Endurance Project

Endurance:  bear hardship patiently; last for a long time

Annmarie

A wooden school chair has been replaced over the years in schools by all-in-one thick plastic chairs for health and safety reasons. 

 The picture has captured a close up look of the  chair appearing used and worn out. 
Cleaning the metal was a very tedious experience which involved turning the chair around frequently to remove the existing coat of paint. In order to achieve the desired effect I used special tools and materials e.g. circular sander, wire wool.

These are the newly recycled chairs.


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 The wooden seat is separate from the base metal legs.

The chair seat has been sanded and rubbed down with coarse sand paper. The sanding process was effortless, which resulted in clean bare wood.

The finished chairs above come in two different styles.       
left chair: the natural look  
right chair: 1970's look with a twist

This is a gun powder barrel, approximately 2 feet high.

Very strong layered brown cardboard cylindrical container. The top lid is made of chip board while the bottom is hard cardboard with coating.

The metal rings have been removed from the barrel.

Cutting the cardboard evenly was extremely difficult due to the hardness of the cardboard.

The shape of the barrel determined the design of the chair and the workstation I created.

 To create flexibility in the cardboard the two halves of the barrel were fused using garden rope and padding was used to protect the cardboard.

The picture below demonstrates the finished item, a child's work station.
The teddy bear material was used to cover the cardboard and make the item more appealing to a child.

 Assembling the rings of the barrel was a difficult task due to thickness of the cardboard. 
The cardboard had to be removed in order to fix the rivets to the rings.

A mini model was created out of a cardboard tube by cutting each ring from a cardboard toilet tube.

Various techniques were used to design seat covers e.g.  simple French knitting.

In order to use the scraps of material they had to be cut into usable strips.

The strips were criss-crossed many times to produce a knitted effect.

The fabric above was made from strips of material tied together  which were knitted together using a large needle.

The base was assembled using three metal rings, two of which are fused at the top to give the seat stability. These same rings are also fixed to the base. The seat of the chair is placed on top of the two rings held by a rivet.

The back of chair was made with a ring in the up position held by a rivet to the seat.

The arms of the chair were formed by cutting a metal ring in half. A groove was made in each half ring in order to fix them to the back and the seat of the chair. To reinforce the arms of the chair a screw and cap were placed to fix the back to each half rings.

The finished chair

 Industrial thread reels made of thick cardboard painted with water proof paint obtained from the Ark (a recycling centre designed for educational purposes. I designed a director's chair in keeping with the same theme.

In order to fix the reels together,  very strong glue and unlimited patience is required.

For the back of the chair three reels were used, two reels fixed vertically and one horizontally. 

Sample of a seat cushion

Designer Project

The editors Anne Massey (Kingston University) and John Turpin (Washington State University)
invite contributions to the journal's 2011 special issue 'Living in the Past: Histories, Heritage and Interior'.

This issue will examine the theme of the interior as a marker of history. Deeply embedded in historical processes, interiors are mutable spaces, shaped and re-shaped over time. The issue will seek to reveal the numerous ways in which interiors register and mark the passing of time and question the ways in which time and the effect of social, cultural, political and economic factors shape our understanding and assessment of interior.

www.bergjourals.com/interiors.

Anne Massey

John Turpin 

The interior is journal's central focus and contributions from interior design practitioners and theorists are welcome.  It will embrace perspectives from a range of disciplines including anthropology, architecture, art and design history, cultural studies and visual culture, and it will palace no limits in terms of either geography or chronology. The journal sets out to challenge divisions between theory and practice and aims to provide an essential forum for all those with an interest in the design, history and meaning of interiors.

The article above reflex an Architect or Designer disciplines and at the same time giving you an insight, how their work are produce.

Ron Arad

                                           Rover Chair

                                Rolling Volume rocking  chair

                                   Well Tempered chair

Arad was born in Israel. He moved to London to study under Peter Cook and Bernard Tschumi.

In the early 1980s he had very little money so he used scrap materials for his sculptures.

His first piece was a chair from a ready- made Rover 200 car that was scrapped.

He started off with nothing but ended up a very wealthy man at the end of the eighties by creating one-off pieces.

The reason why I was attracted to him was because he used things that people would have normally thrown away.

In the early nineties Ron Arad developed techniques with metal that fascinated him. He created a number of “volume” chairs, including the 1988 Big Easy made out of steel.

Italian upholstery specialist Moroso made an upholstered version of the Big Easy chair that was seen at the Milan Furniture Fair.

In 1999 Arad then created a polyester version of the Big Easy chair that was now called the New Orleans.

Not only is Arad successful he has now established himself and has a team of experts to enable him to carry out experiments using techniques and processes on materials to get the best results. His staff used the latest technology and machinery for rapid-prototyping.

A Belgian company called Materialise, make physical models from computer drawing, which is time - consuming and expensive but cost effective because Materialise make thousands and millions to sale across the globe.

Ron Arad use hyper- computerised -manufacturing to create object which are saleable. Two example of these techques one is name Not Made By Hand Not Made in China and the other is Bouncing Vases.

As well as doing one off pieces Arad continued to work with manufacturers to develop products. he collabated with many 

                                                                                            


Connection: Rover Car - Well tempered chair-
 Battersea power station - Rolling volume rocking armchair
http://designmuseum.org/design/ron-arad

Mtauro Lipparini

Mauro Lipparini studied at the Florence Department of architecture. He is will known for the style he has created
"Natural Minimalism".

Mauro has done extensive work in the fields of industrial interior design - homes and office furnishing and other products created for renowned European and Japanese firms.
In the eyes of Architecture, Mauro concentrated on private and public housing, retail wholesale showrooms. He also provide cutting-edge corporate identity construction services.

"Mauro style rooted in spare forms and clear, powerful lines that are the hallmarks of minimalism.
He use bold colours, organic textures, imaginative visual concepts, showing is imagination and strength of the aesthetic into a new era.
http://www.architonic.com/aiabt/studio-lipparini/5205194





George Clarke, architect, writer and lecturer. George applies his training and experience in architecture and home design in practical advice for everyday living.

George is very excited by flat pack home's, because they have many advantages, highly cost effective, very environmentally, practical, flexible and incredibly simple and quick to construct.

http://www.structuralinsulatedpanels.co.uk/Architect.georgeclarke.























Candace Olson, Canadian Interior Designer Signature and style is a sheer elegant with clean crisp, simple modern design.

A essence of a good design is it's ability to sustain long term integrity to become classic and in every design
Google Images Candace olson



Meet Mathia's Bengtsson Furniture Designer
He is while known to experimenting with industrial materials and processes, of Danish decent the London base Furniture Designer produces sculptural furniture which is visually and technically innovative.

Mathias developing his slices series of sculptural furniture, he incorparate the latest computerised laser cutting techniques with hand work to create a series of chairs and chaise lounges 

His intentions his to change the approach to design, he had developed for a "rapid prototyping" s type of manufacturing. It involved using layers cuts out of steel material into complex shapes by ,a computer-controlled laser. A 2D layer were than assembled by hand into a 3-D solid form of various shapes.   




http://www.youtube.com/watch?v=YAOTCtW9v0M







David H Leahy is will known for his designed of one off houses, all over the country with Architecture Ireland. He his the country leading Irish Architect with a reputation for bespoke quality design, he will undertake a design commission anywhere within the island of Ireland.

Leahy philosophy is that every client should get the house of their dream something better than they could ever imagined.
http://www.dhlarchitects.com/projects.php

oliver heath by Google Images

Oliver Heath designs was set up in 2005 by designer writer and television presenter Oliver Heath to bring aspirational sustainability
and good design together in a variety of mediums from eco consultancy, architecture, eco interior design, product design and writing.

Fundamentally good eco design encourages our communities to pool resources and work together creating efficient local groups working towards a common aim of a better quality of life with a reduced impact on the environment.

This  can happen in a number of ways, such as the conservation of natural resources that we have; whether it's be oil, gas, water or electricity.

From: Ann-Marie Boyaram [mailto:10172882@student.southgate.ac.uk]
Sent: 22 March 2012 15:45
To: Studio
Cc: jan.croxson@deborahmckenna.com
Subject: FW: Professional & Contextual Analysis

Hi Oliver

Sorry for the confusing e-mail and I hope it won't affect any potential response.

I am currently in my first year of my foundation Degree at Southgate College.

In my Professional and Contextual studies I have researched you as a designer of interest and am compiling this into a work journal. 

If it is possible I would like to complete my study within your professional practice as I find your work extremely interesting.

I would be grateful for any information you could offer regarding your approach to sustainable design.

Best regards

Ann-Marie Boyaram

Oliver Heath [oliver@oliverheath.com] on behalf of Studio [studio@oliverheath.com]

To:

]‎ 

28 March 2012 09:20

You forwarded this message on 28/03/2012 18:56.

Hi Ann –Marie

Apologies for the delay in responding, were having a busy time.

Im not entirely clear what you’d like to do, would you like to interview me or are you asking for an internship?

As you may well be aware my last book Urban eco Chic outlines my views on Eco interiors and would be a good place for you to start your research on my practice. But further questions would need to be more specific. Also as it is coming up to dissertation season im getting a lot of requests for interviews, questions and answers etc, and its really tricky for me to find the  time to write answers to them all. So a phone call (which perhaps you could record may be better)

If you are interested in an internship please do send over your cv and we can consider it.

Regards

Oliver