Sarah Henderson Designer
Design Profile
2020/21 1
Sarah Henderson
hailing from Bushmills, Northern Ireland, studying Product and Furniture Design (Ba) with a history in Graphic Design and Fine Art.
CONTACT s.j.henderson.design@gmail.com issuu.com/s.j.h.design 07715279142
2
Contents
Foreword Page 2
About the Designer Page 4-9
Project One: ‘Bottle of Wool’ Page 10-13
Project Two: ‘Bassinet’ for John Lewis Page 14-17
Project Three: Flexible Education, a consultancy for Pearson&Lloyd Page 18-21
To Conclude Page 22-23
Bibliography & Figures Page 24-25
3
•about the designer•
Hailing from Northern Ireland, I find myself driven by my North Coast community and my Irish identity, my work often manifests itself in organic forms, natural textures and earthy tones. Authenticity is incredibly important to me and this, I believe, comes from the honest and genuine nature of Northern Irish community and countryside. Before moving to University, I spent two years studying Fine Art and Design Crafts, this gave me a unique veil through which to approach design. Constantly inspired by tactile details, I pay closer attention than most to textures, colour and context.
► Sarah Henderson, ‘Fragile’, porcelain ceramic sculpture, 2018 Fig 2 (top), Fig 3(Below) 4
•about the designer•
When I approach a new project, my mind will flood with visuals and I will attempt to draw parallels using my own surroundings via photography and art, I’ll browse heaps of research not restricted to any specific subject but taking inspiration from all wells of knowledge and information. Throughout my process, considering authenticity, I will continuously question my choices, motives and actions, in turn my outcomes are well examined and reflect the level of consideration input. Instinctively, by my admiration for local Irish craftsman and creators, themes of raw textures and nostalgia seem to creep into my work. I have a particular love for hand crafted home-ware and home comforts. These things remind me of my community.
◄ Zara McLaughlin, ‘Connecting the Familiar’, Earthenware sculptures in an oxide wash, 2020 Fig 4 5
•about the designer•
(In order of appearance) Fig 5, 6, 7 6
•about the designer•
7
(In order of appearance) Fig 8, 9
•about the designer•
Considering the work I have completed to date in my second year, I find it hard to define a single pathway as being the most enjoyable because each challenge presented their own lessons and relief. None were mundane and all provoked new ways of thinking and perspective. Working on an Individual led project allowed me to really question my own motives and drives; do I have a visual language, what makes a concept resonate, how do I rely on my own moral compass to guide ethical choices?
► Sarah Henderson,‘Bottle of Wool’, 2020 Exploring the ethical and physical boundaries of HDPE Fig 10
8
•about the designer•
◄ Sarah Henderson, ‘Bassinet, 2018
Designing for the brand language of ‘John Lewis’ was lesson in compromise and communication; how can I dig deeper than visual cues to understand a brand ethic, how can I be authentic to my own Design process whilst designing for a Brand? Working as part of the ‘Pearson&Lloyd’ consultancy opened the door to collaborative exploration and learning through conversation; what team role do I naturally fall into, how can we be encouraged to think more collaboratively and stop taking individual credit? Fig 11
9
•project one•
‘Bottle of Wool’ Bottle of Wool was created as part of a brief to repurpose a standard size container. Inspired by ‘Beyond The New. A Search For Ideals In Design” by Hella Jongerius, I found myself captured by the common HDPE Milk bottle. The milk bottle has had a journey through design, it exists in some form in most homes and the shape is iconic and instantly recognizable. “Design in not about products. Design is about relationships.” (Jongerius, With this shapes relationship being so interwoven with its function, how could I assign a new one?
Fig 12 10
•project one• Fig 13
Playing with its limits, through heat, HDPE allows itself to be moulded and set over and over which at first I thought would be key in this product. These tests led me to lighting, the opacity of the HDPE charmingly diffused the light and its moulding qualities meant I could cast interesting vessels to capture the light. The Milk Bottles history is rich and iconic, here, I was struggling to pull together my observations on HDPE and light play, realistically my ‘Milk Bottle’ could be replaced with any semitranslucent product and my light would still function. I chose to take a step back and reconsider what made me choose the Milk Bottle and what was important to me in this repurposing? These were things like shape, form and lines, if I am so inspired by the nostalgia of this shape, why would I reform it?
▲ S. Henderson, ‘Bottle of Wool’, 2020
◄ S. Henderson, ‘Bottle of Wool’ Final Model, 2020 11
•project one•
During my market research, I found that during and post COVIDlockdown, markets saw a spike in handicrafts with new companies like ‘We Are Knitters’, ‘Stitch and Story’ and ‘Wool and the Gang’ which all cater to every age and skill level interested in knitting. It made sense, through experimentation and play, I found my Milk Bottle’s form was perfect for a ball of wool and the handle lent itself with ease to feeding the material and preventing knots and tangles. I toyed with this concept, chopping and changing aspects until I had something solid. Thus came ‘Bottle of Wool’.
► S. Henderson, ‘Bottle of Wool’ Final Model, 2020 Fig 14 12
•project one• Fig 15 ◄ S. Henderson, ‘Bottle of Wool’ Sketches, 2020
13
•project two•
‘Bassinet’ for John Lewis Sustainability should be a given in a designer’s outputs, so I wanted to use this brief to reevaluate existing products and question how we can use sustainability to push these products even further.
► (Far Right), S.Henderson, ‘Bassinet’, 2020 (Far Left) Jesslyn Sutisna,‘Jiggle Box’, 2018
Deciding to design for family orientated furniture was a logical choice, far too often, children’s products are designed with short lives in mind and it was here, I realised, transformational qualities could play a key aspect in this project as well.
Fig 16
▲ S.Henderson, ‘Bassinet’ Final Model, Mixed media, 2020
14
•project two•
Initially, early on I struggled to find the middle ground of my own visual language and catering to the brand language of John Lewis. There was definitely a moment of comprehension where I decided to set some bold, colourful and playful plans aside where they didn’t fit John Lewis’ visual cues and values, in favour for something more appropriate, elegant, traditional and bespoke style.
Inspired by projects like ‘Jiggle Box’ by Jesslyn Sutisna, an ambiguous, little, mono-material cork box, I understood that material play and innovation is a way to transform our thinking. The Jiggle Box had lengthy, perpendicular cuts in each face, allowing the box to flex and shift, leaving the products’ function openended. How could I use material properties and characteristics to create a transformational, sustainable, family-friendly design?
Fig 17 and 18 (above) 15
•project two•
After some ideation trial-and-error, consumer research and defining the language/values of John Lewis, the sustainable, bassinet fell naturally into place. The bassinet itself is a mono-material felt with carefully placed folds that can transform the product from bassinet to bag in it’s later life. These folds also mean lower material wastage and come in a variety of neutral colours and textures that fit the John Lewis Brand. The frame is a clean assembly and form that can be repurposed in an open ended nature, made of ethically sourced Beech. In the product’s first life, it’s a nurturing and simplistic sleeping solution for babies between 0-6 months, in it’s later life, the product’s possibilities include seating and storage but the form is open and without limits.
► S.Henderson, ‘Bassinet’ Sketches, 2020 Fig 19 16
•project two•
◄ S.Henderson, ‘Bassinet’ Sketches, 2020
Fig 20 and 21 (above)
17
•project three•
‘Flexible spaces for the Future of Education’
Collaborative Project alongside Amy Cresswell, Gavin Wong, Liam Reynolds, Will Revill
Tasked with reimagining the future of educational spaces that we inhabit for Pearson&Lloyd, in order to keep up with the changes of educational standards, these topics were incredibly relevant and relatable. Learning to adapt and overcome has been very prevalent to our lives during COVID-19, this included finding ways to work collaboratively and cohesively despite restrictions on our physical cooperation.
▼ K. Roscioli, VIRGINIA
RUN ELEMENTARY SCHOOL, photography, 2017
Fig 22
18
•project three• Fig 23, 24, 25 (Below) ► S. Henderson, FLOORPLAN
1, 2, 3 pen on cartridge paper, 2021
As we proceeded as a group, the adaptions we were making, directly impacted the insights of our project. Through market research and exploring similar spaces, we found that the key qualities of education are changing and more emphasis is being placed on communication, collaboration and creativity. We found clear examples of educators encouraging students to take responsibility for their learning and interacting with their spaces via flexible seating plans. It’s more widely accepted that learning doesn’t look like any one thing and our educational spaces should reflect this.
19
•project three•
As we considered our chosen space, the Arkwright studio, we discussed and understood the implications that came with a building of this age. It became important to us to work within the space rather than altering the room itself, using materials and varying forms in order to overcome Arkwrights shortcomings, including poor acoustics and intense, direct sunlight. As a group, we created rapid sketches analysing the existing space and potential ways to break up the room to boost productivity and encourage choice. Ultimately, we pitched our insights and research to Pearson&Lloyd with emphasis on flexible, open ended design, reflective of our insights.
20
•project three•
Fig 26 (Left) and Fig 27 (Above) ◄ S. Henderson, ROOM LAYOUT, digital sketch, 2021 G. Wong, ARKWRIGHT, photography, 2020
21
•conclude• Conclude
My work to date in second year has allowed me to think in a less linear way, I’ve learnt skills to be more reflective and communicative, ways to step back and evaluate my own choices. Adaptability plays a large role in my own development, COVID-19 has forced us all to find new ways of relating to each other and communicating our ideas. A lot of these insights, despite the catastrophe of the pandemic, I believe came about because I had the time and freedom to study my own work without the distraction of the everyday. I am lucky that my own values push me to thrive in difficult and changing situations, I pride myself on my skills of relation and articulation, however, this is still a challenging time. As I grow into the role of a designer, I need to focus more contextually on my work. I’ve found in reflection, safety or processing is slightly overlooked and these are areas I want to improve on as I learn.
Fig 28
► S. Henderson, BASSINET 4,
mixed media, 2020
22
•conclude•
As I reflect and recall my work and my insights, these things solidify for me my values. Authenticity is of the upmost importance, I always aim to show something genuine and considered. ‘Bottle of Wool’ taught me the importance of ethical choices and experimentation, whereas my John Lewis ‘Bassinet’ taught me compromise and critical analysing. Most recently, the Pearson&Lloyd consultancy project encouraged a side of collaboration and adaption.
All of these lessons have shaped the work that I produce today and serve as a base to continue to build on in the future.
23
Bibliography
Jongerius, H. and Schouwenberg, L. (2015). BEYOND THE NEW A SEARCH FOR IDEALS IN DESIGN Available at: http://beyondthenew.jongeriuslab.com/ [Accessed 6 Feb. 2021]. Jongerius, H. and Schouwenberg, L. (2015) BEYOND THE NEW A SEARCH FOR IDEALS IN DESIGN Manifesto Available at: http://beyondthenew.jongeriuslab.com/download/Beyond-the-new-manifest.pdf [Accessed 4 Feb. 2021]. Merrill, S. (2017). 7 Outstanding K–8 Flexible Classrooms. Available at: https:// www.edutopia.org/article/7-outstanding-k-8-flexible-classrooms [Accessed 5 Feb. 2021]. McLaughlin, Z. (2020) ‘Connecting the Familiar’ Available at: https://www.zaraceramics.com/sculptural-portfolio [Accessed 3 Feb. 2021]. Sutisna, J. (2018). Jiggle Box Available at: https://www.jesslynsutisna.com/cork [Accessed 3 Feb. 2021].
24
Figures
Fig. 1
S. Henderson, SELF PORTRAIT, photography, 2019
2
S. Henderson, FRAGILE 1, porcelain, 2018
3
S. Henderson, FRAGILE 2, porcelain, 2018
4
Z. McLaughlin, CONNECTING THE FAMILIAR, Earthernware, 2020 (https://www. zaraceramics.com/sculptural-portfolio)
5
R. Gault, Photography, 2020 (https://www.instagram.com/rebekahgaultart/)
6
L. Otter, Macrame, 2021 (https://www.thecopperotter.co.uk/products)
7
Z. McLaughlin, Marshmallow Mug, 2020 (https://www.zaraceramics.com/shop)
8
R. Gault, Photography, 2020 (https://www.instagram.com/rebekahgaultart/)
9
Grace, Photography, 2020 (https://www.instagram.com/pict.ureesque/)
10
S. Henderson, BURNING HDPE, photography, 2020
11
S. Henderson, CROPPED BASSINET, Keyshot Render, 2021
12
S. Henderson, BOTTLE OF WOOL 1, photography, 2020
13
S. Henderson, EXPERIMENT HDPE, photography, 2020
14
S. Henderson, BOTTLE OF WOOL 2, photography, 2020
15
S. Henderson, HDPE SKETCHES, ink on cartridge paper, 2020
16
S. Henderson, BASSINET 1, photography, 2020
17
J. Sutisna, JIGGLEBOX, cork, 2018 (https://www.jesslynsutisna.com/cork)
18
S. Henderson, FABRIC MODEL 1, photography, 2020
19
S. Henderson, BASSINET 2, collage, 2020
20
S. Henderson, BASSINET SKETCH, pen on cartridge paper, 2020
22
K. Roscioli, VIRGINIA RUN ELEMENTARY SCHOOL, photography, 2017 (https:// www.edutopia.org/article/7-outstanding-k-8-flexible-classrooms)
23
S. Henderson, FLOORPLAN 1, pen on cartridge paper, 2021
24
S. Henderson, FLOORPLAN 2, pen on cartridge paper, 2021
25
S. Henderson, FLOORPLAN 3, pen on cartridge paper, 2021
26
S. Henderson, ROOM LAYOUT, digital sketch, 2021
27
G. Wong, ARKWRIGHT, photography, 2020
28
S. Henderson, BASSINET 4, mixed media, 2020
25
CONTACT s.j.henderson.design@gmail.com issuu.com/s.j.h.design
26 07715279142