Kevin Chang (Ygo)

Design /

An

Evolu

ution

By Logical Process and Imagination.

INTRO

Kevin Chang (Ygo) +886 922 665 175 kevinchangscid@gmail.com

Shih - Chien University Department of Industrial Design

Education

Photoshop 1yr PUsh / Selected Award / 2013 YODEX

Illustrator 5yrs

Skill

Award The Essence / Merit Award / 2013IBDC IF Autodesk Alias 2yrs

Keyshot 1yr

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Experience 2009 - 10

2010 - 11

2011 - 12

2012 - 13

2013 - 14

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C ntent 01

02 2012 Essence / Bike Design

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2013 The PU-Lab

02

2010 Vision Rotation

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2011 Floating Bag / Product Design

04

2011 Musci Cell / Product Design

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2010 Light / Emotional Design

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2010 Dark Fire / Material Design

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04

06

03

05

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單速車簡單的線條讓人著迷，同時也代表著一種自由 、操之在我的精神令人嚮往。但是，沒有飛輪，取而 代之的事固定鉗；沒有煞車，用的是自己的雙腳控制 速度。在這樣的情況下，美麗卻危險的單速車讓人卻 步，往往是只可觀不可褻玩，如果能有一台....

The outline of fixed-gear is not only simple, but also symbolizes some kinds of the spirit of freedom.But without brakes and freewheels, riding fixed-gear is not easy.If there is a bike can make more people start to ride fixed-gear...

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THE ESSENCE 交通工具設計 TRAFFIC DESIGN 目標材質 / 鋁 TRAGET MATERIAL / ALUMINUM

01-The-Essence

140 X 70 X 30 CM

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因 為本身 也騎 fixed-gear 的 關係，想做一些與 此有關的創作，經過 與老師的討論與調查，決 定將 fixed-gear 的特色“簡 單”發揮到極致，因此車架的結 構設計與騎乘姿勢通通都只保留最必 要的部份，成為這次作品的特色。 As a fixed-gear rider myself, I want to design a whole new fixed-gear bike. After some research and discussions, I decided to focus on the characteristic of fixed- gear bike: simplicity, and took it to its full extent. As a result, only the most-needed parts of the bike's structure design and the riding posture are retained. 單速車簡單的線條讓人著迷，同時也代表著一種自由、操之在我 的精神令人嚮往。但是，沒有飛輪，去而代之的是固定鉗；沒有 煞車，用的是自己雙腳控制速度。在這樣的情況下，美麗的單速 車反而讓人因為感到危險卻步。 With a simple appearance, the bike offers two different riding styles: one is fixed-gear and the other is single-speed for easier riding. 為了讓更多人能接觸單速車，試著保留其騎乘習慣，套用後花鼓 煞車的方式，將腳往後踩的減速方式保留，同時提高緊急煞車的 反應力；車架造型往更極簡方向發展，在刪減掉的結構以鋼索支 撐，不要鍊條、大盤，用隱藏式的軸傳動；不要坐墊，但可以利 用上管結構一個人需求增加坐墊套件。

01-The-Essence

To achieve this concept, the bike's top tube and seat stays are replaced by thinner steel bars; there is a special rear hub that can turn into two modes, single speed freewheel or single cog; and the seat is also designed to be removed or assembled quickly for adjusting which way of riding the user likes.

To discard these tubes which have less force pressure on them

When riding fixed-gear, saddle becomes unnecessary.

Just provide a support for resting.

PADDALING

moving backward / brake

moving forward

no chain but Shaft-Drive with adjustable brake hub what makes user can change riding style easily and still has similar riding pose in these two modes.

Single speed freewheel : in this mode, it becomes a brake hub which can adjust the brake strength.

Single cog : if you just want a genuine fixed gear, turn it on!

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01-The-Essence

The reason that the frame is designed without normal seat tube is to assemble or remove the seat quickly when you want to increase the control flexibility without seat or just want to ride easier with a seat.

TENON JOINT

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01-The-Essence

1 : 5 ROUGH

MODEL

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預 設材質 “鋁”的強 度不夠，所以 需要支撐，藉由以 擁有的碳纖技術將鋁 取代，讓結構更乾淨；造 型上一些不連貫的線條重新 修飾；考量軸傳動的成本、重量 以及齒輪的耐用度，將軸傳動改回大 眾熟悉的鍊條帶動方式。 Aluminum that I decided to use to be my frame’s material didn’t have enough strength to support the bike. By using carbon the problems have been solved. Reshape the bike’s outline and make it smoother. Considering the cost, weight and the service life, replace the shaft drive with chain. 雖然車架某些結構的問題，經討論後已改為使用碳纖維材質解決 ，但是之後再與指導老師—林時旭老師聊天後有了新想法，發先 竹子也能成為解決這接結構問的新方向，希望未來能夠利用竹子 重新考量整體設計。

01-The-Essence

Although I had found some problems and already solved it, but I wish I can use another material “bamboo” to be a new solution to refine my design.

Original

D A

B

C

A. Reshaping the tube to make it more smoothy and stronger.

Exceptation

B. Again, reshaping the tube to make it more smooth and stronger.

C. Change the shaft drive into the normal single-cog for increasing the service life.

D. Take the support off. Using the Carbon-Tech to reach the strength requestment,

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01-The-Essence

THE PU

U-LAB 我不想跟大家一樣用同一種方式玩發泡， 我想去挑戰一些沒人使用過的發泡方式。 I don’t want to be like everyone who uses same wayto foaming PU. I do want to try something new that have not been used.

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02 - The PU - LAB

發泡(PU)這個材質，為透過A、B兩種不同化學藥劑混合後，開始反應膨脹而產生，其過程可變因 子多又反應時間快，所以能夠在短時間內得到多種不同的發泡結果。故以此材質出發，探索其在產品 上新的可能性。 Polyurethane(PU) is made of two different chemical composition which will cause expansion reacting when they mixed together. It has many variable facors and reacts quickly, so it will get numbers of results in short time. That’s why i choose PU to discuss what would happen when it apply to products. 實驗目的：用離心力討論密度在產品上的樣子，思考如何用密度使產品具備該有的功能性。在各種發製PU的過程中，發現甩這 個動作。藉由旋轉產生離心力讓被甩在最外層的部份較密實，在內層的較鬆軟。透過椅子將此目的呈現出來：密實的PU成為支撐結 構的一部份，比較鬆軟的PU扮演提供人能舒適乘坐的角色。 Experiment purpose: To discuss what posibility the density will present on a product by using centrifugal forse. After trying lots of way foaming PU, I found a special one spinning the mold while PU foaming. The centrifugal force caused by spinning change the PU’s density. The lighter and softer parts are around the center of mold. In the meanwhile the hard and denser parts are in the suburbs of the mold. This purpose presented by a chair. The hard one become the structure of chairs and the soft part is for cozy sitting.

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THE PU-LAB XPIN 材質實驗設計 MATERIAL EXPERIMENT DESIGN 材質 / 聚氨酯 塑料 松木 MATERIAL / POLYURETHANE ABS PINEWOOD 400 X 400 X 500 MM

02 - The PU - LAB

10

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agent A

harder

hard

soft

pigments

harder part for structure

soft part for sitting

the expect density change in Xpin

透過Ａ劑、Ｂ劑與色膏的比例調整，可以改變ＰＵ膨脹的大小、氣孔的多寡以及整體密度。 By adjusting the proportion of agent A, agent B and the pigments, i can chang the size that PU. will expand, the number of bubbles, and the density of all. 直接使用電鑽來帶動模具旋轉。為了讓力量能順利傳導到模具身上，所以特地將模具中心設計成十字狀；同時這個十字也成為連接PU與 底座的機構。

02 - The PU - LAB

I use the electric drill to spin the mold directly. To make the mold spin powerfully, the center of the mold is designed as a cross shape. At the same time the cross is also a mechanism to connect the PU and the base.

spin the mold by drill

the cross in the center

sitting surface

structure

the expect structure

the real structure

distribution in Xpin

distriution in Xpin

to spin the mold powerfully

to connect PU and the base

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02 - The PU - LAB

預想 的結果 為較密的PU 被甩在外層，由 於較堅硬，可與底 座形成椅子的主要結構 ，而內層較疏鬆的PU比較柔 軟，剛好成為提供人乘坐的舒適 面。但實際出來的結果卻是失敗的 。 What I expect are the denser PU which is harder is flung to outer layer and could be the structure of the chair with the base; the lighter PU which is softer is in the inner just for cosy sitting. But the real results are failure. 在縮小比例的實驗上其實是成功的，對於在實際比例的實驗 下會失敗的原因我認為是因為無法將大量PU快速攪拌均勻 、能夠均勻受熱加溫的鋼模以及旋轉速度不夠快這三個主要 因素，如果能找到願意配合且擁有此能力的工廠，我想是很 有機會一試的。 Actually, the experiment in scaling mold is successful.

I think there are three reasons why it failed in the real mold. First, i can’t mix amount of PU in short time.

Second, I don’t have the steel mold that can be heated at a uniform temperature. Finally, the speed of spining is not fast enough. If there’s a factoy which has the abilities to slove those problems would like to cooperate with me, there should be a big chance to success. 雖然說失敗了，但也有意外的收穫—色彩美麗的圖案，反而 能夠依據喜好調配出各種不同顏色與比例的PU，讓每件成 品都成為獨一無二的一幅畫。 Although it failed, it has some unexpected results the beatiful patterns. Insteadly, i can mix PU in the colors i want to make each one become a unique painting.

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02 - The PU - LAB

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想挑 戰不被 當作支撐材 的PU能不能被 當作結構。突破PU 目前應用在產品的方式 ，使其成為有別於目前傢具 的結構，成為PU專屬的獨特結 構。推榫”因此而生。 Try to challenge to put PU into structure, because it’s not usually to be supporters.To break the way how PU is used to apply to modern product and find the structure that is different from modern furniture. PUsh is the unique structure just for PU. 因為PU.這個材質因為質地柔軟，強度不足，在現在的應用層 面上幾乎都屬於椅墊及填充材，所以利用PU快速的膨脹反應 與擠壓力做為形成結構的過程的一部份。將榫與PU.放置在同 一空間中，當PU.反應時則將榫向外推出，當榫抵住榫眼後， PU.才發揮填充材質的特性，讓結構更穩固。 Because the soft texture of PU is usually used of the cushions and filler in the present application, I try to use the rapid expansion characteristic of PU to make it becomes a part of the process of assembling the structure. Place the tenon and PU. in the same space.

While the PU. is reacting, the tenons will be put outwards till connecting mortise tightly. Then PU. played the character of an filling material to make the structure more solid. 我將椅子分解為椅腳、椅面和榫三個部份。椅腳提供支撐力 ，椅面提供以可乘坐的空間，PU則是讓榫能把兩者連接起來 。椅面部份特地製造出空間，讓PU能在其中反應將榫從椅面 推出並固定在椅腳上。

02 - The PU - LAB

I seperate the chair into three parts, supporters, a plane and tenons. The supporters for standing, the plane for sitting and the PU tennons are for connecting between them. The plane has been created more space for the PU to push the tenons out and to fix into the supporters.

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THE PU-LAB PUSH 材質實驗設計 MATERIAL EXPERIMENT DESIGN 材質 / 聚氨酯 塑料 松木 MATERIAL / POLYURETHANE ABS

02 - The PU - LAB

460 X 460 X 500 MM

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mortise A

mortise B

tenon

PU

while PU is foaming, the tenons are pushed out to connect mortise A and B

the supporters

the plane

after reacting, PU fills the seam between the mortise A, B and fixes them together

the tenons

PU

02 - The PU - LAB

the original

final

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02 - The PU - LAB

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透過什麼，看見了什麼 What we see through the thing we see ?

03 - Vision Rotating

是一部紀錄片，記錄這個空間裡視線的轉換與交錯。這個城市太過擁擠，擁擠到人們無法擁有全然屬於自己的空間 ，所以人們去了咖啡店。咖啡店是個特別的地方，可以暫時擁有只屬於自己的空間。因為燈光、牆壁、窗戶、擺設、 座位型式的不同而區隔出許多獨立的空間。而這些“獨立”空間並非獨自存在著，或是彼此毫無關聯。視線是一種特別的 互動，主動與被動，在連接兩端的時候並無法產生直接的影響，他像是一座橋梁，一種能量，接連彼此後產生了甚麼我們看 不捯的變化。每個角落的視野不同，並且獨一無二。每個視角並不能一眼看請整個環境，只有當我們不停的轉換視線，當每個角 落的視線交互穿插以後，在這整個環境裡產生了特別的互動，將每個空間連繫在一起，因而成立了這個環境。 It is a documentary to record the visual connection and changein this space. The city is too crowded to provide people a space that completely belongs to them, and that’s why people go to the coffee shop. Coffee Shop is a special place which you can temporarily have your own space because of the different types of independent spaces created by lights, walls, windows, furnishings, seats. These "independent" does not exist alone in the space, or has no connection with each other. Visual connection is a special interactive containing active and passive acts, and ends when the connection can not have a direct impact. It seems like a bridge, a kind of energy and it create something different and something we can’t see after it connected to each others.

Every corner in the cafe’has different and unique perspective but all of them can not see the cafe’entirely. Only if we continually change our sight and connect every corner to each other, the whole environment could completely presents to us and interacts with us.

Process Finding find stories from the coffee shop

Observation different ways to connect spaces ( people’s interaction : eyes contacting, peeping, talking, smoking, playing, ordering ) Result where it happens : the reflection in glass, doors, seams in bookshelf, bar ...

Converting the cube

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03 - Vision Rotating 50 x 50 x 50 cm

藏 在Cube 內的發光體 必需透過不斷 旋轉Cube才能一 窺全貌，以此象徵在 咖啡廳內我們並不能從單 一面的角度看清整件事情， 所以我們不斷改變視野與視角， 或許當我們從越多角度去看同一件事 情時，才能越理解它的核心價值。 To glimpse the whole luminant hidden in the cube we have to spin the cube continually. It symbolizes what we see through the thing I see. We can't understand one thing only by one point so we constantly change vision and perspective. Perhaps when the more points we look at the thing, the more we realize its core values.

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03 - Vision Rotating

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03 - Vision Rotating

廢 紙簍在 生活的使用 上，通常只在 於收納、隱藏垃圾 ，或甚至是純粹為一 種造型上的裝飾，反而乎 略了廢紙簍中的廢紙在日常 生活上可能隱藏的意涵。 "Kaleidoscope"藉著萬花筒的原理， 將所投入的垃圾鏡射出萬花圖形，不只 是將印象中醜陋的垃圾轉變為美觀的圖騰， 更有別於一般的觀點重新以帶有些詼諧的方式 詮釋垃圾垃圾給人的印象與省思。 The way we use wastebasket is usually for dropping useless paper, or even purely decorativing. In addition, we also ignore what waste paper meaning for. “Kaleidoscope” , just as the name, is based on how the kaleidoscope works which make paper or sequins more colorful and plentiful by mirror reflection. “Kaleidoscope” not only transform waste paper into special patterns but also make people re-define what trash is by a humor way.

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03 - Vision Rotating

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03 - Vision Rotating

在 不斷的 尋找視覺轉 換的過程中， 聲音是一個重要的 搜尋工具，因此希望 藉由雨傘架來討論產品和 聲響的關係。 透過傘桶內交錯的膠條，讓插入 雨傘這個簡單的動作具備刮落傘上水 珠的功能，並藉著三角錐的造型與孔洞 將水引導並低落底下的集水盤，同時產生滴 水聲，讓雨傘成為將雨帶入室內的媒介。 Sounds play an important role in constantly finding visual connecting, so I try to discuss with the association between sounds and products by umbrella-stand.

The rubber wires inside the stand make the simple act, putting umbrellas, has a special function, wiping the drops off.

Triangular pyramid shape leads the water and holes make it drop into the container below. This process also produces the pitter-patter and makes the scenario like it rains indoors by umbrellas.

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03 - Vision Rotating

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FLOATING BAG 我想游泳， 但我不能。 用背包來裝載一段暑假旅行故事中的遺憾...

I want to swim, but I can’t.

A regretful story in summer vacation carried by a backbag.

Anything ?

NO ?

Look ! Beach !

Let’s get in it.

Fine ...

OH wait ...

What should I do to with my backbag ?

Let’s get out of here.

從 故事出 發，尋找一 個能夠能乘載 故事氣氛的一項物 品。背包，陪伴著我 出現在故事的各個角落， 但美中不足的是，從使用經 驗上，沒有一只背包能夠讓我無 憂無慮帶著它到海裡玩水的。結合浮 板，提出一個可以分離出氣室(硬殼)， 並利用氣密原理達到絕對防水效果背包的概 念。同時在將氣室分離後，也能夠當作平常使 用的側背包使用。

airtight seal component

Try to find a thing which can pack the story of this trip into itself and that is backbag I wear it everywhere in the trip.

A fly in the ointment is that everywhere is not in the water.

Here comes an idea, Floating Bag, about combining backbag with kickboard. It has two parts. One is the normal backpack and the other is a buoyancy bag. Those two parts can be assembled together through airtight seal component. Only if these two parts assemble together, the bag will become a buoyancy board with packing function. It is also a usual backpack with the buoyancy part.

the shell protect the buoyancy bag inside

04 - Floating Bag

normal backpack

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Backpack

Airtight Seal Buoyancy Bag

Detachable Shell

Plastic Fiber Mix Web

Airtight Valve

04 - Floating Bag

Seal & Valve

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MUSIC

the killers - hu 00:00

ef.1 ef.2

VOL.all

從製造商的角度去思考mixer的產品新可能與定位。 另外...身體的音樂細胞蠢蠢欲動，需要個出口來發洩。 Think about new possibility and position mixer could have from the manufacturer’s point.

Also ... body’s music cells are ready to start wriggling and need to be vented.

uman.

04:09

Effect.1 Effect.2 Effect.3 Effect.4

VOL.1

VOL.2

藉 由整合 音響與混音 器，來拓展 MIXER市場為概念 出發。直接從最為人 深刻的刮盤配置，聯想出 音樂細胞之主題，藉由三個 不同大小的圓，將產品功能劃分 為：音響部分、MIXER兩部分。細胞 分裂劃分出手把，其他機構則收在溝槽 部分。 It begins from combining stereo and mixer to developing the mixer market. Associate the brush plates with music cells directly. The shape is based on cel division. Three circles are one control plate and two brush plates. Speakers are under the body and the other functions are hidden in the gaps

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05 - Music Cell

無機の生命

什麼是輕？ 無機的生命是我們的答案。 如同荷花的莖幹連結著葉子輕盈的浮在水面上，乘載大 自然中滿滿的生命能量。 What is light ? Our anser is inorganic life.

Like stem connecting lotus floating on the water, carry the energetic life in the nature.

06 - Inorganic Life

Drill Holes

Calculate Distributio

Drop Poly

on

Shape the Cured Surface

Reshape Surface

Polish

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06 - Inorganic Life

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火

手感家電。材質的挑戰。 材質與產品的連結： 炭 暖爐 現代3C產品的三角關係。 The sense of touching appliance, the challenge from materials.

The association with marterial and product: Charcoal Fireplace Radiator The triangle relationship of 3C

07 - Dark Fire

儘 管經歷 了像是高溫 的炭化過程等 考驗，最美之處卻 不會消失，而是以另 一種不完整的狀態呈現出 截然不同的美，淬鍊最精華 的所在，是根的力量。舊時主要 使用的燃料之一炭所製作的電暖爐， 運用其遇熱放射俱醫療價值之遠紅外線 及屬於熱的不良導體特性，做為扇片以古早 爐灶為型態，環繞成型。 Although experienced the high temperature tests such as carbonization processes, the most beautiful of the department was not going to disappear, but in an incomplete state of the other way to show totally different beauty. Guenching the most essential part is the root of power.

The heater is made of carbon which is one of the main fuel in the past. When it is heated it will radiate some far-infrared having medical value. Being a poor conductor of heat is one property of carbon. These two characteristics make it happen to model in old type stoves and surround a circle as the fans.

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DARK FIRE 手感家電設計 THE SENSE OF TOUCH 3C DESIGN 材質 / 不鏽鋼 木炭 MATERIAL / STAINLESS STEEL CHARCOAL

07 - Dark Fire

40 X 40 X 20 CM

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Evo

And the

olution

never ends.