chapter 6. design 2 - Swinburne Research Bank

CHAPTER 6.
DESIGN 2
6.1 Conceptual product design for a music system: MP3 player
Conceptual product design provides a view of the future. Technology limitations were disregarded in the
design of this product.
This product design would pool together Ding-Feng’s engineering and research centre to develop the new
technology to accomplish this design outcome. Chinese elements were used to echo the ideal Chinese style
design for this product.
Design brief:
A number of CD players were successfully designed in the previous design process. The Moonlight design
in particular was a good example of the application of Chinese symbols, which also target a broader global
market. Therefore, in the conceptual stage of product development for my MP3 player, the design strategy is
to continue the application of Chinese material and a metaphorical design method.
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Case 1: Hidden Jade (modern Chinese style trend)
Design concept:
My first challenge in this new project is to find a Chinese traditional symbol that could arouse Chinese nostalgic emotions. I was persuaded by theorist Li, who wrote: “Chinese jade was chosen as the symbol to represent Chinese culture, as it has traditional wearing behaviors and spiritual meaning. Jade is a popular mineral
and a precious treasure for the Chinese. It connects on a beauty and emotional level.”103
103 Li,
Xing Jian. (2001)”Chinese Jade”. Available at http://www.jade000.virtualave.net/doc/old/_jade.htm
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This design is comprised of four different pieces: Wearable Jade / MP3 system, portable large-sized MP3,
wireless headphone system and remote control, and decorative necklace.
I. Wearable Jade / MP3 system:
The functions include MP3 and radio capabilities.
II. Portable large-sized MP3:
The functions include MP3, Radio, Hard Drive, MPEG / DivX Player, PDA and Recording.
MP3 / Radio: large 120 GB which has the capacity of over 2000 songs
Hard Drive: the Portable Hard Drive can be used to save and backup data.
PDA: to record important messages and notes
MPEG / DivX Player: for playing movies and MV
Recording: voice recording time of more than three hours
III. Wireless headphone system and remote control: Through infrared remote the user can control the
portable MP3 and connect to the wireless headphone.
IV. Decorative necklace: Wearable Jade / MP3 can be worn around the neck by a silver decorative necklace.
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Fig. 53. Idea sketch of portable large-sized MP3 (Hidden Jade).
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The conceptual development
I. The value and symbolism of Chinese jade
In the ancient Chinese Xia, Shang and Zhou Dynasties, jade was the ceremonial material to offer sacrifices
to the sky and the earth. After the Zhou Dynasty, jade was also used as a personal social identifier within the
ranks of nobility. For example, the emperor held the “Zhen Gui”, the knights held the “Gu Bi”. The material
of jade is mildly warm and moist, hard but delicate, making it difficult to cut and polish. As a result it was
not in the reach of the common populace. Later in the Chun Qiu Zhan Guo Dynasty, jade was used in clothing but was only limited to use by royalty. It was in the Han Dynasty that the populace began using jade to
exorcise evil spirits and bring good luck. The importance of Jade is illustrated in Chinese literature including
“The Red Building Dream”104.
104Li,
Xing Jian. (2001). Chinese Jade. Available at http://www.jade000.virtualave.net/doc/old/_jade.htm
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II. Jade is the combination of beauty and emotion
An old Chinese verse says that jade can be , “softness, hardness, rise, fall, humility and pride.”105Jade is believed to help people who are depressed. In Chinese custom, if a beautiful piece of jade is worn, the wearer
would have to behave as royalty.
III. Jade research in brief:
In terms of ancient Chinese traditional handicraft works, jade is one of the materials best able to represent the
characteristics of Chinese culture. As to the moral character of jade, the following definition is offered:
The ancient Chinese book “Notes on Language and Characters” defines five virtues of jade:
I. The soft lustre is like a human moral character;
II. A rational exterior with an interior that includes justice and the Golden Mean;
III. A comfortable refined voice, with unique intelligence;
IV. Strength of character, possessed of great courage;
V. Honest and upright, free from corruption, representing a person of outstanding talent. The Book of Rites
also records: in ancient times men would be certain to wear jade, a cow’s horn on their right hand side, a
105
Li, Xing Jian. (2001). Chinese Jade. Available at http://www.jade000.virtualave.net/doc/old/_jade.htm 141
feather in the hat on their left hand side, walking steadily like a tree in the breeze.106
This indicates the extent to which jade has been anthropomorphized to symbolize the characteristics all
gentlemen should aspire to possess and how this has become an integral part of the lives of Chinese people.
The records and history of Chinese jade are extremely long, meaning many differences can still be found in
various documentary records. The design perspective taken by this research and consideration of the characteristics of jade elements, lay the ground work for an analysis of “the characteristics of Chinese jade”,
“carving types” and “decorative patterns”, all of which are intended to assist the practical application of any
design.
1. Jade quality characteristics
Chinese people have conducted much in-depth research into jade. In 2000, scholar Tsai Tsung-lin listed the
standards determining the quality of jade according to ancient books. Table 3 details the six jade quality standards: hardness, purity, aesthetic appearance, refinement, smoothness, transparency.107
106
Liu Ju-shui (1998) “Differentiating Ancient Chinese Jade by Era,” Shangchou Publishing.
107
Tsai, Tsung-lin (2000) “Common themes relating to Jade,” Taiwan. Shihwan Publishing.
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a. Hardness
A hardness of 5~7 degrees, comparing size/weight and how heavy the item feels in the hand
b. Purity
No flaws in the purity, no blemishes and even coloration
c. Aesthetic appearance
Aesthetically pleasing shape
d. Refinement
Work to ensure the proportions are symmetrical and classical
e. Smoothness
Smooth lustre of jade once its surface has been polished
f. Transparency
Quality jade is transparent
Table 3. Jade quality standards.
2. The colors of jade
All natural materials vary in color and jade can be divided into original color, murky color, preservative skin
carving and preservative color carving. These are discussed in greater detail in Table 4.108
108
Liu, Ju-shui. (1998). “General theory on differentiating ancient Chinese Jade by Era,” Shangchou Publishing.
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Original
Original color inside jade comes in two types; one
color
color and multiple colors.
Murky
As a result of natural absorption, permeation or corro-
color
sion an expensive murky color forms.
Preserva-
Here the color of the jade’s surface differs from that of
tive skin
the main body. Through carving this creates different
carving
colored layers, an effect that is particularly valuable.
Preserva-
Here there are multiple colors within the jade piece
tive color
itself. Such multi-colored jade can be used in carving,
carving
preserving its highly changeable colorations.
Table 4. Categorizing Different Jade Colors.
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The color variations of jade appeal to me. It was this that led to the idea of applying modern plastics that
have undergone “incremental mixed coloring”, “plastic heat control” or “mixed color carving”, to simulate
the original texture and color of jade. The objective was to determine how best to use modern technology, so
as to create the impression of a priceless natural material through a predictable manufacturing process.
3 Analysis of jade carving methods
Through carving, what was initially a simple piece of jade can be transformed into a refined work of art. In
addition, carving can be broadly divided into three main types: shallow carving, relief carving, hollowed-out
carving and circular carving. In ancient China most jade pieces were formed by shallow carving and carried
on the body. In contrast, relief carving and hollowed-out carving were more generally applied to ceremonial
sacrificial offerings and utensils used by wealthy families. Circular carving is both extremely difficult and
time consuming, but also believed to be of particularly high value.
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Flat
carving
Relief
carving
Hollowedout carving
Round
carving
Carving on the same flat surface, most of which are thin slices in shape is
called flat carving
This involves a carved motif seemingly floating to the surface (from a flat
surface), creating a 3D visual effect
Hollowed-out carving uses drilled holes and line cutting methods
3D carving, based around the shape of a cylinder which is the most difficult,
also called “full” carving.
Table 5. Jade Carving Methods.
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The jade carving shown in Table 5, whether flat carving or round carving, follows different methods depending on the different demands of each approach. In contrast, if I look at the design of modern jewellery and
handicrafts, most carvings still make use of flat carving and relief carving methods, combined with modern
geometric patterns and natural curved lines. I want to apply relief carving techniques to the design of my
MP3 product. This marks an attempt to apply traditional techniques to the design of what is very much a
modern product.
4. An analysis of jade patterns:
Table 6 is a summary of the dominant symbols and themes of Chinese jade artifacts, taken from the scholars
Liu (1998) and Tsai (2000). From this array of choices, the designer (me) can draw inspiration.
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Animal- “Animal-face patterns” is a standard category. At a minimum, the animals shown include the facial features of cows/oxen, sheep/goats, tiface
patterns gers, deer and rhinos etc. “Animal-face patterns” originated with the
totems of primitive tribes. Some scholars also believe they developed
from masks or tattoos worn by members of the tribe. Of the jade vessels unearthed from Liangzhu culture, many carved animal-face patterns have protruding eyes and giant noses. This is particularly true with
some of the golden jade which were decorated with mystical humananimal faces.
Net-type
patterns
This involved taking parallel straight lines and utilizing intaglio technique to turn them into an inter-crossing right-angled lattice structure,
hence the name “net-type patterns”. Because this pattern also resembles
the straw mats on which our ancestors used to sit it is also sometimes
known as “straw mat pattern”. A jade dragon (C type dragon) unearthed
in Inner Mongolia from the Neolithic Hongshan culture attracted much
attention. Both the forehead and jaw of this jade dragon were decorated
with a net pattern, the earliest ever jade carved pattern found in China.
Strings
patterns
This were one protruding vertical or horizontal line or several curved
lines or vertical lines arranged in parallel For example, the strings on the
Chinese musical instrument the Chin could all be described as line patterns. Sharp holes in early jade carving handicraft work often showed
signs of parallel line patterns after being worked. These were not purposely carved but instead created as a product of making the hole and
can therefore be used as a reference when evaluating the authenticity of
ancient jade pieces.
Table 6. Jade Decorative Patterns
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Dragon
patterns
Dragon patterns are an extremely important motif in the realm of Chinese jade carvings. Academics universally believe that dragons originated with the totems to snakes worshiped by primitive people.
The earliest form of jade dragon to have been discovered is the Hongshan culture C-type dragon. Most Neolithic era dragons were circular
and possessed many of the characteristics of birds, bears, cows/oxen,
crocodiles, snakes etc. The four legged, two horned dragon tool/
weapon found in the Fuhao tomb from the late Duan-Shang Dynasty
(1751BC~111BC) is the earliest of its kind discovered.
Fire
patterns
Fire patterns are also called swirling, vortex, net or sun patterns. There
are fire circle records around the object. Fire patterns are a sign of the
sun, representing light and as such they characteristically have a round
shape with slightly protruding round dots. Along the side are 4-8 revolving arc lines, all of which express the mobility of flame. Basically
all of these elements are part of the flame pattern.
Kylin
patterns
Kylin patterns are also known as dual ring patterns and in the field of
ancient jade ware as vessel or ring patterns. Shang and Chou Dynasty
jade carvings are often decorated with Kylin patterns, especially adorning the bodies of animals. Intaglio line patterns were also frequently
used to express animal fur or carve the head, neck, chest and abdomen
of fish and birds. The name is derived from the fact that the decorative
patterns are arranged like fish scales.
Table. 6. Jade Decorative Patterns.
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Water
wave
patterns
Water wave patterns are also called wave patterns. They express the
flowing of water and movement of waves and are generally formed
from the joining of various relatively realistic wave forms, creating
scenes of terrifying stormy seas.
Dragon’s
head patterns
The dragon’s head is basically made up of circular and cloud patterns.
The dragon’s head patterns was especially popular during the SpringAutumn and the Warring States periods, at which time circular patterns
were used to represent the dragon’s eyes. At the front an open mouth
was carved, with cloud patterns representing nose and lower jaw, forming a basic style dragon’s head pattern. On jade carvings most are combinations of cloud, storm or rice patterns, as a way of beautifying the
dragon’s body.
Rice
patterns
Rice patterns are also known as silkworm or tadpole patterns, resembling the comma in punctuation and appear to have evolved from the
vortex pattern. The rice patterns origins are self-evident, the shape resembling that of a budding rice husk seedling. This represents a time
when our ancestors stopped nomadic roving for a fixed agrarian life.
The appearance of rice patterns also explains the importance of crops
for our ancestors and marks a way of memorializing the importance of
rice especially.
Table. 6. Jade Decorative Patterns.
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Milky
head
patterns
Milky head patterns are a kind of relief semi-circular pattern. As such, it
may are similar to circular and chestnut patterns and may have evolved
from the latter. But why the name “milky head”? This is probably an
indication that it represents the protruding part of a woman’s breast or
nipple. Of course, the nipple is extremely important to a new-born baby.
Milky head patterns are the same as chestnut or rice patterns in the
sense that they are arranged in rows covering the whole decorated object, or divided into sections by rope patterns.
Chestnut
patterns
The chestnut is colloquially known as “millet”. The “chestnut pattern”
is made up of lots of small round grains that look like millet. These
grains are generally regularly in shape, but not as 3D and round as in
milky head patterns.
Rush mat
patterns
Rush mat patterns are modelled on mats of the same name. They differ from net patterns in that they are a much more complex form of the
same approach. Early rush mat patterns were made up of two groups
of short diagonal lines that did not intersect. Later this was developed
into three groups of parallel interlocking lines, forming sixty degree
intaglio lines and a diamond shape. If I take away the upper and lower
acute angle then it becomes a hexagon and then after further work a rice
pattern.
Table. 6. Jade Decorative Patterns.
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Pottery
patterns
Pottery patterns, also called cord and twisted rope pattern appears in
the shape of a knotted rope. This pattern was particularly popular in the
Spring-Autumn and Warring States periods and was often seen in jade
carvings, dragons’ bodies and the tails of auspicious animals. Partly
carved vessels also often used pottery patterns to differentiate patterns
in different areas of the vessel / object.
Colorful
tiger patterns
Colorful tiger patterns were the most frequently seen themes on jade
carvings during the Han Dynasty. The tiger was one of the mystical animals referenced in magical thinking during the Han Dynasty. The shape
was probably derived from that of wild tigers. Another pattern popular
in the Han dynasty was the “colors in the clouds” relief 3D colorful
tiger, also known as “Pan Li”.
Plant
patterns
Plant patterns include decorations that use of plants. For example, the
flower petal and ears of rice patterns most popular on objects unearthed
from local prehistoric cultures. Other influences come from East Asia
and the Western Regions, with the appearance of grape and lotus patterns, etc. Since the Ming and Ch’ing Dynasties the number of plant/
flower motifs have expanded to included the “four gentlemen” - plums,
orchids, bamboo, chrysanthemums and the “three friends of winter”pines, bamboo, plums,” as popular motifs.
Table. 6. Jade Decorative Patterns.
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General
animal
patterns
General animal patterns mainly indicate those most commonly seen in
nature. In prehistoric times people lived by hunting and during primitive times animals were often revered by tribes and the basis for many
of their totemic beliefs. Animals on jade carvings speak through form
and so here we are referring specifically to the animal pattern decorating
a form of jade carving.
Traditional motif
patterns
This refers to patterns based on historical characters, idioms, allusions,
Buddhist myths etc. This take people as their central motif or extend
words of forms into some kind of moral message.
Such character patterns originate in the late Neolithic era, all including a large amount of character forms and decorations. After the Chou
and Shang Dynasties animal face and animal patterns were gradually
replaced by character patterns. There were many motifs for decorative
character patterns of people in real life, going beyond religion and ethical codes. They also expressed many of the details of daily life at the
time.
Symbolic
character
patterns
Pottery and jade vessels from Chinese prehistoric culture are all engraved with distinctive symbols, many of which have their own special meaning, with several used not only as decoration but also written
script. The first piece of ancient jade to be found decorated with characters patterns was the animal face Mingwen jade dagger, followed by
another jade Ko dagger unearthed at the Fuhao tomb, from the Shang
Dynasty.
Table. 6. Jade Decorative Patterns.
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Auspicious
symbol
patterns
Auspicious patterns or images make use of specific decorative items to
express abstract ideas and emotions. In forming auspicious images it is
possible to use the inherent properties of the object or deliberately add
other qualities. It is also possible to derive meaning from the object being an antonym for another word, analogies from legends or art to add
meaning to a work. At the same time, the promotion of religion and the
addition of color and emphasis by members of the literati also had a
major influence in the creation of auspicious patterns and motifs.
Geometric
patterns
Geometric points, lines and surfaces patterns create regular images that
belong only to formal change and a structural sense of aesthetics. This
is the simplest and most widely used of all patterns, inspired by nature.
During the period when animal face and dragon patterns were popular,
geometric patterns served as a complement to the central motif. After
the Spring-Autumn and the Warring States period it became more common to see geometric patterns as the main motif and these were commonly named after the characteristics of the shapes created.
Cloud
patterns
Cloud patterns, also called cloud-air patterns, are made up of soft arcs
and backwards curving lines and often appear together with storm patterns. Cloud patterns are expressed in such a way they resemble the
English letter “S” or curves in the same direction. During the Han Dynasty when magical ideas were popular a mystical creature often appeared at the side of a cloud pattern, which was then called a cloud
fantasy pattern.
Table. 6. Jade Decorative Patterns.
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Design application:
Three areas of study were used to further explore the significance of using jade as an inspiration in the design: symbols, aesthetics, and metaphors.
I. Symbols
As Table 6 demonstrated, there are hundreds of symbols to choose form. And many are not appropriate for a
youth - oriented music player. I have decides to use the most simple and pure jade shape, the round shape, to
be a dominant symbolic shape in my MP3 player.
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II. Aesthetics
Jade can represent softness, hardness, rise, fall, humility and pride. Therefore, a semi-transparent emerald
green plastic was used to conspicuously represent the jade’s color and the sense of touch in the “Wearable
Jade” material. The “Wearable Jade” has a round shape. For the Chinese, the circle represents completeness,
in particular the union of family. The pure and geometric round shape also represents the traditional Chinese
belief that jade confers good luck, protection and good social standing.109
III. A metaphor in design elements
There is a Chinese traditional adage: “The stones of the hill may be used to polish gems”, which means that
advice from others may help one improve. The designs of “Wearable Jade / MP3 system” and “Portable large
- sized MP3”, are inter - related: one is semi-transparent emerald green plastic, and the other of similar stone
colored material on the surface, to imply the jade and stone relationship. The “Wearable Jade” and “Portable
large-sized MP3” will also click together to form a single music system.
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109
China Holiday. (2003). Available at http://www.big5.xinhuanet.com/gate/big5/news.xinhuanet.com/ziliao/2003-01/18/content_695315.htm
6.2 The design inspiration for product components
The Hidden Jade (MP3 music system) is a multi-component design. In each component, new styles, functions and forms are designed. The integration of the various components forms an important design consideration. Two important concepts were explored in the Hidden Jade’s component design: wearable design and
wireless headphone design.
Wearable design
The usual behavior when listening to MP3 music is from the CD-MP3 player worn in the chest pocket, a
trouser-pocket or on a belt. When the music player is worn on the neck or as part of the costume, it brings
about a traditional Chinese wearing behavior which relates to clothing and the human body or form. Most
importantly this design is to recover a Chinese traditional custom, “the jade”, with a nostalgic feeling, but
this concept goes further, combining fashion as well. This led me to design a necklace music player, the Lyric
concept (fig. 54).
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Lyric
Fig. 54. Idea sketch of decorative necklace, Lyric.
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Lyric:
The design combines the idea of jewellery design and modern technology. The main body is made of 925
grade silver for the middle inlay. The shape is inspired from plants with smooth curved lines that link to the
MP3 player (Hidden Jade) and this completes the integral design.
Character and functions:
*Executed in two materials: steel chain and modern matte rubber.
*When the silver section links with the Hidden Jade (MP3 player), the jade section will play with soft
light that slowly fades in and out.
*The silver necklace surface has a water symbol, the same symbol that is in the Hidden Jade’s main body.
*The MP3 player will have an interchangeable section to fit the jewellery component, allowing change of
the material and color.
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Wireless headphone
In Oct. 2003, Curt Carlson, president of SRI International Think Tank, stated that simultaneous development
in longer-life batteries, speech recognition and seamless networking would create mobile devices so important in connecting us to “information, work and friend”, that we would no more leave the house without them
than we would forget our wallets. He said speech recognition was vital because most people would never be
happy typing or writing on the tiny key pads and handwriting screens now crammed into mobile phones and
personal digital assistants.110
Therefore, in line with the world technology trend, speech recognition and wireless technologies will become
a trend for mobile devices. In the Hidden Jade concept design, the latest wireless technology will be used to
enhance the design. The wireless headphone is very small, similar to the general size of an earplug or headset
(the headphone size is 18mm-20mm, fitting with the human factor). The wireless headphone could be controlled by remote - control. The wireless infrared remote will handle all the MP3 functions. The headphones
will also be wireless to complete the design.
110
SRI International Think Tank: Available at http:// taiwanthink.org/archive/000765.html
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Fig. 55. Idea sketch of wireless headphone
system and remote control
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6.3 Operation testing: prototype observation
To understand the human interaction with the MP3 product, I conducted a prototype testing. Three persons
familiar with electronic products (computer, CD player, video game and MP3 player), in the age range of
17-34 years participated in the testing. They individually operated the prototypes to feel the product’s size,
the degree of comfort when used, the logical procedure for operation, and operational feeling. The testing
process was recorded by digital camera. The aim was to determine design issues and apply the appropriate
modifications. (see fig. 56)
In Figure a, in testing for the relative proportions between the product (MP3 player ) and computer, it is obvious that the product scale is quite small comparing the MP3 player’s size with the normal 17 inch or 19 inch
computer screen, gives a proportion of 1:8. In accordance with my design experience, the 1:8 proportion is
comfortable for the user.
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Figure-a
(The relative proportion
between the product and
computer)
Figure-d
(The method of button
control)
Figure-b
(The connection between the
product and base)
Figure-e
(Test and verify the
product scale and size)
Figure-c
(The connection between the
base and computer)
Figureu-f
(Component operation)
Figure-h
Figure-g
(The scale of remote control) (The operation of
remote control)
Figure-j
(The scale of screen)
Figure-k
(Touch control screen use)
Figure-i
(The position of
remote control)
Figure-l
(Wearing test )
Fig. 56. The analysis of the operation of Hidden Jade.
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In Figures b and c, the base (one of the components) is used to transmit the data in a wireless format. The
design should convey convenience and user friendliness. Several tests showed that the connection is logical
without any user problems.
In Figures d and e, testing confirmed that one-handed operation is easy and can activate various functions
with intelligent control buttons. The thumb and index finger can control the two side buttons to select the
music track, play, F.FWD, volume and stop. The thumb can also press the component, Jade, to control the
music function easily, as shown in Figure f.
Although the remote control is small, the product functions are laid out logically and conveniently by a trackplate, direction keyboard and infrared as shown in Figures g to i. The remote control also activates all the
product functions by infrared.
In Figures j and k, the testing resulted in the final screen size. Because the screen has a function of touchcontrol, the design considered the index finger size as it moves on the screen area. Figure l shows the circular
element can be removed and worn as a necklace - the Lyric player.
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In the testing process, problems were found with the product’s small touch-buttons. So they were enlarged.
The issue of diversity between a right hand and left hand user was investigated, but it was established that
there was no significant difference, the right hand user can use the index finger to handle the buttons, and the
left hand user can only use one thumb. Listed below are the testing outcomes:
* The product’s scale is smaller than the average general palm, the main body size: 75mm × 115mm ×
13mm, small jade MP3 size: 42mm diameter and the remote should be set up in size 40mm × 55mm ×
8mm.
*The control of functions in the product is easy, through the interactive assistance by remote control. Also
the main body has its own control system that is easy to operate.
*The image screen has been set forward in touch function for easy control.
*The product would be packaged with a bag for outside use.
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