Portfolio – Spring 2017

PORTFOLIO – SPRING 2017

caleb amundson Born creative, trained designer.

01

COVER PAGE

02

contents 04 steelcase next Interior. Steelcase NEXT Student Design Competition.

12 kansas news Exhibit. Partnership with the Kansas Museum of History.

16 epoch Product design. Task lamp.

20 a chair Furniture design. Side chair.

24 save farm Master planning, architecture, and interior architecture. Partnership with the SAVE Farm.

36 study abroad Graphic design.

40 freelance Graphic design and photography.

03

TABLE OF CONTENTS

INTERIOR – FALL 2015

steelcase next Interior. Steelcase NEXT Student Design Competition.

04

GRAND PRIZE

NATIONAL AWARD WINNER

problem Provide Nexters with an innovative working environment that brings out the best in them and forges a community culture of collaboration, inspiration, performance, and fun.

solution At NEXT, members can take raw business and project ideas, refine them among a collaborative, inspiring culture, and have fun or get away to refuel before getting back in action.

The hearth on each floor serves as a central gathering point where Nexters, clients, and the community can come together and forge new relationships, insights, and ideas that aren’t possible to create alone.

software Revit, Rhino, Photoshop, Illustrator, InDesign

05

STEELCASE NEXT

floor plan key 1

Reception

2

Ideation Zone

3

Forum Space

4

Studio

5

PlayCafe

A

1

2

06

4

3

5

A

first floor plan

0

5

10

20

“Flue” connects the hearth on each level

floor plan key 1

Project Room

2

Video Conference

3

WorkCafe

4

NEXT CEO/COO

5

Private Enclaves

6

Private Office

7

Open Office

A

5 3

4

07

STEELCASE NEXT 1 6

7

2 6

1

6

A

second floor plan

0

5

10

20

08

forge RAW The starting point. Reception, ideation zone, open office, WorkCafe.

REFINE Get equipped + relax. Private offices, private enclaves, forum space, resource center, WorkCafe + PlayCafe.

REFUEL Collaborate. Video conference, project room, studio, WorkCafe.

HEARTH Gather. Nexters, clients, and the community can come together and forge new relationships.

09

STEELCASE NEXT

10

11

STEELCASE NEXT

PRODUCT – FALL 2014

kansas news Exhibit. Partnership with the Kansas Museum of History.

12

problem Reinvision one of seven problem exhibits in the Kansas Museum of History as an interactive and immersive experience.

solution The Kansas News exhibit utilizes William Allen White’s printing press to explain the rich history of journalism in Kansas as well as the history and mechanics of printing through the Emphasize News Wall, Apply Print Station, and Interact Press Station.

software Rhino, Photoshop, Illustrator, InDesign

13

KANSAS NEWS

14

emphasize news wall The news wall serves to emphasize the importance of access to information and explain Kansas news history. Information mobility all began with the printing press, so the wall moves backward in time as you progress. The first interactive panel has a live Twitter news feed and the final includes information on William Allen White.

apply print station At the print station, patrons apply knowledge that they learned at the interact and emphasize sections of the exhibit. The table has paper, magnetic movable type stamps, and ink so that every guest can create their own, custom printed card to take with them. This helps take the information to a new level where they are asked to apply it first hand.

interact press station At the interact station, patrons can get up close and personal with William Allen White’s Cottrell printing press.

An expansive led screen controlled by an interactive panel at the front immerse patrons with timelines, videos, photographs, and text information.

Screen printed acrylic panels explain the process of how the printing press is operated.

15

KANSAS NEWS

PRODUCT – SPRING 2014

epoch Product design. Task lamp.

16

problem Identify a task and create a luminaire that helps you to better accomplish it.

solution The task I chose was abstract: to inspire creativity. I designed a luminaire with a thermochromic plastic shade that changes from clear to blue as you work to stimulate the user when starting out and to calm as he or she works longer.

software Rhino, Photoshop, Illustrator, InDesign

17

EPOCH

TUNGSTEN TUBE FILAMENT LAMP

INJECTION MOLDED THERMOCHROMIC ACRYLIC

CHANGES TO BLUE AT 86°F

18 ON/OFF

CAST CONCRETE

stimulate creativity After researching color and light psychology, I determined that warm light and the color orange were stimulating: what you want at the beginning of the creative process.

As you keep working and begin to get frustred through the trial and error process, the shade will gradually turn blue as the lamp heats up thanks to thermochromic plastic. Psychologically, blue is is a calming or relaxing color.

contrast One of the most basic principles of design, contrast, can help the mind consider outside-of-the-box ideas.

Epoch plays with contrast of heavy & light, cold & warm, round & angular.

golden ratio I adhered strictly to the golden ratio to create something aesthetically beautiful and inspiring rather than distracting through proportion.

19

EPOCH

FURNITURE – FALL 2016

a chair Furniture design. Side chair.

20

problem Design and build a chair: something that you can sit, perch, or rest on.

solution Simple things are always far more involved under the hood. The A Chair has complex, CNC-cut joinery in order to achieve a strong frame and fluid form, just like the letter A.

software Rhino, Photoshop, Illustrator, InDesign

21

A CHAIR

22

concept The letter A is utilitarian. One of the most common in the English language.

The chair form was derived from 3 A-words: Amundson, ash, anatomy. My name has held a special significance in my life, not only because of the rich Norwegian heritage I am a part of, but because of the uniqueness and often mispronounced identifier I was born into. White ash has an alluring grain pattern. One that begs for a simple form to allow it to express its full potential. And an incredibly simple A-shaped silhouette takes an absurd amount of engineering to create strong joints from round members piercing through the horizontal crossbar, here interpreted as the seat plane. Being equally sympathetic to the structure, expansion and contraction, and grain pattern of the wood, I sought to create a fluid form as simple, yet complex as the first letter of the alphabet.

23

A CHAIR

INTERIOR – FALL 2016

save farm Master planning, architecture, and interior. Partnership with the SAVE Farm.

24

problem Collaboratively master plan a 300 acre campus for the SAVE Farm. Program one of ten buildings on the campus with a partner. Individually design the surrounding site, building, and interior in line with the campus aesthetic.

solution The Spiritual Center is a progression of interior and exterior paths and spaces inspired by Kanye West’s “Ultralight Beam” that allow and encourage both individual healing and healing alongside others.

software Revit, Rhino, Grasshopper, Photoshop, Illustrator, InDesign

25

SAVE FARM

7

6

5

5

26

3

2 1

site plan

4

master plan key

8 10

9

1

Welcome Center

2

Honey Production

3

Dining Center

4

Community Center

5

Residences

6

Transition Center

7

Spiritual Center

8

Workshop

9

Livestock

10

Crop Education

goals 1. Create a hierarchy between buildings and spaces on campus 2. Plan buffer zones between buildings 3. Enhance views throughout the property while also maintaining private niches

campus aesthetic TRADITIONAL

CONTEMPORARY

MODEST

LUXURY

STANDARDIZED

CUSTOM

ORGANIC

ORTHAGONAL

27

SAVE FARM

28

north elevation

shou sugi ban

kansas limestone

blackened/oxidized steel

Transformation through adversity, new life.

Solidity, strength, new foundation.

Despair, harsh, twist on traditional farm aesthetic.

concept

progression

Kanye West’s “Ultralight Beam” served as inspiration for this project. Each servicemember’s journey progresses through regret and despair, crying out, a lifting of weight through connection to the divine, and finally a restoration of hope and purpose.

Experiences and spaces in the Spiritual Center fit into one of those four stages. Though the healing process may be longer for some than others, inner peace and holistic healing is possible to achieve again. As Kirk Franklin closes, “You can never go too far when you can’t come back home again.”

VERSES The Dream, Kelly Price, Chance the Rapper each sign different verses in the song and use the pronoun “I.” The verses influenced the individual or “I” spaces like the prayer room and utility rooms.

CHORUS Kanye West always uses the pronoun “we” in the chorus. His language influenced the pavilion, patio, and group spaces or “we” spaces.

ENDING Kirk Franklin ends the song with a prayer and talks about both “everyone” and “I,” so his prayer inspired the hybrid spaces like the library and small reflection rooms.

0

5

10

29

SAVE FARM

20

10

floor plan key

30

1

Silo

2

Healing Garden

3

Reflecting Pool

4

Prayer Room

5

Library

6

Small Reflection

7

Main Circulation

8

Pavilion

9

Meditation Patio

10

Group Space

11

Mechanical Room

12

Restroom

11

12

12

6

9

8

7

3

6 4

5

floor plan

primary Pavilion.

1

31

secondary

SAVE FARM

Library and group space.

2

tertiary Prayer room, small reflection, and utility spaces.

0

5

10

20

32

33 SAVE FARM

34

35

SAVE FARM

GRAPHICS – SUMMER 2015

study abroad Graphic design. Central Saint Martins in London, England.

36

visual journal We were challenged to document our time in London not only by taking photos, but by sitting, relaxing, observing, and drawing our surroundings: a way to really engage place for more than a split second. The visual journal specifically depicts my time exploring Borough Market, Hyde Park, and Queen Elizabeth Olympic Park. The final product was a hand-stitched book creating a narrative without any text.

software Photoshop, InDesign

37

STUDY ABROAD

IGNORANCE ISN’T

bliss

articles

sections

A1 A history of Jeremy Tankard’s Bliss typeface

A Ignorance Knowledge

Hi 23 C Lo 17 C

B1 The good, the bad, the ugly of London from foreign eyes

B Contrast Opinions

C1 Must-see museums, exhibits, and pop-ups in London this summer

C Poise Culture

Cloudy skies with chance of light drizzle in the late afternoon.

D1 Eating out on a university student budget

D Practical Money

A1

weather

24 July 2015 Volume 1, Issue 1

21:03 Sunset

38 A history of Jeremy STORY BY Tankard’s CALEB Bliss AMUNDSON typeface

I

n 1906 Edward Johnston’s seminal book Writing & illuminating & lettering was first published.

The ideas Johnston put forward, both in this book and in his lectures, were to inspire a revival of interest in calligraphy and to inform the wider fields of lettering and type in England. One of Johnston’s ideas was a belief that a block sans serif form could be made more harmonious and acceptable if it were derived from the proportions of the Roman square capital letter. Bliss began with a nod of recognition to this idea.

However, during the development of Bliss, five typefaces in all were studied, each with a unique and interesting history; Johnston’s Underground, Gill Sans, the Transport typeface, Syntax and Frutiger. With the Underground type, Johnston put into practice his ideas of a linear block sans serif. Eric Gill, a friend and collaborator of Johnston, draws heavily on Johnston’s example for his own Gill Sans of c.1928.

Transport, designed for the Department of

Transport, utilises features and ideas from Johnston and Gill as well as concepts found in some of the continental type forms of the 1950s – such as the single bowl form of the g. The designer, Jock Kinneir, also worked hard to avoid ambiguity between characters sharing similar basic forms. Hans Eduard Meier developed the idea of a dynamic structure within the normally rigid forms of a sans serif type.

His Syntax typeface is drawn over the structure of an Old Face letter. As with Gill Sans it has humanistic subtleties of proportion together with weighted shading and open... continued on page a2

›

FOR

THE GOV AND C OM

PO

H FT

AN EB

K OF ENGLAND

MS 01 102293

BAN K O F ENG L A ND

FIVE M INU T ES

CHIEF CASHIER

I PROMISE TO PAY THE BEARER ON DEMAND THE SUM OF 5M

M S01 102293

time is money We began this project with a question: what do you find beautiful, strange, or ugly about London? For me, the Londoner’s obsession with time fascinated me. Never have I seen so many people rushing to be on time. So in return, my question was, “What if we paid for things with time? What if life ended when we ran out of savings?”

BANK OF ENGLAND

10 M THE G OVERNOR AND COMPANY OF THE BAN K OF EN GLAN D

software FOR

THE GOV AND C OM

Illustrator

BAN K O F ENG L A ND

MS 01 102293

K OF ENGLAND

Photoshop, InDesign

AN EB

software

H FT

This research-based project challenged us to become experts on one typeface, understanding why it was created, its intended uses, and its inspiration.

We then were tasked with creating the front page of a newspaper that evoked the depth of the font without using it itself.

PO

f(r)ont pages

39

STUDY ABROAD

T WENT Y M INU T ES

CHIEF CASHIER

I PROMISE TO PAY THE BEARER ON DEMAND THE SUM OF 20M

BANK OF ENGLAND

50M TH E G O V E R NOR A ND C OM PA NY OF THE BA N K O F E N G L A N D

M S01 102293

GRAPHICS + PHOTOS

freelance Graphic design and photography.

40

41

FREELANCE

42

43

FREELANCE

44

thank you