Floor van de Velde

Assignment 5:
Breakfast scene:




Assignment 3:

Quotes for Wireframe Objects:

Model 1: $24.98
Model 2: $36.89

Model 1: $18.34
Model 2: $22.45

Model 1: $109.24
Model 2: $128.54

House Rendering by Liz Peyton:

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Assignment 2:

2.1 Using your 3D splines object from the previous assignment, build surfaces to create a watertight solid object.


2.2 Design and build a press-fit paper box

Designing a press-fit box using only standard printing paper proved to be quite challenging. I experimented with a few joints (dove-tail,etc) and some folding, but none of these approaches worked quite the way I imagined.

I decided to try designing a box that would use tabs instead. Secondly, I decided to use the least number of tabs possibly that would still allow for the box to maintain its structural integrity without using any glue.

The resulting box I designed is based on the classic Happy Meal box. using only two tabs at the top, I was able to score and fold the box without glue.

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Assignment 1: Rhino 3D Excercise

Re-interpretation of the "Praxinoscope"

Assignment 1: Design Critiques

"One Way Color Tunnel" (2007) by Olafur Eliasson San Francisco Museum of Modern Art, 2007

"One Way Color Tunnel" (2007), by Olafur Eliasson. San Francisco Museum of Modern Art, 2007

Design Critique #1: "One Way Color Tunnel" (2007)

Specifically designed for the atrium bridge of San Francisco's MOMA, Eliasson's "One Way Color Tunnel" is a large-scale kaleidoscopic tunnel. Triangular acrylic mirrors are installed in a logarithmic fashion. Based on a triangular grid pattern, the triangles reflect color in only one direction. Looking back, the viewer sees only black, due to the the one-way reflection of the colored triangles. Walking back, these colors are darkly muted.

The gradation of color and non-color (darkness) is echoed in the arrangement of the triangles within the grid. One also senses a feeling of gradation due to the the size variation of the triangles in the grid: larger triangles ground the installation and become smaller as they approach the curve of the tunnel at the top, creating a feeling of enclosure. This spatial organization is reflected on both sides of the tunnel. With the smaller triangles at the top of the curve of the tunnel, the speed of gradation becomes rapid, as opposed to a slowing down of gradation near the bottom of the tunnel. This change in size of the perceived triangles also allows for a perceived tension in the upper part of the tunnel. Compression of form, followed by release towards the ground level.

"Juicy Salif", by Philippe Starck for Alessi, Italy 1990.

"Juicy Salif", by Philippe Starck for Alessi, Italy 1990.

Design Critique #2:
"Juicy Salif", by Philippe Starck

Resembling an object that could have been designed by H.D. Wells and that one would encounter in "Starship Troopers" or "War of the Worlds" films, Philippe Starck's citrus squeezer - designed for Italian-based kitchen utensil company - is an abstract take on a conventional citrus juicer. The juicer has no moving parts and is made of mirror polished aluminum casting. Juicy Salif is one of those products that one does not immediately give away it's function. However, upon learning what it is for, its function becomes self-explanatory.

The overall form of the object is geometric in nature: it's weight is distributed evenly, with it's accent points evenly distributed. The juicer's body - a tear-drop shape - is top-heavy, ending in a point that is centered between it's three legs, giving the object a sense of stability: applying pressure at the top seems safe, as the three points seem to afford plenty of structure and support. The three legs are equally proportioned, with the top half of the legs heavier in weight than the bottom sections.

The four points - singular point of the body, and three points where the legs end - imply the gravitational pull downwards, with the rounded cone-like shape ending with a narrow focus. The repetition of lines on the cone move in a similar direction and culminate in a singular point, further emphasizing the gravitational direction.