臺灣博碩士論文加值系統

由於生物間存在著個體差異，設計流程中所考量的目標使用者需求和最終使用者的需求可能有所不同，因此市場上出現讓消費者可以按照自己的喜好決定設計、改造產品的方式，而為了提供滿足消費者個體需求的產品，設計師的角色除了需要考量美學、使用性、生產製造外，也要思考產品個人化的方式，讓消費者能參與設計階段，部份決定出心中期望的產品外觀或功能。

研究過程首先探討消費文化以了解消費者角色的變化，再探討現今滿足消費者更動設計需求的模式，包含客製化(Customization)、個人化(Personalization)和開放設計(Open Design)，並且了解其特色和彼此之間的差異性；最後分析運用產品個人化所設計的作品，並歸納出三項具體的產品個人化設計的操作手法：1. 材質導向變化；2. 結合使用者的創造物與現成物；3. 單元組合與拆解。

本論文以創作的形式呈現研究成果，根據所整理出的三項操作手法進行創作，以期作為後續創作方式的參考，三組作品分別為：1.骨折固定變形支架 (Cell-Cast) ─ 利用低溫熱塑材質和單元件組合的方式，快速製作出符合不同骨折病患需求的個人化支架；2. 快閃展台(POPUP Gallery) ─ 結合蜂巢結構以及展台組件單元化的特色，創造出彈性化的展台系統方便參展人組合和運送； 3.桌上風景(Trayscape) ─ 讓使用者創作出展現自我風格的桌上置物盤系列。

Since all organisms vary from individual to individual, the needs of the target group of users in the product development process may not match the end user’s individual needs. Thus, there are some ways to allow consumers to modify the design and fit their individual preferences. In order to offer products which can satisfy each customer as an individual, the role of a designer will not only need to consider aesthetics, usability and manufacturing, but also need to know how to implement product personalization in the products, involving consumers in the design process and allowing them to partly determine the appearance or functionality of their products.

In this paper, we begin with the consumer culture to know how the role of consumer changes. We then discuss current paradigms that incorporate consumers in the design, including customization, personalization, and open design to understand each paradigm’s characteristics and find the difference among them. Finally, after analyzing design cases that consumers can actually perform product personalization, three major design manipulations are categorized as below: (1) Material driven change; (2) Combining with users’ creations and ready-made objects; (3) Modular assembly and disassembly.

This paper presents the results through three design creations which apply different product personalization features. Three works are following below: (1) Cell-Cast: By utilizing low-temperature thermoplastic material and assembling modules, making it easy to make personalized casts for patients and make treatment more comfortable.; (2) POPUP Gallery: Combining honeycomb structure and modular components to enable exhibitors to easily set up, transport and create varied display scenarios; (3) Trayscape: Inviting users to create their own styles of trays.

第一章 緒論 1
1.1 創作背景與動機 1
1.2 創作目的 2
1.3 創作架構與流程 2

第二章 文獻探討 4
2.1 消費文化的轉變 4
2.2 開放設計 5
2.3 客製化 6
2.4 個人化 7
2.5 小結 10

第三章 設計案例探討 11
3.1 設計案例分析 11
3.1.1 FlexibleLove 11
3.1.2 The Corkers 12
3.1.3 Clouds 13
3.1.4 Paper Vase Cover 14
3.1.5 The Stooler 15
3.1.6 Bloc'd Sofa 16
3.1.7 Corals modular seating 17
3.1.8 A Book Box 18
3.1.9 ROOM Collection 19
3.1.10 Block Mold 20
3.1.11 KONNEX 21
3.1.12 BLANK WALL CLOCK 22
3.1.13 Intersections 23
3.1.14 Light Form 24
3.1.15 Air Vase 25
3.1.16 Piano Shelf 26
3.1.17 The Link Shelf 27
3.1.18 'Arm' chair 28
3.1.19 ELKEBANA 29
3.1.20 Garland 30
3.1.21 Do Cut 31
3.1.22 Towel With Further Options 32
3.1.23 一張名片 33
3.1.24 TinkerBots 34
3.1.25 Baboo 35
3.2 設計案例整理與分析 36
3.3 小結 42

第四章 設計實作 43
4.1 骨折固定變形支架 (Cell-Cast) 43
4.1.1 創作背景與動機 43
4.1.2 初期概念發展 44
4.1.3 第一次材質實驗 45
4.1.4 第一次草模製作 46
4.1.5 第二次草模製作 49
4.1.6 第三次草模製作 52
4.1.7 成品製作 54
4.1.8 設計定案成果 56
4.2 快閃展台 (POPUP Gallery) 61
4.2.1 創作背景與動機 61
4.2.2 初期概念發展 62
4.2.3 材質測試 64
4.2.4 模型製作測試 65
4.2.5 成品製作 69
4.2.6 設計定案成果 72
4.3 桌上風景 (Trayscape) 78
4.3.1 創作背景與動機 78
4.3.2 初期概念發展 79
4.3.3 第一次草模製作 81
4.3.4 第二次草模製作 83
4.3.5 成品製作 87
4.3.6 設計定案成果 88

第五章 設計成果與自我評估 93
5.1 骨折固定變形支架(Cell-Cast) 93
5.2 快閃展台 (POPUP Gallery) 95
5.3 桌上風景 (Trayscape) 96

第六章 結論與建議 98

參考文獻 100

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