The Equinox production 'Designing Dream Machines' (1995) follows English Industrial Designers, Richard Seymour and Dick Powell for 9 months.
The documentary highlights some critical aspects to developing successful product designs.
Early on, both Seymour and Powell draw attention to the importance of 'engineering appeal' to capture the interest of consumers. They call this quality the 'x-factor. The 'x-factor' immediately draws a consumer to one specific product. As Powell explains, with reference to kitchen appliances, a consumer often initially decides upon the product they want, and only then starts to consider it's functionality.
Powell also provides an insight into the juggling act of developing a successful design from concept to product. He notes that it is a constant challenge to provide adequate attention to each of the various aspects that make up a final product, including shape, ergonomics, functionality and price. This is a valuable tip as it is all too easy to become single-minded about one aspect of a design, only to neglect other significant aspects.
Over the course of the documentary, it is apparent that Seymour and Powell are constantly mindful of the end-user. This is highlighted by how frequently they directly seek out fed-back from consumers, retailers and producers.
Seymour's designing of the BSA Bantam motorcycle is particularly interesting and challenging because of the power of the brand. Unlike the project involving Tefal, the BSA undertaking needs to say 'BSA' immediately to the consumer. This poses significant challenges and displays just how important shape, and form can be to a product. It again, also showcases the importance of receiving consumer feed-back, as this process allows Seymour to capture the market's impression of what constitutes the essence of a BSA motorcycle.
Sunday, October 25, 2009
Tuesday, October 20, 2009
Project 3 -Upcycling Unwanteds
Product Poster -
DIY vacuum former -
The Fridge Frame concept was driven by a consideration of the unwanted material. My initial considerations revolved around using unwanted plastic. During this period I considered a variety of plastics including plastic bags. I finally chose to work with milk bottles due to the smooth surface, uniform colour and workability of the material.
The notion of creating a frame from unwanted plastic seemed an appealing means of taking advantage of the light weight nature of the material. The light-weight of the frame also allowed the item to b easily affixed to a fridge with the us of a magnet.
The construction of the frame was performed using vacuum forming. This was a challenging undertaking, but allowed the HDPE (milk bottle) to be transformed into varying shapes, that would not have been otherwise achievable.
The final frame has a frosted glass appearance, and offers a light-weight means of affixing photos to the refrigerator.
Monday, October 12, 2009
Wednesday, October 7, 2009
Project 2: Postal Presents
The Pencil Hub
The 'Pencil Hub' was design as a response to the 'Postal Presents' brief, which required a functional item that could be mailed in a C4 postage envelope. The product is constructed with a 6mm clear acrylic base. The top comprises of 1mm polypropylene sheeting with a 2mm EVA foam underlay.
My intention was to create a functional pencil holder that emphasises the fun and playfulness associated with drawing. The shape, colour and textures of the various sheet materials have all been chosen with a mind to engaging the user, and creating a lighthearted atmosphere.
My initial designs for the 'Pencil Hub' played with the general silhouette created by pencils sticking out from a sheet material. This silhouette immediately reminded me of an echidna's shape.
My preliminary designs focused on manipulating the shape of the echidna. As such, the initial models had an a-symmetric profile. However, as the model progressed, the general shape evolved and became more sophisticated. This was an anticipated result of playing with the animal shape and progressively identifying the essence of the shape. At this point the model took on a semi-circular profile.
A key challenge to designing the Pencil Hub was creating an item consisting of sheet materials, that is visually attractive, while remaining easy to construct. It was with these challenges in mind, that the final form emerged. The two piece construction (the 'Pencil Hub' is mailed as two pieces: top and bottom), offers a user-friendly, intuitive assembly, while the minimalism also provides an elegance to the product.
The choice of colours (blue polypropylene, and green EVA foam) are as much about deriving an emotional response, as they are about the function of the product. The colour contrast highlights where to place pencils, and also indicates which side of the sheet is 'up' when constructing the product (no circles are visible on the under-side).
In essence the Pencil Hub is about bringing a sense of fun to the work desk, in a functional, and elegant package.
The 'Pencil Hub' was design as a response to the 'Postal Presents' brief, which required a functional item that could be mailed in a C4 postage envelope. The product is constructed with a 6mm clear acrylic base. The top comprises of 1mm polypropylene sheeting with a 2mm EVA foam underlay.
My intention was to create a functional pencil holder that emphasises the fun and playfulness associated with drawing. The shape, colour and textures of the various sheet materials have all been chosen with a mind to engaging the user, and creating a lighthearted atmosphere.
My initial designs for the 'Pencil Hub' played with the general silhouette created by pencils sticking out from a sheet material. This silhouette immediately reminded me of an echidna's shape.
My preliminary designs focused on manipulating the shape of the echidna. As such, the initial models had an a-symmetric profile. However, as the model progressed, the general shape evolved and became more sophisticated. This was an anticipated result of playing with the animal shape and progressively identifying the essence of the shape. At this point the model took on a semi-circular profile.
A key challenge to designing the Pencil Hub was creating an item consisting of sheet materials, that is visually attractive, while remaining easy to construct. It was with these challenges in mind, that the final form emerged. The two piece construction (the 'Pencil Hub' is mailed as two pieces: top and bottom), offers a user-friendly, intuitive assembly, while the minimalism also provides an elegance to the product.
The choice of colours (blue polypropylene, and green EVA foam) are as much about deriving an emotional response, as they are about the function of the product. The colour contrast highlights where to place pencils, and also indicates which side of the sheet is 'up' when constructing the product (no circles are visible on the under-side).
In essence the Pencil Hub is about bringing a sense of fun to the work desk, in a functional, and elegant package.
Monday, October 5, 2009
Annie Leonard: The Story of Stuff
In 'The Sotry of Stuff', Annie Leonard exposes the fundamental flaw in the 'production cycle'.
The 'production cycle' is the method of production adopted by every developed nation, and increasingly by the developing world. The cycle starts from natural resources and continues through production to product use. The fundamental flaw in this cycle is that it is actually not a 'cycle', but rather a linear process. As a result the end product is never re-integrated into the natural environment. Used products are discarded and pollute the natural environment.
Annie Leonard highlights the urgency of this issue by noting that 30% of the worlds resources have been used in the last 4 decades. She also recognises that it is not only the government that is responsible (through regulatory supervision), but also the individuals. People have the power to change these methods by altering their purchasing habits to be environmentally mindful. Ultimately it is the individual consumer, and their money that will motivate change.
The 'production cycle' is the method of production adopted by every developed nation, and increasingly by the developing world. The cycle starts from natural resources and continues through production to product use. The fundamental flaw in this cycle is that it is actually not a 'cycle', but rather a linear process. As a result the end product is never re-integrated into the natural environment. Used products are discarded and pollute the natural environment.
Annie Leonard highlights the urgency of this issue by noting that 30% of the worlds resources have been used in the last 4 decades. She also recognises that it is not only the government that is responsible (through regulatory supervision), but also the individuals. People have the power to change these methods by altering their purchasing habits to be environmentally mindful. Ultimately it is the individual consumer, and their money that will motivate change.
Monday, September 21, 2009
On Ross Lovegrove sharing organic design
This is a review of a speech that Ross Lovegrove delivered at the Ted conference in February 2005 (see- http://www.ted.com/talks/lang/eng/ross_lovegrove_shares_organic_designs.html).
Lovegrove highlights the need for 'fat-free' design, and elaborates on the means of finding inspiration for such designs.
Lovegrove discusses the notion of 'fat-free' design as being 'lean and efficient' items where the material and the form are reduced to their bare essentials. He demonstrates this vision in his free-flowing water bottle, the 'Go' chair and the spiralled stair case featured in his studio.
Each of these pieces embodies the 'fat-free' philosophy, but they also display Lovegrove's process of inspiration/development. Lovegrove finds his inspiration in nature, as he regards nature as removing extraneous items from a form. The water bottle was inspired by the flow of water, and the 'Go' chair was developed with mind to the interlacing of a skeleton.
The stair case in Lovegrove's studio is an example of embracing advancing material technologies. The stairs are formed from a single element, while the hand rail is carbon fiber. In his words "modern materials allows us to do modern things".
Lovegrove's talk is important in highlighting the significance of finding sources of inspiration, and recognising that inspiration can be from a seemingly unrelated source. He also articulates the elegance and beauty that can be derived from simple, minimal forms.
Lovegrove highlights the need for 'fat-free' design, and elaborates on the means of finding inspiration for such designs.
Lovegrove discusses the notion of 'fat-free' design as being 'lean and efficient' items where the material and the form are reduced to their bare essentials. He demonstrates this vision in his free-flowing water bottle, the 'Go' chair and the spiralled stair case featured in his studio.
Each of these pieces embodies the 'fat-free' philosophy, but they also display Lovegrove's process of inspiration/development. Lovegrove finds his inspiration in nature, as he regards nature as removing extraneous items from a form. The water bottle was inspired by the flow of water, and the 'Go' chair was developed with mind to the interlacing of a skeleton.
The stair case in Lovegrove's studio is an example of embracing advancing material technologies. The stairs are formed from a single element, while the hand rail is carbon fiber. In his words "modern materials allows us to do modern things".
Lovegrove's talk is important in highlighting the significance of finding sources of inspiration, and recognising that inspiration can be from a seemingly unrelated source. He also articulates the elegance and beauty that can be derived from simple, minimal forms.
Thursday, September 17, 2009
Bad Design
My submission for the Bad Design assignment was the Soft Wrap package. Like many wraps it comes in a package featuring a resealable strip.
However, the poor visual design of the package leads the consumer to cut below the resealable strip, which undermines the purpose of the strip.
Friday, September 4, 2009
Thursday, September 3, 2009
Project 1 -Experience Enrichment: P-Ug
The P-Ug (Penguin Mug) is intended to accentuate the feeling of indulgence when enjoying a hot drink.
The key element to this design is to allow the drinker to experience the heat of the drink in the palms of his/her hands. The design enables the user to grasp the P-Ug in both hands, in a fashion resembling the way one might cup water from a stream.
The resemblance to a penguin was organic, and emerged as the shape evolved. However, the resemblance is appropriate to the purpose of the P-Ug. The desire of the design is to accentuate the sense of pampering, and indulgence one may experience when drinking a hot drink. The visual resemblance to a penguin (a creature associated with the cold) creates a juxtaposition that reminds the drinker of winter cold so that they may savour the heat of their drink.
The features of the design are:
Two lever-like handles- typically mugs have one handle that is attached to the mug at the top and bottom. This tends to inhibit rather than assist in holding the mug, as the drinker can often only fit three or four fingers through the handle.
The two lever-like handles enable the drinker to cup the P-Ug in her/his hands because there is no bottom handle connection that will interfere with the drinkers fingers.
The penguin-like body- the shape of the P-Ug's body is broad, and tapers at the base. This shape matchs the general shape of cupped hands, in order to allow the drinker to cup her/his hands around the P-Ug without overlapping fingers. The front of the P-Ug narrows to a (beak-like) point. This provides the drinker with a clear lip from which to sip the drink, while also providing a resting place on either side for the drinker to place her/his thumbs.
Monday, August 24, 2009
On Yves Behar on designing products that tell stories
In February 2008 Yves Behar spoke at the annual Ted conference on 'Designing objects that tell stories'. The talk can be accessed at http://www.ted.com/talks/lang/eng/yves_behar_on_designing_objects_that_tell_stories.html.
Yves draws from his own career, as a young designer in Silicon Valley to starting his own consultancy (Fuseproject), and the shifting importance/awareness that companies have started to apply to design.
Yves notes that all too often design has been seen as a finishing touch to existing products. He notes that the computer companies in Silicon Valley restricted design to the exterior 'skins' of the computers, rather than integrating the design process into the development of the computer's functionality.
However, Yves points out that the qualities of objects (sustainability, functionality and beauty) are all brought together through design. In this sense, design is a key element to creating a quality product.
As such, many of Yves recently successful projects have been 'partnerships' with the producer of the product (rather than a design consultancy arrangement). This has allowed the design process present throughout the development of the product. The success of these projects has resulted from the functionality and unique/beautiful of aesthetic value in the finished product, such as the jawbone bluetooth, and the XO Laptop.
Yves also highlights the significant influence that design makes. He notes that the NYC condom, and condom dispensers designed by Fuseproject, have not only created a more appealing product, but the design has also created a value change on the part of the public. The aesthetic design of the dispensers has allowed the dispensers to be placed in public areas, and this has gone toward removing the stigma attached to condoms, and condom vending machines.
Yves draws from his own career, as a young designer in Silicon Valley to starting his own consultancy (Fuseproject), and the shifting importance/awareness that companies have started to apply to design.
Yves notes that all too often design has been seen as a finishing touch to existing products. He notes that the computer companies in Silicon Valley restricted design to the exterior 'skins' of the computers, rather than integrating the design process into the development of the computer's functionality.
However, Yves points out that the qualities of objects (sustainability, functionality and beauty) are all brought together through design. In this sense, design is a key element to creating a quality product.
As such, many of Yves recently successful projects have been 'partnerships' with the producer of the product (rather than a design consultancy arrangement). This has allowed the design process present throughout the development of the product. The success of these projects has resulted from the functionality and unique/beautiful of aesthetic value in the finished product, such as the jawbone bluetooth, and the XO Laptop.
Yves also highlights the significant influence that design makes. He notes that the NYC condom, and condom dispensers designed by Fuseproject, have not only created a more appealing product, but the design has also created a value change on the part of the public. The aesthetic design of the dispensers has allowed the dispensers to be placed in public areas, and this has gone toward removing the stigma attached to condoms, and condom vending machines.
Monday, August 17, 2009
On Don Norman on 3 ways good design makes you happy
In February 2003 design critic Don Norman adressed the TED conference with a talk entitled '3 Ways Good Design Makes You Happy' (see video at http://www.ted.com/talks/lang/eng/don_norman_on_design_and_emotion.html).
Norman identifies three elements that interact to shape the emotional response that people have toward products. These three elements are Visceral, Behavioural and Reflective.
According to Norman, the Visceral element is a subconscious response that is concerned with the visual representation of an item. This involves the typical qualities associated with visual response, including colour, symmetry and line. The Visceral element is what attracts people to visually pleasing objects. Howver, it may also work to simply meet a person's expectations of an item. For instance, a train passenger may be encouraged by a solid/sturdy looking railway line, without finding the railway visually attractive.
The Behavioural element is also a subconscious response. This element is oriented around the sense of control that a product conveys to the user. At one level, this can refer to the actual feel, and useability of an object. Is it easy to operate? Does the user feel they can control it?
The Reflective element is a user's conscious response to an object. It deals with a user's image of themselves and their surroundings. The Reflective element is, in some ways, refers to a wider sense of control, beyond the functioning of the object. It refers to the user's sense of control in the wider world. For example, an expensive watch may provide no more functional control than a cheaper watch, but it conveys a social status that provides the user with a greater sense of control of their surroundings.
Norman goes on to explain that these three elements are all considered (consciously and unconsciously) when a user interacts with an object. In some cases they may provide conflicting repsonses in a user. In this sense, it would seem that better design will occur when all three of these elements are satisfied in one object.
Norman identifies three elements that interact to shape the emotional response that people have toward products. These three elements are Visceral, Behavioural and Reflective.
According to Norman, the Visceral element is a subconscious response that is concerned with the visual representation of an item. This involves the typical qualities associated with visual response, including colour, symmetry and line. The Visceral element is what attracts people to visually pleasing objects. Howver, it may also work to simply meet a person's expectations of an item. For instance, a train passenger may be encouraged by a solid/sturdy looking railway line, without finding the railway visually attractive.
The Behavioural element is also a subconscious response. This element is oriented around the sense of control that a product conveys to the user. At one level, this can refer to the actual feel, and useability of an object. Is it easy to operate? Does the user feel they can control it?
The Reflective element is a user's conscious response to an object. It deals with a user's image of themselves and their surroundings. The Reflective element is, in some ways, refers to a wider sense of control, beyond the functioning of the object. It refers to the user's sense of control in the wider world. For example, an expensive watch may provide no more functional control than a cheaper watch, but it conveys a social status that provides the user with a greater sense of control of their surroundings.
Norman goes on to explain that these three elements are all considered (consciously and unconsciously) when a user interacts with an object. In some cases they may provide conflicting repsonses in a user. In this sense, it would seem that better design will occur when all three of these elements are satisfied in one object.
Monday, August 10, 2009
Poster of Springfree Trampoline
This is a mock up poster that I ccreated for the Springfree Trampoline. The product was designed in New Zealand by the University of Canterbury. The design won the Sport and Leisure category in the 2009 International Design Awards.
Monday, August 3, 2009
On David Kelley on human-centered design (Ted.com)
In February 2002, David Kelley gave a talk at the TED conferences entitled 'Human Centered Design' (http://www.ted.com/talks/lang/eng/david_kelley_on_human_centered_design.html).
Kelley is a leader in the field of industrial design, and a founder of the design firm IDEO. As such Kelleys thoughts on the trends and developments in industrial design are of immense value to anyone involved in the industry.
In his TED talk, Kelley notes that product design has developed from a focus purely on products, to a focus on personality and behaviour, and how a product can suit the user. This is what Kelley terms 'human centered design'.
'Human centered design', although not stated by Kelley, seems to have two components. The first is product development, while the second is product/design marketing. The product development phase is continually considering the end-users. Thus the final design should not only perform a required function, but it should perform this function in a manner that is compatible with the style and environment of the end-user.
An example of this end-user consideration the Pavillion outside the Millenium Dome that IDEO was commissioned to design. The Pavillion celebrates the water recycling performed by the Millenium Dome, while educating visitors on the process of water recycling and promoting environmental awareness. The Pavillion meets the requirements of providing information, but it's effectiveness is in the way it engages visitors. The architecture of the Pavillion is sleek in keeping with the Millenium Dome, while the internal exhibit utilises interactive lights and visual displays to interest viewers.
The product/design marketing phase refers to the need to demonstrate human interaction when marketing/pitching a design. Kelley notes that this element is so important that IDEO now has internal production groups to prepare video productions to convey how a product will be used. He regards this as a powerful method of conveying a design, likening it to architects showing people in houses as opposed to empty rooms.
The IDEO video of the Prada showroom in New York, provides a great example of how effectively videos featuring user interaction can convey the merits of a design. Even in the TED audience cheers are audible in response to features of the store.
David Kelley's human centered design encourages designers to focus on end-users during the design process, as well as during the pitch/marketing.
Kelley is a leader in the field of industrial design, and a founder of the design firm IDEO. As such Kelleys thoughts on the trends and developments in industrial design are of immense value to anyone involved in the industry.
In his TED talk, Kelley notes that product design has developed from a focus purely on products, to a focus on personality and behaviour, and how a product can suit the user. This is what Kelley terms 'human centered design'.
'Human centered design', although not stated by Kelley, seems to have two components. The first is product development, while the second is product/design marketing. The product development phase is continually considering the end-users. Thus the final design should not only perform a required function, but it should perform this function in a manner that is compatible with the style and environment of the end-user.
An example of this end-user consideration the Pavillion outside the Millenium Dome that IDEO was commissioned to design. The Pavillion celebrates the water recycling performed by the Millenium Dome, while educating visitors on the process of water recycling and promoting environmental awareness. The Pavillion meets the requirements of providing information, but it's effectiveness is in the way it engages visitors. The architecture of the Pavillion is sleek in keeping with the Millenium Dome, while the internal exhibit utilises interactive lights and visual displays to interest viewers.
The product/design marketing phase refers to the need to demonstrate human interaction when marketing/pitching a design. Kelley notes that this element is so important that IDEO now has internal production groups to prepare video productions to convey how a product will be used. He regards this as a powerful method of conveying a design, likening it to architects showing people in houses as opposed to empty rooms.
The IDEO video of the Prada showroom in New York, provides a great example of how effectively videos featuring user interaction can convey the merits of a design. Even in the TED audience cheers are audible in response to features of the store.
David Kelley's human centered design encourages designers to focus on end-users during the design process, as well as during the pitch/marketing.
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