Key to colours:
[brief]
[tutorial]
[research]
[process]
Title: Reclaiming Reclamation (12.11.19)
Keywords: Re-claiming reclamation, found, craft, tradition
Abstract: ‘Up-cycling’ has become a buzzword. Historically, the re-use of found objects has always been expedient; people used what they could because war, austerity and deprivation made it necessary. Now, upcycling is synonymous with middle-class values. It has become a badge of honour to furnish your home with faux-distressed items that allude to a life of continued use. The idea that our real experiences are now mediated – or even replaced – entirely by appearances is not a new one; Guy Debord coined the term ‘Spectacle’ in 1967 to describe a world in which ‘everything that was directly lived has receded into a representation.’
I think the inherent honesty in the re-use of found objects has been lost. ‘Upcycling’ is no longer about using found items with integrity but a style statement unconnected with form or function. ‘Distressing’ new items to make them look old suggests our lives are now so digitised and mechanised that ordinary wear-and-tear is redundant.
I aim to reclaim reclamation by using found objects to emphasise their practical use. This will be carried out by researching, learning or investigating traditional and contemporary techniques for creation or repair, interviewing established practitioners in the salvage industry, and finally exhibiting the physical results to an audience of peers. Wherever possible, the items will be used in their entirety but may be used in a manner that was not intended at their point of manufacture; modification of the item may be necessary. The process will be recorded and presented with the item.
Areas of confidence: Aesthetics, Some prior experience in making skills, Some workshop techniques
Areas requiring development: Reflection, ‘Slow research’
Resource implications: Already possess and have access to a range of workshop equipment that encompasses both wood and metalworking. MMU resources will be used in the metal and wood workshops to fabricate new components or artefacts. There is a possibility that the use of CNC workshop could be employed in manufacturing components.
References:
Burns, J., Gibbon, C. and Rosemberg, C. (2012). Craft in an age of change. 1st ed. [ebook] BOP Consulting. Available at: https://www.craftscouncil.org.uk/content/files/Craft_in_an_Age_of_Change.pdf [Accessed 9 Nov. 2019].
Crawford, M. (2011). The case for working with your hands. 1st ed. London: Penguin Books.
Debord, G. (1967). The society of the spectacle. [ebook] Available at: https://theanarchistlibrary.org/library/guy-debord-the-society-of-the-spectacle.pdf [Accessed 9 Nov. 2019].
Frayling, C. (2011). On craftsmanship. 1st ed. London: Oberon Books.
Harper, G. (2019). Crafting interest. Creative Industries Journal, 12(2), pp.157-158.
Pye, D. (1995). The nature and art of workmanship. 3rd ed. London: The Herbert Press.
Pye, D. (1978). The nature and aesthetics of design. 1st ed. London: Barrie & Jenkins.
Rams:Principles of good design, (2019). [TV programme] BBC4: BBC.
Sennett, R. (2009). The craftsman. 1st ed. London: Penguin Books.
The RSA Action and Research Centre (2013). Investigating the role of design in the circular economy. 01. [online] London: RSA. Available at: https://www.thersa.org/discover/publications-and-articles/reports/the-great-recovery-exec-summary [Accessed 8 Nov. 2019].
Please note, interviews with Mark Rochester (Hebden Bridge) and Edward Hayes (Read/Accrington) have been scheduled and will be referenced as per the protocol at a later date.
Images:
Faustine ‘Aged effect’ white 4 drawer chest “With its old furniture look, this chest of drawers turns the passing of time into something positive. You’ll appreciate its romantic side with its patterned mirrors.” Maisonsdumonde.com. (2019). Aged Effect White 4-Drawer Chest of Drawers | Maisons du Monde. [online] Available at: https://www.maisonsdumonde.com/UK/en/p/aged-effect-white-4-drawer-chest-of-drawers-faustine-188268.htm [Accessed 11 Nov. 2019].
Barn Owl Primitives ‘Live Love Laugh’ “Completely hand painted on a quality pine board, this sign is shown in both photos in golden yellow with antique white letters. It is then distressed and antiqued for an aged, vintage finish.” Primitives, B. (2019). live, love, laugh, and be happy. [online] Barn Owl Primitives. Available at: https://www.barnowlprimitives.com/products/live-love-laugh-and-be-happy [Accessed 11 Nov. 2019].
Wayfair Mangum Console Table “It showcases a clean-lined frame that is enhanced by detailed dental work, turned, square feet, and a distressed finish.” Wayfair.co.uk. (2019). Wayfair.co.uk – Shop Furniture, Lighting, Homeware & More Online. [online] Available at: https://www.wayfair.co.uk/furniture/pdp/laurel-foundry-mangum-console-table-u000499046.html?piid=1168313922 [Accessed 11 Nov. 2019].
Cult Furniture Hand Distressed Vintage Tolix Style Side Chair, Red “Our Xavier Pauchard Vintage style chairs have been hand distressed to give them a beautiful antique look just like the originals that are highly in demand by collectors and sell for hundreds of pounds.” Cultfurniture.com. (2019). Hand Distressed Vintage Tolix Style Side Chair, Red. [online] Available at: https://www.cultfurniture.com/furniture-c10/chairs-c3/metal-chairs-c29/xavier-pauchard-hand-distressed-vintage-tolix-style-side-chair-red-p1742 [Accessed 11 Nov. 2019].
As the Practice 1 module progresses, there is an opportunity to read and research around the subject. A link to my reading can be found here. The reading list has been in part suggested by my tutor, David Grimshaw, and in part by discovery in the library at MMU. The list is growing and evolving.
Tutorial 05.12.19
After my tutorial with David, I am looking into salvage around multiples or “readymades”. I am looking at and exploring the character of components which can be found in enough quantity and at a reasonable price point to become viable component for sustained production, rather than having each item as a bespoke solution within the production process.
Max Lamb uses ubiquitous items of reclamation to create furniture. His work becomes “Gallery arts practice” meaning that the “design is more repeatable”.
Martino Gampar created 100 chairs in 100 days.
Look around the Industrial and Repeatable aspect of the practice – using the right resource for the location.
Droog’s Design for Download project takes the locatitive element out of selling furniture, and files can be downloaded and taken to a makerspace for production.
Ingo Maurer’s Campari Lights uses old Campari bottles to make pendant lights.
Stuart Haygarth works in a similar way, but it is more gallery/fine art based rather than practical.
Repeatable is the key. Something that doesn’t rely on the maker, something which is not over-toleranced, something which is pleasing.
During the Full Time Petcha Kuchas, (12.12.19) there was a moment of inspiration. The area of my practice needs to embrace:
• Aesthetics
• Economy
• Wextina
Wextina is a word coined to describe Wear, Texture and Patina, and is a horrible portmanteau (or is it a trimanteau)? But it is the only one I could come up with.
I am making an oil burner. Not one of these, but one of these. There are issues. It is not very environmentally friendly, but it is less polluting than burning wood. If the burner has the capacity to burn vegetable oil, its ‘green’ credentials are enhanced, and if it will burn waste wood, this is an advantage. Research is needed to ensure that this is the right way to go. The oil burner should also be good to look at (ie. have a positive aesthetic), use waste or recycled products (ie. be economical to produce) and celebrate its origins (ie. embrace wextina), as indicated in the block above. The burner will have a visual language of the archetype and will not look as though it would be out of place in a high street shop, but the visual cues of its heritage will be there to see if the observer looks closely enough.
Tutorial 30.01.20
This project needs a full risk assessment and a disclaimer that I am solely responsible for the implication of my actions. The risk assessment has been carried out although this has not yet been documented, which is very remiss of me. Sorry.
We discussed the ecological aspects of the project, and there was much discussion around the ‘eco credentials’ of the project. Positives were that the raw materials are waste products – the gas bottle is from a bankrupt supplier and other companies will not accept this as a return, the hopper was salvaged from a closed pub and contained out of date beer, the burning bowl is a helium balloon bottle which is supplied as an item which should be recycled in the household recycling scheme. The burner should have the capacity to utilise multiple waste fuel products, from used scooter gearbox oil to vegetable oil (used and virgin), heating oil, biodiesel or red diesel (although the diesel would not be cost effective to run).
Look at the range of the product – I am doing the engineering testing, but this can be scaled up into a range of burners using the range of gas bottles available. These will have to be investigated and I need to look at the life cycle of these bottles to see if they can be legitimately re-used in a scaled up context. The key words are Repeatable and Variable.
A 3d model of the bottle should be created, as David wants to see it in Red in order to celebrate the origins of the product and to ensure that the product does not mask its origins. The question was asked about removing the skirt, which was an aesthetic judgement to help to disguise its origins. Is this the right way to go? Discussion ensued about the nature of the raw materials, and the ‘honesty’ of the product in the context of the product ‘story’. I had envisioned this to be useable in a domestic environment as well, and the aesthetic judgements I took were leaning towards the domestic environment and how the product would ‘blend in’ to a home environment. I was looking at this aesthetic – the language of Swedish built stoves is quite established and I felt that this fitted in with that vernacular.
Burner II – Origins and Manufacture
The process of this build has been documented and is listed below. The processes involved are all here, and the skills learned are also documented with a photographic sequence. Video will be used to further clarify some processes or to document the testing phase of this project.
Using the Practice 1 title ‘Reclaiming Reclamation’ means that the components used within this project will be (in the main) reclaimed. New items or components will also be used, but the project will be largely an exercise in reclamation and repurposing.
The product should be useful, aesthetically pleasing and should celebrate the origins of each component where possible. Aesthetics, Economy and Wextina should be evident in the final piece but the elements of wear, texture and patina will be genuine, unembellished and unadorned.
31.12.19
The starting point is a keg of beer. This keg appeared at our house on the 4th October 2019. My partner’s son obtained this from a source to help celebrate his Mother’s birthday. The source was (apparently) legitimate and involved a pub refurbishment, a landlord and a short sell-by date. What was not considered was the logistics of getting the content out of the keg without the infrastructure and equipment usually found in a licensed premises.
By New Year’s Eve, the contents had passed the sell by date and the keg had a small hole punched in it by a screwdriver after the boy decided that he would take matters into his own hands and try to retrieve the contents. Either way, the keg was now useless, and could not be returned. It was therefore a prime candidate for re-use.
The beer (it was Becks Lager) was drained and the process of re-using this particular object was started.
01.01.20
The burner bowl was made from a helium balloon gas canister which was surplus to requirements. There is not an option to refill this item and the returns policy is that the object should be placed with the normal household waste recycling items. The item is constructed with 2mm mild steel. An additional disc of 10mm mild steel was then welded to the inside of one half of the sliced canister to add mass and longevity to the burner bowl. This will aid in heat retention to ensure that the ignited liquid will self combust once the bowl reaches temperature.
02.01.20
I asked my neighbour if I could use his Colchester Student lathe rather than my Boxford CUD lathe. The Colchester has a greater range of speeds available without belt changing and a higher capacity. He was happy to let me use this machine, so… The hopper tap assembly was loosely assembled and a drip nozzle was created using 16mm bright steel bar and the lathe. The bar was drilled and a chamfered nozzle was cut. This piece was then turned down to 15mm. The appearance of the tap was very industrial and the decision was taken to turn down the compression fittings in the lathe also, in order to give them the appearance of bespoke manufactured items rather than off-the-shelf fittings.
02.01.20
The gas bottle was a feature of the unit for a number of years – the company it was rented from ceased trading a number of years ago, so it was left in the unit gathering dust and occasionally acting as a stand to spray items against. The safety collar and handle needed to be removed in order to give access to the valve, so this was carefully cut from the bottle using a 1mm cutoff disk and an angle grinder. The valve was shut off prior to this being carried out, and the cut was started approximately 2mm above the surface of the bottle wall so that the bottle was not accidentally compromised. Once this safety collar was removed, access to the valve was granted and this was unscrewed using a Stillson wrench and a length of pipe for additional leverage. With the valve removed, the bottle was filled with water and left for a week. This filling with water purges the residual gas in the bottle, as propane is heavier than air and will be displaced by the water as it fills the bottle.
03.01.20
The beer Barrel was disassembled and washers were welded to the plasma cut top so that this could be used as a lid. This was installed with some standard 22mm pipe fittings and a tap, then placed on the mezzanine so that the oil had the benefit of gravity to assist in the flow to the burner.
03.01.20
A vintage Fire Extinguisher manufactured in 1978 was used to create the chimney outlet. This was disassembled carefully and the dry powder contents emptied prior to cutting using the plasma torch. This component was chosen because of its age, prior use and because it was originally manufactured locally in Blackburn. The rotary handle on top of the extinguisher was originally intended to form a rotary tap handle to control the oil flow, but this was found to be unsuitable for use in this purpose due to the extensive engineering required to fit a standard tap fitting.
11.01.20
Once the gas bottle was completely purged of residual propane, the water was emptied and the bottle was plasma cut to remove the top. A 3mm plywood cutting guide was strapped around the bottle so that an accurate cut could be obtained using the no-conductive plywood as a guide. There was a small amount of scorching to the plywood after the cut was complete, but this was not as extensive as was anticipated. Three CO2 fire extinguishers were placed just outside the shot to use in the event that the plywood caught fire.
11.01.20
After the top was removed, a flat plate was cut using a workshop made compass to facilitate a perfect circular cut. This proved to be very successful, and the central hole was later plug welded to ensure that the top was airtight. A flat top was chosen so that the burner could be used to heat water in a copper kettle. This was an important consideration and had many implications in the aesthetics of the final product.
11.01.20
The gas bottle skirt was removed to enhance the lines of the final burner. The top which was removed would become the base later in the process.
19.01.20
The gas bottle base was manufactured using a short section of steel tube reclaimed from an old desk leg. This was fitted to the base first and tack welded into place before the rest of the bottle was positioned and lined up so that it was plumb and square. The tube was then seam welded in position.
25.01.20
The paint was removed from the gas bottle using a flap disk and angle grinder. A coat of galvanising spray was then applied to the base as this would not be in direct contact with the heat when the burner was in use.
26.01.20
A door aperture was measured and cut using a 1mm cutoff disk and an angle grinder
02.02.20
The door of the burner was inspired by the look of a vintage welding mask. This was an aesthetic choice based on the limitations of combining a flat piece of glass with a curved shape. A number of cardboard templates were created to get an accurate form factor prior to cutting the metal for this component. A fire glass window had been ordered online from a supplier on e-bay to a standard cut size, and the window aperture was created first in the template. The curves required were then cut out and the door was tack welded then seam welded to the cut out door. A separate rectangular inner frame was manufactured and drilled with four corner holes. The recess for the glass was cut slightly larger than the outer door so that it could not be seen from the outside when the door was closed. Bolts were then welded to the door in positions corresponding to the drilled holes so that the glass component could be secured mechanically by being sandwiched between the door and the inner frame.
09.02.20
The previous wood burner suffered from smoke leakage due to poor sealing on the door. The Burner II project required effective door sealing as a result. 1.5mm mild steel was bent to shape around the bottle using ratchet clamps and cut to size.
09.02.20
A handle was created on the lathe and this was threaded and a screw fitment attached this to a piece of stainless steel tube salvaged from the beer barrel. A simple bar and tube hinge was also manufactured and two lugs were welded onto the gas bottle body to hold the bar in place.
10.02.20
The rear airflow pipe entry hole was calculated based on the position of the burning bowl. The aim is to create an airflow which follows a vortex path so the angle of the pipe and the behaviour of the airflow is an important factor in the efficiency of the burner. There are very few references available to calculate this angle, so the positioning was largely based on instinct. An oversized hole was cut into the back of the burner body and a length of pipe was positioned and welded through this hole.
10.02.20
The heatproof paint was applied to the burner.
15.02.20
The route of the chimney was through a window, from which the glass was removed. A template for the shape of the chimney based on the window angle and the circumference of the through pipe had to be calculated and a mathematical formula was used (online) to create the wooden template for the plasma cut. This was carried out and the through pipe was tacked then seam welded. A coat of paint (around the areas which had the galvanisation removed for welding) was then applied.
16.02.02
The air flow pipe now needed installing and a hole was drilled using a milling machine in one of the 45° angle sections.
18.02.02
The air pipe was tacked in place based on the position of the stove. A 125mm fan was obtained online to provide a constant flow of air. This needed reducing down to the diameter of the air pipe, so a 0.5mm sheet steel cone was manufactured. There are no photographs of this part of the process, as the battery on my phone had died at this point, but the reducing cone can be seen in the next stage.
22.02.20
The air pipe was fitted from a position quite far away from the burner to protect it from the heat generated. The electric conduit was also re-routed to pass behind the path of the chimney away from the hottest part of the fire as a pre-emptive measure. This allowed for a dedicated socket to be installed to power the fan. The fan power consumption is only 38W per hour, which makes the stove very energy efficient. At this point, the copper plumbing was installed from the tap attached to the oil barrel. A new reclaimed tap handle was also installed at this stage.
22.02.20
Test burn no 1. The stainless steel flue was installed with some custom coupling sections, and the system was commissioned. The initial test burn used rapeseed oil from Tesco Stores, and 20 litres was used.
29.02.20
Test burn no 2
A variety of oils were used in 20l batches. These included used engine oil, Rapeseed oil, Sunflower oil, used sunflower oil and heating oil. The best performer was the sunflower oil, closely followed by the rapeseed oil. The heating oil performed poorly as it was too thin to control well, while the used engine oil had some large thick clots within which blocked the nozzle. Using a sieve did alleviate these issues, however, but this makes filling the fuel tank more problematic.
Reflections:
Ongoing further testing
The Burner II has been thoroughly tested and used with a variety of fuels and although the delivery of fuel can ‘shift’ due to the viscosity of the fuel used, it works efficiently and effectively. The space has been heated to 30°C from an initial temperature of 6°C within two hours.
Evaluation of project
This has worked well and has resulted in a much more comfortable working environment whatever the ambient temperature. Sunflower oil has a slightly higher calorific value than rapeseed oil, but the difference in fuel usage over temperature is negligible.
Modifications
A small swing-away pan stand has been added to the burner.
Wish list
The Burner is a capable and useful addition to the workshop environment, but the price of vegetable oil is very high. Used vegetable oil has a tendency to congeal but virgin vegetable oil works well in the burner and does not need any pre-treatment.
Next Steps
The issue of repeatability and commerciality will be explored.
Tutorial 28.05.20
Following my tutorial on 28.05.20, some points were raised regarding the direction of my Practice 1 project.
What I have done?
What I will do?
Why I will do it?
I need to define an underpinning agenda or area of theory to my work which I will investigate in the making.
I should find the research within my making.
Look at the gap – what are people not doing or thinking about?
What is the forum for my practice if it isn’t commercial?
What am I saying and who wants to hear it?
It needs to have integrity and be meaningful.
Commercial practice is making cost-effective products at a profit.
Profit is fine, if it is ‘reasonable’, cost-effective is fine if it is ‘not cheap’ or ‘durable’, products are fine if they have ‘integrity’, therefore:
reasonably priced, durable products with integrity should be the ethos of my practice. But…
| Should the product… | RAG | Why? | Importance |
| be desirable? | G | So that people want it | |
| be beautiful? | G | So that it looks good | |
| be honest? | G | So it has integrity | |
| tell a story? | G | So it has a history | |
| be sustainable? | G | So it has a history | |
| be crafted? | G | So that it looks good | |
| be useful? | G | So that people want it | |
| be bespoke? | A | So that it justifies its price point | |
| be unique? | A | So that it justifies its price point | |
| be affordable? | A | So that people want it | |
| be mass producible? | R | So that it is ubiquitous or disposable |
Looking at:
https://www.emeco.net/
Emeco 1006 Navy Chair used scrap aluminium in 1944 – designed for use in submarines
The 111 Navy chair uses 111 PET bottles in its production.
The 1” Reclaimed uses 88% waste polypropylene and 2% waste wood fibre.
https://www.viaduct.co.uk/journal
https://zanat.org/en
Tutorial 09.07.20
Discussed an example of approach: People want gas bottle burners, but why?
Discussed Middle Class Guilt: The object containing a story
Looked at Stuart Haygarth and his Party Popper chandelier. The narrative of the material, not about recycling.
Discussed the story of an object: What is the value of it for other people? Find out why it is meaningful for other people.
Discussed nostalgia and the value of history or the value in objects.
Discussed ‘what was I doing and why was I doing it?’ Reflection
Discussed the product as an approach rather than a project
‘Could take time to make a clear statement of what I want to do.’
Discussed efficiency and not wasting – the object comes complete from the source object.
Discussed the product and the ceiling price.
Discussed whether this was a tenable practice and if it was commercial?
10.07.20
Model 13
A number of smaller garden burners will be produced using the techniques explored here. These will be for use outdoors, and will follow a similar form factor to the Burner II project. Because these are outdoor burners, there is no need to isolate the flame or vent the exhaust gases, so this will be an open bowl shaped item, with a series of ventilation holes drilled around the base. The plan is to ensure that these are repeatable and can be produced quickly using the tools and resources I already own. The aim is to be able to produce these within a much shorter timescale, so a minimum of two Model 13 burners will be produced possibly in tandem to explore production to scale.
Tutorial 30.07.20
‘Come to a conclusion – it is not about having a resolution – Make a clear statement.’
‘Have the project in the bag – something to reflect on. Take it apart afterwards – Write a statement of intent.’
Discussed Gas Bottles – Ubiquitous but has the potential to be something else – contains the potential for adding value.
‘Fire out or fire in?’ The object is illustrative of a bigger group of objects – an exemplar.’
Discussed the appeal of exclusivity, cataloguing (Factory records) and the idea of individuality in editions.
‘Practice 1 is about “picking at it”. Why?’
Discussed what is beautiful? Interest and value – not just aesthetics. ‘Why did I think like that?’
Discussed what is the thought process that makes me make my decisions. What am I thinking about when I am thinking about design?
‘The gas bottle is just the material. It is ubiquitous, undervalued and has underused potential. Why am I interested in doing this?’
‘Think about things I’ve assumed. Analyse everything.’
‘Realise that the things I think are important are often not the important things. Don’t do making without thinking – go back into making using reflection. Do not use making as an avoidance tactic.’
Discussed criteria: Not about thinking ‘How am I going to do it?’ I should think ‘Why am I going to cut it?’
Discussed the decision of the Gas Bottle. What is it about this item that makes it feel successful?
‘Make stuff and do it thoughtfully. ‘This is where I am and this is what I think I’m doing.’
01.08.20
The first day of my summer break and the time has come to explore the repeatability and the commerciality of producing Gas Bottle based receptacles for fire. There are two empty 13Kg gas bottles on the allotment which need to be disposed of, and these have been chosen as the lucky recipients of some cutting and welding. These will be taken to the unit and will be emptied and thoroughly purged using water.
19.08.20
The time to start the gas bottle Model 13 project has come. The bottles have been moved to the unit and the process of emptying these can start. The first task is to remove the valves. these are different to the larger propane bottles, and a safer way of valve removal needs to be developed. Using a grinder while there could be gas inside the bottle is dangerous as the valves on the butane bottles cannot be opened to check for residual content. A valve removal tool was therefore created using 30mm box section and a 25mm hole. A grinder and cut off disk was used to extend the hole and this was then drilled through to accommodate a rebar offcut for leverage. This was then used to remove the valve. The bottles were then filled with water and left for a number of days.
25.08.20
The bottles were plasma cut to remove the top, the lid and the skirt using the same techniques described in the Burner II project, and two lengths of tube were cut to help to visualise the end product. The bottles were both then drilled using a measured paper template so that the hole spacing was equal. Two rows of holes were drilled using the drill press and a workshop made saddle so that the bottles were held safely. The saddle was clamped to the base of the drill press using two spring compressor tools. The lower holes measure 35mm and the upper holes measure 25mm and these were drilled using Bosch Progressor bi-metal hole saws. The hole placements were offset so that these were aesthetically pleasing. These holes were de-burred and then hand filed for safety using a half round file. The products were discussed with my partner who suggested that these looked like goblets. She then made the connection with fire, and from there to Harry Potter. These will now be known as the ‘HP13’ model.
Tutorial 27/08/20
Discussed looking for the language of the object and it’s desirability – overtly upcycled and therefore more desirable.
Discussed a price point for the commissions (5 so far) – £150
(https://www.hotpod.co.uk/welcome-to-hotpod-wood-burning-and-multi-fuel-stove/limited-edition/#lightbox/1/)
(https://www.ebay.co.uk/itm/Garden-outdoor-log-burner-chimenea/153929558322?hash=item23d6eaa932:g:s8QAAOSwGENeuuEc)
(https://www.ebay.co.uk/itm/Chiminea-Gas-Bottle-Log-Burner-Wood-Burner-Firepit-Patio-Heater/203088385888?hash=item2f4902d760:g:1EkAAOSw0kRfGILp)
(https://www.ebay.co.uk/itm/Chiminea-Log-Burner-Wood-Burner-Firepit-Patio-Heater-Metal-Steel-Outdoor/133502648915?_trkparms=aid%3D1110006%26algo%3DHOMESPLICE.SIM%26ao%3D1%26asc%3D20131231084308%26meid%3Dcd5fad893b144b93b7b971fc7207811a%26pid%3D100010%26rk%3D2%26rkt%3D12%26sd%3D203088385888%26itm%3D133502648915%26pmt%3D0%26noa%3D1%26pg%3D2047675%26algv%3DDefaultOrganic&_trksid=p2047675.c100010.m2109)
Discussed how people think about the object – the user response to the object – and what is the purpose of it without the commercial focus?
‘Draw it to a conclusion – have a statement of intent’
Discussed putting the project within an academic context – Is there a universal message or statement?
Discussed using the language of what we do to express ideas – Where is the commonality (of practice)? Think about my physical practice in relation to my digital practice.
Discussed value, history and narrative as a vehicle for discussion of academic practice.
Discussed the upcoming submission – Providing ‘evidence’ vs ‘Progressing an idea’. Reflection.
Discussed ‘what is it about the idea that makes it good?’ then looking for similar ‘resources’ for Practice 2.
Discussed external links in the submission.
Can send a we-transfer file if too big. Do this anyway to David when I submit.
28.08.20
The two bottles had the paint removed using a flap disk and the component parts welded together. These were then given a rubber foot using the same product used in the Burner II project.
29.08.20
The completed HP13 products were given a final coat of heat proof paint. Both are now sold and there are a six orders for this product if these become available in the future. Unfortunately, my partner wants two (one for home and one for the allotment), so these two will not be paid commissions.
Reflection
The HP13 garden burner has yet to be tested, but this should be a useful and efficient garden brazier. The premise is similar to established products and ad-hoc solutions for disposing of garden waste (like the oil drum brazier), so these should work as expected. The product could also feature a grill option for cooking or an optional chimney module if required. There is also scope to produce similar items with different sized gas bottles in the future to produce a range of products. The two pictured above have both been sold and their owners are very happy with the visual appearance of these products, but these have not yet been used as far as I know.
Marronmade 