Questus Melius

Questus Melius Natalie Chloe Borgese

Natalie C. Borgese

Natalie is a Melbourne based design student, studying industrial design, specialising in jewellery and object design. Her deepseated passion for design and respect for materials comes from her initial exposure to fashion design and the respective industry from an early age.

Her work consistently has her signiture details that are reminiscent of nature and what our world has to offer, having organic silhouettes, pattern or texture.

With attention to detail, Natalie has honed in on her crafts within both the jewellery and fashion industry whilst she continues to develop her skills in other fields of design, exposing herself to new methods of production regularly.

She continues to work both alone and collaboratively to create new designs and products.

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Contents

a book by Natalie Chloe Borgese Bachelor of Industrial Design (Honours) RMIT University 2019 Tutored by Rose Boddam-Whethem and Brad Marmion All photography by Matthew Spillman unless otherwise stated All drawings and art by Natalie Borgese unless otherwise stated nat.borgese@gmail.com

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Abstract

Hand-crafted & Machine objects over time

Precidents & Practitioner

Page 6-7

Human Psychology

Page 36-39

Cairns

Page 40-43

Location Study

Page 44-47

Concept Developement

Page 50-57

Project Outcome

Page 58-67

Methods of Production

Page 68-69

Costing List

Page 70

Evaluation

Page 71

References

Page 72-74

Page 10-25 Page 26-33

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Abstract Memories and stories are what make us all individual beings. We all have our own perceptions of life and make our own decisions when we place high value on an object. Our connection and relationship with objects carry with us our entire lives. As children, we keep special objects close in a kind of safety blanket. Even in adulthood, we place value on objects that provide us with emotional comfort.

This natural process has been essential in keeping individuality alive. What we perceive as an object of value may be useless to someone else. It is often difficult for another person, an outsider, to understand and grasp how material items take on a significance for the person in question (Sanoma State University, 2001).

The journey I have undertaken combatting mental health problems has inspired me to tell my story through my final design.

How our mental state affects our outlook on life can be fascinating when looked at in a neutral light. The way we think

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about and respond to our world around us changes, due to a chemical imbalance within our brain. Portraying this in the piece I design is essential to this vessel.

There is something truly beautiful when an object can evoke emotion and we form a connection with it. As a designer, it is important that I am able to create a vessel that I, and many others, can use on an everyday basis.

By exploring past and present methods of metal-working, and by experimenting with new techniques, I have gained a knowledge base in this area that will further my exploration and experimentation throughout this project.

Vessels themselves are a very functional product. They can provide storage and safety for what we believe is important to keep safe. In a way, we, as humans, are vessels, carrying important memories and experiences that make us all truly unique.

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Essay

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Sentimental value of hand-crafted and machine-made objects over time

Throughout history, the vessel has been a reliant object for humans. As a functional piece, a vessel may serve for many different purposes, pending on the foundations of its creation.

There are many cases from historic eras where the use of vessels was involved in some kind of ritual, thus holding a sentimental importance to those who were from each respective era where the specific vessel was used. However, as the industrial revolution brought the influx of mass-production and factories to make even more vessels than ever before, the sentimental value was lost due to the lack of importance placed on each stage of mass-production.

Rather than valuing the creation of the object itself, efficiency became the focus. However, it is arguable that the production method of a vessel, or any object for that matter, does not matter in regard to the sentimental value placed on the said object, due to each person’s individual experiences. Therefore, the context of the vessel has changed throughout history, but how we, as humans, value them, on a personal level, may not have changed.

As humans, we develop rituals and patterns and incorporate them into our lifestyles. There is evidence of this dating back to the cave era,

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where the pattern of hiding during the night kept man alive, allowing humans to evolve.

Although some rituals, like that presented by cave-men, are carried out for the sake of survival, we have created many rituals that honour those who came before us. Different religions and their sacred rituals are a great example of this. For many, honouring a sentient being is an essential part of their lifestyes. The idea of a higher power and life after death isn’t a new one, it may be dated back as early as the Ancient Egyptians in 3000-5000 BCE. The Egyptian mummification process was a very important ritual, carried out on any pharaoh who passed. As a part of this process, a selection of their organs were placed in vessels known as the canopic jars, to ensure they were successfully brought into the afterlife. The jars themselves were highly adorned and the ‘lid’ of each had a representation of the head of each of Horus’ four sons. Imsety had a human head, Qebehsenuf had a falcon’s head, Hapy had the head of a baboon, Duamatef had the head of a jackal, all carrying and protecting the liver, intestines, lungs and stomach, respectively. They were put into a special chest that was placed in the tomb of the pharaoh that had died. If there wasn’t a chest to put the jars into, they kept all

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where the pattern of hiding during the night kept man alive, allowing humans to evolve.

Although some rituals, like that presented by cave-men, are carried out for the sake of survival, we have created many rituals that honour those who came before us. Different religions and their sacred rituals are a great example of this. For many, honouring a sentient being is an essential part of their lifestyes. The idea of a higher power and life after death isn’t a new one, it may be dated back as early as the Ancient Egyptians in 3000-5000 BCE. The Egyptian mummification process was a very important ritual, carried out on any pharaoh who passed. As a part of this process, a selection of their organs were placed in vessels known as the canopic jars, to ensure they were successfully brought into the afterlife. The jars themselves were highly adorned and the ‘lid’ of each had a representation of the head of each of Horus’ four sons. Imsety had a human head, Qebehsenuf had a falcon’s head, Hapy had the head of a baboon, Duamatef had the head of a jackal, all carrying and protecting the liver, intestines, lungs and stomach, respectively. They were put into a special chest that was placed in the tomb of the pharaoh that had died. If there wasn’t a chest to put the jars into, they kept all

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four jars together and put them close to the mummy. Similarly, the Aztecs had special cremation urns for any passing member of high society. The urns were highly decorated, with etching and contained the cremated remains of those of who passed. It is evident that since the ancient eras, humans place sentimental importance on vessels, due to what they mean to their beliefs as a society. These beliefs were important to many in society, thus each member of society may develop their own sentiment to these important ritualistic vessels.

With the introduction of the steam engine in the 19th Century Industrial Revolution, there was an influx of migrants to the cities of Europe, alongside the erection of several mass-production factories. In regards to efficiency, factories were producing more products for a cheaper cost as a result of this new technological advancement. Products were being produced tenfold. Products became widely accessable to a larger spectrum of people in society, with members of the middle class owning items such as trinket or jewellery boxes, which were traditionally owned by only the highest and wealthiest members of society. These boxes were usually owned by these

Ancient Egyptian Canopic Jars, The Walters Art Museum

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An Ancient Chinee Ting, Metropolitan Muesum of Art

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A London Factory, 1846

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high-class people as the heavily adorned boxes were made with fine metals, featuring stone setting and embellishments were too expensive for anyone below this estate to purchase. As trinket boxes could be produced at such a high rate through mass-production, the value of these rare, hand-made boxes skyrocketed.

Although many people were given access to these vessels in comparison to how many would’ve possessed them prior to the revolution, the value of the product itself was lost as a direct result of mass-production and introduction of machinery.

Although it is arguable that with the introduction of mass production of vessels, the value of each vessel was lost as each product was no longer special and was just a replica made alongside thousands of others in contrast to their unique

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one-off ancestors created as far back as the ancient times up to the Renaissance, it is important to acknowledge that we still utilise mass production as a means of producing the majority of items on the market today. With the majority of these pieces being mass produced it would be easy to assume that they don’t mean anything to us anymore. Although the initial influx of mass production did almost wipe out the trade of hand-made products, we continue to place sentimental value on the objects due to the experiences we share with our objects. It is a human response to seek ownership of material things, due to the feelings of safety and comfort that familiar spaces and items give us. Even with the integration of machine techniques into the production of many products, including vessels, we are still able to create a sentimental associa-

tion with the object due to the personal and unique way we experience life. Thus, suggesting that although the context of the vessel and its production has changed drastically over the years, we humans are able to value each product differently due to our life experiences.

duced in factory, due to our natural response of creating a collection of familiar items, building sentimental association with our items, which is developed internally due to the unique and personal ways that we experience out lives.

At many points of human history, we have relied on the vessel as an important product of our societies. Whether the vessels were used in the religious environment of our societies or the personal life of certain people, it often served a very ritualistic purpose. Even with the introduction of mass production, which, arguably demonitised the production of hand-made products as it was no longer deemed efficient, we as humans are able to place value on almost any object, no matter if it is traditionally hand-made or mass pro-

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Research

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Jewellery Making For many years, jewellery has been a universal form of adornment. Although evidence of jewellery existed, it was not until 3000-5000 BCE in Ancient Egypt that the art and trade of jewellery making was established, particularly with the use of fine metals, usually gold. The jewellery that adorned the ancient Egyptians were rich in detailed designs and opulence, with popularity lying in bracelets or cuffs and extravagant necklaces or collars.

The ancient Grecians also adorned themselves with items of jewellery, adornments like jewellery were a classification of class and power in society. This societal standard was heavily applied during the reign of Ancient Rome, where extravagant jewellery dominated society due to the size and scope of the empire. The Romans also introduced the broach as a functional piece of adornment. The more precious stones a broach featured, the higher in society the wearer was regarded. Rings were another functional piece of jewellery which was worn by both men and women. Men’s’ rings, in particular, had engravings to use for wax sealing

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when signing official documents. Similar to broaches, the more rings and adornments a person wore, the higher regarded in society they were. Even after the fall of the Roman empire, the use of jewellery as a representation of class continued, and the trade of jewellery making was developed further.

In the middle ages and the renaissance, there was an increase in the trade of jewellery, leading to the popularity of gem-stone setting. Jewellery often had Biblical themes, with reference scattered throughout designs.

With the boom of the industrial revolution in the 19th Century, jewellery began to be mass produced. This left the trade of hand-crafted jewellery highly sought after by those in society who could afford it. Alongside this however, costume jewellery, or fake jewellery also started to emerge. Forcing the wealthy to sought after intricate and detailed jewellery designs to stand out from the middle and lower classes/ estates, allowing for an increase in the demand and trade of the production of commissioned one-of-a-kind pieces.

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A primary example of jewellery made during the Anicent Egyptian era. This piece displays the attention to detail in each part of the collar, using gold and bronze that is beaten into shape.

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A depiction of the extravigent jewellery worn by the upper class during the Renasaince. For the upper class, fine jewellery was worn to seperate themselves from the lower classes of society.

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Jewellery Boxes

With reference to the history of jewellery, jewellery boxes were created since the ancient era and were originally referred to as jewellery caskets. These early boxes where made of metal, finished with adornments made of gold, silver, copper and sometimes, ivory. These boxes are as valuable if not more valuable than the items that they store.

The industrial revolution initiated the mass production of jewellery boxes, enabling the middle class of society to purchase decorative items like the jewellery box and other commodities. As jewellery boxes could be now manufactured in bulk and the cost in mass production was far less than one-off commissioned pieces, jewellery boxes became affordable for the growing middle-class.

Owning jewellery was a rare luxury and to have enough jewellery to need storage

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for it all was a privilege bestowed on a few members of royalty and high society during these historic times.

During the early 20th century there was an over whelming boom in the mass production of jewellery boxes. With the advancements in the mass production industry, fine metals like gold and silver could be used and were very common in many boxes made during the era and are regarded as valuable antiques today. In the present day, jewellery boxes are more than mere places to store jewellery. They are pieces of adornments, a part of the owners’ home décor, chosen by the owner to reflect their own self and style whilst also being functional places to keep their collection of jewellery.

A modern jewellery box. Today, boxes like these are easily mass-produced, making them more accessable for the growing middle class.

A Renassaince period box. Highly adorned, only a few select members of high society were able to possess a box like this.

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Industry Precidents

Designed and photographed by Cory Egan

Jewellery is, and has always been a highly creative art form, since its humble beginnings in the ancient eras. Even the materials used in the creation of the pieces are extremely valuable. Designers and crafters alike continue to push the boundaries of what is current processes and materials with the advancements in technology and broadened accessibility.

The art of designing different forms of adornments can often be slow, with each piece usually requiring fine detailing skills due to the sometimes, miniscule size.

However, the process of using computers to achieve a final form can often be as tedious. Designers can spend hours manipulating CAD models, whether it is sheet metal or a free-formed object. With today’s trends, simple, repetitive design is highly sought after within the jewellery

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industry, as well as the broader metal industry.

As with many other areas of design, each metalworking designer creates pieces with a consistent theme, having each piece portray its own personality and sharing their process of creation. This is evident in many hand-made pieces, we as humans lack the accuracy and precision that computers can achieve. However, this is not necessarily a bad thing. Many consumers to sought after objects and adornments with evidence of imperfections as the piece may have the feeling of having a deeper story or meaning beyond its intended surface decorations.

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In the context of this project, all the ridges and inconsistencies in the surface of a hand-made piece is actually sought after. The story behind the piece is as important as the function itself. It is important that any potential consumers are able to make a connection with the piece in some way, with the hopes of evoking the emotional response necessary for sentimental value to be placed on the object by the consumer in question.

Designed and photographed by Cory Egan

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Millie Savage Jewellery

Millie Savage, owner and designer/maker of Millie Savage Jewellery.

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Millie Savage is a Melbourne based jewellery designer who produces bespoke jewellery items, Savage describes her jewellery to “enhance your powers”. Her designs reflect her interest in the beauty that can be found in life’s smaller things. Particularly well known for her opal rings, which are often reminiscent of “little worlds of wonder you can dive into and immerse yourself in” Using the process of lost wax casting and modelling, Savage sources the best quality stones, gold and silver as she had makes each piece of her collection. ‘Each stone is also ethically sourced by Millie, the majority of opals coming from Lighten Ridge, NSW, Australia, direct from miner to

jeweller. Furthermore, Millie is learning to cut her own opals and helps to over-see the whole process as well. No factory or mass production will ever be involved, and each piece is unique.’ (milliesavage.com,2019) Savage utilises the intricate detailing of the wax material as a prominent feature of her designs, making each piece individual for each customer. The finish that wax modelling gives can be imperfect, with small ridges left from a wax file or carving pen. But it is these imperfections that make her designs fascinating.

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Rings and earrings by Millie Savage Photographed by Bethany Harris

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Human Psychology Object Attachment As humans, we assign a sentimental value to objects that we don’t necessarily need, don’t use or even not really like. It is often difficult for another person, an outsider, to understand and grasp how material items take on a significance for the person in question (Sanoma State University, 2001).

‘Attachment objects’ are a particular class of objects which provoke positive social feelings, resulting in a person’s inability to let the object go. Such objects provoke specific emotions related to the intense closeness people feel with their loved ones (Taryn Bell, 2017).

There are many contributing factors and reasons as to why one is to create an emotional attachment to ordinary, inanimate objects. Usually, the object itself has significance in one’s life. These objects may remind the person in question of fond memories of the related experience or of the person associated with the object.

Similarly, If the object belonged to or was made by someone who has impacted one’s life, one may be more likely to hang on to the item as a keepsake. It is quite

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common for people to keep the belongs of deceased loved ones and keep gifts from people who had an impact on one’s life. Inanimate objects given as gifts or left behind by loved ones as mementos often serve as triggers for memories with the people we love.

Sometimes, the object will not bring back fond memories or act as mementos of loved ones who have passed. These objects in particular are kept after a person places value on them because the object has aesthetically pleasing features.

Collecting shells on the beach is a great example of this. You don’t pick up every shell you come across, you choose those that have a nice shape, pretty colour or feel good in your hand. You have always loved the rough feel of pottery, so you drink your coffee from a clay mug, and become sad and upset if the cup shatters even though “it’s just a cup”. The simple act of liking something, preferring it, or viewing it as a “favourite” can make you attached to an object.

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Attachment as a Risk Factor of Mental Health

Object Relations Theory

and here you are living despite it all If one is feeling alone or stressed, keeping objects as safety items or barriers to the outside world can be used as a short-term coping mechanism. Depression and anxiety can be onset by a very persistent and overwhelming feeling like loneliness or lose of control. If these persist for too long, it can become unbearable. Collecting objects often creates a safety blanket for people who feel these particular emotions. Keeping Inanimate objects close may give a sense of security to the person in question but does onset loneliness and isolation when using emotional attachment to inanimate objects to make one feel in control or safe. Sometimes the solution for extreme loneliness is to “create” a companion in the form of an inanimate object. When there is no one to talk to, one may des-

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ignate an object to anthropomorphise.

Anthropomorphism is the attribution of human characteristics or behaviour to a god, animal or object (Oxford, 1928) For children, anthropomorphism and feelings of loneliness induced stress can lead to disorganised attachment.

Disorganised attachment is when a child displays inconsistent or contradictory behaviour patterns in the presence of a primary care giver. Ambivalent behaviour (turning away) when re- united with a care giver (DSM-5, 2013). Disorganised attachment is a risk factor into the onset of mental health problems and disorders.

As mentioned previously, attachment is characterised as a risk factor for the onset of mental health problems and disorders. The ‘Object Relations Theory’ suggests that “Relations” refers to interpersonal relations, and suggests the residues of past relationships can affect a person in the present (Sonoma State University, 2001).

- rupi kaur

Therefore, any traumatic events that occur in ones past, may create a chemical imbalance in the brain, making one act out of their usual behaviour, changing their habits. This may onset a new association with an object as it is deemed safe by the person in question. The new bond places a new found sentiment on the object, whether it is an actual object or otherwise.

Exert from ‘Milk and Honey’ by Rupi Kaur Illustration by Rupi Kaur

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Cairns The use of cairns, or rock piles, by humans can be dated back as far as the pre-historic ages, although they are typically associated with ancient cultures. Rock are a man-made mound of stones (Colorado State National Parks). The mounds take different forms but have been built by a variety of cultures around the world for different purposes. Cairns may serve as monuments, burial sites, navigational aids (by land or sea), or ceremonial grounds, among other uses. They may stand alone, in clusters, or in a network of related cairns; for example, as trail markers in a park (Greg Uyeno, 2019).

The larger cairns can withstand time and weather, with some archaeologists believing that some are hundreds of years old.

Rock cairns can be considered an integration of human culture and the natural landscape.

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Traditionally, the location of cairns is carefully chosen, and the construction process of ceremonial use may implicate cultural importance. Due to this rock cairns can be “very difficult to understand without looking at a landscape,” (Maria Vieves Zedeño, University of Arizona) The word cairn comes from Scottish Gaelic, translating to ‘heap of rocks’. In Scotland, burial cairns are well-known, but there are many possible uses for cairns, which vary from culture to culture (Live Science, 2019). In America, native people appear to sometimes construct burial cairns, “that are sometimes confusingly called medicine wheels, a central cairn might be surrounded by other cairns that point toward important places in a person’s life” (Maria Vieves Zedeño, University of Arizona). Further north, grave sites are just one possible context for cairns. They

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may take other forms, including animal effigies and split stones – stones filled with smaller rocks that are considered portals to the underworld—thus, taking on a spiritual importance for some olden cultures.

In our contemporary world, cairn building, and rock stacking is distinctly modern, being more of an art form rather than a ritualistic or spiritual building. Occasionally stated as controversial, artistically rock stacking in the wilderness with the intention of posting pictures to social media has become an apparent fad for artists.

Although modern cairns are often used as trail markers along hiking trails, these artistic piles can cause confusion for hikers as their location is not strategically chosen like these other modern cairns. The piles used as trail markers do reflect the importance of ancient cairns as their location is chosen with intention and distinction, making them more than just a pile of rocks but a feature of the landscape that

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serves a purpose.

The design of these boxes will reflect the sculptural qualities of the cairns, as well as the importance of balance and stacking of the rocks to create a striking piece that can hold its position comfortably. In regard to context of the design, as these are jewellery boxes, they will be monuments of importance to the owner of the final product. As discussed, jewellery and adornment objects are easy for us as humans to attach to because of how we class the value of material possessions such as these. Furthermore, the story behind why we class things as important to us and become attached to them can be just as valuable as the object itself. By reflecting human emotion through the design of the pieces an emphasis on how we feel, and experience is created, acknowledging how events in our lives can affect our mental wellbeing.

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Location Study: Uluru Uluru is not only one of Australia’s most iconic landmarks but also a notable part of our country’s cultural history. The landscape in which the monolith sits has been inhabited for many thousands of years by the indigenous Australian people. These aboriginal people of Australia have been around well before the Europeans came ashore in the 1800s. There were an estimated 500 different nations The natural landmark is believed to have been formed by ancestral beings during the fabled Dreamtime. Dreamtime refers to the time when the land and the people were created by the ancestor spirits. They create the rivers, hills, rocks, and more, with everything in the natural world forming in the Dreamtime.

To this day, traditional rituals are still held in the caves at the base of the rock. These sacred spots have strict photography laws where tourists aren’t allowed to take photos. The Anangu people hold numer-

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ous traditional customs at Uluru. These people centered their lives around the ancient laws of the land and traditions passed down through generations via Dreamtime stories. The Anangu people’s Dreamtime story on how Uluru formed resolves around 10 ancestral beings. Each region of Uluru has been formed by different ancestral spirit. In the southern side of Uluru, the rock structure was due to the war between the poisonous and carpet snakes. The north-west side was created

by Mala, the hare people. Another area was formed by the Tjukurpa of Kuniya, the sand python, who left her eggs a short distance away, and was dancing across the rock (Uluru Tours, 2019). These unique traditions or laws are known as Tjukurpa are suggested to be the baseline to this culture and still governs all relationships that take place between people, animals and the land. In visiting Uluru today, it becomes apparent that these cultural connections are still a strong part of life there.

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there. With numerous customs and rituals taking place nearby its formation. The Anangu people work hard to protect their lengthy, fascinating history, and continue to live in the same way they did thousands of years ago (Uluru-Kata Tjuta National Park, 2011).

For many members of the indigenous community, Uluru isn’t just a rock, it is a living, breathing, cultural landscape that are sacred. It is not only the rock itself that is important, but the land that surrounds it as well. For the local aboriginal people, the sacred site expands past the rock ends and into nearby rivers and trees surrounding Uluru. As it is established as the final resting place for the ancient spirits of the region, Uluru may be compared to a Christian church. As the customs and traditions of the local people have been passed down from generation to generation, protecting the entire area from harm is their religion. As the rock is the center

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of all life and spirits, the people and animals of the land owe believe they owe their existence to the sacred rock.

Although Uluru is an incredibly important cultural site for the aboriginal people of Australia, many other people find the site significant. Although the Anangu people have their own beliefs on its creation, scientists have studied the monolith and suggest that it is an extremely unique geological site. Uluru today is even listed as one of the most recognizable natural sites in the world.

Uluru and the surrounding area are under the Indigenous Protected Area, which gives protection to the biodiversity, cultural and social features within. Due to its outstanding worth as both a sacred place and a unique geological site, the majority of the region is protected by the Uluru-Kata Tjuta National Park rangers alongside the traditional custodians of the land (Parks Australia, 2013).

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Story Telling Through my Object A major focus of this project has been the story telling element behind my final design, where I successfully create a piece that can evoke emotion of the user. As the jewellery boxes have been developed to be fully functioning vessels themselves, what they represent should also carry my very important story.

To acknowledge how this whole process of how we can experience emotions like these, I hope to keep the form of the piece as organic and natural as possible.

These feelings are normal and everyone may experience them in one way or another throughout their lives.

As previously stated, much of this project has been inspired by my journey dealing with mental health problems. In my design, I want to acknowledge how our mental states can fluctuate over time. I aim to acknowledge the natural human response of emotion, and how our expe-

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riences do affect us, sometimes changing our outlooks on life.

When we are feeling the most alone, in a darker place than we would normally be, we close ourselves off from the rest of the world (Showing weakness like sadness is an unfortunate stigma in our society). For others it may be difficult to see what is really going on inside, as we keep these thoughts and feelings away from the light of everyday. Even though there is this incredible low that we can experience, there is also a grand high. We can experience true happiness and comfort as we begin to pull ourselves out of the dark place that extreme sadness and depression can leave us. Although it is difficult, we combat these heavy emotions, opening ourselves up to the people around us, becoming happier with who we are, and who we are becoming.

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Concept Exploration

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Honey comb.

Foam & bubbles.

structure is integral to design

Clusters of similar shapes and sizes. repetitive shape. varying size.

the object is inherently trasperant.

The shape or outline is resultant of the projection of light on the surface.

systematic. there is rhyme and reason to the pattern

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This pattern has more variation and allowance for randomness.

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Water.

Insect Wings.

Ripplng effect could be achieved on the surface texture

layering effect

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Imperfect pattern, c ahnges in consistancy of size

imperfection creates interesting wire pattern

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Nueronic connections and Synapses Inconsistencies in pattern...

Tree branches. natural growth The pattern I will use across the surface of each jewellery box will be inspired by the neuronic structure within our brains. Each connection that we keep is extremely important for every natural process that our body completes, whether we know we are doing it or not.

The structure also acknowledges the decision making that we all undergo internally when placing value and importance on a certain object and create a sentimental association with the object.

The unevenness of the pattern will be exentuated through the wax model, as these connections makeup our individuality and how we experience our world, the pattern should not be perfect.

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sprouting and growing. from a point.

reminscent of feelings and emtions. mentallity.

Decision making process. What deems something important to us?

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Developed Concept Technical Drawings

40mm (depth)

70mm (depth)

30mm (depth)

40mm 20mm

20mm

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40mm

50mm

80mm

60 g

105 g

120 g

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Stacking & Placement Ideation

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Project Outcome

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Questus Melius ‘Getting Better’

60 g

Our connection and relationship with objects carry with us our entire lives. As children, we keep special objects close in a kind of safety blanket. Even in adulthood, we place value on objects that provide us with emotional comfort. What we perceive as an object of value may be useless to someone else. It is often difficult for another person, an outsider, to understand and grasp how material items take on a significance for the person in question (Sonoma State University, 2001).

The journey I have undertaken combatting mental health problems has inspired me to tell my story through this project. How our mental state affects our outlook on life can be fascinating when looked at in a neutral light. The way we think about and respond to the world

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105 g

120 g

around us changes, due to a chemical imbalance within our brain. Portraying this in the piece I design is essential to this vessel.

Vessels themselves are a very functional product. They can provide storage and safety for what we believe is important to keep safe. In a way, we, as humans, are vessels, carrying important memories and experiences that make us all truly unique.

By exploring past and present methods of metal-working, and by experimenting with new techniques, I have gained a knowledge base in this area that will further my exploration and experimentation throughout this project.

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CNC Milling

Methods of Production

Convex forms were milled out of brass in order to create surfaces that mimic rock faces. The milling process on the 3-axis mill allowed for semi-spherical form to be created which could easily be dipped into wax to create the shelled rock forms.

Wax Modelling

The CNC cut objects, and found objects, were dipped into melted blue wax, creating curved surfaces. The wax dipped parts are fused together using a wax carving pen set at 115 degrees C. Once the whole shelled rock is created, the pattern could be carved out of the wax shell, again, using the wax carving pen. Pending on which part is being worked on, the size and variation of the pattern will change.

For any areas that are not carved, texture may be added with the hot tool. Any final cleaning up or texture may be added with a combination of a wax file and the carving pen.

ed and transferred into the cavity of the flask using centrifugal force (a machine creates this force by spinning the flask and crucible with molten metal). Once the metal is cool the plaster is submerged in water, dissolving the plaster and leaving the metal cast. The sprue is cut off and the piece is left for finishing.

Finishing

To smooth any awkward juts, including the base of the sprue, a file is used. After removing the base of the sprue and smoothing any necessary parts, wet/ dry sand paper is used to buff out any scratches using progressively finer grits of sandpaper to achieve the smooth surface.

A polishing wheel on a Dremel is used to remove the finest scratches. No polishing agent is added to the wheel, leaving a matte finish rather than a mirror one.

Wax Casting

When being cast, the wax model is attached to a rubber base to create a mould. A wax cylinder called a sprue connects the two. The sprue becomes the channel through which molten metal flows into the form. After attaching a metal flask onto the rubber base, investment plaster is poured into the flask and over the wax model. To remove any bubbles, the plaster is poured slowly. The flask is heated in a kiln to bake the plaster until its cured.

As the heat rises, the wax melts, leaving a cavity inside the mould. Metal is melt-

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Costing List

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Evaluation

Material/ tool

Cost

Supplier

Process

Blue wax block

Pink wax sheets

$36.25

Koodak

Wax modelling

$1.20 ea

Koodak

Wax modelling

Wax carving pen

Supplied by RMIT RMIT workshops Wax Modelling

Wax Melting pot

Supplied by RMIT RMIT workshops Wax melting

Brass Material

$25

RMIT workshops CNC milling

Silver Material

small part $78.75

medium part $165.42

large part $222.83

HS Castings

Casting

Casting fee

HS Castings

Casting

$100.00

Wet/ Dry sandpaper $8.00 ea

RMIT workshops Finishing

Dremmel

Already Owned

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Polishing

At the beginning of the project, I had set my sights on focusing my final design on the story behind the object. I explored how I could incorporate natural themes into the design, as my interests lie with nature and exploring the snow. This led me to deeply investigate hiking trails and the rock piles along them. These piles always stood out to me as they were seemingly impossible, so facing the engineering challenge of balancing objects on top of each other was quite daunting, but I explored methods that I could achieve this effortless stacking technique.

However, I did struggle with turning my idea into a functional vessel versus a sculpture. It didn’t help that my dive into research resulted in me having what I believed to be a weak story that I wished to

further develop but couldn’t think of how.

I had plateaued and was struggling to progress with my design and developed processes. This was due to a few reasons, but really resided with the deterioration of my mental health. This left me unmotivated and lacking the focus to complete work to my usual standard leaving me frustrated and defeated. But, working closely alongside my tutors, I got back on track with my project, developing my story around how I was personally feeling. The concept has been confronting, it had left me feeling vulnerable, but the studying and reflection of my final design has actually lifted some weight off my shoulders as I do feel that this is a product that I can see and feel my emotions and my journey when I look at it.

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Historic UK. 2019. Timeline of the Industrial Revolution - Historic UK. [ONLINE] Available at: https://www. historic-uk.com/HistoryUK/HistoryofBritain/Timeline-Industrial-Revolution/.

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V&A. 2019. V&A · A history of jewellery. [ONLINE] Available at: https://www.vam.ac.uk/articles/a-history-of-jewellery.

Corey Egan. 2019. How It’s Made : Lost Wax Casting Part 1 - Carving – Corey Egan . [ONLINE] Available at: https://coreyegan.com/blogs/blog/how-its-made-lost-wax-casting-part-1-carving.

Encyclopedia Britannica. 2019. Encyclopedia Britannica | Britannica.com. [ONLINE] Available at: https:// www.britannica.com.

How-to-Make-Jewelry.com. 2014. Lost Wax Casting Tutorial. [ONLINE] Available at: http://www.how-tomake-jewelry.com/lost-wax-casting.html.

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Tombs of Ancient Egypt. 2019. Tombs of Ancient Egypt. [ONLINE] Available at: http://myweb.usf. edu/~liottan/tombsofancientegypt.html#targetText=Tombs%20of%20Ancient%20Egypt&targetText=Ancient%20Egypt%20is%20known%20for,rd%20to%206th%20Dynasty)..

livescience.com. 2019. What Are Rock Cairns? | Live Science. [ONLINE] Available at: https://www.livescience.com/65687-rock-cairns.html.

Ancient History Encyclopedia. 2019. Ancient Greek Pottery - Ancient History Encyclopedia. [ONLINE] Available at: https://www.ancient.eu/Greek_Pottery/.

EzineArticles. 2019. Jewelry Boxes: A Deeper Meaning. [ONLINE] Available at: https://ezinearticles. com/?Jewelry-Boxes:-A-Deeper-Meaning&id=6254839.

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Jewelry Making Through History, A 75,000 Year History | The Loupe. 2019. Jewelry Making Through History, A 75,000 Year History | The Loupe. [ONLINE] Available at: https://www.truefacet.com/guide/ jewelry-making-history/#targetText=Though%20evidence%20of%20jewelry%20existed,rich%20 design%2C%20artwork%20and%20opulence..

Sun Signs. 2019. Symbolism Of Stones & Meanings | SunSigns.Org. [ONLINE] Available at: https://www. sunsigns.org/stones-meanings-symbolism/.

Rock Cairns (U.S. National Park Service). 2019. Rock Cairns (U.S. National Park Service). [ONLINE] Available at: https://www.nps.gov/articles/rockcairns.htm.

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Healthline. 2019. Attachment Disorder in Adults: Styles, Tests, and Treatment. [ONLINE] Available at: https://www.healthline.com/health/attachment-disorder-in-adults.

DSM-5. 2019. DSM-5. [ONLINE] Available at: https://www.psychiatry.org/psychiatrists/practice/dsm.

The object of my affection: attachment security and material culture, 2017. Time and Mind :The Journal of Archaeology, Consciousness and Culture. Taryn Bell and Penny Spikins Why do humans sometimes get emotionally attached to ordinary inanimate objects? - Quora. 2019. Why do humans sometimes get emotionally attached to ordinary inanimate objects? - Quora. [ONLINE] Available at: https://www.quora.com/Why-do-humans-sometimes-get-emotionally-attached-to-ordinary-inanimate-objects.

The object attachment theory, 2001. Sanoma State University, Psychology department. By Ivan Boszormenyi-Nagy, W.R.D. Fairbairn, Henry Guntrip, Edith Jacobson, Heinz Kohut, Otto Kernberg, Melanie Klein, Margaret Mahler, D.W. Winnicott Australia - in Oceania - Thousand Wonders. 2019. Australia - in Oceania - Thousand Wonders. [ONLINE] Available at: https://www.thousandwonders.net/Australia. parksaustralia.gov.au. 2019. No page title. [ONLINE] Available at: https://parksaustralia.gov.au/uluru/discover/history/.

Uluru Tours. 2019. The Significance of Uluru to Australian Indigenous Culture. [ONLINE] Available at: https://ulurutoursaustralia.com.au/blog/the-significance-of-uluru-to-australian-indigenous-culture/.

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Thank-you to: Rose Boddam-Whethem & Brad Marmion, Tutors Matthew Spillman, location photography James Borgese, Final product photography RMIT workshop technitians

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a book by Natalie Chloe Borgese Bachelor of Industrial Design (Honours) RMIT University 2019