The present thesis work addresses the theme of the cases for musical instruments. This type of product is of particular importance for professional musicians, a category of user whom depend directly on a particularly precious and delicate object, whose value is both real and tangible as affective and intangible, accompanying it in a phase of its use that can often be critical, that is, transportation. The motivation rises from the observation of how the current market of cases, which includes not so accurately designed products that never deviate from a certain type of archetype, clashes with the real needs of the user, because of the simplistic way of dealing with the problem of the protection of the musical instrument, a topologically heterogeneous object that diversifies its characteristics and needs in the various parts of its body. As emerged from a research based both on the direct account of the daily experience of some musicians, and on the consultation of blogs and online portals, the main problem is the difficulty of having a container whose forms adequately adapt to the content (an object whose shape is subjected to numerous variations in shape and size), an element that often nullifies the solid assumptions given by the use of materials that are also structurally sound. The proposed solution is therefore a case that adapts its forms to the instrument contained inside, allowing it to be used for multiple types of instruments within a wide range of shapes and sizes, and which does not force the user to compromise between having a very solid and protective product or a light and not bulky product. The first part of the paper is based on the analysis of the panorama of the existing musical instruments (the main families, how they are made, and the relative weaknesses), of the market of the cases (what types exist, what materials, prices and the level of protection), and finally the behaviour and needs of their users. Then the theme focused on a single instrument in particular, the guitar, analysing the main components and reviewing the various existing models, classifying them according to shapes and sizes. Finally, the development of a specific product, (based on the findings in the second part of the paper), its main components, the mechanism, the materials, the assembly, and the mode of use. Since the aim is to protect a very delicate object in the most efficient way, without neglecting other prerequisites for direct use such as lightness and practicality, the final result is a multi-material product that exploits different technologies from other design fields, above all the sport items. For this reason, the product will be placed in a medium-high commercial range with rather limited production.. This choice is dictated both by the evident complexity of the project, which will require the use of a specialised workforce during the assembly phase, in-line with the same philosophy of near-artisanal inspiration behind the creation of the musical instrument itself, but also, consequently, its group of purchasers, far from massified target to which this class of product is typically addressed, and to which it intends to satisfy. Future developments include the possibility of adapting the system here developed to other instruments than the guitar.
Il presente lavoro di tesi affronta il tema delle custodie per strumenti musicali, un tipo di prodotto di particolare importanza per una categoria di utenti – i musicisti professionisti – che ha a che fare in maniera diretta con un oggetto particolarmente prezioso, delicato e dal valore tanto reale e tangibile quanto affettivo e intangibile, accompagnandolo in una fase del suo utilizzo che spesso può risultare critica, cioè il trasporto. La motivazione nasce dall’osservazione di come l’attuale mercato delle custodie, costituito principalmente da prodotti poco curati dal punto di vista progettuale e che non si discostano mai da un certo tipo di archetipo, cozzi con le reali necessità dell’utente proprio per via del modo semplicistico con cui si affronta il problema della protezione dello strumento musicale, un oggetto topologicamente eterogeneo che diversifica le sue caratteristiche e necessità nelle varie parti del suo corpo. Da come emerso da una ricerca basata tanto dal racconto diretto dell’esperienza quotidiana di alcuni musicisti, tanto sulla consultazione di blog e portali online, il problema principale è la difficoltà di avere un contenitore le cui forme si adattino in maniera adeguata al contenuto (un oggetto la cui sagoma è soggetta a numerosa variazioni di forma e dimensioni), un elemento che spesso vanifica le pur solide premesse date dall’uso di materiali anche strutturalmente molto validi. La soluzione proposta è, dunque, una custodia che adatti le sue forme allo strumento contenuto all’interno, permettendo di essere utilizzata per più tipologie di strumento entro un ampio range di forme e dimensioni, e che non costringa l’utente a scegliere dualisticamente tra l’avere un prodotto molto solido e protettivo o uno leggere e poco ingombrante. La prima parte dello scritto è improntata sull’analisi del panorama degli strumenti musicali esistenti (le principali famiglie, come sono fatti, ed i relativi punti deboli) del mercato delle custodie (che tipologie esistono, di che materiali, prezzi e il livello di protezione offrono) infine del comportamento e delle esigenze degli utenti. Dopodiché ci si è focalizzati su uno strumento in particolare, la chitarra, analizzandone le principali componenti e passando in rassegna i vari modelli esistenti, classificandoli in base a forme e dimensioni, per poi arrivare alla messa a punto di un prodotto specifico, descrivendone nella seconda parte le principali componenti, il meccanismo, i materiali, l’assemblaggio e il modo d’uso. Poiché l’obiettivo prefissato è quello di tutelare un oggetto molto delicato attuando ciò nella maniera più efficiente possibile, senza tralasciare altri requisiti indispensabili per un utilizzo diretto quali leggerezza e praticità, il risultato finale è un prodotto plurimaterico che sfrutta diverse tecnologie tratte da altri ambiti progettuali, in primis quello sportivo e che, per questo motivo, si collocherà in una fascia commerciale medio-alta con produzione piuttosto limitata. Questa scelta è dettata sia dall’evidente complessità del progetto, che richiederà in fase di assemblaggio l’impiego di una manodopera specializzata, in linea con la stessa filosofia di ispirazione quasi artigiana che c’è dietro la realizzazione dello strumento musicale stesso, ma anche, di conseguenza, dal target tutt’altro che massificato cui questo prodotto si rivolge e che intende soddisfare. Sviluppi futuri prevedono la possibilità di adattare il sistema qui sviluppato su altri strumenti diversi dalla chitarra.
Lorica. Sudio di una custodia adattabile per chitarra
VENEZIA, DOMENICO VINCENZO
2016/2017
Abstract
The present thesis work addresses the theme of the cases for musical instruments. This type of product is of particular importance for professional musicians, a category of user whom depend directly on a particularly precious and delicate object, whose value is both real and tangible as affective and intangible, accompanying it in a phase of its use that can often be critical, that is, transportation. The motivation rises from the observation of how the current market of cases, which includes not so accurately designed products that never deviate from a certain type of archetype, clashes with the real needs of the user, because of the simplistic way of dealing with the problem of the protection of the musical instrument, a topologically heterogeneous object that diversifies its characteristics and needs in the various parts of its body. As emerged from a research based both on the direct account of the daily experience of some musicians, and on the consultation of blogs and online portals, the main problem is the difficulty of having a container whose forms adequately adapt to the content (an object whose shape is subjected to numerous variations in shape and size), an element that often nullifies the solid assumptions given by the use of materials that are also structurally sound. The proposed solution is therefore a case that adapts its forms to the instrument contained inside, allowing it to be used for multiple types of instruments within a wide range of shapes and sizes, and which does not force the user to compromise between having a very solid and protective product or a light and not bulky product. The first part of the paper is based on the analysis of the panorama of the existing musical instruments (the main families, how they are made, and the relative weaknesses), of the market of the cases (what types exist, what materials, prices and the level of protection), and finally the behaviour and needs of their users. Then the theme focused on a single instrument in particular, the guitar, analysing the main components and reviewing the various existing models, classifying them according to shapes and sizes. Finally, the development of a specific product, (based on the findings in the second part of the paper), its main components, the mechanism, the materials, the assembly, and the mode of use. Since the aim is to protect a very delicate object in the most efficient way, without neglecting other prerequisites for direct use such as lightness and practicality, the final result is a multi-material product that exploits different technologies from other design fields, above all the sport items. For this reason, the product will be placed in a medium-high commercial range with rather limited production.. This choice is dictated both by the evident complexity of the project, which will require the use of a specialised workforce during the assembly phase, in-line with the same philosophy of near-artisanal inspiration behind the creation of the musical instrument itself, but also, consequently, its group of purchasers, far from massified target to which this class of product is typically addressed, and to which it intends to satisfy. Future developments include the possibility of adapting the system here developed to other instruments than the guitar.File | Dimensione | Formato | |
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2018_Aprile_Venezia.pdf
non accessibile
Descrizione: Testo della tesi
Dimensione
6.95 MB
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Adobe PDF
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6.95 MB | Adobe PDF | Visualizza/Apri |
2018_Aprile_Venezia.pdf
non accessibile
Descrizione: Testo
Dimensione
6.95 MB
Formato
Adobe PDF
|
6.95 MB | Adobe PDF | Visualizza/Apri |
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https://hdl.handle.net/10589/140880