CRANE LAMP DESIGN FOLIO INCUBATOR AWARD ENTRY LEE WOODMAN I am currently a full time student and have completed two years of a three year Bachelor of Design Innovation degree at Victoria University. My specialisation is in Culture and Context, with Philosophy to compliment as a minor. My design ideology is heavily weighted toward a sustainable new way of living that does not need to imply restriction or compromise. Simple yet rich ways of living and being are everywhere and if understood properly can be holistic and healthy. Less is more; the constant roar of consumerism and financial growth are wearing this planet thin and mindless production of more ‘stuff’ is a dated mindset. My Design research has covered iconic objects, design anthropology, the role of technology in the spread and collapse of past civilisations, and philosophy of media and the arts to name a few.
Philosophy subjects provide a platform for honest and holistic critique that is not restricted to the world of design. I believe the future of design will be increasingly concerned with systems and problem solving rather than object creation. However, clever use of objects can say more than words in an understated critique on our society of newer, bigger, faster and more. Re- appropriation of used items requires inventiveness, while providing critique through humour or satire. Intentionality in every aspect of the design process is of utmost importance. When this is adhered to, the intention comes through as a concise and uncompromising statement that is inherent in the object. I am 34years of age, and have worked in the construction industry since age 17. I have completed both joinery and carpentry apprenticeships and
owned and managed a building company since 2003, and are keen to progress to a new inspiring way of working. Having the ability and equipment to build every part of my own creation makes the process from conception to completion a challenging yet fun experience. While I am still building full time during the university holidays for financial stability, I intend to leave building as soon as possible. By entering design competitions during these holidays, it ensures the process of designing and creating is never too far away. Influences are many and varied, but if I had to name some they would be; Frank Lloyd-Wright, Walter Gropius-Bauhaus, De Stijl, Theo Jansen, Arthur Gansen, Anish Kapoor, Richard Serra, Robert Irwin, Egon Schiele, and Leonardo DaVinci.
The modern expectation for clean, anesthetised objects devoid of visible operating parts shields us from the reality of how things really work. Knowledge of how things work is being lost to new generations, centuries of knowledge is at risk of being lost because of the automation and digitisation of everyday tasks. Things are not repaired; they are instead replaced, as we are not really sure what happens under the shroud of plastic in appliances, gadgets and even cars. The concept of Crane Lamp is to renew the imagination in how mechanics operate; to provide intrigue through beauty in details that are fundamentally functional. The Crane lamp was conceived as a salute to the operation and scale of the construction crane. Industrial mechanics are key elements that have been celebrated rather than disguised.
Materiality and tactility lure the user to touch, play and experience Crane Lamp. The lamp can be extended for use above a chair or retracted for ambient light, while the option of lowering the shade can be achieved from all positions. The operation is simple and able to be comprehended through use. As transport is an increasing cost issue, Crane Lamp has been designed to fold down in its own travel case, to add versatility and ease of movement. Found objects are re-appropriated into new tasks and provide a sense of nostalgia. The clean aesthetic of the black/white contrast in timber provides a balance to the nostalgia and ensures a contemporary experience. Age-old rule of proportions are carefully considered at all stages and the result is a pleasing feel of balance in all positions. The line between art and design is a contested boundary, and this design chooses to sit broadly over that line. Designed objects should be aesthetically pleasing both in use and as static objects. This lamp can serve simply as a compliment to a space, or equally as a focus of attention. As such, Crane Lamp is not a product for mass production, it is a celebration of fine furniture, a limited edition object that can stand alone as an aesthetic piece of art whether used as a lamp or not. The cost of the piece is dictated by the time involved to build with relatively little cost involved in materials.