Design with eyes 設計眼

星期四, 5月 27, 2010

Annoucement 2010.05

Dear all, designwitheyes blog will be closed from tomorrow to the end of the summer.

朋友們,設計眼網誌將於明天起停止瀏覽。

I am grateful to all the friends who ever stopped by here and shared with me ideas.


As a Taiwanese designer, I cannot stop searching a better approach of share ideas of design based on my social network in order to fulfill the vision of being a creative problem-solver.

Right now, the design industry is facing challenges from environmental issues. As for the position of industrial design, I definitely believe we should come back to the first question we ask ourselves to any design projects. Just like what the book ,Cradle to Cradle , communicates us. "We are having design problems". This is a important idea drives me to think of the basic question of who & what I should design for. And it leads the result of suspending the blog.

After refreshing myself this summer, I will have the confidence to
- add value to things I have passion for.
- help other people as a creative problem-solver.
- establish long-term relationships with everyone.
- have fun everyday!!!

Thank you for supporting.

此blog將重新思考後於未來再分享,謝謝所有曾經到訪的朋友支持。

YungChun, Eddie, Chang 2010.05.27

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星期五, 3月 26, 2010

長庚教育對我職涯的影響

謝謝長庚工設給我的栽培。
這篇自我簡介是去年尾長庚工設針對學校校友的狀況所做的紀錄,跟大家分享。

長庚教育對我職涯的影響
現在我是個剛出社會不久的新鮮人,從事設計是我的志向,在前輩與同行的眼中,可能我是個衝動 企圖心強 適合追求理想的人,而這樣的特質其實是在長庚教育的環境中慢慢被引發出來,能在長庚這樣較遠離塵囂卻又不缺資源的環境,給予我發現自我價值的機會.

我的學士與碩士學位分別於2005年及2008於長庚工設系所取得,其中對我職涯影響最大的部分有兩個階段,分別為大學的基礎教育以及研究所畢業前透過教育部藝術設計精英計畫至美國留學的經驗,

長庚工設設計基礎教育
長庚工設能提供對工業設計基礎的認識,在系上努力爭取資源的狀況下,硬體設備非常的完善,相對在師資安排裡,不但在設計研究領域都有一定的地位,同時也積極邀請業界設計專員給予學生各階段的指導,以我個人經驗來說,透過系上的資源,我有機會於淇譽電子及前台灣飛利浦設計中心實習,得以深入了解台灣工業設計在企業中的角色,

長庚工設所與留美經驗
在師長的推薦下,我參與教育部的留學計畫,有幸通過考驗而到美國加州藝術設計中心留學一年,其中讓我體認到重視企業文化與行銷手法的影響下,設計師該怎麼看待自己,更重要的是在這環境中讓我拓展了國際觀,不再擔心自己是井底之蛙,也開始懂得不好高騖遠的重要性,因此回國後,透過留學經驗,為了了解設計師在台灣的發展性,主動以個人設計師的方式配合台灣轉型產業,進行實務的產學研究案,研究結果也反映出設計師在台灣發展的建議與限制.

綜合兩階段的學習發展,我現在以有開發新產品能力的工業設計師為努力的目標,並且期能提供產業對工業設計造型與材料應用上的獨到見解與資源。

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星期四, 9月 17, 2009

What's the desire of your design?

Designing desire
I was reading a book which is "desire : the shape of things to come.(published by Gestalten, Berlin 2008)" The introduction was written by Andrej Kupetz who is a important person in German design field. Here, I share one of his speech and some good points on design he wrote in this book.




below are parts of the introduction in the book:
-It is very difficult to argue that there is any real purpose in the design of a chair, which a briefing has laid down should be like anyother chair, but different from it.

-The question about the appropriate form for an object, whcich should arise from its function, has become redundant, since thousands of functions can be stored on media that are only a few nanometres in size.

-There are no patterns of behaviour or rules for designers any more that draw on an ideology with discipline inherent in it.

Designers find themselves within a hard-fought competition of identities.

21st century design is individualists' design to only a limited extent. Design still acts within a stylistic system that is pluralistic in a way that it was not in times of functionalism and that is essentially characterised by four quetions that certainly do imply aesthetic expression and a design language:

can modernism be continued?
what does the future look like?
How can I entertain you?
What can I contribute to creating or sustaining an enveronment that is worth living in?

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星期六, 4月 25, 2009

Toshiyuki Kita 喜多俊之展

Today I got the chance to visit the exhibition in MOT design gallery which is about a Japanese master of industrial design - Toshiyuki Kita. Quickly I was attracted by his lighting design - Tako.

Cause I saw something beautiful without showing off. It simply represents the connection between light and the paper. Suddernly I realize that he has the ability to improve the traditional art craft to modern form. Of course this is also a good sample why I believe that Taiwanese designers should keep finding the relationship between those falling industrial factories and new designs. We need more people to follow the tradition then innovate it.

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星期日, 4月 12, 2009

掙扎的美麗

a lovely old wall paper in a dilapidated house shot by Mina Wu

You decorate it with lace.


離上一篇文章。。。八個月了,我這小夥子終於想留一下話在這個小空間,以前人總說男兒要當兵,雖然現在不過一年役期,不過只要你很投入,人就會成長不少,因為這其中是學習切割慾望、自由的一場掙扎戰,而當你越偏激越激進越衝動,要學的東西就越多。

而這手指頭數得出的時間裡,週遭也有許多意外的事情發生,其中影響我最大的就是好朋友的美麗不在。我其實是失望的,卻又那麼的捨不得,這是設計圈內的一大遺憾,而這種情緒就是不能多說什麼,不過,我將以此轉為自己努力的動力,為自己喜愛的人事物奮鬥,因為掙扎後的美麗得要自己親眼看見才能夠體會。

以此短篇懷念你 - Mina

"You decorate this world with lace."
This is your word. I change and send it for you

YungChun

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星期四, 8月 07, 2008

Annoucement 公告-FireFox為本部落格最佳瀏覽器

FireFox > Internet Explorer
1. If the viewer's web-browser is Internet Explorer (IE), the right side of my blog won't show up. Since I still couldn't fix the problem, this annoucement is placed to claim that the best web-browser for my blog is FireFox 3. Sorry for the inconvenience.

本部落格的最佳瀏覽器為 FireFox 3,若讀者朋友們用微軟Internet Explorer (IE),部落格將有右大半邊的連結資訊無法顯示,礙於本人還無法專心修改,在此說聲抱歉。

2. The blog attached a online messager -MeeBo- which allows viewers to ask me questiones directly. Cheers.

Author Chun 07Aug08'

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星期五, 8月 01, 2008

After rocking the city with Karim Rashid in Taipei

Karim Rashid(L), Hau & Me
That's the way a good designer thinking design.
I believe most of audiences(whoever is one of his fans or not) love yesterday's speech. Karim R. didn't stop a second thinking and brought his thoughts of design on the table. That's the character I like him most which is all about honest, aggressive and passionate... maybe a little bit arrogant.

Here, I just want to briefly share something from the talk.

Take responsibility to use materials cleverly.
Karim R. was talking about how materials should be used nowadays to point out the standpoint he has as a designer. This is a common topic but crucial factor of proceeding design in this world. In the Q&A section, he also asked the representative of PIDC about how they face the need of reducing the waste of materials and the trend of sustainability. He believes that's the duty of organizations such as PIDA should take.

What's Design to Karim?
Social Act/Emotion/Relationship/Desire/Origin/Take risks

Trends to Consider when we Design
Immaterial than material/Globalization(People around the world are getting similar to each other.)/Technologies are easy to assemble/

What's the icon/representative of objects in this century?
How do you think? He thinks of "Pen and paper."

The interpretations in the article remain my own.

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星期二, 7月 29, 2008

淺談 設計操作的原創與抄襲

原創還抄襲!?
朋友最新的一篇文,因為被天外飛來一筆的指控作品抄襲,所以做了回應。這種議題幾乎天天在發生,不過去指控原創性極高的Mina讓我感到意外及有趣。以下是個人對此議題的留言,有興趣請先參考原PO文


Mina別生氣,這位留言的人士太衝動了(我相信一定是位年輕有抱負的初生之犢),看到Mina把作品來龍去脈的仔細說明,想必一定已經吞了不少***了,(這位留言人士理該過來道歉)。

我想「概念的原創」這種議題在設計領域內人士的討論會比較成熟,若一般人來看並隨意評論將會容易移花接木、搬弄是非、牛頭不對馬嘴。

在設計創作中,因為概念與視覺化基本上是被分開拿出來操作的(就像Mina整篇在講的形與意),也因此一般人比較容易(甚至說理所當然)會注意形,也就是感官上比較直接的媒介、視覺化的結果,來與自身的文化產生共鳴或者想法,就像這位留言者只注意到Mina跟Hussein halayan作品的形,而沒有去仔細解讀作者們各自用心用力的背後故事。不過有趣的是,至少這留言是依個「注重原創」的動機,這種想法是應該被鼓勵的,只不過很需要加強爭論點的脈絡,因為突如其來的責難是會傷害到創作者的。


不過Mina說"台灣設計(甚或大中華設計)對於「概念」這東西還是不甚明白",我相信是不夠精準的,是針對整體設計?還是某領域的設計?學術的本質?還是產業界的設計?先有這個前提,才能建立對設計概念上的討論,我個人認為Mina在指的是台灣產業界的設計,(因為台灣人士在學術界、國際上對概念了解的大有人在),反而是因為台灣經濟發展背景,設計早期被看成「美工」,產業中較強調產值與操作,設計概念自然不被重視,在本土環境中也難以出頭。

個人看法。   

Chun 29July08'

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星期四, 7月 24, 2008

The new direction of design - the US point of view

The trend of capitalism in design...


"BusinessWeek Innovation chief Bruce Nussbaum talks to Frank Tyneski, IDSA's Ducati-driving executive director about new directions for design and innovation
Major trend in the design field."

He briefly mentioned some important topics like below

1.Push economy - Retailers have more pull to tell manufacturers what they want and even hold their own internal design teams to meet more consumers needs and to push manufacturers to create unique products.

2.New design generation:
Challenge: Tools changed to digital experiences.
According to the tools, we hardly indentify individuals' works...but depending on the Internet, overall problem-solving skill has a deeper understanding within the generation.

3.Global collaborative product development:
The difficulty of separating design process into different cultures. For example, form making/form giving shifts to Asia?

Good news for industrial designers.



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星期三, 7月 09, 2008

Rock the City - Karim Rashid


One of great contemporary product designers!
Ok, Karim Rashid ... I don't even need to introduce him. Although few close designers don't like his works, I enjoy his modern and aggressive design sense very much.

The exhibition locates in my dear friend Young's new retail shop - Design Comb
There are also few more events. Check it out.
Let's shape a beautiful world! by KR

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星期四, 7月 03, 2008

設計師週除了交流還是交流

Communication is the priority!
設計師週這週末兩三天天公不作美,硬聲聲的把原本要露天擺攤的規劃給切開來分到兩邊,不過既然活動是為了交流,當然大雨還是擋不了人與人之間的互動,很高興能參與這次的活動,也希望未來設計師的平台發展能越來越豐富,


活動中,可以看到很多大朋友小朋友都開始關心起設計來,而我相信設計師們也開始越來越重視自己表現議題的能力與手法適不適宜,讓我感到最欽佩的是一位一起擺攤的曹先生,他將自己開發的陶器不斷的改進,並且融合自己多年來與線上大廠大師的合作經驗,變成自己創作的能量,作出很成熟的現代陶器餐具,當他眼睛發亮的跟我說著他如何在溫差兩三度之間的要求做出他要的表面質感時,我真的很感動,這種交流就是我認為的「交流」,一種發自內心的互動,也因此每個人都能在作品上看到他的用心。曹先生的產品網站名奇陶瓷創意
除了形塑廠商外,真的感謝這兩天來Monster Bag攤位交流的朋友,台南的一家人一口氣購買四個、映象夫婦和Carl前輩及朋友Lucy、小妹、田園陳先生、22Studio、哲偉、振琪、鴿子、晏伶、學弟妹們。

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星期六, 6月 28, 2008

Art For The Masses - In MOT _ Taipei


Caution! Designer Toy is not for kids!
I went to this exhibition which is a quite interesting exhibition about Chinese artists' creations between Art and Toy design. Although I believe the designer toy culture is not mature in Taiwan, this is still a good start to make cross-the-line effort on art and design. Wish this type of business go on in Taiwan.

Exhibition Host - MOT

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星期五, 6月 20, 2008

From Watteau's secret to form language - Hidden

Love in the French Theatre
逃避是人的本性
剛看了 What my eyes have seen中文翻成羅浮宮謎情的法國片,裡面把名畫家Jean-Antoine Watteau的祕密用現代巧妙的諷刺愛情劇情串聯起來...

在我感覺,畫家總是會有一段很情緒化的、很自私的、很掙扎的把生命用畫筆將自己變成一幅畫的過程。當現代逐漸讓設計與藝術模糊化,設計者把這樣的邏輯情感轉化成創作設計已經是看得到的了。去揣摩思考Watteau的創作過程,他把自己奢望的愛人畫下來,又用 "畫上另外一層來掩蓋掉得不到愛的痛苦",這樣的"隱藏"行為結合創作邏輯是一種可以轉化成設計議題的思考,也因為是由人性- "逃避" 觀點發生的特性,概念上衍生出人與物彼此之間的關係,就能夠進一步反應當代人的問題。

也因為這樣,我聯想到Mina Wu這個floral shower的作品,因為對我來說這個作品傳達出強烈的"隱藏"甚至該說是"揭露隱藏",它談出了一種自己的、多元文化上的語言交集點。


Mina Wu Floral Shower T-shirt.Droog collection

這段作品描述很棒:

"The language of the t-shirt is personal, private and related to the
Asian background of Mina Wu, on the other hand it is recognizable and
universal. The vernacular is transposed into the global. It is about
loss and about offering new perspectives."

而產品透過表層形象傳達隱藏的邏輯如


Rosy Angelis Floor Lamp by Philippe Starck


邏輯上將隱藏轉化成產品功能的:


the Lessev mobile station at the show. Takafumi Nemoto

其實從身邊週遭點點滴滴都可以找到這些邏輯被運用,然而運用的層次就看個人造化了,在Art Center有位Dallas Good用form-language進行造型與語彙邏輯的思考訓練,是一門會讓人開竅的課程,他有on-line course,非常推薦,不過他不好惹就是了。

我對創作的表象與人的行為很感興趣,每每特殊的故事都會激發很多靈感,看完這部片的聯想太多,一時停不下來只好寫一下想法。




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星期二, 6月 17, 2008

TWDesigners'Week 08 - Monster's New FootPrint in Taipei


Design & beyond
今年第二屆台灣設計師週,我與形塑合作的Monster Bag將會加入設計市集的行列,看到這篇文章的人記得要到現場找我聊聊設計、敘敘舊囉! 這次的活動著重在設計師間的交流,市集攤位由十一事務所處理,有12顆直徑3.5公尺的透明氦氣汽球構成的上空場域,一定會很有意思,相關活動參考官網。
設計市集
時間:06/28(六)~06/29(日)
地點:信義公民會館(原四四南村) 台北市信義區 松勤路50號(世貿一館對面)
[設計師週 Official website]
ps:我把小乖也叫來參展啦,很喜歡她的槍,一定會造成不小轟動。

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星期四, 6月 12, 2008

對長庚工設來說「新一代設計展重要嗎?」Does YODEX really matter to CGUID?

What's your vision?

作為一個在長庚工設讀了有像在讀中醫系般久的學長(大學到研究所嚴格說起來是七年,中醫系要讀八年!),看到至少六屆左右的發展,加上自己在Art Center的經驗,真的感觸良多,下一屆學弟GGN很有心的主動當總召,想要做出些不同的東西,闖出不只是現有長庚的視野,甚至儘可能的用自己的力量去帶動風氣,希望未來在設計展上讓長庚更被重視,才可以跟實踐工設或其他學校比。說真的,這學弟我欣賞也很鼓勵他,不過同時也告訴他我真實的想法是,對長庚工設來說「設計展不重要,重要的是你能不能找出工設在長庚的優勢進而運用它?」說穿了,在設計展上被多一點媒體報導,有多重要?台灣新一代設計師們的設計價值跟漂漂亮亮的展有多少關係?

若只是要風風光光的展,充其量只是在追隨知名學校的腳步,而放棄思考自我的本質與優勢。哪一屆長庚學生不是為了在設計展上爭一口氣,而死命規劃展,可是,哪一屆風風光光的成功了?去思考本校條件,哪一屆的資金很多?有前衛的設計總體方向?有國際知名設計師加持?這其實不難看出,用別的學校成功的方向來努力,是很難追得上的,讓我提個謝老師跟我說的例子,「我去英國倫大聽演講,當年他們學校難得有了龐大的資金可以運用,有人提議說應該購入先進的設備才能跟其他學校比,但代表人很有遠見的說這樣永遠比不上亞洲學校那些超級先進又豐沛的設備,我要將這些資金用在請有視野的人士來演講!。」簡單來說,用力思考工設在長庚的優勢才是最重要的。

「工設在長庚的優勢」
其實老師們都很努力在找工設在長庚的優勢,然而這並非是一個系、幾年內就可以產生的價值,所以除了老師的規劃外,學生們本身的視野才是左右成敗關鍵,若大學設計生學設計重點在「學做設計」,我認為未來成果產生本質差別的,除了設計專業技巧表現之外,關鍵在選題的第一:視野與第二:深度,也就是說大家都能做出很棒的模型,但誰能醞釀出有價值且獨特的視野而且有設計本值的深度。

而這也是我認為目前長庚工設整體規劃裡最大的問題 -「學生的參與並沒有與系上正向的結合」,很多人只會報怨「長庚不有名、實踐好棒」、「我不清楚老師給的方向」等等,然而卻因此學不會從老師身上共生並成長,那怎麼產生長庚工設的優勢呢?

「如何找出工設在長庚的優勢!」
因此我想要在選題視野上產生價值,有幾個重點
1.選題視野建立在「整個系本身的規劃軸心」
2.價值反應在「此屆方向規劃如何反應國際上的趨勢」
3.獨特則產生在「工設在長庚的特殊優勢」(譬如其他科系資源、環境、人脈、個人條件)
至於設計深度則需要的是四年來自己如何培養對設計的獨到能力,這在短時間內是沒辦法改變的。
所以我的觀點是,以長庚來說,如何集合此屆學生的力量,「了解並參與系上在未來設計方向上的規劃」:主動參與系上的規劃,提供學生對老師規劃的看法,進一步影響決策。「建立各種可能的優勢交集,並dream big,將理想先放大,找成立的可能性」:主動與其他長庚優秀系所合作,運用老師的專業與資源,去建立各種跟成功人士的合作案或提供指導,例如:與長庚醫學系合作一針對地震災難的緊急狀況思考,請(在設計結合醫學與工程上)領先企業-Philips,在前Taiwan Design Center的陳禧冠 (Shikuan Chen)先生參與指導。當然最重要的還是,找到自己對設計的熱忱,別輕易放棄,但也別過分強求,適時的抽根菸、喝杯酒,做最適合的自己。

對長庚工設來說「設計展重要嗎?」
我認為不重要,重要的是每屆學生如何將四年長庚工設的學習,透過最後的專題,找出自己的優勢,設計展,只是一個媒介,只是一次曝光,然而沒有價值的展物,就算放在故宮展也不會多出點價值。

在此送給GGN,I believe in you... Just do what you believe.

ps:現在Art Center College of Design的學生在進行一個重大的集體抗議,反對現任校長的學校方針與經費運用,你會相信這一切的開始是我一位產品設計學弟在部落格上的「一篇文章嗎」?

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