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Julian Araneta
Julian Araneta
THIS IS MY WORK. THIS PORTFOLIO CONTAINS :
CORKY STOOL
PORCELAIN LAMP
TRAPEZE TABLE
KINETIC ARCHITECTURE
ADVENTURE CAMERA
SLICE KNIFE BLOCK
hello! kamusta! hej!
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Julian [email protected]
+778 919 08742-1529 West 4th Avenue
Vancouver V6J 1L6BC Canada
EDUCATION
International Student ExchangeIndustrial design at Lund University’s Faculty of Engineering in Lund, Sweden.
Sept 2013 - Dec 2013
Kinetic ArchitectureCollaborative studio between University of Oregon Architecture and Emily Carr University Industrial Design
Mar 2013 - Jun 2013
Bachelor of Design; Industrial DesignEmily Carr University of Art + Design
Vancouver, Canada
Sept 2011 - Apr 2015
Sept 2004 - Aug 2009Bachelor of Arts; Anthropology
University of ManitobaWinnipeg, Canada
FLUENCYEnglish (native)
Tagalog (excellent)Swedish (intermediate)
VOLUNTEER POSITIONSOrganizer of Emily Carr I.D. Soup Sessions (2014 - )
Co-founder of Health For Help (2012)Program Director, Manitoba Rowing TIDBIT (2009)
Board Member, Manitoba Rowing (2007-2010)University of Manitoba Varsity Crew (2006-2008)
Manitoba Provincial Rowing Crew (2004-2005)
EXPERIENCE
Jan 2007 - Dec 2010Graphic Artist (self-employed)
Graphic design for clothing and print media
Jan 2006 - Apr 2010Founder: University of Manitoba Rowing
Developed university athletes for national-level competition
Summer 2013Product Development Intern for Blurr
Backpack design and development for Hatch line
SOFTWARE COMPETENCE
Research AssistantProduct development researcher for Plantiga
Footwear and Emily Carr University
Sept 2014 - Mar 2015
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CORKY STOOL
by Julian Araneta, Paul Erdmer, Evan Hutchinson, and Ryan KnottEmily Carr University of Art + Design
Fall 2014
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The studio objective was simple and work began right away: FIND A NOVEL USE FOR RECYCLED CORK.
Our research started with testing the viability of combinations of bioplastic compounds. In particular we were looking for resilience of the cork compound and substrate in its ability for springback and compressibility. The primary binder used was tapioca as the starch substance mixed with gelatin. Other factors to consider aside from the preparation of the substrate was the coarseness of the cork. Using an industrial coffee grinder we aimed for coarse, medium, and fine grinds to mix in various combinations to begin testing for a texture and hold that we desired. Later on in the process we also began to gather the cork dust leftover from the grinding process.
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concept proposal to client
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There were many sessions where we tried to nail down specific criteria - trying to accommodate the design inspirations and motivations of four different, strong-willed people was a challenge, but an important experience for us to learn from each other.
Initial tests with the lignin and lye mix were disastrous. Here we also attempted to mold the cork and lignin mixture directly around the table leg, with dismal results. High pressure is ultimately the key to achieving more consistent results with the lignin lye mix. This mixture was still not ideal though, because the cork would tear away from itself under friction and compression. On the right, a series of wooden blocks are being laminated and will be stacked for turning on the lathe.
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The basic, to-scale drawing of our stool after the midterm presentation. Here we have set some criteria for the proportions. We decided on a 18.5” leg length, 12” diameter seat pan, and a 15 degree angle on the legs of the stool. One problem that became apparent in this drawing was the overlap of the legs as they came through the hub and up to the seat pan surface. There was also the issue of the amount of surface area that would be affected by the legs as they were drilled into the wooden hub, and the structural implications this had.
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thank you
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PORCELAIN LAMP
by Julian Araneta, Oskar Lundgren, Luis VelasquezInternational Exchange, Lund University
Fall 2013
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INTRODUCTION
The aim of this workshop at Lund University was to conceptualize, in CAD, a functional porcelain object and realize it in porcelain by moldmaking and slipcasting. The three forms
showcased here are inspired by the Roman amphora, an ancient wine decanter..
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Behind each great art movement, philosophical revelation, revolution, and brilliant idea is, most always and with certainty,
a good glass of wine.
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BARTER COLLECTIVE:THE TRAPEZE TABLE
3rd year Furniture Core Studio
Julian Araneta, Georgia MacMac, Stephanie Tong
Spring 2014
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TO CREATE A TABLE TO gATHER AND CELEBRATE FOOD, CULTURE,
AND COMMUNITY.
TO USE PRIMARILY LOCAL WOOD
SOURCES - IN THIS CASE, ALDER WOOD.
TO gENERATE FORM THAT REFLECTS THE VALUES AND AESTHETIC OF
TO ASSEMBLE A TABLE WITH NO METAL FASTENERS, ONLY HIgH QUALITY WOOD JOINERY, AND ALLOWINg
gRAVITY TO RESOLVE THE STRUCTURE.
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WHO IS BARTER DESIgN COLLECTIVE?
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Barter Design Collective tells the story of the Canadian West Coast. They are a group of professional architects and designers invested in celebrating the craftsman’s hand and the longevity of a timeless and iconic piece. Barter showcases a respect of the natural resources that are abundant in British Columbia, using these resources to create objects designed to bring us, as a community, together. “Because together is a nice place to be.”
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IDEATION WITH SCALE MODELS
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PROPOSAL TO BARTER
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The proposal was met with warmth and encouragement from the clients at Barter. A plan was laid out to address the challenge of resolving the structure of the table in 6 weeks.
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After the critique, we set to work immediately with the most important tasks being:-source suitable boards of locally grown alder for bending.-prototype and test alder strips for pliability and strength under load bearing conditions.
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RESOLUTION AND CONSTRUCTION
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“To give this table the name, ‘TRAPEZE’, it implies that you are evoking a certain sense of elegance and gracefulness... ...as you know, a trapeze artist is incredibly strong, and makes the task
look effortless.
- Peter Cardew (Barter Design Collective)
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KINETIC ARCHITECTURE: NARROWED WATERS
Cross-Disciplinary Studio CollaborationEmily Carr University (Industrial Design)
and University of Oregon (Architecture)Summer 2013
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INTRODUCTION
The Kinetic Architecture course is a unique cross-disciplinary studio practice. Each year, architecture students from the University of Oregon spend 10 weeks living and working in Vancouver in order to collaborate with and meet students from Emily Carr University of Art Design’s industrial design program. The design brief each year is simple: design a component, or series of components, and its surrounding structure, to be mechanical in some fashion and provide a kinetic experience for the user and/or viewer.
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MAIN HALL
water wheelshinsulator drive shaftmaster controlsindividual controls
ENTRY
VIEWING DECK
OSOYOOS VISITOR CENTRE - BUILDINg PLAN
THE ROOF PANEL PROJECT THAT TURNED INTO A DESERT VISITOR CENTRE
The premise of the Kinetic Architecture course was to foster collaboration between architecture students of the University Oregon in the USA with industrial students at Emily Carr University in Canada. Past projects from the class involved louvred window systems, weighted and geared mechanical doors, and foldaway staircases in residential homes. After a few hours of initial discussion between our group members, our shared interest in roof pond systems and passive thermal heating manifested in a proposal of a scale never before seen in this studio course.
The result, with consultation and cost estimation advice from an architectural firm in Seattle, WA by the name of Turner Exhibits, is a visitor centre in the Canadian desert town of Osoyoos, British Columbia. The structure boasts a passive thermal roof pond heating and cooling system through the use of gravitational force directing water from a higher elevation onto the rooftop of the visitor centre.
Psychrometric data gathering revealed this part of Canada to be the perfect candidate for a passive heating and cooling system and the area’s unique geographical features allowed for a site to be chosen upriver from an abandoned hydroelectric power plant, but downriver - and at lower elevation - than the water source to power the system.
With a project of this scale and an estimated $2.1 million to construct, it is a first of its kind ever proposed in the history of this course and the largest ever taken on.
A collaboration between Emily Carr University industrial design, University of Oregon architectture, and Turner Exhibits
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shinsulators
water bars
planetary gears
water wheel
valve controls
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DRAIN MECHANISM
The drain mechanism for the water bars, after many complex iterations - some manually operated, others automatic and electromechanical, conclusively ended up as a simple spring-and-nipple system relying primarily on wedge pressure to keep from spilling out. The function of the drain mechanism is to allow the refillable ballast section to drain out. Once this ballast has drained, the water bars will tip due to the centroid mass having shifted due to loss of water.
Shinsulator slides out to allow water bars to open
When open, water bars prevent shinsulator from closing
The conditions of the kinetic thermal roof are outlined carefully to prevent redundancy. In spite of its complex dynamics, operation from a user control perspective is simple and straightforward.
The rooftop opens to the sky powered by a stream of water falling over the edge of the rooftop to turn a water wheel located on the viewing deck of the building.
Our calculations and selected location in Osoyoos, British Columbia, Canada show that the rate of flow of water from the flume beside the building site can be diverted to run across the roof and, with the force of gravity, power the mechanism necessary to convert the building into an open rooftop space.
CONDITIONS FOR OPERATION
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WATER BAR COMPONENTS
The visitor center’s rooftop is constructed with 22 aluminum bars designed with a primary function of storing - in vacuum - water for gathering solar heat energy. During the daytime, the bars retain the energy and form a thermal mass. At night, in order to maintain the internal building temperature an active radiant panel in the shinsulator panels redirects rising residual heat from the water bars back into the interior space.
In addition to acting as a thermal mass, each water bar can be tilted up to open the rooftop in a dynamic sculptural motion. This tilting is instigated by the filling of a water ballast chamber on the butt end of the bar. Tilting occurs when the centroid mass is shifted, allowing the bar to tip off its balance and induce a swing. Filling the ballast is achieved via individual pipes routed through the pivot point of the water bar. A valve controls the flow of water from the pipe into each ballast by way of flexible high pressure hose. This allows heat in the interior space to be purged to the exterior environment.
aluminum side panel
thermal mass
torsion springs
drain mechanism
lead ballast
water ballast
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Driving Bracket Shinsulator attachment point
Track/wheel system
Chain drive attachment point
Location of shinsulator -
shinsulators closed
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shinsulators open
The shinsulator system acts as solar shade and protects the building interior from the elements. Each shinsulator panel runs along a chain-guided track system. A parapet stack allows one chain to run through all shinsulator panels without overlap.
The parapet also operates the shinsulators such that each bottom panel moves in 1:1 relation to the chain’s distance. The second panel on top of the bottom panels operates at a 2:1 ratio movement, and the top shinsulator panel operates at 3:1 movement distance. This allows for the entire shinsulator system to reach full open, or full close, simultaneously.
The chain runs through the interior of the building to a hand operated crank wheel that can be operated by an individual at 1/4 horsepower to turn, and takes about 8 seconds to articulate from full close to full open, or vice versa.
shinsulators open
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INPUT
CARRIERS COUPLE
CONTROL POINT
OUTPUT
PLANET: 9SUN: 18RING: 36PLANET CARRIER: 24
TOOTH COUNT
PLANET CARRIER: 24INPUT
CARRIERS
engage right drive = CLOSE shinsulatorsengage left drive = OPEN shinsulators pull handle forward = master water valve release
USER INTERACTION
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FIXED INPUT OUTPUT
1INPUT
1IDLE
1.50DISENGAGE
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RING GEAR CATCH ENGAGES DRIVE TRAIN
CARRIER JOINS PLANET GEARS
0 1
INPUT
3
IDLE
1
INPUT
0
the water wheel generates continuous drive power
clutch system provides a 3:1 increase in gearing speed
planetary clutches idle when not engaged by control arm
system can be engaged
dynamic stops align
LINK TO VIDEO SHOWING MECHANISM:
http://youtu.be/zZ8WI5OwRZY
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by Julian Araneta, Joseph Buccini, Ashleigh Fischer, Larry Ho, Evan Hutchinson, and Luke Larsen.
NARROWED WATERS
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ADVENTURE CAMERA
International Exchange (IDEF10)Lund University
Fall 2013
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INTRODUCTION
The goal of this project was to come up with a user and a space within which that individual exists in or interacts with. Within this space, a problem and, subsequently, a need, arose to offer a beginning context for a solution. We were encouraged to derive a user and space of seemingly no relation in everyday life., or to explore a context where a need would not be immediately apparent.
Being completely open-ended meant that all possibilities had to be considered. While this proved to be a challenge in the beginning, the seemingly uncommon relations between user and space, and the initially unsolvable context within where there seemed to be no need, in the end provided a rich resource of opportunity to explore and suggest novel solutions to everyday problems.
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MY OWN CONCEPT AND CRITERIA
Why do we need to get from point A to point B in the most linear fashion possible? Why do we rush?
Our time is valuable yet we fail to find the opportunity to take time for ourselves. Are we - our own selves - not as valuable as the time we value so much? How can the journey from “here” to “there” - the adventure in between - be enhanced?
I found the gap in our own daily routines, and created a persona that I would design for, with the following criteria:
RANDOMIZE ENCOUNTERS
gET LOST EASILY
FIND NOVELTY IN THE ORDINARY
START AN ADVENTURE
BREAK THE ROUTINE
TEACH SPONTANEITY
CREATE OPPORTUNITY
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MR TOM PERSSON24 years old
singlewell-travelled
works in many citiesbored
SPACE
constant transitionstransience
transition pointsbetween points
PROBLEM
boredom nowhere new to go
trapped in routinelack of autonomy
NEED
need adventureregain one’s selffind excitement
break routine
find troublethrow caution to the wind
discover true freedom
true freedom needs its “oh shit” moments.
Jack Kerouacjames bondan idiot abroadthe amazing racethe most interesting man in the worldche guevarramariposainto the wildrobert capatim hetheringtonthe open roadphotojournalismanthony bourdain
“not all those who wander are lost”
“not all those who wander make it back alive”
“not all those who wander end up where they thought they’d be”
... is influenced by:
...but it’s usually a good place to be.
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RANDOMIZINg ENCOUNTERS
I took inspiration from the old game of “hot or cold” that I played when I was a child. An object would be hidden and I would only be given an indication of “hot” or “cold” as clues.
In order for Tom to have randomized encounters, he needs to get lost - even if it means getting lost in his own backyard. How would Tom interact with his surroundings if he really had to look around at where he was?
Regardless of how Tom decides to move through the city - whether on foot, by bike, by transit or by car, playing the hot-cold game could take him to places he previously would never have sought out.
hot
cold
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FORM - INSPIRATION
The form was inspired by my own definition of what I felt it meant to explore the unknown and go on an adventure: space travel. What better way to get lost than to explore the deepest reaches of what is known to exist?
In the past, we used telescopes. Today, we use spaceships. These two objects were my starting point for form generation.
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MOCKUP
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eyepiece rotates 1/4 turn clockwise to activate
shutter release; spring return mechanism allows
counter-clockwise rotation to return to original position.
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“thermometer” proximity indicator
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final size in relation to mockups throughout the design process
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SLICE KNIFE BLOCK
by Julian Araneta, Marcela Gutierrez and Eunji KimEmily Carr University of Art + Design
Spring 2014
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INTRODUCTION
The wood concentration studio introduces the basics of design for manufacturability and cost analysis. Students were tasked with designing and manufacturing multiples of a household item for Vancouver Special, a company that sells Scandinavian as well as locally designed goods. The requirements were to use wood as the primary material, and to enable us to produce at $12.50, sell to distributors for $25, and retail for $50.
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MARKET RESEARCH AND ANALYSIS
Our client for this project distributed Scandinavian and contemporary European houseware. Work began quickly to find a product that could sell at our client’s retail location within ten weeks. Items researched ranged from office organization to living room decorative objects, kitchenware and functional household items.
Jiggs Araneta Eunji KimMarcela Gutierrez
Product Analysis S I MPLE
BA L A NCEDUN I Q U E / I N N OVAT I V E
A D E QUAT E P R I C EA D E QUAT E S I Z ESUSTA I N A B L E
MULT I - P U RPOSECON T EMPOR A RYUSER- F R I E N D LYQUA L I T Y F I N I S H
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Jiggs Araneta Eunji KimMarcela Gutierrez
Product Analysis
Geometric Trays | Hay
BALANCE
UNIQUE/INNOVATIVE
ADEQUATE PRICE
ADEQUATE SIZE
SUSTAINABLE
SIMPLE
QUALITY
MULIT-PURPOSE
CONTEMPORARY
USER-FRIENDLY
$16 to $80
19cmx11cm for x-small 45cmx39cm for x-large
MATERIAL | steel
CONSTRUCTION | stamped/drawn powdercoated
DESIGNER | Clara von Zerigbergk is a Swedish graphic designer and product designer with an educational background from Art Center in Pasadena. Her colourful and playful products are distributed by Hay, a design store in Denmark.
Available in various sizes and several shapes.
The trays enable the user to stack each piece neatly, so each tray creates a new geometric outline when the contrasting colours are placed against each other. These trays unfortunately are not intended for food. Made of powder coated stamped steel.
Geometric Trays | Hay
BALANCE
UNIQUE/INNOVATIVE
ADEQUATE PRICE
ADEQUATE SIZE
SUSTAINABLE
SIMPLE
QUALITY
MULIT-PURPOSE
CONTEMPORARY
USER-FRIENDLY
$16 to $80
19cmx11cm for x-small 45cmx39cm for x-large
MATERIAL | steel
CONSTRUCTION | stamped/drawn powdercoated
DESIGNER | Clara von Zerigbergk is a Swedish graphic designer and product designer with an educational background from Art Center in Pasadena. Her colourful and playful products are distributed by Hay, a design store in Denmark.
Available in various sizes and several shapes.
The trays enable the user to stack each piece neatly, so each tray creates a new geometric outline when the contrasting colours are placed against each other. These trays unfortunately are not intended for food. Made of powder coated stamped steel.
Slope Pendant Lamp | Skirvo + Miniforms
BALANCE
UNIQUE/INNOVATIVE
ADEQUATE PRICE
ADEQUATE SIZE
SUSTAINABLE
SIMPLE
QUALITY
MULIT-PURPOSE
CONTEMPORARY
USER-FRIENDLY
$295
MATERIAL | Beech wood & Steel
CONSTRUCTION | CNC lathe
DESIGNER | Stefan Krivokapic is the founder of Skrivo and specialises in furniture and lighting. Skrivo aims to strike a balance between function and aesthetic through the use of new material relationships and innovations. The designer is Croatian-born and based in Milan.
carving into the cones in order to reveal the inner grains of the beech, the result creates three dimensional volumes that provide
Slope Pendant Lamp | Skirvo + Miniforms
BALANCE
UNIQUE/INNOVATIVE
ADEQUATE PRICE
ADEQUATE SIZE
SUSTAINABLE
SIMPLE
QUALITY
MULIT-PURPOSE
CONTEMPORARY
USER-FRIENDLY
$295
MATERIAL | Beech wood & Steel
CONSTRUCTION | CNC lathe
DESIGNER | Stefan Krivokapic is the founder of Skrivo and specialises in furniture and lighting. Skrivo aims to strike a balance between function and aesthetic through the use of new material relationships and innovations. The designer is Croatian-born and based in Milan.
carving into the cones in order to reveal the inner grains of the beech, the result creates three dimensional volumes that provide
Warm Black Carafes + Cups | Unison
BALANCE
UNIQUE/INNOVATIVE
ADEQUATE PRICE
ADEQUATE SIZE
SUSTAINABLE
SIMPLE
QUALITY
MULIT-PURPOSE
CONTEMPORARY
USER-FRIENDLY
$26 - $81
MATERIAL | wood veneer & ceramic
CONSTRUCTION | slip cast, laminated wood veneer
DESIGNER | Unison Home is a husband and wife team of American designers Robert Segal and Alicia Rosauer. They spent four years focused on textile-based product design in Finland before returning to the US to apply their “minimal but with substance” aesthetic to everyday products.
The carafes are ceramic and have a removable trivet made of laminated wood veneer.
Warm Black Carafes + Cups | Unison
BALANCE
UNIQUE/INNOVATIVE
ADEQUATE PRICE
ADEQUATE SIZE
SUSTAINABLE
SIMPLE
QUALITY
MULIT-PURPOSE
CONTEMPORARY
USER-FRIENDLY
$26 - $81
MATERIAL | wood veneer & ceramic
CONSTRUCTION | slip cast, laminated wood veneer
DESIGNER | Unison Home is a husband and wife team of American designers Robert Segal and Alicia Rosauer. They spent four years focused on textile-based product design in Finland before returning to the US to apply their “minimal but with substance” aesthetic to everyday products.
The carafes are ceramic and have a removable trivet made of laminated wood veneer.
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mood board for design opportunity: kitchen knife block
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THE IDEA
We knew that we wanted this knife block to be seamless, explicitly clean and elegant, functional, and sturdy as a block of solid hardwood. Our proposal was met with warm enthusiasm from the client, who immediately saw the potential for having both a highly functional tool and a beautiful object all at once.
The group proposed the concept of a minimalist knife block operating on the principle of, “how many knives do you really need in a minimalist kitchen?”. To further the essence of this statement, the criteria was to give the form and the features the same treatment.
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number of slots
slot angle
slot width
slot depth Major factors which contributed to the overarching pursuit of the best proportion of the object.
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MAJOR ITERATIONS
2 knives 3 knives
4 knives, horizontally stacked
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4 knives, diagonal slots 4 knives, vertical slots
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Mounting onto any kitchen wall is achieved through implementation of two keyholes drilled to the back panel of the knife block.
Four 1/8 inch slots allow four knives to be stored in the knife block. The retail-ready block features two magnets per slot to prevent the blade from pivoting around a single point.
Construction of the knife block involved jointing and planing solid beech, ripping and cross cutting down to size, and utilising a series of jigs to minimize the amount of waste material produced throughout the process.
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Constructing jigs.
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FIRST PROTOTYPE
the addition of a second magnet ensured the blade of the knife did not pivot.
the rear mounting plate was replaced with a separate piece to simplify the production process.
SECOND PROTOTYPE
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DETAIL FOR RETAIL: PACKAgINg
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Consideration for mounting hardware resulted in the package design integrating a flap and box compartment for two screws to be included with each unit produced.
The project was chosen for retail distribution, playfully called “Slice”. The name “Majik” is the amalgamation of our names - Marcela, Jiggs, and Kim.
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