Portfolio 2017

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this is martina.


DEX

IN

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6 44 80 LA SMILZA graduation project

SCOTTATURE impastor, spora, lava

AURIGA

handbike for competition

24 66 92 GLISMILZI a sequel

30 72 GLI SPECCHI DI BAUDELAIRE graduation project

STELLARIUM art installation

PATRIZIO phytagorean bracelet

INNESTO traditional sicilian craft

100 TALIA

the probelm of appearence

110 116 122 126 130 134 140

RED DRESS FOR FRIENDS’ WEDDINGS

MACINAMATITE art installation

CANNON BALL art installation

VIRICA ancient craft

TOO PER TWO woodwork

XMAS STOCKINGS exercise for families

DRAWINGS of all sorts

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date of birth: 27th Jun 1989, ERICE (TP), TRNMTN89H67D423X mobile phone: + 44 07939983316 / +39 333 92 60 024 e-mail address: martina.taranto@gmail.com portfolio online: issuu.com/martina.taranto address: 23 Fir Grove, New Malden, London, Surrey, UK, KT36RH via Acquanuova, 52, Calatafimi Segesta,TP, Italy

As a curious person I am always searching for new points of view and new approaches to things and life in order to appreciate everything in the most conscious and sensitive way. I really care about people’s needs, both practical and intangible, this is why I’m interested in semiotics, in the way objects and people affect each other respectively according to culture. I try to deal with different topics in order to sharpen my versatility and enrich the quality of the creative process. I am interested in experimenting new perspectives in order to design anything in the most unexpected way. I have a good eye for detail and I love dealing with graphics and digital art.

VOLUNTEER 2007/2013 LIBERA, nomi e numeri contro le mafie + UNILIBERA 2013 Young municipal councilman at Calatafimi Segesta Municipality 2015 Princess Alice Hospice.

SKILLS

#photoshop #indesign #illustrator #rhinoceros #keyshot #cura #fusion360 #3Dprinting #rapidprototyping #digitalfabrication #digitalart #arduino #alchemy #word #manualanddigitalsketching #theoryofcolours #theoryofshapes #sociology #semiotics #appliedsemiotics #photography #photoediting #manualskills #crafts #html #arts #sustainabledesign #corporateidentity #branding #wordpress #socialmedia

PRICES

2017 A’ DESIGN AWARD WINNER - SILVER for LA SMILZA 2014 AURONIA CONTEST, Operae Torino,1 st place 2012 ENRICO CIRIO TALENT AWARD #1, 6th place

SPOKEN LANGUAGES ITALIAN (Mother tongue)

ENGLISH (B2 TOEIC certificate April 21st 2015)


STUDIES 2003/2008 Liceo Scientifico G. Ferro Scientific and classical studies mark: 100/100 2008/2011 *Università degli studi di Palermo *Polytechnic of Turin Engineering applied to Energy resourses. 2012/2015 IAAD Istituto D’Arte Applicata e Design Product Design mark: 110 cum laude

WORK EXPERIENCE

2008/2009 TRADITIONAL ARTWORK Traditional Sicilian paintings with handmade coral inserts, for Planet Gems 2011/2014 ILLUSTRATOR Illustrator for online monthly magazine: “Il palindromo” 2012/2013 GRAPHIC AND ARTISTIC WORKS *Installation for traditional Sicilian event *Advertising for Young Municipal council 2014/2015 PHOTOGRAPHER for Holi Colour (Calatafimi Segesta) ARTWORK for Vesper Pub (Turin) 2015/2016 INTERNSHIP FabLab London (Nov 2015/Apr 2016) FREELANCE WORK *Prototypation and digital fabrication for Tech City’s event at the National Gallery *Re-Branding and Corporate Identity for Planet Gems JOURNALISM Published essay for FabLab London “Form Follows Function, really?” 2016/2017 FREELANCE WORK “Iconoplastica”Art Installation for City of Calatafimi Segesta INTERNSHIP *Studio Moritz Waldemeyer, London *Studio Marlène Huissoud, London

collaborations

*2015 Fondazione Achille Castiglioni

Graduation Project *2015 Redivivus Graduation Project *2014 Apr/Jul Lago School project

WORKSHOPS

29th Jan 2016, London F a b L a b L o n d o n (a t t e n d e d) Electronics Design: Fundamentals Workshop. 12nd Dec 2015, London (ran) FabLab London organized and ran Christmas Craft Workshop for families. 21st/22nd Nov 2015, London Hackcess (attended) “A hackathon focused on using digital fabrication and maker technologies to help disabled people live more independent lives...” by Whizz-kidz with Fab Lab London, Autodesk, Ultimaker and Goldsmiths University. 20th Nov 2015, London F a b L a b L o n d o n (a t t e n d e d) Fusion360, Autodesk. 28th Mar 2015, Turin F a b L a b T o r i n o (a t t e n d e d) Arduino Day. 18th Mar 2015, Turin F a b L a b T o r i n o (a t t e n d e d) Welding Microphones! How to make a piezoelectric microphone. 8th/10th Oct 2014, Turin IN-Residence D e s i g n D i a l o g u e s # 8 (a t t e n d e d) Resonance Tuning. 15th Sep 2014, London GlobalDesignForum LondonDesignFestival (attended) OLED there be light: the future of illumination. Democracy in Design: The Modern Makers.



la smilza

In collaboration with:

[CREATIVECREATORS]

graduation project. YOUTUBE VIDEO https://www.youtube.com/watch?v=UTaOkmDq4SM

Supported by:

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[ SMILZA > having little flesh; lean, thin.] * A socio-semiotic research is missing because of extensive length of its contents.

ABSTRACT

More or less risky dissertations on the designer’s evolution in view of the technological progress and the democratization of design and productive media. MARTINA TARANTO

A graduation project on a chair. Exactly what everyone tells you not to do from the very first day at university. But if the suggestion comes from the “Fondazione Achille Castiglioni” you can not refuse. This is a challenge with habits and social customs that evolves considering future scenarios, in which the technological progress and the democratic nature of the production process will allow well designed items to be affordable for everyone. I find a “raison d’être” to the object that, probably, is the greatest archetype of Design, thanks to the special support of Achille Castiglioni’s method who, as a legacy, leaves a critical memory.

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ORS

CREATIVE

A “Creative Creator” is someone who, in the “creative” manner, thinks about things, processes them, makes them real through the use of particular tools: the craft for the craftsman, the timegained experience for the handyman, the industrial technology for the designer, the rapid prototyping techniques in the new case of the Makers. “Since 2005 the new Maker movement started shaping. By saying “Makers” you indicate communities of people mostly amateurs - who design and build assets in physical and virtual shared spaces with teamwork methods and digital tools.”

March 14th 2012, Massimo Menichinelli defines the Makers phenomenon, in his article for Domus “Craftsmen and designers: a community of makers.” “The working method and the self-production are not their only characteristics: digital production technologies, hardware and software, as well as social media based services and free, shared knowledge are also important features. It is an evolving movement, so it is difficult to define it.”

Today, the Maker is still an ethereal figure to be categorized, probably because of the merging of other professional identities in the same professional character. The most prominent feature that defines the Maker is a real ideology based on shared ideas and knowledge, collaboration and a digital approach to the production process.

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WALTER

MARTINA TARANTO

GROPIUS

WILLIAM

MORRIS 10

“All of us architects, sculptors, painters, we must turn to the craft. Art is not a profession, there is no essential difference between the artist and the craftsman... We form one community of authors without class distinctions that raise an arrogant barrier between craftsman and artist. We conceive together the new building of the future, which will embrace architecture, sculpture and painting in one unit, and it will be raised one day to the sky from the hands of millions of workers, like the crystal symbol of a new faith.“

“Art is to be made by people and for the people, as a happiness to the maker and the user.”


la smilza

ACHILLE

CASTIGLIONI

“It is necessary to approach to the industrial design, considering the evolution of the everyday reality, with the continuous certainty that also the most humble object has its own story to tell: not a “formal appearance”, but a formal “quantity”. And from the analysis of the “formal quality” of a serial object, our experiences of working always lead inevitably to the ethical problem of the design and the use of the object in the production process. This is a problem of responsibility for the industrial designer, in a society where massive and progressive transformations are not only quantitative changes but they invest qualitatively the man and the whole world around him.“

#thewisemansays

“[...] The identification of the main component of design is that specific planning element that embodies the will to answer to a particular functional feature rather than to a particular stylish characteristic, or an expressive/ communicative search type.“

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#ontheroad

Because of education and job opportunities, this historical period forces us to face the issue of mobility. Moving from one country to another of the world, even over a few months, is no longer as difficult as it once was, mobility shapes us, it changes our ways of living and our approach to life.

MARTINA TARANTO

The idea of a seat designed for “wanderers” was born by thinking of offsite students’ situation. They leave home, at a very young age, the apartments accessible to their finances are often very disadvantaged; the neglected environment in which they live leads them not to feel comfortable in that space, to neglect it therefore, understandably bringing them to change place every year, in the hope of a new, luckier opportunity than the previous one. A nomadic person is subjected to many and sudden changes, he has to develop a good ability to adaptation.

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So, I wanted to create a products that would fit wanderer people, a chair that could be adjusted on their needs, that can be shaped on everyone bodysize. Wherever they will go they’ll have the chance to furnish their apartments with something that would totally fit them, their way of life they physicality and... why not - their taste too!


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concept #democratisation

Autoproduction is the tendency of reclaiming the production process in order to regain and own, once more, the satisfaction of making our things with our own hands.

#future scenarios

Making connections, to the net, to other people/ Chronic nomadism.

#technological progress

New technologies and their semplicity, must be the catalysts that will allow our society to be distinguished from the past ones because of a more democratical aproach to the industrial production.

#mychair

Thousands of chairs already exist and they satisfy every kind of desire... the current massive industrial production generates every day new products that will be stored in warehouses until the sale. What if my chair would exist just when I need it? What if it wouldn’t be necessary to produce thousands of chairs anymore? What if I could build my seat according to my physical, temporal, spatial needs? Answering to these questions has been my chance to face the problem of a limited and thoughtful production with a very low impact, to justify the umpteenth chair that the world would host ... it would not be the chair but its potential idea, that would need to be accepted by the public audience; this would make my object much less invasive both economically and ecologically in the irrepressible industrial panorama in which we operate. Moreover, this has been a very good occasion to analyse a very actual distinctive feature of our society: nomadic life.

#lasmilza

I wanted to design a product that would respond to preconditions such as: democratic-ethical-chronistic production and consumption of objects, application of new technologies and historical memory. LA SMILZA is made of broomsticks, 3D printed joints and a suspended laser cut seat. It is highly customizable, affordable toW everyone according to their needs, transportable everywhere by whom uses to travel from one place to another, easy to assemble and disassemble. If you are a nomadic person, you can bring with you a piece of your latest homes! Because of the availability of broomsticks everywhere in the world, with the 3D printed joints, you can rebuild your chair when and where you want, improving it and giving to it always different features.

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BUILD YOUR SMILZA: #materials:

MARTINA TARANTO

8 broomsticks cut into12 pieces, 2 pieces of rope 3m each, 26 self-tapping screws,10 3D printed joints, laser cut back and seat, hammer,screwdriver.

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#fit

#screw

#twine

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ASSEMBLY INSTRUCTIONS Seat

Ropes

Screws

Horizontal reinforcements

Knots

For ergonomic reasons is recommended to build the seat slightly inclined. If you can, try to draw an 80° acute angle with the two pieces of the seat. Obviously, we all have diverse physiques and a universal ergonomic rule does not exist, so feel free to build the seat in the way that suits you better.

It is very important that the ropes will hold up, in fact it is absolutely necessary they will be stretched properly with care and precision so that the entire structure won’t suffer of disequilibrium. The right placement of the ropes will avoid the structure from collapsing.

The recommended screws are: UNI 6955 - ISO 7050 DIN 7982, 8 mm head’s diameter and 20 mm pace. Be careful, don’t tight too much, it could break the stick and (even if rarely) the joint too.

To obtain effective reinforcements you should respect simple principles of Physics. The person’s weight forcewill be distributed on the 4 load-bearing legs. Once the joints are installed the four legs will become levers and each joint a fulcrum. In order to reduce the lever arm (meaning the bending strength) you can place the joint nearby the stick’s barycentre.

The knots you see below are the ones with the strongest tight.

MARTINA TARANTO

JOINT

LA SM IL ZA

A foldable instruction sheet also exists. In it it’s possible to find some structural advices, the most effective and strongest knots to secure the seat, the right way to twine the ropes and few suggestions on how to build other possible structures.

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la smilza

Printing tests and shape variations due to structural reasons.The most efficient way of printing the joints is upside-down, in this way possible fractures due to the layers’ orientation are avoided.

FOCUS ON MATERIALS

The easy availability of broomsticks, plus the fact that their measures are the same all over the world, allows the section of the printed item to be universal. 3D printing opens a big range of opportunities in terms of customisation since allows you to use the most diverse materials, even special ones such as metal or marble. Users can build a fully customizable product; they will choose the material that most pleases them. They will be able to print the joints by themselves in a maker-space or they could ask for help to a specialised shop. A recommendation is needed, to choose carefully the broomsticks as they need to be strong enough to bear the weight but not too rigid to avoid breaks.

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MA RTI NA

MARTINA TARANTO

TA RA N TO

LA SM IL ZA

LOGOTYPE

This logo represents the three stages of the assembly process. The verticality emphasizes the structure’s thinness by recalling the Japanise style also quoted by the broomstick’s similarity to the stem of the Bamboo plant.

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gli smilzi a sequel.

Gli smilzi is a consequence to the previous project. They are concieved ad a system of forniture pieces. By using 3D printed joints and wooden broomsticks you can assemble a million of customisable combinations of chairs, tables, shelves and much more!

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gli smilzi

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LA MUSIC La musique souvent me prend comme une mer! Vers ma pâle étoile, Sous un plafond de brume ou dans un vaste éther, Je mets à la voile; La poitrine en avant et les poumons gonflés Comme de la toile, J’escalade le dos des flots amoncelés Que la nuit me voile; Je sens vibrer en moi toutes les passions D’un vaisseau qui souffre; Le bon vent, la tempête et ses convulsions Sur l’immense gouffre Me bercent. D’autres fois, calme plat, grand miroir De mon désespoir! Les fleurs du mal, Charles Baudelaire


In collaboration with:

team: Alberto Petronio Daniela Salerno Martina Taranto

gli specchi di Baudelaire graduation project #2.

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ABSTRACT

MARTINA TARANTO

Redivivus is a luthier artisan workshop, brought to life by the brothers Massimo e Umberto Mari, they produce their own instruments until 2005, when the economical crisis erupted and the market was flooded by Chinese products. Sales decrease and the brothers are constrained to return to the labour of repairing and restoration. Today the company is facing a difficult moment. For them we designed a product that could be a real alternative to the more elitist basses and guitars. Within a modern scenario in which mass production insinuates with tenacity and insistence our everyday life, the artisan works quietly in his shop. Staggered in a society where the handmade product is recognized as a precious object, but for reasons due to habits, lack of curiosity and attention, and to a market invaded by industry, artisans are stuck in a limbo where their product is no longer valid. In fact the craftsman lives in the shadows of industrial production, often forced to change his identity job,

CONCEPT

We came up with the idea of an object that uses the principles of guitars and basses to optimized the sound emission through the consistency of the wood they are made with. We thought about different objects which could reach out to everyone, independently from the fact they know how to play or not a musical instrument. With this product, Redivivus will pay particular attention not only to an elitÊ of customers but to those who appreciate what the elitè produces. We designed a system of parables, employing their formal characteristics in order to reflect sound into a defined space. The aim was to give a moment of asceticism and intimacy derived from listening to music to those who were in the vicinity of that point.

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gli specchi

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Boudelaire in his poem “La musique� describes a situation in which privately everyone enjoys music and all the memories this arouses in us with its harmonies. MARTINA TARANTO

The same feeling that our object seeks to enhance.

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gli specchi

WOOD SELECTION

The selection of wood becomes a fundamental factor in the working of this instrument that amplifies sound. Softer woods better transmit low or medium-low frequencies, while the hardest woods respond better to medium-high and high frequencies.

* Hard woods (top row) Medium-high frequencies from 6000 to 25000 Hz:Ebony, Rosewood, Canadian maple (from left to right). *Soft woods (bottom row) Medium-low frequencies from 0 to 6000 Hz: Ash, Fir, Alder, (from left to right).

PARABOLOIDS & SOUND WAVES

focus

focus

d

Sound waves are emitted from a speaker, positioned exactly in point F so that the waves will bounce on the paraboloid, propagating in a cylindrical bundle of its perimeter’s dimension.

The parable is obtained joining all the infinitesimal points equally distributed between point F and the perpendicular projection of line d.

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gli specchi

Experimenting on wooden pieces we applied the luthiers’ techniques into the designing of a unique piece of craftsmanship.

key point

In time both artisans have specialized in the fixing of electric basses and guitars, they have acquired the ability to reconstruct missing or broken portions of any part of the guitar, making the instrument look as good as new and making the point of union between old and recently glued wood to be imperceptible, neither for its colour or grain of the wood. Willing to emphasize this characterizing capacity, the gluing method will be used to join rhombus and triangles obtained from wasted wood, that compose the body of the paraboloid.

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SOUL

Meeting up with a handmade product, automatically links us to the soul of who used his hands to create it from scratch; therefore, the object instantly becomes more personal and intimate.

MARTINA TARANTO

“Gli specchi di Baudelaire” does not want to impose an attitude or gesture, but instead wishes to return space, time and privacy to those who make use of it, conveying sound with our artisans’ culture, tradition and story.

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gli specchi

BODY

PARTS

The base formally recalls the tripod that usually supports the Charleston in a drum kit. We wanted to maintain cleanliness and simplicity in order to focus attention on the paraboloid and its pattern. To be formally coherent with Redivivus’s musical imagery we decided to resume the typical mechanicals of the electric bass and use them as interfaces of the hinges, those are necessary to adjust direction and height of the sound stream flowing from the paraboloids.

The sound is projected towards the paraboloid through a directional speaker located in its focus, it is supported by a metal rod on which the electric wire is wrapped. Into the speaker is installed a Bluetooth device which reproduces the sound thanks to a connection with digital tools.

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scottature [IMPASTOR-SPORA-LAVA]

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scottature

[ SCOTTATURE > pl. skin-burn. ] Every time I go to the sea, I am always so enraptured by the wonder that surrounds me that I end up staying too much in the water, swimming, under the hottest sicilian sun, without thinking of the consequences for my skin. At the end of the day it is hotly burnt. My skin is dried, arid, it loses its usual softness, and it hurts...so bad. Though, even if I’m exausted, I’m satisfied and pleased. These projects are the result of what has been for me the reverse experience. When I decided to start the following projects I was stressed, I felt dried up of ideas and motivation, I wanted to wildly push myself forward, with no rules, randomly, I jumped out from my comfort zone and trusting only my artistic instinct I tried to get some beauty out of the condition I was stuck into. What follows is what came out.

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STYLE/CRAFT I experimented on atypical materials. I wanted to convey through my object the idea of wild, spontaneous, unforced. I wanted to use a material that fairly easy to manipulate but also indomitable at the aspect. I wanted to try the design of a new composite materital. As the matrice, I used the only kind of foam I could find in the local shop of my home town. I tried different mixtures, using different reinforcements. What came out is a light, compact and resistant material.

MARTINA TARANTO

Depending on the different doses of materials you’ll have diverse textures and performances.

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scottature

IMPASTOR [IMPASTOR > Combination of the italian word “impasto” ( meaning = dough) and the english word “impostor” like me when I am out of me.]

When I get annoyed because things are not evolving as I would like to, I am usually taken by a wild raptus of hyperactivity during which I try to make them happen faster. Sometime I don’t sleep because I need the time to find the best solution. It is some kind of madness that I use as a catalyst to change my ideas into real objects.

I ‘ve realised that the making process, create things, transferring my ideas from my brain to my hands is something that defines me. While I was developing this project I was living in Calatafimi, my Sicilian home town. Sicily sometime is a difficult place to express yourself as a common designer would do in the rest of the world. The designer professional figure is quite misinterpreted and misunderstood. I get frustrated very quickly and because of the lack of opportunities I felt impotent. I have a quite dangerous attitude to perfectionism, at uni I’ve been thought how to develop my projects in the best circumstances: easily finding materials, having professional expertises’ disposal and the ideal lab where to conduct experiments - I hadn’t none of those things in Calatafimi. Nobody thought me how to get the best solution from the worse opportunities, that was a proficiency I developed during my youth youth in Sicily but, for lack of need, I put it in a corner once I move for studuing in the flourishing Turin. I had to free myself again from the academic attitude. I had to unleash my aesthetic sense of beauty, trust it as a lead to find the best language for me to express myself as an inventor in my original environment.

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scottature

SPORA /

An Impastor chair

Spora is a chair brought back to life. After dealing with the Impastor for some time, I decided to recover an old chair for kids I found abandoned in the fields of my granpa’s country house (my recreation ground) by tusing the pink foam. The small chair originally used to be used by the kids of my home town’s primary school... from time to time the school gives away old items - my aunt took that little chair and brought it at my grampa’s place. The chair was completely covered in rust, unused for years because of it. “Spora” is the Italian word for “spore”, In biology, a spore is a unit of asexual reproduction that may be adapted for survival, often for extended periods of time, in unfavourable conditions...

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LAVA

Impastor solutions.

MARTINA TARANTO

[lAVA >

Rock formed when the fluid rock that comes out of a volcano becomes solid and cools.]

I named Lava all the products that I create after Spora because of their shared and compleately accidental aesthetic feature: they all look kind of trapped in the pink funky spuma. The spuma acts a bit like lava, it is soft and viscous but when it dries it turn solid. The following projects are trials to test different possible application of the material.

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stellarium part of Iconoplastica

[ART INSTALLATION] YOUTUBE VIDEO

https://www.youtube.com/watch?v=0QSmAs0Lwzo

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stellarium

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stellarium

STELLARIUM Stellarium is an art installation. It is placed inside of chiesa dell’Addolorata, a XVI century church dedicated to the virgin Mary in Calatafimi Segesta, Sicily. During Christmas time is a local tradition to create astonishing and elaborated representations of Jesus nativity. Inside the church is installed a very precious 12mq handmade nativity scene. I’ve been asked to add to the magnificence of the nativity scene some element that would create an enchanted atmosphere around the model and that would provide a surprise effect to the visitors. I designed a suspended framework placed on top of the nativity scene that holds 700 strings decorated with silver-plated sequins, each one secured to the thread by hand. All the strings are tight to the suspended framework. The installation takes life when, in a completely dark environment, each sequin starts sparkling thanks to a system of spotlights, designed for the purpose, that will reflect the light on all the small surfaces of the sequines. The entire framework is connected to a mechanical element meant to gently move the suspended strings in order to obtain a more evident sparkling effect. The visitor coming inside the church will be surprised by a very unexpected, evocative and enchanting view.

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Commissioned by Planet Gems

patrizio a phytagorean bracelet.

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SIZE Inner diameter 70mm stones’ diameter 4mm


patrizio

PATRIZIO Patrizio is a very funky bracelet. Every feature of its shape is a celebration of Geometry. It is composed by a silver frame and 54 stones of cubic zirconia. Since I was a child I have always been fascinated by sparkling things. I love jewels but back in the day they use to puzzle me very much. Obviously I was enchanted by the harmony and splendour of their aesthetic composition but I was extremely disappointed because all that gold of the structure prevented me from seeing clearly the entire shape of the stone that I deeply fancied. I used to wonder why would someone enslave those beauties in a golden structure only to always look at the same face? Patrizio’ s peculiarity is dynamism; every stone is set within the silver frame using a completely new technique, totally different from traditional mounting methods. By applying some geometric principles to the design of the bracelet’s shape and to its constructive technique, each gemstone is allowed to wobble in its position without falling out. The silver frame is composed of a binary structure made of two identical parallel circular tracks connected to one another by structural elements. These parallel tracks feature elliptical holes that will be needed to hold in place the stones. In fact, each gemstone is secured to the bracelet’s main body by fitting in the purposely-designed elliptical holes between the two parallel tracks. Thanks to the elliptical shape of the slits, the zirconia will not be totally immobilized, nor brutally surrounded by metal; on the contrary, each of them will be able to move in its own spot, when the bracelet is shaken and all the stones will be visible in all their beauty.

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team: Daniele Obiso Martina Taranto

auriga

handbike for competition.

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auriga

A numerical investigation on the new design AURIGA. Auriga has born as an exercise of style. Inspired by the many victories of the Italian champion Alex Zanardi at the 2016 Paralympics games of Rio, I decided to design my own handbike for competition. When my friend Daniele saw it on my facebook page, he was intrigued by the design. Since he’s an engineer with a background in aerodynamics, he proposed to perform a technical investigation of the 3D model in order to discover if my design’s performance was actually accurate enough to be applicable in a real competition race. We read about the technical and constructive parameters needed in professional competitions, and before starting the analysis we adapted the model to those parameters. What follows is the result of the fluid dynamics investigation.

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auriga

The CFD Approach: an introduction to the methodology. The aerodynamic performance is evaluated through the usage of CFD technique. CFD, Computational Fluid Dynamics, is a numerical engineering approach to analyse problems related to the motion of fluids, as for example aerodynamic application. The approach is based on the numerical integration of the Navier-Stokes equations over a defined and discretized volume. The handbike is modeled within a virtual wind tunnel, and the volume representing the external domain is discretized in small volumes (computational cells) where the equations of the aerodynamic are applied. This approach allows engineers to get aerodynamic performances in a faster and cheaper way than running experiments.

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The CFD Approach: configuration setup. The ergonomic of the rider plays a fundamental role in the development of the drag force. For this reason the geometry of a manikin was inserted in the model. The rider is positioned in a downhill aerodynamic set-up, with a speed of 14 m/s (50 km/h). As shown in the picture, the rotation of the wheels is taken into account. The results of the simulation will be presented in terms of visualization of the aerodynamic field and of the drag force, expressed with a non- dimensional coefficient. Drag force coefficient: F = drag force A = frontal area ρ = air density U = free stream velocity

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C=

F 2 1/2AρU­


auriga

RESULTS OF THE SIMULATION Negative energy areas

*Pressure field.

Total pressure field. Velocity field. In the picture above is shown an iso-surface computed at total pressure = 0. Total pressure represents the aerodynamic energy: negative total pressure areas (inside the iso-surface) are the zones of energy losses.

In the pictures below is shown an iso-surface computed at total pressure = 0. Total pressure represents the aerodynamic energy: negative total pressure areas (inside the iso-surface) are the zones of energy losses.

In both cases, as expected, the helmet produces most of the dissipation.

*Velocity field.

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auriga

*over-pressure zones in RED

*the main body doesn’t interfere with the air flow!!!

Pressure field. In these pictures is shown an iso-surface computed at total pressure = 0. Total pressure represents the aerodynamic energy: negative total pressure areas (inside the iso-surface) are the zones of energy losses.

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CONCLUSIONS Being aware of the results of this analysis it can be stated that Auriga’s design is efficient and satisfying enough to compete with the performances of general professional handbikes. Even though Auriga’s performance is equivalent to that of similar products of the same category, there is still room for technical and stylistic improvement that could push this project’s efficiency to a more competitive level.

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Commissioned by Planet Gems

innesto

traditional sicilian craft.

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Products

INNESTO [INNESTO > A bud or small shoot of a plant placed into a groove, slit, or the like in a stem or trunk of another plant in which it continues to grow.]

MARTINA TARANTO

In the western region of Sicily, near Trapani, there is an ancient tradition linked to Coral. Mediterranean Coral has always been considered a precious good. In the past people used to use it to make jewels but also to decorate their homes’ furnishings. They used to cover in coral votive statues and paintings of Saints and Gods. Planet Gems is a small Sicilian company that still produces handmade coral paintings respecting the antique tradition and its techniques. Planet Gems is trying to get a more contemporary look for its paintings. They asked me to improve their style by choosing and prototyping new motives and themes that would put in evidence the articulated production techniques and the preciousness of the decorative elements such as pearls, semiprecious gems, silver and trimming. The re-style process is evolving according to PG’s customers’ taste and sense of aesthetics.

I was also asked to re-design Planet Gems’ website and Corporate Identity, social media included. You can have a look at them browsing: www.planetgems.it or Planet Gems facebook page and instagram profile.

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innesto

STYLE/ TRADITION Planet Gems main subjects used to be floral or religious subjects. Their customers request a typical Mediterranean style, recalling Sicilian Art and Culture. In order to satisfy clients’ demand I proposed to PG a series of subjects linked to these requirements that, in the initial stage, will be used to test the audience’s reaction to this potential change of style, gradually adapting their taste to new solutions. Traditional features of this ancient craft are massive decorations, excess, luxury, ostentation - the chosen themes are quite elaborate in order to test feasibility in terms of techniques and materials’ efficiency. It has been verified that subjects with perspective lose impact and they suffer of harmony deficit; it is because of the limited shades of colour that can be obtained from the materials at disposal. For this reason, in order to boost the final effect, I decided to proceed using frontal figures with rough perspective or none. The company wants to realise unique pieces in order to underline the uniqueness of the craft.

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innesto

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innesto

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talĂŹa

the problem of appearance.

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MARTINA TARANTO

[TALìA > Sicilian word meaning “Look at that!”.]

Paracelsus’s homunculus teaches us the important key role played by proportions regarding people’s perceptions. From all my school projects this is one of those I am most fond of, it is about physical aberrations and how they can mislead us from the true essence of things. Unfortunately it has never been prototyped because of the difficulties I crossed in finding professionals with musical and craft skills that could work togheter on this project.

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talĂŹa

FIGHT STEREOTYPES

WITH CURIOSITY

Stereotypes affect social relationships. I built my study on the contrast between attractiveness and unattractiveness. Music as well as beauty influences the way we perceive reality. I combined this two elements in order to demonstrate that things are not always what they seem. To everyone has happened, even unconsciously, being the victim of stereotypes or prejudices related to the physical appearance. These stereotypes affect social relationships, sometimes preventing them. One of the most appropriate instruments to fight stereotypes is curiosity. To be interested in what you do not know or what you do not understand, encourages people to go beyond the limits imposed by canonical beauty. Music on another hand is able to bring people together thanks to its playful and ethical features, and also because of the transmission of social and cultural messages.

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Masks allow us to take new identities. As a demonstration of the fact that not everything we see is a faithful representation of reality, I reasoned on the concepts of deception, concealment and aberration.

MARTINA TARANTO

“Never stop at first sight” is the message I wanted to convey through my study on deformation, focusing my attention on human body’s aberrations.

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By elaborating these inputs, I followed a stream of consciousness that led me tward some reasoning on crippled mouths like the one you get from wearing a diving mask... tribal masks, something... animal, moustaches, whiskers.


talìa

Inspired by animal body parts, I designed a series of two musical instruments to be played through the mouth.

INSPIRATIONS ASPIRATIONS With their aesthetics, my designs badly alter the facial expression of the person who wears them, but the sounds they make using the head as a sounding board, would be as harmonious as the Kalimba’s ...and as strange as the Sicilian Scacciapensieri’s.

I wanted the body-language involved to be as unusual and flashy as facial expressions in order to emphasise the inconsistency between what you can see and what you hear.

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talĂŹa

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projects made for:


FUNFUNFUN FUNFUNFUN FUNFUNFUN FUNFUNFUN FUNFUNFUN FUNFUNFUN FUNFUNFUN FUNFUN-FUN

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reddress

for friends’ weddings.

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Fun


red dress

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Fun

Y? MARTINA TARANTO

Last summer, after a long time, I was invited to the wedding of two of my friends. The idea of designing my own dress crossed my mind because I needed a proper dress to attend to it! I really love fashion and handcraft, my grandmather was a fine tailor, my mum is an artist in knitting so I have grown up with this admiration for customised clothes. I’m not able of knitting or tailoring anything, but I have a long experience in designing exclusive haute couture dresses for my Barbies! All the women in my family use to have handmade clothes (the most of which are now in my possession), I wanted my own. With the help of a professional tailor I realised my red dress for friends’ weddings made of tulle and red lace. <3

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red dress

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Commissioned by Planet Gems

macinamatite art installation.

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Fun

During my internship at Fablab London I was asked to exhibit few old items recovered from the mysterious basement. This grinder is one of the weird things found there.

MARTINA TARANTO

Macinamatite is composed of many parts, most of them are hidden. My intention was to reinstate this obsolete product in the lab’s everyday life - also I wanted its restyling to recall the object’s old function, like an echoing presence of the past. Because the hidden elements were not essential to understand the object’s ultimate function, I decided to remove them. I came with this idea of the pencil case because I was thinking of some object present in the lab that would have been easy to combine with my intention of recalling the grinder’s old function in an ironic way. I took a look around the lab and I saw all the colourful pencils stored in the sad box on the shelf. What I did is very simple: I replaced the metal grid where the meat used to come out with a 3D printed one designed to hold the pencils.

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macinamatite

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Fun

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macinamatite

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Commissioned by Planet Gems

cannon ball art installation.

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Fun

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cannon ball

What would you do with a cannon ball from the 19th century?

I turned it into a globe for magnetic laser cut baby ships! During my internship at Fablab London I was asked to exhibit few old items recovered from the basement. The cannon ball is one of them. The Cannon Ball is exactly what the name says it is: a true, original, crazy cannon ball from the Napoleonic period. The first time I saw a ball used as a weapon was two years ago, at the Segesta’s archaeological settlement, in my home town - there 120 big catapult balls lie peacefully on the grass. These balls are made of perfectly polished white stones, typical of the area. Seeing those unnaturally rounded stones, for me as risky as an Arnaldo Pomodoro’s sculpture, monstrously dangerous centuries before, made me realise how objects’ perception is subjected to times and culture. The very same stones that were seducing me because of their shape, in a distant past might have ended uncountable lives. Holding the cannon ball in my hands, brought my memory back to that day I was peacefully standing with one hundred of mass destruction weapons at my feet. Through this design I wanted to convey, in a tragicomic way, that paradox.

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virica

ancient craft.

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Fun

This ia a study on how to plot olive branches and reeds in order to obtain simple but useful products according an ancient Sicilian technique. Back in the day there were no plastic bags. Groceries, fruit and vegetables were gathered directly from the fields and not from supermarkets.

MARTINA TARANTO

In Sicily an ancient craft exists, it is almost lost, very few people can practice it still, these people usually called “mastri� were able to create any sort of container, of any size, by plotting olive branches. These baskets were used to transport or store any kind of objects. Two summers ago, I spent part of my holidays with one of the last craftman in Sicily, learning the technique.

These two pieces are what I produced during that experience.

[ VIRICA > Sicilian word for branch.]

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virica

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too per two woodwork.

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Fun

This is an exercise of woodwork and an experiment on perceptions. In any boardgame the contestants have to be very carefull in making the moves, they rarely look at eachother in the eyes because they have to keep their eyes on the board. I wanted the chess board to become a real plane of confrontation. I wanted the players not to be forced to look down at the game, but induced to look at each other in the eyes, through the use of the board, establishing in this way a stronger connection and perception one of the other. The pieces move on a acetate sheet that allows the magnet, located on the pawn’s base to slide from one box to another. On each side of the vertical plane of the game there is a scenario which is specular to the other player’s.

MARTINA TARANTO

This is a school project.

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too per two

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Commissioned by Planet Gems

xmas stockings

exercise for families.

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Fun

#families #socialise #xmas

MARTINA TARANTO

The 12th Dec 2015 me and the other interns at FabLab London were asked to organize and run a Christmas Craft Workshop for Families.

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We wanted to show how everyone can use the lab’s facilities for their own projects, so using the excuse of the decorations for the festivities. Along with ribbons, Santa sleighs and Christmas trees to be assembled, they had to sew together the two halves of laser cut Christmas stockings. I was in charge of their design. We wanted to use the laser cutter to produce the stockings so they needed to be made of an easy and safe material to be laser cut. Felt was the best choice, both from a technical and an aesthetic point of view; it is efficient and cost effective, plus thinking about socio-semiotic impact, felt would have been the most communicative material, being traditionally associated to the Christmas collective imagination.


xmas stockings

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Fun

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xmas stockings

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drawings of all sorts.

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Fun

This is an exercise of craft and an experiment on perceptions.

MARTINA TARANTO

Since my family had never seen what a laser cutter can do, I decided to design a few artworks to give to them as Christmas presents. At that time I had used the laser cutter for a month, but always to make elemental designs. I wanted to test how far it was possible to push the machine’ s performance. I decided to translate some of my most complex and tangled drawings into vectorial files in order to exalt, through the laser cutter’ s performance, all the fine detail of my designs and the lightness of cut paper. I wanted my mum to hold my artwork in her hands as she does with the laces she loves so much. I wanted her to realize that what I did with a machine can be as accurate and precious as something entirely handmade. It’s fascinating how shapes and colours can lead people to perceive an object in a precise way. At the end, as long as they tell a powerful story, the process of making is not so relevant in the economy of the item’s perception. My mother knows that I can make a thousand pieces identical to the one I gave to her, still she keeps my gift in an envelope because she doesn’t want to ruin it, she is waiting for my dad to put it in a frame.

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drawings

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Fun

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drawings

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drawings

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2017

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portfolio

thanks for your curiosity! 149


is this the end?

MARTINA TARANTO


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