Inspired by hostile architecture, the NODOOM phone case is fitted with sharp spikes along its back and sides, acting as a tactile deterrent against mindless scrolling. By introducing discomfort to the act of holding one’s phone, the case externalizes the often invisible mental strain of digital overstimulation. The result is a physical manifestation of digital self-punishment.
Modeled in Blender, rendered in Unity, and 3D printed with polymer filament, NODOOM transforms concept into provocation. By forcing discomfort through design, it reflects the pain of overexposure that digital culture normalizes. It challenges the user to disconnect, to look up, and to find connection in reality, rather than your algorithm.
Final Result
E-Commerce Website Narrative
Process
Process Manifesto
BRIEF:
Identify a problem, and design a solution to “nudge” a user towards a better decision.
The NODOOM Phone Case began as a critique of compulsive scrolling and digital overstimulation. The case is designed as a physical intervention: a reminder to pause, disengage, and reclaim control of attention.
This project marked my first experience using 3D modeling and fabrication tools. I approached the challenge as both a designer and a learner, teaching myself Blender, slicing software, and Unity to bring the object and its visual story to life.
LEARNING & ITERATION
My process started in Blender, where I explored form, proportion, and texture. I initially planned to make 3D beveled type on the back of the phone case as a tactile reminder, with a message alike to “LOOK UP” or “SMELL THE FLOWERS.” Through feedback with in-class critique, led me to be inspired by hostile architecture, which led me to the spikes on the back and sides of the phone case.
I used 3D printing software to prepare my models for production. Each print became an experiment in physical problem-solving—how form behaves when translated from a virtual mesh to a tactile object. I worked with the 3D print lab monitors to troubleshoot when the 3D printers would result in an unsuccessful prototype. I went through upwards of 10 prototypes before we found the correct settings to result in a successful 3D print.
RENDERING & ENVIRONMENT
I brought the final 3D model into Unity to create a motion render. I wanted the presentation to feel clean, and present the final product on a dark background with 360 degree rotation. Learning Unity was another leap: configuring materials, camera paths, and lighting systems to achieve a clean, looping video. I troubleshot the process with AI tools, becoming familiar with the software, figuring out the materials tools, learning and writing C# Sharp coding language to animate the render, resulting in the final product I had envisioned for the 3D render.
TYPE & BRANDING
During the branding phase, I stepped outside my comfort zone, moving away from a Swiss, sans-serif aesthetic. I discovered Modula Ribbed in J. Abbott Miller’s Dimensional Typography (recommended to me by Professor Katherine Hughes). The typeface’s sculptural depth aligned with the tactile, object-based nature of my project, but I wanted sharper, more assertive forms.
I vectorized and restructured each letterform in Illustrator, refining the ribbed details into angular points. Then, using Glyphs, I built a custom typeface—Modula Sharps—which I used across the campaign. This process blurred the line between product and identity design: just as the case resists passive scrolling, the typography resists passivity in its form.
REFLECTION
The NODOOM case represents a shift in how I approach design. It’s not just about making something look good, but about crafting an experience that uses empathy to identify and alter user behavior. Through new tools and iterative experimentation, I learned that discomfort—technical, aesthetic, or conceptual—is often the most valuable part of the process.