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PRODUCT DESIGN

Fogo Island Plastic Free Kites

with Camille Blin, Maxwell Ashford, Anthony Guex, Anniina Koivu

Fogo, nicknamed ‘a rock in the ocean’ is a small island situated off Newfoundland, Canada. As a part of a larger on-going semester project, 2nd Year Master Product Design students of ECAL, completed a short, fun, few day workshop, utilising one of the most abundant resources on the island - wind. Working in collaboration with the ShoreFast Foundation - an organisation working in numerous avenues to create a sustainable economy on the island, students developed plastic free kites. Fogo Island has the intention of becoming completely plastic free in the coming years and as their tourist numbers increase memorabilia of this special place are in higher demand. The developed kites are therefore to be made on the island and intended for the Fogo Island Workshop gift shop. Using Birch Wood, Ripstop Organic Cotton and hemp fibre string the students created a range of designs, taking reference from the unique features of the island.

PRODUCT DESIGN

ON 2040 - MASTER PRODUCT DESIGN

with Christophe Guberan, Camille Blin

Following a collaboration with the Swiss avant-garde brand On, ECAL is proud to present the interdisciplinary work carried out jointly by the 2nd year students of the Product Design, Photography and Type Design Masters.

PRODUCT DESIGN

Ecal×Mini Rethinking the Wheel

with Christophe Guberan

"Rethinking the Wheel" – a series of projets on steering wheels. Will we be controlling our cars through voice recognition in future? With a soft toy? How about a pizza box? The digital transformation and electrification of cars has opened up a world of possibilities at the wheel. MINI’s design team and ECAL/University of Art and Design Lausanne have collaborated closely on a sophisticated design study to develop unexpected ideas for the future of steering wheels. Under the direction of ECAL tutors Camille Blin and Christophe Guberan, Master students in Product Design have addressed the topic and come up with spectacular designs, developing, improving and ultimately achieving their vision in ongoing consultation with Christian Bauer, Head of Interior Design at MINI. The result: nine innovative and surprising designs that question existing shapes and materials – and, as such, the way in which we might interact with our cars in the future – with a lot of creativity.

PRODUCT DESIGN

Excerpts from Master Product Design theses

with Anniina Koivu

AUTHOR: Adam Huxley-Khng TITLE: ON in the absence of OFF On and off – at the flick of a switch, or the touch of a button. We are able to switch between the states of being of an object without thought, rarely questioning what makes an object ‘on’. Is it the presence of electric power? A sense of agency, or animism? What if on-ness is a state of being reflected by the cultural, rather than technological, capacity of an object – the embodiment of a moment of possibility? ----- AUTHOR: Alessandro Simone TITLE: What is next? SUBTITLE: The evolution of mountaineering and human limits This research examines the mountain landscape in the context of the evolution of mountaineering. Starting from the activity’s origin, the research investigates the shifts in technology, mindset, and limits that enabled the transformation of a destination for challenging expeditions into a place for second homes and weekend enthusiasts. How were humans able to overcome their limits, and what were the motivations for this drive? Products and objects played an essential role in guiding the story of mountaineering from the old ages to nowadays, making the user and his/her experience safer, but subsequently opening this terrain to mass tourism. This research retraces historical events and technical innovations to better understand mountaineering’s evolution, imagining a possible approach to this form of high-altitude tourism for the future. ----- AUTHOR: Alexander Schul TITLE: Visual language of sustainable design Different “sustainable” design proposals have been made in the past decades: from (literally) green looking objects, to normal looking ones, to objects whose visual language speaks to sustainability in their own individual way. In this research, I analyse a few examples in regards to the way the visual language of sustainable products has been approached in the past, what sustainable design looks like today, as well as what it will look like in the near future. The essay is led by the question “How does a sustainable approach to an object influence its visual language?” ----- AUTHOR: Charlotta Åman TITLE: Waste matters SUBTITLE: Valorising secondary products for a resourceful future Throughout history, humans have been expert in utilising every element of a given re­source. The heritage of husbandry has been car­ried from generation to generation – until today. Now, we are more disconnected than ever from original assets. In present manufacturing processes, secondary matter from production is often considered as waste rather than as a resource – an unfortunate conclusion as we are running out of raw materials and landfills grow. What does it entail to fully utilise a resource by valorising its secondary products, and how does it relate to the practice of a designer? The loose connections in manufacturing chains provide an opportunity to re-think: by considering the source, the scale and the system, design can be used as a tool for transition. ----- AUTHOR: Grace, Ka Yin Cheung TITLE: Japanese miniature culture: netsuke and gachapon SUBTITLE: Why are we so fascinated with small things? Miniatures are smaller than a normal objects, and include small replicas or models. Miniatures are present in different cultures all over the world and throughout time. The miniaturisation of mundane objects is recurrent, and has been an integral part of the memory of a culture. Among the different international miniature cultures, Japan has one of the most distinctive and apparent spirits of miniaturisation. To understand why people are so fascinated with miniatures, this research looks for the answers by delving into the miniature culture of netsuke and gachapon in Japan. ----- AUTHOR: Hsin Hung Chou TITLE: Unpack flat-pack SUBTITLE: The value of ready-to-assemble furniture This research studies flat-packing from its origins in the mid-19th century to its contemporary form as one of the prevailing typologies of the global furniture industry. Guiding questions have been: If the objective is to design and produce products from a logistical and sustainable point of view, is there any other solution to knock-down furniture? Does furniture lose its aesthetic and value in the process of being flat-packed? If the future is flat, could we make it better? ----- AUTHOR: Jimin Jeon TITLE: Soft, small and far, far away SUBTITLE: Our understanding of software Fire is the first profound tool in human history that cannot be grasped with the naked hand. Fire was considered a mysterious or religious thing – a gift from God, or punishment. But it was also an essential tool for human evolution. Today, we have found another tool surrounded by mystery and misunderstandings: software. It doesn’t smell, make noise, or come in any fixed form. It just occasionally flickers through a screen. This new tool takes us to another world, beyond physical limitations, that no caveman could have imagined. But, first, we need to understand the nature of software in relation to hardware – that is, the tools we are already familiar with. ----- AUTHOR: Jisan Chung TITLE: Assemblage in design Assemblage is mainly considered an artistic technique. However, by reviewing works of various designers, we can see that the same technique has been used in the field of design, too. This study aims to examine the characteristics and the meaning of “assemblage design” and its potential. Assemblage can trigger innovate manufacturing processes and create its very own aesthetic. ----- AUTHOR: Jonas Villiger TITLE: About repairability SUBTITLE: Rules, incentives and approaches to keeping things in circulation We want our products to be durable. And, if they break or become outdated, they should be repairable and upgradeable, too. It can be a very satisfying feeling to make something work again, or to make it work even better than it did before. Unfortunately, the industry does not make this easy for consumers. Not being able to intervene when something goes wrong with an object, consumers end up simply buying new things. However, giving a device an extended lifespan keeps us from wasting valuable resources. Starting from recent legislation and public movements that call for the right to repair, this research questions the role of designers within these changing circumstances. ----- AUTHOR: Julian Ribler TITLE: The Factory SUBTITLE: An investigation into modern design principles The Modernist movement promoted the appreciation of the advancements of industry. Modernism went on to integrate industrial advancement as part of the fundamentals of the movement as a whole. The principle of applying an engineer’s perspective was thought to inform the practice of designers and architects. Exploring modern factory environments and investigating the advancements in manufacturing technology today can help us revise these principles and examine the changing factory context. ----- AUTHOR: Kwan Ming Sum TITLE: Stagnation and innovation in the wheelchair industry A wheelchair is an essential tool for people with mobility issues to perform everyday tasks and achieve social participation. Unfortunately, modern manual wheelchairs hardly satisfy the emerging need of a well-resolved wheelchair design. A fundamental shift in understanding of today’s needs and innovation in this field are urgently required. Given the growth of the aging population, a rethink of wheelchair design is critical. Through conducting several interviews with different stakeholders, including wheelchair users, producers, and designers, this research aims to investigate the underlying reasons behind the stagnation in the wheelchair industry, and looks at how that might change. ----- AUTHOR: Maxwell Ashford TITLE: Fractions SUBTITLE: Cost-effective recycling A fraction is the result of any recycling process. It refers to the amount of materials from an object that can be recycled cost effectively, and is used broadly across the recycling industry. Objects are by standard practises designed independently from any end-of-life system and inevitably, the result is that objects cannot be effectively recycled. Historically, there has been little incentive for producers, and thus designers, to deal with the death or disposal of objects. But this is due to change, as incoming legislation from the EU will force producers to use recycled materials and create more recyclable objects. In turn, this demand will affect designers. So how can we work to create more sustainable goods? ----- AUTHOR: Nadav Goldenberg TITLE: Empire State of Play SUBTITLE: Playground design in the urban environment How did the design of playgrounds evolve throughout history? And how does the urban environment play a part in their evolution? To answer these questions, I look at New York City. Here, we see a dense urban space for play development, with a long history of constant shifts in play ideals, safety regulations and the pioneering of playground design. ----- AUTHOR: Oscar Kwong TITLE: Comfort and the curve The curve exists in all ranges of expression, from the flamboyant to the modest. In the past decade there have been multiple studies that have set out to confirm our instinctual desires for the curvaceous shape, proving in every measurable scenario that humans prefer the round compared to the rectilinear. This intuitive response to the curve has been hard-wired as part of our evolutionary bias. The relationship that connects comfort and the curve will be the premise of this essay: from the buildings of Sanaa that employs the familiar curve, as a reminder of our connection with nature; to trace the postures supported by the comfy lounge and its intimate bond with the human body; to the conforming contours of everyday objects. ----- AUTHOR: Silvio Rebholz TITLE: TV studio sets SUBTITLE: A space for reality and fiction TV studio sets are spatial constructions in which TV formats such as news, talk shows or game shows are produced. On these sets, hosts interact with guests, newsreaders broadcast informa­tion and hosts entertain – always with the intention of reproducing the scene on screens. Focusing on the designs of TV studio sets, it is striking how unusually shaped they are. Elaborately sweeping curves of sofas; LEDs highlighting the edges of a desk. Remarkably, these and other exceptional elements aren’t isolated cases, but repeat across shows, broadcast genres and national borders. Their similarities suggest that it’s about more than free formal expression. What are the parameters for consideration in a “good” TV studio set? How did this unique style develop? ----- AUTHOR: Thomas Manil TITLE: The typology of coins This research project explores the history, production and formal language of coins. They are part of our lives and accompany our daily gestures. We give them, we receive them, we pocket them, or we place them carefully in a wallet. We have the impression that we know them very well, and yet, we have a hard time describing them with precision. It is an integral part of the country’s identity and embodies the link between art, design and technology. In a society that is gradually seeking to dematerialise money, the coin deserves special attention. ----- AUTHOR: Till Ronacher TITLE: The robotic arm Industrial robots have been involved in the manufacturing of products since the 1960s. But over the last decades, industrial robots have been moving out of the factories into new contexts such as architecture and design. Now, in some experimental contexts, digital fabrication is explored with the help of industrial robots. In such laboratories, the cooperation between humans and industrial robots is being investigated and applied in a design context, within which new forms and transformative design processes emerge. In this thesis, I examine some of these developments with regards to the possibilities of their integration into the design process. ----- AUTHOR: Trolle Rudebeck TITLE: A writing and drawing instrument In the age of typing, scrolling and audio-recording, cursive writing might seem endangered, particularly among younger generations. As handwriting has become more and more obsolete, it has come to be considered as a poetic or romantic act rather than a fundamental tool. Looking back to ancient civilizations and their instruments for drawing and writing, the pen’s stick-like shape has remained surprisingly constant. By looking to the past, could we predict the future of the pen?

PRODUCT DESIGN

Lausanne Jardins 2019

with Wieki Somers

From 15 June to 12 October at Lausanne Jardins 2019, discover some thirty gardens, including three projects created by ECAL Product Design Master students following a workshop with the Dutch designer Wieki Somers . The three projects presented on the Terrasse de Bellefontaine are: Le Point (Timothée Mion, Fabien Roy, Leonardo Vianello):  Perched atop the roof of a car park above the level of the street, The Bellefontaine terrace is inconspicuous and little-used. To attract the attention and incite passers-by to discover this hidden garden, a sail unfolds every time the car park’s air vent is activated, like a landmark up in the sky. The blast that comes from the bowels of the earth propels the piece of fabric that twirls around in the wind. Air is the invisible link between all the layers of this place and Le Point makes it visible. The Nocturnal Garden (Jeffery Lambert, Lorenz Noelle, Mathilde Lafaille):  Sculptures during the day, stage directors at night: a series of lampshades bring the Bellefontaine terrace to life as night falls. They transform the park, diverting the rays of existing lights onto natural elements for a new experience of the garden. Each reflector creates little scenes with a dramatic interplay between light and nature that varies according to the wind and the rain. Entrance (Samuel Lodetti, Benjamin Bichsel, Jingxiang Zhang):  There is something fascinating about gazing into water. Through the transparency of this element, hidden worlds appear and one can get lost in their infinity. Entrance plays on this fascination. Thanks to an optical effect, the park is connected to the various levels of the car park. The small fountain transforms into a bottomless abyss of stratified storeys, and visitors are invited to dive into this endless world. https://lausannejardins.ch/en/

PRODUCT DESIGN

Axor WaterDream: a Conceptual Study of Glass Spouts

with Stéphane Halmaï-Voisard

In a one-of-a-kind collaboration, Axor, the design brand of Hansgrohe, has given the ECAL Bachelor Industrial Design and Master Product Design students the opportunity to design a series of interchangeable glass spouts for the bathroom using the innovative U-Base system. Vanity Mirror by Thomas Elliott Burns The connection between water and our reflection has existed long before the invention of the faucet or the mirror. This piece combines the faucet with a mirror and a small shelf space, changing our expected landscape of the bathroom. Bend by Stanislaw Czarnocki & Katarzyna Kempa Starting with a standard tube shape and adding a single cut, the spout portion of the faucet is bent away from the main body of the faucet. This elegant solution speaks towards simplicity in production methods. Vidéo www.axor-design.com images: ECAL/Axel Crettenand

PRODUCT DESIGN

The Iceland Whale Bone Project

with Brynjar Sigurðarson

Each year some fifteen whales get stranded on the coasts of Iceland. A whole local tradition is being kept alive around the bones of these gentle giants, often used in their raw state but rarely worked on by designers. In January 2013, 17 ECAL Product Design Master students went to the Iceland Academy of the Arts in Reykjavik to attend a workshop led by Icelandic designer Brynjar Sigurðarson. According to him “the idea was to collect various types of bones on the beach, but also shark skin or teeth, or even bits of plastic waste. From this starting point, the ECAL students who had come from all corners of the earth were supposed to draw on the atmosphere of this particular environment to create objects”. From the skull of a Minke whale repainted like a car body to cutters using shark’s teeth, via ship models whose centreboard is made from whale vertebrae, masks put together using the remains of marine animals and contemporary materials, and including a geometric decorative object made of bone and placed on a pedestal, this surprisingly poetic selection is the fruit of a reflection on contrasts between the old and the new and the meeting of the primitive and the progressive.

PRODUCT DESIGN

Low-Tech Factory

with Tomas Kral

For its 14th edition, Langenthal Designers’ Saturday offers carte blanche to the ECAL/University of Art and Design Lausanne. It provides the setting for the ECAL to present its exhibition entitled “Low-Tech Factory”, a selection of machines designed by Bachelor’s and Master’s students of Industrial Design and Product at a workshop led by designers Chris Kabel and Tomás Král. At Langenthal, factories are omnipresent.For this carte blanche, it seemed to us natural to ask students to look at showcasing the manufacturing process of an object, from the machine to the finished product. They therefore experimented with simple and ingenious shaping methods such as moulding, thermoforming and knitting to obtain finished products. “Low-Tech Factory” tackles the subject of automatic production beloved by designers, bringing together six entertaining machines which throughout the exhibition produce mirrors, hats, sacks, toys, lamps, and even popcorn!

PRODUCT DESIGN

Hidden Carbon