Contents - Glen Baghurst

Transcription

Glen Baghurst
Harmonising Science and Design
www.glenbaghurst.com
3
Masters of Industrial Design, Swinburne University, Melbourne
Diploma of Industrial Design, Swinburne University, Melbourne
Bachelor of Science, University of Sydney, Sydney
Harmonising Science and Design
Science is the study of the real and quantifiable, to find truth. Design
is the practical application of this knowledge to live a better life. These
disciplines are more intertwined than this short passage will manage,
but the main reason for my switch from a scientific arena to design has
been what focal length I have acquired. I am currently able to approach
science with a holistic view, and apply its theories and processes into
everyday objects. I have used both chemistry, biological mimicry and
Material physics in some works completed this year in my masters at
Swinburne University.
I have also acquired a healthy background in Industrial design through
my diploma, masters and professional practice at Swinburne University. I have covered user-centred design, contextual design, product interaction and smart environments, digital content creation (solidworks,
3dsmax). My studies were unique because I was able to put my education into practice whilst at university for the following companies; SCA,
sorbent, Frog design and Regent Caravans.
Design is a battle between the urge to create, being empathetic to others and tapping into the emotions that make us human.
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Contents
Why Commercial and Experimental design?
Commercial Design
Work that has been created for a manufacturer, client or
with a commercial motive in mind.
Like a film maker who would have worked on heavily conceptual short films and then clips for advertising, these are
two categories where the work has certain parameters.
Commercial work has money in mind. It has a strong conceptual element but has industrial manufacturing at the root
of the project to enable a profitable outcome for the product, company and me. This work is inspired through materials, practises and methods used in my experimental work.
The language of the artistic artefacts are brought into the
commercial work to empower and inspire the commercial
project.
Untitled , Sofa (2012)
pg. 10 - 25
Stone Stool, Stool (2011)
pg. 26 - 47
Cloud Platters, Platters (2011)
pg. 48 - 53
Fit, In car Tissue Box (2010)
pg. 54 - 63
Fire Protection Suite Fire Retardant Material (2010)
pg. 64 - 73
Soft, task lamp (2011)
pg. 74 - 77
Experimental Artefacts
These objects are full of passion and heavily conceptual.
Piece Plate, serving plate (2010)
pg. 78 - 83
Part One, picnic bench (2009)
pg. 84 - 85
Cornered, floor lamp (2009)
pg. 86 - 89
Transform, low reading lamp (2011)
pg. 90 - 97
Summer Winter, clothes dryer (2009) pg. 98 - 103
Parasitic Design, Collection (2010)
pg. 104 - 119
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USER CENTRED DESIGN TAXONOMY
LONG RANGE FORECASTING
RN
LEA
NALYSIS
ORICAL A
HIST
AMS
IAGR
U
SC
S
RO
C
LTU
A
RV
SU
AL
E
OB
PR
R
U
LT
CU
ET
BE
HA
PID
RS
ON
AL
I
E
GN
AT SI
PL C DE
E
I
C IT
PIE RAS
PA
PE
N
TE SIG
LA DE
IF TA CE P ITIC
PIE RAS
PA
AFFINITY DIAGRAMS
INTUITIVELY GROUP THINGS TO FIND RELATIONSHIPS
BEHAVIOURAL MAPPING
TRACK THE MOTIONS OF PEOPLE VIA TIME AND SPACE
CULTURAL PROBE
GET PERSONAL OR WRITTEN RESPONSE ON ANOTHER COUNTRIES
PERCEPTION OF A PRODUCT. DOCUMENT HOW THEY INTERACT
HISTORICAL ANALYSIS
COMPARES THE FEATURES OF VARIOUS GROUPS AND THEIR STAGES
OF
DEVELOPMENT. eg AN INDUSTRY OR COMPANY
LONG RANGE FORECASTING
ACT SCENARIOS, HOW NEW TECHNOLOGIES COULD MANIFEST BEHAVIOURAL CHANGES
(HUGE PHILLIP K DICK FAN)
FITA
POURED PLA
TTERS3
Sofa
TTER
S
RS
RAPID ETHNOGRAPHY
BE AROUND YOUR SUBJECT, OBSERVE, HANG OUT, MINGLE.
.
IGN
PIECE PLA
TE
FIRE SUIT
PARASITIC
DES
ROC
POU K
RED
PLA
TTE
FIT
PIE A
PA CE P
RA LA
SIT TE
IC
DE
SIG
N
RO
C
PO K
UR
ED
PLA
TTE
RS
PERSONAL INVENTORY
CATALOGING EVIDENCE FROM THE USER, AS TO WHATS MORE
IMPORTANT. COULD BE SPECIFIC TO AN AREA. TISSUES.
FITA
POUR
ED PL
A
E
AT
PL
E
T
I
C
PIE E SU
FIR
S
Q’
ND
S
EY
OK
ATE
E PL
PIEC
BE
RO
P
RAL
LO
A
FOUR WAYS TO CATEGORIZE USER CENTRED DESIGN
GLOSSARY
K
AS
NV
EN
HN
VIO
TO
OG
UR
RY
R
A
AL
MA PHY
PP
ING
PAP
ER P
ROT
OTY
PING
EXPERIE
NCE
PROTOT
YPE
TY D
FFINI
RA
FITA
glen
baghurst
TRY
PIECE PLATE
FIRE SUIT
WORK pg no
9
Commercial |Homeware|Sofa
11
Untitled, Sofa (2012)
e
a
i
m
The Story
I was approached during the 2012 Stockholm Furniture Fair by a Swedish Manufacturer to develop a sofa. I left the meeting with the following
written in my notes on my iphone.
Soft but firm
b
c
f
j
kj
g
n
o
Support for shoulders
Space between ground and frame
Contemporary, mid century design
L
d
p
h
Simple
I left Stockholm two days later and generated some rough sketches on
the train home, then sent them to the client. As it was a very fast turn
around.
13
Drawing Revision 1
We narrowed the designs down a to a small few and developed some
technical drawings that were sent to the factory in Poland. I flew in the
following weeks to assist the creation of the prototypes.
Render: Generated from Technical Drawing in Solidworks
15
Prototype 1
The initial prototype was mocked up from the technical drawings I sent.
It was obvious that there were some proportional issues and the angle
in the seat and posture of the seat was wrong. As I was in transit via
Poland to Australia, I had one and a half days to make the the approriate alterations.
I made some altertions to the sizes and worked with the head sofa
technician to develop the frame so that it would help the comfort. The
bottom image shows the amount of cuts and alterations it took to get
the look right.
17
Prototype 2
Once we adjusted some of the dimensions to find proportion, the sofa
found its form, we also made some alterations in the construction of
the arm to create a more organic flow of material.
19
Prototype 2 - Material
We developed an unconventionally thin piping through folding some
fabric traditionally used to hold leather cushions on a sofa. Traditional
fabric or leather has a thickness limitation when folded. This gave the
sofa a nice soft pencilling around its form.
21
Prototype 2
Once the cushions were finished it was clear that the proportions had
been found. The frame also provided adequate incline for the back and
created a very comfortable sit.
23
Final Prototype
We developed the sofa to enable the attachment of two arms we would
be offering with this design. The client was really happy with the shape
and comfort of the design and it is currently touring Sweden and Norway to find distributors.
This project was a moment of firsts! The first time I had developed a
sofa from concept to floor model. The first time I had worked directly
with a team of 20 people on the workshop floor rushing to get the best
results in a short time frame.
When I was on the train sketching I was not expecting that I would be
flown to Poland to work with such a great team and liaise with the head
technician, foreman, upholsterers, carpenters and product managers.
As well as provide written and oral material for marketing and sales.
It was an amazing experience that provided me utter insight into the
peaks and troughs of designing and manufacture.
25
Homeware
27
Stone, stool (2011)
material: lightweight concrete
An innocent form, found in nature and brought home. This stool
compliments your living space by balancing nature within a man
made context. The top has been cut flat so that the stool can fluctuate between table and seat.
This stool has been commissioned by a well known pastry cafe in
Sydney, Black Star and is manufactured in Sydney and distibuted
by &company.
Commercial|Homeware|rock stool
29
Finding the Right Rock
I approached the geology department at Sydney University, and
they explained that Sydney was an old water basin so most of
the rock underlay is sedimentary. If you go walking in the bush
and search for a rest you will 9 times out of 10 sit on sandstone.
In Sydney this is not possible due to urban sprawl, so we will be
bringing back a natural interaction within the bustling CBD.
Commercial |Homeware|rock stool
31
Behavioural Mapping
The stools that used at Blackstar are used as both tables and seating.
When the cafe is busy all the stools are in use, so the patrons have a
fast experience. When the cafe is quieter, the customers can spread
out and use the top of the stools as tables. Rock capture both these
scenarios by providing a flat polished waxed surface. Friendly to bums
ad coffee.This relationship of movement was produced via different
contextual observations over varying times during a business week.
33
Process
An important detail in the design was the polished cut top. A lot of time
was put into filling, priming and sanding to get a perfect transition from
rock to polished surface. This is an important part of the design, as the
polished cut will tell you about the use of the object straight away.
I adopted a glove moulding technique, where a flexible coat of polyurethane was applied to the rock to capture the details. Once this set, I
started building up walls of clay, and laid up some fiberglass sheeting
to create structure in the mould. Finally a plug has been manufactured,
that will create a wall thickness.
35
37
39
41
Materials
We wanted a material that would capture the physicality of a rock, strain
the user when they move it, but be back friendly at the same time. Our
goal was to push the limit. So we researched what the limit of luggage
on an aircraft was, 30kg!
Lightweight aggregates are common in concrete manufacture.However most of the articles and research undertaken is about thick load
bearing structures and how to decrease weight by units of tonne not
kilogram. After sifting through a lot of research I came across a Spanish engineer who used recycled foam waste from the car industry as
aggregate. Unfortunately we have stopped producing cars in Australia,
so i found some from the furniture industry instead. I then produced
two kinds of lightweight material, one of which will be used in the final
design.
The first material (top picture), was following the engineered method
of mixing, foam and concrete paste. The results were surprising. It created this mottled marble look. The structural integrity was surprising
at 30mm, it was 40% lighter than traditional concrete made with sand.
The second material was high density foam soaked in concrete paste.
This was a very interesting material. As it looked rock hard but when
used had a bit of give, and actually formed to your figure. I built a 1:1
prototype but unfortunately I could not facilitate the same amount of
soakage as a smaller piece so this method was not used in the final
product.
43
45
47
Homeware
49
Cloud Platters, platters (2011)
material: porcelain
These platters are irregular and imperfect. Like clouds, they arrange
in many ways bringing spontaneity and beauty to your future dinner
parties.
Available Gaffa Gallery Sydney, &Company.
Cloud platters were initially inspired by a spill of hydrostone on the
floor of my workshop. The form was soft fluffy irregular and beautiful.
I started pouring the platters with the ceramic mix, the viscosity of the
liquid was unique it ran and gathered unlike water or anything I had
seen. The liquid set thick and a height was generated which gave the
early prototypes a floating feeling. After showing some ideas to Chris
The and Anna lise de Lorenzo, the cloud comparison was often mentioned and the working title soon became relevant to the design form.
Initially we were thinking of capturing the pouring inspiration in the
manufacture of the platters, but after numerous experiments with liquid
ceramics we could not prevent cracking when the mix would dry. We
approached a master ceramicist who has worked with &company on
previous works. After a brief discussion we were soon in his workshop
watching him throw and slice some platters from the template we gave
him. We soon realized this would be the best option so we had a run
of our first prototypes. When finished we brought them into Blackstar
Cafe, the soft lighting in the cafe coupled with the angle of undercut
of the design stopped the platters from floating, it was obvious how
important this detail would be in the final design. Another observation
was the loneliness of one platter, a single cloud. When one looks at
the sky groups of clouds migrate along with each other blanketing the
heavens. We wanted to capture this relationship so a range of platters
was created.
Commercial|Homeware|Cloud Platters
51
Prototypes
The initial production method was to pour ceramic to create the platters individually, however this was not a possible method for mass
manufacture. We opted for a handmade line by a ceramicist master
who would use our templates, tweaking the form a little to increase the
individuality of each piece. This brought the costs up a little but manufacturing in Australia is expensive, so it was not much more to go to a
specialist.
These products are being launched via a popular pastry cafe in Sydney,
Blackstar. It was important that they held the entire line of pastries and
cakes, so once we got our initial prototype produced successfully, we
started looking at varying options of platters that could work together.
We finalised the designs on 4 shapes at start of November and are
looking at a product launch for Christmas via &company.
Commercial|Homeware|Cloud Platters
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FITA
55
Fit (2010) - Tissue Box
The design centre was approached by SCA, the mother company of
Sorbent to develop a new tissue box that would be suitable for the car.
We focused primarily on the target user, females with small children,
the areas of research were user surveys and scenario, car apartment
analysis and scenario enactments.
Easily accessible to everyone.
Car apartment Analysis
Results of User Centred Research
Research {oppurtunity}
Other Uses
80%
runny noses
20%
{
A packages shape and feel tells the user a
great deal about what a product is used for.
This data shows that there are more reasons
to use tissues and that there is an oppurtunity
for this to be communicated through the
texture.
Commercial|Packaging|tissue box
Cleaning after food / Napkin
Covering small cuts
Mop up sweat
Disposal of gum
Make up
Scenario Enactments
However, it is easy to access.
57
The research showed that the other uses of tissues were expressed
in different packaging across the market.I incorporated the shape and
feel of other products that lend themselves as more of an all purpose
wipe into this new design of tissue box. Fit allows the user to wedge
the package into spaces around the car, allowing flexible placement
without the need for special compartments.
Fita
This design has been selected by SCA / Sorbent for feasibility testing.
59
How does the
sleeve work?
By packaging the
tissues in a unique way
you can allow dual
access to the box, for
both drink console and
wedged positions
Packaging|tissue box
61
Developing a working prototype enabled us to take the object and
interact with it in the car, and get feedback from users, which we left
the product with for a period.
Packaging
Fita - exploded
WEDGED
63
69-70
OVER
7000
173
PEOPLE
HOMELESS
PEOPLE
DEAD
OVER
OVER
2000
HOMES
LOST
65
Fire Protection Suite - Fire Retardant Material / Gel Suit (2010)
Patent Pending
In a fire situation, many civilians who are unable to evacuate early may
end up trapped in a home or vehicle. Due to the sheer intensity of the
heat, they are unable to last long enough for help to arrive. By providing
civilians with a pre-packaged fire protection suit (worn over clothing), it
acts as a last line of defence against the overwhelming heat. The gel
suit protects the wearer from radiant heat, effectively increasing their
chances of survival. Airtight packaging allows the unopened suit to be
stored in both the home and in a vehicle, ready for immediate use. The
suit is designed for single use.
Gel Material
Hydrophic Layer
Skin
Commercial|Materials|fire suit
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Testing Material
Preliminary tests have indicated that fabric* soaked in Thermogel, can
potentially shield up to 86% of radiant heat to a maximum temperature
of 49 degrees celcius (in comparison with non-Thermogel-treated
fabric, which heats up to 75 degrees celcius).
This gel-treated fabric can be used to produce a civilian suit, that can
be easily stored within the family home or car. The suit will be sealed
in airtight packaging keeping the gel fresh, ready to be used in an
emergency situation.
We propose using a felt-like material, similar to a Scotchbrite, as this
retains a higher percentage of Thermogel as compared to other fabrics.
temperature of back of fabric (°C)
Performance of fabric / 300°C of radiant heat
FELT
Hydrophic Layer
71
Scenario - Gel Suite (2011)
In the case of a bushfire the suite can be stored at home or in your car
ready for use. The suite is a last line of defence and will only be used
as a last resort.If you are caught in a fire normally on the road or your
home, the suite is to be removed from the air tight packaging and put
over your existing clothing. It will provide protection from the radiant
heat from the fire, giving you a chance to find shelter at a low point of
your property or perhaps in your car.
73
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Soft, task lamp (2011)
The soft box is a soft ambient working light, that has been adopted
from the film industry. It is not harsh, and provides good coverage for
working. It illiminates harsh lines or shadows and allows you to look
your best.
430
240
370
Commercial|Lighting|Soft
77
79
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Piece Plate, serving plate (2010)
material: stoneware
This plate is used as a normal plate. Serves food. Cleans well, is durable around the house. However, at the end of its life it breaks with
purpose, and can be used once more.
Reincarnatory Design
When an object is broken or its function / life ceases to exist in the form
it once knew, it is dead to the user unless there has been time for sentimental attachment. People form unique bonds with objects over time
particularly if they wear and tear well. When something breaks instantaneously their is less room for this build up of sentiment and normally
results in the discarding of the object.
This process of design allows the object to transform in the act of
breaking and propose an alternative use at the point of destruction,
providing the user with a scenario of enlightenment. There bye an act
of reincarnation.
Prototype 1:2
Experimental|Homeware|piece plate
83
Part One, picnic bench (2009)
Material: 100% Formed plywood
Nature builds environments and structures through repetition of single
molecular/ structures units, I set out to produce a table with a seat that
could be built through the repetition of a single piece and with the most
natural materials available. ‘part one’ can be recycled and refurbished
easily, mimicking nature and being truly sustainable.
Experimental |Picnic Bench|Part One
85
Cornered, floor lamp (2009)
Apartments are not always designed with space in mind, or contradictory how much space can be utilised. Cornered is a floor standing lamp
that tucks into the corner utilising every inch of space, even with the
shade.
The chord climbs up the wall, in a controlled casing that leaves the
power element on show throughout the structure of the lamp, there bye
increasing awareness of energy.
Concept stage only.
Experimental|Lighting|cornered
87
Details
To finalise the detailing of the design, the inner chord will be fabric
wrapped giving a timeless and softer more homely feel. The lampshade has bee quartered to slip easily into the corner, maximising the
most space possible.
Experimental|Lighting|cornered
89
Experimental|Lighting|Transform
91
Transform, low reading lamp (2011)
The transformer of a light changes the power and structure of electricty,
Transform shows this change from a flexible to strong controlled form.
Harnessing the energy for a task.
The lamp is linear in colour and texture throughout the chord to stem,
showing this continuity of energy. Concrete was used for the base and
transformer to generate a feeling of stability and ignorance. In knowing
that complex things are happening without our wondering.
165
180
300
93
95
Transform, task lamp (2011)
The transformer of a light changes the power and structure of electricty,
Transform shows this change from a flexible to strong controlled form.
Harnessing the energy for a task.
The lamp is linear in colour and texture throughout the chord to stem,
showing this continuity of energy. Concrete was used for the base and
transformer to generate a feeling of stability and ignorance. In knowing
that complex things are happening without our wondering.
475
380
300
97
99
Summer Winter, clothes dryer (2009)
material: pine, felt, extruded aluminium
Shocked by the cold in the land of Europe, I found myself fighting to
get my clothes dry, the products at my disposal were often pricey and
complicated. I wanted to create a simple solution so my dryer would attach to the heating element. I found this common design beautiful and
also practical as it can be unfolded, adjusting to any dryer.
Experimental|Homeware|Summer Winter
101
This drying rack is an example of a simple object. The utilitarian design
has a three piece addition. The hook allowing the dryer to be hung
inside on a heating element more commonly found in European countries. The second and third additions are round screw disks that can be
adjusted to any size of heater.
Experimental|Homeware|Summer Winter
103
105
Float, bookshelf (2007)
materials: birch plywood, frosted perspex
This shelving unit plays with the perception of structure and balance, a
memory of literature at the edge of imagination.
This was one of my first furniture pieces. The shelves were made from
found materials courtesy of reverse garbage, Marrickville. This is really
my first structural experience and pushed the boundaries on balance,
by using wedged perspex to provide the vertical force in the shelf. As
wood is seen as the major structural element it feels like these joints
are just floating. The addition of lighting explores this apparent floating
of materials.
Experimental|Homeware|Float
107
109
Parasitic Design, Collection (2010)
Youth Homelessness is a major problem in most capital cities around
Australia. We were approached by a Youth Organisation that particularly looks at keeping kids at home and off the streets by improving
their accommodation standards in conjunction with other community
programs. Our mission was to develop cheap alternative accommodation for homeless youth.
Ikea furniture is cheap, accessible and flat pack; by designing within
their parameters / hacking, I was able to bring a more personalized
function for the youth and add a bit of character to the mass manufactured items. These additions Will be developed solely for the youth organisation to be retro-fitted at the point of assembly involving the youth
in the production of their new home.
Natures Purifier
Air quality is a large problem in small flats and gardening is not high
on the agenda. This piece incorporates natures filter with an excepted
piece of furniture, collaborating to be a simple air filter.
Experimental|Homeware|parasitic design
111
Hangs UPs
material: aluminium tubing, powder coated
We worked directly with the familys that were involved in these hard
environments. Most of the children had walk in wardrobes, that is their
floor was a carpet of garments. We needed to give them something accessible and noticable. This is a space saving solution where a splash
of yellow can keep your clothes off the floor.
113
Storage Desk
With the addition of a melamine top and white legs, this storage unit
has been turned into a workstation.
Experience Prototype
Once the product was built I used the desk. I am just over 6 foot high,
so I needed significant leg room. I found moving one structural bar to
the base to the floor of the product allowed enough room. And if you
wanted to stretch your legs, the draws would just move when needed.
Displaying the uniqueness of this design. The desk was structurally
sound and provided enough room for my 17 inch computer and an A4
sketchbook.
115
Partitioning System
Material: Felt
A major part of the brief was to provide the children with a noise and
thermal barrier in the apartments. Often these apartments are crowded
and there is a high level of substance abuse meaning people can’t
gauge their voices. Felt is a proven insulator and here is used in a
pleated system alongside the available stolmen unit.
This is a space within a space, allowing a greater feeling of ownership,
control and escape.
117
119

Contents - Glen Baghurst

Transcription

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