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BASICS 01 n a thought or suggestion as to a possible course of action v look for information or an item of interest David Bramston BASICS 01 David Bramston Idea Searching
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Job No:01042 Title:Basics product designProof - 2 Page:GateFold Cover
Basic
s Pro
duct D
esig
n 0
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The Basics Product Designseries investigates differentmethods for generating anddeveloping ideas. Basics ProductDesign: Idea Searching involvesexamples and practices fromaround the world and includesinternationally recogniseddesigners, artists and researchers.
Basics Product Design: Idea Searching explores howdifferent experiences, contexts,references and the practices ofother disciplines are important inidentifying an idea that isappropriate for a particularindividual, target audience orculture.
Basics Product Design: IdeaSearching looks at the importanceof understanding modifications toproducts, personalisation and therelevance of the individualexperience.
Other titles in the Basics ProductDesign series include: MaterialThoughts, Drawing, VisualConversations, and Trend Seeking.
David Bramston is the subject leaderfor Product Design at the University of Lincoln. He has also worked in thedesign industry on projects forcompanies such as Motorola, Swatchand Christian Dior.
David has an MA in Industrial Designand has exhibited and presented work in Europe, the United States andthe Far East. He is an International Member of the Industrial DesignersSociety of America, a member of the Innovative Design Practice Group at the Centre for Critical DesignPractice and a member of the Centre for Creative Industry Development, at the University of Lincoln.
Current research work is focused on the development of living materialsfor industrial design applications.
Featured topicsvisualstormingbrainstormingscenariosmontagerole playmodificationsuser refinementsuser researchinspirationsubtletyimprovisationmental baggageanalogous referencingtarget mappingalternative thinkingproduct languagecharacterliteral and lateral thinkingprofilesthemesassumptionstribal languagephoto diaryproduct purposeinfo dumpsadded valuessustainabilityceremonyexperiencescommon senseempathyaestheticsbrand experienceproduct gendercultural influenceshistorical influencesinnovationexperimentationempathyvisual noiseprimary researchsecondary researchplay and fun
Featured contributorsNika ZupancGijs BakkerDale ChihulyMartino GamperMehmet ErkökStuart WalkerTadao Hoshino Stuart HaygarthMaria Kirk MikkelsenMaxim VelcovskyEric MorelJaime HayónCarl ClerkinJörg RatzlaffErwin WurmOliver SchickCarolien VliegerHein van DamSilvio BetterelliMartina GrasselliFinn Kaerulff ClausenValeria MiglioliBarnaby BarfordBjørn BlisseFolker KönigbauerReinhard ZetscheTorbjørn AnderssenAndreas EngesvikEspen VollSarit AttiasAmit Axelrod and many others
ava publishing sa sales@avabooks.chwww.avabooks.ch
BASICS
01product design
ideasearching
BASICS
01
David Bramstonproduct design
na thought or suggestion as to a possible course of action
vlook for information or an item of interest
idea se
arc
hin
g
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BASICS
Idea Searching
David Bramston
PRODUCT DESIGN
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Ide
a s
ea
rch
ing
An AVA Book
Published by AVA Publishing SARue des Fontenailles 16Case Postale1000 Lausanne 6Switzerland Tel: +41 786 005 109Email: enquiries@avabooks.ch
Distributed by Thames & Hudson (ex-North America)181a High HolbornLondon WC1V 7QXUnited KingdomTel: +44 20 7845 5000Fax: +44 20 7845 5055Email: sales@thameshudson.co.ukwww.thamesandhudson.com
North American Support OfficeAVA PublishingTel: +1 908 754 6196Fax: +1 908 668 1172Email: enquiries@avabooks.ch
English Language Support OfficeAVA Publishing (UK) Ltd. Tel: +44 1903 204 455Email: enquiries@avabooks.ch
Copyright © AVA Publishing SA 2009
All rights reserved. No part of this publication may bereproduced, stored in a retrieval system or transmittedin any form or by any means, electronic, mechanical,photocopying, recording or otherwise, withoutpermission of the copyright holder.
ISBN 2-940373-76-0 and 978-2-940373-76-510 9 8 7 6 5 4 3 2 1
Design by Malcolm Southward
Production byAVA Book Production Pte. Ltd., SingaporeTel: +65 6334 8173Fax: +65 6259 9830Email: production@avabooks.com.sg
All reasonable attempts have been made to trace, clear and credit the copyright holders of the imagesreproduced in this book. However, if any credits have been inadvertently omitted, the publisher willendeavour to incorporate amendments in future editions.
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Contents
Ide
a s
ea
rch
ing
Just imagine
if it were possible 12
Observations 14
Thoughts 28
Referencing 38
Common sense
is needed 54
Empathy 56
Profiles 62
Themes 66
Character 70
Explore
and have fun! 78
Materials 80
Fun 82
Communication 86
Product language 96
Introduction 6
How to get the most out of this book 10
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Co
nte
nts
Sensory issues 104
DNA 106
Added values 114
Conflicts 118
Emotions 128
Development
of an idea 130
Critical analysis 132
Ability to change 134
Idea development 136
Visual noise 142
Blue sky or reality? 144
Experiences 146
Responsibility 150
Projects 154
Conclusion 166
Glossary 168
Further resources 172
Contacts and credits 174
Acknowledgements 176
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Ide
a s
ea
rch
ing
Searching for ideas is obviously a
continual process of forming possible
solutions and refining these, rather than
something that only takes place at the
outset of a project.
Experiences are important and these
do not need to be specific to the idea that
an individual is searching for. Visiting a
dog race or attending a ballet may well
provide the inspiration necessary for
developing a seemingly unrelated project
– an individual should always be on the
look out for a thought catalyst. Changes
in context can enable things to be seen in
a different light and perceived in a lateral
fashion, rather than a literal one.
Searching for an idea should require all of
the senses and should not be a specific
activity. The generation of an idea should
be a continual process of observing,
listening and recording. The eyes and
ears are critical tools, but it can be easy
to look and not see, and to hear and not
listen. Inspiration is everywhere and
everything can be inspirational.
There should be a need to share initial
thoughts and views with others and to
attract as many potential leads for
development as possible. In the initial
stages of idea generation, everyone is
different and everyone has a different
take on things. It is important to explore
all possible suggestions. It is often the
case that an initial proposal for an idea
can be misunderstood or taken out of
context, but in so doing can trigger
stronger ideas and scenarios. There is
a need to identify the potential in
thoughts and ideas and be prepared to
take a risk if there is belief in the
suggestion. Individuals who do not take
risks with ideas and directions will
continue to follow the pack and not lead
from the front.
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Introduction
Intr
od
uc
tio
n>
Ho
w t
o g
et
the
mo
st
ou
t o
f th
is b
oo
k
The identification of set criteria and
themes is an important aspect in the
formulation of thoughts and provides
direction and boundaries, which if not set
out, can lead to a situation that is both
unmanageable and without purpose. Idea
Searching has been divided up into
several stages and although these have
been presented in a logical order, the
purpose of generating ideas is always to
question convention and why something
is done the way it is. It is therefore
possible to refer to different sections of
Idea Searching and still formulate a
reasonable approach.
Idea Searching introduces the subject
by exploring areas such as why we do
things and observing target groups,
activities, and the unconscious actions of
others. The need to have empathy with
others and not to make assumptions on
directions is explored, along with the
all-important need to have fun with the
design process.
Idea Searching references the
approach strategies of many of the
leaders in the subject of
product/industrial design and the
difficulties that can often be encountered
in the generation of a ‘blue sky’ thought
through to reality.
Idea Searching has been developed to
explore different pathways for identifying
ideas and to understand what is being
observed and recorded. The process of
searching for ideas often begins with a
basic understanding of what is needed.
Too much information can be restrictive
and can also prevent random thoughts
from being given an opportunity to
surface. Idea baggage, such as a
preconceived notion, can become a
mental barrier. An open mind enables
thoughts to emerge and develop.
Searching for ideas is a process that
involves many diverse activities.
Brainstorming is often regarded as the
initial stage in idea development, but
really the process begins much earlier.
‘For me design is a question mark. That is how I start every new project.’
Gijs Bakker, 2007
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Ide
a s
ea
rch
ing
Andrea Branzi
Andrea Branzi has been a leading architect and designersince the 1960s and has beeninvolved in the development ofleading design studios, journals, movements and designschools such as the DomusAcademy. He has collaboratedwith many of the internationallyrecognised design companiesincluding Vitra, Zanotta andArtemide.
Introduction
‘It seems a very dangerous idea. It is – all great ideas are dangerous.’
Oscar Wilde, 1854–1900, De Profundis. A monologue by Oscar Wilde
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Intr
od
uc
tio
n>
Ho
w t
o g
et
the
mo
st
ou
t o
f th
is b
oo
k
Chapter 3
Explore and have fun!
Encourages investigation and exploration
with form, scale, texture and materials,
aiming to challenge conventional
thinking. Innovation, experimentation and
fun are essential components of idea
searching and are explored using
different approaches and techniques.
Chapter 4
Sensory issues
Subtle changes in design can have a
significant impact on the way information
is perceived. The impact of the senses
and the relationship to the design
process is introduced and considered.
Areas such as product gender, emotion
and added values are also explored using
examples and case studies.
Chapter 5
Development of an idea
Examines the importance of the
refinement of an idea and how to achieve
understanding of a product using
different critical tools. ‘Less is more’ is
contrasted with visual noise, and the
views of product designers in the
industry are reflected upon.
Chapter 6
Blue sky or reality?
The issue of the design being a valid
proposition is investigated. Areas such as
product experiences, brands, and
sustainability are explored using a variety
of visual examples. The aspect of product
logistics is addressed along with the
difficulties that still need to be overcome.
Chapter 1
Just imagine if it were possible
Observations relating to what is actually
going on around us and understanding
methods for inspiration. Different
referencing techniques, the use of
scrapbooks, info dumps, notebooks and
journals are addressed. Explores
questions such as: Why is something
done? Why is it the way it is? Why is it
needed? What if?
Chapter 2
Common sense is needed
Recognition of empathy in the design
process and applying common sense
through practical exploration. Examples
of product narratives and how design can
relate to an individual on a personal level
are considered. The importance of
boundaries, themes, criteria and
objectives are outlined.
Left:
Roppongi Hills street furniture
Streetscape street furniture inTokyo.
Design:
Andrea Branzi
Photography:
Tom Stott
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How to?
Using various headings thatidentify relevant areas to a keytheme, the individuals involved in a brainstorming orvisualstorming session shouldaim to communicate all relatedthoughts using simple terms orimages.
All ideas are important at this stage.
Ob
serv
atio
ns>
Tho
ught
s
VisualstormingVisualstorming using simple andiconic sketches to communicatefundamental ideas.
Visualstorming
Brainstorming is a verbal process, whichinvolves the identification of key termsassociated to an initial idea and thesubsequent unleashing of creativedirections. It can also be a visual process,which involves the generation of small,thumbnail sketches that are related to, or are tangential to, an idea.
A combination of verbal and visualapproaches can often lead to theidentification of further triggers,experiences, wish lists, and ‘what ifs’. Thesharing of observations is critical in a bid togenerate as many possible scenarios anddirections to explore. An idea, which maysound absurd, may in fact be just themotivating factor needed for another’s inputinto the process. All ideas should beencouraged. A diverse group of individualswill probably bring a broad range ofexperiences and propositions to recall.Involve everyone.
In the design development process theseearly ideas are usually critical indicatorsfor future direction. A subconscious sketch,which is often captured in a visualbrainstorming session, can often be the keyfor progression. Giving an idea too muchconsideration in the initial stages can resultin the loss of such pointers. A simple sketchwill often capture the essence of what isbeing considered, whereas a labouredsketch can drive the life and soul of an ideaaway and leave no room for the imaginationto manoeuvre or fill in the gaps. Filling in thegaps and developing bridges with fragments of information provides theopportunity for creativity.
Top:Image wallThe collecting of images to inspireand create a visual environment is an important aspect of the ideasearching process.
Middle and bottom:ArtefactsObjects of interest that fascinatethe senses or provide an openingto understand target audiencebehaviour should be collectedand retained within the workenvironment.Ju
st im
agin
e if
it w
ere
po
ssib
le
Brainstorming
An idea can arrive at any time, but it can also be encouraged. It is often thought thatthe development of an idea is initiated with a brainstorming session: a process where a trigger term is selected and thenassociations or related analogous themesare communicated.
But such a session relies on individualshaving already encountered a diverse rangeof experiences that are related to the triggerin a direct or indirect manner. Thedevelopment of an idea usually begins muchearlier, although it may remain dormant untilthere is a suitable verbal or visual catalyst. A brainstorming session is surely, therefore,a vehicle for releasing experiences andstimulating the imagination for futuredirections or ideas.
‘If you have an apple and I have an apple and we exchangethese apples then you and I will still each have an apple. But if you have an idea and I have an idea and we exchangethese ideas, then each of us will have two ideas.’
George Bernard Shaw, 1856–1950
Observations
How to get the most out of this book
Idea
sea
rchi
ng
Section subheadingsEach section heading
is divided into
subheadings to provide
clear structure and ease
of navigation.
Body textSupplies an in-depth
discussion of the
topics covered.
Boxed informationProvides supplementary
content in the form
of definitions, designer
biographies and
student exercises.
Chapter navigationHighlights the current
chapter unit and lists
previous and
following units.
This book explores the role that
experiences, context, references and the
practices of other disciplines play in the
generation of effective ideas. The book
is divided into six dedicated chapters,
each containing a range of examples from
contemporary designers and artists,
which demonstrate the products that can
arise from the effective generation of
creative ideas.
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Tho
ught
s >
Ref
eren
cing
AphroditeThe Aphrodite drawer systemmanages to defy expectation,questions user experiences andcaptivates the observer by itsunquestionable elegance, graceand physical beauty.
Design:Tadao Hoshino – Edition Ligne Roset
Photography:Shuya Sato
Just
imag
ine
if it
wer
e p
oss
ible
headstand grp*Understanding the purpose of aproduct is a fundamental aspectin achieving a successful design.The headstand grp* stooldesigned by qed* manages toinstantly capture the imaginationand demand respect through itscombined awareness of fun andcreativity.
Design:qed* – Michael Neubauer andMatthias Wieser
Product purpose
What is product purpose? The purpose of aproduct is often isolated as being a physicalfunction, but there is substantially more tothe purpose of a product than this particularaspect of function.
Appreciation of functionality needs to be understood at many different levelsand not simply the inherent use. Productsthat are able to combine a variety offunctions are capable of appealing to abroader audience. Beauty, fun and brandawareness are some of the functions thatmay be associated with a design in additionto the practical elements.
‘Drawers are, to me, sensual and mysterious. If you interpret them poetically they enwomb something, nurture and as if giving birth bring it forward.’
Tadao Hoshino, 2007
Referencing
Intr
od
ucti
on
>H
ow
to g
et th
e m
ost
out
of t
his
bo
ok
> J
ust i
mag
ine
if it
wer
e p
oss
ible
Section headingsEach chapter unit has a
clear heading to allow
readers to quickly locate
an area of interest.
QuotationsHelp to place the topic
being discussed into
context by conveying
the views and thoughts
of designers and artists.
CaptionsProvide contextual
information about the
products displayed.
ImagesExamples from
contemporary designers
and artists bring
principles under
discussion to life.
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Ide
a s
ea
rch
ing
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The ability to observe is important.
Not to watch, but to observe. How do
individuals actually interact with their
environments and do they make
modifications to products that were
intended to be used in a certain way?
Observational triggers are often
necessary to identify a possible
direction and can occur anywhere
and at anytime. Triggers may be
subconscious observations or
deliberate choices. No observation,
no stimulation, no imagination.
The question to ask is, why?
Observing, questioning, listening and
interpreting. Images and artefacts that
are collected are invaluable as a source
of inspiration and can prompt further
discussion and direction.
droog
Gijs Bakker co-founded droog with Renny Ramakers in 1993. The design work of droog has challengedconventional approaches todesign and has resulted in many innovative products.
Ju
st
ima
gin
e if
it w
ere
po
ssib
le>
Co
mm
on
se
nse
is n
ee
de
d
Left:
Tokyo Day-tripper
Streetscape street furniture inTokyo.
Design:
Rianne Makkink and Jürgen Bey
‘Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.’
Albert Einstein, 1929
Just imagine if it were possible
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Top:
Image wall
The collecting of images to inspireand create a visual environment is an important aspect of the ideasearching process.
Middle and bottom:
Artefacts
Objects of interest that fascinatethe senses or provide an openingto understand target audiencebehaviour should be collectedand retained within the workenvironment.J
ust
ima
gin
e if
it w
ere
po
ssib
le
Brainstorming
An idea can arrive at any time, but it can also be encouraged. It is often thought thatthe development of an idea is initiated with a brainstorming session: a process where a trigger term is selected and thenassociations or related analogous themesare communicated.
But such a session relies on individualshaving already encountered a diverse rangeof experiences that are related to the triggerin a direct or indirect manner. Thedevelopment of an idea usually begins muchearlier, although it may remain dormant untilthere is a suitable verbal or visual catalyst. A brainstorming session is surely, therefore,a vehicle for releasing experiences andstimulating the imagination for futuredirections or ideas.
‘If you have an apple and I have an apple and we exchangethese apples then you and I will still each have an apple. But if you have an idea and I have an idea and we exchangethese ideas, then each of us will have two ideas.’
George Bernard Shaw, 1856–1950
Observations
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How to?
Using various headings thatidentify relevant areas to a keytheme, the individuals involved in a brainstorming orvisualstorming session shouldaim to communicate all relatedthoughts using simple terms orimages.
All ideas are important at this stage.
Ob
se
rva
tio
ns
> T
ho
ug
hts
Visualstorming
Visualstorming using simple andiconic sketches to communicatefundamental ideas.
Visualstorming
Brainstorming is a verbal process, whichinvolves the identification of key termsassociated to an initial idea and thesubsequent unleashing of creativedirections. It can also be a visual process,which involves the generation of small,thumbnail sketches that are related to, or are tangential to, an idea.
A combination of verbal and visualapproaches can often lead to theidentification of further triggers,experiences, wish lists, and ‘what ifs’. Thesharing of observations is critical in a bid togenerate as many possible scenarios anddirections to explore. An idea, which maysound absurd, may in fact be just themotivating factor needed for another’s inputinto the process. All ideas should beencouraged. A diverse group of individualswill probably bring a broad range ofexperiences and propositions to recall.Involve everyone.
In the design development process theseearly ideas are usually critical indicatorsfor future direction. A subconscious sketch,which is often captured in a visualbrainstorming session, can often be the keyfor progression. Giving an idea too muchconsideration in the initial stages can resultin the loss of such pointers. A simple sketchwill often capture the essence of what isbeing considered, whereas a labouredsketch can drive the life and soul of an ideaaway and leave no room for the imaginationto manoeuvre or fill in the gaps. Filling in thegaps and developing bridges with fragments of information provides theopportunity for creativity.
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Thumbnail
A simple thumbnail sketch of apossible cellphone. The visualthought manages to capture theessence of a direction withoutbeing too refined.
Thumbnails
A thumbnail sketch is a visual representationthat is unpretentious and aims to capturethe essence of a proposal or idea. The depiction is usually considered and theresult of a conscious thought, unlike adoodle, which tends to be less intentionaland more abstract – the result of a subconscious or absent mind. Thescribbles and marks of a doodle need to be carefully placed in context due to theirtranscendental nature. It may be interesting,but it is unlikely to be as beneficial as a thumbnail interpretation of an idea, as concentration was not applied when itwas produced.
Observations
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Mind n. The faculty ofconsciousness and thought.
Thumbnail n. Brief or concise in description or representation.
Doodle v. Scribble absent-mindedly.
Ju
st
ima
gin
e if
it w
ere
po
ssib
le
016_017
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chiaro: lightscuro: dark
The French term grisaille refers to a method where painting isexecuted in monochrome and is therefore closely associated to the chiaroscuro approach.
Ob
se
rva
tio
ns
> T
ho
ug
hts
Headsets
Development of headset usingmixed media: photograph andpen.
Found objects, which have a basic affinitywith the general components of an idea, canbe used to develop a representation of aproposal and assist in capturing anunderstanding of the form. It is often difficultto comprehend the physical presence of anidea in a mental state and simplisticscenarios can assist significantly. Artisticlicence can present bias and ultimatelyavoid issues that should be addressed,resulting in time being wasted if an idea isnot subjected to scrutiny in a physicalcontext. The use of black-and-whitephotography to capture an idea in contextcan provide a suitable image to investigateusing mixed media. A form of chiaroscurocan be adopted to emphasise specificelements of the object.
Scenarios
The development of an idea can be exploredusing mixed media, which provides furtherstimulation and an opportunity to probe the narrative. The use of mixed media is atechnique that is employed byphotographers, artists and designers, and involves the use of different materials, media and approaches to create astimulating image.
Chiaroscuro is a technique in paintingwhere emphasis is placed on the light anddark regions. The use of chiaroscuro usuallyinvolves a shaft of light targeting the subjectmatter whilst surrounding elements areplaced into shadow.
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Top:
Panoramic photomontage
of Tokyo skyline
The sweeping view is obtained bysplicing together a number ofimages. The individual shots weretaken looking at different aspectsof the city from the same vantagepoint.
Bottom:
Montage
The montage uses fragments ofsourced images to communicatea theme associated to personalfinance. The composition aims tocommunicate the transition frommonetary chaos to an organisedstate in personal banking.
A montage is not intended to be understoodin a literal sense, but perhaps more in anintellectual and philosophical sense. Themontage should provide an opportunity to create an atmosphere or impression of an idea, rather than to dictate it.
A photomontage is usually compiledthrough a series of photographs taken from the same location and records vertical and horizontal aspects compiled into apanoramic, patchwork image.
A composite facsimile can also beproduced if the subject matter remainsstatic and photographs are taken around the subject matter.
The photomontage is useful at capturinga generic scene and provides opportunityfor imagination to interpret the narrative ofthe complete work.
Montage
A visual montage relates to the positioningtogether of different images or forms fromvarious origins to create an enhanced ormore influential method of communicationthan the individual items presentedseparately. Due to the composition beingproduced from various sources there is atendency for scale, form and texture to varythroughout the work, thus providingopportunity for viewer interpretation andassociation. A montage is in many respectsa compilation of observations; a visual story utilising different references and aimed at projecting feeling. The production of a montage is a complicatedtask, with balance, weight, and relationships to other elements within the work requiring consideration.
Observations
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Role play
Role play was used here tounderstand constraints andopportunities in the administrationof first aid.
Role play
Role play is the simulation of a story andprovides an opportunity to engage in asituation to develop physical and/or mentalempathy. The activity is essentially anopportunity to directly relate and interactwith a problem or an idea; a performance tounderstand the bigger picture. The practiceprovides an alternative and simple way tounderstand issues and can identifydirections which may not have been evidenthad the problem been approached in alogical and inert manner.
Mental role play can be conducted atany time by viewing a particular activity inthe mind or in conjunction with minormovements and sound. Physical role play –the actual acting out of a situation – needsto be approached in a space that isrepresentative of an environment, andrequires imagination and creativity. Theability to adopt roles and characters andutilise experiences is important. Physicalresources can be symbolic as a generalreference to an item is often sufficient tounderstand the key issues.
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Modifications
Everyday situations provide anopportunity to trigger inspirationand reference ideas. Inspiration is everywhere.
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‘It’s not what you look at that matters, it’s what you see.’
Henry David Thoreau, 1817–1862
Observations
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Tokyo and New York
Lamp posts used in a variety of ways.
Modifications
As the lamp post is only used for itsintended function during the hours ofdarkness, it is important that it can beidentified to have other objectives, whetherintentional or not. These could include:supporting road signs; attachment of trafficlights; locking bikes to; tethering animals;securing flags; providing vantage points; ascrash barriers; sticking flyers to; bus stops;perches for birds; supporting telephonecables; meeting points and to light an areaduring darkness.
There are many examples of productsbeing used for ways that they were perhapsnot originally intended. Observing suchmodifications can provide direction for thedevelopment of these products. A lamp postcould be developed to project a shadow of astreet name or direction to a nearby street orstation. Lamp posts could perhaps becolour coded to represent different speedlimits or districts. It is important to make aphysical or mental note of such adaptationswhen they are seen so as to provideinspiration at the idea stage.
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Hair clip > Bookmarker
Coat hanger > Car aerial
Tin of paint > Doorstop
Stool > Steps
Blanket > Rope
Tin can > Cup
Glass bottle > Rolling pin
Newspaper > Fly swat
Jam jar > Fish tank
Box > Home
Bucket > Net
CD > Decoration
Balloon > Water container
Frying pan > Baseball bat
Rock > Mallet
Paperback book > Fan
Ladder > Bridge
School jumper > Goalpost
Chalk stick > Weapon
Ice cream tub > Bait box
Bin bag > Anorak
Tray > Snowboard
Saw > Instrument
Stockings > Mask
Rug > Den
Paper > Hat
Football > Swimming float
Paintbrush > Duster
Traffic cone > Table leg
Bin > Toy storage
Gate > Bench
Paper cup > Ashtray
Paper plate > Pizza holder
Shoebox > Memory case
Umbrella > Sun shield
Car tyres > Crash barriers
Concrete wall > Chair
Fridge > Noticeboard
Car key > Scribe
Toothbrush > Shoe cleaner
Pebbles > Paperweights
Table > Raft
Wire fence > Tennis net
Sleeve > Handkerchief
Metal railings > Horse tether
Comb > Instrument
Supermarket trolley > Go-cart
Bed > Trampoline
Napkin > Sketchbook
Plastic bags > Sterile shoes
Airbed > Windshield
Broom > Paintbrush
Plant pot > Spider trap
Skateboard > Furniture trolley
Wallet > Photo album
Bin > Goal
Large book > Flower press
Watering can > Shower
Cardboard tube > Sword
House brick > Hammer
Hedgerow stile > Chair
Car spark plug > Fishing weight
Torch > Club
Size 10 slippers > Fly swat
Garden spade > Seat
Tennis racket > Sieve
Fallen tree > Bridge
Folded cardboard > Door wedge
Beer mat > Table stabiliser
Pudding Bowl > Scoop
Spoons > Musical instrument
Sticky tape > Clothes brush
Bottle lid > Measure
Fire > Torch
Scarf > Restraint
Brooch > Fastener
Bedroom pillow > Weapon
Broom > Prop
Cap > Tray
Park hedge > Barrier
The different ways that existing products are used canprovide useful insights for further ideas; insights are merelysuggestions and not solutions.
‘If you are in a shipwreck and all the boats are gone, a piano top buoyant enough to keep you afloat may comealong and make a fortuitous life preserver. This is not to say though, that the best way to design a life preserver is in the form of a piano top.’
R. Buckminster Fuller, Operating Manual for Spaceship Earth, 1963
Observations
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Buckminster Fuller
Buckminster Fuller, 1895–1983,was a designer, futurist and writerwho focused predominantly onthe issue of how the human racecould endure the potentialproblems it was facing and secureexistence on earth. As anindividual he aimed todemonstrate how it was possibleto embrace some of the issuesthe world needed to engage withthat were not being confronted by the larger organisations. Thepublication Operating Manual for Spaceship Earth (1963)portrayed earth as a spaceshipwith limited resources that couldnot be replaced. The metaphoracutely demonstrated the needfor everyone to consider carefully his or her destination.
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Broken bottle > Match
Size 12 boot > Hammer
Magazine stack > Stool
Friend’s back > Desk
Ribbon > Barrier
Tie > Belt
Table > Shelter
Cabinet > Plinth
Mug > Penholder
Open newspaper > Umbrella
School bag > Pillow
Towel > Rug
Old jeans > Notebook
Window > Message board
Paddling pool > Fridge
Pram > Trolley
Chair > Table leg
Suitcase > Seat
Handbag > Dance partner
Bus stop > Bed
Spade > Paddle
Saucer > Key storage
Glass beaker > Amplifier
Plastic plate > Fan
Large tree > Umbrella
Chair back > Coat hanger
Window > Mirror
Pen > Cigarette
Coin > Tin opener
Handkerchief > Sun hat
Metal tray > Bat
Coat > Filing cabinet
Paper clip > Key
Sandpit > Cup holder
Cap > Ball catcher
Milk bottle > Vase
Old boot > Flowerpot
Bottle > Candleholder
Hood > Basket
Shopping bags > Panniers
Pallet > Fencing
Tree > Toilet
Bicycle handlebars > Bag carriers
Chimney > Plant pot
Milk crate > Seating
Pen > Drumstick
Car roof > Picnic table
Drinks can > Football
Folded newspaper > Tray
Oil drum > Coffee table
Road > Ashtray
Toilet roll > Notepad
Socks > Gloves
Lipstick > Marker pen
Bag > Dog basket
Concrete slab > Anchor
Cushion > Crash pad
Bricks > Car jack
Pillow > Prop
Stairs > Seating
Drinking glass > Magnifier
Ear > Penholder
Table > Footrest
Violin case > Collection box
Flat cap > Collection pot
Fire extinguisher > Doorstop
Plastic bottle > Buoy
Surfboard > Stretcher
Coat > Blanket
Balloon > Location marker
Bathtub > Boat
Bin lid > Shield
Margarine tub > Dog bowl
Suitcase > Wardrobe
Books > Steps
Towel > Privacy screen
Egg box > Insulation
Jam jar > Cup
Sink > Planter
Door > Skate ramp
Credit card > Ice scraper
Tractor tyres > Mini roundabout
Kerb > Bike stand
Step > Shoe cleaner
Knife > Screwdriver
Log pile > Seating
Handrail > Slide
Pencil > Hole punch
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Refinement n. An improvement.
User refinements
User refinements includingattachment of tags, scratchedidentity and a directory.
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User refinements
Although many products are mass-produced it is often the case that theitem has been developed in such a way asto give the impression that it is unique to theuser. Despite achieving the feeling ofbelonging to the user many individuals willstill make adjustments to the design.Alterations may appear to be abstract andoccasionally bizarre however, the owner hasfelt it necessary, for whatever reason, toexecute the changes no matter how small. It is important to observe such alterationsand to evaluate why they have beenconducted. There may be many reasons to warrant changes including sentimental, practical and desire. Exploring andunderstanding these user refinements canassist in developing a product.
Observations
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Primary research
Understanding or identifying a problemusually requires an activist ‘go do’ approach to make important connectionsand place them in context. It is necessarynot to be judgemental, biased, or to have preconceived ideas, but to retain an open mind and be prepared to appreciate outcomes.
Primary research can be conductedutilising a diverse range of methodsincluding interviewing, shadowing a targetgroup, adopting a character, or randomsampling. Stories and analogous responsescan provide valuable detail, which may notsurface without interaction. It is preferable tocapture information for subsequent analysisusing audio or visual methods.
Primary research
Primary research involvesobtaining information fromsource, such as interviewingskateboarders to find out related information.
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Research
The contents of a pocket canprovide a valuable impression of a character.
User research
Understanding a user and his or herbehaviour can be enhanced through simpleinvestigative methods. The contents of aperson’s pockets can be very revealing andcan provide much valuable information –providing that they are prepared to share it.A pocket can contain numerous artefactsthat are obviously personal and of sufficientvalue to be transported on the individual.The pocket contents are non-judgementaland will reveal personal habits, issues andagendas. Items from several days, weeks oreven years ago can be identified andinfluence directional thinking. Analysingparticular relationships between items inconjunction with the user provides avaluable impression that might not be fullyobtainable through observation alone.
Observations
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Stories and listening
A story can be told verbally, visually, orthrough a combination of both, and iscapable of capturing an audience throughdetail in expression, vocal emphasis,descriptive terminology, metaphors andbody language. It requires the listener,reader or observer to make a connection, to form an alliance and to contextualise the meaning. A story provides opportunityfor imagination and empathy, with gaps and pauses being left for interpretation,realism and possible affinity to individual experiences.
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The match seller New York
An individual’s story can be toldvisually and/or verbally andshould be observed and/orlistened to carefully.
New York busker
at Ground Zero
The stories that are evident in theimage are numerous and yet maynot be fully appreciated by simplypassing by the street busker. Isthere a direct relationshipbetween the busker and thevenue? What is the busker’s song,message or story? It is necessaryto look and listen to understandcontext and meaning.
The use of visual triggers such as bodylanguage, facial expression, imagery or setting, assists in the projection andunderstanding and should be observedcarefully to provide direction. The voice of experience is important in acquiring thecontext of a problem and although issuesmay sometimes be over-emphasised orexaggerated, the fundamentals of themessage are usually accurate indicators for consideration. A story that is retold is often a different story and a story that is told through many voices is capable of encompassing a wider range of issuesand structures.
The listener has an important role in theunderstanding of a story, as not to listencarefully or not to recognise a hidden detailcan result in misunderstanding, confusion,and blurring.
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Inspiration
An architectural reclaim yard can providevaluable inspiration for different approachesto design. It is important to think aboutobjects with an open mind and considerhow they may influence an idea rather thansimply be reproduced.
Taking objects out of context andexploring their potential can lead to excitingdevelopments that break away from themundane and the conventional. Anunorthodox examination of items within thereclaim yard can provide a beneficialstimulus that is often not accessible withoutlooking carefully. The patterns that suchvaried objects can present can be excitingand it is necessary to imagine the items at adifferent scale or in a different material.
An item should not be categorised becauseof history; it should be thought of in differentcontexts and environments. It is also usefulnot just to simply explore the obvious items,but to look closely at the relationshipsbetween items or the way in which the‘rejected’ artefacts have been set out.
It is not always possible to know what tolook for and what to dismiss and, althoughinitial instinct can be a reasonable indicator,it is advisable that everything is noted, bothphysically and mentally.
Thoughts
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Radiator inspiration
A random collection of selecteditems at an architectural reclaimyard that offer something to theimagination during the initialstages of radiator research. Noneof the selected items were formerradiators, but all stimulatedinterest.
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Jumper goal posts
Children are amongst the mostcreative of individuals as theytend not to be too judgementaland are often content with aninterpretation of an idea at a basiclevel. The use of jumpers, bags or coats as makeshift goal postsfor an impromptu game of football is a familiar site onplaying fields and otherrecreational spaces. The absenceof a vertical post, net or cross bar becomes insignificant as thegame gets underway.
Thoughts
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Tennis-net park fence
If a game of tennis is sought, the issue of not having the correctequipment can sometimesbecome a minor detail.Representation of what is neededwill often suffice, especially as the real purpose of the game is tohave time with friends. A parkfence that is almost the size of the players is no longer a problemas it will do to get the activityunderway. No boundaries to the court, incorrect clothing andprobably no real understanding of the rules all become irrelevant.The objective is simply to havefun. Improvisation allows for rules to be broken andimagination to emerge.
Improvisation
Observing how individuals interact withintheir environments provides a good pointerto the sort of products that could bedeveloped. Situations where there arelimited resources available, such ascamping, the beach and park visits, oftenresult in compromise and innovation.
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Brief adj. Of short duration.Concise; using few words.
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Drinks vessel or drinks flask?
The terminology that is used todescribe something can appearto be similar but can actually leadto significantly differentoutcomes.
Brief
The design brief usually relates to theengagement of a project and can bepresented in a formal or informal fashion. It is not necessarily the initiation of thethinking process, as observations, thoughts and experiences should always be ongoing.
The important issue is to actuallyunderstand what is being communicated and to be prepared to investigate hidden detail, which might not be apparent to others. The designermust be able to respond to what is beingrequested positively and with creativity, but also prompt lateral lines of enquirythrough questioning.
The language used can often be an obstacle that needs to be negotiatedcarefully. In the situation where a product is required for a particular market theterminology used can instigate a series of creative responses or subject the project to unnecessary boundaries.
A ‘drinks flask’ is a ‘drinks vessel’however, if the former description is usedthe responses are perhaps likely to be more constrained as the immediate thoughtis of a cylindrical container. The ‘drinksvessel’ terminology does not prejudge andis therefore without creative baggage.
Thoughts
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Lunch containers
These self-made lunch containersconvey personality traits.
Language can be manipulated effectively to generate thoughts and conjure up ideas.The name of a simple product such as alunch box could be replaced with alternativewords or slang that befits the targetaudience in an attempt to address possiblelines of enquiry. For example: scoff sack;troff tray; bite bag; scram jar; snack pack;fodder file; pud pod; mess case; grub trunk;ration wrap; scoop crate; snaffle sock; tuctub; chow caddy.
It is not uncommon for individuals to produce their own lunch boxes frommargarine or ice cream containers, or from foil or brown paper bags. The manner in which such containers are modified and personalised can provide a direction to consider.
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How to?
To understand a particularproblem it is advisable to try andencounter it. The issue of packedlunches has been tackledfrequently and there is a diverserange of products available for the consumer.
Why are packed lunchesoften seen as a stopgap meal, a snack, rather than a realenjoyable experience? Look atthe amount of food that is taken in different lunch containers, and if anything else is includedsuch as a mat or cutlery.
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The range of food normally included in alunch container is somewhat limited withpre-packed and cold items being theprimary contents. What about a hot puddingor perhaps a hot dog? How could this beaccommodated? Asking a target groupwhat they take and why, can reveal thatwhat they do isn’t what they want. Involvinga target group in what is needed or whatthey would ideally take provides theopportunity to explore ideas.
In addition to home-made productsthere are numerous examples of food beingpackaged for on-the-move experiences.The packaging from fast food restaurants,including polystyrene trays, paper or cardboxes, can inform an ideas process.Considering take-away packaging fromrestaurants and airline food trays may alsoprovide inspiration and enable possibilitiesto be explored.
Variations
Understanding and thinking about howproblems are addressed with home-madeproducts provides a valuable insight intowhat the user is wanting and offers anopportunity to improve or refine thesesimple versions. The range of home-madeproducts – solutions developed by the userfor the user – is broad and should beacknowledged.
Brown paper bag lunch containers maybecome insulated containers withopportunities for name tags andpersonalisation. Ice cream cartons caninspire practical storage solutions forlunches and be enhanced with hard and softzone dividers, or areas that might segregatesmells. The foil-wrapped sandwich with anelastic band to hold it together may developinto a wrapper, which can double up to forma place mat or provide the impetus for acloth or napkin.
Observing different styles and variationsof home-made lunch containers can alsoprovide an insight into what kinds of food anindividual is eating and the context of whereit is being eaten. Do different styles apply todifferent occasions? Are alterations made toaccommodate something not normallyassociated with a lunch container? If giventhe opportunity would a user of a lunchcontainer want to include hot items?
‘The idea generating process never stops for me; the ideas flow continuously. That is the easy part. The hard part is making the idea real.’
Angela Yoder, 2008
Thoughts
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Dos Chicas © Lorraine
Lunch Bag
Design:
Angela Yoder
Margarine tub inspired
lunch box
Considering self-made lunch containers from simplepackaging, such as ice cream ormargarine cartons, can inspireideas. The use of stickers on suchitems work well as they are easilychanged by the consumer ormanufacturer when a fashionchanges.
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The G Force bagless vacuumcleaner, designed by JamesDyson was initially sold in Japan. Dyson had questioned the accepted standards of avacuum cleaner. The ability to ask the basic questions and to ignore convention and mentalbaggage is at the heart of gooddesign. Dyson continues to askwhy and continues to manoeuvrearound preconceived ideas andboundaries to remain innovative.J
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G Force
James Dyson’s G Force vacuumcleaner. The functionality of thedesign differed on many levels toits predecessors and in 1991 wonthe Japanese International DesignFair prize.
Mental baggage
An experience can be a particularly usefultool, but overexposure to something candevelop an individual’s mental baggage.When mental baggage is prevalent it can bedifficult to consider any other creativedirection other than that of the overfamiliar,and it can be arduous to persuade others toexplore an alternative path when they alsohave a preconceived notion of what theproduct is. It is only when things can bethought of differently, without accustomedbarriers, that it is plausible to innovatemarkets. If the problem is not confrontedwith a ‘why attitude’, similar to a small childconstantly asking questions aboutsomething, it is almost impossible tounderstand and develop. In the event thatmental baggage can be broken downthrough repeated enquiry and probing, it islikely that a delightful and practical proposalcan emerge and be accepted broadly.
Thoughts
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The Polyprop chair
The Polyprop chair demonstratesthat good design can be practical,inexpensive, lasting and beautiful.
Design:
The original Polyprop chair(1962–1963) was designed by Robin Day for HilleInternational UK
Good and bad design
Is it possible to say that a design is good orbad? Appreciation of a design is surelysubjective with some individuals expressinga desire for an item, whilst others a dislike,or simply disapproval at its difference. It isprobably impossible to get everyone toagree on whether a design is good or badfrom a subjective standpoint.
Perhaps it is possible to categorise anobject as being good or bad on the basis offunction and fit for purpose? Providing it isapparent what the function actually is – this,unfortunately, is not always asstraightforward as it may initially appear.Function can be ambiguous and can besectioned under numerous headingsrelating to the overall design. A cheap watchand an expensive watch both function astimekeepers, but certainly also have otherfunctions such as representing a certainbehaviour, conduct, attitude and brand.
Maybe a design can only be criticallyevaluated if placed in the context of the initial objective, where constraints are understood – but would subjective opinion remain?
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Analogous adj. Comparable incertain respects.
Analogy n. A comparisonbetween one thing and anothermade for the purpose ofexplanation or clarification.
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To consider portability for a laptop theanalogous products that could beconsidered might be a portable television orradio as these will have similar traits. Theissue of folding might involve exploringitems such as newspapers or towels,leading to a pathway that considers totalflexibility or perhaps a laptop that could berolled up?
Exploring books or a diary layout mightinstigate a line of thought that proposesmultiple screens, which can be flipped overor similar. The idea of inputting informationmight take reference from historicalproducts such as a typewriter or calculator.Analogous products are extremely beneficialat exploring alternative opportunities forconventional products and should alwaysbe considered.
Analogous
The referencing of similar objects orsystems is useful when addressingparticular issues or problems. An analogousitem may be targeted at a completelydifferent audience or may appear to beunrelated. However, investigation will revealthat there are relationships, which might be influential and provide direction. Thesearch for analogous products is simple if items can be taken out of context andseen differently.
The various features of a laptop thatrequire consideration might includeportability, ability to fold up, the screencharacteristic and the manner in whichinformation can be input. Understandingcompetitors and rival products does providevaluable information, but may not provideopportunity to innovate the market. A reviewof seemingly unrelated products, whichperhaps have a single aspect in common,can ignite alternative ideas.
Referencing
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TV > Laptop
The portable television isgenerally accepted as being asimple product for a particulartarget market. The simplicity,robust qualities and overallstructure of the television mayprovide further inspiration in theinitial stages of proposal for aproduct such as a laptop.Analogous products are tried andtested and provide a wealth ofinformation.
TV > Laptop
A portable television is a possibleanalogous product to consider ifthinking about the portability of anitem. In the generation of initialproposals for a laptop thetelevision is likely to have certainattributes that may be worthrecognising. Areas such asintegral handle, balance and scalemay be a few of the issues whereintelligence could be sourced.
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Newspaper > Laptop
Observing how individualsinteract with everyday objects isnecessary in establishing userhabits and relationships. Anewspaper that is casually rolledup and placed in a back pocketmight inspire a theme or directionfor an emerging product. Whycan’t a laptop be rolled up andtreated in such a personalfashion? Does anything actuallyprevent the laptop being treatedin such a way? Is a flexible laptoppossible?
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Referencing
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Above and right:
Typewriter > Laptop
There is a multitude of differentinput devices that could possiblyinspire thinking and thedevelopment of a laptop. The typewriter is the recognisedancestor of the laptop andalthough technology hasadvanced, such products may still have something that mightcapture the imagination. The angled keyboard or thesculptured form of the keys mayprovide some inspiration.
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Mood boards
A message relating to movementis captured using imagery fromTokyo. The mood board aims to set a path for a desired line of thinking.
Mood board
Reference material is often selected to set ascene or an atmosphere at the outset of thedesign process. The purpose is to inspire, tocapture the essence of a desired direction, afeeling or an intention. It may reflect a givenemotion or poignant expression, but it canalso provide a visual opportunity to considergeneric issues such as texture and scale.
The images should have the capability toignite thinking amongst observers, to triggerrecall and provide mental connections withprevious activities. The mood board canconsist of a single image or an array ofimages projecting a simple message.
Referencing
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The barber ceremony
The laying out of equipment in aformal manner suggests a certainprofessionalism that is bothencouraging to the customer and beneficial to the user. Theprocess may possibly be parttheatre, but it is important andshould be noted.
Ceremony
Ceremony can be defined as a distinctprocedure, a performance that adheres toprotocols and rules. A ceremony can oftenadopt a theatrical characteristic and isreserved either for special occasions or forcreating a sensation of importance.Although usually associated with religiousexperiences, rituals are encountered all thetime and are often conducted or acted outsubconsciously by an individual or group.
A barber sets out scissors, combs,blades and other essential equipment in aconfiguration that ensures that the customerexperience and the actual task of cuttinghair are distinctive and appropriate.
A trader, set up to clean shoes of passers-by in the street, lays out a stall withan array of brushes, clothes, waxes andlaces to perform a service and generate anexperience for the customer.
The surgeon lines up scalpels, dishes,swabs, knives and other essentialimplements to perform an operation in aparticular way.
A cup of tea can be prepared carefully,following familiar methods, with attentionbeing given to every detail. The completeprocess can adopt a ceremonial aspectenhancing the overall experience.
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Referencing
Location at 2pm
An individual’s perception of what they do during 24 hours and what they actually do can be surprisingly inaccurate.Identifying a set time such as 2pm and recording what isdirectly in front of them at thatpoint will reveal much informationand draw attention to what isreally going on.
When a ring is heard
Identifying a particular sound ornoise and recording your situationevery time it is heard can providesome intriguing information.
2pm?
Simple cameras or any other method ofrecording events can be utilised to greateffect to provide information that assists inunderstanding the context of a situation.
A camera can be used to record thecircumstances that an individual is in whenthey hear a particular sound or piece ofmusic. It can be used to record events thatare taking place at a set time during the day,or to capture the environment whensomething is eaten.
Although the procedure may appearmundane, the outcomes are oftenunexpected and surprising. Preconceivedideas are frequently challenged and shownto be inaccurate and misguiding.
The visual record may show that themajority of food consumed during a 24-hourperiod is actually eaten away from arecognised dining environment and outsideof an assumed time frame. The informationrecorded may detail that cellphone calls areoften received at a time when it is difficult torespond or hear.
Capturing events as they occur is important and difficult to contradict. The visual record of circumstance is a useful tool.
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Adore
It is not uncommon for individualsto lavish attention on what oftenappear to others to be worthless,inanimate objects. Love andaffection are given to seeminglyrandom and obscure objects, butthere is often a significantsentimental or personal reasonwhich cannot be broken withthese items.
Adore
I like it, I want it, what is it? The reasoningbehind why somebody ‘likes’ something canbe simple to comprehend, but can also becomplex and difficult to rationalise. A trendy‘must have’ material may be adored by theuser, as it is believed that ownershipimproves quality of life – a fundamental aimof design. However, a small, grubby, pinkblanket or an apparently insignificant, tattybracelet may be loved by their owner asboth are associated to times gone by, suchas childhood, with fond memories becomingmore embellished as time passes by. It isnot possible to guess if an item is adored bysimply observing or thinking about it. Theproduct needs to be placed in the correctsituation, and what one person worshipsmay be regarded as insignificant or peculiarto others.
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Memories n. The faculty bywhich the mind stores andremembers information.
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The ability to recall and conjure up personalencounters stimulates further awareness ofa situation and can trigger responses fromindividuals who were not privileged to bepresent when the original record wasproduced, but who are able to call to mindsimilar exposure.
The scrapbook requires continual careand maintenance to ensure that sourcedinformation does not get damaged and thatemerging areas of interest are represented.It is often the case that the more unusual orabstract the entry is to a scrapbook, themore interesting it will become.
Scrapbook
A scrapbook is an important, but oftenunderrated, tool within the process ofgaining inspiration. The scrapbook shouldbe developed continually with visualrepresentations, collected items and otherartefacts of interest. There are no rules apartfrom collect anything and everything thatstrikes a creative chord. The aim of thescrapbook is to catalogue memories andexperiences so that it is possible to summonevents to mind effectively at a later date.
Referencing
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Sketchbook and notebook
The sketchbook and notebook can workeffectively in conjunction with each other,providing that sketches can capture theessence of what is being viewed, and thenotebook can record it accurately andconcisely. A few simple marks or key wordscan often record elements that a moresophisticated method of recording wouldnot be able to do. The strength of a line or ametaphor can place an observation withsurprising detail, which can be referenced ata later stage with considerable accuracy.
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Left and right:
Scrapbook
Formulating a scrapbook is inmany respects a personal andorganic process. Items of interest,which may or may not be directlyrelated to a current project,should be included. Thedevelopment of a scrapbookneeds to be ongoing, capturingexperiences and constantlyrecording. Innovation sometimesneeds to be employed regardingthe acceptance of large items intothe collection, but it is importantto include as much as possible.
A library of scrapbooks frompersonal experiences is a veryvaluable resource.
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Searching the unfamiliar
Charity shops, market stalls,vending machines and unusualshops, which are removed frommainstream trends, can provideimportant inspiration for an infodump.
Areas that often provide particular interestinclude vending machines, market stalls, or shops that offer an element of intriguethrough a diversity of eclectic items. Theability to explore such outlets in differentcountries frequently results in peculiar items being discovered, which demandattention and immediately present aspectrum of ideas.
The info dump is the informal process of presenting the collected imagery andartefacts to a receptive audience capable of constructive criticism.
Info dump
In the search for original directions it isnecessary to track down the unknown.Items which are unfamiliar and removedfrom the everyday can be a valuable sourceof inspiration. It is not a simple process toidentify what will provide stimulation orincentive for a particular product so it isbetter to conduct a broad sweep ofeverything that is exciting visually, and todeliberate over the positives and negativesat a later stage. A collected item may be of interest because of a single facet andshould not be rejected because this facet is not regarded as sufficient; it could be the catalyst that is needed in thedevelopment process.
Referencing
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Journals
International design journalsprovide a valuable source ofbackground knowledge, directionand inspiration. A journal that ispublished in a foreign languagecan still provide much visualstimulation. Design is a visualprocess.
Journals
Journals provide a valuable source ofcontemporary reference material, whichallows an understanding of what isoccurring to be accessed effectively andefficiently. Journals targeted at the creativedisciplines outside of the sphere of productdesign, and often beyond the realm ofdesign completely, can also frequentlyprovide an insight to very relevant issues.Business and science journals provide asignificant amount of information that iscreative, inspiring and enlightening, andshould not be overlooked in a quest to beinnovative. It is not uncommon for many ofthe leading design offices to subscribe tosuch journals and source further informationfrom outlets such as Reuters andBloomberg.
The designer needs to be a sponge forinformation and needs to be able to explore,analyse and categorise as frequently aspossible.
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How to
Design requires experiences andsome are adopted unknowinglywhilst others are planned. Aim toattend a different event as oftenas possible. Simple experiences,such as drinking a cup of tea at adifferent venue each day, providea wealth of experiences and aninsight into different cultures.
Experimental Wobbly Bowl
Understanding materials andinteracting with them directly is animportant facet of the designprocess. A willingness toexperience the unknown providesan essential mental resource.
Design:
Colin Brown; The National GlassCentre, Sunderland, UK
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Experiences
Experiences are important to generateideas. Without experiences it is difficult tocontextualise, and being unable tocontextualise a situation or idea can lead toa lack of direction or thought. An experiencedoes not need to be undertaken in anelaborate setting, it just requires enquiry,enthusiasm, conviction and a desire tounderstand. The experience beingconducted may be abstract to an outcome,but will almost certainly influence a thoughtif given the opportunity to do so. A specificelement of the experience, a texture orperhaps an appreciation of balance, mightjust be the necessary stimulant needed toinvestigate and interpret the problem froman alternative perspective.
An opportunity to attend a glass studio,a theatre production or visit an unknownculture should, if possible, be taken up tobroaden horizons and mental resources for idea generation.
Do something different as often as possible.
‘Nothing is a waste of time if you use the experience wisely.’
Rodin, French sculptor 1840–1917
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The manipulation of glass
Colin Brown at the National GlassCentre demonstrates the processof producing the Wobbly Bowl.Observing and experiencing suchevents should be an ongoingprocess and an aspect whichinspires and drives creativity.
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headstand grp*
Understanding the purpose of aproduct is a fundamental aspectin achieving a successful design.The headstand grp* stooldesigned by qed* manages toinstantly capture the imaginationand demand respect through itscombined awareness of fun andcreativity.
Design:
qed* – Michael Neubauer andMatthias Wieser
Product purpose
What is product purpose? The purpose of aproduct is often isolated as being a physicalfunction, but there is substantially more tothe purpose of a product than this particularaspect of function.
Appreciation of functionality needs to be understood at many different levelsand not simply the inherent use. Productsthat are able to combine a variety offunctions are capable of appealing to abroader audience. Beauty, fun and brandawareness are some of the functions thatmay be associated with a design in additionto the practical elements.
‘Drawers are, to me, sensual and mysterious. If you interpret them poetically they enwomb something, nurture and as if giving birth bring it forward.’
Tadao Hoshino, 2007
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Aphrodite
The Aphrodite drawer systemmanages to defy expectation,questions user experiences andcaptivates the observer by itsunquestionable elegance, graceand physical beauty.
Design:
Tadao Hoshino – Edition Ligne Roset
Photography:
Shuya Sato
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Ide
a s
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ing
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Common sense is needed
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To apply sound judgement in the search
for ideas and to consider the obvious are
beneficial and should be acknowledged,
but they do not need to be masters when
searching for ideas. Individuals often do
not have an idea of what they want until
they are presented with the unknown.
It is important for design to explore
uncharted territory. If common sense is
given the opportunity to dictate, thoughts
can be dull, staid and constricted. The
understanding of a logical approach
provides a platform to challenge
convention and enables judgements to
be confronted. Common sense is needed,
but it is also a boundary that should
probably be bypassed in preference for a
sense of adventure during the initial
stages of the unknown.
The initial stages of searching for
ideas should exhibit more freedom than
the latter stages, where they become
refined and considered.
Sense of adventure or common sense:
ambiguous; vague; undefined or obvious
risk; chance; exposure; speculate or defined
opening; opportunity; possibility or safe
freedom; autonomy or boundaries
abstract; impractical; visionary or constraint
naïve; open; unaffected or experience
Left:
Customised parking in Kyoto?
Taking advantage of foundobjects or modifying a structurefor personal parking? It isimportant to continually be awareand on the look-out for innovativeideas, modifications or perhapsjust coincidences that might beexploited. The parked van and thestructure of the building mayinspire completely unrelateditems at a different scale;however, the essence of an ideahas been captured and recorded.
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Kyoto commuters photo diary
The expectations of commuting can be capturedusing a photo diary, providingvaluable knowledge andbackground information.
The photo diary is useful for recording andunderstanding a particular experience, suchas the problems encountered by acommuter waiting for public transport andthen appreciating the issues of the ensuingjourney. Empathy can be developed byobserving the circumstances individualshave to endure step by step.
Photo diary
The photo diary is a valuable device inunderstanding an environment andcapturing detail which may be otherwisemissed or forgotten. The recorded imagecan inspire thought and provide a stimulusfor recalling other sensations such as smell,texture and sound.
A constant practice of recordingexperiences is necessary for providing avaluable impulse into the creative process,but also to provide reference material forunfolding projects or for historical evidence.
Empathy
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New York cab photo diary
A real experience can be recorded using photography and analysed at a convenientpoint later on. The photographsassist in understanding aparticular situation, capturingdetail which may have beenmissed, and aiding the recall ofthe overall physical and emotionalencounter. Comparisons ofdifferent journeys or situationscan be made to develop aninformed impression.
Observing a situation fromdifferent perspectives can berecorded successfully using aphoto diary. Actual experiencesand third-party experiences canprovide contrasting information,which may need to be considered equally.
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Understanding a problem
Developing a product requires anunderstanding of the user to appreciate their position and situation. Everybody is different and everybody has their ownagenda for doing things a certain way, which may not be through choice. An affinity with the user needs to be developed so that responses to problemscan be suitably tackled.
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Goggles
The use of scratched or dustygoggles or glasses can give the sensation of poor vision and is useful in developing anempathy with a target audiencethat may have restricted eyesight.
Many other empatheticsituations can be obtainedthrough an innovative use of props.
It is common practice to simulate a situation to gain a better insight to a particular difficulty and to physicallyappreciate what is going on. It is hard to understand the problems encountered by others unless those wanting to know can confront their real situation effectively.Various methods are possible to relay the experiences of an individual to othersand they often involve the use of a prop to prohibit or remove a particular sensation, such as touch or balance.
Appreciation of a sense being removedimmediately helps to put the core issues into context and provides a useful realitycheck. Ignorance of empathy can result inworthless and inappropriate solutions nomatter how beautiful the object.
Empathy
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Restrictive props
The removal of a sense can be emulated using ear defenders to mask out externalnoises. A user’s perception of the environment changesimmediately and empathy can be experienced with those whohave to work in noise-pollutedareas where important sounds are not understood.
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Café owners, customers,
or passers-by?
It is difficult to understand the status or background of an individual by a simple visualassessment. Frequentlyindividuals are seen out of context and assumptions should be avoided.
Empathy
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The Horseman, New York
To appreciate and understand theNew York Horseman may bedifficult if placed out of contextaway from the carriages andhorses at Grand Army Plaza.
Ideally, objects and individuals need to be considered separately. Does a child buy the toy in the shop or does a relativepurchase the item? It is likely to be wrong to assume it is the young child who will payfor the item, but perhaps also incorrect tothink that the adult purchases the toywithout some element of lobbying from thechild? Maybe the adult wants the toy?Relationships between individuals can bevery influential and can often result in aperson who might be expected to reside in a certain category actually being moreorientated to the unexpected.
Assumptions
Making assumptions is a dangerous route to take and should be avoided, or at least approached with much caution. The appearance of a person or theperception of an item can frequently be far from accurate on careful inspection. A third party who is not experienced oftenmakes judgements that are incorrect due toa misunderstanding of the context or situation.
Assumptions are usually wrong and,unfortunately, if given the opportunity todevelop, can instigate a series ofinappropriate thought patterns andassociations. References to stereotypes are damaging and difficult to ignore.
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Collection of items to construct
a user profile
Items which might be associatedto a specific target audience canbe collected and analysed tounderstand particular traits.
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Profiles
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Images of key products, whichthe target audience are likely tosubscribe to, should be collectedand analysed to understandsimilarities across the range.Interchanging the images,rejecting some and keeping thosethat are believed to accuratelyrepresent the target groupenables a visual profile ofpreference to emerge andunderstand what might berequired in a particularcircumstance. When the criteriachanges, the images will need tobe reviewed. All images should bekept for further profiling activities.
How to
It is important to be able torecognise the personalpreferences of an individual whenit comes to product selection andparticularly necessary to identifytarget audience preferences.What are users buying and whatis it that is attracting them?Collecting artefacts, images,materials and other tangibleevidence, which are believed tobe associated to a particulartarget group, begins to provide anunderstanding of what they like,strands of evidence that caninform the design direction. Targetaudiences are not simply relatedto age or gender, so profiles maybe applicable to a range ofindividuals who might initiallyappear to be unrelated.
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Exploring and examining collected itemscan highlight commonalities includingattention to detail, quality, or patternationpreferences, but can also depict issues such as financial positioning, material usage tendencies and brand awareness.
The intelligence obtained throughprofiling should be considered in the design process.
Profiling
Profiling is an important and necessaryinvestigative instrument that provides an insight into the behaviour, habits androutines of targeted individuals. The process is not intended to be intrusive and can be conducted using primary orsecondary research methods. The objective is to build an understanding – to probe where necessary gathering detail to formulate patterns which can act as important directional signs.
What are the products that targetedaudiences are purchasing? Where, how and why do they use them? These are some of the issues that can be addressedusing profiling strategies. To gain a snapshotof attitudes, values and behaviour, simpleassociation methods can be conducted,such as identifying and collecting productsaffiliated to a particular group.
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Target n. A person, object, orplace selected as the aim of anattack.
Mapping (map something out) v.Plan a route or course of action indetail.
Demographics
Demographics are the statisticalinformation that relate to apopulation or a subsection within a community and includesincome, age, gender andethnicity. Understanding thedemographics of a populationprovides a valuable insight whenappraising or identifying an idea.
Harajuka street style
Harajuka street style in Tokyo hasbeen popularised in Japanesetrend journals.
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Target mapping
To understand the potential of a proposedproduct or to appreciate what is required, it is necessary to understand the structure of a community or population and torecognise attitudes and beliefs. Criticalanalysis of research can identify emergingand potential markets and providedirectional indicators to inform judgement.
Understanding a market and recognisinghow an individual or target audience wants to be perceived is attained throughthe compilation and organisation of a body of research.
The intelligence obtained should bepresented in a logical and instantlyrecognisable manner and, where possible,should avoid the portrayal of complicatedstatistics, language and imagery. Anyinformation communicated needs to beclear, concise and focused for it to be usefulin the comprehension and formulation oftargeted proposals.
Profiles
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Forum n. A meeting or mediumfor an exchange of views.
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‘25’ chair
Forum to assess the potential ofthe ‘25’ chair designed usingaluminium foam.
Immediate reactions such as facialexpressions, body language and verbalresponses, as well as reactions to the idea when placed in context, should be recorded.
Associations attached to the proposed idea should also be identified.Comments which may appear obvious when raised may well have been overlooked or gone unnoticed duringprevious appraisals and yet might befundamental to the potential success.
Forums
A forum provides a chance for thoseinvolved in the development of an idea to review the project and engage inconstructive criticism. It is also anopportunity to present an idea to a targetaudience and obtain an indication ofprobable responses or impressions should it be made more widely available.
The forum needs to be conducted with set aims and objectives, although the process for achieving this may actually appear somewhat informal andadopt a freestyle approach. The process is not an interview, but a discussion to extract positives and negatives, tounderstand need and possible reason for change. Individuals should be allowed to interact with the proposed item and examine it carefully.
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Inspired selection
Themes are necessary in the developmentof ideas and need to be refined through theuse of constraints as an idea progresses. Atheme usually has a relationship to theproduct being developed although it mayappear random or somewhat abstract. Thetheme may also be a reflection of a currenttrend and therefore be remote to thefunctions of the product, but appealing tothe target audience.
‘As the idea grows, more complex and independent shaping gets easier.’
Torbjørn Anderssen, Norway Says
Themes
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, 2007
Mica MP3 player
Torbjørn Anderssen, AndreasEngesvik and Espen Voll of thedesign group Norway Saysdesigned the MICA MP3 player in2005. The manufacturer of theMICA MP3 is Asono, Norway. Thetheme for the design was initiallythe plug – connecting toinformation or power. The elegant and fashionable productcan be worn in a similar way to a necklace.
Design:
Norway Says
How to
Selecting a theme that has an association to a product being designed is beneficial insteering the thought generationprocess. Using standard ideageneration techniques, such asbrainstorming, identify a series ofpotential themes for the design ofa particular product or need.Issues such as who, what andwhere will provide directiontowards a manageable andrelevant theme.
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Themes
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Giacomo Balla
Giacomo Balla painted Dynamismof Dog on a Leash in 1912. Thepainting captures the movementof the dog’s legs as it walks withits owner. The painting is in theAlbright-Knox Art Gallery, Buffalo,New York.
‘Walker’ rocking chair
The ‘walker’ manages to capturethe essence of a traditionalrocking chair through the use ofnumerous legs, which arearranged to depict an imaginarycurve. The design, synonymousto a Balla painting, manages tovisually emphasise movementand function and in doing soretains a simplistic elegance.
Design:
Oliver Schick
Photography:
Michael Himpel
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The Pee Tree urinal
The sophistication challengesconventional approaches throughan intuitive understanding ofnatural requirements.
Design:
© Eric Morel
Funghi
The porcelain lamps are alluring,graceful and functional.
Design:
Jaime Hayón, for Metalarte
Photography:
Mauricio Salinas
‘In an age of abundance design should be about formalisingvalues and statements. Every product should tell a story that hasn’t been told before. Only this way can the processof designing make sense and bring something to our worldinstead of burden it.’
Eric Morel, Eric Morel Design, 2007
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Little Crawly Thing
The visual language of the 16cabriole legs attached to the seatsuggests a scurrying bug such asa centipede or millipede.
Design:
Carl Clerkin
Photography:
Justin Pipergen
Adoption
The adoption of a character in thedevelopment of an idea can be both fun and rewarding. Careful examination of the key characteristics of animate orinanimate objects can be exaggerated and modified to influence idea progression and impact on an emergingdesign with great effect.
There doesn’t need to be any logic behind the embracing of a character, as outcomes are open toindividual interpretation.
Character
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Mnemonics adj. Aiding ordesigned to aid the memory.
Zoomorphic adj. Having orrepresenting animal forms.
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Long crawly thing
The use of a repeat form, anunderstanding of materials and a combination of fun andsophistication, manages tocapture an unusual animalisticcharacteristic in what mightotherwise be a mundane piece of furniture.
Design:
Carl Clerkin
Photography:
Philip Sayer
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Chinese whisper
A Chinese whisper refers to the distortion of messages as they are whispered from individual to individual.
Literal adj. Taking words in their usual or most basic sense;not figurative.
Lateral adj. Of, at, towards, or from the side or sides.
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The process of lateral and literal thinkingshould not simply be conducted at the initialstages during the emergence of an idea, butcontinually throughout the developmentprocess. The search for improvement needsto be ongoing and subjected to appropriatecritical analysis.
A simple item such as the term ‘white’can invoke a broad spectrum of responsesthat include various similes and metaphors.Both similes and metaphors provideopportunity for much manoeuvring of ideasrelated to the key word. The term ‘white’ can invoke an exploration of materials,which are physically or mentally cold, but can also be explored in the sense thatsomething is perhaps designed to besimple, meagre or bare.
If literal key words are subjected to sufficient consideration and investigation they can evolve into laterallines of thought, providing exciting and rewarding possibilities.
Literal and lateral
Lateral thinking is a capacity to addressconventional thoughts and assumptionsrelated to a particular problem from adifferent or unorthodox angle. The aim of a creative thinking process is to generate previously unforeseen directions and alternative solutions. Themove from a standard thinking methodrequires imagination and the need to remove preconceptions and bias relating to the problem.
A literal approach to design still requires an imaginative approach, but tendsto concentrate on more obvious aspects – a direct interpretation of meaning. Thethought process is focused and appears tofollow a particular track and clear indicators.
In generating ideas for a design it isworthwhile exploring both aspects of literaland lateral thought patterns and, wherepossible, to instigate a hybrid approach ofthe thinking methods.
‘We are all astronauts.’
R. Buckminster Fuller, 1963, Operating Manual for Spaceship Earth, 1963
Character
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Chinese whisper table
The visual language of the tablechanges as it moves across thepiece.
Design:
Jodie Spindley and DaveBramston for SaloneSatellite 07
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How to
There are many sources forgaining historical references.Visits to museums, other relevantexhibitions or places of interest,such as reclaim yards, canprovide inspiration. An effectiveway is to review journals, whichreflect a particular period, or styleand these may be stored in libraryvaults. Interviewing people withexperience in a particular area isalso an example of primaryresearch that can be beneficial.Historical may refer to relativelyrecent work as well as workproduced decades ago.
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The development of a contemporaryportable music system could undoubtedlygain inspiration from personal stereos,portable record players and transistor radiosof previous decades. These ancestorproducts provide useful references even ifthe materials, construction methods andtarget markets have changed, as thefundamental design questions are likely toremain similar.
The amount of ideas, cross-referencingand eclectic knowledge that can beobtained through an exploration of historicalapproaches is substantial and it is often thecase that such products will have somethingto offer.
Historical influences
To not investigate or consider previousapproaches to design, alternativephilosophies, constraints and restrictions isprobably to miss an opportunity to explore awealth of exciting ideas that may have beenforgotten. Many of these historicalinfluences still have much to offer, althoughtheir original context will have changed.
There is a need to question whysuccessful products ceased to exist andperhaps to understand the externalpressures that may have been significant intheir demise. Fluctuating trends, culturaldifferences, competition or technologicaladvancements are all significant factors thatcan instigate a change. It is unlikely that allthe components of a product in a historicalcontext are irrelevant to the currentconsumer, and attention to detail, quality,form and material usage should beconsidered. Such features are perhaps moreimportant today than they have ever beenand therefore, any positive referencesshould be seized.
‘The Sony Walkman II entered the market in the lateseventies. At the time I was very excited about the device’sextremely small size. Not a millimetre was wasted. Thestandard audio cassette was in effect encased in a thinmetal skin containing all the components, such as the drive,audio head and battery. The thing actually felt no larger thanthe cassette itself. Impossible to outdo, right? I tried anyway! Why enclose the cassette?
Character
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The Museman
The Museman remains aninfluential piece of industrialdesign thinking.
Design:
Jörg Ratzlaff for frog design, 1984
Photography:
V Goico
I left it open, showed it, and only created a form-fittingconnection with the three mechanical openings. The drive,audio head and battery subsequently hang as a visuallyseparate unit alongside the cassette. Although the resulting‘Museman’ had a somewhat larger volume than theWalkman II, the technique of splitting the housing into twoseparate entities made it appear smaller.’
Jörg Ratzlaff, 2008
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Cultural influences
The term ‘cultural’ is somewhat ambiguousand is often subjected to differentinterpretations, which can relate to objectsas well as social interaction and behaviour.
It is important to allow different culturalexperiences to be encountered and to viewdifferent approaches to living with an openand receptive mind.
Ideas can be sourced through anawareness of different cultures and culturalhabits. Not to be aware of the way thatdifferent cultures interact and respond tosituations can be a significant mistake. Theanthropologist studies human beingsengaging in a broad range of subjectsincluding customs, faith and culture, as wellas physical issues and situations. Toappreciate cultural influences it is necessaryto watch, listen, ask, understand contextand comprehend reasoning.
Culture can possibly be defined as a wayof life, but it may relate to localisedorganisations and groups as much as to thecustoms and practices of individuals fromdifferent countries or backgrounds.Influences should be gathered from as manydiverse cultural experiences as possible.
Constraints can compound situations whereinformation needs to be gathered. However,irrespective of such pressures, observationof practices, cultures and methods must begiven sufficient time to ensure interpretationis accurate and that assumptions are notbeing made. It may be necessary to interactwith a community, organisation or socialgroup for a reasonable period. Interactionwill provide opportunity to acknowledgeprocedures, practices and approaches to abroad array of tasks, some of which may beremote or contrary to familiar approachesand habits. The diverse ways in whichissues are addressed in a different culturalenvironment are very necessary aspects ofthe design process.
It is important to recognise that anaccepted practice in a certain culture may be deemed as an insult or be frownedupon in another. Better understanding ofdifferent cultures and practices will almostcertainly improve the creativity in design.Observing the ingenuity, inventiveness andimagination of cultures with sparseresources can be as beneficial as observingmore developed cultures.
Character
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Diversity in culture: Kyoto and
Tokyo 2007
The opportunity to becomesubmerged in an unfamiliarculture is an opportunity thatshould be seized, as everyjuncture has something differentto offer and explore. Even theseemingly familiar is often verydifferent from previousexperiences when looked at moreclosely.
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Ide
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If something is fun it is often addictive
and captivating. The natural instinct is
to want more and to become submerged
in associated activities. When a venture
is relegated to the status of a task it can
become difficult to be motivated,
inspired and to keep the necessary
momentum. Consequently, it is all-
important to ensure that tasks are not
frequently encountered or allowed to
evolve into burdens; rather, fun aspects
should retain control in the search for
ideas and stimulation.
The instigation for thought can
come from all directions, and intrigue
and curiosity should provide sufficient
diversity to explore and engage in
virgin territory.
When an activity is informative and
responsive it captures the imagination
and progress can be made. A ‘why not’
and ‘do what others don’t’ attitude
presents enjoyable and rewarding
experiences that usually culminate in a
deviation from the anticipated – a place
where ideas can flourish.
Left:
The Yellow Sink
The Yellow Sink, part of thebeautiful ArtQuitect Editioncollection, embraces an eleganttheatrical culture withsophistication and functionality.The design explores aharmonious array of visuallanguages and retains the need tohave fun.
Design:
Jaime Hayón for ArtQuitect
Explore and have fun!
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Designing with materials can take differentroutes. It is possible to conceive an idea andthen find an appropriate material to functionin a specific role, and it is also feasible toexplore a material and then adopt a use forit. It is, of course, also possible to just playwith a material and then go and dosomething completely different. Materialscontribute to the soul of a design and theirphysical and mental beauty should beappreciated, respected and enjoyed.
Maria Kirk Mikkelsen’s description of a ‘Laboratory’ approach refers to a range of creative thinking and investigations, thedevelopment of experiences, stories andideas, whereas the ‘Factory’ approach,informed by ‘Laboratory’, is regarded as being more material-based, instinctive and expressional.
Application
The amount of materials that are available to the designer is fantastic, with globallibraries promoting a vast range of excitingpossibilities. But it is often through askingquestions and exploring fundamentalrequirements that inspiration and directioncan be found.
The basic materials such as wood, metal and plastic cover a huge array of possibilities and when unfamiliar or non-traditional methods are applied to work some of these materials, excitingresults can emerge.
Influences for working with materials can be sourced from different disciplinesand cultures, which provide stimulatingpossibilities and sources of inspiration.Materials can and should be challenged and pushed to their limitations; limits thatwould not normally be considered possible.Investigating a material through simpleworkshop processes can reveal much about its ability and possible application.
‘I distinguish between Laboratory and Factory.’
Maria Kirk Mikkelsen, 2008
Materials
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Guardian Angel bag
The Guardian Angel bags appearto conceal weapons and are aresponse to the actual andperceived stories relating to crimeand antisocial behaviour. Thedesign has been part of NewYork’s Museum of Modern Art’s(MoMA) permanent collectionsince 2006.
Design:
Carolien Vlieger and Hein van Dam
Foam Rose divider screen
The polyethylene foam design,inspired by traditional lace workand Islamic tiles, was selected in2005 for the CharlottenborgSpring Exhibition in Copenhagen.
Design:
Maria Kirk Mikkelsen, 2004
The High-Tech Accent Teapot
The High-Tech Accent Teapot was produced for the Germanporcelain manufacturer Rosenthaland is made using porcelain and alumina-boriasilica fibres – a material that Gijs Bakkerdiscovered being used within the kilns, being capable ofwithstanding the melting point of porcelain.
Design:
Gijs Bakker for droog
‘Our inspiration comes from personal experiences or fromstories and articles in the media.’
Vlieger & Vandam, 2008
‘Design is for me observing the world, analysing meanings of objects and giving visual comments.’
Gijs Bakker, Gijs Bakker Design, 2007
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Living in a Box
Design group Transalpin’s Livingin a Box unifies usually disparateitems of furniture with acontinuous line, creating aphysical and fun relationship thatis not usually possible. The visualpurity of the seat, table, lights,walls, floor and shelving merge asone in an elegant, graceful andpersonal environment; anenvironment where restrictive andunsightly umbilical cords havebeen removed.
Design:
Transalpin Design Group
Photography:
Bjørn Blisse
Enjoy
If something isn’t fun it is perhaps necessaryto ask why or at least think how it couldbecome more enjoyable.
Designing a product following the sameroutine and formula each time will soonbecome monotonous, dull and uninspiringand there is a danger that a creativeproduction line that turns out thoughtswithout really understanding the problemwill ensue. A varied approach,communicating with different people andencountering different experiences, willalleviate any frustration and bring alternativeperspectives into play that may not havebeen considered previously.
When a particular approach seems tohave nothing more to offer, a change ofcourse can provide the necessary incentiveand inspiration to restart the imagination.Experimentation with mixed or individualcomponents of an idea, that are perhapsclosely aligned to personal experiences,provide an opportunity to mentally connectwith a design and encounter a positiverelationship that has meaning.
‘There are plenty of new ideas. It’s quite easy to get a new one. But the point is that we should look for ideas which are really useful. Ideas that satisfy a human request, respect ecological aspects and/or make our daily life easier and more joyful.’
Bjørn Blisse, 2007
Fun
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Tide Chandelier
The intriguing, curious andseemingly random translucent,clear and transparent plasticcomponents of the ‘TideChandelier (2004)’, deposited by the sea on the beeches ofDungeness, includes broken ordistressed everyday artefactssuch as combs and spectacles.The previously rejected items cast aside by the sea have beencollected and carefully composedinto the spectacular chandelier,their collective presence andunsuspecting relationshipscreating a fascination andelegance that captures theimagination.
Design:
Stuart Haygarth
‘Reconfiguring. Giving banal and overlooked objects a new meaning.’
Stuart Haygarth, 2008
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Innovative adj. Featuring newmethods or original ideas.
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Wall lamp
The innovative approach tolighting challenges convention butretains an acceptable visuallanguage.
Design:
S.M.og Milano. Exhibited atSaloneSatellite 07, Milan
Innovation
Why are things done the way they are? Is ittoo dangerous to depart from the comfortzone? Exploring and systematicallyinterrogating the various components of aproduct or the conventional methods ofmanufacture can conjure up a multitude ofpotential directions, as well as query theactual purpose of accepted approaches orpractices. An audience seldom realises whatis required until it is presented, as prematurejudgements relate only to previousencounters, knowledge, expectations andexperiences. When a manner for doingsomething is scrutinised and called intoquestion it is likely to unleash a myriad ofexhilarating proposals, which challengeconservative values and a ‘will do’ attitude.
Fun
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S.M.og Milano
S.M.og Milano was founded bySilvio Betterelli and MartinaGrasselli and developed as an ‘ideas factory’. S.M.og Milanosuccessfully combinesexperiences from fashion and art and design disciplines togenerate innovative, informed and absorbing designs.
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Braided wire chandelier
The woven structure of the chandelier is constructed from wire, which is usually hidden away, creating distinction and individualitywithout compromising lighting performance.
Design
S.M.og Milano. Exhibited atSaloneSatellite 07, Milan
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Blowtorch
A dirty model of a blowtorchmade from found objects in thestudio including a straw, a canand a marker pen.
‘IDEO think of prototyping in three main phases: inspire: evolve: validate. The inspirational phase is the right place to try out ideas by making things, to use low-resolution techniques, and to embrace failure...Demonstrating the initial configuration of a surgical deviceused a marker pen, a film canister and a clothes peg.’
Bill Moggridge, IDEO
Communication
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Dirty models
Materials for dirty models mightinclude: paper clips, hairgrips,paper cups, fizzy drink cans,elastic bands, pens, straws,waste paper, oranges, tape, wire,buttons and scrap card.
How to
The production of a dirty model is a process used by manyleading design offices and iseffective at achieving instantinformation.
The development of a dirtymodel should be quick, gluing or taping found objects together,to generate a rough appreciationof an idea without bias.Aesthetics are dominated byvague approximations.
An understanding of an idea can beconducted expeditiously using screwed-uppaper from a phone book or newspaper andattaching the individual parts together toevolve into a potential form. The processinforms effectively, although it might not bevisually pleasing.
As the development and evaluation ofdirty models is instant, it is possible toincorporate perishable elements into theprocess to understand or represent texturesand similar attributes. Anything readilyavailable should be considered to be viable.
Dirty model
Producing a ‘dirty’ or ‘junk’ model is an effective and rewarding process, whichassists significantly in understanding thebasics of a problem, initial ergonomic issuesand subsequently, the fundamental elements of an idea.
Readily available objects becomeimprovised materials, which are generallyintegrated into the emerging andspontaneous form. The items do not need to be special, rather a simple approximationof what is needed and assembled usingavailable means. The developed ideas canbe interchangeable so that various thoughtscan be appraised.
There are no particular guidelines in the generation of such a model exceptthat imagination and creativity should be employed, and that outcomes should be understood in an appropriate context.The dirty model is not produced to bebeautiful or elegant; it is generated to beinformative and provocative.
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frog design
frog design is a ‘strategic-creativeconsultancy’ with officesworldwide. Initially founded in1969 as Esslinger Design byHartmut Esslinger, the companybecame frogdesign in the 1980sand then frog design in 2000.
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Sunday
In 1989, Dietmar Hennekaphotographed the SUN: SPARCstations designed for SunMicrosystems by frog design. The photograph, titled ‘Sunday’,featured on the back cover of theJuly edition of Design magazineand depicts the various SPARCstations surrounded by smallmodel figures, which creates animpression of working and livingin a dominant city.
Design:
frog design
Scale
Observing the scale of differentenvironments provides a wealth of potentialreference material that can be utilised toconsider balance, proportion, composition,texture, materials, detail and relationships.An assortment of visual influences from different backgrounds can be adjusted to formulate comparable scales andinfluence possible directions.
The surroundings of an object reaffirm physical proportions, but withoutsuch references it is often difficult torecognise size and much easier to viewthings without bias.
Communication
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Changing scales
Details of buildings taken out of context can prompt ideas atdifferent scales.
Top:
The Asahi building
The form of the Asahi building andthe distinctive ‘flame’ challengedconventional approaches toscale.
Design:
Philippe Starck, 1989
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Bird’s House
The inspiration for the designerwas a combination of nature anddreams; the dreaming of newsounds was initiated duringexposure to a noisy and chaoticenvironment.
Design:
Simone Simonelli at Industreal ®– All rights reserved
Photography:
Ilvio Gallowww.industreal.it
‘Generating ideas in design for me means to enter a trip.Just give your ideas the right time to speak with you.’
Simone Simonelli, 2008
Communication
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The Phonofone
The small, but beautifullyproportioned Phonophonespeaker echoes the form of agramophone.
Design:
Tristan Zimmermann
A sculptural approach to design can certainly provide the opportunity for form, beauty and elegance to become as important as any perceived fundamental objective.
Form
The architect Louis Sullivan stated that‘Form [ever] Follows Function’, a dictum thathas been the basis for much discussion eversince. Both ‘form’ and ‘function’ are termsthat could be further debated as the functionof a product is not always what it mightinitially be perceived to be. A product can beproduced with a primary function of simplybeing beautiful; a function that is probablyintrinsic to the form and cannot be judged inisolation from the other. The maxim tends toimply that form is simply a ‘skin’ dictated toby a predominant function; however,designs often incorporate aestheticjudgement and/or fun elements, which arenot necessarily defined by the assumed andincorrect primary function.
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The Sun, 2006
New York Botanical Garden,Bronx, New York.
Design:
Dale Chihuly (Artist)www.chihuly.com
Photography:
Terry Rishel
Disciplines such as sculpture constantlychallenge accustomed perceptions of whatcan be achieved with materials and shouldbe acknowledged and respected.
Alternative thinking
Appreciating the work of inspirational artistsprovides a valuable introduction toalternative thinking, approaches andexecution. A blinkered attitude to all aroundand the practice of others is not a blueprintfor success and will neither introduce norstimulate different directions for thoughtsand ideas.
Communication
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Peacock Blue Tower, 2001
Garfield Park Conservatory,Chicago.
Design:
Dale Chihuly (Artist)www.chihuly.com
Photography:
Terry Rishel
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Communication
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Monarch Window, 1994
Union Station, Tacoma,Washington.
Design:
Dale Chihuly (Artist)www.chihuly.com
Photography:
Russell Johnson
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Neon Tumbleweeds, 1994
The delicate and flowingmovement of the NeonTumbleweeds, created by artistDale Chihuly, is reflected in theartistry, balance and grace of theOregon Ballet Theater at thePortland, 1994 Artquake event.
Design:
Dale Chihuly (Artist)www.chihuly.com
Photography:
Russell Johnson
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Semiotics pl. n. The study ofsigns and symbols, and their useor interpretation.
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tp1 phono radio
The design of the tp1portable/phono radiocommunicates a functionalcontrol and technicalunderstanding.
Design:
Dieter Rams for Braun, 1959
Attributes, associated to a product such as form and materials, can be selected to enhance a desired or inherent message. The selections may be basic, but they canbe effective communicators if consideredcarefully. Many products are categorised or stereotyped due to their particular visuallanguage, and yet considering an alternativeor unfamiliar language for a product can be refreshing.
Appearance
The way a product appears and the mannerin which it communicates a visual messageare similar to the way an individual appearsand the messages they portray. The physicaldifference between a smile and a stare isslight, but a misunderstanding could haveunexpected consequences. A smile isprobably the preferred or accepted gesturein almost all situations but, occasionally, an alternative reaction may be fortuitous.
The visual language of a product can bemanipulated to emphasise a diverse rangeof signals that may be consciously orsubconsciously recognised by a third party.It is not always necessary to consider thesemiology of a product in detail as themessage it communicates may simply be a culmination of other considerations, but in some cases the signals portrayed are fundamental to the success and need to be recognised.
Product language
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‘My intention is to investigate the potential for creating useful new designs by blending together stylistic orstructural elements of existing chair types. I see this as achance to create a ‘three-dimensional sketchbook’, a set ofplayful yet thought-provoking designs that, due to the timeconstraint, are put together with a minimum of analysis.’
Martino Gamper, 2007
Experiment v. Try out new things.
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To experiment is to understand, to reasonand to progress. The courage to trysomething new or unexpected will oftenresult in the opportunity to open up originallines of enquiry and to lead. If designers andartists did not experiment then a certainexcitement, intrigue and curiosity factorwould be removed.
The designer Martino Gamper collectedan eclectic array of abandoned andforgotten chairs for two years and thenembarked on 100 days of questioning,understanding and reworking their functionand character. The outcome, a collection of100 chairs, are all individual and each has astory to tell.
Experimentation
What works, what doesn’t? Is it possible toascertain an immediate outcome?Experimenting, investigating, exploring andenquiring allows for ideas to be teased out.Making mistakes, incorrect judgements andquestioning is all part of the experimentationstrategy. To make a mistake can often beseen as a positive, and an opportunity toreject a particular line of enquiry. A mistakemay even enlighten and provide previouslyunconsidered opportunities.
Product language
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eSide Effect chair
100 chairs in 100 days
Design:
Martino Gamper, 24 July 2006
Ch’Air No 9 chair
100 chairs in 100 days
Design:
Martino Gamper, 19 July 2006
Plastic Fantastic
100 chairs in 100 days
Design:
Martino Gamper, 19 July 2006
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The ‘Mono Suede’ chair was the original chair producedby Martino Gamper in the 100 Chairs 100 Days project.
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Mono Suede
100 chairs in 100 days
Design:
Martino Gamper, 3 March 2005
Sonet Butterfly
100 chairs in 100 days
Design:
Martino Gamper, 25 July 2006
Product language
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Black Skirt
100 chairs in 100 days
Design:
Martino Gamper, 27 July 2006
Olympia
100 chairs in 100 days
Design:
Martino Gamper, 2 August 2006
Barbapapa
100 chairs in 100 days
Design:
Martino Gamper, 24 July 2006
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Back Seat
100 chairs in 100 days
Design:
Martino Gamper, 13 August 2006
A Basketful
100 chairs in 100 days
Design:
Martino Gamper, 18 August 2006
Tubolare
100 chairs in 100 days
Design:
Martino Gamper, 10 September2007
Product language
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‘The project suggests a new way to stimulate designthinking, and provokes debate about a number of issues,including value, different types of functionality and what is an important style for certain types of chairs.’
Martino Gamper, 2007
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Backside
100 chairs in 100 days
Design:
Martino Gamper, 3 September2006
Arne Cubista
100 chairs in 100 days
Design:
Martino Gamper, 9 September2006
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Feel seating system
The Feel seating system has anemotional attraction.
Design:
Sarit Attias and Amit Axelrod, for Animi Causa
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Inhibitions and inexperience should not prevent ideas from being exploredand considered, but rather should be a vehicle to enquire and to consider what can be communicated through a design. Subtle differences ininterpretation can impact significantly on what can or can’t be accomplishedwith regard to sensory stimulation and overall aesthetic perception.
It is often the case that a situationfeels right and although a particularaspect might not be identified, there is something about it that should beexplored and examined for possibleadaptation or transposition. In suchcircumstances, the situation is perhapsmore instinctive and visceral and suchoccasions should not be overlooked. The spirit and soul of an idea is perhaps a combination of sensory and instinctiveawareness and it is not uncommon for products to adopt life characteristicsin their make-up.
All of the senses need to be engaged inconsidering ideas and seeking inspirationfrom the surrounding environment. It isn’tnecessary – or perhaps even desired – to replicate all of the aspects ofsomething that provides stimulation, butsimply to try and recognise andunderstand what it is that is creating theinterest, capturing the imagination andencouraging the process. The senses arecontinually at work through consciousand subconscious means and everydayexperiences become a creative resource.
The way the senses respond todifferent stimulations changes dependingon external factors and conditions;therefore something might only be ofinterest in a particular setting or momentin time, or presented in a certain light.The aim is to translate what is beingobserved or understood through thedifferent senses into a tangible product –a product that might be able to retell orcommunicate the experience.
It is often difficult to reinterpret anemotion or a primary response due to a context being misconstrued ormisunderstood; however, a product that can communicate effectively andstimulate the senses positively is usually desired.
Sensory issues
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DNA
How to
Constantly be on the look out for textural references throughtactile and visual means.Consider changes in scale andhow something could be utilisedin a different context. Texture is often a very subtle attribute to a product rather than a dominantaspect, but its presence can havea significant impact regardingoverall appeal.
Keep photographic records and annotate imagesfrom journals in scrapbooks ornotebooks. Interact with products to appreciate theirtactile qualities.
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Right:
Nautilus
The appealing form of the nautiluscan inspire direction. The need totouch items of such beauty isalmost compulsive andunderstanding the attractionshould be recognised. Objectswith appealing contours, texturesand traits can be influential inthought development.
Photography:
Keith James, 1993www.kjamesphotography.com
Textures are often incorporated into a design to hide manufacturing defects as well as to enhance the property of aparticular object. Seeing through touch on a continual basis will provide a valuableunderstanding of textures and theirsignificance in the search for ideas. It should be recognised that not all touch is conducted using the hand, and that itrelates to the overall body surface.
Texture
Holding, feeling, touching, caressing andmanipulating are activities that provide an understanding of a material or a form, all of which can trigger inspiration for ideasfrom what might appear to be randomobjects. The craftsman will often hold amaterial to feel and sense quality prior toengaging on a particular activity; the waysomething feels is of the utmost importance.The sensation of touch can be encounteredanywhere and at any time and the suddenrealisation that something feels good shouldbe recorded. Indicators such as sculpturesor banisters that have become polishedbecause generations have touched, felt orenjoyed them might provide an awakeningto a possible direction, as may the usedform of soap or weathered shells, rocks,wood and pebbles on a beach. Suchdelicate forms can be held and caressed to appreciate the overall form, but can alsofurther stimulate understanding of textures.
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The Ford 021C concept car
The pure and captivating Ford021C concept car, with itsfunctional fun aesthetic is aimedat appealing to young targetaudiences. The simple languageis engaging, creating anatmosphere of innocentsophistication with a creativeappeal.
Design:
Marc Newson for Ford MotorCompany.www.marc-newson.com
Photography:
Tom Vack, 1999
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Colour theorists have often demonstratedthat colour can be associated with a rangeof properties including perceived weight,smell, taste, strength and gender, often dueto previous tangential experiencesencountered by individuals. Theassociations are not difficult to comprehend,i.e. dark colours being regarded as ‘heavy’and bright colours being considered to‘taste’ good. However, pink can be a darkcolour or a bright colour: it depends entirelyon the actual colour (tone) being presented.
Inspiration for colour selections andcombinations are everywhere and it is useful to collect fragments or swatches ofcolours to clarify what is being considered.Scrapbooks with swatches should becollected continually and specific colourthemes, such as the pink example, will soon present an array of possibilities.
Sourced colours can be matched to professional colour palettes to ensure clear communication of a desired colour is being made.
Colour
If someone is asked to say what theirfavourite colour is, the response might bepink. However, this information is probablyuseless due to the vast range of colours that could be categorised as pink.
Colour is an important component in the design process and if not consideredcarefully can often be the deciding factorbetween a product being successful or not – no matter how fantastic the item is.Research has shown that colour isunderstood faster than most elements, such as (and in particular) form, and so inthe split second that an individual makes a selection it is often colour that is informingthe decision. Incredibly, it is also often thecase that colours are not considered in theinitial stages, making an appearance only in the latter phases. The reason is perhapsunderstandable in the sense that a designidea could be rejected early on simplybecause of its colour rather than itsfunctionality; but colour should also beregarded as a functional component and not just as an appealing aesthetic.
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Observing familiar elements andunderstanding lineage provides a usefulvehicle for the direction and development of ideas as well as an appreciation ofrecognised constraints.
The generation of ideas and theemergence of a product family can bethrough an identified philosophy with setaims and objectives, but it is often the case that a particular aesthetic is not fullyunderstood until a broad range of itemshave been developed allowing a distinctivepattern to be recognised throughretrospective appraisal.
Production methods, attention to detail,sculptural appreciation and quality can allcontribute to the tribal language of a rangeof products, even if the materials employedare not uniform. It is often such attributesthat define the existence of a particularlanguage rather than appearance alone.
Tribal language
A tribe is usually the term used for a group of individuals with a common ancestor that adhere to accepted habits, procedures and traditions. The tribe is distinguishablefrom other similar groups through thesemannerisms and customs. The agreedstandards provide identity and enable themto be understood, recognised andrespected for who they are and what theystand for.
Tribes and tribal languages existamongst products in much the same waythat they are present amongst groups of individuals; an aesthetic signature that is unique to a particular approach or set of beliefs forming distinguishable traits.Distinctive characteristics might not beapparent on any initial investigation, as they probably do not relate to an obviousidentifier such as form, but rather to aninherited approach or relationship betweenthe items. The history of the products may be identical and so too the influencesand target audiences, but this does notmean that the objects are simple facsimiles.The products can be diverse with differingfunctions, behaviours and performances,but languages used in their initiation willhave commonalities.
DNA
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Beo Center 6
The Beo Center 6, also designedby David Lewis for Bang &Olufsen, was launched in 2006.Attention to detail, finish andaesthetics create a triballanguage of quality andsophistication that is evidentwithin the Bang & Olufsen range.
Design:
David Lewis
Serene mobile
The Serene mobile phone,designed by Chief Designer DavidLewis, was created and launchedby Bang & Olufsen in cooperationwith Samsung in 2005.
Design:
David Lewis
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A consumer of a product may be influenced into making a purchase becauseof a smell that is emitted and the association that accompanies it. It wouldcertainly be unfortunate if a product was to be rejected on the basis of smell, but associations are powerful and shouldnot be overlooked.
Materials that change their physicalproperties under different conditions will often result in different responses being made by the senses. Smellsemanating from a material in familiarsettings may well change in unfamiliarenvironments or climates.
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Intense smells
The intense smell of a material in certain surroundings or underparticular conditions can triggeremotional and physical responses, which may or may not be beneficial.
While sitting in a traincarriage, it is almost possible tosmell the history of the materials.Careful consideration should begiven to the selection of materials if they are to be subjected to adiverse range of stimuli.
Smell
It may not seem important to considersmells but, if functioning correctly, smellscan be extremely sensitive and capable of triggering memories and recalling specific details.
Smells are useful in the search for ideasand in remembering past situations, but theycan also be adept at enhancing ordiscriminating an idea path through exactlythe same mechanisms. As there may not be any physical visual pointers with recallinga particular smell it is possible to receivemixed messages; messages that have thesame trigger but recall different events fordifferent individuals.
Is it possible to be put off a productbecause of the way it smells? The dodgysecond-hand car dealer will spray the vinylseats of a car with preferential scents to hide musty odours or to give an impressionof leather, and the baker will ensure that the smell of freshly baked bread is directedat passers-by.
DNA
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Sounds everywhere
Sounds are everywhere and have an important role to play in design. It is difficult to get away from audible triggers asthey can intrude and confront with surprise.
The integration of personal ring tones to cellphones enables the user to have anenhanced experience and to stamp theirown audible preferences. There arenumerous products where such experiencescould be encountered and could enrich an experience with careful consideration toa note, pitch, tone or melody.
Sounds
How important is a sound? The sound of a door closing or a button being pressedcan be an indicator of quality – or at least a perceived quality. Sound associations to a product are important and should becarefully considered. A switch that makes an audible click may be needed in somesolutions, but considerations should begiven to alternatives. What does the actionof switching something on represent? It may mean the start of a rest period for the user or it may be an indication thatsomething is about to occur. Whatever the reason for a particular product, soundquality should appeal to the senses. Thesound should not simply be a by-product of circumstance, but rather something thatis integral to the user experience.
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‘Creativity grows at the intersection of technicalconsiderations, the needs and desires of people, and anaesthetic point of view. We look further than keen problemsolving abilities and look for people who are self-inspired,people who are naturally curious about the world. And then we foster that creativity in an environment that allowsand rewards risk taking.’
John Edson, Lunar Design president
Added values
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The Torch 600 light
The beauty and structuredsimplicity of the design of theTorch 600 light is in many waysovershadowed by the delicateand captivating rays of light,reminiscent of shafts of sunlight,that it emits.
Design:
Finn Kaerulff Clausen for Contact Design
Something else
The purpose of design must be to improvequality of life in some capacity, and thisbasic premise applies to whatever is beingconsidered. If something cannot fulfil thisfundamental aim then it should probably berejected at source. In the search for ideas,consideration should always be given to theprimary objective, but it is also useful forthought to be applied to the potential of anyadded values that might be incorporated.The advantage of considering added valuesis that an initial thought could, throughsimple or even inadvertent changes, adopt a characteristic or function that is additionalto purpose and will either complement an idea or enable it to be considered in apreviously unforeseen sphere.
Added values can emerge for aestheticor functional reasons and rely on the abilityto identify and exploit an opportunity.
Left:
Cake plate
Lunar Design’s 20th anniversarycommemorative plate solves theproblem of what to do with thecake and the candle.
Design:
Lunar design
Photography:
Vanessa Jespersen-Wheat
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‘We like to find something fantastic in the mundane, lookingat everyday life we try to inject some humour and play.’
Richard Broom, 2008, thorsten van elten
Stamp cups
Stamp cups, designed by ValeriaMiglioli and Barnaby Barford forthorsten van elten, 2004,transform unsightly tea/coffeestains into something beautiful.
Design:
Valeria Miglioli and Barnaby Barford for thorsten van elten, 2004
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Little Joseph
A simple solution for a candleholder that combines practicalityand intrigue.
Design:
Maxim Velcovsky qubus design studio
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The Ranch Royale wallpaper
The Ranch Royale wallpaper,designed by Maria KirkMikkelsen, is part of the ‘Make upthe wall’ collection. The imagesthat are inspired by the Wild Westappear to be traditional printsuntil investigation reveals thatthey are actually constructed fromthe repeated forms of skulls orguns!
Design:
Maria Kirk Mikkelsen
Pattern and repeat form
Repeating a single form at a similar or adjusted scale can produce visuallycomplex outcomes from what areessentially simple structures. In nature,fractal structures demonstrate theeffectiveness of repeated forms and how an apparently complicated network can be configured.
In a fabricated and artificial domainrepeated forms can be seen everywhere,although recognising such structures can be difficult as a visual deconstruction needs to be conducted to identify theduplicated shapes.
The complicated structures of objects,such as chandeliers, can often be brokendown to identify simple and basiccomponents. Collectively, the initialimpression of such designs can appearinconceivable. Obviously the use of arepeated form is only one aspect of theoverall problem to be considered. However, considering the simplistic in thefirst instance is frequently more beneficialthan initially attempting the complex.
Conflicts
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The repeated forms are used toformulate the captivatingchandelier.
Design:
Verner Panton, 1969
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Many different influential factors may beconsidered, which might include fashionsense, personal ornamentation, behaviour patterns, habits, architecturalreferencing and the relevance of othermaterial possessions. It is unlikely that allobservational evidence and intelligence that is gathered will be able to sit together in a single product, but commonality strands running through the referencematerial may be identifiable for use.
Product gender
Although it may be preferable to developitems that are non-gender specific to appeal to a broader market, it is often thecase that products are positioned forspecific audiences. Gender-specificproducts are carefully researched and aim to consider the conscious andsubconscious perceptions of a user.Anthropologists study targeted groups andidentify influential pointers and mannerismsto develop cultural awareness that can support the design development process.Patterns of user practice and theirinteraction with environments can beobserved in a variety of ways to helpdevelop understanding. Research needs to be carefully conducted and the targetaudience understood for the outcomes to be beneficial. Assumptions and personal views need to be set aside and not allowed to bias findings.
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Nokia 7373
The Nokia 7373 phone, part of The L’Amour Collection,challenges conventionalapproaches to design andembraces a specific genderaesthetic through the considered use of ornamentationand fashion.
Conflicts
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The aluminium recess chair
collection
The aluminium recess chaircollection was exhibited at theSaloneSatellite 07. The chairs usea simplistic aesthetic to capturethe purity of the pieces. Theremoved inner section (therecess) provides the basis for asister chair.
Design:
Dave Bramston and Neil Housego
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Aesthetic adj. Concerned withbeauty or the appreciation ofbeauty.
Subjective adj. Based on orinfluenced by personal feelings,tastes or opinions.
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Aesthetic qualities are usually associated to the physical appearance of somethingand if visual comprehension is difficult to understand, awkward, unnecessarilycomplicated or proportionally unbalanced,the impression portrayed is often interpreted as being unacceptable.
Aesthetically pleasing elements that are in unison may project a radically different impression if modifications,personalisation or damage occurs.Adjustments during primary investigationscan explore the potential of aesthetic quality to gauge a satisfactory outcome.
Subjective aesthetics
The philosophical area of aestheticsencompasses the fascination of allurement,elegance and attraction of an object withcontrasting elements that may beconsidered to be repugnant, unattractiveand somewhat abstract.
Individuals with different attitudes,instincts and reactions have a tendency to favour and engage with a particularaesthetic in preference to another, often for no discernable reason. The subjectivenature of aesthetics is difficult to predict as opinions, fashion and appeal fluctuatedepending on mood, personal bias,inclinations and experience.
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Subtle differences in an idea or thedevelopment of a product can also make thedifference between what works well andlooks good, and what is readily dismissed.The generation of ideas often results inwildly different propositions; however,simple adjustments to original concepts canresult in positive progress and direction. It isnot always apparent what has beenchanged, but changes are often necessary.
Top:
Fat Convertible, 2005
Bottom:
Fat Car, 2001
The works confront ‘normal’perceptions using over-exaggerated forms.
Design:
Erwin Wurm
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Subtlety
To understand subtlety requires anunderstanding of judgement and an abilityto be critical. An idea can be missed orrejected simply because an element isslightly misrepresented or notcommunicated effectively.
When an acquaintance or relative has not been seen for some time and then a chance meeting occurs, it is notuncommon for remarks such as ‘You lookwell’, ‘Have you lost weight?’ or ‘Haven’t you grown?’ to be made. Such statementsare not planned and are probably not simple pleasantries, but are more likely to be a statement of fact; an instantrecognition that something has changed.Unless the separation between the twoparties is substantial, the remarks actuallyrefer to what are essentially minor changesin an individual. It might not be possible forthe person stating ‘you look well’ to identifyany particular change, but simply toconsciously or subconsciously recognise a change. References to height or weightmight only be due to a few centimetres orgrams, but the change does get noticed.
Conflicts
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‘Custom’ or ‘hacked’ cell phone
With an individual aesthetic andextended existence, MehmetErkök used a Nokia 3210 for theexperimental work, replacing and altering original componentsto develop a unique, personalised product.
Design:
Mehmet Erkök
After the initial shock of the damage isacknowledged and alleviated it can actuallybegin a sensible existence; an existence in an environment where accidents do occurand are recognised. The scratch or bumpusually only impacts on any aestheticfunction rather than operational capabilitiesand if such battle scars are actuallyunderstood they can add a unique,distinctive character.
The idea of a product being visuallyunattractive due to knocks and bumps canbe contrasted with its sudden practicalstatus. The concept of scratches, bumps,tears, rips and dents can often be seen as a desired feature and inspiration for originality; as well as an opportunity topersonalise.
Product respect
The degradation of an adored product can lead to a subconscious neglect and a distancing between user and object. Up until a product receives its initial tarnish (a scratch or a dent) it is respected andcared for; however, when such adisfigurement does occur it is almostrelegated to a league of less importance and user focus can become directed at a possible replacement, alternative or a next generation item. The caring attitudecan begin to dwindle with the blemishedproduct and the love and respect it mayonce have been shown gets forgotten. It is, however, not uncommon for productsof a decommissioned status to actuallybecome more useable in practical terms.
Conflicts
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Cellphones
The cellphones of Mehmet Erkökexplore rechargeable cells,operational qualities and usabilitythrough the use of visiblebatteries, an ability to ‘dress’ thephone for specific requirementsand an acknowledgement of whatErkök describes as ‘stereotypicallearning’. The phones havedistinctive personalities thatdemand attention and respect.
Design:
Mehmet Erkök
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Emotional response
Happiness, sadness, calm, anger, fear,disgust. Inanimate objects can instigatedifferent emotional responses, to differentusers, using various inherent qualities.
The response is an instinctive feeling ofsomething that is evident through a verbal or physical bodily movement. A user’semotional response would usually dependon the context of their encounter andintuitive associations. It is possible for anobject to arouse, seduce and stimulatebeneficial feelings or emotions throughappearance and memory. The integrity ofthese mental triggers can be further affirmed or disbanded through a physicalrelationship with an object, which mayprompt emotional negativity.
The juxtaposition between mental andphysical, and positive and negative,experiential emotions is difficult to predict as everything and everyone is unique, but manipulation of an object to assessproactive and negative responses canidentify and stimulate exciting ideas.
Emotions
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La femme et la maison.
Ordinary life disturbed
The Maid chair, presented by NikaZupanc at SaloneSatellite 07,explores emotional ergonomicsand questions function. Theemotive aesthetic engages desireand sensual expressionstimulating imagination andassociation. The physical activityof sitting is challenged by theemotional experience.
Design:
Nika Zupanc
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Ide
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Left:
Portable MP3 unit
The design includes reusedcomputer speakers, MP3 player,cardboard box and electricalcable.
Designer:
Stuart Walker
Development of an idea
As a potential idea progresses, the
research that informs the development
becomes more focused and informative.
Primary research strategies are
supported by secondary research
approaches, which aim to reaffirm
thoughts and feelings about
the particular direction of an idea.
An analysis of research methodologies
and ideas needs to be conducted with
ever-increasing rigour to generate
confidence in an emerging proposition.
Focused criticism is required and needs
to be acknowledged and absorbed. In
cases where an idea is beginning to lose
its momentum it needs to be carefully
evaluated to decide if it is to be
terminated. Being able to conclude that
something is not appropriate is a positive
rather than a negative as to peruse
something destined to fail is pointless.
Alternative strategies to assist with
the development of an idea can be
rewarding and can provide opportunities
to view things differently.
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An individual must be critical about his or her design methodologies to understandwhat is reasonable and challenging andwhat is not acceptable. It can be difficult to be criticised, but it is necessary toevaluate what is being said and to steer a suitable path.
A passionate and enthusiastic outlookon an idea can develop into a biasedopinion, a view that is not beneficial and an approach that should be controlled.Perhaps the acid test for any idea is to ask,‘would you buy it?’ A negative or delayedresponse is possibly enough to warrantanother look.
Constructive criticism
It is important to be critical, have standardsand to apply logical thinking, but not to be destructive in doing so. A criticalcomment that doesn’t offer any direction,any substance or foundation, or is simply a random and speculative remark, is notuseful. Such comments should be avoided, as they tend to offer nothingexcept a negative barrier to creativity.Critical comments are, however, very usefuland necessary if structured appropriatelyand delivered in a suitable context as they often open up previously unconsideredopportunities. It is rewarding to hear positivecomments about an idea, but withoutconstructive criticism such remarks areactually unlikely to surface. Everybody hasan opinion and if given the stage for too long they will undoubtedly find a reason forinappropriate or ill-considered negativity.Likewise, it is always possible to findsomeone with a similar view, but usefulfeedback that can be used should always be sought.
Critical analysis
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Cri
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Bicycle
Certain activities, such as playinga musical instrument or riding abicycle, can become so naturalthat it is often difficult toappreciate what is taking place.An observer cannot always relyon a description from theindividual concerned as familiarprocesses are often overlooked orrelegated in importance.
Self and team analysis
It is imperative that in conducting researchand identifying possible ideas or directionsthat an individual or team understands theproblem; a complete problem and not aperceived or isolated problem. Recognitionof a problem can come from interaction witha target group but it is possible that eventhey do not fully understand what is neededor what the problem is. The reason for this is that many activities are conductedautomatically without knowing you aredoing it, especially when the task becomesfamiliar. As an observer it is necessary to recognise the forgotten actionsconducted by others, and to understandcontext. Self-analysis of thinking and doingrequires a capacity to recognise the unseenand an ability to present accurate findings with evidence.
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Transform
The ability for something to change from the mundane to the extraordinary or forsomething to be able to evolve and respondto market changes is an exciting and oftennecessary direction to explore.
The metamorphosis of an object, to transform it into another item, may be an incidental outcome, something that has emerged through accident, but actuallyfunctions effectively in either capacity. The permutation can also be initiated by theidentification of a constraint or throughthinking being directed deliberately towardsthe need for an adjustable or fluctuatingproduct. Items familiar to a target audience,such as a dresser and divider, or desk andmat, can be coupled together to explorevirgin territory and ideas. The identificationof a possible marriage between objects – no matter how obscure – will focus thinkingand enable innovative thoughts to surface.
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Vase Space
The Vase Space is inspired byAmerican Federal furniture and machined utilising multi-axis CNC technology in collaboration with an Americanaerospace manufacturer. Theflexibility in production allows for modifications and alterations to be made despite the classical form.
Design:
Paul Loebach
Ability to change
The development of an idea should also consider the potential for change that does not engage form but is a result of natural progression or diversification of an audience. The ability for a product to respond to trends or fashion can beobserved in the modifications the usermakes to a product, but simple changes can also be conducted at the manufacturing stages through theintroduction of alternative colours,accessories and functions.
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The Japanese designers Shin + Tomoko Azumi formedAzumi in 1995, producingexciting, sculptural and puredesigns. In 2005 the designersbegan to operate their ownindividual design studios withShin Azumi operating ‘a studio’and Tomoko Azumi operating the ‘tna design studio’.
The simplicity and surpriseelement of the Azumi practice is captured in the Table = Chestdesign and since 2005 the workof the individual studios hascontinued to portray a simplistic honesty through thecontrol of functional design andaesthetic language.
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Table = Chest
The Table = Chest design is beautifully simplistic andcaptivating. Designed forRöthlisberger, Switzerland, the transformation from table to chest is as elegant as theindividual pieces.
Design:
Design: Shin + Tomoko Azumi 1995.
Photography:
Thomas Dobbie
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Secondary research
Secondary research is aninvestigation of already publishedfindings.
Idea development
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How to
As secondary research involveslooking at previously publishedwork, it can be difficult to absorb a diverse range of information ondemand, effectively andefficiently. Although facilitieswithin libraries and researchcentres exist to aid the executionof secondary research, a goodstarting point is to be constantlyabsorbing information by readingjournals, reviews, publicationsand other sources of informationon an ongoing basis. It is perhaps unlikely that randomreading will specifically relate to a particular problem, but it willprovide a valuable platform andbackground knowledge that will facilitate cross-referencing when required. A
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Secondary research
Secondary research is the collection of information that has previously beenpublished in some manner following aprimary research approach. The informationis not collated using original investigativework, but from understanding the findings of others or from similar experiences.
The differences between primaryresearch and secondary research areimportant; they both have positive andnegative qualities and can be considered in tandem. Whereas primary researchprovides an opportunity to actually go outand find things first-hand, it is often the case that it is not possible to conduct a widescale investigation; however, secondaryresearch does allow for a sweep of allpublished articles and information relating to a particular area to be considered inbroader terms.
The somewhat negative side of secondaryresearch strategies is that the informationcan be presented out of context or cancontain inaccuracies and, therefore, it ispossible for findings to be unsound ormisconstrued. Secondary researchstrategies may include using reviews ofjournals, publications, articles and recordedinformation and these processes can in turnprovide sufficient information to instigate aprimary research strategy having providedthe fundamental leads for specialist enquiry.During the secondary research stages it isnecessary to keep a record of what is usefuland where it has been sourced.
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Napkinsketchbook
The Napkinsketchbook is asimple and creative idea that has been conceived throughobservation and need.
Design:
Fridolin T. Beisert
Photography:
Julia Kopelson
Starting points
An idea is simply a starting point, a pointthat may be the initiation of a proposal, but itwill need to be interrogated, scrutinised andchallenged at every juncture before it isanything more than a notion. If it can surviveunscathed and strong it might evolve, but itwill need to rely on scores of other positiveideas to support it during a passage toreality. Too often an initial idea is confusedwith a solution. It is simply a pointer or aglimpse of what might be. The developmentof an idea is an investigative process, whichis continual until sufficient evidence canjustify its existence.
‘I was at a local bar with a friend, brainstorming on someideas using napkins. By the time we were getting ready to leave we had a whole stack next to us and wondered:“Wouldn’t it be great if there was a way to keep themsomehow together?” That thought never left my mind and a few weeks later the Napkinsketchbook was born.’
Fridolin T. Beisert, 2008
Idea development
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‘The Tune ’n Radio is a fm-radio which people have to finish themselves, in order to make the product functionalwithin their own personal perception.’
Wouter Geense Design Studio, 2008
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Tune ’n Radio
The radio prototypes are part of the Little Things, Raging Thoughts collection.www. woutergeense.nl
Design:
Wouter Geense Design Studio, 2005
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Exploring contrasts using play
The utilisation of simple materialsto transmit a basic idea can beeffective and direct.
Idea development
Chasing an idea through play becomesenthralling and fascinating; directions that would not normally be unleashed cometo the fore and are unable to escape orevade dissection. Reserves and restraintsbecome challenges to overcome, and groupactivity with different characters andopinions brings different experiences andopportunities.
During play, ideas can be quicklycomposed and sculpted; things are notresolute and progress can be made throughan absorbing indulgence. Play is fresh air, a change from the norm and an opportunityto be exposed to high creativity.
Play
Play within design is an important conceptas it is through play that social barriers canbe brought down, making it possible toengage, understand and develop withoutinhibitions. Play allows or even dictates thatthings are kept simple and complicationsare avoided. If a difficulty arises, playquestions and looks for a different rule or approach so that progress can be made and enjoyed. Enquiry within play can beunexpected, random and experimental;questions are constantly asked, answersdemanded and ‘what if?’ thoughts arecontemplated until awareness isforthcoming. Tackling ideas through playmeans that things aren’t too serious andthoughts can be thrown away easily orinvestigated from different perspectives.Play activities allow things to be taken apart,rebuilt and taken apart again so that ideascan be evaluated. An instinctive playapproach suppresses obstacles with easethrough enjoyment and emotionalexpression; there is no logic, just feelingalong with the inherent desire to discoverand make.
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Design development
Developing an idea does not mean jumpingbetween random ideas as problems arepresented, but rather exploring the potentialand trying to nurture it.
The following terms should becontinually explored and considered duringthe development of a design:
Analyse
Probe
Feel
Instinct
Look
Question
Reflect
Step back
Investigate
Refine
Clarify
Elevate
Improve
Regulate
Rectify
Foster
Exploration of ideas and
languages using everyday
items
Considering alternativeapproaches to broadly acceptedpractices of communicationallows for unforeseen possibilitiesto be revealed.
Play is an opportunity torelease emotions and should be encouraged.
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De
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Visual noise
Numerous instructions,information and characters can have a negative effect on a product rather than actually assisting it.
Confusing
Noise is generally regarded as being chaoticsound, where confusion is created becauseof agitated and conflicting messages. Suchuncertainty impedes behaviour and acapacity to effectively understand. Thenotion of visual noise is closely related toaudible noise in the sense that whenconcentrated messages are presentedoverload occurs. It is not difficult to locateproducts with an extraordinary amount offutile and nondescript bits betraying anaesthetic, but these credulous productscould probably be much improved with anappreciation of sensitivity and less furore.
‘Less is more.’
Statement attributed to Ludwig Mies Van Der Rohe.
Visual noise
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Ide
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Visual overload
A myriad of messages instigatesconfusion and uncertainty. Busylanguages of products are oftenfunctionally detrimental becomingornamental rather than useful.
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Ide
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rch
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Why not?
In an age where prisoners,poodles, porches and otherpersonal belongings get tagged,the ‘tom bunny’ rabbit is designedto be worn around the wrist of a child or attached to an item of clothing. Inside the bunny is a chip which informs parents ofexactly where the child is.
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Identifying an exciting idea and being
enthusiastic about it is undoubtedly
a good thing, but it is also possible to
become so enthralled by the momentum
of an idea that basic elements are
overlooked. Is the design actually that
prudent?
Key questions that should be
considered when thinking about an
idea are:
Is it realistic functionally?
Is it realistic practically?
Is it realistic logistically?
Is it realistic morally?
Is it realistic ethically?
Is it realistic to produce?
Is it realistic to market?
A rethink regarding any problem
areas does not necessarily mean a
complete redesign, and minor alterations
could have significant benefits without
being too detrimental to the overall
result. The ideas stage is a continuous
period of evaluation and progression,
although it may become less obvious
that changes are occurring as the
design evolves.
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>B
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Blue sky or reality?
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Geek Squad
The Geek Squad, formed in the USA in 1994, has managed to remove the frustration andanguish associated with problems with computers through an innovative approachsynonymous to an FBI agent. The Geek Squad agents that aredispatched to solve consumerdifficulties have the appearanceof a special agent and thecomputer know-how of a geek.The combination manages toconvert perceived obstacles intoa rewarding experience. Theability to recognise such issuesand manoeuvre them intopositives enhances the brand.
Blu
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The experience should not be contemplatedafter other development matters haveensued, but should be considered at theoutset – it is an intrinsic and fundamentalissue. A brand experience can always beenhanced further down the line, but itsfoundations should be prevalent at theinitiation of an idea.
Opportunities to fascinate and captivatean audience on an apparently individuallevel are significant and are more aligned tonurture than manufacture. Every associatedaspect to a product needs to be carefullyevaluated and understood.
Product experience
Identifying an idea and developing it is by nomeans the end of the story. A product needsto be much more than a physicalcommodity. A product should engage theuser, appealing emotionally and intimately toensure that interaction is positive. A productneeds to connect in a manner that isacceptable and personal; the consumerwants more than a tangible thing – he or sherequires exposure to an experience, anexperience that aligns with his or her ownbeliefs, standards and aspirations. It is nolonger difficult to find products that arecomparative regarding physical beauty orfunction; the distinguishing difference isproviding a beneficial experience andmaking a unique impression.
Experiences
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Exp
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Brand n. A type of productmanufactured by a companyunder a particular name.
Experience n. An event oractivity, which leaves a lastingimpression.
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Without thought
In the previous year to the launchof the Muji CD player, NaotoFukasawa had organised the‘Without Thought’ workshop that recognised that individualswere interacting with objects andfinding solutions to problemsunconsciously. Theunderstanding of theseinspirational acts provides thebasis for innovative and excitingideas within design.
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Brand experience
The experience of a brand is influencedthrough physical, mental and sensoryencounters. If an experience is perceived as being contradictory, incoherent orirregular then a unified message is not beingcommunicated effectively and the responsecan be damaging. Everything needs to be considered carefully and thoroughly to formulate an impressionable dialogue that has meaning and consistency.Consideration and appreciation of the brand experience should be understoodfrom the outset to influence idea direction,formulate desirable objectives andrecognise important constraints or themes.
It is as necessary to have empathy with a brand and appreciate what it standsfor and why, as much as it is to having anunderstanding of a target audience andreally comprehend what they want. Although a brand experience must work ona personal level it should also be functionalon all other platforms where it will beencountered. An evolved reputation of abrand, positive or negative, will almostcertainly impact on the individual consumer;attention must be focussed on everythingassociated with the brand if understandingis to be enhanced as a readily formedimpression can be difficult to overturn if incorrect.
Experiences
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Exp
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Muji CD player
Muji is synonymous with purityand efficiency. The no-logo brand represents simplicity in all areas, including packaging,production and presentation,which enhances both quality and experience.
Design:
Naoto Fukasawa
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Lather lamp
The design uses liquid soapbottles, steel rod and castconcrete. The honesty of the design has an appeal and elegance that many fail to capture.
Design:
Stuart Walker
Sustainability
The maintenance and ability to repairproducts effectively and efficiently withoutburden is a necessary factor that needs to be considered on a broader scale. Basic everyday products can be designedusing simple components or parts thatwould normally be discarded after an initialuse. The utilisation of such existing features enables a product to almost inheritan extended existence as the variouscomponents can be readily replaced orcorrected without any significantcompromise. There are variousinterpretations of sustainability; however,when considering ideas the fundamentalobjective needs embracing.
Responsibility
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Wire lamp
The beautifully simplistic lightuses mild steel rod, cast concreteand off-the-shelf electrical parts.The design is something that caneasily be maintained and repairedby the user.
Design:
Stuart Walker
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Package n. An object or group of objects wrapped in paper orpacked in a box.
Skin n. The thin layer of tissueforming the natural outer covering of the body of a personor animal.
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Packaging
The packaging of a product is an area thatneeds to be considered with ever-increasingcare, attention and understanding, but itdoes not need to be a compromise.
Packaging should not be anafterthought, but rather something that issubjected to rigorous investigation toquestion what is actually needed. Whypackage something that is alreadypackaged? A strange question? Packagingis not simply assigned to plastic bags andpolystyrene, it is anything that surroundssomething else, a skin securing and oftenprotecting more vulnerable items.
It is not unfamiliar for packaging to be a physical component of a product,something that is not discarded, but ratherembraced and which adds value. Naturalmaterials are often assumed to bepreferential to synthetic materials, although creative thinking will reveal exciting opportunities that are not harmful to the environment and can actuallyenhance an idea.
The need to consider packaging carefullyhas become an influential design constraintin the generation of ideas. Innovation has to be explored and audiences are becomingappreciative of efforts to reduce detrimentaleffects caused by some packaging. The notion of reuse is no longer a desireanymore but more a necessity, a necessitythat is creating a wealth of ideas. Inspirationfor packaging-related ideas are everywhereand particularly in regions where materialsare limited and where there is an increasednumber of design constraints.
What does it say about an individual or a company if there is no consideration to environmental impact when designing or purchasing a product? Target audiencesare becoming increasingly aware of socialresponsibilities and associations.
Responsibility
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Exp
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Pro
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tsEcolo – set of four flower
vases in PP with display box
The plastic bottles are used as vases to hold flowers, rather than being discarded. Theapparent contrast of the flowersand detergent bottles becomesinsignificant when considered and placed in context.
Design:
Enzo Mari, 1995Alessi S.p.a., Crusinallo, Italy
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Blu
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Project 1:
Fit in the box
Identify the essential items that are required for a short vacation and then pack as many items as possible into a boxthat is no larger than a 500g margarine container. Items should not be repackagedor adjusted to fit into the container and so you will need to think carefully as to what is absolutely necessary. In situationswhere desired items can’t be used,innovation and improvisation will be needed to identify something that will do the job instead.
It should be possible to place more than 50 items in the container, but no itemscan be repeated. Avoid items that you would probably find in a hotel room. Whenall the items have been collected the lid for the container must be firmly replaced.
Having achieved the initial 50 itemsremove 25 items, keeping only the essential things left in the container.
Project 2:
Improvisation
Select an innocuous item and consider the different ways that it could be utilised as a particular product.
For example:
A marker pen could be considered as a phone.
The lid of the marker phone could be a detachable speaker.
The marker phone could be held in front of the mouth.
The marker phone could be used to write text messages.
The lid of the marker phone could be turned back and forth to dial.
The cylindrical form of the marker may contain a battery.
Either end of the marker phone might be a speaker.
The marker phone can easily fit in a shirt pocket.
The marker phone could be held like a microphone to speak.
Projects
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Project 3:
Curious actions
Observe the mannerisms of individuals as they walk towards an entrance to a building. There is often a ‘preparation zone’ prior to entering a building wherepeople start to physically and mentallyprepare themselves for a transition.Mannerisms may include brushing their hair, adjusting their shirt or coat, or perhaps scratching themselves(somewhere). It may also include changingspectacles, applying make-up or simplydiscarding a coffee cup in a peculiar fashion. There are numerous curious actions that individuals do and observing a flow of people will highlight many of these often unnoticed and unscheduledcharacteristics.
Observing a scene after a mass ofpeople has passed will also give indications of certain habits. Pathwaysemerge from shortcuts that have beentaken, rubbish bins are piled precariously full and clusters of cigarette ends can beseen in adjacent areas to the mainthoroughfare. All of the curious actionindicators can provide valuable inspiration for design.
Project 4:
The mall
Making an assumption about an individual and associating a person to acertain stereotype is usually a mistake.Watch individuals as they select items within a supermarket or shopping mall and observe the products that they areplacing into their trolley and taking to the checkout. The items that are beingselected may be very different to what might be expected. Try to consider why this might be.
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Project 6:
Number 11
Identifying a problem and conducting a brainstorming session releases interesting and exciting ideas; however, the initial ideas, which can sometimes prove to be the most rewarding, are toooften the most obvious. It is not until there is a struggle to set an idea free that really interesting possibilities begin to appear and there is a pull on mental resources.
A brainstorming session to identify the different ways that people remember things might initially include suggestionssuch as writing notes on their hand, putting a knot in a handkerchief or perhaps turning their watch upside down. Exploring this line of investigationfurther will lead to ideas that instantly excite and enthuse. Consider further the different ways that individuals use toremember things and select the 11thsuggestion for development.
Project 5:
The journey
Taking a journey in a taxi, on theunderground or on a bus can provide an insight into the difficulties thatcommuters encounter on a daily basis.Problems with luggage, communication,comfort and close proximity to othertravellers can influence perceptions of an experience. Record a journey using acamera to highlight issues that may need tobe addressed. The journey should beconducted several times and at differentpoints of the day to appreciate the bigger picture.
Projects
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Project 7:
Orange 100
Use found swatches to identify 100 differenttones of orange.
Project 8:
Hybrids and scale
Find different images of a family of products and photocopy them at differentscales to produce paper-based referencematerials. Using the images, cut out keycomponents and place them next tointeresting features from other products.The manipulation and apparent merging of the different images can be capturedeffectively using the black-and-white copier again. The images produced willappear unusual and somewhat disjointed,but working on the copies in black-and-white media will allow thedisfiguration to become less noticeable and potential pointers for ideas to beevaluated. Using this simple approach,produce a range of cameras thatincorporate aspects taken from otheranalogous products.
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Blu
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Projects
Project 9:
In the post
The average letterbox is approximately300mm x 40mm and there is a tendency for individuals to order products fromcatalogues that can’t be delivered whenthey are not at home. Most items that are delivered through a standard letterbox tend to be flat, thin and short; however, it is possible to post more complicatedshapes with a bit of thought and ingenuity.
Without posting individual components or compromising a design tothe extent that it is not practical, design a single piece of furniture that incorporates a lamp, chair and a table so that it can be posted through the letterbox! It may be easier to begin with card models toidentify the different forms that go through a letterbox and then develop theitem from this foundation.
Project 10:
Roadside beauty
When a tyre needs changing on a vehicle it is usually during bad weather conditionsand poor light. There is never a good time for a tyre change. The process involves the use of difficult-to-access tools, is dangerous, dirty and unpleasant.Design a roadside assistance kit forchanging a tyre, which will be produced by a leading skin care company who wants to focus on care for your hands, nails and hygiene.
Consideration should be given to the priorities of the product, but also theemotional requirements of the user. The stigma of grease and grime, along with the hassle and bother of changing a tyre, needs to be considered as anopportunity to refresh and cleanse.
Analogous products might include:dressing tables; manicure sets and beauty salon workstations.
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Project 12:
Dirty models
Dirty models provide a basic understanding of an idea and can beconstructed easily from found material,providing that they have an underlyingaffinity with the proposal. The importantaspect of a dirty model is that they areeffective and efficient and so if realisation is too time-consuming it is probably notbeneficial to the overall process.
Using found objects that can be sourced readily, produce simplerepresentations of the following items:
A laptop computer.
A cellphone.
A portable TV.
A welding mask.
A tape player.
Project 11:
Conker collecting kit
Understanding the needs of others is anecessary feature within the overall designprocess. Design a non-gender specificconker collecting kit for children aged tenyears old. What does the ten-year-old child need for collecting conkers and why is the process important to them? Where will the conker collection take place andwhat dangers would they need to consider?
Things that the children may want in their conker collecting kit include:
A box to stand on to look out for angryfarmers.
A sign to warn passers-by of conkercollecting in progress.
Some cones to section off an area.
A collection of tools to obtain conkers.
A container for carrying their hoard.
Steps to reach branches.
Conker collecting protective uniform.
A gang identification badge.
Large gloves to deflect falling conkers.
Conker shell mallets.
‘Do not cross line’ conker collecting tape.
A method of tagging a tree to let othersknow they were first.
Camouflage netting to hide equipment.
Compass, map and notebook.
It is unlikely that all the ideas could be used in a single solution and thereforepriorities would need to be identified.
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Projects
Hide something
Hold memories
Start a fire
Dig a hole
Protect from danger
Write notes on
Sit on
Hide suspicion
Protect from rain
Scrape with
Shout louder!
Put drinks on
Stifle sound
Prevent smacks
Hold a secret
Amplify sound
Hit a ball with
Make a goal post
Shield with
Put cake on
Insulate something
Kneel on
Flatten something
Prop a window open
Brush things with
Throw for the dog
Put your head on
Hammer with
Cut on
Mix paint with
Project 13:
Analogous uses
Select an everyday item and think of as many ways as possible that it could beused in addition to its recognised purpose. It will be easier if an object is selected that can be held.
For example a book can be used to:
Read
Fan yourself
Prop up a wobbly table
Create shade
Cuddle and keep warm
Throw at something else
Support other books on a shelf
Keep something held down
Press flowers
Step on
Have an excuse to meet someone
Adjust a projector
Hold a door open
Have as a tray
Hold something hot
Swat a fly
Increase arm length
Give as a present
Push pins in
Make a telescope
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Project 15:
Supporting structures
Identify ten different objects that are one metre in height or items that can be reduced to the specified size. Use the various objects to support a table with a dimension 600mm x 1200mm or similar.
Project 14:
Sitting comfortably?
Observe and catalogue the different waysthat individuals really interact with astandard chair. Along with the different ways of sitting, identify the other uses that a chair is unexpectedly subjected to.Use photographs to accurately record the findings and collate the information in a notebook with limited annotation.
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Projects
Project 17:
20 buckets
A bucket is a very versatile object that is normally purchased to carry things in.However, the bucket can be used to domuch more, but is seldom purchased for such reasons. Identify 20 ways that abucket could be used, which are notassociated to carrying. Avoid additionalcomponents although material can beremoved from the bucket if necessary.
Project 16:
Two blocks of timber
Using two blocks of wood, each having a dimension of approximately 300mm x 25mm x 25mm, identify as manyuses as possible. The separate pieces may be joined to create a larger piece orremain as individual items. Additional partscan be attached to the wood, but thisshould be kept to an absolute minimum and avoided wherever possible.
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Project 19:
Sushi lunch
Design a lunch container for the under-seven that allows them to eat a form of sushi at school. The sushi isexpected to be child friendly, consisting of parcels of rice and fish or chicken, and is aimed at introducing moreexperimentation within a child’s diet.
Project 18:
30 seconds
Develop a device that can accuratelymeasure a 30, 45 and 60 second period. The design must be innovative and should be constructed from found objectsthat are not usually associated to themeasure of time.
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Projects
Project 21:
Folding wall
Card engineering, such as pop-up books,are incredibly innovative and utilise material effectively and efficiently. The pop-up items are often well considered, but are also often representations of a form rather than an accurate portrayal. Observing the techniques employed by card engineers, design a fold-out workingenvironment that incorporates a desk, light and shelving system for children aged seven to nine years old. The complete design should be able to fold flat against a wall when not in use and may have a secondary function such as a pin board or gallery wall.
Consideration will need to be given to strength and weight of materials, as well as an innovative use of folds and supports. As the design is for a young target market, it is especially imperative that there are nofinger traps.
Project 20:
Cup of tea
Making a cup of tea is regarded as a simple task and may be defined in thefollowing way:
Add hot water to tea bag.
Remove tea bag.
Add milk/sugar.
Drink.
The above statements may leave an individual, not familiar with the process of making a cup of tea, thinking that it all takes a few seconds. In fact the statements miss out a lot of the detail and this is often because a process has become so automatic that an individual doesn’t even recognise what istaking place.
Carefully identify all the stagesnecessary in the process of making a cup of tea with milk and two sugars.
Having identified the stages, make a cup of tea and record the stages carefullywith photography that will also capture the time of the shot.
On evaluating all the information it is likely that the process of making the drink takes considerably longer thananticipated.
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Project 23:
Showroom walk
A short walk around the workplace, usingyour senses, will reveal a host of ideas that often go unnoticed in everyday activity. Evidence can be seen everywherewhere individuals have improvised. For example:
A cup holding pens on a desk.
Cardboard placed under a door to keep it open.
A bicycle locked to railings.
A chair used as a step to reach something on a cupboard.
Taking a 20-minute walk around the working environment identify as manyinnovative uses of items as possible. It should be possible to identify at least 50 such situations in the allocated time.Each of the ideas that are recorded should be evaluated and considered. Is there a need for something, which isn’t currently available?
Project 22:
Park game
Identify a game that can be played in a park or on a beach. The game might besoccer, softball or cricket, it doesn’t matter what is selected. Having decided on a place to play the game and what toplay you are allowed only one piece ofspecialist equipment i.e. a football; everything else has to be sourced at thelocation. A bicycle might become a marker on the pitch, or a bag might become a goal post or cricket wickets.Using your imagination you should aim to replicate as many facets of the real game through improvisation. An improvised substitutes bench, first aid kit, or advertising board may all be consideredto bring the game alive and provide anexperience, which is not often encountered. Think about ways that thevarious teams can be identified andinnovative approaches to timing the lengthof the game. The use of improvisation will provide a wealth of opportunities toimprove the quality of the game.
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Recall?
To recall something to memory is usually possible, but the detailwill not be present without asuitable trigger. A song, a memoryor an idea requires inspiration andreference material that can bedeveloped and enhanced ifsomething is to become real.
Singing on a stage with no audience or backing band is as difficult as generating an idea successfully without an appropriate physical andmental support structure.
Collect as much referencematerial as possible, but knowwhat to use, when and how.
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Isolation in the design process may be needed to think for a short time, butquestions should be looked at in unisonrather than a single individual looking to go it alone. Almost without exception the design process is a team effort even if there is a recognised maestrosteering the process.
The research work for Idea Searchingdid not start when the publication wasconceived, as this was only an identificationof a collection of experiences to be drawntogether. Unknowingly, the research begandecades before on multiple levels and bymany individuals.
‘Always look and listen, and do it again.’
Think of a song and now sing it out loud. It is almost impossible to do except for a few lines or maybe some of the chorus.When there is accompanying music it is alittle bit easier, but listen to the enthusiasticsounds emanating from an audience at a concert and you will soon realise that even with professional acoustic support it can take a long time to actually hear an accurate rendition.
The analogy is much the same duringthe design process in the sense that it is often possible to see things in the mind, but quite a different thing to try andeffectively communicate it. There is a needto be surrounded by visual stimulation,images that can assist and prompt thinkingeven if they are not directly related. To be creative without any visual input tostimulate is not impossible, but almostcertainly more difficult. The hoarding ofobjects to rouse and encourage thinking is a natural characteristic of the designer. It is equally important to get out of the studio environment and get involved,experience things and communicate withothers; to see what is actually going on.There should never be a situation where the design process becomes stagnant oruninteresting and if such times do occur, there is a need to consider things from an alternative perspective and to see what emerges.
Conclusion
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Brainstorming
A brainstorming session is often regarded asthe initial stages of idea generation althoughthis may occur much earlier and can also bean ongoing process. A brainstormingsession usually involves a group ofindividuals responding verbally to a keywordto generate possible ideas. All ideas within a brainstorming session should be recorded.
Catalyst
A catalyst is something that can hasten a process and enable outcomes to occursooner. A verbal or visual catalyst issomething that can be utilised to precipitateideas and thinking. Catalysts are an important aspect of generating ideaseffectively and efficiently.
Ceremony
A ceremony is regarded as an undertaking that follows a prescribed path or format usually due to tradition or religious beliefs. Ceremonies are also frequently adhered to as a way ofcommunicating professionalism and enhancing user experience in a somewhat theatrical manner.
Chiaroscuro
This Italian term refers to light and dark.Chiaroscuro emerged in Renaissancepaintings and drawings where there werestrong contrasts in light and dark. Theapproach to using conflicting contrasts oflight and dark is now evident in a broadrange of creative disciplines.
Chinese whispers
A phrase usually used to describe themiscommunication of verbal informationfrom one individual to another. As amessage is passed along its meaning orunderstanding can become altered or misunderstood.
Aesthetics
Fundamental principles connected toemotional perceptions and understanding of beauty, judgement, and awareness.
Analogous
A resemblance or relationship betweendifferent things. An analogous product is when something seemingly unrelated has a comparable feature to that which is being considered.
Anthropologist
Anthropologists have an important role within the design process as they observebehaviour, mannerisms, attitudes and other attributes of individuals, societies and cultures, providing key information to consider.
Artistic licence
Terminology that usually refers to the generation of a sketch or similar in a two-dimensional format that is not accurate or representative of what isactually being proposed. Artistic licence is often inadvertently used when an idea is not clearly understood or considered. To avoid artistic licence, the generation of simple sketch models or maquettes, in conjunction with two-dimensionalsketching, can be used to gain betterunderstanding of a proposal.
Bigger picture
To take a look at something as a whole and its possible outcomes, implications,contexts or consequences, rather than to focus on a single aspect.
Blueprint
A blueprint refers to an original plan.
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Glossary
Forum
An assembly of individuals to assess thepotential of an idea and to exchangethoughts. A forum may include selectedmembers of a particular target group to gain valuable feedback.
Fractal
A component part of a complete form or figure that manages to retain the samefundamental structure despite being of a different scale.
Function
The function of a product is often identifiedas the actual physical function, but can also relate to many other areas includingemotional or aesthetic function.
Haptic
Relating to sense of touch.
Inanimate
An object that is not alive or doesn’t portrayany evidence of living.
Info dump
A forum to discuss and present sourcedartefacts and references, which may or may not be significant in the development of a product. The information collected is used to prompt ideas and to allow othersto gain an understanding of identifiedreference areas.
Inherent
Something that is an integral attribute fromwithin or part of the make-up.
Logistics
The comprehensive organisation of acomplicated task to ensure that everythingis addressed effectively and efficiently.Understanding the logistics and the mannerin which things should be conducted isproductive and economical.
Comfort zone
The comfort zone is effectively a state ofmind, which prevents individuals fromexperiencing the unknown. Such individualstend to be less anxious in familiarsurroundings. Exploring beyond a comfortzone may be to engage in a risk, but it isnecessary to discover and gain originalexperiences.
Deconstruction
Investigating existing products bydismantling them and conducting ananalysis of the various components.
Degradation
The wearing down or physical deteriorationof a product.
Demographics
The statistical information available that details specific attributes of a societyincluding births, death, age and wealth.Demographic information can be used to gain an insight into and understanding of a society.
Eclectic
A broad range of styles, ideas or similar,which can be brought together to informdirection and understanding.
Empathy
Understanding the position of others andseeing things from their point of view. It isimportant to understand a person’s feelingsand the context that has developed theirparticular outlook.
Facsimile
An identical copy of something.
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Maquette
The term maquette refers to a scale modelthat is produced to assist in the physicaldevelopment of an idea. Other terms mayinclude sketch model or bozzetto.
Mental baggage
Preconceived ideas of things, which prevent the development of original thought.Mental baggage can be a barrier todevelopment, but can be overcome throughthe use of alternative approaches.
Metamorphosis
The transition of something from one stateto a different state.
Mnemonic
The development and understanding of how certain imagery, patterns and storiescan be structured and utilised to assist the memory. There are many differentmnemonic thoughts that individuals use to trigger memories.
Panoramic
A panoramic view is an uninterrupted view of something that captures an entirevisual field.
Photo diary
A photo diary is usually a detailedphotographic recording of a particular eventor situation aimed at highlighting positivesand negatives. The contents of a photo diaryenable the analysis and understanding ofsomething to be conducted with a certainamount of empathy.
Primary research
Primary research is the gathering ofresearch from first-hand experience and usually requires a ‘go out and do’ approach. Types of primary research might include questionnaires, interviews or forums with a target audience.Approaches might also require the need to explore current markets and gainappreciation of current practices.
Profiles
Profiles or user profiles usually require the gathering of artefacts or images that are considered or known to be relevant to a particular target group. Understanding the products that groupsalready associate with provides an insight into what might be developed.
Secondary research
Secondary research can work in conjunction with primary research, but differs in the sense that it is thegathering of information that has already been published by a third party.
Semiology
The analysis of visual languages todetermine an understanding or meaning.
Shadowing
A process where the activity of another is better understood by joining them for a period of time to appreciate the situationfirst hand. Shadowing is a useful form ofprimary research that can provide detailed understanding that might not beunderstood otherwise. Shadowing provides a taste of what is occurring andpossible directions to explore.
Glossary
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Splicing
The joining together of two or more parts to form a whole. The splicing of images is frequently executed in activities such as montage.
Stereotype
A perception of somebody fitting a particular group or criteria that is oftenshown to be an incorrect understandingwhen further investigations are made.
Subjective
Refers to an opinion, often without anylogical rationale, that is based on personalunderstanding, belief or taste.
Swatches
A small sample of something, often fabric or paper, which can be collected and tested or assessed prior to any further commitment.
Tags
Identifiers, labels or signatures that can be personal or generic. An individual maytag an item to be different or may use a tag to be identified with a certain group.
Tangible
A physically existing item as apposed to an imaginary item or thought.
Target mapping
The identification of a particular audienceand the subsequent understanding of issues that relate to the emergence of an idea relevant to the group.
Three-dimensional sketching
The practice of generating ideas effectivelyand efficiently by using found or sourcedthree-dimensional components. Physicalideas and configurations can be assessed,considered and changed easily in a similarway to sketching in two dimensions.
Thumbnail
A simplistic, efficient outline of an idea in a sketch form.
Triggers
Artefacts, images, terminology or something that appeals to the senses, which can prompt an idea or thought.
Visceral
Connecting with profound emotions and feeling rather than reason, judgement or comprehension.
Visual noise
Visual confusion of messages or understanding of something due to an overload of information or physical details.
Visualstorming
An idea development process similar to brainstorming, but utilising simplisticvisual imagery to communicate a thought or association.
Zoomorphic
Term used to describe something that has a form, which resembles an animalcharacteristic in a particular way.
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Bibliography
Aldersey-Williams, H.King and Miranda: The Poetry of the Machine
(Blueprint monographs)Fourth Estate (1991)
Antonelli, P.Humble Masterpieces: 100 Everyday Marvels of
Design
Thames & Hudson Ltd (2006)
Antonelli, P.Mutant Materials in Contemporary Design
Museum of Modern Art (1995)
Bakker, G. and Ramekers, R.Droog Design – Spirit of the Nineties
010 Uitgeverij (1998)
Benyus, J.M.Biomimicry
William Morrow (1997)
Bloemendaal, L.Humanual
Uitgeverij BIS (Book Industry Services),Amsterdam (2002)
Börnsen- Holtmann, N.Italian Design
Benedikt Taschen (1994)
Brownell, B.Transmaterial
Princeton Architectural Press (2006)
Buckminster Fuller, R. Operating Manual for Spaceship Earth
Southern Illinois University Press (1969)
Coates, N.Guide to Ecstacity
Laurence King Publishing (2003)
Dempsey, A.Styles, Schools and Movements
Thames & Hudson (2004)
De Noblet, J.Industrial Design Reflection of a Century
Flammarion (1993)
Dixon, P.Futurewise Six Faces of Global Change
Harper Collins (1998)
Fiell, C. and Fiell, P.Design for the 21st Century
Taschen (2003)
Forty, A.Objects of Desire
Thames & Hudson (1986)
Fuad-Luke, A.The Eco-Design Handbook
Thames & Hudson (2002)
Fukasawa, N.Naoto Fukasawa
Phaidon Press (2007)
Fulton Suri, J. and IDEOThoughtless Acts?
Chronicle Books (2005)
Gamper, M.100 Chairs in 100 Days and its 100 Ways
Dent-De-Leone (2007)
Gershenfeld, N.When Things Start to Think
Hodder & Stoughton (1999)
Hauffe, T.Design A Concise History
Laurence King Publishing (1998)
Jensen, R.The Dream Society
McGraw-Hill (1999)
Kaku, M.Visions
Oxford University Press (1998)
Kelley, T. The Ten Faces of Innovation
Doubleday (2005)
Lupton, E.Skin
Laurence King Publishing (2002)
MacCarthy, F.British Design Since 1880
Lund Humphries (1982)
Meneguzzo, M.Philippe Starck Distordre
Electa/Alessi (1996)
Moors, A.Simply Droog
Droog Design, revised edition (Jul 2006)
Papanek, V.The Green Imperative
Thames & Hudson (1995)
Pink, D.A Whole New Mind
Cyan (2005)
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Further resources
Smith, P.You Can Find Inspiration in Everything
Violette Editions (2001)
Sozzani, F.Kartell
Skira Editore Milan (2003)
Sweet, F.Frog: Form Follows Emotion
Thames & Hudson Ltd (1999)
Thompson, D.On Growth and Form
Cambridge University Press (1961)
VariousAnd Fork: 100 Designers, 10 Curators,
10 Good Designs
Phaidon Press Ltd (2007)
Walker, S.Sustainable by Design – Explorations
in Theory & Practice
Earthscan Ltd (2006)
Journals
Product Design WORLDAbitareEggMODOIDMetropolis magazineKultFRUiTSDEdiCatefriezedwelliconMONUMENTINNOVATIONvanidaddomuswallpaperTWILLmixnewdesignDesign WeekAZUREsurfaceFRAMEb0xMARKDesignintramurosT3StuffBlueprintArtformLowdownW magazine
Websites
www.core77.comwww.idsa.orgwww.csd.orgwww.designspotter.comwww.designmuseum.orgwww.cooperhewitt.orgwww.rsa.org.ukwww.newdesigners.comwww.cosmit.itwww.vam.ac.ukwww.TED.comwww.designboom.com
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Contacts
www.animicausa.comwww.aqhayoncollection.comwww.bang-olufsen.comwww.barnabybarford.co.ukwww.braun.comwww.carlclerkin.co.ukwww.chihuly.comwww.colinbrownglass.co.ukwww.contact-design.comwww.droogdesign.nlwww.dyson.co.ukwww.ericmorel.comwww.frogdesign.comwww.gampermartino.comwww.geeksquad.comwww.gijsbakker.comwww.hayonstudio.comwww.hoshino-atr.comwww.ilviogallo.comwww.imagination.lancaster.ac.ukwww.industreal.itwww.kirkmikkelsen.comwww.kjamesphotography.comwww.ligne-roset.comwww.lincoln.ac.ukwww.lunar.comwww.makeupthe wall.comwww.marc-newson.comwww.merkok.comwww.metalarte.comwww.muji.comwww.nationalglasscentre.comwww.nikazupanc.comwww.nokia.comwww.norwaysays.comwww.oliver-schick.comwww.qed-design.dewww.qubus.czwww.scienceandsons.comwww.smogmilano.comwww.stuarthaygarth.comwww.studiobramston.comwww.thorstenvanelten.comwww.tomvack.comwww.transalpin.netwww.verpan.dkwww.vliegervandam.com
Credits
Front Cover
Dave Bramston and Neil Housego
Pages 2–3
Stewart Bibby
Page 8
Tom Stott
Page 14
Dave Bramston
Page 15
Tim Harrison
Page 16
Dave Bramston and Neil Housego
Page 17
Clive McCarthy
Page 18 Panoramic montage
Tim Harrison
Page 18 Montage
Dave Overton
Page 19
Clive McCarthy
Page 20
Stewart Bibby
Page 21
Tim Harrison
Page 24
Clive McCarthy
Page 25
Philip Copland and Tim Harrison
Pages 26–27
Clive McCarthy
Pages 28–31
Dave Bramston
Pages 32–33
Clive McCarthy
Page 35 Margarine tub
Neil Housego
Page 35 Lorraine Lunch Bag
Angela Yoder
Page 36
Dyson
Page 37
Clive McCarthy
Pages 39–41
Clive McCarthy
Page 42
Tim Harrison
Page 43
Clive McCarthy
Page 44 When a ring is heard
Keith James
Page 44 Location at 2pm
Tim Harrison
Page 45
Clive McCarthy
Pages 46–47 Scrapbook
Dave Overton
Pages 48–49 Info dump
Tim Harrison and Stewart Bibby
Page 49 Journals
Dave Overton
Pages 50–51 Experiences
Peter Nunn
Page 51
Tim Harrison
Page 52
Michael Neubauer
Page 53
Shuya Sato
Page 55
Stewart Bibby
Pages 56–57
Tim Harrison
Page 58
Tim Harrison
Page 59
Clive McCarthy
Pages 60–62
Clive McCarthy
Page 64
Tim Harrison
Page 65
Clive McCarthy
Pages 66–67
Norway Says
Page 68 Themes
Michael Himpel
Page 69 Funghi
Mauricio Salinas
Page 69 The Pee Tree
Eric Morel
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Contacts and credits
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Page 70 Character
Justin Pipergen
Page 71 Character
Philip Sayer
Page 73
Neil Housego
Page 75
V Goico
Page 77
Stewart Bibby and Tim Harrison
Page 78
ArtQuitect
Page 81 Teapot
droog
Page 81 Guardian Angel
Vlieger & Vandam
Page 81 Foam Rose
Maria Kirk Mikkelsen
Page 82
Bjørn Blisse
Page 83
Stuart Haygarth
Pages 84–85
S.M.og Milano
Page 86
Clive McCarthy
Page 88
Dietmar Henneka
Page 89
Tim Harrison
Page 90
Ilvio Gallo
Page 91
Tristan Zimmermann
Pages 92–93
Terry Rishel
Pages 94–95
Russell Johnson
Page 97
Copyright Braun GmbH, Kronberg
Pages 99–103
Angus Mills and Åbäke
Page 104
Animi Causa
Page 107
Keith James
Page 108
Tom Vack
Pages 110 Beo Center 6
Søren Joneson/Bang & OlufsenMediacenter
Page 111 Serene Mobile
Jesper Jørgen/Bang & OlufsenMediacenter
Page 111 Beo Center 6
Søren Joneson/Bang & OlufsenMediacenter
Pages 112–113
Tim Harrison
Page 114
Vanessa Jesperson-Wheat
Page 115
Jim A Larsen
Pages 116–117
thorsten van elten
Page 118
Maria Kirk Mikkelsen
Page 119
Verner Panton
Page 121
Nokia
Page 122
Neil Housego
Page 125
Courtesy of Xavier HufkensGallery
Pages 126–127
Mehmet Erkök
Pages 128–129
Nika Zupanc
Page 130
Stuart Walker
Pages 132–133
Tim Harrison
Page 134
Paul Loebach
Page 135
Thomas Dobbie
Page 136
Clive McCarthy
Page 138
Julia Kopelson
Page 139
Wouter Geense Design Studio
Pages 140–142
Clive McCarthy
Page 143
Stewart Bibby
Page 145
Tom Stott
Page 147
Geek Squad
Page 149
Tim Harrison
Pages 150–151
Stuart Walker
Page 153
Alessi S.p.a.
Page 166
Tim Harrison
Definitions taken from the Concise Oxford EnglishDictionary.
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Acknowledgements
Thank you to all the designers, artists,photographers and researchers who have supported this project and provided exciting images and statements. Theinformation has been sourced from all over the world and has involved young designers along with influential leaderswithin their respective disciplines. The involvement of all of these individualsis really appreciated.
Many thanks to the Product Design staff and students at the University ofLincoln (UK) who have helped tremendouslywith the project. The understanding and willingness to get involved is also verymuch appreciated and respected.
Thank you to Sarah Jameson for thecontinued efforts in ensuring that requestedimages were located and included and also thank you to Malcolm Southward forthe book design.
Finally it is important to recognise and thank the staff at AVA publishing and in particular Caroline Walmsley, Lucy Tiptonand Brian Morris who identified the projectand provided the opportunity, the necessarysupport and drive for the book.
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Job No:01042 Title:Basics product designProof - 2 Page:GateFold Cover
Basic
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The Basics Product Designseries investigates differentmethods for generating anddeveloping ideas. Basics ProductDesign: Idea Searching involvesexamples and practices fromaround the world and includesinternationally recogniseddesigners, artists and researchers.
Basics Product Design: Idea Searching explores howdifferent experiences, contexts,references and the practices ofother disciplines are important inidentifying an idea that isappropriate for a particularindividual, target audience orculture.
Basics Product Design: IdeaSearching looks at the importanceof understanding modifications toproducts, personalisation and therelevance of the individualexperience.
Other titles in the Basics ProductDesign series include: MaterialThoughts, Drawing, VisualConversations, and Trend Seeking.
David Bramston is the subject leaderfor Product Design at the University of Lincoln. He has also worked in thedesign industry on projects forcompanies such as Motorola, Swatchand Christian Dior.
David has an MA in Industrial Designand has exhibited and presented work in Europe, the United States andthe Far East. He is an International Member of the Industrial DesignersSociety of America, a member of the Innovative Design Practice Group at the Centre for Critical DesignPractice and a member of the Centre for Creative Industry Development, at the University of Lincoln.
Current research work is focused on the development of living materialsfor industrial design applications.
Featured topicsvisualstormingbrainstormingscenariosmontagerole playmodificationsuser refinementsuser researchinspirationsubtletyimprovisationmental baggageanalogous referencingtarget mappingalternative thinkingproduct languagecharacterliteral and lateral thinkingprofilesthemesassumptionstribal languagephoto diaryproduct purposeinfo dumpsadded valuessustainabilityceremonyexperiencescommon senseempathyaestheticsbrand experienceproduct gendercultural influenceshistorical influencesinnovationexperimentationempathyvisual noiseprimary researchsecondary researchplay and fun
Featured contributorsNika ZupancGijs BakkerDale ChihulyMartino GamperMehmet ErkökStuart WalkerTadao Hoshino Stuart HaygarthMaria Kirk MikkelsenMaxim VelcovskyEric MorelJaime HayónCarl ClerkinJörg RatzlaffErwin WurmOliver SchickCarolien VliegerHein van DamSilvio BetterelliMartina GrasselliFinn Kaerulff ClausenValeria MiglioliBarnaby BarfordBjørn BlisseFolker KönigbauerReinhard ZetscheTorbjørn AnderssenAndreas EngesvikEspen VollSarit AttiasAmit Axelrod and many others
ava publishing sa sales@avabooks.chwww.avabooks.ch
BASICS
01product design
ideasearching
BASICS
01
David Bramstonproduct design
na thought or suggestion as to a possible course of action
vlook for information or an item of interest
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