Technopod by Vanessa Horig

diploma project Technopod A sofa for modern lifestyles & technology Sponsor : Esthete, Bangalore

Volume : 1 student : vanessa hรถrig programme : Graduate Diploma Programme

guide : cs susanth

2014 industrial design faculty (furniture & interior design)

National Institute of Design Ahmedabad

The Evaluation Jury recommends VANESSA HĂ&#x2013;RIG for the Diploma of the National Institute of Design

IN INDUSTRIAL DESIGN (FURNITURE & INTERIOR DESIGN)

herewith, for the project titled "TECHNOPOD" on fulfilling the further requirements by

Chairman Members :

*Subsequent remarks regarding fulfilling the requirements :

Registrar(Academics)

technopod Comfort for the progressive

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originality statement I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgement is made in this diploma project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgement. I further declare that the intellectual content of this Diploma Project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This diploma project (or part of it) was not and will not be submitted as assessed work in any other academic course. Student Name in Full: Signature: Date:

Student Name in Full: Signature: Date:

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I hereby grant the National Institute of Design the right to archive and to make available my diploma project/ thesis/ dissertation in whole or in part in the Institute’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material.

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acknowledgements

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I would like to begin this document by thanking my guide CS Susanth, for motivating me to explore and push my limits. Without him I would not have reached as far as I have. Next I must thank Mr Hamsa Vardhan, my boss and mentor at Esthete, for firstly giving me the opportunity to undertake my Diploma project with his firm, and secondly putting his faith in me to design something worthy of his time and resources. I am also thankful that he provided me with guidance and relevant feedback and inputs to shape my ideas into a final design. I am grateful to Uncle, and all the workshop bhaiyyas, who helped me to bring my idea to life. The city of Bangalore for it’s wonderful weather and interesting restaurants.

I would like to thank the Furniture & Interior Department at NID for imparting me with 3 years of knowledge and appreciation for this field. My faculties Mr LC Ujawane, Mr P Ramakrishna Rao, Ms Andrea Noronha, Ms Nandita Mehrotra, Mrs Nijoo Dubey and countless others who have helped me become the designer I am now. Also my peers, juniors and seniors for sharing information, tips and making class more fun. I would like to take this opportunity to thank the Director, Mr Pradumnya Vyas, the Chairperson Education, Mr Vijay Singh Katiyar, the Registrar, Dr Vijaya Deshmukh and other academic staff for ensuring that we have an enriched and enjoyable educational experience at NID. All my friends, not only at NID, but also back home, for motivating me, advising me and keeping me company in a new city.

My uncle and aunt, and my cousin Nikhil for letting me stay with them in their wonderful home in Bangalore for the duration of my Diploma Project. Their hospitality and kindness will be remembered forever. Lastly, my parents for supporting my decisions all these years, and having faith in my abilities. My cat Gingu for providing me with comfort and comic relief all these years.

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Apart from this, the sofa caters to the storage needs of modern compact homes. It strives to fulfil the combined purpose of other living room furniture like dining table, coffee table, cupboards, lounge chairs, armchairs and sofas. It is aimed at the youth, young bachelors and IT professionals who might spend most of their post-work time in the living room, or who might be living in smaller spaces, hence requiring multifunctionality of furniture. The sofa intends to fulfil their practical and entertainment needs. Alternatively, it can also be used in office spaces especially co-office working culture like Google or Facebook. The sofa design went through various stages of research, conceptualization and iterations, visualization and finally prototyping and user testing. The main focus areas were form exploration and multifunctionality.

The experience of having to deal with a client with various restrictions of budget and practicality was a novel adventure. It made me see that apart from aesthetics and ergonomics, designing is determined by so many more factors and variables. Realising that this diploma project was the beginning of a professional life was a huge eye opener, and it helped me grow as a young individual and designer. Through experience, we realise and learn various things about ourselves as well, and it helped me to find a different, more mature side of me. Apart from my diploma project, I also worked on a few kitchens and wardrobes for clients of Esthete. I directly dealt with customers and understood the minor aspects of client relationships. Since it was a small firm, I also learnt a lot about setting up a business and how an enterprise runs.

national institute of design

This project deals with designing furniture for a modern living scenario, mainly as an accessory with technology. The sofa designed within this 5 month period tries to solve various issues that are faced by users since the large scale inclusion of technology in our lifestyles. It also caters to new age lifestyle habits like TV dinners and multitasking. It has numerous features that assist in the easy and ergonomical usage of devices such as laptops and cell phones.

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abstract

contents about nid

first thoughts

material research

fid at nid

user survey questionnnaire

joinery

past projects

user survey results

prototyping

100

diploma project at nid

conclusion

laziness v / s comfort

working drawings

108

design requirements

whole set

110

competition

technopod

116

ergonomics

costing

132

scaled model

136

feedback & conclusions

138

reflections

140

image credits

142

bibliography

143

about esthete

project brief & scope

methodology

timeline

scenario

redefined brief

conceptualization

2 design directions

final concept

detailing

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Students from all over the country, and sometimes even abroad, attend NID after getting through a rigorous 3 stage entrance exam. This makes NID a melting pot of various cultures, languages and ideologies, enriching the students’ all round development and education. It is these factors and the quality of education that students are offered here, that makes the National Institute of Design India’s premier design institution. Source : www.nid.edu

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NID aims at educating to create design professionals of excellence to help meet India’s diverse design needs. The mandate for NID is to offer world-class design education and to promote design awareness and application towards raising the quality of life. NID has taken five decades of pioneering hard work to develop a sysThe National Institute of Design, India, was established in September 1961 by the Government tem of education which lays more emphasis on learning than on mere instruction. Over a span of India with assistance of the Ford Foundation of the last 50 years, the institution has made it and the Sarabhai family, based on the recoma point to lay emphasis on learning through the mendations made in the India Report by Charles development of the mind and skills of designand Ray Eames. Today, more than 50 years later, ers. This technique has motivated students to the National Institute of Design is internationally perform better and has given them an edge over acclaimed as one of the finest educational and other design professionals. research institutions for Industrial, CommuniThe education programmes under each cation, Textile and IT Integrated (Experiential) discipline are designed to meet these objectives Design. It is an autonomous institution under so that students are able to progress through the aegis of the Ministry of Commerce and their courses in an integrated manner. The Industry, Government of India and is recognised curriculum generates the scope for opportuby the Department of Scientific and Industrial nities to integrate experiential and explorative Research, Government of India as a Scientific learning in order to understand and achieve a and Industrial Research Organisation. high degree of creative innovation and quality. It provides thorough understanding of technical, managerial and design fundamentals In July 2014, the National Inalong with a strong stitute of Design was declared exposure to real life ‘Institution of National Impor- situations so that they are able to experience tance’ by the Act of Parliament, how the intellectual, by virtue of the National Insti- creative and other skills acquired could tute of Design Act. be adopted to benefit the user, society and industry. Image credits : Pranay Arun

about nid

fid at nid The first year of the Undergraduate Programme at NID is the Foundation Programme. This rigorous programme ensures students are wellversed with all aspects of design, and their understanding of design basics is thorough. After this introduction to basic skills, students are required to choose a specialization for the next 3 years. I chose Furniture & Interior Design (FID) since I was interested in Space planning and working with my hands. Over the years, I have developed a passion for Furniture.

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1 | Sem 3 : Stool for material exploration 2 | Sem 7 : Stretcher for Dogs - Design for Special Needs 3 | Sem 6 : Coat hanger Bamboo

The Furniture and Interior Design Course is a specialized programme under the Department of Industrial Design. The focus is on learning by doing, with a strong hands-on approach. Students gain a thorough understanding of form, structure, context and material by building workable prototypes in the workshops and labs. A combination of courses, projects and field visits ensures exposure to both the craft sector and mass manufacture. The subjects of waste material, ergonomics, modularity, anthropometry, traditional techniques, lifestyle, manufacturing, and customization are concerns of the furniture designer. Furniture is a large component of interiors, and a good knowledge of furniture helps design interior elements.

4 | Sem 2 : Tablet chair Simple Furniture Design 5| Sem 5 : Lounge chair Form 3

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I was also fortunate enough to attend a 4 month exchange programme to HSOWL, Detmold, in Germany. This experience enriched my design 5 outlook, and has shaped me to become the designer I am today. Over the last 4 years, I have explored various disciplines of design apart from FID, by watching and learning from peers and friends in other disciplines. This has helped me become an allround designer, who keeps various factors in mind during the design process.

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As a student of FID, I have explored various materials and attended a number of courses on a plethora of topics related to space, furniture, products and industrial design. I have taken part in courses like photography, simple furniture, folding furniture, form, material exploration and system design. My design education in NID has a been a wholesome experience, giving me a complete insight into the various aspects of design, along with in-depth expertise in Furniture and Interior design. I have developed a passion for Furniture design, especially solid wood furniture. I enjoy ideation and model making the most. Using colour in spaces and its effect on users intrigues me.

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past projects

diploma project at nid

As part of the project the student is expected to formulate a brief and choose a faculty to guide them through the process. A proposal of the project is drafted and is submitted to the college. This then becomes the fundamental guideline for the rest of the project. Selection of an appropriate Diploma project is the first and most crucial step of the whole process. In my case, I was largely interested in pursuing a project in Furniture design rather than space or interior design. Even within Furniture design, I wanted to explore Solid wood furniture, since I am interested in taking that further as a career.

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As part of the 4.5 year graduate diploma programme in design, the student is expected to undertake a Diploma Project. This is an extensive investigation in the field of design on a topic closely allied to their discipline of study. It is the final academic project for the student and provides an opportunity for students to demonstrate their expertise as independent practitioners of design. After its completion, a jury comprising faculty and external members evaluates the students’ performance.

The library at NID’s Ahmedabad campus (Image credits : Amritpal Singh)

I therefore started with an extensive search on solid wood furniture manufacturers in India, since I wanted to see my design prototyped and contribute to that part of the design process as well. I sent mails to numerous firms all over India. However in the end, I got the most positive and promising feedback from Esthete and decided to work with them.

1 | A bar unit by Esthete 2 | My boss and mentor, Hamsa vardhan

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Esthete was started by Mr Hamsa Vardhan, a potter turned interior designer who worked with Mr Edgar Demello, renowned architect in Bangalore, before starting Esthete in July 2011. 2 He is the founder, manager and principle designer at Esthete. During my 5 month period at Esthete, I worked directly under his guidance and supervision and learnt a lot about setting up a company and dealing with clients, apart from other things.

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Esthete is a 3 year old start up based in Bangalore. The firm is dedicated to Customized Interiors and Furniture Solu1 tions with their own manufacturing facility in the heart of Bangalore. Esthete focuses on unique designs, space saving solutions, site-specific ideas that are aesthetically appealing, and above all, quality workmanship. They also design and manufacture quality products for the home and garden, including all kinds of solid wood furniture, custom kitchens and wardrobes, lamps and accessories. Bespoke, solid wood furniture is their USP and all products are made to suit the individual needs of the clients.

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about esthete

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The firm also consists of other designers and architects, a 3D visualiser, an account2 ant, a supervisor and workshop staff including 15 carpenters and polishers. Esthete also conducts free monthly carpentry workshops for the public to understand and appreciate the art of woodworking. Apart from educating the public, it acts as a PR tactic for the firm, where people get to know Hamsa and his work, increasing their interest in the firm. Esthete has a factory and a Home design studio located in Bangalore. A new, larger factory set up is underway, and might become a reality as the company grows. 1 | A kitchen in beech wood by Esthete 2 | The Esthete workshop

Factory : #24, 3rd Main, Thavarekere Main Rd, Bangalore 560029 Studio : #99, 1st cross, Parallel to 80ft Rd, Indiranagar, Bangalore 560029 Contact : 91 8884849490 hamsa@esthete.in

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modern comfort multi smart simple contemporary incorporation

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scope The brief was intriguing and was flexible to interpretation, and provided many design opportunities. The project aimed at providing customers with solutions to new age problems related to modern lifestyles and technolLiving room seating for modogy. Modern houseern lifestyle and technology. holds that are keeping up with technological advances have a whole new plethora of gadgets and machines that have been added to the lifestyle. Along with these new gadgets comes various peripheral concerns when they are used in a living space, be it storage or ergonomical usage. This includes devices like tablets, laptops, smart phones, gaming & other remotes, docks, etc. Traditionally, furniture was not designed to incorporate all these devices. However, with advancing times and lifestyles, furniture too must keep evolving.

Although living room seating is not a new sector of furniture design, the incorporation of new age technology gave it a current relevance. Wooden furniture is seen by many to be traditional and old-school, and there is a need to create innovative designs with a contemporary aesthetic that appeal to the Indian customers. As the nation and technology advances, more and more people can afford to buy gadgets like laptops, cell phones, tablets, gaming devices and consoles. The aim was to try and create designs that could seamlessly incorporate such a lifestyle, so that the living space did not look cluttered and crude.

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The project brief is the foremost guiding light for the student to commence the Diploma project. It is also one of the deciding factors in choosing to work with a particular firm. During the initial talks with Esthete, it was determined that Hamsa wanted to develop a new seating range for the living room. He wanted this furniture to be for modern technology driven lifestyles. The main business of Esthete is cabinetry in the form of wardrobes and kitchens, and he wished to explore a new lucrative vista of furniture, namely living room seating. However he wanted to have a value addition to the generic seating seen in living rooms today. Thus the brief given was living room seating for modern lifestyle and technology.

project brief & scope

methodology

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In order to understand the complexities of the brief and the current scenario, a short research on the existing and proposed advances in individual technology and gadgets was conducted. Another research field was how users live with these gadgets and their use in the given space. The concept of a modern lifestyle and the meaning of technology was explored in depth. A quick user and market survey was conducted as well.

research ideation refinement visualisation prototyping The next phase was putting down of basic ideas and concepts in the form of ideation and iterations. Various approaches to innovation were explored. Form language and the look and feel of the sofa was investigated thoroughly through numerous sketches. Relevant concepts were then modified and detailed. This stage included ergonomic and aesthetic refinements and adjustments. Small scale models and 3D renders helped in the visualisation of the final outcome and added depth to the concept. The final stage was detailed working drawings and prototyping including carpentry, polishing and upholstery.

timeline march

april

may

june

july

3 weeks

initiation 3 weeks

research 4 weeks

ideation 4 weeks

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visualization 3 weeks

prototyping

Onwards

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refinement

scenario As part of the preliminary research, the working brief was dissected and analysed to understand the main keywords, living room, lifestyle and technology.

living room The fact that the furniture to be designed was meant for the living room, meant the scenario of the living room had to be understood before anything else.

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Space division in a living room.

Another important aspect of the living room, was understanding how the space is divided. Generally, the sofas and the coffee table together with some lights or vases, create the conversation space. The conversation space is mostly aimed at a focal point in the living room such as a balcony, fireplace or TV. The elements of this conversational space can be arranged in many combinations as per the requirements of the user. Here, the sofa generally is the largest and fundamental furniture component. Around the conversation space, walkways are formed for movement of people into and out of the room. A modern living room is uncluttered and minimalistic in design. It has a clear colour scheme, and sometimes there is an accent wall which becomes the focal point of the room. The furniture has clean, geometric lines, and is generally made out of glass or metal. In the case of wooden furniture, it has no carving and no fussy details. The seating is as large as possible, to suit the room size.

The living room is the space where we spend time with others, relaxing, chatting, watching television, reading the newspaper and much more.

For this, a detailed study of the activities, objects as well as the other furniture found in a typical living room was done. In this context, objects means tangible items like gadgets, house hold accessories, newspapers, books, etc. Activities include those which are undertaken alone, and those which are engaged in the company of others. These activities could range from relaxation to discussion to work. The other furniture already present in the living room would play a role in the interaction with the furniture I was going to design.

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modern lifestyle With the changing times and advances in all means of life, man’s lifestyle has also evolved and changed, for both good and bad. Although western lifetsyles might be much more advanced than India, the Indian way of living has also been advancing and changing with leaps and bounds. As the country develops, there is a development of technology, communication, etc. On the other hand, there are fading cultures and traditions. Man’s life is faster and his health is deteriorating. Within the household there is reduced family interaction.

This is a generaLifestyle is the tion driven by techperson lives. nology and gadgets. There is a constant need to have access to the internet and be in touch with the rest of the world. Mankind has less time, and is constantly in a hurry. Modern aesthetics look for sleek lines, clean design and uncluttered design.

way in which a

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technology Technology can be both beneficial as well as harmful to humans in various ways. On the one hand it has made man’s life easier and more comfortable, but it has brought with it a number of evils related to health and environTechnology is the application ment. of scientific knowledge for Technology will practical purposes, especially shape the future. Modern inventions in industry. like 3D printing, cloud computing, social networking and augmented reality, to name a few, will change the course of mankind as we know it. Life has become more mechanical, efficient and fast paced.

gadget ownership (usa 2012 adults 18+)

Cell phone

85%

Desktop computer

59%

Laptop Computer

52%

Gaming console

42%

The highest percentage of Smart phone users (62%) are in the age group of 25 - 34 years. Source : http://www.pewinternet.org

This statistical data shows how wide spread the use of technology is in young adults and professionals. Gadget ownership is also affected by many other factors like income, education, etc. Younger, higher-income, and more highly educated seniors use the internet and broadband at rates approaching—or even exceeding—the general population; internet use and broadband adoption each drop off dramatically around age 75. Thus technology usage, though highly concentrated, is not completely isolated in young adults. Determining an exact target audience was therefore not an easy task.

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first thoughts

what should the seating be ?

Comfortable Modern Minimalistic Efficient Easy to use Ergonomical Convenient Multifunctional Integral

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Storage (both visible and hidden) Convertible Combination and optimisation of various furniture types

After the initial research, a vague image of what purpose the seating was supposed to fulfil began to emerge. Very basic ideas and concepts were noted down or sketched out. These provided a base on which the user questionnaire was modelled.

The seating would probably be a sofa or armchair, or a combination of both. It would have to meet the needs of a variety of users, most importantly users of technology in varying age groups. However, it should not be too specifically designed only for that, else other users might be unable to value it. It should foremost be comfortable and then various value additions could take place.

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user survey questionnaire

Apart from internet research, it is always more insightful and extremely crucial to conduct a user survey. This provides an in-depth understanding of the user scenario, and problems and issues faced by them. The relevance of a survey is felt especially when live projects are undertaken outside the college scenario. Here, the end product must reflect the user’s wishes and needs. As part of the user survey conducted at Esthete, mainly existing clients were interviewed. Users of various ages and from different parts of Bangalore were interviewed. The interviews included home visits in most of the cases so that their present living scenario and placement of furniture could be observed. The user survey was formulated based on preliminary research, and the type of questions were broadly divided into topics like space, activities, furniture, objects and future sofa. In this way it was easy to relate the findings to the research from internet sources.

Basic personal information regarding name, age occupation, family members, duration of stay in the current house, house layout etc was talked about before starting the actual questionnaire. about the space How long have you been living in your current home? Which is the most important room in the house, according to you? What does your living room look like? (Describe the layout / furniture / objects / lighting, etc)

activities How many hours a day do you spend in the living room? (On weekdays, weekends) What are the activities you do in the living room? TV How many hours of TV do you watch a day? At what time of the day is this? Do you do any simultaneous activities such as checking emails, chopping vegetables or ironing while watching TV? READING Do you read much? If yes, where do you usually sit to read? Do you lie down on the sofa and read? WORK Do you work from home? If yes, where do you usually sit? What would you do while working? (Use your laptop, make phone calls, take notes) RELAXING Do you like to eat or drink in the living room? Where would you keep the plate or glass? Do you take naps in the living room sometimes? Where? ENTERTAINING OTHERS Do you invite guests home often? If yes, where do you entertain them? What do you usually do when you have guests over? GAMES Do you ever play games? Where? Do you feel like the space in the living room is sufficient for this purpose?

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objects How important are your personal objects to you? (cellphone, tablet, laptop) Do you feel the need to constantly have access to them? What is the current location of gadgets like remote controls for the TV? How far are plug points from where you usually sit? Is it convenient to charge your laptop or cellphone while still having access to them? What are the items that you use the most in the living room? (Remote controls, books, newspapers, etc) How lazy / unwilling would you be to go and pick up an item kept on the other side of the room? Do you find a reading lamp important for reading? Do you have one? If there was insufficient lighting would you get up and switch on a light?

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furniture What according to you, are the most essential furniture items in the living room? Do you have a coffee table or end table in the living room? What items are generally kept on it? How far away from the sofa or seating is it kept? Is it convenient to access the things kept on it? Do you have enough storage space for all the items in your living room? Does your sofa sometimes double as storage space for remotes or newspapers?

future sofa Would you like to control the whole living room from the sofa? Do you find the need for a sofa with features that complement today’s technology? Do you think furniture should be at par with modern technology in today’s age? Would you be willing to pay a little extra money for valuable inbuilt features that add convenience to your living room experience? What according to you are the most important features of a sofa? (comfort, aesthetics, easy to use, multifunctional)

user survey results

A few excerpts...

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interview 1 Pallavi (F, 25 yrs, Studying literature) Pallavi is an avid living room user since she spends almost all her time at home watching television. She does so by lying down on the sofa, and sometimes she may fall asleep too. She therefore found it very inconvenient to have the plug points at the other end of the living room. Her idea of a future living room is being able to control everything from the sofa.

interview 2 Shefali Hamsavardhan (F, 25 yrs, Electrical Engineer, Home town in Coorg, Since 2 yrs in Bangalore) Although she did not spend much time in the living room, and preferred her bed, she had very fixed ideas about the living room, and 1 do’s and don’ts. She did not like having cupboards in the living room, and felt that the sofas and coffee tables were enough. She believed that furniture should upgrade with changing times, and should better the lives of users.

1 | Rukiya Muhammed’s living room in Bangalore. 2 | Mr. Jayakumar relaxing with his wife and dog in the living room.

interview 3 Nilesh (M, 28yrs, BPO employee, renting a 1 BHK with brother since 3 yrs) Nilesh is a young IT professional who works odd hours. He too spends a lot of time in the living room, since he watches movies, reads the newspaper, and eats his meals in the living room while watching TV. He was open to the idea of multifunctionality of a sofa, especially in a small space.

interview 5 Rukiya Mohammed (F, 41yrs, BSc Home science, School teacher, Home Mumbai, Bangalore since 21 yrs) Living in an affluent household, Rukiya had 2 La-Z-Boy lounge chairs at home. She had the habit of relaxing and usually napping on these comfortable loungers post lunch. An intriguing statement was that her kids’ choice of seat was determined by the plug points in the living room, since they had to charge their gadgets so often. She preferred an uncluttered living room, and every object or gadget had its designated place for storage, and her kids were encouraged to keep everything back in place. She also preferred compact furniture and living rooms with lots of empty space.

interview 7 Mr Mani (M, 81 yrs old, Retired, works as a consultant, living in the current house since 25 yrs) He was another senior citizen who used a laptop and Smartphone daily. Since he has been living in this house for long, a certain schedule and various norms had developed over the years. He has a particular seat which he always sat on, and read the morning newspaper and drank coffee. Since he sits on a particular seat on the sofa and uses his laptop, he got a plug point installed close by for easy charging. He felt that all-in-one sofas were for lazy people.

3 | Mr. Mani’s large living room. 2 | Mr. Mani’s favourite spot in the living room.

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Surajit Sharma (M, 30 yrs, Design graduate, has recently moved into a new 1BHK flat) Since Surajit did not have much furni3 ture in his new home, he preferred to spend his time in his bed to eat, sleep and watch films on his laptop. As a fresh graduate he felt the need for hidden storage and compact furniture.

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interview 6 Mr. Jayakumar (M, 62 yrs, an avid technology using senior, is shifting into a new home soon) Since retirement, he watches TV for most of the day. For this he has a particular seat and remotes are always kept on the table next to it. He was introduced to Smart phones by his son and has been using it to check emails and surf the web. The cell phone is always within reach, even at home. Although he and his family do not eat and drink much in the living room, they do occasionally enjoy a cup of tea and a few biscuits.

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conclusion

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A broad spectrum of the demographic was interviewed from different economic backgrounds. The aim of the user survey was to understand the scenario and importance of a living room in Indian households, in a variety of age groups. The answers obtained were diverse and they helped in gaining an over view. Insights into their daily lives and activities in the living room were obtained. An understanding of their lifestyles, and attitude and relationship with technology and gadgets was attained.

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The most stark insights gained were that age played a large role in how the multifunctionality and complexity of products is viewed. The size of the house is also a deciding factor in furniture selection and user expectations from a furniture piece. Over the years, customers develop affinity towards a certain seat in the living room. This provides an opportunity for designers to concentrate on certain seats for frequent users, while other seats can be used by visitors or less frequent users. Also, there is a tendency to keep certain articles like newspapers and remotes in particular places. Users can be therefore influenced to use certain storage spaces when purchasing products. The most eye opening conclusion from this user survey, was the contrast in the old and the youngâ&#x20AC;&#x2122;s idea of comfort and laziness.

things that contribute to physical ease and well-being.

For the elderly, comfort is something that does not cause undue pain and discomfort. However, having everything within reach, not doing the basic activities, translates into laziness. For the young on the other hand, having everything within reach, and not having to move is comfort. The line between laziness & comfort is thin. 2014

While the young want everything within reach and accessible, the older people, inspite of their seniority prefer to get up and get things. They have a clear sense of rightful placement of objects and prefer to have everything organised and in place. The young on the other Comfort is a state of physical hand are flexible and ease and freedom from pain don’t mind leaving remotes and newspaand constraint. Comforts are pers lying around.

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gy; idleness.

being ener-

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The difference of the concept of laziness and comfort to people depending in their age is very stark. When asked about an ‘all in one’ design, and being able to ‘control’ the living room from the sofa, there were mixed opinions from users. There was a clear difference between Laziness is the quality of the old and the young unwilling to work or use generations.

laziness v/s comfort

design requirements

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The sofa, once installed at home needs to be able to fulfil various needs and functions. Along with being a sofa, value addition was one of the key purposes of designing a new sofa. It therefore had to meet the following scenarios :

First and foremost it should serve the purpose of comfortable and ergonomical seating. In addition to normal seating, the user should be able to relax further. This could involve stretching out legs on an ottoman and reclining the backrest. The sofa should provide storage solutions for various items found in the living room like books, remotes and newspapers. The user should be able to keep food and drink items like plates and cups/ glasses on the sofa, eliminating the need for coffee tables in the living room. The sofa should be compact enough to fit into smaller homes, but should at the same time provide ample seating place for the user. There should be a power source for users to use gadgets like Smart phones, tablets and laptops while charging them. There should be a light source for users to be able to read without having to switch on larger lights in the room. There should be a certain amount of modularity available for varied users to be able to fulfil their needs.

sample scenario Girish Bhatt, a 28 yr old resident of Mumbai, has recently moved into a new 1 BHK flat after starting a job with a multinational company. He lives alone, and works from 9am to 6pm. On weekdays, he wakes up at 7 am. After making himself a cup of tea and a bowl of cereal, he enjoys reading the news in online newspapers on his Ipad. He always needs his phone by his side in case he gets calls from his boss at work or a message from his friends, who he is in constant contact with. His flat does not have a dining room, or a dining table, and he prefers sitting in the living room and eating his meals in front of the TV. He plugs his cell phone in for charging before he goes to get ready for work.

Image source : http://www. immig-chicago.com/

By the time he gets back from home in the evening it is already 7 30 and he either cooks something small for dinner or orders food from outside. He eats these in the living room, while watching TV. After dinner he brings out his laptop and checks his emails. He also reads some folders from clients, and takes notes for the next dayâ&#x20AC;&#x2122;s client meetings. The TV continues playing in the background, and sometimes he laughs at the jokes in his favourite shows. Finally before going to bed he attends a Skype call from his sister in London. He goes to bed at 1 am. On weekends, he likes to relax in the living room, watch movies on TV and play games on his gaming console. Sometimes he has friends over and they relax together over a few drinks and snacks. How will the sofa designed help a user like Girish?

competition

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Before starting to sketch, a short competition survey was done on the existing products already available that had a similar brief to that provided by Esthete. Images were collected and articles about new designs were read online. The practicality and functionality of these designs were examined. This provided an introduction to the sector of furniture for technology. All the designs that were found were non-Indian and these products were not available in India. This opened a new vista for my design to be accepted by Indians.

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ergonomics

Since it was the first attempt to design a sofa, some preliminary research about sofa design was done. For this mostly websites were referred to. A comparison of ergonomic norms for sitting on a chair versus sitting on a sofa was made. Compared to chairs, sofas have a ‘sink-in’ factor due to the usage of upholstery. This increases the pressure on the hips and back which could be harmful,t especially for elderly users. Thus, upholstery selection is important. Armrests provide a more comfortable prolonged seating experience. They also help in getting up from an upholstered surface, especially for people with back problems. These should be placed at elbow height.

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The height of the sofa should be appropriate so that majority of the usersâ&#x20AC;&#x2122; feet rest flat on the floor while sitting. The angle at the knees should be 90 degrees. If less or more, the strain on the back and spine increases, and users tend to slouch to relieve the pressure. If the sofa was to recline, the seat back angle should ideally be between 90-100 degrees. The height of the backrest should be appropriate. In the case of lounge chairs, the height of the back tends to be more to support the head. A separate head rest can also be used in that case. The seat depth should be appropriate for comfortable seating and the width should be able to accommodate persons of different sizes. The fundamentals of sofa construction were researched and understood since it was my first endeavour in that direction. The basic framework and various different structural techniques were sketched out, and these were kept in mind during the concept development stage.

redefined brief After this preliminary research and information collection phase, there was a slight modification to the brief that was initially proposed.

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A sofa for the modern living room to assist in the use of technology, and other activities of new-age lifestyles.

The sofa aimed at being able to provide the customer with a comprehensive furniture solution to all his needs in the living room, including seating, lounging, storage, lighting, power sources and surfaces to place food and drink items. In addition, the sofa should promote the practical usage of various gadgets.

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conceptualization

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phase i After the completion of the research and user survey phases, began the conceptualization of the actual look and feel of the sofa. This involved putting down various ideas onto paper via sketches and small foot notes. The first phase of conceptualising consisted of sketching out individual features that the sofa could have. Smaller details were put on paper and explored further.

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Some of the sketches were rendered using a wacom to simultaneously get an idea of the colour and look of the sofa. These were also helpful during discussions with Hamsa.

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phase ii : form Various features and functions of the sofa had started to develop at this stage. Side by side, the look of the sofa was explored through form explorations of the sofa, as well as its various details. Numerous iterations were made of the same part of the sofa, and the best were chosen in collaboration with Hamsa. These were then taken forward in the next stages of conceptualization.

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Explorations of the side view of the sofa.

Ottoman side view

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Armrest surface

Asymmetrical backrest

Armrest front view

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phase iii : anthropometric data In order to get an idea of the visual relationship of various parts of the sofa, anthropometric dimensions from 3 sources were compiled and rough dimensions of the sofa were fixed. Standard sofa dimensions were studied and compared from the internet. However these were mainly dimensions related to western anthropometric data, and hence they were compared to the data from the Indian Anthropometric Dimensions by Debkumar Chakrabarti.

Taking these 2 dimensions into consideration, I measured myself and decided on the final dimensions for the sofa. These dimensions were discussed one last time later with Hamsa, and then translated into the working drawings.

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A small model of a single seater was made out of card sheet to check proportions and as reference for further sketching. These dimensions were later revised as the design developed.

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phase iv At this point, a few ideas of how the final sofa could look and function came to mind. Hence sketches of complete sofas were made and discussions with Hamsa took place about which design could be taken forward most successfully.

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phase v A template of the basic structure was made and various design languages were tried out. This basically involved the application and combination of various elements that had been iterated earlier.

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Templates were used for exploration. Template I

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Template II

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Another model out of cardsheet was built. This time a 3 seater sofa was to made to aid in visualisation of the complete sofa and provided a base for further designs.

phase vi After discussing with Hamsa, it was decided that the sofas were becoming too boxy and a conscious effort to move away from boxiness was made. Further explorations of form and visual language were sketched out. At times, when new ideas for features used to come to mind, they were put down in the form of sketches as well. Ideas like sculptural wood and structural design were explored.

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Armrest hole for wire

Armrest box (front)

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Exploring different styles of sofa construction and upholstery.

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Trying to incorporate jute weaving, loose cushions, exposed wooden frames into the design.

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Trying out upholstery options, with removable cushions, buckle details,etc.

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Exploring buckles and jute weaving.

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phase vii Since one part of the sofa was supposed to turn into a lounging area with an ottoman, part of the sofa had to have a high back for the user to be able to relax. However, it seemed unreasonable and unfavourable to make the whole sofa with such a high back. Asymmetry as a design feature was explored at this point. It was decided to design a 2 seater sofa here onward.

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Trying out various design languages, and styles. Variation in upholstery and framework.

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Exploring various methods of asymmetry; geometric, organic, with wooden members.

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phase viii Traditionally armchairs were given “wings” or protrusions perpendicular to the back, to enclose the head or torso areas of the body in order to provide comfortable protection from drafts, and to trap the heat from a fireplace The wing gives the sofa a more in the area where the person would be sitgraceful and throne-like vibe. ting. However, in this context, a wing was added in order to provide a convenient place to rest one’s head while napping or reading. It gave the sofa a more cosy and inviting air. It also became a practical place to locate the reading lamp.

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2 design

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directions

After the many hours spent on conceptualising and trying to find the correct form and design language for the sofa, there were 2 main design directions that appealed to my boss and me.

concept i This option was more organic and sculptural and involved a lot of exposed wood and upholstered cushions. This design language would have appealed more to the traditional Indian aesthetic and would probably be accepted more. It also would have showcased the craftsmanship and wood related values of Esthete better. Alternative upholstery options could be explored in this design. However, there were many odd corners where 2 parts of the sofa did not meet in a resolved way, and it needed to be worked out further. Also in the context of it being a sofa for technology and modern lifestyle habits, it did not quite fit in. It was not geometric enough to be termed modern. The design language was not clean and simple enough for modern aesthetics.

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concept ii The second concept was a more solid, geometric and visibly asymmetrical design. It was slightly boxy, but had a twist in the form of slanting lines and rounded edges. The broader armrests provided more surface for keeping things. It had a more western aesthetic and was modern looking and ‘techy’. Storing various gadgets and

books in a sofa like this would be comparatively easier due to the straight lines and boxy design. We were unsure about how well it would be accepted by Indian users, and how well it would complement the other furniture pieces in the home. Also the design was pretty bulky.

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the inside of the arm to provide padding. A few more sketches of the final look were made to get an overview.

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This chosen concept was then further worked out, and various modifications were made to arrive at the best possible option, both visually and ergonomically. To add to the asymmetry of the design, it was decided to make it an asymmetrical 2 seater. The armrestsâ&#x20AC;&#x2122; thicknesses were also varied. Even with this design, the usage of wood was supposed to be the highlight. A number of variations in upholstery colour and cushion forms were made. A small panel was added on

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After weighing the various pros and cons of the 2 design directions, it was decided that the second concept would fit in better with the brief of the project. It had more of a modern appeal, and since the sofa was primarily for young professionals, it would appeal to them more. Also, Hamsa wanted to move away from traditional designs and try something new and radical. This sofa had a wow factor and looked like something cutting edge and contemporary. Personally also, I wanted to explore this look more.

final concept

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Slight modifications were made to the sofa. The form of the wing and the seat cushions were detailed out. A try at a straight back was explored too, but the slanting, asymmetrical back was more appealing. Variations in storage options, i.e. number and placement of drawers was tried out. Colour explorations were made to add dynamism and interest to the sofa. However, in the end it was decided a solid colour would look best.

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scaled model In design, scaled models play a vital role in the execution of the product. It allows the designer to visualize the final product and realise the mistakes and flaws before the final prototype is built. It is also helpful to visualize scale and aesthetics.

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A scaled model of the final design was built out of cardboard. This was a huge help, and the sofa could be examined from all angles. Some problems were resolved and changes were made to the design. Making the model helped to understand how the actual prototype would be constructed as well.

Half-way finished scaled model. Scale 1:10

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The brown parts are wood, where as the white sections are the upholstered areas. The ottoman can also be used as a stool separately.

detailing Smaller aspects of the final design in terms of looks, construction and mechanism still needed to be figured out. Only after the sofa design was fool proof could the working drawings be made, and consequently the prototype built.

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extending surface The detail of the extending surface to use laptops and books was the most troublesome part of the whole sofa. In spite of a number of iterations, there was still not a satisfying detail for it. A few more sketches were made before finalising on a kind of a USB plug-in feature. In many vistas of design, detail- This also was in sync ing can add substantially to the with the technology aspect of the sofa. appeal of the finished product.

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wing back The construction of the wingback was a little baffling and another scaled model of only the left seat along with the wing was made. Along with this, a fast and basic rhino model was made so that quick changes to the design could be made with immediate results. Portrayal of all the features at once was another plus of the rhino model.

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ottoman Since part of the sofa was supposed to convert into a kind of a chaise longue, it was decided that the ottoman could be raised to the height of the seat. A number of mechanisms were discussed for this movement, and in the end a simple lifting mechanism was chosen. 4 levers on either side of the ottoman would help in lifting and holding the ottoman in place.

1 | Left armrest 2 | Backrest, seat and storage box under the seat. 3 | Ottoman 4 | Right armrest

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knock-down Since the sofa was to be built out of solid wood, and since it had a number of drawers inside which added to the weight, it seemed impractical to join all the pieces together for transportation and movement. Hence, on the suggestion of my guide, it was decided to make it partly knock down. The sofa was broken down into 4 main parts, the left arm, the right, the seat and backrest, and the ottoman. This made it easier to carry when the users shifted home, or wanted to move the sofa around within their home. The prototype was also built in the same manner.

reclining backrest Another concept that, to everyone’s disappointment, did not work out, was making the backrest recline-able. The mechanism that was considered in the beginning was a very small and sleek reclining mechanism by Hettich. I had only seen it once when I visited the showroom with my boss, and was not sure how it worked exactly. However, when we went to purchase it, I realised a fundamental flaw in the way it reclined and had to abandon it. 1

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1 | The Frankoflex mechanism by Hettich, as seen in the showroom. 2,3 | Website images of the mechanism in use (Image source : www. hettich.com)

4 | Another mechanism, under the seat, was looked at in the Hettich showroom. 5 | The reclining and foot lifting mechanism of a La-Zboy. (Image source : www. lulusoso.com) 6 | The mechanism used to recline seats in vehicles. (Image source : www. youtube.com)

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All other mechanisms that were researched required a larger structure to be fitted under the seat. The implementation of these mechanisms was not possible due to the ottoman under the seat.

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material research

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The 2 armrests of the sofa and the storage box below the seat were going to be exposed wood, and thus the construction and detailing of these was very important. Even thought they were boxes, they were not going to be made out of plywood or MDF and thus would not be covered with laminate or veneer. Even though ply or MDF sheets were not going to be used, I was on the lookout for solid wood options in board form, since there were large surfaces on both the armrests. Using solid wood and joining it ourselves would have not been neither cost nor time effective. A few options that I found were chipboard or Oriented strand boards, Finger jointed rubberwood boards, coconut wood boards, or bamboo boards. These are partially solid wood and partially engineered, which was a compromise between using solid wood and cost effectiveness, since the amount of material in the sofa would be large. We also considered a high quality birch wood ply that was imported from the USA. The joinery using this option would have been to showcase the edges and the layers of wood. However in the end, it was decided to use rubberwood board for its availability, cost effectiveness and versatility. Also it was the closest we could come to using solid wood board.

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Rubber wood is wood from the Pará rubber tree (Hevea brasiliensis), native to Brazil. India is now the third largest producer of natural rubber in the world. Most of the rubber wood in India comes from Kerala. At the age of 22 to 29 years, latex production becomes uneconomic and the trees are then cut and replanted. Thus the rubber plantation is a sustainable source of rubber as well as timber, contributing positively to the environment. Rubber wood is a light hardwood. The wood is whitish yellow or pale cream when freshly cut and seasons to light straw or light brown. It is a moderately hard and ‘light to moderately Rubberwood is advertised as heavy’ timber with an “environmentally friendly” density ranging from 435 to 626 kg/m3 at wood, as it makes use of plan12% moisture content. tation trees that have already (For comparison, Indiserved a useful function. an Teak has a density of 650 - 900 kg/m3 at 12% MC.) It is a diffuse porous wood with medium texture and straight grain. Sapwood and heartwood are not distinct, which provides and even colour. Occurrence of tension wood A Rubber wood plantation in seen as white lustrous zones when freshly cut is Malaysia. a characteristic feature of rubber wood. (Image credits : Rainer Hörig)

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rubber wood

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Rubber wood is easy to work in sawing and machining. It has good machining and working qualities and can be finished to a very glossy look on polishing. Rubber wood can be bent in steam or in ammonia to make curved items. It takes up stains well and being light in colour it can be stained to the shades of teak, rosewood, mahogany, beech, 3 cherry etc. Rubber wood offers good resistance to screw and nail withdrawal forces.

1 | Rubber wood cut into fingers, ready to be glued 2 | Individual rubber wood pieces glued together to form the board. 3 | Tapping a rubber tree in Thailand (All image credits on pg 99)

sawing milling chemical treatment Boric acid treatment to prevent infestation of wood by beetles, termites, fungus and mould.

Furniture suitability coefficient for rubber wood is evaluated as 69. (Teak is 100) Hence rubber wood is classified and standardized as a Group II timber. (Indian timbers for furniture and cabinets classification) It can be used in interiors for panelling, mouldings, beadings, skirtings, etc. It can also be used to make kitchen ware such as salad bowls, knife blocks, book shelves, trays, etc. It is used to make doors, windows, steps, railings, etc. Chair legs, bookshelves, bed frames, tables, stairs and desks are just a few of the many possibilities with Rubber wood. However, the high natural sugar content of the rubber tree is a component in attracting boring insects. It also has a tendency to warp, twist, bow and sometimes split. Both these problems can be avoided if the raw timber is processed properly at the saw mill. Prompt polishing and sealing also helps in keeping the moisture out.

kiln drying finger joint cutting gluing joining drying planing packaging Sources: http://www.ehow.com/list_6963796_problems-rubberwood.html http://www.engineeringtoolbox.com/wood-density-d_40.html http://rubberboard.org.in/RubberWood.asp http://en.wikipedia.org/wiki/Rubberwood

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In order to construct the sofa, a few joinery techniques for box making were looked at. A number of techniques such as butt joint, rabbet or rebate joint, box or finger joint, tongue and groove joint or mitre joint were applicable. However since it was a modern sofa and the design language was supposed to be clean and simple, the joinery did not need to be visible. Thus a hybrid of these joints, a rebate and dado joint was chosen. Since rubberwood was being used, it would support this joint. For the inner components like the box, a simple rebate joint could be used.

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joinery

For the curved corner of the armrest, a solid rubber wood section would be used. The order of the panels was decided so that the front and top looked clean and free of joinery. 2 separate panels would make up the inner side of the armrests since it was not a straight surface. In this way, each armrest would be made up of 6 panels.

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A rabbet dado joint that was used for construction of the sofa.

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prototyping

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1 | Rajesh bhaiya checking the construction of the right armrest 2 | Working drawings, measuring tape and the scaled model helped during prototyping 3 | Cut panels of the right armrest 4 | Cutting the dado of the right armrest 5 | The blade was inclined to 10Ë&#x161; for cutting certain parts 6 | Some portions had to be chiselled by hand to remove material. (Page 100| Image credits : Jnana Shetty)

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As the first step of prototyping, all the panels of the sofa were placed on 8 by 4 foot sheets of rubber wood. A total of 3 sheets was needed to make the whole sofa. 2 sheets of 18 mm board and a single board of 12 mm for the inner parts like drawers, etc.

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Each individual part of the sofa was built separately, starting with the armrests. Both hand tools as well as machines were used in combination throughout the process. Carving was kept to a bare minimum and only used to make the handles for the drawers. In many cases, we had to wait for hardware to be procured before the construction could move forward. While working with the carpenters, I received a lot of feedback and insights into woodworking from them. I learnt about using tools and basic standards of measurement. Modifications to the original design were made as and when it was required. These changes were mainly due to unforeseen demands of hardware.

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7 | Kamal bhaiya making the drawers for the left arm 8 | The material to incorporate the side panels was removed with a hand held router 9 | Fixing the solid curved Rubber wood piece onto the right armrest 10 | Electrical wiring of the plugs and lamp in progress 11 | Plug to facilitate knock down of the sofa. 12 | Soss hinge detail 13 | Completed woodwork

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A wooden member for the push mechanism was added, and this provided more support to the seat. The backrest was completely redesigned to give it adequate support without having to compromise on the looks and comfort. Additional dowels were added to either side to secure the backrest with the armrests. This reduced the movement of the backrest considerably. The tall backrest proved to be challenging to stabilise. The most challenging and painstaking job was fixing the channels for the 5 drawers and making sure they were shutting and opening smoothly. Fixing the hinges for the top box was also a detailed job that took time.

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upholstery It was decided to use PU foam for the upholstery. Two different densities were used for the back and the seat. 32 (pink) density foam provides more comfort while sitting, and 40 (yellow) density foam provides more back support for the backrest. The pieces of foam were cut to shape and then stuck to the sofa with Fevicol 707FW which is a synthetic rubber adhesive. The same adhesive was also used to give rounded edges to the foam by cutting and sticking. An unforeseen problem was having to cut slits for the upholsterer to be able to pull the fabric. We had to thus cut 2 slits in the backrest and wing. 6m of cloth was needed to upholster the whole sofa including the cushion on the ottoman. The final few stitches were done by hand. As an afterthought it was decided to add 2 cushions to the sofa, to add some interest and variation to the otherwise plain blue fabric.

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Fabric sample

polishing The upholstered areas were masked with plastic sheets and tape before beginning the polishing. Polishing all the exposed surfaces of the sofa also took a long while. Care had already been taken not to damage the boards and thus we saved some time. The whole sofa was first sanded down by hand with sandpaper. Then the filling agent, or lami. which was a mixture of polish powder and fevicol, was used to fill in imperfections and holes left behind by nails. Once it had dried, the sofa was sanded again to remove any excess lami. I did not want the rubber wood to look yellower after polish and hence a white zinc powder and polish mixture was used. This prevented the wood from turning yellow after polishing. A coat of sealer was applied.

The whole sofa was inspected for any holes or imperfections again, and these were filled with another coat of lami. I wanted a matt look at the end, hence another layer of sealer was applied and left to dry for 24 hrs. 9 B

6 | Polishing equipment like sealer, polish and thinner 7 | Filling the holes and imperfections with lami 8 | Applying a final coat of sealer 9 | Samples were made to see how the Rubber wood would look with different kinds of polish and stainers: A : Original Rubber wood B : With clear polish C : With white zinc polish D : With a walnut stain

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10 | Detail of the reading lamp fitted on the wing 11 | Drawer channels on the inside of the storage box and on the drawers 12 | Detail of the soss hinges and plug point 13 | SS plates used for the ottoman mechanism 14 | Detail of countersunk Plug point and switch in the box in the left armrest

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working drawings

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Since a few changes were made during prototyping, the initial working drawings were modified. In some cases, more sections and details were added. Since there were many details and complex parts in the left armrest, a number of sections were added to the first set of drawings.

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Drawings attached:

technopod sofa right armrest left armrest ottoman storage box seat backrest

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whole set

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A complete set was later developed keeping the 2 seater as the parent design. Modifications and variations of the original became single seater and 3 seater variations. A coffee table was also developed on similar lines. This gave clients

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an option to either purchase a complete set or just a single accent piece for the living room. Modularity of the product is visible at this stage, where users can choose the optimum configuration to suit their needs.

Three seater options

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Single seater options

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Two seater options

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Coffee table options

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Page 114, 115 : Render credit - Parashar Agravat

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technopod

The final outcome is a fully functional sofa which is displayed in the Indiranagar showroom of Esthete for customers to look at and use, and hopefully purchase.

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A sofa for the modern living room to assist in the use of technology, and other activities of new-age lifestyles.

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reading lamp It is controllable from the convenience of the seat, and can be used for reading or working. The angle is adjustable.

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extendable surface There is a large surface due to the broad left armrest. It serves the purpose of a coffee table and can be used for various purposes. It can also be extended further by way of a USB stick-like push in surface. It can be used for keeping plates and glasses and cups to eat and drink. One can keep books and newspapers to read and write on it. Laptops and tablet devices can also be kept on it for working.

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power source Two plug points are provided in the left armrest to charge devices like laptops, cell phones and tablet devices while using them from the comfort of the sofa.

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lounge chair The ottoman can be pulled out from under the seat and raised to form an lounge chair. It can also be pulled out and used as a separate stool.

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storage Multiple possibilities of storage are available within the sofa. Different sizes are available for different kinds of things like books and gadgets. A dedicated drawer for remotes is present on the side of the left armrest. There is another storage box that can be accessed from the top of the left armrest. The storage within the ottoman can be accessed by lifting the cushion.

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costing summary

Material costs

Rs.

16,391

Rs.

5,244

Rs.

2,250

Rs.

1,135

Rs.

9,280

Labour

Rs.

15,150

76 hrs carpenter labour (Rs. 150/ hr) 25 hrs polishing labour (Rs. 150/ hr)

Rs. Rs.

Polish material

Rs.

2 sheets of 18mm, 1 sheet 12 mm rubberwood board

Hardware Hinges, drawer channels, Castors, Push mechanism

SS plates For ottoman mechanism and extendable surface

Electrical Hardware like lamp and plugpoints, and electrician’s labour

Upholstery Sofa upholstery, labour charges and additional cushions

11,400 3,750

1,000

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White zinc powder, sealer, etc

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Rs. 50,450 Overhead costs @ 20%

Rs.

10,240

Rs.

14,310

Electricity, Water, Rent

Profit margin ≈ 24% of Cost price

Rs. 75,000

detailed

Material costs 12 mm sheet 8 x 4 feet @ Rs 105 / sqft

Rs. 3,368

Transportation costs

Rs. 150

VAT @ 14.5%

Rs. 3,518 Rs. 510

Rs. 4,021

Castors

4 nos @ Rs. 32.50

Rs. 130

Soss Hinges

1 set @ Rs. 260

Rs. 260

Drawer channels

18” x 4 sets @ Rs. 880 Hettich soft close

Push mechanism

Rs. 3,520

8” x 1 set @ Rs. 130 Ebco normal

Rs. 130

2 nos @ Rs. 270

Rs. 540 Rs. 4,580

VAT @ 14.5% 2 sheets

Rs. 150

Rs. 5,398 Rs. 787

Rs. 6,185 2

Rs. 12,370 Total cost 12mm x 1 nos 18mm x 2 nos

Rs. 16,391

Rs. 664

Rs. 5,244

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Transportation costs

VAT @ 14.5%

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Rs. 5,248

18 mm sheet 8 x 4 feet @ Rs 164 / sqft

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Rubber wood board

Hardware

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SS plates 160 × 250 × 3 mm 200 × 50 × 3 mm

Upholstery 1 nos 4 nos @ Rs. 250

Rs. 1,250 Rs. 1,000

Fabric

6 m @ Rs. 95

Rs. 570

PU Foam

4” 32 density

Rs. 1,750

4” 40 density

Rs. 2,200

1” 32 density

Rs. 450

Fevicol 707FW

1 l @ Rs. 210

Rs. 210

Additional cushions

2 nos

Rs. 1,100

Labour

1 day

Rs. 3,000

Rs. 2,250 Electrical Electrical hardware

2 plugpoints, 1 switch

Rs. 460

LED lamp

Rs. 375

Labour

Rs. 300

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Rs. 9,280

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scaled model

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A scaled model of the final 2 seater design was made for the jury out of laser cut MDF. This helped in the visualisation of the sofa, even without the actual prototype at hand. Scale 1:5

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feedback & conclusions

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During the shoot and after, a number of people sat on the sofa, and this turned into the user feedback session. These users included my boss and his wife, me myself and a number of customers who visited the showroom. All of us liked the way the piece had turned out, and it was exactly how we I had envisioned it to look. Really neat work! I would love I also got positive to have a single seater version feedback from other employees in the ofof this. It would be a techie’s and they were all dream come true of LazyBoy & fice, excited to experience Workstation combination. and explore the sofa.

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testimonials

Looks like a first class airplane seat. Looks like it’s from Jetsons. I am very interested in experiencing it. Love it! Crazy product. Wow. Just wow!! Comments on the images uploaded on Facebook by Esthete, as well as first hand comments by customers.

design refinement There were a few problems and areas where the design could be revised which were noted down, and the appropriate changes were made for further pieces. These included issues like the angle of the backrest which was increased to 12 degrees from 10 degrees. Adding dowels to support the ottoman from tipping forward was another vital change to the design. Apart from this the seat depth was increased, as well as the armrest length. The angle of the front of the wingback was reduced as well. If possible, it would be fantastic if a mechanism could be found which would let the backrest recline as well. The biggest mistake that I made was to keep the grains of the front panel of both the armrests vertical. I realised this during prototyping, and will remember this for the future. The prototype that I built is now being kept at the Indiranagar office and more can be made on demand by the client. It is being marketed as an exclusive luxury sofa for the modern home. Images have been displayed on Esthete’s facebook page as well, where many of the past clients and others have a chance to admire the piece.

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reflections

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At the end of this project and at the end of this document, I am glad that I have been able to successfully wrap it up. As is needed in any diploma project, I have learnt a number of things, and also surprised myself at what I am capable of. The most heart warming part of this whole experience is the amount of positive feedback and congratulations I have received regarding the sofa. I have had numerous friends and colleagues from the design community tell me how much they liked the way the sofa turned out. This is, for me, the biggest validation of my project.

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Having worked with a client, not only on this sofa, but on kitchens and wardrobes as well, I understood how one deals with clients and their demands and wishes. Having to reiterate the same design till it makes the client happy is something that one needs to come to terms with. Esthete being a start up I learnt a lot about the issues and complications that a business faces in the initial years. Clients, employees, and carpenters, timely payment, business partners, proper billing of every expense, capital and time investment, etc are some of the topics that came to light. At the end of the project, having gone through the whole design process without many huge glitches, I am thankful to NID and the whole staff for preparing us all so well to deliver a successful and good design to the client. I cannot imagine how far I would have come with my career, had I not been accepted into NID.

Living in Bangalore on my own, and spending my own money, made me respect the commodities that that money got me so much more. Also being able to go out with friends only on the weekend, made me value our non-professional life so much. However making time for yourself and not letting your work take over all the time in the day is an art that needs to be learnt and nurtured. Realising that our educational life is over, at least for the time being is at the same time, an exhilarating and terrifying feeling. I am not sure what will happen next and I hope the future has a lot to offer me.

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image credits page 35

page 94

page 96

1 | www. rubberwoodproducts.com 2 | Self 3 | www.upload.wikimedia. org

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All other images are owned by the author, unless specified otherwise.

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bibliography

books Chakrabarti, Debkumar., “Indian Anthropometric Dimensions for Ergonomic Design Practice”, National Institute of Design, Ahmedabad. (1997)

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Hettich Furniture hardware catalogue

national institute of design

websites www.nid.edu www.facebook.com/EstheteBangalore www.pewinternet.org www.abullseyeview.com www.designsponge.com www.decosoup.com www.futonlife.com www.dimensionsinfo.com www.woodmagazine.com www.europeanbedding.sg www.ehow.com www.nytimes.com www.ergonomics-info.com www.aytm.com www.pinterest.com www.engineeringtoolbox.com www.rubberboard.org.in www.en.wikipedia.org www.google.co.in/imghp

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