Investigation 3 - Laser Designs - Individual Project

After designing the table top on Coreldraw for the laser cutter, myself and Jenny finally got on the laser cutter machine! We began to sample, testing slate, MDF and plywood so we had a better idea of what would be effective for the final product. We had to downscale the designs when we got there because we realised they were going to take too long to laser in the time we had booked. During the sampling process, we made some decisions about the layout of the table design, mixing materials and shape compositions we had not given consideration previously. If we were to enlarge the designs to be of larger scale, and be a more dramatic table, we would have to consider the time it would take to engrave so that we could plan our time effectively around this.

A couple of prototypes of the compositions:

Parts of the slate did not engrave fully because of a waxy substance on the surface which was there when we purchased them. This was unavoidable, and although it was not intended to laser the way it did, I think it adds to the rustic feel we were looking for on the surface. I plan to stain these to see how the woods absorb the colour - we want the surface to look more expensive than plywood and MDF in the final design. We would also need to use 6mm thick wood as the slate tiles measure 5mm thick, so that the table has a flat surface and is practical. From experimenting with scale, we have come to the conclusion to make the samples above (currently A4 size) twice as big so that they cover the whole laser area capacity. This would mean that the hole in the centre would be able to hold 4 tiles. We could enlarge a design to cover all 4 tiles, or have 4 cohesive designs together, we haven't finalised this decision yet. 

Investigation 2

Group Project

After this weeks tutorial, the group have decided we need to concentrate on setting ourselves apart from the other groups so that we stand out to Bruntwood at the next presentation. We suggested that some of the interiors students could focus on creating a model of the space so that there was something tangible for Bruntwood at the 'Dragon's Den' style presentation to differentiate ourselves. Another thing that was discussed at the tutorial was a materials board; also something tangible for the client. Myself and Jenny were assigned the task of printing our Photoshop designs onto plain cotton to demonstrate how the inks would look, as well as working alongside Emily who has knowledge of materials suppliers that we could use to show what fabrics our designs could be printed onto, if Bruntwood would commission this. This experience has worked well because of the range of skills within the group - the interiors students have knowledge of suppliers and CAD, and myself and Jenny have knowledge of colour ways and technical knowledge when it comes to machinery needed to make samples for the project. 

After Bolon presented to us, the group decided it would be a slight waste of mine and Jenny's time trying to design flooring ourselves, as Bolon would do this for us already. It also meant that our efforts could be focussed elsewhere.

Individual Project

For our personal project, myself and Jenny have decided to go ahead with creating a coffee-style table for the reception area of 57 Spring Gardens, using Daniel Heath as a reference. Daniel creates lasercut and etched furniture using reclaimed materials. We are wanting to create a design that would be in-keeping with the group project (using geometrics - inspired from the exterior corner of the building), but using different industrial materials such as wood and slate to create different surface qualities. The focus of the next week is going to be on our personal project, creating designs for the laser cutter and testing these out on the machine with the materials we have sourced so far, which we have chosen to work with to push ourselves out of our comfort zone and experiment with alternative materials to fabrics. 

Laser Designs For Table

Red = Cut
Blue = Engrave

At the moment, design 1 is our favourite, with a slate panel down the middle which will be engraved. Through sampling first, myself and Jenny would like to experiment with different depths of engraving onto the slate and the effects this creates.

Table Finishes

After carrying out work experience at The Royal Exchange Theatre Workshop over the Easter period, I have gained knowledge into wood treatments including staining, which I think could be useful for the finishes on the table, which we intend to use to our advantage. This would enable us to make the MDF we intend to use look more expensive - I'm hoping this will work as planned. I will also test plywood, as this is softer than MDF and has more of a grain which means it might take the stain better.

Investigation 1 - Design Development and Furnishings

Group Project

The focus of my work this week has been on developing designs that are in keeping with the group vision. We decided that a geometric approach would uplift the reception area of 57 Spring Gardens and, with using relatively muted colours with a signature yellow colour (inspired from an image on the group Pinterest board as an accent), we have considered the setting of the designs as to not overwhelm the space. 

After deciding on the colour palette, myself and Jenny began drawing. We both have very different drawing styles - Jenny prefers graphic, black and white drawing, whereas I prefer starting with colour and composition. We plan to combine our drawing styles to create designs which reflect both our work equally.

When considering the type of furniture we might place in the reception area, we decided that it would be better if the patterns were only on part of the chairs or sofas because they are quite heavily patterned and it would be difficult to match the pattern around the surface of the furniture. Myself and Jenny had an idea after discussing it with Michelle in a tutorial that we could choose part of the furniture such as a cushion and use Velcro so it could be detached. However, when we pitched this to the rest of the group, they didn't understand the detachable feature, and Simone pointed out that personalised furniture would be too time consuming and costly to make. Moreover, with Bruntwood being a commercial company, the likelihood of them wanting to spend their time and money on bespoke furniture is very slim. As a result, we have begun research into different types of furniture that we could suggest Bruntwood could purchase for the area, but that are also in-keeping with the other design features within the space. We could however, still present our prints to Bruntwood as they could be used on a smaller scale, such as for soft furnishings.

We looked at both chairs and sofas, to determine what would fit best within the space we were allocated. We discussed a few options of where they could be placed - for the Blue-Sky option, we discussed sofa pods on the higher level, facing outwards, so that people can still be identified but it is also slightly secluded and offers a breakout space for Bruntwood's clients. The dimensions of the space as it is currently would not allow a chair pod at either side of a coffee table in front of the lifts, so we looked at chairs too, as they would fit in the space. I think it would be more proactive and beneficial to the project if the group decided on the CAD designs to focus on first, before deciding on furniture for the space as we don't yet know what space we have for chairs and tables yet.

After this weeks tutorial and being told our furniture designs were going to be too costly to make, myself and Jenny felt a little bit lost as to what we could contribute towards the group project, so we discussed ways that we could still design something for the space. We reached a decision that we could take inspiration from Bolon (a flooring company) and create our own flooring design using geometric shapes. We felt that if the design was to be across the whole of the reception area, it would be too much and would not be appropriate for the client. As a result, we will design a strip of carpet tiles that will go underneath the seating area, with plain chairs on top. This way, there can be some design input, but not so that it overpowers the space.

Individual Project

With regards to individual projects, me and Jenny possess different skills that we felt would allow us to create a stronger body of work if we worked collaboratively with each other. We have discussed the possibility of laser-cutting into a table top, as I have had an induction last year, rather than suggesting pre-made tables for Bruntwood. I feel that with Jenny's skills in print, she could possibly design a screen to print onto the wood first, then I can design the laser to combine our skills and techniques. I will work on designs for the laser and sourcing appropriate materials over the Easter break so that we can get straight on with sampling and experimenting when we return, so we are managing our time effectively

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.