P O R T F O L I O
Shivani Dholepatil
INDEX
Ta c t i l e l i s t e n i n g e x p e r i e n c e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p g 1
Low cost Cast saw....................................................................................................................................... pg 10
Soup cooker/bowl........................................................................................................................................ pg 20
Oblique bluetooth speakers......................................................................................................................... pg 25
Handcast tiles ............................................................................................................................................ pg 38
Miscellenous projects.................................................................................................................................. pg 43
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Designing a tactile Listening experience. The outer ear is a delta of nerve endings, this is why many therapies are designed to stimulate this area. Using this information, I have attempted to reimagine the the classic headphones by detailing the foam/padding area. Trends show that increased tactility in everyday products is a desirable quality amongst consumers. This is because tactile surfaces can bring about awareness of the body and stimulate grounding and mindful experiences. Self initiated project Year of completion : 2019
My initial inspiration came as a result of playing with the tactile qualities of a flower.
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Trend : Tactility ‘By paying greater attention to all the senses, environments can be more enjoyable and stimulating, without becoming more stressful.’ - Chris Downey Tactility as a trend has translated through physical surfaces and digital interactions rapidly in the last few years. Tactility through sound is still a less experimented idea that has mostly been explored through object design and installations. Tessa Spierings’ tactile sound system as it explores the acoustic properties of materials. Her explorations demonstrate how different materials alter the sound quality , allowing the user to play with the textures of sounds.
The spheres vibrate against a user’s head. Each sphere vibrates with a unique pattern, similar to the way four audio speakers might project different sounds from different directions in a room. This installation by Sound artist Alessandro Perini explores sound is the environmental and physical properties of sound.
This project is a tactile music wearable: 10 vibration motors (the same found in cellphones) are to be attached to fingernails. This project explores creating patterns for meditation, this makes sound interactive as the user would anticipate patterns eventually.
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Translating Tactility Into Music Listening Devices
WHY
HOW
DIRECTIONS
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Changing perception of sound, making its physical qualities more apparent. Creating a novel experience around music consumption. Making space for play, making music more interactive. Harnessing the tactile receptivity of the ear. Creates an infrastructure for experimental music and sound healing practices.
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Experiments to allow change in quality of sound through material explorations. Using form as a way to influence the feel of listening to music. Creating different hardware to increase the vibrational quality of sound (using motors).
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Detachable foam padding with different materials. Detachable foam padding with different forms. Using vibrational motors as an optional feature Using it as a handheld device as well as headset.
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Inspiration • •
Flamboyance and the richness of theatre were one of the inspirations for this project. The seating and arrangement of theatres were mimicked in the form for the headphones.
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Form Exploration
I used some roses and made a headband. This gave me insight on how the layered forms interact. for example , the metal band has to be attached to the flowers in a fixed position while it itself flexes or else the layered surfaces risk the chance of getting folded.
There was still much confusion on the form so I made some mockups using paper and felt. This gave me an understanding of the desired quality/feel of the foam. It ‘s rigidity had to resemble paper’s stiffness to hold itself in place while the texture had to feel like felt/textile - soft to touch
Once I had some clarity using the mockups made before I had to gauge the proportions. I sketched a pair of headphones using an actual model. This helped me understand the possible alterations to the existing form. This was done in the foam part as well as the hard cover that hold the piece.
I started making some rough sketched and models in rhino directly. It took me sometime to get to a form that is desirable and practical looking. After that I made several experiments rendering the cloth finish.
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p ro t e c t i v e f o a m speaker
f o a m la y e rs
H a rd c o v e r
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Material And Processes •
Laminated and embossed foams die cut to create the form. It is then layered to get the desired result.
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Wornout denim
Damp Deciduous
Pale rust
The colour scheme is inspired by the quaint luxury of simple living. Taking tactile cues from the familiar like worn-out denims and old blankets as well as the tactile richness of natural environments. The colour scheme is designed to balance the flamboyancy of the form
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Designing for a low cost cast saw The cast saw is a tool with an oscillating blade that is used to make small incisions on the cast so that it is removed safely. This was designed for the lower end of the market. This process is still carried out manually in many clinics in rural India. The product had to be useful, easy(intuitive) to use and durable. According to my research the areas of concern are related to the physical and cognitive ergonomics of product.
Client : Borawake Orthocraft Year of completion : 2015
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Context •
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In rural , semi rural and even urban hospitals and clinics either use a manual tool or a basic low cost tool for cast removal. Fibreglass casts are getting more popular but plaster casts are still in use. There are two models popular in the market - one using a brushless motor while the other is with brushes. These are relatively durable with basic engineering but the design aspect is completely overlooked. The gap in the price range compared with the western models is huge oftentimes easily being 20x the price.
Challenges
Guidelines
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How do you design something within a low price range without compromising on the design basics (ergonomics) ? How do you define the guidelines for aesthetics such that is fits the context without feeling like a lower grade version of a first class product ? How can you design a product that is safe and easy to use, since many of the users would get minimal guidelines for using the product ?
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Cognitive ergonomics, the product communicates it use Durable Easy to manufacture Allows dexterity Blends with the environment Creates less strain on the body while use (ergonomic) Easy to store Easy to repair Low cost Pleasing aesthetics
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Inspiration The plasticity of the material defines the plasticity of expression. Ceramic design especially handmade ceramics offers a medium through which intuitive expression can be effortless translated. Hence many of the forms appears zen and calm. For this project I was inspired by ceramic water jugs where form and function merge.
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Types of cast
These are the different kinds of body casts. As you can see that reaching difficult corners of the cast requires that the saw should enable the user to have maximum dexterity. Most common casts are the short arm and the short leg. The patient is usually lying on the bed or sitting while the operator of the cast saw is standing this allows the user to exert his body weight while using the saw.
Physical ergonomics
The wrist of the operator is at the risk of getting damaged since this tool requires continuous movement. The wrist position and grip was designed to derive rotation and strength from the shoulder joints while the wrist and the elbow remain in more or less same position.
Cognitive ergonomics
The cognitive ergonomics also had to be taken into consideration. The oscillating blade is often mistaken for a rotating one. Since the working is not properly communicated, the patient feel anxiety and fear. The act of using the tool has to exude warmth and care.
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Form exploration
The tool weighs approximately 1.2 kg. Initially there was a speculation on whether the tool should be one hand use or both hand use. These sketches were initial steps in the brainstorming process.
The centre of gravity and mass were taken into consideration in relation to the body so that optimal energy is expended.
Since the tool is designed for the low cost market , I experimented with some vernacular materials to bring down the cost of the product.
More organic forms were explored, these were inspired by the bone form. being slight complex they had to be refined.
A simpler form would be easy for production as well as is cognitively more user friendly. basic forms are relatable and feel familiar due to their playful straightforward looking appearance.
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Designing the grip
In my research the forms of the existing products in this market have minimum focus laid on the ergonomics. Often appearing threatening.
The grip is designed while being mindful of this medical power-tool and it’s appearance is made to resemble a gentle act like pouring water.
The act of using the tool is represented by this diagram. The black dots represents points of momentary rest while the dash lines show the cuts. the tool has to be lifted after every cut and placed on the next spot. If this is not done properly can cause burns caused by excessive overheating due to friction.
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Details
The inspiration for the form comes from basic geometry as well as the human bones. Also creating a combination of matt and smooth finish.
Light Pastel colours preferred in hospital/ medical interiors and products is questioned and instead shades of muddy brown are explored.
The basic geometry add a light playful vibe as well as appears simple.
The Colours inspired by the brown skin tones add a familiar touch to the product blending into the environment making the product seem approachable.
The bone finish adds an organic touch.
The grip is designed to be moulded in silcone and is removable for cleaning and maintenance. The hard plastic is coloured HDPE. The blade and and the shafts are alloys of stainless steel.
The shape of the blade is designed to highlight the oscillating function of the saw. This would prevent the user and the patient to misunderstand it for a circular saw.
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Designing a cooker
soup
bowl/
Soup and one pot meals are often easy and time efficient ways of getting the nutrition one needs. This product does just that, It is an efficient way to cook, eat and clean. It is also designed to be energy efficient as it is designed to be used by a induction stove which matches its contours maximising contact and reducing heat loss to the environment. Self initiated project Year of completion : 2019
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How to design an electric cooker that imbibes the old world charm of oriental soup bowls to encourage intuitive and mindful cooking? Soups and quick one pot meals are wholesome and comforting, they truly feel gratifying as it can be cooked with a vast range of ingredients and are quick to make.
Traditional soup bowls are represent these qualities of warmth and comfort through their smooth surfaces, form and proportions.
Making tech minimal and less intrusive, bringing an analog feel to electrical cookware.
Cookware
Serveware
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Form exploration
The form was generated through a spontaneous exploration of some older explorations. By combining splitting and then regenerating.
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The contoured shape of the induction cooker is synonymous with the shape of fire which is rising and wavelike. The contoured shape of the vessel and the cooker can also possibly lead to optimal consumption of energy.
The product can be used as a serveware/cookware. It is useful to make anything that has a liquid base - soups, hot pot, one pot meals. It can alternatively also be used as a steamer, boiler or sous vide cooker.
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Designing Oblique Bluetooth speakers
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The curiosity to begin this project started with a quick search on asymmetrical designs specifically titlted forms. There aren’t many of these in consumer electronics. I did however find much inspiration in fashion and architecture. Oblique is a bluetooth speaker designed to be slightly titled. The slight tilt doesn’t create a distinct effect but demurely challenges perception. Year of completion : 2018 Self initiated project
26 Form exploration
Finding the right inclination as well as the width.
Making the form as smooth as possible blending in all the surfaces together. Also smoothening the curve using control points to ensure no kinks.
Contours often reflect emotional qualities of the form. Keeping a slight bulge of the front faces so that it creates a slight grip.
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Exploded view
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I choose Ultraviolet as the base colour and explored different shades of it. This colour isn’t too common in consumer electronics and was a good opportunity to explore its application in this field. Ultraviolet and purple spectrum has a neutrality to it as it is neither masculine nor feminine, neither young nor old.
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COLOUR STRATEGY
WHAT’S YOUR SHADE?
Most of the products are offered in a selection of hues. Hue is the emotional dimension and most of people have a preference for certain hues relating it to either as a personal choice like a childhood favourite or a choice that is dictated by what is trending. What if though Hue remains constant and what is played with are the saturation and tonal values as choices ? How would this affect the users decision making ? Would this restrict their variety or would it open up a more thoughtful dialogue ? Would this be more helpful in discerning their individuality ?
mindful now
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The theme calls for a uniform body colour such that there are no edges that constrict, adding to the smoothness of the form. The desired finish for the form would be that of slip glazed porcelain.
The pattern is designed to enhance the playful quality and to complement the radiating quality of colour.
Found in the dusk sky and in crystals like the rainbow opal. This shade of pastel violet has a tendency to radiate while it recedes due to its short wavelength. The colour brings forth calmness and sets a mood for wonder. This theme is spatial and is a reminder of utopian bliss that we crave for intrinsically. The design includes calm patterns and muted ethereal tones to please anxious nerves.
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mindful now
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futurustic
The investigation of the future calls for sustainable design solutions. The proposed material is inspired by a textile board made from waste textiles developed by Kvadrat. Matt anodised aluminium is used to compliment the texture.
The grille pattern resembles perforated paper. The pattern creates an interesting optical illusion on the sides where the dots change direction In the last century, the aesthetic of the future was painted with metallic accents and inorganic materials with the anticipation of robots and aliens. Today however in times when we have more news of the going ons of the galaxy at the touch of our fingertips, we are increasingly being fascinated by the wisdom of the ancient past. This shade of Japanese violet was a traditional shade used to dye kimonos.
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futurustic
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eccentric pass Translucent material Translucent milky plastic is teamed with a soft to touch hard rubber to complete the look and feel of the theme
Electric purple is the colour of the highest chakra, indicating high intensity. It is paired with a grille pattern that compliments it. The theme is powered by inclusivity movements powered by social media, encouraging sharing and coming out on subjects that were previously considered taboo. This enlightening phenomenon is honoured by this theme with bright colours
The pattern is generated through a series of operations around the outline form resulting in a wave like effect. The central lighting panel has a strong stance which animates when the form is lit.
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eccentric pass
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WHAT’S YOUR SHADE?
Pattern exploration - Speckled
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Design for hand cast cement tiles In this assignment I designed patterns for a tile making company with a rich history being one of the forerunners in custom tile making in India. I sold a total of 6 designs for to Bharat floorings, the manufacturing of these is still pending. Year of completion : 2019 Client : Bharat floorings
40 Shapeshifters THEME 1 : Shapeshifters “The floor is lava!” The space plays playsa a major part Thefloor floor ofof an aninterior interior space major in the vibe of a room. These designs play with role in the vibe of the room. These designs optical perception creating a dance of patterns play with optical creating a dance to infusing dynamismperception and powering the designer of patterns infusing dynamism and powering experiment.
the designer to experiment.
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THEME 2 : Terraphilia Terra Love forPhilia all things natural have kickstarted this trend which looks like it is here to stay. Muted tones, subtle hues inspiring the feeling of eco-luxury and minimalism. Love for all things natural has kickstarted this trend which looks like it is here to stay.Muted tones, subtle hues inspiring the feeling of eco-luxury and minimalism.
42 THEME 3 : De Stijl
De Stijl
The neo plasticism art movement from the 1920’s finds relevance
The neo plasticism art movement from the 1920’s finds reletoday in this changing world. By establishing tension and balance vance today in this changing world. By establishing tension between forms, the artist depicted the spiritual and thethe sublime. and balance between the forms, The artist depicted spirHowever these paintings evoke thethese attitude of “play” which itual andtoday the sublime. However today paintings evoke is the attitude into of “Play” which delight is incorporated incorporated tiles creating and fun. into the tiles creating delight and fun.
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A brief introduction to projects Details of
all the projects
are also available on my website
www.shivanidholepatil.com
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I volunteered at an NGO in the hear t of the countr y. This village has a rich histor y of empowering handicapped population. One of the aims of the institution is to empower the disabled with work. Small cottage industries have been developed focussing on the abilities of that group. I worked with a number of industries but mostly in the weaving depar tment which was run by the visually impaired of the population. The se samples were developed with them for future applications. I also developed a marketing strategy here called “Cushion your Cause”. Cushion designs were developed by people with different disabilities. These were woven, painted, embroidered and each reflected on their disability.
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At some point I was driven by the curiosity to generate forms in ceramic that mimic a tensile quality. This was done to highlight the stark difference between their proper ties since ceramic is brittle when baked while the textile is allows expansion. I made this by creating mould using vacuum forming, textile and a wooden stencils. These were made and exhibited during my Masters at Chelsea college of Ar t.
SURFACE SKIN EXPLORATIONS
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Metal mesh was used to create a “textile” usingmodular components. A 2D mesh was translated into 3D forms which were joint together. This gave the textile its own proper ty. For e.g the textile had elasticity to it such that deformity caused on one par t would translate into deformity on ever y other par t of the textile. Finishes and applications for these were explored while I was studying at Chelsea College of Ar ts where these was exhibited too.
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I was a par ticipating ar tist in an exhibition exploring narratives in the digital spaces. Here I formed links between traditional textile practices and the similarities they share with digital technologies of today. I also gave a talk on this topic. One of my ar tworks was also featured on stir world, a platform for latest in ar t and architecture.
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This w a s a pr o jec t s t a r t ed i n t he 2 0 2 0 qu a r a n t i n e. S i n c e I t a k e k e e n i n t er es t i n t h e a bs t ra ct a r t a n d a r t i s t s , I w a s fa s cin a t e d w h en I s t u m bl ed up o n a b s t r a c t a r t f r o m 18t h ce n t ury I n di a c a l l ed Ta n t r i c a rt . The s e co ded vi s u a l s a r e i n s p ire d b y t h o s e pa i n t i n g w hich t hro u gh t h ei r m i n i m a l us e o f co lo u r a n d f o r m c r ea t e a m o t io n l i k e qu a l i t y t h r o u gh t he ir p a in t i n gs . The s e a re i m a ges t a k en f r o m a n im a t io n s w h i c h w i l l s o o n be up lo a d e d o n l i n e.
T h a n k
y o u !
w w w. s h i v a n i d h o l e p a t i l . c o m shivanidholepatil@gmail.com +91 9730985341
