空間科學/ 封塔納遊戲(空間流型)
材料: PLA 3d列印，壓克力板，壓克力棒，銅扣，金粉 ，數位輸出
論述:
莊澤光是一個擁有建築碩士背景的設計師/藝術工作者。在日漸嚴峻的建築產業環境下，試圖透過數位工具與製造去闡述他對於設計、創作與建築的觀點與概念。他著迷於以”變種”的數位製造物件去置換、再造部分日常生活與經典作品，創造出超現實的景致，同時將設計/製造的過程，轉化成作品的一部分，賦予它更多的意義。”空間科學”是他近來專注的創作系列，主題即是以數位物件去置換我們習以為常的一部分，並賦予這原始物件一種新的脈絡與意義。
本作品重新探討二維/三維、媒體/實體之間的可能性。內容包含了數位輸出的偽三維物件與3d列印的偽二維物件兩部份。空間畫家封塔納透過在畫布上割開五道傷痕，打破了二維與三維空間的邊界；作者試圖在電腦煤體中重新詮釋那些傷痕:透過流體模擬再組構那五道軌跡，產生抽象變型的幾何型態-化為二維的偽實體。之後透過3d列印，將虛擬實體垂直堆疊，並加大層積高度產生動態軌跡，除了在垂直向度打破空間，也在其他軸向產生流動；與此同時，這3d列印的過程也變成了一種新型態的繪畫方式，成為了從2d到3d之間的一道橋梁。
Based on the computational technologies, Designer/Artist Che-Kuang Chuang creates a series of complex graphics and sculptures named “Spatial Science” through CG software and 3d printing.
For Chuang, the internal logic and design process is even more important than the final outcome. He is fascinated in the idea of using digital-making object to replace the original ones from daily supplies or classical artworks. Through replacement, the original objects ware given new meanings and context meanwhile turned the realities into a surreal world. Each piece of the objects is based on one unique algorithm in order to generate wired, unique also beautiful geometries.
In “Fontana’s Game(Spatial Fluidity)”, Chuang re-imagines painter Lucio Fontana’s work in a digital way. Fontana breaks the boundary between 2d and 3d space by cutting through canvas, and in Chuang’s work he tries to keep developing this idea. Through Maya software, Chuang re-created Fontana’s scars of canvas in digital space and used them to do the fluid simulation. During the simulation, the fluid particles passed through the scars and generated sophisticated geometries. In the end the final form truly broke the boundaries of 2d and 3d space, flowed into the real world and becomes complex, beautiful objects. Meanwhile during the fabrication of sculpture based on the fluid forms, the mechanical movements of 3d printer became a new type of painting actions in a 3d way. For Chuang, the final result has become a new representation for painting in the digital era.
空間科學/ 格式塔遊戲 (數位盛放)
材料: PLA 3d列印，壓克力棒，玻璃，乾燥花，數位輸出
論述:
莊澤光是一個擁有建築碩士背景的設計師/藝術工作者。在日漸嚴峻的建築產業環境下，試圖透過數位工具與製造去闡述他對於設計、創作與建築的觀點與概念。他著迷於以”變種”的數位製造物件去置換、再造部分日常生活與經典作品，創造出超現實的景致，同時將設計/製造的過程，轉化成作品的一部分，賦予它更多的意義。”空間科學”是他近來專注的創作系列，主題即是以數位物件去置換我們習以為常的一部分，並賦予這原始物件一種新的脈絡與意義。
延續整個系列的精神，本作品同樣在探討二維/三維、媒體/實體之間的可能性。內容包含了數位輸出的圖像作品與3d列印的雕塑兩部份。
在這個方案裡嘗試單一使用指令"Offset(偏移)"去做型態的生成。透過這種技法，從一開始的二維的、正方形的線架構開始發展，偏移變化為三維空間中的雕塑物。與此同時因為偏移過程中產生的misfits(小誤差)，物體開始產生突變，因而有了更多更豐富的造型語彙，最後變成了界於有機與無機體之間的幾何形態構成；成為了一個超日常的插花物件-表面看似一般，但在其中卻隱藏了詭異、突變’但又美麗的細節。
Based on the computational technologies, Designer/Artist Che-Kuang Chuang creates a series of complex graphics and sculptures named “Spatial Science” through CG software and 3d printing.
For Chuang, the internal logic and design process is even more important than the final outcome. He is fascinated in the idea of using digital-making object to replace the original ones from daily supplies or classical artworks. Through replacement, the original objects ware given new meanings and context meanwhile turned the realities into a surreal world. Each piece of the objects is based on one unique algorithm in order to generate wired, unique also beautiful geometries.
The project “Gestalt’s Game (Digital Blossom)” aims to replace the daily supplies with the digital object to create surreal views. It started from one simple computer command ”offset” , which can be seen very often in all CAD/CAAD programs. At the very early stage the project began from one simple 2-dimensions wireframe square. Then with multiple repetitions of command “offset”, the 2d wireframe has become one 3d-object. During the process, it started to mutant with itself because of the misfits during the repeating offset-commands. This kind of misfits made the form has much more details inside, just like the natural organics. Meanwhile it became one typological system which had different geometrical language but still shared the same gene. In the end it has become one beautiful, artificial flower but with wired mutants inside, turns the ordinary flower arrangement works into a surreal realities.
Publication on:
空間科學/ 貝尼尼遊戲 (形變之火)
材料:PLA 3d列印，壓克力板，壓克力棒，銅扣，金粉 ，數位輸出
論述:
莊澤光是一個擁有建築碩士背景的設計師/藝術工作者。在日漸嚴峻的建築產業環境下，試圖透過數位工具與製造去闡述他對於設計、創作與建築的觀點與概念。他著迷於以”變種”的數位製造物件去置換、再造部分日常生活與經典作品，創造出超現實的景致，同時將設計/製造的過程，轉化成作品的一部分，賦予它更多的意義。”空間科學”是他近來專注的創作系列，主題即是以數位物件去置換我們習以為常的一部分，並賦予這原始物件一種新的脈絡與意義。
延續整個系列的精神，本作品同樣在探討二維/三維、媒體/實體之間的可能性。內容包含了數位輸出的圖像作品與3d列印的雕塑兩部份。在這個方案裡嘗試的幾何研究，是關於細胞幾何的排序以及模糊其邊界的方法。從一開始單一的幾何單元體，依照其形態去做平面上的配置，同時透過細分多邊形的建模技術讓其表面複雜化，並開始抽離第二、以至於第三層的表面幾何。最後生成的幾何體遂變成一個有機、複雜，同時動態而美麗-介於人造與自然美學之間的精美雕塑。這樣的一個介於動態與非動態之間、單一物件與複合物件被模糊的幾何體，也對應到了早期巴洛克藝術家-貝尼尼的作品意象。以此作為遊戲三部曲的終結，回應了系列作品的最終論述:數位物件、技術是如何重塑了我們的美感、甚至是重新詮釋了我們歷史中、生活中、美的形象。
Based on the computational technologies, Designer/Artist Che-Kuang Chuang creates a series of complex graphics and sculptures named “Spatial Science” through CG software and 3d printing.
For Chuang, the internal logic and design process is even more important than the final outcome. He is fascinated in the idea of using digital-making object to replace the original ones from daily supplies or classical artworks. Through replacement, the original objects ware given new meanings and context meanwhile turned the realities into a surreal world. Each piece of the objects is based on one unique algorithm in order to generate wired, unique also beautiful geometries.
In “Bernini’s Game(Morphed Sparks)”, Chuang design this elegant and fancy patterns through studying the inner logic of cell-growing. At the very begging he started the form studies with only one cell, then based on it’s geometry decided the growing path and developed several different layouts. At the same time he blurred their boundaries through subdivided surfaces of cells, making them become something complex but beautiful and elegant multi-objects. In the end it has become a beautiful form which is just like a modern baroque sculpture in the digital era. For Chuang, this works is the end of Spatial Science series and become a clear manifest of this series-how the digital object has changed our aesthetic and how they re-Interpret the beauty in mankind lives and history.
Publication on:
