顯示具有 設計思考 標籤的文章。 顯示所有文章
顯示具有 設計思考 標籤的文章。 顯示所有文章

2013年5月16日 星期四

【轉載】長4條腿、2個生殖器 寶寶遭遺棄

【世界日報╱北京16日電】
2013.05.16 01:02 pm
 
 
河南鄲城縣日前收治一名棄嬰,他被愛心志願者編號為「4」,大家叫他「4號寶寶」。他長著四條腿,也被稱為四腿寶寶。新京報報導,在河南愛心志願者幫助下,15日凌晨,四腿寶寶被天使媽媽基金接到北京入住八一兒童醫院,將接受分離手術。
據報導,四腿寶寶的肚臍膨出,如一個深色的肉球,長有四條腿和兩個生殖器,其中外面的兩條腿發育比較好。據陪同接送寶寶的天使媽媽基金工作人員表示,四腿寶寶的精神狀態挺好,不哭不鬧,喝奶也不錯。

根據當地派出所出具的相關證明,寶寶在4月25日被遺棄,推測出生日期可能是4月18日,至今尚未滿月。

報導指出,4月26日,有網友在網上發帖稱,在鄲城南豐鎮李三元莊村頭發現被遺棄的四腿寶寶,但是「棄嬰情況不理想,已經被遺棄了一天,天很冷,再過一夜估計就更危險了,希望有關部門出面救救這個可憐的小生命。」

網帖隨即受到關注,在鄲城網友的幫助下,寶寶很快獲得當地民政部門救助,被送到當地縣人民醫院救治。網友信息說,「真以河南人的善心為榮。」

報導指出,天使媽媽基金負責人沈利說,由於當地治療條件受限,一個星期前,有人在微博上向天使媽媽基金求助,在北京的專家做初步判斷後,決定把四腿寶寶接到北京進行分離手術。

5月12日母親節那天,天使媽媽基金工作人員先行出發,和當地民政部門辦理寄養手續。14日凌晨4時,救護車從北京出發,於當天下午5時多抵達鄲城,接上四腿寶寶。1000多公里路程,10多個小時的時間,兩個司機倒班開車,以最快速度於15日凌晨4時許,將四腿寶寶送抵八一兒童醫院。

報導指出,八一兒童醫院兒童外科主任黃柳明表示,「這是一種寄生胎,是雙胞胎在發育過程中分裂不好。」目前還需要進一步檢查四腿寶寶的情況,看肚子裡面的內臟是兩套還是一套。從目前看,手術可以做,至少四條腿裡面需要去掉兩條功能不好的腿,盆骨也可能需要往中間收攏,手術方案需要在檢查後確定。
【2013/05/16 世界日報】@ http://udn.com/


原文:
http://udn.com/NEWS/MAINLAND/MAI2/7901095.shtml

2013年3月1日 星期五

設計該是算數,還是數學?


一直以來,吸引我強烈學習的老師,都具備抽象思考的特質。在英國AA的老師Raoul Bunschoten更是如此。這深深地影響我對於設計的態度與方法,對於很多人而言,設計無需觸及太多不相干的事情,作品擺在眼前評論它的美感、使用、製作方式、經濟效益等等實際的設計問題即可。這或許在現實裡的確千真萬確,想得再多也不會有實質反應或回饋,包括金錢挹注與思考交流。但是思考系統的建立對於我而言,更甚於設計實體的論述。因為設計的思考架構是前述設計實質物件的基石,時尚會過,美感會變,設計習慣會調整,面對動態的變遷,處理設計涵構的框架愈小,將愈會是被動地漂流於洪流。借助構思設計方法的理論架構,在流動裡提供一個站立點,試著回應流動的變化,甚至改變流動的方向。

我想牛頓、高斯、愛因斯坦等等諸人應該都具備這些特質。而設計者應該也或多或少在作品的創作裡隱含這些價值才是。
但我知道不是很多人這樣認為的,學術界如此、實業界更是如此。

開學之前,我看了「丈量世界」電影,就電影而言並不是很好看,但體裁是我喜歡的,關於數學家高斯。其中高思少時為了爭取皇家助學金而面見皇家,當場被要求表演算數,即給了一長串數字相加,要求這名被稱為天才的少年能即時算出答案。在眾人期盼的沉默中,高斯回答歷史上有許多優秀的數學家算術是不及格的。戲裡場面的尷尬與戲院觀眾的笑聲,或許也是現實中對於設計定位不同的歧見吧。一個設計該是像算數一般令人讚嘆,還是像改變數學問題的觀念革新,的確令人深思。

2013年1月25日 星期五

discrete forms generated from indiscrete formation process

My first impression of this blended monster-and-human face was from the Ben Van Berkel's book, move. After that, I found that it is a series of artwork from Daniel Lee, born in China but raised in Taiwan, now living in NY, USA. There are many series of works under similar concepts and techniques like "manimals", "origin", "harvest" and "jungle" etc.

I like them very much because they trigger a strange sensation of human itself which is blended with an essential character of wild animals. In addition, I love them partly because they represent an image of my concept of "discrete forms generated from indiscrete formation process".



































2013年1月23日 星期三

【轉貼】ICD/ITKE RESEARCH PAVILION 2012



ICD-ITKE Research Pavilion 2012: Production Start from ICD on Vimeo.



ICD-ITKE Research Pavilion 2012: Dry Run from ICD on Vimeo.


ICD-ITKE Research Pavilion 2012: Prototyping from ICD on Vimeo.

original post:
http://icd.uni-stuttgart.de/?p=8807

ICD/ITKE RESEARCH PAVILION 2012

In November 2012 the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) at the University of Stuttgart have completed a research pavilion that is entirely robotically fabricated from carbon and glass fibre composites. This interdisciplinary project, conducted by architectural and engineering researchers of both institutes together with students of the faculty and in collaboration with biologists of the University of Tübingen, investigates the possible interrelation between biomimetic design strategies and novel processes of robotic production. The research focused on the material and morphological principles of arthropods’ exoskeletons as a source of exploration for a new composite construction paradigm in architecture.

At the core of the project is the development of an innovative robotic fabrication process within the context of the building industry based on filament winding of carbon and glass fibres and the related computational design tools and simulation methods. A key aspect of the project was to transfer the fibrous morphology of the biological role model to fibre-reinforced composite materials, the anisotropy of which was integrated from the start into the computer-based design and simulation processes, thus leading to new tectonic possibilities in architecture. The integration of the form generation methods, the computational simulations and robotic manufacturing, specifically allowed the development of a high performance structure: the pavilion requires only a shell thickness of four millimetres of composite laminate while spanning eight metres.

BIOLOGICAL MODEL

Following a “bottom-up” approach, a wide range of different subtypes of invertebrates were initially investigated in regards to the material anisotropy and functional morphology of arthropods. The observed biological principles were analysed and abstracted in order to be subsequently transferred into viable design principles for architectural applications. The exoskeleton of the lobster (Homarus americanus) was analysed in greater detail for its local material differentiation, which finally served as the biological role model of the project.
 The lobster’s exoskeleton (the cuticle) consists of a soft part, the endocuticle, and a relatively hard layer, the exocuticle. The cuticle is a secretion product in which chitin fibrils are embedded in a protein matrix. The specific differentiation of the position and orientation of the fibres and related material properties respond to specific local requirements. The chitin fibres are incorporated in the matrix by forming individual unidirectional layers. In the areas where a non-directional load transfer is required, such individual layers are laminated together in a spiral (helicoidal) arrangement. The resulting isotropic fibre structure allows a uniform load distribution in every direction. On the other hand, areas which are subject to directional stress distributions exhibit a unidirectional layer structure, displaying an anisotropic fibre assembly which is optimized for a directed load transfer. Due to this local material differentiation, the shell creates a highly adapted and efficient structure. The abstracted morphological principles of locally adapted fibre orientation constitute the basis for the computational form generation, material design and manufacturing process of the pavilion.

TRANSFER OF BIOMIMETIC DESIGN PRINCIPLES

In collaboration with the biologists, the fibre orientation, fibre arrangement and associated layer thickness and stiffness gradients in the exoskeleton of the lobster were carefully investigated. The high efficiency and functional variation of the cuticle is due to a specific combination of exoskeletal form, fibre orientation and matrix. These principles were applied to the design of a robotically fabricated shell structure based on a fibre composite system in which the resin-saturated glass and carbon fibres were continuously laid by a robot, resulting in a compounded structure with custom fibre orientation.

In existing fibre placement techniques, e.g. in the aero-space industry or advanced sail production, the fibres are typically laid on a separately manufactured positive mold. Since the construction of a complete positive formwork is fairly unsuitable for the building industry, the project aimed to reduce the positive form to a minimum. As a consequence, the fibres were laid on a temporary lightweight, linear steel frame with defined anchor points between which the fibres were tensioned. From the straight segments of the prestressed fibres, surfaces emerge that result in the characteristic double curved shape of the pavilion. In this way the hyperbolic paraboloid surfaces resulting from the first sequence of glass fibre winding serve as an integral mould for the subsequent carbon and glass fibre layers with their specific structural purposes and load bearing properties. In other words, the pavilion itself establishes the positive formwork as part of the robotic fabrication sequence. Moreover, during the fabrication process it was possible to place the fibres so that their orientation is optimally aligned with the force flow in the skin of the pavilion. Fibre optic sensors, which continuously monitor the stress and strain variations, were also integrated in the structure. The project’s concurrent consideration of shell geometry, fibre arrangement and fabrication process leads to a novel synthesis of form, material, structure and performance.

Through this high level of integration the fundamental properties of biological structures were transferred:
 •Heterogeneity: six different filament winding sequences control the variation of the fibre layering and the fibre orientation of the individual layers at each point of the shell. They are designed to minimize material consumption whilst maximizing the stiffness of the structure resulting in significant material efficiency and a very lightweight structure.
 •Hierarchy: the glass fibres are mainly used as a spatial partitioning element and serve as the formwork for the following layers, whilst the stiffer carbon fibres contribute primarily to the load transfer and the global stiffness of the system.
 •Function integration: in addition to the structural carbon fibres for the load transfer and the glass fibres for the spatial articulation, functional fibres for illumination and structural monitoring can be integrated in the system.

COMPUTATIONAL DESIGN AND ROBOTIC PRODUCTION

A prerequisite for the design, development and realization of the project was a closed, digital information chain linking the project’s model, finite element simulations, material testing and robot control. Form finding, material and structural design were directly integrated in the design process, whereby the complex interaction of form, material, structure and fabrication technology could be used as an integral aspect of the biomimetic design methodology. The direct coupling of geometry and finite element simulations into computational models allowed the generation and comparative analysis of numerous variations. In parallel, the mechanical properties of the fibre composites determined by material testing were included in the process of form generation and material optimization. The optimization of the fibre and layer arrangement through a gradient-based method, allowed the development of a highly efficient structure with minimal use of material.
 The robotic fabrication of the research pavilion was performed on-site in a purpose-built, weatherproof manufacturing environment by a 6-axis robot coupled with an external seventh axis. Placed on a 2m high pedestal and reaching an overall working span and height of 4m, the robot placed the fibres on the temporary steel frame, which was actuated in a circular movement by the robotically controlled turntable. As part of the fabrication process the fibres were saturated with resin while running through a resin bath directly prior to the robotic placement. This specific setup made it possible to achieve a structure of approximately 8.0m in diameter and 3.5m height by continuously winding more than 30 kilometres of fibre rovings. The parametric definition of the winding motion paths in relation to the digital geometry model, the robotic motion planning including mathematical coupling with the external axis, as well as the generation of robot control code itself could be implemented in a custom-developed design and manufacturing integrated environment. After completion of the robotic filament winding process and the subsequent tempering of the fibre-resin composite, the temporary steel frame could be disassembled and removed. The remaining, extremely thin shell of just 4mm thickness constitutes an automatically fabricated, but locally differentiated structure.

The concurrent integration of the biomimetic principles of the lobster’s cuticle and the logics of the newly developed robotic carbon and glass fibre filament winding within the computational design process, enable a high level of structural performance and novel tectonic opportunities for architecture. Despite its considerable size and span, the semi-transparent skin of the pavilion weighs less than 320kg and reveals the system’s structural logic through the spatial arrangement of the carbon and glass fibres. The synthesis of novel modes of computational and material design, digital simulation and robotic fabrication allows both the exploration of a new repertoire of architectural possibilities and the development of extremely lightweight and materially efficient structures.

related info:

2013年1月22日 星期二

FabClay from Sasha Jokic



FabClay from Sasha Jokic on Vimeo.

FabClay is project done by Sasha Jokic (Serbia), Starsk Lara (Colombia) and Nasim Fashami (Iran) ,based on the idea of robotic additive manufacturing fabrication, innovative materials and computational tools. The research is being conducted at the Institute for Advanced Architecture of Catalonia (IAAC) in Barcelona at Digital Tectonics course lead by Marta Male Alemany with assistance of Jordi Portell and Miquel Lloveras.

2013年1月12日 星期六

technique, imagination and marketing


food from Emanuel Strixner on Vimeo.



Just now I saw a stop motion shared by Karl Chu which is about a ball of dough taken out of fridge that tells a story by transforming itself into many species. For me, it is full of imagination based on abstract experiences from life and leads to a new fantastic vision of the unknown. This suddenly reminds me a very popular stop motion animation several years ago about the pressure of deadline by using note sticker. It is truly a very entertaining and welcome animation that attracts millions of eyes on youtube. But for me, though the idea is charming, the work itself is less related to imagination. It has a sense of humor towards a familiar world and nothing beyond. Both these two stop motion animations are successful and lovely but out of very different creation minds.

In the end of the sticker animation, there is a link to episode II. I think it upgrades to another level which is about marketing. The sticker is transformed into a human shaped character to tell stories. It takes advantages of the success of sticker animation and makes ready to be a commercial product. This is indeed the way the world we are living behaves. Either u like it or not!!

2012年7月22日 星期日

batman 3 "Dark Knight Rises" IMAX







從沒在電影首日就去觀賞,也沒看過IMAX,今天「蝙蝠俠 黑暗騎士」先破兩個先例!進入IMAX戲院被較一般戲院的陡直短淺斜率所困惑,「這樣不會太近能看嗎?」心裡嘀咕著。觀賞後所有疑惑解除,斜率大是讓觀者如同坐此山觀彼山般,尺度放大的影像的確震撼,尤其觀賞那高譚市空景之姿,確實感受自己的渺小。這是驚奇一。驚奇二是即便網路上好評不斷,前二集也被稱為最成功的蝙蝠俠系列,不過年代久遠我並未放在心上,觀賞完我不得不說把一部漫畫英雄片轉化成一部劇情片,導演真的揉合了許多電影樣式,不急不徐地把既定該走的流程安置好,其實沒太多時間把想當然爾的俗套檢視它的鋪陳。主角人物一系列裡都設有主題,讓劇情更有層次。只能說打破藩籬,銜接新的形態都是原型,那怕是一部必定是商業片的架構,除了娛樂外還多了些悸動。最後,安海瑟威很美! 電影好看!



2012年2月20日 星期一

grow a tree house


architecture is always expanding its sphere to other operation fields. this time is for real life form.

2012年2月9日 星期四

d3 space org

d3 space org

有關自然系統的建築競圖

領導方式

吉米推薦的ted講演

【轉載】THE CITY 2.0 – EVOLVED (NOT MADE) BY ECOLOGICAL HUMANS

THE CITY 2.0 – EVOLVED (NOT MADE) BY ECOLOGICAL HUMANS

This Live Conversation with TED Fellow Rachel Armstrong will open on February 8th, 2012 at 1pm EST, 6pm UK time.
Join the conversation as Rachel discusses her view on ecological humans and city 2.0.

We are not machines but Ecological Humans. We depend on our networks for survival, like an oak tree in the forest, being made up of highly interacting and interdependent systems. For example, eating is not simply consuming ‘fuel’ to feed our body-machine but is a mutual relationship shared between our gut bacteria, our food and our bodies (which, in turn, are highly interconnected assemblages of specialised tissues). The way that we see ourselves influences the way that we operate through the world in all aspects of our lives - from health, to business and even space exploration!

Ecological Humans, imagine the City 2.0 as being grown from the bottom-up by its communities. It is underpinned by highly interacting and interdependent networks, which use dynamic fabrics that behave in life-like ways. These buildings can be described as Living Architecture that are capable of responding to the changes in our dynamic cities as only real ecologies can.

Questions:

Will The City 2.0 be qualitatively different to modern cities? Or pragmatically, can the transition only be made as a series of incremental changes? What can we do to facilitate this transition?

What does being an Ecological Human mean to me? Can it help me find new or more effective ways of working?

Can we rely on biology to provide all the answers when it comes to sustainable building solutions? Is life a technology - and should we exploit it in the pursuit of more sustainable ways of building?