INDUSTRIAL DESIGN PORTFOLIO
SAMUEL BRAID
Hello my name is Samuel Braid, I am a recent Industrial Design graduate from Northumbria University. I consider myself to be a confident and creative designer, with an enthusiastic mindset. I have an active passion for furniture design, whilst enjoying the contrast between robust industrially styled products mixed with a minimal and natural side of design. I am open to new challenges and environments and enjoy showcasing a narrative within my work, whilst taking inspiration from my surroundings .
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EDUCATION
EXPERIENCE Paul Cocksedge Studio London, United Kingdom March 2016 - April 2016
Birkenhead School 2006-2012
Full Blown Metals Newcastle, United Kingdom April 2016 - July 2016
Birkenhead Sixth Form College 2012-2014
Kevala Ceramics Bali, Indonesia April 2017 - July 2017
Northumbria University 2014-2018
Gabriel Tan Studio Singapore August 2019 - November 2019 OTOMOTO London July 2020 - Present
SOFTWARE SKILLS
CONTACT
Photoshop
InDesign
sambraid@hotmail.co.uk
Illustrator Solidworks Rhino Keyshot
Phone +447931267623
Procreate
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CONTENTS
PLACEMENTS
5-18
re.WORK
19-34
LUNAI
35-48
IGNIS
49-60
FOUND
61-74
PERSONAL PHOTOGRAPHY
75-82
GRAPHIC ARTWORK
83-87
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01
FULL BLOWN This section outlines my experience on my first placement at Full Blown Metals in Newcastle. Full Blown specialize in the process of inflating metal for a variety of applications.
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SPHERE- 01 6
“Sam Braid worked at Full Blown during 2016 on a student placement. During this time Sam worked on a number of projects, several were large-scale, including a proposal for a major commission for the Canary Wharf group and another for W Hotels in Dubai. Sam provided meaningful input in early stage 2D design work using Adobe photoshop and Illustrator. Full Blown also required Sam to generate drawings of existing products in Solidworks and work exclusively on follow-up design proposals generated from a trade show in Dubai. Sam has shown that he is also capable of adapting well to a range of practical tasks and problem solving. He has assisted in public art projects, general workshop (including material preparation, post-weld finishing and polishing) and on-site fabrication and has shown a general willingness to assist with any task, small or large, that was required.
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Full Blown is a small art and design company which requires its employees to work well as part of a team, while also working independently and being capable of taking direction when required. We also demand flexibility, working hours range as much as our projects and lead times do. Sam has contributed with enthusiam in all areas of his work. He has shown an appetite for learning new skills and a willingness to engage with each project, providing additional input and remaining committed until its completion. Overall it has been a pleasure to work with Sam and since his placement he has continued to work for Full Blown on a rolling project-by-project basis. Please feel free to contact me if you require any further information.� Stephen Newby/Director steve@fullblown.co.uk
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KEVALA This next section outlines my experience on placement at Kevala Ceramics in Bali, Indonesia.
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CANANG SARI - 02 10
“Sam worked at Kevala Ceramics for 3 months in 2017, from April to July on a short placement as part of his university degree. During his time here Sam worked predominantly on several new and ongoing designprojects, ranging from large-scale ranges for hotels/resorts such as Four Seasons, Westin and The Edge, to commissions for local cafes/restaurants including pieces designed alongside Souq, Bottega and Republic. In addition to external design projects, Sam was also involved with in-house design for the Kevala Home store, where he designed a set of decorative vases to be part of a new Kevala Home range for 2018. Subsequently some of these have been taken by the Four Seasons. During each project, Sam was taken through the full process from the initial client meeting to creating design proposals, manufacturing samples and follow up meetings until the design was finalised, created and delivered to the client. This process required the use of strong presentation skills and a high degree of knowledge in 2D design software, utilising Indesign, Photoshop and Illustrator.
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During his time at Kevala I found Sam adjusted to the cultural differences quickly, he formed strong friendships with my team and they respected his involvement in brain storming for development of new ranges. His teamwork was impressive and his upbeat character and can do attitude lessoned our workload and made him a very low maintenance employee. Sam’s strong attention to detail allowed him to complete visual presentations efficiently and on time. I was impressed with his timekeeping and commitment to work, he would be an asset to any employer and I recommend him to any endeavour he chooses to pursue. Please don’t hesitate to contact me for further information.� Wendy Thomas/Director wendy@kevalaceramics.com
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DECORATIVE VASES Whilst working at Kevala, I was given the oppurtunity to design a range of decorative vases for the upcoming Kevala Home range. With this I took inspiration from militray water canteens and wanted to emphasise it’s shape by contrasting between a minimal, scaled down neck against a large body. I then played around with differing shapes of the body to create the range shown.
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GABRIEL TAN STUDIO The final section outlines my experience on placement at Gabriel Tan Studio in Singapore.
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ARIAKE FURNITURE RANGE - 02 16
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“Sam Braid made a product and furniture design internship at Gabriel Tan Studio, Singapore, for a duration of three months from 26 August to 22 November 2019. During his time at the studio, he worked on furniture and product design projects, contributing to model making, 3D CAD and graphical presentations of the office. He is proficient in software-related work in both 2D and 3D and got along with his colleagues in our studio, was extremely hard working, determined and talented. He is able to work in a team, as well as be independent enough to work without prolonged supervision. I would not hesitate to recommend him for future employment applications and will be following his career with great interest.� Gabriel Tan/Design Director gt@gabriel-tan.com
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re.WORK Industrially inspired modular joints encouraging individual DIY creativity within the homespace through furniture design.
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re.WORK CHAIR - 03 20
INITIAL RESEARCH ‘Creating an adaptive item of furniture that encourages individual creativity within the home space’
MILLENNIALS DIY SKILLS ENCOURAGING CREATIVITY SIMPLIFYING FLAT PACK FURNITURE
ONLINE INTERFA
Through initial research I decided that I wanted to create an adaptive item of furniture utilising a joint system. Whilst researching I found that millennials tend to shy away from DIY with around 80% of those within the UK not knowing how to change a light-bulb and up to 75% scared to try their hand at assembling flat pack furniture. Despite this, millennials are much savvier online and more open to watching interactive tutorials and step by step guides. They are also very expressive online with their peers. I wanted to attempt to tap into that and encourage individual creativity within the home space through furniture design.
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I wanted to make a statement of the joints within my design and display each piece as a standout feature of the furniture piece, rather than hiding the joints away within the frame. This led me to research innovative joinery techniques used within the modern design world, with two pieces in particular standing out. Nicola Zacco’s ‘Shrink’ series featuring heat-shrunk plastic as a method of joinery, and Christof Schmidt’s ‘DaR’ project which incorporates joining wood by inserting Polyurethane foam within the cracks between the wood causing it to expand, creating a strong and stable bond.
SHRINK
E ACE
DaR 22
JOINERY TECHNIQUES Through inspiration taken from Japanese Joinery, I experimented with differing ways of implementing sub-tenon joints within my design, taking inspiration from the work of Neue Werkstatt. This experimentation then led me to creating a scaled down mock up furniture piece, displaying the joining techniques that could allow for quick and easy assembly within my design.
INSPIRATION
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SCALE MODELS
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INDUSTRIAL INS
Cycling along the River Tyne, I methods used within the severa which led me to wonder if thes my design.
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SPIRATION
noticed the industrial rivetted joining al bridges that span across the river, se details could be implemented within
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re.WORK CHAIR
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FINAL JOINT DESIGN The final re.WORK joint design displays a simplistic girder inspired aesthetic with raised edges contrasting against a slim cutline through the centre of the joints. Taking inspiration from the raw industrially styled rivetted joins along the bridges of the River Tyne, the screwheads display a clean rivetted look whilst on the underside of the joint, the nuts connected incorporate a knurled edge allowing for an easy grip whilst tightening the joint onto the wooden frame. Assembling the main chair frame involves 4 flat joint parts and two 110° back tilted corner joints. These joints are connected to 7 wooden frame pieces, four attachable legs and 8 ratchet straps for the cushions to sit ontop of.
FLAT JOINT
CORNER JOINT
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ASS instruction manual
re.WORK is an adaptable piece of furniture utilising industrial styled joints, allowing users to fully customize their furniture. Inspired by girder bridges along the River Tyne, the joints frame system highlights simplistic joining methods, allowing for quick and simple assembly, whilst encouraging DIY creativity through self-upholstery methods, enabling the user to adapt their furniture throughout their life cycle.
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SEMBLY PROCESS
BASE ASSEMBLY
fig 1. displaying the metal insert within the top of each leg
Items needed:
BACK ASSEMBLY 1 Arrange wooden beams into a square matching the
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3 Once the end of the screw pops out of the other end and is flush, take the knurled screw ends and tighten until this is flush with the surface of the joint underneath.
Again, using the same method as before, lightly tap the screw through both the wood and the joint, starting with the lower section of each corner piece.
Items needed:
diagram shown below.
3 After hammering in each screw, locate the
shorter screws and secure them by twisting the knurled bolts onto the bottom of the joints until they are flush with the surface below.
2 Place joints in each corner matching each joint with a corresponding hole. When everything is in place, start gentley hammering four long screws for the legs and four short screws.
assembled part:
final base assembly:
UPHOLSTERY
7 Take hold of your hammer whilst
4 After securing each of the small screws into 1
re.WORK
push the tip of the screw into the top part of either one of the corner joints allowing the screw to sit in the correct position before hitting into place
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gripping the tool with your supporting hand, and lightly hit the top of the tool several times to make sure that the eyelet has properly been pushed through.
3 After all of the holes are cut out take
Items needed:
Take care and lightly knock the screw through both the joint and wooden frame until the head is flush with the surface of the joint.
place, flip the frame over and use the metal inserts (shown in figure 1) to screw each of the legs onto the long screws located within the reWORK joints.
out the eyelet tool, making sure that both ends are firmly connected and place top eyelet piece onto the bottom part of the tool
full frame assembly:
4 After securing both corner joints in place, repeat the same method as used in step 1, but this time start with the lower part of both joints before connecting the back board
FINAL ASSEMBLY
5 After each section is firmly in place, take the
third tool part and tightly push this within the centre of the eyelet.
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Items needed:
1 The first step of the upholstery is to take both
the grommet and hammer and mark holes for the eyelets to fit within,. Evenly space each hole spanning around the perimeter of your fabric.
After this process has been complete remove each part of the eyelet tool, which should reveal a perfect eyelet within your complete assembly: fabric. Repeat this method for the rest of the cushion
2 Once each hole is marked out, push the
grommet into the fabric and use the hammer to drive it into the designated areas, creating small holes for the eyelets to fit within.
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4 Once the bottom 4eyelet piece is pushed through the hole, place the thin eyelet topper After fitting all of your over eyelets thewith desired theonto fabric the curved side facing up. fabric, measure out some thread and wrap this around opposite facing eyelets to enable a tight pull on either end of the fabric.
After tightening the thread to give the fabric a taut wrap around the bottom of the inner cushion, the next step is to tie a strong knot to keep the fabric neatly fitted around the foam and inner fabric.
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Once each piece is tight and in place, close the main tool over the top of the eyelet tool and pieces and hold in place.
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Once each cushion is neatly upholstered, take 4 dowels for the chair bed and 4 more for the back rest, which can then be hammered into the holes within the beams
Finally once all of the furniture pins are connected to the chair frame, the last part of the assembly is to carefully place each cushion onto each corner to give both cushions a secure fit onto the frame.
USER EXPERIENCE DISCUSSING STARTING DIY
DIY FAIL
HEARING ABOUT re.WORK
RESEARCHING SIMPLER ALTERNATIVES 31
CUSTOMIZING FURNITURE
APP EXPERIENCE
RENDER OF CHAIR IN LOCATION
TAKING PICTURE OF ROOM
This experience starts with the user struggling with his flat pack furniture, then searching on the internet for how-to guides and simpler alternatives. After speaking about his DIY issues with a friend the user is informed about re.WORK. After downloading the re.WORK app on his phone the user customises his furniture piece and looks to see how this furniture item could look in his living space.
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re.WORK DELIVERY Once re.WORK is delivered, the user assembles the frame utilising the simplistic re.WORK joint system. Once the frame is assembled and the ratchet straps are applied to the frame, the cushions are self upholstered by tying together the threads between each of the eyelets located within the fabric. The upholstered cushions are then placed on the frame to complete the re.WORK furniture piece.
RATCHET WEBBING ASSEMBLY
FRAME ASSEMBLY
SELF UPHOLSTERY
FINAL ASSEMBLED CHAIR
PLACING CUSHIONS
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ADAPTATION STAGES 1ST STAGE
2ND STAGE
3RD STAGE
Utilising recycling and encouraging emphasis on boosting the user’s creativity. The life cycle shows how a young user could begin their furniture life cycle with a vibrant house chair accompanied with small table, developing into a sizable lounge sofa with a coffee table as the users’ needs and wants change to the next stage of their furniture needs. Finally as the user looks to start a family the re.WORK set forms a small child’s bed, partnered with a bedside chair for the parent. Encouraging recycling by allowing the users to swap their old furniture pieces, they can exchange these parts for different materials and colours.
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LUNAI Interactive light allowing the user to fully interact with their environment by optimising different viewing positions/angles.
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LUNAI GLOW - 04 36
Lunai was a response to the 2017 Northern Lighting Design Award 2017, to create an original, innovative, lasting and functional lighting design. When starting this project I began researching Scandinavian design, hoping to gather inspiration from prominent native designers. My aim was to create a bright, playful lighting piece that kept in line with a Scandinavian lighting aesthetic.
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PARABEL TABLE
MAMMUT CHAIR
After researching I became drawn to the playful aspects of Eero Aarnio’s Parabel table and Ikeas MAMMUT chair for their minimal yet well thought out designs. I tried to experiment around these designs by playing around with their forms to see if I could spark any design ideas.
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After playing around with these forms, I selected 5 different silhouettes to base a design around, considering whether I could design a light that could encompass all of these forms utilising interactions within my light.
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INSPIRATION
Drawing inspiration from similar forms I wanted to keep the light very playful and in line with a Scandinavian design style.
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When analyzing these silhouettes I decided to use the main front facing light to have a large fan like head, with a much more slender base adding a contrast to its appearance
The other highlighted forms would be represented within the side view of the light, displaying how the light could interact and move along a track to give the user different light positions and angles.
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LUNAI Lunai is an interactive light design that allows the user to interact fully with their environment, choosing from different lighting angles optimising how the users interior environment is lit.
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GLOW WORK
AMBIENCE
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Lunai pivots on a circular centre point allowing the user to tilt the lamp head shifting along a track located within the underside of the lamp head. As Lunai is taken past a certain position the light beam switches from top to bottom and vice versa.
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TOP CENTRE PIECE TOP ACRYLIC LAYER
TOP STRIP L.E.D’s
MAIN LIGHT HOUSING
BOTTOM STRIP L.E.D’s
BOTTOM ACRYLIC LAYER TRACK w/ DISCS
FIXED DISCS
TOP BASE
ARDUINO
BRAIDED CABLE
BOTTOM BASE
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Lunai utilises a tilt switch mechanism within the top of the lamp, allowing the light to be switched from top to bottom depending on the angle of Lunai. The top lamp body can also be shifted along the track to allow for differing light combining with the centre discs to allow for many different angles of light emplyingan arduino circuit board to enable smooth light transitions and differing lighting setttings.
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IGNIS An Interactive torch inspired by primitive lighting methods used within caves, allowing the user to use the light as both a torch and a room light.
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IGNIS FULL BEAM - 06 50
PRIMITIVE LIGHTING Responding to a brief set to create a semi portable lighting product with an intuitive or tactile element incorporated within its design. The interaction between the primitive action of carrying a torch, then igniting another torch to generate a larger glow of light within an area intrigued me. I wanted to explore this light form and see how this could be translated within the indoor interior lighting world.
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re.WORK
INSPIRATION When looking for style inspiration of how the torch could look, I wanted to aim for a very clean form that encapsulates a traditional torch form, whilst merging this shape with a more modern pendant silhouette, merging together to create both a portable and fixed interior light.
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Through ideation I came up with a final concept that consisted of a main torch made from spun aluminium shell, housing all of the components within. This would display a seamless look to the light and allow the torch to be turned on and off using the acrylic light shade layer sat on springs. The main interaction though would be with the hanging pendant that the torch could be attached to, which in theory would brighten the glow of the light as the connection was made.
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FORM PROCESS Once I had settled on the correct form for the torch, I moved onto manufacturing, firstly creating the final form from a dense foam to allow for the metal spinners to be able to form the sheet aluminium around.
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The three images below display the three stages involved within the metal spinning process which included firstly clamping down and cutting the aluminium to shape. Once the metal was cut, the aluminium sheet was then heated until the metal was soft enough to be able to push along the foam form on the lathe. Once the aluminium was clamped underneath the foam form, the metal could now be spun and pushed along the form until the form had been completely covered. This process is shown in full within the QR Code below.
CUTTING SHAPE
HEATING PREP
SPINNING 56
IGNIS Ignis displays three different lighting settings which the user can utilise. Firstly the upright lamp that can be used as a small bedside lamp or desk light. Once picked up the lamp can then be used as a torch for both indoor or outdoor usage. Finally once Ignis is connected to the pendant fitting the brightness of the light with increase and create a pendant room light.
The main int sensor place magnetic ch attached to securely lock
As the torch the beam in a pendant ro battery withi fitted within
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teraction utilises a magnetic ed within the bottom of the torch and a harger within the small black pendant the cable, allowing the two pieces to k together.
connects to the pendant the brightness of ncreases and allows the torch to be used as oom light. This interaction also charges the in the torch, using a wireless sensor pad the pendant.
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FROSTED ACRYLIC
LED RING
PUSH TO MAKE SPRINGS
ACRYLIC SPRING
BATTERY ARDUINO
COMPONENTS
MAGNETIC SENSOR BRAIDED CABLE SPUN ALUMINIUM TORCH
MAGNETIC CHARGER
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Ignis houses a small LED ring light and push to make switch within the centre piece, attaching to the frosted acryllic shade allowing the torch to be switched on by simply pushing down on this layer to turn the torch light on. The components below are housed within the aluminium body, including the main battery and an arduino microcontroller that is programmed so that once the magnetic sensor connects to the magnetic charger the glow of the torch increases to create a larger beam of light within its environment.
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FOUND Upcycled Lamp inspired by Adhocism, utilising wooden hangers to create the frame, allowing for the industrial lamp to sit on top.
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FOUND IN SCENE - 04 62
FOUND adjective 1. ‘Having been discovered by chance or unexpectedly.’
‘Freely interpret the word ‘Found’ exploring avenues that inspire a piece of interior lighting.’ Exploring the brief my initial thoughts were to search for an item or part to draw inspiration from, creating a interior light based around this ‘found’ item.
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SEARCHING My initial start point led me to searching through my grandad’s disused barn that was littered with many old tools and miscellaneous items scattered throughout.
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Searching through the various rooms, I glanced across to a nearby shelving unit that housed an old worn industrial heat lamp. After cleaning the lamp up using emery paper, I then shot blasted and spray coated the lamp in order to maintain a crisp and modern finish.
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INSPIRATION
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ADHOCISM ‘The art of living and doing things adhoc’ Through form research and inspiration I discovered the design philosophy of Adhocism. I felt that this could be a potential avenue to explore within this project, by utilising household items to compliment the large industrial lamp shade that I had stumbled across.
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After searching for Adhoc inspiration throughout my house, I managed to find a row of wooden hangers in a wardrobe. I started to think of ways that I would configure these hangers in a way that would connect and merge together with the lamp to create an Adhoc lighting piece.
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FOUND LAMP Combining four refurbished coat hangers to create an understated base along with a large upcycled vintage industrial lamp shade, illustrating my take on Adhoc design to create a modern looking lamp for the home space.
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UPCYCLED LAMP SHADE
BULB FITTING
FILAMENT BULB
SCREWS
WINGNUTS
COAT HANGERS
BRAIDED RED CABLE FLEX
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Displaying the Adhoc ethos, the Found lamp utilises four wooden coat hangers connected via wingnuts and screws within the middle of the base, linked together with four screws at the base hanger to hold the stand in place. The upcycled industrial lamp shade is held in place with a further two wingnuts and screws to allow the user to adjust the positioning and angle of the lamp. The Found lamp is complimented by a braided cable thread that is connected to a vintage styled pendant fitting connecting to the back of the
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PERSONAL PHOTOGRAPHY A small range of landscape photography I have taken throughout my travels over the past few years.
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GRAPHIC ARTWORK The following pieces of graphic artwork are pieces that I have started working on since COVID-19 lockdown.
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Samuel Braid +447931267623 sambraid@hotmail.co.uk