YuWeiTseng_PortfolioDraft_V2 by

YU-WEI TSENG Selected Projects 2018-2023

The cover of this portfolio is inspired by "Pong, 1972", one of the first computer game ever created.

One achieves completeness as a person solely during the pursuit of Gaming.

I believe a well-crafted game should possess the capacity to engage from multiple facets, evoking discourse or amusement alike. Such games may at times obviate the necessity for any language, intriguing players through factors beyond game text, such as artistic aesthetics and mechanics, thus kindling their curiosity to indulge in play. Curiosity or the desire to triumph is the essence of gaming, prompting individuals to voluntarily endeavor to resolve superfluous challenges. Drawing from my educational background in architecture, I aspire to leverage the unique qualities of games as a medium to effectuate positive change in my life's course for society.

I posit that employing games as a medium can spotlight overlooked issues and, potentially, influence the collective behavior, steering society toward a brighter trajector y. In contrast to conventional pedagogical methods that often engender resistance, I believe that this game-centric approach to learning can resurrect issues gradually fading from public attention, offering new prospects for environmental education and gaming.

CONTENT CONTENT CONTENT CONTENT CONTENT Game Project 01 Trashure

Research based 2D RPG

02 Petaverse

AR interactive game

03 Cut the Cube VR interactive game

Architectural Project 04 Trash Can Do What Data Visualization

05 Archoholic Campus Space

06 Waldeinsamkeit Spiritual Space

Appendix

Other Works

What is the correlation between human gameplay and environmental issues?

Contribution

As a game designer, I •Formulated the research framework and development logic for Trashure. As a game programmer, I •Constructed the scene transition system and sound effects system, where transitioning between different scenes triggers cinematic animations, and the sound effects evolve with the change of scenes. •Developed the inventory system, encoding various items to allow the system to recognize them when picked up or discarded, each item possessing distinct attributes such as pickability or usability. •Engineered character animations, providing unique movements for characters during walking or idle states. •Established a monster attack system, causing monsters to initiate attacks when players approach within a certain distance. •Implemented a dialogue system, assigning diverse dialogues to each non-playable character for storytelling purposes. •Created a shortest path system, guiding non-playable characters to specific locations at certain times of the day through the shortest route. "Best Five in Green Hackathon Creative Selection organized by the Environmental Protection Administration, Taiwan, 2023" "Preliminary selection in the 9th Wuhan Golden and Silver Cup Innovation and Entreprenurship Competition, Taiwan, 2023"

Year: Jul 2022 — May 2023 Type: Thesis Project Genre: 2D RPG Engine: Unity Instructor: Po-Wei Lai

fig01 / Images captured during the site investigation depict the waste I produce, transported to the facility via garbage trucks.

fig02 / The cyclical process of handling various types of waste, from creation to transformation into refuse, followed by segregation and treatment.

Introduction

Against the backdrop of a thriving gaming industr y and longstanding unresolved environmental issues, "Trashure" is committed to using games as a medium, prompting players to subconsciously reevaluate environmental concerns while engaging in mainstream gaming.

Concept

01 TRASHURE

By acquiring images and audio through field research, a foundation for game construction was established. Researching knowledge related to environmental pollution and waste management, this information was integrated into the game as textual content. Through images, sound effects, and text, an attempt was made to create a dystopian worldview, allowing players to become aware of the severity of environmental pollution issues while playing the game.

Research : the Evolution of Game Genre

fig03 / Delving into the historical development of games to ascertain potential avenues for development.

Evaluating the direction of game development through the study of gaming history and genres.Assessing the market advantages and feasibility of "Trashure" by studying existing environmental educational games.

Research : the History of Game

01 TRASHURE

fig04 / Examining the developmental genres of games, extracting advantages from select types as nourishment for game development.

Design

Reinterpreting urban areas through photography and embedding these images into the game as an interactive game map. Throughout the exploration of the game world, these visuals linger subconsciously in the player's mind. Images no longer exist solely in traditional forms but serve as background information for gameplay.

Through on-site investigations, understanding the routes of garbage trucks and the destinations of discarded waste. General waste is incinerated at the Yongkang Incineration Plant; in emergencies, it is transported to the Incinerator in Qigu. Recyclables are sent to the Rende Recycling Center, manually sorted, and late at night, specialized vendors collect them. Ultimately, garbage trucks return to the East District Garbage Truck Parking Lot, awaiting the next day's duties.

Through field research and interviews, insights into waste disposal processes, and the operation of incinerators and recycling centers were gained. Translating this knowledge into dialogues for game characters allows players to indirectly absorb this information during mission completion, avoiding traditional educational methods.

fig05 / The procedural systems of Trashure.

fig06 / The simulated visuals and worldview of Trashure.

Following field research, pixelation techniques were applied to images, and artistic styles were experimented with in an effort to transform the visual representation of waste into a satirical and adorable form.

01 TRASHURE

Experiment

fig07 / The game map, a mosaic formed by reassembling images from the site investigation.

fig08 / Maps composed through architectural graphic-style reassembly.

Conclusion

The experimentation with game art styles and the creation of game mechanics intertwined with waste knowledge text conversion show significant potential. I believe this environmental project mediated through gaming requires not only the game itself but also observation records of player behavior and data statistics to elucidate the relationship between human gameplay and environmental issues.

01 TRASHURE

fig09 / Extending the mapped terrain through self-replication.

Is there a possibility for urban dwellers to find solace for their existential solitude through the cultivation of a pet-rearing application?

Contribution

As a game designer, I •Formulated the narrative backdrop involving extraterrestrial beings gracing Earth within the Petaverse narrative. •Orchestrated the foundational experiential loop for Petaverse. •Constructed the systematic arboreal diagram for Petaverse, encompassing intricate aspects such as health points and hunger points. As a programmer, I •Instituted an augmented reality (AR) scanning mechanism, allowing the smartphone lens to capture designated imagery, thereby manifesting Peta's three-dimensional model and triggering bespoke auditory effects. •Established a numerical framework where health points diminish over the passage of time, simultaneously augmenting upon recognition of specific images by the smartphone lens. •Implemented a mechanism facilitating seamless scene transitions, effectuated after the culmination of the introductory animation, seamlessly segueing into the standard gameplay interface.

Year: Oct 2022 — Dec 2022 Type: Group Academic Project Genre: AR Interactive Game Engine & Tool: Unity, Blender, Vuforia Instructor: Yang-Ting Shen Team: Shao-Tung, Chen(Artist), Me(Producer, Programmer)

Introduction

"Petaverse" ardently aspires to engender a virtual cosmos of pets, thereby providing respite to urbanites ensnared in the vortex of bustling city life, achieved through the dynamic exchange and interaction with virtual companions.

fig01 / The functionalities and system architecture of Petaverse.

fig02 / The UI interface design of Petaverse.

Research

A meticulous formulation of the software architecture of "Petaverse" has been undertaken, concurrently solidifying a viable and executable business model.

fig03 / The opening cinematic of the game narrates a worldview where extraterrestrials visit Earth.

Concept

Through the contextualization of extraterrestrial beings gracing Earth, users are bestowed with the profound responsibility of nurturing these cosmic entities. Immersed within the veritable architectural spaces and the experiential immersion with virtual extraterrestrial companions, users can embrace a palpable sense of escapism from the tumultuous realities of their existence, thus ameliorating the burdens of contemporary urban living. Design

The establishment of a nuanced system governing the equilibrium of pet attributes, coupled with the integration of post-scanning auditory and visual feedback, has been executed. Furthermore, the grand hall of the National Cheng Kung University Department of Architecture has been chosen as the exemplar venue, showcasing the operational dynamics of the system through the creation of a rudimentary prototype. During the developmental phase, the collaborative team ardently delved into an exhaustive study of the morphological characteristics of extraterrestrial pets.

02 PETAVERSE

Experiment

fig04 / The game's AR scanning screen triggers animations and sound effects, influencing the values of pets.

fig05 / Scanned targets strategically placed throughout buildings.

Conclusion

Embodying the roles of both a programmer and producer has underscored the imperative need to concurrently harmonize the project's holistic integrity while adeptly navigating the nuances of communication within the artistic realm. Additionally, I posit that subjecting the project to user-centric evaluations and deploying "Petaverse" within diverse architectural milieus will indubitably contribute to the comprehensive evolution of this endeavor.

02 PETAVERSE

VR, Lightsaber, Cube Cutting

Design

Upon entering the game, at regular intervals, cubes emanate from omnidirectional launchers towards the player. To accrue points, players must employ the luminous sabers to cleave these incoming cubes. In addition to the game's background music, the act of slicing the cubes is accompanied by corresponding sound effects.

fig01 / VR lightsaber (right hand) slicing through cubes.

fig02 / VR controller (left hand) adjusting position.

Year: Aug 2023(1 week) Type: Game Academic Personal Project Genre: VR Interactive Game Engine: Unity Instructor: Jun-Ru Chen

What hidden insights can be revealed through trash cans? Concept

Through the collection and documentation of data from one's personal waste receptacle, we aim to extrapolate new meaning from the information embedded in each discarded item. The endeavor is to prompt individuals to reevaluate seemingly futile objects, which may not be as inevitable as perceived.

Year: Mar 2022 – Apr 2022 Type: Data Analysis Personal Academic Project Genre: Data Visualization Instructor: Yen-Ting Cho

Introduction

"TrashCanDoWhat" is devoted to unveiling the concealed information within the waste it generates and transforming it into a visualized, interactive data set. Research

Litterati collects geographical data on waste, and the Victor Stanley Relay sensor installed within the waste receptacle calculates its fill level, transmitting this data to the relevant entities. I posit that a more in-depth recording of data related to waste, such as volume, weight, manufacturing facilities, and sales locations, could reveal additional latent societal issues. Experiment

fig01 / Collecting data on the frequency of disposing the waste I generate.

Concerning data visualization, various experiments and research endeavors have been conducted.

fig02 / Classifying and coloring waste within a bag to reveal the temporal patterns of waste disposal.

fig03 / Recording the origin of waste before disposal to calculate the carbon footprint.

Design

Before discarding any waste into the receptacle, the manufacturing facilities and sales locations of each item are documented. Post disposal, photographs are taken, and each photograph is color-coded based on waste category. By allowing users to click on different types of waste, we present data on waste distribution, variations, and the distances between manufacturing facilities and sales locations. These visualized data sets enable users to discern the frequency of generating specific waste, manufacturing periods, and the carbon footprint of products before they become waste. Conclusion

This project should explore the three-dimensional visualization of data, presenting more information within the space of a waste receptacle. I believe contemplating the differences in data generated by different individuals holds potential for this project to become a feasible commodity in the future.

04 TRASH CAN DO WHAT

fig04 / Clicking on different types of waste displays the corresponding carbon footprint distance.

What is the essence of arches in this contemporary era? Concept

"Archoholic," a portmanteau marrying "Arch" and "Alcoholic," signifies an individual enraptured by arches and stands as the central tenet of this endeavor. Treating the architectural language within spaces as the nourishment for design, subject to meticulous reevaluation, I forged arches imbued with distinct spatial characteristics. This endeavor seeks to scrutinize the self-evidence of architectural language across epochs, sparking the imaginations of individuals regarding architectural forms—a narrative I aspire to convey through this project.

Year: Apr 2020 — Jun 2020 Type: Architectural Personal Academic Project Genre: Campus Space Instructor: En-Yu Huang

fig01 / Architectural vocabulary related to arches near the facility, spanning different eras.

Introduction

In the preliminary examination of the site, I unearthed a plethora of arches within its confines. These arches, hailing from diverse epochs, each carry unique connotations and architectural languages, manifesting in elements such as windows, corridors, door frames, and roofs. Through an in-depth analysis of these spatial attributes, I fashioned an architectural lexicon specific to the design at hand, harmonizing it within a framework of varied functionalities.

fig02 / Deriving architectural language (stay, connect, turn) from the concept of arches for this design.

Research

05 ARCHOHOLIC

I designate the spatial enclosures formed by four faces as the fundamental units (infill). Arch-shaped apertures are introduced in these units, conferring upon them diverse attributes. For instance, a singular opening may symbolize a state of repose within the spatial realm; whereas, two openings might denote traversing or a turning point. As these units undergo extension, their endowed characteristics become increasingly intricate. For instance, a space might simultaneously possess attributes of traversing and turning, with one facet standing out more prominently.

fig03 / Integrating functionalities into the facility using s

fig04 / Locating grid clues in the vicinity of the facility.

self-developed architectural language in different areas.

Experiment

I align these spatial units, each endowed with distinct characteristics, with varying spatial volumes, and match them to the spatial functionalities stipulated by requirements, endeavoring to prototype the design. Moreover, within distinct spatial functionalities, I juxtapose different architectural materials, such as concrete and metal panels, contemplating their feasibility in the construction process. For instance, using metal panels as molds for pouring concrete, one may opt to retain the metal panels if a metallic surface is desired, or remove them if a concrete surface is preferred, post-pouring.

05 ARCHOHOLIC

fig05 / Stacked units penetrating existing old structures, opening new possibilities for the campus and urban areas.

fig06 / Integrating various construction methods with different building materials.

fig07 / Units composed of arches creating a novel perspective.

fig08 / Unearthing old buildings through excavation, providing a view from the urban area towards the campus.

Conclusion

This undertaking constitutes a fusion of history, modernity, and the future, where history serves as the nourishing essence for design, manifesting within the contemporary temporal framework—a manifestation of an outlook toward the future. I aspire that through this logically lucid and self-contained design, individuals may collectively immerse themselves in a fervor for arches.

fig09 / Relationships between units composed of arches and excavated old buildings.

Design

Against the backdrop of railway undergrounding and the imminent expansion of campus spaces, I weave my design through existing edifices, seeking to imbue arches with a contemporary ethos—arches intrinsic to this epoch, serving as a bridging nexus between campus boundaries and the urban landscape.

05 ARCHOHOLIC

fig10 / Facade looking from the urban area towards the campus.

What emotions do architecture and the environment evoke in individuals? Concept

Waldeinsamkeit, a German term, encapsulates an abstract state— when one ventures into a forest, sensing the fragrance emanating from the flora, the delicate flight of birds brushing past, the gentle rustle of feathers against tree branches, and the harmonious symphony of insect chirrups at one's feet. In this moment, one's inner being is suffused with tranquility and freedom, an indescribable sensation of neither sorrow nor joy. This term encapsulates that very state, embodying the essence I seek to convey through this project.

Year: Mar 2020 — Apr 2020 Type: Architectural Personal Academic Project Genre: Spiritual Space Instructor: Yu-Hsiang Hung

Introduction

In the preliminary examination of the site, I found myself deeply drawn to the trees within the vicinity, making them the focal point of this project. Employing my own physical scale, I precisely positioned the trees within the site, identifying areas suitable for integrating architectural structures. In the process of integration, I amalgamated the bodily sensations experienced at the site with the architectural elements, defining the functionality of the integrated structures.

fig01 / Diverse pavement types and pedestrian density near the facility.

fig02 / Various types and characteristics of vegetation near the facility.

fig03 / Scaling the position and height of trees based on body dimensions, categorizing them and mapping spaces suitable for integrating structures.

Research

Employing my own physical scale—specifically, a 25-centimeter foot—I positioned the trees within the site and recorded the approximate height and growth tendencies of each tree relative to length. Proximity to the polar sea significantly influences the directional growth of trees within the site, correlating with the type of tree and its proximity to the coastline.

Utilizing a topological approach, I classified trees based on species and, according to their location within the site, delineated distinct territories for each tree type. I observed that the root systems sculpted territories with sharp and clearly defined boundaries, while the canopies, due to the presence of leaves, created territories with more blurred and organic shapes.

06 WALDEINSAMKEIT

fig04 / Black color indicating strong spatial privacy, whereas lighter colors denote increased public accessibility.

fig05 / Conceptual modeling of incorporating structures among trees, prioritizing avoidance of significant tree interference.

Experiment

With the premise of "causing no harm to any tree," I endeavored to integrate my design, maintaining a delicate and unobtrusive state harmonizing with the environment. Based on my analysis of trees, I devised several design prototypes resembling folded plate structures, attempting to blend them seamlessly with the territories defined by tree roots. Design

I utilized weathered steel as the primary material and embedded folded plate structures within it. This design not only avoids harming any trees but also progressively integrates with the surrounding trees and environment over time. Subsequently, I meticulously examined various components of the installed structure, defining elements that create space while incorporating bodily sensations from the site investigation. This has resulted in an intermediary space, inviting urban residents to access the coastline. During the day, people can move from the city to the coast, and at night, the city's lights guide them back to the coast. While traversing "Waldeinsamkeit," each individual can engage in a dialogue with my design and the surrounding trees, obtaining a unique experience.

06 WALDEINSAMKEIT

fig07 / Multi-layered folded plate structures facilitating the transition from the urban environment to the facility and towards the seaside.

fig07 / Trees as an invitation to users, immersing them and encouraging a mindful experience of space.

Conclusion

This project explores the impact of the environment on individuals' inner spiritual worlds and presents it through architectural design. Inspiration drawn from the site investigation led me to discover the opportunity for creative design, ultimately reevaluating the significance of the project for experiencers, the trees within the site, the coastline outside the site, and the city. This design approach, which combines rationality and sensibility, allows experiencers to easily comprehend the design while providing them with profound experiences. As a designer, this is the design philosophy I have always pursued.

06 WALDEINSAMKEIT

APPENDIX APPENDIX APPENDIX APPENDIX APPENDIX What kind of game designer do I want to be?

In the current backdrop of technological advancement, gaming, apart from its inherent playability, has exerted a profound influence on our society. I contend that to become an exceptional game designer, one must possess interdisciplinary knowledge and thinking. Furthermore, it is imperative to approach problems from angles unforeseen by others, in other words, to discern what eludes the ordinary observer. In this segment, I present my creative works accomplished through the use of various media. Creation is akin to construction, be it physical artifacts, conceptual constructs, or the construction of entire worlds. I endeavor to regard every facet of life as nourishment for my game construction, aspiring to become an architect of virtual realms - a game designer.

Creation that plays with film

Misconception

Film recording work, Yilan City, Taiwan, 2018 Experimental visual documentation where sound and images overlap and stagger.

Creation combining hand-drawing and installation art

Stagger

Installation art, Tainan, Taiwan, 2018 Observing the facility to incorporate layered and contrasting elements into the design.

Installation art, Tainan, Taiwan, 2018 Inspired by biomimicry, creating a responsive biomimetic creature.

APPENDIX

Carrier-M

Creation that plays with mix media

Higanbana

Mix media image creation, Taitung City, Taiwan, 2020 The red line symbolizes longing for a person, with images representing thoughts directed at that person, reassembled and entwined by the red line, expressing emotional release.

Creation related to History and Local Context

The mumbling from the South

Collage Photography, Tainan City, Taiwan, 2021 In Chinese characters, " 南 " (South) contains the character for a sheep in its middle, aligning with the dual meaning of Nanshan Cemetery and the sheep residing within it.

Grafting

APPENDIX

Collage Photography, Tainan City, Taiwan, 2021 As fashion store mannequins outside fabric and clothing stores evolve with the times, creating a fantastical world of models by reassembling photos of models from different eras.