淡江大學建築系│一年級工作室│第 五 組。設計作品集 EA1_Studio。Dept. of Architecture。Tamkang University
2012-2013
［Unit_05］
│張從仁│ │黃唯哲│黃昱誠│黃懷瑩│潘東俠│藍士棠│王婕安│高毅盤│
張從仁 Tsungjen Chang │前言│ 電影是由一系列的靜止影像，藉由顯現在螢幕上， 則創造出幻想動態的情境，再加上聲音後 , 便可以 創造出跳脫影像以外，意圖所控制及傳達的線性鋪 陳。 因此，本次設計題目選擇藉由科幻電影為出發點， 開始一個對影像的觀察與分析，從一個超自然經驗 的虛構故事，訓練學生深入觀察到合理的邏輯分 析，建構一個以說故事為基礎，進而自行建立自我 的空間內容，再利用自我的生活經驗使空間趨於合 理性，之後，並交代在此空間的使用者如何完成先 前所設定的空間功能。 在大一的設計練習中，最重要的是要讓學生開始” 想”設計，到開始”做”設計，在這個過程中，各 種可能的想法，各種可能的方法，最終的目的都是 在於讓學生找出可以溝通的設計切入方法。 此外，對於圖面及模型作為溝通的重要媒介，如何 讓閱讀者可以從模型中理解設計意圖是非常重要的 一環，並且在過程中如何讓圖面及模型作為思考的 工具，在每次階段討論時的一個重點，藉由不斷的 檢視與修正初始概念，以增加最後呈現的可讀性及 內容的想像空間。
A film is a series of still images which, when shown on a screen, creates the illusion of moving images. By fill in soundtrack, we can control the conclusions of the linear description which is beyond these images what they can provide. Therefore, this project start from watching the science fiction film, By analyzing the unnatural image/story line, the students should read the story deeply, and come out some ideas that will be constructed by reasonable illustration. At this stage, a reasonable relationship between real and unreal should be clearly described by designer’s own life experience. Afterward, the student need to introduce how the users use the space relating to previous program or function. In the 1st year design project, the practice is let students know ‘how to think’ and then start to do ‘design’. In this class, any possible idea, method can be a unique and excellent idea to convince others from unreal to real. By this way, design can be a language that communicate with others. Besides, drawing and model are two different ways to communicate with people. How to make one to know ‘what I think’ and ‘how I think’ is the main purpose to train these students to think logically. In addition to this, how to let model and drawing become a tool for design development is another goal to train. Each individual discussions of any stage would be check from initial intension to final production. In the final, these projects are judge by logical description of intention and imagination of possibility of space.
異身之間的發想
Differences between dissimilar
異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Tsungjen Chang │張 從 仁 Student │學 生 Chien-An,Wang │王 婕 安
Just beginning to see this topic, I feel very interesting, I never imagined dissimilar needs. Assuming, as described in the film really as humans and must be shared among heterogeneous world, surely they must feel very inconvenient, after all societies are seen as human beings made. So when this requirement was established, I began to imagine if I was a werewolf, how should coexist with humans, the good use of their own space. I've been stuck in the beginning of the preliminary analysis of the werewolf, I found it difficult in the limited cognitive years, to create a truly have a werewolf character space, after all, they are not dissimilar, it is difficult to set the demand has been affected by natural limit it. So I started to think, since the external transfiguration process are still not satisfied with the conclusion, in order to properly distinguish the differences between a werewolf and human characteristics to design, I think they turn to a different place in nature, to support basis of my design, I think between the two different pulse has a complete interpretation of the physical in differences.
剛開始看到這個題目時覺得很有趣 , 我從來沒有 設想過異種的需求。假設真如電影所描述般 , 人類 和異種間必須要共享這個世界 , 想必他們肯定感到 非常的不方便 , 畢竟現在社會間所見的都是為人類 而造的。於是當這個需求成立時 , 我開始設想如果 我是個狼人 , 究竟該如何在與人類共處下 , 好好的 善用自己的空間。 剛開始我一直卡在狼人的初步分析 , 我發現自己 很難在有限的認知裡 , 去創造一個真正擁有狼人特 質的空間 , 畢竟自己不是異種 , 實在是很難去設定 那個需求 , 自然就一直受限了。於是我開始去思考 , 既然外在的變身過程始終得不到滿意的結論 , 為了 好好區分狼人與人類之間不同的特性去設計 , 我轉 而去思索他們本質上的相異處 , 去支持我的設計基 礎 , 我想兩者間的脈搏不同 , 已經完整詮釋了身理 上的差異。
現況照片│ Site Image
模型照片│ Model Image
平面配置│ Plan
跑 酷
Parkour
異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Tsungjen Chang │張從仁 Student │學 生 Yi Pan Gao │高 毅 磐
Firstly, in the scene of ''Resident Evil'', the heroine was attacked by zombie dogs and then jumped to kick them to death. It had given me an inspiration from Parkour which can use walls and many barriers to stop the attacking from zombies. Therefore, I started to study its movements and thought how to escape by understanding zombies' habitual behavior. I found that the zombies usually caught people and then bit them, so it was safe to keep away 80cm from their hands. Furthermore, I analyzed that how zombies could catch people unconsciously, and then assumed them could differ from zombies and people by temperatures of bodies. Because in zombies' eyes, people's figures are red and blue, on the contrary, zombies' figures are gray and black. Finally, as the reason of heat sensitivity, all images of zombies are totally gray without extensity. So I created this transparent model and let people can escape from zombies' attacking in it by walls and differences of levels. These uneven walls are easy to climb, and are similar to distorting mirrors which can magnify or minify people's figures and
confuse zombies. All distorted colors and figures also represent to images of Parkour in zombies' eyes. 首先，透過電影，發現其中一幕，女主角被殭屍 狗追，奔向牆壁，在空中轉了一圈後，面相狗並給 牠致命的一擊。這點讓我想到，人，如果要擺脫殭 屍，可以用到『跑酷』這項運動，透過周遭的一些 牆、障礙物，來阻擋殭屍，於是我先研究了一些跑 酷的動作，和假想如何利用跑酷來脫離殭屍，和殭 屍攻擊人的習性，因此得到，殭屍基本上都是先用 手抓住獵物，再用嘴巴攻擊，所以只要遠離殭屍手 長的半徑約 80 公分，就不會有危險。 接著我分析殭屍是如何追著人跑，首先，殭屍沒 腦 ? 如果用視覺，怎麼分出他是人還是殭屍呢 ? 而 殭屍和人最大的差別在於殭屍的屍，所以他沒有體 溫，於是我假設他的視覺是與人不同的，他是用溫 度在看東西，也就是所謂的熱感應，所以人在他的 眼裡，是一些紅紅藍藍的畫面。 既然是熱感應，那在沒有溫度的情況下，他所看 到的應該都是一片灰灰的景象，沒有空間感。所以 我做了這個全透明的模型，人可以在裡面利用牆和 高低差，來擺脫殭屍的追擊，而凹凸不平的牆，除 了讓人更好攀爬外，在殭屍的眼裡，透明不平的牆， 就像哈哈鏡一樣，會把人放大或縮小，不但可以混 淆他，他眼裡變形的顏色，也代表他眼中的跑酷形 象。
人狼跑
LYCON RUN
異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Tsungjen Chang │張 從 仁 Student │學 生 YuCheng Huang │黃 昱 誠
[Lycon Run]
[ 人狼跑 ]
There is a species running fast and going anywhere. Chasing and attacking the human, they are called the Lycon. So we have to run and run, run away form them to protect ourselves. This is how the "Lycon Run" shows up. Using the moving mode of the Lycon, the "Possible Direction" of the Lycon and a "Turning" on the different faces. Then, I try to design the methods, "Safe Area" and "Limitation Way" to keep the Lycon away. When the Lycon are in the space of "Safe Area", which I design, they have no ability to control their direction toward the human to catch us because of their high speed and stright moving mode. In the other space of "Limitation Wall", which I design too, they have to pass the small spaces one by one in a certain way. That way takes their time but the human. With all of these theses and methods, I create a space for the human to run with the Lycon safely. Then the "Lycon Run" begins.
有一種行動速度很快的物種，他們可以到達任 何地方，稱為狼人。狼人會追逐和攻擊人類，因此 人類看到狼人會開始逃，來保護自己。 " 人狼跑 " 於是出現了。 經過研究分析，發現狼人有 " 可能的移動方向 " 與 " 無法達到的區域 " ，利用狼人與人類移動模式 的不同，來使狼人與人類的距離保持安全，發展出 " 安全區域 " 和 " 限制路徑 " 。 當狼人進入以 " 安全區域 " 設計出來的空間中， 會因為他們的高速與線性的移動方式，將沒有能力 衝向與攻擊人類。當狼人進入以 " 限制路徑 " 設計 出來的空間中，會因為他們必須行走的路徑冗長， 而與人類保持在一定的距離。 利用這些理論與設計，我創造了一個可以使狼 人與人類一起跑的空間，使狼人無法抓到人類，而 可以安全的一起跑，開始 " 人狼跑 " 。
人與殭屍之牆
The wall for human beings and zombies
異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Tsungjen Chang │張從仁 Student │學 生 Wei Che,Huang │黃唯哲
[Inbetween Regular Body and Altered Body] In the first, I was shocked by this subject. In my opinion, it must be the most special subject I have ever met. Everybody need to watch the movie to recognize his or her object. For me, my researching object is the zombie that appeared in the movie, Resident Evil. I discovered that zombies have different behaviors and senses between human beings, so I want to study this theme. Then, I researched the senses of zombies, I figured out that zombies and human beings may have different percepts for one space because of their senses. It is very interesting for me. And so on, I overlapped the sense range of zombies and human beings. So there came overlapped space. Finally, I used my studying product to make my model. I designed different walls to interpret the diverse space.
[Inbetween Regular Body and Altered Body] 一開始，我被這一次的題目給震驚。我想這應該 是我碰過最特別的一題。每一個人都需要經電影來 認識彼此的對象。對我而言，我的研究對象是出現 在電影惡靈古堡中的殭屍。我發現到殭屍與人類相 比擁有不同的行為與感知，因此我想研究這個題 目。 然後，我研究了殭屍的感知能力，我發現殭屍與 人類可能會對同一個空間有不同的認知因為各自的 感知能力。這是相當有趣的。 之後，我將殭屍及人類的感知範圍重疊。所以這 樣就有了一個重複的空間。最後我將我的研究成果 製作成模型。我設計出不同的牆壁來詮釋多樣性的 空間。
模型照片│ Model Image
模型照片│ Model Image
殭屍復健中心
Center of Zombie Rehabilitation
異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Tsungjen Chang │張 從 仁 Student │學 生 HUAI-YING,HUANG │黃 懷 瑩
The topic -In between Regular Body and Altered Body I choose is based on The Resident Evil Ⅰ . It happens in the It happens in the Center of Zombie Rehabilitation. While people are infected and becoming zombies, instead of hurting or killing them, they will be sent to the Center of Zombie Rehabilitation for treatments. Researchers hope they can cure those infected z o m b i e s a n d h e l p t h e m ba c k to h u m a n society. Therefore, the Center is designed and divided into units for observation, vaccine development, treatment, rehabilitation and family visits. The prototype concept is to keep infected zombies health conditions from deteriorating and allow researchers to develop vaccine and cure. During the disease development, zombies still have normal humans hearing and visual functions. Although their movements are not agile, they still have basic motions and movements. The rehabilitation unit is divided into upper and lower areas by transparent floor in order for zombies and normal humans can see each other. The upper floor uses different shapes of bright tubes to constrain and limit zombies moving space. While zombies see people’s activities at lower level, they will chase or follow them inside tubes. Therefore, zombies will exercise all sorts of motions and then achieve more dexterous movements.
People at the lower floor can also see their family members or friends above. Besides of observation purpose, the interactive design can allow normal people to guide zombies doing exercise. 異身之間這個題目我選擇以惡靈古堡Ⅰ作為我的故 事文本，故事設定為殭屍的復健中心，當人感染病 毒而成為殭屍，他的親人不忍心傷害他，仍然保有 一線希望，希望有一天受感染者能夠被治癒並能回 歸人類的生活圈，因此設計一個場所讓研究人員能 夠繼續觀察，研究治療的疫苗，另一方面也讓思念 他的親人能來探望他。 我的模型概念，在研究人員研發疫苗的過程中，保 持身體的健康不退化。發展的過程，了解殭屍仍然 保有人類的聽力和視覺，動作雖然不夠靈巧但仍然 能夠做出基本的動作，設計讓殭屍在有限的空間內 活動，因為空間的侷限而產生不同的動作，進而做 出一連串的運動。 模型主要分為 - 上面管內主要是殭屍的活動空間， 下面為人類休息、研究區，設計透明的概念是讓彼 此能夠看見對方，殭屍因看見人類而產生追逐，人 類也能看見其思念的親人。互動方式，除了觀看之 外當人走在上方透明的道路上能陪伴其親人散步， 一起做運動。
平面配置│ Plan
永晝治療所
異。身 _ 之間
Perpetual day therapy
Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Tsungjen Chang │張 從 仁 Student │學 生 Dong-Shia-Pen │潘 東 俠
Produced by the film's editing and editing departure, in my deliberate arrangement under way, the different kinds of characters fragments foot color patchwork, given a set of analysis, and ultimately had a "person" and "werewolf" in the new relationship, a person and the werewolves in the state on the exchange relationship status involves an exchange of light, time, day and night (sunshine) factors, with the impact of natural and man-made (werewolf by light stimulation, and thus transform man; person loses light and transformed into a werewolf ) has reached a state of equilibrium and the cycle, go to imagine the world below this relationship can look like models exist. superimposed layers (the thickness of the wall, the weakening of the light) to form a skin, a control light, and I, "light" as a "therapeutic" behavior, will be subject to treatment in the control of light skin inside, due to the treatment photophobia surname, setting an upward rotation of the channel, with a light force majeure for him to push him forward, , and by this mechanism constantly shorter distance, accelerate the pace (with an upward decreasing architectural forms) eventually finished eleven kinds of natural and architectural unmanned operation treatment behavior.
由電影的剪接製作與編輯出發，在我刻意安排 的手法下，將不同片段的各式人物腳色拼湊，得到 一套分析，並最終有了個”人”與”狼人”的新關 係，一個人與狼人在狀態上的交換關係，而交換的 狀態牽扯到光線、時間、日夜 ( 日照 ) 的因素，藉 由自然與人為的影響 ( 狼人受光刺激，進而轉變為 人；人失去光線而轉變為狼人 ) 達到了一個平衡且 循環的狀態，再去想像這套關係底下的世界是能以 甚麼樣子的模式存在。 圓形環繞 ( 永晝陽光照射的角度與方向 )，層層 疊加 ( 厚度的牆，光線的削弱 )，形成了一個控制 光的皮層，而我將”受光”視為一種”治療”的行 為，將受治療者放在控制光的皮層內，因受治療者 畏光姓，設置一向上旋轉的通道，用對他來說不可 抗力的光線推使他前進，但可想而知，他同樣受到 因皮層導致反射的無限光線照射 ( 相較弱 ) 而維持 一種持續變化的狀態 ( 狼人變人 )，持續變化的狀 態是取決於狼人受到光照強度與時間上的關係，將 控制狼人的皮層想像為能延長變化的一種機制，而 藉由此機制不斷地縮短時距，加快節奏 ( 用一種向 上遞減的建築形式 ) 最終完成一種自然與建築上非 人工操作的治療行為。
平面配置│ Plan
末日之城 The Doomsday City
異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Tsungjen Chang │張 從 仁 Student │學 生 Shih-Tang, Lan │藍 士 棠
The purpose of this project is to orgazie the relationship of two different body , regular and altered , in one space.When they exist in the same time , how they interact with each other ? What would they do in this situation ? And how would student arrange to the relations between two types of body . In the beginning , I got the inspirations from the zombie film , Resident Evil .In the movie , I found interesting interaction between humans and zombies . Therefore , I carried out a detailed study into relations . And hoped to find out or to creat new rules for the interactes . So , I decided to see more zombie films to research the new posibility between humans and zombies . My concept is that human and zombie have different moving habit . So , my models was tried to creat a new path that humans could interact with zombies safely. In this project , I really had a lot of fun analyzing and making models . Although I missed my goal in the final phase , it still brought enormous me enjoyment .
這次的題目目的在於組織異身之間的關係，當兩者 共存的時候，會產生什麼樣的互動 ? 他們對此會有 怎樣的反應 ? 而學生會如何重新安排異身之間的關 係? 一開始，我從電影 " 惡靈古堡 " 中獲得靈感，我發 現電影中人類與喪屍間的有趣互動關係，因此，我 做了人與喪屍關係的深入研究，並且希望找出或是 創造新的互動規則，為此，我決定看更多的喪屍片， 企圖尋找異身之間新的可能性。 我的概念是人類與殭屍擁有不同的運動習慣，所以 我的模型嘗試創造一條新的路徑是可以讓人類安全 得與喪屍互動。 在這次的題目中，我在分析及製作模型的過程中到 很大的樂趣，雖然我在最後的階段迷失了發展目 標，但我仍十分享受這次的題目。
淡 江 大 學 建 築 系 │ 一 年 級 工 作 室 │ 第 五 組。 設 計 作 品 集 E A 1 _ S t u d i o 。 D e p t . o f A r c h i t e c t u r e 。 Ta m k a n g U n i v e r s i t y