objectandesign-blog

[objectandesign-blog]

Reflection

I was incredibly nervous about the introduction of object design. I wasn’t entirely sure what the class entailed. I assumed that it would be similar to the class I had taken with Trent in CAVA101 in the first semester. I struggled with the process of dissembling and rebuilding a chair in that subject, which made me incredibly nervous about this rotation because I assumed it was the same physical element as that class.

After our first lecture, and a class discussion, I began to understand that the two classes were entirely different. However, it did take me a while to understand the full concept of object design. I assumed that our major project would require us to redesign an object to make it more functional or visually appealing. It took me a while to fully understand that we were not redesigning an object per se, but taking functional components from other objects to create a new item.

In the beginning, I found it incredibly hard to wrap my head around the core assignment. I had absolutely no idea what object to use, or what object to create. Even with our class trip to the Salvation Army, I struggled with finding any inspiration. I picked the silver hip flask simply because I thought it looked interesting and different to all the other objects. It was only after talking to Trent, did I actually fully understand what was required for the assignment. Trent pointed out to me that the most interesting feature of the flask was its curved design, making it easily concealable on the body.

From there, I ran with the idea of creating an object which could be hidden on the body without being detected. At first, I struggled with what object should, or needed, to be concealed. I considered the idea of concealing a mobile phone, and then decided on the concealment of bank cards and money.  I also incorporated the idea of protecting bank cards from being skimmed, by having a protective shield covering the bank card. Once I got the all clear from Trent, I started the production process. With a pair of leggings, hot glue, cotton string, plastic business card sleeves and a needle, I started my first prototype. I wanted to try the easiest route by just cutting and gluing the plastic sleeve to the fabric. This really didn’t look good, or function well.

My second try was stitching the fabric and once again, gluing the plastic business sleeve to the fabric. The visual design wasn’t amazing. The plastic sleeve did not really suit the overall design, but out of pure laziness, I kept the design until Trent told me to just keep a compartment for business cards without the plastic. I agreed and made a third and final prototype, with a simple cut out pocket to hide cards and money. I also inserted an aluminium shield in the pocket to protect the cards from electronic skimming.

This subject really forced me into the deep end of design. At first, I was incredibly daunted and a bit overwhelmed, but after choosing an object, the pieces seemed to come together. I had to learn how to stitch, how to hot glue fabric together without burning myself, and when to accept that ideas were not going to work.

Overall, object design was a really challenging, yet exciting class and I would definitely encourage any design student to undertake the subject.

[objectandesign-blog]

Final Object

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Making Process

FIRST PHOTO What I started with:  - a pair of leggings - socks - a pair of scissors - needle and thread - plastic business sleeves

SECOND PHOTO This was my first prototype, and it was a disaster. I tried to make it small and cut the fabric, which started to unravel pretty quickly. Then I hot glued the plastic sleeve to the fabric. It was obvious very quickly that this prototype was not going to work. 

THIRD PHOTO This was the beginning of my second prototype. Instead of letting the fabric unravel, I hemmed it in and made the wrist band considerably longer. This was my first time ever stitching so it was a bit of a learning curve. 

FOURTH PHOTO I continued on with my second prototype and hot glued in my plastic business sleeve. As you can see in the photo, my stitching wasn’t very good but I used this second prototype as a trial run. 

FIFTH PHOTO I continued using the second prototype to test out cutting a slip in the back to create a pocket for spare change. It worked out pretty well and I was happy with it so I decided to move onto the third and final prototype. 

SIXTH PHOTO This was my third and final prototype. It shows my stitching process of making the spare change pocket. 

SEVENTH PHOTO This image compares my second and third prototypes. I think I improved slightly on the stitching. 

EIGHTH PHOTO Stitching the button on.

NINTH PHOTO I struggled a little with putting the button on, but I think it looks okay. 

TENTH PHOTO All done!

[objectandesign-blog]

Development Sketches of a Wri-st Band to Hold Bank Cards

Drawing #1

This was my first drawing of my original design. It featured a window in the front to display the card. 

Drawing #2 

This was my second drawing for my original design. It was made to be worn on the wrist under a long sleeve shirt. I designed the window to show an ID card for an exam. During this sketch I was questioning how to slot the business card into the fabric and decided on a business plastic card. 

Drawing #3

This was my third drawing, and it displayed the wrist-band from the opposite angle, just to demonstrate the stitching and the spare fabric. 

Drawing #4 - FINAL DESIGN

This is my final design. It features a flap at the front, which covers the card pocket. The flap is closed by a button. 

Drawing #5 - FINAL DESIGN

This is my last drawing of my completed design. This is the opposite angle of the fourth drawing. It displays the compartment from the back, and the flap which goes over the top. 

[objectandesign-blog]

Design Practitioner

Lucy Jones is a Welsh fashion designer who joined the New York Times challenge to redesign the ordinary. Jones, accompanied by five other field professionals, began the process of seeing beyond the mundane, ordinary designs of everyday objects. While other designers attempted to reformat various different subjects; such as medicinal information pamphlets, toilets and phone cell towers, Jones focused on a much more personal topic of hospital gowns.

Jones attended the Parsons School of Design, a prestigious and competitive institute for up and coming designers. It was there that Jones began to question what innovation in the fashion design industry could change the modern world. Jones’ focus on hospital gowns was inspired by her first project into self-dressing clothing for disabled people. This project was influenced by her cousin, who was paralysed on the left side of his body. Despite his limited physical ability, Jones’ cousin was still able to perform all of his daily duties independently. The only activity that he struggled with was dressing himself in the morning. From here, Jones designed her first clothing line, which later won her the Womenswear Designer of the Year award.

In the New York Times challenge, Jones continued this line of thought with the redesign of the universal hospital gown. The traditional hospital gown has quite large flaws in its design. It is essentially one piece of cloth that is tied at the back of the patient’s body, leaving the rear of the patient entirely exposed. The gown is used universally as it allows doctors and nurses easy access to the patient’s body. This is undeniably an important feature to the hospital gown, but seemingly denies the patient simple comfort and modesty.

It is important to note that a hospital visit can already be extremely uncomfortable to many patients. Wearing hospital gowns can be incredibly embarrassing for patients. As these patients are already vulnerable, increased stress and discomfort are unneeded in the healing process.

Lucy Jones’ redesign of the hospital gown focuses on comfort, accessibility and modesty. Jones reiterated the importance of a gown redesign, “It is all about patient dignity… You’re already having your environmental space interrupted, your body prodded. The hospital gown is a contributor to that treatment.” (Lowe 2016).

Jones’ redesign of the hospital gown is similar to that of an oversized t-shirt. It is easily opened to expose areas of the body, with snap buttons along the back, sides and chest of the gown. Jones attempted to design the gown in way that it resembled lounge wear, with a simple grey and blue colour theme. The gown is made from tencel, also commonly known as lyocell, and is made from a fibre found in dissolving wood pulp. Tencel is a sustainable and breathable fabric, perfect for mass production of hospital gowns. Additionally, tencel is absorbable, unlike other synthetic fibres. Compared to cotton, tencel absorbs 50% more moisture. With this greater management of moisture, there is no residue or film of moisture on the fabric, which creates a much more hygienic and sterile fabric. Thus, tencel is an unsuitable environment for bacteria to grow.

A more sustainable and comfortable hospital gown is a refreshing redesign to the revealing universal gown available today. While it can be argued that the traditional gown is an already satisfactory design, it is necessary to identify that this small change to the healthcare system could provide a greater sense of ease in a clinical environment. As Rappleye states, “The traditional hospital garment can affect comfort, stress and self-esteem” (2016). With such beneficial results to the improvement of patient care, it is arguably a cost-effective development to in-care treatments in hospital.

Bibliography

Lowe, J 2016, ‘Look Again’, New York Times Magazine, 10 November, viewed 8 August 2017, https://www.nytimes.com/interactive/2016/11/13/magazine/design-issue-redesign-challenge.html

Lowe, J 2016, ‘Hospital Gown’, image, New York Times Magazine, viewed 8 August 2017, https://static01.nyt.com/images/2016/11/13/magazine/13redesign9-tshirt/13mag-13redesign7-t_CA1-master1050.jpg

Rappleye, E 2016, ‘New York Times commissions hospital gown redesign’, Becker’s Hospital Review, 14 November, viewed 8 August 2017, http://www.beckershospitalreview.com/patient-engagement/new-york-times-commissions-hospital-gown-redesign.html

[objectandesign-blog]

‘Glo’ - Design #3

Glo is a new take on the classic nightlight. Glo is shaped as a lamp, with removable phosphorescent orbs which can be used as a portable light. The cool to touch orbs will remain lit for thirty minutes after being removed from the base, before fading to dark. The portable design of Glo allows for numerous parts of the bedroom to stay alight, rather than one stationary point of light. Additionally, Glo can be personalised to a specific colour. The design was made specifically to be safe for children; the orbs will not break and do not produce heat. Glo provides a cool retake on the standard nightlight.

Bibliography

‘Glo’ 2015, image, BOON, viewed 5 August 2017, http://www.booninc.com/products/Glo 

Sherwani, I 2012, ‘Glo Nightlife’, image, Gencept, viewed 7 August 2017, http://gencept.com/glo-nightlight-with-portable-glowing-balls

[objectandesign-blog]

‘Lifepack’ - Design #2

The Lifepack is a backpack redesigned. This unique take on an ordinary school bag contains a solar-power screen which is able to recharge any USB-charged device. The Lifepack also features an integrated lock, Bluetooth speakers, a bottle opener, and water-proof fabric. Additionally, the design has various secret compartments and prides its design on organisation. The Lifepack began production in 2013 and was backed with funding from Kickstarter, smashing all capital goals with over $600,000 donated to the cause. The Lifepack was designed by three students, Adrian Solgaard, Ashley Burnstad and Chris Cavill. As of August 2017, the Lifepack has finished production and are being distributed to buyers.

Bibliography 

Solgaard Design 2016, Lifepack: Solar Powered and Anti-Theft Backpack, Kickstarter, image, viewed 5 August 2017, https://www.kickstarter.com/projects/solgaarddesign/lifepack-solar-powered-and-anti-theft-backpack

Solgaard, A 2016, ‘Lifepack: Solar Powered and Anti-Theft Backpack’, Indigogo, image, viewed 5 August 2017, https://www.indiegogo.com/projects/lifepack-solar-powered-anti-theft-backpack-bluetooth-gadgets#/

Solgaard, A 2016, ‘Lifepack: Solar Powered and Anti-Theft Backpack’, image, Indigogo, viewed 8 August 2017, https://www.indiegogo.com/projects/lifepack-solar-powered-anti-theft-backpack-bluetooth-gadgets#/

[objectandesign-blog]

‘o2 Student Village’ - Design #1

The O2 Student Village is a collection of micro-compact homes which were designed to provide housing to students at the Technical University in Munich. The buildings are small in size, 2.65 cubic metres to be exact, and are transportable. Professor Richard Horden designed the O2 Village as a means to combat the struggle of student housing in Germany. Prior to the development of this village, students could expect to wait approximately two years to find suitable and affordable housing in Munich. The O2 Student Village caters to all needs, with fitted, high-end kitchen and bathroom utilities. Two double beds, a desk, plasma screen television and air conditioning are all included in the compact homes.

Bibliography 

Bellostes, J 2007, ‘o2 Student Village’, image, Bellostes Blog, viewed 7 August 2017, http://blog.bellostes.com/?p=214

Horden, R 2014, ‘o2 Student Village’, Micro Compact Homes, weblog post, viewed 5 August 2017, http://www.microcompacthome.com/projects/?con=o2 

Micro Compact Home 2005, image, M-CH, viewed 5 August 2017, http://www.microcompacthome.com/projects/?con=o2

[objectandesign-blog]

Original Design Idea

26/07/17

The most fundamental concept for the hip flask is in its design. For my project, I want to play on the idea of an object which is easily concealable on the body. Although, I’m not sure what object needs to be hidden on the body. With concealment comes the idea of illegality, and I can’t seem to think beyond the question ‘why does it need to be hidden?’. I have thought about concealing money on the body, particularly credit/bank cards, now that we live in era of identity theft and electronic skimming. 

I have also considered the concealment of mobile phones, although I feel this would be a lot harder, if not impossible, as modern smart phones are quite bulky. 

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Original Hip Flask Photographs

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Object - Hip Flask

History of the Hip Flask  

The hip flask was invented in the 18th century, and was designed to conceal alcohol on the body. The curve of the flask allows for it to be hidden against the natural curve of a hip, in a breast pocket, or against the thigh. Traditionally, the flask was made of pewter and silver, but is now commonly made from aluminium and stainless steel. One significant design feature of the hip flask is the connected, screw-on lid. This design feature ensures that the lid is unable to be lost. This would have proven to be an incredibly practical idea, particularly for soldiers who took their flasks to war.

Interestingly, the popularity of flasks grew after the 1920’s law surrounding the prohibition of alcohol in the USA. The manufacture, transport and sale of alcohol was declared illegal, with a special task force declared to ensure the enforcement of this law. As one could guess, this law was extremely controversial at the time. Beyond the ban of recreational drinking, alcohol was an essential property in the medical field. At this time, alcohol was often prescribed as a relief to many medical cases. Additionally, alcohol was used as an antiseptic.

It was from this oppressing law that organised crime sparked. Alcohol was illegally smuggled from Canada during this time, and many higher class families were able to smuggle great deals of alcohol without being targeted. However, middle and lower class civilians were preyed on by police enforcement. Thus, it is not surprising that flasks began to grow in popularity. The easily concealable design of the flask allowed American women and men to carry alcohol on their persons at any given time. In 1933, the amendment was repealed and alcohol was officially considered legal in the USA.

The flask was not forgotten after this period of time, and is still used today. Hip flasks are now considered a great gift, often for weddings, or milestone birthdays. Additionally, the aluminium or stainless steel can be easily personalized with engravings.

While it can be stated that hip flasks are not as common of an item in the 21st century, it would be ignorant to assume they are no longer used. Concealment of alcohol is still a re-occurring theme, particularly with high prices of alcohol in venues, and the strict prohibition at festivals and concerts.  With increasing rules and laws surrounding alcohol consumption, hip flasks will undoubtedly be purchased and used in the future.

(Bull 2013) - Traditional hip flask

(Oggi 18/8 2016) - Modern hip flask

Bibliography 

Bull, J 2013, Antique Solid Silver Hip Flask with Fitted Cup Sheffield, image, Online, Galleries, viewed 1st August 2017, http://www.onlinegalleries.com/art-and-antiques/detail/antique-solid-silver-hip-flask-with-fitted-cup-sheffield-1904-by-g-and-j-w-hawksley-ltd/188500,

Oggi 18/8 Stainless Steel Hip Flask - Silver (8 oz) 2016, image, Target, viewed 1st August 2017, https://www.target.com/p/18-8-stainless-steel-hip-flask-silver-8-oz/-/A-12367627