Research 2 - Ralph Capper

Ralph Capper are a company that work with other businesses in order to design furniture around their individual needs. We met Ben, Ralph's son, that explained what the business does and how different qualities of furniture affect where they could be used - whether at home or in a business environment. He explained that furniture that comes from IKEA would be better suited to a home environment rather than an office due to the amount of use it would get - it would not be sustainable within an office and being heavily used. 

After visiting the showroom, I have gained an insight into other businesses that operate within the interior market. There were catalogues featuring Modus, Muuto, FritzHansen, Kvadrat and Camira Fabrics, all companies that are new to me. I was particularly interested in the Kvadrat and FritzHansen sample books because I feel the techniques used would be  suitable for my current work for 57 Spring Gardens - the group have discussed a geometric approach to the project. We plan to order appropriate samples online so we have something to suggest to Bruntwood when we do the interim presentation for them. We could also use these samples to inform our own designs.

Because the flooring and wall coverings are probably going to be hard finishes, we discussed having some sort of sound-proofing acoustic finishes as artwork or within the furniture. Myself and Jenny have been given the task of designing the furniture so we will consider acoustics when thinking about fabrics. We could use flock onto our designs to act as a sound controlling feature if we did decide to run with this idea. 

I enjoyed viewing how other designers compose their samples - they use a diverse range of techniques and fabrics that I haven't necessarily seen before which I could now incorporate into my own work for interior clients. 

 The seating in the showroom had a contemporary feel to it, creating a secluded meeting space. However, I feel that the backrest would be too high up for the reception area (above left), and the client would benefit from a lower back so that they can identify people sitting in the reception area if they need to meet them. I think a chair similar to the mustard one above would be more suitable as it allows slight seclusion, but allows people to identify the person sat in it, for example if they have come to meet someone from the offices above. I will consider this with Jenny when designing furniture for Bruntwood.

Research 1 - Unit X Launch - Property Client

For the launch of this project, the group visited City Tower to see Lee Treanor (Head of Development) and Sally Hill (Head of Branding) for the client - Bruntwood. Bruntwood was established in 1976 and is a family-run company that purchases buildings that are a bit run down, and they convert them into office spaces to rent to businesses that require them. They own 25% of all office space within Manchester City Centre and currently have 35 live projects worth around £15million in total across Liverpool, Manchester, Leeds and Birmingham.

We were shown round a couple of their properties - 57 Spring Gardens (the focus of the project) and Manchester One - the latter which they have newly renovated. Bruntwood want us to re-design the reception area and lift lobbies of 57 Spring Gardens (current images below) along with a proposal for the exterior of the building to make it more noticeable from street level.

One of the main problems we need to consider when creating a proposal for the exterior of the building is the head clearance from the tramlines which run directly outside the doorway. For example, we could not propose a canopy that would come close to the tramway, or overhanging the public walkway. The group suggested possibly removing the stone corner of the building and replacing it with glass panels to add light to the interior of the building and to modernise the exterior.

Upon entering the building, we were greeted by 8 pink steps leading up to a reception desk. There is also a partitioning wall with disabled access on the other side. We discussed the possibility of removing the partition as it was not necessary within the space, and makes the space appear more compact. We need to consider how we could incorporate disabled access as well as opening up the space to appear larger than it actually is. One thing that was discussed was to create a ramp, which all people entering the building would use, however, one member of the group mentioned the need to consider regulations when proposing this - standing 1m at its tallest, the ramp would need to be 3m long so it isn't too steep. This could restrict the doorway as a result, so we would need to find a way around this. We also discussed a staircase that has a hidden disabled platform within it, as to not segregate people who are disabled - access incorporated into mainstream design.

Lee mentioned that the company would like to keep the stone walls, but not the black granite which the customer information board is mounted on. The group discussed the possibility of adding brushed copper piping as a feature on the stone, to add a new and interesting texture to the surface. We think we will keep the colours fairly neutral initially, and focus more on the materials for the finishes.

The next issue we faced was that the reception desk backs onto the stairs leading to the first floor which adds to the room feeling a little cramped. The reception desk would need to be relocated, preferably nearer to the entrance. The group discussed installing a corner desk next to the entrance window, so the receptionist is the first point of contact when entering the building. However, if we were to go ahead with the ramp idea, this could also affect the location of the desk.

The lift lobbies are a little outdated - they have white cladding on the walls and suspended lighting built into wood, which makes the room appear slightly claustrophobic. We need to think of a different way to create a contemporary atmosphere and modify the lighting to extend the head room in the building and conserve as much space as possible. 

The group has a good combination of skills - with myself and Jenny on the Textiles course which could concentrate on the colour scheme and artwork, Steph and Alice mentioned they were good with CAD and Photoshop to work with floor plans, and Ellie, Emily, Michael and Holly are good with manipulating the space in order to get the best from it. I feel this is an advantage for the group because it splits the workload up and allows different people to concentrate on what their strengths are.

Self-Initiated Brief Final Samples - Evaluation

My final collection of samples for my self-initiated brief have been abstracted from my initial idea of 'anatomy' in order to appeal to a more commercial interior audience. I have put all of the designs into half-drop repeat as this is most commonly used within industry. They have been printed onto cotton poplin and cotton satin to experiment with different fabric weights. I prefer the cotton satin as it is sturdier and I could see it being appropriate for use within an interior space, rather than the cotton poplin which is relatively flimsy and could rip more easily. 

I have produced the samples above in a larger scale than previously (64cm X 64cm) in various colour ways as I thought the red triangle was a bit gory and didn't suit the sample. I tried out orange and purple, but I prefer the purple as it compliments the other colours in the sample more than the orange and red do. I would have liked to layer laser cut grey wool over the top of the larger samples to gain a better understanding of how this would work, and if it would be suitable for my audience.

The colour choices I have made merge neutrals with slightly brighter colours to accentuate my designs in areas and allow a slightly graphic approach to the abstracted shapes. Other samples incorporate colours that clash slightly such as red and purple mixed with greys, which I have found a challenge to work with. I feel this would make my designs suitable for most commercial interior audiences. By using metallic threads in these designs it allows a lightness in areas as highlights which reflect the light when turned in different directions as the stitches are all running in different directions. On darker fabrics, I have used metallic threads to offer a relief surface, which allows quite 'dry' looking fabrics a moment of shine which I believe I have achieved effectively.

When using the Bernina machines, I considered how the stitches I used could relate to my concept of anatomy, with one in particular imitating a heart beat. I played with the stitch length when using satin stitch to add depth to the shapes on the print so it didn't look like a flat surface.

The most successful samples are where techniques have been combined to create different effects on the fabric (above), rather than where only one has been used (such as the laser-cutter, Bernina and Digital Embroidery separately). The sample below has lost all its shape because the fabric was too thin. I used cotton poplin with the laser cutter and the fabric just disintegrated. It improved slightly once ironed but it doesn't hold its shape still - cotton satin and wool would have been better choices. 

This sample would have been more successful on a more sturdy fabric, with a lower number of cut-outs as they have ripped into one larger hole in places.

I feel to have developed a way of working that is effective for me during this project, allowing myself time to think about designs in order to move forward. Also, by developing skills in both Photoshop and Illustrator throughout this project, I have been more confident when it came to using these programs to create designs. I believe without being able to use these programs as well as I can now, I would not have been able to achieve what I have done throughout the project.

Engineering Embroidery - Evaluation

The collection of samples that I want to present for the engineering embroidery project involve a range of sizes and material qualities. I have used leather mainly, using the front and reverse to explore different textures. 

Initially, I used PVC (above) as a cost-saving substitute for leather, which I later decided didn't fit the brief properly - the textures were all the same, whereas with leather there are different weights to try out. Similarly, the designs I stitched out onto the PVC on the multi-head embroidery machine initially were far too literal, so I developed them to be more abstract so they would be more appropriate for the audience. In the process, I used repeat motifs in my new designs, picking the negative space out with the magic wand tool on Photoshop.

My initial colour palette evolved from a few of Timorous Beasties' prints, but later I moved onto metallics in similar shades to enhance the material quality - the leather side appeared flat and the suede side of the leather had a dryness to it. The metallic threads added a new surface quality, a shimmer on the suede that can only be seen in light. These are some of my favourite samples from this project (below).

Some samples were not as successful due to colour choices and composition of their design. 

(Above, left) The choice of purple with this particular leather clashes slightly, and the white shapes are not particularly well arranged, however, the metallic bronze thread I feel works well because it is within a similar colour range to the leather itself; it has a subtlety to it. (Above, right) The leather was quite thin and flimsy, meaning that it got slightly sucked into the machine, causing it to pucker. The design is also stitched too closely together, making it quite dense. I wanted to create a shadowed effect, although I don't think this has been executed properly.

If I was to develop the project further I would have liked to up-scale some of the designs as they are all relatively small and of similar sizes, as well as layering samples using varying techniques such as the laser cutter with machine embroidery. To do this I would need to have better time management when booking onto the Laser Cutter and a wider variety of digital skills so that I could create more innovative designs than what I did. I would also like to try out other materials on the digital embroidery machine to see how they react. I feel I have worked outside my comfort zone with this project due to not experiencing or working with car interiors before, although I believe my work is in-keeping with current interiors due to the materials used. However, the designs and thread choices introduce a new aspect to this particular market as they are graphic rather than subtle.

Self-Initiated Context - Interiors

In an archive visit to view sample books, some of Andrew Martin's work was shown. He uses animal figures within some of his wallpaper designs; they are figurative rather than abstract. I prefer to work in a more abstract way than he does, although his work is still interesting to look at. The colours are fairly neutral, a complete contract to Timorous Beasties who I have used for my colour inspiration.

Laura Ashley creates designs for interiors including soft furnishings. The majority of her work takes a floral stance, with pastel and neutral colours playing a main part in her work. Again, her designs are repeats which enable them to be produced several times and create a larger scale piece of fabric. I feel her designs are typical of interior designs.

I have produced my Photoshop designs to be 32cm x 32cm to fit with industry standards as well as putting my designs into half-drop repeat because it is most commonly used within the interior industry. I will consider a floral taste within my final designs to be in-keeping with current trends within interiors.

Above are a couple of examples of how my designs could be used within an interior space. I think the designs are more effective as a feature wall or one piece of furniture rather than an all-over surface as they could become too much.

LaserCutting

My focus this week was to manipulate my designs for use with the laser cutter onto leather and my digital designs to create layers and textures suitable for an interior market. I digitally printed my designs onto a thicker cotton that is of higher quality than ones I have used previously. I feel this is more suitable for the context of my work.

Laser Cut Samples

The leather gave off a strong burning smell, but left a crisp edge once cut. I think the pattern on the bottom two samples is suitable for an interior market due to being floral and repeated.

Self-initiated brief

Using the Bernina machines, I carefully selected metallic threads to pick out elements of the print designs to stitch into. They add a slightly rough texture to the material as well as a subtle relief surface. I intend to combine the samples already stitched into below with the multi-head machine next week. This would allow people within industry to repeat my designs using the jump to start element on my designs, meaning they can make several identical ones.

I prefer the more muted colour palettes rather than the contrast of the red and purple. I also think the muted colours would be more adaptable for the commercial interior market and would appeal to a wider number of people. The red and purple palette could be considered a 'high-end' design and therefore is more of a niche market with a smaller target audience.

Leather Work and Scale

After my tutorial this week, I want to concentrate on using metallic threads on leather (front and reverse/suede) to further abstract my designs and to try out other aesthetics.

Some of the most successful samples - repeat patterns abstracted from my original drawings.

The samples that I think work better are the ones that are less literal and abstracted. The different thicknesses of leather create different outcomes when used on the multi-head machine. They have all been stitched on a relatively small scale due to the materials I sourced, however, by upscaling my designs for the multi-head and laser cutter, it will allow me to work on a larger scale and get across the context of my work more thoroughly.

For my self-initiated brief, I intend to digitally print some of my Photoshop repeat work for an interior context, then use the multi-head and laser cutter to work back into them, creating abstract compositions.