volume ii S T E L L A
P A N G I L I N A N
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–Jeff r e y Z e l d m a n
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Content precedes design. Design in the absense of content is not design, it's decoration.
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table of contents T H E H A N D R A I L 6 C H E S S S E T 1 3 P A C K A G I N G 2 3 R E A D Y M A D E O T H E R
C H A I R
S E L E C T E D
P E R S O N A L
3 3
W O R K 4 0
S T A T E M E N T 6 4
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the handrail Regarding the design of our handrail, we were particularly driven by our inspiration of nature in a working environment. We aspired to create a product that would find that cohesive integration between form and nature. January 2017
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The main issue arose when our professors asked us how we planned to connect our system unto the handrail. This led for the need to create a mechanism that would allow the system to hover over the handrail and keep the scales intact. We began to design this system and it required a lot of precision and accuracy with the calculations in respect to the actual handrail.
Although it did not prove to be
the
most
aesthetically
appealing solution in the end, it was a solution to a problem that solved many problems at once. These clamps did not only attach
the mechanism to the
handrail but it also kept the scales intact and the mechanism itself together.
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The main source of work that makes our prototype and our final design work is the friction that works between the scales. It is important to note that we are only able to achieve this effect because of the fact that the scales are overlapping each other. The static coefficient of friction should be able to tell us the energy that is required to achieve the movement between the two overlapping surfaces, but we know that our design has a low rate of friction given that the scales are able to flip freely without much resistance.
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We aspired to create a product that would find that cohesive integration between form and nature. We decided to achieve that effect by using the inspiration of fish scales to create our design, and to use different shades of green to make our design appear to be a plant that is creeping on the staircase of the building. The goal is that when grazing your hands on these cardboard leaves as you go up and down the stairs, we aim for these to give the sensorial feeling of calmness, which is what the presence of plants do.
The main source of work that makes our prototype and our final design work is the
friction that works between the
scales. It is important to note that we are only able to achieve this effect because of the fact that the scales are overlapping each other. The static coefficient of friction should be able to tell us the energy that is required to achieve the movement between the two overlapping surfaces, but we know that our design has a low rate of friction given that the scales are able to flip freely without much resistance.
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things i learned there is a difference between rebuilding and redesigning delegation of roles is key prototypes are always part of the process
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the chess set Designer Hillman Curtis says that the goal of a designer is to listen, observe, understand, sympathize, empathize, synthesize.... In order for me to create a product that would fit my chosen audience, it was important for me to receptively use my experiences of the past in order to make certain judgements about the design I created. February 2017
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The intended group of users that I decided
to
create
this
product
is
for a group of young adults who are preparing for a party in their homes. The chessboard has been recreated into a cube with a 8x8 grid inside it, which holds the pieces up, which are 16.5cm long stirrers for drinks. Although we were instructed to recreate a chess set, my main goal for this project was to recreate the chess set so that it
would
serve
another
completely
different purpose. The chess set is not just a chess set, it is also a stand for beverage stirrers. It is a perfect
product
concept
for
people
who have gathered together before the beginning of the party.
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My design is a little less traditional and is
I have not designed the pieces differently.
more inspired by contemporary design traditions.
Each of the pieces, which are represented by
My main goal was to create a product that
the stirrers, have the same height, the same
had less ornaments and less decoration, with
form, and only differ in terms of their symbols
simpler and more blatant features, which is a
on the top that show the user their roles. I
very common element of minimalist design such
decided to compromise this part of the design
as that of Dieter Rams. Although my design could
so that my design was more cohesive. The product
still be improved and be manufactured to look
and the intention for its specific audience is
more elegant, I wanted to achieve a level of
stronger with its cohesion.
aesthetic pleasance and usability. Dieter Rams says in his 10 principles for good design, it must be useful and it must be aesthetic.
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There is a humorous contrast between the mental intensity of a game of chess and the relentless fun of being in a party with friends. “Let’s play, if I win, you make me a drink!“ “The number of pieces I eat up are the number of shots you are taking tonight!“, or even, “I’m not a party person. Let’s just stay here and play a good game of chess...what’s your name again?“
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thoughts after understand the materials you are using test things more than once concept cannot outweight the parameters
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packaging Designers of today show us that packaging doesn't always have to be conformed to a standard geometric shapes. They are more than just “containing of an item or items inside a simple box“, it is the evaluation and design of a product, and the creation of a special system that will take care of the products and simultaneously evoke aesthetic appeal. March 2017
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The main concept of our shoebox design was to create a kind of packaging that would make the user feel as if they were using the shoes for the first time, regardless of the number of times that they have been worn. Our main priority was to focus on the user’s experience with the shoebox and to manipulate it through a design. We tried to achieve this effect by presenting the shoes uniquely. First, we created a unique shape that would capture the user’s attention as it wouldn’t look like a typical shoebox. This shape, however, would still be geometrical so it would still have a more elegant effect. The shoes inside would be presented in a slanted angle, as if they were presenting themselves to the user. This would emphasise and dramatise the importance of the shoes. We also made holes for the soles of the soles to fit perfectly, so that the user will feel as if the shoes have a particular place that is not anywhere else but inside the box.
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to remember identity isnt just branding redundancy is proof of the lacking of a coherent idea never disregard the main concept
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readymade Our task for this project was to recreate a piece of furniture using pieces from the original design of the first bentwood Thonet chair. Following the concept of readymade and recylcing, we were instructed to choose one external material that we would combine with the pieces in order to create something fresh and new. April 2017
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We decided to work on the idea of a contrast, that
we would show our understanding of the Thonet chair by choosing a material that is its complete polar opposite — be it through its form, its function, its shape or setting in time. After a week and half of looking for materials that would fall under this rather broad theme, we finally decided that the material of our choice was a satellite antenna. We thought that this form was not only interesting, but that next to the Thonet chair, it would sort of represent an item of the “future” as the chair would represent the “past”. This idea came off to us as rather ironic, thinking that in the past in the Industrial Revolution, the design of the Thonet was nothing but “the future”, given its clear ingenuity in a time when chairs were primarily ornamental or decorative, and less of a directly functional piece.
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other selected work This portion contains a series of selected creative work that will help readers and users understand the broad level of work that we do in the course and the level of competences that I am able to achieve. The classes involved in this chapter involve Creative Traditions, Design Laboratoy II, Form and Matter and Anthrpology. Semester 2
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cultural traditions This class in particular was focused on analyzing and understanding the design trends and traditions of numerous cultures in the past. It was an comprehensive course that allowed us to gain information about the motifs, concepts, themes and contexts of different types of art and design from the Western, Eastern and Pacific theatres of the world. The following pages are selected drawings from the sketchbooks we were instructed to update every week. Semester 2
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EVALUATION
The main content focus of this class allowed the students to have a more educated and cultured understanding of design in terms of history. Although many of us young apsiring designers in the technological age tend to be attracted to more contemporary styles and ideas, this class taught me that it is highly essential to look at where these contemporary styles branch out from. There is absolutely no way that the Romanesque, Baroque or Gothic movements had absolutely nothing to do with Minimalism and Readymade, for example. Apart from that, having a general understanding of the history of design separates us from aspiring designers who rely solely on their ability to spontaneously create. This class forces us to be designers who research, designers who look into the facts, designers who respect the boundaries placed by the greats before us, and use their concepts, no matter how old they may seem, to plummet forward.
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anthropology Although this class was rather a challenge for me in the beginnign with the spanish, it did not stop me from trying to grasp the concepts we learned throughout the semester such as identity, character, human development or our relationship with technology. It was interesting to see how all of these concepts found correlations between design as a profession and passion as well, proving that the role of Anthropology in Design is much stronger than what one may expect. Semester 2
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We were required to make a minimalist information graphic regarding one of the concepts we learned from our anthropology class of last year. I chose this idea of Pain being Progress from a lecture that was given last year about the process of pain and how human beings deal with it in its entirety. What makes this poster unique is that it is more than an information graphic about this concept, but it can also be seen as a motivational message to those who are going through a difficult time in their lives. Pain is progress. It matures us, makes us more human, keeps our feet on the ground, and requires a lot of time for personal introspection.
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This particular exercise was very exciting for me. We were tackling the concept of identity and we were instructed to create a college that explains who we are. Here, I depcit myself as a colorful mess of many different things -- not so cohesive or not so clear yet, but I am definitely smiling gratefully and excitedly at the entire process. The main theme of my collage is the idea of noise which is a big part of my life and who I am. I am a rather talkative person, I tend to say more things than I should, I over-explain, and I am very excited to share my opinions about many things. With my designs, sometimes I try to practice the same level of wanting to say something. The concept and idea for me must always be intersting, engaging, and involved with human life. I would like to think that whatever I create and design in the future is going to be substantial with something important to say. However, before I reach that professional level of storytelling, I am learning to deal with the noise of youth, the noise of a new culture, the noise of adventure and information. It will be a long process, but I am nowhere near discouraged.
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We were instructed to define a real life problem and come up with a design solution. The problem I decided to pick was one from my home country. Regardless of the fact that the Philippines is one of the most rapidly developing countries in terms of business in South East Asia, majority of its population still live in poor conditions that go against their basic human rights. Although these are effects of the corrupt government and the lack of education especially in rural areas, the problem I defined was the inherent value that these particular Filipinos have of not being able to properly appreciate their items. Taking inspiration from our process of deconstructing the Thonet Chair, my solution was to create a series of beautifully manufactured pieces that could be assembled into various furniture pieces that will help them learn to appreciate their items and the space that they live in. These furniture pieces can vary between tables, chairs, beds or means of storage. By developing an emotional connection with their furniture, it will allow them to learn to appreciate its general value. If they learn to appreciate the value of small things, it will definitely teach them to appreciate the value of bigger things such as their source of income or the health and education of their children.
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form and matter This class was more technical by nature as it disciplined our class to look at design from a more systematic approach rather than a creative one. The content of this class was more difficult than the others, but it was interesting to see our designs manifest through numbers and calculations. This class shows us that we cannot skip the logical process, and that to a certain extent, beauty requires a level of precision and accuracy. This portion only contains snippets of the kind of work produced. Semester 2
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SAMPLE CONTENT
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design lab ii Our class this year focused on the creation of three-dimensional objects which included in-depth research of different companies and examples for these particular items. Also, this class, much like our Cultural Traditions class, was information heavy on important aspects of design falling under the seriation, identity or recycability of product design. This class was content focused and highlighted the significance once again of the perfection of the process. This class also encouraged us to think on our feet regarding the design process. Semester 2
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We also did a quick study on packaging and how to utitlize AutoCad properly in order to create die-lines and plans for objects to print, fold or put together.
By studying the history of companies as timeless as Coca-Cola, we learn about the principles of branding and identity that make them so successful.
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personal statement Depiste the challenges in the past few months, I believe that this is a career that I will be pursuing for the rest of my life. Given that, it is important I start taking small steps to developing my own personal statement or my own personal vision for the kind of designer I want to be. This, in turn, will definitely help me shape and create the principles I want my future position, my role or possibly even my firm to have in the long run. Although I am nowhere near that yet, this is a personal statement that explains my views as a growing individual and student of the course which will be available on the online platform I am going to be finishing this summer. This personal statement is by no means final, it will be rewritten at the end of every school year with adjustments, notes to myself, secrets revealed and questions debunked. I am excited to see how similar and how different the final version will be at the end of my fourth year.
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first year Design is not an art class. It’s more than just that. It’s the surface behind your back as you read this. It’s the very thing that keeps us in contact with people halfway across the world, the system that keeps people on the right side of the road, it’s the colors and typefaces that rob teenagers of their money... After finishing my first year of Design in University, I’ve learned that design is so extremely prevalent in our lives and that there are so many layers in its world that give people endless possibilites to undesrtand, live or enjoy life. Although I will do my best to see how close I can get to the center, it would take more than a lifetime to understand it to the core of its essenence and detail. However, one day I’ll have to make a decision that levels with my competences to determine the specific kind of designer I’m going to be. Even if the path is blurry at this point, one thing is for sure: I'm going to design something that is going to help a lot of people back at home.
I know that I still have more than enough time to fully understand my strengths and weaknessses as a growing individual and to equip myself for my goal, but that doesn’t mean that I have time to wait. Until the day I must isolate myself to a specialized profession in the industry, I am always on the go to learn the latest software, to meet all sorts of people, to keep up with the latest design publications and to learn the latest design trends. Until then, I am developing my portfolio, refining my own personal style, and growing as true appreciator of art and design. Until then, I will take all the chances and opportunites I can to discover the layers of design that I have yet to reach with the help of my professors and my colleagues.
We can’t ignore the value of design in our lives. There is so much going on in our world that has been, is and will be influenced by design, especially in this generation with the influx of information and the rapid growth of technology and enviornmental consciousness.
How can we still call it an art class?
There is no point in trying to elaborate how design works in our world, because the situation is quite the opposite. Our world works in design.
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