ID portfolio ALAN CHISMECHIAN
2017
Hi! I’m Alan. I am a final 6th year MA Industrial Design student going after my next challenge. I just turned twenty five years and I am really looking forward to my next internship experience. Six years ago I decided to study Industrial Design to become more aware of what it takes to build products with cultural value. I wanted to make design methodology a starting point for my thinking. To learn how people come together and design human centred products converting an idea to a social phenomenon with impact, improving the quality of life around us. Now here I am six years later, on the other side of where this journey started and ready to keep on going, knowing that achieving this purpose professionally is my highest objective and dream. To breakthrough and make this mind projection real. What you are about to see is a selection of the projects that best represent my vision and portray the designer I became. I chose them because in all of them I felt in service of a cause bigger than myself. A higher purpose. All of them were a trail to discovering something new about myself and those around me. I can’t wait to discover the person that waits for me on the other side of my future professional experience, where this trail will continue to lead me..
The sense of community, playing music and investing my time in any type of creative expresion are the things that are the most valuable in my life. I enjoy myself when surfing experiences that might lead to the unexpected: composing music, hiking or simply going for a run. You simply don’t know where you might end. This is the universal principle that got me to be the designer I am today! Where there’s room for exploration within and creative expresion, there I shall find happiness.
// alanchismechian@gmail.com
M +49 163 7808235
EDUCATION Cologne University of Applied Sciences, Germany International Exchange Programme
WORK EXPERIENCE 2017 - 2017
University of Buenos Aires, Buenos Aires, Argentina MA . in Industrial Design
2011 - 2017
St. Andrew’s Scots School, Buenos Aires, Argentina Business & Economics Bauccalareate
2008 - 2010
St. Andrew’s Scots School, Buenos Aires, Argentina
Estudio Cabeza, Buenos Aires, Argentina 6 month internship •
Assistance in the design, development and narrative storytelling of the studio’s project magazine
•
Drafting and design of visual content, advertising, newsletters, cards and the administration of information for editorial publication.
LANGUAGES 1997 - 2008
E.G.B. Bilingual International Exams •
Cambridge IGCSE Diploma (with merit) 2008. International General Certificate of Secondary Education.
•
IB. International Baccaulareate Program Diploma 2010. Subjects at Higher Level: Business & Management. Economics. Spanish A2. Subjects at Standard Level: English First Language A1. Physics. Mathematics. Total Score: 32/45.
•
DELF A1 (2007) & DELF A2 (2009). French Studies Diploma.
2014 - 2014
• • • •
Spanish: Mother Tongue. English: Bilingual. German: Limited proficiency. (B1) French: Limited proficiency. (A2)
COMPUTER SKILLS • • •
Advanced:
Solidworks, Keyshot, Photoshop, Illustrator, Corel, Ableton Live. Intermediate: Adobe Premiere, InDesign. Basics: Cinema4D, Resolume Arena.
ADDITIONAL INFORMATION
ACADEMIC ACTIVITIES UBA Technology Exposition Final Project. Trazo Paper Pencil Machine.
2016
UBA Technology Exposition. Atacama Rowbike.
2015
Masisa Exhibition
2013
Buba Kick Scooter. Tecnopolis Exhibition
2012
Vender Coatrack.
Interests Music production, choir singing, camping, hiking, football, tennis, running, reading, traveling.
Free-lance musician Bass Vocals at Espacio Coral Cero Choir Ensemble
2014 - 2016
Recording, mixing and audioproduction in ‘Ventana’
2014
Recording as guitarrist in Argentina’s main recording studios. Three albums. (Estudios ION S.A., El Pie Recording Studios, etc.).
St. Andrew’s Scots School Choir and Band UK & France Tour Orquestra Guitar Player. •
2010
Performed at the main music festivals in Argentina: •
Fiesta de la P. Opening Band for Bruno Mars.
2012
We performed in schools and cathedrals of multiple cities. We stayed at schools and student family houses in the UK (Bristol, Yorkshire, Glasgow, Cambridge , Edinbrugh) and Paris (We performed at Notre Dame Cathedral) .
•
Personal Fest. Opening Band for Kings of Leon (Main Stage)
•
Fiesta de la P. Opening Band for Panic at the Disco!
2012 2011
•
Personal Fest. Opening Band for The Strokes (Main Stage)
2011
2008
•
Pepsi Music Festival.
2011
•
Personal Fest.
St. Andrew’s Scots School French Studies Trip to Paris Paris Langue Course Diploma. Paris & Normandie.
2008 - 2010
01 ATACAMA ROWBIKE
02 TRAZO PAPER PENCIL MACHINE
Transport Mobility
Sustainability. Machine design.
03 UNISOUND DESK Studio Furniture.
04 LUMINO INSTALATION Instalation for public spaces
05 PLANT-IN TRANSPLANTER Agriculture
06 LOVE & MERCY Image and Motion
ATACAMA TRANSPORT MOBILITY.
Design Team // Denisse Dagand, Marlene Ganberg, Nicolรกs Vago, Alan Chismechian. 3rd year project - April to December 2015.
TOPIC
THE PROBLEM
The goal of this project was to carry out the development, documentation and prototyping of a vehicle propelled by human motion, without using a motor. One of the conditions was that the movement carried out by the user and the movement that propelled the vehicle couldn’t be both done by rotation. This means that we couldn’t use pedal and wheel propelling motion like in a bicycle. We had to find a different mobility mechanism to transport the user from point A to B. This was the main challenge.
The rowbike yesterday and today...
x No alternate rowing movement. x Unstable at high speeds and turns. x No back rest when seating. x Back muscle and bone pain: No shock absortion for different terrains.
FROM THE IDEA TO THE CONCRETION Throughout the project we had to proceed from the research on possible mechanisms and existing vehicles in the market to the presentation of 3 proposals. Then we created a general layout drawing of the selected vehicle proposal and delivered a first wooden functional prototype to test the mechanism. By identifying the flaws in a real model we adjusted all of the variables to improve dimensions, functionality and the whole riding experience. Overcoming the difficulties, from the slightest details in the damping system to the ergonomic dimensions, was the path to achieve a high quality and comfortable vehicle.
HOW DOES IT WORK? // THE MECHANISM We wanted our design to have constant alternate arm motion like you do with your legs when riding a bicycle. To achieve this we had to come up with a new mechanism that would enable such movement. double threaded wheel hub
2 wheel sprockets (one on each side)
chain union
Three main sub-assemblies. Fast assembly.
Defining the wheel and driving configuration
Main Chasis Front Spider
Back fork
A tadpole configuration with a front wheel driving system guarantees a more stable vehicle in closed angle shifts. Defining the steering system: Ackermann We decided to implement the Ackermann steering system because it improves the vehicle handling on turns and prevents tires from sliping when the user is handling a curve
steel wire
pulleys
SKETCHING
TESTING & PROTOTYPING
THE FINAL DESIGN Atacama Rowbike stimulates mobility as an alternative solution. Its versatile design makes it suitable for a broad range of terrains and adjustable to your personal travel experience: Whether it is going to work or riding in the open land. Atacama is ready to enhance your traveling experience. The benefits of rowing // rowing is considered to be one of the most efficient excercises, strenghtening your cardiovascular functions and improving your muscular endurance while working your entire body.
TRAZO SUSTAINABILITY. MECHANICAL DESIGN. Design Team // Sofia Rojo, Jesica Urbach, JoaquÃn Fernandez, Axel Grizek, Alan Chismechian. 5th year Final Thesis project - April to December 2016.
THE CONCEPT // TURNING WASTE PAPER INTO PAPER PENCILS Trazo is an automatic manufacturing machine that turns waste paper sheets into pencils in batch production. Just like a printer., it is designed to be used in educational establishments and office enviornments. It recovers the paper to re-use it in a new product life cycle: the paper pencil.
Supplies needed
Trazo shapes a sustainabe behaviour within our society. Raising awareness about the use of paper in schools, offices and universities is a key aspect of great importance, the main educational purpose.
Waste A4 sheets
Glue
To re-use before recycling
Intervention
Old Product Liife Cycle
x1
x1
A4
=
New Product Life Cycle
Graphie Leads
THE PROBLEM Office paper is the most heavily recovered segment of printing and writing paper (which also includes book and magazine paper, junk mail, brochures, etc.).
+S+ Designed for Schools & Offices
Bad consumption habits
500,760
sheets used per person = 59 trees
35%
of felled trees used to make paper
Small Size
+
DIY
=
Process optimization: 4 in 1
Unoptimized Paper Pencil Machines In the Industry
45%
of paper printed in offices is trashed each day
70%
of office waste is paper
Manual labour
pencil by pencil. +6 workers in production line
Difficult use industrial machines Not designed for everyone/ domestical use
4 huge machines Excess in dimensions
Energy, Glue & Paper waste in the production line
DESIGN FOR EVERYONE // Schools, Design Studios & Offices and Universities
THE REQUIREMENTS
We first established the requirements that we wanted our product to meet:
3 MIN
60 Pencils
production time per pencil
maximum batch production in series
1st DIY Pencil Machine Anyone should be able to manufacture pencils
Why would companies or educational institutions invest in this machine? Today we are experiencing the democratization of production processes more than ever, where manufacturing machines are tending to evolve into domestic manufacturing processes for the general public use. The clearest example: the 3D printer. Markets are tending to domestic manufacturing.
At the same time, re-using ream paper sheets doesn’t produce any waste. The machine means free pencils for everyone. It doesn’t produce any waste and it just needs 3 supplies: glue, paper and graphite leads. From the business point of view, such a machine could also contribute to build a sustainable culture within an organization.
Printer Dimensions Small size for domestic use
1 button = lots of pencils Minimum user intervention. Automatic chain of production
Domestic Use Not Industrial
FROM THE IDEA TO THE CONCRETION The main questions to be solved •• How do we enroll the sheet around the graphite lead and make a pencil? •• How do we glue the sheet of paper? •• How do we control that the sheet of paper enrolls properly around the graphite lead? •• How many motors will we need for the transmision mechanism
and which power each? •• How to insert the graphite lead in the machine? •• Will the rollers enroll the paper or will they fail? Will the graphite lead slip between them because of the lack of friction? •• The pencil stays trapped between the rollers. How do we eject it from the machine!?
The 7 processes inside Trazo
Paper Sheet Feeder
Graphite Lead Dispenser
Gluing the sheet
Rolling up
Roller opening and pencil ejection
Drying
Filleting the ends
FROM THE IDEA TO THE CONCRETION Where we started. 1st model april 2016
“If we can make 2 pencils in a row, then we can make 50.” Joaquín Ferndandez
The Main Mechanism: Rolling the pencil.
A project of precision
This was the mechanism in which the success of the project was dependant of. If we couldn’t roll a pencil, we failed. In the research phase of the project we started to look at products that are rolled up like for example cigarettes, plastic bags, toilette paper, etc.
It was a project of precision... like building a watch. We were dealing with tolerances of decimals. One millimeter in false and the something would go wrong. This meant we had to use manufacturing methods of precision as well.
One of the cases we found was this DIY bottle labeling machine that worked by placing the bottle in the middle of 3 rollers and the label would be dragged in as the rolling system would begin. We thought that this mechanism could work and then began to think in how we could translate the application to meet our needs. Compresion elastic bands
Paper rolling rollers Lead
Paper sheet
Pencil
PROTOTYPING & TESTING
May 2016 : first rolling tests
The test samples. From the first to the last...
June 2016 : 1st prototype. First automized pencil. We still had to design the paper feed, the gluing container, the graphite dispenser. Basicaly, everything else..!
September 2016 : 2nd prototype. Testing of: gluing container and sheet detachment to the gluing roller; mechanism to get the trapped pencil out from in between the rollers.
October 2016: First steel sides. We needed more precision, less uncerainty. By this point, the wooden parts were not precise enough to keep on testing. Tests: all the gluing section, new motors, graphite dispenser performance. 4 Processes automatization.
THE FINAL PROTOTYPE November-december 2016
FUNCTION // HOW TO DOES IT WORK? Manufacturing the pencils
1. Plug in.
2. Lift the main lid up.
3. Fill up the glue container with white glue.
4. Place the grap the lead dis
Drying
7. Wait for the pencils to come out.
8. Take the humid pencils from the disposal tray.
9. Open the drying hoven’s lid.
10
phite leads in spenser.
0. Slide out the drying tray from inside.
5. Insert the A4 sheets in the read feeding tray.
11. Place the humid pencils in the drying tray.
6. Press the button to start the process.
12. Close the hoven and press the start button.
13. Wait 2 minutes... Your pencils are ready!
THE FINAL DESIGN
Trazo is a domestic manufacturing machine that makes pencils out of re-used waste A4 paper sheets. The product seeks to raise awareness on sustainable production and waste paper usage in schools, offices and universities.
C L I C K H E R E T O W AT C H T H E P R E S E N TAT I O N V I D E O
Please copy this URL if the hyperlink is not working. https://vimeo.com/233877418
UNISOUND
RECORDING HOME STUDIO DESK. Design Team // Leandro Ayué, Axel Grizek, Alan Chismechian. 5th year project - April to May 2016.
THE RIGHT HOMESTUDIO DESK
THE PROBLEM
The goal of this project was to design a home studio recording desk that could transform and adapt to the user’s home. by having multiple possible configurations
The market offer of affordable and quality home studio desks is really low. Most of the cheap desks don’t have any acoustic considerations and just contemplate a few functional features. Then prices escalate directly to the most expensive professional studio desks which are often custom made. Unisound is designed for intermidate skilled sound producers, whom would be interested in buying an affordable yet high performing desk to work in reduced spaces.
Lack of acoustic considerations
No ergonomy in positions and frecuency of use in devices
Lack of sound proof materials Excess in dimensions
Quality studio desks are too expensive for intermediate studio producers
Example of relatively cheap option in the market
Ducts for cables, plugs and power Not considered
THE USER Unisound is designed for intermidate skilled sound producers, whom would be interested in buying an affordable yet designed desk to work in reduced spaces.
Most of them work in small rooms. Our design responds to the electrical, acoustic, aesthetic and ergonomic needs of sound producers while providing the right comfort within the job’s dynamic.
THE CONCEPT Back to the 60’s / 70s
Microdesign // Details
We wanted to portray the musical style that was used in the design of recording studios and musical equipment that comes from the 60’s and 70’s when producing a record, listening to a new song in vinyl was more than just pressing a button, it was a profound experience. Dealing with sound in an analogue way gave another understanding.
Microdesign / Details Audio systems
UNISOUND
Home Furniture
Macrodesign / Tipology Recording studio desks
We analyzed the elements and technological solutions of audio products of this era to get the right look in the details of our design. Design elements • surface contrast • bended steel pipes • contrast between faces • and edges • rounded edges • surface and placing planes
Materials: Laminated MDF, rosewood, glass, stainless steel. Chromatic Palette
Macrodesign // Tipology We respected the general structure of recording Studios
SKETCHES
PRODUCT DESIGN
Order
Depuration
Coh
The design has an intentional form relationship. We respected the traditional use of wood as a desk material due to its sound isolation property. All studios include it in their architecture and design. We worked with geometric pure forms and rounded bends.
Colour palette: Acromatic + 1 colour (beish). We made this decision to convey the ‘vintage’ aesthetics of traditional audio equipments from the 70’s.
We the to th
The relat
Decomposition visual lightness
visual weight
hesion
Balance and clarity
explored the negative space amongst intersection of bodies to give dynamism he product.
Defined angles. All the radios and inclinated planes are a constant element to create an integrated design.
e product can be perceived as a compact object yet synthetic, with a lowtionship between the volume area within the outline perimeter.
Perimeter
Perimeter
CONFIGURATIONS Rest Positions
01
Daily put-away
Use Positions
02
Long term put-away: holidays, special ocasions.
03
Recording and producing u Maximum spread.
use position.
04
Sound editing transformation. Medium spread.
05
Use position for users with laptops. Medium spread.
FUNCTIONAL CONSIDERATIONS Acoustic Considerations 01 Monitor speakers height regulation
02 Listening Triangle (60°)
03 Detached Monitor Plane It is a must to get the right sound perception.
Isolation pads reduce low-end vibrations. Telescopic height regulation system.
ún r en
The isolation pads’ shape indicate the correct direction and angle.
Wiring Organization 01 CPU Cable Slot
Slot to pass cables through
02 Monitor’s Speaker Cable Slot Monitor to audio interface wiring.
The separate module reduces low-end vibration through the desk for better performance. ún r en
ún r en
ún r en
ún r en
Plane Angle Regulation a. Flat Position
The user can regulate the surface inclination according to his/ her own preferences.
b. Descendant Inclination
c. Ascendant Inclindation
18°
ún r en
18°
-7°
ún r en
-7°
ún r en
-7° 18°
-7°
ún r en
-7°
18°
18°
-7°
Flat position to use the desk like a normal table.
03 PC Cable Slot
PC screen to CPU wiring.
Inclination to facilitate the handling of products with a front plane user interface.
Inclination to facilitate the handling of products with a top plane interface. E.g.: Faders of a mixer.
04 MIDI Piano / Keyboard Mouse wiring
18°
THE COMPONENTS
The Modules: Levels of interaction heriarch
The following 4 modules were designed according to the fr use of each device and section in order to facilitate the sound task .
Speaker Isolation Pads
Monitor Speakers
02
High
High
Height Regulation
Mixer Compressor
Audio Interface
MIDI Keyboard Module
Sliding Tray Removable CPU Rack
01
Headphone Hanger Sliding Mouse & Keyboard Tray
PC Controllers.: Always Used: When recording, mixing & Editing.
MIDI: Mostly used when recording.
Au w
hy
DIY Transport & Logistics
recuency of d producing
The amount of parts and the design as a whole has been thought so that the user can build the product on his/ her own. The set has 26 components (parts and sub-assemblies) already asseembled to optimize transport space.
03
04
Medium
Low
udio Hardware: Used when mixing & editing.
module was designed as a separate * This module to avoid the propagation of low end-vibrations through the desk because this factor bothers transparent hearing.
The box fits in a small car. Box dimensions: 586 x 451 x 1500 mm
*
The only devices that are never touched and remain always in the same position.
THE FINAL DESIGN Unisound is a home studio recording desk. Its design improves the recording user experience taking into consideration acoustics, versatile interfaces and positioning distribuition of hardware. Unisound has been created to comfrotably fit and perform in small rooms and apartments. Users can customize and personalize the desk according to their own preferences and their mixing chain hardware.
LUMINO
INTERACTIVE LIGHT INSTALATION FOR PUBLIC SPACES. Design Team // John Bengtsson, Jesica Urbach JoaquÃn Fernandez, Pilar Martinez, Sebastian Castellaro, Hernan Kirchuk, Agustina Serrano, Gonzalo Mateus, Pablo Marbec, Gabriel Portillo, Alan Chismechian. 5th year project - August to September 2016.
BUILDING A SENSE OF COMMUNITY SHARING City of Buenos Aires, Argentina - The goal of this project was to design, develop and implement an interactive ludic experience for public outdoor spaces at night. We sought to enhance social interaction to hierarchize the moment of interaction between people through sensory stimuli (light, sound, etc.). To contribute in building colective trust and the sense of community within the society.
#nightparks #publicspace #collective experience #interactivity #smartcities #thefuntheory #sensoryexperience #smartparks
THE PROBLEM // DISTRUST Insecurity in the public space is the highest concern of people living in Argentina. Since the country’s bancrupcy in 2001, security and safety in the streets of Argentina has deminished during the last 16 years due to the delicate economic situation that has conditioned many lives to worse. The non-stoping increasing inflation has become a nightmare for the average argentinean. As a consecuence of the scenario, people in the city of Buenos Aires have become more distant one of another in public spaces and do not tend to trust any stranger beArgentina cause that might incur a security risk of being stolen. Specially when walking the streets or parks at night, many argentineans in the city feel that trusting a stranger would imply too much of a risk to establish any kind of contact that one can’t afford. This is the reason why, the main purpose of Lumino is above all: social. As a design team, we wanted to contribute to building once again a sense of community and public sharing once again. Something that shall be recovered and an opportunity for us designers to intervene.
USER EXPERIENCE
How do citizens interact? Who interact?
CONTEXT // PARKS AT NIGHT
DESIGN OF OUTDOOR INTERACTIVE OBJECTS We analyzed the following products and identified six groups that would help us to decide the purpose of our design. We chose to
follow the path closer to groups 3 and 4 to define the behaviour of our interactive object.
01
02
To stimulate the interaction with the environment by animating objects or ambientation.
To promote rest moments, relaxation and encounter.
THE CONCEPT Lumino was designed to enhance social interaction by stimulating laughter and playing together. To promote the integration of people.
03
To promote excersicing, movement, playing and pleasure.
04
To promote laughter, having fun together and playing together - touch and sound senses. .
SKETCHES
FROM THE IDEA TO THE CONCRETION
01
The initial idea played with the sense of abstract time. One user recorded a message during a moment of the day so that another unkown user would hear it. Depending on what the user listened, this could change his day for good or bad.
02
The proposal evolved to this phase which was the first one pointing in the direction of the final design. A game based on the idea of having a life bar and a tilting light circling round the ring. We had a defined system but lots of functional, ergonomic and product communication flaws. There were no heriarchies of lectures contemplated yet.
Due to lots of flaws the only thing that survived was the idea of having a center and the multiple interactive form.
03
Tilting light going round
Stepping button
The user should understand the g onds naturaly. It was all about tion levels of the product. We b the levels of interaction: visual in touching interaction lights.
We also explored the idea ofput angle to communicate that they one foot only when indicate it. T communicated. We had to avo permanently.
04
game instructions in two secworking in the communicabeganto work differentiating nteractive lights and physical
tting the stepping button in should press the button with The game was not being well oid users standing in the slot
To give the design a more original twist to put the user’s stepping zone in angle we began to explore the idea of working with tensed fabric and different form tipologies. Due to productive and vandalism cons we had to abandon this path to follow what would lead us to reaching the final design.
05
The solution in the end was to include the standing position as part of the product and reducing the light diameter smaller than the width of an average footprint and placing it in front of where the user should be standing. The drop form was a result of function and visual communication.
HOW TO PLAY THE GAME? It’s so easy...
Wait. It will turn around light by light till... ...it matches your light!
Your lig
Where you step This light will start to turn around... Where you pay attention
Your life bar!
STEP RIGHT // You’ll score up 1/3 of life. MISS YOUR STEP// You’ll loose 1/3 instead...
ght.
Now! STEP! The first player to score three consecutive times wins! Lumino will grant you with a wonderful lightshow. Then the next round starts immediately after.
THE VISUAL EFFECT: WATER, BUBBLES AND LIGHT The four lifebars of each player are columns containing water. Each column is built like a fish tank taking into account the water pressure and connected to a bubble motor to generate a visual effect. The way light refracts through the bubbles creates an appealing visual effect for the user. The more you score, the more bubbles start to light up and the more intensely iluminated the column becomes.
Water filling from the
Bubble Motor
Bubble Input Cable into column
TRANSPORT & LOGISTICS Easy assembly and optimized transport. 1200x250x750mm
Box dimensions:
THE COMPONENTS
High impact Polysterene
Battery
LED Strips x12
Stepping Button
Spotlight Case
Bubble Motor Cooler Fan
LED Strip Push Button (Connection to Arduino)
Arduino UNO
THE FINAL PROTOTYPE
PRODUCT COMMUNICATION // ROUNDED vs RECTILINEAR DESIGN Tipological diferentiation of lights and interaction zones following function.
THE CHALLENGE: “The user had to instantly understand the game in no more than 2 seconds by just watching it�
Our brains love curvy design. As users we interpret rounded styled objects appear more friendy and welcoming. Rounded surfaces are easier for the eyes. We are more keen on having contact with these. This is why the zones and lights with which the user has physical contact were designed in a rounded shape.
Rectilinear design seems more rational, cold and therefore, distant. This is why the zones in which the user is meant not to touch, but just watch, were designed with a rectilinear steep cornered form. To enhance the perception of these sections as untouchable.
Warm and friendly. Differentiation of Light Interaction
Cold and distant. Differentiation of Zone Interaction
ERGONOMICS Visualization
Visual Planes Tower Plane
70°
The minimum height to be comfortable with the visual spectrum is of 1.30 m.
1.30m
Base Light Ring Plane Stepping Plane
Height and Proportions Lumino’s height of 1.20 m contemplates the three visual planes within the visual spectrum of both adults and children. The right proportions enhance a natural interaction.
Use Positions 01 Pressing Button
1.75m 1.30m
02 Neutral
Where you watch your score. Main focus of attention while playing. Second focus of attention while playing.
THE FINAL DESIGN Lumino is all about the people. It is an interactive light instalation for public outdoor spaces at night. It promotes the encounter between citizens in the public space, stimulating socialization and playing together. The design’s purpose is to enhance citizens’ relationships leaving aside any gender , age or ethnic barriers.
PLANT-IN AGRICULTURE.
Design Team // Alan Chismechian, Axel Grizek. 3rd year project - April to July 2015.
BETTER WORKING CONDITIONS FOR PLANT TRANSPLANTERS Escobar, Buenos Aires, Argentina - The goal of this project was to design a manual transplanting machine to improve the ergonomic working conditions and planting productivity of small scale plant producers in this region. Plant-In works as a transportation and logistics planting tool for tomato, lettuce and seedlings that share the same characteristics.
This project was carried out together with the National Institute of Agricultural Technology (INTA) of Argentina.
transplanting seedlings agriculture
THE PROBLEM Argentina’s economic growth has always been tied to agriculture and farming given the large amount of fertile land in the country’s territory. Being one of the main economic activies of the country’s income there are lots of producers working in the horticulture field who develop their production at a small scale producing for bigger enterprises in the region. The vast mayority of small producers carry out the task of transplanting manually by hand. Workers work for long hours, from dawn till sunset, in hunchback position, making forced movements and carrrying heavy loads which cause serious back problems, health problems and early aging in the long-run.
Argentina
The ones that don’t, help themselves with hand-made tools but these don’t solve the problem either. There are no manual transplanters produced in the country at the moment and those producers who have one, import it from the neighbour country of Uruguay. Then prices skyrocket to machinery of 40.000 dollars, unaffordable for our target user.
MARKET ANALYSIS & PRODUCT POSITIONING Manual
Plant-In
Semi-Automatic
Automatic
Strenghts
• Very low cost • Very low manaintance • Light weight
• Quick. • Requires optimal effort from the user • The user operates indirectly in the mechanism
• Quickest. • The user doesn’t operate in the mechanism • Very little effort from the user
Weaknesses
• The user operates directly in the mechanism • A lot of effort from the user. • Generates muscular fatigue
• High manteinance • A lot of effort from the user. • Generates muscular fatigue.
• Really expensive
• Structural and economigrowth • Time optimization
• Quick structural and economic growth
• Uses fuel (+costs)
• Uses fuel (+ costs)
Opportunities • Time optimization (very low compared to other tipologies) Threats
• Tiredness or user injury
ABSTRACTING THE SYSTEM // 8 COMPONENTS Despite the multiple design tipologies in the market (manual, automatic or semi-automatic) it is possible to identify a series of common denominators and requirements in all tipologies that present as universal points.
01
Input hopper
02
Handle
03
Command drive
04
Main Body
05
Exit Chute
06
Mechanism ligament
08
Seedling tray
One Hand
One // Two hands With Feet
Hand// Feet
Integrated
Integrated // Not Integrated
We then narrowed our investigation to manual and semi-automatic transplanters.
Two hands
Manual Tipologies
CURRENT USER EXPERIENCE
1. He grabs the trays from the deposit.
5. Stacking impulse.
2. He loads them in the truck.
6. He stacks the transplanter.
3. He/ They travel to the planting field.
7. He places a seedling.
4. Unloading/taking the trays to begin.
8. The presses the trigger to deposit the seedling.
1st cycle 2nd cycle 3rd cycle Applied forces Muscles under effort
9. He/ They return from the planting field.
10. He unloads the trays.
11. He leaves them in the greenhouse deposit.
OUR OBJECTIVES • To reduce the arm and the torso’s translation distance, that imply a great obtuse angles in the use experience cycle, to diminish body pain. • To exempt the user from carrying with the weight of the product. • The seedling trays should have a better access. • To avoid the user being the one to bury and cover up the whole to place the seedling. • The user shall walk in parallel to the ridge and not perpendicular. • Take into consideration the weight distribuition and the supporting sections of the product.
Current planting patterns
01 02 03
ERGONOMIC STUDY // BODY POSITIONS We identified the critical angles to contemplate these in our design and compensate them through form and function, preventing unecesarry body pain.
Neutral
Stacking Impulse
Seedling Input
Placing th
Step 5 UX Cycle
Step 7 UX Cycle
Step 8 UX Cycle
15° 11º
21°
11º
23°
One handed tran
23°
°
94
9 11
°
19°
5°
29°
230
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° 6° 24
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°
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Pain-zones
he seedling in the soil
e
nsplanter 11°
Two handed transplanter
29°
27°
Foot transplanter
129
6°
5°
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°
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340
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FROM THE IDEA TO THE CONCRETION
01
02
This first version had the basic idea of the system. We wanted to take all of the load off the user and make the transport of the elements easier. No structural contemplation, product communication or technical concretion yet.
The sense of forward direction appears in the design through intentional angles in the bended tubes, together with the back wheels of the planting tub that would serve to bury the seedling with the right amount of earth so that it remains fixed. No structure, stability or technical concretion in manufacturing yet.
03
04
Two steel tubes give the necesarry sturdiness to perform the task. This also diferentiates the main body where the user is pushing from the secondary section of the transplanter, where the planting tube lies. A tray stocking basket in the inferior section saves the user from having to fetch a tray every single time. It reduces the frecuency of this cycle. No technical concretion yet.
The height and width regulations mechanisms are solved together with the structural chasis. Technical concretion is fully achieved to manufacture the prototype. Increasing the diameter of the tubes and using wider wheels result in more stability. The tray stocking basket’s flat design is optimized to make the most out of every manufacturing steel sheet. The tube’s back wheels design is finally finished together with the distance regulation systems.
THE NEW USER EXPERIENCE // HOW DOES IT WORK? 1. Takes the plant trays from the stock site.
5. The seedling line begins.
2. Loads the trays in the trailer.
6. He pulls out a seedling.
8. Task done. The user leaves the planting site.
3. Travels to the planting site
7. He inserts the seedling in the guiding tube.
9. Tray unload and transfer to the greenhouse stock.
10. Return of re-use.
e.
4. Tray unload/ load.
Tray load.
used trays to
1st cycle 2nd cycle 3rd cycle
FUNCTION
Regulation Pi
Plant-In can be regulated in height and width according to the seedling’s line (the ridge) proportions established by the user. Seedling ridge
Neutral
Higher
Wider
istons
Making the gutter
Burying the seedling
The front wheel creates the gutter with the right depth to drop the seedling.
The inclination of the back wheels is intended to close the gutter and bury the seedlings roots.
Tray Stocking Basket System
THE COMPONENTS
2 1
17
3
20 23
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2
21 1
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6
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3
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20 23
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9
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21 4 24
18
6
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26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 N°
26 25 24 23 22 21 20 19 18 Bushing Bolt 2 17 Wheel Axel Sheet. 16 Tray Holding Tube 15 Bolt Nut 14 Tracy Holder 213 Ext. Thread Axle 12 Wheel Tray Holder 1 11 10 M5 Phillip h. screw Aux. Wheel Tube9 Joint Tube 3 8 Bolt Opening Wheel7 Cap Nut 6 Piston 5 Guide Tube 1 Guide Tube 2 4 Terciary Tube 3 Joint Tube 2 2 Joint Tube 1 Secondary Tube1 Main Tube N° Handle Rubber Handle Name
Bushing Bolt 2 Wheel Axel Sheet. Tray Holding Tube Bolt Nut Tracy Holder 2 Ext. Thread Axle Wheel STD. 3 Tray Holder Steel 1 2 St.screw Stlessh. 4 Phillip M5 1 Wheel Tube Aux. Steel 8 Joint Tube 3 STD. 8 Steel Bolt 1 Steel 2 Opening Wheel STD. 2 CapSteel Nut 1 14 Piston Stless St. 1Guide Stless St. 1 Tube Stless St. 1 Guide Tube 2 STD. 1 Terciary Tube Nylon 1 12Joint Tube STD. 2 2Joint Tube STD. 1 1 Polyethylene. Secondary Tube 1 Polyethylene. Tube St. Stless 1 Main Stless St. 1 Handle Rubber Stless St. 1 Handle Stless St. 1 Name Stless St. 2 2 1 Qty.
STD. 3 Steel 2 Stless St. 4 1 Steel 8 STD. 8 Steel 1 Steel 2 STD. 2 Steel 1 cutting St. 14Water jetStless Bending/ Milling/ Thread 1 Stless St. Stless St. 1 Water1jet cutting/ Folding STD. Cutting/ Turning/ Thread Nylon 1 12jet cutting/ STD. Water Folding 2 STD. Water jet cutting/ Bending 1 Polyethylene. Cutting/ Filing Polyethylene. 1 STD. Stless St. 1 Turning Stless St. 1 Stless St. 1 STD. Stless St. 1 STD. Stless St. Cutting/ Bending 2 Drilling/ Rubber 2Cutting/ Filing Cutting/ Filing Stless St. 1 Cutting/ Drilling/ Bending
Qty. Drilling/Material Cutting/ Bending/ Filing
Water jet cutting Bending/ Milling/ Thread
Water jet cutting/ Folding Cutting/ Turning/ Thread Water jet cutting/ Folding 0.5mm thick
Screw
Welding 10mm Diam. Water jet cutting/ Bending
Thread
Cutting/ Filing Screw
STD.
Nut
Turning
Screw
0.5mm thick
STD. STD. Cutting/ Drilling/ Bending Cutting/ Filing Welding
Cutting/ Filing
Cutting/ Drilling/ Bending Welding Cutting/ Drilling/ Filing 16mmBending/ Diam. 20mm Diam. 25mm Diam.
Cutting
20mm Diam.
Welding
Process 25mm Diam.
Union
Observations
Rubber Stless St. Material
Cutting
Process
BEFORE & AFTER Staking Impulse Before
Inserting the s Plant-In
Before
째
92
째
92
180째
180째
seedling // Front View
Inserting the seedling // Top View
Plant-In
Before
180° 180°
91
°
°
°
°
90
91
180°
90
180°
Plant-In
THE FINAL DESIGN Plant-In is a practical hand-held transplanter, fully designed to optimize the transplanting task by reducing unhealthy efforts. Its design combines carefully studied ergonomics to improve the working posture by reducing operating body distances and angles. The technological qualites respond to the functional order, dynamic and needs demanded by the task of transplanting.
LOVE & MERCY IMAGE AND MOTION.
Design Team // Leonie Spachholz, Alan Chismechian. International Exchange Programme - April 2017.
CREATING A VISUAL PERFORMANCE The goal of this short-term project was to gain the ability to understand the fundamentals of a visual live performance, and to incorporate these skills in the creation of our own visual set. Before joining, participants were asked to have a strong interest in music and animation, which I had for both. We fundamentally explored the scope of VJing, working with the top-
Copyright Pfafinderei
ic of Visual Music in general and especially with the video loop as a designed performance module. These video loops were based on a dened concept and then we crafted our performance by realizing motion experiments, which played a fundamental role in this process. We also discussed about the technologies available nowadays that could form part of a performance such as video mapping, sound synchronicity and midi mapping.
Copyright Pfafinderei
OUR CONCEPT I had the amazing opportunity to work together with Leonie Spachtholz. She approached me and told me that she wanted to create visual material by filiming poi juggling with fire and led, which she was very skilled at. She was after the challenge to create motion footage which to me sounded like an amazing idea, because there behind those pois there’s human sensibility that is creating natural analog movement and light.
I wanted to work with music from the 60’s to the 80’s to convey the feeling of great joy and use modern technology to visualize this pieces, resignifing this artform in terms of today’s visual language. This juxtaposition resulted super interesting to her. She had a clear visual image while I had a clear music and conceptual image in my head.
Fire and led poi juggling.
To me this was the equivalent of recording a musician play his instrument instead of programming music with a computer, where you capture the soul and human sensibility of that person in one take. It’s not just sound the same way fire juggling was not just light. It was more. Brian Wilson recording Pet Sounds in studio, 1966.
Working at room 11, KĂ´ln International School of Design
FROM THE IDEA TO THE CONCRETION The soundtrack to our concept The first thing we started to work on was choosing the music that was going to become the soundtrack of our performance based on the purpose behind. We listened to a couple of songs and thought of how we were going to work the span of emotions to make the performance interesting to the viewer. How could we generate different climaxes and a logical narration within our piece? I went home at night and prepared a first rough audio mix to start working on our visuals by Tuesday. We decided that the storytelling was going to consist of six main audiovisual stages. We edited parts out from 6 different songs for each stage. 1. The first stage illustrates the immediate moment in which we suffer the loss and how we search for meaning trying to understand what has just happened. You start wondering and thinking that you can’t wait too long for things to be on the right track again. A moment of reflection. 2. The second phase captures the feeling confused and miserable, but still strong. Heaven knows I’m miserable now. 3. The third phase shows how one starts to put the pieces together and leaving all behind to move on. You just give in to life leaving every fear behind to become part of the inimaginable, where you will find something new that defines who you are again in such a way that is much better that before. Baby we’ll never go back, cause tramps like
us... we are born to run. 4. Fourth phase: A moment of reflection. You find the quiet night under the peaceful stillness of the stars the right place to wonder and lose yourself in your imagination. To accept what’s happened and find inner peace to move on. 5. Fifth phase: You found meaning again in something you really like doing, finding someone to love or any other thing. If I needed someone, you’re the one that I’d be thinking of. 6. Sixth phase: You found that something that will define everything around you again. The feeling of great joy. Love and Mercy for you and your friends tonight.
Covert Artboards. We selected songs from The Beach Boys, Bruce Springsteen, The Smiths, The Beatles and Brian Wilson.
First visual shoot Leonie brought here LED pois to film some test footage of the motion and start brainstorming our ideas by doing. We needed pure darkness to capture the motion of lights so we decided to film in the basement of KISD during the afternoon. We shot the takes live while we played the soundtrack from the computer. Leonie was already naturally interpreting the music by changing the way she moved when the music conveyed different emotions. Because of this, we decided to First Test Takes: Leonie with her LED Pois in KISD’s basement. shoot whole takes of the full soundtrack and extract the loops from these filming takes by using After Effects. Leonie’s natural flow was something that we both agreed we had to capture and convert it into the essence of the performance.
Official shooting at Wiener Park, Mülheim We met again at night to shoot the real takes with great camera equipment. We captured takes of both fire and LED pois at Wiener Park in Mülheim from 23:30 to 00:30.
Snapshots from the raw motion clips before production.
Editing the footage and creating video loops We reviewed all of the footage we filmed the night before and extracted the most interesting movements by turning them into loops of 5 to 6 seconds using Adobe After Effects. Once we had all of the loops we went home and agreed to start playing with the performance using Resolume, a live Video VJing programme. Now that we had the footage, we had to define how we were going to play with them. It was like deciding which notes or arrangements should be used to play a song, but instead of piano keys, we had video loops to compose our video piece. We also used Resolume create visual effects with our footage by applying playing with colour, trails, delay and feedback:
Crafting our performance We continued crafting our performance all day long to convey the feeling of joy. Leonie brought here MIDI controlers to set up direct commands in our software and control our performance using hardware which enabled more possibilities to play.
Leonie’s MIDI Controllers: Korg nanoPad2 and Korg nanoKontrol2. .
The Last Rehearsal During the afternoon we had our last rehearsal of the performance. All of the groups defined the set ups and together we distribuited the space each group was going to use for the performance in room 11.
Working with Leonie..
Preparing our final setup.
THE FINAL PERFORMANCE
Leonie and me performing.
THE FINAL DESIGN Love & Mercy Visual Performance Description: The Lightbulbs invite you to a visual music experience with lights and flames guiding you through a journey of emotions. Joy is a feeling we are all looking after, and visual music enables to affect the mind though the synergy of musical and visual stimuli in an atmospheric ambiance. We created a set of different loops to perform and play with them, and made a live visual composition following a narrative together with the feelings and stages of the music. We used the motion elements of fire and light to visualize the feeling of joy conveyed through the soundtrack which integrates music from the 60’s. to the 80s Leonie Spachtholz & Alan Chismechian Short term project: Motion Experience Lab: Visual Music — Loops in Space Project lead by Prof. Nina Juric and guest lecturer Michael Titze “Pfadfinderei / Berlin” Film Soundtrack: - Can’t Wait Too Long by The Beach Boys - Heaven knows I’m Miserable Now by The Smiths - Born To Run by Bruce Springsteen - Goodnight by The Beatles - If I Needed Someone by The Beatles - Love and Mercy by Brian Wilson
All music property belongs to the artists mentioned above and their respective labels. No copyright infringement is intended. VJ-Performance by The Lightbulbs: Leonie Spachtholz and Alan Chismechian, using source video material created by filming poi juggling with fire and LED..
C L I C K H E R E T O W AT C H T H E P R E S E N TAT I O N V I D E O
Please copy this URL if the hyperlink is not working. https://vimeo.com/220144689
Thank you for you time and consideration. Have a nice day!
alanchismechian@gmail.com // M +49 163 7808235 // Cologne, Germany