WIDEVISION 18 widevision
Feb 22, 2016
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WIDEVISION 18
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WIDEVISION 18Global 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 2011 Widevision 18 exhibition of student works
could easily be renamed – innovation unlimited.’
The year just ended but in another way we just got started! Welcome Widevision 18.
Dr Sasha Alexander PhD, BDesID, FDIAAssociate Head of School (Industrial Design) and Industrial Design Head of Program
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WElcOmEWelcome 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.
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.
Professor Brian UyHead of School of Engineering
‘ Research activity is the cornerstone of a vibrant and industry
responsive study program. The School of Engineering seeks
excellence in research and commends Widevision 18 and final
year design students on its achievements.’
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ThE challENgE, ThE PROcESS, ThE ambITION, ThE REWaRDThe 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.
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.
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
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.
Is it too early to discuss your Masters
degrees? Let’s leave that for the day after
tomorrow. Congratulations once again!
Dr. Sasha Alexander PhD, BDesID, FDIA2011 Industrial Design Honours Coordinator
INDuSTRIal DESIgN hONOuRS
‘Without doubt the collective knowledge held within 2011
Widevision 18 exhibition with benefit both today’s communities
and those which follow in the coming years. a true beacon for
new innovation and new jobs creation.’
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Rochelle calf (hONOuRS)
Supervisor: ms Karen Yevenes
VaRDaREVardare 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.
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.
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Todd hagarty (hONOuRS)
Supervisor: Dr Sasha alexander
TRuTh ThROugh DESIgNCreating value for furniture users:
an exploration of space, multi-
functional design and sustainable
materials.
Ô Multi-functional furniture piece for the
Australian domestic market.
Ô 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.
Ô 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.
Ô Uses laminated cardboard to create
robust and sculptural design.
Design Influences
Ô Mid-century Scandinavian Furniture
Ô 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.
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andy assur Esho (hONOuRS)
Supervisor: mr Jean Payette
lIquIDSince 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.
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Phillip Jamolin (hONOuRS)
Supervisor: Dr Sasha alexander
YOuR SPacEThe ‘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.
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.
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aaron montgomery (hONOuRS)
Supervisor: Dr Sasha alexander
TERalYaProblems 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.
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ben lipp (hONOuRS)
Supervisor: mr mauricio Novoca
INcluSIVE gaRDENINg IN auSTRalIaIt 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.
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.
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Daniel cork (hONOuRS)
Supervisor: ms Karen Yevenes
SughEROAutomotive 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?
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.
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DaYl
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.
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 – are involved in the
product’s introduction stage. This is
when designers can utilise sustainable
awareness within their designs.
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.
Retailers – are involved in the
growth and maturity stage of a
product. They promote products
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.
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 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 have the responsibility to initiate
the connection between the user and
product. They can maintain sustainable
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.
angelica montemayor (hONOuRS)
Supervisor: Dr Sasha alexander
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Jarad Ferrara (hONOuRS)
Supervisor: mr mauricio Novoca
PEaRlMillennial Learners:
Ô expect to be able to work, learn and
study whenever and wherever they
want
Ô are experiential learners that need
guidance and direction, especially
for learning
Ô 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.
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.
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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.
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:
Ô 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?
Ô 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?
Ô How can train commuting offer a
sense of personal wellbeing, a time to
relax, to learn?
Ô 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.
Mr. Christian TietzIndustrial Design Coursework Coordinator 2011
INDuSTRIal DESIgN cOuRSEWORK
‘Through interdisciplinary collaboration Industrial Design is most
effective in contributing towards better lives.’
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mohammad Imran bashir
ink.IDThis 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.
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louis Foster
graffaRGraffAR 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.
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 grenade-
like 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
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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.
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.
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ana milian
cOmFORT SEaTOn 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.
Overall these seats will provide
comfort and ultimately attract
passengers off the roads.
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PRINTRaNScaN7:45 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.
8:30 am
Think all hopes are lost, until you
remember the PrinTranScan
unit on the triain!
8:45 am
Assignment is soon printed,
and the commute now seems
much more relaxed.
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.
Ô Cars – too small.
Ô Buses – not enough free space.
Ô Trains – perfect!
The unit allows users to:
Ô scan documents (overhead photo
scanner)
Ô print documents (internal Xerox
printer)
Ô 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.
Riley moore
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matt quigley
FOlIOFolio 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:
A CaseFolio 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 StandSimply 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.
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David Rigby
STuRDI WORKSTaTION
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.
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gregory underwood
S.E.a.Ts.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.
The seat cover incorporates LED
lighting, sensor technologies,
NFC (Near Field Communication
technologies) and seat heating.
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alexander West
DE-STRESS DESTINaTIONThis project looked at the commute by
train from the outer suburbs into the
CBD. Interviews, surveys, fly-on-the-
wall, 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:
Ô an open plan space with artificial
grass
Ô a change room
Ô lockers for personal items
Ô 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
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esign Group is an
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esign, and the D
esign Managem
ent Institute.
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estern Syd
ney offers undergraduate courses in industrial design and engineering and postgraduate courses in engineering. Your next innovation needs the fresh design thinking and an outcom
e centered approach our graduates can offer.
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ouncil
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esign
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artner of the InternationalD
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