Industrial and Interaction Design
LAUREN HAGGERTY
Portfolio
DESIGN PHILOSOPHY Design is at the center of everything we do, enhancing our everyday experiences. In order to elevate this relationship, we need to create meaningful interactions across people, products, services and environments. I firmly believe that a keen focus on the user, combined with solid research during the development phase, is integral to successful design. The distinguishing factor behind any design is the value it adds to the user; this resonance drives engagement and growth, and profoundly interests me as an industrial designer.
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OK TO
FAIL Taught By:
Hale Takazawa
Pill Crusher
Kilburn Connects
Tasting Glasses
87zero, Director
Chair
Lauren Haggerty Industrial Design, c/o 2016 Syracuse University
OK to Fail is a class about taking your ideas to the marketplace. Create your prototypes, test it in the marketplace, manufacture the products, and reap the sales. Our goal is simple: fail as many times as possible, so you can sell your product in real life.
Graphic Work
You will learn about marketing, testing, and selling your product. Prototype and then source and price for manufacturing, develop your margin for the sales price, and pitch it to buyers. And most important of all: fail and try again.
Times:
Design a pill crusher for individuals who have to take their medications via a gastronomic tube that feeds into their stomach
03
An ethnographic group research project where we integrated ourselves socially and culturally into a chosen community to identify their pain-points
10
Create a glass product inspired by the history, present and future of the Rust Belt in collaboration with Corning Glass Museum
18
Design a chair after examining the design and manufacturing criteria of furniture manufacturers such as Stickley, Offi and Icon Furniture
25
3:40 pm - 5:10pm (Tuesday & Thursday)
A spread of both commissioned and non-commissioned graphic projects
Given the work load, you will need to spend some time on Mon, Wed, and Friday to develop your prototypes. Lauren Haggerty will be available by Skype on those days.
Prerequisite:
Design and Fabrication
33
PUKA Pill Crusher Redesign
PROJECT BRIEF For some, the act of swallowing a single pill may be an uncomfortable notion. However, for those who have to consume a variety of pills on a daily basis taking them all can be a challenge, especially when it must be administered through a feeding tube. Over 30,000 patients in the U.S. recieve long term tube feeding care and must grind their medications so that it can be administered through their tube, and properly ingested by the stomach. This project focused on designing a pill crusher that could be used by either the patient or the caretaker, and would be able to crush a variety of pill sizes and densities into a fine powder to prevent problems from occuring internally.
BENCHMARKING
Looking at existing pill crushers, I found the simpler forms both in design and function to be the most successful and implemented some of these concepts seen to form design goals for my own product. However, further testing revealed that individuals with arthritis or weak motor functions have difficulty using alot of the pill crushers available due to the uncomfortable shape of the forms.
DESIGN GOALS
FUNCTIONAL
EFFICIENT
VERSATILE
ERGONOMIC
DURABLE
Easy to use for the administrator of the medicine
Grind pills into a fine powder to prevent tube blockage
Ability to crush a variety of pill sizes and densities
Form that the hand molds to, preventing muscle fatigue
Able to withstand wear and tear from daily use
USER PROFILE Dan Haggerty Age: 74 / Takes 11 pills a day
Muscle Strength
Motor Coordination
Efficiency at crushing pills
Time it takes to take medicine daily
20 Minutes
Observations
Able to cut and crush a variety of pill densities with ease Weak lower body but strong upper body Hard to grip form due to Arthritis
Catherine Itai Age: 79 / Takes 17 pills a day
Muscle Strength
Motor Coordination
Efficiency at crushing pills
Time it takes to take medicine daily
35 Minutes
Observations
Able to cut and crush pills that were smaller and had low densities Larger pills were given to family members to crush for her Weak lower body and upper body due to Lupus and heart conditions
Form Exploration 2
1
6
4 3
1. Form was meant to be angular and compact, however the sharp corners would cut into the hand of the user when grinding. 2. Shape was ergonomic, but so small that it would be hard for individuals with illnesses such as arthritis to use.
5
3. Inspired by manual juicers, the form was comfortable to work with, but only for a limited number of uses. After crushing many pills, it began to strain the palm of the hand. 4. The first prototype that lead to my final form. The domed top was tested to be comfortable for users with arthritis and had enough leverage to crush a variety of pill densities with ease. 5. A rubber ring was added to the lower half of the top of crusher as well as the base to give the hand a better grip. 6. A removable tray was added to make it easier to dispense the crushed product. In addition the rubber ring on the dome top was moved up an inch to cover more surface area on the fingers.
TESting Since testing the design on individuals with stomach feeding tubes was not possible, I looked to the next stakeholder group - the elderly. Tested on both the elderly and my peers, the design proved to be durable and crushed both the tylenol and high density vitamin that we were provided into a fine powder. In addition a removable tray was added to make it easier to remove the tiny granules that were difficult to pick out in the trial run.
dome top containing cylindrical crusher and rubber ring for grip
solid plastic cylinder that crushes and grinds pill
removable tray to dispense crushed pill
ring that houses pill tray
base that attaches to ring and has a rubber ring for grip
final form
dome shaped top is ergonomic and molds to the human hand
dimensions of top: 3.25” x 3.25” x 2.5”
removable tray makes it easy to dispense crushed product dimensions of bottom: 3.25” x 3.25” x .6” material: injection moled high density polyethylene
rubber ring provides grip for hand to grab onto
How can we use design to help unify and co-create an intradependent community through group engagement and communication?
ethnographic design kilburn, london
project brief forming objectives
In a group of 4, our goal was to learn about Kilburn, a neighborhood of London, its history and community to find design opportunities that could both strengthen Kilburn’s sense of place and its sense of community. As a result of Kilburn residing between two affluent boroughs, its identity is complex and difficult to define both from a geographic and cultural perspective. By creating Kilburn Connects, an online identity that existed on various social media platforms, we were able to form strong ties and connect with others who were interested in our project, giving us a strong sense of direction and intention as we conducted our research. The project ended with a hypothetical catalogue of products and services that were inspired by our research and relationship with the Kilburn community. Through this we were able to take our extensive research of the community and quickly ideate solutions. The project lasted from January to May 2015.
Kilburns boundaries as defined by the London Government Ac t of 1963
building connections COMMUNITY We believe Kilburn is lively, multi-cultural, artistic, accepting, and eclectic. Shopping on High Road is an obvious attraction, however, it is the little treasures you come upon while walking down Kilburn’s side streets that make the area so special. By talking with others we quickly discovered that many of the pedestrians as well as shopkeepers do not live in Kilburn, but rather commute everyday for work.
david kaye
mathmetician / late 50s
Council member on the Kilburn Neighborhood Plan Forum Resident for over 40 years who invited us to various council meetings
“Residents who live in South Kilburn can’t use services in North Kilburn, and vice versa! There is just...a fairly major disconnect between Brent and Kilburn and its sad really.”
farhan samanani
ph.d student / Mid 20s
Moved from Canda to study philosophy and gentrification in Kilburn Throughout our collaboration, he provided insight that allowed us to better understand Kilburns roots and culture, to ultimately design better probes
“Kilburn is too fragmented to possess a distinct identity...trying to define such an identity might destroy what makes the area so great.”
killian burk
bartender / early 30s
Moved over from Ireland to the edge of Kilburn 3-4 months ago Said the area used to have a large IRA prescence, but that pubs aren’t doing as well since most of them left
“...the streets are dirty, the sidewalks are dirty, rubbish everywhere and its just outdated...I like the pubs and their personality, but the area lacks respect a little bit.”
iza gorecki
job unknown / Mid 50s
Has lived in London for 3 years but is only here for temporary work Regular customer at Vicky’s Oriental Market (where we met) and comes to the store every other week for specialty items from a few towns over
“You know I’ve taught him (shopkeeper), some Polish and that’s what this place is about no? Getting to know people little by little.”
building connections social media
Our social media outreach played a big part in helping us to connect with the Kilburn community. By sharing design goals and updates on Twitter, Tumblr, Facebook, and Instagram, we were able to attract the attention of several interested parties who helped us develop our ideas further. Twitter proved to be the most effective social platform. By following active members of the community we were able to track community involvemen, start conversations between members, ask questions to help inform insights, and most importantly promote what Kilburn Connects was doing to create involvement.
cultural probes mapping kilburn
Version 2
Thanks to the simpler format of this probe, we got a larger response from participants, through direct contact and Twitter responses. Participant feedback provided us with a great amount of data about which structures and landmarks most people do or do not consider to exist within Kilburn.
Objec tive
One of the first things we noticed about the area was how difficult it was to determine where Kilburn actually exists. Since much of Kilburn actually occupies parts of Camden and Brent, the boundaries of the area are extremely unclear. We taped up a map around various spots with alot of foot traffic in Kilburn in the hopes that people would engage with us about the subject.
A
Kilburn Station
The Good Ship
The Black T Lion
The Tricycle Theatre
Version 1
Primrose Hill Starbucks Islamic Centre of England
Which of these maps do you think best represents the area of Kilburn? Or should there be another option?
Kilburn Park Station
Paddington Recreation Ground
Where does Kilburn exist for you?
Help us by outlining the area that you think Kilburn occupies! Kilburn Station The Good Ship The Tricycle Theatre
Grange Park
B
Kilburn Station
Examples of paths drawn
The Good Ship
The Black T Lion
The Tricycle Theatre
The Black Lion
Let us know through one of our soical media platforms!
Primrose Hill
Use #KilburnConnects
Starbucks Islamic Centre of England
Kilburn Park Station
Primrose Hill
Paddington Recreation Ground
Starbucks Islamic Centre of England
Kilburn Park Station The Regent’s Park Paddington Recreation Ground
Lord’s Cricket Ground
C
Kilburn Station
The Good Ship The Tricycle Theatre Kilburn Park Station
Paddington Recreation Ground
Help us
@kilburnconnects
The Black T Lion
Primrose Hill Starbucks Islamic Centre of England
@kilburnconnects kilburnconnects.tumblr.com facebook.com/kikburnconnects instagram.com/kilburnconnects/
cultural probes mapping kilburn cont. This map focused more on identifying people’s perceptions of Kilburn. We asked passerbys to identify parts of Kilburn that were most important to them and then areas they thought could benefit from change. Our heat map values were based on social media responses as well as feedback from probes.
Green = areas that people valued Red = areas that people thought needed change
We would write their comment on a sticky note and then place it on the relevant area on the map. This enabled us to generate a sort of “heat map” of Kilburn.
“ONLY gym in the area / no daycare”
“Side street has the best shops here”
“Safest part of the area in my opinion”
the catalogue Smarter london event
At the end of the project, our team put together a catalogue of hypothetical products and services that were inspired by our findings and relationship with the Kilburn community.
While we had many ideations represented, the one we found the most useful for the Kilburn community was the concept of creating a cart hire system, similar to the one implemented for bicycles.
Digital Mockup
Examples of other ideations featured in catalogue
TASTING GLASSES A COLLABORATION WITH CORNING MUSEUM OF GLASS
TYLER BRYANT
JEAN DEL MORAL
LAUREN HAGGERTY
ALEX NADOLSKI
ERIK REIBLEIN
research map The prompt for this project was to work with an artisan food or beverage company to research and represent the economic progress that came from the Rust Belt through a glass product that would be made by GLASSLAB from Corning Museum of Glass. Below are some of the criteria we focused on throughout our research.
corning
beak & skiff
rust belt
regional
spirits
glass
beak & skiff orchards research We decided to focus on a local apple orchard called Beak & Skiff and worked to enhance the hard cider tasting experience of their alcohol line, 1911.
observations
Hard to Distinguish Between Multiple Glass and Drink Types
No Way to Move Multiple Glasses
Served Generic Glasses
Experience Lacked Intimacy
Hard to Hold - Not Comfortable
Easy to Lose Track of What Is Being Tasted
Not Aesthetically Pleasing
Give Taster Multiple Glasses at Once
Design Tray to Hold Multiple Glasses
No Consistent Pour - Glasses are too Large
solutions
Use Color as an Identifier with the Glasses
Design a Glass the Taster will View as Precious
the tasting experience
2
1
3 4
A couple is visiting Beak and Skiff and decide to sample the 1911 variety of liquors
From the list provided, they select the Raspberry, Light & Crisp, Sweet Apple and Blueberry hard ciders
The server pours the hard ciders into the color coded tasting glasses
The ring colors match the branding of their respective hard cider, individualizing each tasting experience
form development tasting glasses
form development stand
corning glasslab fabrication
We provided GlassLab with a 3D printed model of our final design. This enabled them to compare the two forms during the blowing process for reference and used calipers to constantly check that the dimensions were correct. Each glass was also given a color ring based on our previously determined color palette to match the packaging of Beak and Skiff’s available cider and spirits.
final design
CHAIR
project brief The prompt for this project was to design a chair after examining the design and manufacturing criteria of three specific furniture manufacturers in the region, while also weighing considerations such as price, ergonomics, production restraints and material selection.
the companies
OFFI
Passion for creating simple, beautiful and practical furnishings that address the modern urban lifestyle
Products are created to be multifunctional, comfortable, and at home in any modern home in the world
STICKLEY FURNTIURE
Enduring tradition, craftsmanship, and an unshakeable philosophy of excellence—these are the bedrock of the Stickley ethic
Believe that great furniture creates and carries memories across time
Furniture is honest, has solid construction, visible joinery and clear finishes on quartersawn oak
ICON DESIGN & THE WENDELL CASTLE COLLECTION
Aims to deliver artist Wendell Castle’s sculptural vision to a broader audience
Hand-crafted furniture where each product embodies the quality and integrity of an original piece of art
inspiration and research Inspired by origami the design of this chair references the folds and pleats used to create figures and objects. The research phase of the project led to a material exploration about combining wood and textiles. Accompanying the chair is a textile that plays with contrasts such as rigid and flexible; hard and soft; and in the process challenge material perceptions. Ideally the textile and the chair would be combined in an innovative way.
furniture
construction
geometry
wood
origami
interaction
material exploration process
1
Remove tape to remove lasercut triangles from wooden template
4
Once all the triangles have been placed, remove template
2
Place triangles on canvas using spray adhesive
5
Allow triangles to set in place
3
Place template over triangles to help with alignment and create geometric pat tern
6
Check the distance between triangles to ensure even spacing
material exploration final
sketches
3
TECHNICAL DRAWINGS 4
.33 15
12.39 .3 9
12
7
22.2
.62
.62 10
11
.8
.62 .28
10
13.88
11
7
.8
13.88
11.18
PROPRIETARY AND CONFIDENTIAL
3
THE INFORMATION CONTAINED IN THIS DRAWING IS THE SOLE PROPERTY OF <INSERT COMPANY NAME HERE>. ANY REPRODUCTION IN PART OR AS A WHOLE WITHOUT THE WRITTEN PERMISSION OF <INSERT COMPANY NAME HERE> IS PROHIBITED.
4
3
UNLESS OTHERWISE SPECIFIED: DIMENSIONS ARE IN INCHES UNLESS OTHERWISE SPECIFIED: TOLERANCES:
NAME
3
<INSERT COMPANY NAME HERE>. ANY REPRODUCTION IN PART OR AS A WHOLE FINISH WITHOUT USED ON THE WRITTEN PERMISSION OF NEXT ASSY <INSERT COMPANY NAME HERE> IS APPLICATION PROHIBITED. DO NOT SCALE DRAWING
3
2
2
3
2
TITLE:
UNLESS OTHERWISE SPECIFIED:
B
USED ON
NEXT ASSY APPLICATION
chair2
FINISH
DIMENSIONS ARE IN INCHES NAME DATE DRAWN TOLERANCES: CHECKED DRAWN FRACTIONAL ANGULAR: MACH BEND ENG APPR. SIZE DWG. NO. CHECKED TWO PLACE DECIMAL THREE PLACE DECIMAL MFG APPR.
REV
TITLE:
chair2 B chair2 SCALE: 1:12 WEIGHT: 1
SIZE DWG. NO.
DO NOT SCALE DRAWING SHEET 1 OF 1 SCALE: 1:12 WEIGHT:
2 1
NAME
A
SCALE: 1:12 WEIGHT:
SIZE DWG. NO.
A
TITLE:
B
TITLE:
A
A
20.79
DATE
DRAWN NAME DATE CHECKED
THE INFORMATION CONTAINED IN THIS SPECIFIED: PROPRIETARY AND CONFIDENTIAL DRAWING IS UNLESS THE SOLEOTHERWISE PROPERTY OF <INSERT COMPANY NAME HERE>. ANY THE INFORMATION CONTAINED IN THIS MATERIAL DRAWN FINISH DIMENSIONS ARE ANGULAR: MACH BEND REPRODUCTION IN PART OR ASIN A INCHES WHOLE DRAWING IS THE SOLE PROPERTY OF ENG APPR. USED ON NEXT ASSY TOLERANCES: WITHOUT WRITTEN PERMISSION OF TWO PLACE DECIMAL <INSERT COMPANY NAME HERE>.THE ANY INTERPRET GEOMETRIC CHECKED FRACTIONAL <INSERT NAME HERE> IS FINISH PROPRIETARY AND CONFIDENTIAL THREE PLACE DECIMAL REPRODUCTION IN PART OR AS COMPANY A WHOLE TOLERANCING PER: MFG APPR. USED ON NEXT ASSY ANGULAR: MACH BEND APPLICATION DO NOT SCALE DRAWING PROHIBITED. WITHOUT THE WRITTEN PERMISSION OF ENG APPR. THE INFORMATION CONTAINED IN THIS MATERIAL <INSERT COMPANY NAME HERE> IS TWO PLACE DECIMAL DRAWING IS THE SOLE PROPERTY OF THREE PLACE DECIMAL APPLICATION Q.A. INTERPRET GEOMETRIC DO NOT SCALE DRAWING PROHIBITED. MFG APPR. <INSERT COMPANY NAME HERE>. ANY PROPRIETARY AND CONFIDENTIAL TOLERANCING PER: FINISH REPRODUCTION IN PART OR AS A WHOLE Q.A. COMMENTS: INTERPRET GEOMETRIC USED ON WITHOUT THE WRITTEN PERMISSION OF MATERIALNEXT ASSY THE INFORMATION CONTAINED TOLERANCING PER: IN THIS COMMENTS: <INSERT COMPANY NAME HERE> IS DRAWING IS THE SOLE PROPERTY OF MATERIAL APPLICATION DO NOT SCALE DRAWING PROHIBITED.
0.75
4
20.00
FRACTIONAL DRAWN DIMENSIONS ARE IN INCHES ANGULAR: MACH BEND TOLERANCES: ENG APPR. TWO PLACECHECKED DECIMAL FRACTIONAL THREE PLACE DECIMAL MFG APPR. ANGULAR: MACH BEND ENG APPR. OTHERWISE SPECIFIED: UNLESS TWO PLACE DECIMAL Q.A. THREE PLACE DECIMALINTERPRET GEOMETRIC MFG APPR. TOLERANCING PER: DIMENSIONS ARE IN INCHES COMMENTS: INTERPRET GEOMETRIC MATERIAL Q.A. TOLERANCES: NAME DATEPER: TOLERANCING COMMENTS: FRACTIONAL
20.79
11.18
4
15.84
PROPRIETARY AND CONFIDENTIAL
0.75
15.86
20.79
20.00
0.75
4
20.00
15.86
11.18
13.88
14.90
A
15.86
15.84
14.90
A
11
7
11
A
.28
10
11
7
.8
9.21
11
9.21
34
7
22.2
9
.9
9
.9
11
11
9.
.34
34
15
9.
34
9.
A
4
30.33
7 22.2
.34
15
.34
.33
15
B
B
B
B
15
24
. 11
1
16.69
16.69
1
.33
24
. 11
B
2
16.00
1
2
1
15
B
24 1. 116.00
3
2
2
3
1
.28
16.00
B
3
4
4
B
3
isometric / side / back
4
2
30.33
4
1
2
Q.A.
DATE
TITLE: REV
REV
COMMENTS:
SHEET 1 OF 1
SHEET 1 OF 1
SIZE DWG. NO.
B
SIZE DWG. NO.
B
chair2
SCALE: 1:12 WEIGHT:
1
chair2 REV
SCALE: 1:12 WEIGHT:
1
SHEET 1 OF 1
SHEET
FINAL DESIGN
Graphic work 01
01
POSTCARD A postcard that encapsulates a trip I took to Interlaken, Switzerland with my boyfriend. I choose to capture that experience in a snowglobe because I collect them and love how they serve as reminders of where we’ve been.
02
INTERLAKEN
POST CARD CORRESPONDENCE
CHARITY DINNER INVITATION An invitation and RSVP card commissioned by the International Dyslexia Association of Hawai’i for their annual themed benefit dinner.
03
03
COOKBOOK Examples of spreads in a cookbook that I created while learning about various digital design techniques.
02
ADDRESS
PLACE STAMP HERE
Graphic work
04
view video 02/17/14
CONT
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A website design and layout that was created to connect surf enthusiasts by providing a platform to share videos and other media content. This was created in a course that focused on User Experience design.
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POSTERS Various posters that were commissioned; The first was for an introductory course to Industrial Design that would be taught at a High School. Second example is a birthday party invitation and the third is an advertisement for a design challenge put on by 87zero, a luxury furnishings company.
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05 * JOIN US IN *
OK TO
FAIL Taught By:
Hale Takazawa 87zero, Director
Lauren Haggerty Industrial Design, c/o 2016 Syracuse University
OK to Fail is a class about taking your ideas to the marketplace. Create your prototypes, test it in the marketplace, manufacture the products, and reap the sales. Our goal is simple: fail as many times as possible, so you can sell your product in real life. You will learn about marketing, testing, and selling your product. Prototype and then source and price for manufacturing, develop your margin for the sales price, and pitch it to buyers. And most important of all: fail and try again.
Times: 3:40 pm - 5:10pm (Tuesday & Thursday)
Given the work load, you will need to spend some time on Mon, Wed, and Friday to develop your prototypes. Lauren Haggerty will be available by Skype on those days.
Prerequisite: Design and Fabrication
87zero Luxury Design Awards Registration Deadline:
July 27, 2014
2014
Submission Deadline:
August 29, 2014
The Application of Luxury to a Modern Hawaiian Experience Open to students and design professionals Apply at 87zerohi.com
contact info laurenhaggertyiid@gmail.com (808) 341-8762 thank you