ANTHROPOSa selection of work by Julian Araneta

Julian Aranetajiggs.araneta@gmail.com

+778 919 0874302, 1338 West 6th Ave

Vancouver V6H 1A7BC Canada

EDUCATION

International Student ExchangeIndustrial design at Lund University’s Faculty of Engineering in Lund, Sweden.

Sept 2013 - Dec 2013

Kinetic ArchitectureCollaborative studio between University of Oregon Architecture and Emily Carr University Industrial Design

Mar 2013 - Jun 2013

Bachelor of Design; Industrial DesignEmily Carr University of Art + Design

Vancouver, Canada

Sept 2011 - Apr 2015

Sept 2004 - Aug 2009Bachelor of Arts; Anthropology

University of ManitobaWinnipeg, Canada

FLUENCYEnglish (native)

Tagalog (excellent)Swedish (intermediate)

VOLUNTEER POSITIONSOrganizer 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)

EXPERIENCE

Jan 2007 - Dec 2010Graphic Artist (self-employed)

Graphic design for clothing and print media

Jan 2006 - Apr 2010Founder: University of Manitoba Rowing

Developed university athletes for national-level competition

Jun 2004 - Apr 2010Program Coach and Youth Camp Coordinator

Designed and facilitated training programs for the Winnipeg Rowing Club

Summer 2013Product Development Intern for Blurr

Backpack design and development for Hatch line

SOFTWARE COMPETENCE

PORCELAIN LAMP

by Jiggs Araneta, Oskar Lundgren, Luis VelasquezLTH, Lund University

Fall 2013

INTRODUCTION

The aim of this workshop at Lund University was to conceptualize, in CAD, a porcelain object of function and realize it to the physical form using the slipcast technique. The

three forms showcased here are inspired by wine decanters and Roman wine jugs.

STATEMENT

Behind each great political upheaval, philosophical revelation, revolution, and brilliant artistic movement is, most always and with certainty, a good glass of wine.

SLICE KNIFE BLOCK

by Jiggs Araneta, Marcela Gutierrez and Eunji KimEmily Carr University of Art + Design

Spring 2014

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 wooden 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 Vancouver Special to sell each item for $50, buy it from the designer for $25, with a gross production cost of $12.50.

THE PREMISE

In order to produce a product for less than $12.50 and sell for $50, we focused on designing for maximum material yield and a streamlined, efficient production process. What we were sacrificing in cost for good quality materials, we wanted to make up for by minimising the waste by-product and cutting down on time spent unproductively.

This design group, composed of Marcela Gutierrez, myself and Eunji Kim, decided to focus our ideation on the idea of a knife block after reviewing our proposals with Vancouver Special’s owner, Anne Pearson. Many iterations of the knife block were made in order to find a proportion that we felt was most functional, pleasing, and sensible to manufacture. Pictured on this page are the two main iterations which directed us to the final dimensions of our product.

Solid beech wood, unobtrusive geometry, and a touch of magic magnets. These elements bring together the clean aesthetic of the knife block.

Mounting onto any kitchen wall is achieved through implementation of two keyholes drilled to the back panel of the knife block.

1/8” slots allow four knives to be stored in the knife block. The production-ready knife block features two magnets per slot instead of one, to increase safety and 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.

Value-yield per cubic inch of wood was maximised from the beginning by sourcing wood with the purpose of creating multiple units rather than just one final piece.

We delivered almost two and a half times the expected production units within budget, and generated a high amount of interest - and happy customers - via social media campaigns (instagram: @vanspecial and twitter: @van_special).

Packaging for the product remained true to the maximum value-yield approach in order to save costs without sacrificing brand image.

The primary material is .8mm craftboard, cut and folded to form a box to slip the knifeblock into. The flap to access the knife block also serves as a small box of its own, containing all the necessary hardware to mount the knife block on any surface (2 screws and 2 drywall anchors, as well as two strips of industrial double-sided tape).

We opted not to print onto the craftboard in order to reduce the cost of production. Instead, glossy printer paper was used to create a sleeve with all the brand information.

PRODUCT ENVIRONMENT

KINETIC ARCHITECTURE: NARROWED WATERS

Cross-Disciplinary Studio CollaborationEmily Carr University (Industrial Design)

and University of Oregon (Architecture)Summer 2013

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.

MAIN HALL

water wheelshinsulator drive shaftmaster controlsindividual controls

ENTRY

VIEWING DECK

OSOYOOS VISITOR CENTRE - BUILDING PLAN

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.

A collaboration between Emily Carr University industrial design, University of Oregon architectture, and Turner Exhibits

shinsulators

water bars

planetary gears

water wheel

valve controls

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.

Shinsulator slides out to allow water bars to open

When open, water bars prevent shinsulator from closing

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.

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.

CONDITIONS FOR OPERATION

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.

aluminum side panel

thermal mass

torsion springs

drain mechanism

lead ballast

water ballast

Driving Bracket Shinsulator attachment point

Track/wheel system

Chain drive attachment point

Location of shinsulator -

shinsulators closed

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.

shinsulators open

INPUT

CARRIERS COUPLE

CONTROL POINT

OUTPUT

PLANET: 9SUN: 18RING: 36PLANET CARRIER: 24

TOOTH COUNT

PLANET CARRIER: 24INPUT

CARRIERS

engage right drive = CLOSE shinsulatorsengage left drive = OPEN shinsulators pull handle forward = master water valve release

USER INTERACTION

FIXED INPUT OUTPUT

1INPUT

1IDLE

1.50DISENGAGE

03

RING GEAR CATCH ENGAGES DRIVE TRAIN

CARRIER JOINS PLANET GEARS

0 1

INPUT

3

IDLE

1

INPUT

0

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

by Jiggs Araneta, Joseph Buccini, Ashleigh Fischer, Larry Ho, Evan Hutchinson, and Luke Larsen.

NARROWED WATERS

INTERACTIVE LEARNING TOOL FOR CHILDREN

Winter term 2013

by Jiggs Araneta and Ryan Van Noy, andCo-designer: Danny Altschuler (age: 7)

We couldn’t have possibly met a more enthusiastic, energetic and inspired co-designer for this project.

The primary designers in this endeavour were myself as well as Ryan, a classmate from Emily Carr University. We worked alongside a 7 year old boy named Danny whose keen interest in football, board games, puzzles, music, and animals influenced the majority of our product proposal. We used his many interests to synthesize a game and a physical product that he helped design.

With his direction from the beginning, Danny pushed to design the interactive learning tool as a wooden football skills-and-drills board game, ready to assemble and easily transportable from within the home to the football field. Danny felt very strongly about the aesthetic and his clear ideas reflect his excitement over being majorly involved in the process.

Week 1:Our cardboard mockup in response to Danny’s co-designer request to design a “super awesome all-in-one soccer drills and skills training station”.

Week 2 and 3:The project requirements only allowed us to use 1.75-inch baltic birch plywood as our primary material. To simulate basic mass manufacturing methods, only the bandsaw, sander and pin router were used. Finally, as an additional constraint we set out to design the product to be flat-packable during shipment and ready-to-assemble for the user.

Week 4:We tested the prototype with Danny and with our own classmates, in both indoor and outdoor conditions, and concrete, wood and grass surfaces.

Week 5:Ryan and I finalised the chamfer details and lean-angle of the slots to maximise the product’s ability to apply to a diverse range of football skill levels from beginner to advanced.Danny was a major part of the process from concept ideation and all the way through to colour selection and the way the product would be assembled.

CONCLUSION

Although we recognized that it is a truly rare opportunity to work smoothly with a client or co-designer throughout the entire process from start to finish, we cherished the experience and learned a countless amount of valuable design practices.

Most importantly, we learned that inspiration could come from any demographic background of the client regardless even of age.

Kick+Dash

WOOD VENEER IPHONE SKINS AND CASES

2011-2013

Personal project

ITERATION 1: Using walnut veneer and a thin 3M adhesive, the pattern of the iPhone backplate was cut out and applied directly to the iPhone glass. These were sold between April 2012 - December 2012.

ITERATION 2: Customer feedback was positive. However, some customers expressed a small desire for having the safety of a bumper if the phone were to be dropped. A matte black case allowed the wood veneer to remain as a significant modification and textural treatment without compromise.

The wood cases were sold on several websites: upintwo.com, etsy.com, and mylocalshop.ca from April 2012 - April 2013. They were featured and promoted on the Vancouver design blog, The Must-Have-Maven. The online sales were primarily within North America, with a portion of the sales making their way to Australia and New Zealand during the holiday period over the winter season.

Each case is made of walnut or ash paperbacked wood veneer with a 3M ultrathin 0.8mm adhesive backing. The black cases are painted. By far, despite having iterated upon the product in order to have a plastic bumper, the original wood veneer iPhone skin outsells the plastic case by a large margin.

GRABCAD: VELODROOM BIKE ACCESSORY CHALLENGE

Design Competition - Team Entry

Jiggs Araneta, Melanie Bland, and Karen Byskov

May 25 - 29, 2013

Location of Velodroom’s current offering: the user is provided with a removable wrap-around rear brake light.

THE COMPANY

Velodroom is a Belgian bike accessory company with an innovative brake light and sensor technology. When the user picks up the bike, the light senses the movement and powers itself up. During cycling, a change in velocity triggers the accelerometer to increase the light output like an automotive brake light.

THE COMPETITION

Velodroom set up a competiiton on GrabCAD to source ideas on how they might be able to utilise their technology with other bicycle-related objects. Aside from simply providing lighting, Velodroom wanted to create a product line based around their innovative technology. The company wanted a cohesive lineup of cool and innovative products that were both novel yet marketable as functional and useful objects.

PRECEDENTS

Given the amount of time that we could generate a concept, a predominant approach that we found worked for this competition was to ideate quickly and expand the concept under the theme of visibility. We opted to focus our efforts on simple and quick solutions ideally already utilising a part that was already commonly found on a bicycle. This thought process led us toward finding opportunities in specific areas of the bicycle where lighting could be utilised effectively while remaining user-friendly.

LATERAL VISIBILITY

Working with Solidworks software, the team collaborated simultaneously on the same CAD file as an exercise in rapid sketching. We set out to create a form through purely digital means and ultimately resolved our product as a water bottle cage meant for improved visbility from the side.

Injection molded ABS plastic water bottle cage with electroluminescent wire frame powered by rechargeable and removable battery pack.

Battery powers the accelerometer and supplies energy for the electroluminescent wire. Both battery and accelerometer are housed in a single molded unit.

Electronics unit can be removed when not in use.

THROUGH THE EYES OF THE ADVENTURER

International Exchange (IDEF10)Lund University

Fall 2013

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 critical design and suggest novel solutions to everyday problems.

DESIGN CRITERIA

Setting up a framework and giving an initial direction to the project required a list of design criteria to lend limitation to an otherwise completely open-ended premise. Of significance throughout the process, the phrase, “randomized encounters” defined the various contexts - geographical, social, emotional and chronological. What started as a search for how Tom could find structure and order in his life, developed into a means for Tom to encounter happiness and fulfillment through the wonder of surprise and adventure.

CONCEPT DEVELOPMENT

It was at this point that I took note of a bigger question about wayfinding that I had not considered before: why do we need to get from point A to point B in the most linear fashion possible? What would the experience be like if arriving at the destination was the least important factor? How can the journey - the adventure in between - be enhanced?

USER

Tom24 years old

singlewell-travelled

works in many citiesbored

SPACE

constant transitionstransience

transition pointsbetween points

PROBLEM

boredom nowhere new to go

trapped in routinelack of control

NEED

need adventureregain one’s selffind excitement

break routine

find troublethrow caution to the wind

discover true freedom

true freedom needs its “oh shit” moments.

“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”

old spice guyjames bondan idiot abroadthe amazing racethe most interesting man in the worldche guevarramariposainto the wildrobert capatim hetheringtonthe open roadphotojournalismanthony bourdainVICE guide

RANDOMIZING ENCOUNTERS

I took inspiration from an old game that my family and friends played when I was a child. An object would be hidden in the room and we would only be given an indication of “hot” or “cold”, or “warm” and “cool”, when we were closer or further away from finding the object. Sometimes, these objects were in plain sight, but “hidden” in the sense that what we were looking for was not specified - only vague details were given about what this object was.

In attempting to give Tom novelty through randomized encounters in a city where the major sites are all known to him, the idea of playing the hot and cold game came to be. How would one interact with their surroundings when the only indication given to them is whether or not they are close, or far, from where they need to be?

I refocused on wayfinding and GPS units and I began to ask myself whether this kind of contradiction would present itself as appealing to the user. Would a GPS unit that did not actually give precise directions be of any use?

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 not have sought out.

hot cold

what shall Tom use to get himself lost?

becoming lost allows novelty to be experienced from places and objects otherwise not sought after.

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 earliest days of our ability to examine the sky closely, telescopes provided a revolutionary way to see the stars as never before. In recent history, our ability to travel into space has set the bar for the limits of technology. It is due to these two things - telescopes and spaceships - that the form began to take shape.

MATERIALS SELECTION AND OUTLINE OF FUNCTION

temperature/proximity indicator

eyepiece rotates 1/4 turn clockwise to activate shutter release; spring hinge allows counter-clockwise rotation to return to original position.

THANK YOU

Julian Araneta

CAN +1 778 919 0874SWE +46 76 210 66 71

jiggs.araneta@gmail.com