GCSE DESIGN TECHNOLOGY NEA.
HIBA SHAH.

THE WJEC CONTEXTS.
Net Zero - Investigate the concept of zero waste or safely being returned to nature after use. Identify a specific problem. Design and produce an innovative solution that contributes towards reaching the UK’s ‘Net Zero 2050’ goal. 

Designing for a safer world - Every activity contains an inherent risk. Investigate risks during certain activities. Design and manufacture an innovative solution that will make the identified activity safer. 

Cultural traditions - Different cultural traditions can inspire designers. Explore design opportunities to define a specific need. Design and make a creative solution influenced by cultural traditions. 


2

Gantt Chart of Planned Events:
3

4
RESEARCH

Net Zero. 
5

Net Zero - What is it? 
6
The definition of net zero in the dictionary is:

Net zero means balancing the amount of greenhouse gases produced with the amount removed from the atmosphere, so that the total emissions are effectively zero. This is achieved by reducing emissions as much as possible, for example by using renewable energy or switching to electric vehicles, and then offsetting any remaining emissions through actions like planting trees or using carbon capture technology. The aim of reaching net zero is to slow down climate change and protect the environment for future generations. The UK government has set a target to become net zero by 2050.


Net Zero
Definition : Achieving a balance between the greenhouse gases put into the atmosphere and those taken out.
Key goal : limit global warming to 1.5°C above pre-industrial levels by 2050, as recommended by the IPCC. This requires reducing global greenhouse gas emissions by 45% from 2010 by 2030.
Sustainable Materials : 
Biodegradable Plastics
PHA, PLA, and PBAT.
Used in packaging, agriculture, disposable tableware and consumer goods.
Recycled Materials
PET, HDPE, aluminum.
Reduces carbon emissions by up to 60% compared to virgin materials.
Used in food and beverage containers, shipping containers and chemical containers.
Natural Fibers
Hemp - Grows quickly, absorbs CO2, low pesticide need. Used in apparel, bedding, building and shoes.
Bamboo - Fast-growing, low water requirement, biodegradable. Used in sheets, blankets, towels, and clothes.
Energy Efficiency : 
Renewable Energy Sources
Solar Power - Costs dropped by 82% over the past decade.
Wind Power - Accounts for 6% of global electricity.
Low-Energy Appliances
Energy Star-rated products, can save 10-50% of energy compared to non-rated.
Smart Home Technology
Thermostats - Nest, Ecobee. Reduces energy use by 10-15%.
Countries : 
Bhutan, Comoros, Gabon, Guyana, Madagascar, Niue, Panama, and Suriname have all achieved their net zero emissions. Norway aim to achieve net zero emissions by 2030. Over 50% of new cars sold there are  electric.
New Zealand and the U.K aim for net zero carbon by 2050, along with many other countries.
People :
Greta Thunberg: Climate activist advocating for immediate action on climate change.
David Attenborough: Environmentalist highlighting the impacts of climate change.
Organizations :
IPCC (Intergovernmental Panel on Climate Change) - Provides scientific assessments on climate change.
Race to Zero - Global campaign mobilizing companies, cities, and countries to achieve net zero emissions.
Carbon Trust - Helps organisations reduce their carbon emissions and move towards net zero.
Mission Innovation - Global initiative working to accelerate public and private clean energy innovation to reach net zero.
Community Engagement :
Education and Awareness Programs
Schools, community centres, online platforms.
UN's Act Now campaign.
Community Gardens
Promote local food production, reduce carbon footprint of transportation.
Detroit Urban Garden Movement.
Local Sustainability Initiatives
Transition Towns, eco-villages.
Totnes, UK – first Transition Town.
Carbon Footprint Reduction : 
Efficient Transportation
Electric Vehicles (EVs): Tesla, Nissan Leaf.
London's congestion charge reduced emissions by 16%.
Carbon Offset Programs
Tree planting, renewable energy projects.
Gold Standard, Verified Carbon Standard (VCS).
Sustainable Manufacturing Processes
Lean manufacturing, green chemistry.
Interface (carpet company) reduced carbon footprint by 96% since 1996.
Government Policies :
EU ETS - Cap-and-trade program since 2005, covering 11,000+ power stations and industrial plants in 31 countries.
China's Carbon Trading Scheme - Launched 2021, largest carbon market, initially covers power sector.
UK Net Zero Strategy - Targets 78% emissions reduction by 2035 and net zero 2050.
USA: 26% tax credit for solar.
USA: Up to $7,500 federal tax credit for EVs.
Norway: EVs exempt from import taxes, VAT, free parking, toll exemptions.
UK: Up to £3,000 grants for EVs, Green Homes Grant for energy efficiency.
Waste Management :
Recycling/Upcycling
Reduces landfill waste, recovers valuable materials.
Sweden recycles 99 percent of locally produced waste.
Composting
Reduces methane emissions from landfills.
Improves soil health and reduce need for chemical fertilisers.
Waste-to-Energy Systems
Converts waste into electricity, heat, or fuel.
Some companies committed to Net Zero :
IKEA
Microsoft
Nike
Ford
Nestlé
PepsiCo

Net Zero - Materials
8
Hemp is a rapidly growing plant that requires minimal water and pesticides. Its fibres can be converted into bioplastics, providing a sustainable alternative to traditional plastic, which harms our environment. Hemp bioplastics are biodegradable, break down naturally in the environment, and help combat plastic pollution. Common products made from hemp bioplastics include plant pots, cutlery, and bottles. Hemp is sourced from plant stalks, which are processed to extract the fibres. Hemp fibres make many items, such as furniture and cups. Hemp supports net zero by minimising the environmental impact and helping lower carbon footprints. Hemp supports net zero as it is a renewable resource that absorbs carbon dioxide as it grows, lowering greenhouse gas emissions. It also reduces people's reliance on fossil fuels as it creates plastic, and its biodegradability means it does not contribute to long-term waste.
Recycled glass is produced by melting down used, cleaned and collected glass products, reducing the need for raw materials while conserving energy. Products made from recycled glass include decorative jars, vases, and tiles. The way it can melt and reshape supports waste reduction by recycling the products and conserving the energy that would otherwise be required to produce new glass from sand, soda ash and limestone. Recycled glass promotes being eco-friendly by converting waste into attractive and functional products. It assists the struggle for net zero by extending the lifespan of glass, minimising landfills becoming fuller.
Recycled polyethylene terephthalate (rPET) is a widely used plastic known for its strength, lightweightness, and recyclability. rPET is produced from recycled plastic bottles, effectively reducing waste and preserving resources. Common products made from rPET include reusable water bottles, lunch boxes, and food containers. These items are often available in many colours, enhancing their aesthetic appeal and encouraging consumers to buy it. Its durability makes it suitable for various products, and rPET is sourced from the recycling of plastic bottles and containers. This material supports net zero by repurposing plastics that can be reused multiple times, thereby reducing environmental impact.
Bamboo is a lightweight, durable material that grows quickly and requires less water than traditional crops. It can be used to create many products, including toothbrushes, kitchen utensils, and storage boxes. The natural antibacterial properties of bamboo add to its attraction for useful products, while its aesthetic qualities, such as the straight grain pattern, make it popular. The rapid growth of bamboo means that it can be harvested without depleting resources, making it an eco-friendly option for product design. Bamboo is sourced from fast-growing species harvested without damaging the plant for sustainability. Bamboo supports net zero as it is a renewable resource that lowers carbon emissions.

Net Zero - Products
9
Stainless steel straws support Net Zero, and when looking at carbon emissions, the production of a single metal straw is equivalent to the production of 150 plastic straws. As Well as it producing less carbon emissions, stainless steel straws are not to be chucked away in the rubbish bins, but many people do throw away plastic straws. Just like plastic straws, stainless steel straws can be colour changed, and are usually the same dimensions are plastic ones. A pro of stainless steel is that it does not rust, and can have a silicone grip added to it, for extra comfort. They can also be used in usual everyday cups, mugs and glasses, but also in reusable water bottles, like the Stanley bottles. Metal straws also come with cleaning kits, which prevents bacterial infections, keeping the user safe.  Stainless steel straws are also excellent for temperature control, as they do not heat up or cool down too quickly, making them safe to use with both hot and cold drinks. They are lightweight, therefore easy to carry around in a bag or take to cafes that might still use plastic. Many come with storage pouches to keep them clean and protected when on the go. Stainless steel straws are also fully recyclable, meaning that at the end of their lifecycle, they will not contribute to landfill waste like plastic straws do. Additionally, they can be engraved or personalised, adding a stylish touch for personal use or as gifts. Stainless steel straws can be melted down and repurposed into other products, such as pots or keyrings. 
Reusable cutlery sets made from materials like silicone and bamboo support sustainability and reduce single-use plastic waste, aligning with Net Zero goals. The production of these eco-friendly utensils has a significantly lower carbon footprint compared to traditional plastic cutlery. Using reusable cutlery can reduce plastic waste by up to 80% over time. This reduction in plastic not only decreases landfill contributions but also minimises greenhouse gas emissions associated with plastic production and disposal. Silicone cutlery is durable and can hold up during high temperatures, making it perfect for a variety of foods like soups, while bamboo cutlery is biodegradable and adds a natural aesthetic to dining. Both are lightweight and portable, making them ideal for on-the-go meals, picnics, or camping. Many reusable cutlery sets come with convenient carrying cases, keeping them clean and easily accessible. Silicone and bamboo cutlery can be washed and reused multiple times, minimising waste and promoting a sustainable lifestyle. Bamboo is a rapidly renewable resource that grows quickly and requires minimal water, making it an eco-friendly choice compared to traditional hardwoods. Silicone, being a synthetic material, is long-lasting and reduces the frequency of replacements, ultimately lowering environmental impact. This also makes it cheaper for the users. Additionally, these cutlery sets can be designed with vibrant colours, making them not only practical but also fun to use. At the end of their life, bamboo cutlery is compostable, and silicone can be recycled, ensuring they have less environmental impact while contributing to a Net Zero future.

Net Zero - Designer
10
Philippe Starck has been a key person in sustainable design, making large contributions toward net zero goals by incorporating eco-friendly materials and technologies in his work. One of his designs, the Broom Chair(2012), made in collaboration with Emeco, is crafted from 75% recycled polypropylene and 15% reclaimed wood fibers. This design eliminates the need for creating new raw materials, showcasing Starck’s dedication to reducing waste in using discarded industrial materials. The Broom Chair helps reduce the carbon footprint associated with traditional plastic manufacturing, as it diverts waste materials that would otherwise contribute to environmental pollution.
In 2010, Starck collaborated with Kartell to create the Masters Chair, made from recycled plastic, further emphasising his commitment to reusing materials and minimizing waste. His dedication to sustainability is in lighting as well, where he incorporates energy-efficient LED technology in designs like the Bon Jour Unplugged lamp (2015) for Flos, which is known for using 80% less energy than traditional lighting options. This design reflects his belief in creating products that contribute to energy conservation, a key factor in achieving net zero.
Beyond recycled materials, Starck is a user of biodegradable plastics, and his A.I. Chair (2019), also made with Kartell, is produced using 100% recycled thermoplastic. It’s aims were to reduce the amount of virgin plastics being created. Starck’s designs and products align with net zero goals by minimising carbon emissions in the production process while ensuring that his products are designed for longevity and recyclability. His consistent use of sustainable materials, commitment to reducing waste, and energy-efficient designs make him a key figure in the aims for Net Zero.

Broom Chair - An entirely new chair material composite, combining reclaimed polypropylene and discarded wood fiber. Made from a compound of industry waste from lumber factories and industrial plastic plants,this material has a three-fold environmental impact. Less energy, less waste and less carbon.
Masters Chair - Made from smooth batch-dyed polypropylene, and is roomy, ensuring the user is comfortable.
A.I Chair - 100% recycled plastic chair and the world’s first to be designed using artificial intelligence. Made from recycled thermoplastic taken from production offcuts.

Net Zero - Brand
11
Patagonia is an outdoor clothing and gear company dedicated to sustainability and environmental activism, widely recognised for its efforts in achieving net zero emissions. The company has pledged to reach net zero greenhouse gas emissions by 2025 across its entire supply chain, from production to distribution. By 2020, Patagonia had already achieved 100% renewable electricity for its global operations, and they are working to extend this to their supply chain, which accounts for approximately 95% of their total emissions. Their commitment to sustainable materials is clear in the fact that over 98% of their products are made from recycled materials, such as organic cotton, recycled polyester, and wool. These choices help significantly reduce carbon emissions compared to conventional fabrics.
Since 2018, Patagonia has reduced its carbon emissions by 20%, largely through energy-efficient operations, switching to renewable energy, and using lower-impact materials. Additionally, they invest in carbon offsetting projects like reforestation and regenerative agriculture to balance out any unavoidable emissions. These efforts are complemented by Patagonia’s support for initiatives that protect carbon sinks, such as forests, which are vital in reducing atmospheric carbon.
Their pledges are:
“By 2025, we will eliminate virgin petroleum material in our products and only use preferred materials.”
“By 2025, our packaging will be 100% reusable, home compostable, renewable or easily recyclable.”
“By 2040, we will be net zero* across our entire business.”
One of Patagonia’s standout programs is the Worn Wear initiative, which encourages customers to repair, reuse, and recycle their gear. By extending the life of products, this program reduces waste and lowers the need for new production, helping to minimise emissions. Since 2017, the Worn Wear program has prevented 130,000 garments from going to waste, reflecting Patagonia’s commitment to reducing its environmental impact. Since 1985, Patagonia has donated 1% of its profits to grassroots environmental groups ($140 Million), and are on the road to a Net Zero future.

Net Zero - Inspiration
12
For all of the WJEC contexts, I am fixed on creating a jewellery box, although each context has a different criteria. This is the jewellery box inspiration and idea dump for Net Zero. 
Lid with Solar Panel: The top of the jewellery box would have a solar panel, which powers small LED lights inside the box. This allows the box to be self-sustaining, using renewable energy on a smaller scale.
Recycled Wood Frame: The structure of the jewellery box would be made from recycled wood found in our class, so there is no need for virgin materials, lowering its carbon footprint.
Metal Hinges and Clasps: The hinges and clasps are made from recycled metals found in our class, ensuring that I do not need to create more greenhouse gasses for virgin materials. 
Eco-Friendly Compartment Dividers: Inside the jewellery box, dividers would be made from cork or other biodegradable materials, helping to reinforce the focus on using natural and environmentally friendly elements.
Natural Fibre Lining: The interior of the box would be lined with soft, natural fibres (such as organic cotton or linen) instead of synthetic materials, reducing its environmental impact.
Local: I would use locally sourced materials, which reduces transportation emissions significantly. As they are locally sourced, it also reduces mass production fumes. 
Biodegradable Materials: Consider using biodegradable or compostable materials for any packaging that accompanies the jewellery box, ensuring minimal environmental impact from the entire product lifecycle.
Upcycled Accessories: The jewellry rolls or pouches would be made from scrap fabrics found in our classroom, binded together.
Colour Palette: I would use greens and blues, as they are often linked to the Earth and environmental safety.

Net Zero - User Profile
13
Emma Jones, a 34-year-old environmental consultant from the UK, is a mother who is passionate about reducing her family’s carbon footprint through sustainable products and practices. She is in need of a new jewellery box that follows her needs, wants and values. 
Needs 
Wants 
Values
Recycled wood.
Green or blue.
Environmental consciousness.
Buckles from scrap metal.
Renewable energy LED.
Ethical sourcing.
No shipped materials.
Cork jewellery folds.
Commitment to reducing waste.
27x17x12 cm.
Scrap fabric patch design.
Respect for nature/biodiversity preservation.
No nature harmed or new trees cut down to produce it.
Easy to open and close
Sustainability.
Organised compartments.
Between £100-150
Recycling.
Water resistant .
/
Limited greenhouse gas production.
Lightweight.
/
Local production.
Durable/long lasting.
/
Biodegradability.

Designing for a Safer World. 
14

Designing for a Safer world  - What is it? 
15
The definition of a safer world in the dictionary is:
Designing for a safer world means developing products that prioritise user safety, reduce the risk of injury, and consider the needs of a wide range of users. This includes choosing suitable materials that are non-toxic or impact-resistant, adding safety features such as rounded edges or secure fastenings, and considering how a product will be used in real-life situations. Designers often create solutions for specific groups, such as young children, elderly users, or those with disabilities, to ensure products are inclusive and protective. Examples include baby-proof storage, safety-tested furniture, or mobility aids like Zimmer frames. The aim is to combine function, safety, and user needs in every stage of the design process.


16
Designing for a Safer World
Baby & Child Safety:
Baby Utensils:
Soft-edged spoons, silicone plates.
Designed to prevent choking and injuries from sharp utensils.
Safety Harnesses:
Adjustable, secure, comfortable.
Prevents falls or getting lost 
Corner Protectors:
Soft, cushiony corner guards for furniture edges.
Prevents head injuries for toddlers learning to walk.
Kitchen Safety Products:
Knife Holders:
Magnetic knife racks and enclosed wooden knife blocks.
Keeps blades out of reach from children and prevents accidental cuts.
Cut-Resistant Gloves:
Made of high-strength fibers.
Protects fingers while using sharp tools or handling hot objects.
Anti-Slip Mats:
Rubber or silicone mats for under cutting boards or appliances.
Prevents slipping while chopping or cooking.
Bathroom Safety:
Anti-Slip Bath Mats:
Mats with textured surfaces.
Reduces slipping risks in the shower or tub.
Shower Grips:
Easily attachable handles.
Provides extra support.
Temperature-Control Faucets:
Faucets with temperature control to prevent scalding.
Especially useful for children or elderly.
Sports & Outdoor Safety:
Impact-Resistant Helmets:
Lightweight, durable helmets for cycling or skateboarding.
Reduces head injury risks during falls.
Reflective Clothing:
High-visibility jackets or bands for running or cycling t night.
Ensures visibility to others on the road.
Knee & Elbow Pads:
Cushioning protection for joints.
Prevents abrasions and serious injuries such as fractures.
PPE:
Safety Goggles:
Eye protection for use during DIY, healthcare, or lab work.
Prevents chemicals, dust, or debris.
Gloves:
Latex or nitrile gloves for healthcare or industrial.
Prevents exposure to hazardous materials and contamination.
Face Shields:
Full-face shields.
Protects against liquid splashes, useful in healthcare, labs, welding.
Materials:
Silicone:
Non-toxic, soft, flexible, heat-resistant.
Baby utensils, cooking mats, and gear.
High-Density Foam:
Cushions impacts
Helmets, elbow/knee pads, and corner protectors.
Kevlar:
Cut-resistant, lightweight.
Cut-resistant gloves and PPE.
Anti-Slip Rubber:
Provides grip on wet or slippery surfaces.
Bath mats, shoe soles, and handle grips.
Some companies committed to safety:
OXO Good Grips: Home products, such as slip-resistant handles and child-safe kitchen utensils
The First Years: Non-toxic materials, targeted at babies and toddlers.
IKEA: Range of Home Safety items. 
Mobility Safety:
Zimmer Frame:
Lightweight, adjustable-height frame for stability.
Supports the elderly or individuals with limited mobility for safer movement.
Grab Bars & Handrails:
Installed in bathrooms, stairs, and hallways.
Provides stability for those with limited mobility or recovering from surgery.
Statistics:
Instructions:
36% of read product safety instructions 
55% of accidents involving home appliances were due to improper usage or failure to read warnings.
Child Safety:
75% invest in baby-proofing products. yet 20% of these products are incorrectly installed or misused.
30% of injuries at home are from preventable accidents involving furniture or baby products.
Household Safety:
67% take safety precautions in the kitchen, using products such as knife holders, slip-proof mats, or child-safe utensils.
45% prioritise safety features like grab bars when remodeling houses.
Ergonomic Product Design:
Ergonomic Tools:
Handles to reduce strain and improve comfort, such as hammers or gardening tools.
Prevents repetitive strain injuries by fitting the natural grip.
Office Safety:
Chairs with back support, keyboard wrist supports, and adjustable monitor stands promote better posture.
Minimising fatigue and strain.
Kitchen Gadgets:
Soft-grip peelers, wide handle can openers, and non-slip cutting boards.
Prevents  slips, and cuts

Designing for a Safer World - Materials
17
Polycarbonate is a strong, impact-resistant plastic key in producing safety gear. It is often used in safety goggles, full-face shields, and other protective eyewear. It provides protection in hazardous environments. Polycarbonate transparency makes it ideal for products that require visibility while providing safety. Also, it is lightweight, making it comfortable to wear, which is important in places such as schools (D.T. and science) and garages. Polycarbonate is sourced from petroleum-based chemicals through a polymerisation process. Its use in safety equipment contributes to a safer world by protecting the user against injuries, for example, blindness. 

Silicone is a versatile, heat-resistant material typically found in kitchenware and safety products. An advantage is that it is flexible, which is why so many products use it, including baking mats, utensils, and baby-proofing items such as corner guards and teething toys. Silicone durability and easy cleaning with a simple wipe make it suitable for designing safe, everyday products. Silicone is also non-toxic, ensuring that it is safe for children and food contact, and is a popular first choice for parents. Silicone is made from silica, derived from sand, and processed through heating and some chemical treatments. Silicone contributes to a safer world as it is non-toxic and protects users in different places, from the kitchen to play room. 
EVA foam, or ethylene-vinyl acetate foam, is a lightweight, shock-absorbing material often used in protective gear and children's products. Its cushioning properties are crucial in knee pads, helmets and elbow pads, helping to prevent injuries such as a torn ACL during play. EVA foam comfort, strength, and lightweightness make it a key material in the safety equipment design. Its adaptability also allows for custom shapes and sizes, making it suitable for many products outside traditional safety gear. EVA foam is sourced from ethylene and vinyl acetate polymerisation derived from fossil fuels. This material fits designing for a safer world by protecting people in active environments, particularly for children, ensuring their safety during play.
Stainless steel is a corrosion-resistant iron alloy known for its strength and longevity. It is widely used in kitchen tools, water bottles, and mobility aids such as Zimmer frames. Stainless steel durability and hygienic qualities make it an ideal choice for designing reliable and safe products that can withstand everyday use. It is easy to clean and can just be wiped down. Stainless steel resistance to rust and staining improves its safety in food-related applications, ensuring that it remains clean and safe over time. Stainless steel is sourced from iron ore, chromium, and nickel, which are processed and alloyed together.
Non-slip rubber provides enhanced grip and prevents slipping in different places, such as the shower or outside in rainy situations. It is used in both domestic and industrial areas, such as on ships. It is generally used in non-slip mats, tool grips, and on the soles of footwear. Non-slip rubber effectiveness in wet conditions helps to reduce the risk of accidents, making it an essential material for safety-focused designs. Its strength and malleability allow it to be moulded into various shapes. For example, lines on a mat or small squares enhance the grip compared to a flat mat. Non-slip rubber is sourced from natural rubber latex or synthetic rubber materials. 


Designing for a Safer World - Products
18
Anti-slip mats are necessities when designing a safer world, reducing the risk of slips and falls in environments from care homes, to cruise ships. They are made from durable materials such as rubber or polyvinyl chloride (PVC), and provide a textured surface that enhances grip, making them ideal for use in kitchens, bathrooms, and workplaces where wet, slippery conditions are common. Anti-slip mats are designed specifically for maximum traction, ensuring safety for individuals of all ages, unlike the usual floor rugs. In addition to safety features, many anti-slip mats are designed to be aesthetically pleasing, and are available in all colours and patterns. They are lightweight and can be portable, making them easy to reposition or transport, which is useful in multi-purpose spaces. Many mats come with beveled edges to prevent tripping hazards and are often treated with antimicrobial sprays to prevent the growth of bacteria and fungi, contributing to a cleaner and healthier user lifestyle. Anti-slip mats are very easy to clean, from being machine washable to simply being wiped down with a damp cloth. This keeps the user safe through hygiene, not only physical falls. They can be cut to fit specific spaces, making them versatile, and can even become a whole anti-slip floor. Anti-slip mats are not just functional but they are a proactive solution for creating safer environments. A study conducted by the National Floor Safety Institute showed that approximately 1 million Americans are injured each year as a result of slip accidents, with most of these occurring in the workplace. By using anti-slip mats, many companies have reported a noticeable decrease in slip-related injuries. This proves that anti-slip mats do benefit and add to designing for a safer world. 
Elbow and knee pads are popular safety gear that contribute to a safer world, especially in sports. Elbow and knee pads are often made with shock-absorbing foam, such as EVA (Ethylene Vinyl Acetate) foam, which provides cushioning and impact resistance. This helps to reduce the risk of injury during falls or collisions, such as broken bones, dislocations and fractures. The hard outer shell of these pads is typically made from long-lasting polycarbonate, which offers protection without adding excessive weight. Polycarbonate is designed to also withstand abrasions and impacts, making sure that users are unharm while staying comfortable. Elbow and knee pads are also designed with adjustable straps, allowing for a range of ages to use the same product. They come in various styles and sizes to accommodate different sports and activities, from cycling to skateboarding, ensuring that everyone can find a suitable option. The lightweight design makes them easy to carry and store, encouraging users to wear them regularly, thereby enhancing safety. Moreover, many elbow and knee pads have moisture-wicking properties, which help to keep users dry and comfortable during intense activity. It also ensures that the pads don’t slip off. Elbow and knee pads are often designed with vibrant colours and patterns, making them appealing to users of all ages, especially children. A study from the The Royal Society for the Prevention of Accidents found that over 70% of skateboard-related injuries could be prevented with the use of appropriate protective gear. This shows the importance elbow and knee pads have in keeping the world safe. 

Designing for a safer world - Designer
19
Patricia Moore is a designer known for her commitment to creating products that promote safety and accessibility for all users, particularly the elderly. One of her most well-known contributions is the OXO Good Grips line, which revolutionised kitchen utensils by using ergonomic designs to give users grip strength, ensuring safety and ease of use. The Good Grips Peeler, for example, features a soft, non-slip handle that enhances comfort and control while peeling, reducing the risk of accidental injuries. This product became iconic and is now included in the Museum of Modern Art's permanent collection from 1989.
With OXO, Moore developed the Easy Open Canister and Potato Masher, both designed with larger handles and user-friendly grips to prevent slips and promote safer cooking. All of her designs with OXO Good Grips have a soft, non-slip grip. They are made from silicone.  
Through her innovative designs, Moore emphasises the importance of safety and accessibility in everyday products, making her a key figure in the movement toward a safer world. Her work continues to inspire future generations of designers to prioritise inclusivity, ensuring that all individuals can lead safer, more independent lives.
Patricia Moore's commitment to safety and is rooted in her personal experiences during her "Elder Empathetic Experiment." Disguised as an elderly woman, she faced numerous challenges that highlighted the difficulties many older people encounter in their daily lives. Simple tasks, such as opening jars or unwrapping sweets, became frustrating due to physical impairments like arthritis and reduced senses. These experiences revealed to her the vulnerabilities that come with aging and the need for products that can encourage independence and safety for the elderly. This experiment is what drives her design philosophy, as she strives to create tools that not only enhance usability but also keep the elderly safe and unharmed. 


The OXO Good Grips Peeler.
Easy Open Canister.
Potato Masher.

Designing for a Safer World - Brand
20
3M is a global company known for its commitment to designing products that enhance safety and improve quality of life across industries. With a mission to create innovative solutions that protect users, 3M focuses on developing safety products that cater to personal, industrial, and environmental safety needs. The company’s products include personal protective equipment (PPE), safety goggles, respirators, and hearing protection, all engineered to keep users safe.
As of 2021, 3M had invested over £75 million in safety research and development, resulting in new technologies that protect millions of workers worldwide. Their commitment to safety is reflected in their use of advanced materials and innovative designs. For example, 3M’s respirators feature proprietary filtration technologies that filter out harmful particles, ensuring clean air for users in hazardous environments.
In the 1990s, 3M’s Ergonomics Program, established corporate-wide training and teams across U.S. manufacturing sites, which led to a 70% reduction in OSHA-recordable ergonomic injuries and a significant decrease in workers' compensation claims. This programme is ongoing, and continues to keep society safe. 
One of 3M’s standout programs is the 3M Safety Roadshow, which provides hands-on training and resources to educate businesses and individuals about workplace safety practices and PPE usage. Since its launch, the program has reached over 1 million participants, raising awareness of safety standards and best practices in various industries.
Additionally, 3M actively supports global funds focused on enhancing community safety, contributing over £50 million in grants and donations to safety-related causes since 2010. 


Designing for a Safer World - Inspiration
21
This is the jewellery box inspiration and idea dump for Designing for a Safer World.
Safety Locks: The jewellery box would feature secure, child-proof locks to ensure that valuable items are safely stored away from kids. It also ensures that a child is unable to open the box and jam their fingers. 
Ergonomic Shape: The box would be designed with rounded edges and a lightweight structure, making it easy to handle while minimising the risk of injury. This also ensures children and small toddlers will not run into the edge of the box and be injured. 
Natural Finishes: The exterior would be treated with non-toxic finishes that are safe for users. This choice reinforces the theme of safety, as it reduces the risk of harmful chemicals affecting users.
Multi-Functional Design: The interior of the box would have compartments that can be used to store not only jewellery but also essential safety items, such as gauze strips, plasters and wipes. This is incase something happens to the user when they are handling their jewellery, such as ears bleeding, fingers cut etc. 
Reflective Surfaces: I would add reflective tape in thin lines that can signal safety adding safety for users in low-light conditions. This ensures they will not knock it over and hurt themselves or others. 
User Guide: I would write and provide an easy-to-understand guide on how to use the box safely and effectively, including safety tips related to jewellery care and storage.
Transparent Sections: I would add transparent sections to allow users to see the contents of the box without needing to open it fully, providing easy access. It also prevents accidents as the user can see how full the box it, and it it is too full, they can open it carefully, so nothing falls out onto them, and injures them, such as sharp earrings. 
Cushioned Compartments: The jewellery box would include cushioned compartments specifically designed for sharp earrings, reducing the risk of accidental injury when opening the box or handling the earrings.

Designing for a Safer World - User Profile
22
Margaret Williams, a 72-year-old, is dedicated to ensuring a safe environment for her grandchildren and herself, seeking a jewellery box designed with safety features. 
Needs 
Wants 
Values
Rounded edges.
Reflective
User safety
27x17x12 cm.
Stylish
Preventative design
Up to £50.
Easy to open and close.
Child safety
Very lightweight.
No fabric interior.
Risk reduction
Will not move. Grips on the bottom.
Flower design.
Inclusive.
Easy to clean.
Multi-purpose.
/
10 compartments.
Clear.
/
Awareness manual.
/
/
Child lock on the buckles. 
/
/
Smooth. 
/
/

Cultural Traditions. 
23

Cultural Traditions - What is it? 
24
The definition of a cultural tradition in the dictionary is:
Cultural tradition refers to the customs, beliefs, practices, and values that are passed down through generations within a particular group, community, or country. These traditions can include things like festivals, clothing, food, music, art, religious practices, and ways of making or designing objects. Cultural traditions help people feel connected to their history and identity, and they often influence how products are designed or used in different parts of the world.

Cultural Traditions
Traditional Influences
Pottery and Ceramics
Bowls, vases, cups
Terracotta, porcelain
Durability, aesthetic beauty, ease of use
Greek amphorae (Greece), Japanese tea bowls (Japan)
Woodworking
Custom furniture (chairs, tables), kitchenware (cutting boards)
Wood, teak, oak
Longevity, ergonomic comfort
Scandinavian minimalist furniture (Scandinavia), Indian carved wooden furniture (India)
Ergonomics:
Kitchen Utensils
Chopsticks, spoons, knives
Bamboo, stainless steel, wood
Comfort, efficiency, handling
Bamboo steamers (China), ergonomic knives (Japan), wooden spoons (Italy)
Craft Tools
Knitting needles, pottery wheels, weaving looms
Wood, metal
Grip, ease of repetitive use, minimising strain
Pottery wheels (China), knitting needles (Scotland)
Cultural Home Products:
Decorative Home Items
Sculptures, carved wood decor
Ceramic, wood, stone
Dual-purpose designs
Carved wooden decor (India), Greek ceramic sculptures (Greece)
Cultural Furniture:
Low-Height Seating
Floor cushions, low tables
Woven textiles, wood
Grounded, communal seating practices
Tatami and zaisu chairs (Japan), floor cushions (Middle East)
Modular Furniture
Stackable or foldable furniture
Wood, steel, plastic
Flexibility in small spaces
Scandinavian foldable chairs, modular seating (Denmark)
Cultural Storage
Storage Furniture
Wooden chests, storage baskets
Wood, bamboo, woven fibers
Practicality and artistry in one piece
Kist storage chests (Scotland), woven storage baskets (Africa)
Cultural Tableware:
Tableware
Plates, bowls, cups
Ceramic, porcelain, wood
Cultural dining practices influencing shape and size
Porcelain tea sets (China), wooden bowls (Nordic countries)
Colours:
Red
Good luck and prosperity (China)
Red envelopes, celebratory banners.
Chinese New Year decorations, traditional wedding garments
Black
Mourning, formality (Western cultures)
Funeral attire, formal wear, home decor accents
Black mourning clothes (Europe), formal suits and ties
Blue
Protection, spirituality (Middle Eastern cultures)
Home decor items, jewellery
Evil eye amulets (Turkey, Greece), blue tile work (Morocco)
White
Purity, mourning (Eastern cultures)
Ceremonial attire, home goods
White mourning robes (China), white wedding dresses (Western cultures)
Patterns:
Paisley
Persian, popular in India
Fabric, wallpaper, home decor items
Rich history, associated with fertility and abundance
Indian shawls, Victorian-era home textiles (UK)
Geometric Patterns
Islamic art
Tiles, textiles, architectural elements
Symbol of unity, infinity, and spiritual harmony
Islamic tilework (Morocco, Spain), geometric home decor (Middle East)
Animal Patterns
Textiles, pottery, decorative arts
Representation of animal characteristics and stories
Animal motifs in African textiles, tiger patterns in Chinese decor, elephants in India and Thailand

Material:
Bamboo Products
Kitchen tools, furniture
Lightweight strength, cultural significance, durability
Bamboo furniture and baskets (China, Southeast Asia), bamboo bicycles (Ghana), bamboo flooring (Japan)
Velvet
Upholstery, clothing, home textiles
Luxurious texture, softness, cultural elegance
Velvet cushions and curtains (Europe), velvet traditional robes (Middle East)
Teak Wood
Outdoor furniture, boat decks, home interiors
Durability, water resistance, luxurious finish
Teak outdoor furniture (Indonesia), teak flooring (Thailand), teak wood boats/uru (India)
Marble
Sculptures, countertops, flooring
Elegance, strength, cultural heritage
Marble sculptures (Greece), marble flooring (Italy), marble temples (India)
Animals:
Symbolic
Figurines, textiles, jewellery
Lions in heraldry (UK), cranes in Japanese art (symbolising longevity)
Cultural Significance
Home decor, functional items
Animals as totems or spiritual symbols
Totem poles (Indigenous cultures of North America).

Cultural Traditions - Materials
26
Bamboo is deeply rooted in many East Asian cultures, and it is traditionally used to craft various functional and decorative items, from food steamers to toys. Its fast growth and strength make it perfect for making storage boxes and musical instruments. Bamboo reflects the creativity of traditional craftsmanship and highlights the sustainable use of natural resources. The versatility of bamboo in design allows for complex patterns or ancient stories to be displayed, which can be pyrographed on. Bamboo is sourced from the plant's stem. This material fits cultural traditions by representing a classic cultural practice of using natural resources, such as the Chinese zhuren (bamboo people). 

Wood from Indigenous trees, such as mahogany, is frequently used in cultural products. Wooden bowls, such as the Zulu-carved wooden bowls, serve as functional kitchen items, often embellished with intricate carvings that convey stories and letters. Wood's rich textures and natural beauty enhance its appeal in design, as does the choice of a wood gloss or stain. Wood is sourced from forests that are harvested for their timber, providing a raw material used in a variety of products, from furniture to crafts. Woodworking skills are often passed down through generations, showing how design can connect people to their cultures.
Gold is an expensive metal in South Asia, the Middle East, and Africa. It is often made into extravagant products for practical, personal, and ceremonial purposes. Elaborate jewellery, such as traditional gold bangles, illustrates the significance of gold in these cultures. Gold is often seen to symbolise status and celebrate important life events such as birth, weddings, and festivals. Gold is sourced from mines and extracted from the earth through various methods such as panning, placer mining, or hard rock mining. After extraction, it undergoes refining processes to purify it for use.
Terracotta holds great cultural significance in pottery and arts and is used for products ranging from teapots to sculptures and figures. Terracotta pieces, such as traditional Italian dolls and decorative jars, showcase storytelling traditions, displaying cultural history through designs. The earthy, rich, warm tones and textures of terracotta reflect a deep connection to the land and local traditions. Depending on preferences, it can be painted in any colour, making it popular as it is customisable. Terracotta is sourced from clay, which is shaped and fired at high temperatures to create long-lasting ceramics. Terracotta represents different communities' artistic heritage and can act as a blank canvas for expressing cultures.

Cultural Traditions - Products
27
Channapatna toys are a celebration of Karnataka's rich cultural heritage, in the traditions and practices of the local in Indian community. Originating from the town of Channapatna, these toys have a history from over 200 years, believed to have been introduced by artisans brought over by Tipu Sultan from Persia. The making of these toys is a detailed,using techniques passed down through generations, preserving traditions. These toys reflect Indian culture, folklore, and mythology, showcasing characters from popular stories,and symbolic animals. Many toys are designed in the shape of animals like horses, cows, and peacocks, which are often seen in Indian folk art and are central to various myths and legends. For instance, the cow in Hinduism as a sacred animal, and peacocks are often associated with beauty and divine protection in Indian mythology. Each toy is handmade with care. The vibrant colours used are from natural dyes, such as beetroot. The Channapatna toys allow children to engage with their cultural stories and learn valuable lessons in a fun, manner. Channapatna toys have gained international recognition, becoming symbols of Indian craftsmanship in the global market. This appreciation raises awareness about the importance of preserving cultural traditions. By connecting people to their cultural identity, Channapatna toys promote pride in local traditions. As more people seek out authentic, handcrafted items, Channapatna toys are becoming more popular, and locals profit from them. Channapatna toys preserve the cultural traditions from hundreds of years ago. 
The Japanese tsuba, a decorative handguard for swords, is a beautiful representation of Japan's cultural traditions. Traditionally made from iron, brass, or copper, these detailed guards are not only functional but are works of art that reflect Japanese culture. Each tsuba is carefully crafted by skilled artisans who use local materials, keeping a connection to the region's natural resources. Designs range from simple geometric shapes to hidden meanings that show off nature, mythology, and history. This detailing often tells a story, representing the samurai's code of honor, bravery, or spirituality. For instance, common themes include dragons, cranes, and waves, which are tied to Japanese mythology and the belief in the spiritual connection between warriors and nature. In addition to their details, tsuba can also feature various colours. Some are plated or inlaid with gold, silver, or shakudō, a traditional Japanese alloy that gives the tsuba a deep, bluish-black hue. These colours not only enhance the visual appeal but also add to the symbolic designs. For example, gold detailing often signifies wealth or divine protection, while the darker tones of shakudō can represent strength and resilience. Tsuba play a crucial role in the history of Japanese swords. They not only protect the user but are also a symbol of status. As swords were a key part of the samurai's life, the tsuba became a canvas for self-expression and personal art. Many tsuba reflect the owner's values or family crests, known as "kamon." One of the most common family crests seen on tsuba is the "mon of the Tokugawa clan," which features three hollyhock leaves arranged in a circular pattern. Mythological stories are often depicted on tsuba as well. A frequent theme is the legend of the dragon god Ryujin, the ruler of the seas, whose image is carved onto tsuba to represent protection, strength, and wisdom. These mythological representations added a layer of spiritual meaning to the samurai's weapons, reflecting their connection to both earthly and divine forces.

Cultural Traditions - Designer
28
Bethan Gray is a designer whose work is deeply rooted in cultural traditions, blending heritage and craftsmanship. Her designs are celebrated for their traditional techniques and ideas from various cultures, particularly of the Middle East and Asia. One of her signature pieces, the Nizwa Cabinet, is inspired by the traditional architecture of Oman, and the geometrics found in Nizwa’s famous fort. The cabinet’s intricate nacre inlay and stained maple wood show the precision of Omani art, preserving a centuries-old technique in a modern pieces of furniture.
Her collaboration with Shamsian Studio produced a range of furniture and homeware that combined rich materials like marble, brass, and hand-cut veneer. The Dhow Collection had inspiration from the traditional Omani dhow boats, with sweeping curves and hand-crafted detailing that display the fluidity of the sea.
Often, her designs feature motifs that celebrate religious symbolism. For example, the Band Family uses marble and brass to create a two-tone effect echoing Siena Cathedral. By using traditions from around the world, she creates a larger market. 
Bethan Gray's Ruby Tree collection, features tables and tableware crafted with marble, lapis lazuli, rose quartz, and ruby, all sourced from regions like India, Southeast Asia, Afghanistan, Madagascar, and Tanzania. The collection’s colour schemes include rich tones of blue, white, cream, black, and green, reflecting Gray's inspiration from Islamic art in ancient Iran. 
By collaborating with artisans around the world, it is ensured that traditional craftsmanship is not only appreciated but continues to thrive in contemporary design, without dying out. 


The Nizwa Cabinet - Comes in charcoal, jade, monochrome, coral, ultramarine, teal, white and grey, in different sizes
Omani boat inspiration for the Dhow Collection. 
Band Family
The Ruby Tree partnership 

Cultural Traditions - Brand
29
Indego Africa is a non-profit known for its dedication to preserving cultural traditions through handcrafted products made by women artisans in Rwanda and Ghana. With a mission to empower these artisans economically while keeping cultural heritage alive, Indego Africa creates a range of products, including home decor, accessories, and baskets, all showcasing traditional African making techniques. Each piece is a testament to the rich cultural stories of the region, blending contemporary design with time-honored skills passed down through generations.
From 2024, Indego Africa has partnered with over 3,000 women artisans, training them in traditional crafts such as weaving, beadwork, and hand-carving. These artisans use locally sourced materials like wood, natural fibers, and recycled plastics to create items that reflect the vibrant cultural heritage of Africa. 
Indego Africa’s cultural focus is clear in the designs they produce, which often draw on Rwandan and Ghanaian symbols and patterns. For example, their iconic handwoven baskets feature geometric patterns inspired by traditional African shapes. The baskets, known as "agaseke," are crafted using locally sourced materials like sweetgrass and sisal fibers, dyed in vibrant colours like cobalt blue, mustard yellow, and earthy browns. Indego Africa produces home goods and accessories such as hand-carved wooden plates and ceramics, all influenced by African art forms. This combination of cultural and contemporary elements has gained Indego Africa a global following of 27.4K on Instagram, helping to bring African cultural traditions to a wider audience. 
One of Indego Africa’s standout programs is their Artisan Training Program, which equips artisans with the skills and knowledge needed to sustain their craft and businesses. Since 2007, this initiative has provided artisans with education in financial literacy, management, and design, fostering sustainable business practices that honor African traditions. Additionally, Indego Africa reinvests 100% of its profits into artisan communities, helping to preserve cultural heritage and craft traditions for future generations.

Cultural Traditions - Inspiration
30
This is the jewellery box inspiration and idea dump for Cultural Traditions (Persian/Middle East).
Paisley Red Design on Lid: The lid of the jewellery box would feature paisley design in teal, symbolising traditional patterns found in Middle Eastern and South Asian cultures. 
Mahogany Frame: The main structure of the jewellery box would be mahogany, a durable and beautiful hardwood known for its deep, rich colour. This adds elegance to the piece. 
Gold Buckles: The gold buckles would  serve both a functional and aesthetic purpose. They add a luxurious touch while also representing cultural symbols of wealth and prosperity found in various cultures. Gold is also a very popular metal in the Middle East, and appeals to that target market.
Velvet Interior: The interior of the box would be lined with soft, plush velvet, providing a luxurious feel while protecting delicate jewellery. Velvet has historical significance in the Middle East, often associated with royalty and high status.
Symbolism: I  would add symbolic elements, such as a lotus or cypress tree is fine gold paint, which are significant in Persian culture, to convey deeper meanings associated with life and eternity.
Colour Palette: I would use a rich colour palette that includes jewel tones, like deep blues, greens, and golds, to create the luxurious feel of traditional Persian art.
Pyrography: I would incorporate pyrography of the Persian word "زینت" ("elegance") on the inside lid of the jewellery box, using an flowy hand to reflect traditional Persian languages (Farsi). 
Mosaic: I would add a decorative compartment in the jewellery box featuring a tiled flooring made of Persian-style mosaic pieces. This mosaic would showcase vibrant blue colours and geometric patterns, reflecting the traditional artistry of Persian culture. 

Cultural Traditions - User Profile
31
Amir Rahimi, a 45-year-old small business owner from Iran, values his Persian heritage and is in look out for a jewellery box that reflects his culture while also providing a safe place for family heirlooms.
Needs 
Wants 
Values
Cultural symbols.
Dark wood. 
Preservation of cultural identity.
Paisley.
Farsi words. 
Family traditions.
Fabric interior.
Two compartments
Cultural traditions.
Pyrography. 
Satin sheen. 
Craftsmanship.
Budget of £100.
Dark wood finish. 
Community connections. 
Gold latches and accents. 
30x20x15 cm.
Continuity of traditions.
Durable for generational use. 
/
/
Removable compartment.  
/
/
Red. 
/
/
Bangle pillow. 
/
/

Research Summary 
32
In my research for the three contexts, I found Cultural Traditions to be the one I was drawn to the most. The rich heritage of Persian and Middle Eastern cultures offers a variety of designs that can enhance my jewellery box project. I chose this context because it allows me to explore patterns, traditional materials, and meaningful symbolism, which I believe can add depth and character to my product. I enjoyed researching the non-profit brand Indego Africa, and felt that the cultural research had deeper meanings than just what the user receives.
Through my research, I discovered traditional motifs, such as Paisley patterns, which are deeply rooted in Persian art and signify life and eternity. I also learned about the significance of materials like walnut wood and gold accents, and how significant they are. These materials not only enhance the aesthetic appeal of the jewellery box but also connect it to its cultural heritage. I also discovered how colours have different meanings in different regions, such as white or black. 
While I appreciate all the contexts, I found the Designing for a Safer World theme to be the least aligned with my personal interests. Although it's safety is important in product design, my inclination towards aesthetics and visual symbolism makes Cultural Traditions more appealing for this project. I believe that design should not only be practical but also evoke emotions and appreciation for cultural narratives. A product can be safe, while having some form of personality. Additionally, while the Net Zero context is important to face climate change, I find it boring, and limited with what you can do. Although using recycled materials can look beautiful, as shown from my research, in a classroom, it is harder to achieve this look. With new,luxury materials, like those I will use in Cultural Traditions, the aesthetics will look amazing.  I feel that the story aspect of Cultural Traditions allows for a stronger connection to the user, beyond just safety and environment.
Ultimately, I have chosen Cultural Traditions, as in my mind I have a clear idea of what I want to do, and the research inclined me to pick it. I am excited to incorporate design elements from my region of the world in my jewellery box. 


33
DESIGN SITUATIONS AND BRIEFS, EXISTING PRODUCT ANALYSIS, SPECIFICATION 

The Problem 1 - 
34
The problem is that my basic, minimalistic jewellery box clashes with the vibrant aesthetics of my Persian cultural home, which is covered with rich colours and deep coloured wood. This disconnect creates conflict in my living space, removing the overall harmony and ambiance. The current jewellery box is functional but lacks the intricate designs and cultural significance that could elevate it to a fitting piece within my decor. The jewellery box feels out of place, and does not reflect the warmth and richness of the surroundings. This mismatch diminishes the visual appeal and also disrupts the cultural theme I strive to maintain in my home, which goes back centuries.  The jewellery box is a very pale colour with no patterns, such as damask or paisley, which makes it difficult to blend in.  
Design brief 1 - 
I am going to design and make a jewellery box that will integrate with the rich cultural aesthetic of my Persian-inspired home.
 The jewellery box will be made from deep-coloured wood to complement the wood already in my house. It will feature pyrographed Farsi writing, adding a personal touch that reflects my heritage. Inside, the drawers will be lined with red/white Paisley velvet fabric, providing a luxurious feel while protecting the jewellery. Velvet pillows will be included to keep delicate items organised. The jewellery box will also have 2 compartments for types of jewellery and a mirror.  The exterior will have a subtle satin finish to highlight the wood’s natural grain while ensuring durability and resistance to wear. The latches will be made of gold, which is a rich metal that is seen all around my home. 


The Problem 2 - 
35
The problem is that my grandma, who is in her late 70s, does not like modern furniture and wants a new coffee table that includes traditional African designs and colours. She prefers warm earth tones and rich, vibrant colours in her living room, which currently features deep browns and bright yellow accents. The disconnect between her style and the modern furniture in the U.K creates a conflict in the room, and looks wrong. The existing coffee table fails to capture the essence and beauty of traditional African art.  It also is quite small, and she requires a larger one, to serve the community with. The coffee table needs to incorporate vibrant colours and intricate patterns, such as Kente, Bogolanfini, and Adire, to create a cohesive look within the house.
Design brief 2 - 
I am going to design and make a coffee table that will meet my grandma's preference for traditional furniture, incorporating African cultures. 
The current coffee table is too small for her, measuring only 90 cm in length, which limits its functionality for community gatherings. Therefore, the new coffee table will measure approximately 120 cm in length, 60 cm in width, and 45 cm in height, providing a larger surface area for serving and entertaining guests comfortably. The table will be made from durable hardwood to ensure longevity and stability, and it will has a deep brown stain with bright yellow and green accents.  There will also be engraved patterns of traditional African art, such as Kente, Bogolanfini, and Adire. These designs will be added onto the tabletop surface using hand-painting.

The Problem 3- 
36
The problem is that my friend, who recently moved to Australia from Japan, struggles to adapt to the higher seating arrangements common in Australian homes, such as sofas and chairs. She is so used to sitting on the floor, where meals are shared and enjoyed at a lower level, promoting a sense of connection and comfort. She finds it difficult to eat on chairs, as there is limited space to put plates, books etc. With floor chairs, she could lay out all of her necessities on the floor while using them. The modern Australian furnishings, including tall chairs and tables, create a disconnect with her traditional practices and make her feel uncomfortable. 
Design brief 3- 
I am going to design and make a Tatami Chair for my friend’s preference for low seating, allowing her to enjoy meals and gatherings in a way that feels familiar and comfortable. 
The chair will feature a minimalist design inspired by traditional Japanese aesthetics, prioritising natural materials such as bamboo and fabric. The Tatami Chair will be low to the ground, enabling her to sit comfortably on the floor while eating or socialising. It will incorporate soft cushions made from cotton with traditional Japanese patterns, such as Seigaiha waves and Asanoha leaf, ensuring both comfort and aesthetic appeal. The design will ensure that the chair is lightweight and easy to move by dragging from a handle, allowing for flexibility in different spaces. It will provide a cultural seating option that has the communal atmosphere she values, bridging the gap between her heritage and her new urban surrounding. 


Developing target market knowledge - Questionnaire
37
This questionnaire was sent to all of my teachers which are in the adult age range, who I know are interested in jewellery, and are fond of cultural traditions. From this questionnaire I can conclude that the majority were in the 40-44 range. This is my ideal target market. It was roughly 50/50 split between males and females, which makes my results fair and more reliable. Around 90% preferred smooth wood, which is what I will make my jewellery box out of.  10% preferred velvety textures, so I will line my jewellery box with velvet. As for design styles, most said traditional, with minimalistic very close behind. Applying this in my product, I will be used a variety of traditional emblems or motifs, ensuring it is not too overwhelming. 
Out of the 8 patterns I listed, half of the adults chose Paisley. This is the ideal answer, as my product is Persian themed, and Paisley is a common pattern. Finally, half chose their favourite colour scheme to be cool tones, including a range of blues. This will be incorporated into my design, and I will use blue fabrics or paints when making. Overall I am pleased with my responses and it has helped me decide what to change in my initial ideas, based off of responses. 

38
Final Brief:
I am going to design and make a jewellery box that will integrate with the rich cultural aesthetic of my customer’s Persian-inspired home. 
The jewellery box will be made from deep-coloured wood to complement the wood already in their house. It will feature pyrographed Farsi writing, adding a personal touch that reflects their heritage. Inside, the drawers will be lined with red/white Paisley velvet fabric, providing a luxurious feel while protecting the jewellery. Velvet pillows will be included to keep delicate items organised. The jewellery box will also have 2 compartments for types of jewellery, including earrings, necklaces, and bracelets, for easy access. The exterior will have a subtle satin finish to highlight the wood’s natural grain while ensuring durability and resistance to wear. The latches will be made of gold, which is a rich metal that is seen all around their home. On the inside lid, there will be a mirror.


39
Product analysis (existing marketplace):
This design is sleek and simple, with a widely used shape. This simplicity is fundamental for a universally appreciated product.  I like this shape because it is timeless, although to fit my own theme of cultural traditions, I would add things. For example, pyrographed words in foreign languages, pattern fabric lining, intricate paintwork, and symbolism. 

The wood used here is a dark, deep coloured wood, such as walnut wood or mahogany. When making my product, I am going to try to purchase dark coloured wood,although if it is not in my budget I may opt for a lighter timber. If that is the case, I will then purchase a dark wood stain to achieve the same effect. This is a good surface level approach to reducing the costs, although in the long run these woods are weaker and would not be as suitable to pass down generations. 

The dimensions of the box are 25.5 × 18 × 11 cm, which I would also like for my product. This ensures it is not too bulky. 

The interior of this box is lined with blue velvet and silk paper. I love the idea of velvet on my own product, but I would choose a lighter cerulean. For the inside of the lid, I would use silk, which is patterned with a cultural pattern. 

I think this product is aimed towards older people who have an antique style. Opposingly, my product should be passed on generations. In order to make it fit with other generations, I will include some fun elements and “easter eggs” ,like hidden symbols, which can be appreciated by all ages.
This is a one off production, just like my product. 
The product has a escutcheon, which requires lock and key. In my design I will have latches instead, as I think it is easy to lose keys.
From first glance, I think there is a low level of gloss finish. This is a really nice touch and I am going to do the same. 
This product is safe to use and doesn't have any obvious hazards. Although, including a stay would insure that the lid would not slam on fingers. 

40
Product analysis (existing marketplace):
This design is simple and fun, with a widely used shape. The design on the inside lid can be appreciated by most ages, although some may find it tacky. I like this shape because it is common and timeless, although to fit my own theme of cultural traditions, I would add elements which link culture. This could be painted on. It could also be a layered landscape as shown here. 

The wood used here is a dark, deep coloured wood, such as walnut wood or mahogany. When making my product, I am going to try to purchase dark coloured wood,although if it is not in my budget I may opt for a lighter timber. If that is the case, I will then purchase a dark wood stain to achieve the same effect. This is a good surface level approach to reducing the costs, although in the long run these woods are weaker and would not be as suitable to pass down generations. 

I like the size of this box, however the sides are very thick, and it looks bulky and childish. I would use thinner wood. 

The interior of this box is lined with velvet at the bottom.I like this, however it looks dark, so I would pick a more vibrant colour. The inside of the lid looks nice, and I might try to add designs on my own inside lid. 

I think this product is aimed towards middle aged people, who like nature. Opposingly, my product should be passed on generations. In order to make it fit with other generations, I will include some older elements ,like old motifs, which can be appreciated by all ages. My jewellery box will almost be able to tell a story. It will be obvious which culture I picked.  
This is a one off production, just like my product. 
I'm not quite sure how the product closes tight. In my own product, I would add a lock or latch to close it. 
In this image, I can not see a gloss, although there may be a wood stain. In my own product, I will be using a wood stain. 
This product does not have obvious hazards, although the hinges look quite sharp, and so do the corners of the box. 

41
Material analysis-Pine:
Pine is a softwood used for affordable furniture due to its availability, lightweight nature, and ease of workability, making it an inexpensive and practical option for budget-friendly projects. However, it is not suitable for my high-quality generational jewellery box as it is prone to dents, scratches, and wear over time due to its softness. This compromises durability. Pine lacks the rich, luxurious grain patterns of hardwoods such as walnut or mahogany, limiting its aesthetic appeal for a premium product. It is also very light in colour, which contrasts my client’s request. Additionally, pine’s high moisture content makes it more susceptible to warping or shrinking with changes in humidity, which could affecting the structural integrity of the jewellery box. Whilst it can still be stained, pine’s natural appearance does not have the same level of sophistication or prestige of an heirloom-quality item. 


42
Material analysis-Mahogany:
Mahogany is a hardwood valued for its durability, strength, and rich aesthetic qualities, making it a popular choice for high-quality, long-lasting products. Its natural deep reddish-brown colour and fine, straight grain give it a luxurious appearance that enhances the appeal of premium items such as my ideal jewellery boxe. Mahogany is resistant to wear, dents, and scratches, which ensures that it maintains its quality over time, making it ideal for a generational product. Additionally, its natural density and stability mean it is less prone to warping or shrinking, even in changing humidity conditions, which helps preserve the structural integrity of the box. While mahogany is more expensive than softwoods such as pine, its superior durability and timeless aesthetic justify the higher cost. For products like mine, where longevity is key, the price justifies the qualities. 

Detailed specification (Jewellery box):
43
ACCESSFM:
Product information:
Test requirements:
Aesthetic
The box should be deep-coloured walnut or mahogany wood  (natural or stained), and include pyrographed Farsi words on all 4 sides and lid of the box, filled with gold acrylic paint. Pyrographed designs on the of the box must include Paisley, Damask, Faravahar, Farsi and flowers. They can be an inlay of the name of the buyer with gold leaf at the side of the box, on the outside. A satin wood finish must be used and the box must be lined with red Paisley patterned velvet/felt on the inside of the box. All of the hinges, decorative edges and clasps must be gold. On the outside lid of the box, add small red mosaic tiles. On the inside lid, include a small rectangular mirror framed. Create a small pillow to hold bangles in red.
When making the product, I will have lots of attention to detail. I will ensure the wood has a deep, rich colour to give it an elegant finish, and if I use a light coloured wood, I will make sure it is stained. I will carefully pyrograph the patterns and words, to ensure it is up to the customers standards. 
Cost
The ideal selling price is £50, as the client has disposable income, and it is personalised, although I will use a questionnaire later on the see if the final product reflects this price.  
The manufacturing price should be around £30.24, excluding electric running price. If this was not a personalised product, it is ideal in a market or a charity fair, where it would be priced reasonably, while still being high quality. 
Gold latches=£10.00
Mirror=£0.20
Fabric=£5.00
Wood=£15
Pillow stuffing=£0.04
Gold acrylic = £1.00
Gold leaf = £5.00
Wood stain=£9.00
When buying products, I will make sure I do not spend too much, but still spend enough for high quality items. 
When pricing the product, I will take into account the customers budget. It will be priced based off of the hours of work, level of personalisation, and quality of the product. 
Customer
The client is a 45 year old Persian man, who takes pride in aesthetics and appearances. It is intended for personal use, but need to be durable for generational use, so should suit different gender and ages. He likes dark wood colours, and prefers a slight sheen on the box. The box should not only keep the older target market in mind, but all ages.  
When making the product, I will constantly refer to the user profile previously made, and the customers wants needs and values. I can send my customer pictures if necessary and they can tell me if something should be altered.  
Environment -Place
The box is going to stay in the clients house, either on the antique Persian table or a vanity. Over the years, it will be moved around, and is not going to stay in the same place
When testing the prototypes, I will use it in-situ on my own table and vanity, and test if it is genuinely suitable or not. 
Environment - Sustainability
This jewellery box is a bespoke production of a one off product and will use FSC-Certified wood.The box is intended to be passed on generations as an heirloom, so will be recycled and not thrown away.  
When purchasing wood, I will try and search for FSC-Certified wood. Alternatively, I could also use recycled wood, although i want the product to be luxury and high quality, so would rather not. Preferably, the box would be passed down generations, so the end of life cycle will not be soon. 
KEY: Essential = green
        Non essential = red

Specification (Jewellery box):
44
ACCESSFM:
Product information:
Test requirements:
 Size
The size should be around 30x20x15 cm and wood should be about 1 cm thick. The box must not be bulky or heavy. The box should not be too tall, nor too wide. It must be able to fit quite big necklaces with ease, and plenty of bangles. It should have a sophisticated sized mirror, big enough to view a full necklace. 
When making the product, I will make sure I am always checking measurements to make sure they are maintained, especially after sanding etc… If necessary for the customer, I can calculate an estimate weight. If they aren't happy, I can use a lighter wood before creating the final product. 
Safety
The keep people safe when using the box I can rounded edges to prevent injury. The wood finish that is used should prevent splinters in the wood. Fingers may get trapped in the box, so I will add a ribbon stay handle to prevent this. I will make sure there are no small elements children can swallow. Latches will be attached properly, so they will not be able to be removed and swallowed. 
When making the product, I might round edges with sandpaper, and test sharpness on a balloon. If the balloon pops with slight pressure applied, it is too sharp. I am going to make a stay out of ribbon in the box, to prevent the box slamming on fingers. The latches will be attached properly, and tested by trying to pull them off with intense force. 
Function
The function of the box is to help organise jewellery in compartments. It should be able to stay open independently without slamming down. As Well as being useful, it has to be functional as a statement piece. It must also be long lasting. 
When making my product, I will ensure that I make a stay out of ribbon so the lid will not slam on fingers. I will also make sure I get my peers and target markets opinion on the aesthetics throughout, to make sure it is attractive to the eye. 
Material
Ideally walnut or mahogany wood should be used, although it is expensive, normal wood can be stained. The inside must be lined with a fabric such as velvet or felt. There must be a mirror, and decorative edges.  The box must be made out of wood, because it is the best material for the task. 
When making the product, I will use all of these materials. 
KEY: Essential = green
        Non essential = red

45
Initial Designs A3:

46

47

48
Initial Design Feedback:
Below are my classmates ratings and comments on some of their favourite or least favourite designs. This feedback has helped me decide which designs to develop further. The two designs I will add and develop to are the ones outlined in green! My personal favourite was the one directly below me, although it is too complex for this project and the time available, and wood cost a lot of money to produce. 

49
Developed Designs A3:

50

51
C.A.D Modelling:

To give an idea of shapes and sizing, as well as additional elements such as ring slots and necklace holders. 

52
Card Modelling:
1. 
This model contains four shelf-like compartments, with a removable box/drawer. The model is in the shape of a pentagon, and has two doors. There are two larger compartments, and then two smaller ones. The removable box can be functional on its own, without being a part of the box. It could store smaller earrings, rings and charms. It can also stand up like a “house” or lie down on its back. This allows for it to be moved to different places and areas. 

53
2. 
In this model, there are two equally sized compartments, with a removable divider in the middle. Removing this divider makes one large compartment. This can cause the contents of the box to get tangled and messed up. To improve, I would make multiple dividers in smaller sizes and place them like the blue lines in the images below. This would allow for a more adaptable design. 

54
3. 
4. 
In design 4, the jewellery box is just able to hold rings, bracelets and necklaces on the pegs above. At the bottom, I could add earring holders out of foam. This would allow for more storage., Although this was a good design, it was lacking excitement and luxury, looking like a half finished job which was not worth the money. Therefore, in model 3, I added two shelves and on divider on the top shelf. This allows for a more organised approach where necklaces could hang and bracelets could be stacked. 

55
5. 
6. 
7. 
Model 5 is in the traditional box shape, and has three compartments; two are small and one is big. I liked this design as a simple and practical model, however it's not as efficient as it could potentially be. As it only had three compartments, an organised user would have trouble storing necklaces, rings, earrings and bracelets. Ideally there should be four compartments for each category of jewellery. Therefore in model 6 I created four triangular compartments. This allows for better organisation. In model 7, I took full advantage of space. I added an elevated panel to store frequently used jewellery for easy access. Then underneath is a full deck for all other jewellery types. Although it isn't the most practical of the models, it has a high storage capacity. This is shown in the image with some example jewellery. 

56
Overall Feedback on Models:

57
Final Design A3:

58
Technical Drawing A3 to scale.:

59

60
TRIALS

61
Final checks:
Before making my final markings on my wood to cut, I decided it would be best to make a template and check if the size of the box is to the likings of my client. 

As displayed on the right, the original measurements of the box, which were:
1. 64 mm × 152 mm (×2)
2. 64 mm × 102 mm (×2)
3. 152 mm × 102 mm (×2)

When reflecting on the template, I found that due to my wood being a bit thicker, the box would be too small to contain all of the jewellery I would like to use. Therefore I have come up with some new measurements which result in a larger and wider box, along with a new template. The new measurements are as follows:

152 mm × 64 mm (×2) — side panels
204mm × 64 mm (×2) — end panels
152mm × 204mm (×1) — base
152mm × 204 mm (×1) — lid


62
Trials:
I thought it would be a good idea to practice using the mitre saw before cutting into my actual wood. Here I am using plywood, which my actual product was also going to be made out of. The sudden switch from mahogany to plywood was because my client’s price range was limited and mahogany was too expensive. A problem which arose with this change is that when using the mitre saw, the plywood layers splintered and chipped off. With practice, I learnt that the slower you cut, the less likely it is so splinter. On the right you can see the effects of speedy sawing. Then I decided to glue the chipped piece back onto the wood, to test my glue and its strength. 

I decided that I did not want to risk getting splintered wood, so decided to switch again to PINE wood. 

 

63
Trials:
Below are images of me testing the pyrography pen on different heat settings and tips. I also stated my findings below. 

 

64
Trials:
Below are images of me testing different wood stains
 

65
PRODUCTION AND STEP-BY-STEP GUIDE WITH IMAGES.

11 hours, 30 minutes approximately.  

66
Material,Cutting and Tools List:
MATERIALS:
Pine wood.
Red pashmina fabric. 
Hinges.
Wood stain.
Wood glues.
Material glue.
Stuffing/cotton. 
Red ribbon.
Super glue

TOOLS:
Mitre saw.
Sand paper (varied grit, specified in the step by step.).
Screwdrivers.
Right angled drill.
Sanding block.
Paintbrush.
Fabric scissors.
Scissors.
Ruler.
Sewing machine.
Needles and pins.
Nails and screws
Pyrography pen.
Circle sander.
Hand sander. 


CUTTING:
152 mm × 64 mm (×2) — side panels
204mm × 64 mm (×2) — end panels
142mm × 194mm (×1) — base
152mm × 204 mm (×1) — lid
194 mm x 54 mm (x1) - compartment 
54mm x 7mm x 7mm (x4) - slots


67
MARKING AND CUTTING:
INSTRUCTION.
Firstly, I measured all of the wood using a ruler. Then before cutting I double checked the lengths were all accurate. Next I cut them using the compact mitre saw at a 45 degree angle. I slowly cut them, ensuring not to rush, and used the laser to create straight lines. After I cut them all out I then remeasured them.

TOOLS
Mitre Saw
Ruler

HOW LONG?
Cutting (10 minutes)
Measuring (30 minutes) = TOTAL 40 MINUTES. 

HEALTH AND SAFETY
When cutting, my hair was tied back. I did not cut in an irresponsible manner, and was careful to keep my hands away from the blade. I wore eye protection. 

QUALITY ASSURANCE
Quality is very important. I ensured to remeasure each piece of wood, to make sure it was exact. This ensures that the wood will not have poking out bits when glued, which make it look cheap and unprofessional. 


68
MARKING,CUTTING,GLUING LID AND BASE:
INSTRUCTION.
Secondly, I used the planks of wood to make a lid and base. I measured the lengths I needed with plenty of leniency and cut them using the mitre saw, on a straight angle. And then used a clamp to dry the wood. After they dried, I measured the actual size of the lid and base, and masked it on the wood. 

TOOLS
Mitre Saw
Ruler
Clamp

HOW LONG?
Cutting (5 minutes)
Measuring (20 minutes)
Glueing (10 minutes) = TOTAL 35 MINUTES. 

HEALTH AND SAFETY
When cutting, my hair was tied back. I did not cut in an irresponsible manner, and was careful to keep my hands away from the blade. I wore eye protection. 

QUALITY ASSURANCE
Here, I made sure that the pattern of the grain looked good, and was similar, not random. 


69
3. SANDING:
INSTRUCTION.
Thirdly, I sanded all of my wood with sandpaper. I used 120 grit first and then 180 grit paper where necessary. Next I used the circle sander and pushed the mitred side onto it at 45 degrees. I made sure to move the pieces as it sanded, so the paper did not burn. Using the circle sander sharpened the edges of the pieces, and made sure everything fit flush with each other. I then used a hand sander the even out the lid and base surfaces, and then filed down the sides using 120-180 grit. 

TOOLS
Sandpaper
Circle sander
Hand sander
Sanding block

HOW LONG?
Sanding (40 minutes)

HEALTH AND SAFETY
When sanding, my hair was tied back. At the circle sander, I put on goggles. This protected my eyes from wood particles.  When using the hand sander, I wore a mask, and goggles. 

QUALITY ASSURANCE
After sanding, I would go around the class and to my teacher, making them feel the pieces of wood and detect any imperfections or bumps I overlooked. I repeated this process until there were no more rough bumps. 


70
4. PYROGRAPHY:
INSTRUCTION.
Fourthly, on the edges of the box, I used a pyrography pen to write Farsi words. Before this, I sketched out all of my designs with pencil. This was done precisely. After I had completed the pyrography, I rubbed out any pencil marks still present before I stain. 

Here is a video of me doing the pyrography on the right!

TOOLS
Pyrography pen

HOW LONG?
Sketching(1 hours)
Pen work(2 hours)=TOTAL 3 HOURS

HEALTH AND SAFETY
I worked in a well ventilated area, and tied my hair back. At times, I wore a mask. Windows were always open. 

QUALITY ASSURANCE
Before pyrographing on my actual box, I practiced on discarded wood. This ensured that the quality on my final product would be ideal. 


71
5. STAINING AND FINISH:
INSTRUCTION.
Fifthly, I used an old rag and my wood stain to stain the whole box. I made sure to do it evenly, with two layers. Then I used the satin wood finish with a paint brush and did one coat. After that dried, I sanded it with 180 grit, and did a second coat. 

TOOLS
Stain
Wood finish
Paintbrush

HOW LONG?
Staining (25 minutes)
Finishing (25 minutes)
Sanding (5 minutes)
= TOTAL 55 MINUTES

HEALTH AND SAFETY
I made sure to wear goggles in case it splattered and washed my hands after use. 

QUALITY ASSURANCE
Before staining on my actual box, I practiced on my discarded wood. This ensured that the quality on my final product would be ideal, but also that I liked the colour. 


72
6. GLUEING/ASSEMBLING THE BOX:
INSTRUCTION.
Then, I used wood glue to attach the pieces together. To apply the glue accurately to the wood I used a paint brush. Once I glued the pieces together, I used bands to secure everything together. Then I let it dry until my next lesson. 

TOOLS
Glue
Bands
Paint brush

HOW LONG?
Glueing (25 minutes)
= TOTAL 25 MINUTES

HEALTH AND SAFETY
NO HEALTH AND SAFETY HAZARD. 

QUALITY ASSURANCE
Before I glued it together, I did an essential check to make sure the pieces all fit together with the bands. I used a mitre square to make sure that the sides were at perfect right angles. 


73
7. WOOD FILLING:
INSTRUCTION.
On the base of my box, there were a few gaps which I needed to fill using wood filler. They were not major, but would have reduced the luxury of my product. After I filled and dried it, I sanded the base until smooth, and re stained the base. 

TOOLS
Wood filler
Hand sander
Stain

HOW LONG?
Filling (5 minutes)
Sanding(20 minutes) 
Staining(10 minutes) = TOTAL 35 MINUTES

HEALTH AND SAFETY
When sanding, I wore a mask.  

QUALITY ASSURANCE
After I sanded, I made sure it was fully smooth and double checked every crack was filled correctly. I also made sure that the stain was spread evenly, and did not use too much at once. 


74
8. CUTTING, GLUEING AND LINING  THE REMOVABLE COMPARTMENT/SLOTS:
INSTRUCTION.
Next, I cut the wood for the removable compartment using the mitre saw and I lightly sanded over it with 180 grit. I then wrapped it in my fabric, in a continuous pattern. Then I used a long stick of wood, and cut 4 “poles” of wood, the height of the inside of the box. Then I wrapped them in my fabric and added a PVA/water mixture on top to seal the fabric so it would not shred overtime. I glued the fabric using an adhesive spray. Then I glued these 4 pieces to the opposing sides of the box, ensuring there was a 0.3mm gap for the removable compartment to slot in. 

TOOLS
Mitre saw
Sandpaper
Wood glue
Adhesive spray
Super glue

HOW LONG?
Cutting (20 minutes)
Lining (30 minutes)
PVA/Water seal (5 minutes)
Glueing(10 minutes)
Sanding(2 minutes)= TOTAL 67 MINUTES

HEALTH AND SAFETY
When cutting, my hair was tied back. I did not cut in an irresponsible manner, and was careful to keep my hands away from the blade. I did not walk around with the saw. 

QUALITY ASSURANCE
I made sure to check the piece slotted perfectly using blu tack, before real wood glue. 


75
9. LINING THE BOX:
INSTRUCTION.
Then, to line the inside I used Paisley patterned pashmina . I cut the outlines out using measured card. I made sure to pick an aesthetic base piece of fabric which was symmetrical. I also made sure that the lined edges were one whole continuous pattern. The fabric was glued to the paper using an adhesive spray. I used fabric scissors to cut out the fabric. I then folded the edges of the velvet onto the card and glued it into my box. 

TOOLS
Fabric scissors
Adhesive spray

HOW LONG?
Cutting paper(10 minutes)
Glueing fabric to paper(25 minutes)
Cutting fabric(10 minutes)
Glueing fabric to box(20 minutes)
= TOTAL 65 MINUTES

HEALTH AND SAFETY
When I cut the fabric, I ensured to not walk around with the scissors facing upwards. 

QUALITY ASSURANCE
When I glued down the fabric, I pushed down the fabric so that there were no air pockets under. I did this using a ruler. I pushed down on corners and crevices of the box. 


76
10. ADDING A MIRROR:
INSTRUCTION.
To add the mirror and make the frame, I started by cutting a rectangular piece of fabric, ensuring it was slightly larger than the frame to allow for folding. I then used a card template to mark the mirror and frame edges, making folds along the lines. After securing the fabric in place with adhesive, I carefully cut out the center section of quarters, leaving a margin to fold over. I smoothed out the fabric, pressing down the edges firmly. Once the fabric was set, I placed the mirror inside the frame, securing it underneath with adhesive to hold it in place. Then I glued this to my lid. 
TOOLS
Fabric scissors
Adhesive spray

HOW LONG?
Adding the mirror(30 minutes)

HEALTH AND SAFETY
I did not spray adhesive near eyes, and wore goggles. 

QUALITY ASSURANCE
I made sure that I only used the necessary amount of glue, so it did not bulge out under the mirror. 

77
11. MAKING THE CUSHION:
INSTRUCTION.
For the cushion I cut a rectangular piece of pashmina out, and then sewed it together using the sewing machine. I left a hole to then stuff it with fluff. Once it was stuffed I pinned the fabric together and hand stitched it together using the invisible/blind stitch. Then I evened out my pillow by squishing and spreading the fluff around. 

TOOLS
Fabric scissors
Pins
Sewing machine

HOW LONG?
Cutting fabric(5 minutes)
Glueing(10 minutes)
Sewing(10 minutes)
Stuffing(10 minutes)
= TOTAL 35 MINUTES

HEALTH AND SAFETY
When I cut the fabric, I ensured to not walk around with the scissors facing upwards. At the sewing machine, I used gloves and kept my hands away from the needles. 

QUALITY ASSURANCE
I ensured my stitching was in straight lines and not too visible, by using white thread and blind stitch method I cut all of the hanging thread. 

78
12. ATTACHING LID AND DECORATIVE EDGES:
INSTRUCTION.
Firstly, I marked out all of the places the screws would go in, using pencil. Then I used a clay hammer and a centre punch to create a dent in each pencil hole. Next I screwed the nails in half way using a small cross screwdriver. After they were secure, I drilled down using the hand drill until it was fully fixed in place. I did this for the clasp and hinges. For the decorative edges, I used nails, and a smaller clay hammer. I lightly tapped the nails until they were fully secure. 

TOOLS
Clay hammer
Cross screwdriver
Hand drill

HOW LONG?
Clasps and hinges (20 minutes)
Edges(20 minutes) =TOTAL 40 MINUTES

HEALTH AND SAFETY
I made sure that the drill was off when I was not using it, and I kept my hands away. I did not recklessly use the hammer, so my fingers were not harmed. 

QUALITY ASSURANCE
For each nail/screw, I made sure it was central and not lopsided. They were flush with the hinges, edges and clasps. 


79
13. ADDING THE STAY:
INSTRUCTION.
Next, I added the stay. In order to do this I chiselled a small hole/slot in the mirror frame (fabric) and the lining fabric. I measured and cut my ribbon, before supergluing it underneath into the holes and slots I just chiselled. 

TOOLS
Chisel

HOW LONG?
Adding the stay(10 minutes)

HEALTH AND SAFETY
 I ensures that the chisel was away from my fingers so they did not get cut.

QUALITY ASSURANCE
I made sure that the chiselled slots were then glued firmly back, so it did not look tampered with. 

80
Product Photos - Interior:

81
Product Photos - Exterior:
These are close up images or the front, back, side, top, nails and screw work


82
Product In Situ:
In these images, the jewellery box has been places upon an antique Persian pottery case, which is located in the living room. It was unobtrusive, and added to the feel of the room. This is where the client wanted to place it, although it would fit perfect anywhere, due to its efficient sizing.  


83
Product in use:
Above are some images of the box actually being used to hold jewellery. I can see that is usable, and tested it out for a few days. Overall I was happy with the product and enjoyed storing jewellery inside it. In the middle image, you can see that the removable compartment has been taken out the make more space for a larger necklace, which is very common in the Persian culture to be worn. You can also see the bangle holding pillow in use, which fit comfortably and did not bend or cause pressure on the bangles. The smaller side of the division by the compartment is perfect for nose rings and rings, as displayed in the last photo. This ensures that they don't get lost in the box mixed with larger pieces, and keeps the sizing organised. 


84
Product in use:
Here you can see a few pieces in the box all at once. There is still space for more, and everything comfortably fits. The removable compartment acts as a divider between rings and bracelets, but also a holder for earrings, as shown. The pillow is the perfect size for bangles, and the box can still be used without it. Overall from the images, I have taken that this box is perfect for all jewellery types. The ones I tested were: earrings, necklaces, rings, nose rings, bracelets, bangles.


85
EVALUATION

Detailed specification (Jewellery box):
86
ACCESSFM:
Product information:
Test requirements:
Aesthetic
The box should be deep-coloured walnut or mahogany wood  (natural or stained), and include pyrographed Farsi words on all 4 sides and lid of the box, filled with gold acrylic paint. Pyrographed designs on the of the box must include Paisley, Damask, Faravahar, Farsi and flowers. They can be an inlay of the name of the buyer with gold leaf at the side of the box, on the outside. A satin wood finish must be used and the box must be lined with red Paisley patterned velvet/felt on the inside of the box. All of the hinges, decorative edges and clasps must be gold. On the outside lid of the box, add small red mosaic tiles. On the inside lid, include a small rectangular mirror framed. Create a small pillow to hold bangles in red.
When making the product, I will have lots of attention to detail. I will ensure the wood has a deep, rich colour to give it an elegant finish, and if I use a light coloured wood, I will make sure it is stained. I will carefully pyrograph the patterns and words, to ensure it is up to the customers standards. 
Cost
The ideal selling price is £50, as the client has disposable income, and it is personalised, although I will use a questionnaire later on the see if the final product reflects this price.  
The manufacturing price should be around £30.24, excluding electric running price. If this was not a personalised product, it is ideal in a market or a charity fair, where it would be priced reasonably, while still being high quality. 
Gold latches=£10.00
Mirror=£0.20
Fabric=£5.00
Wood=£15
Pillow stuffing=£0.04
Gold acrylic = £1.00
Gold leaf = £5.00
Wood stain=£9.00
When buying products, I will make sure I do not spend too much, but still spend enough for high quality items. 
When pricing the product, I will take into account the customers budget. It will be priced based off of the hours of work, level of personalisation, and quality of the product. 
Customer
The client is a 45 year old Persian man, who takes pride in aesthetics and appearances. It is intended for personal use, but need to be durable for generational use, so should suit different gender and ages. He likes dark wood colours, and prefers a slight sheen on the box. The box should not only keep the older target market in mind, but all ages.  
When making the product, I will constantly refer to the user profile previously made, and the customers wants needs and values. I can send my customer pictures if necessary and they can tell me if something should be altered.  
Environment -Place
The box is going to stay in the clients house, either on the antique Persian table or a vanity. Over the years, it will be moved around, and is not going to stay in the same place
When testing the prototypes, I will use it in-situ on my own table and vanity, and test if it is genuinely suitable or not. 
Environment - Sustainability
This jewellery box is a bespoke production of a one off product and will use FSC-Certified wood.The box is intended to be passed on generations as an heirloom, so will be recycled and not thrown away.  
When purchasing wood, I will try and search for FSC-Certified wood. Alternatively, I could also use recycled wood, although i want the product to be luxury and high quality, so would rather not. Preferably, the box would be passed down generations, so the end of life cycle will not be soon. 
KEY: 
Achieved -
Partially Achieved
Not Achieved

Specification (Jewellery box):
87
ACCESSFM:
Product information:
Test requirements:
 Size
The size should be around 30x20x15 cm and wood should be about 1 cm thick. The box must not be bulky or heavy. The box should not be too tall, nor too wide. It must be able to fit quite big necklaces with ease, and plenty of bangles. It should have a sophisticated sized mirror, big enough to view a full necklace. 
When making the product, I will make sure I am always checking measurements to make sure they are maintained, especially after sanding etc… If necessary for the customer, I can calculate an estimate weight. If they aren't happy, I can use a lighter wood before creating the final product. 
Safety
The keep people safe when using the box I can rounded edges to prevent injury. The wood finish that is used should prevent splinters in the wood. Fingers may get trapped in the box, so I will add a ribbon stay handle to prevent this. I will make sure there are no small elements children can swallow. Latches will be attached properly, so they will not be able to be removed and swallowed. 
When making the product, I might round edges with sandpaper, and test sharpness on a balloon. If the balloon pops with slight pressure applied, it is too sharp. I am going to make a stay out of ribbon in the box, to prevent the box slamming on fingers. The latches will be attached properly, and tested by trying to pull them off with intense force. 
Function
The function of the box is to help organise jewellery in compartments. It should be able to stay open independently without slamming down. As Well as being useful, it has to be functional as a statement piece. It must also be long lasting. 
When making my product, I will ensure that I make a stay out of ribbon so the lid will not slam on fingers. I will also make sure I get my peers and target markets opinion on the aesthetics throughout, to make sure it is attractive to the eye. 
Material
Ideally walnut or mahogany wood should be used, although it is expensive, normal wood can be stained. The inside must be lined with a fabric such as velvet or felt. There must be a mirror, and decorative edges.  The box must be made out of wood, because it is the best material for the task. 
When making the product, I will use all of these materials. 
KEY: 
Achieved -
Partially Achieved
Not Achieved

Evaluation - Successes.
88
During the project, I successfully followed my final brief and carefully followed my design specification. This ensured the prototype met my initial design goals and functioned as intended.
In this process, I developed several new skills, including using the cordless hand drill for hinges, lining boxes, and making cushions, all of which were essential to constructing my prototype.
Additionally, I learnt pyrography for the first time, and the final outcome was precise, with no mistakes in the engraving process. It was a beautiful outcome. 
I successfully developed a functioning product that I am happy with. One of my key objectives was to include a removable compartment, and I achieved this as planned.
When lining the box, I paid close attention to continuity within the design, ensuring that the lining pattern remained consistent even when the removable compartment was added. This level of detail enhanced the jewellery boxes aesthetic appeal and professional finish.
I also refined my previous cutting techniques, ensuring all components fit together seamlessly using mitre cuts. The jewellery box's overall structural integrity is strong, and the lid mechanism works smoothly.
I paid attention to small details, such as ensuring the hinges were aligned properly, making the box easy to open and close without issues. I ensured that all of my nails and screws fit central and perfect where they needed to be. 
I took extra care when selecting materials, choosing a timber type that provided both aesthetic appeal and strength, ensuring the long-lasting quality of the product (pine).
Another skill I developed was my paper and card skills. I had to use card to line the box, as well as make the mirror frame as shown and explained in the step by step guide. This product included skills which I can use in practically any other project, from textiles to woodwork. 
Overall, I am pleased with the final outcome and the skills I gained during the process. If I were to make another prototype, I would refine certain elements, but I consider this a successful project that has expanded my technical abilities and strengthened my attention to detail. I am also happy with the fact that I stuck to the context of Cultural Traditions and followed it thoroughly.


Evaluation - Changes, Improvements and Errors.
89
Throughout making this prototype, I have identified several areas where improvements could be made to achieve a better-quality product.
I used cashmere, but over time, it may shred. To mitigate this, I used a PVA and water sealant to stabilise the fibres and prevent deterioration. However, sourcing a velvet or velour textile with a similar design would have been a more long-lasting solution. This would have ensured the interior lining remained durable and visually appealing without additional treatment, although it is fine as it is.
The timber used in this prototype performed well and had no technical issues. However, I would have to consider using a premium hardwood such as mahogany or oak to position the product at a higher market value.
I incorporated a craft mirror, which was prone to scratches. While it served its purpose, a higher-grade, scratch-resistant mirror would have been preferable if I had a larger budget. A tempered glass mirror would improve the jewellery box's finish.
Due to the method of application by rag, the wood stain application was slightly inconsistent in some areas. This is only noticeable upon close inspection. Despite practising beforehand, I could have refined the technique further. If I were to redo this prototype, I would conduct more test samples on offcuts before staining the final product.
The aerosol adhesive used to attach the fabric inside the box held the fabric in place. While it was effective, a stronger bonding agent would have provided a more secure and permanent bond
The lid alignment was slightly offset, by around 2mm. Although the issue was minimal, achieving a perfect alignment is essential for a high-end finish. In future projects, I would take extra care when sanding the lid. 
For the final protective coating, I used a satin finish. Although this did not negatively impact the visual appeal, my preference has changed, and I think a gloss lacquer would enhance the overall quality of the jewellery box. If I were to repeat this project, I would opt for a high-gloss finish to achieve a more premium aesthetic.
One feature I wanted to incorporate into the design was ring slots and necklace holders, which would make the jewellery box more accessible for all types of jewellery. Adding these elements would help keep the jewellery organised and prevent items from getting tangled or damaged. If I were to make this prototype again, I would definitely include dedicated compartments for rings and necklaces, as it would improve the functionality and make the box more versatile for users with different jewellery needs. This would also enhance the overall user experience, making it a more practical and appealing product. 
If I did this again I would conduct more user testing to gather feedback on the ease of use and overall ergonomics of the jewellery box, instead of just an online jewellery box. This could have helped refine details such as the lid mechanism, compartment layout, and comfort of handling, ensuring the design was as practical as possible for my user.


Evaluation - 10 Principles of Good Design (achieved or not).
90

Evaluation - 10 Principles of Good Design (achieved or not).
91
Innovation - The removable compartment in the jewellery box is an innovative feature, offering adaptability by allowing users to customise the storage space according to their needs, which is rare in traditional jewellery boxes. The mirror adds practicality, enabling users to check their jewellery as they wear it. 
Utility- The jewellery box is useful, offering plenty of storage space for various pieces, from small studs to larger necklaces, making it an option for everyday use. The mirror adds practicality, allowing users to check their jewellery. The stay is beneficial, preventing the lid from flopping back and keeping the box open at a comfortable angle for easy access.
Aesthetics-The aesthetics of the jewellery box are beautiful, with the intricate pyrography adding a personal, touch that reflects cultural craftsmanship. The red paisley lining enhances the colour, making it less boring. The gold decorative edges and latch provide elegance. 
Understandable-The jewellery box is designed with an understanding of the disconnect between the current minimalistic box and the vibrant, rich aesthetics of Persian-inspired homes as stated in the problem and brief.it displays understanding and deep knowledge into the culture in order to pick the correct fabric pattern, hinge colour and pyrography patterns.
Unobtrusive-The jewellery box is unobtrusive due to its carefully chosen wood colour/stain and cultural elements, which allow it to blend naturally with the existing furniture without overpowering the room. Its size is compact enough to sit comfortably on a dressing table or shelf.
Honesty-My design is honest and any faults have been addressed. I have not exaggerated or covered faults. It was honest as it fulfilled all of my clients needs. 
Long-lasting-The jewellery box is long lasting due to the finish I used to prevent chipping. Some of the fabric has a PVA-water sealant to prevent the fabric from fraying. The latches and hinges are drilled in well, and the decorative edges are securely nailed in. They will not be falling out. 
Thorough-My design is thorough and all of my design work was fully labelled and rendered when due. I thoroughly planned and did trials to find the best possible fit for my box. For instance, when I had to pick the correct wood or the perfect stain.
Environmentally friendly-My design was not environmentally friendly as I purchased new wood from B&Q. I was not aiming for an environmentally friendly product, and was more focussed on a high end product, including all elements wanted by the client. If my client wanted or needed FSC certified wood or recycled wood, I would have, although it may have diminished the quality of the product, which I did not want.
As little design as possible-Although you could argue that I should have included necklace holders or ring slots, it was not needed. I understand it is a nice addition to the box, but having too many elements going on would have reduced the quality and detail of the box, as though everything has been rammed into one small space. I did not add unnecessary additions to the box. 


Evaluation - Text interview with my client.
92
Here, the points that my client raised were:
Elegance
Personal touch by pyrography
Suitable size
Character added by fabric
Useful through the mirror
Useful stay
Complementary gold
Protection through sturdy latch
Cultural.  

He said that he would improve it by:
Adding more dividers
Adding a ring section/slots



Evaluation - Questionnaire.
93
The cost of materials I bought totalled to £19.20. The wood glues and stuffing etc were already available in school, as well as machinery. From the chart we can see that 44.4% would pay £50 or more, which is just below half of the responses. This questionnaire was filled out by those of the target age range (teacher’s ages). This would result in a £30.80+ profit, making my overall project successful. 
One applicant stated they would pay £10-19 for the jewellery box. However, when asked why, they explained that it was not their style. This suggests that the jewellery box does not align with their cultural preferences and they fall outside the target market, making their answer void. 
Personally, I think that I would advertise this as a bespoke, one-off jewellery box, which is based around the Persian culture. It would sell well to my target demographic, and followed my clients brief fully. 


Evaluation - Questionnaire.
94
All of those questioned agreed with my choice of wood for this box. Choosing metal or plastic would have been abnormal when making a jewellery box. The wood I chose was pine, because it was accessible and cheap, while providing a high-end, quality product.

Again, 100% of teachers decided that the size was suitable. In my opinion, it is the ideal size for being placed on a vanity, or decorative stand/area. It is not too deep, wide, or long, and achieves the look of a traditional jewellery box. The wood itself is not thick, which ensures that it is not bulky and off-putting to use. 

100% of answers agreed with the target market age range, and as they were of the demographic, it proved that it is perfect for 30 year olds +.  I think that it is not aimed for middle aged and above only, as it has bright colours, interesting modern pyrography symbolism, and a timeless use. Therefore it for the brief of being able to become an “heirloom”.

Evaluation - Questionnaire.
95
72% of people thought that I had perfectly achieved an aesthetic jewellery box, with the lowest rating being 1 person at 7/10. This proves that my jewellery box was appreciated by a range of ages, genders and was appreciated by all cultures, even if Persian is not the applicants. To improve this score, small tweaks could have been made, such as the staining application. 

83% agreed that my jewellery box was definitely cultural, with 3 people rating 9/10. This goes to show that I have successfully followed the context provided, and stuck to the cultural theme throughout each step. I attempted to incorporate culture everywhere, front he hinges and fabric to the pyrography and leg supports.  

79% of people thought that I had achieved a fully functioning jewellery box, with the lowest rating being 9/10. Thai shows that I did in fact make a good jewellery box which not only looked good, but would be easily accessible to older people, and self explanatory to use. To improve this score I could have added more things for functionality, which I will explain in the next slide. 


Evaluation - Questionnaire.
96
From the images to the left, I can see that many thought that the product could not be improved. However, some of the most common faults or additions to the box were:

Ring slots
Lock and key
Extra storage (drawers maybe)
Personal preference alterations
More compartment orientations
Necklace hangers
Earring holes. 
The next few slides explain how I would combat these issues. Personal preferences is not taken into account, as I had a specific design specification to follow. 


Evaluation from questionnaire - Improvement of compartments.
97
Below I have drawn some different orientations of compartments, as some people recommended. Another recommendation that I thought of myself was adding holes in this removable compartment, so that pins could be pinned to. 


Evaluation from questionnaire- Improvement of ring slots/earrings/necklace holders.
98
Originally, necklace holders were meant to be used as shown in my design work, although in real life it looked bulky. Ring slots are an idea I could have adopted, and I have looked into different types of slots. I would cover them in fabric, matching the lining. Earrings are able to be held on my removable compartment securely, although some recommended holes for pins to go in. 


Evaluation from questionnaire- Lock and key instead of latch.
99
I decided to use a latch to close my jewellery box because it was easier and due to time constraints, may have negatively impacted the project, especially it it did not look appealing. The creation of the key would have taken a while, and could have gone wrong. If I were to do the prototype again, I could use a lock and key, although I think it looks perfectly fine as it is. 
In order to do that I would have to measure and mark the placement of the lock to ensure precise alignment with the lid and base. Then, I would use a chisel to create a recess for the lock body, ensuring it sits flush within the material. Next, I would drill an accurate keyhole using a pillar drill with an appropriately sized drill bit, ensuring a clean cut without splintering the wood. Once the lock is fitted, I would secure it with small screws. 
To make the key I would use an MDF mould and pewter casting. I would create the mould by clamping two pieces of MDF together and cutting out the key shape using a band saw, making sure to include a sprue to allow pewter to flow into the mould. Once the mould is ready, I would heat the pewter in a crucible using a blow torch until it reaches molton form. Carefully, I would pour the molten pewter into the mould and allow it to cool and solidify before removing it. Then I would use a junior hacksaw to cut away any excess material, including the sprue, and refine the shape with files and wet-and-dry sandpaper. To ensure a smooth finish, I would polish the key with a buffing wheel. Finally, I would test the key in the lock and make any necessary adjustments using needle files to ensure a precise fit.