Julian Araneta
hello! kamusta! hej!
THIS IS MY WORK. THIS PORTFOLIO CONTAINS : CORKY STOOL PORCELAIN LAMP TRAPEZE TABLE KINETIC ARCHITECTURE ADVENTURE CAMERA SLICE KNIFE BLOCK
EDUCATION Sept 2011 - Apr 2015 Bachelor of Design; Industrial Design Emily Carr University of Art + Design Vancouver, Canada
Sept 2004 - Aug 2009 Bachelor of Arts; Anthropology University of Manitoba Winnipeg, Canada
EXPERIENCE Sept 2014 - Mar 2015 Research Assistant Product development researcher for Plantiga Footwear and Emily Carr University
Julian Araneta jiggs.araneta@gmail.com +778 919 0874 2-1529 West 4th Avenue Vancouver V6J 1L6 BC Canada
Sept 2013 - Dec 2013 International Student Exchange Industrial design at Lund University’s Faculty of Engineering in Lund, Sweden.
Summer 2013 Product Development Intern for Blurr Backpack design and development for Hatch line
Mar 2013 - Jun 2013 Kinetic Architecture Collaborative studio between University of Oregon Architecture and Emily Carr University Industrial Design
Jan 2007 - Dec 2010 Graphic Artist (self-employed) Graphic design for clothing and print media
Jan 2006 - Apr 2010 Founder: University of Manitoba Rowing Developed university athletes for national-level competition
SOFTWARE COMPETENCE
FLUENCY English (native) Tagalog (excellent) Swedish (intermediate)
VOLUNTEER POSITIONS Organizer 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) 1
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CORKY STOOL by Julian Araneta, Paul Erdmer, Evan Hutchinson, and Ryan Knott Emily 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 Velasquez International 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 ASSEMBLE A TABLE WITH NO METAL FASTENERS, ONLY HIGH QUALITY WOOD JOINERY, AND ALLOWING GRAVITY TO RESOLVE THE STRUCTURE.
To generate form that reflects the values and aesthetic of
To use primarily local wood sources - in this case, alder wood. 30
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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 Collaboration Emily 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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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.
water wheel shinsulator drive shaft master controls individual controls
MAIN HALL
ENTRY
VIEWING DECK
OSOYOOS VISITOR CENTRE - BUILDING PLAN A collaboration between Emily Carr University industrial design, University of Oregon architectture, and Turner Exhibits
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shinsulators
water bars
valve controls
planetary gears water wheel
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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.
CONDITIONS FOR OPERATION Shinsulator slides out to allow water bars to open
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.
When open, water bars prevent shinsulator from closing
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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.
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.
thermal mass
water ballast torsion springs
aluminum side panel
drain mechanism lead ballast
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shinsulators closed
Driving Bracket
Shinsulator attachment point
Track/wheel system Location of shinsulator -
Chain drive attachment point
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shinsulators open
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.
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USER INTERACTION
CONTROL POINT
OUTPUT
TOOTH COUNT
CARRIERS CARRIERS COUPLE INPUT INPUT
engage left drive = OPEN shinsulators
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engage right drive = CLOSE shinsulators
PLANET: 9 SUN: 18 RING: 36 PLANET CARRIER: 24 24 PLANET CARRIER:
pull handle forward = master water valve release
CARRIER JOINS PLANET GEARS
RING GEAR CATCH ENGAGES DRIVE TRAIN
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1.5
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FIXED
INPUT INPUT
OUTPUT
IDLE IDLE
INPUT INPUT
DISENGAGE
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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NARROWED WATERS by Julian Araneta, Joseph Buccini, Ashleigh Fischer, Larry Ho, Evan Hutchinson, and Luke Larsen.
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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 PERSSON find trouble throw caution to the wind discover true freedom
true freedom needs its “oh shit” moments.
24 years old single well-travelled works in many cities bored
space constant transitions transience transition points between points
“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” ...but it’s usually a good place to be.
problem boredom nowhere new to go trapped in routine lack of autonomy
... is influenced by: Jack Kerouac james bond an idiot abroad the amazing race the most interesting man in the world che guevarra mariposa into the wild robert capa tim hetherington the open road photojournalism anthony bourdain 66
need need adventure regain one’s self find excitement break routine
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.
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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. 68
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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 Kim Emily 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.
Product Analysis
SIMPLE BALANCED UNIQUE / INNOVATIVE ADEQUATE PRICE ADEQUATE SIZE SUSTAINABLE MULTI-PURPOSE CONTEMPORARY USER-FRIENDLY QUALITY FINISH 82
Jiggs Araneta Eunji Kim Marcela Gutierrez
SIMPLE BALANCE
$1
QUALITY
19 45
UNIQUE/INNOVATIVE
M
CO
USER-FRIENDLY
Slope Pendant Lamp | Skirvo + Miniforms
DE pr in Ha
ADEQUATE PRICE
CONTEMPORARY
Av ADEQUATE SIZE
Th cr pl fo
MULIT-PURPOSE SUSTAINABLE
SIMPLE BALANCE
Slope Pendant Lamp | Skirvo + Miniforms $16 to $80 UNIQUE/INNOVATIVE
19cmx11cm for x-small 45cmx39cm for x-large MATERIAL | steel
SIMPLE BALANCE
M
CONSTRUCTION | stamped/drawn powdercoated ADEQUATE PRICE
$2
QUALITY UNIQUE/INNOVATIVE
CO
DESIGNER | Clara von Zerigbergk is a Swedish graphic designer and USER-FRIENDLY product designer with an educational background from Art Center Pasadena. Her and playful products are distributed by WarminBlack Carafes + colourful Cups | Unison ADEQUATE PRICE Hay, a design store in Denmark.
DE sp be re ba
AvailableCONTEMPORARY in various sizes and several shapes. ADEQUATE SIZE
ADEQUATE SIZE 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 MULIT-PURPOSE other. These trays unfortunately are not intended SUSTAINABLE for food. Made of powder coated stamped steel.
SUSTAINABLE
Warm Black Carafes + Cups | Unison
ca be
SIMPLE BALANCE
$295
QUALITY
SIMPLE
MATERIAL | Beec
BALANCE
$2
UNIQUE/INNOVATIVE
QUALITY
CONSTRUCTION M UNIQUE/INNOVATIVE
USER-FRIENDLY USER-FRIENDLY
ADEQUATE PRICE
CO DESIGNER | Stefa specialises in furn DE de between function fo relationships and to ADEQUATE PRICE based in Milan. pr
Th lam
CONTEMPORARY
CONTEMPORARY
ADEQUATE SIZE
ADEQUATE SIZE
MULIT-PURPOSE
SUSTAINABLE
carving into the c beech, the result
MULIT-PURPOSE SUSTAINABLE
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mood board for design opportunity: kitchen knife block
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THE IDEA The group proposed the concept of a minimalist knife We knew that we wanted this knife block to be seamless, explicitly and elegant, functional, and sturdy as a block of solid hardwood. Our blockclean operating on the principle of, “how many knives do proposal was met with warm enthusiasm from the client, who immediately saw the potential for having both a highly functional tool and a beautiful you really object allneed at once.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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slot angle
slot depth
Major factors which contributed to the overarching pursuit of the best proportion of the object.
number of slots
slot width
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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 rear mounting plate was replaced with a separate piece to simplify the production process.
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SECOND PROTOTYPE
the addition of a second magnet ensured the blade of the knife did not pivot.
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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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THANK YOU Julian Araneta CAN +1 778 919 0874 jiggs.araneta@gmail.com
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