I was lucky enough to get a place on the protyping in plastics course at London Metworks.
We started with our hands because that they are quite straight forward to do. First of all the Algenate is mixed up and then it is poured into a container big enough to allow good space around the casting.
We put our hands in and left them for about five minutes and then pulled out carefully thus leaving a mould ready for us to pour our plaster in.
The plaster was then mixed, poured into the container very slowly. The side was then tapped until all the bubbles rose to the top and disappeared. It was then left to dry for about half an hour
The container was cut and then we dug out our models, the algenate can be closed back together to be reused.
The finished product!
A combination of cast and 3D printed objects
Thursday, 28 October 2010
Experiential Design
I was not even sure Experiential Design was even a term! Luckily it is and I came across a decription that sums it up really well.
http://mime.cs.nott.ac.uk/experiential/index.html........
Books to try and get
Interactive and experiential design in smart textile products and applications
http://mime.cs.nott.ac.uk/experiential/index.html........
Experience Design at Philips Design Experience design is a design approach which focuses on the quality of the user experience during the whole period of engagement with a product: from the first impression and the feeling of discovery, through aspects of usability, cultural relevance and durability, to the memory of the complete relationship. This puts users firmly at the centre of the design process, with their input and feedback being integrated throughout the whole design process and product life cycle. The principles of experience design correspond to High Design, the design approach for realising the general vision of Philips Design. This vision, in the words of Stefano Marzano, CEO of Philips Design, is to create design focused on people's personal growth, so they can live in harmony with each other and with their natural and artificial environment. An experience is not objective reality, but a subjective response. Over time, experience helps us to define the world around us, and affects the way we perceive it. An experience is highly intimate and personal, yet it's also something we can share with other. To design an experience, we need to look at the forest, not the trees. For example, to enhance the ritual of waking up in the morning, we need to look at the phenomenon as a whole and come up with something completely new rather than just make a new kind of alarm clock. The purpose of experience design is not to define standard experiences for people to have, but to design multi-sensory stimuli from which people could create their own meaningful experiences - either to enjoy alone or to share with others. The focus is on people and on time in the context of experience. How people experience At any given moment, our brains receive and respond to an infinite variety of information in all sorts of configurations. The body acts as a kind of sensor, registering all the signals sent out by the environment and any changes that take place in it. However, we are only consciously aware of the information that we focus on and the way we perceive it is heavily influenced by many factors, such as our previous experience, cultural conditioning and emotional responses. Designing with time An experience is formed at a particular moment in time - this can be during an event, but also before or after it. Experience design considers the relationship between events and experiences, as well as how this relationship develops and evolves over time.Incorporating time into design is not new: video and television entertainment, software games and computer interaction are all designed with time in mind, albeit in a more immediate or linear way. But experience design at Philips Design takes this a step further. Philips Design look at how knowledge from traditional time-based design disciplines could be expanded to include a more sophisticated understanding of the relationship between time, events and experience, and how this could be applied across the spectrum of design disciplines. |
<> |
Design and emotion:
the experience of everyday thingsTaylor & Francis, 2004 - Technology & Engineering - 456 pages
There is considerable interest in and growing recognition of the emotional domain in product development. The relationship between the user and the product is paramount in industry, which has led to major research investments in this area.Traditional ergonomic approaches to design have concentrated on the user's physical and cognitive abilities. However, new approaches also take into consideration the user's emotional relationship with their belongings. Design and Emotion is an edited collection of papers given at the 3rd Design and Emotion Conference 2002. These contributions outline the latest developments, findings, and techniques in industrial applications and in research, bringing you up-to-date with the current thinking in this field.As a forum for discussing the latest ideas in emotion-driven design, this book will prove to be essential reading for all human factors specialists involved in design.
Interactive and experiential design in smart textile products and applications
Research sites
Design Research Module- Themes ctd
Ok so I started with some very vague themes that as yet are not in a design context so I have been researching how I can link them. I have dropped censorship so I am now left with.
Facade
Spectacle
Collections/Collectors,
I think it is clear that I am interested in human psychology how then can this be applied to design?
Facade
ts not just people who wear a second skin it can also relate to objects in design. This idea as been explored in Trompe l'oeil, a style which has very much come back into contempory design of recent years.
I love how here the facade is actually a play on what is hidden.
Sarah Engelke
http://www.apartmenttherapy.com/ny/how-to/modern-trompe-loeil-photo-upholstery-by-sarah-engelke-067187 accessed 22/10/10
This also interests me because the fabric has been entirely designed for the chair, a bespoke suit if you like. The designer also photographed the process from start to finnish giving the piece its own unique history.
In contrast, the facade is a play on what it isn't. The idea of being grander than what we are perhaps?
Chenhui Su
http://www.apartmenttherapy.com/ny/look/look-trompe-loeil-chair-chair-pads-047387 accessed 21/10/10
This made me start thinking about how I could give inanimate objects identity crisises, where they have ideas above their station ie an arm chair thinking it is a throne...I love the idea of objects having personalities and them having issues like everyone else.
These wallpapers deal with both facade and deception...here they decribe their purpose which may help me when trying to phrase my research question.
"Our product dissolves limits between architecture, wallpaper and hangings, with the wallpaper functioning as sensitive go between. So it’s time to warp your room!"
Surrealian
http://www.couturedeco.com/329-french-catacombs-stairs-doors-trompe-l-oeil.html
Spectacle
I have been thinking about how "spectacle" relates to design as it is relevant in my study of dramatic structure. I feel a spectacle is essentially an experience, whether that be through interaction or engaging the viewer emotionally. I then started thinking abut the idea of making wallpaper interactive and/or functional, I then came across this wallpaper - has everything been done?? The fold out gramaphone plays real music and the perfume bottle emmits real scent- amazing! This would also relate to space solving design...
PEGA
Collector/Collections
I can see now how this may relate to what I said earlier about an inanimate object having a personality. What is it that draws people to collect and aquire? I'd like to look closer at the relationship between objects and people.
Even by touching on these three subjects lightly they are clearly starting to overlap. The biggest thing that keeps coming up for me is Experience. Phew have at least narrowed it down to one subject therefore I am one step closer to my research question.
I would like to explore Experiential Design.
Sunday, 24 October 2010
3D Module The Queens Theatre
As part of my 3D module I had been concentrating on dramatic structure which I felt was starting to restrict me to internet research and my own experience and values. I felt I needed to expand the subject and look at a Theatre itself to get inspiration for shapes and materials to play around with. As I was an actress myself for many years I was starting to make assumptions in my research and rely on old memories, this has value, but I felt it would be interesting to go back to a Theatre now I am no longer a performer and see it with fresh eyes. I was lucky enough, due to my old connections, to gain access to The Queens Theatre the new home of current longest running musical in Britain - Les Miserables.
Whilst waiting for my friend Emma, currently performing in Les Mis, to meet me after the matinee, I tried to look at any shapes I could see of interest from the outside.
I love the masks on the door, maybe The Queens was originally a comedy theatre as there wasn't a down turned mask in sight. I definitely want to bring the idea of masks into my work it links with both the Facade and Spectacle themes I am
interested in. Photos: Authors own Queens Theatre 2010
The first image I was hit with when I walked in was the mannequins used in the battalion scene. They were hung up in order to save space resulting in rather a surreal sight... I felt like a spectator at a public hanging.
Photos: Authors own Queens Theatre 2010
I love costumes and the way they transport me to another time, as an Actress I think I always like to pretend that I am in a different eras and live out stories in my head. The mannequins relate very well to dramatic structure, objects that are suspended create tension for the viewer, they could fall at any time. It made me think back to an exhibition I visited at The Barbican Centre, Sept 2010- The Surreal House. A piano was hung from the ceiling and viewers had to walk under it, every 10 mins the rope would lengthen, suddenly dropping the piano lower- I found it thrilling.
I love this image with the curtain pinned back revealing the stage reflecting the footlights. I love the idea of what is behind closed doors and enjoy the role of "The Voyeur". In my eyes there is nothing more seductive than something being peeled back giving you a peek of what is beyond. I love the depth in this image, do we need to physically step into a space to experience its expanse, or will a glimpse be enough, in fact will the glimpse give us an even bigger feeling of space as it feeds our imagination enough for us to create our own space without limitation. We can use illusions to give a feeling of space without necessarily the space being there. This could be an illusion as we aren't actually setting foot through the curtain and are making a series of assumptions on the information that we are given.
Photos: Authors own Queens Theatre 2010
This is definitely the weirdest wallpaper I have ever encountered! All the props are stuck onto it as it gets used as a table in the 1st Act. I love anything this surreal, I like my perception challenged and to see things from an unexpected angle and scale.
Photos: Authors own Queens Theatre 2010
Another behind the curtain shot.....
Photos: Authors own Queens Theatre 2010
I am interested in the different relationships between the spectator and the spectacle. Here I have taken a photo of the view from the stage thus reversing the roles as the audience becomes the focus.
Photos: Authors own Queens Theatre 2010
Do we accept a role by merely by sitting in a designated seat...?
Photos: Authors own Queens Theatre 2010
I walked past these wig stands on the way in. They appear to be waiting patiently to become their characters.
On the way out I saw that two stands were already getting into character, it makes me smile when objects appear human to me.
Photos: Authors own Queens Theatre 2010
Clothes can make you feel utterly different sometimes. It was the icing on the cake when I used to act to put on my costume during the dress rehearsal everything seemed to fall into place. I use clothes in the same way now, I dress according to what character I want to be that day. This is linked to my interest in facade and how what we see on the outside may not correlate to what is on the inside. We all play roles in society at some point, costume is a nice way of referencing this.
Saturday, 23 October 2010
3D Module- 1st term
We were given a research project of Structure.
Structure - Build. Support.Organise
Research Questions
Why is structure important and what does it allow us to do?
What are the values and material of structure?
Is there a predetremined hierarchy of needs/goals that guarantee a successful structure?
I think structure is the framework which supports and organises its content, structure is often derived from experimentation and follows previous successful formulas. It can be both man made and natural.
We were told to go away an explore what structure we found interesting and collate primary and secondary forms of research. I picked dramatic structure and starting investigating what models there were already out there for dramatic structure. As they told us not to think about an end concept I looked at dramatic structure deliberately not thinking of design in mind.
"Dramatic structure is the organisation of conflict between characters in their world" Julia Keefer 2002
Dramatic Structure is found in plays, books, films, songs, and advertisements. First of all I looked at the history of how dramatic structre has been defined in Theatre. The mot famous of theorists was Aristotle who decribe the structure of needing the following:
A Beginning
A Middle
An End
Freytag theorised about dramatic structure developing the Freyatg's Triangle.
Brecht famously challenged the traditional model, though he didn't manage to intergrate his theories fully in his pieces. He set to break the the bourgeois convention of the fourth wall. To simplify his very complex views he felt plays should make the audience think not feel.
“Today when human character must be understood as the 'totality of all social conditions' the epic form is the only one that can comprehend all the processes, which could serve the drama as materials for a fully representative picture of the world.”
(Brecht's comment, 1931, in The Threepenny Opera)
“...the epic poet presents the event as totally past, while the dramatic poet presents it as totally present.”
The epic invites calm, detached contemplation and judgement; the dramatic overwhelms reason with passion and emotion, the spectator sharing the actor's experiences.
Brecht criticises what he calls “Culinary theatre”. This is theatre which merely gives an experience, mental refreshment as a meal is a bodily restorative. Brecht despises theatre which provides mental foodstuffs but makes no difference to audience. He believes that the audience should be made not to feel, but to think. (Note that Brecht supposes these two to be in opposition to each other - but this need not be so: Shakespeare at his best can challenge the head and the heart.)
Dramatic theatre presents events:
And, therefore, the audience must be made aware that events are not present events (happening now), but past events being represented as narrative, with commentary provided to encourage our own reflection. This is not unlike the experience of reading a book with critical notes in the margin, or as if a novelist supplied his own comment on a page facing that bearing the narrative. Some modern anti-novelists have done this.
The audience is intended to sit back, relax (hence Brecht's wish for smoking!) and reflect, as did hearers of bards in classical Greece or Anglo-Saxon England. The theatre of illusion creates a spurious present, pretending things are happening now. But the epic theatre is historical: the audience is continually reminded that epic theatre gives a report of events.
To discourage audience from identifying with character and so losing detachment, the action must continually be made strange, alien, remote, separate. To do this, the director must use any devices that preserve or establish this distancing.
http://www.teachit.co.uk/armoore/drama/brecht.htm
I do not necessarily agree that something can not make people feel and think at the same time. Maybe I need to look at the differences between Brecht and Freytag to define my own opinion of what dramatic theory looks like. From my research I think the main differences are:
Brecht Freytag
Detachment Attachment
Past not present Action in the present
No fourth wall Fourth Wall
Narrative Suspense of belief
History Experience
The predetermined hierarchy of needs I think for comes down to just an audience and a platform.
I have no idea how to translate this in 3D as yet!! But I think I will try out combinations of the above.
For assistance in thinking in 3D, I brainstormed words that would relate to both dramatic structure and design to trigger inspiration.
Reveal
Suspend
Suspense
Spectator
Audience
Transport
Interaction
Detachment
Illusion
Mask
Frame
Unfold
Box
Conflict
Contrast
Vivid
Moving
Striking
Structure - Build. Support.Organise
Research Questions
Why is structure important and what does it allow us to do?
What are the values and material of structure?
Is there a predetremined hierarchy of needs/goals that guarantee a successful structure?
I think structure is the framework which supports and organises its content, structure is often derived from experimentation and follows previous successful formulas. It can be both man made and natural.
We were told to go away an explore what structure we found interesting and collate primary and secondary forms of research. I picked dramatic structure and starting investigating what models there were already out there for dramatic structure. As they told us not to think about an end concept I looked at dramatic structure deliberately not thinking of design in mind.
"Dramatic structure is the organisation of conflict between characters in their world" Julia Keefer 2002
Dramatic Structure is found in plays, books, films, songs, and advertisements. First of all I looked at the history of how dramatic structre has been defined in Theatre. The mot famous of theorists was Aristotle who decribe the structure of needing the following:
A Beginning
A Middle
An End
Freytag theorised about dramatic structure developing the Freyatg's Triangle.
Starting with an incentive moment, then a conflict being introduced leading to a climax resulting in the plot unravelling and then finally ending with a resolution.
Although alot of works follow the traditonal model there are contemporary writers/directors who challenge them. It is now quite common for plays and films not to resolve by the end. I have seen plays that do not even have a climax, the writing being more of a stream of conciousness. I'm not sure if pieces without climax should be called Drama though one could argue that merely the presence of an audience and a platform could constitute as dramatic.
Brecht famously challenged the traditional model, though he didn't manage to intergrate his theories fully in his pieces. He set to break the the bourgeois convention of the fourth wall. To simplify his very complex views he felt plays should make the audience think not feel.
“Today when human character must be understood as the 'totality of all social conditions' the epic form is the only one that can comprehend all the processes, which could serve the drama as materials for a fully representative picture of the world.”
(Brecht's comment, 1931, in The Threepenny Opera)
“...the epic poet presents the event as totally past, while the dramatic poet presents it as totally present.”
The epic invites calm, detached contemplation and judgement; the dramatic overwhelms reason with passion and emotion, the spectator sharing the actor's experiences.
Brecht criticises what he calls “Culinary theatre”. This is theatre which merely gives an experience, mental refreshment as a meal is a bodily restorative. Brecht despises theatre which provides mental foodstuffs but makes no difference to audience. He believes that the audience should be made not to feel, but to think. (Note that Brecht supposes these two to be in opposition to each other - but this need not be so: Shakespeare at his best can challenge the head and the heart.)
Dramatic theatre presents events:
- from the hero's viewpoint (distorting judgement,) and
- as happening now (preventing calm detachment.)
And, therefore, the audience must be made aware that events are not present events (happening now), but past events being represented as narrative, with commentary provided to encourage our own reflection. This is not unlike the experience of reading a book with critical notes in the margin, or as if a novelist supplied his own comment on a page facing that bearing the narrative. Some modern anti-novelists have done this.
The audience is intended to sit back, relax (hence Brecht's wish for smoking!) and reflect, as did hearers of bards in classical Greece or Anglo-Saxon England. The theatre of illusion creates a spurious present, pretending things are happening now. But the epic theatre is historical: the audience is continually reminded that epic theatre gives a report of events.
To discourage audience from identifying with character and so losing detachment, the action must continually be made strange, alien, remote, separate. To do this, the director must use any devices that preserve or establish this distancing.
http://www.teachit.co.uk/armoore/drama/brecht.htm
I do not necessarily agree that something can not make people feel and think at the same time. Maybe I need to look at the differences between Brecht and Freytag to define my own opinion of what dramatic theory looks like. From my research I think the main differences are:
Brecht Freytag
Detachment Attachment
Past not present Action in the present
No fourth wall Fourth Wall
Narrative Suspense of belief
History Experience
The predetermined hierarchy of needs I think for comes down to just an audience and a platform.
I have no idea how to translate this in 3D as yet!! But I think I will try out combinations of the above.
For assistance in thinking in 3D, I brainstormed words that would relate to both dramatic structure and design to trigger inspiration.
Reveal
Suspend
Suspense
Spectator
Audience
Transport
Interaction
Detachment
Illusion
Mask
Frame
Unfold
Box
Conflict
Contrast
Vivid
Moving
Striking
Laser Cutting and 3D Printing
Got introduced to the laser cutter and the 3D printer yesterday and my mind is now reeling with possibilities. Here I have rasterised a piece of cardboard with an image of a stamp.
I want to start playing with these machines as soon as possible so I can experiment with combining the processes with traditional methods. Off to buy some materials today so I can see which are successful I will post further photos when I get to try them out next Friday.
I want to start playing with these machines as soon as possible so I can experiment with combining the processes with traditional methods. Off to buy some materials today so I can see which are successful I will post further photos when I get to try them out next Friday.
Research Module 1st Term- Themes
My first project was to come up with themes I am interested in exploring for my MA. We were told they must be deep not to general and have three chosen images for each theme with no more than 50 words explaining our choices.
I had no idea what they they meant by theme, theme is not subject matter and is general in its very nature. "Theme" is an umbrella that its subjects sit under, the theme being what the subjects have in common.
It is also quite scary to make decisions so early on and be stuck with them so I had a hard time with this project.
I narrowed it down to the following four.
Spectacle
Bower Bird
Censorship
Facade
Spectacle/
What makes a spectacle? Here I have shown pictures of a theatre, a car crash and a public hanging. I am interested in the relationship between the spectacle and the spectator, the times of complete detatchment and when the spectator becomes part of the specatcle itself.
Bowerbirds
/http://www.dailymail.co.uk/sciencetech/article-1310855/How-male-bowerbirds-use-optical-illusions-attract-mate.html
I've used Bowerbird as a symbol of collectors and their collections. Bowerbirds collect and decorate their bowers with shell, stones and other natural ornaments to attract the female. The satin bowerbird tends to only collect blue debris to match their own blue appearance. I think this absolutely fascinating and drew me to think about the way we nest, collect and accumalate and the different reasons surrounding why we do this. In some cases we can be defined by our objects but I wonder if in other cases they are used to fill a void. I knew a girl who collected penguins, soft toy penguins, photos of penguins, pottery penguins... I could never really fathom why...
Censorship/
The interesting thing about the history surrounding censorship is how telling it can be about the society at the time. There is a lot of humour to be found in censorship also and I like to put humour in my work. Playing around the idea of having a sense censored may prove interesting. If we are unable to use our voices it forces us to consider other methods of communicating, our gestures and our expressions become more articulated. You minimize one thing and the other become more heightened like squeezing a balloon.
Facade/
The word facade can mean many things which is exactly why I chose it. I love how it can relate to both an object and a human as I think design is about trying to correlate the two. I am drawn to people that appear to be hiding a secret, the idea of what happens behind closed doors could provide endless material to explore. I like people to suprise me and challenge my perceptions, we all have habit of falling into stereotyping when we first meet people when really we have no idea who they are or what they are into, which is why I have chosen one of my images of a bearded cross dresser. The picture of the building shows chipped of paintwork revealing the brick undernath I think this links very well with the cross dresser. Hiding, revealing, illusion and deception are very exciting things to explore in design and I feel facade can relate to all of these words.
I had no idea what they they meant by theme, theme is not subject matter and is general in its very nature. "Theme" is an umbrella that its subjects sit under, the theme being what the subjects have in common.
It is also quite scary to make decisions so early on and be stuck with them so I had a hard time with this project.
I narrowed it down to the following four.
Spectacle
Bower Bird
Censorship
Facade
Spectacle/
What makes a spectacle? Here I have shown pictures of a theatre, a car crash and a public hanging. I am interested in the relationship between the spectacle and the spectator, the times of complete detatchment and when the spectator becomes part of the specatcle itself.
Bowerbirds
/http://www.dailymail.co.uk/sciencetech/article-1310855/How-male-bowerbirds-use-optical-illusions-attract-mate.html
I've used Bowerbird as a symbol of collectors and their collections. Bowerbirds collect and decorate their bowers with shell, stones and other natural ornaments to attract the female. The satin bowerbird tends to only collect blue debris to match their own blue appearance. I think this absolutely fascinating and drew me to think about the way we nest, collect and accumalate and the different reasons surrounding why we do this. In some cases we can be defined by our objects but I wonder if in other cases they are used to fill a void. I knew a girl who collected penguins, soft toy penguins, photos of penguins, pottery penguins... I could never really fathom why...
Censorship/
The interesting thing about the history surrounding censorship is how telling it can be about the society at the time. There is a lot of humour to be found in censorship also and I like to put humour in my work. Playing around the idea of having a sense censored may prove interesting. If we are unable to use our voices it forces us to consider other methods of communicating, our gestures and our expressions become more articulated. You minimize one thing and the other become more heightened like squeezing a balloon.
Facade/
The word facade can mean many things which is exactly why I chose it. I love how it can relate to both an object and a human as I think design is about trying to correlate the two. I am drawn to people that appear to be hiding a secret, the idea of what happens behind closed doors could provide endless material to explore. I like people to suprise me and challenge my perceptions, we all have habit of falling into stereotyping when we first meet people when really we have no idea who they are or what they are into, which is why I have chosen one of my images of a bearded cross dresser. The picture of the building shows chipped of paintwork revealing the brick undernath I think this links very well with the cross dresser. Hiding, revealing, illusion and deception are very exciting things to explore in design and I feel facade can relate to all of these words.
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