industrial design portfolio by Roza Janusz

portfolio

Magdalena R贸偶a Rutkowska

Industrial design student

2014/2015

Hi,

ABOUT

All my experience, incidents and accidents happened because I feel the need to unfold myself. I am studying industrial design at the School of form. As a designer I try to be a middleman, who derive from different areas creating a new quality. Seeking what in between. I link humanities with design and technology with craftsmanship. This fusion allows me to thinking about design not just as a product, but mainly what is behind it - method of production, the material, impact on the environment or cultural context.

PUNKTUALITY

DRAWING

SKILLS

RESEARCH

RAPID PROTOTIPING

RHINOCEROS

GRASSHOPPER

FUSHION

CNC: CUTTING PLOTTER, 3D PRINTING, LASER ROBOTICS

ADOBE SUITE

TEAMWORK

LEADERSHIP

CONTENT

1 2 3 4 5 6

GET MASKED

8- 13

CATENARY

14-19

SĘK

KUKA SCAN

SURFACE KLIP

20- 23

24- 27 28- 33

CHOCO RITUAL

34- 37

FUNBRUSH

38- 41

PROPORTION

42- 49

GET MASKED

Ritual masks attributed spiritual significance. Currently „external” masks are not so common - we do not see everyday masks on our faces, but we never take them off. They are present in the form of social roles, aspirations and stereotypes. The initial idea was a social mask, universal for everyone, but in the process of experimenting with materials, photometry technology and 3D scanning a personalized version appeared. The mask was created by preparing the mold using CNC technology, applied to this form of resin coated string. Despite the industrial nature of the process, each mask is unique. It reminds disposable product what refers to the original masks produced by hand. Masks tightly fit a wearer’s face and looking through the openwork structure, he sees the world fragmentarily. Through different masks we see differently and although we try to control it we don’t know which mask we wear and how does it look like. One thing is certain - the masks have rooted in our faces.

GET MASKED

I use scan 3d to personalize molds, so the mask can be adjusted to the userâ&#x20AC;&#x2122;s face. The 3D face models are cut in slices in an interval matched to the material thickness. In this case I used a 3mm thick heating foam. The layers are numbered and cut by laser, then glued in accordance with the numbering.

CATENARY

The assumption of the project is to design a parametric structure with regular connector and irregular filling out. We designed hangingly supported installation with lines inspired by Gaudi models. We used to write a program principle of a chain curve. No repeatability in the parametrics makes it difficult to assemble and instructions, so we used regular connector. The variable only attachment of anchors per every fifth line which is tense. Construction of 4 x 5 meters was placed over the stairs.

CATENARY

Another application is a rigid structure. Changing the material from lines on fiberglass with resin has allowed to stiffen and turn installation. We used to fabrication tool for KUKA robot designed by Barbara Dzaman. Tool for fiber resins are applied while working of a programmed robot.

SĘK

SÄ&#x2DC;K

SÄ&#x2122;kacz- regional cake in Poland, was inspiration to create material production. I implement rule of baking to process of manufacturing. Pouring material to mold while rotation. My first idea was to use extreme materials, which complements each other. During the process it turned out that many materials do not have the proper parameters dries in home conditions. This prompted me to change the assumptions. Using wax and resin I designed the openwork composite in which layers overlap. Effects are unique with standardized production. We can use any mold. Shape will be mapped from the inside and from the outside irregular.

KUKA SCAN

4 4

KUKA SCAN

PROGRAM

&ACCESS RVP &REL 38 &PARAM EDITMASK = * &PARAM TEMPLATE = C:\KRC\Roboter\Template\vorgabe DEF kam1( ) int alfa, beta, ii real x,y, r,h,rr decl e6pos s1 ;FOLD INI;%{PE} ;FOLD BASISTECH INI GLOBAL INTERRUPT DECL 3 WHEN $STOPMESS==TRUE DO IR_STOPM ( ) INTERRUPT ON 3 BAS (#INITMOV,0 ) ;ENDFOLD (BASISTECH INI) ;FOLD USER INI ;Make your modifications here

The subject of of the project was to design tool and software to robot KUKA. As students of industrial design often we use the tool to scan 3d 123d catch. Most sending of difficulty makes shoot images with the appropriate parameters.That is why we designed tool with built-in foot for the camera. Program automatically move with along the perimeter and rotate camera

;ENDFOLD (USER INI) ;ENDFOLD (INI) base_data[6]=base_data[3] base_data[7]=base_data[3] rr=300 alfa=10 beta=5

Thanks to the tool, the speed of preparation of photographs and their quality has increased considerably. The project was realized in collaboration with K. Pytel, A. Paśniewski, P. Lasota and V. Riabko.

;FOLD PTP HOME Vel= 100 % DEFAULT;%{PE}%MKUKATPBASIS,%CMOVE,%VPTP,%P 1:PTP, 2:HOME, 3:, 5:100, 7:DEFAULT $BWDSTART = FALSE PDAT_ACT=PDEFAULT FDAT_ACT=FHOME BAS (#PTP_PARAMS,100 ) $H_POS=XHOME PTP XHOME ;ENDFOLD ;FOLD PTP P1 Vel=100 % PDAT1 Tool[1]:werty Base[0];%{PE}%R 8.3.21,%MKUKATPBASIS,%CMOVE,%VPTP,%P 1:PTP, 2:P1, 3:, 5:100, 7:PDAT1 $BWDSTART=FALSE PDAT_ACT=PPDAT1 FDAT_ACT=FP1 BAS(#PTP_PARAMS,100) ;PTP XP1 ;ENDFOLD s1=xp1 ;s1.x=s1.x-rr ;lin s1 for ii=0 to 36 s1.x=xp1.x+rr*cos(beta*ii+90) s1.y=xp1.y+rr*sin(beta*ii+90) s1.a=-90+beta*ii lin s1 endfor h=rr*sin(alfa) r=rr*cos(alfa) s1.z=xp1.z+h s1.b=s1.b+alfa for ii=36 to 0 step -1 s1.x=xp1.x+r*cos(beta*ii+90) s1.y=xp1.y+r*sin(beta*ii+90) s1.a=-90+beta*ii lin s1 endfor s1.b=s1.b-2*alfa s1.z=xp1.z-h for ii=0 to 36 s1.x=xp1.x+r*cos(beta*ii+90) s1.y=xp1.y+r*sin(beta*ii+90) s1.a=-90+beta*ii lin s1 endfor ;FOLD PTP HOME Vel= 100 % DEFAULT;%{PE}%MKUKATPBASIS,%CMOVE,%VPTP,%P 1:PTP, 2:HOME, 3:, 5:100, 7:DEFAULT $BWDSTART = FALSE PDAT_ACT=PDEFAULT FDAT_ACT=FHOME BAS (#PTP_PARAMS,100 ) $H_POS=XHOME PTP XHOME

SURFACE CLIP

SURFACE KLIP

Problem to be solved was broken table. This structural issue developed into connect the two surfaces able to withstand min 30 kg. The life- cykle of produkct does not have to end when it destroy.

Lasota Paweł, Magdalena Mojsiejuk, Róża Rutkowska

Starting point was a paper clip. Its mechanism easily connects paper but whether it would work with larger dimensions? Lasota Paweł, Magdalena Mojsiejuk, Róża Rutkowska

PROBLEM: złamany stół

The initial prototypes have taught us as a paper clip works and how it is done. We tried to build our own mechanism, but it turned out the expansion of properties of the clip gives a better effect. Extension of the upper part of the clip and stabilization greatly increases the strength the merge. The lower Section force to the table top from the bottom, thanks to which forces are equal. Unwilling to to lose usable floor space Merging also function as bowls, salt shakers or boards, whose we use in everyday life, but the difference is that now are an integral part of the table.Modular system facilitates personalization and installation. In the case of bending the counter modules can be placed on its sides stabilizing surfaces

The next step of the project is - the merge design suitable for thicker surface structure - Ability to combine any surface, for example by creating larger office space - Extension modules feature ROZWIĄZANIE: naprawa stołu za pomocą poszerzenia właściwości spinacza i dodanie funkcji użytkowej miejscu złączenia. The project also participated Paweł Lasota and Magda Mojsiejuk. ROZWIĄZANIE: naprawa stołu za pomocą poszerzenia właściwości spinacza i dodanie funkcji użytkowej miejscu złączenia.

CHOCO RITUAL

As a result of the fusion crafts and anthropology designed a vessel that allows the celebration of chocolate in the group. The simple act of eating changed into a sensual experience. Chocolate originally known as the drink of the gods, is dense drink with a distinctive aroma, warm color and velvety texture. It accompanied the many collective rituals related to the fight, gods and sex. At the beginning usually consumed by men embodied their characters, he was sharp and dense. However, Marie Antoinette intoxicated with sweet chocolate her lovers like Casanova. Chocolate regardless whether sharp or thick and sweet like syrup retains its ferocity and power an aphrodisiac. Even today, when it is widely available and modified in various way where the content of cocoa beans becomes minimal, it is associated with sensual pleasure. The meeting feminine and masculine reflects the open form of the vessel, which can dissolve chocolate on the walls, exposing his eternal power Heated by the warmth of chocolate Dish is served from hand to hand. Haptic sensations connect users to each other and allow the discovery of the drink of the gods.

FUNBRUSH

FUNBRUSH is an application learning correct teeth brushing habits in children. My task was to design a toothbrush containing the electronics combined with the application. The brush with assumptions had away from the baby style which are commonly used in products of this type without losing of interest the child. Form consulted with the team( M. Cisowski, A. Roszyk) is simple and at the same time functional.The toothbrush does not slip out of children’s hands thanks to rubber grip and is comfortable - the child can hold her whole hand.Eye-catching element is the one who „smiles” when it is turned on. The project included research, the first ideas 3D models, prototypes and mock-ups. This was my first collaboration with start-up, where I designed from idea to prototype.

PROPORTION

8 Melody of proprtion. Forest. The sea of trees. You will not find two the same. What feature of birch makes it so easily recognizable? I was surprised by the answer - disproportionality. Reflecting on this term had to first ask yourself the question - what is the proportion? General definition of the relationship between two or more sizes. According to this non-proportionality it is impossible. This concept therefore suggests the existence of undesirable proportions that fall outside of certain canon. So what criteria I will use in designing or to whom I will be opposed? Close to me are the words of Giacomo Leopardi, who puts beauty in what unclear, including what open and undefined. For this reason, he designed objects without function. I try vainly to escape from the associations. Materiality is inseparable from cultural codes as well as space. Donald Judd is an artist aware of the relationship proportion of theobject to the space in which it is located. In his works everything is whole. Geometric forms along the long observation reveals layers of meaning. He believed that simple does not mean easy. Simple can be even more complex, multi-faceted than this seemingly complicated, difficult. Judd made usable furniture. But I do not call it designer. To me closer to a composer who uses rhythm. Have dominion over the instruments - material and technology. In industrial design outside material conditions, we use the ergonomics, social needs, ecology and so on.Take the example of brush. Moves paint on canvas. its form determined by a function and ergonomics. Consequential shape of the brush smoothly goes from circular cross-section stem, in place of the rectangular housing bristles. The formed organic liquid form, despite the geometrical cross-section. Sculpture, product, nature - everything has been designed. That they have proportions it is conditional on the amount and type â&#x20AC;&#x17E;instrumentsâ&#x20AC;?. Judd using the right angles that do not occur in nature, not moving away from the man - his habitat. Contrary - objects may induce feelings of harmony and wholeness of being in the world as if we were in the forest, which has its own rhythm, its melody.

3d print

ancient wood kauri

concrete

PROPORTION

Aluminum is a material relatively new. Although the number of its applications is constantly increasing, does not arouse such interest as in the nineteenth century, when the doors made of aluminum for Napoleon III was the most expensive object in the world. JIronically 100 years later it was used for the production of cutlery used in milk bars. Today, aluminum can meet the high quality hi tech products as well as electrical cables and disposable packaging. This versatility shows not only about technological ductility, but also for its changeable image. Meanwhile, industrial production method is not familiar to users objects. The manufacturing on the production line often do not know what they produce. An attempt to expose the manufacturing process is the project Pewter Stools Max Lamb. The designer played the role of a craftsman. Industrial production was replaced by casting like in the Bronze Age. He used aluminum differently than before. Sand from the beach served him as a mold of unique stools. Manual work owes its uniqueness which is what the standardized production is excluded. Approach to aluminum as a material that can be formed using traditional manufacturing culture is also characterized project SolarSinter Project by Markus Kayser .Markus contrast to Lamb does not use the manual work to prepare the mold but CAD technology. Despite this process Kayser is part of the culture of hand-made. The values associated with traditional generation, it is not only the memory of hands and manual work, but awareness of the process and comprehensive thinking, experience and rethink the whole product cycle. Kayser and Lamb in his work prove that „technology does not have to be the art devices of the world in such a way that we do not have to experience it” (łukasiewicz) Aluminum has contributed to socio-economic changes so that we may call the twentieth century the Age of aluminum. Is this era still continues? On the one hand we get to know new materials that are beginning to displace aluminum, on the other hand aluminum interpret in new ways.”Lack of tradition, cultural identity, the dynamics of the economy and politics, which no one really understands and does not control. Everything mixes with everything „.- P. Zumthor describes the contemporary reality. I think that aluminum can be described by the same terms. Aluminium era would call the era of latitude. My (our) era.

aluminium