| Budget Amount *help |
¥3,000,000 (Direct Cost: ¥3,000,000)
Fiscal Year 1998: ¥1,300,000 (Direct Cost: ¥1,300,000)
Fiscal Year 1997: ¥1,700,000 (Direct Cost: ¥1,700,000)
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| Research Abstract |
In this paper, I attempt to clarify the following points in an effort to throw light on the details of the geometrical and conceptual information of a car and seek how to design the form of a car body. To this end, I focus on the relations between the exaggeration approach for a likeness and other kinds of information used for the same purpose.
(1) Extracting an interrelation between the exaggeration approach for a likeness and the conceptual information
The exaggeration processes used for a likeness can be described as follows, "1. Realistic," "2. Simply exaggerated," "3. Symbolic," "4. De-constructive", "5. Allegorical," "6. Images or traces" and "7. Advanced." In the order from 1 to 7, the more abstraction is propelled, causing the recognition of an individual's looks to become difficult but their impression to be clearer and stronger. The reason is that in 5, 6 or 7 less emphasis is given to the elements of the looks themselves ; rather, metaphors or images are applied or further dev
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iation is attempted based on these symbolic traits.
(2) Originating an exaggeration approach for the forms of car bodies
The conventional studies have focused on the exaggeration processes 1, 2, 3 and 4 in which the elements of one's looks are manipulated. They have pointed out that the counter of a profile is expressed by dots and lines that link the dots and exaggerated by deformation based on the positional information of the dots. On the other hand, they have proven that only the positional information of dots can cause the framework of a form to become out of shape in the process of deformation. As such, taking the line continuity into consideration, I used the Fourier transformation to decompose a counter into frequency spectrums and cut them off partially. In this approach I attempted to infer how much geometrical information is contained in each frequency spectrum and examined how it is related with our feature ascertainment. For the side view of a car body, I also followed this approach to deform the counter and made a comparison about what kinds of deviations take place from the original form, based on the easiness of identification. The results made me realize that although the frequency spectrums between 1 Hz and 48 Hz contain the geometrical information to represent the proportion of the entire car body, they are not always enough to contribute to the easiness of identification. Also, I found out that the frequency spectrums below 49 Hz contain such geometrical information can constitute accenting factors that control the entire design and that this kind of information can contribute to the enhancement of identification. Less
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