Task 5: designing dream machines - Richard Seymour and Dick Powell

Designing Dream Machines highlights the importance of the process and the success to a really good design is in the initial brainstorming. It is important for designers to really understand their design briefs and what they are trying to achieve. To achieve this, designers need to research their target market and really understand the needs of the consumer, demonstrated by the trip to India. The differences in design styles and culture requirements were clearly evident, something that may not have been completely understood had it not been experienced first hand.

Designers should know their product thoroughly, having hands on experiences with existing products. This enables designers to analysis the products finding shortfalls within them and possible solutions that could be applied to their own designs. These ideas should always be recorded; the large amount of sketching and hand rendering that occurred during Designing Dream Machines really emphasised this.

It is also crucial to have constant communication with our clients, as it is very easy to become side tracked or take a project in a direction different to the vision of the client as shown in the video. Designers need to be prepared for their designs to be rejected and scrutinised when working for a client, and should have alternative ideas and products on hand. Through constant communication designs can be easily altered rather than having to scrap and restart the project.
Richard Seymour and Dick Powell made it clear the importance of the design process to the final a product, by really exploring and researching our brief clients and consumers designers are able to refine their designs and be at the forefront of innovation.

Task 5: The story of stuff - Annie Leonard

The Story of Stuff - Annie Leonard
This video really explains the process our products go through, highlighting problem areas over and irresponsible consumption and the resultant social and environmental impacts. A lot of of the information in the media about our over the condition of planet works more of a scare tactic. This information can often be overwhelming and distressing. Annie Leonard focuses more on the origin of the problem rather than the resultant effects. By breaking down the line of production and highlighting the areas of weakness and possible places of intervention it makes the problem seem far more manageable.

and knowledge.As designers we should have knowledge of the entire product development and try to intervene as much as possible. After all this problem of over consumption and planned and perceived obsolescence was a problem created by humans. Designers need to develop a new approach to design reducing the amount of resources consumed during extraction, production and distribution. We need to find to revolutionise consumption, things should be upgradeable, reusable and built to last. It should be fashionable to consume these redeveloped products, giving people satisfaction from buying these products. The choice to consume these products should be seen as a responsible decision as they reflect better design and consumption values. It is time as designer that we develop a new design philosophy from that of the 1950's.

Task 5: creating objects that tell stories - Yves Behar

Creating Objects that Tell Stories - Yves Behar
I cannot say I am completely convinced by the title of this video. I have failed to recognise a strong theme of "stories" in Yves Behar's presentation. I felt this video was more about the values that we can incorporate into our designs and the ways in which these can be passed on to companies and consumers. Designs can have messages in them whether it be about environmentalism, minimalism, functionality, health, equality etc.

I find this notion to be very inspirational, it is encouraging to see the influential power of industrial designers demonstrated on such large scales as the NYC condom or laptop initiative. Throught the relationships we devleop between or work and world it is possible to match the human need. the humanistic quality can become iconic with the right combination of branding, marketing, function and aesthetics. It is possible to design the entire experience of a product, it is this way that new ideas and values can be generated and shared.

Behar has successfully demonstrated that design is no longer about placing "skins" on new products and techologies presented to us. As industrial designers we can develop our designs from "inside out", creating a new experienced influenced by our own values whihc can then be passed on to companies and consumers.

Task 5: Ross Lovegrove - organic design

Ross Lovegrove - Organic Design

I found this video fascinating, the work and philosophies are inspirational to me as a student. I find that to many designs are over complicated and decked out with features that unnecessary. Lovegrove demonstrates the ways in which organic inspired designs can minimise this occurrence.

Nature is minimalist producing and consuming the bare essentials for survival. Lovegrove mention that biologically he believes that this is still "programmed" into us, as a student I would like to further explore and challenge this concept in my designs.

These organic designs seem more sophisticated and intellectual and thier source of inspiration is a complex structure that has been developing over thousands of years. As designers we should try to capture these forms systems and structures and they have been developed, tested and refined for extended periods of time. This seems like a more instinctive approach to design, to observe what fills our environments.

By mimicing nature we are able to adopt the minimalist approach to material consumption, this is a drastic action required in present times as many of our major resources are non-renewable. This should be an approach taken on by all industrial designers as we have so much power to change the way people consumer and interact with their environments. Why do we choose to create such superficial and artificial methods of design?

Upcycle

PEER COMMENTS:
Gleb Labazine
Jill Darbey
Maria EunJi Park
Nick Walker
Shan Shan Wang
Vivian Shao

Peer Comments

Charmaine Chen
Fiona Lee
Stephen Mesa
Chelcie Nielsen
Brett Rushbrook
Jason Vergara

Postal Presents

My product has been designed with a strong focus on the practicality and context of use of a purse. Purses and handbags have become increasingly bigger with progressing fashions. I wanted to create a petite and elegant design that was more than the existing “sacks” that hang from your wrist. This design attempts to be elegant and intriguing accessory while acting as a conversational piece.

This product is pleasantly surprising on a number of levels. It is unique in its structure, using geometry and rigid felt to support the form when retracted. As the purse draws up around your belongings they are encased in a shell or gem like structure, as if to nurture and protect them. This is an important feature in a purse, as you want to know to that contents are not going to come loose. Items are secured due to the internal threading up the sides of each arm, the handles are pulled the components are drawn up and secured together.

The internal adornments highlight the geometry of the purse, a technique that is rarely used. Many purses and accessories are designed with majority of the adornments on the exterior. Consumers can feel this is their own secret, a novelty that is not on display to the public. The ability of this design to completely flatten out prevents items being lost in pockets or deep corners. The purse can be opened up entirely to present the whole contents without having to completely empty the purse. For this reason this design would be practical in various sizes but due the design brief I was limited to smaller scales.This product is simple to use and has a practical application with a number of surprising components.

Bad Design

Peer Comments

Gleb Lebazine

Fiona Lee

Chelcie Nielsen

Brett Rushbrook

Nick Walker

Experience Enrichment

Experience Enrichment Rationale

My design was aimed at the needs of young adults who have recently moved out of the family home. The design attempts to charm my target market by appealing to their sense of independence and the freedom felt from living away from their guardians. The products that they purchase are familiar and reassuring while providing an occurrence of ownership. These products should be identifiable and nurturing to the needs of the target market.

For many of these people the task of washing the dishes can be uncommon, I wanted to establish a series of emotional response towards this particular washing up brush. The form is similar to that of a toothbrush, an everyday item that has a specific motion associated with its use. This provides a familiarity of use and understanding of the product enhancing the psychological pleasures. This idea of a “giant toothbrush” makes the product fun and inviting through novelty of use a common psycho-pleasure.

This product is designed to be inviting to the target market, through both the aesthetics and function. The large bulbous handle, bright colours and curved detailing are aesthetic styles used for younger children, approximately 5 years old. This was intentionally achieved to recall memories of childhood games and roll plays. It is this association that removes the notion of a chore and replaces it with a fond memory or game. The form reflects a basic human form allowing the user to feel as if they are interacting with someone. These themes of play and socialising are very significant to the lifestyles of this target market, stimulating both psychological and physical pleasurable experiences.

This washing up brush is to be constructed from a heat responsive material. A combination of two polymers can be used and rearranged at a molecular level altering the light reflecting properties of the material. This means the product changes colour when exposed a shift in temperature as hot water submersion or the users hand. This feature while appearing a novelty is actually informing the user to the task they are doing. The colour change encourages the user to use hot water for sanitation purposes. Holding this product will leave a lingering handprint acknowledging the ownership the user has over this product; a strong socio-pleasure important to those who are newly independent. It would appear that this product cares for its owner, a nurturing quality that may have been lost since leaving home.

Although this design could appeal to a variety of market groups, it specifically addresses the needs of young people who have recently left home. The product is inviting to use, evoking strong emotional connections from the user resulting both psycho and physio pleasurable experiences. It is this emotional recognition with the product that makes it attractive and impressive to own. This washing up brush facilitates accomplishments in both ownership of products and the success of completing a domestic task. These ideological pleasures are seen as an exhibition point to peers by means of socio-plea

Task 5 (video reflection): Don Norman: The three ways that good design makes you happy

Don Norman discusses the ways in which emotion can influence design. As consumers we respond to design in pre-determined way. This is often subconscious and as Norman explains this can be explained at three different levels.

Visceral a form of pre-programmed subconscious thinking. As humans we respond to particular colours and sensual stimulation, this is a biological instinct. Designers can utilise this in design, making products more inviting while encouraging consumers to continuing using the product the through a pleasant experience.
Although I feel that the appeal of a product is more than this there are large contributing factors such as social standards. As a young child I remember liking pink because that is what is expected of young girls. Truthfully I hated pink, but I believe that was what was expected of me and it gained me acceptance amongst my peers. This was in no way a subconscious but the rather an intentional choice to avoid being told I had made the wrong or unexpected choice. Choosing pink as a young child was never a pleasant experience and now refuse to issue girls, or encourage others to, with pink.

The behavioural level is what Norman describes as a subconscious response to seeking the comfortable and familiar with feeling in control. Our behavioural responses communicate a series of emotions reflecting our interpretation of the world.

Reflective thinking, is not a physical response. Reflection acknowledges the choices we have made and what that shows about us as a person. According to Norman this can often conflict with our visceral thinking, as we can be attracted to the new and different. Refletive thinking can gain us admiration or respect.
Perhaps it was my behavioural and reflective responses that influenced me to choose pink. As Norman said, my reflective and visceral choices were conflicted between the colours I really liked and what I believed was the safe choice. I think that Norman could have gone into more detail on these factors, but instead was more focussed on the positive response we have to design. We can have negative responses to design that perhaps makes us lean towards an alternative option. Fear can be just as influential in our choices, fear of what is best for or image, fear of certain products or experiences.

I found this video address some significant points but I also felt that Norman was unnecessarily positive. This particular focus seemed unbiased, making design seem simple and non-commercial. Marketers have a very large role in the designs and products we choose, and the ways in which designers exploit or behaviours and often weaknesses is glossed over.


Video Link:
http://www.youtube.com/watch?v=RlQEoJaLQRA&eurl=http%3A%2F%2Fstanz3ds.blogspot.com%2F&feature=player_embedded#t=35

Task 3: Product Sketcing

Task 3: Good Design

Task 1: Human Centered Design

The video Human Centered Design - David Kelley enlightened me to the applications design can have and the way in which design philosophies can create a whole new style of product. By observing behavioural patterns designers can tailor designs to be naturally instinctive and inviting to consumers.

This video is important to the design industry as it demonstrates a variety of ways in which human behaviours can be incorporated into design. This approach is not always about creating a new product but can be the enhancement of an experiencing using existing products. The interface used in the Prada New York store, is not necessarily a advance in technology but the rather the user interface and the way in which be behave in the store. The interface simplifies the experience, allowing for easy and more educated choices while shopping. Shoppers can feel more confident in the purchases they are making due to readily avliable information.

Human Centered Design highlights that design does not have to be the out put of products, but rather can provide an environment to which people can develop thier own experiences. I especiall liked the interactive displays found n the Science Museum, London. They provided and oppurtnity for interactive learning which could be shared with multiple user. The designs were familar and instinctive through thier connection the London Underground. This was a demonstration of the ways in which design can incoporate function through behavioural patterns while providing an aesthetic environment.

David Kelley's comments on the progress of design and the social standing of designers was particuarly insightful. As a student is encouraging to see that design is still developing and is being intergrated into different areas of society such as business straterisagtion. This video has given me ideas for my own designs and a new way of looking at design briefs.

Video Link: http://www.youtube.com/watch?v=eXndL3TNCmo

Task 1: Shape of scent

I specially like this task, as I designer I felt it challenged the way I consider a brief. A human experience encompasses all of our senses to evoke a variety of emotional responses. Scent greatly contributes to our experiences, either through learnt behaviours, past encounters or intrigued to a new occurrence. As designers it should be our aim to either enhance and/ or capture this experience. This is what I have tried to achieve through my clay model.

Inspired by my assigned scent, my sculptures were intended to be sophisticated yet intimate. They were intentionally minimalist, capturing the elegant and feminine form. This particular scent seemed familiar as engulfed the senses, it became inviting and comforting. My designs were whole forms, incorporating the idea of a cycle of rotation. This scent although heavy and soothing it began to develop throughout the experience; new layers would emerge evoking a different emotion. These forms attempted to display the contrast between comfort and mystery and they way in which they develop and intergrate together.