AMANDA WUNDERLICH
PRODUCT DESIGN PORTFOLIO BACHELOR OF ARTS IN PRODUCT DESIGN
MULTI-FUNCTIONAL KITCHEN HANDLE
UNIVERSITY OF OREGON SEPTEMBER 2011 – JUNE 2014 AMANDA WUNDERLICH
A.WUNDERLICH1230@GMAIL.COM 503.715.6411
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July 2014, the University of Oregon, Eugene, hosted the International Association of Athletics Federation (IAAF) World Junior Track Championships. When tasked with designing a flag display and pavilion for the event, our design team approached the project by first exploring the DNA of the event. What struck our team about the IAAF World Junior Track Championships is the idea that 174 nations will be coming to one place to compete in one event. The IAAF World Junior Track Championship is in one place, and in one idea; a Convergence of Cultures. When further exploring the concept of Converging Cultures, other global experiences that bring together divergent cultures were studied. Food became noted as a central theme shared across cultures, a love of food and even more pertinent to the event, a love of sharing food. Food became the central medium for Converging Cultures within the context of the World Junior Track Championships. From that stance, the flag display and pavilion were merged and an international food festival was programmed for the pavilion. A place was created where athletes and fans alike can eat the food of the world under the flags of the world.
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KUWAIT
KENYA IRAQ
QATAR
MARSHALL ISLANDS
AUSTRALIA
PALESTINE
KAZAKHSTAN
BANGLADESH
KOREA
JAPAN
MONGOLIA
INDONESIA
AFGHANISTAN
AZERBAIJAN
OMAN
ARMENIA
HONDURAS
GUATEMALA
EL SALVADOR
COSTA RICA
HAITI
GEORGIA
RUSSIA
MEXICO
JAMAICA
PERU
UNITED ARAB EMIRATES
NICARAGUA
UNITED STATES
PR OF CHINA PHILIPPINES
TAJIKISTAN
CANADA
BAHAMAS
CAYMAN ISLANDS
PANAMA
MALAYSIA
COLOMBIA
CUBA
ECUADOR
VENEZUELA
MALDIVES
ANQUILLA
TURKMENISTAN
BARBADOS
PAKISTAN
ARGENTINA
CHILE
BRAZIL
ARUBA
ANTIQUA & BARBUDA
UZBEKISTAN
PARAGUAY
SURINAM
URUGUAY
BOLIVIA
BERMUDA
LAOS
SERBIA
CAMBODIA
INDIA
BHUTAN
THAILAND
SRI LANKA
KIRGHIZISTAN
MYANMAR
RWANDA
ROMANIA
VIETNAM
SUDAN
FIJI
GUAM
SOMALIA
SOUTH AFRICA
KIRIBATI REP OF
COOK ISLANDS
MICRRONESIA
TONGA
PAPUA NEW GUINEA
REPUBLIC OF YEMEN
SOMOA
SAUDI ARABIA
NEW ZEALAND
LESOTHO
UGANDA
TANZANIA
FRENCH POLYNESIA
MOLDOVA
MALAWI
LITHUANIA
BRITISH VIGIN ISLAND
BAHRAIN
JORDAN
FINLAND
BELARUS
DJIBOUTI
ISLAMIC REPUBLIC OF IRAN
F Y REP. OF MACEDONIA
COMOROS
ERITREA
MADAGASCAR
ISRAEL
HUNGARY
NAMIBIA
IVORY COAST
GUYANA
BOTSWANA
GREECE
MOZAMBIQUE
MOROCCO
GRENADA
DOMINICAN REPUBLIC
CYPRUS
BURUNDI
MALI
VIRGIN ISLANDS PUERTO RICO
BULGARIA
PORTUGAL
SYRIA
MAURITANIA
SWAZILAND
SENEGAL
UKRAINE
TURKEY
GHANA
BURKINA FASO
BENIN
GUINEA
CENTRAL AFRICAN REPUBLIC
GREAT BRITAIN & N. I.
BOSNIAHERZEGOVINA
ICELAND
CAMEROON
CHAD
IRELAND
CROATIA
ZAMBIA
ZIMBABWE
ALGERIA
INFORMATION POD
ALBANIA
“GREEN” POD
ANGOLA
ITALY
FLAG POD
GERMANY
GIBRALTAR
FOOD POD
ANDORRA
MALTA
MONACO
SLOVAK REPUBLIC
CZECH REPUBLIC LUXEMBOURG
SWEDEN
EQUATORIAL GUINEA
AUSTRIA
MONTENEGRO
NIGER
NETHERLANDS
SPAIN
SLOVENIA
DENMARK
DEMOC. REP. OF CONGO
BELGIUM
NIGERIA
NORWAY
POLANDA
TUNISIA
SWITZERLAD
GABON
FRANCE
EGYPT
ESTONIA
LATVIA
ETHIOPIA
To the far left is a top view of the organized flags. The 174 flags are divided into 29 flag pods with 6 flags in each pod. There are seven food pods scattered throughout the field of flags. Three of the pods are information booths and one is a recycling unit as seen in the bottom diagram. The main eating areas are underneath groups of 6 flag pods that are either one or two large groupings of time zones (numbered 8, 9, & 10 on middle diagram). The flags are organized by time zone, which fits more with the theme of converging cultures. By organizing the flags in this way, the time zones cut through countries vertically and it groups countries together that normally are not associated with each other. The flag zones are organized for ease of viewers to locate their country’s flag (top and middle diagram). As seen in the center diagram, the movement of the flags (mentioned on the next page) will create a wave-like pattern moving from right to left and back again. To satisfy the IAAF flag protocol, each flag pod is in alphabetical order.
EATING FLAG PODS
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As previously mentioned, the flags will serve as a representation of the countries participating as well as a sunshade. This will be made possible by attaching two motors with cables to each end of the flag pod and having a support bar down the middle between the flags. As the motor retracts, the flags create a curve-like shape as noted in the diagrams. One of the challenges was creating a functional display that follows flag protocol. A solution to clamping the flag was to use clips attached to a rod to keep the flag taut and then sliding it into an extruded cylinder similar to that of a sailboat. The movement adds to the aesthetics of the display by programming each time zone pod to raise and lower according to the respective time of the countries. Again, this movement will be wave-like attracting viewers of all ages.
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This isulated ceramic cup is double walled and produced by the slip casting method. The task was to create a cup that combines two pieces and could potentially be sold on the University of Oregon campus. This is all apart of the Ugene grant, which empowers students to make products and have future classes manufacture them and sell their products on campus. This ceramics project was the first run-through of the Ugene grant. Based on the success of this framework, additional disciplines could follow along with their own projects. My cup was a winning design and a class during Summer 2014 was able to manufacture an updated version. The cup on the left of pg. 8 has black underglaze with a white gloss on the interior and exterior, while the cup to the right has a Gold Luster Shino on the interior and it is soda fired on the exterior for a unique look.
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This solo exhibition titled Oscillation was an exploration of the permanency of ceramic logo shards with the backdrop of the rise and fall of empires. As you enter the room, there is a large dirt and shard pile in the back of the room. The walls are featuring a black wire that expresses the oscillation pattern as a quick visual connection from the pile to the rise and fall premise. The ground is labeled with different names of past empires in black vinyl. These are empires that in the time, no one thought they would ever fall but eventually did. As you continue walking into the room, to the left is a shelf with some of the broken logos being pieced together as if they are artifacts of the past. The ceramic logos created are my interpretation of modern day empires that are thought to never disappear but being that they are ceramic, they are now preserved.
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The logos chosen were ones that are the most identifiable and that did not contain lettering. The process for making the logos started with chunks of solid plaster and an extruded version of the logo in a Rhino file. Then the CNC (Computer Numerical Control) router cuts away at the plaster until the inverted logo shape is created. Yellow clay is then pushed into all of the logo molds. When they are little dry, they get popped out of the plaster and are ready to dry and be bisque fired. Yellow clay was chosen because it had the greatest color variability based on the temperature of the kiln, varying from pink to yellow to chocolate brown. Some of the logos were underglazed to add more color variety. Then all the logos were broken into shards and mixed with a pile of dirt. To the immediate left is the poster created for the show that hung in many different buildings as advertisement. The show lasted five days.
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This tea set is a compilation of six items designed with a subtle Chinese theme. The items include: a teapot, teacup, infuser, coasters, tumbler, and a tray. Traditionally in China, red symbolizes happiness and good fortune and that is why it was chosen as the main color for the teapot, teacup and coasters. The tea set was designed on SolidWorks and then turned into full size prototypes made by four different methods. The foam teapot and plywood tray were made with a CNC machine. The coasters were made out of upholstery fabric and MDF wood that was laser cut and glued together. The Chinese take-out box infuser was created with a 3D printer and the teacup was made out of foam and sanded down to the appropriate size. Utilizing all of these diverse manufacturing processes reemphasized that there is not one tool for everything but that different methods can be more beneficial for desired outcomes. These skills all came together in the production of this traditional tea set.
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Although the tumbler is more of a modern creation, this tumbler also reflects the same themes as the tea set on the previous page. Unlike the items from the tea set, the tumbler was solely a digital creation that focused on design challenges in the smaller details. The tumbler was made on SolidWorks and rendered with KeyShot with the most realistic materials. The tumbler contains four individual parts that fit together with threads and snug fit. The materials chosen were meant to be environmentally friendly or commonly recycled and durable. There are two layers of glass making up the body of the tumbler creating a thermal chamber to keep the contents from losing heat. This tumbler has a strainer so the user can put the tea leaves directly into the main body. The strainer can come out and the tumbler can be used as a regular water bottle also.
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This project focused on the common additives salt and pepper. This project challenges the concept of the accessibility of common foods. This product utilized both form and function creating a simple design. The form was a simple black and white cylinder, and the function grew both salt crystals and pepper. The upper chamber housed the peppercorn plant and the second chamber held a string dangling in saltwater. As the water evaporated from the bottom chamber, salt crystals grew up the string. Holes in the top chamber allowed water to drain out of the pepper plant into the saltwater mixture creating a cycle of growth for both condiments. This product was manufactured using mold making and slip casting methods. The clay body was a porcelain slip with black under glaze and white gloss glaze on the outside. The series of pots featured on the left all display different patterns of black stripes. This product can be used for household consumption as well as educational uses with children or horticultural therapy.
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KITCHEN HA
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This tool is multifunctional with a snap-on apparatus allowing the user to use one handle with many top accessories. The goal was to eliminate some of the clutter in the kitchen. Cleaning is as simple as detaching and washing the top accessories. The grip was formed by first creating a mold with silicone and then it was casted using urethane (as seen in the image to the left). Urethane is a durable but flexible material. The ambidextrous design is in response to reaching a multitude of users. The final grip took two casts to refine. The aluminum part is made from an adjustable walking cane that was cut down for the inside of the handle and the bottom of the attachments.
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This is a replica of a Dutch Brothers Coffee cup that is 300% larger than the medium sized cup. It weighs 30 pounds and stands at a height of 20 inches. This cup was made by clay using the coil building method. The body of the cup and the lid were built separately and connected before the drying process. After the piece was thoroughly dried, it was bisque fired in the kiln then glazed. There are approximately six different glazes on this cup (as seen in bottom image). After being glazed, the cup was fired again at a low temperature then it was completed. Over 25 hours were spent on this project from rolling clay into coils to stenciling the logo and of course glazing. The cup was selected after completion to be an example in the ceramics studio. It has been on display for almost a year and is currently still on display.
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The bike bag is made out of canvas, which was dyed black and tan. It attaches to the top tube and seat tube and does not interfere with rider functionality. Its purpose is to hold bike repair or small personal items as noted in the diagram. The Velcro straps allow the rider to remove the bag with ease to protect from theft. The rider can open the bag by lifting the flap, which is secured by a magnetic snap. The inside of the bag is lined with waterproof fabric for the simplicity of cleaning. In future editions, this bag can be customized to create a variety of colors.
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