KUO CHUNG FU PORTFOLIO 2015 PHOTOGRAPHY / PRODUCT DESIGN / EXHIBITION DESIGN / GRAPHIC DESIGN
The portfolio is composed of my design works in university from product design, furniture design, exhibition design to graphic design. And it also fuses with my photographic views about designs, architectures and the world.
這本作品集包含了大學四年來的設計作品，內容橫跨產品設計、家具設計 、展覽及平面設計。並融入從高中以來累積的攝影觀點，詮釋自己看設計 、看建築和看世界的角度。
contents
ABOUT 00 00
Personal Brief Autobiography
06 08
DESIGN WORKS 01 02 03 04 05 06 07
Exhibition Design - Parallel Concept Design - Self-Construction Unit Furniture Design - 1/2 Product Design - Air Helmet Product Design - Allergy Preventer Graphic Design - Parallel Design Sketch
PHOTOGRAPHY
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personal brief
郭 仲輔 personal brief
Kuo, Chung-Fu
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31 May, 1991 / Kaohsiung, Taiwan Email / k109815035@gmail.com Website / 500px.com/kuorenzhong
EDUCATION National Taipei University of Education, Department of Arts and Design
SPECIALTY Product Design / Furniture Design / Exhibition Design / Photography
SOFTWARE Adobe Photoshop / Adobe Illustrator / Adobe Indesign / ProENGINEER / Solidworks / AutoCAD
AWARDS 2013 / YODEX Exihibition Competition / Gold Award (Leader of Exhibition Design) 2011 / Bone Award / Nominated 2011 / Uneec Applied Design Award / Nominated 2010 / NTUE ADD Animation Competition / First Place 2010 / TCC Toy&Children Commodities Design Competition / Nominated 2010 / Y.S. Creative Award / Nominated
EXHIBITIONS 2013 / YODEX / Leader of Exhibition Design 2012 / The 22th Taipei International Furniture Show 2012 / NTUE ADD Furniture Design Exhibition / Vice Curator
WORK EXPERIENCES 2013-14 / Taipei Fire Department(TFD) / Substitute Military Service 2012 July-August / Ruskasa Furniture / Summer Internship
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autobio graphy
autobiography
From photography to design 8
Father with camera in his hands was the most vivid memory in my childhood. During senior high school, I joined the photography club as vice president because of my father’s encouragement. And I have been used to observing the world through lens and cultivating my own perspective through taking photos since then. Due to the photography, I also developed my interest in arts and design and eventually I entered the department of arts and design for my Bachelor degree. Besides product design courses which I majored in, I could also study woodcraft, ceramics making and glasses making as well as history of arts, art education and several courses in the ďŹ eld of ďŹ ne art in university. That made me getting familiar with arts.
Be both rational and perceptual On one hand, I learned the foundation of design including design thinking, sketch, customer analysis, software, industry study and cultivated experiences from taking part in different design competitions to improve my sensitivity to design in the past four years. On the other hand, crafting taught me to focus on every detail of material and texture as well as the harmony of beauty through making with my own hands.
From furniture to space Later in junior year, I designed and manufactured my first furniture invited to be displayed on The Taipei International Furniture Show after the course’s final presentation. The experiences of designing furniture and being the the exhibition‘s vice coordinator made me get highly interested in furniture and space design. Furthermore, I got a summer internship at a furniture manufacturer called “Ruskasa”, learning how a block of wood turned into a chair by a master worker and what actual manufacturing process was as well as knew the cost considerations that had never been taught in class. In the last year in college, as a leader of exhibition design team, I was in charge of sparkling up teammates’ creativity and ensuring everything is on schedule. In the end, we got the golden prize in the competition of 31st Young Designers’ Exhibition a.k.a. YODEX, being successful in designing a transparent space out of environmental material and elegant details.
Figure out the value of all things By being a team leader for several times, I have learned the importance and difficulty of coordination in groups. Additionally, I tried to figure out every teammate’s uniqueness and settled them in appropriate position for the efficient productivity. What I think about design is to reach the biggest benefit out of limited resources. For example, the least procedure makes the most effectiveness, the shortest time makes the most efficiency, the lowest decoration makes the highest beauty and the most environmental process of manufacturing makes the longest life time of products. All the examples above have the same meaning of design for me. Last but not least, finding out the most valued key point for not only oneself but society even the world is the most important part of all.
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因攝影而設計 幼年時最深的家庭記憶，是父親手上捧著單眼 相機的身影。高中時受到父親的鼓勵，加入了 攝影社並擔任副社長。在三年的高中生活，很 多時間是透過鏡頭去觀察環境，並從中擷取出 自己對於世界的觀點。也因為接觸了攝影、影 像等平面媒體，發掘出自己對設計以及藝術的 興趣。大學選擇了藝術與造形設計系。雖然本 科學習的是產品設計，但在課綱的設計下，不 僅能夠接觸到木工、陶瓷、玻璃等工藝技術， 也對於藝術史及藝術教育等純藝術領域有著基 本的認識。
會邀請至台北國際家具展展出。這次的經驗， 不僅開啟了我對家具這種微形建築的熱愛，也 因為擔任期末展覽的召集人，對展覽及空間設 計產生了極大的興趣。大三的暑假，進入原木 家具的工廠實習。在那裡，我看到一塊原木是 如何透過師傅的巧手，變成一把設計單椅；了 解實際的設計生產流程，更認識了學校不教的 生產成本考量。大四則擔任了展覽設計組的組 長，負責激盪組員的創意與掌握整體進度，並 加入自己對於細節的堅持。最終成功地在新一 代設計展展覽競賽中，使用環保材質打造出透
追求理性與感性的兼具
明的展場，從所有學校中脫穎而出拿下金獎。
產品設計的領域中，創意發想、設計素描、使 用者分析、軟體的使用、產業研究等的基礎學
找出價值的所在
習，透過參與不同的設計競賽逐漸累積經驗， 提升了自身對於設計的敏感度。而另一方面， 工藝培養了我對於材料的重視。以及在親手實 做的過程中，孜孜矻矻地追求每一分細節與質 感，盡力達到美的平衡。
多次身為領導者的經驗，讓我了解協調在一個 團體中的重要性和困難度；並學會找出每位成 員的獨特性，以及各自擅長也能發揮最大效率 的位置。我想，設計對我而言也具有相同的意 義。設計即是在有限成本中發揮最大的效益： 最少的步驟最高的效用、最短的時間最大的效
從家具到空間
率、最少的裝飾最大的美感、最環保的生產流
autobiography
程最長的使用年限等，都有著同樣的設計思維
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在大三的家具設計課，第一次實際生產出自己
，而其中最重要的關鍵在於找出價值的所在，
設計的家具，並在期末校外展覽後，獲家具公
無論是對於自身、社會或是世界。
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design works
exhibition design
exhibition design
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01 異質 進化
並行
PARALLEL National Taipei University of Education, Department of Arts and Design
CO-DESIGNERS Exhibition Design Team (Leader)
LOCATION Taipei World Trade Center, Third Hall
EXHIBITION 2013 / Taiwan Young Designers’ Exhibition (YODEX)
AWARD 2013 / YODEX Exihibition Competition / Gold Award
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exhibition design
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exhibition design
CONCEPT 展覽的個性是什麼？而這個場域的場所性又是什麼？這是我們的展場想要提 出的兩個提問。 花了許多時間不斷地反覆研究、搜尋、辯論、試驗；嘗試去了解人的活動、 空間的尺度、材質的脾性、社會的價值。如果說以往的展覽企圖在諸多紛雜 間攢出那怕是那一丁點的價值，試圖擺脫產品和空間的階級性，那我們追求 的或許是自由；一種雙方並行存在、同時同等地提出訴求和想望的輕盈關係 。這種關係是朦朧且難以定位的，就如同孔縫的透光性差異產生的漸進透明 度，在你試圖掌握和釐清之時，才發現仍然有道不定形的透明牆分隔了彼此 。但或許是這樣的曖昧不清才是它的價值所在，才擁有思考的可能性。我們 探尋的是不透明度的體驗，像是天上的雲朵，輕盈而自由。
This exhibition tried to raise two following issues. First, what is the temperament of the space? Second, what is the spatiality? In order to perceive human activities, space scales, the characteristic of material and social values, we spent lots of time researching, debating and experimenting. What we pursued was the establishment of complete freedom between the space and the products in which both objects can exist and interact with each other equally and simultaneously; while the past exhibitions tried hard to be free from the hierarchy as well as sought after some values from the chaos. On the site of exhibition, if one seeks to understand the symbolic of freedom which is indistinct, indefinable and gradually transparent because of the differences of holes’ transmittance, one will encounter a limpid wall that separate both objects. Perhaps the vagueness is its value and why it worth thinking. What we pursued was the experience of different transparency, like the clouds floating in the sky, lightly and freely.
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exhibition design
IMAGEBOARD 試圖在以往的展覽中，尋找透明的可能性。我們發現，半透明的材質能夠調 和光線與視線，甚至是距離和邊界；能夠重新定義展場中牆壁的存在，利用 光線的錯覺創造出輕盈的空間。使得展場在展覽中的定位不再被動，而能更 積極地與觀者互動，進而產生展覽更多的可能性。
We attempted to find every possibility of transparency from the past exhibitions. Our discoveries were that the translucent materials could redefine the exist of walls in a field and utilize optical illusion to create a light space by harmonizing light, sight, distance and even boundaries effectively. It changed the passive role of the space in a exhibition and made the space interact with the audience more actively. Furthermore, it resulted in more possibilities of the exhibitions.
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exhibition design
DESIGN STUDY 透過製作大量的小尺度白模來研究展場的配置、觀展的動線、展品間的相對 關係、展場中的活動等；而藉由3D圖的輔助，得以模擬牆壁實際尺度、人的 視線高度以及展場的穿透度，以求用最簡潔的設計創造出輕薄透明的展場。 我們反覆實驗蜂巢紙孔隙大小不均的特性，嘗試讓每一位觀展者擁有不同的 視覺經驗。
By making lots of study models, we could study the porpotion of the space, the exhibition circulation, the relative relationship between exhibits and space and the human activities. Moreover, 3D modeling helped us measure the scale of walls, the height of human sight, the level of penetrability of the exhibition. We also experimented repeatly the characteristic of honeycomb paper in order to create a light and transparent field with minimum design, providng every audience the unique experience of vision.
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exhibition design
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exhibition design
AS A LEADER 身為展覽設計組的組長以及畢業展的一員，這一年既艱辛又深具啟發。作為 領導者，我學會人力資源的掌握，釐清每位組員的脾性，嘗試激發他們最大 的潛能；學會時間及資金的控管，了解設計的現實面，盡可能將資源發揮最 大的效益。同時，與廠商接洽的過程，讓我實際認識設計產業界的生態，提 早做好與就業接軌的準備。
It was a tough but inspirable year for me to be as both leader of exhibition design and one of the graduation design’s members. Being as a leader, I learned human resources management by which I could spark every teammate’s potentiality as well as understand their personality. Also, I utilized time and monetary resources as efficiently as possible due to practical considerations. Last but not least, I learned the actual circumstance of design businesses from contacting with alliance coompanies so that I could make adequate preparation for jobs in advance.
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concept design
concept design
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02 互構體
Self-Construction Unit “Big things have small beginings.”
-Prometheus
MATERIAL Aluminium alloys 6067
CO-DESIGNERS Cheng, Tsuei-Wen / Chang, Chen-Bao / Huang, Yen-Kai / Yang, Ching-Rong
EXHIBITION 2013 / Taiwan Young Designers’ Exhibition (YODEX)
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concept design
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concept design
CONCEPT 解構與構築，在世界交替運行；而我們探尋組合的本質，將單元不分主客體 地平行共組。在以往的概念，組合式通常是為了達到因時因地制宜的需求。 但是回歸組合這項動作，大致可分為階級性、異質性、平行關係等模式。就 互構體而言，可以視之為平行組合型態的單元。而利用單元來組成另一尺度 更大的組件，此種重複性手法，便是互構體能提出的想像：使用者的思考模 式被拆散成單件，重新平行構組。 有別於以往從使用者出發，在現今的社會，設計除了根本的美感與功能性外 ，更該具備思考的價值。當一物件能夠激發想像，它便擁有無限的擴展性； 而對於時代而言，其彈性與未定性既可適應過往，又可前進未知。
Deconstruction and reorganization take place by turns in daily life. In this case, we assembled units equally while people in the past, in contrast, assembled units in order to fit specific needs varied from different places and time. As for the concept of assembly, it can be generally divided into several categories, including hierarchical type, heterogeneous type and parallel type, and Self-construction unit is belong to the third division. It simply raises a possible hypothesis that things can be composed of similar individuals. That is to say, users’ logic and experience of assembling can be reconstructed. Nowadays, design is not just about resolving problems for users and providing a beautiful form or fancy funtion. Design should have more cultural connotation. So, if a unit can make people start to imagine and has no particular restrictions, it will has limitless boundaries and possibilities. For the meaning of our time, Self-construction unit is a flexible and indefinite fabric connecting the past with the future.
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concept design
SELF-CONSTRUCTION UNIT 互構體是一種跨尺度與跨領域應用的結構新概念。我們希望透過這個充滿各 種可能性的單元體，激發出人們對於生活問題解答的想像，提供一種普遍性 的思考方式。 互構體的概念源自於錶帶結構的改造，其優勢有二：首先，由於結構形狀的 單一化，無論是在生產過程或是組裝方式上，相較於一般木材或水泥與五金 件的結合，減少了物質與能量的消耗。同時因為互相勾合的組裝模式，省去 了額外的固定物件，增加重複使用的機會。第二，以圓形為基本組裝形狀， 互構體單元提供了一個可供變化的角度範圍，使它在於曲線的造型上更加自 由。
Self-construction unit is a brand new concept of structure, and it can be applied to lots of different fields and in different scales. We try to stimulate people to slove daily issues in innovative ways by providing a imaginative answer that has limitless possibilities. The concept is derived from watch straps and has two features. First, it is a modular unit so it is efficient in material and energy saving no matter during manufacturing process or assembly when comparing to traditional structures. In addition, because of the way of assembling, it can avoid using extra hardware when installing it but improving reusability. Second, the range of changable angle of the structure creates a possibility that its form can be more flexible and flowing.
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concept design
APPLICATION 小尺度方面，使用者依照需求自行組合互構體單元，形成以圓形為基本單位 ，能自由增減的室內外家具。而將尺度放大著眼於結構，互構體不同於一般 建築的營建方式。互相卡接的結構能提供一個中短期的結構體，用於臨時的 居所或空間的需求。而單元結合方式使互構體能扁平收納，在運輸及重複利 用上有著良好的優勢，進而減少能量與資源的消耗。
Users can make creative furnitures freely by assembling Self-construction units. Furthermore, its structure provides a unique way which is different from traditional construction ways to construct a temporary shield or wall for exhibitions or residences. And because it can also be piled up flatly during transportation, Self-construction unit has a good advantage of reusability and reducing environmental pollution and energy waste.
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concept design
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concept design
ALUMINUM EXTRUSIONS 考量到重量與材料的結構強度，最後選擇鋁作為prototype的原料。大地工業 是國內頗具規模的鋁擠型廠商，提供了我們無論在模具、機構或製程上許多 的專業建議。 生活中的鋁擠型常應用於鋁門窗框、散熱器材及建材上，是常見但容易被大 眾忽略的存在。透過這次機會，了解完整的生產線，並嘗試將鋁擠型的地位 翻轉，帶往生產精緻設計產品的可能性。
We chose aluminum as the material of prototype on account of its light weight and high strength of structure. Goodcomer Co., Ltd. is one of the biggest aluminum extrusions factories in Taiwan, providing us a lot of professional advice on the mold, the structure and the manufacturing process. Alumium extrusions are usually applied to daily goods such as aluminium doors and windows, PC heat sinks and building material so they are easy to be neglected. That is why we hope to transform alumium extrusions into delicate design material.
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concept design
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furniture design
furniture design
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03 1/2
half table, half bench
MATERIAL white wood
CO-DESIGNERS Cheng, Tsuei-Wen / Su, Ting
EXHIBITION 2012 / The 22th Taipei International Furniture Show 2012 / NTUE ADD Furniture Design Exhibition / Vice Coordinator
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furniture design
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furniture design
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furniture design
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furniture design
CONCEPT 我們探討不同尺度與高度的家具在營造空間感上的差異，試圖設計一個多面 向的家具，不僅具備使用上的彈性，更能與使用者產生不同的空間互動。例 如空間上橫向與縱向的發展，以及動作上站立與坐臥的變化。透過研究人體 工學，找出家具尺寸與空間性和舒適度間的關聯。而為了設計出變形前後不 同型態間最協調的造形，以及最俐落的機構，更是費盡不少苦心。
We focused on the users' space experience of furniture in different heights and scales to design a muitidimentional furniture that can stretch through both transverse and vertical axes as well as has diverse functions. Studying ergonomics lets us be able to figure out the relationship between the size of furniture, the level of comfort and the spatiality. But to design the most harmonious form and the easiest components still exhaustes us.
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furniture design
FURNITURE EXHIBITON 第一次將設計實際製造出來，採用prototype的方式實現概念。模型製造是新 北市三重區的傳統產業，許多模型工廠在此產生了聚集效益，是台北地區具 有特色的產業模式。 而家具設計課期末展覽，更是第一次將格局從校內展拉至校外，因此身為策 展人之一，面臨了不少從未遇過的挑戰。這次展覽著重於設計與民眾的互動 ，使設計不只是檯子上的擺飾品，而可以實際的透過五感去體驗。這種方式 也受到觀展民眾的好評。
This was the first time we manufacture our design prototype. Model manufacturing is one of the traditional industries in Sanchong District, New Taipei City as well as the distinctive industry in northern Taiwan because there are many factories gathering here. This was also the first time for us to arrange a public exhibition ouside the school. So I encountered lots of chanllenges that I had never expected as a vice curator. The exhibition emphasized that design should interact with the public instead of being just decoration. And it proved popularity eventually.
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furniture design
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product design
product design
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04 氣囊安 帽
AIR HELMET The lithest but safest protector when you bike
MATERIAL nylon fabric / FRP / D3O
CO-DESIGNER Huang, Yen-Kai
ARWARD 2010 / Y.S. Creative Award / Nominated
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product design
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product design
CONCEPT 傳統安佺帽龐大而笨重，使用者難以兼顧外型與功能。多數人在安佺帽發生 過劇烈撞擊後仍照常使用，然而帽體結構其實已產生劣化，造成安佺上極大 的疑慮。我們以耳機造形為概念，試圖挑戰更加輕便及安佺的嶄新設計。
The traditional helmets are always either light but unsafe or heavy but safe. It is hard for users to have a both funtional and fashion helmet. What's worse is that many people have never noticed that there will structural defects on helmet after it is rammed or used for several years. It is a fatal and common safety negligence. Therefore, we tried to design a lither and safer concept of helmet with form of headphone.
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product design
A EASIER WAY TO BIKE Air Helmet應用了陀螺儀及加速儀技術。在偵測到騎士發生異常傾倒或碰撞後 ，便會自動充氣氣囊，在倒地時保護騎士頭部。Air Helmet的防護範圍等同於 一般佺罩式安佺帽，卻能提供一個更加舒適、便利的騎車方式。
Air Helmet applies gyroscope and accelerometers techniques to detect biker's unusual fall and collision. When car accident happenes, it will inflate the air bag (same as SRS in cars) immediately to protect the biker's head from getting hurt before he falling down. What is more, Air Helmet is more comfortable and more easy-to-wear than traditional full-face helmets but has the equal protection coverage.
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product design
THE INNOVATIVE MATERIAL Air Helmet利用前後的旋轉支架，將氣囊完整包覆下巴及後腦部位，並同時將 氣體充灌其中。於每次撞擊發生後，裝上新的氣囊便可繼續使用，可延長使 用時限與確保騎士的安佺。Air Helmet使用創新的材料技術d3o，其分子結構 在受到瞬間衝擊力時，會增加鏈結性強化硬度，能吸收強大的衝擊力道，保 護騎士的頭部。
Airbags are fully inflated and placed on both the biker's jaw and hindbrain by the rotating holders immediately when accident happens. After that, by just easily replacing the airbags, users can extend the life time of Air Helmet and ensure their safety as well. The material in Air Helmet, d3o,is a innovative technique that will increase its molecules' bonding strength to harden itself when receiving huge force or impact. That is to say, it can absorb the shock to protect bikers' head.
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05 過敏原偵測器
Allergy Preventer MATERIAL plastic, metal
CO-DESIGNER Su,Ting
AWARD 2010 / Y.S. Creative Award / Nominated
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product design
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CONCEPT 台灣的氣候溫暖潮濕適宜塵蟎生存，約有九成的氣喘兒童對塵蟎過敏；此外 ，霾害與空氣中看不見的懸浮粒子也是引發過敏症狀的元凶，如何預防過敏 原是現代人經常面對的健康難題。Allergy Preventer讓使用者可隨時隨地評估 空氣品質及偵測過敏原，讓過敏原及有害物質無所遁形。
Taiwan is warm and moist so it is suitable for dust mite which ninety percent of people with allergy are allergic to. Moreover, serious haze and invisible airborne particles are allergen too. Hence, how to prevent allergen is a common heathy issue that most people have in this day. Allergy Preventer provides users a easy way to detect daily allergen and assess air quality anytime and anywhere.
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HOW TO USE 將Allergy Preventer靠近容易孳生塵蹣及過敏原的地方，例如床單、棉被、地 毯等，吸入少量纖維及灰塵進行過敏原快速檢測。螢幕會顯示各種過敏原的 含量，如有超量，將閃爍紅燈予以警告。使用者亦可對空氣品質進行檢測， 檢查空氣中的懸浮例子是否過量。
Place Allergy Preventer near places that easily breed dust mite and allergy, such as bed sheets, bedquilts and carpets, to fast inspect the quantity of allergen. The monitor will show all allergen and the red light will twinkle if it exceedes the safe range. Users can also use Allergy Preventer to access air quailty, knowing that whether there are excess airborne particles in the air or not.
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graphic design
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06 異質 進化
並行
PARALLEL National Taipei University of Education, Department of Arts and Design
MATERIAL paper / ink
CO-DESIGNERS Cheng, Tsuei-Wen / Chang, Chen-Bao / Huang, Yen-Kai
EXHIBITION 2013 / Taiwan Young Designers’ Exhibition (YODEX)
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CONCEPT 異質、進化、並行，我們各自發展而後趨同，趨同中也是相異的存在。以班 上每個人相似卻不盡相同的膚色，暗示同質中產生的異化。將色票取樣、拆 散、分析，再套用至正六邊形的變形上，設計出個人獨特的圖樣。就如同我 們經過四年的養成，雖同為設計人，卻也形塑出了各自的設計觀，成為獨立 的個體。
Diverge, evolve, resemble. We became similar after growing individually, but the similar represents different at the same time. We derived the color sample from every classmate's skin color that implies the uniqueness of oneself, and then analyzed and exploited it to design everyone's unique hexagon pattern. These hexagons are just like us. After four-year design training, we still walk in the same direction toward future of design even though we have very distinct perspective and are becoming independent.
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design sketch
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photo graphy
Vitra Factory Building(2012) SANAA /Weil am Rhein, Germany by Nikon FM2/ 2014
The Master House(1926) Walter Gropius /Dessau, Germany by Nikon FM2/ 2015
Kolumba(2007) Peter Zumthor /Colonge, Germany by Nikon FM2/ 2015
TU Delft EWI(1969) Van Bruggen, Drexhage, Sterkenburg & Bodon /Delft, Netherlands by Nikon FM2/ 2015
The Luce Chapel(1963) I. M. Pei /Taichung, Taiwan by Nikon FM2/ 2013
St. Mary's Cathedral(1964) Kenzo Tange /Tokyo, Japan by Nikon FM2/ 2013
Messe Basel(2013) Herzog & de Meuron /Basel, Switzerland by Nikon FM2/ 2014
For more works, please visit: 500px.com/kuorenzhong