53
nico roger design & fabrication portfolio
nicoroger
design & fabrication portfolio
University of Cincinnati | Cincinnati, OH
Bachelors of Science in Industrial Design
Class of 2014
Hunter College High School | New York, NY
Graduated with Honors
Class of 2009
educ
atio
n
Stand and Build | 2015
Large-scale woodworking, carpentry, and finishing. Scenic construction, store
displays, gallery fixtures, and furniture for a wide variety of clients.
Aardvark Interiors | 2015
Woodworking and finishing for residential and commercial installations. Worked using
solid wood, composite materials, and metal, making cabinetry, shelving, and store
displays.
Wrigley IDT | 2014
Designed and prototyped packaging solutions for Skittles. Collaborated on
developing packaging guidelines and conducting focus groups for Skittles. Worked on
several projects envisioning the future of selling Orbit gum.
Intellimed Systems | 2013
Led the design process for developing enclosures for an innovative medical scanning
device. I had a leading role in creating and refining the aesthetics and collaborated
with engineers for developing functional elements.
Michael McGinn Design Office | 2011-2012
Exhibit and environmental design for Herman Miller, graphic and print design for
Mohawk Fine Papers. Conducted brand research for writing copy and developing
design. Focused on 3D conceptualization and development, preparing construction
drawings, and creating and testing prototypes and exhibit fixtures.
DAAP Rapid Prototyping Center | 2011
Programmed and operated rapid prototyping equipment, including 3D printers and
CNC mills, with a focus on laser cutters. Responsible for maintenance of laser cutters.
Created instructional material for students to help ease the fabrication workflow and
provided guidance on designing with rapid prototyping in mind.
expe
rien
ce
skill
s 3D Software: Rhino, Solidworks, Keyshot, Sketchup, AutoCAD, Alias,
Delcam PowerMILL
2D Software: Adobe InDesign, Photoshop, and Illustrator,
Sketchbook Pro, Microsoft Office
Other: Woodworking and finishing, metalworking, operating CNC
mills, 3D printers, and laser cutters, fluent in French
I like to get my hands dirty. I enjoy building models,
testing out crazy ideas, and working in 3D. In my
free time I love cooking, but prefer eating. I spend
time outside whenever I can, camping, cycling, and
sailing. I have a penchant for fixing and building
things and like to do bicycle and car repair.
917 648 1927
nico roger
stockholmwall mounted speakers
A pair of loudspeakers that celebrates their presence
in the home, Stockholm is designed to fit gently into
a contemporary lifestyle. With an emphasis on form,
materials, and craftsmanship, it is for the listener who
values both unique design and sound quality.
why wall-mounted speakers?
Arguably the most important factor in the high fidelity reproduction
of audio, speaker placement is often a compromise between
acoustic ideals and practical positioning.
Stockholm offers an alternative; attractive loudspeakers purpose-
made for mounting on a wall. They can transform a living room into
a listening room without sacrificing space or aesthetics.
the new generation of music lovers
Familiar with the world of computers, music streaming, and mp3
players, this generation is used to having choice and convenience
at their fingertips. Music, to them, is something to be enjoyed but
also something to be shared.
These listeners are also living more urban lives than ever, which
usually means living in small apartments. Filling a smaller home
allows them the opportunity to be more discerning with their
purchases.
I don’t really have room to set speakers up; I just have them in our living room.
In our living room my wife won’t let me put anything bigger than one of those sound bars under the tv.
material choices
On a product which was so simple in appearance,
making the right choices in materials was important.
The goal was to strike a balance between a nod
towards vintage audio equipment and something
that wouldn’t look out of place in a modern home.
selecting drivers
The major factors in driver selection were finding a
woofer that could produce useable bass in a small
enclosure, and a tweeter that had even off-axis
response to accomodate wide listening angles. The
drivers also need to cross over smoothly, which
means their response must overlap by two octaves.
designing a crossover
The crossover has the important role of connecting
both drivers to the input in a way that produces an
even volume across the whole frequency spectrum.
Computer modeling helped design a crossover that
would sound good with minimal tweaking, and it
was carefully laid out and soldered by hand.
crafted precision
The parts for the speakers are carefully made
using jigs to ensure accuracy and repeatability,
then fit and assembled together by hand. Final
shaping of the frame is done by hand to ensure
the curves of each individual part flow together
smoothly.
100 Hz 300 Hz50 Hz30 Hz
5 dB
0
-5
-10
-15
-20
ported
58 Hzsealed
95 Hz
-3 dB
100 Hz 1 kHz 10 kHz
95 dB
90 dB
85 dB
80 dB
75 dB
70 dB
2.2 kHzcrossover point
mid-bass driver
crossover
auxiliary driver
high frequency driverbass reflex port
The HiVi M5N has an extremely stiff cone allowing it to achieve deep bass in a small enclosure .
The crossover smoothly transitions signals from the woofer to the tweeter while maintaining a relatively constant volume.
This driver can be switched in to produce room-filling sound or switched off for dedicated listening when sound quality is the primary intent.
The Vifa DQ25 strikes a good balance between on-axis high-frequency response and an ability to reach relatively low in frequency.
The port tunes the enclosure to create a controlled resonance at 60 Hz, extending the effective audible frequency response to 58 Hz.
The Art and Science of Herman Miller Seating
Salone Internazionale del MobileMilan, Italy
In this project, my main roles were producing construction drawings for the pedestals and mounts, laying out text and objects, and sourcing or fabricating artifacts.
Chicago - June 2012
New York - January 2012
Milan - April 2012
Singapore - February 2013
New Delhi - February 2013San Francisco - January 2012
Herman Miller Seating Display
New York Showroom
1/8” Scale
Ergon Chair
Designed by Bill Stumpf
1976
Molded Plywood Chair
Designed by Charles & Ray Eames
1946
How can a chair support the curves of the body with a rigid material?
Charles and Ray Eames sought to answer that question through their
experiments in molded plywood, which began in 1941 with their search
for new ways to create three-dimensional forms. By inventing a new
method for molding plywood, they found a creative use for a common
material that allowed them to shape a chair to the contours of the body.
Time has recognized it as the Best Design of the 20th Century.
Stumpf developed a method to shape foam through a proprietary
injection process for the Ergon seat and back that, in turn, supports the
sitter much as a glove nestles a ball.
New work tools of the late 60s and early 70s resulted in people sitting
longer without moving. Stumpf found that over time this sedentary behavior
starved the spine’s intervertebral discs of the hydration they require.
Aeron Chair
Designed by Don Chadwick & Bill Stumpf
1994
Designers Bill Stumpf and Don Chadwick discovered during their
research that heat buildup, resulting from sitting for long stretches, is a
major contributor to discomfort. They solved the problem with their
design of Aeron and its patented, breathable Pellicle suspension
material. It lets heat and moisture dissipate, hence the chair’s name,
Aeron, which is adapted from the verb “aerate,” to supply with air.
Another advance—the Kinematic tilt mechanism—added comfort by
supporting the body’s natural linkages at all points and in all positions.
Setu Chair
Designed by Studio 7.5
2009
Mirra Chair
Designed by Studio 7.5
2003
Studio 7.5 advanced the science of dematerialization with a thorough
examination of every component of a chair. This is most evident in
Setu’s Kinematic Spine. A combination of flex and strength, the spine
eliminates the need for a tilt mechanism by mimicking the synchronized
movement needed to fully support the body in any reclined or upright
position. The inventive Lyris suspension material works with the spine
to distribute weight evenly and conform to the body.
SAYL Chair
Designed by Yves Béhar
2010
The Pellicle suspension material of Aeron’s seat and back is held taut by
a frame not unlike the construction of a tennis racquet. The elasticity of
the material cushions the sitter, providing comfort without obstruction.
A dynamic matrix of pixels is embedded in the Embody seat. The
responsiveness of the pixelated surface reduces seated pressure and
increases blood circulation to improve oxygen flow and decrease heart rate.
Embody’s seat pan is composed of three layers. Each responds to the sitter’s
weight and micro-movements; together they create an interconnected
structure that mimics the comfort of foam while remaining breathable.
Many of Mirra’s plastic parts are composed of polypropylene, a common
and easily recycled plastic and the same material used to make many
children’s toys and pet chews.
There are 567 geometric holes molded into Mirra’s one-piece polymer
back that creates three flexible zones. Each zone provides an
appropriate level of flexibility for the right ergonomic support.
SAYL chairs are designed to ship ready to assemble in half-sized boxes.
Smaller boxes mean less cost. Whenever possible, the chairs are
shipped blanket wrapped to eliminate all packaging.
The Y-Tower structure is sculpted and hollowed out to achieve the most
strength with the least amount of material. It is an example of
dematerialization used to increase attainability.
Béhar’s design of the frameless back was inspired by the engineering of the
Golden Gate Bridge. SAYL’s Y-Tower performs the same function as the
tower of a bridge; the back the same function as the cables.
SAYL is produced on three continents using local sources. Globally
distributed manufacturing brings the product closer to the consumer,
resulting in lower costs for shipping and smaller environmental impact.
Material,Ergonomics,Comfort,Environmental,Healthful &Dematerialization.
Material,Ergonomics,Comfort,Environmental &Healthful.
Material,Ergonomics,Comfort &Environmental.
Material,Ergonomics &Comfort.
Material &Ergonomics.
Material.
Material,Ergonomics,Comfort,Environmental,Healthful,Dematerialization &
Attainable.
Eames Ergon Aeron Mirra Embody Setu SAYL
Herman M
iller S
eating Display
San Francisco Showroom
1/8” Scale
Ergon Chair Designed by Bill Stumpf 1976
Molded Plywood Chair Designed by Charles & Ray Eames 1946
How can a chair support the curves of the body with a rigid material? Charles and Ray Eames sought to answer that question through their experiments in molded plywood, which began in 1941 with their search for new ways to create three-dimensional forms. By inventing a new method for molding plywood, they found a creative use for a common material that allowed them to shape a chair to the contours of the body. Time has recognized it as the Best Design of the 20th Century.
Stumpf developed a method to shape foam through a proprietary injection process for the Ergon seat and back that, in turn, supports the sitter much as a glove nestles a ball.
New work tools of the late 60s and early 70s resulted in people sitting longer without moving. Stumpf found that over time this sedentary behavior starved the spine’s intervertebral discs of the hydration they require.
Aeron Chair Designed by Don Chadwick & Bill Stumpf 1994
Designers Bill Stumpf and Don Chadwick discovered during their research that heat buildup, resulting from sitting for long stretches, is a major contributor to discomfort. They solved the problem with their design of Aeron and its patented, breathable Pellicle suspension material. It lets heat and moisture dissipate, hence the chair’s name, Aeron, which is adapted from the verb “aerate,” to supply with air. Another advance—the Kinematic tilt mechanism—added comfort by supporting the body’s natural linkages at all points and in all positions.
Setu Chair Designed by Studio 7.5 2009
Studio 7.5 advanced the science of dematerialization with a thorough examination of every component of a chair. This is most evident in Setu’s Kinematic Spine. A combination of flex and strength, the spine eliminates the need for a tilt mechanism by mimicking the synchronized movement needed to fully support the body in any reclined or upright position. The inventive Lyris suspension material works with the spine to distribute weight evenly and conform to the body.
SAYL Chair Designed by Yves Béhar 2010
The Pellicle suspension material of Aeron’s seat and back is held taut by a frame not unlike the construction of a tennis racquet. The elasticity of the material cushions the sitter, providing comfort without obstruction.
SAYL chairs are designed to ship ready to assemble in half-sized boxes. Smaller boxes mean less cost. Whenever possible, the chairs are shipped blanket wrapped to eliminate all packaging.
The Y-Tower structure is sculpted and hollowed out to achieve the most strength with the least amount of material. It is an example of dematerialization used to increase attainability.
Béhar’s design of the frameless back was inspired by the engineering of the Golden Gate Bridge. SAYL’s Y-Tower performs the same function as the tower of a bridge; the back the same function as the cables.
SAYL is produced on three continents using local sources. Globally distributed manufacturing brings the product closer to the consumer, resulting in lower costs for shipping and smaller environmental impact.
Material,Ergonomics,Comfort&Dematerialization.
Material,Ergonomics &Comfort.
Material &Ergonomics.
Material.
Material,Ergonomics,Comfort,Dematerialization & Attainable.
EamesErgonAeronSetuSAYL
Ergon Chair Designed by Bill Stumpf 1976
Molded Plywood Chair Designed by Charles & Ray Eames 1946
How can a chair support the curves of the body with a rigid material? Charles and Ray Eames sought to answer that question through their experiments in molded plywood, which began in 1941 with their search for new ways to create three-dimensional forms. By inventing a new method for molding plywood, they found a creative use for a common material that allowed them to shape a chair to the contours of the body. Time has recognized it as the Best Design of the 20th Century.
Stumpf developed a method to shape foam through a proprietary injection process for the Ergon seat and back that, in turn, supports the sitter much as a glove nestles a ball.
New work tools of the late 60s and early 70s resulted in people sitting longer without moving. Stumpf found that over time this sedentary behavior starved the spine’s intervertebral discs of the hydration they require.
Aeron Chair Designed by Don Chadwick & Bill Stumpf 1994
Designers Bill Stumpf and Don Chadwick discovered during their research that heat buildup, resulting from sitting for long stretches, is a major contributor to discomfort. They solved the problem with their design of Aeron and its patented, breathable Pellicle suspension material. It lets heat and moisture dissipate, hence the chair’s name, Aeron, which is adapted from the verb “aerate,” to supply with air. Another advance—the Kinematic tilt mechanism—added comfort by supporting the body’s natural linkages at all points and in all positions.
Setu Chair Designed by Studio 7.5 2009
Studio 7.5 advanced the science of dematerialization with a thorough examination of every component of a chair. This is most evident in Setu’s Kinematic Spine. A combination of flex and strength, the spine eliminates the need for a tilt mechanism by mimicking the synchronized movement needed to fully support the body in any reclined or upright position. The inventive Lyris suspension material works with the spine to distribute weight evenly and conform to the body.
SAYL Chair Designed by Yves Béhar 2010
The Pellicle suspension material of Aeron’s seat and back is held taut by a frame not unlike the construction of a tennis racquet. The elasticity of the material cushions the sitter, providing comfort without obstruction.
SAYL chairs are designed to ship ready to assemble in half-sized boxes. Smaller boxes mean less cost. Whenever possible, the chairs are shipped blanket wrapped to eliminate all packaging.
The Y-Tower structure is sculpted and hollowed out to achieve the most strength with the least amount of material. It is an example of dematerialization used to increase attainability.
Béhar’s design of the frameless back was inspired by the engineering of the Golden Gate Bridge. SAYL’s Y-Tower performs the same function as the tower of a bridge; the back the same function as the cables.
SAYL is produced on three continents using local sources. Globally distributed manufacturing brings the product closer to the consumer, resulting in lower costs for shipping and smaller environmental impact.
Material,Ergonomics,Comfort,Environmental,Healthful &Dematerialization.
Material,Ergonomics &Comfort.
Material &Ergonomics.
Material.
Material,Ergonomics,Comfort,Environmental,Healthful,Dematerialization & Attainable.
EamesErgonAeronSetuSAYL
Herman Miller Seating DisplaySan Francisco Showroom
1/8” Scale
Ergon Chair
Designed by Bill Stumpf
1976
Molded Plywood Chair
Designed by Charles & Ray Eames
1946
How can a chair support the curves of the body with a rigid material?
Charles and Ray Eames sought to answer that question through their
experiments in molded plywood, which began in 1941 with their search
for new ways to create three-dimensional forms. By inventing a new
method for molding plywood, they found a creative use for a common
material that allowed them to shape a chair to the contours of the body.
Time has recognized it as the Best Design of the 20th Century.
Stumpf developed a method to shape foam through a proprietary
injection process for the Ergon seat and back that, in turn, supports the
sitter much as a glove nestles a ball.
New work tools of the late 60s and early 70s resulted in people sitting
longer without moving. Stumpf found that over time this sedentary behavior
starved the spine’s intervertebral discs of the hydration they require.
Aeron Chair
Designed by Don Chadwick & Bill Stumpf
1994
Designers Bill Stumpf and Don Chadwick discovered during their
research that heat buildup, resulting from sitting for long stretches, is a
major contributor to discomfort. They solved the problem with their
design of Aeron and its patented, breathable Pellicle suspension
material. It lets heat and moisture dissipate, hence the chair’s name,
Aeron, which is adapted from the verb “aerate,” to supply with air.
Another advance—the Kinematic tilt mechanism—added comfort by
supporting the body’s natural linkages at all points and in all positions.
Setu Chair
Designed by Studio 7.5
2009
Studio 7.5 advanced the science of dematerialization with a thorough
examination of every component of a chair. This is most evident in
Setu’s Kinematic Spine. A combination of flex and strength, the spine
eliminates the need for a tilt mechanism by mimicking the synchronized
movement needed to fully support the body in any reclined or upright
position. The inventive Lyris suspension material works with the spine
to distribute weight evenly and conform to the body.
SAYL Chair
Designed by Yves Béhar
2010
The Pellicle suspension material of Aeron’s seat and back is held taut by
a frame not unlike the construction of a tennis racquet. The elasticity of
the material cushions the sitter, providing comfort without obstruction.
SAYL chairs are designed to ship ready to assemble in half-sized boxes.
Smaller boxes mean less cost. Whenever possible, the chairs are
shipped blanket wrapped to eliminate all packaging.
The Y-Tower structure is sculpted and hollowed out to achieve the most
strength with the least amount of material. It is an example of
dematerialization used to increase attainability.
Béhar’s design of the frameless back was inspired by the engineering of the
Golden Gate Bridge. SAYL’s Y-Tower performs the same function as the
tower of a bridge; the back the same function as the cables.
SAYL is produced on three continents using local sources. Globally
distributed manufacturing brings the product closer to the consumer,
resulting in lower costs for shipping and smaller environmental impact.
Material,
Ergonomics,
Comfort&
Dematerializatio
n.
Material,
Ergonomics &
Comfort.
Material &
Ergonomics.
Material.
Material,
Ergonomics,
Comfort,
Dematerializatio
n &
Attainable.
Eames
Ergon
Aeron
Setu
SAYL
Ergon Chair
Designed by Bill Stumpf
1976
Molded Plywood Chair
Designed by Charles & Ray Eames
1946
How can a chair support the curves of the body with a rigid material?
Charles and Ray Eames sought to answer that question through their
experiments in molded plywood, which began in 1941 with their search
for new ways to create three-dimensional forms. By inventing a new
method for molding plywood, they found a creative use for a common
material that allowed them to shape a chair to the contours of the body.
Time has recognized it as the Best Design of the 20th Century.
Stumpf developed a method to shape foam through a proprietary
injection process for the Ergon seat and back that, in turn, supports the
sitter much as a glove nestles a ball.
New work tools of the late 60s and early 70s resulted in people sitting
longer without moving. Stumpf found that over time this sedentary behavior
starved the spine’s intervertebral discs of the hydration they require.
Aeron Chair
Designed by Don Chadwick & Bill Stumpf
1994
Designers Bill Stumpf and Don Chadwick discovered during their
research that heat buildup, resulting from sitting for long stretches, is a
major contributor to discomfort. They solved the problem with their
design of Aeron and its patented, breathable Pellicle suspension
material. It lets heat and moisture dissipate, hence the chair’s name,
Aeron, which is adapted from the verb “aerate,” to supply with air.
Another advance—the Kinematic tilt mechanism—added comfort by
supporting the body’s natural linkages at all points and in all positions.
Setu Chair
Designed by Studio 7.5
2009
Studio 7.5 advanced the science of dematerialization with a thorough
examination of every component of a chair. This is most evident in
Setu’s Kinematic Spine. A combination of flex and strength, the spine
eliminates the need for a tilt mechanism by mimicking the synchronized
movement needed to fully support the body in any reclined or upright
position. The inventive Lyris suspension material works with the spine
to distribute weight evenly and conform to the body.
SAYL Chair
Designed by Yves Béhar
2010
The Pellicle suspension material of Aeron’s seat and back is held taut by
a frame not unlike the construction of a tennis racquet. The elasticity of
the material cushions the sitter, providing comfort without obstruction.
SAYL chairs are designed to ship ready to assemble in half-sized boxes.
Smaller boxes mean less cost. Whenever possible, the chairs are
shipped blanket wrapped to eliminate all packaging.
The Y-Tower structure is sculpted and hollowed out to achieve the most
strength with the least amount of material. It is an example of
dematerialization used to increase attainability.
Béhar’s design of the frameless back was inspired by the engineering of the
Golden Gate Bridge. SAYL’s Y-Tower performs the same function as the
tower of a bridge; the back the same function as the cables.
SAYL is produced on three continents using local sources. Globally
distributed manufacturing brings the product closer to the consumer,
resulting in lower costs for shipping and smaller environmental impact.
Material,
Ergonomics,
Comfort,
Environmental,
Healthful &
Dematerializatio
n.
Material,
Ergonomics &
Comfort.
Material &
Ergonomics.
Material.
Material,
Ergonomics,
Comfort,
Environmental,
Healthful,
Dematerializatio
n &
Attainable.
Eames
Ergon
Aeron
Setu
SAYL
Herman Miller asked us to create an exhibit that would
showcase the history and science behind their iconic chairs.
It had to be modular so it could be adapted to showrooms of
different sizes around the world
Herman Miller ShowroomChicago, IL
The display creates a physical time line showing the
evolution from one chair to the next, and uses artifacts, both
historic and figurative, to showcase features of the design,
engineering, and manufacture of the chairs.
Herman Miller ShowroomSan Francisco, CA
To coincide with Herman Miller’s re-issue of selected Alexander Girard prints, Michael McGinn Design Office was asked to create an exhibit for Neocon 2012 that would showcase some of Girard’s historic pieces.
My role in this project was refining the layout, documenting artifacts, and creating construction drawings. In Chicago, I helped lead the crew that put together the structure, tracked artifacts and worked on assembling the structure.
Exhibit for Herman Miller
ALEXANDER GIRARDAN UNCOMMON VISION
The exhibit was designed around Abstracta, a modular system of tubes and connectors that provided an easy-to-build and aesthetically simple backdrop to the artifacts.
The entire exhibit was 3D-modelled, which allowed us to lock in the exact layout of the exhibit, necessary since the 2200 pieces would be cut, finished, and shipped directly to the showroom.
We had just over a week in Chicago in which to unpack and prepare about 150 artifacts, build the structure, and populate the exhibit with the pieces.
Before arriving, we prepared documents that would help expedite all of those processes.
Lung Biotechnology BoothThis booth was created to represent Lung Biotechnology at the2015 Association of Organ Procurement Organizations annual meeting. The space was designed to serve multiple roles: drawing in interested visitors, providing information through graphics and video, and creating a comfortable space where representatives could discuss Lung Biotech with potential clients.
My role in this project was designing the physical structures and layout of the booth, creating renderings for client aproval, and preparing construction drawings for the fabricators.
Bathroom Fixtures
A set of nearly identical bathroom fixtures designed for a French-style split bathroom (separate rooms for toilet and bathtub).
The countertops and mirror surrounds are made of PaperStone, a solid surface material made of compressed paper and phenolic resin. The cabinet is made of bamboo plywood with an oil finish.
I assisted in the construction of a temporary pavillion for the FotoFocus Biennial, a month-long celebration of photography in Cincinnati. I worked on the structure’s carpentry, as well as fabricating the fabric panels that hang on both the inside and outside of the walls.
FotoFocus Temporary Pavillion
A knock-down chair styled to feel at home in a variety
of environments. Easy to transport and built to last, the
Saybrook chair can accompany its owner from one home
to the next.
Saybrook Chair
A small bedside table, designed to match a dresser and desk in the same room. The table is based on a traditional Shaker design, but is pared even further down in a search for elegance in simplicity.
The bowl was turned from an offcut of the 8/4 cherry used for the legs.
Shaker Side Table
Craftsman Style Coffee Table
A simple coffee table based off of traditional craftsman styling, in order to complement a Stickley sofa. Some of the fussier details – such as through-tenons, corbels, and spindles – are dropped in the name of simplicity.
The top is made of bookmatched walnut veneer laminated to plywood, with a quarter-sawn oak frame around it. The frame is reinforced by dovetailed keys that hold the miters together and also add a bit more visual interest.
FIREFIGHTER SPECIFIC RESCUE SAW
The most important tool used for extrication is a long-blade
saw. While one part of the crew is using a cutter to pull a roof,
another can be sawing on the other side.“ ”Joe Collins
Firefighter and Critical Care Paramedic
reciprocating saws only
no reciprocating saws
jaws of life & reciprocating saws
Reciprocating saws typically cost 10
or more times less than a hydraulic
cutter.
cost
speedCordless reciprocating saws are
ready to go out of the truck; no
hoses, wires, or fittings to connect.
size & maneuverabilityReciprocating saws are much smaller
and can fit in smaller areas (eg. to cut
apart a steering wheel).
35% 45%
20%
SO... WHY RECIPROCATING SAWS? MANY FIRE DEPARTMENTS ARE SWITCHING TO RECIPROCATING SAWS FOR USE IN VEHICULAR EXTRICATION
Handle is too vertical
Not enough clearance
for a gloved hand
Uncomfortable
forward grip
Battery in back makes
for poor balance
Battery in back still makes
for poor balance
Vents blow hot air over hands
Adjustable angle allows for
more comfortable position
Minimal protection
from blade and debris
Balancing the weight of the tool between
both hands allows for better control of the
tool.
balanced weight
protection from debrisIn a saw that will be used on glass and
metal, it is important to shield the user’s
hands from potential injury.
angled gripA vertical rear handle on the saw was cited
as one of the most uncomfortable elements
of the saw.
adequate: best:
I TALKED TO LOCAL FIREFIGHTERS ABOUT THE SAWS THEY WERE USING
... AND ABOUT THE SAW THEY’D LIKE TO BE USING
better:
THE HILTI BRAND HAD THE RIGHT VALUES FOR THIS TOOL, SO I STARTED DISSECTING THEIR DESIGN ELEMENTS
Slight chamfers around vents
Triggers & switches are always black
Chamfered sweeps
Matte black rubber overmolding
Linear, even vents
I STARTED SKETCHING WITH THOSE ELEMENTS IN MIND
iteration
#1
iteration
#2
iteration
#3
opening is too tight at bottom
rear handle is too squared-off
both handles feel comfortable
many areas still do not flow smoothly
forms flow smoothly into one another
added front hand-guard
lacks defined form
foregrip is slightly too large
foregrip is too tall and narrow
AND 3D MODELING ALLOWED ME TO FULLY REFINE THE FORM
BEFORE MAKING A FINALFULL SCALE MODEL
The bent ‘metal‘ band is made by gluing
up CNC milled and 3D printed parts.
Automotive primer and paint makes
it easy to get a high-quality finish
Most of the parts are CNC
milled from RenShape foam.
Rubberized undercoating spray creates
a realistic ‘textured plastic‘ effect.
Tapped holes hold
fasteners into the model.
THE NEW MATSUNAMI PARK
On March 11, 2011, Japan was struck by a
9.0 magnitude earthquake.
Ishinomaki, a coastal city, was one of the
most devastated cities, as it was flooded by
waves reaching more than 20 feet high.
Over a year later, homes and businesses
have been rebuilt, but the community isn’t
as strong as it was before the earthquake.
Emiko runs Gaman Bands,
an organization that is
providing charity to Japan.
She asked us to design a
playground that could be a
gift to the city of Ishinomaki.
MEET EMIKO MOORE
AND THE DESIGNERS
ian tom
nico
jenna
wennie
RESEARCH & IDEATION
We visited local parks and playgrounds
and observed how people of different ages
interacted with the space and features.
observation
ideation
We started sketching out every idea we
could; benches, play features, means of
providing shade.
expert help
We spoke with architects and city officials
in Japan to find out how feasable our ideas
would be.
designers
designs
5
5
-
We pooled all our ideas and
each developed our own
concept for a playground. This
way we could each explore
some of our favorite elements
in the context of a larger
environment.
An underground
memorial with a
powerful silhouette.
Paths that allow the
visitor to experience
a journey.
A tunnel entrance
that leads to a
shared play and
socializing space.
A shaded play
space and a scenic
memorial for
adults.
A playspace that uses
water to represent the
cyclic nature of life.
ian tom nicojenna wennie
In order to represent this hopeful experience, we emphasized powerful symbols and experiences that would memorialize the loss of lives and homes in the earthquake.
We also wanted to bring hope in a more concrete sense so we made sure that our park would include many communal spaces in which people could interact.
experiental entrance
panoramic viewpoint
iconic silhouette
unique playspaces
community gardens
traditionally inspired fence
MAKING A MODEL
We used a 3D model of our terrain to
‘slice’ the landscape into 3/4” strips,
which we cut out of plywood. These
slices were glued together and then
smoothed using a combination of power
and hand tools.
Since our design proposal relied heavily
on landscaping and greenery, we chose
to create as realistic a model as possible.
We relied on combination on traditional
and modern modelmaking techniques.
We made trees by flocking branches and
glued gravel and stone to our model, and
used lasercut pieces for more detailed
areas.
20 M
20 M
THE NEW MATSUNAMI PARK
covered outlook:A quiet space for people to view
their city and reflect on the
progress since the earthquake.
‘beams’ of light:These provide an iconic
silhouette that is both
recognizable from a distance
and powerful from nearby.community garden:A space for people to learn about
sustainable gardening techniques
that can help make the best of
damaged soil.
tunnel entrance:A cool, dark, and quet tunnel opens
into a vibrant, loud space filled with
activity.
play hills:Hills and monkey bars for
children to play on.
the entrance
The entrance guides park visitors through a tunnel cut into
raised ground. This dark and cool area stages visitors for the
reveal of the park, where they enter surrounded by nature,
children playing, adults socializing, and the beauty of the
community.
community gardens
The garden is provides both a tangible and metaphorical
representation of regrowth. Permaculture methods built into
the design help encourage growth in defecient soil.
playground hills
Grass covered hills emerge from the
playground, creating a fun and natural
space. They include common playground
elements modified to create a unified
aesthetic in the park.
![[Metalworking] Machining](https://static.documents.pub/doc/80x56/577d2e641a28ab4e1eaee711/metalworking-machining.jpg)
