ERGONOMICS
Ergonomics is the science of designing environments and products to match the individuals who use them. It is also known as human factors, describes the information about humans in working situations. Proper ergonomic design is necessary to prevent repetitive strain injuries, which can develop over time and can lead to long-term disability. When designing your product you must be aware of, it must fit the person it is designed for. For example adults and children come in different shapes and sizes is there a way to make a chair which is suitable for both age groups, this is what we need to think about as a group to decide. It takes account of the workers capabilities and limitations in seeking to ensure that tasks, equipment, information and the environment suit each worker.
What should you consider? Coming to design our product, we need to consider the shape, weight, height and width of our product. Ergonomics and anthropometrics will help us with this as we have collected our date within our group already. Looking also at research I think we also need to consider the environment, where our chair will be used within the environment. So we need to think about light, smell, noise, moisture, and the temperature of the environment which it will be used in. As we are making it from cardboard we need to think about the conditions of the cardboard like what will happen if the chair is left out for a long time, what will happen to the cardboard? Will it start to break or will the cardboard go wet or soggy ? Mr K.Cooper,Mr DT: Learn about ergonomics and anthropometrics including; lettering, colour, fonts, sizes, etc.web..2007- http://www.mr-dt.com/designing/ergonomics.htm |
Reference: http://www.technologystudent.com/despro_flsh/ergomeas1.png
|
Posture •Poor posture leads to degeneration and wear and tear of the spine, which can leave it vulnerable and susceptible to injury. •To maximize health benefits to avoid back pain, it is imperative to adopt good comfortable postures. •Keep back straight don't slouch. Avoid •Static and awkward postures •Twisting and leaning to one side •Leaning forward slouching and letting the lower back flatten •Reaching with arms outstretched |
Reference: http://www.eyeprotectorpro.com/2012/01/31/top-10-tips-of-rsi-prevention-recovery/
|
ANTHROPOMETRICS
Anthropometrics is the measurement of the dimension of the body or any other physical characteristics. It deals with information about human body size, shape and plays an important role in industrial design, clothing design, ergonomics and architecture. Alarmed with the appliance of ergonomics to the human form and are used to justify the user or target range for your product. Anthropometric data is presented within a table design. It shows the average measurements of the human form
Sitting is the most frequent body posture: we sit at work, at school, in the car, on the bus, on the train, at home in front of TV, to eat, to rest and so on. You are probably sitting down right now. A seat should take the weight off your feet in order to lessen stress on your legs. It should provide some postural stability while you work or relax. You should be able to relax your muscles that aren't doing anything. The seat should also fit in with other furniture and equipment and not get in the way of what you are doing.
http://www.ergonomics4schools.com/lzone/seating.htm
Pheasant, S (1998) Bodyspace. Anthropometry, Ergonomics and the Design of Work. (2nd Ed.)
http://www.ergonomics4schools.com/lzone/seating.htm
Pheasant, S (1998) Bodyspace. Anthropometry, Ergonomics and the Design of Work. (2nd Ed.)
Types of seats
- Seats for working e.g. office chairs, school chairs, kneeling chairs, perching stools.
- Seats for leisure e.g. bar stools, dining chairs, easy chairs, cinema seats.
- Seats for travel e.g. car seats, aircraft seats.
- Specialised seats e.g. wheelchair seats, racing car seats.
What makes a seat comfortable?
Generally, seats should allow your body to be comfortable and not restricted. The seat design is critical for this:
- The seat height should not be so high so that your legs are left dangling! This would mean that there would be pressure on the soft tissues under your thighs. This pressure interferes with the return of blood from the lower limbs, which may cause tingling and numbness in the thighs due to pressure on blood vessels and nerves.
- The seat depth should allow clearance at the back of your knees in order to prevent pressure on the network of blood vessels and nerves.
- The seat back and angle should support the natural curves of your spine (in particular your lower back).
- The main weight bearing should be taken by the ischial tuberosities (the bony parts of your bottom) and the top half of the thighs.
Design 1
This design is simple and yet effective. Its called “FIY (finish it yourself)”. Idea created in 2007 from “Studio David Graas” based in The Netherlands. Nominated for the Dutch Design Awards.
Original Chair Dimensions (l x w x h)- Chair 30 x 44 x 48 cm. Reference : Image 1: http://www.davidgraas.com/products/details/fiy-(finish-it-yourself) Information: http://www.davidgraas.com/products/details/fiy-(finish-it-yourself) studiodavidgross(1970)finishityourself |
Design 2
This one is called the Cardboard Lounge.
Created in 2009 again from “Studio David Graas” based in The Netherlands. “Cardboard Lounge is a full size easy chair made from heavy duty corrugated cardboard. You assemble the chair yourself by simply sliding the parts together. This ensures a very strong construction without the use of any glue. The ergonomic shape of the chair makes for a comfortable seat without the need for upholstery.” Reference: All images- http://www.davidgraas.com/Content/Media/Documents/Cardboard%20Lounge%20assembly.pdf Information- http://www.davidgraas.com/products/details/cardboard-lounge |
Design 3
This is called the “Vow Wow the folding cardboard chair”
Created
in 2009, “the vow wow is a practical foldable chair” made by Duann Scott. “it
is a interesting design that deals with being ‘flat pack’ in an intelligent way
in that it folds down to a smaller form, rather than being made from parts that
need to be assembled”.
Basic Ergonomic Design Principles Involved In Being Seated When designing any seating arrangements there are some basic ergonomic design principles that should be considered in order for the design concept to be successful. Some of the basic principles are:
· Lumbar Support
· Armrest Support
· Seat Pan Depth
· Seat Recline
Lumbar Support
The spine that humans possess has unique shape that is as specific to the body as a fingerprint. The spines vary from person to person inn both variations in the curvature and the length. The curvature and the length will vary based on the type of body structure that they are developing. The rear of the seat will play a critical role in supporting the structure of the spine throughout of the duration of seating and must be able to accommodate for the 2 cm variation across the spine throughout the day. The correct design of a lumbar support will help to ensure that the seating is comfortable and prevent injuries.
Armrest Support
The arms on a human body equate to 10.2% of the total body mass. As a result there will be considerable pressure placed upon other muscles in the body in order to support them. By supporting arm weight stress shall be relieved from the spine. If an arm rest is not able to adjust a form of contact stress will be created along specific areas along the elbow and forearm and increase the risks of potential injuries.
Seat Pan Depth
Chairs that have a fixed seat pan limit the amount of users that are able to use the seat with comfort and ease. This is because the taller the person is the deeper the seat needs to be in order to accommodate the extra surface area. The depth of the seat pan if not designed correctly can cause pressure behind a person’s knees which can lead to discomfort and could prevent the person from utilising full use of the back support. Also a correct seat pan depth can be used to prevent contract pressure underneath the user’s thighs.
Seat Recline
When a person is reclined at certain angles blood flows across the spinal area so that all of the pressure can be relieved. If a chair has a recline angle of 20degrees the stress of the spinal discs becomes reduced by up to 40%.
Bibliography:- Healthy Computing. (March 8, 2007). Office Ergonomics – Chair Setup and Usage.
http://millersinc.com/resources/Ergonomic_Seating_Guide_Handbook.pdf
· Lumbar Support
· Armrest Support
· Seat Pan Depth
· Seat Recline
Lumbar Support
The spine that humans possess has unique shape that is as specific to the body as a fingerprint. The spines vary from person to person inn both variations in the curvature and the length. The curvature and the length will vary based on the type of body structure that they are developing. The rear of the seat will play a critical role in supporting the structure of the spine throughout of the duration of seating and must be able to accommodate for the 2 cm variation across the spine throughout the day. The correct design of a lumbar support will help to ensure that the seating is comfortable and prevent injuries.
Armrest Support
The arms on a human body equate to 10.2% of the total body mass. As a result there will be considerable pressure placed upon other muscles in the body in order to support them. By supporting arm weight stress shall be relieved from the spine. If an arm rest is not able to adjust a form of contact stress will be created along specific areas along the elbow and forearm and increase the risks of potential injuries.
Seat Pan Depth
Chairs that have a fixed seat pan limit the amount of users that are able to use the seat with comfort and ease. This is because the taller the person is the deeper the seat needs to be in order to accommodate the extra surface area. The depth of the seat pan if not designed correctly can cause pressure behind a person’s knees which can lead to discomfort and could prevent the person from utilising full use of the back support. Also a correct seat pan depth can be used to prevent contract pressure underneath the user’s thighs.
Seat Recline
When a person is reclined at certain angles blood flows across the spinal area so that all of the pressure can be relieved. If a chair has a recline angle of 20degrees the stress of the spinal discs becomes reduced by up to 40%.
Bibliography:- Healthy Computing. (March 8, 2007). Office Ergonomics – Chair Setup and Usage.
http://millersinc.com/resources/Ergonomic_Seating_Guide_Handbook.pdf
Ludwig Mies van der Rohe- The Barcelona chair
|
http://www.knoll.com/product/barcelona-chair
Below are some images which caught our attention which looks similar to the barcelona chair which is shown on the right. they both look identical and have same structure and colours, we found this fascinating because this is a well known designed chair as we have seen many of these around our university which are located near work stations. |
The Curule seat was designed for Roman aristocratic kings, with its sophisticated silhouette and grandiose style. When creating the Barcelona chairs for the exhibition; which were intended to seat Spanish Royalty (the overseers of the International Exposition of 1929 ceremony); Mies inspiration is said to derive from this ancient Roman chair. It’s unique, as it does not follow the predictable trend of chairs in domestic homes. Ludwig Mies van der Rohe replicates the way the legs are positioned for the Curule seat and although it has an industrial appearance with its stainless steel on frame and bovine leather, the chair also needs careful and attentive hand craftsmanship similarly to the noble Curule seat.
The Barcelona chair, designed especially for the Pavilion, is an example of his abstract imagination. The form, similar to Roman folding chairs known as a Curule seat (upholstered stools used by Roman aristocracy), is thought to be the inspiration for the Barcelona chair. And despite the industrial appearance of the Barcelona chair, it requires craftsmanship. By using an ancient and regal design in a modern setting, the designer enjoyed instant acclaim. The chair was shown off perfectly in the environment of the Pavilion. The 'Barcelona chair' became an icon of twentieth-century design; it is still manufactured today. Today the chairs and stools in the pavilion are replicas, the originals got lost when the pavilion was disassembled in 1930.
Livius (Livy), Titus (1974). Robert Maxwell Ogilvy, ed. Ab Urbe Condita: Volume I: Book I (in Latin) (2nd ed.). USA: Oxford University
http://en.wikipedia.org/wiki/Curule_seat
The Barcelona chair, designed especially for the Pavilion, is an example of his abstract imagination. The form, similar to Roman folding chairs known as a Curule seat (upholstered stools used by Roman aristocracy), is thought to be the inspiration for the Barcelona chair. And despite the industrial appearance of the Barcelona chair, it requires craftsmanship. By using an ancient and regal design in a modern setting, the designer enjoyed instant acclaim. The chair was shown off perfectly in the environment of the Pavilion. The 'Barcelona chair' became an icon of twentieth-century design; it is still manufactured today. Today the chairs and stools in the pavilion are replicas, the originals got lost when the pavilion was disassembled in 1930.
Livius (Livy), Titus (1974). Robert Maxwell Ogilvy, ed. Ab Urbe Condita: Volume I: Book I (in Latin) (2nd ed.). USA: Oxford University
http://en.wikipedia.org/wiki/Curule_seat
Charles and Ray Eames- The lounge chair and Ottoman (development of plywood)
The Lounge and ottoman chair came from the Eames pair’s pursuit of new innovative ideas for furniture. The structure encompasses three pieces of curving rosewood plywood for the seat and another for the foot stool. As well as this, they have added black leather seats with buttons, filled with foam, down and duck feathers for comfort. Lastly, there are swivels inserted at the base of the chair. Charles aim was that it would have the appearance of a warm but also well-used baseball glove.
This idea actually predates to the 1940’s with the use of plywood (in a molded form) on the “Organic Armchair” by Charles Eames and Eero Saarinen. It is said that the Eames worked relentlessly night and day, even weekends, to further on with ideas of using plywood, even resulting to them making their own apparatus for molding (using scraps of wood and bicycle parts). However this process was too dangerous, so the experiment had to be brought to an abrupt end. Nevertheless, in World War II the Eames and colleagues were given the go-ahead to produce molded-plywood splints for the wounded. It is through creating these splints that the Eames could apply similar techniques (like the use of wartime glues) to help with making furniture.
Dachs, Sandra, Patricia De Muga, and Laura G. Hintze, eds. Charles and Ray Eames: Objects and Furniture Design. Barcelona: Polígrafa, 2007. Print.
This idea actually predates to the 1940’s with the use of plywood (in a molded form) on the “Organic Armchair” by Charles Eames and Eero Saarinen. It is said that the Eames worked relentlessly night and day, even weekends, to further on with ideas of using plywood, even resulting to them making their own apparatus for molding (using scraps of wood and bicycle parts). However this process was too dangerous, so the experiment had to be brought to an abrupt end. Nevertheless, in World War II the Eames and colleagues were given the go-ahead to produce molded-plywood splints for the wounded. It is through creating these splints that the Eames could apply similar techniques (like the use of wartime glues) to help with making furniture.
Dachs, Sandra, Patricia De Muga, and Laura G. Hintze, eds. Charles and Ray Eames: Objects and Furniture Design. Barcelona: Polígrafa, 2007. Print.
Image of the “Organic Chair” (from 1940):
http://www.design-museum.de/en/collection/100-masterpieces/detailseiten/organic-armchair-charles-eames-und-eero-saarinen.html |
“Molded-plywood leg splint, produced during World War 2” (from 1940):
http://designobserver.com/feature/how-do-you-solve-a-problem-like-the-eameses/24008/ |
Then in 1945-1946, both Charles and Ray Eames experimented on with a chair made out of three pieces of plywood (close to the structure used for the lounge chair and ottoman chair 10 years later). This long over-due concept of a leather molded-wood lounge chair was finally birthed in 1956. These set of chairs demonstrate the complexities of the development process, in this case of plywood. Moreover, it also presents the pair’s ability to successfully overcome the challenges of using a material, which is not a conventional chair material, to produce a modern remarkable chair.
Image of the “Lounge chair and ottoman” (1956):
http://www.design-museum.de/en/collection/100-masterpieces/detailseiten/organic-armchair-charles-eames-und-eero-saarinen.html
Albrecht, Donald. The Work of Charles and Ray Eames: A Legacy of Invention. New York: Harry N. Abrams in Association with the Library of Congress and the Vitra Design Museum, 1997. Print.
http://www.design-museum.de/en/collection/100-masterpieces/detailseiten/organic-armchair-charles-eames-und-eero-saarinen.html
Albrecht, Donald. The Work of Charles and Ray Eames: A Legacy of Invention. New York: Harry N. Abrams in Association with the Library of Congress and the Vitra Design Museum, 1997. Print.
Philippe Starck
Image of “Philippe Starck’s Special Edition Louis Ghost Chair” (from 1940):
http://www.huhmagazine.co.uk/4344/philippe-starcks-special-edition-louis-ghost-chair
http://www.huhmagazine.co.uk/4344/philippe-starcks-special-edition-louis-ghost-chair
“In a way, I think that it has become the job of designers to spend more and more of their time producing SIGNS… and less and less of it producing ACTUAL OBJECTS.”
Philippe Starck, International Design Yearbook (1978-9)
Philippe Starck, International Design Yearbook (1978-9)
Starck seems to weigh more on ‘fashion over function’, which seems to be the prevailing culture of our modern day. It is suggested that he got this from his earlier years (1971-72) as the Art Director in Paris at the Pierre Cardin fashion house. From this quotation above, what Starck meant by ‘signs’ was the signing of the designers signature (the label on “designer” goods). The idea that a designer’s signatures is “worth more than gold” (so the book referenced quotes it). The functional use becomes insignificant in comparison to the products image. This is a device that Starck has used through his career and for the Special Edition Lois Ghost Chair. On the back of the chair Starck lasers his signature. It is said that this simplistic, plain design (made from transparent polycarbonate material) was the most sold chair in the world (selling over 1.5 million).
Carmel-Arthur, Judith. Philippe Starck. London: Carlton, 1999. Print.
Carmel-Arthur, Judith. Philippe Starck. London: Carlton, 1999. Print.
Chairs with storage and other uses
Dual- purpose Coat Check Chair
This seat, designed by Joey Zeledόn is made by a metal frame with hangers stacked tightly together. The chair is actually used to prompt guests to hang their coats properly (for social gathering).
http://inhabitat.com/dual-purpose-coat-check-chair-is-a-clever-seating-solution/coatcheck-chair1/
This seat, designed by Joey Zeledόn is made by a metal frame with hangers stacked tightly together. The chair is actually used to prompt guests to hang their coats properly (for social gathering).
http://inhabitat.com/dual-purpose-coat-check-chair-is-a-clever-seating-solution/coatcheck-chair1/
Convertible Crib
This is designed by YiAhn and is made for a growing kid with the concept that you shouldn’t have to stop using it for a limited age. It should adapt in shape and function as the child grows. At birth it is a bassinet, then to a toy bin or and a bookshelf then to a table and chair. http://dornob.com/convertible-crib-all-in-one-chair-table-bookshelves/ |
Crate Chairs
These are pictures of a chair, a bench with an ottoman made out of re-purpose hologram storage crates. There have various storage compartments at the back of the seat and inside the base of the seat, also in the ottoman.
http://www.autumn-workshop.com/2012/08/crate-chairs/
These are pictures of a chair, a bench with an ottoman made out of re-purpose hologram storage crates. There have various storage compartments at the back of the seat and inside the base of the seat, also in the ottoman.
http://www.autumn-workshop.com/2012/08/crate-chairs/
Measure and Record Dimensions of Three Different Chair Types
Square Banquet Chair
· Total Height – 91.4 cm
· Seat Height – 48.25 cm
· Seat Width – 45.7 cm
· Seat Depth – 45.7 cm
· Backrest Width – 42 cm
http://www.fiestafurniture.co.uk/images/products/prod_2799/Chivari%20Silver%20banquet%20chair.jpg
· Total Height – 91.4 cm
· Seat Height – 48.25 cm
· Seat Width – 45.7 cm
· Seat Depth – 45.7 cm
· Backrest Width – 42 cm
http://www.fiestafurniture.co.uk/images/products/prod_2799/Chivari%20Silver%20banquet%20chair.jpg
Folding Chair
· Total Height – 78.7 cm
· Seat Height – 48.2 cm
· Seat Width – 43.2 cm
· Seat Depth - 43.2 cm
· Backrest Width – 48.2
http://media.habitat.co.uk/pws/client/images/catalogue/products/22273/large/22273.jpg
· Total Height – 78.7 cm
· Seat Height – 48.2 cm
· Seat Width – 43.2 cm
· Seat Depth - 43.2 cm
· Backrest Width – 48.2
http://media.habitat.co.uk/pws/client/images/catalogue/products/22273/large/22273.jpg
Stackable Chair
· Total Height – 86.3 cm
· Seat Height – 48.2 cm
· Seat Width – 50.8 cm
· Seat Depth – 50.8 cm
· Backrest Width – 50.8 cm
http://www.sidhil.com/wp/wp-content/uploads/2013/01/seat-m-flex-metal-stacking-chair.jpg
· Total Height – 86.3 cm
· Seat Height – 48.2 cm
· Seat Width – 50.8 cm
· Seat Depth – 50.8 cm
· Backrest Width – 50.8 cm
http://www.sidhil.com/wp/wp-content/uploads/2013/01/seat-m-flex-metal-stacking-chair.jpg
The Assembly Procedure Ideas
Part of our submission along with our chair is a assembly procedure in plan format at an appropriate scale to demonstrate our ideas, similar to what IKEA use for their self assembly furniture. for our guide we want to keep it minimal and simple for the audience, this is a key thing because we don't want our audience to be confused assembling our product. We will keep our guide simple enough to the audience so they understand it, and a lot of illustration to help them put the chair together.
We have looked at IKEA guides on chairs as a starter point to see how well their's is illustrated and guided to the audience, this is a inspiration for us to look at on how to set our guide up.
looking at the IKEA guide manual, its shown clearly and well illustrated to us, when all of us looked at this we had a clear understanding on the manual and if we had the product infant of us it would be easy to assemble because of the well illustrated and chronological ordered guide to help us.
We have looked at IKEA guides on chairs as a starter point to see how well their's is illustrated and guided to the audience, this is a inspiration for us to look at on how to set our guide up.
looking at the IKEA guide manual, its shown clearly and well illustrated to us, when all of us looked at this we had a clear understanding on the manual and if we had the product infant of us it would be easy to assemble because of the well illustrated and chronological ordered guide to help us.
Here we have used books to help us look at ideas for chairs and also while looking through them we notice a page of how to assemble the chair which was helpful to us because when coming to make our manual we can use similar ideas of way to present our outcome to the peers.
There instructions were simple and minimal amount of text used, There illustrations were clean and bold which is important because you need the illustrations to be readable and legible for the audience, when coming to put our chair together. what we also noticed is that one of the book we looked at shows a well explained step by step guide including illustrations which were very clear.
As we were told, looking at inspiration from IKEA manuals as well we see there is hardly any text on them, this is what we need to do as one of our submissions are to submit along with our chair a step by step graphical manual.
There instructions were simple and minimal amount of text used, There illustrations were clean and bold which is important because you need the illustrations to be readable and legible for the audience, when coming to put our chair together. what we also noticed is that one of the book we looked at shows a well explained step by step guide including illustrations which were very clear.
As we were told, looking at inspiration from IKEA manuals as well we see there is hardly any text on them, this is what we need to do as one of our submissions are to submit along with our chair a step by step graphical manual.
Book:- 50 chairs, innovations in design and materials, Mel Byras, rotovission (1997)pg. 134
Book:- 50 chairs, innovations in design and materials, Mel Byras, rotovission (1997)pg. 144
Book:- 50 chairs, innovations in design and materials, Mel Byras, rotovission (1997)pg. 145
Book:- 50 chairs, innovations in design and materials, Mel Byras, rotovission (1997)pg. 144
Book:- 50 chairs, innovations in design and materials, Mel Byras, rotovission (1997)pg. 145