國立臺北科技大學
互動設計系
光與空間互動設計實驗室
臺北市忠孝東路三段一號

Taipei Tech
Department of Interaction Design
Research Lab of Light & Space
ZhongXiao E.Rd, Taipei,
Taiwan

02-2771-2171 ext 8909
nctai@ntut.edu.tw

光與空間實驗室主要研究領域可略分為:
。高動態範圍數位影像 High Dynamic Range Imaging
。圖像語言 Visual Language
。模擬輔助設計與研究 Simulation Based Design & Research
。實體互動設計 Tangible Interaction Design
。空間感知 Space Perception

在數位影像技術上,實驗室的研究主軸為研發與整合高動態範圍數位影像 (High Dynamic Range Imaging, HDRI) 的相關技術,並探討所整合技術於實體與虛擬空間上的理論驗證與實務應用。高動態範圍數位影像 (HDRI) 以 RGBE 32 位元數位檔案格式為核心基礎,將數位影像像素的輝度記錄由受限於紙本印刷的有限範圍,延展至包含人類視覺系統的完整可視範圍。因此將數位呈現的真實度由視覺相似推進至感知真實。相關技術包含高動態範圍攝影技術 (HDR Photography),以物理為根據光模擬 (Physically Based Lighting Simulation),與以視覺感知為基礎的影像壓縮 (Perceptually Based Tone-Mapping) 等。
在設計操作上,實驗室的設計創作則以實體互動設計為主要方向,將物理與電機的互動技術,納入小尺度的產品設計與中尺度的空間設計與展演。而在研究方法上,實驗室則以心理物理學的感知實驗法為主,藉由感知真實的數位模擬環境進行量化的感知研究,並以研究成果在實體互動設計、視覺與視錯覺、以及空間互動感知等領域上進行設計與創作。

主持人 Director

  • 國立臺北科技大學 National Taipei University of Technology
  • 互動設計系 Department of Interaction Design
  • 創意設計學士班 Undergraduate Program of Creative Design
  • 副教授 Associate Professor
  • 戴楠青 Nan-Ching Tai [nctai@ntut.edu.tw]

討論室

黑板、粉筆、回收檜木澡桶的自拼木桌,每週或隔週在這研究室的討論空間的討論,讓每一成員發展出一有趣的研究主題。

莊政修 Cheng-Hsiu Chuang [chenghsiuchuang@gmail.com]

對於 1960 年代興起的「Art of Light and Space」,以光與視覺原理所進行的場域裝置藝術有興趣,研究探討是否能以物理原理為基礎的數位模擬,配合感知為基礎的立體呈現技術,以數位輔助設計來創造此類場域藝術裝置。碩士研究論文為「以數位模擬輔助設計光與空間之場域特定藝術空間裝置 」,部分研究成果以「Digital Environment to Envision and Experience the Art of Light and Space」為題發表於巴黎舉辦之 The 3rd Computer Art Congress (pp 151-156. Paris, France, November 26-28, 2012.)。現為建築師。

陳恩羔 Ruth Genevieve Ong [ruth.genevieve@gmail.com]

外籍生,對高動態範圍影像相關技術感興趣,並專注於色彩對空間感知的影響。碩士論文為「Lighting and Space: The Effect of Lighting on Color–Depth Perception」,兩階段成果分別以「Altering Perceived Depth of Objects with Colored Lighting」為題發表於東京舉辦之 AIC 2015 (In “Color and Image”, In Proceedings of the Midterm Meeting of the International Colour Association (AIC 2015), pp 1307-1312. Tokyo, Japan, May 19-22, 2015.) ,以及以「The Effect of Colored Lighting on Color-Depth Perception – Comparing Two Techniques」為題,發表於倫敦舉辦之 CAD'15 (In Proceedings of the 12th Annual International CAD Conference (CAD’15), pp 398-401. London, United Kingdom, June 22-25, 2015.)。現任職於建築師事務所。

葉庭瑋 Ting-Wei Yeh [tingweyabi@gmail.com]

對心理學感興趣,碩士論文為「透視反轉之深度錯視效應之數位模擬驗證與輔助設計應用」,內容主要將傳統心理學中對反轉錯視效果的存在與強度的量測方法應用於數位輔助設計。研究雖為純理論,但是卻能用於反轉錯視裝置藝術的展場規劃。研究成果以「Investigation of Computer-Simulated Visual Realism for Envisioning the Illusory Visual Effect of Installation Art using Depth Reversal」為題投稿期刊審稿中。現任職於金融銀行的 UX 設計部門。

吳盈蒨 Ying-Chien Wu [minime5417@gmail.com]

興趣為程式撰寫與產品設計,研究題目為「結合 SoLoMo 應用模式及實體互動設計之遊戲化虛實互動行銷創作」,內容主要在探討如何利用實體互動扭蛋機,將新的社群行銷與傳統的店家實地促銷活動結合與加成。實體裝置獲發明專利「發明第I518617號:使用社群網路程式驅動獲得實體物件之互動系統及其方法」,階段成果以「Integrating Coupon and E-Coupon: A Tangible Device for On- and Off-Location Marketing」為題發表於沖繩舉辦之 International Academic Conference on Social Sciences and Management (In Proceedings of IACSSM 2015, pp 547-555. Okinawa, Japan, July 29-31, 2015.)。現為自創公司「風樂互動」負責人。

胡舒淳 Shu-Chun Hu [letgohappy@gmail.com]

研究興趣為以實體互動設計來解決真實問題。研究題目為「身體自然驅動之自行車警示穿戴式互動裝置」。研究成果為一能偵測腳踏車騎士在轉彎、煞車前的前驅動作,以此為訊號來啟動裝置背心上的LED指示燈,在無需特意操作下,自動警示後方駕駛行車意圖。研究成果獲得新型專利「新型第M528935號:穿戴式自行車指示裝置」,並以技轉成功商品化。階段研究成果也以「Natural User Interface Based Wearable Signaling Device for Cyclists」為題,發表於沖繩舉辦之 International Conference on Applied System Innovation 2016(In Proceedings of IEEE ICASI 2016, pp 310. Okinawa, Japan, May 28-June 1, 2016.)。現為雜誌社的數據分析師

張翰崴 Han-Wei Jang [kcskyway@gmail.com]

主要研究興趣為四軸飛行器,目前研究題目為研發如何以四軸飛行器搭載魚眼相機進行惡劣環境的影像光源拍攝。階段成果以「Design and Development of an Unmanned Aerial Vehicle to Capture Real-World Illumination for Image-Based Lighting for Dense Urban Environment」為題將於日本岡山舉辦之 the 14th annual International CAD Conference 中發表。

陳養正 Yang-Cheng Chen [eric.ycchen@gmail.com]

興趣為攀岩,目前研究主題為如何利用互動投影技術在室內攀岩場營造擬真的高度感知,藉以延伸室內攀岩場的功能。

以實體與虛擬環境研究輝度對比對空間感知深度之影響與設計應用

計畫為對實體建築元素,光與空間深度的研究。透過建築實例的研究,將已證明的空間輝度對比與空間深度的關係,透過建築實景的模擬與心理感知測驗來做進一步驗證。並研究如何將此輝度對比的圖像景深線索應用於建築設計上,就建築實體元素配置、所造成之輝度分布、與所視景之空間深度感知整理出一因果關係。從而提出一能在 HDRI 的圖像空間來準確預測輝度對比對感知深度效果的建築設計原則。

輝度對比於二維平面上三維立體呈現之空間感知深度影響

計畫為延續二維景之輝度分布對其三維空間深度影響的系列研究。目的在深入探討深度線索中的雙眼視差 (Binocular Parallax) 對數位圖像環境的感知忠實度的影響。並從而檢驗輝度對比在二維立體呈現 (Stereo Display) 上的三維景深影響。計畫利用高動態範圍影像 (High Dynamic Range Imaging) 之忠實圖像技術對實景做圖像模擬,並利用 3D 立體顯示技術製作立體圖像呈現。並以心理感知試驗來檢視輝度對比在二維立體呈現與一般平面呈現上對空間景深的影響。並藉實驗結果的分析來瞭解雙眼視差景深線索對圖像忠實度的提升,並進一步檢驗輝度對比在實體與虛擬環境的景深影響。

以高動態範圍數位攝影與影像光源技術來驗證輝度對比在實景與模擬景的景深效果

計畫目的在進一步整合研發以高動態範圍數位攝影技術(High Dynamic Range Photography, HDR Photography)與影像光源技術(Image Based Lighting)於感知忠實數位圖像環境的的生產流程,並用以驗證輝度對比在實體模型景與數位模擬景中的感知深度影響。研究利用高動態範圍攝影技術以 50 釐米鏡頭對實體模型作人眼所視景的紀錄,並研發如何以 8 釐米的球形魚眼鏡頭對光環境作紀錄與校正,用於數位模擬景之光源設定。並以高動態範圍攝影之實體模型的所視景,與以同環境所紀錄之高動態範圍球形魚眼影像作光源之數位模擬景,來進行輝度對比對感知深度影響的實驗。並藉實驗的量化結果來討論高動態範圍攝影技術對影像忠實度的提升,以及輝度對比在實體環境與模擬環境中景深效果的相同與差異。更進一步確認以數位輔助設計方法運用輝度對比於加強空間體驗設計的準確性。

以高動態範圍影像模擬技術研究強迫透視與輝度對比對建築實例深度錯覺的相互影響

計畫之目的有兩層次的意義,首先為延續過去三年國科會計畫所執行以數位環境研究輝度對比景深效應之系列研究成果,將技術成面之成果(感知忠實數位環境之建構與呈現)與基礎學理之成果(輝度對比之深度景深效應)應用於真實建築空間深度感知的案例研究。藉此將此系列研究成果進行實務應用之初探。其次則進一步以義大利文藝復興時期所建造之 Galleria Spada 以及該空間所呈現之空間深度視錯覺經驗,來探討兩種景深線索之應用:強迫透視與輝度對比,對空間深度營造的相互影響。並以前期系列研究所建構之數位環境感知忠實呈現,以心理物理學的深度感知實驗來檢視 Galleria Spada 原始有系列天井的設計,與無系列天井之現存狀況,兩者因天井之有無所造成之空間輝度分布,對其以強迫透視所造成之空間深度視錯覺的影響。


N. Tai. “Space Perception in Real and Pictorial Spaces: Investigation of Size-Related and Tone-Related Pictorial Depth Cues through Computer Simulations.” Computer-Aided Design and Applications (Scopus, EI), Vol. 9, No. 2, 2012, pp 235-251. DOI: 10.3722/cadaps.2012.235-251

ABSTRACT
Extensive studies on the depth perception of real space have enriched the knowledge of depth cues and have advanced the realism of the creation of pictorial space. Architects often use pictorial space mediated on two-dimensional media to envision design alternatives and their resultant three-dimensional qualities of un-built spaces. Thus, the knowledge of pictorial depth cues can be employed in design considerations to enhance the spatial experience of built environments. Recent developments in computer graphics of physically based renderings and perceptually based tone-mapping techniques are utilized in this paper to generate pictorial spaces that can reflect perceptual reality. Psychophysical experiments are conducted to investigate the size-related and tone-related pictorial depth cues in this alternative environment. There are two objectives of this study: the first is to ensure that the size-distance relationship, the underlying principle for size-related pictorial depth cues, can be observed effectively in a computer-generated pictorial space; the second is to demonstrate that perceptually based computer simulation can be utilized to conduct perceptual study on tone-related pictorial cues that are otherwise restricted from the physical setting and, in turn, to provide a pictorial environment for envisioning the effect of the studied pictorial depth cue in the design process.

N. Tai. “Daylighting and Its Impact on Depth Perception in a Daylit Space.” Journal of Light & Visual Environment (Scopus, EI), Vol. 36, No. 1, 2012, pp 16-22. DOI: dx.doi.org/10.2150/jlve.36.16

ABSTRACT
Visual perception within a daylit environment changes according to spatiality, sky conditions, time, and the point of observation. This paper focuses on the complex interrelationships among the architectural configuration of skylights, luminance distribution patterns resulting from changing sky conditions, and the perception of spatial depth. This study employed lighting simulation techniques that incorporate physically based rendering and perceptually based tone mapping to generate a pictorial environment. Daylighting conditions were parametrically changed and psychophysical experiments were conducted to measure the perception of distance to visual targets within architectural scenes illuminated by various daylighting conditions. Results reveal that perceived distance to visual targets increases with a decrease in the luminance contrast between the target and background. This paper concludes that variations in luminance within a space influence perceptions of spatial depth, providing the possibility of enriching the experience of architectural scenes through the incorporation of daylighting in design strategies.

N. Tai and M. Inanici. “Luminance Contrast as Depth Cue: Investigation and Design Applications.” Computer-Aided Design and Applications (Scopus, EI), Vol. 9, No. 5, 2012, pp 691-705. DOI: 10.3722/cadaps.2012.691-705

ABSTRACT
It is known that contrast can be an effective depth cue on planar displays. However, previous studies do not provide enough information on the impact of luminance contrast and luminance distribution patterns on perceived distances in three-dimensional built spaces. This research investigates the role of luminance contrast and luminance distribution patterns on space perception of three-dimensional layouts. Three experiments were conducted to study the impact of following parameters on depth perception: 1) Investigation of different lighting apertures; 2) Lighting distribution patterns; and 3) Luminance contrast as a depth cue. It is concluded that luminance variations within a space impact the perceived distance as much as they impact the luminance contrast between the target and the background. Luminance contrast of a target against its surround is an effective depth cue that can increase or decrease the perceived distance of a target in a built space. Application of this pictorial cue is demonstrated through an architectural design example.

N. Tai. “Application of Luminance Contrast in Architectural Design.” Computer-Aided Design and Applications (Scopus, EI), Vol. 10, No. 6, 2013, pp 953-963. DOI: 10.3722/cadaps.2013.953-963

ABSTRACT
One of the goals in architectural design is to enrich the spatial experience of an architectural space within its limited structural boundary. Manipulation of physical configurations to create misinterpretation of depth cue has been found as an effective way to create false perception of spatial depth in many architectural examples. Luminance contrast has been identified as effective visual information to create illusory depth effect on planar surface, and can cue the relative distance in three-dimensional settings. However, the cause-and-effect relationship of physical configuration, luminance contrast, and resulting spatial experience has yet to established. This study conducts psychophysical experiments to investigate the relationship of architectural configuration of skylights, scene luminance contrast rendered by the admitted daylight, and the effect on depth perception. Design principles of utilizing luminance contrast through daylighting to enrich spatial experience of an architectural space were generalized to conclude this study.

N. Tai. “Computational Investigation of the Effect of Luminance Contrast on Depth Perception in Physical and Simulated Scenes.” Computer-Aided Design and Applications (Scopus, EI), Vol. 12, No. 1, 2014, pp 61-66. DOI: 10.1080/16864360.2014.949575

ABSTRACT
Luminance distribution of a scene is resulted from the complex interaction of physical construction, light, and the visual perception from the point of observation. To conduct psychophysical experiments to investigate the cause and effect relationship between the luminance contrast and its effect on depth perception, perceptual studies have been conducted using computer-generated environment for precise variables control. The effect of luminance contrast on the visual target’s perceived distance in an architectural scene has been identified through the perceptual studies utilizing the pictorial environment generated by the related digital technologies of High Dynamic Range Imaging. In this study, psychophysical experiments were conducted to investigate the effect of luminance contrast in physical and computer-simulated scenes. Experiment scenes were generated by the HDR photograph of the physical model, as well as the computer simulations of the same physical model with the image-based lighting technique applied in the lighting simulation program of RADIANCE. The objective of this study is first to compare the effect of luminance contrast in the physical scenes between the computer-simulated scenes; and second to verify the reliability of the application of luminance contrast in architectural design through the computer-aided design process using HDR related technologies.

N. Tai. “Investigation on Light Effect on Spatial Illusion Resulting from Forced Perspective.” Computer-Aided Design and Applications (Scopus, EI). DOI: 10.1080/16864360.2015.1084193

ABSTRACT
One of the objectives of architectural design is to enrich the spatial experience within the restrictive con nes of the architectural space. Various depth cues such as familiar size and linear perspective have been utilized in architectural design to create illusory spatial depth. Luminance contrast has also been identi ed as an effective depth cue; its effect in increasing depth perception was verified with perceptual studies using a computer-generated environment. However, previous studies have focused on methods for accurate simulation of the lighting distribution in a scene; they have not addressed visual perception with binocular vision. This study utilizes three-dimensional (3D) stereo display technologies to present a perceptually realistic and computer-generated environment. Psychophysical experiments were conducted to examine the impact of luminance contrast in creating illusory depth effects, with scenes presented on both conventional and 3D stereo displays. The objectives of this study are: first, to investigate the influence of binocular vision on the illusory depth effect of luminance contrast; and second, to verify whether a reliable computer- generated environment can be used to envision possible applications of luminance contrast in architectural design.

N. Tai. “Computational Investigation of the Illusory Depth Effect of Luminance Contrast on a Three-Dimensional Architectural Scene with Binocular Vision.” Journal of Asian Architecture and Building Engineering (AHCI & SCIE), Vol. 14, No. 2, 2015, pp 331-338. DOI: 10.3130/jaabe.14.331.

ABSTRACT
Extensive studies on the depth perception of real space have enriched the knowledge of depth cues and have advanced the realism of the creation of pictorial space. Architects often use pictorial space mediated on two-dimensional media to envision design alternatives and their resultant three-dimensional qualities of un-built spaces. Thus, the knowledge of pictorial depth cues can be employed in design considerations to enhance the spatial experience of built environments. Recent developments in computer graphics of physically based renderings and perceptually based tone-mapping techniques are utilized in this paper to generate pictorial spaces that can reflect perceptual reality. Psychophysical experiments are conducted to investigate the size-related and tone-related pictorial depth cues in this alternative environment. There are two objectives of this study: the first is to ensure that the size-distance relationship, the underlying principle for size-related pictorial depth cues, can be observed effectively in a computer-generated pictorial space; the second is to demonstrate that perceptually based computer simulation can be utilized to conduct perceptual study on tone-related pictorial cues that are otherwise restricted from the physical setting and, in turn, to provide a pictorial environment for envisioning the effect of the studied pictorial depth cue in the design process.

本研究以 HDRI 相關技術包括以物理為根據光模擬 (Physically Based Lighting Simulation),模擬視覺感知影像壓縮 (Perceptually Based Tone-Mapping),來討論數位呈現是否可以達到感知忠實,並以感知實驗來檢視數位圖像環境可否取代真實環境來進行受限實際環境的感知研究。

N. Tai and M. Inanici. “Depth Perception in Real and Pictorial Spaces: A Computational Framework to Represent and Simulate the Built Environment”. In Between Man and Machine: In Proceedings of the 14th International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA 2009), pp 543-552. Yunlin, Taiwan, April 22-25, 2009.

本研究討論數位環境的影像忠實度,並以此感知忠實圖像環境來進行輝度對比之景深效應的感知實驗研究。

N. Tai and M. Inanici. “Lighting in Real and Pictorial Spaces: A Computational Framework to Investigate the Scene Based Lighting Distributions and Their Impact on Depth Perception”. In CAAD's New Frontiers: In Proceedings of the 15th International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA 2010), pp 501-510, Hong Kong, April 7-10, 2010.

藉由數位實驗環境的可操作性,將可能影響輝度對比對空間景深影響的因子做獨立控制研究。

N. Tai and M. Inanici. “Space Perception and Luminance Contrast: Investigation and Design Applications through Perceptually Based Computer Simulations”. Symposium on Simulation for Architecture and Urban Design (SimAUD), Orlando, April 12-15, 2010.

將雙眼視差效應納入 HDR 相關技術所建構之物理與感知忠實的數位環境建構流程。探討是否能在二維平面上模擬光與空間裝置藝術的三維視錯覺。

C. Chuang and N. Tai. “Digital Environment to Envision and Experience the Art of Light and Space”. In Proceeding of the 3rd Computer Art Congress, pp 151-156. Paris, France, November 26-28, 2012.

利用立體呈現技術研究視覺系統中的「雙眼視差」視覺經驗對輝度對比景深效應的影響。

N. Tai. “Binocular Disparity and Depth Cue of Luminance Contrast: Investigation of Perceptual Influence of Binocular Disparity on Depth Effect of Luminance Contrast through Stereo Display”. In “Rethinking Comprehensive Design: Speculative Counterculture”, Proceedings of the 19th International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA 2014), pp 637-646, Kyoto, April 14-16, 2014.

藉由一引人窺看的裝置,以及依社群網路的習慣所驅策之行為,將訊息透過視覺裝置傳達給想要傳達的觀眾。

N. Tai. “Nested Perspective: An Art Installation that Intersects the Physical and Virtual Social Worlds”. In Proceedings of the 6th Augmented Human International Conference (AH 2015), pp 205-206, Singapore, March 9-12, 2015. DOI: 10.1145/2735711.2735786

利用高動態範圍數位攝影技術以實體模型研究色彩對空間深度感知的影響。

R. Ong and N. Tai. “Altering Perceived Depth of Objects with Colored Lighting”. In “Color and Image”, Proceedings of the Midterm Meeting of the International Colour Association (AIC 2015), pp 1307-1312. Tokyo, Japan, May 19-22, 2015.

以物理根據高動態範圍影像模擬技術驗證色彩對空間深度感知的影響。

R. Ong and N. Tai. “The Effect of Colored Lighting on Color-Depth Perception – Comparing Two Techniques”. In Proceedings of the 12th Annual International CAD Conference (CAD’15), pp 398-401. London, United Kingdom, June 22-25, 2015.

本研究藉由 Facebook 的現場「打卡」功能來驅動一扭蛋機。討論如何藉由實體互動設計將虛擬的社群行銷與在店的消費優惠做結合

Y. Wu, N. Tai, Y. Hsu, and T. Yeh. “Integrating Coupon and E-Coupon: A Tangible Device for On- and Off-Location Marketing”. In Proceedings of the International Academic Conference on Social Sciences and Management (IACSSM 2015), pp 547-555. Okinawa, Japan, July 29-31, 2015.

展於「Design In」紐約經濟文化辦事處。

L.INK 的創作理念是一項過程。透過網路引擎將台灣著名的地景由北到南呈現,再由鋼筆的墨水 (INK) 以線性透視 (Linear Perspective) 的透視結構,將之串聯 (Link) 回台灣的意象。所傳達的是一種影像的聯結,一項存在於網際網路的台灣影像與透過眼睛與手的一筆一筆的圖像再聯結。

展於 MEME 空間,8/30 - 9/24, 2014,臺北。
SEE[N] 以非科技方式的互動來營造對科技互動的視覺省思。作品將以不同長度的方管來架構主結構體。在方管底端為一段又一段的社群網路符號留言,象徵社群網路的聯繫。然而作品將利用由文藝復興時期所發展的線性透視原理,以視角、管深、與光的漫射間的相互效果,在一遠觀的距離下,整件作品將形成一凝視的雙眼,並隨觀者的視線移動而移動。本作品希望能探討新形態網路社群人際關係的看與被看,讀與被閱讀、關心與被關心、窺視與被窺視間的矛盾。

創作中

IO-Coupon 適地性社群網路實體互動行銷裝置

IO-Coupon 是一個實體互動裝置,透過現地的 WiFi 網路與社群網站,讓在店家現場打卡的顧客能當場獲得內有促銷優惠的扭蛋,而店家則能透過打卡顧客的社群網路而行銷。
發明專利:發明第I518617號,戴楠青,吳盈蒨,葉庭瑋,徐雅維,陳圳卿,使用社群網路程式驅動獲得實體物件之互動系統及其方法,An Interactive System for Obtained Actual Objects Uses Social Network to Drive, and Method Therefor。

「建築:形體,空間,與秩序」,專書多媒體光碟教材設計製作。

Electronic component of “Architecture: Form, Space, and Order”. (Francis D.K. Ching. “Architecture, Form, Space & Order”. New Jersey: John Wiley & Sons, Inc., 2007.)

「設計圖學」,專書多媒體光碟教材設計製作。

Electronic component of“Design Drawing”. (Francis D.K. Ching. “Design Drawing”. New Jersey: John Wiley & Sons, Inc., 2010.)

Architectural Graphics 6th Edition

建築圖學第六版,中文版翻譯

Analytical Sketching App 互動教材

Analytical Sketching APP 是為輔助實地速寫教學所開發之手持裝置互動教學程式。在互動教材的應用程式中,建築景的透視結構分析,與建築物的幾何結構分析將以逐步互動呈現的方式來與現場的實景做比對。引導學生能在實地觀察隱藏於建築實景的幾何結構與空間關係,並幫助學生能將所觀察到的理解分析用於感知的建築透視草寫。

Signal Vest 自行車穿戴式指示裝置

Signal Vest 為一靠身體自然驅動的穿戴式自行車指示裝置,利用左、右轉、與剎車時自行車騎士身體的慣性為輸入,LED 燈為輸出,而能在無須主動操作下,提供自行車騎士在道路行駛時的輔助警示功能。

為期 10 天的國際工作營,[Tangible] Interaction Design 作為理論教學與實務操作之平台。邀請藉由國際上領導互動設計創新發展之喬治亞理工學院的 Ellen Do,杜宜倫教授與卡內基美隆大學的 Mark D. Gross 教授,在中英文的教學環境下帶領互動媒體設計研究所為主體之研究生,進行學術交流與互動設計創作。

[Tangible] Interaction Design 為 [ ] Interaction Design 之系列工作營,本系列之宗旨在強調  Interaction Design 為一設計行為,之前之 [ ] 可填入任何創新且具創意之想法與方法。本次工作營分別以 [What] 與 [How] 兩主題來討論互動設計,其中在 [What] 的部分主要在探討互動設計之目的並非在於製作「互動」的設計,而在於設計「互動」。因此如何透過觀察人的行為、人與人的行為、與人與環境間的行為來尋找互動設計的目的,為本次工作營的首要目標。而在 [How] 的部分則強調超越裝置的限制,能自由地在任何不同尺度的三維物件與環境作互動設計的操作。因此本次工作營之 [ ] 所填入的即為 [Tangible] ,而整體之目標則在訓練參與學生能觀察與了解人類行為的互動需要,並能以結合實體的工業設計與無形的資訊設計,進行互動設計來回應設計的需求。

建築速寫:空間的圖像筆記

「看」是結合眼的感知與腦的思考所進行的一種具有想像力與創造力的過程。在這個過程中我們把我們的「所見」轉換成為我們的「所知」。而這項過程常常也可以是反向的。我們仰賴我們的「所知」來解釋我們眼前的「所見」。因此,繪出我們的「所見」成為一項「看」與「想」的互動過程。本課程的目的便在讓學生透過實地速寫建築的過程,體驗「看」、「想」與「畫」的互動過程。 本課程的教學包含 Francis D.K. Ching 以演講方式傳授累積之分析性繪圖與建築速寫的理論與知識,並在實地現場以一對一的方式讓學員藉速寫來體驗演講的所學。為使學員能充分體會 Ching 的英語教學,以及了解以過程為重的分析性繪圖概念,中英對照的手機互動教材將使學員能將不同語言、不同形式的教學整合於現地的速寫學習。 [工作營網站]

設計圖學上:圖學系統
Representation: Representational Systems

我們對三維環境的感知與理解來自視覺系統對二維網膜成像所處理而來。反之,二維的圖像平面則替三維的設計從概念發想到施工圖繪製提供了視覺化媒介。重製呈現 (Representation) 中各個不同的圖學系統與表現技法是由人們經年累月嘗試對眼見環境作描述而發展,而終成為一媒介設計的共通圖像語言。本課程所要探討的便是在重製呈現的架構下如何由現存的三維來學習二維呈現,再由二維呈現到建構想像三維的過程。

設計圖學下:圖像語言

Representation: Visual Language

數位技術的應用已成為設計與視覺化溝通上重要的一環。然而數位輔助工具的使用,仍需操作者能以立體的方式去形容所要建構的物件或空間。因此培養學生三維觀察、思考、與想像視覺化的能力依舊是現在設計教育所不可或缺的。本課程便是藉由徒手繪與數位操作的平行訓練,來培養學生在設計上所需要的三維思考想像與傳達呈現的能力。

分析性速寫

以圖像語言的架構教授分析性繪圖 (Analytical Drawing Process) 的概念與操作,以及分析性繪圖在設計速寫上的應用。課程以課堂講解與實地速寫來進行,主題包括感知與理解層面的三維觀察與紀錄、圖解、與圖像筆記。

數位製造
Digital Fabrication

數位製造為一利用數位輔助設計軟體與製造工具將設計想法實現的過程。本課程將這個過程所需要的數位技術模組化,並以系統性的方式逐一介紹各技術模組的理論與操作,藉以培養以三維方式進行設計思考,並能以數位設計與製造流程來實現設計的能力。

視覺與資訊設計

本課程包含兩主軸,首先以圖像語言概念,平行介紹徒手草繪與數位建模與呈現,培養設計所需要之視覺化思考與傳達技術。其次介紹 Physical Computing / Tangible Interaction Design 之互動設計,再以一設計操作來應用所學之圖像技術,並用所學之圖像技術來說明設計提案。

媒材空間

在重製呈現的架構下,空間理論包含真實空間如何被感知與認知,如何於媒材上呈現為圖像空間,以及如何在媒材上的圖像空間去描述靜態的空間與模擬動態的空間互動。本課程藉由平行檢視視覺心理學的空間理論與其相關的近代數位應用,以數位影像媒材的角度來重新探討空間理論,並用以發展可能的研究主題。

MODELING OBJECT
物件幾何形體建模

以 Gerrit Rietveld 所設計的 Blue & Red Chair 為案例,介紹 SketchUp 物件尺度三維建模的基本操作。

>下載 [Download]
「操作說明 / Tutorial」

MODELING SPACE
空間建模

以 Sean Godsell 所設計的 Future Shack 臨時住宅為案例,來介紹 SketchUp 空間尺度三維建模的基本操作。

>下載 [Download]
「操作說明 / Tutorial」

MODELING FREEFORM
有機形體建模

以 Memorial Forest Park 的基地模型來介紹 SketchUp 自由形體建模的基本建模操作。

>下載 [Download]
「操作說明 / Tutorial」「圖檔 / Underlay File」

RENDERING VECTOR
向量圖形呈現

介紹如何將 SketchUp 的三維模型資料,設定為尺寸圖說與透視呈現,並輸出成 Illustrator 的向量圖形進行排版。

>下載 [Download]
「操作說明 / Tutorial」

RENDERING RASTER
擬真彩現

介紹如何將 SketchUp 的三維模型輸出至 Maxwell Render 進行材質、視野、環境等設定進行擬真彩現。

>下載 [Download]
「操作說明 / Tutorial」「模型 / Model File」

HDR PHOTOGRAPHY
高動態範圍影像攝影術

介紹高動態範圍影像攝影術的操作,與 Photosphere 影像合成,與會度校正的流程。

>下載 [Download]
「操作說明 / Tutorial」

TONE MAPPING
高動態範圍影像壓縮

介紹如何將高動態範圍影像根據不同的視覺理論壓縮成為一般的低動態範圍影像。

>下載 [Download]
「操作說明 / Tutorial」

RADIANCE WORKFLOW
物理運算彩現

介紹如何將 SketchUp 的三維模型,輸出至 RADIANCE 進行以物理運算為根據的光模擬。

>下載 [Download]
「操作說明 / Tutorial」 「模型 / Gallery」

RADIANCE LIGHTING
物理運算光源

介紹以全周頭魚眼鏡頭,高動態範圍影像攝影術,與 RADIANCE 進行影像光源的操作。

>下載 [Download]
「操作說明 / Tutorial」「模型 / Afrum」

FOLIO INTERACTION
互動呈現

介紹以Adobe InDesign 製作手持裝置的互動程式呈現。

>下載 [Download]
「操作說明 / Tutorial」

3D PRINTING
3D列印

介紹如何將 SketchUp 的三維模型轉檔,並透過3D列印進行原型製作。

>下載 [Download]
「操作說明 / Tutorial」

LASER CUTTING
雷射切割

介紹如何藉由 SketchUp 建模與轉檔,Adobe Illustrator 的圖層管理與後製,並利用中型雷射切割機製作一縮小比例的實體模型。

>下載 [Download]
「操作說明 / Tutorial」「模型 / Berlin Chair」