DESIGN PORTFOLIO by:
GERARD PIERA Selected works: 2016-2017
WHO I AM..
My name is Gerard Piera Arrufat. I am 22 years old and Iâ€™m from Barcelona, a cosmopolitan city. Thatâ€™s the city where I was born, where I have always lived, and it is where my friends and my family live. Also, it is a place where I can explore myself in a professional way. Regarding the studies, I started focusing on the more technological and engineering branch and later I decided to get into the world of creativity and design. Furthermore, it is important to connect the technical part with the more artistic one. I think that it makes me get a more global vision of design, in terms of co-design, co-production, co-manufacturing, etc.The reason I made this change was due to the simple curiosity and desire to express myself with my own creations, which are always related with product and space design.
This portfolio is a complilation of some works that starts in a more testing and explorating area where It is treat with arts and crafts. After that, it shows a more comunication view of products in addition of the more conceptual space projects. Which are always vinculated each other and also with graphic comunicaticn. During that time I have been able to see that design and art are disciplines that make people get closer and, sometimes they even make us think over more things that we are not used to. The fact of being part of it and being able to take decisions makes me feel motivated, because it is such a great responsibility. Itâ€™s us, the designers, who will have the ability to create emotions, concerns and solutions for society.
Education / Formation 1999 – 2013
Lestonnac School of Barcelona. ESO and technologyc High-school
2013 – 2014
A year Degree in Audiovisual Systems Engineering at the University Pompeu Fabra.
2015 – 2017 (currently)
3rd Degree in Design at the Elisava Design
Basketball referee training course, from the Catalan Basketball Federation
GERARD PIERA ARRUFAT 27/06/1995 Pg. Sant Joan, 27 2n 3a. 08010 Barcelona e-mail: email@example.com Tel.: 93 265 62 67 / 680 977 439 Driving licence B
and Engineering School of Barcelona.
Child and juvenile leisure monitor course, at the Free Sun School
Laboral experience 2013 – Currently
April 2015 (2 weeks)
Basketball Referee of the Catalan Basketball Federation.
Child and teenager Instructor:
- La Granja, Farm School in Palautordera. (P) monitoring leisure activities, game organizer, entertainer.
- Scout Grouping and Guide (AEIG) Sant Antoni
- La Calderon School Camp. Company: 7-i-Tria.
- Campus Barcelona Pro Basketball.
Support monitor, assistant, intendant.
June 2015 (2 weeks) July 2015 (2 weeks) July 2016 (4 weeks)
Monitor and Basketball Coach.
- Esplai “El Bon Recer”. Summer camp
responsible monitor and manager of the sports competition.
July 2017 (5 weeks)
- English Summer Camps “EIX ESTELS” Monitor of adventure summer camp.
TABLE OF CONTENTS
01 TESTING AREA
02 LIGHTING COLORS
03 PRODUCT DESIGN
04 SPACE DESIGN
TESTING AREA SHAPES, MATERIALS AND TECHNIQUES The perception
The way we use materials to generate certain content will simultaneously lead to perceptual interpretation in a tactile and visual way. The shape and colors determine the visual tension where the eye will focus on.
RIGIDITY, INCONSISTENCY, FLEXIBILITY, MALLEABILITY Pasta Workshop
This work is based on investigating the possibilities of a material and demonstrating the appearance of certain physical qualities or abilities.
VISUAL ROUTE THE FOUR ELEMENTS OF NATURE The sculpture
Making a tribute to nature, this work begins with the idea of giving continuity to all the faces of the cube. The final result gives the corresponding importance to each element that forms the totality of the object.
LIGHTING COLORS COLORS ARE CONTAINERS OF EMOTIONS Illuminating some sensations
The colors are a great clue to the intentions of the people. On the other hand, light is the fact that makes the colors of materials appear, disappear, or simply change their tone. In this section we relate both concepts through photography, product and space works.
THE COLOR COMUNITY CONCERT HALL / NIGHTCLUB Material fusion
From the possibilities offered by a lot of straws, this work starts with the requirement to apply in a different way all the colors of the chromatic circle in a specific volume. the first idea was to use the superposition of complementary colored straws to generate new colors. The concept was to make a leisure space as a â€œNightclubâ€? built by large columns of light adaptable according to the musical style.
THE COLOR COMUNITY MUSICAL LAMP From space to a product
The space model Dim: 15,15,15 [cm] becomes a musical lamp. Through diffusion templates, the lamp adapts to different musical styles such as: Pop, Jazz, Reggae and Electro music.
PRODUCT COMUNICATION Spicy Fork
Through the technique of light painting and other more literal proposal... The work mix two concepts (daily object with a flavor) to communicate a product with certain attributes and characteristics.
LIGHT PAINTING La tècnica utilitzada per les diferents il·lustracions. Pintar amb la llum és la técnica de colorejar i donar volum a una forma mitjçantçant la llum i la fotografia. En aquest cas la forma de la forquilla s’ha realitzat a partir d’un troquelat de cartolina de color. Així, conseguim un suport que podem manipular junt la llum i diferents difusors, per realitzar els diferents episodis il·lustratius.
SPICY FOR K Una de les formes més habituals de percebre la sensació “spiicy”, o gust picant, és el foc. I és pels seus efectes inmediats, que el picant proboca una cremor progressiva a la seva victima per tot l’aparell digestiu, principalment de la boca fins a l’esòfag.. Per a molts, el picant també és quelcom extrany, atrevit i fins i tot un punt psicodèlic i endimoniat. Aquí, poso el meu peu de pibot i proposo, junt l’objecte assignat, mourem dins d’una atmosfera satànica i apocaliptica. La roentor de la forquilla, pels seus colors intensos genera un caràcter pròpi de l’objecte que de forma poderosa i reivindicativa reclama el seu trionf, o potse l’infern per a la resta...
COMUNICATION PRODUCT Salty Fork
Through the preparation of a small set, in this case the fork must remain in a salty environment, similar to the moon. The work mix two concepts (daily object with a flavor) to communicate a product with certain attributes and characteristics.
RAY SPEAKER “LA RICARDA” PROJECT Design/ Comunication Proj.
It is proposed to design, prototype and present one or more objects for the interior or exterior of an outstanding construction of the history of twentieth century architecture in Catalonia.
LA RICARDA A VANGUARD PLACE Few History
Designed by the architect Antonio Bonet, in close collaboration with the owner Ricardo Gomis and his wife InĂŠs Bertrand Mata, the Gomis house, better known as La Ricarda, is perhaps the most emblematic work and in architectural terms the best example of Catalan Rationalism. The concept of beauty in this construction comes from two sources:
- The first is the design itself, which begins with the vaulted ceiling in perfect balance with the undulations of the surrounding pines, taking them from macro to micro in total harmony. - The second source is the kind of life that house with its design, provides its inhabitants.
FROM SKETCHES TO PREPARING PROTOTIPE Prototiping speaker
Once I have determined the idea of the speaker it is time to start the prototyping process. The model will have an electric circuit that will generate blue light as a bluetooth device using LEDs.
B C A
USER EXPERIENCE: TACTILE DEVICE Terms of Usability
The user interacts with the speaker through the command zone. This zone works in a tactile way and has a special feature: the light bar indicates the volume level and it is adjustable by sliding your finger on it.
USER EXPERIENCE: VERSATILE DEVICE The 3 legs system Multi-position
This speaker has the ability to always be in the correct position. The 3 legs positioned in an equilateral manner are designed to provide multiple speaker positions. They also act as a shell to protect the body of the speaker. It is never in contact with the ground. On the other hand, the shape of the legs allows the speaker to be in a vertical and horizontal position, always being fixed. Finally, it is also presented as a handgrip system.
Planta en c Pieza adicional
TECHNICAL DRAWINGS x3
Alzado Nombre plano: PIEZA COMANDOS
Grosor: 8mm D
-Polietileno de alta densidad (HDPE ) - P. general -Metacrilato. Acabado mate arenad o - P. adicional
Proceso de fabricaciรณn: Extrusiรณn de plastico (lamina
Planta en conjunto
1.5 8 R37
Ø22 Nombre plano: ESTRUCTURA INTERNA ALTAVOZ 12.5 Material: Polietileno de alta densidad (HDPE)
Proceso de fabricación: Inyección de plàstico
Nombre plano: ESTRUCTURA INTERNA ALTAVOZ Material: Polietileno de alta densidad (HDPE) Proceso de fabricación: Inyección de plàstico 1.4
Sección A-A' 5.4
SPACE DESIGN. SCENOGRAPHY SCENE ON WHEELS THEATRE SCENOGRAPHY Scenic Artifact Project
This work is presented as a scenography project for a real theater play. The place where it is going to be is in a concrete theater called Sala Beckett located in Barcelona.
“LET’S FORGET ABOUT BEING TOURISTS” SALA BECKETT Quick summary
Sala Beckett, located in the Poblenou district of Barcelona, is the theater where the play is represented. Therefore, we need to size the stage to begin to think in a scenic artifact for the play “Let’s forget about being a tourist”. The play is like a roadmovie that is located between Brazil, Argentina and Uruguay. There are 2 actors and 2 actresses that dynamically represent 9 different scenes: - Interior scenes: Hotel, motel, Tia’s house, Fabian’s house - Outdoor scenes: Out of the Bus, in the middle of the road, up a hill.
1 ESCALA 100
Planta General GN NÃºm. 1A
SALA BECKETT 2CULTURE
OLVIDEMONOS DE SER TURISTAS
STAGE ARTIFACT SYSTEM OF SLIDING DOORS Dynamic System
For the project it is necessary to: use a big single scenic artifact. Use the entire length of the room. Employ a common aesthetic for all scenes. Simple furniture. Coordinate colors according to scenes, environments and countries. Use a surprise factor with Dynamic Elements:
Through a system of sliding doors, the characters can move the doors to show or hide scenes. This system also offers the possibility of completing specific parts of the bus to make it more realistic. And make it all a Road Movie.
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