŠs. (2015). Vimeo. Retrieved 17 August, 2016, from https://vimeo.com/115788608

Obsidian. (2016). Geologycom. Retrieved 4 September, 2016, from http://geology.com/rocks/obsidian.shtml

Maarten de ceulaer. (2011). Vimeo. Retrieved 17 August, 2016, from https://vimeo.com/18499833 max lamb. (2010). Vimeo. Retrieved 17 August, 2016, from https://vimeo.com/9498805 Max lamb and johnson trading gallery. (2015). THE METHOD CASE. Retrieved 17 August, 2016, from http:// www.themethodcase.com/nanocrystalline-copper-seats-max-lamb-johnson-trading-gallery/

Pyrometric cones. (2016). Ceramicstodaycom. Retrieved 4 September, 2016, from http://www.ceramicstoday.com/ cones.htm

OH&S

Safety data sheet. (2014). Fine Polyamide PA 2200. Retrieved 4 September, 2016, from https://www.shapeways.com/ rrstatic/material_docs/msds-strongflex.pdf

melanie glĂśckler. (2016). Vimeo. Retrieved 17 August, 2016, from https://vimeo.com/150945575 New furniture for you, N.G. (2013). Newfurnitureforyoucom. Retrieved 17 August, 2016, from http://www.newfurnitureforyou.com/Standard-Steel-Bench Peter trimble. (2016). YouTube. Retrieved 17 August, 2016, from https://www.youtube.com/watch?v=Fz6CYfOTQBg phil cuttance. (2012). Vimeo. Retrieved 17 August, 2016, from https://vimeo.com/35912908

FORMAFANTASMA

Formafantasma. (2014). Formafantasmacom. Retrieved 26 September, 2016, from http://www.formafantasma.com/ filter/home/de-natura-fossilium Oxford dictionaries. (2016). Oxford Dictionaries | English. Retrieved 11 October, 2016, from https://en.oxforddictionaries. com/definition/metamorphism

Shira keret. (2013). Dezeen. Retrieved 17 August, 2016, from http://www.dezeen.com/2013/11/12/monolith-eroded-marble-tableware-by-shira-keret/ Studio ilio. (2016). Vimeo. Retrieved 17 August, 2016, from https://vimeo.com/162054658 tom price. (2013). Vimeo. Retrieved 17 August, 2016, from https://vimeo.com/78572906 Victor hunt. (2011). Vimeo. Retrieved 17 August, 2016, from https://vimeo.com/17970945

188