Our design is inspired by bird nests found in nature. A bird’s nest is a symbol of the home, an abode where we grow and prosper. A good luck symbol, the bird’s nest represents love and warmth, providing protection and concealment. Nests in nature are built in a random fashion using carefully selected twigs and leaves, they embody dedication, patience and a certain
The seemingly random arrangement of the ropes and the open, unconcealed nature of the structure attempt to embody these attributes. The use of warm coloured natural materials like wood and hemp rope pay homage to mother nature as well, in appearance and texture. The intertwined ropes provide support for creeping plants and epiphytes, while creating spaces where real
birds can roost and build their nests. By combining the man-made with the natural, we create a multitude of nests, one for humans to gather and another for animals to build their home.
Thisnest within a nest attempts to bring humans and mother nature closer together, while embodying positive qualities that represent NTU and her students.
Short field trip to HDB Hub
During the weekends, we went on a short field trip to HDB Hub with aims as stated below;
– To check out how the professional build architecture mock-up models.
– To bring these inspiration to our mock-up model
The making of ‘Nest’ Inspired by the building models, we start working on the final mock-up model
Moving on from Week 9,
We went off to study existing ‘playground’ design to understand the engineering behind it.
Based on the study, we explored the way in which the structure is design, methods of assembly and how the ropes are arranged so that it can support the pressure/weight/tension introduced by the users.
Here are some pictures that we took during the field trip,
On the side note, we are also looking at vines on ropes/metal
The following are some of the design refinements we have over the past weeks.
After last week’s consultation, we’ve decided to narrow down our concept to focus on the curved bench idea. Building upon the original concept, we developed a new form for the seating installation.
Here are the issues that were brought up in the previous model:
– Exterior design doesn’t feel like a bird nest because it is too neat
– Open door design destroys the form of the nest
– PV needed for lighting at the bottom edge of the pod
Hence, we set out to address these issues in our new form.
In the new design, we added a roof over the top of the seating. The roof is not fully closed as it has a circular opening which mimics the structure of the bird nest, allowing light to pass through and designed to feel more open. There is a criss-cross design on the roof, accentuated by the tangle of ropes intertwining to mimic the irregularity of the twigs and branches arranged to form a bird’s nest.
The support structure that connects the bench with the roof is designed in a curved shape. The diminishing design as seen from the top, from big to small, allows people to feel a sense of airiness and breathing space, while being inside this cosy setting. The curviness of the structure is designed to make people feel welcomed and this will replicate the feeling of hatchlings safe and sound in their home nest.
For the seats, we kept the circular design, but we changed it from a pod-like, closed structure to a more open, outward facing design to encourage more free-style, loose seating as chosen by the students themselves (some may choose to sit on top, others at the bottom), which can promote more closeness and interaction while they are enjoying the space.
The ropes encircling the structure are connected from the top to the bottom, in a criss-cross pattern. Some parts are denser with more rope, whereas there are some parts which are less denser. Our vision is for students to pull apart the rope while stepping into the structure, so this creates a playful form of interaction between the people and the structure.
This structure is not powered by electricity. It uses natural sunlight to cast shadows of the criss-cross ropes onto the seats beneath the roof. The shadow is for people to visualize themselves in the midst of a bird nest as the irregularity of the shadows cast will form an interesting and conversational topic among the people.
POSSIBLE FURTHER EXPLORATIONS
The spacious open roof presents a possibility for birds to actually build their nest there. Hopefully this structure will capture their attention and makes them feel secure enough to build their own nests there. This will further add attraction to the structure and might make people more aware of birds and the nature surrounding us. (How to clean the bird poop tho??)
Expanding on the previous week’s proposition of ideas, we explored the possibility of creating shapes which could cast shadows based on sunlight and artificial lighting.
Shadow casting sketched concept
We wanted to mimic the irregularity and randomness of the nest in nature and as such the arrangement and length of the branches or twigs is at random.
Mockup explorations of nest forms.
The effects of cast shadows using the above mockups.
We were also looking into existing lamp post for a rough idea on the dimensions of the design.
Lamp post outside NIE
Here is another variation of the cast shadows concept, showing a 3d web of interconnected lines around an angular frame.
We wanted to juxtapose the irregularity of the web with the regularity of the cuboid frame to show a greater contrast. Also the thicker lines of the frame further contrast the thinner lines of the web.
We felt that this design would be more feasible as the lines can be woven onto the box frame. Notice that the shadows are different when the source of light is coming from a different direction, this is to take advantage of the movement of the sun throughout the day moving from East to West, causing a constant gradual change in the shadow.
Lighting can also be placed at different positions around the installation to project different shadows at once.
Irregularity of the web with the regularity of the cuboid frame
Next, is a simplified version of the nest pod concept proposed 2 weeks ago. The form is a semicircle seat in which one person can sit.
It is intended to give a feeling of being enveloped or cocooned by a nest, and is also a reference to the shape of an egg which hatches within the nest.
One version can be propped up by wooden rods, or it can be just resting on the ground. The ground version can potentially be a rocking chair as well.
Nesting pod sketched concepts
Simplified version of the nest pod concept
Lastly, we have a curved bench seating installation that is inspired by the shape of the nest.
The design is simplified to geometric circles and arcs, but we attempted to keep and maintain the form and essence of a nest in the sense that it gives a feeling of closeness and security.
Also, the structure is skeletal and unconcealed, echoing a sense of honesty because of its revealing quality. In nature, bird nests are built with carefully chosen branches and twigs, they represent a certain dedication, sincerity and honesty.
The curved shape of the bench also encourages social interaction between the people sitting there. Unlike straight benches, where the people sitting on it face a single direction, the curved shape creates a setting where people sit facing each other and opposite of each other, increasing the likelihood of them having eye contact and wanting to talk to each other.
In a sense, this is a social setting that is created merely by the shape of the arc. Warm cove lighting can be placed at the bottom edge of the pod, shining upwards, to accentuate each ring or arc, and create a further contrast between light and shadow, while giving the feeling of warmth and comfort enveloped within the ‘nest’.
Curved bench seating installation
For further development, we would like to consider the structural design in terms of ergonomics and weaving pattern for the possible resemblance of the bird nest (texture).
During the weekends, we headed down to school in search for the location for the placement of our installation. Below are some places that we think possible.
Our interpretation of Flusser (The beautiful and the nice)
Concrete experience cannot be substituted for a communicated idea or concept because they are not equivalent, because when the concrete is transcribed into another medium for means of communicability, it loses its ‘essence’ so to speak. It is a personal and unique endeavour because each person views it and by extension their life and environment, through a film or a veil, a pair of ‘glasses’ if you will, that has been tinted and coloured by their inherent predispositions and the sum of events from birth up till said point, that have shaped their worldview. As such we believe it is an issue of nature and nurture. Both come into play to colour and flavour our experiences and this is the reason why no two concrete experiences are identical. The nurture refers to the social and cultural environment and atmosphere that one exists within, and our thoughts, opinions, perceptions and actions are arguably shaped by both nature and nurture which are inextricably intertwined.
Art and design are reflections and indicators of the environment they are borne of, they reflect the values and sensibilities of a culture or society at a point in time and space. Art is simultaneously a reflection of the individual, and as such is not a “generalisation of the artist’s experience”. The extent to which something is beautiful is defined by Flusser as how much it deviates or differs from that which came before it, by how unique and dissimilar and innovative it is. “Increasing the parameters of experience of the real” perhaps refers to how, with a new model or proposition, the number of possibilities in which we can experience our reality increase. Notions of beauty are based off previous works, in the sense that what is traditional is conventional and therefore not beautiful because it does not provoke. Conversely what deviates too profoundly from tradition is inaccessible because it does not contain enough of what is conventionally understood, resulting in only the artist and a handful of intellectuals privy to the essence of the creation. As such there exists the endeavour of a balancing act between accessibility and exclusivity. Kitsch art and consumable media is used as a tool to control the masses, because what is conventional is familiar and thus relatable. Conversely, ‘high art’ attempts to challenge our perceptions of reality, galvanising us to question convention. This is perceived as dangerous and threatening, especially by arbiters of certain ideologies that rely on a set pattern of beliefs to exist.
As such, the takeaway is that neither us or that which we create exist within a vacuum, we are predisposed by biology and nurtured by culture and society. Art is an extension of ourselves, it is an attempt to document the state of the times and the state of the mind.
Sculpture based on the project brief and the Perec reading
Materials: 3mm Clear Acrylic, Oil, Water, Marbles
Title: Journey of learning and self-improvement
We came up with the idea of representing ‘the journey of learning and self-improvement’ through the use of metaphorical representation. We created a model, which comprised an acrylic container, oil, water and marbles. The container has 7 alternating downward angled steps, each representing a milestone. Each marble represents an NTU student, while the mediums of oil and water represent the ‘thick and thin’ the students go through.
As soon as a ‘marble’ is released from the top of the acrylic container, it travels through the different steps before eventually reaching the end. The steps represent the various stages and milestones that the students achieve during their time in NTU. In addition, there are imprints engraved onto the surface of the steps. These imprints increase in number from one to seven sequentially as the steps descend. The intention is to convey the gradual increase in difficulty as the students progress through their years in NTU, while also showing their increased capacity to deal with said challenges, as well as representing their realised potential.
In addition to the stresses and difficulties faced in their schooling journey, students also experience the ‘thick and thin’ of life, or the everyday ups and downs in their journey of life. As represented by the different mediums of oil and water, they have different viscosities and densities. The marble travels faster in water, representing a path of lower resistance, and slower in oil, the path of greater resistance. Education is not just about memorizing facts and figures or book knowledge but understanding oneself through personal-discovery. Students learn to understand more about perseverance; the continued effort to do or achieve something despite facing countless difficulties, failure, or opposition.
Increase imprints engraved onto the surface of the steps.
30/1/18 In-Class Activity
For the in-class activity, we were told to create sculptures within 10cm x 10cm Single-Wall corrugated cardboard. These were the 3 different expressions that we made during class.
2) Angry Wind and
3) Pinocchio flys out of the whale’s spout.
It have been awhile since I last went for a ‘Product design’ field trip together as a class.
I always enjoyed having able to listen and discuss about our opinions on the different products.
Nonetheless, it was a fruitful class trip!
In this post, I would like to share my takes on this trip to Harvey Norman.
Brand Identity is strong.
S M E G
SMEG Pastel Colour Electric Toaster & Kettle & Refrigerator
These pastel coloured household appliances caught my immediate attention as I browse from within Harvey Norman.
Colour could be part of the Emotion factor
While Monochromatic household appliances may be commonly seen on the shelves of many department store, how often do we get to choose from a selection of colours?
In these example of SEMG household appliances, it shows more of the emotion-dominantproducts.
The soft pastel colours which embodied the heavy, dull-looking household appliances could turn out to be ‘friendlier‘ with the choice of colour used.
SMEG series of pastel coloured household appliances creates a sturdy yet gentle feel to its overall aesthetic, with emotion being dominant without compromising the function & human-factors.
“The iconic Smeg coloured refrigerator range effortlessly combines good looks with high-performance technology. With beautiful boldfinishesand soft round curves reminiscent of 1950s retro design, these fridges truly stand out from the crowd. – SMEG”
To be honest, I didn’t know how to use this at first.
A revision in design.
The only cylinder that stands out from a shelve of cordless phone.
Philips ‘Linea’ is a emotion-dominant product that creates a sense of emotion appeal.
The revision challenged how a modern cordless phone should look and is indeed a work of art.
Check out the advertising video here
Human-factor (Which one better?)
In the example of the Human-factor design, we take a look at 2 steam generator irons. On the left we have Philips & on the right we have Morphy Richards.
While both steam generator irons may look the same, the securing knob are different.
The securing knob might be a features that demonstrates the human-factors according to the nodes.
The different we see in this comparison could be due to patent or ergonomics factors.
I tried these 2 securing knobs and I found a rather distinct difference.
The securing knob in Philips requires a rather tedious process to get the iron lock in place.
The 3 steps of (Press-Pull-Lock)
Whereas for Morphy Richards a 2 steps of (Turn-Lock) will be sufficient to hold the iron in place.
Does the lack of additional steps compromise safety?
No, it doesnt.
The iron stays secured even after lifting or shifting off the surface.
Modern fan going bladeless
I would like to compare 2 emotion-dominant products.
On the left we have a Dyson fan from Dyson, on the left we have a tower fan from Cornell.
Both products stand uniquely, deceiving their looks as a modern fan.
A dyson fan always reminds me of the soap bubble wand while this rather new tower fan remind me of a golf stick.
Funny aesthetics, wonder where all these got their inspiration from.
The difference between the direction of wind flow induce is such that Dyson’s goes horizontally in 1 direction, whereas Cornell’s goes both horizontally and vertically in 2 directions.
Despite the differences, both products definitely cause a certain emotion appeal.
Modern products taking new styles and cool details!
It was indeed an awe-inspiring trip to Millenia Walk outlet of Harvey Norman.
The display of various household appliances shows the evolution in product design.
With nodes acting as the importance guideline of aesthetics, we see how different area of dominance will affect the form of the product. Nodes such as emotion could make a usual appliances looks more vibrant, breathing a sense of liveliness in the aesthetics of the product. Whereas human-factors contributes to the ergonomics that caters to the needs of the different users.
As shared by Professor Peer in the previous lecture, we were introduced to 3 main nodes that have influence over the Aesthetic & Form – Function, Human Factor and Emotion.
In my understanding, functional based products focus more on fulfilling its functional requirements rather than meeting the human factors or shows any emotional values. Functional products are uncommitted to its physical appearance, form, material etc
– They are going for functionality.
As a result, most functional based product are often presented as uninteresting,
featureless, flat etc.
Traditional Straw Fan
A traditional straw fan is an example of a Function-based product.
Its function is to induce airflow gathered in the surrounding air for the purpose of cooling oneself. The movement of the straw fan has a direct effect on the amount of airflow induced.
One might find the prolong usage of the straw fan tiring as tension are being applied on the hand/wrist area thus not achieving the ergonomics of the human factor. On the other hand, the straw fan appears as dull and uninteresting.
In my understanding of the human factor, ergonomics take places. ‘Human factor’ could only take place through tons of research and experimentation. This includes the human anatomy (5 percentile vs 95 percentile) and usually are coherent with the study in user experience in design. To list a few of the ergonomics features found in products would be; Rubber grip, indications etc. – These maximize the convenience of user interaction.
Mitsubishi 16″ Stand Fan
With technology advancement, airflow can now be induced with the help of mechanized fluid (Blades). This standing fan features changeable speed and easily seen buttons at the front for accessibility. It also produce softer noise and low power consumption.
While achieving its function, the focus on human factors helps to improve the interaction between user and the product which result in a more efficient and safe for use.
In my understanding, Emotion-based products are relatively interesting. It challenges the modern practice, pushes boundaries and anticipate innovation. These products may be unusual but will leave a awe-inspiring impression to its user and might cause a shift in demand if technology allow*. The choice of colour and material is relatively important as well inorder to capture a sense of mood.
Dyson Air Multiplier Am07
When this product was introduced in the market back in 2009, I was amazed by its innovation and it changes my perception of that of a ‘regular’ bladed fan. This product shows the impossible possible, not only it distinguish itself in the market but had since left myself a positive impression. The choice of colour give the overall design a cool touch – very futuristic-like.
In addition, this bladeless fan managed to invoke a sense of curiousity in every mind and individuals creating a sense of emotion.
Just one word: Awesome.
And it’s safe and easy to clean too!
Through this exercise, I find the importance between the 3 nodes.
It is a good research and to crank my mind during the recess week.
I decide to compare between the ‘Fans’ we have over the time period from the tradition to the modern.
I find using only ‘Fans’ a comparison is a fair and coherent analysis.
So, where will my Toy for Project 2 fall under?
Check out my sketches next week!
Thank you for visiting my page!
In this post, I shall discuss about a Product Designer I am best identify with!
We were tasked to choose from one of the following Product Designers
I read several articles and check out their profiles, THEY ARE AMAZING!
I questioned myself if I can be as good as them in the future..
Be it sketches or design thinking, I am pretty much amazed and I look up to them.
The task to choose 1 out from the 5 product designers “that I’m best identify with” is pretty much difficult as they shared common ideal of a democratic design; values, sustainability, economy etc. but amazing in their own unique ways.
Alright, let’s discuss.
Product Designer Look up
– Go for simplicity rather than complexity
Marc Newson’s design with the sense of quality – a product that is able to work forever.
I find Marc Newson designs; Clean, neat and elegant.
The choice of material and the colour scheme used in his products works in harmony thus creating a gentle overall feel.
– Design with an objective
Naoto Fukasawa’s designs relies on finding solutions to the problem/s. – By studying human factors and understanding human behaviours.
I find Naoto Fukasawa designs; Very Minimalistic, interesting, Japan-ish.
His works harmonize the relationship between humans and their environment – whereby mechanisms and elements work together to enable a physical connection between the user and the object.
– Organic design, inspired by nature
Ross Lovegross designs consist of the amalgamation of art with the function of a design.
– Presence of the nature world are seen in his design as Ross are inspired by the principles of evolution and microbiology.
I find Ross Lovegrove design; Interesting organic forms that deal with lots of curves.
As mentioned, Ross Lovegrove blends most of his works with the elements from the nature capturing the essence of the natural world in his designs.
– Deliver that ‘interesting’ experience
Yves Behar design a wide range of products. – His designs emphasis on a more stylistic feel to a modern product by introducing a more ‘Interesting’ elements to it. – Modern design with a twist.
I find Yves Behar designs emphasis on the modern technology to make things better. Such as keeping up with technology and keeping things customisable/personalisation catering to specific individuals.
– Bringing art to design
Karim Behar has a wide range of interesting cool products. – Art element presented in the product creates a sense of uniqueness and individuality.
I find Karim Rashid designs rich in aesthetic values. Which is much curious yet pleasing to the eyes.
The aesthetic point made his product presentable, simple and clean-looking.
Q: Which one of the following Product Designers do you best identify with?
After looking up at the various mentioned Product Designers, I felt that I’m more identify with Yves Behar. Living in the fast-paced digital world today, the importance of technology cannot be neglected. Newer products would eventually replace old products thus the change drives product innovations. Like Yves Behar mentioned in the video, the future of design is relatively importance as more product would emphasise the interface between human/technology relationships. That apart, I hope to design products that are equally as beautiful and presentable as part of the aesthetic values.