Showing posts with label Design. Show all posts
Showing posts with label Design. Show all posts
10 June, 2009
29 October, 2008
媽呀!Maya Final!
最刺激的RP來了!
我選擇製作同樣的形體，試著用CK老師給的一個程式去跑它的表皮，效果我很滿意!
只是最後製作這個模型的程序實在複雜，在MAYA建好後要匯出到MAX去轉存，再匯入InSight製成RP模型。
算出來的結果很嚇人:
Estimated build Time:11 hr 26 min
Model Volume:39.89 cm³
Support Volume:51.41 cm³
我選擇製作同樣的形體，試著用CK老師給的一個程式去跑它的表皮，效果我很滿意!
只是最後製作這個模型的程序實在複雜，在MAYA建好後要匯出到MAX去轉存，再匯入InSight製成RP模型。
算出來的結果很嚇人:
Estimated build Time:11 hr 26 min
Model Volume:39.89 cm³
Support Volume:51.41 cm³
16 October, 2008
10:1
雖然是個小設計案，卻也折騰了我好幾個禮拜。
第一堂課郭英釗老師要我們study各個國家目前的林業發展。
大家的報告都很棒，大概只有我沒有把他弄得很精美吧（愧）。
接下來老師希望我們用三個禮拜的時間做一個山上的避難小屋。
使用的建材能夠方便搬運並且容易建造，並且能夠自我供給能源。
以木構的角度出發，這個案子開始變的很大。
第一堂課討論過想法後，大家的概念都不一樣，其中的差異也很有趣。
可是老師對大家都畫3D似乎不太滿意，於是提出了必須做10:1模型的要求。
第二堂課我的模型未完成，一直卡在製作的過程。
木構實在比我想像中花太多太多時間了，原本想要製作一個完全不用膠只用卡榫的模型失敗了。
失敗的原因不在於我做不出來，而是我花的時間不夠多。
跟老師討論了很多結構的問題，上完課的隔天休息了一下，
便開始著手我的第二個模型。
包括木頭如何卡接、結構如何穩定、外牆的材料、不同材料的銜接、可動式接頭的設計......等，
每一個細項都讓我思考的比以往久。
不停的想，不停的做。邊做邊想，邊想邊做。
做到後來整個設計在腦海中終於成型的感覺很棒，知道自己要什麼。
最後才想明白，一切都是因為10:1才會發生的事情。
第一堂課郭英釗老師要我們study各個國家目前的林業發展。
大家的報告都很棒，大概只有我沒有把他弄得很精美吧（愧）。
接下來老師希望我們用三個禮拜的時間做一個山上的避難小屋。
使用的建材能夠方便搬運並且容易建造，並且能夠自我供給能源。
以木構的角度出發，這個案子開始變的很大。
第一堂課討論過想法後，大家的概念都不一樣，其中的差異也很有趣。
可是老師對大家都畫3D似乎不太滿意，於是提出了必須做10:1模型的要求。
第二堂課我的模型未完成，一直卡在製作的過程。
木構實在比我想像中花太多太多時間了，原本想要製作一個完全不用膠只用卡榫的模型失敗了。
失敗的原因不在於我做不出來，而是我花的時間不夠多。
跟老師討論了很多結構的問題，上完課的隔天休息了一下，
便開始著手我的第二個模型。
包括木頭如何卡接、結構如何穩定、外牆的材料、不同材料的銜接、可動式接頭的設計......等，
每一個細項都讓我思考的比以往久。
不停的想，不停的做。邊做邊想，邊想邊做。
做到後來整個設計在腦海中終於成型的感覺很棒，知道自己要什麼。
最後才想明白，一切都是因為10:1才會發生的事情。
08 October, 2008
媽呀! Maya!
新媒材課第一次的實作，第一次的Maya操作。喔說起來也不是第一次用Maya 。
大三升大四的暑假的暑假我不知道發了什麼瘋跑來上了建築所開的電腦設計課。
當時一起上課的印象中還有小陽、ILAD、菜頭、大毛、約翰......等（遙望）。
那時候似乎就愛上了Photoshop、3D MAX軟體，雖然後續一直沒有用電腦作設計。
只是課程的後半段的Maya我好像只上了一堂課就放棄了。
10 September, 2007
措手不及的新學期
在我還沒反應過來已經開學的時候，我們已經做完了第一個project。
很幸運的我們這學期還是爭取到了Nancy（說是用搶的也不為過）。正是因為明白我們還缺乏很多基本而紮實訓練，所以不得不把握這最後一學期的MR1專屬設計課而加緊腳步了。
第一個小案子，是一個戶外的個人座位區。小歸小，要探討的基地關係卻很深入。更艱難的是，全部都要來鉛筆圖。於是我們從第一次的慘不忍睹開始.........
Fall 2007, NCTU MArch I Studio
The Ideal Outdoor Seating Area for One
Transforming spatial discrepancies into the absolute place
Goals:
1. To analyze and survey existing conditions.
2. To find out spatial discrepancies between different systems.
3. To create a personal space within the systems.
Define a personal space via the sitting surface:
What is an ideal outdoor seating space/surface for one person?
How is the space formed?
How can privacy be considered? How does one sit around, sit by or sit in the space? How should it be oriented?
What is the scale and size of the sitting surface? How does one identify the boundary of the space? (i.e. via column? parapet wall ? surface change? trees? bushes? elevation/section changes?)
Design Approach:
1. Find a location adjacent to the Department of Architecture Building that has a horizontal extension of at least one member/element such as stair, wall, walkway, floor, ceiling and etc. The place you find must consist of more than one system of structure, material, or construction elements. Look for places indicating construction from different periods of time and locations that has sectional changes.
2. Survey the conditions and analyze discrepancies found within the systems.
3. Design a personal seating area that addresses to the discrepancies found. The personal space’s construction method, structural system, architectonic form and materials utilized need to relate to the discrepancies found.
4. The personal space is required to be attached to the horizontal member at least on one side.
Project Schedule:
09/10 Mon. Project assigned
09/17 Mon Pin-up: survey drawings and site analyses
09/20 Thurs. Analyses of discrepancies in drawings and models
09/27. Mon. Pin-up: models and drawings showing the “personal space”
10/01 Mon. Final Review
Requirement for Final Review:
1. Analyses of site conditions and discrepancies found. (1:100 or 1:50)
2. Plan, sections and elevations of the “personal space”. (1:50, 1:20, 1:10)
3. 1:50 or 1:20 model showing the element and its context
4. Collage of the space within the context.
很幸運的我們這學期還是爭取到了Nancy（說是用搶的也不為過）。正是因為明白我們還缺乏很多基本而紮實訓練，所以不得不把握這最後一學期的MR1專屬設計課而加緊腳步了。
第一個小案子，是一個戶外的個人座位區。小歸小，要探討的基地關係卻很深入。更艱難的是，全部都要來鉛筆圖。於是我們從第一次的慘不忍睹開始.........
Fall 2007, NCTU MArch I Studio
The Ideal Outdoor Seating Area for One
Transforming spatial discrepancies into the absolute place
Goals:
1. To analyze and survey existing conditions.
2. To find out spatial discrepancies between different systems.
3. To create a personal space within the systems.
Define a personal space via the sitting surface:
What is an ideal outdoor seating space/surface for one person?
How is the space formed?
How can privacy be considered? How does one sit around, sit by or sit in the space? How should it be oriented?
What is the scale and size of the sitting surface? How does one identify the boundary of the space? (i.e. via column? parapet wall ? surface change? trees? bushes? elevation/section changes?)
Design Approach:
1. Find a location adjacent to the Department of Architecture Building that has a horizontal extension of at least one member/element such as stair, wall, walkway, floor, ceiling and etc. The place you find must consist of more than one system of structure, material, or construction elements. Look for places indicating construction from different periods of time and locations that has sectional changes.
2. Survey the conditions and analyze discrepancies found within the systems.
3. Design a personal seating area that addresses to the discrepancies found. The personal space’s construction method, structural system, architectonic form and materials utilized need to relate to the discrepancies found.
4. The personal space is required to be attached to the horizontal member at least on one side.
Project Schedule:
09/10 Mon. Project assigned
09/17 Mon Pin-up: survey drawings and site analyses
09/20 Thurs. Analyses of discrepancies in drawings and models
09/27. Mon. Pin-up: models and drawings showing the “personal space”
10/01 Mon. Final Review
Requirement for Final Review:
1. Analyses of site conditions and discrepancies found. (1:100 or 1:50)
2. Plan, sections and elevations of the “personal space”. (1:50, 1:20, 1:10)
3. 1:50 or 1:20 model showing the element and its context
4. Collage of the space within the context.
28 June, 2007
Ideal Workshop for Designers/Researchers of Issey Miyake
第二學期的最後一個案子，由Nancy來幫我們收。很有意思的一個題目，作為三宅一生品牌系列的的studio。基地很小，限制很多。目的是要我們在這樣的條件當中精準再精準。
一開始Nancy不是讓我們直接study ISSEY MIYAKE（三宅一生）的作品，而是先從兩個已經完成的case開始。OMA與Herzog & de meuron兩間分別在soho與Tokyo的PRADA，讓我們瞭解別的設計者是怎麼樣在建構品牌與建築的關係。
Fall 2006 NCTU, MArch I
Instructors: Chiyi Chang/ Nancy Lin
June 4, 2007
Ideal Workshop for Designers/Researchers of Issey Miyake
-understanding space through Issey Miyake’s concepts for textile
"Issey changed the concept of clothing"
"He has a Japanese side to him, but it's very modern, very simple, more futuristic."
– Kenzo
"I would be very happy if it was said of me that I had provided some keys to the 21st century,"
"All I can do is to keep experimenting, keep developing my thoughts further. Certain people think that the definition of design is the beauty of the useful, but in my own work I want to integrate feelings, emotion. You have to put life into it."
"Clothing has been called intimate architecture"
– Issey Miyake
Step One:
1. Divide the class into two teams of two and research Prada Epicenter in SOHO by OMA and Prada Epicenter in Tokyo by Herzog and DeMeuron. Each team is to be responsible for one store; comparison studies between the two stores are to be done by the entire class as one group. Key issues to be addressed are:
l How is PRADA perceived as a brand?
l What is the idea of PRADA perceived by OMA? And how is PRADA store reinterpreted as an Epicenter?
l What are the differences and similarities for Tokyo and Soho stores?
l How are clothing and fashion goods displayed and consumed?
l How does technology play a role in both fashion design and the architecture it entails?
l How do new materials affect architecture in these cases?
l How is the act of shopping changed by the space provided by the new stores?
l What is the relationship between the brand and the architecture in the store?
Step Two:
1. Each student is to choose one of the following brands by Issey Miyake:
l Haat
l ME
l A-POC
l Pleats Please
l Issey Miyake
2. Analyze the design concept for the brand.
3. Interpret the relationship between body and cloth.
4. Understand how art and fashion, nature and technology, innovation and tradition, east and west are represented and translated into the design.
5. Document your research and findings in the forms of diagrams and models.
Step Three
1. Design a 6m x 6m x 6m studio/workshop for the designers of the brand you chose.
2. The studio/workshop need to reflect the spirit of the brand in terms of structural system, material, spatial arrangement, site strategy and etc.
3. Program/spaces necessary for the studio/workshop can be interpreted by each student.
4. The building is to be located along the “Aoyama of Taipei”, a fashion street with a similar atmosphere like Aoyama imagined to be established in Taipei.
Project Schedule:
06/04 Project assigned
06/07 Case Study of PRADA: Group presentation.
06/11 Pin-up: Analysis of your chosen brand by Issey Miyake.
06/14 Pin-up: Design Concept
06/18 Desk Critique
06/21 Desk Critique
06/25 Desk Critique
06/28 Final Review
Requirement for Final Review:
1. Concept Models
2. Analytical diagrams
3. Final Model at least at 1:20.
4. Architectural Drawings: Plan, Section, Elevation at least at 1:20
一開始Nancy不是讓我們直接study ISSEY MIYAKE（三宅一生）的作品，而是先從兩個已經完成的case開始。OMA與Herzog & de meuron兩間分別在soho與Tokyo的PRADA，讓我們瞭解別的設計者是怎麼樣在建構品牌與建築的關係。
Fall 2006 NCTU, MArch I
Instructors: Chiyi Chang/ Nancy Lin
June 4, 2007
Ideal Workshop for Designers/Researchers of Issey Miyake
-understanding space through Issey Miyake’s concepts for textile
"Issey changed the concept of clothing"
"He has a Japanese side to him, but it's very modern, very simple, more futuristic."
– Kenzo
"I would be very happy if it was said of me that I had provided some keys to the 21st century,"
"All I can do is to keep experimenting, keep developing my thoughts further. Certain people think that the definition of design is the beauty of the useful, but in my own work I want to integrate feelings, emotion. You have to put life into it."
"Clothing has been called intimate architecture"
– Issey Miyake
Step One:
1. Divide the class into two teams of two and research Prada Epicenter in SOHO by OMA and Prada Epicenter in Tokyo by Herzog and DeMeuron. Each team is to be responsible for one store; comparison studies between the two stores are to be done by the entire class as one group. Key issues to be addressed are:
l How is PRADA perceived as a brand?
l What is the idea of PRADA perceived by OMA? And how is PRADA store reinterpreted as an Epicenter?
l What are the differences and similarities for Tokyo and Soho stores?
l How are clothing and fashion goods displayed and consumed?
l How does technology play a role in both fashion design and the architecture it entails?
l How do new materials affect architecture in these cases?
l How is the act of shopping changed by the space provided by the new stores?
l What is the relationship between the brand and the architecture in the store?
Step Two:
1. Each student is to choose one of the following brands by Issey Miyake:
l Haat
l ME
l A-POC
l Pleats Please
l Issey Miyake
2. Analyze the design concept for the brand.
3. Interpret the relationship between body and cloth.
4. Understand how art and fashion, nature and technology, innovation and tradition, east and west are represented and translated into the design.
5. Document your research and findings in the forms of diagrams and models.
Step Three
1. Design a 6m x 6m x 6m studio/workshop for the designers of the brand you chose.
2. The studio/workshop need to reflect the spirit of the brand in terms of structural system, material, spatial arrangement, site strategy and etc.
3. Program/spaces necessary for the studio/workshop can be interpreted by each student.
4. The building is to be located along the “Aoyama of Taipei”, a fashion street with a similar atmosphere like Aoyama imagined to be established in Taipei.
Project Schedule:
06/04 Project assigned
06/07 Case Study of PRADA: Group presentation.
06/11 Pin-up: Analysis of your chosen brand by Issey Miyake.
06/14 Pin-up: Design Concept
06/18 Desk Critique
06/21 Desk Critique
06/25 Desk Critique
06/28 Final Review
Requirement for Final Review:
1. Concept Models
2. Analytical diagrams
3. Final Model at least at 1:20.
4. Architectural Drawings: Plan, Section, Elevation at least at 1:20
25 April, 2007
24 April, 2007
20070419 Midterm review in J.J. Pan
下午看完紅樓之後，我們還沒六點就到了潘冀事務所。開始匆忙的布置場地、匆忙的貼圖、匆忙的設定投影螢幕。然後就在一陣混亂當中，順序排在第一個的我上場了......。
很難得Borden邀請到很多很棒的老師參與我們這次的期中評圖，包括蘇重威、漆志剛、sonia等等。其實報告的時候不緊張，算是順利的講完。反而在跟老師的討論當中學到很多東西，更蹦出很多新的想法。的確，我的邏輯推導跟整個概念都還不是很完善，多虧漆老師跟蘇老師幫我指出了幾個矛盾的點。思考著我如何讓麥當勞與博物館的結合並分完全暴力而存在著空間性質的和諧，我想我還需要多去強化我的"MERGE"。動線的流暢以及是否為單一性也還需要再做調整。分析的東西不夠多，我需要更大量的資訊去好好架構出一個完整的program，而不是僅憑藉著空間機能的大小去排列。
總之對我來覺得這次評圖真的學到很多東西。有時候空間做得太多太趕，反而沒有好好停下來去檢視每一個步驟的發展是否完善。目前我們期中的進度是六個禮拜，前面的概念已經發想的差不多了，希望接下來的四個禮拜能夠朝向更空間的語言去發展。大家，加油!
很難得Borden邀請到很多很棒的老師參與我們這次的期中評圖，包括蘇重威、漆志剛、sonia等等。其實報告的時候不緊張，算是順利的講完。反而在跟老師的討論當中學到很多東西，更蹦出很多新的想法。的確，我的邏輯推導跟整個概念都還不是很完善，多虧漆老師跟蘇老師幫我指出了幾個矛盾的點。思考著我如何讓麥當勞與博物館的結合並分完全暴力而存在著空間性質的和諧，我想我還需要多去強化我的"MERGE"。動線的流暢以及是否為單一性也還需要再做調整。分析的東西不夠多，我需要更大量的資訊去好好架構出一個完整的program，而不是僅憑藉著空間機能的大小去排列。
總之對我來覺得這次評圖真的學到很多東西。有時候空間做得太多太趕，反而沒有好好停下來去檢視每一個步驟的發展是否完善。目前我們期中的進度是六個禮拜，前面的概念已經發想的差不多了，希望接下來的四個禮拜能夠朝向更空間的語言去發展。大家，加油!
McDonald's Studio Midterm Review
這學期Borden（曾柏庭）帶了一個有關麥當勞的再生設計案，大致上是希望以出書的方向前進規劃，所以最後的版面都將統一格式。每個人有各自不同的主題，思考未來趨勢的麥當勞、不同的麥當勞。相同的是，這些麥當勞都不是以往舊有的甚至已經不是麥當勞了。
麥當勞會不會由名詞變成形容詞甚至變成動詞？
What's the McDonald's NEXT？
我從使用者的知覺感官出發，思考著我們希望在麥當勞裡獲得什麼，更希望獲得的是什麼......
麥當勞會不會由名詞變成形容詞甚至變成動詞？
What's the McDonald's NEXT？
我從使用者的知覺感官出發，思考著我們希望在麥當勞裡獲得什麼，更希望獲得的是什麼......
23 April, 2007
Subscribe to:
Posts (Atom)
