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嗨我是温凱翔 ,當然你也可以叫我 Sean Kai-Hsiang Wen, you can call me Sean. 畢業於: 國立臺灣師範大學 設計學系 產品與室內設計組 / 台北市立建國高級中學 Graduated from: Product and Interior Design, Department of Design, National Taiwan Normal University / Taipei City Jianguo Senior High School 第十一屆大學院校室內設計系空間設計系學生競圖大賽 金獎 2019 澳門 Y 設計展 特別獎 / 勤業眾信聯合會計師事務所 風險管理部 數位設計組 實習生 提摩西影像製作有限公司 實習生 /

吳門相聲聯盟 II:盜墓札記兩岸大型公演巡迴 視覺效果製作

2019 新一代設計展 MV 動畫製作 2019 金點設計展覽 & 頒獎典禮動畫製作

在這本作品集中,我選了四個作品來說。如果對我有興趣 的話,歡迎隨時聯絡喔喔喔。 In this profolio, I chose four works to tell the story. If you are interested in me, please feel free to contact meeeeeeee. +886 921 072 348 swen0207@gmail.com

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Adobe Illustrator Adobe Photoshop Adobe After Effect Autodesk AutoCad Rhino Cinema 4D + Octane


固 Clam Lab. 三分糖 LESSSugar 害羞小黑 Shy one 妹島和世之鐘 Clock for Sejima Kazuyo

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固 Clam Lab. # Product # Graphic # Package # Motion

Work Delivery: 花器兩款 Flowerpots (2 types) / 蓄水盆 Tray / 工具組 Tool set Dimensions(mm): Pot with tray: 150*150*87 / Tool set: 150*75*95 Material: Clam shell / Agar / Wood / Cotton Rope Product Design: 温凱翔 Sean Wen / 陳冠蓉 Jasmine Chen Graphic & Packaging: 張愛眉 Ai Mei Chang / 郭怡辰 Yi Chen Kuo

固 Clam Lab.


在這個減碳已然成為趨勢,而「固碳」還未廣為理解的時代。我們希望透過整體設計的產品、 包裝、以及動畫,讓碳固存的概念可以更親近,並喚醒大眾對固碳行動的重視與實踐。 In recent years, carbon reduction has become a global development trend, yet “carbon fixation” hasn’t been widely understood. By our design (products, packaging, and animation), we hope that we can make the concept of carbon sequestration more familiar to the people and arouse them to pay attention to it and put it into practice.

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在開始這個主題之前,我們諮詢了中 吳梁帆同學關於固碳。

Before starting this topic, we con Department of Forestry Student Lia fixed carbon.

Q: 什麼是固碳?為何碳足跡相較起來

A: 固碳是指生物成長的過程中,捕捉 ( 通常是空氣或水中的二氧化碳 ),轉

材料;像樹木行光合作用,合成木材

碳足跡是計算產品生產過程中排放多 是產品固定了多少碳,大多產品沒有 乎所有東西都有碳足跡,概念相對簡

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中興大學森林系 吳梁帆同學 NCHU Department of Forestry Student Liang-Fan, Wu

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固碳材料 Fixed carbon material

文蛤是很好的固碳材料,在生長過程中,藉由鈣化 作用使碳酸離子轉換成碳酸鈣,將二氧化碳封存在 殼中。以貝殼平均 90% 碳酸鈣含量估算,每公噸可 固化 440 公斤二氧化碳。 During the growth of clams, they can transfer CO2to calcium carbonate with the help of calcification and seal carbon dioxide in the shells. Averagely, the shells are composed of 90% calcium carbonate, they can fixate 440 kilograms of carbon dioxide per metric ton.

固 Clam Lab.


中興大學森林系

nsulted NCHU ang-Fan, Wu on

來更廣為人知?

捉環境中的碳元素 轉換成構成自身的 材就是例子。

多少碳,而固碳則 有固碳效果,但幾 簡單。

Q: What is "fixed carbon" ? Why do people care more about carbon footprint than fixed carbon? A: "Fixed carbon" refers to the capture of carbon elements in the environment (usually carbon dioxide) in the process of biological growth, and the conversion into materials constituting itself; like the photosynthesis of trees, synthetic wood is an example. Carbon footprint is a measure of how much carbon is emitted during the production of a product, while carbon fixation is how much carbon was fixated in the materials. Most products have no carbon fixation ability, but almost everything has carbon footprints.

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台灣年產約六萬公噸的養殖文蛤,擁有發展相關產業的豐沛潛力。 人們經常在飲食中接觸文蛤,卻鮮少回收利用。我們希望透過文 蛤殼開發的材料製成花器,發揮其保濕與中和酸性土壤的特性, 並實踐固碳的理念。 There are about 60,000 metric tons of clams produced every year in Taiwan. Thus, Taiwan has tremendous potentials in developing correlated. People usually have clams in their diets, but they seldom recycle them. We’d like to put the concept of carbon sequestration into practice through the flowerpot made of the materials developed from clam shells, which can moisturize and neutralize acid.

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文蛤 ( 生 ) Clam 文蛤殼 Clam Shells 文蛤殼碎片 Fragments of Shell 各類花器考察 Types of flowerpot

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Wall-Hanging

Desktop

固 Clam Lab.

Floor-Standing

Floor


我們首先調查了市面上的花器型態及材料,發現現有的花器多半 以軟塑膠居多,材質上不具循環性。而後鎖定桌上型的花器進行 發想,因為這是最受都市居民歡迎的型態,也是汰換率最高的型 態。

Outdoor

We first investigated the types and materials of flowerpots on the market and found that most of the existing flowers were made of soft plastic, and the material was not cyclic. And we focused on the desktop type ware because this is the most popular type for urban residents and the one with the highest replacement rate.

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花器本體以文蛤、洋菜為材料,結合文蛤所生長的淺 海及潮間帶意象,以波浪起伏流動的形象,描繪曲面。 種上契合材質微鹼特性的香草科植物,四方連續的花 器系列造型,點綴家中綠意盎然的一角。 The flowerpot is made of clam shells and agars, presenting with the appearance of shallow sea and intertidal zone where clams grow up. Developing with the image of choppy sea, we depicted the curved surface on the flowerpot. By planting the vanillas that thrive in microalkali soil in the streamlining flowerpots, the houses will be green and alive.

Pot Cotton Rope

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發想草圖 Sketches 剖面圖 Section

固 Clam Lab.

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Tray


由質地堅硬的木心材雕刻成的儲水盤,透過盆栽底部搭配的 棉繩,以大氣壓力、毛細現象為動力,引水而上。比起傳統 澆灌節省約 78% 的水,這樣的方式能維持土壤溼度恆定,拉 長澆水週期,除了對使用者更加便利,更能有效提供植物生 長所需用水。 Water Inlet

The self-watering plant tray is carved out of firm hard duramen. The water ascends through the cotton rope under the flowerpot by capillary action. In this way, it saves 78% more water than traditional watering, maintains soil's moisture and extends the watering period. In addition to the convenience for the users, it provides the water that a plant need in order to be more efficient.

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面對罕見的材料,過程中遭遇了各種超乎想像的問題。從模具到配方、 製程到造型,每一階段的問題總是接踵而至;我們前後花了將近四個月 才找出穩定的製作方式,從中理解設計的豐腴和現實的骨感,對開發產 品有更深、更多元的觀點。 Because of the rareness of our materials, we faced lots of difficulties beyond our imagination. From the mold to the formula, the process to the modeling, the problems came up in every phase. We spent nearly 4 months finding out the best way to produce our product, and we comprehended the ideal and reality between design, having more and more perspectives in developing a new product.

固 Clam Lab.


Shell

Hammer

Sieve

Juicer Fragment

Powder

Oven

Fine Powder

Boiling water Our material

Agar

Powder

這期間我們不斷改進製程及配方,每 次脫模都像接生般緊張。 During the period, we continued to improve the process and formula, and each release was as nervous as delivery a child.

1. 2. 3. 4. 5. 6. 7.

製作代木正模 Making bakelite mould 歷代失敗配方 Failed recipes 翻製矽膠反模 Making silicone mould 穩定配方 Stable formula 展前混亂行事曆 Chaos schedule 材料製作流程 Pipeline of making material 一號 First child 5

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2 4

6 7

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固 Clam Lab.


為搭配盆栽的口徑與尺寸,設計出精簡尺寸的鏟子與耙子,圓潤如貝的外觀,除了在 小空間更易於操作及收納,也為居家情境的使用者提供了兼具功能美感的用具。 Also, we designed the exquisite shovel and rake to match the size and caliber of our flowerpot. They are smooth and shaped like shells, which not only makes them easier to hold and collect, but also provides the users with the tools that are equipped with both aesthetic design and functional practicality. Type B

1

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Tool Sets

Type A

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使用情境 Usage scenario 工具組 Tool sets 造型連續性驗證 Studying of form continuity

p. 15


形 象 影 片「 碳 的 旅 程 」, 傳 達 我 們「 固 碳 」 的 過 程。 二 氧 化 碳 先 是 被 釋 放 進 大 氣 中, 流 浪 於 海 洋, 被 固 定 在 文 蛤 殼 裡, 再 經 人 們 食 用、 丟 棄, 最後透過「固」的回收利用⸺終於找到了歸宿。 The image film "The Journey of Carbon" conveys the process of "carbon fixation”. First, Carbon dioxide is released into the atmosphere, wandering in the ocean, fixed in the clam shell, and then eaten, discarded by human, and finally recycled through the "CLAM LAB" - at last, carbon dioxide finds a destination.

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概念分鏡 Styleframes 視覺意象 Visual scheme 包裝設計 Packaging Design

固 Clam Lab.

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整體包裝外觀呼應花器波浪起伏,邊緣塑造出流線 形。在顏色上使用了海洋的深藍、豔陽的鮮黃、礫 灘的平灰作為陪襯,讓品牌印象鮮明又不失穩重。 The exterior of the package echoes the wavy shape of the flowerpot, creating an elegant streamlined shape at the edges. We utilize the dark blue of the ocean, the bright yellow of the sun, and the flat gray of the gravel beach to make the brand lively and stylish. 期盼以「固」作為起點,為固碳材料開拓新的舞台。 We hope "CLAM LAB" can be a starting point to open up a new stage for carbon sequestration.


p. 17


三分糖 LESSSugar # Product # Graphic

Work Delivery: 餐盤 ( 兩款 ) Plates / 馬克杯 Mug / 湯匙 Spoon / 叉子 Fork Dimensions(mm): Plate: 120*120*35 / Mug: 100*90*110 / Spoon: 180*36*20 / Fork: 180*36*20 Material: Ceramic / Wood / Epoxy Product Design: 温凱翔 Sean Wen / 陳冠蓉 Jasmine Chen Graphic & Packaging: 張愛眉 Ai Mei Chang / 郭怡辰 Yi Chen Kuo

三分糖 LESSSugar


「糖上癮」是一種戒斷症狀,和咖啡因、毒品一樣,讓人不能控制的 吃下大量的糖,獲得心靈滿足,卻對身體造成危害。台灣人攝取含糖 製品的比例非常高,糖上癮患者很多卻不自知。以糖上癮中的糖果餅 乾、甜點、飲料欸為主,藉由系列產品、視覺的有趣互動,提醒大眾 在美好糖衣下的危機。 "Sugar addiction" is a withdrawal symptom. Like caffeine and drugs, people can't control the amount of sugar they ingest. The percentage of people in Taiwan who consume sugary products is critical high, and many people with sugar addiction don't even know it. It is based on sugaraddicted biscuits, desserts, and drinks. Through a series of products and visually interesting interactions, it reminds the public of the crisis under the beautiful sugar coating.

「比如說手搖飲料,有所謂的全糖、少糖、半糖,這樣的標示大家現 在都有概念,但是即便到微糖的時候糖還是很多。譬如說珍珠奶茶, 即便珍珠奶茶裡面不放糖,珍珠本身就是糖,那大家常常忽略了。『喔 那我的珍珠奶茶不加糖,那我就不是在喝糖飲?』事實上你真的沒有 加糖那大概只有去掉三分之一的糖而已。」台北醫學大學 營養醫學 研究中心 謝榮鴻主任說。 "For example, there are so-called whole sugar, less sugar, and half sugar in hand-cranked beverages. Everyone now has the concept, but even when it is a rare sugar, there is still a lot of sugar. Pearl itself is sugar, so people often ignore it. "Well, my pearl milk tea is not sugared, so am I not drinking sugar?" You order sugarfree, then you only reduce one-third of the sugar. That's it. " said Dr. Rong-Hong, Hsieh, Professpr of Taipei Medical University.

p. 19


在眾多的調查與訪談之後,我們發現如手搖飲料標示的「半糖、三分糖」, 並不如一般民眾認知,其實遠多於二分之一、三分之一的含量。因此我們 決定透過用「比例」的觀念提示大眾。將食器上特定區域簍空,再補上透 明材質。提示食物中的含糖,會佔每日攝取上限的百分之幾。以可視化的 方式,讓大家了解糖的分量之多。 After numerous investigations and interviews, we found that the "half sugar and less sugar" labelled by handshakes is not as much as the general public thought, but it is far more than one-half and one-third. So we decided to remind the public by using the concept of "sugar content". Empty specific areas of the tablewares, and then add transparent materials. It is suggested that the sugar content in food will account for a few percents of the daily intake limit. Visualize how much sugar in food.

三分糖 LESSSugar


而具體的實踐經過了兩個實驗階段:在最初,我們使用現有的餐具翻模;再將餐具擊 破,選出目標比例的碎片;重新放回模具中灌模成型。

Sugar content

The specific practice has gone through two experimental stages: at the beginning, we use the existing tableware to turn the mould; then we break the tableware to select the target proportion of fragments and then put it back into the mould to mould.

IKEA

Moulding

Break

Filling

LESSSugar

第二代中,我們自行設計了餐具及餐具模具,餐具本身需要簍空的形狀與大小皆可控 制;而模具也跳脫原來食器的形狀限制,可以在表面做出凹凸花樣,增加視覺與觸覺 的不同刺激。 In the second generation, we designed the tableware and tableware moulds by ourselves. The shape and size of the empty space can be controlled. The mould also breaks away from the shape restrictions of the original tablewares and can make bumps and patterns on the surface to increase vision and touch different stimuli.

Costom make

Filling

LESSSugar

Costom mould

1. 4. 5. 攝影棚側拍 Studio side shot 2. 翻模過程 Moulding process 3. 脫模 Demoulding

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杯盤組 Mug & plate 湯匙與叉子 Spoon & Fork 產出現場 Exhibition site 概念視覺 Concept art

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台灣的肥胖比例高居東亞之冠,與本地的生 活及飲食習慣有著密不可分的因果關係。希 望透過著個主題,提醒大眾留意自己吃了什 麼。也藉此反思不是三分的三分糖,背後可 能代表的文化意義。 Taiwan's obesity rate is the highest in East Asia, and it has an inseparable causal relationship with local life and eating habits. Through this theme, We hope to remind the public to pay attention to what they have eaten. This is also a reflection of the cultural significance of the less (one-third) sugar, which is not a one-third.

三分糖 LESSSugar


p. 23


害羞小黑 Shy one # Product

Work Delivery: 互動燈具 Interactive Light Dimensions(mm): 106*256*64 Material: PLA / Acrylic / LED / Arduino UNO & Sensor Product Design: 温凱翔 Sean Wen

害羞小黑 Shy one


最初這個題目是訂成:呈現時間流動的裝置。在與指導教授反覆討論的過程中, 漸漸將題目拆解成:我們如何感知時間流動? Initially, the project was set to build a device that presents time flow.After discussions with the professor, the topic was gradually disassembled into: How do we perceive the flow of time?

p. 25


經過一系列的發散思考後,我選擇了以「呼吸」和「心跳」作為收斂的中心。 After divergent brainstorming, I chose to use "breathing" and "heartbeat" as the centre of convergence.

在收斂的最後,我確立了「情感」為中心,以「距 離」為媒介。反映現代人在空間上擁擠與疏離,對 主觀時間流速的影響。接下來的問題就變成:如何 測量距離?我選擇的方案是透過 Arduino 加上超音 波測距模組,所以下一步就是在這樣的基礎上發展 造型。 At the end of the convergence, I established "emotion" as the core and "distance" as the medium. Reflecting the impact of modern people's spatial crowding and alienation on subjective time flow. The next question becomes: How to measure the distance?The solution I chose was through the Arduino Uno plus the ultrasonic ranging module. So the next step is to develop the form on this foundation.

害羞小黑 Shy one


without horn

with horn

除了研究主板與感應器的不同排列外;因為超音波 屬於聲波,在實驗的過程也發現,感應器周圍也加 入了喇叭造型的結構,接收反射波的效果更加顯 著。 Because the ultrasonic waves belong to the sound, a horn-shaped structure is also been added around the sensor, and the effect of receiving signal is more remarkable.

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發散思考 Brainstroming 收斂想法 Convergence 接受器與主板排列方式 Sketch of align sensor and motherbroad

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初期絕大部分的時間都是花在編碼,還有測試感應器上。雖然感 應器測距的部分有現成的代碼,但是對應控制燈光的呼吸頻率就 是另一回事了。 Most of the initial time was spent coding and testing the sensors. Although there is a ready-made code for the distance measurement part of the sensor, controlling the breathing rate of the light is another matter. 感應器前套了布,除了減少雜訊也讓外觀更加一致。背板利用磁 力固定,快拆的結構讓維修及調整更加便利。 Cover a fabric on the sensor to reduce noise also makes the appearance more consistent. The backplate is fixed by a magnetic snap-on structure. The quick-release structure makes maintenance and adjustment more convenient.

1.2.3. 編碼及測試 Coding & testing 4.5.6. 外觀設計 Form design

害羞小黑 Shy one

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p. 29


> 1.5m

1.5m >

> 0.5m

Luminous-frequence

Luminance Time

最後呈現時間流動樣貌的三種頻率,由遠到近,隨著距離變化的 節奏。從緩慢運動,心跳加速,到屏住呼吸;就像人與人之間距 離的關係一般。 而我為這個孩子設定的是: 一點五米以上,左;一點五到半米間,中;半米以內,右 Finally, the three frequencies of the time flow appearance are presented.From far to near, the beat changes with distance.From slow movements, rapid pulses, to holding the breath;Just like the relationship between people. And what I set for this child is: one point five meters or more, left. Between five and a half meters, medium. Within half a meter, right

害羞小黑 Shy one

< 0.5m


最後採用了感應器與主板縱向的排法,除了外觀更加平衡外,佈 線及維修的難度也低很多。 The vertical arrangement of the sensor and the motherboard is adopted. In addition to the more balanced appearance, the wiring and maintenance are also much more convenient.

p. 31


害羞小黑 Shy one


期盼這盞燈可以稍微慰藉怕生的人們,讓他們知道 自己不孤單。 I hope that this lamp can comfort the people who are afraid of birth a little and let them know that they are not alone. p. 33


妹島和世之鐘 Clock for Sejima Kazuyo # Product

Work Delivery: 鐘 Clock Dimensions(mm): 120*120*105 Material: PLA / Acrylic / Wood / DC motor / Steel ball Product Design: 温凱翔 Sean Wen

妹島和世之鐘 Clock for Sejima Kazuyo


在這個迷你專案之中,我們要向建築巨擘致敬,打造一個屬於他們的時鐘。 而我決定的對象是:妹島和世。 In this mini side-project, we have to pay tribute to master architects by making a clock with their style.I choose my favourite architect, Sejima Kazuyo.

p. 35


在她眾多作品之中,最讓我印象深刻是金澤二十一世紀美術館;外圓內方的格局,處處展現機械與幾何之美。 其中除了著名的「泳池」外,我也對它無鋼纜的電梯留下了深刻的印象,進而讓我希望設計出一個無連接的「指 針」,傳達妹島建築的簡約之美。 Within her numerous talented works, I'm most impressed by the Kanazawa 21st Century Art Museum. The rectangles inside the outer circle show the beauty of mechanics and geometry everywhere. In addition to the famous artwork "the pool", I also left a deep impression on its elevator without steel cable. In turn, I hope to design a connectionless "pointer" in the clock that conveys the simplicity of her building.

金澤 21 世紀美術館平面圖 Kanzawa 21st century art museum layout

結合「無連結」的意象 Combinethe "Detached" image

金澤 21 世紀美術館內的無鋼纜電梯 The elevator without steel cable in Kanzawa 21st century art museum

妹島和世之鐘 Clock for Sejima Kazuyo


造型迭代 Form iteration

我決定製作一個傾斜的圓盤,以分鐘為單位改變傾斜方位,讓鋼珠 代替秒針的功能,在軌道上運行。外型上方中有圓,呼應美術館的 圓中有方。 I decided to make a slanted disc that changed the tilting position in minutes. Let the steel ball replace the function of the second hand and run on the orbit. The body shape echoes the pattern of the museum.

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幸運的是,很快就找到現成的每分鐘一轉的 馬達,所以在動力的設計沒有遇到太大的困 難。在上下兩截的結構中,我選擇了妹島在 室內偏好的白色與淺木色搭配;上面用木頭 呈現出溫暖的質地,下面用純白帶來輕盈的 質感。 Fortunately, I soon found a ready-made 1RPM motor, so the design of the power unit did not encounter many difficulties. In the upper and lower structure, I picked the white and wood colour that she usually used indoors; The top is made of wood with a warm touch, and the pure white gives a light texture.

妹島和世之鐘 Clock for Sejima Kazuyo


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妹島和世之鐘 Clock for Sejima Kazuyo


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外觀 Exterior 頂針 Thimble 內部結構 Internal structure 爆炸圖 Exploded view

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折銅 Copper Oragami # Product

Work Delivery: 桌燈 Desktop lamp Dimensions(mm): 520*450*50 Material: Copper / Wood / LED Product Design: 温凱翔 Sean Wen

折銅 Copper Oragami


這個專案是為了探索金屬 ( 銅 ) 的加工而誕生的,為此,在設計之前,我們 參觀了鍛造工廠了解金屬加工業的現況。老闆相當熱情的為我們解說,鑄 造、鍛造的原理、限制跟應用;同時也介紹了其他金屬加工同業給我們認識, 舉凡車牙、剪床、酸蝕和電鍍等。 This project aims to explore how metal(copper) can be machined. Therefore, we visited a forging factory to understand the detail and industry situation before we design. The factory owner introduced casting, forging and their application also limitation. Besides, introduced other metalworking workshops, for example, lathing, shearing, acid etching and plating.

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回到產品設計,我們希望透過燈具與人之間的互動, 讓照明這件事情更自然。我們瞄準的是閱讀的檯燈, 並決定讓他用最簡單、最直觀的方式互動,當你閱讀, 就亮。 Back to product design, we expect through the interaction between people and the lamp, can create more natural lighting in daily life. Soon we aimed at the reading lamp and decided to make an intuitive way to interact with it. In simple words, when you read, it lights up.

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目標 Target 發想草圖 Sketch 摺紙 Oragami 折銅測試 Folding test

折銅 Copper Oragami

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正如前面所言,這個專案是為了探索材料加工方法,所以我們對於銅可以做 到甚麼充滿了興趣。再經過諸多嘗試後,我們認為「折紙」是一個可以很好 借鑑的方向,先將銅的表面蝕刻出紋路,再透過銅的延展性折成立體造型。 而木製底座的部分也同樣參考了折紙的型態,雕刻出有趣的立體三角面。 As the original purpose, the project was to explore metal processing. So we were engaged in what copper can do. After many experiments, we found out that "origami" may be a great way to learn from. The copper was etched into the pattern first, and then the flexibility of the copper allowed it folded to form the structure. The part of the wooden base referred to the type of origami also, cutting into random three-dimensional triangular faces.

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折銅 Copper Oragami


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Profile for swen0207

Sean's stuff  

https://www.behance.net/swen0207 https://vimeo.com/357220173

Sean's stuff  

https://www.behance.net/swen0207 https://vimeo.com/357220173

Profile for swen0207
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