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PHOTOSHOP技巧148條

2007-08-06T09:54:00.000-07:00

PHOTOSHOP技巧148條
工具面板技巧

1. 快速打開文件
按兩下Photoshop的背景空白處(預設為灰色顯示區域)即可打開選擇檔的流覽視窗。

2. 隨意更換畫布顏色
選擇油漆桶工具並按住Shift點擊畫布邊緣，即可設置畫布底色為當前選擇的前景色。如果要還原到默認的顏色，設置前景色為25%灰度(R192，G192，B192)再次按住Shift點擊畫布邊緣。

3. 選擇工具的快速鍵
可以通過按快速鍵來快速選擇工具箱中的某一工具，各個工具的字母快速鍵如下：
選框-M 移動-V 套索-L 魔棒-W
噴槍-J 畫筆-B 鉛筆-N 橡皮圖章-S
歷史記錄畫筆-Y 橡皮擦-E 模糊-R 減淡-O
鋼筆-P 文字-T 度量-U 漸變-G
油漆桶-K 吸管-I 抓手-H 縮放-Z
默認前景和背景色-D 切換前景和背景色-X
編輯模式切換-Q 顯示模式切換-F
另外，如果我們按住Alt鍵後再按一下顯示的工具圖示，或者按住Shift鍵並重複按字母快速鍵則可以迴圈選擇隱藏的工具。

4. 獲得精確游標
　　按Caps Lock鍵可以使畫筆和磁性工具的游標顯示為精確十字線，再按一次可恢復原狀。

5. 顯示/隱藏控制板
　　按Tab鍵可切換顯示或隱藏所有的控制板(包括工具箱)，如果按Shift+Tab則工具箱不受影響，只顯示或隱藏其他的控制板。

6. 快速恢復預設值
有些不擅長Photoshop的朋友為了調整出滿意的效果真是幾經周折，結果發現還是原來的默認效果最好，這下傻了眼，後悔不該當初呀！怎麼恢復到預設值呀？試著輕輕點按選項欄上的工具圖示，然後從上下文功能表中選取“重定工具”或者“復位所有工具”。

7. 自由控制大小
　　縮放工具的快速鍵為“Z”，此外“Ctrl＋空白鍵”為放大工具，“Alt＋空白鍵”為縮小工具，但是要配合滑鼠點擊才可以縮放；相同按Ctrl+“+”鍵以及“－”鍵分別也可為放大和縮小圖像；Ctrl+Alt+“+”和Ctrl+Alt+“－” 可以自動調整視窗以滿屏縮放顯示，使用此工具你就可以無論圖片以多少百份比來顯示的情況下都能全屏流覽！如果想要在使用縮放工具時按圖片的大小自動調整視窗，可以在縮放工具的屬性條中點擊“滿畫布顯示”選項。

8. 使用非Hand Tool(手形工具)時，按住空白鍵後可轉換成手形工具，即可移動視窗內圖像的可見範圍。在手形工具上按兩下滑鼠可以使圖像以最適合的視窗大小顯示，在縮放工具上按兩下滑鼠可使圖像以1:1的比例顯示。

9. 在使用Erase Tool(橡皮擦工具)時，按住Alt 鍵即可將橡皮擦功能切換成恢復到指定的步驟記錄狀態。

10. 使用Smudge Tool(指尖工具)時，按住Alt鍵可由純粹塗抹變成用前景色塗抹。

11. 要移動使用Type Mask Tool(文字蒙版工具)打出的字形選取範圍時，可先切換成快速蒙版模式（用快速鍵Q切換），然後再進行移動，完成後只要再切換回標準模式即可。

12. 按住Alt鍵後，使用Rubber Stamp Tool(橡皮圖章工具)在任意打開的圖像視窗內按一下滑鼠，即可在該視窗內設定取樣位置，但不會改變作用視窗。

13. 在使用Move Tool(移動工具)時，可按鍵盤上的方向鍵直接以1 pixel的距離移動圖層上的圖像，如果先按住Shift鍵後再按方向鍵則以每次10 pixel的距離移動圖像。而按Alt鍵拖動選區將會移動選區的拷貝。

”鍵可以即時增加或減少採樣寬度(選項調板中)。

15. 度量工具在測量距離上十分便利(特別是在斜線上)，你同樣可以用它來量角度(就像一隻量角器)。在資訊面板可視的前提下，選擇度量工具點擊並拖出一條直線，按住Alt鍵從第一條線的節點上再拖出第二條直線，這樣兩條線間的夾角和線的長度都顯示在資訊面板上。用測量工具拖動可以移動測量線(也可以只單獨移動測量線的一個節點)，把測量線拖到畫布以外就可以把它刪除。

16. 使用繪畫工具如(如畫筆，向筆等)，按住Shift鍵按一下滑鼠，可將兩次按一下點以直線連接。

17. 按住Alt鍵用吸管工具選取顏色即可定義當前背景色。通過結合顏色取樣器工具(Shift+I)和資訊面板監視當前圖片的顏色變化。變化前後的顏色值顯示在資訊面板上其取樣點編號的旁邊。通過資訊面板上的彈出功能表可以定義取樣點的色彩模式。要增加新取樣點只需在畫布上用顏色取樣器工具隨便什麼地方再點一下，按住Alt鍵點擊可以除去取樣點。但一張圖上最多只能放置四個顏色取樣點。當Photoshop中有對話方塊(例如：色階命令、曲線命令等等)彈出時，要增加新的取樣點必須按住Shift鍵再點擊，按住Alt+Shift點擊可以減去一個取樣點。

18. 裁切工具大家都一定用過，這種情況你也一定遇到過；在你調整裁切握、而裁切框又比較接近圖像邊界的時候，裁減框會自動地貼到圖像的邊上，令你無法精確的裁切圖像。不過只要在調整裁切邊框的時候接下“Ctrl”鍵，那麼裁切框就會服服帖帖，讓你精確裁切。

複製技巧

19. 按住Ctrl+Alt鍵拖動滑鼠可以複製當前層或選區內容。

20. 如果你最近拷貝了一張圖片存在剪貼板裡，Photoshop在新建文件(Ctrl+N)的時候會以剪貼板中圖片的尺寸作為新建圖的默認大小。要略過這個特性而使用上一次的設置，在打開的時候按住Alt鍵(Ctrl+Alt+N)。

21. 如果創作一幅新作品，需要與一幅已打開的圖片有一樣的尺寸、解析度、格式的檔。選取“檔”→“New”，點Photoshop功能表列的Windows選項，在彈出功能表的最下麵一欄點擊已開啟的圖片名稱，是的，就是這麼簡單!

22. 在使用自由變換工具(Ctrl+T)時按住Alt鍵(Ctrl+Alt+T)即可先複製原圖層(在當前的選區)後在複製層上進行變換；Ctrl+Shift+T為再次執行上次的變換，Ctrl+Alt+Shift+T為複製原圖後再執行變換。

23. 使用“通過複製新建層(Ctrl+J)”或“通過剪切新建層(Ctrl+J)”命令可以在一步之間完成拷貝到粘貼和剪切到粘貼的工作；通過複製(剪切)新建層命令粘貼時仍會放在它們原來的地方，然而通過拷貝(剪切)再粘貼，就會貼到圖片(或選區)的中心。

24. 若要直接複製圖像而不希望出現命名對話方塊，可先按住Alt鍵，再執行“圖像”→“副本”命令。

25. Photoshop的剪貼板很好用，但你更希望直接使用Windows系統剪貼板，直接處理從螢幕上截取的圖像。好的，按下Ctrl＋K，在彈出的面板上將“輸出到剪貼板”點中吧！

26. 在Photoshop內實現有規律複製
在做版面設計的時候我們會經常把某些元素有規律地擺放以尋求一種形式的美感，在Photoshop內通過四個快速鍵的組合就可以輕易得出。
(1)圈選出你要複製的物體；
(2)按Ctrl+J產生一個浮動 Layer；
(3)按旋轉並移動到適當位置後確認；
(4)現在可以按住Ctrl+Alt+Shift 後連續按“T”就可以有規律地複製出連續的物體。(只按住Ctrl+Shift則只是有規律移動)

27. 當我們要複製檔中的選擇物件時，要使用編輯功能表中的複製命令。複製一次你也許覺不出麻煩，但要多次複製，一次一次的點擊就相當不便了。這時你可以先用選擇工具選定物件，而後點擊移動工具，再按住“Alt”鍵不放。當游標變成一黑一白重疊在一起的兩個箭頭時，拖動滑鼠到所需位置即可。若要多次複製，只要重複的放鬆滑鼠就行了。

28. 可以用選框工具或套索工具，把選區從一個文檔拖到另一個上。

29. 要為當前歷史狀態或快照建立一個複製文檔可以：
(1)點擊“從當前狀態創建新文檔”按鈕；
(2)從歷史面板功能表中選擇新文檔；
(3)拖動當前狀態(或快照)到“從當前狀態創建新文檔”按鈕上；
(4)右鍵點擊所要的狀態(或快照)從彈出功能表中選擇新文檔把歷史狀態中當前圖片的某一歷史狀態拖到另一個圖片的視窗可改變目的圖片的內容。按住Alt鍵點擊任一歷史狀態(除了當前的、最近的狀態)可以複製它。而後被複製的狀態就變為當前(最近的)狀態。按住Alt拖動動作中的步驟可以把它複製到另一個動作中。
　

選擇技巧

30. 把選擇區域或層從一個文檔拖向另一個時，按住Shift鍵可以使其在目的文檔上居中。如果來源文件和目的文檔的大小(尺寸)相同，被拖動的元素會被放置在與來源文件位置相同的地方(而不是放在畫布的中心)。如果目的文檔包含選區，所拖動的元素會被放置在選區的中心。

31. 在動作調板中按一下右上角的三角形按鈕，從彈出的功能表中選擇載入動作，進入PhotoshopGoodiesActions目錄下，其下有按鈕、規格、命令、圖像效果，文字效果、紋理、幀六個動作集，包含了很多實用的東西喲!另外，在該目錄下還有一個ACTIONS.PDF檔，可用Adobe Acrobat軟體打開，裡面詳細介紹了這些動作的使用方法和產生的效果。

32. 按一下工具條中的畫筆類工具，在隨後顯示的屬性條中按一下畫筆標籤右邊的小三角，在彈出的功能表中再點擊小箭頭選擇“載入畫筆…”。到Photoshop目錄的Brushes資料夾中選擇*.abr。原來這裡還有這麼多可愛的東西。

33. 畫出一個漂亮的標記，想在作品中重複使用？好辦，用套索工具選好它，在Brushes的彈出功能表中選“儲存畫筆…”，然後用畫筆工具選中這個新筆頭……朋友，想做居室噴塗嗎?

34. 如果想選擇兩個選擇區域之間的部分，在已有的任意一個選擇區域的旁邊同時按住Shift和Alt鍵進行拖動，畫第二個選擇區域(滑鼠十字形旁出現一個乘號，表示重合的該區域將被保留)。

35. 在選擇區域中刪除正方形或圓形，首先增加任意一個選擇區域，然後在該選擇區域內，按Alt鍵拖動矩形或橢圓的面罩工具。然後鬆開Alt鍵，按住Shift鍵，拖動到你滿意為止。然後先鬆開滑鼠按鈕再鬆開Shift鍵。

36. 從中心向外刪除一個選擇區域，在任意一個選擇區域內，先按Alt鍵拖動矩形或橢圓的面罩工具，然後鬆開Alt鍵後再一次按住Alt鍵，最後鬆開滑鼠按鈕再鬆開Alt鍵。

37. 在快速蒙版模式下要迅速切換蒙版區域或選取區域選項時，先按住Alt鍵後將游標移到快速遮色片模式圖示上按一下滑鼠就可以了。

38. 使用選框工具的時候，按住Shift鍵可以劃出正方形和正圓的選區；按住Alt鍵將從起始點為中心勾劃選區。

39. 使用“重新選擇”命令(Ctrl+Shift+D)來載入/恢復之前的選區。

40. 在使用套索工具勾畫選區的時候按Alt鍵可以在套索工具和多邊形套索工具間切換。勾畫選區的時候按住空白鍵可以移動正在勾畫的選區。

41. 按住Ctrl鍵點擊層的圖示(在層面板上)可載入它的透明通道，再按住Ctrl+Alt+Shift鍵點擊另一層為選取兩個層的透明通道相交的區域。

可保留原來的選區。

43. “選擇框”工具中Shift和Alt鍵的使用方法：
當用“選擇框”選取圖片時，想擴大選擇區，這時按住Shift鍵，游標“+”會變成“十+”，拖動游標，這樣就可以再原來選取的基礎上擴大你所需的選擇區域。或是在同一副圖片中同時選取兩個或兩個以上的選取框。
當用“選擇框”選取圖片時，想在“選擇框”中減去多餘的圖片，這時按住“Alt”鍵，游標“+”會變成“十-”，拖動游標，這樣就可以留下你所需要的圖片。
當用“選擇框”選取圖片時，想得到兩個選取框疊加的部分，這時按住“Shift+Alt”鍵，游標“+”會變成“十í”，拖動游標，這樣就你想要的部分。
想得到“選取框”中的正圓或正方形時，按住“Shift”鍵，就可以。

44. “套索”工具中Shift和Alt鍵的使用方法：
增加選取範圍按“Shift”鍵。(方法和“選擇框”中的1相同)
減少選取範圍按“Alt”鍵。(方法和“選擇框”中的2相同)
兩個選取框疊加的區域按“Shift+Alt”鍵。(方法和“選擇框”中的3相同)

45. “魔杖”工具中Shift和Alt鍵的使用方法：
增加選取範圍按“Shift”鍵。(方法和“選擇框”中的1相同)
減少選取範圍按“Alt”鍵。(方法和“選擇框”中的2相同)
兩個選取框疊加的區域按“Shift+Alt”鍵。(方法和“選擇框”中的3相同)

快速鍵技巧

46. 你可以用以下的快速鍵來快速流覽你的圖像：
Home捲動至圖像的左上角；End捲動至圖像的右下角；Page UP捲動至圖像的上方；Page Down捲動至圖像的下方；Ctrl＋Page Up捲動至圖像的左方；Ctrl＋Page Down捲動至圖像的右方。

47. 按Ctrl鍵+Alt鍵+0鍵即可使圖像按1:1比例顯示。

48. 當你想“緊排”(調整個別字母之間的空位)，首先在兩個字母之間按一下，然後按下Alt鍵後用左右方向鍵調整。

49. 將對話方塊內的設定恢復為默認，先按住Alt鍵後，Cancel鍵會變成Reset鍵，再按一下Reset鍵即可。

50. 要快速改變在對話方塊中顯示的數值，首先用滑鼠點擊那個數位，讓游標處在對話方塊中，然後就可以用上下方向鍵來改變該數植了。如果在用方向鍵改變數值前先按下Shift鍵，那麼數值的改變速度會加快。

51. Photoshop 6.0除了以往熟悉的快速鍵Ctrl+Z(可以自由地在歷史記錄和當前狀態中切換)之外，還增加了Shift+Ctrl+Z(用以按照*作次序不斷的逐步恢復*作)和Alt+Ctrl+Z(使用戶可以按照*作次序不斷的逐步取消*作)兩個快速鍵。按Ctrl+Alt+Z和Ctrl+Shift+Z複合鍵分別為在歷史記錄中向後和向前(或者可以使用歷史面板中的功能表來使用這些命令)。

52. 填充功能：
Shift+Backspace打開填充對話方塊；
Alt+Backspace和Ctrl+Backspace複合鍵分別為填充前景色和背景色；
按Alt+Shift+Backspace及Ctrl+Shift+Backspace複合鍵在填充前景及背景色的時候只填充已存在的圖元(保持透明區域)。

53. 鍵盤上的D鍵、X鍵可迅速切換前景色和背景色。

54. 用任一繪圖工具畫出直線筆觸：先在起點位置按一下滑鼠，然後按住Shift鍵，再將游標移到終點按一下滑鼠即可。

55. 打開Curve(曲線)對話方塊時，按Alt鍵後按一下曲線框，可使格線更精細，再按一下滑鼠可恢復原狀。

56. 使用矩形(橢圓)選取工具選擇範圍後，按住滑鼠不放，再按空白鍵即可隨意調整選取框的位置，放開後可再調整選取範圍的大小。

57. 增加一個由中心向外繪製的矩形或橢圓形，在增加的任意一個選擇區域內，先按Shift鍵拖動矩形或橢圓的面罩工具，然後放開Shift鍵，然後按Alt鍵，最後鬆開滑鼠按鈕再鬆開Alt鍵。按Enter鍵或Return鍵可關閉滑塊框。若要取消更改，按Escape鍵 (Esc)。若要在打開彈出式滑塊對話方塊時以10%的增量增加或減少數值，請按住Shift鍵並按上方向鍵或者下方向鍵。

58. 若要在螢幕上預覽RGB模式圖像的CMYK模式色彩時，可先執行“視圖”→“新視圖”命令，產生一個新視圖後，再執行“視圖”→“預覽”→“CMYK”命令，即可同時觀看兩種模式的圖像，便於比較分析。

59. 按Shift鍵拖移選框工具限制選框為方形或圓形；按Alt鍵拖移選框工具從中心開始繪製選框；按Shift+Alt鍵拖移選框工具則從中心開始繪製方形或圓形選框。

60. 要防止使用裁切工具時選框吸附在圖片邊框上，在拖動裁切工具選框上的控制點的時候按住Ctrl鍵即可。

61. 要修正傾斜的圖像，先用測量工具在圖上可以作為水準或垂直方向基準的地方畫一條線(如圖像的邊框、門框、兩眼間的水平線等等)，然後從功能表中選“圖像”→“旋轉畫布”→“任意角度…”，打開後會發現正確的旋轉角度已經自動填好了，只要按確定就OK啦。

62. 可以用裁切工具來一步完成旋轉和剪切的工作：先用裁切工具畫一個方框，拖動選框上的控制點來調整選取框的角度和大小，最後按回車實現旋轉及剪切。測量工具量出的角度同時也會自動填到數位變換工具(“編輯”→“變換” →“數位” )對話方塊中。

63. 裁剪圖像後所有在裁剪範圍之外的圖元就都丟失了。要想無損失地裁剪可以用“畫布大小”命令來代替。雖然Photoshop會警告你將進行一些剪切，但出於某種原因，事實上並沒有將所有“被剪切掉的”資料都被保留在畫面以外，但這對索引色模式不起作用。

64. 合併可見圖層時按Ctrl+Alt+Shift+E為把所有可見圖層複製一份後合併到當前圖層。同樣可以在合併圖層的時候按住Alt鍵，會把當前層複製一份後合併到前一個層，但是Ctrl+Alt+E這個熱鍵這時並不能起作用。

65. 按Shift+Backspace鍵可啟動“編輯”→“填充”命令對話方塊，按Alt+Backspace鍵可將前景色填入選取框；按Ctrl+Backspace鍵可將背景填八選取框內。

66. 按Shift+Alt+Backspace 鍵可將前景色填入選取框內並保持透明設置，按Shift+CtrBackspace鍵可將背景色填入選取框內保持透明設置。

67. 按Alt+Ctrl+Backspace鍵從歷史記錄中填充選區或圖層，按Shift+Alt+Ctrl+Backspace鍵從曆記錄中填充選區或圖層並且保持透明設置。

68. 按Ctrl＋“＝”鍵可使圖像顯示持續放大，但視窗不隨之縮小；按Ctrl＋“－”鍵可使圖像顯示持續縮小，但視窗不隨之縮小；按Ctrl+Alt＋“＝”鍵可使圖像顯示持續放大，且視窗隨之放大；按Ctrl+Alt＋“－”鍵可使圖像顯示持續縮小，且視窗隨之縮小。

69. 移動圖層和選區時，按住Shift鍵可做水準、垂直或45度角的移動；按鍵盤上的方向鍵可做每次1個圖元的移動；按住Shift鍵後再按鍵盤上的方向鍵可做每次10個圖元的移動。

70. 創建輔助線時，按Shift鍵拖移輔助線可以將輔助線緊貼到尺規刻度處；按Alt鍵拖移輔助線可以將輔助線更改為水準或垂直取向。

71. 在“圖像”→“調整”→“曲線”命令對話方塊中，按住Alt鍵於格線內按一下滑鼠可以使格線精細或粗糙；按住Shift鍵並按一下控制點可選擇多個控制點，按住Ctrl 鍵並按一下某一控制點可將該點刪除。

72. 若要將某一圖層上的圖像拷貝到尺寸不同的另一圖像視窗中央位置時，可以在拖動到目的視窗時按住Shift鍵，則圖像拖動到目的視窗後會自動居中。

73. 在使用“編輯”→“自由變換”(Ctrl+T)命令時，按住Ctrl鍵並拖動某一控制點可以進行自由變形調整；按住Alt鍵並拖動某一控制點可以進行對稱變形調整；按住Shift鍵並拖動某一控制點可以進行按比例縮放的調整；按住Shift+Ctrl鍵並拖動某一控制點可以進行透視效果的調整；按Shift+Ctrl鍵並拖動某一控制點可以進行斜切調整；按Enter鍵應用變換；按Esc鍵取消*作。

74. 在色板調板中，按Shift鍵按一下某一顏色塊，則用前景色替代該顏色；按Shift+Alt鍵按一下滑鼠，則在點擊處前景色作為新的顏色塊插入；按Alt鍵在某一顏色塊上按一下，則將背景色變該顏色；按Ctrl鍵按一下某一顏色塊，會將該顏色塊刪除。

75. 在圖層、通道、路徑調板上，按Alt鍵按一下這些調板底部的工具按鈕時，對於有對話方塊的工具可調出相應的對話方塊更改設置。

76. 在圖層、通道、路徑調板上，按Ctrl鍵並按一下一圖層、通道或路徑會將其作為選區載入；按Ctrl+Shift鍵並按一下，則添加到當前選區；按Ctrl+Shift+Alt鍵並按一下，則與當前選區交叉。

77. 在圖層調板中使用圖層蒙板時，按Shift鍵並按一下圖層蒙板縮覽圖，會出現一個紅叉，表示禁用當前蒙板，按Alt鍵並按一下圖層蒙板縮覽圖，蒙板會以整幅圖像的方式顯示，便於觀察調整。

78. 在路徑調板中，按住Shift鍵在路徑調板的路徑欄上按一下滑鼠可切換路徑是否顯示。

79. 更改某一對話方塊的設置後，若要恢復為先前值，要按住alt鍵、取消按鈕會變成重定按鈕，在重定按鈕上按一下即可。

路徑技巧

80. 大家在點選調整路徑上的一個點後，按“Alt”鍵，再點擊滑鼠左鍵在點上點擊一下，這時其中一根“調節線”將會消失，再點擊下一個路徑點時就會不受影響了。

81. 如果你用“Path”畫了一條路徑，而滑鼠現在的狀態又是鋼筆的話，你只按下小鍵盤上的回車鍵(記住是小鍵盤上的回車，不是主鍵盤上的！)，那麼路徑就馬上會變為“選取區”了。

82. 如果你用鋼筆工具畫了一條路徑，而你現在滑鼠的狀態又是鋼筆的話，你只要按下小鍵盤上的回車鍵(記住是小鍵盤上的回車，不是主鍵盤上的！)，那麼路徑就馬上就被作為選區載入。

83. 按住Alt鍵後在路徑控制板上的垃圾桶圖示上按一下滑鼠可以直接刪除路徑。

84. 使用路徑其他工具時按住Ctrl鍵使游標暫時變成方向選取範圍工具。

85. 按住Alt鍵後在路徑控制板上的垃圾桶圖示上按一下滑鼠可以直接刪除路徑。

86. 使用路徑其他工具時按住Ctrl鍵使游標暫時變成方向選取範圍工具。

87. 點擊路徑面板上的空白區域可關閉所有路徑的顯示。

88. 在點擊路徑面板下方的幾個按鈕(用前景色填充路徑、用前景色描邊路徑、將路徑作為選區載入)時，按住Alt鍵可以看見一系列可用的工具或選項。

89. 如果我們需要移動整條或是多條路徑，請選擇所需移動的路徑然後使用快速鍵Ctrl+T，就可以拖動路徑至任何位置。

90. 在勾勒路徑時，我們最常用的*作還是圖元的單線條的勾勒，但此時會出現問題，即有矩齒存在，很影響實用價值，此時我們不妨先將其路徑轉換為選區，然後對選區進行描邊處理，同樣可以得到原路徑的線條，卻可以消除矩齒。

91. 將選擇區域轉換成路徑是一個非常實用的*作。此功能與控制台中的相應圖示功能一致。調用此功能時，所需要的屬性設置將可在彈出的MAKE WORK PQTH設置視窗中進行。

92. 使用筆形工具製作路徑時按住Shift鍵可以強制路徑或方向線成水準、垂直或45度角，按住Ctrl鍵可暫時切換到路徑選取工具，按住Alt鍵將筆形游標在黑色節點上按一下可以改變方向線的方向，使曲線能夠轉折；按Alt鍵用路徑選取工具按一下路徑會選取整個路徑；要同時選取多個路徑可以按住Shift後逐個按一下；使用路徑選工具時按住“Ctrl+Alt”鍵移近路徑會切換到加節點與減節點筆形工具。

93. 若要切換路徑是否顯示，可以按住Shift鍵後在路徑調色板的路徑欄上按一下滑鼠，或者在路徑調色版灰色區域按一下即可，還可以按Ctrl+Shift+H。若要在Color調色板上直接切換色彩模式，可先按住Shift鍵後，再將游標移到色彩條上按一下即可。

Actions動作技巧

94. 若要在一個動作中的一條命令後新增一條命令，可以先選中該命令，然後按一下調板上的開始記錄按鈕，選擇要增加的命令，再按一下停止記錄按鈕即可。

95. 先按住Ctrl鍵後，在動作控制板上所要執行的動作的名稱上按兩下滑鼠，即可執行整個動作。

96. 若要一起執行數個宏(Action)，可以先增加一個宏，然後錄製每一個所要執行的宏。

97. 若要在一個宏(Action)中的某一命令後新增一條命令，可以先選中該命令，然後按一下調色板上的開始錄製圖示，選擇要增加的命令，再按一下停止錄製圖示即可。

濾鏡技巧

98. 濾鏡快速鍵
Ctrl+F——再次使用剛用過的濾鏡。
Ctrl+Alt+F——用新的選項使用剛用過的濾鏡。
Ctrl+Shift+F——退去上次用過的濾鏡或調整的效果或改變合成的模式。

99. 在濾鏡視窗裡，按Alt鍵，Cancel按鈕會變成Reset按鈕，可恢復初始狀況。想要放大在濾鏡對話方塊中圖像預覽的大小，直接按下“Ctrl”，用滑鼠點擊預覽區域即可放大；反之接下“Alt”鍵則預覽區內的圖像便迅速變小。

100. 濾鏡功能表的第一行會記錄上一條濾鏡的使用情況，方便重複執行。

101. 在圖層的面板上可對已執行濾鏡後的效果調整不透明度和色彩混合等 (*作的物件必須是圖層)。

102. 對選取的範圍羽化(Feather)一下，能減少突兀的感覺。

103. 在使用“濾鏡”→“渲染”→“雲彩”的濾鏡時，若要產生更多明顯的雲彩圖案，可先按住Alt鍵後再執行該命令；若要生成低漫射雲彩效果，可先按住Shift鍵後再執行命令。

104. 在使用“濾鏡”→“渲染”→“光照效果”的濾鏡時，若要在對話方塊內複製光源時，可先按住Alt鍵後再拖動光源即可實現複製。

105. 針對所選擇的區域進行處理。如果沒有選定區域，則對整個圖像做處理；如果只選中某一層或某一通道，則只對當前的層或通道起作用。

106. 濾鏡的處理效果以圖元為單位，就是說相同的參數處理不同解析度的圖像，效果會不同。

107. RGB的模式裡可以對圖形使用全部的濾鏡，文字一定要變成了圖形才能用濾鏡。

108. 使用新濾鏡應先用缺省設置實驗，然後試一試較低的配置，再試一試較高的配置。觀察以下變化的過程及結果。用一幅較小的圖像進行處理，並保存拷貝的原版檔，而不要使用“還原”。這樣使*作者對所做的結果進行比較，記下自己真正喜歡的設置。

109. 在選擇濾鏡之前，先將圖像放在一個新建立的層中，然後用濾鏡處理該層。這個方法可使*作者把濾鏡的作用效果混合到圖像中去，或者改變混色模式，從而得到需要的效果。這個方法還可以使*作者在設計的過程中，按自己的想法隨時改變圖像的濾鏡效果。

110. 即使*作者已經用濾鏡處理層了，也可以選擇“褪色...”該命令。用戶使用該命令時只要調節不透明度就可以了，同時還要改變混色模式。在結束該命令之前，*作者可隨意用濾鏡處理該層。注意，如果使用了“還原”，就不能再更改了。

111. 有些濾鏡一次可以處理一個單通道，例如綠色通道，而且可以得到非常有趣的結果。注意，處理灰階圖像時可以使用任何濾鏡。

112. 用濾鏡對Alpha通道進行資料處理會得到令人興奮的結果(也可以處理灰階圖像)，然後用該通道作為選取，再應用其他濾鏡，通過該選取處理整個圖像。該項技術尤其適用於晶體折射濾鏡。

113. 用戶可以打破適當的設置，觀察有什麼效果發生。當用戶不按常規設置濾鏡時，有時能得到奇妙的特殊效果。例如，將虛蒙版或灰塵與劃痕的參數設置得較高，有時能平滑圖像的顏色，效果特別好。

114. 有一種能產生較好特殊效果的技術，即對同(次數不適宜太多)。這項技術對擔*作濾鏡來說西歐特別好。當然也可以用於其他濾鏡。用戶還可以用同一種濾鏡的不通設置、或者用完全不同的濾鏡，多次用於同一選取，看看效果如何。

115. 有些濾鏡的效果非常明顯，細微的參數調整會導致明顯的變化，因此在使用時要仔細選擇，以免因為變化幅度過大而失去每個濾鏡的風格。處理過渡的圖像只能作為樣品或範例，但它們不是最好的藝術品，使用濾鏡還應根據藝術創作的需要，有選擇地進行。

圖層技巧

116. 要把當前的選中圖層往上移：接下“ctrl +]” 複合鍵，就可以把當前的圖層往上翻一層；按下“ctrl+[” 複合鍵，就可以把當前的圖層往下翻一層。

117. 用滑鼠將要複製的圖層拖曳到面板上端的“新建”圖示上可新建一個圖層。

118. 在移動圖層或選取範圍時，按住Shift鍵強制做水準、垂直或45°的移動。

119. 在移動圖層或選取範圍時，按鍵盤上的方向鍵做每次1 pixel的移動。

120. 在移動圖層或選取範圍時，先按住Shift鍵後再按鍵盤上的方向鍵做每次10 pixel的移動。

121. 直接刪除圖層時可以先按住Alt鍵後將游標移到圖層控制板上的垃圾桶上按一下滑鼠即可。

122. 按下Ctrl鍵後，你的移動工具就有自動選擇功能了，這時你只要按一下某個圖層上的物件，那麼Photoshop就會自動的切換到那個物件所在的圖層；但當你放開Ctrl鍵，你的移動工具就不在有自動選擇的功能呢，這樣就很容易防止誤選。

123. 不能在層面板中同時拖動多個層到另一個文檔(即使它們是連結起來的)——這只會移動所選的層。

124. 要把多個層編排為一個組，最快速的方法是先把它們連結起來，然後選擇編組連結圖層命令(Ctrl+G)。當要在不同文檔間移動多個層時就可以利用移動工具在文檔間同時拖動多個層了。用這個技術同樣可以用來合併(Ctrl+E)多個可見層( 因為當前層與其它層有連結時“與前一層編組命令”會變成“編組連結圖層”命令 )。

125. 在層面板中按住Alt鍵在兩層之間點擊可把他們編為一組。當一些層連結在一些而你又只想把它們中的一部分編組時這個功能十分好用。因為編組命令(Ctrl+G)在當前層與其它層有連結時會轉為編組連結層命令(Ctrl+G)。

126. 用滑鼠按兩下“圖層控制”面板中帶“T”字樣的圖層還可以再次對文字進行編輯。

127. 按住Alt點擊所需層前眼睛圖示可隱藏/顯現其它所有圖層。

128. 按住Alt點擊當前層前的筆刷圖示可解除其與其它所有層的連結。

129. 要清除某個層上所有的層效果，按住Alt鍵按兩下該層上的層效果圖示。

130. 要關掉其中一個效果，按住Alt鍵然後在“圖層”→“圖層樣式”子功能表中選中它的名字；或者可以在圖層效果對話方塊中取消它的“應用”標記。

131. 這裡有一個節省時間的增加調整層的方法：只需按住Ctrl點擊“創建新圖層“圖示(在層面板的底部)選擇你想加的調整層類型！

132. 除了在通道面板中編輯層蒙板以外，按Alt點擊層面板上蒙板的圖示可以打開它；按住Shift鍵點擊蒙板圖示為關閉/打開蒙板(會顯示一個紅叉X表示關閉蒙板)。按住Alt+Shift點擊層蒙板可以以紅寶石色(50%紅)顯示。按住Ctrl鍵點擊蒙板圖示為載入它的透明選區。

133. 按層面板上的“添加圖層蒙板”圖示(在層面板的底部)所加入的蒙板預設顯示當前選區的所有內容；按住Alt鍵點“添加圖層蒙板”圖示所加的蒙板隱藏當前選區內容。

134. 當前工具為移動工具(或隨時按住Ctrl鍵)時，右鍵點擊畫布可以打開當前點所有層的列表(按從上到下排序 )：從列表中選擇層的名字可以使其為當前層。

135. 按住Alt鍵點滑鼠右鍵可以自動選擇當前點最靠上的層，或者打開移動工具選項面板中的自動選擇圖層選項也可實現。

136. Alt+Shift+右鍵點擊可以切換當前層是否與最上面層作連結。

137. 我們需要多層選擇時，可以先用選擇工具選定檔中的區域，拉制出一個選擇虛框；然後按住“Alt”鍵，當游標變成一個右下角帶一小“-”的“+”號時(這表示減少被選擇的區域或圖元)，在第一個框的裡面拉出第二個框；而後按住“ Shift”鍵，當游標變成一個右下角帶一小“+”的大“+”號時，再在第二個框的裡面拉出第三個選擇框，這樣二者輪流使用，就可以進行多層選擇了。用這種方法也可以選擇不規則物件。

138. 按Shift+“+”鍵( 向前 )和Shift+“－”鍵( 向後 )可在各種層的合成模式上切換。我們還可以按Alt+Shift+“某一字元”快速切換合成模式。
　　N = 正常 (Normal)
　　I = 溶解 (Dissolve)
　　M = 正片疊底 (Multiply)
　　S = 螢幕 (Screen)
　　O = 疊加 (Overlay)
　　F = 柔光(Soft Light)
　　H = 強光(Hard Light)
　　D = 顏色減淡 (Color Dodge)
　　B = 顏色加深 (Color Burn)　K = 變暗 (Darken)
　　G = 變亮 (Lighten)
　　E = 差值(Difference)
　　X = 排除 (Exclusion)
　　U = 色相 (Hue)
　　T = 飽和度 (Saturation) C = 顏色 (Color)
　　Y = 亮度(Luminosity)　Q = 背後(Behind 1)
　　L = 閾值(Threshold 2)
　　R = 清除 (Clear 3)
　　W = 暗調(Shadows 4)
　　V = 中間調(Midtones 4)
　　Z = 高光(Highlights 4)

影像處理技巧

149. 按下Ctrl鍵，用滑鼠點擊預覽區域，圖像放大；按下Alt鍵，用滑鼠點擊預覽區域，圖像縮小。

150. 製作透明背景的圖片
一般來說，網路中的透明背景的圖片都是GIF格式的，在Photoshop中您可以先使用指令“圖像”→“模式”→“索引顏色”將圖片轉成256色，再使用指令FileExportGIF89a將圖片輸出成可含有透明背景的GIF圖檔，當然別忘了在該指令視窗中使用Photoshop的選色滴管將圖片中的部份色彩設成透明色！在保存檔的時候不要選擇保存或另存為，而是直接選“輸出GIF”然後，選擇透明色，如果你需要透明的部分都是白色就選白色，依次類推做圖片時把背景圖片隱藏調然後再Save for Web 就可以透明了。

151. 在GIF圖上寫上中文，字跡為何不連續？
先把GIF轉成RGB，寫完字再轉回Index Color。

152. 如果圖像明亮的色彩因執行USM銳化命令而產生過度的現象時，可以先將圖像轉換成Lab顏色模式，然後在明度通道中執行USM銳化命令，這樣不但可以達到圖像清晰的目的，也可以避免對色彩產生影響。

153. 若要檢查由掃描器輸入的圖像是否理想，可以打開資訊調板觀察圖像的亮部及暗部數值達到240而暗部數值達到10時，表明這個圖像包含足夠的細節。

154. 若要將彩色圖片轉為黑白圖片，可先將顏色模式轉化為Lab模式，然後點取通道面板中的明度通道，再執行“圖像”→“模式”→“灰度”命令，由於Lab模式的色域更寬，這樣轉化後的圖像層次感更豐富。

155. 在使用Photoshop時，我們常常需要從大量的圖庫中尋找合適的素材圖片，這時可用ACDSee來幫忙，您可將ACDSee視窗與Photshop視窗同時安排在螢幕上，然後在ACDSee流覽視窗中用滑鼠拖動選中的圖片(可通過按Ctrl鍵同時選擇多個檔)到Photoshop視窗中，等到滑鼠指標下出現“+”小圖示後鬆開滑鼠，圖片就在Phoshop中打開了。

156. 什麼圖片適合減肥
總的來說，要根據我們要求的圖片品質來做出相應的減肥措施。還有有些圖總是要進行修改，如果你輕易的把它合併之後點擊存檔的話，那麼你日後的修改工作就會變得複雜。因為存儲了之後就不能再進行還原拆分圖層了，大家要三思而後行哦。因此不要一味的追求容量而忽視了品質，並給將來帶來不可預知的麻煩！

157. 影像檔減肥
　重新調整圖像尺寸：較大尺寸的圖像佔據較多的磁碟空間，因為它有更多的圖元。但如果試圖使用標記中的WIDTH和HEIGHT屬性來調整圖像的大小，那麼您將會很失望，因為那樣並不節省下載時間。
　使用縮略圖：通過設置一個很小的圖像版本，使得使用者按一下它來看到全圖。但您應該在它旁邊注明全圖尺寸以便用戶決定是否觀看全圖。
以JPEG存儲GIF：對有許多顏色的圖像來說JPEG壓縮最適用。
增加壓縮比：如果是一個JPEG檔，可以用一個更高的壓縮比再重新保存它，以便減小檔尺寸。但別忘了代價：較高的壓縮比降低圖像品質。
減低色彩深度：一個GIF圖像的色彩深度最多為8位(256種顏色)，每一圖元所存資訊較少，最終檔也會較小。
　調整圖像中的對比水準：大多數圖形軟體提供重潤色選項如伽瑪(Gamma)校正和加亮(highlight)/中調(midtone)/陰影(shadow)來改變一個圖像內的對比。縮減這些值通常可以減小檔尺寸。　　　　　　　
抑制抖動：抖動是指用現有調色板中的顏色來接近調色板中沒沒有的顏色。抖動增大GIF文件大小。

158. 如何給有字體的圖片減肥
很多時候我們喜歡用Photoshop的“字體”功能給圖片加上幾個字，使畫面更漂亮。但這個畫龍點睛之筆也許會讓佔用的空間大小會徒然猛增由幾十K變為以M計數的容量。奇怪，為什麼變化會突然這麼大呢？
其實面對這種情況你合併圖層之後，再用其他工具如ACDSee轉變格式或另存為其他格式之後刪除原來的圖片自然就變小啦！一般存為.jpg比較合適。
如果你的圖片的品質要求不太高的話可以先合併圖層接著把它轉變為index color(256色以下)或者在.jpg格式的基礎上控制size。

159. 文件減肥
比如，在Photoshop裡面把一個*.TIF檔另存，本來100多K的檔怎麼會變成3M多？其實你只要再換一種格式，之後刪除原來的檔就可以了。

160. 黑白圖掃描成何種格式檔
如果是圖表的就用gif，如果是照片就jpg。黑白圖片建議先轉換成灰度，然後保存為gif；如果顏色在256以下的，用gif就最好——檔size小，也不損失品質；如果是真彩色，就一定要jpg。

161. 由實到虛的過渡
在Photoshop裡如何實現某一選定區域或圖層的不透明度由高到低漸變呢？很簡單只要羽化選區或做個圖層遮罩，再新建一個層把它做成黑白漸變，然後把需要做效果的層選螢幕合併。
也可以使用梯度的mask將這個區域或圖層從上方為100%不透明度過渡到最下方的0%。這些百分值還可以隨意更改。

162. 圖像混合疊加
廣告設計中，圖像的合成與疊加是經常用到的。其實實現功能很簡單：
打開主圖像，作為背景圖。
接著打開另一圖，Crtl+A全選，Crtl+C拷貝。
回到主圖像，Crtl+V粘貼。在此出現一個新層。在這層中，選模式為Multiply或screen。這時，兩幅圖像已經疊加在一起。最後調整圖像的位置到最好。
很藝術的效果是不是出現了，你還可以克隆你的孿生同胞呢！

163. 如何在Photoshop實現畫虛線的功能
按兩下想用的Brush，在Spacing處把100%改得更大些，就會留下空隙了，然後用Brush畫就是了。先畫路徑，定義Brush：Space設在200以上，打開Path面板——Storke Path。
如何將兩張同等大小的圖以半透明效果重疊?
在層面板中：可以改變上層的透明度，或者改變層的混合模式。

164. 去除毛邊
可以試著用路徑工具或魔術棒勾出圖像的外輪廓，再用“選擇”的“羽化”，然後反選再刪除，可能會好一點.

165. 怎樣才能存儲扣出來的圖而不要後面的底色
將虛線所選區域“Copy”，然後“Paste”，接著刪掉底層，最後“Ctrl+S”。注意存儲格式應為.PSD格式或者.EPS格式或.AI格式。

166. 快速填充
打開要填充的圖片，執行Ctrl＋A，選擇全部圖像，執行“編輯”→“定義圖案”，將圖片定義為圖案再執行“編輯”→“填充”。

167. 去除圖片的網紋
(1)掃一張畫報或雜誌的圖片
一般情況下，網紋的產生是由於畫報或雜誌印刷用紙的紋理較粗糙而造成的。在掃描時dpi的值應該設置得高一些，解析度越高，掃出的圖片也就越大，相對的精細程度也就越高。較高的解析度會為下一步的圖片縮小和濾鏡處理創造良好的條件。
(2)把圖片調整到合適的大小
在“圖像”功能表下選擇“圖像大小”選項，彈出“圖像大小”對話方塊，確定其下的限制比例選項為勾選狀態，在圖元尺寸中將Width後的圖元改為百分比。此時的Width值變為100，這時你可以輸入所需的百分比數值，將圖片等比縮小。縮小後的網紋情況已稍稍減弱。
(3)用高斯虛化消除網紋
在“視窗”功能表中選擇“顯示通道”，這時出現了通道面板，四個通道分別為RGB、Red、Green和Blue。選擇Red通道，圖片顯示為黑白效果。在“濾鏡”功能表中選擇“模糊” → “高斯模糊…”，即彈出高斯模糊對話方塊。調整半徑值，控制虛化的範圍，使Red通道中的網紋幾乎看不到，圖片內容微呈模糊狀即止。接著照此方法分別調整Green和Blue通道，以使該通道中的網紋消失。最後回到RGB通道，這時的圖片已經沒有網紋的干擾了。注意：Radius的值不可設置得過大，以免造成對RGB通道過大的影響使圖片變朦朧。
(4)調整最後效果
如果網紋過於清晰以導致半徑值設置較大，那麼RGB通道中圖片會有些模糊。如果想使圖片的內容清晰一些，還可以執行“濾鏡”功能表中的“銳化”清晰效果。最後，再用“圖像”功能表中的“調整”→“色階”或“亮度/對比度”選項設置你所需的對比度等數值，以達到最終滿意的效果。

色彩技巧

139. Photoshop是32位元應用程式，為了正確地觀看檔，須將螢幕設置為24位元彩色。

140. 先執行“視圖”→“新視圖”命令，產生有關新視窗後，再執行“視圖”→“預覽”→“CMYK”，即可同時觀看兩種模式的圖像。

141. 按一下視窗上的吸管或十字標，就可由彈出式功能表更改尺寸及色彩模式。

142. 按住Shift點擊顏色面板下的顏色條可以改變其所顯示的色譜類型。或者，也可以在顏色條上按一下滑鼠右鍵，從彈出的顏色條選項功能表中選取其它色彩模式。

143. 在調色板面板上的任一空白(灰色)區域按一下可在調色板上加進一個自訂的顏色，按住Ctrl鍵點擊為減去一個顏色，按住Shift點擊為替換一個顏色。

144. 通過拷貝粘貼Photoshop拾色器中所顯示的16進制顏色值，可以在Photoshop和其它程式(其它支援16進制顏色值的程式)之間交換顏色資料。

145. 打開顏色範圍對話方塊時，可按Ctrl鍵做圖像與選取預覽的切換。若按Shift鍵可使吸管變成有“+”符號的加選吸管，若按Alt鍵則會使吸管變成有“－”符號的減選吸管。

146. 按Shift+Backspace可直接呼出填色對話方塊。

147. 在選色控制板上直接切換色彩模式，可按住Shift鍵後將游標移到色彩杆上按一下滑鼠即可。

148. 要把一個彩色的圖像轉換為灰度圖像，通常的方法是用“圖像”→“模式”→“灰度”，或“圖像”→“去色”。不過現在有一種方法可以讓顏色轉換成灰度是更加細膩。步驟是首先把圖像轉化成Lab顏色模式：“圖像”→“模式”→“Lab顏色”，然後來到通道面板，刪掉通道a和通道b，你就可以得到一幅灰度更加細膩的圖像了。

35歲前把下面的十件事做好

2007-08-06T09:52:00.000-07:00

35歲以後是收穫的季節，如果你沒有資格說這句話，你將會憎恨自己，所以在35歲以前，最好把下面的十件事做好。
1、學會本行業所需的一切知識並有所發展。每個人在年輕時都可能有過徹夜不眠，刻苦攻讀，這在20或30歲時都沒有問題，但到了35歲，就不應該再為學習基本技能而大傷腦筋了，35歲之前是從事原始積累的階段，35歲之後就應該勃發了。
2、養成個人風格。20歲、30歲時你可以不斷嘗試，不斷改變，但是到了35歲，便要明確地建立個人風格，男人在事業中途改變自己的形象，會讓人覺得很不可靠，你喜歡穿西裝嗎？好！就把西裝當做你的標籤吧！辦公桌上擺一些鮮花會令你工作更有效率嗎？那就每天都擺些鮮花吧！
3、在感情生活方面平和穩定。那些在35歲之前私人生活已經平和安定的人，一般都比生活動盪不安的人有更大的機會獲得成功，如果你想和女友結婚，那就趕快行動吧。
4、明白自己的短處，承認有一些事情你的確做不好，或者不願做，在35歲之前，一定要投入你所喜愛，所擅長的那種工作。
5、知道自己的長處，你應該知道自己擅長什麼，並且清楚你所喜歡做而又做得比別人好的事情。
6、儲備辭職另謀生路的錢。如果事先儲蓄了足夠的錢，你便有了一個安全的後盾。
7、建立人際關係網。如果到了35歲，仍未建立起牢固的人際關係網，那就麻煩了。人際關係網不是一朝一夕就能建立起來的，它需要幾年甚至十幾年發培養，要有許多人散佈在適當的地方，可以依賴他們，他們也可以依賴你。
8、學會授權他人。授權他人是成功的一半，到了35歲最好成為這一方面的專家，換而言之，懂得挑選合適的人並信任他們。
9、學會在什麼時候三緘其口，因說話不小心而自毀前程的人，比因為任何其他原因喪失成功的人都多。在事業上越成功，這一點就越重要。
10、對人要忠誠。如果你到35歲仍未能建立起堅如磐石的忠誠信譽，這一缺點將會困擾你一生，35歲以後，你會作為一個可信賴的人收到忠誠的回報。
成功的路上，如果沒有耐心去等待成功的到來，那麼就只有用一生的時間去面對失敗！

pluglight-grows-out-of-the-wall-has-a-flower-filament

2007-08-06T01:38:00.000-07:00

Designer Felix de Pass has figured out how to make a lighting filament out of different-colored materials and sculpt them into the shape of a flower. Attaching the bulb to a flexible support that plugs directly into the wall, the result is PlugLight, a charming decorative light that ends up being a pleasant little decoration.

Such may be the fate of incandescent bulbs, taking their place alongside other lighting schemes of days gone by such as candles, as soon as LEDs and fluorescent lamps take over the world. [Felix Pass, via Yanko Design]

DefCon badge hacked in 10 mins

2007-08-06T01:25:00.000-07:00

Now, now, don't get too excited. Creator Joe Grand designed it to be hacked. Still, 10 minutes is a pretty respectable time for the soldering, reprogramming and reflashing job done by Dave Bullock, Wired's photographer at the event. The badge features an LED display with scrolling text, and it even has an easter egg (typing in 31337 outputs "$kingpin$", the board maker's handle.) Dave hacked the press badge, but the badge shown is an Uber Badge, Joe Grand's, actually. They're given away as prizes at DefCon, and are lifetime passes to DefCon. [Wired, but beautiful photos from Dave]

DefCon Badge

Dave writes to correct:

I should point out that the badge that was hacked was actually my press badge, and that uber badge shown is Joe Grand's (badge designer) personal badge. Those black badges are given away as prizes for various defcon activities and provide the recipient with a lifetime free pass to defcon.

偷拍show girl裙底工程師詭辯

2007-08-06T00:55:00.000-07:00

偷拍show girl裙底工程師詭辯

【聯合報╱記者張榮仁／台北報導】

2007.08.06 12:19 pm

台北世貿電腦展廠商找來許多show girl助陣，熱情民眾不時請show girl擺出各種姿勢以供拍攝，卻發生有人偷拍裙底風光事件。
記者侯世駿／攝影

軟體工程師黃朝斌在台北世貿電腦展，涉嫌拿攝影機偷拍show girl（展場女郎）的裙底風光。黃朝斌辯稱是彎身撿垃圾無意間碰觸開啟攝影機的開關，否認偷拍；警方認為辯詞太牽強，仍依妨害秘密罪嫌移送法辦。

台北市世貿一館舉辦電腦應用展，前天周末吸引超過十三萬人次到場參觀，創下電腦應用展十七年來單日最多參觀人數，展場人潮幾乎寸步難行。前天下午五時卅分，展場活動結束前發生偷拍事件。

警方調查，在電腦公司從事軟體設計的黃朝斌（廿八歲）擠在展場舞台邊，手持攝影機突然彎身，鏡頭朝上對準舞台林姓show girl的牛仔短裙裙底；雖然黃彎身又起身只一瞬間，不過他隨即瀏覽「戰利品」，全被一旁李姓市民看在眼裡。

遭偷拍的林姓show girl是趁電腦展打工的大學生，被偷拍時她站在舞台上拍照，渾然不知自己裙底春光外洩，待李姓市民告知時羞紅了臉，趕緊請廠商找來保全留置黃朝斌，並向轄區台北市警信義分局報案，將黃逮捕帶回警局究辦。

黃朝斌應訊時聲稱，因林姓show girl背影很像綜藝節目的一名女藝人，而引起他的注意，拿起攝影機拍攝女郎；他在舞台邊彎身撿垃圾，為「保護」鏡頭，把鏡頭朝上才無意間讓女郎裙底入了鏡。

Intel的Portable PC概念設計和時尚似乎還有段距離

2007-04-16T20:29:00.000-07:00

metro notebook是Intel的Portable PC的概念性設計，由於使用對象是針對女性，因此強調輕薄便於攜帶，厚度1.778公分，重量約一公斤，架構為Core 2 Duo-based

時尚感有待加強的提帶與皮套，麻煩找個設計大師合作一下吧

彩色non-volatile 電子墨水螢幕(E-Ink Display)

無線連接：Bluetooth, Wi-Fi, WiMAX

但是最好笑的是這段：
"Intel also said it envisages the machine shipping with a inductive connection-less charging pad, allowing the batteries of phones and PDAs to be recharged just by placing them on the notebook."

所以這根本就是個大電池嘛(佔最多重量的)，然後可以用無線的方式幫小電池充電，順便當成電子紙閱讀器使用，是這樣嗎？

NetggearDIGITAL ENTERTAINER EVA700

2006-09-27T04:45:00.000-07:00

http://www.digitalentertainer.com/

Info rings

2006-09-27T04:42:00.000-07:00

user interface of Nokia N95

2006-09-27T03:05:00.000-07:00

The Time Curtain

2006-09-27T03:02:00.000-07:00

我們的社會，給了下一代怎樣的外表價值觀？

2006-09-22T10:11:00.000-07:00

自畫像：我要變美
覺得自己暴牙、太矮、眼神呆滯，剛剛升上國一的小女生希望自己可以擺脫這些缺點！
圖片由多芬提供

100%小女生在意外表

【記者李樹人/台北報導】

台灣女孩對自己身材的焦慮甚於日本、韓國。一項調查發現，高達100%，也就是每一個受訪的台灣青少女，都正因「外表」問題而苦惱，認為「長得美不美麗」會影響人際關係，甚至學校成績以及老師的好感等，四成女孩表示，長大後，賺了錢，就要去整形。

多芬自信基金會今天公布了公布一項橫跨全球19國、總共訪問5700名全球女性的「美麗白皮書II」調查，年齡從15至64 歲女性，九成六的亞洲地區15至17歲女孩渴望改變自己的外表，跟其它年齡層相較，對美渴望的比率最高。

至於台灣部分則更為明顯，幾乎每個小女孩都因為外表問題而感到苦惱，甚至有將近一半的台灣女孩因為外表問題而產生自我厭惡或自卑情緒。

其中有近四成的台灣小女孩考慮未來會以整型來改變外貌，其中2%已經接受過醫學美容或整形手術，比率高於整形風氣聞名全球的韓國。

她們接受的醫療美容及整形項目包括換膚、點痣、吃珍珠粉、擦美白藥膏，甚至除去胎記、割雙眼皮，目的就是希望自己可以更美更白更漂亮。

值得一提的是，像名模林志玲一樣瘦高的「竹竿型」身材，已經成為台灣芭比們最夢想中的身材，四成五台灣小女生想變得更瘦，韓國為三成四，日本只有一成九；三成一的台灣小女生希望可以變成更高，低於韓國的四成二，但高於日本的二成二。

調查也發現，台灣女性「愛美大作戰」的手法相當恐怖，除了化妝、節食之外，甚至還出現了催吐的方式，愛美不計代價，比鄰近的韓國妹相較，更是激烈。

台北市立聯合醫院心身醫學科主任陳冠宇陳冠宇表示，對於缺乏足夠自我判斷力的小女生來說，很容易受到媒體所塑造出來的「名模風潮」的影響，將狹隘的「瘦高美麗」當作是唯一的標準。明顯受到媒體的影響，形成世俗、但不正確的審美觀念。

有鑑於此，多芬今天宣布成立多芬自信基金，將與張老師基金會從今年10月起進入全國八所國中小學，共同幫助台灣的小女生與美麗和平共處。

【2006/09/22 聯合晚報】
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或許和小朋友們談美麗太抽象，但是不談的結果，就是默默讓孩子們接受電視、報章雜誌灌輸這樣的外貌價值觀。美女又怎樣，擁有美麗又怎樣，會等於快樂與滿足嗎？這實在是很難有定論。

我舉雙手贊成販售美麗是個非常蓬勃的產業，也是經濟活動中不可或缺的一環，但是過度的媒體曝光與置入式行銷，卻讓下一代在不知不覺中接受廠商所主推的美麗價值觀，而忽略了美麗仍需搭配適當的心智。只要心中認為不美麗，那外表再完美無暇也是每每攬鏡自嘆。況且美麗或其他幸運都是沉重的禮物，不論男女或年紀或身家背景，擁有的愈多不一定代表愈能滿足愈能快樂。但你能承受這些幸運多久？十年、二十年、五十年？把時間拉長來看，就可以看得清楚什麼是在人生中真正重要的。時間是檢視所有事物的最佳變因，將時間軸拉長後，事物的本質往往能清楚的顯現。

美麗不是壞事，但是讓自己滿意才是最重要的，而自己滿意的標準在哪？那就要看你衡量的標準。但我總是相信內心的自信與自在，可以讓人容光煥發，不需要表面胭脂迭香的任何矯飾就能展現出美麗的丰采。

小朋友只是沒自信罷了，因為我們在無形中灌輸了太多虛偽的假象，無所不入的行銷攻勢可以讓妳覺得若不消費似乎會讓生命白來了這一遭。但我們在這樣的商業催眠下是否已經讓孩童們失去了應有的純真？世上本無美醜，一切美觀的判定往往是當代價值觀綜合的結果，以歷史為範本就會知道追求短暫的流行只是一時的狂熱與假象，流行與年輕、時尚終究只有"變"的本質不會改變，但你呢？終究會隨著時間逐漸成長、茁壯、老去，凋零，那究竟哪種價值觀可以陪你到最後？哪種生命的本質可以被你奉為圭臬？

我相信那絕對不是對外表美麗的追求

若外表上的改變真能讓人快樂，那也是因為妳的心境被轉變，快樂絕對不是外表的功勞，所有的本質都只在心中。所以請閉上眼睛，對自己說：「我很棒，我喜歡現在的自己。」

Sketches of Frank Gehry

2006-05-03T19:31:00.000-07:00

剛出爐的Apple Movie Trailer，介紹Frank Gehry的電影預告！

官方網頁

Director Sydney Pollack’s first feature length documentary on the acclaimed architect, Frank O. Gehry. The two men have been friends for many years, and Pollack completed the film over a period of five years, starting in 2000. Frank Gehry loves to sketch; it is the beginning of his architectural process.

Trailer (1:56)
Documentary
Rating: PG-13
In Theatres: May 12th, 2006

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Sydney Pollack (dir.)
Philip Johnson
Sir Bob Geldof
Barry Diller
Michael Eisner
Dennis Hopper
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導演Sydney Pollack和Gehry是多年的好友，這部電影也是他的第一部紀錄長片，這部紀錄片從2000年就開始進行拍攝，耗時五年多才拍攝製作完成。由於Gehry熱愛Sketch，而且Sketch可以說是他設計建築物的發想起源。而這部紀錄片將會從Gehry對每個案子最初的親筆Sketch開始，探索Gehry的一連串設計程序。從只使用紙板和膠帶拼湊而成實體3D立體模型，一直到最後結合多種建築材料的建築物。

Gehry說：「和完整的解決方案與最後結果呈現的模樣比起來，我比較偏好Sketch的特質、假設試驗性、混亂以及呈現正在進行中的狀態。」

"I prefer the sketch quality, the tentativeness, the messiness, the appearance of in-progress rather than the assumption of total resolution and finality.."

為了在紀錄片中捕捉Sketch的特質，Pollack同時使用傳統膠卷與Mini DV(數位視訊)作為他的媒材。花費了許多時間待在Gehry的事務所、建築基地與Gehry住處，這種謙遜與安靜的拍攝手法首次捕捉了Gehry其特殊建築設計過程中的本質，以及Gehry靦靦且難以捉摸的人格特質。

Pollack費盡心力地捕捉在影片中捕捉Sketch的特質與Gehry建築的特殊性。從Gehry早年在加州San Juan Capistrano的早期作品O'Neill Hay Barn，到我們所熟悉的許多現代知名建築，像是畢爾包的古根漢美術館與洛杉磯的迪士尼音樂廳。

而整部電影的核心是Pollack利用他與Gehry、事務所員工間的對話，營造出一種低調的、通俗的特質。這不是一部艱澀的建築理論電影。相反地，Pollack能夠穿透建築理論的外皮，以頗具深度的洞察力具體描繪出這位非凡的建築師的生活，以及他卓越的建築生涯。

Softimage’s Face Robot: Outlining a Future for Facial Animation

2006-04-29T13:39:00.000-07:00

SOFTIMAGE FACE ROBOT

SOFTIMAGE®|FACE ROBOT™ v.1.0 is the first production toolset for lifelike face animation. By ‘solving’ faces for animation and reducing preparation time, Face Robot allows animators to concentrate on sculpting the details of every expression for unforgettable performances.

Face Robot v.1.0 dramatically increases face animation productivity and allows animators to achieve realistic, lifelike face animation for high-end film, post, and games projects. Based on extensive anatomical research, Face Robot uses a groundbreaking new computer model of facial soft tissue to mimic the full range of human emotions. Designed with input from leading animation experts, Face Robot gives artists an intuitive way to interact with their characters while providing control over details, including wrinkles, frowns, flaring nostrils, and bulging neck muscles.

With dedicated face animation technology, Softimage has created a software solution for artists that removes the barriers to believable 3D character performances and is the perfect addition to any character production pipeline. The non-destructive tools in Face Robot free artists to work creatively and produce lifelike face animation for compelling, emotionally resonant character performances.

Workstation for Mac OS X Beta5 includes USB support and Shared Folders

2006-04-29T13:35:00.000-07:00

link

Intel 平台作業系統虛擬工具 Parallels 的測試新版本

Introduced USB support. Connect your favorite USB devices directly to a virtual machine!

Read the forum thread about the current status of USB support.

Introduced shared folders. Share files between Mac OS X and any Windows XP or Windows 2003 guest virtual machine!

Learn more about the Shared Folder function.

Support for dynamic screen resolutions has been introduced. This means that when you choose a guest OS, a list of available screen resolutions is dynamically populated with primary OS resolutions.
Fixed keyboard mapping problems and the mouse pointer lag problem
Improved sound support. The sound lag problem has also been fixed.
Fixed problems with sleeping/waking up the primary OS when a VM is running
Introduced the ability to resize a guest when switching to fullscreen mode
Added optional "transition cube" animation for transitioning to and from fullscreen mode. This is a really cool feature that makes switching between OSes in fullscreen mode very easy. There's a video of an early version of this feature in action here.
Fixed several kernel panics
Added default network adapter for bridged mode
There's a new and improved Parallels Tools package in Beta5. To update, open your VM, log in, click the "VM" menu, and click "Install Parallels Tools"

Also, we now have more than 100,000 beta testers! Thanks (again) to everyone who's helping make this the best product possible. The fact that we're moving so fast with this beta program is a direct result of your support, enthusiasm, and hard work.

EPSON CF at Japan

2006-04-29T11:32:00.000-07:00

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Epson's History

2006-04-29T11:29:00.000-07:00

Video at Youtube

Reference from udn
【文章來源／《AV Choice視聽玩家》4月號】

「集合！」銀白勁裝、金色扇狀衣領、外加赭紅色披風的年輕女孩一聲令下，一群同樣炫目奪人的少女逐一登場。她們的造型互不相同，數位相機、光碟、掃描器、底片、印表機或照相手機等影像產品誇張地嵌在深藍或淺紫的服裝上，散發迷離而奇幻的未來感。大家一一露臉後，與發號司令者列隊齊聲高喊「現在起，會全部整合在一台印表機裡！」這是EPSON推出暢銷的多功能相片印表機Allphoto Colorio時，令人印象深刻的電視廣告。廣告中下令集合的，是獲選為該產品代言大使的日本青春偶像松浦亞彌；搭檔演出的，則是日本女子偶像團體的第一把交椅「早安少女組」。

沒錯，講到EPSON會想到印表機，已經是一般人的常識與自然反應。從噴墨到雷射，從黑白到彩色，EPSON的印表機產品一直都在全球市場占有舉足輕重的地位。但如果因此認為「EPSON只有印表機」，那可就大錯特錯了。該公司的投影設備與液晶技術等影像產品、零組件，也是業界的佼佼者。 EPSON是全球最大的液晶投影機面板供應商，也是生產數位投影機的主要顯示組件「高溫多晶矽TFT面板」的少數廠商之一。不用說，它自己的投影產品自然也是市場上受矚目的對象。

不過，少有人知道的是，如今在影像世界叱吒風雲的EPSON，當年卻是從毫不相干的鐘錶業起家的。

誕生於戰火方熾之時
EPSON的前身是「大和工業」，成立於1942年，也是第二次世界大戰的戰情正烈之時。當時它是鐘錶大廠「精工舍」的子公司，負責生產石英振盪器等鐘錶零組件，和影像八竿子打不著。首度和影像扯上關係，是1964年東京奧運時的事。當時，大和工業已與精工舍的手錶部門「第二精工舍」諏訪工廠合併為「諏訪精工舍」，後來又獨立出子公司「信州精器」（EPSON總部所在的長野縣，古稱「信州」）。

東京奧運期間，大會的官方用水晶精密計時錶就是由信州精器負責提供。當時，該公司與總公司精工舍合作，開發出一種列印式計時碼錶，可以在徑賽選手抵達終點時，記錄其抵達時刻、列印出來。1968年，信州精器就是根據這種技術，開發出全球首創的點陣式迷你印表機EP-101，其中EP就是「Electronic Printer」的縮寫。當時電子計算機剛開始普及，但計算的過程卻無法記錄下來。電算機製造商很希望加裝其他設備記錄計算過程，但當時的印表設備重達 10公斤，價格又貴，根本不可能內建。因此當重2.5公斤，又小又輕的EP-101問世後，他們趨之若騖。在國內外電算機製造商大舉訂購下，EP-101 累計出貨量高達144萬台。

信州精器以EP-101在全球迷你印表機市場取得六成占有率，不但極其暢銷，也成為該公司進軍全球的契機。但由於信州精器僅為OEM代工，消費者根本不知道是誰生產的，該公司便開始考慮成立自己的品牌。1975年，透過公司內部的徵名活動，才誕生了「EPSON」這個品牌名稱，意指「Electronic Printer’s Son」，象徵該公司要承續意義非凡的代表性產品EP101，持續發展更多暢銷新產品（即「EP的後代」）。1982年，「信州精器」正式更名為 EPSON，在1985年與母公司諏訪精工舍合併後，又改名為SEIKO EPSON（即「精工愛普生」），但一般仍以EPSON簡稱之。後來該公司在1977年推出第一台PC用印表機，進軍電腦列印市場，並於1980年研發出小巧輕便的印表機MP-80，在國內有60%的市占率，在美國等海外市場也獲得高度評價，奠下日後雄霸印表機市場的穩實基礎。

液晶技術的霸主
除堪稱命脈的印表機外，EPSON也是全球液晶技術的領導者之一，在液晶技術上的專利眾多。根據2005年9月底時的資訊，在投影機兩大技術DLP（採用單一晶片）與3LCD（採用三片液晶面板）陣營中，德州儀器公司是DLP技術的主導者，EPSON則是3LCD技術霸主，全球市占率達60%，可以說少了EPSON就玩不起來。EPSON自己也是投影機大廠，2005年的自有品牌全球出貨量達62萬台，全球市占率達 16%，為業界之冠。在全球投影機需求上升、以及面板產能順利運轉下，2006年，該公司將繼續挑戰全球市占率20%的目標。

EPSON所屬的精工集團，原本就是全球最早開發出石英錶的知名鐘錶業者，對精密技術方面相當在行。再加上EPSON一向十分鼓勵研發（根據該公司2005年時的統計，研發費用約占營收的6%，達925億日圓），早在1973年，該公司就開發出全球第一款液晶式數字石英錶LC V.F.A. 06LC。由於在錶面上運用液晶面板的策略大為成功，EPSON著手將液晶面板技術推廣到其他領域，像是1983年開發出來的全球首創的液晶口袋電視，一直發展到今日的液晶顯示器事業。累積長年研發的EPSON，目前已有36種液晶面板，其中25種用於商用投影機，11種用於家用的娛樂性投影機。

1990年代初期，該公司著手研究高溫多晶矽技術HTPS，它正是3LCD技術的核心。近年來，EPSON又研究起低溫多晶矽技術 LTPS，正積極應用於手機液晶螢幕等產品上。無論高溫或低溫多晶矽技術，都具有省電的好處。另外，EPSON在OLED（有機發光二極體顯示）技術方面也有建樹，2004年該公司就推出了40吋的全球首款大型全彩OLED顯示器。同年，該公司也在美國推出以「Living Station」為品牌的高解析液晶背投影電視，展現其擴展影像疆土的企圖心。這系列的電視產品，不但能顯示靜態的數位照片，還可以在電視裡直接列印高畫質照片。

EPSON在行銷上向來不採價格戰，而是挾其領導性的關鍵技術，開發更高性能的產品符合口味愈來愈挑的消費者。以日本市場而言，該公司也是最常找知名藝人代言的業者之一，除松浦亞彌與早安少女組外，主演熱門推理劇《古任三郎》的老牌演員田村正和、賣座電影《在世界中心呼喊愛》的女主角柴崎幸與劇中罹患白血病的女配角長澤雅美等，都擔任過EPSON的產品代言人。性能優異的產品加上捨得投注資源於行銷，這樣的組合不賣也難。2003年， EPSON的股票正式在東京證交所一部上市，象徵該公司有目共睹的經營成績。

全面朝影像進軍
2005年，EPSON有不少大動作。其一是在商標中增加了「Exceed Your Vision」的口號，象徵「超越消費者的期望與想像」。此外，該公司也在2005年訂定了「3i策略」，三個i分別代表「imaging on paper」、「imaging on screen」以及「imaging on glass」，也就是要分別從印表機、投影機以及從顯示器等影像設備出發，集中資源發展「紙張的列印」、「投影機的影像投射」與「顯示器的影像呈現」等新應用。

在「紙張的列印」方面，EPSON希望未來可以與其他領域整合，像是列印電視節目訊息、連續劇對白、音樂錄影帶歌詞、廠商折價券等，並著眼於列印品質的再提升；在「投影機的影像投射」方面，EPSON希望加入多項新功能，像是能馬上關機、無須散熱再關的設計，或是不必透過電腦而以無線傳輸資訊，以及直接以投影機的USB插槽或儲存卡播放影像檔等功能；在「顯示器的影像呈現」方面，EPSON則透過日本的研發中心，從原本以紙為中心，轉變為包括電子紙在內的其它材質，像是未來預計取代條碼的無線射頻辨識系統（RFID, Radio Frequency Identification）標籤，讓長久累積下來的噴墨等技術，能應用在更多層面。

特別的是，EPSON固然以重研發、多技術著稱，但相對的，該公司在環保推動上也不遺努力。除了每年都發表「永續發展報告書」，記錄環保活動方面的進程外，該公司在2005年4月起啟用、位於北海道千歲生產HTPS的新廠房，也採取不少環保性設計，像是以不產生廢棄物、可減少環境負荷的建材建造；採多重對策以防止化學物質排放至廠外；使用雨水或反覆運用純水以減少用水量等。

2005年10月，EPSON推出首批採用其第六代液晶面板的投影機，以頂級的旗艦機種EMP-TW600打前鋒，可外接HDMI並以 16:9的寬螢幕比例播放，在台灣與全球投影市場都掀起一股新旋風。從鐘錶達人成為今日的影像達人，變的只是EPSON產品領域與技術，但該公司對「精巧」的注重以及對「卓越」的追求，可是始終如一的。

EPSON小檔案
創辦年份：1942年
董事長：草間三郎
總裁：花岡清二
總部所在地：日本長野縣諏訪市
2004年度各事業部占營收比例：資訊相關產品（63.7%）、電子零組件（30.7%）、精密機器（5.2%）、其他（0.4%）
員工人數：98,480人（2005年9月底時）
2004年度營收：1兆4797億日圓
2004年度獲利：557億日圓

【《AV Choice視聽玩家》4月號】

Epson Water

2006-04-29T11:25:00.000-07:00

Epson water, Video at You Tube

2006-03-20T14:33:00.000-08:00

objects between analogue and digital

what is the difference between analogue and digital, physical and virtual? what connects and bridges these apparently different worlds?this is the area we wanted to explore with our universal connections experiment and project. It is a question that each member of dialog05 addresses on a daily basis as an industrial designer creating consumer products.USB, an abbreviation for a technical user interface, is nowadays often used as a synonym for a universal connection. originally only used by computer experts and nerds, this so-called former high-tech standard has developed into an every-day item and low-tech symbol for such universal connections.

this is an example of technology being clearly understood and accepted by the general public. something democratic evolves and develops and therefore often even receives a totally different usage than was originally intended. given the current, often exotic use of USB, it would even be argued that there is a 'USB subculture'!this phenomena inspired us to use the USB interface, with all its possibilities and ambiguities as a medium for this project. we created installations, objects and products that are surprising, enlightening, inspiring and questioning, and on the other hand ironic or even amusing.

Push Pin Lamp - Blue

2006-03-20T14:31:00.000-08:00

Product Specifications:

The lamp is ETL approved with 7W Energy Saving Bulb; CE approved with Max 25W Type B lamp E14.
Bulb is not included.
19cm x 19cm x 39cm (approx.)

test

2006-02-19T11:36:00.000-08:00

imagine the home in 2020

2005-12-01T22:25:00.000-08:00

1st prize

air wash design by : wendy chua + gabriel tan from singapore

2nd prize

the flavor of sunshine design by : qingxiang ou + wenmin liu,
jingchang chen, lei zhang, rui qi, lu song, peng zhou, xiaoyan deng, haifeng liu, longfei li from china

3rd prize

happy feet design by : sang hoon park + jong hyun kim from south korea

honorable mentions

sandeep pradhan from india

jun kurihara atomicchestnut from usa

Erik Andershed from australia

wang sin ee from australia

sebastian alberdi + gustavo maggio from spain

monica blanco + juan felipe osorio from colombia

Rodrigo Wolff from brazil

kihoon yoo from korea,south

qingxiang ou + jingchang chen +wenmin li +lei zhang +rui qi, lu song +peng zhou +xiaoyan deng +haifeng liu +longfei li from china

more projects on show

cleaning

elisabeth soos + dominic flik from austria

markus knabl from austria

craig pannell from new zealand

timo niskanen from finland

jie zhu from uk

jan christian delfs + lennart wenzel +sören uherek from germany

elijah wiegmann + Alicia Wolchanski +Sarah Panteleo from usa

zdenek pudil + jan ermis from czech republic

mohd syahrizan senan from malaysia

jun kurihara atomicchestnut from usa

yuan ying from finland

cristiano giuggioli from italy

vandenbussche gregoire from france

Ye won kim from korea,south

suvitcha piyathanawiwat from thailand

zsolt tárnok from hungary

sanghoon park + Sang hoon Park. +Jong hyun Kim. from korea,south

jingchang chen + Rui Qi,Jingchang Chen,Lei Zhang,Qingxiang Ou,Wenmin Liu,,Lu Song,Peng Zhou,Xiaoyan Deng,Haifeng Liu,Longfei Li,Ge Liu,Beilei Mao from china

timothy yeoh + david wilson from uk

adriana soto torres + Adriana Soto +Pilar Hernández +Fabián Guerrero from mexico

michael breschi from italy

jung hyun cho + Bo Ram,Hong from korea,south

nathan whipple from usa

misun choi + Ju Yong,Oh from korea,south

sung ah hong from korea,south

plantrou matthieu from france

yeon ju chung + chung yeon ju, lee seung cheol from korea,south

DENIS VOENKOV + Alen Kharinkin, Ivan Kuryachiy from russia

sebastian alberdi + gustavo maggio from spain

pedro fernandes from portugal

kyutae kang + Chilyong Kwon. from korea,south

chia shee loh + Lin Jun +Law Chuan Chai Brian from singapore

qingxiang ou + wenmin liu,
jingchang chen, lei zhang, rui qi, lu song,
peng zhou, xiaoyan deng, haifeng liu, longfei li from china

patrick beyaert patrick beyaert + Patrick Beyaert +Johnatan Absil from netherlands

melina pigeon from canada

Hyun, Kyeong Suk Suk + lee su hyun from korea,south

Willyan Vando Basso + Ricardo Góes Baglioli +Willyan Vando Basso from brazil

pâmela tailor + jorge gomes +thiago maia from brazil

Thomas Walde Florian Hauswirth from switzerland

wendy chua + gabriel tan from singapore

Ben Lai + Ben Lai Kin Mun + +Sharinces Sow Mey Luan from singapore

more projects on show

storing

Francesco Ferrara from italy

Victor Johansson + David Johansson from sweden

jie zhang from china

tomas kral + klara zavadilova from slovak republic

de vos pieter from belgium

Antonio Bitar + Mariana Zepeda Vázquez from mexico

yu ri kim + bo mi, lee from korea,south

Alex bykov + Lubov Kurzanova + Andrey Hodykin from russia

jingchang chen + Wenmin Liu,Jingchang Chen,Lei Zhang,Qingxiang Ou,Wenmin Liu,Rui Qi,Lu Song,Peng Zhou,Xiaoyan Deng,Haifeng Liu,Longfei Li,Ge Liu,Beilei Mao from china

ian thompson from uk

jong seok park from korea,south

lin tao + huang zhe +huang shanfan +wang zhuo from china

uri mares MAres + Uri Mares Daniel +Luis Reyes +Javier Ugarti from mexico

michael breschi from italy

seung jin yoon from korea,south

baek min kim + Hyung Geun, lim from korea,south

soonfayoung designdynamo from taiwan

damin jung + miran Son from korea,south

kyoung min sung from korea,south

minkyung an + Mi-hwa Chang from korea,south

victor perea gonzález + annika maya +víctor perea from mexico

joakim oscarsson from sweden

enrico fratesi + Stine Gam-Pedersen from italy

se hee lee + Sun-hwa ,Choi +Mun-chan ,Jung +Sang-mi,Kim from korea,south

juan severino from uruguay

Andre Luis Alexandre from brazil

chuan shi + Wenying Lu, Chuan Shi, Yu Li from uk

juan guillermo gomez from colombia

pereira nicolas from france

yip shing, jaon ho from china

claudia rosello from spain

katja lipicnik from slovenia

flávio carrasco + clara noronha ribeiro da costa +fernando d'ambros lucchesi +flávio carrasco rizkalla dos santos from brazil

nank - hanan ben shoshan from israel

more projects on show

cooking

romy hockley from australia

pablo jiang from china

shawna siow from singapore

zhenyu, wu zhenyu, wu from germany

florian baumgartner from switzerland

yong kim + won suk, Lee from korea,south

simone federman from australia

charles windlin from switzerland

kewell li + Kewei.Li +Suning.Chen from china

paulina gonzalez-ortega + uriel carreto from mexico

won suk lee + yong kim from korea,south

huanjeong huan + Jin Hee,Moh from korea,south

tao zeng from china

stanley ruiz from usa

Victor Ong from singapore

jung lee from korea,south

hyun pil choi + Dae Hun,Jung from korea,south

terence woon from singapore

simon dufty from new zealand

michal chen from israel

Michal Mihalak + Bc. Michal Miha?ák , Pod lesíkom 468/33, Šarišské Micha?any 08222, Slovakia from slovak republic

rachasit tudsri + army vision group : +Pitak Koatdok +Rachasit Tudsri +Lertsak Tharatum +Pacharaporn Senawan from thailand

sauvage sebastien + ximeng wu from france

jason ho yip shing from china

more projects on show

ambient

marin myftiu from albania

bas van raay from netherlands

victor henrique fagundes from brazil

arik aboud from israel

wenzhang liao from taiwan

ji woo park + jung sun cho from korea,south

catalina lewin + catalina lewin- i.d +rodrigo montoya- architect from colombia

jimenez lai from canada

rachasit tudsri + ARMY VISION GROUP +1.Pitak Koatdok 2. Rachasit Tudsri +3.Lertsak Tharatum from thailand

wing chi chow from china

santo sorin from romania

HONO (Electronical Candle)

2005-11-07T02:49:00.000-08:00

Philips shows innovations based on simplicity-led design

2005-10-06T10:05:00.000-07:00

Philips backgrounder on simplicity-led design

PARIS, September 2005; PHILIPS "The Simplicity Event":MUSICEXPLORER, to make it possible to browse, buy, and organize our music all in one place.

PARIS, September 2005; PHILIPS "The Simplicity Event":INTOUCH, hung on the wall, converts one-to-one communications back into 'group-to-group' of 'family-to-family' communications.

PARIS, September 2005; PHILIPS "The Simplicity Event":LED BULBS provide home owners with a rich range shapes,sizes and light effects. They let them (re)adjust the color and atmosphere right at the source.

PARIS, September 2005; PHILIPS "The Simplicity Event":MOMENTO stores the most cherished moments, recorded as short movie clips, and replays them as floating magical fragments in a glass ball.

PARIS, September 2005; PHILIPS "The Simplicity Event": LOOKLOOK captures stills that can be instantaneously sent to a mobile phone or projected onto any surface for immediate sharing with others.

PARIS, September 2005; PHILIPS "The Simplicity Event":Philips Light Chimes detect changes in the breeze and temperature and translate them into captivating patterns and swirling light.

PARIS, September 2005; PHILIPS "The Simplicity Event":Light Chimes detect changes in the breeze and temperature and translate them into captivating paterns and swirling light.

PARIS, September 2005; PHILIPS "The Simplicity Event":LED Bulbs can be (re)adjusted by twisting for the color and atmosphere right at the source.

PARIS, September 2005; PHILIPS "The Simplicity Event":LED Bulbs can be (re)adjusted by twisting for the color and atmosphere right at the source.

PARIS, September 2005; PHILIPS "The Simplicity Event":HERBARIUM is an intelligent greenhouse designed to provide the best climate for growing health-giving herbs from smart seed pads.

PARIS, September 2005; PHILIPS "The Simplicity Event":HERBARIUM, an intelligent greenhouse designed to provide the best climate for growing health-giving herbs from smart seed pads.

PARIS, September 2005; PHILIPS "The Simplicity Event":THE CHAMELEON, a lamp shade that changes to match any color you 'show'it.

PARIS, September 2005; PHILIPS "The Simplicity Event":The AIR TREE takes is cue from nature and keeps the home environment fresh by performing much the same function as a biological tree: cleaning the air.

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Since unveiling Sense and Simplicity as its brand promise in September 2004, Philips has demonstrated the power of simplicity-led design in growing businesses and driving innovation. A wide range of products already provides customers with the direct benefits of simplicity-led design, including the Ambient Experience.

Ambient ExperienceSome medical examinations - such as MR scans - can be difficult for everyone involved. People feel scared, uncomfortable and generally ill at ease. An anxious patient will often move around while in the scanner and this costs time for the clinician: time to settle the patient and time spent retaking pictures because of movement at the wrong moment. All of this time costs money. But if the patient is physically and emotionally comfortable, time and money can be saved.

Philips decided that its healthcare proficiency, along with the proven expertise of Philips Design and the technology of Philips Lighting, could be combined to create an experience that helps relax the patient and ultimately benefits the clinician and hospital.

Philips has made the waiting room into a hotel room-like space, where family members can sit together with the patient. When it is time for the examination, a door opens directly into the exam room. The patient walks into a space where the atmosphere makes him feel instantly at ease, because he has chosen it. A credit card-sized "mood token" controls projectors in the room that show images and lighting on the walls and ceiling in a theme chosen by the patient (cartoons for children, for example).

This reduces apprehension by giving patients some control over the experience and offering them something to focus on other than the less pleasant implications of undergoing an examination or scan. The feedback from clinicians is that in providing a positive environment, there is a significant difference in the outcome for patients of all ages. Historically in the US, it has been normal procedure to sedate children before they undergo examinations such as MR scans. The Ambient Experience has proven to be so successful that many children no longer need sedation.

The first Ambient Experience radiology suite is in use at Advocate Lutheran General Children's Hospital near Chicago and uses Philips' lighting and consumer electronics to create a more patient-friendly environment for people undergoing medical scans. The suite at the hospital's children's pavilion features a Philips Brilliance CT (computed tomography) scanner in a room with curved walls, creating a softer emotional environment.

Design conceptsPhilips is demonstrating a unique showcase of design concepts from Philips Design, which show how simplicity could translate into groundbreaking products over the coming three to five years, across the company's entire healthcare, lifestyle and technology portfolio.'Momento' Some memories are meant to be shared and treasured, and accessible in an instant. Philips considers that it should be as easy to share video memories, as it would be to view a treasured photograph sitting in a frame.

Momento is a unique glass ball, small enough to fit into the palm of the hand, which offers a completely new way to share precious video memories. The device will 'wake up' when approached and play its store of movie clips when a person reaches out to pick it up. To change from one clip to another, simply shake the glass ball and the movement is detected through in-built sensors prompting the existing clip to dissolve and another one to appear in its place.

Momento has no buttons to press or dials to turn and all functions are controlled by either proximity or detected movement. Storing images is also simple. The device receives movie clips wirelessly from any 'Bluetooth' enabled phone.

'In Touch' New technologies make sharing information, news or pictures with family and friends faster than ever before. This though is on a person-to-person basis. Philips has considered why it should not be as easy to share this information with all those living in a house, whether that is family or housemates and to do so as simply as instant messaging. The result is the In Touch design concept, a 21st Century take on a family 'message board'.

In Touch is a mirror that transforms into a touch screen message center, providing an alternative to leaving messages in different places, such as a written note stuck on the fridge or an answer phone message. Through In Touch, members of the household view messages left in text or video format, which are posted directly onto the device or sent remotely. When illuminated, the screen also includes portrait photographs of all the 'family' members in the network, which are used as a method of sending messages.

In Touch is easy to operate. Simply touching a relevant image on the mirror will activate a message, which could be a voicemail, video, picture or text message. The mirror also makes it simple to leave messages or send them automatically to other members of the network.

To leave a message on the electronic board, just touch the mirror with a stylus and a drawing space opens. To record a video message, touch a blue light in the right-hand corner of the mirror, which turns red and a real-time image of the person recording the message appears in the centre. The message is then recorded.

To send an MMS or SMS message, create a message with the stylus and then, using a finger, drag and drop the text box on to one of the portrait photographs. The MMS or SMS is sent automatically and the message reverts to its original position with a confirmation stamp showing it has been delivered.

'Look Look' Philips believes that sharing experiences should be as simple as a child saying "Look, Look" to a parent. Its 'Look Look' design concept is a device that allows people, particularly children, to capture and share images spontaneously and to share them either with those around them, through an in-built projection system or remotely by sending the image to In Touch or another compatible device, such as a parent or grandparent's phone.

To capture an image, simply extend the eyepiece a short way and the capture mode is engaged. It is possible to zoom in on the scene and press the scroll wheel to capture it.

Viewing images is easy. This is done either by looking through the eyepiece viewfinder and toggling through the pictures with the scroll wheel or by using Look Look's in-built projection system.

'Tune In' The pleasure we find in music knows no bounds and unites people in a way that few other mediums can. While sharing music has become easier, it is also fraught with problems: from the legal issues of copyright, to the process of searching and downloading. Philips investigated whether there was a way for the sharing of music to become more spontaneous and that could be done in a simpler manner. Its Tune In design concept does just this, providing a device wearable around the neck and allowing music lovers within a limited area to broadcast and share their music collections with others.

The heart of the application is a radar device that measures and displays the distance between a person and other Tune In community members. The location is displayed in the form of glowing dots radiating out from the centre of the circular screen. Color-coding on the dots indicates the type of music being played in the immediate area. There are also four touch sensitive areas on the device, allowing the user to control their own music in the usual manner, such as play/pause.

Tuning into another person's music is as simple as pressing the relevant dot that represents them on the screen. By pressing again, the device reveals all the details about the track being played, while pressing the center dot returns the user to their own music.

'Air Sensor' Allergies represent a significant worldwide health problem for hundreds of millions of people. A combination of plant pollen and mould, together with smog caused by automobile and industrial emissions create a harmful outdoor environment, particularly for those with existing health conditions. Managing allergies and other breathing related conditions depends upon knowing the outdoor air quality. Philips has created a design concept that makes checking outdoor air quality as simple as looking out of the window.

'Air Sensor' provides a simple and instant method for determining outdoor air quality, day or night. The solar powered device with an in-built battery for 24-hour operation can be located in any room with a window. The two parts of the sensor, one for sampling the air and the other for displaying the information.

The device samples and calculates air quality based upon four measurements; temperature, pollen count, humidity and smog levels. This information is displayed separately or all together. In its view all mode, it is easy to know outdoor air quality at glance. If the display is 'smiling', it is safe to go out side.

Using a simple touch sensitive dial, select information on all four air quality measurements individually. While temperature is shown in the form of numerals, information on smog levels comes in the form of lights that shows one of three 'faces' ranging from a 'smile' for low levels to a 'sad' look for high levels. Pollen levels and humidity are displayed through a series of columns and rows respectively.'Air Tree' The World Health Organization estimates that 40% of all buildings currently in use pose a serious health hazard due to indoor air pollution. Philips came up with a design concept that to help address the issue of poor indoor air quality and that would be as easy to use as setting the temperature. Air Tree is an elegant and decorative design for a device that could provide major health benefits for those with breathing related conditions, such as asthma, by offering personal control over indoor air quality through means of cleaning, humidifying or dehumidifying the air, as needed.

Air Tree has two operating modes, 'Humidity' and 'Clean'. Simply selects the mode they want and the device will then operate automatically.

In 'Humidity' mode, select the desired level through the interface 'twig' - a simple and easy to use control panel set into the Air Tree - and the built-in software will then continually monitor the atmosphere and will determine if it needs to humidify or dehumidify to maintain the level selected by the user. A light at the base of the tree indicates when the container, that collects water from the atmosphere when dehumidifying, is full. There is a small twig at the base of the device into which the user pours water to fill the reservoir that the 'Air Tree' uses for humidifying the air.

In 'Clean' mode, the Air Tree filters and refreshes the air without extracting or releasing water into the atmosphere. The device is left alone to operate without any interaction by a person, even during long periods such as when a family is away on holiday. Air is drawn in via the base and passes through the filter before emerging from the air outlet twig at the top.

The humidity mode is manageable and set by simply stroking the touch strip on the control twig; clockwise to increase humidity, counter clockwise to decrease it. A light display at the top of the twig indicates the level set and this is followed by a short animation showing whether the air is to be humidified or dehumidified. Squeezing the side of the twig will switch the Air Tree to 'Clean' mode and a short animation of pulsating lights indicates that the cleaning process is underway. 'Aqua Duo' Experts advise that every adult should consume at least eight large glasses of water per day to maintain their health. However, not all water is as pure or healthy as it could be. And just using bottled water is a wasteful solution. Philips created the concept of Aqua Duo on the simple idea that people should have access to purified water in their homes at any time but also at the right temperature for cooking or drinking.

Aqua Duo consists of a pair of containers - one that heats water and the other that cools it. These two thermoses are designed to sit on a base unit in the kitchen to provide clean, filtered hot and cold water as required.

The Aqua Duo concept includes a range of pre-set water temperatures, designed for particular uses. The hot water container has settings for cooking (lukewarm), to baby food (hot but not boiling) and boil (100oC). The cold container's settings are cool (16oC), chill (8oC) and icy (4oC).

When a temperature is set, the corresponding button on the base unit lights up, as do the icons on the relevant water container. To indicate that heating or cooling is taking place, the light flickers on the base unit between the different icons until the desired temperature is reached at which point the light will settle on the button pressed.A display system on the water container that indicates the level of the water moves through the horizontal as the container is tilted forwards for pouring. The display always shows the exact water level and is created through an embedded flexible screen. The display is triggered by a water and gravity sensor.

'Herbarium' Having access to fresh, homegrown herbs are not only an excellent addition for any meal, they can also provide an important contribution to a person's health. Researchers now believe that a wide range of herbs - such as mint, basil, oregano, sage and thyme - possess antioxidants that help protect against cancers and heart disease, as well as help improve glucose control and insulin activity. However, for most people, growing fresh herbs is an ideal for which they neither have the time nor the space.

Philips took the view that growing your own herbs should be as simple as making a cup of coffee. The result is a design concept - 'Herbarium - that creates a portable and intelligent greenhouse for use indoors, which would fit onto a small window ledge in any kitchen and is designed for use by people with little or no gardening experience.

The solar-powered greenhouse creates a self-contained microclimate in which to grow herbs from seeds using pre-prepared plant pads that do not require plant fertilizers or other chemicals. The user simply places the biodegradable pads into the growing frame. Each pad contains the soil and seeds necessary, together with an RFID tag that is recognized by the 'Herbarium' to ensure that the right combination of herbs receive the ideal growing conditions.

The 'Herbarium' design concept is designed to use many types of pre-seeded plant pads, e.g. thyme, basil, sage etc.

When a pad is positioned in the Herbarium, the name of the plant appears on the pot rim display, which is also triggered by the chip. As the plant grows, the name fades back to be replaced by other information such as when the pad was planted in the Herbarium and the optimal date to harvest the leaves.

'Soft Therapy' With more people spending their working lives sitting in front of a computer screen, the issue of relaxation is becoming increasingly important to ensure physical well-being. Medical researchers have recently been examining the role of the neck in relation to injuries to hands, wrists, elbows, arms and shoulders. They have also identified motion in the joints of the neck as a significant contributor to Repetitive Strain Injury (RSI).

Recent medical research shows that such problems can take a long time to treat, which is why prevention is far more effective in the long-term.

Philips took on the challenge of creating a design concept that would make muscle-based pain relief as simple as putting on a shirt. The solution is 'Soft Therapy', a wearable, cordless garment that is soft to the touch and that reduces tension in strained muscles and joints in the back and neck by means of infrared heat and vibrational massage.

Soft Therapy is wearable over clothing or directly on the skin. It uses infrared LEDs and massage to treat pain through heat and a massage motion.

It features a series of soft keys on the front of the garment that allow the selection of one of three pre-set modes. The two arms of the Soft Therapy garment will automatically turn on when they are snapped together around the neck. Opening the arms switches off the garment.

Each treatment cycle lasts no more than 20 minutes, after which the garment can be easily hooked onto its recharging peg on the wall, so that it is fully charged for the next session.

Illusion SystemPhilips has identified that consumers want less buttons, menus, lists and options, but without losing the functionality they offer. Equally, consumers would benefit from more physical, but intuitive ways to control electronic equipment and music, films, photos and games that should be enjoyed on them. As a result, Philips has developed The Illusion System, which seeks to answer the question 'why couldn't using a home entertainment system be as simple as pointing at what you want?' Illusion offers swift control of all media devices in the home with the illusion of movement and the transformation of objects from one state to another, such as a television transforming itself into a mirror when switched off, instead of a dark space on the wall. The Illusion System consists of four devices: a TV (Vision), home media center (Mercury), loudspeaker (Wave) and remote control (Wand).

'Wand' is the central control and access device for all home content, from music to films and from TV channels to family photographs. It also acts as a control device for an entire room, from sound to lighting. Wand is an intuitive system that allows a user to point at any device and to scroll, select, play and move elements just by moving the Wand. When it is pointed, the Wand recognizes the device at which it is aimed and, through the 'active skin' portion of its rod design, provides the relevant control options for that device.

For example, by pointing Wand at the Vision TV, the user can 'grab', 'move' and 'reorganize' content on the screen. Using the same intuitive gestures, it will also control the volume of the Wave sound system or the lighting, adjusting brightness, color and the saturation of light to match the required mood. Pointing the Wand at a digital camera enables the user to automatically transfer pictures onto the Vision TV.

Wand is used, as its name would suggest, through simple gestures up and down or side to side. The speed of the motion also determines the speed of reaction of the content it is controlling. For example, to scroll faster through content, the user just increases the speed of movement, like choosing to turn the pages of magazine slowly to read the contents or flicking through it to glance at the pages.

'Vision' is a TV that transforms itself into a frameless mirror when switched off, rather than just a dark space on the wall. In operation, it becomes an Ambilight television, blending into its surroundings and providing an additional dimension to the viewing experience. But it is also a TV that adapts itself to those using it, orients its screen and moves downwards until it is at the appropriate height for those watching it.

Vision TV, though, is not just a device to view traditional television content, such as broadcasts and films. It becomes a means to select and display all contents available in a home, such as personal photo albums, allowing seamless interaction between devices.

For example, Vision takes all available content, from films to family photos and displays these in one seamless form through the use of virtual cards that a user can simply scroll through and select. By using the wand and moving it up and down more slowly, the Vision device will switch between different types of media - TV, video, photographs or music. Once a media type has been selected, moving the Wand horizontally enables the user to move, step-by-step between the content available in that media selection. This means in TV mode switching between channels or in video mode between the available films. A 'super-scrolling' option is also available, which is activated by moving the Wand horizontally at a faster rate. The quicker the movement of the Wand, the faster Vision will scroll.

'Mercury' is a home media center that provides access to all media without having to leave the couch. This content is sourced from Mercury's in-built hard disc, from discs stored within the device and from players and PCs elsewhere in the home, as well as from mobile devices, such as cameras or music players, to which it is connected wirelessly.

Shaped as a slender rectangular column, it is designed to be positioned beside a seat or couch, mounted on a wall or placed on a table. During playback, a light display indicates with different color codes the kind of disc being played. Hold your hand above the slot at the top of the device, the disc ejects automatically and the color display turns to white to show that there is no disc inside.

'Wave' surrounds the listener and beams sound from a single, fabric covered speaker that is easily positioned behind the user, such as from behind the couch, to deliver the illusion of separate channels of 'surround sound'. When activated by pointing the Wand, either end of the Wave 'bends' automatically and beams sound directly at the people sitting in front of it. The color of the fabric is based on personal taste, so that it fits naturally into the color scheme of any room.

Music ExplorerThe advent of new music technologies, that provide unparalleled access to sounds from every available source, has been one of the most dynamic cultural revolutions of recent times. However, access to thousands of different types of music has led to issues over how a user navigates through their libraries and how they can select tunes based on their preference at any given time.

Created as a home 'music center', Music Explorer consists of two components: a portable 'turntable' (screen panel) and a stationary speaker base. The panel, which is designed to be held in the hand, offers a user interface and a display for content with four main playback modes: Home, Shop, Disc and Radio. The base unit provides the sound and also houses the disc player.

The selection of content is achieved by simply and intuitively gesturing, using a touch sensitive screen on the panel. Brushing a fingertip lightly over the surface of the screen provides the facility to scroll through content. Tapping onto a particular selection allows the user to 'zoom' into different information within a category. Each layer of information is displayed in the form of a 'star cloud' and when a particular selection is made, the screen appears to dive deeper into that cloud for further content.

To change the mode of the screen panel, the user just rotates the entire panel. The Home mode provides for navigating and playback, Shop enables the user to scan for and add new music content to the Home folder, Disc enables a user to scan and play music on discs, while Radio provides access to scan and play internet radio stations.

When not in use, the panel can be placed on a rotating tray on the top of the speaker base. This also recharges the panel.LED BulbsAdvances in LED technology have opened a whole world of new possibilities in lighting. Originally, LEDs were just used to display information, on mobile phones for example. However, their energy efficiency makes them ideal for wider uses. LEDs convert 90% of the incoming electrical charge into a luminous energy and use only one-eighth of the power of traditional bulbs and less than half that for fluorescent lights. For Philips, though, it is not only the energy savings that make LEDs ideal for use in lighting solutions, but also size, low heat generation and flexibility.

Philips developed a series of design concepts that seek to answer the question 'why couldn't changing a room's ambience be as simple as switching on the TV?' The following design concepts offer various ways to adjust color, saturation, tone and brightness with simple and intuitive gestures to create the desired lighting ambience.

'Soft' is a light bulb like no other, becoming soft, tactile and safely squeezable. Squeezing the cool-to-touch bulb changes its color to a different preset from the color spectrum.

'Constellation' runs through a spectrum of light pastel colors when the 'finger' on the side of the bulb is tweaked. An LED at each intersection of the wire frame structure points inward, creating soothing patterns of geometric light effects on nearby surfaces.

'Flask' alters the brightness and 'warmth' of its white light when turned, to set the exact desired atmosphere.

'Fractal' is designed to emit a warm yellowish tint and shift to a cool, bluish white light when the 'finger' at the side of the bulb is revolved. The bulb's three-dimensional optical effect diffracts light in several directions simultaneously.

'Tap' is twisted, just like a bath or sink tap to scroll through a rainbow of colors. Aligning the graphic index of the bulb with the one printed on the glass displays perfect white light.

'Flat' scrolls seamlessly through a spectrum of semi-directional light variations from an array of LEDs embedded in the bulb's translucent material. This is achieved by placing a finger in Flat's off-center indentation. White light is displayed by aligning the two indexes.

'Flex' provides either ambient uplighting to set the appropriate mood in a room or a more direct light source, as needed. Flex is a rubber lamp designed to provide ambient lighting when bent upwards, or downwards for direct lighting. Using a network of small LEDs embedded directly in the rubber material, it is easy to manipulate and very durable. Added to this, sensors on the rim of the shade or detect circular movement, allowing the light to be 'tuned' to any desired color available in the LED spectrum.

'Spectrum' changes color when a finger is revolved a few centimeters below any of the spots on its rim. Revolving a finger in a full circle around the shade displays the full spectrum of light available.

'Aurora' appears like a normal, suspended lampshade but has no visible light source. The light emits from the inner surface of the shade itself with all colors within the LED color spectrum available for display. The color is selected by means of a central tuning knob located in the centre of the lamp and which will go through the entire range as it is turned until the desired color is reached.
Mood MixChanging the atmosphere of a room should be as easy as flicking a switch. The Mood Mix design concept does just that, providing touch sensitive control of all the ambient lighting in a room.

Mood Mix is a dual mode controller that enables the user to select the ambient color and intensity of light in a room. The circular controller features an outside groove that, when a finger is run across it, will scroll through all possible colors. Holding down a central button on the controller increases the amount of white light to be combined with the selected color. Releasing the finger selects the required intensity level. The Mood Mix controller works in any part of the room and is entirely wireless. When not in use, the device can be placed on a wall-mounted charger.

Chameleon is a lamp shade that changes to match any color you 'show' it... A traditional bulb at the centre of the lamp provides white light above and below the lamp, while an LED ring around this light projects a selected color into the shade, while at the same time preventing the white light from diluting the color being projected.

Chameleon will match any mood required in an instant. The user simply picks up a piece of fabric or any other colored object, holds it to the sensor on the lamp stand and this color will be projected onto the inside of the shade automatically, changing the lighting mood of a room.

Light ChimesThe outside space in a home, particular the garden, is increasingly been regarded by people as another living space. As a result, a large industry has grown up to provide design solutions for this outside room. As in any space, one of the most important components is lighting. Philips has examined this increasingly popular living space and created a design concept which combines the best in technology with the natural elements of the gardens. The result is Light Chimes, which takes the concept of outdoor lighting and matches this to the invisible elements of the space - wind and temperature - and turns them into something visible.

Light Chimes are hollow, circular LED lights integrated onto poles that can be positioned anywhere in the garden or outdoor space. Pre-charged, there is no wiring involved. As the wind blows through the space, it passes through the hole in the middle of the circular LED and as the speed of breeze varies, so does the Light Chime, increasing in brightness according to the strength of the wind. With a quantity of the Light Chimes placed in a garden, for example, it is possible to see, for the first time, the speed and direction of the wind, translated into light. The devices also react to temperature, changing color accordingly and providing an indication of weather conditions outside. The cooler the air, the warmer the color of the light and vice versa.

家暴無力感男人想找回權力

2005-07-06T00:59:00.000-07:00

家暴無力感男人想找回權力
彭懷真／幸福家庭促進協會秘書長、東海大學學務長
去年嫁入豪門並且生兒的王靜瑩，曾經是多少女性羨慕的對象，如今出面控訴遭家暴，證實一切都是空虛的，她比多數女性更辛苦也更無助。
越是貌美的女性越可能面對變態的男性，進入婚姻之後越有風險。男人在追求美女時可能低姿態，但是獲取丈夫的地位後，他們就回到傳統男性的角色之中，高姿態地要求、甚至是試圖全面控制美貌的配偶。一些豪門子弟，從小養尊處優，甚至呼風喚雨，不知道什麼是尊重，更不會體諒。他們的人生是建立在對人的控制上，一旦進入婚姻，腦海中依然是控制。對美麗的妻子更要好好控制，用拳頭控制是最直接的。
有些小開在動手打人後，往往由母親或姊姊出面收拾善後，她們找上我，希望我這個男性婚姻輔導者有些幫忙。很奇特的，闖禍者通常都不會接受輔導，最多只在電話中談，而且目的都只是暫時解決問題，要妻子回來。他的母親或姊姊一定是站在闖禍者這邊，而不會同情或體諒同樣是女性的受虐者，「女人為難女人」的情形，十分常見。
家庭暴力的本質是權力行為，而且是充滿無力感男人找回權力的一種方式。當妻子懷孕後，男人會出現莫名其妙的無力感，很擔心自己無法扮演父親的角色，因此變得很焦慮甚至是暴躁。當然某些企業家小開昔日與父親的關係緊張，也使他可能在迎接新生骨肉時更煩躁。在情緒劇烈起伏中，妻子成了受害者，挨打受辱。可愛的嬰兒也有些被打、被折磨的。
小開在企業中位高權重，但是心智能力比起一般人未必更成熟，對於父親這神聖的頭銜是又愛又恨，也就可能因此更容易情緒失控。從對企業家與兒子關係的研究中發現：通常要到成人期，父子關係才會很好，青春期則是充滿對立與衝突的。問題是：不少男子進入婚姻後在遇到重大壓力時，會表現出許多類似青春期的幼稚行為，逞兇鬥狠就是其一。
怎麼辦呢？尋求公權力的協助當然是必要的，但並不能徹底改變這些從小就沒有好好學習對人尊重者偏差的心態，更不能使這些豪門子弟從此恢復正常。
要輔導這些小開很難很難，他們需要回到童年，透過正常健康的家庭氣氛來孕育健全的人格；需要自己面對自己的人生，真正為自己負責，而不是找任何人為他收拾殘破的婚姻；更需要從家庭金錢權力的虛幻中走出來，以單純但真實的愛挽救婚姻。
胡凱茵／大學生（台中市）
台灣受到中國儒家思想男性為尊，以及日治時期的沙文主義影響下，男性多少存有自我自大心態，視女性為物品、財產的人更不是少數。從前我們總是以為使用暴力的是未受良好教育的中下階層，但是隨著越來越多的社會新聞事件，卻發現高知識教育水準的男性，對家人施暴的也不在少數。
王靜瑩非常的勇敢，家暴後終於願意挺身而出，為自己也為小孩的安全聲請保護令。過去到現在，社會大眾仍然對於豪門世家的上流生活有所嚮往，然而卻有許多人嫁入豪門後，過著有苦說不出的痛苦日子。今天王小姐向大家說明自己遭受先生的家暴，應能鼓勵那些正在遭遇家暴的婦女勇敢站出來，不要繼續生活在恐懼與痛苦中。
張肇烜／高中生（台中市）
女星抑或公眾人物童話般的婚姻，往往因為顧及形象，造成「外表亮麗眾人羨，私下心酸肚裡吞」的雙面人生。
如果是小爭執，互相溝通也就解決了。但是這次發生的是最痛苦、也最不敢張揚的家暴事件，尤其當事人又是人人稱羨的亮眼名模和豪門小開，更使得求助外界的難度大增。
因此，王靜瑩勇於站出來面對公眾，還勇敢地揭發家暴、聲請保護令。這種無比勇氣令人讚賞。【2005/07/06 聯合報】

百年落後變優勢全世界正向50億人傾斜

2005-06-20T12:04:00.000-07:00

台灣環保團體到美國在台協會，抗議美國總統布希不簽署京都議定書，無視於全球暖化的嚴重性。（洪聖飛攝50216）

美國的和平衰落

朱雲漢

去年美國的全年貿易逆差創了歷史新高，達到六千一百億美元。上星期五美國商業部公布了今年第一季進出口統計的最新數字，前三個月的貿易逆差金額又刷新了紀錄，達到一千九百五十億美元之巨。按照這個趨勢下去，今年美國全年的貿易赤字將衝破七千八百億美元，接近國內生產毛額的百分之八，也相當於去年全球貿易總額的百分之四。無論就絕對規模或相對比重而言，歷史上從來沒有任何一個國家曾經連續多年出現如此巨額的貿易逆差，世界貿易體系也從來沒有承受過那麼嚴重的結構性失衡。

赤字持續惡化霸權漸鬆動

這個巨大貿易失衡狀態的不斷惡化，不僅直接反映美國出口競爭力的持續衰退，也不僅意味著美國過度消費與儲蓄不足的問題日益嚴重，也不僅僅意味著美元匯率由於短期資金流動的沖抵而被嚴重的高估；美國龐大經常帳赤字的更深層意涵是：美國霸權的經濟、政治與軍事根基正日益鬆動，戰後美國一手建構的全球秩序即將面臨一連串震盪與調整，而這個秩序重組的過程必然不會平靜，甚至也不會和平。

支撐美國一枝獨秀超強地位的四大支柱是：美國在幅員、自然資源與經濟規模上的得天獨厚條件，在生產力與國際競爭力上長期保持相對領先，在正當性與意識形態建構上始終獨占鼇頭，在軍事與安全領域更享有無人望其項背的絕對優勢。這四大支柱撐起了美國對全球事物的支配地位，也撐起了美元的國際儲備貨幣地位。在過去幾年中，這四大支柱的下沉現象日益明顯。這四者之中，領先優勢流失最快的就是生產力與國際競爭力，而這恰恰是支撐一個霸權最關鍵的基石。

美國屢創新高的貿易赤字本身就已經說明了其國際競爭力優勢日漸流失的大趨勢，但單單統計數字還不足以說明其產業的嚴峻形勢之全貌。如果我們進一步分析美國與其主要貿易伙伴間進出口產品結構的變化，其趨勢更令人震驚。正如⟪美國商業周刊⟫所描繪的，美國的進出口產品結構越來越像是一個第三世界國家：在資本與技術密集產品（除了航太、製藥與生物科技等少數產業外）方面的逆差越來越大，在農產品與原物料產品方面享有大量的順差。與此顯明對照的是，美國最大的貿易入超國（中國大陸）的產品結構卻越來越像一個發達國家，在二○○四年其技術密集型產品的出口值，已經達到出口總額的百分之五十五，其中成長最快的是資訊科技與機械產品。這個數據所揭露的全球性生產基地移轉過程，其規模之大、速度至快、以及涉及的產品面向之廣，在幾年前任何人都無法預料。

產業競爭優勢向大陸傾斜

這個史無前例的結構性變化，從九十年代就開始加快腳步。這個時期，美國企業開始大量採用海外生產或海外代工策略，這個策略明顯降低企業的生產成本、加速盈餘增長，也造就了股市的榮景。同時，這個策略也是美國經濟學家所津津樂道的九十年代「生產力奇蹟」與「低通膨成長」的幕後功臣之一。但這個策略也意味著，美國在越來越多的產業領域內，開始出現生產技術與熟練技術工人大量流失的現象。等到中國大陸加入世貿組織後，這個過程更以倍速前進，無論是低附加價值或高附加價值的產品，無論是低階製程或是高階製程，無論是產品研發或是製造，都有可能加速移往海外，特別是中國大陸。

在短短幾年之間，美國製造業部門的大小產業，接二連三的被進口產品完全攻陷，從中國進口的替代性產品通常在價格上享有百分之三十到五十的壓倒性優勢，讓美國業者幾乎沒有任何招架的能力。由於中國企業善用後發優勢與經濟規模，其對美國產業構成的生存壓力，遠遠超過七十、八十年代來自日本以及東亞四小龍的挑戰。

這些「中國製造」的產品，其品質提升之快有如捷豹，數量增長之快猶如潮水，在短短幾年內，不是將美國的國內製造者打得潰不成軍，就是迫使美國企業將生產活動全面外移。這些移往中國、印度或東歐的生產活動，絕大多數都將一去不復返。產業空洞化的現象不僅僅席捲家電、衛浴、家具、汽車零組件這些傳統製造業，也侵蝕了塑膠噴出成型、模具鑄造、工具機、特殊鋼、自動控制這些關鍵性產業。甚至像３ＣＯＭ這樣頂尖的高科技公司也被迫藉助中國大陸的華為在數據通信產品上的先進設計、製造與維修能力，來對抗產業巨人思科（ＣＩＳＣＯ）。按照這個趨勢下去，美國得以享有獨步全球的核心技術之競爭優勢產業的範圍將日益減縮，連美國最引以為傲的國防工業，也開始面臨嚴重的技術自主性流失與生產成本高漲的困境。

龐大軍備支出美國反內傷

近年來美國的武器採購支出急速膨脹，讓整個研發新武器的機制幾乎面臨裂解之虞。這一方面是因為人謀不臧，五角大廈的武器採購過程被少數利益集團綁標的問題越來越嚴重；但另外一方面也是因為美國的國防工業越來越缺乏一個深厚、廣大的民生用品產業為其後盾。在許多高科技武器之關鍵零組件限國內採購的規定下，特殊規格下的小量生產必然導致研發與製造成本的不斷攀升。像是F-22新一代戰機，二十年前規畫時，預估每架成本為三千五百萬美元，空軍預定要買七百六十架，現在每架成本高達三億三千萬美元，只買得起一百八十架。照此趨勢下去，儘管美國的國防預算占全世界國防支出總和的一半，美國要在高科技武器領域維持唯我獨尊的優勢將日感吃力。

更令人擔憂的是美國的民主體制似乎也逐步喪失回應挑戰的能力。在布希主政的五年期間，在施政目標與國家資源配置上出現嚴重的偏差。在過去五年內，美國的累計國防支出高達一兆九千四百億美元，累計的國債餘額也衝破國內生產毛額百分之七十五的大關。在此同時，國內的貧富差距日益擴大，中等與低收入家庭的社會安全保障大幅縮水，國內的社會矛盾與衝突日益尖銳。空前龐大的軍備支出，卻不能幫助美國獲得更佳的安全屏障，也不能幫助美國挽回跌落谷底的國際形象與領導威信；無遠弗屆的軍事投射能力，並不能替美國企業搶回失去的市場、壓制日趨高漲的進口能源價格，或挽回流失的產業競爭優勢。

大陸美國起落國際掀震盪

面對中國、印度的快速崛起，在美國國會殿堂內，很少聽到實事求是的政策辯論，而是充斥著找尋經濟陳疾替罪羔羊的民粹訴求，或是助長保護主義情緒的陳腔濫調。行政與立法部門面對產業空洞化、失衡的貿易結構、失控的財政赤字、以及美國經濟對亞洲央行資金挹注的高度依賴，基本上是抱持拖一天算一天的心態，連素稱英明的聯邦理事會，也只能以維持高度寬鬆的貨幣政策來勉強支持美國的經濟榮景。

這些景象意味著，世界經濟在短期內（三到五年）必然要經歷一場比一九七一年「尼克森震撼」還要更為劇烈匯率風暴。在中期內（五到十年）全球性生產基地移轉過程的加速進行將導致日趨嚴重的雙邊貿易衝突，甚至危及全球自由貿易體系。在一定期間（十到十五年內），美國對全球事物的支配能力將明顯滑落。這場結構劇烈的調整過程，必然不平靜；我們只能祈求至少過程是和平的。對國際社會而言，中國是否能「和平崛起」與美國是否能「和平衰落」，其實是一組緊密關聯的命題。

1st DoCoMo International Architectural Design Competition 2005

2005-06-18T07:41:00.000-07:00

Few tools have become as widely accepted in everyday life in recent years as cell phones. Keitai ("portable"), the shortened term for a cell phone, has come to mean much more than a portable communication terminal; the keitai has become an indispensable tool for constructing the infrastructure of everyday life; the term has taken on a greatly expanded significance to mean new lifestyle media.
How is the city, our immediate environment, developing under these circumstances? In times of great change, the city, in keeping with, or in critical reaction to, that change, has also undergone changes of guise or structure. What sorts of conditions will the city generate in the future, as the keitai becomes an integral part of our lifestyle?

This spatial design competition seeks new proposals concerning the relationship between the urban environment and keitai in the near future. What sorts of conditions, forms and environments will the "keitai city" exhibit? Competition entrants are encouraged to propose images of the future of a "keitai society" unconstrained by preconceptions, or proposals for new spatial designs that make today's assumed worldview seem hackneyed.
As for a work among the prize-winning entries that is judged to be especially attractive, the worldview suggested by the work will be expressed, in elaborated form, in a video so that we might all consider the future of urban and spatial design.
Entrants should present provocative ideas, taking into account the possible translation of a work into a video.

Prizes
First prize: 1 work: ¥2 million
Second prize: 2 works: ¥500,000 each
Honorable mentions:
7 works; ¥100,000 each (All including tax.Total purse: ¥3.7 million)

Deadline for registration and submission of work:
September 26, 2005 (Mon)

outdoor style

2005-05-25T20:26:00.000-07:00

gubi

2005-05-25T20:23:00.000-07:00

From designsponge

gubi makes cute little bent ply chairs. and although i'm like, blech, another bent ply chair, i think these are just too cute. even cuter in person. i also love the wall-mounting (or floor based) bedside tables. gubi also makes a nice bent ply shelving system. more info on gubi here.

ICFF 2005 Day 3

2005-05-25T20:18:00.000-07:00

From Mocoloco

Breckenridge Perfect Cottage

2005-05-25T20:15:00.000-07:00

From Mocoloco

Ultramodern single-wide trailer by architect Christopher Deam.
The designer of the CCD Airstream has created a new modern recreational park trailer, built by Breckenridge, for $45K(!). It has 400 square feet of space, built-in storage and entertainment units, open kitchen, one bedroom (with closet), full-sized bathroom with bath, track lighting, four large sliding glass doors with louvered panels for sun control, central air & heat and an optional sleeping loft. Via Evan Rose.

+ cdeam.com
+ breckenridgeparktrailers.com

ICFF Rest of show

2005-05-25T20:11:00.000-07:00

All From mocoloco

Luis Pons Frames armoir.

Periphere table.

Western Contemporary Majlis

2005-05-25T19:59:00.000-07:00

Personal Space Chair

2005-05-25T19:49:00.000-07:00

Name: Peek a Boo
Designer: Stefan Borselius
Year: 2OO5

The perfect chair for the hermit in you – Stefan’s Peek-a-boo comes with a mini roof so that you can get some privacy, or you could use it as a cellphone booth.

Coffee Express

2005-05-25T19:48:00.000-07:00

Klasse Sagmeister

2005-05-18T06:58:00.000-07:00

Klasse Sagmeister

Film

ICFF 2005

2005-05-16T01:54:00.000-07:00

Hospitality Net - Industry News - The World��s First All-glass Undersea Restaurant Opens

2005-05-15T06:10:00.000-07:00

Hospitality Net - Industry News - The World��s First All-glass Undersea Restaurant Opens

Remake Light

2005-05-15T06:09:00.000-07:00

Remake Light

Zai

2005-05-15T06:04:00.000-07:00

Zai

The Electronic Scrolling LED Belt Buckle

2005-05-14T09:03:00.000-07:00

Skia.de

2005-05-14T09:01:00.000-07:00

Skia.de

分子世界大未來

2005-03-26T00:12:00.000-08:00

《分子世界大未來》之於二十一世紀，如同杜佛勒的《未來的衝擊》之於二十世紀。在分子革命展開之際，我們的工作、健康和資產將會發生什麼變化？人工智慧將如何改變我們的生活？分子科技將如何幫助我們面對氣候變化、地震和其他劇烈的自然災害？《分子世界大未來》探索許多迷人的可能性、相關問題的多元解答，及其他許多面向。道格拉斯‧穆爾（Douglas Mulhall）藉由分子發現的現代風潮，描述奈米科技及機械革命可能帶來的巨變。遺傳學、機器人學和人工智慧的彙整結果，將提供我們至今未曾想像過的能力，來改變外在環境和人類自身。未來的世界裡，可能會有清洗動脈、預防心臟疾病的機器、隨個人意志變換色彩的衣服、個人的桌上型工廠，以及金融安全的提昇，但既有事物也將遭到大幅淘汰。矛盾的是，上述種種未必能實現。當科技正朝著這些夢想躍進，我們可能會遇上史無前例的混亂：氣候變化、地震、或一個不可思議的彗星撞擊。穆爾強調，這些狀況並非危言聳聽，而我們才正要開始瞭解這些歷程。日新月異的分子變化發展有助於適應這些擾動，如果我們夠聰明，根據穆爾的說法，我們將能藉由分子機器來保護自己，免於自然巨災的威脅，並利用其潛在優勢，打造一個經濟復興的時代。未來科技與過去災難間的連結概念，對於準備好迎接二十一世紀的人來說，是非常有價值的教戰守則。
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Fogscreen: projecting images in the air

2005-03-22T06:08:00.000-08:00

Fogscreen: projecting images in the air

March 21, 2005 Finnish company FogScreen has begun volume production of its unique walk-through projection screen. The FogScreen Inia screen projects high-quality images onto a thin laminar air flow of water vapour. The FogScreen feels dry and cool to the touch and accordingly creates an effect of the computer generated images floating in thin air and can hence be used in the development of special effects displays and airborne advertising media, walk-through or drive-through posters and is expected to be used as a high impact advertising medium in malls, airports and mass audience events. There have already been enquiries from Hollywood production companies and "we expect the creative possibilities will inspire those in entertainment," said Nancy Gretzinger of Fogscreen's US distributor Imagex. "Beyond that, we are also looking at point-of-sale advertising, corporate lobbies, and other areas that could benefit from the innovative communication," she said.

Click image to enlarge

"FogScreen is now available for sale and rent at trade shows, upmarket events, and anywhere else you want to add excitement and mystery to a presentation or interior!" said Gretzinger (Imagexinc).

A recent innovation added to the package is interactivity, making it possible to draw in the air using an array of visual effects such as fiery characters or fireworks.

With the product now in volume production, the lead time for buying a unit has dropped to one month for the FogScreen Inia model with a screen size of 1.5m x 2m.

Click image to enlarge

FogScreen has been a consistent winner of European invention and innovation prizes in the last 12 months, most recently being chosen as a finalist in the prestigious IST prize (http://www.ist-prize.org) awarded for European innovations with most business potential and technical excellence among other things. The European IST Prize is organized by the European Council of Applied Sciences, Technologies and Engineering, with the sponsorship and support of the Information Society Technologies Programme of the European Commission. Fogscreen has also been a winner or finalist in another three awards, highlighting the ingenuity of the invention.

Cruise ship line, Celebrity Cruises, is using FogScreen in their new central attraction, "The Bar at the Edge of the Earth", created by the world-renowned Cirque du Soleil.

Every evening, in the top deck lounges of the line's Constellation and Summit ships, guests are invited to pass through a mystical gateway (created with FogScreen) and enter a world of wonder. A world bathed in luminescent light, pulsating sounds and mesmerizing visual effects. Specialty drinks and hors d'oeuvres found nowhere else add to this surreal atmosphere. This whole unique entertainment experience is currently available on select Caribbean sailings aboard Constellation and Summit with additional ships in the planning stages.

Click image to enlarge

Units have now been sold to USA, Japan, Germany, Finland and Russia and the company has exclusive distributors in Germany and Japan, and dealers in the USA and South Korea. Distribution agencies for Fogscreen are available in all other countries

The FogScreen Inia costs around 95,000 Euros including freight and installation.

Porsche's spectacular design for new museum

2005-02-25T08:15:00.000-08:00

Porsche's spectacular design for new museum

February 24, 2005 Porsche is presenting to the public the entries of the ten architectural practices that participated in the competition for the planned new Porsche museum building. From today until March 6, the models will be on view daily between 11 am and 6 pm in the Meidinger-Saal in "Haus der Wirtschaft" in Stuttgart. Interested visitors will thus be able to visualise the plans for the Porscheplatz in Stuttgart-Zuffenhausen in detail. The new Porsche museum, which is one of the most spectacular architectural projects in the history of the sports automobile manufacturer, is to be completed in 2007 and is expected to attract over 200,000 visitors each year.

The centrepiece of the exhibition in Stuttgart is the model by the Vienna architect's office Delugan Meissl, which emerged as the winner of Porsche's architectural competition and will undertake the realization of the construction project. A total of 170 European architectural offices had applied for the project, ten of which were selected for participation in the competition by a specialist jury.

At a press conference on the evening before the opening of the exhibition the chairman of the jury and architect Professor (ret.) Fritz Auer (Stuttgart/Munich) highlighted the distinctive features of the winning concept: "With its bold perspectives, the tectonic tension between supports and loads and the intelligently organized interior the winning entry identifies with the Porsche philosophy and product in its own way. The new museum shows that even as David, one does not need to hide from the Goliaths of the industry."

Click image to enlarge

Roman Delugan, co-founder of Delugan Meissl Associated Architects, added: "With our concept we wanted to translate the dynamism of Porsche into architecture. Our objective is to create a place in which sensory experiences can be felt by everybody - those qualities typical of Porsche such as power and passion."

The Delugan Meissl concept is a construction for Porsche's parent plant that will attract attention due to its unconventional form alone. A dynamically shaped monolithic body appears to float above the ground and the first floor level. At first sight, it is a provocative and unusual spectacle, but it is precisely this that appeals to the beholder. Stuttgart's Urban Planning Mayor Matthias Hahn on the new museum: "It is a building with a highly individual architectural accent in Stuttgart's museum landscape which lends Porscheplatz a powerful appearance and frame".

Anton Hunger, Head of Press and Public Relations at Porsche AG, also underlined the special attraction of the new museum at the press conference in Stuttgart: "The architecture of the new museum alone will arouse the curiosity of those who see it to come in - and it will definitely be worth a visit. On approximately 5,000 square meters of exhibition space not only will 80 valuable vehicles and other exhibits from the history of the company be displayed, but also interesting insights provided into the workshop for historic sports cars."

The focus of the exhibition is the period from 1948, when Porsche began producing sports automobiles. A chronological overview enables visitors to follow the history of Porsche's products. In addition, more in-depth information is provided in special topic-based arrangements - on Porsche's motor sport activities for example, or on individual vehicles. The achievements and experiences prior to the production of the first Porsche vehicles in 1948 will also be reflected in the new museum - for example, exhibits such as the wheel hub drive of the Lohner electric car are to be displayed.

Drawer-House

2005-02-02T03:28:00.000-08:00

Drawer-House

Tokyo

2003.04-2003.11

purpose: private house
location: Mejiro, Toshima-ku Tokyo
main structure: Reinforced Concrete
outer finish Japan Cedar
size of one floor: 63.79ｍ
total size: 162.51ｍ

By condensing the residential functions to one side,
the plan changes its shape by moving in and out
as if it were a drawer.
A simple mechanism, but this adaptive, and flexible space is very effective in the limited housing situation in Tokyo.

SD review 2002 Award winner

GOOD DESIGN AWARD 2004

Ars Electronica Futurelab Projects

2005-02-01T19:03:00.000-08:00

The spectrum of projects ranges from the conception and realization of exhibitions to cooperative research undertakings with universities and corporate associates to commissioned works for art installations and presentations.Prospective partners from throughout the private sector approach the Ars Electronica Futurelab with ideas that take shape though collaboration and are brought to fruition by the lab.In addition to commissioned assignments, the Futurelab also pursues its own internal research agenda, the results of which (ARSBox, Palmist, Matrix, etc.) are, in turn, available for use in subsequent projects.At the Ars Electronica Futurelab, prime emphasis is placed on taking an artistic approach to the development of infrastructure and creative content.
The following project navigation display shows how thoroughly the lab's individual areas of expertise are integrated into its respective projects. At the center are those projects in which all fields were involved in the implementation process

內容很多，請自行連過去看每個案子，相當的多元而且有趣

SAP’s Berlin Regional Headquarters

2005-02-01T18:44:00.000-08:00

SAP’s Berlin Regional Headquarters With its modern architecture providing a state-of-the-art showcase for new media art, the facility constitutes a tangible expression of the innovative thinking going on at SAP. At the same time, it invites passers-by as well as those here on business to take a fascinating journey of discovery through virtual worlds.

The partnership formed by Ars Electronica and SAP in 2002 was designed as a prototype for new models of cooperation at the interface of art, business, technology and society. The collaboration has ranged from media art presentations and pioneering forms of information visualization to joint research projects and innovative social initiatives.

project

Microphones set up along the street outside the building offer the opportunity to turn voices into instruments. For their installation “The Hidden World of Noise and Voice,” New York media artists Golan Levin and Zachary Lieberman developed software that depicts sounds and noises in virtual space. For instance, snapping your fingers produces tiny graphic explosions, as the previously empty space becomes a richly detailed domain full of fantastic virtual shapes. Rear-projection display units (Mitsubishi DLPs) open up a view into these hidden worlds even under daylight conditions. When night falls, an array of large-format projection screens makes it possible to follow the path of these digital forms throughout the entire building.Rear-projection units arranged in vertical pairs along the facility’s façade display commercial messages throughout the day and open up a completely new approach to advertising. Through their movements, passers-by can get involved in interaction with them.

Merely walking past produces wave motions; gestures are registered by cameras, interpreted, and transformed into wave action on the screens. A wide variety of ripple scenarios are possible depending on the form and intensity of the movements.
Designated surfaces immediately adjacent to the main entrance invite visitors to establish direct physical contact with the building. Heartbeat sensors installed there pick up the pulse of whoever lays his/her hand on the surface; after dark, the beat is broadcast throughout the facility. The projections in the lobby and on the levels directly above it begin to pulse. These interaction possibilities enable everyone to make their own very personal contribution to Berlin’s cityscape by night.

This architecture has provided a tangible platform for the collaborative effort by SAP and Ars Electronica to further the art of tomorrow. The building has been designed to provide a harmonious and interesting working environment for staff members and clients, and to motivate them to apply their own creativity to the work they do and in everyday life.
Outlook for the Future This new media art space has also been designed as a showcase for local and international artists, and thus as an experimental laboratory for artistic works involving new media in public space. Joachim Sauter, a professor at Berlin’s University of the Arts and founder of Art+Com, is currently working with a group of students to plan an event to be staged at this venue. And Andreas Broeckmann, artistic director of Transmediale 2005, has been commissioned to curate a program for SAP’s media art showcase in conjunction with that festival.

credits

Idea and Concept: Gerfried Stocker, Horst Hörtner, Martin Honzik

Interactive Visuals: Golan Levin, Zachary Lieberman

Projectmanagement: Martin Honzik

Softwaredesign and Development: Wolfgang Ziegler, Peter Brandl, Roland Haring, Christian Naglhofer, Stefan Feldler, Christopher Lindinger, Florian Berger

Interfacedesign and Development: Stefan Feldler, Stefan Mittlböck-Jungwirth, Erwin Reitböck, Dietmar Offenhuber, Peter Freudling, Robert Abt

Virtual Designs and Sketches: Andreas Jalsovec, Peter Freudling, Reinhold Bidner, Helmut Höllerl, Stefan Schilcher, Martin Bruner, Nina Wenhart, Christine Pilsl

Coordination: Yvonne Hauser, Pascal Maresch

Arcade

2005-01-31T04:36:00.000-08:00

Arcade

Paris, September 25th - October 6th, 2002

Arcade is the brand new light installation of Project Blinkenlights. Following up on the original Blinkenlights installation in Berlin, Arcade marks a new step in interactive light installations in public space.

In the context of the Nuit Blanche art festival in Paris, the team transforms the Tower T2 of the Bibliothèque nationale de France into a huge computer screen. With a matrix of 20 x 26 windows (resulting in 520 directly addressable pixels) and a size of 3370m2, the Arcade installation is positioned to be world's biggest computer screen ever.

Eleven Nights

The installation starts on September 25th, 2002 running eleven nights until the official Nuit Blanche happening at October 5th/6th. During this time span, the installation will present an ever-changing kaleidoscope of animations and interactive applications.

Arcade promotes a new series of classic computer games to run on the building, allowing everybody to play games on the building with his mobile phone. Among others, the all-time favorite pixel puzzle game Tetris can be played using nothing but a mobile phone.

With its newly designed light control technology, the Blinkenlights team is able to smoothly dim the brightness of each pixel. This allows for sophisticated, large-scale animations glowing into the Paris night life.

Public Participation

Using the newly created ArcadePaint program - running on Mac OS and Windows operating systems - everybody can start creating his own pictures and animations immediately. The resulting files can be sent to us by e-mail to become part of the ever-growing playlist of animations to be displayed during the lifespan of Arcade.

Programmers might check out opportunities to create animations directly by creating the simple, XML-based file format, which is a natural evolution of the original Blinkenlights Movies file format.

Arcade Live

If you want to see Arcade live you should go to Paris and have a look for yourself. For those who do not have the opportunity to do this, we are publishing photos and videos of our installation. We try hard to document as much as possible.

The Live Streaming that was in place for the 11 days is no longer in operation. But we are working on providing the archives to you. This will take some time. Stay tuned.

Arcade Party 5.10.2002

The last night of our installation gets celebrated at Quai de Bercy - this means directly at the shore of the Seine opposite Arcade. Everybody is invited to participate. There will great dance music the whole night (Roussia/Paris, Lonesome Rocket/Berlin, Neal White/Berlin) und video animations by proto.beamaz.

During the party we will visualize the party's music with Arcade in realtime. We will also allow the VJ to mix live on the facade. The installation becomes a part of the party, the party becomes a part of the installation.

Videos

Here you find some low quality videos taken with our digital toys: http://ftp.acc.umu.se/mirror/media/Blinkenlights/

Photos

The following pictures are by Fr Harald & Erhard Fotografie.

Online publication is free if authors are mentioned correspondingly and notification mail with full URL is sent to contact@blinkenlights.de.

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Arcade Games

Arcade is an interactive light installation. Using your mobile phone, you can become a part of the event at any time.

Tetris

Tetris ist one of the most popular computer games of the last 20 years. Since its invention in 1985 it has found its way on almost any computer system and game console in one form or the other. With Arcade you can play Tetris with your mobile phone - on a playground 3370 m2 in size.

Whoever stands in front of Bibliothèque nationale de France can connect himself with the building by dialing +33 (1) 44 24 73 50. The current show will be interrupted and the text "TETRIS" announces that the game can begin.

Tetris requires to position the falling elements that they form complete rows. With the key 4 and 6 on your keypad the elements can be moved left and right respectively. With key 5 you can rotate the element counter-clockwise. If you have found the desired position, you can drop the element immediately by typing 8.

Closed rows disappear completely and the upper rows drop down so that more space is available for new elements. The game ends if you fail to close the rows and the elements stack and reach the top. Arcade then disconnects your phone allows the next person to go for another game of Tetris.

Pong

Pong is on of the first Arcade games that was already center of our Blinkenlights installation in Berlin. Pong gets activated by calling +33 (1) 44 24 73 51.

With the keys 5 and 8 you control your paddle up and down. Always try to push back the ball to the other side. Pong can be played by up to two players. The first caller plays against the computer. The second caller automatically takes over the computer's paddle so that both callers play against each other.

Breakout

Breakout is another hit of the simple pixel games. You have to clear the pixel mass in the upper area. Breakout gets activated by calling +33 (1) 44 24 73 52.

At the beginning of the game the ball must be fired off first. You shoot to the upper left using key 1 and to the upper right with 3. Using the keys 4 and 6 you can slide your paddle to the left and right (7 and 9 move it in single steps accordingly). You must push back the ball in to the upper area. You win a round when all bricks have been eliminated.

Breakout was programmed by 1stein using the Blinkenlights Library.

Pacman

Pacman is yet another Arcade classic everybody knows. Go for a pixel hunt and avoid the monsters. Pacman gets activated by calling +33 (1) 44 24 73 53.

Keys 2 and 8 direct Pacman upwards and downwards, the keys 4 and 6 move it to the left and right. By moving Pacman throught the openings and the border you can change to the respective opposite side of the playground.

Pacman was programmed by 1stein using the Blinkenlights Library.

Aether Induction House

2005-01-30T21:20:00.000-08:00

http://www.aether.hu/inductionhouse/index.html
請務必連到網址去看完整版的介紹，你就會知道所謂的把所謂的互動、媒體、空間設計"有意義的"完整實踐出來應該要有的程度！

Aether Induction HouseGeneral Description

Aether Induction House is an experimental architecture project consisting of three prototypes. Dealing with mediated spaces, existences and space interpretations. Focusing on transforming the primarily visual digital environment into a physical and tactile experience, finding an architectural and tectonic embodiment. Have computers and software been promoted to the role of “assistants”, tools that have important effects on the design? Or what are the perspectives and limitations of such servo mechanisms? Autonomous architecture? Building printers? Widespread solutions offered by software guides and wizards? The disappearance of the architect, or its role shifting to the design of algorithms that are able to figure out creative solutions without human intervention?

Here we are presenting three constructed architectural prototypes discussing the above questions; built metaphorical structures that bring together these design aspects. Hybrid constructions, architectural models, engineered structures, electronics and media design, all combined to create the experiments.Our model of work is borrowed from complexity science - systems thinking. Several modules of concepts and constructions are produced, informing each other back and forth, developing as a whole system with no pre-set hierarchy. The conceptual structure develops and changes in relation of the building process. On the threshold of architecture, media design, engineering we try to talk about a new and different relationship between technology and design. The role and effect of technology reveals a more profound relation between design and design tools, and to quote Vilém Flusser here: we try to "turn the automatic apparatus against automation".

Prototyping architecture – Engineering media
To find these new qualities we rely on experiments and testing on a 1 to 1 scale. Even if building installations has physical limits in scale, the hybrid experience becomes real. The physical structures have mathematical and computational inner logics, results of algorithmic processes based on our decisions; they are generated and processed forms. They have to function as physical structures as well as projected structures. The projections become volumetric, the physical structures are dissolved in the flux of interactive media, and media become actual and spatial. New qualities emerge that do not come from the physical structure or from the media, these qualities are result of a symbiosis. The interaction we create is symbolic, it is not really trying to function or process information, but to transform the physical entity in a non physical way. W hile contemporary interaction design usually takes on a very generic form, object, and invents a very unique interaction, we go from the other end; we create structures and materiality that are unique with their hybrid logic of being a media space as well as an architectural structure, but in our case the interaction model is more generic.

Version oneThe Fish tank

The geometric principles of the prototypes come from the development of the same idea: deconstructing a flat screen in three dimensions within the projection cone. Fragments of the screen displaced into the depth of projected light have to follow the rule of shadows, once a ray of light is picked up, other objects can't be placed on the same ray. This is the main criteria for engineering the space, but depending on the initial decisions this can result in diverse deconstruction setups. The first deconstruction models became the base of the latter prototype geometries.

The first prototype was 100X100X60 cm in size, built from a metal structure and textile strips. The interaction electronics and interfaces were all built by ourselves, and d ue to our limitations in programming and hardware skills, we used Macromedia Flash as a projection engine. To interface this program to sensors, we used a computer mouse, and a small device that was clicking Morse code messages on the Mouse button, where flash was listening to those. A human protocol on a human interface. Low tech and DIY (Do It Yourself). It started out as a necessity than became a choice for our technologies. Through constant re-appropriation of existing technologies we create new interfaces that hold connotations towards their original use, so stay familiar, but are placed into a new context.

The first prototype was built as a foldout version of the computer screen, transforming digital content into spatial experience. As a result we discovered a new materiality that turned a physical entity into a spatial media field in a surreal and surprising way. On the surface little interactive insects were sliding around as on water, reacting to the electromagnetic waves of the mobile phones and the movement of the visitors.
The fish tank was built in Barcelona in the metal workshop of Diego Herrero, in Budapest and was exhibited at the Közben exhibition that has featured the last 10 years of the Hungarian architecture at Mucsarnok (Kunsthalle Budapest) in October 2003.

Version TwoDistributed Projection Structure

Departing from the experiences of the first built prototype we designed a second, larger and more complex low budget installation. We wanted to try a simpler geometry to demonstrate the spatial rules in a cleaner and more abstract way; also with a more complex interaction and a more abstract ambient media design concentrated on the materiality. This time we split up the projection surface to 300 physical pixels and distributed them in 3d by an algorithmic order. The 5X5X0.8 cm transparent plastic elements, polished on one side created a dense volumetric structure. The pixels were supported by 3mm stainless steel bars that were fixed in perforated steel sheets on the ground. This projection structure embedded the media in a surprising way: the colour layers moving in space created a projected volume changing smoothly influenced by the interaction through the visitors' movements measured by ultrasonic sensors. The interaction and media designs were made in Macromedia Flash with the intention to align the projection with different parts of the built structure. This way we could have tests beyond the physical transformation of the projected media: reaching precision on a built structure in relation to the resolution of media.

This second prototype was built in Barcelona with the kind help of Fabian Asunción and was tested in Stockholm in the Smart Studio and exhibited on the Pixelache audiovisual architecture festival in Helsinki at the Kiasma Centre for Contemporary Art in April 2004.

Version ThreeThe Fishing Kit

The third prototype has participated between the 11th and 23rd of August at the International Symposium on Electronic Art ISEA2004 in Helsinki and was exhibited at Gallery U at the Hungarian Cultural Institute.

This construction was the largest of the three: The 300X300X600 cm self-tensioned structure was made out of fishing rods, plastic strings, led weights, lambing gums and metal rings. For the projection bands we used double-folded cash register paper rolls that were hanging in the necessary parabolic shapes for the exact projection. The bands are positioned and sustained by the weights (approximately 1kg) and strings. The media here was designed by Bengt Sjölén, independent gaming technology researcher, using OpenGL, computer vision and Linux. The media was connected through small cameras to its environment for fast and responsive interaction, the 3d texture changes in relation to the built 3 dimensional structure.

These three installations were produced in a collaborative, developed amongst Barcelona Budapest and Stockholm over the internet, with meetings concentrated on construction periods. Production credits: aether architecture: Péter Hudini, Anita Pozna, Adam Somlai-Fischer, and joining Bengt Sjölén.

The Prototypes

Induction House V3, the Fishing Kit --> see more night / day

Induction House V2, Distributed Projection Structure --> see more

Induction House V1, The Fish Tank --> see more

Texts

Three constructed architectural prototypes discussing the above questions; built metaphorical structures that bring together these design aspects. Hybrid constructions, architectural models, engineered structures, electronics and media design, all combined to create the experiments. --> Read more

Low Tech. Example: In the first two versions we used our own non-efficient technology, the Morse-mouse. Due to our limitations in programming and hardware skills, we use Flash as a projection engine, and to interface this program to sensors, we use a computer mouse, and a small device that is clicking Morse code messages on the Mouse button, where flash is listening to those. A human protocol on a human interface. --> Read more

diagram showing all three installations comparing physical and resolution values --> See it large

Who
The project is developed by aether architecture, www.aether.hu
Adam Somlai-Fischer, Péter Sándor Nagy and Anita Pozna.

Aether architecture www.aether.hu is an adventurous architecture practice and collaborative. Our focus is on design research relating to spatialities both in actual and virtual environments with a driving force to create a valid architectural response to the rapidly changing social spaces of the information and media society, where information and its re-organizing effects have dramatically altered our perception and understanding of spaces.

Such new architectures are not yet present, so to test the new experiences, our investigations are carried out through the making of architecture prototypes, installations that embed both physical design and engineering as well as computer programming and graphics, etc to various degrees. Our media design utilizes low-tech solutions by re-appropriating existing tools and technologies for new functionalities.

These installations are then presented to the public, where exhibitions are used as a test bed for later evaluation, how certain issues and spatialities are responded to by visitors and the professional discourse. Besides design research aether architecture also produces client work that is strongly informed by our investigations, has an experimental edge to it.

For Induction House V3 at ISEA Bengt Sjölén was building the Linux-OpenGL-Computer vision engine. Bengt Sjölén, an independent game technology researcher, born in Sweden in 1972,
has been programming games since he was just 10 years old, starting with assembler on a Sinclair ZX Spectrum just because he was bored with the games he had. Bengt's work range from low-level hardware reverse-engineering to video graphics and conceptual 3d projections via game engines, physics simulations, audio software, mobile phone technology and linguistics. He worked for 5 years on Game Design Sweden and later Netbabyworld, designing and implementing 3D multiplayer game engines for PlayStation, Macintosh, Windows and Linux. He strongly advocates the use of, and contribution to, open-source software and other non-proprietary technologies.
bengt@automata.se, www.automata.se, +46 70 740 43 29

strandbeest

2005-01-27T06:23:00.000-08:00

Since about ten years Theo Jansen is occupied with the making of a new nature. Not pollen or seeds but plastic yellow tubes are used as the basic matierial of this new nature. He makes skeletons which are able to walk on the wind. Eventualy he wants to put these animals out in herds on the beaches, so they will live their own lives.

The Animaris Rhinoceros Transport is meant for crossing the tundra. Due to the fact that one must wait until strong winds come from the right direction to push the structure, living quarters must be made in the animal to make travel agreeable.
Photo: Courtesy of Lourens van der Klis

http://www.strandbeest.com/animaris%20rhinoceros%20transport_en.html

Design for All

2005-01-26T18:36:00.000-08:00

Design for All

Check it out!!!

target.com : Design For All

2005-01-26T18:32:00.000-08:00

target.com : Design For All

Spacebox

2005-01-26T18:23:00.000-08:00

Instant, self-contained studio residences.All you need is a crane to stack them up to three units high. Sent to us by Baldakin, developers of the floating Modular Accommodation System. The Spacebox is equipped to function as a compact studio residence, complete with kitchen, shower and toilet with a surface area of 18 m² or 22 m². There's a large window on one end and the entryway on the other. The units are equipped with a boiler, mechanical ventilation and electrical heating. Spacebox units are made of the same high-grade light weight composites that are used in shipbuilding and aircraft manufacturing.

Free Spirit Spheres

2005-01-26T00:16:00.000-08:00

Gestures control true 3D display

2004-12-31T19:37:00.000-08:00

http://www.trnmag.com/Stories/2004/122904/Gestures_control_true_3D_display_Brief_122904.html

http://www.we-make-money-not-art.com/archives/004080.php

Gestures control true 3D display
December 29, 2004/January 5, 2005
How do you interact with a display that contains depth as well as height and width?

Researchers from the University of Toronto have put together a system that allows for direct gestural interaction with virtual objects contained in a volumetric display.

Volumetric displays occupy a volume of space, like a crystal ball. The challenge in interacting with a volumetric display is akin to pointing out objects in a crystal ball.

The researchers' method involves using fingers to gesture in the space around and on the surface of the volumetric display. The user's finger positions and postures are tracked by a set of four cameras.

Any application that displays three-dimensional graphics can make use of the volumetric display interaction technique. It could eventually be used as an interface for three-dimensional medical, architectural and graphic design applications, according to the researchers.

The interface includes two-dimensional menus projected on the surface of the display and a browser for selecting three-dimensional objects used to construct models. The browser uses a grid that contains three-dimensional images of objects like cubes, spheres and pyramids.

Using finger gestures, users can point at objects, make gestures to trigger commands, and manipulate three-dimensional models projected in the display, including moving, rotating and resizing the models or portions of the models.

It will be 10 to 20 years before the device can be used for practical applications, according to the researchers. The work was presented at the User Interface Software and Technology 2004 (UIST '04) conference held October 24 to 27 in Santa Fe, New Mexico.

The interface includes 2D menus projected on the display and a browser for selecting 3D objects used to construct models. The browser uses a grid that contains images of objects like cubes, spheres and pyramids.

With finger gestures tracked by cameras, users can point at objects, trigger commands, and move, rotate or resize 3D models projected in the display.

It could eventually be used as an interface for 3D medical, architectural and graphic design applications.

Video
http://www.dgp.toronto.edu/~ravin/videos/uist2004_volumetric.avi

PDF of the research.
http://www.dgp.toronto.edu/~ravin/papers/uist2004_volumetric.pdf

http://www.dgp.toronto.edu/~tovi/
http://www.dgp.toronto.edu/~dwigdor/
http://www.dgp.toronto.edu/~ravin/

THE 2005 World Exposition Aichi, JAPAN 2005

2004-12-28T19:50:00.000-08:00

資料來源：交大建築所論壇

THE 2005 World Exposition Aichi, JAPAN 2005,日本世界國際博覽會
- Nature's Wisdom

日本國家館 - JAPAN Pavilion
NO.1 A pavilion covered by bamboo cage

01:CONCEPT::Double Cover

02:MATERIAL ::What was found in Oita

03:SHAPE ::Deciding the shape of cocoon

04:BRIDGING ::Weaving round bamboo

Mr. Yutaka Hikosaka
Architecture and Space Design Director,
:: http://www.nippon-kan.jp/top_e.php
:: http://www.nippon-kan.jp/making/new_040625/index_e.php

Free Network Visible Network

2004-12-28T19:37:00.000-08:00

Original from

Spanish researchers Clara Boj and Diego Díaz are working on the Free Network Visible Network , an augmented reality project which aims to make visible the exchanged information between computers of a wireless network.

First marks in the facades of the buildings will indicate the presence of a node, thus the possibility of connecting to the net, and at the same time to see the 3D representation of the information that we are interchanging with this node in real time.

Free game tools will then be developed that use the location of the players in the physical space as main element of the action development. For example, players would be able to modify the information (message, images or videos) on the marks placed in the physical space and record messages for other users / players. Or they would be able to change the publicity images or the urban signals by using small marks and creating game strategies.
Besides, the players will know in real time the position of other players if they are looking to a mark.

On the basis of these simple applications, users will be able to develop their own games.

--------------------------------

Free network Visible Network Project Homepage

rachel wingfield & mathias gmachl

2004-12-24T04:44:00.000-08:00

建築設計教育

2004-12-22T17:14:00.000-08:00

昨天看到這篇文章，是由淡江的畢光建老師寫的，結尾這段相當不錯：

完整原文在這邊

建築設計教育
建築系的設計教育，長年來有許多的討論和看法，然而在實際的設計操作上，則因校而異，因人而異。台灣大部分建築系的設計課依賴業界的兼任教師，因此業界的建築師或從業人員；事實上是台灣建築教育的主體構成。合理的結果是業界與學界的斷層，似乎可以藉此減少，而事實也是如此，這種現象特別反映在專職的教育系統裡。在業界構成的設計教育系統裡，又似乎存在著兩種極端。反映在過去的專科教育或現在的技職體系裡，設計討論偏重在建築設計中技術層面的訓練。將法規，結構，設備等的束縛，尊為無上的挑戰。而反映在另一個極端的現象，則是業界的教師將設計課作為一個專業省思的園地。這裡的反省可能包含了個人的求學經驗與專業的建築經驗，許多專業設計上的挫折，也可以成為校園裡一個討論或批判的重點。在多種試圖轉譯業界與學界的努力中，常會失焦的可能有兩種：其一是將問題提升到概念層秩的思維，其二是對真實環境的理解。這種概念性的思維應當同時落實在對真實環境的理解，以及對設計這件工具的理解。如果說設計是解決問題的工具，那麼設計的創意，往往是因為問題是在概念的層次被解決後，所呈現的面貌。反過來說，問題往往因為被提升到概念的層次，它的形貌才夠清楚，而問題的答案才有較大的機會被找到。如果這樣的討論可以被接受，那麼我們發覺建築設計和其它的學科，在這個層次上的差異是不大的。換句話說，建築設計教育裡最重要的一環，也許是在抽象思維的層次裡，訓練學生定義，推演、和建立邏輯的能力。如果，我們把這種理解放在專業的需求上來看，那麼我們可能更會同意它的重要性。
20世紀末，社會變遷的速度幾近無理的在全球各個角落發生。新的問題和需求衝擊著各個行業，在新知識快速成型的時候，大量的舊知識也同時被拋棄。學校教育的內容，方法，甚至制度都面臨空前的挑戰。新的行業或混成的行業逐漸產生，他所提供的工作空缺卻來不及填滿。在這樣的大環境裡，我們再回頭來看看建築的設計教育。產業重整，專業重組，無非都是要解決社會所提出的新需求。建築系的學生將來面對的設計案，可能不再是單純的建築類別，如學校、住宅、醫院、賣場、美術館等我們常用的設計題目。即便是相同的名稱，在新時代裡，他們的內容和本質將大不相同。更何況，未來會有更多的狀態，我們現在是無法適當描述的。在這樣的認知下，我們不得不承認，當我們要準確的掌握一個「建築或都市的狀態」，並需要提出一個「設計答案」時，建築設計課的同學應該具備，在概念層秩將問題釐清，尋找其推演的邏輯，和解決問題的能力。我們必須更清楚一件事情，將來他們所面臨的問題，未必是我們熟悉的，他們對新價值的迷惘，也不是我們曾經歷過的。我們應該退出替他們找答案的角色，幫助他們配備面對新問題的心理準備，以及處理不明狀況的思維能力。
在這種「問題取向」的設計邏輯裡，個人細心的情緒操作，或是奇幻空間的追尋，無論如何不可能成為建築地平上的主要風景。在許多的評圖場合裡，如大學部的畢業設計，或是研究所的設計論文。我們看到許多的案子是抽象的抽象，個人的個人。有時還看到，當問題真相尚且不明時，便已經有了道德勸說式的結論的設計案。當我們環顧我們身邊的環境，無論是建築的或都市的，我相信存在著許多的問題，它們甚至是不需要專業便可以指陳的問題。面對這樣的環境，我們怎麼可以帶著學生迴避我們的專業責任。在時代重新洗牌的過程裡，我們無意教育我們的下一代成為一個極端的懷疑論者，但是我們也不願見到他們成為政治正確，人云亦云的犧牲品。他們不應該是學校裡只能夠熱情洋溢，卻無法冷靜思考的一群學子。更不應該是在離開學校以後，成了社會裡唯唯諾諾的一群。
21世紀的真實是什麼？以生產與消費為手段的商業行為，主導著社會中的各個領域，它滲透每一個地方，每一個人，?一天的生活細節，這種現象早已成了不爭的事實。國際間，人員，商品，資金，以及訊息的流通，有增無減。生產/交換，金融/法律，意識形態，乃至於安全管理等系統間的障礙，也正在逐一排除。市場與市場之間，地區與地區之間，乃至於網域與網域之間，通路與通路之間，各行各業正在找尋新的構架平台，消彌彼此之間的隔閡。在這樣的一個運作生態裡，作為收納這些系統，制度，流通，和軟體的建築單元，或都市容器，當然也面對了同樣的挑戰。新的容器形式，新的都市紋理，已然逐漸浮現，而其掙扎的痕跡，在我們環境的經驗中處處可見。建築師身為一個提供環境服務的專業，如何能對這些事情視若無睹？
本文將以Rem Koolhass十二年前與Rice University研究生的一段對話作為結論：
我相信價值的傾頹是一件危險的事情，但是這也是一件建築師無可奈何的事情。整個建築專業的實力，包括建築教育，以及建築文化的特質，都根深蒂固的建立在懷舊式的分析上。我特別不能理解的是，即使是那些最成功的，也是最盡責的建築師事務所，在處理最具爆炸性的議題時，卻依舊談論如徒步區，或建築間的連結方式等無關痛癢的事情。事實上，這正指出了他們的建築在探索或創造上的無能。我們處於一個非常危險的殘障狀態中，我們正在使用一套辭不達意的修辭學。我們甚至已經喪失了分析事實為何的能力。

Camille Utterback

2004-12-05T12:58:00.000-08:00

check it out!!!

Interactive lighting Design

2004-11-29T11:18:00.000-08:00

Noah Grey Photography

2004-11-26T02:14:00.000-08:00

Noah Grey Photography

Houses of the Future

2004-11-25T21:55:00.000-08:00

Houses of the Future

delete mail from sms.ac

2004-11-19T04:24:00.000-08:00

http://tw.news.yahoo.com/041116/19/15xv9.html

sms.ac免費送簡訊有詐

【中時電子報】
李怡志／台北報導台灣許多網路使用者這幾天都收到了朋友從sms.ac這個網站寄來的邀請函，看到可以免費發送簡訊，上網填了資料，然後才發現網站申請資料中有「陷阱」，引誘網友留下Hotmail或Yahoo免費信箱的帳號、密碼，然後會大量寄發邀請函給通訊錄中的所有朋友，這種類似病毒的行銷手法，已經對使用者造成很大的困擾。最近幾天，台灣的網友陸續收到從sms.ac寄來的邀請函，有的人一天可以收到4、5封，相互詢問的結果，原來都是因為英文不太好，申請表單一時沒看清楚，所以上了sms.ac的當！在sms.ac的申請表第2頁中，告訴使用者只要輸入Hotmail或Yahoo的帳號跟密碼，就能夠看到還有誰可以被聯繫，但是輸入了資料後，sms.ac就會代替申請者自動發送邀請函給通訊錄上的所有人，是典型的「病毒式行銷」。從事金融業的林小姐昨天早上收到了倫敦朋友的邀請函後，也上網申請，並乖乖地留下Hotmail的帳號跟密碼，後來她上網一查，才發現sms.ac竟然幫她發了170封邀請函，而且Hotmail的通訊錄發送一次，MSN Messenger的通訊錄也發送一次，讓他覺得十分「嚇人！」

rAndom international - rAndom projects

2004-11-19T01:01:00.000-08:00

rAndom international - rAndom projects

打造未來辦公室

2004-11-18T04:13:00.000-08:00

依照NEC的想像，未來的辦公室不但沒有牆，連印表機和座椅也用不著擺太多。
日本電腦巨人正推動一項策略，運用科技革新現代的工作方式，並以自家辦公室作展示場。
在隸屬NEC寬頻部門、容納500名員工的示範辦公室，會議室裡不設座椅：全用站的，可縮短開會時間。職員不傳發備忘錄或在白板上書寫，而是用協作軟體(collaboration software)在電漿螢幕上檢視並修改文件。電漿螢幕另具有視訊會議的功能。
會議「室」變成名實不符的誤稱，因為會場四周並無固定的圍牆。每天在這個環境工作的500名職員，也沒有固定的辦公桌，影印機仍然稀少--每200名職員共用一台。

MetroShed

2004-11-12T18:13:00.000-08:00

MetroShed

MetroShed is a wood, glass, metal and acrylic outdoor modern structure which is completely customizable to fit your garden.

Experience Design Resources

2004-11-12T04:52:00.000-08:00

Experience Design Resources

Allianz@Arena.

2004-11-10T06:34:00.000-08:00

有時候，你的設計機能不必複雜，概念不必絢麗或特別，只要執行到一定的細節，簡單的設計一樣很有力量！

圖片下載連結
Virtual Tour 連結

Bloomberg, Tokyo Interactive Communication Experience

2004-11-09T23:22:00.000-08:00

Source from a-metter
u shall visit it sometimes.

Bloomberg showroom

Since last Fall, Tokyo, which - if at all - becomes a city only when the nightly neon orgy starts, has been enriched by a new screen show. This is not a house-high large-format video screen bolted onto a railway station forecourt; it is a piece of straightforward interior architecture just under seventy square meters small.
Bloomberg, the international information agency, has created a small but fascinating showroom for its Tokyo business branch: "Bloomberg ICE". The name is its official title and stands for "interactive communicative experience". The result is a public, electronic-cum-architectural playground, a media folly as it were.

Architects: Klein Dytham architecture
Client: Bloomberg
Completion date: October 2002
Location: 2-4-1 Marunouchi, Chiyoda-Ku, Tokyo

Smart Space
Instead of impressing with size, Bloomberg ICE strikes the eye due to its original conception, which is several dimensions more intelligent than the light on/light off game in Tokyo, namely the monotonous and uninterrupted rows of flickering lights composing the illuminated advertisements that are ubiquitous in the mega-city. At Bloomberg, one is confronted with a space that reacts in real time - "smart space" as it is called today in the new language of architecture. What is means is a constructed object that is sensitive, continually processes information and engages in a form of dialog. Beneath the surfaces, processors are at work which process and convert the input received from a large number of electronic sensors.

The showroom is aware, it can feel and think, and it adapts itself to its users and visitors in a variety of ways. The latter serve as "agents" whereby the space observes them and continually computes its appearance in accordance with their behavior. The overall concept is based to an equal extent on complex high technology, an unusual design concept and an ambitious, micro-urbanistic, overall general strategy.

Indoor City
The Bloomberg showroom is located in Marunouchi, the heart of Tokyo's banking and business district - almost exactly between the main railway station and the emperor's palace. Until recently, there were only unimaginative office buildings and corporate architecture here, from the nineteen-sixties and seventies: not much glass but a lot of natural stone cladding. The drabness could not have been greater and was, in the end, an eyesore in the city landscape.
An especially aggressive approach was adopted for the "Marunouchi Building", the central high-rise office building facing Tokyo station. Within the framework of a large-scale conversion plan, the mono-functional office tower has, in the last few years, been completely redone to create an "indoor city". Around 140 shops now attract people into the building - exclusive restaurants, designer shops, cafés and bars are spread over the various levels. Information counters, lobbies and lounges on the lower floors channel the visitors towards the respective company offices on the upper floors. World-renowned artists have transformed the interiors. The atmosphere is one of vital urbanism with an enormous number of visitors flocking to see the new sensation.

The Bloomberg information agency, which has its offices in the Marunouchi Building, has now installed their showroom on the ground floor. A better location is simply inconceivable - the showroom is on display every day to a public of just under ten thousand passers-by. Apart from its marketing character, the "Bloomberg ICE" exists as a component of a comprehensively planned revitalization project, as a calculated metropolitan attraction, and, due to the way in which it is embedded in the Marunouchi Building, is an excellent example of how out-dated "stupid" office architecture can be upgraded with new "smart" components.

Bloomberg / Information
For Bloomberg, the content-related approach of the showroom matches the company's character. Bloomberg trades in data. Especially in the financial sector, the company "harvests" information world-wide in order to interpret it and translate it into comprehensible and attractive formats. The transition from the information society to the knowledge society makes the processing of abstract information into "real" knowledge a topic of utmost relevance. Bloomberg's success confirms the growing demand. The task of the showroom should therefore be to portray the work of the data traders to the public - in a way which is entertaining and which most people can understand.

For those people who do not earn (or lose) their money by trading shares, information and news regarding the world of finance are uninteresting and dry as dust: endless rows of ticking numbers, boring statistics, share prices and prognoses. In order to deal with the problem of unattractive and unappetizing data, the Tokyo office of Klein Dytham architecture (Astrid Klein, Mark Dytham) was engaged to do something about it. Previous projects of the duo were a forest made of chrome and stainless-steel trees in front of the "LaForet" chain of shops in Tokyo's fashion district, Omotesando, and the self-excusing building-site fence called "Sumimasen" (Jap. "Sorry!") that obstructed movement in the street for a short while. Working with the interface artist, Toshio Iwai, on behalf of Bloomberg, Klein Dytham have developed a kind of media architecture that takes the magic out of all computer technology and data hocus pocus.

Physical experience of information
The basic idea underlying the project is simple: the aesthetic and playful use of information. The intention is to translate stock-exchange data into formats that anyone can handle without any difficulty. Here, direct experience is intended to play a major role - information processing that can be experienced physically. In a country where toilets are computerized right up to the seat, where technology has no particular aura and grandmother is not afraid of automatic computer screens, such a concept can work.

For this idea, Klein Dytham and Toshio Iwai found a captivating metaphor: a greenish-white icicle ("ICE"), which is suspended freely from the ceiling in the middle of the showroom and acts as a data collector. The information whirring about in the (data) space condensates on the icicle, is compressed and finally ends up in a kind of "data showcase" at eye level. The swinging icicle, which swings overhead like a baldachin, turns out to be an object that can be experienced and manipulated: a room-sized glass display unit (5.0m x 3.5m), that provides some surprises when touched.

Techno Folly
In stand-by mode, the icicle initially appears to be a normal data ticker. Without interruption, columns of numbers march over the surface. Depending on the current share prices, they climb upwards and expand on the LED display or they gradually shrink and disappear from sight altogether. Everyone can understand this: the ups and downs of Wall Street, yet another large investor bites the dust.

The real fun begins when the visitor approaches the glass wall. Infrared sensors underneath the surface detect the presence of the visitor and ask him to participate. "Touch here!" commands the wall but it also reacts without anyone directly touching it. The sensors are activated when the visitor comes within a distance of half a meter. The columns of numbers begin to flutter and fluctuate; a menu appears and offers various games - electronic volleyball, a wave generator or a digital harp, for example. The icicle can be used to play music synesthetically in that the sounds played are replicated on it in the form of brightly lit, colorful tree branches.

Movement converted
The sensors register the visitor's touch and movements of the body and convert them into optical and acoustic signals. By means of graphics programs and sound synthesizers, the inputs are projected back immediately. The visitor casts an electronic shadow on the wall with the help of LEDs and loudspeakers. Active "cooperation" is demanded for this. The room gets everything moving - the visitors hop, dance, waddle and wave their arms and legs about. Everyone wants to test the reactions of this unusual phenomenon and the architecture supports and promotes what takes place. All age groups are spellbound by the "icicle"; everyone "talks" to it for a considerable length of time.

If people become tired, there is a row of massage chairs in front of the glass box which complement the physical experience of information in an amusing but also meaningful manner. From here, it is possible to observe the large screen at a distance or you can also use the attached mini-displays, which also pour out a constant stream of share-price information. Passers-by who come in for forty winks or to take a quick look at how their share account is doing are first thoroughly massaged. No-one threatens do doze off and information become tangible in the literal sense of the word.

Interface
The experiential and entertainment value of the Bloomberg ICE is astonishing. Architecture becomes a toy. This is, of course, nothing new - follies, as architectural toys, have existed for several centuries in pleasure gardens and public parks. In one sense, the electronic folly of KDA, however, is a real innovation: the integration and "use" of the physical body is exemplary. Bloomberg ICE works with bodies - not the abstract geometric bodies that architecture has always used, but concrete, human physiology. Heat radiation, muscle movement and haptic, direct touch are the only things that actually activate this space.

The immediate encounter of data and architecture/human corporeality indicates the direction in which the personalization of space and information is likely to develop in future. The attentive doorway, the speaking sofa, the "mind-reading" kitchen are no longer utopian ideas but will soon be goods on offer in an architectural catalog. Spaces like the Bloomberg ICE demonstrate how smart spaces operate, how highly computerized environments necessarily create direct interfaces between people and architecture and how our attitude to the way in which we regard spaces will change. If all this were to happen in such an entertaining manner as with the Bloomberg ICE, there would be a lasting reason for pleasure.

SNAIL SHELL SYSTEM

2004-11-09T23:15:00.000-08:00

看圖說故事吧，簡單來說就是輕便可移動式的空間，有趣，但只是實驗性質

Levitated | Levitated Daily Source, the good source

2004-11-08T04:49:00.001-08:00

Levitated | Levitated Daily Source, the good source

Levitated | the Exploration of Computation

2004-11-08T04:49:00.000-08:00

Levitated | the Exploration of Computation

cool web

2004-11-04T18:24:00.000-08:00

嗯..忘ㄋ在哪看到低..

Josh Rubin: Cool Hunting

2004-11-03T02:28:00.000-08:00

Josh Rubin: Cool Hunting

Provision

2004-11-03T02:27:00.000-08:00

Provision

Media Lab Asia

2004-10-31T19:39:00.000-08:00

Ambient Orb

2004-10-31T12:01:00.000-08:00

Ambient Orb

The web site for virtual reality, ambient intelligence and e-health

2004-10-31T11:50:00.000-08:00

The web site for virtual reality, ambient intelligence and e-health

2004-10-31T08:39:00.000-08:00

The web site for virtual reality, ambient intelligence and e-health

media lab europe

2004-10-31T07:58:00.000-08:00

鍊子還在，只有你學會了承擔

2004-10-29T05:01:00.000-07:00

有間在一座大湖中央的廟宇，廟中供奉著傳說中菩薩戴過的佛珠鍊子，一位老住持，帶著幾位年紀較輕的和尚修行。有一天老住持召集他們說：「菩薩鍊子不見了！」年輕的和尚們都不敢置信，怎麼可能不見呢？因為廟中唯一的門二十四小時都會由這幾位和尚輪流看守，外人根本進不來。

　老住持以平靜的口吻說：「只要拿的人能夠承認犯錯，然後好好珍惜這串佛珠鍊子，願意將鍊子送給喜歡的人。」於是給他們七天靜思。

　第一天沒有人承認，第二天也沒有，但是原來互敬共處的和尚們，多了猜疑與猜忌，甚至彼此間已不再交談，這樣的氣氛到第七天，還是沒有人站出來。老主持看到這種情況開口了：「各位都認為自己是清白的，表示你們的定力已夠，佛珠鍊子不曾誘惑得了你，明天早上你們就可以離開這裡了，修行可以告一段落了。」隔天早上，為了表示自己的清白，和尚們一大早就背著行囊，只剩一個雙眼失明的瞎和尚依然在菩薩面前唸經，眾和尚心中鬆了一口氣，終於有人承認拿了鍊子，讓冤情大白。

　老師父分別向這些無辜的和尚道別後，轉身詢問瞎和尚：「你為什麼不離開？鍊子是你拿的嗎？」瞎和尚回答：「佛珠掉了，佛心還在，我為修養佛心而來！」「既然沒拿，為何留下來承擔所有的懷疑，讓別人誤會是你拿的？」師父問到。

　瞎和尚回答：「過去七天中，懷疑很傷人心，自己的心，還有別人的心，需要有人先承擔才能化解懷疑。」老師父從袈裟中拿出傳說中的佛珠鍊子，戴在瞎和尚的頸子上：「鍊子還在，只有你學會了承擔！」

David Crawford - SMS

2004-10-28T20:41:00.000-07:00

David Crawford - SMS
The “Stop Motion Studies” are a series of experimental documentaries that chronicle my interaction with subway passengers in cities around the world. The aim of the project is to create an international character study based on the aspects of identity that emerge.

ArtFutura 2004 . Augmented Reality

2004-10-28T20:39:00.000-07:00

ArtFutura 2004 . Augmented Reality

Territoires ouverts - Open Territories

2004-10-28T20:37:00.000-07:00

Territoires ouverts - Open Territories

we make money not art: Presentation of MIT media lab

2004-10-28T20:34:00.000-07:00

we make money not art: Presentation of MIT media lab

Presentation of MIT media lab
10:37 PM art futura + augmented reality
Fascinating talk by Rebecca Allen from MIT media lab in Dublin.

She first talked about one of the piece here in Ars Futura: developed with Ronan Coyle and Hannes Nehls, Liminal Identity blurs the boundaries between the physical and the virtual worlds.
So there's this shipping box with 2 holes, you put your head inside one of the hole and can see the face of another person who put his head inside the hole too, but the result is an image that mixed both your and his/her identities.

Moreover, the box is "stealing" the image to display it elsewhere, and you see it floating like a ghost among other faces.

Then there's also here a new kind of interface that you activate just using your breath, you blow and see the virtual reality lanscape change: the weather turns sunny or bad, for example.

That's what Rebecca Allan calls Augmented Virtuality. So far, you thought it was cool to talk about augmented reality, but she's working on augmented virtuality where we have a virtual world that we enhance with video images of face or with our own breath.

Regine

Mixed Reality Technology

2004-10-28T20:23:00.000-07:00

Mixed Reality Technology

Augmented Virtuality

2004-10-28T20:19:00.000-07:00

GPSter: Geoscope: "Augmented Virtuality "

Nissan Caravan Box In Box

2004-10-28T19:55:00.000-07:00

Nissan Caravan Box In Box

清水模

2004-10-25T08:02:00.000-07:00

清水模=Fair Face Concrete

TRANSSTUDIO

2004-10-25T07:10:00.000-07:00

TRANSSTUDIO

請大家下載這個頁面的所有PDF檔回去慢慢看，對於新的建材若有可以用得上的人，作設計構想時就盡量拿來用吧！

2004-10-22T22:51:00.000-07:00

graftlab.com

2004-10-20T01:34:00.000-07:00

graftlab.com

Yamaha's "MyRoom" - an indoor, soundproof private room for adults :: TechJapan :: English news on technology from Japan

2004-10-19T20:31:00.000-07:00

Yamaha's "MyRoom" - an indoor, soundproof private room for adults :: TechJapan :: English news on technology from Japan

Leeum, Samsung Museum of Art

2004-10-19T09:42:00.000-07:00

Leeum, Samsung Museum of Art

空間的多種表情

2004-10-19T06:49:00.000-07:00

彈性運用的巧思，Bando-8的「盒子」則是非常經典的例子。整個Bando-8的空間設計，是由「禮盒」的概念延伸出來，甚至燈具、餐具都同樣延伸這樣的概念。餐廳內一共有500個以上的盒子，它們被整理成幾種類型。有的是裝置性的，沒有其他功能，但數量不多。大多數的盒子都身兼多種功能，例如，舞台區的架高區，都是用盒子堆積出來的，它們可以任意的排列組合，可以排成伸展台，可以移動，堆高之後還可以變成隔牆，有些盒子可以變成邊几，有些還能打開，裡面可以放餐具等東西，就像一個工作檯；有些盒子設計成座位的高度，可以當作臨時的座椅；同時這些盒子的高度，要不就是一樣高，要不就是倍數的高度，所以在改變排列組合時都可以工整的接合起來。(圖片不多~~大家自行想像囉.........)

混搭的時尚感與現代性

2004-10-19T06:25:00.000-07:00

倫敦知名的時尚餐廳Sketch，就是由兩、三個設計師所設計、有不同表情的餐廳。Sketch被分成好幾區，從cafe區到lounge區到餐廳區，風格完全不同，但有一個共通點就是，每一區都非常現代時尚。
其中，有一個區白天是畫廊，到了傍晚就變成很熱鬧的餐廳，cafe區下午是咖啡店，傍晚就變成餐廳，更晚就變成bar。徹底的展現了多功能運用。

台北住宅區變更商業區最新檢討案

2004-10-19T02:10:00.000-07:00

http://www.planning.taipei.gov.tw/TCDB_C/News_Detail.asp?UNIQID=250
有概略說明台北市住宅區變更商業區的限制及規定，關於建蔽率及容積率的問題，基地在台北的人可以參考喔~~

MAC OS PC可以用看看喔~~~

2004-10-18T23:47:00.000-07:00

http://pearpc.sourceforge.net/screenshots.html

一些軟件下載位置~~~無聊看看

2004-10-18T23:40:00.000-07:00

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Info collage around internet

PHOTOSHOP技巧148條

35歲前把下面的十件事做好

pluglight-grows-out-of-the-wall-has-a-flower-filament

DefCon badge hacked in 10 mins

偷拍show girl裙底 工程師詭辯

Intel的Portable PC概念設計和時尚似乎還有段距離

NetggearDIGITAL ENTERTAINER EVA700

Info rings

user interface of Nokia N95

The Time Curtain

我們的社會，給了下一代怎樣的外表價值觀？

Sketches of Frank Gehry

Softimage’s Face Robot: Outlining a Future for Facial Animation

Workstation for Mac OS X Beta5 includes USB support and Shared Folders

EPSON CF at Japan

Epson's History

Epson Water

Push Pin Lamp - Blue

test

imagine the home in 2020

HONO (Electronical Candle)

Philips shows innovations based on simplicity-led design

家暴 無力感男人想找回權力

百年落後變優勢 全世界正向50億人傾斜

1st DoCoMo International Architectural Design Competition 2005

outdoor style

gubi

ICFF 2005 Day 3

Breckenridge Perfect Cottage

ICFF Rest of show

Western Contemporary Majlis

Personal Space Chair

Name: Peek a BooDesigner: Stefan BorseliusYear: 2OO5

Coffee Express

Klasse Sagmeister

ICFF 2005

Hospitality Net - Industry News - The World��s First All-glass Undersea Restaurant Opens

Remake Light

Zai

The Electronic Scrolling LED Belt Buckle

Skia.de

分子世界大未來

Fogscreen: projecting images in the air

Fogscreen: projecting images in the air

Porsche's spectacular design for new museum

Porsche's spectacular design for new museum

Drawer-House

Ars Electronica Futurelab Projects

SAP’s Berlin Regional Headquarters

Arcade

Aether Induction House

strandbeest

Design for All

target.com : Design For All

Spacebox

Free Spirit Spheres

Gestures control true 3D display

THE 2005 World Exposition Aichi, JAPAN 2005

Free Network Visible Network

rachel wingfield & mathias gmachl

建築設計教育

Camille Utterback

Interactive lighting Design

Noah Grey Photography

Houses of the Future

delete mail from sms.ac

rAndom international - rAndom projects

打造未來辦公室

MetroShed

Experience Design Resources

Allianz@Arena.

Bloomberg, Tokyo Interactive Communication Experience

SNAIL SHELL SYSTEM

Levitated | Levitated Daily Source, the good source

Levitated | the Exploration of Computation

cool web

Josh Rubin: Cool Hunting

Provision

Media Lab Asia

偷拍show girl裙底工程師詭辯

家暴無力感男人想找回權力

百年落後變優勢全世界正向50億人傾斜

Name: Peek a Boo
Designer: Stefan Borselius
Year: 2OO5