Critical Report Un Dressing Table Nottingham Trent University BA (Hons) Furniture & Product Design 2020 Lara Smith
This Critical Report will evaluate the design process used for the Un Dressing Table project by Lara Smith. It aims to highlight and discuss the key aspects of the process, concluding with a suggestion at the future capabilities of the project.
Figure 1. Un Dressing Table. Author’s Own, 2020.
Table of Contents
INTRODUCTION + INITIAL BRIEF
Page 1
RATIONALE Page 3 DESIGN METHODOLOGY
Page 9
PROJECT ORGANISATION
Page 13
THE DESIGN PROCESS Inspiration Page 17 Initial Designs Page 19
Development of Design
Page 23
FEEDBACK + EVALUATION
Page 25
REFLECTION AGAINST SPECIFICATION
Page 27
DESIGN CONTINUATION
Page 29
CONCLUSION Page 31 REFRENCES + BIBLIOGRAPHY
Page 33
FIGURE LIST Page 35
Figure 2. Wellness Resort in Kyoto, Japan. Aman Kyoto, 2020.
INTRODUCTION + INITIAL BRIEF
This project started as a response to a live brief set by contemporary furniture company Joined + Jointed. ‘Design a piece that is designed to function or to be read primarily as a dressing table / unit.’ After conducting some initial research into the future of the beauty industry and upcoming health and beauty products, the brief was refined to have a clearer focus. The project took the opportunity to explore what a dressing table, previously a piece of furniture designed for applying make up, could become in modern day society. Intrigued by the idea of furniture designed to be experienced by the senses, a holistic approach inspired by aspects of Japanese Zen meditation was proposed. ‘Design a dressing table / unit to encourage time for self care in busy modern lives.’
Specification: Design for the modern domestic market Develop a dressing table for Joined + Jointed Explore what tasks / products are fundamental to these people’s routines Look into ways of storing products in a way that feels organised/ encourages a refined routine Design to communicate the feeling of relaxation
1|2
Figure 3. Aponi Desk for Joined + Jonited, Lucy Kurrein, 2020.
RATIONALE “There are many benefits to setting aside time for removing make up from the day and following a dedicated skincare routine. Not only can it improve your appearance, it also often improves mental well-being in women and men.” (Hurly 2017)
“Cleansing routines help the body to purify and wash away toxins as well as improving things like blood circulation. It is very important to have time to take our mind and our body off the mundane life we are in and rejuvenate it, so it does not slog away on the days it needs to perform the most” (Hurly 2017)
| Undressing Designed to provide an intimate space to undress from the stress of modern life. To settle, breathe and focus. The Un Dressing Table is a serene space designed for self-care routines. In our hectic lives we are often bombarded with distractions and rarely allow ourselves time to slow down and switch off. This is a piece of furniture designed to encourage its user to make time for self-care and to provide a space for relaxation and mindfulness. | Researching for Design The design process began with broadly researching into the world of beauty and how dressing tables are commonly perceived. It was discovered that they usually focus on getting ready and they support the behaviour of ‘beautification’ with lots of make up and hair products involved. For this dressing table to improve upon what already existed, a different approach was taken. Research was concentrated on the ‘pursuit for wellness’ side of health and beauty. The Global Wellness Summit estimated that the wellness economy is worth $4.5 trillion. (Global Wellness Summit 2020) Wellness is a growing trend in the world of beauty, and among many younger adults. Although this is obvious in the skincare world, the furniture that facilitates its use has not adapted.
3|4
Figure 4. Skincare Range. Haeckles, 2020.
“81% of consumers agree that getting enough sleep is as important as it is to follow a healthy lifestyle.” (Amasanti 2019)
“Bedrooms are functional spaces, where people keep a lot of their personal possessions such as clothes, toiletries and cosmetics and electrical goods for hair care. But more than this, they are used for leisure time... and a bedroom is the place where most want to get a good night’s sleep.” (Westgarth 2016)
Research was conducted into the fundamentals of selfcare routines. This revealed that “A consistent night routine is a game-changer. Most people are on auto-pilot, with technology and other people filling their minds and space until they crash into bed. Space for meditation, a calming scent and low light are essential. Unwinding in this way improves sleep quality which in turn improves alertness, happiness and health.” (Smith 2019) The Un Dressing Table is based on the benefits of developing routines and rituals to make time for yourself and to ensure you put aside time to care for yourself. Market research firm Mintel explored the mounting interest in wellbeing, the role modern lifestyles can have on consumer’s metal health, and the need to boost mood and improve mental wellbeing in light of this. Research into the products used by the target market during these routines provided a basis for the rough dimensions of the table to ensure it would be usable. Consumer insights also determined that the Un Dressing Table would most likely sit in a bedroom, usually against a wall, and that some lighting would be beneficial but not essential. Market research provided average dimensions of similar furniture. This meant it would be a practical size that people would be happy to buy. This research into existing products also provided a starting point for the ergonomic testing that would be carried out. Visual imagery was also investigated. The main way that the table would convey a feeling of leisure and clarity was through its form. This meant visualisation was an important consideration from a very early point in the design process. Primary research was undertaken by the designer by visiting a range of design shows including 100% Design, Design Junction and Maison et Objet. Light toned timbers paired with colourful or highly textured fabrics, organic ceramic and glass forms and apothecary style interiors with large amounts of glass and simple geometric shapes were observed. By analysing the use of imagery in related areas it was clear that soft, round shapes, light toned timber and muted colours were generally associated with relaxation.
5|6
Figure 5. Machiya house. Nanba Architectural Atelier, 2020.
“Glass and mirrors reflect, multiply and energise light. The brilliance of clear glass brings a table to life. A mirror is neither truly solid or liquid, it seems to float. A mirror can transform a space.” (Crawford, 1997)
Throughout the design process materials were researched to ensure the best choices were made. Firstly, to convey the feeling of honesty the dressing table was designed on many levels to be transparent. This was achieved through the repetition in the slatted legs and open cotton baskets instead of drawers. Glass was also incorporated for this reason through the bell jars and other items in the additional product range. Compared to other dressing tables, the Un Dressing table is designed to compliment lifestyles in which minimal, natural products are used. The design was refined and eventually distilled to its purest form, echoing the ethos of Deiter Rams “Less but better” (Rams 2018). By using mostly natural materials a feeling of purity is given to the Un Dressing Table.
7|8
Figure 6. CMF Boards. Author’s Own, 2020.
DESIGN METHODOLOGY
When analysing the design methodology used through the development of the Un Dressing Table, there is a clear focus on innovation. This follows Dieter Ram’s first principle – “good design is innovative” (Rams 2018). The process also resonates with the idea of “innovating routinely” and using human centred design to “empathise with the end user” (Kelley and Kelley 2013). This enabled a vicarious approach to be taken when designing while staying informed by the initial research. By identifying that there was a need for a dressing table that catered for modern skincare routines and mental attitudes allowed the design process to be exploratory yet well constrained. Tim Brown (2009) states that design innovation should be “a system of overlapping spaces rather than a sequence or orderly steps”. This accurately describes the theory behind the design that lead to the Un Dressing Table. Inspiration and research, the generation and development of ideas, and the realisation of the product to make it suitable for production were the different stages that informed each other during the design process. This methodology links with the squiggle theory by Damien Newman (2008). The squiggle demonstrates the overall form of the utilised design process, showing uncertainty and open mindedness at the beginning of the design process and focus as the solution becomes clearer. However, the Un Dressing Table’s design method was not as linear as the squiggle portrays; it was a far more layered process like Brown describes. The adapted visual representation opposite demonstrates the amalgamation of these methodologies that explains the method used for this design project. Figure 7. The Process of Design Squiggle. Damien Newman, 2020.
9 | 10
Figure 8. Design Process Visualisation - Layered Scribble. Author’s Own, 2020.
Research Idea Generation Realisation
Dieter Rams’ 10 principles for good design also influenced this project on a more conceptual level. These principles often inform the designer’s thought process in all her design work. It is agreed that good design can be achieved by optimising usefulness in a product and ensuring that it is honest, designed to last and environmentally friendly. The aesthetics and small details of a design are also valued highly as they shape the spaces we live in and can have a large impact on the user’s happiness. Much like in this Undressing Table Project, the simple expression found in Japanese design has also been a source of inspiration for Dieter Rams. He too feels that products should be visually balanced with no unnecessary elements included. The calming repletion of the slatted legs on the Un Dressing Table came from patterns found in Japanese construction and ‘tatami’ flooring. Japanese shrine gates called ‘torii’ informed the main form of the table which gives it a simple yet striking presence.
11 | 12
Figure 9. Japanese Torii. Ainead, 2018.
PROJECT ORGANISATION
Time was well managed for this project. A time plan was created at the beginning of the project in the first term and was adhered to. A more detailed plan that included manufacture timescales was created at the beginning of March to ensure that everything would be done on time. Around Easter time the Coronavirus pandemic meant that the progression of the project became uncertain. As the workshops were closed and people relocated to isolate, this time plan became redundant. Instead, the design process had to become more fluid and adapt to the constant updates and changes. For the few weeks around Easter it was uncertain whether the workshops would reopen so development focused on realising structural details in case manufacture could proceed. Finally, it was announced that this would not happen and so it was required that the design had to be developed through whatever modelling was available. This unsettling event meant that time was planned out week by week to allow for uncertainties with small deadlines set for the end of each week. These deadlines also allowed for reflection at multiple points throughout the process which guaranteed that the workflow was constantly well informed and focused. To Do lists were regularly used to keep on top of all steps in the development process and to give some structure to the progression of the project. By staying organised it was easier to continue the required pace of design development and to not overlook any stages. Figure 10. Project Time Plan. Author’s Own, 2020.
13 | 14
Figure 11. Year Time Plan. Author’s Own, 2020.
Gluing
Bell Jars Sizing
Sand down & Seal
CAD model page, Walnut model, J&J feedback, photograph models
Sand down & Seal
Bell jar / details/ Brass pages / fabric baskets
Thurs Fri
Detailing and legs
Wed
Major
W/C 9/3 Tues Project Mon
Minor Model Updates
Sand down & Seal
Cut out blue foam & 16mm pipe
MDF model
CAST
MDF model, Test full model, decide on LEDs
CAST
Final stool drawing, CAD modeling
CAST
Final stool card model
CAST
MDF stool
Dissassmeble, Sand back metal
Decide on cushion shape, page on upholstery
Sand back metal
Finish MDF model
Drill frame holes / Make slot holder
Final CAD model
Drill frame holes / Make slot holder
Decide on mirror size, order mirror
Sat
MDF model
Thurs Fri
Cut plastic for top
Wed
Final card model
W/C 16/3 Mon Tues
Sand down & Seal, Re drill holes
Sat Sun
CAD models, Final detailed drawing
W/C 23/3 Sun Mon Tues Wed Thurs Fri Sat
Jar detailing
ORDER MATERIAL ORDER MATERIAL
Thurs Fri
Begin Tech drawings
Wed
ORDER MATERIAL
W/C 30/3 Sun Mon Tues
Drill frame holes / Make slot holder
EASTER make upholstery, finish CAD model, tech drawings, make CD S
15 | 16 Begin looking for related literature Begin looking for related literature Learning Proposal - Decide on title Read about companies currently implementing Read about suggested methods Continue reading, set up interviews Find any books relating to new findings, set up interviews Write intervew questions Write Literature Review, interview Transcribe, evaluate interview findings Interim Draft
Research user and existing products, brainstorm
Research user and existing products, brainstorm
Decide on proposed brief, moodboards, collate research
Research based on feedback from proposal pin up
Targeted research, very initial ideas
Targeted research, very initial ideas
Targeted research, very initial ideas
Targeted research, very initial sketches
Targeted research, very initial sketches
Final stages of research, very initial sketches
Evaluate concepts from initial ideas, begin sketching
Evaluate all information collected so far Final research, transcribe, evaluate Finalise writing Finalise writing, proof reading, final touches
Sketching, refering to research, gather any required research
Sketch in more detail, develop initial ideas, test material
Filter down ideas and develop in detail, sketch models
Filter down ideas and develop in detail, sketch models
11
Transcribe, evaluate interview findings
10
Sketching, refering to research, gather any required research
9
Assessment
8
Finishing touches to model. Photograph and final boards / pages
7
Production of final model, final sketches
Term 1 6
Production of final model, final sketches
5
Final model making / material testing. Final tech drawings
4
Evaluate ideas, decide on one and finalise details, model, CAD
3
Filter down ideas and develop in detail, sketch models
2
Sketch in more detail, develop initial ideas, test material
Research specific areas, very initial sketches
Research material and existing products, brainstorm
Minor Project
1
Xmas
Dissertation
Major Project
Project 12 13 14 15 16 1
Finalise writing, proof reading, final touches Hand In
Filter down ideas and develop in detail, sketch models
Develop 1 or 2 ideas in detail, sketch models
16 26
Assessment
(Report Hand In)
Final model production
Finishing touches to model. Photograph and final boards / pages
Final model production
25
Write report
Final model production
24
Final model production, any final sketches
23
Write report
22
Final model production
21
Collate all recorded information
20
Final model production
19
Tech drawings for final design, order all materials
Term 2 17 18
Finalise details, model, CAD
Easter
Finalise writing
Filter down ideas and develop in detail, sketch models 15
Evaluate ideas, decide on one and finalise details, model
Final research, transcribe, evaluate
Sketch in more detail, develop initial ideas, test material 14 29 30
Degree show set up Degree show open
Term 3 27 28
THE DESIGN PROCESS Inspiration
A major source of inspiration for the Un Dressing Table was the Charlotte Perriand exhibition at the Fondation Louis Vuitton in Paris. This exhibition demonstrated Perriand’s vision of a ‘synthesis of the arts’. It demonstrated the role of art in our society and how design could be used to demonstrate and impact societal change. A variety of her work from the 1950s was exhibited, including her Tokyo chair which was inspired by Japan. To best fit the serene atmosphere required of the Un Dressing Table it was decided it should acknowledge Japan through its design. Inspiration for the design was saturated with a range of Japanese imagery and idiosyncrasies. The printed journal Haarkon Adventures Japan documents experiences of Tokyo, Kyoto, Osaka and the Kiso Valley and was a valuable insight into the spirituality of Japanese culture. In hindsight, these insights could have been taken further if time allowed for informal interviews conducted with people who have experienced the culture first-hand to gain natural perceptions of Zen meditation culture.
17 | 18
Figure 12. Detail on Charlotte Perriand Bench. Author’s Own, 2020.
THE DESIGN PROCESS
Initial Designs
The first step in the design process after initial research was rough sketching. This was used to document all early ideas that came to mind. By visualising any output generated from the previous insights, some vague forms could be drawn out and the reflection process could begin. Then the early surge of ideas could be refined down to the viable and interesting ones that matched the majority of the specification. Figure 13. Initial Sketches. Author’s Own, 2020.
19 | 20
Figure 14. Development Sketches. Author’s Own, 2020.
21 | 22
THE DESIGN PROCESS
Development of Design
Ideas were passed through many refinement stages as functionality and aesthetics became more focused. Feedback from target users, industry professionals and workshop technicians help to inform the refinement process. At this stage rough modelling and testing was utilised alongside more detailed sketching. Key testing revealed that a flat surface would be best as it would need to be veneered on all surfaces. Tests helped to perfect the lighting aspect of the design by showing what would (and would not) work and the best methods for incorporating it into the design. It also improved the functionality of the Un Dressing Table by addressing practical issues and sizing. Testing helped to progress the initial idea of using trays into making basket drawers. Modelling with cardboard and with CAD influenced the form development hugely, demonstrating that the circular mirror worked best and aiding the development of the basket drawer functionality. Full scale modelling regulated the tweaking of dimensions so that the table was comfortable to use for a range of people. Testing allowed the decision about timber choice to be informed, such as settling on the best finish to apply. Modelling played a large part in evolving the detailing on the table legs as CAD models did not always provide a true, full-scale representation.
23 | 24
Figure 15. Full Scale Model. Author’s Own, 2020.
FEEDBACK + EVALUATION
In reflection, this project was very successful. Despite the large disruption caused by the coronavirus pandemic at a major point in the design process, a feasible and complete design was produced. As well as this, a range of lifestyle products were designed to sit with the Un Dressing Table, demonstrating how the values behind the table design could be developed. The project originated from a brief set by Joined + Jointed, but this project was cancelled due to the disruption. However, was taken as a positive thing. The project was based on an exciting brief with lots of potential which lead the designer on a route that could never have been anticipated. The idea to design for wellness rituals and explore a new area of potential furniture design was unexpected. This project benefited from both the restrictions of designing for an existing company initially, and the later freedom of studying a potential area of future design. Feedback from Joined + Jointed reflected this. Founder Sam Chan described the Un Dressing Table as an interesting piece of furniture but said that the detailing meant that the retail price would be too high. This was expected as detailing was not restricted once they pulled out of the competition and the design was aimed at alternative retail points with the manufacturing capabilities required. The final aim of the project was to design a piece that would be an eloquent form of expression and demonstrate a strong understanding of form. Feedback from Holly Bossung, founder of design and wellness lifestyle company Muse, was “blown away” by the design and its feeling of serene nature and beauty. She added that the accompanying range was her favourite part, and reminded her of “Frank Lloyd Wright’s Robie House, where he designed all of the furniture in the house to accompany it”. This shows that the specification was well obeyed. The Un Dressing Table design was certainly limited by not having access to the workshop. It is inevitable that if a full-scale prototype was made it would show areas for change. Certain areas, like the box detailing and veneering would need to be explored further. However, the brief has been stretched during this project and the design has been developed as far as possible. Valuable lessons have been learnt, especially the importance of balancing an interesting or unusual design with commercial viability and considering the economics behind all design decisions.
25 | 26
Figure 16 + 17. Un Dressing Table. Author’s Own, 2020.
REFLECTION AGAINST SPECIFICATION
Design for the modern domestic market - YES Develop a dressing table for Joined + Jointed - PARTIALLY (see evaluation above) Explore what tasks / products are fundamental to these people’s routines - YES Look into ways of storing products in a way that feels organised / encourages a refined routine - YES Design to communicate the feeling of relaxation - YES
27 | 28
Figure 18. A family house in Kyoto, Japan. Design Milk, 2019.
DESIGN CONTINUATION
There is a good amount of potential for this design to grow into something larger. The development of the small range of ‘lifestyle’ objects that accompany the Un Dressing Table is one look at the potential of this project. The aim of these was to encourage people to create rituals which allow time to unwind and reconnect with themselves. The range is formed of three different sized oak ‘valet’ trays, glass bell jars, a brass and oak jewellery, a glass carafe and a teapot with cups. This could certainly be expanded to be a whole product range or form the beginning of a lifestyle brand with a focus on wellness and the future of beauty. Another avenue that has been considered is developing the design of the Un Dressing Table into a capsule furniture collection. The most distinctive feature of the table is the detailing on the legs which creates the illusion of solidness from one view and openness from another. When the light shines through them, shadows reveal precise forms. This detail could be explored and applied to other bedroom furniture items, like a bed frame, bedside cabinets, wardrobe, shelving unit and chest of drawers.
29 | 30
Figure 19 + 20. Un Dressing Table. Author’s Own, 2020.
CONCLUSION
Being the largest project that the designer has ever worked on, it has proved to be an invaluable endeavour with many lessons learnt. It has proven just how important good primary and secondary research is to provide a solid basis for a design, as well as to find potential new areas in design. It has shown that a specification is very important to keep the design suitable for its purpose, and in the future it could perhaps be expanded throughout the design process. The project has highlighted just how crucial full-scale prototyping is when designing products. The limitations of the project have allowed alternative skills to be developed, like CAD rendering and a deeper understanding of the specifics of cabinetry. By designing with empathy and working to understand exactly what the user would want, a distinctive piece of furniture has been designed. 31 | 32
Figure 21 + 22. Un Dressing Table. Author’s Own, 2020.
REFRENCES GLOBAL WELLNESS SUMMIT, 2020. 2020 Wellness Trends, from the Global Wellness Summit. [online] Available at: https://www.globalwellnesssummit.com/2020global-wellness-trends/ [2/5/20] AMASANTI, M., 2019. The rise of the ‘sleep experts’ and opportunities from mounting interest in wellbeing [online]. MINTEL Available at: https://reports.mintel. com/display/968004/?fromSearch=%3Ffreetext%3DMintel%25E2%2580%2599 s%2520Sleep%2520Aids%2520%25E2%2580%2593%2520UK%2520November%25202017%2520 [26/11/19] BROWN, T. (2009). Change by design: how design thinking transforms organizations and inspired innovation. New York: Harper Collins. CRAWFORD, I., 1997. Sensual Home: Liberate Your Senses and Change Your Life. HURLY, A., 2017. Sauna Your Way to Clear Skin [online]. . Available at: https://www. gq.com/story/sauna-your-way-to-clear-skin. [21/2/20] KELLEY, D. and KELLEY, T. (2013). Creative confidence: unleashing the creative potential within us all. London: William Collins NEWMAN, D. (2008). The Design Squiggle [online]. Available at: https://thedesignsquiggle.com [20/4/20] Rams, 2018. [Film] Directed by Gary Hustwit. USA: First Film Co. SMITH, M., 2019. How to Sleep Better [online]. . Available at: https://www.helpguide. org/articles/sleep/getting-better-sleep.htm. [13/12/19] WESTGARTH, J., 2016. Bedrooms and Bedroom Furniture [online]. MINTEL Available at: https://reports.mintel.com/display/748807/ [11/12/19]
BIBLIOGRAPHY BUDDS, D., 2015. Naoto Fukasawa On Designing With Objectivity And Interaction In Mind [online]. Available at: https://www.fastcompany.com/3052429/naoto-fukasawa-on-designing-with-objectivity-and-interaction-in-mind. [21/4/20] FRISHBERG, L. and LAMBDIN, C., 2016. Presumptive Design: Design Provocations for Innovation. San Francisco: Elsevier Science & Technology. MYERSON, J. and DESIGN MUSEUM LONDON., 2017. New old: designing for our future selves. London: Design Museum. PUGH, S., 1990. Total design : integrated methods for successful product engineering. Addison-Wesley. REARICK, L., 2018. When Skin Care Is Also Self-Care [online]. Available at: https://www. huffingtonpost.co.uk/entry/skin-care-is-self-care_n_5a86e975e4b00bc49f4341dc?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvLnVrLw&guce_ referrer_sig=AQAAADzAURjPycIQLjImXQsjwn3MziCOs_XINDCtx0JmanbTAUK79w6DuDflmB1KeP0KJ_8TrKCc08TMU1xsc1OfPFD-3Kwwpv5MzIJ_HTTKPDF0BkjBUetPi95y7nD2MoSJOT6UslfyXo-ulUzHiQGILedpsB66zTQq7hmR5uFvzfgm. [13/11/19]
33 | 34
Figure 23 + 24. Un Dressing Table. Author’s Own, 2020.
FIGURE LIST Figure 1. Smith, L. (2016). Un Dressing Table. [image] Figure 2. Kyoto, A. (2020). Wellness Resort in Kyoto, Japan. [image] Available at: www.aman.com/resorts/aman-kyoto/explore-aman-kyoto Figure 3. Kurrein, L. (2020) Aponi Desk for Joined + Jointed. [image] Available at: https://lucykurrein.com/Aponi Figure 4. Haeckels. (2020) Skincare Range. [image] Available at: https:// haeckels.co.uk/ Figure 5. Nanba Architectural Atelier, 2020. Machiya house. [image] Available at: nanbakenchiku.co.jp Figure 6. CMF Boards. Author’s Own, 2020. [image] Figure 7. Newman, D. (2020). The Process of Design Squiggle. [image] Available at: thedesignsquiggle.com Figure 8. Smith, L. (2020). Design Process Visualisation - Layered Scribble. [image] Figure 9. Ainead. (2018) Japanese Torii. [image] Available at: https:// aineadinjapan.wordpress.com/2018/01/27/miyajima-island/ Figure 10. Smith, L. (2020) Project Time Plan. [image] Figure 11. Smith, L. (2020) Year Time Plan. [image] Figure 12. Smith, L. (2020) Detail on Charlotte Perriand Bench. [image] Figure 13. Smith, L. (2020) Initial Sketches. [image] Figure 14. Smith, L. (2020) Development Sketches. [image] Figure 15. Smith, L. (2020) Full Scale Model. [image] Figures 16 + 17. Smith, L. (2016). Un Dressing Table. [image] Figure 18. Design Milk, (2019) A family house in Kyoto, Japan. [image] Available at: https://design-milk.com/a-family-house-in-kyoto-with- a-tree-growing-in-the-middle/ Figures 19 - 25. Smith, L. (2016). Un Dressing Table. [image]
35 | 36
Figure 25. Un Dressing Table. Author’s Own, 2020.