Walking around the 3D Print Show four weeks ago, I found that most of what was on show was either self-indulgent or pretty useless. I think we could all live without 3D printed statues of ourselves. Do we need to 3D print imaginary insects? Do we need to print intricate chocolates using additive printing only for them to be gobbled down in an instant? I even went to a session titled “Building a 3D printed home” only to hear the designer had only printed a small part of the interior, which from the moment it was printed meant it was impossible to make any home improvements.
Then I heard Jim Kor talk. Jim and his team of designers in Canada have for decades been trying to build a car that does as little harm to the environment as possible, in light of some eye-watering projections about the number of new car drivers there will be in the next few decades. With few signs of the electric grid quickly becoming greener, they’re trying to build a car that can run at normal speeds on as little petrol as possible. They’re going about this in three main ways:
Firstly, making sure that energy is efficiently transferred from the engine to the tires. On this front, Jim is following many engineering features of the Mini Cooper (famously good at this), including the length of the car, in part because he used to race minis… on ice! (I have no idea whether Jim is driving this car, but I wouldn’t put it past him!)
Secondly, the team needed to reduce air drag. Jim pointed out that Enzo Ferarri’s comment “aerodynamics are for people who can’t build engines” was for a by-gone era. His team have used the latest simulation software to come up with a car for two people that looks a bit like a bullet (below, right, ironic given the amount of press that the 3D printed guns have got).
Finally, they make the biggest savings on petrol by reducing weight. Here, Jim draws his inspiration from nature. Birds can fly because they have hollow bones. But, birds, like cars, need to survive collisions at high-speed so their hollow bones are full of intricate supports to increase their strength. The Urbee team mimicked this structure (above left) when building the parts for their car. 3D printing has allowed him to build a car that is far lighter than, but just as strong as, what is currently on the market.
Jim said that at current quantities of production they can produce the car for $50,000, but if a car company produced 100,000 then the cost could come down to $16,000. As was discussed during the RSA President’s lecture ‘Making the Future,’ one reason for the lack of investment in new digital fabrication technologies is because once products are designed and prototyped using technology such as 3D printing, at a certain scale of production it becomes cheaper to build moulds into which the final product is cast so manufacturing jobs go to other countries where labour and space is cheaper. Interestingly, in the case of the Urbee, 3D printing will still be required since no moulding can make the bird-bone-type structure.
There’s been a lot of hype about 3D printing, and maybe that’s needed to get noticed. But we should try and strip away the hyperbole, just like historian Marshall Poe does when describing the Internet as follows: “It’s not much of an exaggeration to say that the Internet is a post office, newsstand, video store, shopping mall, game arcade, reference room, record outlet, adult book shop and casino rolled into one. Let’s be honest: that’s amazing. But it’s amazing in the same way a dishwasher is amazing – it enables you to do something you have always done a little easier than before.” And I think the Urbee is a specific example of how useful 3D printing can be.
I’m reminded of what Evgeny Morozov said in his recent book about the Internet “technology should not be seen as lying outside of culture and history. Printing certainly didn’t come equipped with its own “logic” or “nature”… features were the product of complex negotiations and contingent historical processes, not the natural attributes of printing technology.” I think the same should apply to 3D printing. Just because some people want to use 3D printing for mini statues and intricate chocolates, it doesn’t mean the rest of us should be put off!
Here’s how you can get involved.
- Show your support for the Urbee on their latest Kickstarter campaign
- Like many new ventures, the Urbee team are using crowdfunding to turn their idea into action (having crowdfunded for the orange shell). If you want to use crowdfunding to turn your idea into action, the RSA Catalyst recently launched support to help people crowdfund their social ventures
- RSA Enterprise team are designing a prize challenge for the UK’s talented pool of amateur designer-makers, hackers, fabricators and manufacturers to apply their skills to help disabled people, read more
- If you’re a manufacturer interested in these new technologies, or a maker already experimenting with them, the RSA Design team are working to help makers. Read about this or follow them on twitter
- Or you can get in touch with these RSA Fellows are hoping to build a digital fabrication space in London, having built one in Glasgow with support from RSA Catalyst
Despite having been working on the RSA’s new project around Making for the last 6 months, running events to connect Makers from all levels such as the FutureMaker day back in June and our recent Maker Networking workshops, until last week I had never actually visited a real life ‘Makerspace’.
Makespaces, FabLabs Hackspaces and community workshops are popping up all over the world (if I’ve lost you already, then this great article by Gui Cavalcanti will expain all!) and you may have heard Dr Laura James, the founder of Cambridge Makespace singing their praises at this years President’s Lecture. I have long understood their benefits including encouraging startups, enterprise and collaborative learning, but see one of these spaces in the flesh and you realise it is so much more.
Last week Nat Hunter and I spent a whole day at the brilliant MakLab in Glasgow, Scotland’s first open access digital fabrication studio which is nestled in the Lighthouse, an arts centre in the very heart of the city. And it was FANTASTIC!
At this point, I should make it clear that I am not what you would call a Maker. I am a graphic designer, and 99% of what I do involves me working on my own on my laptop, before sending finished artwork to a printer on the other side of London. Quite often I don’t even get to see the finished thing before it is delivered to the client. No collaboration, no materials experimentation, no hands on craft. All in all, not very ‘Makey’, so I was initially sceptical about what I would take from a very hands-on 3D environment such as MakLab.
We were given a tour of the MakLab by Debra, a volunteer and part-time MakLab employee who makes stunning jewellery from plastic off-cuts in her spare time. She showed us all of the different equipment – a digital milling machine, vinyl cutters, laser cutters, CNC machines, digital embroidery and 3D printers. But it wasn’t so much the machines that got me excited (after all, I’ve never used any of this equipment before so wouldn’t know where to start) but the inspiration that surrounded us. From the material banks of brightly coloured vinyl and glittery Perspex (which I took a particular shine to) to the work samples that were lying around – an incredible skull laser cut into slate, a portrait etched out of marble and an intricate paper-cut wedding invitation as just a few examples – gave me ideas instantly of what I (as a non-maker) could do with this equipment. This sort of inspiration is something that you just don’t get by working in a traditional isolated environment.
The atmosphere was also fantastic. People were working together, sharing ideas and helping each other with the equipment. We met Frankie who started her model making company Finch and Fouracre soon after graduating Product Design from Glasgow School of Art. Frankie was using the laser cutter to help her make fast prototypes for a new paper craft project. Before she discovered MakLab she had to send off the work to be cut. This was costing her both money and time. She told us about how MakLab had changed the way she works. She now takes on bigger more complicated jobs, safe in the knowledge that with MakLabs equipment and support she will be able to learn and apply new skills to her work.
I think the most inspiring thing about the space was not necessarily what was being made, but the collaborative backdrop to this making. Anna Marion, an independent jewellery maker and the resident expert on the milling machine spends a large amount of her time at the MakLab. When we arrived she was busy helping someone turn their digital sketch of Skye’s mountain-scape into a 3D cast, which could be used to make collectable fridge magnets to sell to tourists. Anna saw the potential to collaborate, and by the end of the day it was agreed that she could use the design for rings in her jewellery collection. Conversations like this must happen every day, with skills, inspiration and ideas being shared in an open community environment.
I left MakLab and headed back to London bursting with ideas and itching to get Making. The problem is, there isn’t currently a facility for me to do that. MakLab are running a Kickstarter Campaign to bring a Lab to the heart of London. If the campaign is successful they will open a workshop in Makerversity, Somerset House with the following aims:
“1. We will create a bustling centre for making and digital manufacture in the heart of London. Part workshop, part studio, part laboratory, part learning centre. A diverse environment where differing people, technologies, crafts, and world views come together creates true innovation, empowering people to kickstart ideas into realisation. We are creating a place where some of the most weird and wonderful collaborations occur. Where we offer a model that is fair, affordable and inclusive, ensuring creative and experimental work is not pushed out of the city.
2. We will build learning programmes that empower young people with a modern skillset. An alternate education for young people that focus on developing young people’s skills, attitude and creativity with connections directly into different industries. Our aim is to develop young people who are engaged, proactive, critical and enthused.
3. We will put digital manufacturing in the hands of people who might not ordinarily use it. We see many of these technologies as being transformative, both in a technical sense as well as from a social perspective. We have witnessed first hand how making things with technology can be an incredibly empowering exercise and how it can spark creativity and imagination.”
Sounds great doesn’t it!? I’ve already snapped up my 3 months trial membership for just £30, but the campaign needs more help to succeed. Pledge now, and I will see you down at MakLab London in April. I’ll be the one making something out of glittery Perspex!
There’s been widespread interest in new digital fabrication opportunities for quite a while now – and I’m not just talking about 3D printing a gun or 3D printing your face in chocolate. There are Hackspace, Makespaces, Techshops and Fablabs popping up all over the world, and books about the implications of what is being termed the next Industrial revolution.
Activity around micro-manufacturing techniques is emerging in lots of different disciplines – from educators to individuals to entrepreneurs, to make-spaces to manufacturers – and we’ve been thinking for a while that it would be mutually beneficial to connect all these disparate parties. After our FutureMakers day back in June, people told us how inspiring and useful it had been to connect with communities that they wouldn’t normally have access to. It turned out that the network that we created by bringing people together was the thing that was most valued.
So… that got us thinking. How could we keep those connections going? Could we create a digital platform that supports all the amazing real world activity that’s out there? It made sense to us, but in order to check that we were on the right track, we needed to find out what was needed from our potential community itself.
We gathered together representatives from as many different interests and age groups as possible, to start a process of co-creating a digital platform which will be the mainstay of a network to connect all those working in the making sphere. We held the workshop last Monday at Makerversity, and the fabulous Tom and Dan at Swarm (who are also Good for Nothing), helped us run the event.
We asked participants to bring an image/photo/sketch of something they’d made and/or something they would like to make in the future. 35 people came and brought pictures of boats, sustainable phones, treehouses, crocheted turnips, hard drive cases and objects made from sparkly plastic.
The ideas flowed thick and fast – we started making connections really quickly between people who needed advice about manufacturing, setting up a business, where and what to study, how to make a certain object; 9 times out of 10 there were people in the room who could directly help. Tom and Dan set group tasks which helped us work out what we would like to see from our ideal online network. Maps, profiles, sharing of work, giving of advice, discussion; we started seeing the value of this network before the morning was out.
Hilary, Jim and I are now taking all the drawings, diagrams and questions from the first session and have begun to flesh out what a digital prototype might look like, before taking it back to the group in early November. We’re looking for a few more people with experience or interest in manufacturing to join us, so please get in touch if you would like to take part in helping us to co-create an incredibly useful tool for this exciting emerging community.
Follow me on Twitter: https://twitter.com/redfishnat
Filed under: Design and Society, Education Matters, Innovation
In recent months I have had the privilege of developing new opportunities with the RSA Academies and the RSA’s Royal Designers for Industry (RDI). The aim is to assign at least one RDI to each school every year. As reported by my colleague Georgina Chatfield in her blog post ‘What’s the secret to learner engagement’, interior and exhibitions designer Ben Kelly RDI, recently visited Arrow Vale RSA Academy to set a radical ‘live’ brief.
The initial project for Year 12 product design students was to design a shelving system for the school entrance hall in which to display student’s work. However, as communications developed between Ben and design tutor Paul Taylor, the brief, much to the students’ excitement, became a more daring proposition to completely re-design the reception space.
During the visit Ben shared his design path with the students, from school days, to a career-defining commission to design the Hacienda nightclub in Manchester, and beyond. When discussing the project he challenged the students to “dare to be different”, and to “challenge convention by breaking the rules”.
I joined Ben for the presentations and tutorials and it was evident that the students were engaged throughout, asking searching questions and listening attentively. But could this experience really make a difference to them? Our intention from the outset was that it should.
Following the visit we were encouraged by a report of the day written by two students from the group; Bren Heald and Chantelle Pollit. It was a heart-felt and incredibly rewarding account of the experience from the group’s point of view which they described as “thought-provoking and inspiring”. The group continues to develop its’ design proposal as I type, and Ben Kelly will be returning to the school at the end of term to assess the outcome.
This project is a unique opportunity for the students to take ownership of a space that could redefine the character of their school, and that will enable them to be confident about taking risks when testing their ideas. It is also a valuable example of how designers can contribute inspiration and quality to design education, and also of the enrichment that partnership with the RSA can offer.
Filed under: Design and Society, Social Brain, Social Economy
Did you see the one about Apple Maps mistakenly directing people to drive across the runway at an Alaskan Airport? The coverage provides an indication of how much we’ve outsourced our intelligence to our smartphones, and how we are likely to erode our own intelligence as a result.
An excerpt from the BBC coverage:
“They must have been persistent,” the airport’s assistant manager Angie Spear told the BBC.
“They had to enter the airport property via a motion-activated gate, and afterwards there are many signs, lights and painted markings, first warning that aircraft may share the road and then that drivers should not be there at all.
“They needed to drive over a mile with all this before reaching the runway. But the drivers disregarded all that because they were following the directions given on their iPhones.”
So here we are in 2013. We can carry in our pocket a device which can instantaneously direct us, aided by a network of satellites we’ve launched into space above our planet, between any two points on earth. When there are glitches in this remarkable system, we appear to be losing our ability to engage our auxiliary senses of navigation. We increasingly trust our smartphones, simultaneously giving our innate sensual systems less trust in connecting to our cognitive comprehension. When people put themselves in danger, we vent anger at the technological miscues they may have received. How did people drive to airports before SatNav? We expect technology to be perfect: an upgrade to our own human fallibility.
There is a broader danger associated with the ubiquity of smartphone use. We withdraw from engaging with the places we are in and the people with whom we share them. Mobile technology enables local disconnectedness through providing a ubiquitous connection to everyone we know (and many we don’t), regardless of where we are (or where they are) in the world. As a result, our other communication skills become degraded. Smartphone users are constantly interrupted and distracted, less present in the place and the moment something that a recent Apple ad celebrates. We are unable to switch off – indeed the more technology enables us to work flexibly the more anxious we are to demonstrate to our work colleagues that we are not slacking, as the latest RSA Animate explores.
Comedian Lewis CK recently noted that constant connectivity spares us from the emptiness and sadness (and subsequent tranquillity and happiness) that we find when faced with overcoming periods of being alone. Taking notice of the world around us is one of the five “ways to well-being”.
Just walked into my neighbours house by accident while texting. I only noticed when someone called out and I looked up and saw it wasn’t my flat. Christ. - From Facebook, 26/9/13
With a phone in hand, we are less likely practice mindfulness (recognising our thoughts and feelings). And inter-personal communication skills are at risk of deteriorating as we avoid talking with neighbours or chitchatting with shopkeepers.
As Richard Sennett argues, learning to cooperate with different people, outside of your regular networks, is a key rite of passage to adulthood and civility and is contagious in a population. If that sounds too pretentious, then even on a basic level we’ve got to connect the dots: listening to others talk is the most important aspect of learning in early years. My fear is that the rising rates of social isolation, autism and technology penetration are inter-related. On the tube these days it’s becoming rude not to look at your smartphone: we can’t tolerate the gaze of fellow passengers.
I’m not saying we should give up this powerful technology. Many technological applications support local connectedness (such as Streetbank), while other applications support our offline social well-being (such as the RSA’s social mirror). SatNav gives people the confidence to navigate and explore, and mobile phone cameras empower citizen journalists across the world, but we need to know its OK to switch off and unplug. Smartphone adoption may be the most rapid technology adoption of all time – 45% of under-11s in the UK regularly use a smartphone or tablet. We need to understand the implications for public and inter-personal engagement, fast.
Consider those moments where you pause and think to yourself “this is what life is all about”. Its likely you’ll be mentally present. Think of your favourite streets, parks, squares, or bus routes. We can be entertained us for hours watching what Jane Jacobs calls the “sidewalk ballet”: an urban, social, public experience. At the height of our powers of human perception we can learn silently, discretely admiring the athleticism of streetballers and joggers, the daring of skateboarders, and the technique of a street performer. We develop visual literacy to comprehend the age of our buildings, the fashions of different generations, and the processes which clean our streets. Taking a walk, sitting on a bench or at a cafe, we guess the age of a passing infant, the profession of their parent, or simply where someone got those shoes. And we can mindread, discerning the causes of the argument between two lovers and enjoy from the deduction of awkward body language between two people that this must be a first date.
This role (sometimes termed the “flaneur” – the strolling observer) is a somewhat romantic and privileged notion, but we need to protect the time and space for activity which develops our social skills: reading other people’s faces, body language, tone of voice and emotional signals. Indeed our most skilled public servants – social workers, police officers, nurses, school teachers – recognise that inter-personal intelligence is essential in co-producing desirable outcomes, especially with vulnerable people with barriers to verbal or written communication.
The time each of us has to engage with our surroundings is precious, and the design of the spaces which surround us are often disengaging. Several initiatives have shown that often space the looks like public space is not: subject to surveillance, regulation and restrictions on use and participation. A true public space might include a shared institutional setting where we experience a base feeling of equality because we’re all accessing the same thing.
No doubt we will develop better maps, location-based apps and global 3G coverage, but we need to engage in real places to support the development of our capabilities as social creatures.
Jonathan Schifferes is a Senior Researcher in the Public Service 2020 and Connected Communities team (and does use his smartphone for Twitter).
Filed under: Design and Society, Education Matters, Enterprise, Fellowship, Innovation, Social Brain, Social Economy, Uncategorized
Building a neural net of wishes and sharing experience at the #RSARDIsummerschool filmed by Dr James Furse-Roberts
This week I returned from the 2013 RDI Summer School; an immersive, collaborative design experience created by the RSA’s Royal Designers for Industry. Held over four days at Dartington Hall, Devon, the Summer School brought together designers and others from diverse, cross-disciplinary backgrounds who could learn from each other and be inspired and empowered to think differently and creatively. During the event, the eminent designer and creative leader Michael Wolff RDI shared his favourite quote by the author and poet, Maya Angelou: “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.”
Having worked on six summer schools with the Royal Designers, I have observed that each event has had a dramatic or life-changing impact on those who have attended. Some of the designers leave with renewed confidence and are emboldened to take more risks, or start their own businesses. Others decide to change the way they work, become more open to collaborating, or begin a new altruistic pathway.
As we developed the 2013 Summer School, jointly directed by exhibitions and interior designer Dinah Casson RDI, and engineering designer Chris Wise RDI, we proposed the inclusion of more ‘wildcards’ in the cohort; participants who were not designers but were somehow touched by design. They might be commissioners, teachers, or civil servants. Could the summer school be as educative and transformative for them as it had been for designers?
The wildcards that were selected this year all shared a connection with the public realm; a healthcare researcher specialising in quality improvement initiatives, and a regeneration manager of a local council to name but two. Here follows a personal account of the Summer School from wildcard Owen Jarvis, a social entrepreneur and Clore Fellow, who is exploring how social leadership can learn from design:
“During my Clore year I’ve been considering how can social leaders make better use of design-thinking in shaping social and public services.
The Summer School involved a series of curated activities to allow us to meet, network, and collaborate away from work. Challenges were introduced for small groups around themes such as “us and them” and explored meanings and expressions of emotions and how these can be used as inspiration for work. These culminated in the sharing of findings, performances and art works on the final morning, with many groups working through the night to finish on time. Pleasure, creativity, play, discussion, reflection and work were delightfully intertwined for a very rich weekend.
The Royal Designers were incredibly open and generous in offering support and mentoring. Often provocative, they demanded honesty, sharper thinking and attention to detail and standards in exercises. Challenges and insights were received and respected in turn. As we moved from discussions to making objects and performances the magic started to happen. The final pieces were surprising and engaging and remarkable given the short time we had together.
So what can be taken away with reference for the social sector? Many of the challenges designers face are familiar and not specific to their profession. How big do you get before you lose the essence of what you are, how do you attract and keep talent? How do you avoid selling out to the agenda of investors in the process of growth? Over the weekend we were called upon to move away from these important but day-to-day issues to ask other broader questions.
In the same way the social sector comes back to a question of social impact, designers are also constantly returning to a question of quality and attention to detail in the pursuit of beauty. This raised some important questions for me. What is in the beauty, design and elegance of a social service and in achieving social change? Is there an aesthetic? How can organisations be designed in their own right to be things to admire? In addressing these questions, do we make a greater impact?
‘Life can be evaded, death cannot’, our final session considered. Everyone faces some apprehension and anxiety in presenting views, ideas, creations. We feel surrounded by judgement yet our real adversary is our own self. Talent that doesn’t fulfil its potential is a tragedy.
The Summer School has been one of the most extraordinary learning opportunities of my career. It has reminded me of the courage needed to step-forward and step-out and embrace the risk of failure. This has lessons for us all to reach our potential and live life fully. That is also a mark of leadership.”
Melanie Andrews is the Manager of the Royal Designers for Industry at the RSA
You can follow her @Melanie_Andrews
Event twitter hashtag #RSARDIsummerschool
This is a guest blog by Mark Power FRSA. Mark is an architect and a member of the Fellows Artists Network.
As I recently discovered at this summer’s RSA Reboot event-Re:Engage, creativity is in plentiful supply within the London Fellowship network. The event focused on how Fellows could use the 4 ways to engage model to find and support each other in their work. It also featured a lightening talk by a member of the cross-disciplinary Fellows Artists Group which myself and a group of other Fellows have set up. Our members range from film-makers to sculptors, architects to writers and we meet seasonally and informally to visit exhibitions, discuss artists, discuss each other’s work and discuss ourselves and what makes us tick. We also encourage creative ways of recording our responses to the Reboot events, such as this stop-motion video which shows the buzz surrounding new connections being made.
Reboot events are organised by the London Region Fellowship Councillor, and are an excellent platform for getting to know other Fellows; getting to know what they do, what they believe in and getting them tipsy on whatever they bring along. However, running parallel to this social exchange, as RSA Fellows we have a more urgent and vital agenda: to engage in the current debate on public funding and support for the Arts, a debate which so often excludes the artists themselves and tends to emphasise instrumental over intrinsic value. We pursue this in various ways, the London Region has supported a range of events including a debate at the ICA a and a celebration of the 160th Anniversary of the Royal Photographic Society, founded at a meeting held at John Adam Street in 1853.
For me, as a member of the Group and architect running my own practice I am interested in the tension between instrumental and intrinsic intents that makes architecture what it is. At the first FRSA Reboot event I showcased our design for the Jubiloo, a marvellous new public convenience temporarily moored on the historic Thames riverbank, 100m from the London Eye; a dramatic image for a dramatic setting.
As a result, I was able to invite a group of RSA Fellows to experience the Jubiloo, which according to Mary from Manchester was ‘the best toilet I’ve been in’. Fellows heard about the rich historical allusions embodied in the floating barge-like image of the pavilion, admired its flush detailing (automatic of course), whilst also learning of its capacity to turn rainwater into greywater. Although the project was funded by a private company who built and now operates the facility, public funds were contributed by Lambeth as part of its efforts toward landscaping and integration in the public realm. The Jubiloo serves as an amenity for the Jubilee gardens and Queen’s walk, both of which are part of the ‘continuous foyer’ of London’s South Bank, hence the public contribution could be justified on instrumental grounds. The formal and material allusions integral to the design which give the building its intrinsic cultural value interestingly, were paid for by the operating company who felt they would attract more people to use the toilets.
Responses to the Jubiloo have been both instrumental and intrinsic; at the launch, the South Bank Community Choir sang “Up, up and away in my beautiful Jubiloo”. In Summer 2012 a specially convened Jubiloo Shakespeare Company performed Act II Scene 2 Antony & Cleopatra “The barge she sat in, like . . .” remembering the Bard’s sighting of Elizabeth I in her golden vessel on this stretch of the Thames.
Looking back at the activities of the last year, I can truly say that the partnership between the RSA London Region and the Fellows Artists’ Network has given me some highly sought-after opportunities to meet and exchange ideas and experiences with other Fellows. I am looking forward to continuing the conversations with Fellows from around the world in our new Artists Group on the RSA social network and seeing what events we can come up with for the London Region Autumn programme.
A self-repair washing machine, a bee-friendly neighbourhood scheme and an app that provides more active and scenic routes for commuters are among the 16 cracking projects that won in the RSA Student Design Awards this year. 150 people came together at the RSA last week to celebrate the 2013 winners, take part in a spot of speed networking, and hear keynote speaker Kevin Owens talk about his experiences as Design Principal of the London 2012 Olympics.
Now in their 89th year, the RSA Student Design Awards is an annual competition that rewards students for coming up with innovative design-led solutions to today’s big challenges. Each year the RSA works with industry and university partners to develop a series of briefs focused around social, environmental and economic issues. We work closely with universities – in the UK and internationally – to support design students in applying their skills to research and respond to these problems. Their finished projects are then judged in person by a panel of experts, and winning students receive prizes that include cash awards, paid internships, and a complementary year of RSA Fellowship.
This year’s briefs addressed a range of pressing social issues, from improving workplaces and commuting to reducing waste and water pollution. There’s a full list of winners on the RSA Student Design Awards website, and our online exhibition will be going live soon – but for now, here are some snippets about a few of the winning projects:
- Chris Redford from Sheffield Hallam University won a paid internship at branding agency Springetts for his ‘Tinker’ project; a radical stripped-back domestic washing machine that is designed to be repaired by the consumer without the need for a technician.
“I got the inspiration for my repairable washing machine from thinking about the number of times we dispose of entire products – especially large consumer appliances – when there might only be a single failed component. My design exposes the user to all the components so they can learn about its function and hopefully feel more confident about attempting to fix it.
- Charles Anderson, who has just finished a degree in Graphic Design at Kingston University, won a paid internship at the Environment Agency for his scheme to reduce water pollution in the UK.
His project, ‘Dump in Polystyrene’, is a service design solution for breaking down and recycling polystyrene that would otherwise be sent to landfill.
“Since my childhood I have constantly been aware of the litter in the river and the influence it had on the local environment. Through my project research I learned about how water-borne animals mistake polystyrene for food. It clogs up their digestive system which starves the animal. Polystyrene also breaks up and releases pollutants into the soil formation. This project is about reducing polystyrene waste down to a manageable size. The current size-to-weight ratio targets mean that local councils can’t recycle it – so I designed a process that meets these targets.”
- MA Design students Nicole Shadbolt and Meredith Thompson from Plymouth University each won a paid internship in Waitrose’s Graphic Design team.
Responding to a brief asking for ideas to help people live more sustainably, ‘The Hive’ is a community improvement scheme focused on developing bee-friendly communities and educating people about the importance of the UK bee population.
Rebecca Ford is the Assistant Manager of the RSA Student Design Awards.
You can follow her @RebeccaPFord
We at the RSA believe in the power of making, especially when it involves newly emerging approaches; our intention is to help grow the infrastructure and opportunities for designing and making at a local level, both in London and around the country.
Our first venture into this arena was held at Somerset House last Wednesday, and was a resounding success. We introduced and connected the varied and rather fragmented groups interested in this agenda and showcased some of the great work already happening. 300 people came to this inaugural event and the basement of Somerset House’s west wing was filled with professional makers and designers, hobbyists, 3D printing companies, technologists, schools, educators and many more groups that defy easy categorisation. You can see the full list and links here.
One of the surprising and heartening things about this emerging area is that in terms of age it’s a level playing field: age is no barrier to entry at either end of the spectrum. The Ideas Foundation brought several groups of children from schools in the north west, all of whom were collaborating across various subject areas: English, Art, DT, and ICT students had been working together to create award winning projects that they brought to the event. Many of these teenagers had never been on a train before, let alone to London, yet clearly had huge talent, and were more switched on to the possiblities of emerging technologies than some of the adults in the room.
For many, the most surprising speaker and workshop leader was 14 year old Amy Mather, a remarkable girl who held a workshop for 15 adults making conductive thread circuits after speaking about her adventures with Raspberry Pi.
The confidence of all these young people around technology reminded me of Seymour Papert’s Mindstorms work at MIT which I first discovered when studying Human Computer Interface Psychology in the eighties. One of his theories about the power of computers which really struck me and has stayed with me throughout the years is that computers are non-judgemental; you program something and it either works or it doesn’t. If you’re struggling at school and feel misunderstood, technology can be your saviour. The picture above doesn’t look that different from what we saw this week – kids playing with robots. The difference is that with the invention of Arduino and Raspberry Pi, combined with the knowledge transfer powers of the internet, the technology is now available to many more of us.
However, the event wasn’t all about robots and new technology, exciting though both areas are. Sophie Thomas ran a Great Recovery teardown workshop taking apart electronic products, exposing the elements that we throw away so casually and looking at ways we could re-design them from scratch to re-use our valuable resources. The Restart Project showed us how to fix and repair products that we might previously have thought were destined for the dustbin. Technological innovation is always exciting: developing ways to deliver consumer electronics in a sustainable way is just as important and this conversation was at the heart of the event.
What I found most exciting about the event was the amount of cross cultural connections that were being made as the day went on. On the face of it, we followed a standard trade show format of stands, talks and workshops, but what was different about this event was that everyone was meeting people from beyond their usual networks who were interested in the same subject as they were, but from a different angle. We had educationalists connecting with design innovators to inject a new way of thinking into schools, product designers hatching plans for research papers with RSA Fellows, RSA Student Design Awards winners (see video above) talking to chemists and finding out that there were less harmful chemicals that they could be using, and many more people connecting over their passion for this area. The excitement in the room was palpable all day long and everyone left having had their brains “rewired” in an unexpected and powerful way.
We are currently developing plans for an ambitious and innovative project in the areas of making and education, which will be rolled out both in London and around the country. Also look out for the RSA FutureMaker Premium; a prize for innovation in this area.
Thank you to all stallholders, speakers and workshop hosts for your fantastic contributions, to the Comino Foundation who initiated and funded the event, to everyone who attended the event and to Somerset House for kindly letting us use the recently vacated HMRC mailroom to host the event.
The event was a collaboration between the Design and Enterprise strands of the Action and Research Centre at the RSA.
Nat Hunter is Co-Director of Design at the RSA
You can follow her @redfish66
Filed under: Arts and Society, Design and Society, Education Matters, Enterprise, Fellowship, Innovation, Social Brain
What do the iPhone, the Millennium Bridge, Harry Potter film sets, and the World Wide Web have in common? They were all designed by the RSA’s Royal Designers for Industry (RDI), a cross disciplinary collective of designers who have shown sustained design excellence, work of aesthetic value, and significant benefit to society.
The Royal Designers are planning a Summer School which will be held at Dartington Hall, Devon from 5 – 8 September 2013. This event will give 24 young designers and 12 wildcards the chance to work with them in an intensive 4-day collaborative design experience.
Designers of any discipline with between 5 and 15 years’ experience, and wildcards – people who intersect design, as commissioners, public servants, users – are invited to apply for a place. We are seeking applications from people whose work has the potential to be an instrument of beneficial change, from whatever field. If you are up for a bold new challenge, and would like to be one of the designer or wildcard participants, you still have a week in which to submit your application.
Set up in 2000, the Royal Designers’ Summer School brings together a group of people from diverse, cross-disciplinary backgrounds who can learn from one another and are inspired to think differently and creatively. Open, conceptual challenges are set to mixed groups which are discretely choreographed by the Summer School Directors. Exhibition designer, Dinah Casson RDI, Master of the Royal Designers for Industry, and Millennium Bridge engineer, Chris Wise RDI, are co-directing this year’s programme:
“The summer school is both touch-stone and touch-paper, reassuring at first, and then a fuse is ignited. Flashes of insight come when nurse, designer, economist, engineer and neuroscientist face each other openly. It is a well-spring for understanding how ideas are born, and why design is at the core of our being.”
Click here to apply and submit to the RSA by Friday 28 June.
Melanie Andrews is the Manager of the Royal Designers for Industry at the RSA
You can follow her @Melanie_Andrews
Event twitter hashtag #RSARDIsummerschool