Issuu on Google+

EVIS ION

1  WIDEVISION 18

WID 18


rks wo ent tud d.’ of s limite n on ibiti n u exh vatio 18 no on d – in visi ide ame 1 W ren 01 be e 2 sily ‘ T h l d ea cou

8 N1 SIO EVI WID

Global economic pressures yet a time for optimism: Design’s response

The competitors and competitive forces must be identified before the building of competitive advantage can even be considered. In the current economic uncertainty gripping the planet it may the ideal time to audit what works and what priorities need to be set. This suggests a wider consultative process and not just the usual stakeholders but a wider focus on humanity. Designers as interpreters of culture, technological interfaces, enhancers of activities with urban and remote habitats, and the person in the street’s environmental consciousness through the products and service they design, have much to offer as we consider the alternate pathways

toward meaningful employment for all and the destinations for our society.Through design briefs we capture and formulate the parameters for people and the products and service they use and how they engage with each other and with business systems and ecosystems. We seek and find renewal through these students’ works in striking the ideal work/life balance and the ways in which multiple disciplines may interact to serve community. Designers in the main are optimists. Being people, technologically, environmentally and economically oriented has its benefits and if successfully combined its exemplars. The final year students from the Bachelor of Industrial Design degree at the University of Western Sydney in 2011 have the skills and initiative to contribute new product developments and inspire through their innovative approaches.

The year just ended but in another way we just got started! Welcome Widevision 18. Dr Sasha Alexander PhD, BDesID, FDIA Associate Head of School (Industrial Design) and Industrial Design Head of Program


Welcome Welcome to the School of Engineering’s eighteenth edition of the industrial design end of year graduate show Widevision 18. The industrial design academic discipline resides within a school that also contains both engineering and construction management degree studies. This contributes to a rich and dynamic mix of academic endeavour and at times unexpected discourse leading to new synergies in learning and teaching and importantly new challenging pathways for our undergraduates and postgraduate students.

4 ď ľ WIDEVISION 18

Professor Brian Uy Head of School of Engineering

The UWS School of Engineering has become a popular destination of choice for prospective students and industrial design a catalyst in discussions pertaining to product and service design and sustainable futures which are of considerable interest to all disciplines within the school, industry, and the wider community in the Greater Western Sydney region and beyond.

Industrial design practice is not immune to the turbulence of globalised economies and despite the numerous challenges provided to graduates, practitioners and academia both past and future, the student works in Widevision 18 propose tangible pathways which seek to capture the community’s attention and that of prospective innovation-based industries. We trust that you enjoy Widevision 18 and maintain your relationship with our school.


ry ust ind eks l and g se fina ant rin and vibr ginee 18 of a En ion ne l of idevis sto oo ner Sch s W cor The mend nts.’ e . he is t ram com vem hie ivity rog nd act y p h a s ac rch stud earc n it sea ive res ts o ‘Re pons e in uden res ellenc ign st exc r des yea


Industrial Design Honours

The Challenge, the Process, the Ambition, the Reward

Dr. Sasha Alexander PhD, BDesID, FDIA 2011 Industrial Design Honours Coordinator

The class of 2011 Honours candidates approached their year contemplating both their own career trajectories and the opportunity to embrace our research led culture here in the School of Engineering’s industrial design department.

Widevision 18 will leave an impression that will influence the ways in which we lead our lives, as we age, as we communicate, as we seek the most efficient and effective environmental solutions underpinning the type of society within which we choose to live.

Student vied for the opportunity to collaborate and be supervised in a number of lead areas in industrial design research here at UWS including human environments, technology and human activity; user-centred design; biotechnology; community transport; high value add wood products; and design for disaster prone environments.

Is it too early to discuss your Masters degrees? Let’s leave that for the day after tomorrow. Congratulations once again!

6  WIDEVISION 18

Essential to any design project is a commitment to vision and the candidacy and application of Honours students and their supervisors in 2011 was no exception. There is no doubt that the design proposals presented in


11 ies 20 unit r ithin omm n fo d w s c eaco hel ay’ tod ue b ge led oth A tr now t b rs. e k nefi yea ctiv be ing .’ olle ith om e c n w e c tion t th ibitio n th crea oub exh w i bs ut d 8 follo ew jo 1 n ch itho n ‘W evisio e whi and Wid thos vation and inno new


Rochelle Calf (HONOURS) Supervisor: Ms Karen Yevenes

Vardare Vardare is an assistive community bus chair and seat belt concept for vision impaired older passengers. It not only encourages a comfortable and safe travel experience for the vision impaired older user, but also promotes the development of a relationship between product and user. Australia has an ageing population. As the baby boomer generation advances towards 50 years and older, Australia’s ageing population will increase dramatically. Many health conditions are related to ageing, with the most common being vision impairment. Community bus services are a main means of transportation for older vision impaired people. This service allows passengers to go shopping, socialise and attend medical appointments. The current design of community bus seats and seat belt systems does not encourage vision impaired passengers to travel independently, as they require assistance with identifying a vacant seat, as well as finding and doing up their seat belt.

8  WIDEVISION 18

Unobtrusive observations revealed that an alarming number of vision impaired passengers do not use their seat belt as it is deemed too difficult to find and

do up. Vardare’s seat belt system encourages the use of the seat belt while travelling, as the position of the ‘retracted’ buckle reminds the user that they have not yet secured themselves in the seat. This is achieved through positioning the retracted belt so the buckle sits in the middle of the backrest, protruding out and feeling uncomfortable for the user when leant against. The ergonomic shape of the chair allows a sense of security and protection to be established, as well as creating an immediate indication that the passenger is seated correctly through the ‘wrapping’ sides that help position them appropriately. The angled seat base padding assists the user to comfortably seat themselves as well as reducing the extent of muscle activation required for standing. Colour contrast and tactile indicators have been utilised throughout the design to assist the low vision user with identifying key features such as the seat belt buckle and seat belt clip. Vardare provides vision impaired older people the independence and freedom of travelling onboard community buses unassisted, improving their psychological wellbeing and life satisfaction.


9  WIDEVISION 18


Todd Hagarty (HONOURS) Supervisor: Dr Sasha Alexander

TRUTH THROUGH DESIGN

10  WIDEVISION 18

Creating value for furniture users: an exploration of space, multifunctional design and sustainable materials. ÔÔ Multi-functional furniture piece for the Australian domestic market. ÔÔ People are finding themselves living in increasingly smaller houses and apartments. Many people are discovering the challenge of furnishing these small spaces with traditional furniture. ÔÔ When not being used as a two person seat, the design outcome can be used as a small coffee table, low line side table or even as a bench seating option. This ability to adapt to changing demands allows owners of small houses to entertain guests without worrying about finding the space to store chairs, most of which remain unused for the majority of their lives. ÔÔ Uses laminated cardboard to create robust and sculptural design.

Design Influences ÔÔ Mid-century Scandinavian Furniture ÔÔ Arn Jacobsen, Borge Mogenson,

Finn Juhl, Hans Wegner, Kaare Klint, Ole Wanscer, Poul Henningsen and Verner Panton, Anthony Marshak, Frank Gehry Usually based between 1925 and 1975, the mid-century Scandinavian design period is characterised by the subtle influence of fine arts upon the construction of furniture design. The designs are often expressive, and structural with a solid emphasis on function. The designers of this period successfully combined the skills of designer and craftsman.


11  WIDEVISION 18


Andy Assur Esho (HONOURS) Supervisor: Mr Jean Payette

Liquid

12 ď ľ WIDEVISION 18

Since the late 19th century, man has experimented with the controlled development of cells to aid in human and environmental livelihood. Today, the technology and sterility within a cell engineering laboratory is unrivalled. There is a constant pursuit to enhance the quality and efficiency in a lab experiment, especially when dealing with the fragility of cell growth. When an orbital shaker is used to perform an experiment on clone cells it is crucial that the shaker maintains its integrity in order for the cells to endure the experimentation. Orbital shakers, the product in question, are regularly used within carbon dioxide incubators which can severely damage the product and its components. Many laboratories on a strict budget cannot afford orbital shakers of great quality due to their excessive prices. An orbital shaker of poor quality will fail more frequently and cause the cells to almost certainly die.

Liquid is an innovative orbital shaker that aims to minimise its failure rate when used in a CO2 incubator, as well as anthropometrically aid the user in repetitive use. It contains only one opening that is ventilated outward to counteract the oxidisation of the internal components. The shaker’s platform is attached by the use of neodymium magnets to allow for an easier interchange of the platform. The shell itself is ergonomically designed to suit the palm of a user when transporting it. The shells are electroplated with copper, an element with oligodynamic properties. This will diminish the microbial growth on the product that may become airborne. The control unit is detachable and allows the user to control the orbital shaker while it is in the incubator without opening the sealed door. This inhibits any disruptions within the atmosphere of the incubator. Specific atmospheric parameters are crucial for effective experimentation.


13  WIDEVISION 18


Phillip Jamolin (HONOURS) Supervisor: Dr Sasha Alexander

Your Space The ‘Your Space’ is a portable psychological shelter for disaster victims for use within evacuation and cyclone centres. The concept was pushed as a solution to the need for privacy and ownership within evacuation centres, which are assembled from existing halls, school gyms and community centers. The Your Space allows for a sense of comfort during a time of uncertainty. The concept allows for families to setup temporary homes next to their actual neighbours, or around family members or friends, to create a strong sense of unity and community. With the Your Space, streets are made creating public space which acts as communal space for occupants.

14  WIDEVISION 18

The shelter solution has two main forms which are the ‘2 PPL’ and ‘4 PPL’ forms, and which accommodate standard size Australians. The structure is made up of massive jigsaw puzzle like parts which connect to form a private space for families. There are variations of colour in the shelter giving occupants the ability to customise their home from others and

these colours assist in lifting the mood of the occupants. A family of four can use two ‘2 PPL’ forms or one ‘4 PPL’ form depending on their needs and wants. The space within the two forms gives allowance for packaging and can serve as a living space. The ‘4 PPL’ form has parts with windows allowing the light from the centre to enter the shelter space. The shelter provides for customisability and creative expression for users when space allowance is not limited users can create their own shelter form as the puzzle design allows for parts to mix and match. The aim of Your Space is to provide families with a private yet community centered shelter that delivers comfort and a ‘sense of space’ during the time of heartache and pain which follows a natural disaster.


15  WIDEVISION 18


Aaron Montgomery (HONOURS) Supervisor: Dr Sasha Alexander

Teralya

16  WIDEVISION 18

Problems initially sparking the requirement for this research were the depletion of finite resources, climate change and loss of biodiversity. It was established that consumer goods which are given little value contribute to these negative environmental impacts through the processes of raw material extraction, energy consumption throughout development, energy consumption in the product’s lifetime and finally in the disposal of the waste product. The theoretical solution was to take a consumer product with environmental benefits and influence consumers to assign great value to it. It was recognised that consumers hold jewellery in high esteem, so by incorporating jewellery with an environmentally conscious development practice, the eco-solution inherits the product’s value. The environmentally sound process chosen was the use of sustainably grown plantation timber. Timber is already a commonplace material however it’s typically used in low value items or items that don’t display it in a desirable way. It was proposed that if timber were to be used in highly valuable items then consumers and designers would be more inclined to use it.

Branding and packaging solutions assist in driving the message through that timber is a valuable material and using it is an environmentally safe option. The brand name, Teralya, was borrowed from the Australian Aboriginals who valued timber greatly. The word ‘timber’ translates to Teralya in the tongue of a people that cared for and valued the environment greatly. Brand services were developed with the intention of strengthening the value perception of the timber products. A maintenance kit performs the task of enhancing the structural and emotional durability of the product to ensure that its life time is optimised and its sustainability is withheld. A chain of custody information pamphlet was created to appeal to the consumer’s ethical, moral and environmental ideals. By promoting the development path of the timber product consumers become aware that they are supporting a sustainable and environmentally safe alternative to traditional materials used for jewellery production. The multiple design solutions along with the brand services displays timber in a fresh way that beckons respect from the consumer. First using timber over non-renewable resources is noteworthy. Second including maintenance kits with the products helps optimise the product’s lifetime which is also desirable for environmental purposes. Finally, the design solution will press sustainable improvements by lifting the social perception of timber and sway developers to use it rather than its unsustainable alternatives.


17  WIDEVISION 18


Ben Lipp (HONOURS) Supervisor: Mr Mauricio Novoca

Inclusive Gardening in Australia It is not an uncommon belief that gardening is the realm of the fit and able, a terrible misconception. Many tools in our world are designed to standards that take for granted that users are equipped with two arms. Living in the new era of customised mass production opens up the opportunity to look after all users, including those with a disability, the aged population and those people that must undertake their gardening tasks alone. This project aims to provide alternative garden tools for those with the use of only one arm, but the improvement to the function and ergonomics of the tools in question will also allow a more comfortable and productive time in the garden for an able-bodied user.

18 ď ľ WIDEVISION 18

Gardening is an activity that can and should be enjoyed by anyone. Many hand tools have existed for as long as humankind has been cultivating the land. This means that many of the modern developments on ergonomics and the desire to avoid injuries from poor use and repetitive strain have never been implemented in their designs. This project will make an important contribution to gardening in Australia as the population continues to age. Ageing is likely to develop conditions that impair ability to function in the garden environment. This research initially commenced from the current developments on design for disability to later encompass the general market. This change of strategy has the intention of proposing affordable solutions that can benefit both able and disabled markets by economies of scale, production, logistics and accessibility, etc. Sampling available from the disabled community has shown a deficiency in current tools available to a potential user with a severe impairment to their ability to perform the task of gardening, therefore, the worst case scenario was considered. This helped bring about the

idea of a design challenge: one arm tools for everybody due to need, such as a change in a specific circumstance. The risk of injury during physical activity is a present risk. Therefore, this project also examined how the improvement of ergonomic considerations of garden tools could assist in reducing the risk of common injuries. These gardening devices have been carefully considered in both their manufacture and the materials that have been used to make them both robust but still affordable. Keeping a low tech approach to design would allow for the devices to penetrate into any market as the need for training or servicing of the devices is avoided. This project has opened the door to prospective future developments in the design of gardening devices with a prospect of crossing over to the regional and rural agricultural fields, nationally and overseas. Therefore, this project sought to deliver a new take on existing garden tools. These consist of modifications to the existing wheelbarrow design that allow a user with one arm or an overall weakness to still lift, push and empty the contents. The second design focuses upon a supported arm brace that incorporates a telescopic arm that can be mounted with a variety of modular attachments. The final outcome of this project is the development of two assistive devices: The Garden Gauntlet, for use with tools such as the shovel and the rake, and the Lift and Tilt Wheelbarrow, which assists its user to move a wheelbarrow and empty it. By maintaining an accessible and affordable design, the outcomes of this project will be an inclusive result that will benefit anyone who chooses to use the devices.


19  WIDEVISION 18


Daniel Cork (HONOURS) Supervisor: Ms Karen Yevenes

Sughero Automotive transport is an aspect of life we have grown accustomed to within the modern world. Ask yourself what would happen if this facet of life became unavailable to you? How would you function, especially with the added stress of age related impairments such as arthritis, hypertension, frailty and osteoporosis?

20 ď ľ WIDEVISION 18

We can address this issue with community transport specifically tailored to be used by the elderly and disabled. There is an opportunity to reinvent and redesign seating and assistive aids to fulfill the mobility needs of an ageing population.


21  WIDEVISION 18


Angelica Montemayor (HONOURS) Supervisor: Dr Sasha Alexander

DAYL and enhance product features to separate it from its competitors. This enables them to encourage sustainable product awareness. End users – get to decide what will happen to the product after its use. They can determine whether the product gets recycled back into another life cycle, or discontinued and disposed for landfill. Their environmental responsibility is most important for the end of life of a product. So what did I find out about the life cycle phases? I found a cycling pattern of sustainable influences between all the phases, focusing on sustainable practices and a ‘greener’ lifestyle. Let me explain.

Everyone, meet DAYL! He’s flat packed, multifunctional, customisable, user friendly and super environmentally friendly! DAYL creates awareness for sustainable design in furniture, and focuses on the value of timber as a sustainable material. What my research entails to find out is ‘How can high value wood products help to conserve the environment?’ Focus on the key words: value, wood products and environment.

22  WIDEVISION 18

I approach this question by using a life cycle analysis to determine the value of materials and sustainability in furniture, through different points of view. Throughout the life cycle of a product, in this case wooden furniture, each stage of the life cycle has the ability to influence a products’ environmental footprint. The

life cycle process was separated into categories of involvement: designers, manufacturers, retailers and end users. The approach was to gain insight on how each phase values wood as a building material for furniture, and how sustainable responsibilities are established in their work. The plan for analysing each category is to specify their roles in the life cycle and how their values are reflected.

Designers initiate sustainable design into their products. They express the use of sustainable materials and methods of design, such as minimising wastes. They influence manufacturers to factor in sustainable features to products that can inform and aware consumers of environmental issues, which can guide production and material choices.

Manufacturers – deal with many things that can affect the environment, such as paints, wood treatments, stains, varnishes, polishes and adhesives. Manufacturers can manage sustainable product qualities and other practices in production.

Manufacturers have the ability to influence retailers to supply their products from local businesses, and give direction to designers on sustainable production methods. Manufacturers are in global competition with companies who focus their approach on lowering prices. To gain competitive advantage within the market, companies are concentrating on environmental and ecological benefits, such as sourcing locally, sustainable practices in the workplace, and providing valuable services and resources.

Retailers – are involved in the growth and maturity stage of a product. They promote products

Retailers have the responsibility to initiate the connection between the user and product. They can maintain sustainable

Designers – are involved in the product’s introduction stage. This is when designers can utilise sustainable awareness within their designs.

consumption through informative communication with consumers. They influence consumers by embedding sustainability into their brains with ‘attractive’ sustainable products. End users have the final say in the destiny of a product. They are able to create valuable relationships with products, prolonging its lifespan or reinventing its purpose. However, they also could dispose of products unsustainably with little knowledge of the consequences. End users influence the beginning stages of product design; their overall opinion and experiences with products affect the way designers develop ideas.


23  WIDEVISION 18


Jarad Ferrara (HONOURS) Supervisor: Mr Mauricio Novoca

PEARL Millennial Learners: ÔÔ expect to be able to work, learn and

study whenever and wherever they want ÔÔ are experiential learners that need guidance and direction, especially for learning ÔÔ are predisposed to technology and the interconnected networks they integrate within their daily lives. The project looked towards industrial and natural ways that these methods of expansion were applied.

24  WIDEVISION 18

The ideas of folding, packing and unpacking, transforming, concealing and revealing are each common in nature and suit well to housing the device.

The goal was to create an affective design that influenced and engaged the learner in their education. The Pearl fits to the Millennial lifestyle and attributes that shape Millennial Learners’ learning patterns. It is still not yet fully resolved, but the prototype is promising and there are elements that are innovative and may be patentable such as technical package implementation.


25  WIDEVISION 18


Industrial Design Coursework

Industrial Design is in the service of the social. To serve the social we draw on the technical. As designers we stand at this intersection and we look a long way down both those roads. On the other side we integrate both of these into a new way of doing things. This is our special skill. This is what we do best. This is our special expertise that sets us apart from an engineer or a sociologist. We work with both of them, and we are good at doing interdisciplinary stuff. Working with a wide variety of diverse professionals we bring together a vision more splendid than any one alone could conceive. We explore, experiment, develop, communicate and take risks. We can use our wide range of expertise to combine soft, fuzzy and uncertain variables with hard and precise data to bring together many different roads into a new way.

26  WIDEVISION 18

Mr. Christian Tietz Industrial Design Coursework Coordinator 2011

A new way, that ideally, leads towards healthier, brighter, more satisfying and enjoyable lives. Happy lives, in as much as things can make us happier. We aim to improve and make better the experiences and interactions with our physical environment. We are after all physical beings, with our minds we inhabit a real body, not a virtual one – at least not yet. We live in the world. We experience the world every single moment with all our senses and every fibre in our body. We shape the world and we are shaped by it. Now these new graduands will be the ones shaping our world, they are our future. They will go out and make their mark on the world. This is inevitable. They will lead us with their innovative expertise towards new experiences of the world. They came here to UWS to invest in themselves and in their future. Through this smart investment they will bring knowledge to life. And when we are older we may be able to appreciate the benefits they will have brought into life. Examples of the benefits we can expect are showcased in this year’s Coursework project. The students took a long hard look at peri-urban train commuting. They thoroughly investigated, explored

and experimented with the environment that increasingly people spend more than 1 and up to 2.5 hours in daily, each way, getting to and from work. And they took well-considered risks with their innovative and creative solutions. Trends to decrease travel times with ultra fast trains that connect urban centres are very capital intensive infrastructure options. Another way to address this issue is not to focus on making train travel times shorter but by making the time spent ‘on board’ more valuable, rewarding and personal – something to look forward to, special ‘Me’ time, after work and before coming home. The train has some unique qualities. Some of the questions are: ÔÔ How can design contribute towards making this a deeply rewarding experience that passengers and commuters would really look forward to and actually enjoy rather than begrudgingly tolerate as the cost of going to work and supporting a family? ÔÔ What is required to change from ‘Moving People’ to ‘Supporting a Mobile Lifestyle’? How can train commuting become more desirable, perhaps even an indicator of status, or become part of an integrated seamless service delivery? ÔÔ How can train commuting offer a sense of personal wellbeing, a time to relax, to learn?  ÔÔ What are effective ways to turn Graffiti and vandalism into constructive and economically rewarding activities rather than to pose a drain on resources and criminalising youth? On the following pages you will find the Students’ innovative and forward looking design responses to these questions. I hope you might glean the possibility of a new way of being in the world.


n is

esig

lD tria dus n In s.’ atio live bor ter olla bet ry c rds lina wa cip g to rdis utin inte ontrib gh rou in c ‘Th ctive effe

st mo


Mohammad Imran Bashir

ink.ID

28 ď ľ WIDEVISION 18

This chemiluminescent pen is the alternative solution aimed at reducing the graffiti removal costs and the related maintenance bills that CityRail has to pay every year. The ink is non permanent, allowing the graffiti artist to create an exciting new form of street entertainment.


29  WIDEVISION 18


Louis Foster

GraffAR GraffAR is the Virtual and Augmented Reality art creation system developed from the inspiring illegal street art found throughout the Cityrail rail network. The system attempts to bring the tools of emerging innovative technology to the world of stealthy, time and space restrictive art creation. Using the high-powered capabilities of smartphones, in conjunction with the ingenuity of open source software and hardware, the boundaries of possibility have become limitless. Artists use a simple web-based, smartphone-optimised, content management system to upload their artwork to the Internet. This artwork can then be viewed in ‘Augmented Reality’ by using the smartphone application, Layar. Every artist has their own personal GraffAR ‘tag’ that they can propagate publically to allow others to view their uploaded work. The small size and versatility of the tag allows artists to display and provide access to more of their work to a public audience.

30  WIDEVISION 18

To enhance the art creation experience, artists can also utilise the GraffAR ‘Virtual Reality’ painting tool. Based on the open source software and hardware developed by Johnny Lee and the Wiimote Whiteboard Internet community, an infrared light emitter is tracked

by an infrared camera to control the movement of a cursor within a handheld device. The movement of the infrared light creates images within a digital painting application on the handheld device. Digital art can then therefore be created in a similar way to actual street art in the same locations, or remotely, and displayed anywhere using the GraffAR ‘Augmented Reality’ system. The aesthetics of the website, semantic and contemporary, and the grenadelike shape, from the slang for creating street art ‘bombing,’ help convey the underlying use and inspiration for GraffAR. These two parts of the GraffAR system have massive potential for further development, especially into the realms of three-dimensional computer generated graphics. GraffAR received an honourable mention by the Layar development company due to the possibilities they saw in the system. The GraffAR web application, information and promotional videos are available here: http://www.graffar.com


31  WIDEVISION 18


Buster Hills-Hughes

expoLink designing a cultural journey The expoLink is a service that provides art and museum space within carriages on a train. expoLink provides an opportunity for the communities in the outer-suburban centres of Sydney and NSW to encounter and experience the cultural institutions that are intrinsically linked to Sydney’s CBD, opening new doors to promote social inclusion of the regions and expose the galleries to a wider a community.

32 ď ľ WIDEVISION 18

The expoLink has a focus on the type of journey that passengers can experience while o n the train, offering new and interesting exhibits for passengers to discover. Opportunities to look at the works of art on display, explore the collection of the gallery that is not on display using a smart phone/tablet app and have opportunities to sit and discuss with fellow train passengers. expoLink sets out to offer new experiences for train passengers in an interesting and exciting environment.


33  WIDEVISION 18


Ana Milian

COMFORT SEAT On the train for the everyday passenger. The concept is a modernisation of an already existing train seat after identifying problems such as lack of space, congestion and the overall lack of comfort of the passengers. The redesigned seat has been especially created to address these problems, providing in-seat entertainment, power outlet, foldable table, a comfortable adjustable head rest and retractable chair, along with a friendly ambience. The seat has passed Australian Standard ergonomic design, potentially lowering the risk of injury due to poor posture.

34 ď ľ WIDEVISION 18

Overall these seats will provide comfort and ultimately attract passengers off the roads.


35  WIDEVISION 18


Riley Moore

PrinTranScan 7:45 am Get out of bed at a somewhat supernatural speed to make the train. 8:00 am Just get to closing train doors in a scene that resembled Indiana Jones. 8:15 am Realise you left your assignment on the counter at home.

The Idea of the PrinTranScan came from the usual rush to uni one day, and that there would be so much time saved if I could print my assignment while in transit. ÔÔ Cars – too small. ÔÔ Buses – not enough free space. ÔÔ Trains – perfect! The unit allows users to: ÔÔ scan documents (overhead photo

scanner) ÔÔ print documents (internal Xerox

8:30 am Think all hopes are lost, until you remember the PrinTranScan unit on the triain!

36  WIDEVISION 18

8:45 am Assignment is soon printed, and the commute now seems much more relaxed.

printer) ÔÔ access email and internet services

(wireless 3G repeater). The unit is situated on the OSCAR train platform in the boarding/vestibule area, retaining disabled access and requiring no change to service areas in this space.


37  WIDEVISION 18


Matt Quigley

Folio Folio is a Portable Desk solution that enables you to take your office with you. Designed for specifically for Apple’s MacBook Pro, Folio offers two main features:

38  WIDEVISION 18

A Case Folio protects your notebook in a stylish carry case for when you’re ‘on the go’. The case provides an A5 sized note-taking drawer complete with a pen custom designed for the unit. What‘s more, the Folio insulated inlay not only provides protection against bumps and scratches but also acts as a cooling device, drawing and storing heat away from your lap.

A Stand Simply roll back the lid to improve the viewing angle of your notebook, eliminating stress in your neck. Raising the notebook’s keyboard to a 15-degree angle also assists in ergonomically positioning the wrists to a neutral position to help reduce strain, while steering heat emissions away from your lap. When you’re done, the magnetic lid snaps back in to place securely to safely store your notebook for the journey ahead.


39  WIDEVISION 18


David Rigby

STURDI Workstation

40 ď ľ WIDEVISION 18

The STURDI Workstation creates a work environment that is permanently fitted to the rear of a seat on a train. It will ultimately give commuters who use it many options for completing tasks through different mediums and devices. The STURDI creates a workable environment for reading, completing paperwork, or using laptops and it can also house tablets securely in several different ways when closed and open. Power points, Wi-Fi internet and storage are also provided by this concept.

The design will create a unique experience and a commute that is both practical and productive, delivering worthwhile time every morning and evening to regulate the train commuter.


41  WIDEVISION 18


Gregory Underwood

S.e.a.t s.e.a.t (Seating Environment Arrangement Technology) is designed to improve the passenger’s social comfort and physical comfort by way of self-organising train seating groups. The design is inclusive of a seat cover and a smart phone application. s.e.a.t directs and suggests passengers into seats where their own preferences, activities and habits complement those of the passengers around them. The user is able to create their own seating groups, find paired friends or tag seats regarding damage, cleaning or graffiti.

42 ď ľ WIDEVISION 18

The seat cover incorporates LED lighting, sensor technologies, NFC (Near Field Communication technologies) and seat heating.


43  WIDEVISION 18


Alexander West

De-stress destination

44  WIDEVISION 18

This project looked at the commute by train from the outer suburbs into the CBD. Interviews, surveys, fly-on-thewall, journal and book research was undertaken to understand the problems faced by commuters during their trip. Many commuters, though stressed by work and wanting to get home, would often partake in de-stressing activities before starting their train trip home, which they saw as unpleasant and stressful in itself. De-stress Destination changes that by providing a train carriage where commuters can enjoy onboard yoga classes.

The carriage features: ÔÔ an open plan space with artificial

grass ÔÔ a change room ÔÔ lockers for personal items ÔÔ a free booking/payment app.

1 Carriage livery: De-stress Destination 2 Open plan floor area 3 Yoga class in action 4 Change room for privacy 5 Lockers for personal effects


2 3

4

5

45  WIDEVISION 18

1


conceptualisation & delivery

Balin Lee: Water electrolysis hand hygiene for developing countries 2010

Your design research partner for Greater Western Sydney

Daniel Condon: V.I.S.I.O.N. bowl for vision impaired 2010

study@uws.edu.au

12/04/11 12:34 PM

The School of Engineering Industrial Design Group is an institutional member of the Design Institute of Australia, International Council of Societies of Industrial Design, and the Design Management Institute.

T: 02 4736 0320

The University of Western Sydney offers undergraduate courses in industrial design and engineering and postgraduate courses in engineering. Your next innovation needs the fresh design thinking and an outcome centered approach our graduates can offer.

International Council of Societies of Industrial Design A Partner of the International Design Alliance

Visit our capability online or in-person: www.uws.edu.au/engineering/soe

» industrial design » design management » design research » strategies for sustainability » engineering technology » product to market

SOE2617 Curve Magazine Ad 1.indd 1


Widevision 2011