stina d. INTERIOR DESIGN
stina d. INTERIOR DESIGN
STINE DAMSGAARD Bachelor of Interior Design (Commercial)
Bringing ideas to life is an exciting proposition for me. My strategic approach to design and energized creative spark leads me to generate numerous ways to enhance, upgrade, revise, correct or revamp spaces and functions. I am good at figuring out what is wrong and resolving it.
Having been brought up in Denmark, I have a shared cultural awareness which has taught me to deal with people and communicate clearly. I am calm in my approach which stems from my heritage and the Danish concept of hygge; which is about building sanctuary and community, inviting closeness, well-being, connection and warmth. It is Drawn to historical architecture, brocante and about belonging to the moment and feeling colonial antiques I am fascinated by the stories open-heated and alive. Now in Australia these hold and often find myself imagining natural forms, native environments and narratives from another age. unique landscapes continually refresh my soul as well as lighting my creative spark. I am an empathetic individual with a supportive and motivating personality. I am a visual I have always had a creative spark in me, strategist and a future thinker who likes to and I am very excited and hopeful that I will plan my every step, develop tools to organise be able to use my skills to make spaces that and allow my mind to venture beyond the spark something in other people. obvious. My process is to think of all the possible alternatives and then choose the best option.
1 BANG & OLUFSEN OFFICE DESIGN
3 JO MERCER RETAIL DESIGN
5 SWEPT AWAY EXPO STAND DESIGN
URBAN MIST RESTAURANT DESIGN
2 THE PAV CAFE & BAR DESIGN
4 AMAZEBALZ PRODUCT DESIGN
6
URBAN MIST RESTAURANT DESIGN
BOTANICAL CITY ESCAPE
The driving concept behind Urban Mist was the need to de-stress and recharge from the busy city life. Through the use of a variety of seating arrangements and a no technology policy, the space fosters a sense of community. Whilst a range of plants, timbers and soft textures presents a relaxing atmosphere. A response to a collection of cultural, social and environmental factors, the restaurant design was driven by research into resent issues and events. With communal spaces that offer opportunities for people to come together, the restaurant caters for hospitality across religions and cultures. By incorporating an enate sense Project: Urban Mist Type: Restaurant Design Location: Melbourne Software: Revit, Illustrator, Photoshop
of nature into the design, it addresses the detachment the city dwellers can experience from their environments. To achieve this a notechnology policy was established, as well as the implementation of various sustainable design initiatives.
Hospitality The universal languange of all religions Hospitality is a mindset, an attitude and an act of welcoming others into one’s home and ones being. It is the defining element which brings people of different cultures together and it is about creating places where people can become accustomed to living with differences.
Nature And its healing powers Studies show that time spent in nature has the power to reduce stress by allowing the brain to recover from the nervous irritations of modern city living. Other studies shows that viewing plants helps people relax, reduce mental health issues and lower blood pressure. Researchers have proven that green spaces help to better health and education, urban regeneration and to reduce crime.
Environmentally friendly Taking care of mother nature The main point of sustainability is to; reduce, reuse and recycle. This means reducing anything that is not necessary, reusing what can be reused and recycling the things that can’t. There are many areas where sustainable design can have an impact such as; lighting choices, re-using furniture ans sourcing local sustainable materials.
Back to basics No tech no stress Creating spaces that cater for “de-stressing” is about the perfect level of light, proportions, private spaces versus sharing spaces and minimizing noise and crowding. Technology is a major stressor and therefore going tech-free can be hugely beneficial.
URBAN MIST - RESTAURANT DESIGN
SURVEY
of 41 people from 18-78 years of age
Phone off and no-tech time Once a day
Never
24%
34%
66%
Once a month
5% 5%
32%
Once a fortnight
Once a week
Feel stressed once or more a week
Time spent in nature
17%
1-2 hours a day
37%
3-4 hours a day
19%
5-6 hours a day
27%
24%
month
7%
27%
More than 4 hours a week
27%
3-4 hours a week
1-2 hours a week
Less than 1 hour a week
Once a day
Once a fortnight 7%
Once a week
29%
More than 6 hours a day
Time spent on technology
Never Once a year 7% 3% Once a
20%
17% 32% A few times a week
Time to yourself to de-stress
Does spending time in nature usually leave you feeling refreshed?
100%
Yes
Royal Botanical Gardens Melbourne
Wedding celebrations at The Terrace
The Royal Botanical Gardens in Melbourne hosts a plethora of both foreign and native plants alongside some of Australia’s most important collections. It is a well-known destination for visitors from around the world, and a great spot to enjoy a piece of nature in the middle of the big city. Located in the middle of the Royal Gardens, The Terrace poses as a prime spot for a cafe. Despite the surrounding views, the current cafe isn't anything special, but has the potential to be very successful.
Hayley, 32
Customer Persona • • • • •
URBAN MIST - RESTAURANT DESIGN
Junior Editor of Hooray Magazine Married to Brad, 35, Real Estate Agent Has two children, George, 5 and Maggie, 2 Lives in a townhouse in Hawthorn Has a very busy life juggling work and family life
• • • •
Likes to read mystery novels Loves to travel Foodie - loves a good meal Loves to entertain - often has friends over for dinner and drinks
KITCHEN
TOILET F TOILET D
TOILET M
FLOOR PLAN
2.
3.
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1.
5.
9.
10.
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8.
11.
1. Natural quartz stone 2. Locally sourced walnut timber 3. Organic hemp linen dyed with vegetable dye sourced locally 4. Equanimity blue 5. Vegetable dyed wool from local supplier 6. Western red cedar timber with VOC-free paint 7. Angry Ocean Blue 8. Organic hemp linen dyed with vegetable dye sourced locally 9. Tan leather sourced from sustainable suppliers 10. Hemlock timber batten panels sourced from local sustainable supplier 11. Duck Egg Blue
URBAN MIST - RESTAURANT DESIGN
ZONING KITCHEN
TOILET F TOILET D
TOILET M
Entry Booth Seating Dining Area Reading Area Lounge Area Communal Table Swing Seating Open Kitchen Coffee Station Deck
CIRCULATION KITCHEN
TOILET F TOILET D
TOILET M
Entry When entering Urban Mist the customer is met with soft hues, textured materials and a sense of calm. At the timber paneled front counter they are told where to go and they can now embark on the exploration of the space.
ELEVATION 1 URBAN MIST - RESTAURANT DESIGN
1
Booths 2
The form of the booth seating is reminiscent of a forest cabin, with the light timber panels contrasting against the tan leather to create a sense of warmth .
ELEVATION 2
URBAN MIST - RESTAURANT DESIGN
ELEVATION 3
ELEVATION 4
4
3
Dining Area The middle of the restaurant revolves around a central skylight and large feature tree. This area also includes a secluded area with swing seating. With each surrounding section divided by a timber planter, bringing a selection of foliage into the space. The dining area amongst these sections features banquet seating as well as simple cafĂŠlike table arrangements.
Coffee Station The coffee station features hanging plants and simple timber paneling, both of which brings softness into the space.
ELEVATION 5 URBAN MIST - RESTAURANT DESIGN
5
Open Kitchen 6
The open kitchen invites customers to sit at the raised bar and gain an insight into the food the restaurant serves. While the back wall of the space is covered by a sheer curtain which adds another layer of subtlety.
ELEVATION 6
URBAN MIST - RESTAURANT DESIGN
ELEVATION 7
ELEVATION 8
8
7
Lounge Introducing lounge seating to the restaurant, the customer is invited to get comfortable and enjoy the company of a friend or have some alone time with a book. These areas are a way of making the space feel homey and relaxed.
BANG & OLUFSEN
OFFICE DESIGN
A NOD TO DANISH ROOTS
The design concept seeks to bring together the Bang & Olufsen’s unique product aesthetic with their innovative work ethics, to create an office that inspires their employees to collaborate as well as aspire individuality. Through the use of a constant materiality and organic connections, the spaces tie together while still feeling luxurious. When designing the commercial office environment for Bang & Olufsen, comfort and contemporary workplace trends were taken into consideration, and a range of options were explored. By providing employees different work zone arrangements to choose from, they
Project: Bang & Olufsen Type: Office Design Location: Sydney Software: Revit, AutoCad, Illustrator, Photoshop
are given the freedom to work the way they do best. By nominating appropriate and durable materials, lighting, joinery items, furniture and fittings, the space compliments the sustainable practices of the Bligh Street building.
1 Blight Street, Sydney
BANG & OLUFSEN - OFFICE DESIGN
Bang and Olufsen is a Danish Speaker brand with a long history of unrivalled technology, stand-out performance and endless quality. With their drive for innovation and modern aesthetics they are one of the biggest Danish brands and part of the Danish design heritage.
CONCEPT
The concept draws on the shapes of iconic Danish design pieces as well as a play with clean lines, organic shapes of nature and movement of sound. It pays attention to form and plays with the organic movement through spaces.
BANG & OLUFSEN - OFFICE DESIGN
ZONING 23-15
23-16
23-14 23-13
23-17
23-12 23-11
23-26
23-10 23-09 23-18
23-05
23-08
23-19 23-20
23-25
23-07 23-06
23-23 23-21 23-24 23-22
23-02 23-03
23.27 23.28 23-01
23-04
23.29 23.30
23.01
Reception
23.12-14
Executive Offices
23.21
Conference Room
23.27
Quiet Room
23.02
Waiting Area
23.15-16
Private Pods
23.22
Lunch Area
23.28-29
Storage
23.03
23.17
Lounge
23.23
Auditorium
23.30
Longe / Library
23.04
Tech
23.18
Meeting Pods
23.24
Display Room
23.05
Work Zone 1
23.19
Tech Pods
23.25
Work Zone 2
23.06-11
Meeting Rooms
23.20
Sound Testing
23.26
Work Zone 3
BANG & OLUFSEN - OFFICE DESIGN
Furniture Plan The division of the office is dictated with the organic movement through each space, and includes curved walkways and slightly overlapping zones. The kitchenette and auditorium are placed in the center of the space to create a sense of community, while a wide range of work zone options spread around the space encourage both privacy and collaboration.
Feature Zones The zones featured in this project are the reception and waiting areas, the conference room and one of the smaller work zones. Each area reflects a different aspect of the office and highlights different uses of the space.
Reception As the first thing employees and clients see when they enter the space, the reception needed to both reflect the brand and set the tone for the rest of the office. Tying back to the Danish Design Heritage, the dark timber wall paneling provides consistency as it continues throughout the space. BANG & OLUFSEN - OFFICE DESIGN
space. The combination dark timber and chrome detailing is often used in the Bang & Olufsen products and is a recognisable reference to the brand. Introducing a white panel detail on the reception desk adds an innovative aspect to this feature.
MATERIALITY
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2.
3.
5.
4.
1. Premium Polished Light Concrete Flooring 2. Interno Lime Wash Paint in Soft Weathered Patina and custom Blue colour 3. Stainless Steel Detail 4. Ironbark IB-2 internal lining boards in Dark Walnut 5. Ironbark IB-2 internal lining boards in Off White
Physical model of the reception area
Waiting Area The dark timber paneling continues through to the waiting area, where a garden bed detail amplifies this. Customers can sit on the simple seating
BANG & OLUFSEN - OFFICE DESIGN
in the centre of the space. The feature wall beside this strives to remind customers of speakers, and with their lighting effect they are bound to make an impact.
MATERIALITY
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4.
5.
3.
6.
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1. Custom Oval Large Ottoman upholstered with Lustrell Allure Commercial Fabric in Mineral
5. Blackbutt BB-1 internal wall cladding in Natural Blonde and Rotaliana Collide Wall Light in Black
2. Custom Oval Small Ottoman upholstered with Lustrell Allure Commercial Fabric in Caramel
6. Ironbark IB-2 internal lining boards 7. Curved detailing strip in brass
3. Custom Oval Medium Ottoman upholstered with Lustrell Allure Commercial Fabric in Bone 4. Premium Polished Light Concrete Flooring
8. Lady Finger Palm indoor plant
8.
Conference Room The warm tones, the soft texture and the comfortable seating all play a role in making the conference room feel soft and inviting for meetings with clients.
BANG & OLUFSEN - OFFICE DESIGN
MATERIALITY
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2.
3.
4.
5.
1. Liquidity Polyester Drapery in Smokey Quartz 2. Interno Lime Wash Paint in Soft Weathered Patina and custom Dark Dusty Rose colour 3. Odyssey Wool Blend Carpet in Achilles Grey 4. Ironbark IB-2 internal lining boards 6.
5. Adelaide Office Chair with arms and no wheels in Rose Trieste Fabric and Matt White Aluminum 6. Antenna Conference Table in Light Walnut Veneer and White Steel
Work Zone The shape of the work pods will reference curtains and the iron-paneled partition Scandinavian cabins and make wall divides spaces without taking away employees feel comfortable, increasing the natural lighting and visibility. work efficiency. Space dividers such as
BANG & OLUFSEN - OFFICE DESIGN
MATERIALITY
1.
2.
3.
6.
4.
1. Premium Polished Light Concrete Flooring 2. Custom Steel Feature Wall in Black powercoated steel 3. Ambit Pendant Light 40cm Diameter in Dusty Green 4. Ascent Polyester Drapery in Fog
5.
5. Navcore NavurbanVeneer in Norwood 6. Classic Dining Table in Maple / Porter’s Limewash
7.
7. Adelaide Office Chair with wheels and no arms in Forest Green Napoli Fabric and Polished Aluminium
THE PAV
CAFE & BAR DESIGN
THE
PAV
WARRNAMBOOL SAFE HAVEN
Once a sanctuary for early settlers on the 'Shipwreck Coast', the story of Warrnambool informed the re-design of the Pavilion Cafe and Bar. Design details reference the strong maritime heritage and seek to create moments within the space that cater for all members of the community. Tying together old and new, the Pav challenges traditions; paying homage to it's history whilst looking towards a fresh and revitalized future. Catering for take-away coffee from the kiosk in the morning, a cafe lunch at noon, and a knock-off beer at the wine bar in the Project: The Pav Type: Cafe and Bar Design Location: Warrnambool Software: Revit, AutoCad, Illustrator, Photoshop
evening, the design of the space keeps it alive throughout the day. Introducing a new program opens the space to a wider visitor range, whilst a series of viewing platform allow people to take in the iconic view.
Warrnambool,VIC Melbourne
Warrnambool is a rural coastal town with a population of 34,800 people. The dominating demographic is families with young children and retirees, with the working age population only just exceeding 60%. The town is largely made up of family businesses and traditional communities.
THE PAV - CAFE & BAR DESIGN
The Pavilion Cafe and Bar
“The Pavilion is a destination place that people visit because of it’s iconic spot and beautiful views” Jon Watson, Owner
The Pavilion was built in 1990 by Warrnambool City Council with the cafe owner residing in the building for the last 30 years. Known to locals as The Pav, the cafe is open from 8 till 5 daily alongside evening functions, business events and an ice-creamery. Located in an iconic spot and housing beautiful views, the Pav has great
potential to become the main watering hole for the local community. However, with current opening hours excluding dinner, a 30 year old seating arrangement and an older customer demographic the place needs an update.
In the late 1800’s Warrnambool was a major trading port and the heart of the notorious 'Shipwreck Coast'. When coming from Europe, settlers were met with crazy waves and unpredictable rock formations. Hundreds of ships wrecked just before they arrived at Warrnambool., with these tragic stories as well as the area's rich whale hunting history, giving the coast its name. In 1890 the building of the Breakwater was completed, protecting the bay from the rough unpredictable ocean and making way for the Pavilion to become a safe habour for countless of locals and visitors.
THE PAV - CAFE & BAR DESIGN
When walking up the ramp to The Pav you are hit with the notorious Warrnambool weather. The trip becomes a journey, almost like the journey of the early settlers, and when you finally arrive inside the cafĂŠ you are safe, warm and sheltered.
Level 1
ELEVATION 1 LOUNGE
DINING
COFFEE STATION
DINING
HEIGHT 3m
0 25.55 m
BAR
ELEVATION 2
DINING
DINING LOUNGE
HEIGHT 4.4 m
0 25.55 m
THE PAV - CAFE & BAR DESIGN
SPATIAL PLANNING
ZONING
12.8 m
27 m
Lounge area Dine-in area Coffee bar Bar Bar seating Deck seating
CIRCULATION
FLOOR PLAN
2 1
24.7 m 30.8 m
Cafe
THE PAV - CAFE & BAR DESIGN
MATERIALS & FURNITURE
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2.
3.
4.
5.
6.
8. 9. 7. 13.
10. 11.
5.
12.
14.
15. 16.
1. Reclaimed American oak timber 2. Lennox head gloss blue pattern tile 3. Classic Jacquards fabric in tate snow 4. Bottle green frosted class tiles 5. Avalon sky blue ceramic square tile 6. Eden Gloss White Mini Mosaic Tile 7.. Sillon brass mirror 8. Boyd tan leather sofa 9. Matt gold cone lamp
10. American Oak Barrel Table 11. Ada Oak Dining Chair 12. Nail Head Tree Stump Stool 13. Little Petra Lounge Chair White 14. American Oak Atelier Stool 15. Johanna Armchair in linen and oak 16. Pon Timber Table In Smoked Oak 17. Pavilion Lacquered oak and steel bar stool
17.
The maritime history is referenced in the cargo box bench seats, the round ship window mirrors, the seashell textured tiles, the cliff textured fireplace and the barrel planters.
Lounge Casual seating arrangements, warm and textured materials and a functional fireplace make the space warm and inviting for a wider range of clientele. The location of the lounge in retrospect to the entrance makes an impact after the journey up the ramp.
THE PAV - CAFE & BAR DESIGN
Using simple oak cafĂŠ table arrangements is a tie to the traditional Warrnambool use of dark timbers.
The maritime history is referenced in the colour pallet, the fishing net pendants, the ship railing cup storage solution and the feature wallpaper.
Dining Area & Coffee Station The introduction of banquet seating breaks up the dining area, and can be moved to open up the space for functions. It also creates a clear circulation plan by clearing up space around the coffee station and bar.
THE PAV - CAFE & BAR DESIGN
The bar references ‘Old Warrnambool’ with its traditional dark oak paneled bar and its curved profile. Bottle green pendants and green frosted window tiles are used to reference quirky local pub details and ties to the many bottles found in shipwrecked cargos.
Bar & Deck The bar stools and moody lighting allows for a genuine interaction between the customer and bar staff exuding a sense of familiarity and comfort. The removable deck cover has been installed to shelter the deck from the weather and helps blur the line between the inside and
THE PAV - CAFE & BAR DESIGN
outside spaces. Additionally, seating has been installed on the staircase bringing together the levels and creating a transition between day time and night time arrangements.
Ground Floor
ELEVATION 1 SEATING
ENTRY
SEATING HEIGHT 3m
0 11.5 m
ELEVATION 2 BAR
BAR SEATING
HEIGHT 3m
0 14.1 m
THE PAV - CAFE & BAR DESIGN
SPATIAL PLANNING
ZONING
CIRCULATION
Entry / Exit Seating Bar Back of house Bar seating / wine tasting area Deck seating
FLOOR PLAN
2
9.1 m
27.2 m
1
13.5 m 31.9 m
Wine Bar
THE PAV - CAFE & BAR DESIGN
MATERIALS & FURNITURE
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2.
5.1
4.
3.
6.
5.3
5.2
8.
9.
7. 11.
19. 10.
17.
16. 13. 14.
12.
20.
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1. Tan leather 2. Brushed brass 3. Lovely Steel Velvet in Atlantic 4. Sunbaker terrazzo 5. Penny tiles in gold, white and grey 6. Corfu cement tile in burnt orange 7. Dulux Hauraki Gulf Colour 8. Dulux Pail grey colour 9. Row brass and glass wall light 10. Dulux Five Finger Peninsula Colour
18.
11. Up brass pendant light 12. Series 430 upholstred barstool 13. Presence bar table in black steel and smoked oak 14. Shaker slow combustion wood heater 15. Alva Velvet chair in rust colour 16. Pon oak dining table 17. Menu socket table lamp in brass 18. Cargo chair in natural ash and moor nubruk 19. Jonah upholstred sofa in teal velvet 20. Handcrafted Bimala lowline coffee table
The maritime history is referenced by depicting the elegant sections of a passenger ship, and with its brass details, glass pendants and polished surfaces, it is a slight contrast to the more casual café interior.
Wine Bar With its mosaic floor detail, the bar is the main feature of compass. The local ‘watering hole’ has always been the the ground level. The user is drawn to the bar while being sailors safe haven and place of community, and likewise gently guided by the partition walls, much like a sailor is the Pav Wine Bar is a place for locals to come together. gently guided by the waves and shown the way using his
THE PAV - CAFE & BAR DESIGN
The booth seating references the coastline of Warrnambool, using tan leather, washed light timber and terrazzo tabletops. Brass details are woven through the design and wall panels have been installed to add depth to the space. Different shades of blue washes over the space and brings a sense of calm in the storm. Detailing the circular booth table with a resurfaced light feature references the historic Warrnambool Light House and brings some quirkiness to the space.
Booth Seating The different booth arrangements cater for both large and intimate settings, and with quirky design details it draws a younger audience.
THE PAV - CAFE & BAR DESIGN
Lounge & Beer Garden A series of casual seating options invite people to enjoy a leisurely stay. while paneled walls, textured furniture and colour contrast brings a mature and sophisticated edge to a town full of traditional pubs. The space also caters for wine tasting with high tables and a fridge display. At the waterfront a beer garden caters for warm summer THE PAV - CAFE & BAR DESIGN
nights, presenting the opportunity to host both the locals and an upstairs function. By introducing solid outdoor furniture, in-built banquets and a fireplace, the space can withstand the ever-changing climate of Warrnambool, while the casual seats like the bean bags and the cushioned seating can easily be stored away.
JO MERCER
RETAIL DESIGN
A SHOE AND ITS CLIFF SIDE ESCAPE
The re-design of the Jo Mercer footwear retail experience seeks to draw on the Australian origin of the brand and pair it with the natural processes of the Australian landscape. Customers are drawn into the store by the natural timber feature wall, complimenting the quality leather shoes and emphasizing the natural materials used. Research into the company history of Jo Mercer showed a confused brand direction struggling to adjust to the approaching fast-fashion trends. The brand has always been known for their quality and luxury footwear, which has been compromised of late and left in desperate need of a revamp - an attribute the design concept seeks to
highlight. By changing the brand aesthetics to a natural colour palette and emphasizing the materiality, the brand appears in touch with their Australian origin and their ties to nature. A range of Australian native timbers were installed into a feature wall resembling Australian cliffs, with little breaks acting as display areas for the shoes.
Project: Jo Mercer Type: Retail Design Location: Melbourne Software: Revit, 3DS Max, AutoCad, Illustrator, Photoshop
Jo Mercer is a fashion footwear brand based in Melbourne with 34 stores across Australia. They pride themselves on using fine quality leather chosen specifically for each style, and commit to quality, comfort and craftsmanship. Jo Mercer’s range varies from summer sandals to winter boots, casual sneakers to gala heals, as well as having a range of exclusive Italian and Spanish handmade leather bags. JO MERCER - RETAIL DESIGN
The concept seeks to draw on the natural processes of Australian nature; the slow erosion of the cliff lines, gum leaves falling in autumn, sand blowing away in the wind and the waves swallowing up the rocks. Drawing on the simplicity and natural lines of nature and stripping it down to the core elements.
SPATIAL PLANNING
BACK OF HOUSE
ZONING & CIRCULATION
7.5 m
Wall Unit Seating POS Counter Mirror
BACK OF HOUSE
1
23.1 m
JO MERCER - RETAIL DESIGN
2
FLOOR PLAN
SKETCHES
Display Shelving Throughout the store, shoes are displayed on shelving platforms organically placed throughout the wall unit.
JO MERCER - RETAIL DESIGN
ELEVATION 1 HEIGHT 3.95 m
0
18.34 m
ELEVATION 2
HEIGHT 3.95 m
0
14.5 m
SHELF DETAILS
LED Strip
Glass shelving
Glass shelving
Brass framing
Brass framing
Point of Sale Separation by cave-like display structure, the POS counter is separate from the rest of the store
JO MERCER - RETAIL DESIGN
LIGHTING DETAILS
RCP
SPOTLIGHT
STRIP / COVE
DOWNLIGHT
WIRING
Shoe Fitting Area Customers can sit on a large seat while trying on shoes, and together with the mirror detail, the area shapes the customer experience.
JO MERCER - RETAIL DESIGN
MATERIALITY BRUSHED BRASS
WHITE MARBLE Bianco Carrara white marble stone Polished Touch of luxury Slight contrast to colour pallet
Brushed brass with fine lined finish Touch of luxury
ORGANIC LINEN
STONE PAINT
Hemp textiles made from cannabis sativa fiber. Eco-friendly: fast-growing plant, no use of chemicals, highly renewable source Strong, durable, hypo-allergenic Adds some texture to the design Colour: Gum Leaf Green
JARRAH Native to Australia - grows mainly in Western Australia
Rough, textured. Matte earthy feel. Recreate rough cliff texture. Injects an air of movement and dimension into the room. Light blush colour to compliment feature wall.
RED GUM Native to Australia - iconic Australian tree
TASMANIAN OAK Native to Australia - grows mainly in South Australia
Hard, dense, strong Heavy wood
Hard, strong
Durable, water resistant
Generally used for fencing, furniture, firewood
Generally used for: cabinet making, flooring, outdoor furniture
Used because of its origin, colour and sustainability ratings.
Used because of its origin, colour and sustainability ratings.
Generally used for pulp production, construction, joinery, furniture, flooring Used because of its origin, colour and sustainability ratings.
AMAZEBALLZ
PRODUCT DESIGN
A PLASTIC-FREE WORLD
The 'Amazebalz' shampoo balls seek to solve the problem of single use plastics in a world full of plastic pollution. The goal is to make consumers more aware of the plastic problem and change their habits to more eco-friendly options. Each Amazeball is dissolvable, eliminates plastic packaging and works just as well as your favourite shampoo! As plastic pollution becomes a major problem in society today, designers have a responsibility to rethink the way we use and re-use materials and create innovative design solutions replacing plastic packaging. Through design thinking methods like the doublediamond, product design becomes a big part of the culture change needed. By researching plastic usage and its effect Project: Amazebalz Type: Product Design Software: Illustrator, Photoshop
on the environment we begin to discover the enormity of the issue, and by defining one specific area in need of change, we can narrow down the scope. This is where the issue of shampoo bottles was discovered and researched. Furthermore, a range of solutions was developed through surveying, secondary research and prototyping, until a final product was delivered.
Australia produces more than 1.5 million tonnes of plastic every year, which is more than 71 kg per person
30,000 tonnes of milk bottles
10,000 tonnes of detergent and shampoo bottles
50,000 tonnes of soft drink bottles
The average Australians uses 8 bottles of shampoo a year Australian total: 198,800,000 bottles a year
Why is only 11.8% of plastics recycled?
Plastics thrown into the wrong bin
Recycling is not profitable enough. The market for recycled plastics is too fragmented.
Plastics not cleaned out before recycling
It is too cheap to make new plastics, plastics
The plastic sorting process is resource and time consuming AMAZEBALZ - PRODUCT DESIGN
why?
What is the problem? Shampoo bottles are made of plastic. Who does this effect? Every person in Australia uses some form of shampoo or body wash. Companies would benefit from using substitutes to plastic as people get more aware of the problem with plastic pollution. Why is it necessary? To carry the shampoo bottles home. Why is it a problem? It is very convenient to buy plastic bottled shampoo in the supermarket and other substitutes are rare to find. Why is this the case? It is cheap to produce, easy to transport and it doesn't break.
Solid shampoo bar shell
Liquid shampoo
PACKAGING
SELLING PLATFORM
INGREDIENTS
DISPENSING SYSTEM
Cardboard box
Speciality shops
All natural ingredients
Stored on bathroom sink
PROTOTYPE 1
Prototype 1 was the initial concept put into form. This involved a hard shampoo shell with liquid shampoo inside. Questions were raised towards the space wasted in placing a round product into a square package, which also poses an issue as it would produce its own waste. Surveys also revealed that selling the product in specialty shops wouldn't be ideal as it is too time-consuming to get to. Another issue raised was the effectiveness of all-natural ingredients. Product storage after purchase poses a problem. Respondents also mentioned interest in customizing their shampoo.
AMAZEBALZ - PRODUCT DESIGN
Solid shampoo bar shell
Liquid shampoo
PACKAGING
SELLING PLATFORM
INGREDIENTS
DISPENSING SYSTEM
Bulk 1 month worth Recycled cardboard
Sold online on subscription basis
Customisasion according to hair type, hair length , fragrance, sensitive skin, how often you wash your hair, how many family members, all natural materials.
Stored on bathroom sink
PROTOTYPE 2
Prototype 2 addressed the issue with packaging and the selling platform. Selling the product online on subscription basis makes it more convenient for the user, but questions were raised as to whether they could cancel the subscription. They also mentioned wanting to try the product first without having to commit. Addressing the request for customisation, survey respondents were torn between too much freedom and not enough genetic options. Either way the proposed process was considered too time consuming.
Soft PVA seal
Liquid shampoo
PACKAGING
SELLING PLATFORM
INGREDIENTS
DISPENSING SYSTEM
Bulk 1 month worth Recycled cardboard
Sold online on subscription basis
Customisasion according to hair type, hair length , fragrance, sensitive skin, how often you wash your hair, how many family members, all natural
Dispenser made from bamboo. Dispenses one capsual at a time.
PROTOTYPE 3
Prototype 3 reconsidered the form of the product. Due to the flexibility of a soft PVA seal the issue of space wastage was dramatically reduced. However, the appearance of this option was reminiscent of dishwasher tablets - something neither luxurious nor desirable. A dispenser system has been created to address the storage of the product. Despite this, the dispenser had its own issues including differentiating between various shampoos, its materiality and its own wastage if the user decided to discontinue with the product.
AMAZEBALZ - PRODUCT DESIGN
Solid shampoo bar shell
Liquid shampoo
PACKAGING
SELLING PLATFORM
INGREDIENTS
DISPENSING SYSTEM
Bulk 1 month worth Recycled cardboard
Sold online on subscription basis
Customisasion according to hair type, hair length , fragrance, sensitive skin, how often you wash your hair, how many family members, all natural materials.
Dispenser made from bamboo. Dispenses one capsual at a time.
PROTOTYPE 4
Prototype 4 was a way to both evolve the shape of the products as well as its storage. A square shape would eliminate space-wastage in the packaging which would create room for more products. However, when it comes to using the product, survey respondents thought that a square shape might not only be impractical but also less luxurious.
Solid shampoo bar shell
Liquid shampoo
PACKAGING
SELLING PLATFORM
INGREDIENTS
DISPENSING SYSTEM
Packaged in recycled cardboard with eco friendly ink. buy in bulk 1 month worth can order samples to try it out first
Download app can get samples, buy one offs, subscribe and customize
Customisation menus
Dispenser made from bamboo, stainless steel and silicone. Dispenses one capsule at a time. can send dispenser back if not continuing with product
SHAMPOO
SHAMPOO
DAN
LISA
Person 1 Hair length Medium
Short
Long
Genetic shampoo
Washes per week 1
2
Add person
3
4
5
6
7
Natural ingredients
Customize
FINAL PRODUCT
The final product combines all the discoveries from the four prototypes. The round shape proved the most beneficial due to storage, while still being functional and appearing luxurious. The product can be bought on an app with options including; hair length, washes per week and the choice between generic shampoo, natural ingredients or personal customisation. The product will be bought in bulk with one-month's worth arriving in a recycled cardboard box. Samples can be ordered prior to a subscription upon which an individually labelled dispense system will be sent to the customer.
AMAZEBALZ - PRODUCT DESIGN
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LIFECYCLE The shampoo balls are completely waste free as they dissolve and slip down the drain. The cardboard packaging is made from recycled cardboard and printed with eco-friendly ink. A discount is applied when the customer sends the box back, which creates an incentive to recycle. Additionally, upon cancellation of the subscription, the customer can send the dispenser back and retrieve their deposit.
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amazebalz. zhampoo. zelfcare. zolidarity.
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SPOIL YOURSELF
NOT THE PLANET
AMAZEBALZ - PRODUCT DESIGN
EMPTY The customer runs out of shampoo creating a need.
EXPOSURE The customer is exposed to the product via advertising. They start to consider the benefits of the product.
RESEARCH
PURCHASE
The customer starts to look into the details of the product, compares to competitors, looks at the website and downloads the app.
The customer purchases the product through the app and finds the process quick and easy.
POST-PURCHASE The customer unpacks and uses the product and is satisfied with the product.
SHARE The customer shares their thought with friends and family.
SWEPT AWAY
EXPO STAND DESIGN
SWEPT AWAY - EXPO STAND DESIGN
A WHIRLWIND OF EMOTIONS
The design concept seeks to bring a sense of uncontrolled nature into a controlled setting, where the tribal Longpi pottery serves as the moments of quietness in the storm. Design details will reference the client’s connection to nature, as well as utilizing traditional artisan techniques, creating an organic visitor experience. The 'Swept Away' Expo stand design is a response to the identity of the lifestyle brand 'Inartisan'. Committed to artistic integrity and individual craftsmanship, the brand creates handmade pieces that are both ethically and environmentally produced. The concept was highly Project: Swept Away Type: Expo Stand Design Location: Melbourne Software: 3DS Max, Illustrator, Photoshop
informed by the client and the functionality of an expo stand. The modular systems making up the canopy take a spatial approach to the design outcome, playing with form, colour, texture and materiality to depict the aesthetic of the brand.
Melbourne,VIC
SPECIALITY AREA CAFE TOILETS
LOCATION The stand is part of the Design and Decor Expo at Melbourne Exhibition Centre SWEPT AWAY - EXPO STAND DESIGN
The Longpi pottery is made by young tribal artisans using a special technique traditionally practiced by the Tangkhul Naga tribes of the Ukhrul district of Manipur, India. The pottery has a rich black texture and is made by crushing weathered rock and clay.
After the Pongpi pots have been shaped and baked they follow the very techniquedriven process whereby they are wrapped in leaves and rested, emerging with the signature burnt colouration. It is the use of these leaves that inspired the concept emulating a natural and soft aesthetic in line with the brand.
SWEPT AWAY - EXPO STAND DESIGN
SKETCHES
SWEPT AWAY - EXPO STAND DESIGN
Meeting Area Area for consultants to sit down with potential clients
Display units Showcasing the products
Seating For visitors to sit and wait or to view the products
FLOW
The visitors can move into clear walkways, gently the space from both ends, guiding the visitor along. with a simple layout and
The use of the leaves and selection of timber brings a sense of nature into a highly commercialied space. While the structure of the canopy not only captures the eye of the visitors, but its construction of thousands of timber pieces links back to the furniture within.
STAND WIDTH 6000
FLOOR PLAN
2000 4500
SEAT LENGTH 2200
3000 STAND LENGTH 9000 OVERALL LENGTH 18 m
SWEPT AWAY - EXPO STAND DESIGN
TABLE LENGTH 1.8 m 4500
Walking into the canopy engages the visitor's stimuli by evoking a sense of being swallowed up by a natural phenomenon. Simultaneously, the contrast of the black longpi pottery against the timber structure demands the visitor's attention.
HEIGHT 2700
0
ELEVATION
Clients can sit down at the meeting table and discuss sale details with the consultant, or sit down at the central seating arrangement while waiting.
SWEPT AWAY - EXPO STAND DESIGN
HEIGHT 2700
TABLE 950 SEATING 450 0
SECTIONS
Module Construction The canopy is made up of thousands of timber pieces in different sizes, which are connected by interlocking each piece with the next through a slot cut out.
Sydney Blue Gum Timber Native Australian, coarse, durable. Used for parts of the canopy, parts of the display unit and the table top of the seating area
Yellow Teak Timber Hardwood, natural durability Used for parts of the canopy, parts of the display unit and the stools in the seating area
Earthen Floor Constructed of dirt, raw earth, sand, straw and clay. Pored into an insert in the floor and dried.
SWEPT AWAY - EXPO STAND DESIGN
Silver Birch Timber Fine-grained, pale in colour Used for parts of the canopy and parts of the display unit
Redwood Timber Light, soft, naturally durable Used for parts of the canopy, parts of the display unit and for the central seating
A large part of the expo stand is made from timber, which was chosen because of it’s natural look and light weight. The respective timbers were chosen mainly because of their colours, but also because of their durability and weight. Using
MATERIALS
natural materials ties back to the environmental approach of the brand and their commitment to nature. The choice to use an earthen floor was made because of its natural appearance, its low cost and how simple it is to make.