Nilesh Lala CCDN331

My manifestation is a physical form  based off the structure of a Lotus, the national flower of India. This form was chosen because as a part of my design identity, I enjoy  having strong ties to my upbringing and cultural heritage.

It gives me an emotional attachment to this form, which instils tranquillity due to its reference to Indian prayers known as Devo. The Lotus is often referenced in traditional Indian prayers known as Devo. My manifestation is made of brass, hand crafted through repeating patterns, and then folded. I believe if you craft something by hand it gives the object far more importance and presence through its direct means of articulation; from the imagination to physical form. The material in the form of a tin sheet allowed me to have the aesthetics and material properties of the Hindu statues which often decorate a prayer room.

Brass is a well respected material in this context, as it is quite robust and sensible to use for the lighting of candles and incense, as the incense sticks drop ash as the embers burn on the tip, the brass can be easily cleaned. The tonal properties of brass expresses warmth and comfort through the nature of its colour. It is really important for me to respect the material of my objects due to the philosophies of my design identity. By respecting the material, you understand the qualities and can emphasise the strengths. This brass tin is quite delicate and underwhelming in its sheet state, but when handled correctly can be beautiful and lustrous when the geometry is crafted in a manner where light can reflect. This was simply achieved by respecting the material qualities.

The reason I practice these sculptural techniques is because I believe analogue design processes are embedded in our growth as designers, and should be embraced.

Producing objects through analogue processes leads to great satisfaction and allows you to have a closer connection to the object you've created through emotional attachment and materiality. If you have a close connection to something, there is an increased inclination to be more careful and produce a higher level of quality. Likewise when it comes to material selection of objects, there should be little to no need for surface treatments that change the aesthetic presence of the material (Ashby & Johnson, 2002). You should never paint a gorgeous native wood another colour. Refining wood after it's been cut from a tree is acceptable, but I feel it's disgusting to paint over materials that are naturally gorgeous like Mahogany or Copper. In most cases, if you need to paint the material, you're using the wrong material. Through understanding this philosophy, you will gain a heightened sense of respect for products and objects you create.

It’s a source of pride and inspiration to know you’ve done something with your bare hands. I’ve always thoroughly enjoyed making models, since an early age I’ve appreciated the attention to detail and craft of handmade objects. Analogue processes should be used as a means of the designer attributing a piece of themselves in their creation. I feel that this brings the creation more vitality, worth and becomes more respected as a piece of art than just simply read as an object.

Sentimental objects such as family heirlooms have their own mysticism and value that surpasses the base inanimate material value that anyone other than oneself would read from the object. Everything we own has a different level of significance to us.

                "We become attached to things if they have a significant personal association, if they bring to mind pleasant, comforting moments. Perhaps more significant, however, is our attachment to places; favourite corners of our homes, favourite locations, favourite views. Our attachment is really not to the thing, it is to the relationship, to the meanings and feelings the thing represents." (Norman, 2004)

Emotionally provocative designs entice our senses in a way that makes us crave the creation.  To have an emotional connection with products is to understand the product beyond the function, surface value and to appreciate the materials that the product consists of. Critical manipulation of appropriate materials for your product can invite more appreciation and understanding of the products existence.

                "Material behaviour can be designed, and materials physically embedded with specific design intent, establishing new relations between the design of material and the design of form." (Nicholas, 1978)

Materiality of an object is imperative; having the responsibilities of structural integrity and aesthetic identity. Materiality also effects your sensory perception and experience of the object; tactility, audibility and scent (Ashby & Johnson, 2002). To read an object correctly is to absorb all facets of its creation and understand what purpose its existence serves, functionally and aesthetically.

If you're not able to respect your creation, then you've created something which is dead. Quality, respect, emotion and materiality are four fundamental design principles that contribute to the grounding of respectful objects. Your creation will possess a unique identity and feel alive.

  Ashby, M. F., & Johnson, K. (2002). Material and design: the art and science of material selection in product design. Oxford: Butterworth-Heinemann.

Nicholas, P. (1978). designing material, materialising design. Toronto: Riverside Architectural Press.

My manifestation is a physical form  based off the structure of a Lotus, the national flower of India. This form was chosen because as a part of my design identity, I enjoy  having strong ties to my upbringing and cultural heritage.

It gives me an emotional attachment to this form, which instils tranquillity due to its reference to Indian prayers known as Devo. The Lotus is often referenced in traditional Indian prayers known as Devo. My manifestation is made of brass, hand crafted through repeating patterns, and then folded. I believe if you craft something by hand it gives the object far more importance and presence through its direct means of articulation; from the imagination to physical form. The material in the form of a tin sheet allowed me to have the aesthetics and material properties of the Hindu statues which often decorate a prayer room.

Brass is a well respected material in this context, as it is quite robust and sensible to use for the lighting of candles and incense, as the incense sticks drop ash as the embers burn on the tip, the brass can be easily cleaned. The tonal properties of brass expresses warmth and comfort through the nature of its colour. It is really important for me to respect the material of my objects due to the philosophies of my design identity. By respecting the material, you understand the qualities and can emphasise the strengths. This brass tin is quite delicate and underwhelming in its sheet state, but when handled correctly can be beautiful and lustrous when the geometry is crafted in a manner where light can reflect. This was simply achieved by respecting the material qualities.

Producing objects by analogue processes leads to great satisfaction and allows you to have a closer connection to the object you've created. If you have a close connection to something, there is an increased inclination to be more careful and produce a higher level of quality. Likewise when it comes to material selection of objects, there should be little to no need for surface treatments that change the aesthetic presence of the material (Ashby & Johnson, 2002). You should never paint a gorgeous native wood another colour. Refining wood after it's been cut from a tree is acceptable, but I feel it's disgusting to paint over materials that are naturally gorgeous like Mahogany or Copper. In most cases, if you need to paint the material, you're using the wrong material. Through understanding this philosophy, you will gain a heightened sense of respect for products and objects you create.

It’s a source of pride and inspiration to know you’ve done something with your bare hands. I’ve always thoroughly enjoyed making models, since an early age I’ve appreciated the attention to detail and craft of handmade objects. Analogue processes should be used as a means of the designer attributing a piece of themselves in their creation. I feel that this brings the creation more vitality, worth and becomes more respected as a piece of art than just simply read as an object.

Sentimental objects such as family heirlooms have their own mysticism and value that surpasses the base inanimate material value that anyone other than oneself would read from the object. Everything we own has a different level of significance to us.

            "We become attached to things if they have a significant personal association, if they bring to mind pleasant, comforting moments. Perhaps more significant, however, is our attachment to places; favourite corners of our homes, favourite locations, favourite views. Our attachment is really not to the thing, it is to the relationship, to the meanings and feelings the thing represents." (Norman, 2004)

Emotionally provocative designs entice our senses in a way that makes us crave the creation.  To have an emotional connection with products is to understand the product beyond the function, surface value and to appreciate the materials that the product consists of. Critical manipulation of appropriate materials for your product can invite more appreciation and understanding of the products existance.

            "Material behaviour can be designed, and materials physically embedded with specific design intent, establishing new relations between the design of material and the design of form." (Nicholas, 1978)

Materiality of an object is imperative; having the responsibilities of structural integrity and aesthetic identity. Materiality also effects your sensory perception and experience of the object; tactility, audibility and scent (Ashby & Johnson, 2002). To read an object correctly is to absorb all facets of its creation and understand what purpose its existence serves, functionally and aesthetically.

If you're not able to respect your creation, then you've created something which is dead. Quality, respect, emotion and materiality are four fundamental design principles that contribute to the grounding of respectful objects. Your creation will possess a unique identity and feel alive.

  Ashby, M. F., & Johnson, K. (2002). Material and design: the art and science of material selection in product design. Oxford: Butterworth-Heinemann.

Nicholas, P. (1978). designing material, materialising design. Toronto: Riverside Architectural Press.

Producing objects by analogue processes leads to great satisfaction and allows you to have a closer connection to the object you've created. If you have a close connection to something, there is an increased inclination to be more careful and produce a higher level of quality. Likewise when it comes to material selection of objects, there should be little to no need for surface treatments that change the aesthetic presence of the material (Ashby & Johnson, 2002). You should never paint a gorgeous native wood another colour. Refining wood after it's been cut from a tree is acceptable, but I feel it's disgusting to paint over materials that are naturally gorgeous like Mahogany or Copper. In most cases, if you need to paint the material, you're using the wrong material.

I’ve always thoroughly enjoyed making models, since an early age I’ve appreciated the attention to detail and craft of handmade objects. It’s a source of pride and inspiration to know you’ve done something with your bare hands.

Analogue processes should be used as a means of the designer attributing a piece of themselves in their creation. I feel that this brings the creation more vitality, worth and becomes more respected as a piece of art than just simply read as an object.

Sentimental objects such as family heirlooms have their own mysticism and value that surpasses the base inanimate material value that anyone other than oneself would read from the object. Everything we own has a different level of significance to us.

            "We become attached to things if they have a significant personal association, if they bring to mind pleasant, comforting moments. Perhaps more significant, however, is our attachment to places; favourite corners of our homes, favourite locations, favourite views. Our attachment is really not to the thing, it is to the relationship, to the meanings and feelings the thing represents." (Norman, 2004)

Amazing designs are emotionally provocative, enticing our senses in a way that entices us to crave the creation.  To have an emotional connection with products is to understand beyond the product's functions and to appreciate the materials that the product consists of.

            "Material behaviour can be designed, and materials physically embedded with specific design intent, establishing new relations between the design of material and the design of form." (Nicholas, 1978)

Materiality is imperative.  The material has the responsibilities of structural integrity,  aesthetic identity and effects your sensory perception and experience of the object; tactility, audibility and scent. (Ashby & Johnson, 2002)

  Ashby, M. F., & Johnson, K. (2002). Material and design: the art and science of material selection in product design. Oxford: Butterworth-Heinemann.

Nicholas, P. (1978). designing material, materialising design. Toronto: Riverside Architectural Press.

Sentimental objects such as family heirlooms have their own mysticism and value that surpasses the base inanimate material value that anyone other than oneself would read from the object. Everything we own has a different level of significance to us.

            "We become attached to things if they have a significant personal association, if they bring to mind pleasant, comforting moments. Perhaps more significant, however, is our attachment to places; favourite corners of our homes, favourite locations, favourite views. Our attachment is really not to the thing, it is to the relationship, to the meanings and feelings the thing represents." (Norman, 2004)

Amazing designs are emotionally provocative, enticing our senses in a way that entices us to crave the creation.  To have an emotional connection with products is to understand beyond the product's functions and to appreciate the materials that the product consists of.

            "Material behaviour can be designed, and materials physically embedded with specific design intent, establishing new relations between the design of material and the design of form." (Nicholas, 1978)

Materiality is imperative.  The material has the responsibilities of structural integrity,  aesthetic identity and effects your sensory perception and experience of the object; tactility, audibility and scent. (Ashby & Johnson, 2002)

  Ashby, M. F., & Johnson, K. (2002). Material and design: the art and science of material selection in product design. Oxford: Butterworth-Heinemann.

Nicholas, P. (1978). designing material, materialising design. Toronto: Riverside Architectural Press.

Producing objects by analogue processes leads to great satisfaction and allows you to have a closer connection to the object you've created. If you have a close connection to something, there is an increased inclination to be more careful and produce a higher level of quality. Likewise when it comes to material selection of objects, there should be little to no need for surface treatments that change the aesthetic presence of the material. You should never paint a gorgeous native wood another colour. Refining wood after it's been cut from a tree is acceptable, but I feel it's disgusting to paint over materials that are naturally gorgeous like Mahogany or Copper. In most cases, if you need to paint the material, you're using the wrong material.

I’ve always thoroughly enjoyed making models, since an early age I’ve appreciated the attention to detail and craft of handmade objects. It’s a source of pride and inspiration to know you’ve done something with your bare hands.

Analogue processes should be used as a means of the designer attributing a piece of themselves in their creation. I feel that this brings the creation more vitality, worth and becomes more respected as a piece of art than just simply read as an object.

Emotional connections to objects created by hand inherit more value. This is how sentimental objects such as family heirlooms have their own mysticism and value that surpasses base inanimate material value.

            "We become attached to things if they have a significant personal association if they bring to mind pleasant, comforting moments. Perhaps more significant, however, is our attachment to places; favourite corners of our homes, favourite locations, favourite views. Our attachment is really not to the thing, it is to the relationship, to the meanings and feelings the thing represents."

Amazing designs are emotionally provocative, enticing our senses in a way that entices us to crave the creation.  To have an emotional connection with products is to understand the product for its function,

Lotus, the manifestation.

Producing objects by analogue processes leads to great satisfaction and allows you to have a closer connection to the object you've created. If you have a close connection to something, there is an increased inclination to be more careful and produce a higher level of quality. Likewise when it comes to material selection of objects, there should be little to no need for surface treatments that change the aesthetic presence of the material. You should never paint a gorgeous native wood another colour. Refinement from the tree the wood was harvested from is acceptable, but I feel it's disgusting to paint over something like raw Mahogany or Copper. In most cases, if you need to paint the material, you're using the wrong material.

I’ve always thoroughly enjoyed making models, since an early age I’ve appreciated the attention to detail and craft of handmade objects. It’s a source of pride and inspiration to know you’ve done something with your bare hands.

Analogue processes should be used as a means of the designer attributing a piece of themselves in their creation. I feel that this brings the creation more vitality, worth and becomes more respected as a piece of art than just simply read as an object.

Emotional connections to objects created inherit more value. This is how sentimental objects such as family heirlooms have their own mysticism and value that surpasses base inanimate material value.

Amazing designs are emotionally provocative, enticing our senses in a way that entices us to crave the creation.  To have an emotional connection with products is to understand the product and to use it.

Materiality is imperative.  The material has the responsibilities of structural integrity,  aesthetic identity as well as effecting your sensory perception and experience of the object that the materials have composed.

Sources for consideration:

  Nicholas, P. (1978). designing material, materialising design. Toronto: Riverside Architectural Press.

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Design should be emotionally provocative, to touch our senses in a way that entices us to crave the creation.  To have an emotional connection with products is to understand the product beyond its surface value and to respect specific aspects.

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My designs follow obsessions I have during any particular time in my life. These obsessions can be influenced by literally anything. Past examples would be artworks, video games, music genres, songs, bands, sculptures,

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Successful designs evoke an emotional response.

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Analogue craft should have a more prominent presence in modern manufacturing. The tactility of creating with your bare hands really makes you understand what you’re working on as you’re working on the creating in an intimate proximity. The resulting creation inherits value through being created in a more unique and powerful manner. Factors such as working pace, equipment use, attention to detail, individual aesthetics are attributed to the final result.

I’ve always thoroughly enjoyed making models, since an early age I’ve appreciated the attention to detail and craft of handmade objects. It’s a source of pride and inspiration to know you’ve done something with your bare hands.

Analogue processes should be used as a means of the designer attributing a piece of themselves in their creation. I feel that this brings the creation more vitality, worth and becomes more respected as a piece of art than just simply read as an object.

The process of having something manufactured- using an external source to create something on your behalf that would otherwise be inefficient or impractical, is a tool. As long as you’re assembling the creation and applied the necessary finishes yourself.

Surface treatments such as sanding, polishing done by hand gives you valuable time with your creation and helps to develop a strong sense of appreciation.

I think it’s irresponsible of the maker or designer to have to apply surface finishes that are weak and lack materialistic integrity; paint and lacquers that are easily damaged, they peel, flake and obscure the native beauty of the material beneath the surface, if you’re going to need to paint the material, then chances are, you’re using the wrong material. There are processes like anodizing which actually effects the material the anodized colour.

“The purpose of applying art to articles of utility is two-fold; first, to add beauty to the results of the working man, which would otherwise be ugly; and secondly, to add pleasure to the work itself, which would otherwise be painful and disgusting”- William Morris, The Arts and Crafts of Today, 1889 Manufacturing is a tool to assist modern analogue craft.

      Analogue craft should have a more prominent presence in modern manufacturing.

focus on emotional attribute from analogue craft and importance of materiality.

It took me a while to understand what exactly a manifesto is. From what I can tell, it's a critical statement that places you in a specific position of an arguement, an expression of your opinion. Going from this, I believe one of my strongest philosophies is that analogue craft should have a more promonent presence in modern manufacturing. Bringing manufacturing to a  position where it is referred to as a tool, as opposed to the entire process of building a creation. Analogue processes should be used as a means of the designer attributing a piece of themselves in their creation. I feel that this brings the creation more vitality, worth and becomes more respected as a piece of art than just simply read as an object. I've always throughly enjoyed making models, since an early age I've appreciated the attention to detail and craft of hand made objects. It's a source of pride and inspiration to know you've done something with your bare hands. There's something about tactility throughout the entire process of making things with your hands, it's a process which really makes you understand what you're making it truely yours, unique and powerful.

With respects to my design identity, I had a conversation with my Fiance, asking her "I don't really know what I want to do after this year, I don't really know where I want to work or what I want to do with the skills, techniques and knowledge I've gained for the past 3 years at design school". She made me realise where my main skills are. She believes I'm an illustrator, modeller and craftsman, after our conversation I felt she was right, perhaps I'm not an industrial designer, but studying through this course helped me develop my skills to understand what I can do and where my strengths lies. This made me feel tremedously better about my future prospects; knowing what I need to focus on. I'm getting closer to knowing what my design identity is.

The difference between a maker and a designer seems to be what a designer does, rather than what a maker can do. I feel that a maker is one who creates, and a designer invokes critical thought, emotion, practicality, aesthetic coherancy and spirit- The designs have a belonging which extend beyond just the immediate task of solving the problem it was designed for, it satisfies a craving and hunger for a beautiful solution. Not to say that a maker isn't capable of the same things. I just believe that designers tend to create with more sensitivity than makers. I feel makers create simple solutions that work to serve a singular specific purpose, for the majority of their creations. Or perhaps the statement should be made that, makers create, and designers plan. I believe they both go hand in hand, makers may or may not plan their creations, and designers plan their creations, but perhaps they don't need to make their creation.  

With regards to my design identity, I'm thinking it may be more a case of my style speaking for itself, if that's what I am doing is another thing though. I don't know if my style can speak for itself, let alone if I necessarily have a style, or a design identity right now. All I know is, that I have obssessions from time to time, and they usually overlap, perhaps my identity is a movement as opposed to being defined simiply and by a singluar statment. The only consitancy I can think of on the stop- right now is that I love organic curves and forms which relate to an organic ideal- with respects to raw, unrefined entities, like the sun, or water, trees, human anatomy etc.

The issue of poor craftsmanship needs to be addressed to understand the impact that quality has on user enjoyment of an object. If a manufacturer produces a low quality product, the consumer will spread ill news of said products and will begin to erode the integrity of the manufacturer. The craftsman should have more responsibility than the machine to create these objects of desire. Hiring people that actually want to produce these objects is imperative; not hiring staff that just 'need a job', they won't produce adequate results with respects to putting your heart and soul into each creation. My proposition relates to that of the arts and crafts movement of Britain. "Apart from the desire to produce beautiful things, the leading passion of my life has been and is hatred of modern civilization" May Morris as quoted by Alan Crawford. Mass production streamlines the manufacturing process through assembly lines consisting of workers and machines working in a step by step system. Craft production is a process of manufacture relying on hand craft with or without the use of tools. I propose hybridisation of the two to provide a process which utilises the efficiency of mass production while maintaining the integrity and quality that analogue craft produces.

Craftsmanship seems to be a variable in modern mass production where it's a simply happens by chance if something is made properly to the extent where there are no immediate signs of aesthetic or structural failure in the product.

unfortunately I missed the pervious lecture, however, going off what is displayed about the topic that was covered, I have been to an engineering expo with my father-inlaw and fiance earlier this year. And at this expo they had a haptic feedback pen that was connected to a robotic arm which relayed to appropriate software.

The way it worked was that you'd use the pen-arm to sculpt a model on the software. They way it works is that you can lift the pen about the model using the software as the visual output as a result of how you use the pen, moving it freely would be moving your point of sculpture about the object being modelled, when one of the pen's button was depressed, you are able to subtract from the object being modelled, the second button is used as a tool to add to the model.

Once the model is complete, you're able to use the haptic feedback pen-arm to 'feel' the object you've designed. Motion around the object stops when the pen detects a part of the model relative to the position of the arrow on the software. Which is important to gain a sense of perspective, depth and dimension.

Nilesh Lala 300156660

INDN331 LIVE THEORY

Project 3: Critical writing.

  1-Finely crafted objects produced by hand and machine possess deep emotional and sentimental qualities..

  2-Part of my design philosophy orientates around the value of handcraft as a method of manufacturing as well as conception, development and production.

critical insight and promotion of the importance of handcraft in the mass production process.

  sources which enforce the idea of craft in general, but more so the vitality of craft in mass production through the use of technology

  sources reiterating concepts of personal value, personal touch and refinement

  sources expressing concerns of integrity for operators of the technology required to craft products, drawing parallels to manufacturing labour of the past, perhaps explaining a need to pay workers well, ethical labour?

  review brief and construct a research and essay plan. ensure conclusion doesnt introduce any other ideals or themes. make sure to involve theories and practices that contradict your theories and explain with scholarly source.

  Start from a neutral stance which expresses both sides,

  look at arts and crafts area for 171, industrial revolution, re: ruskin, scholarship from arts and crafts movement, express relevance from arts and crafts movement to modern day production.

  Implore depth through design theory in poeticism.

  hone in specifics.

  limit of up to 5 images in the essay if needed for referencing material.

  begin writing from a neutral position, then establish a critical opinion on which side you're in favour of.

  blog everything

  massey apa interactive.

  "If it falls to our luck to be street-sweepers, sweep the streets, like Raphael painted pictures, like Michael angelo carved marble, like Shakespeare wrote poetry, and like Beethoven composed music. Sweep the streets so well that all the hosts of heaven and earth would have to pause and say , Here lived a great street sweeper" 

- Rev. Dr. Martin Luther King Jr., June 20, 1965, Kingston, Jamaica

  When objects are crafted by hand during moments of careful consideration, there is a special moment that occurs between the craftsman and the object being made when the craftsman enjoys creating the creation. When design becomes a lifelong passion, the passion is drawn from the creator to the created and that object is attributed with a part of that craftsman's soul. This is a necessity in the process of manufacturing in order to create objects of quality and integrity.

Bodoni, Band-saws and beer, Jon Kolko, Executive director of design strategy at Thinktiv and founder/director of Austin Center for Design is a fundamental text for my research as it closely examines the finer technical aspects of craftsmanship, ranging from discussing attributes of craft with respects to color, line, texture, shadow etc. right through to the feeling of immersed involvement in a particular project.

Design becomes passion, Bochman Felice E, The colorado springs business journal Application of determination is the focus of this text, it's a story about Mark Harris as a point of narrative, however this text also discusses identification of passion at a young age and constant nurturing of skill and talent as you age. With the context of design, it is based on a interest of design which becomes a lifestyle of design.

Design Manufacturing for Quality, Kush Thomas, Automation; Feb 1988; 35, 2; ProQuest Central From a perspective of efficiency, this text is focused on expressing the importance of quality in manufacturing through the use of statistical design techniques such as experimental designs. Pushing the need for prototyping prior to manufacturing and utilisation of software based applications to assist in production processes for the sake of automisation. I will use this as a potential rebutle to allow myself to explain this 'weak point' in my critical theory, to add strength to my proposition.

  BIBLIOGRAPHY

Kolko, J. (2011), Craftsmanship, Interactions: what makes things cool?, p. 78-81

Kush, T. (1988), Automation, Design Manufacturing for Quality, p.40