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Sign Language Situational Display Stand by Naai-Jung Shih |
Home > Winners > Design #76244 >Interview |
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FS: What is the main principle, idea and inspiration behind your design?
NS: This stand is used to display anything from candies to personal collections. The connection between the design and the displayed subject is similar to sign language that a silent and subtle communication is happening. Each set has branches made by the compositions of moving palms and gestures. The stand can be rotated and set in various combinations of numbers. This design comes in different sizes to accommodate various shapes and sizes of object.
FS: What has been your main focus in designing this work? Especially what did you want to achieve?
NS: The way this stand is presented like offering or displaying a subject to someone with anything from candies to personal collections. The larger set has branches made by the compositions of moving palms and gestures. It is an image collage of both hands with the size of grid for larger object. The smaller set comes in two separated image collages for two hands and a housing system for axial type of object. Size and orientation are changeable.
FS: What are your future plans for this award winning design?
NS: Promote it, sale it, or keep developing it in different scales, materials, or under different themes.
FS: How long did it take you to design this particular concept?
NS: This 3D file was originally created as early as on 2014.03.04 in Taipei. Various types of configuration were applied in several stages of on-and-off preliminary tests. The specific set was finalized in 2018. The duration was about two months of intensive works.
FS: Why did you design this particular concept? Was this design commissioned or did you decide to pursuit an inspiration?
NS: This design is not commissioned and acts as a pursuit of an inspiration.
FS: Is your design being produced or used by another company, or do you plan to sell or lease the production rights or do you intent to produce your work yourself?
NS: This design was not produced or used by another company. To sell or lease related production rights are welcome, although I prefer to produce this work myself.
FS: What made you design this particular type of work?
NS: Sign language delivers messages using visual-manual modality. The connection between the design and the displayed subject is similar to sign language that a silent and subtle communication is happening. It is similar to an opera that a conductor performs in front of audiences. The selection of displayed subject shows hospitality and personal taste.
FS: Where there any other designs and/or designers that helped the influence the design of your work?
NS: No other designs and designers that helped the influence the design of my work.
FS: Who is the target customer for his design?
NS: The potential target customers include interior designers and architects to be added as part of design or decoration, or for private collectors for personal collections.
FS: What sets this design apart from other similar or resembling concepts?
NS: There might be design with similar concepts, but it’s the manner of interpretation in terms of configuration that makes difference.
FS: How did you come up with the name for this design? What does it mean?
NS: The name came from the image collage of both hands with the size of grid for larger object.
FS: Which design tools did you use when you were working on this project?
NS: The design was explored using software and hardware platforms. The former was parametric programs, and the latte was 3D printing machines.
FS: What is the most unique aspect of your design?
NS: The stand can be rotated and set in various combinations of numbers. This design comes in different sizes to accommodate various shapes and sizes of object. The proposed object to be displayed can be Jelly beans in which a perfect of match is made between the housing grids and the sense of sweet. Pens are also suitable because sign language works like a pen writing in the air. Plants are good too because it is a metaphor to admire Mother Nature. It is also perfect acceptable to leave it empty on top or around.
FS: Who did you collaborate with for this design? Did you work with people with technical / specialized skills?
NS: Nobody collaborates with me for this design. The 3D printed parts were made by paid output service. The finish was made by paid coating service.
FS: What is the role of technology in this particular design?
NS: The design configuration comprises two parts as the base configuration and the instance to fill-in. The former is a grid structure and the latter is square used in this design. The shape was transformed and fit into the deformed grid and then extruded to certain depth. A 3D parametric program and RP machine were used for production. Gold foil of a glamorous look was applied by an expert who works on traditional Buddhism sculptures. This is a difficult work because there were too many concave holes. The final foil was made twice.
FS: Is your design influenced by data or analytical research in any way? What kind of research did you conduct for making this design?
NS: Researches were made to the type of finish that can last a long period of time without color being faded away. Gold foil seems much better than other types of foils like silver, copper, or aluminum.
FS: What are some of the challenges you faced during the design/realization of your concept?
NS: The search of expert for this job led to the same company did for me before. But this time the first version was made poorly. The entire surface was asked to wash out and ended up with better result on the second time. Each size of the opening on this installation determines what the final image of the object-installation set could be. I found candies or old pencil studs worked best either for a coherent sweat sense or a contrast image of time. Clock gears also seem perfect on the smaller set with the brass tone next to the warm gray finish.
FS: How did you decide to submit your design to an international design competition?
NS: It is a self-promoting or self-evolving process to become part of an international design competition.
FS: What did you learn or how did you improve yourself during the designing of this work?
NS: A design work was improved through stages of development in a recursive loop of examination under different scales. That’s why some design works were made more than one year.
FS: Any other things you would like to cover that have not been covered in these questions?
NS: There is always issue to be addressed. Let’s keep it open for next year or next competition.
FS: Thank you for providing us with this opportunity to interview you.
A' Design Award and Competitions grants rights to press members and bloggers to use parts of this interview. This interview is provided as it is; DesignPRWire and A' Design Award and Competitions cannot be held responsible for the answers given by participating designers.
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