TOMY

偽娘 raindog 正妹 HOLGA 無尾熊 

高捷世運站設計圖我開始佩服電腦設計師了，因為我光比對這些設計圖；我的腦袋就快要炸開了；更何況是設計的人呢！難怪電腦設計師理工科都很強，我數理不好偏偏還是讀理工科；好像有比一般人好一點啦！但是我的設計圖和圖學都是"狗屎運"All pass!因為考試正好抽到我會的題目，不然我可能會重修那些"恐怖的科目"；還在畫不知道畫什麼的"鬼畫符的設計圖"。設計圖不是想畫什麼就畫什麼，每一筆一畫全部都要用公式計算過才能下筆；計算錯誤全部都得重來，難怪設計師每一個都白髮蒼蒼。喜歡畫圖跟設計是兩回事，設計圖根本就是幾何學延伸出來的產物。 Virtual flythroughs allowed assessment of the project scale, sunlight, proximity to Half Cliff Mountain, viewing perspectives, and to more gain sense of the site. Since 1998, WJI preliminary project development includes in-house model construction and virtual site visits.真正flythroughs 允許對項目標度的評估, 陽光, 接近度與半峭壁山, 觀看的透視, 和與站點的更多獲取感覺。自1998 年以來, WJI 初步項目發展包括機構內部的式樣建築和真正現場採訪。WJI initially modeled R17 in 2002. After arranging scanned plans and elevation in a 3-D environment, the form of the building naturally emerged. Architectural evolution between 2002 and 2007 led to four entirely different WJI models.2002 年WJI 最初地被塑造的R17 。在安排被掃描的計劃和海拔以後在3-D 環境裡, 大廈的形式自然地湧現了。建築演變在2002 年和2007 之間導致了四個整個地不同的WJI 模型。This poster depicted a bird's eye view of the station five years prior to the final design.這張海報描述了駐地的一個鳥的眼睛看法五年在最後的設計之前。海上雄獅設計圖The elevated rapid transit station straddles a six-lane highway. Construction state as of September, 2007. 被舉起的高速運輸駐地跨立六車道高速公路。建築狀態2007 年自9月。 Imagining in 2003. ─2003 年想像。看起來就覺得很複雜The Rainforest Canopy reclaims the place where it once flourished. Colored light washes down from above. Design embraces both the architecture and the freedom of the leafy world it represents. As a compass for the traveler, color continuum extends from the Cool polar north to the Warm south. Southward view during installation, November, 2007. 雨林機蓋索還它曾經茂盛的地方。色的光洗滌下來從上述。設計接受建築學和它代表葉茂盛世界的自由。作為一個指南針為旅客, 顏色連續流延長從涼快的極性北部對溫暖的南部。向南看法在設施, 2007 年期間11月。 This 10:30 A.M. study depicts sunlight along the west/east arc of the subtropical sun. The rapid transit tracks run due north/south. Extensive studies and animation chronologize development.這上午10:30 研究描述陽光沿亞熱帶太陽的west/east 弧。高速運輸軌道跑適當north/south 。廣泛的研究和動畫chronologize 發展。原來彩色玻璃的用意是要陽光照射，灑落下來折射彩色的光；我每天從這裡坐去學校上學都沒看到"彩色的光"。Visible shapes and code is a pattern language application written by Christian Karl Janssen after returng from the first inspiring trip to Kaohsiung, Taiwan, during October 2002. A programmed core generates rectalinear geometries based on designed randomness and a structure of naturally occurring geometric harmony. Brushwork compositions line the 1,400 linear feet of concourese and entrance escalators. Each brushwork composition is a three-dimensionally transformed instance of the pattern language application. Straight lines in the image above appear in R17 as hand-painted arcs, and rectangluar areas above appear in R17 as billowing panels of hand-made paper.可看見的形狀和代碼是樣式語言應用由Christian?卡爾?Janssen 寫在returng 以後從第一富_示性的旅行到Kaohsiung, 臺灣, 在2002 年期間10月。一個被編程的核心引起rectalinear geometries 根據被設計的隨機性和自然發生的幾何學和諧結構。 Brushwork 構成排行concourese 和入口自動扶梯的1,400 隻線性腳。各brushwork 構成是樣式語言應用的一個three-dimensionally 被變換的事例。直線在圖像上面出現在R17 作為手畫弧, 並且rectangluar 區域上面出現在R17 作為手工紙billowing 盤區。寫這種程式的人腦袋是怎麼做的，不是人腦吧！其實腦袋IC晶片組成的吧！This data array includes 233 elements. The Rainforest Canopy includes 233 panels. A custom control system escorted each panel through multiple layered phases of 2-D and 3-D grapic processing. The R17 canopy overall design was divided into 233 datasets, and then each dataset feed processes from which layers of its final visual self was derived.R17 project art glass design data includes approximately 5.6 trillion pixels. Custom automation was mission critical to finesse massive data quantities, achieve the aesthetic program, and meet project deadlines. 這個資料列陣包括233 個元素。雨林機蓋包括233 個盤區。一個習慣控制系統護航各個盤區通過多個層狀階段第2 和3-D grapic 處理。R17 機蓋整體設計被劃分了成233 資料集, 和然後它最後的視覺自已層數被獲得的各資料集飼料過程從。R17 項目藝術玻璃設計資料包括大約5.6 兆映像點。習慣自動化是使命重要對精良大資料數量, 達到審美節目, 和遇見項目最後期限。 資料來源-公共藝術推廣中心：http://publicart.krtco.com.tw/artists/index.html圖片來源-http://www.ronwood.com/r17/R17_model.html

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