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DESIGN,GRAPHIC,ILLUSTRATION,VISUAL,WEBSITE,VIDEO,ANIMATION,UI&UX,DO ANYTHING

Hey, We do

DESIGN,GRAPHIC,ILLUSTRATION,VISUAL,WEBSITE,VIDEO,ANIMATION,UI&UX,DO ANYTHING

Hey, We do

DESIGN,GRAPHIC,ILLUSTRATION,VISUAL,WEBSITE,VIDEO,ANIMATION,UI&UX,DO ANYTHING

Hey, We do

DESIGN,GRAPHIC,ILLUSTRATION,VISUAL,WEBSITE,VIDEO,ANIMATION,UI&UX,DO ANYTHING

Hey, We do

DESIGN,GRAPHIC,ILLUSTRATION,VISUAL,WEBSITE,VIDEO,ANIMATION,UI&UX,DO ANYTHING

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OGANNA believes that the transformative power of creativity and culture is an indispensable cornerstone of our workflow. Our mission is articulated as follows: through our designs, we aim to evoke resonance of value across various dimensions including society, culture, business, art, intellect, and emotions.

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Creating the visual layout and user interface of websites to enhance user experience and achieve specific goals.

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Creating visual representations, often hand-drawn or digitally created, to accompany text or convey concepts.

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Designing for various forms of media, such as print, digital, or broadcast, to communicate effectively with audiences.

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Creating moving images or visual effects through the rapid display of a sequence of static images.

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Developing a strategic plan to establish and maintain a brand's identity, including its visual elements, messaging, and positioning.

UI &UX

User Interface (UI) design focuses on the look and feel of a digital product, while User Experience (UX) design focuses on the overall experience of the user interacting with the product.

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This category may include various design-related tasks or specialties not covered by the other categories. For example, AI-generated image services for designers.

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尋找設計線索,從建築到生活的當代轉譯:專訪版塊設計創辦人李明 × ONE.1O Society負責人牛子齊 × 草原市務所設計總監黃薔 建築,對於一般大眾而言,常被視為冷冰冰,難以親近的存在。然而,當我們置身於城市之中,建築其實是最貼近生活的載體——它以有形與無形的方式渗進日常。這次我們來到位於三重頂崁工業區、由共序工事操刀的「QUAN_泉*場」,邀請3位分別來自平面設計、策展與網站設計領域的創意工作者,分享他們如何帶著各自的觀察與經驗,重新詮釋建築,並探索其與生活的連結。 「我其實是建築的門外漢,」牛子齊一開始就笑著坦承,「但我很喜歡走逛,像青森美術館、墨田北齋美術館、麻布台之丘等,我自己都很喜歡。」她對空間的第一印象來自直覺——「包覆感」是她進入任何空間時最先感知的元素,「我身高不高,如果連我都覺得空間有壓迫感,那它真的很壓迫。」對空間尺度的敏感,源自對身體與環境的直接體驗,「在泉場,我一進門就感受到空間的開闊,雖然是工業區的街屋,但設計讓它不顯得局促。」 草原市務所於2023高雄貨櫃藝術節展出作品「兩百萬克與兩百克」。(圖片提供:草原市務所、高雄市立美術館,攝影:Studio Millspace)光線是另一個她關注的重點,「我做過眼睛雷射手術後,對光線特別敏感,這裡的紗網窗框讓光線變得柔和,又保留了工業感。」動線對她而言也很重要,「我一直在走、在看,會想知道設計師如何引導我的視線。」此外,廁所與廚房這類生活機能空間是必然會頻繁使用之處,實用卻不打擾主空間的設置也會增加好感度。 (圖片提供:草原市務所) 煌奇石業廠區改造設計,展示交流空間外牆使用一大片青玉石天然面原礦牆,強化「走入世界礦山」的概念。(圖片提供:草原市務所) 李明對於建築的啟蒙,則始於10年前和工二建築的合作,「那時我完全不懂建築,只能跟著看,後來才發現建築有內外之分——外觀可以天馬行空,內部則回歸人的需求。」這種內外對話的啟發,來自他參與新竹市立動物園的指標設計項目。「我們用摺紙概念設計站牌,試圖回應建築本身的想法,那一刻我才意識到,建築不只是蓋房子,而是多層次的表達。」 (圖片提供:草原市務所) 「2024新北市街頭學校」以鏡面呈現代表街頭的斑馬線、道路指示牌、公車站牌等,搭配街頭塗鴉藝術,打造街頭即景。(圖片提供:草原市務所)對李明來說,建築的魅力在於細節。他近期因搬家與開店,連續參與3次室內設計,「我現在看建築,會先注意材質和細部——地板紋理、椅子靠背,甚至門軌為什麼用5根而不是3根,這些細節比整體格局更能觸動我。」他喜歡從微觀切入,慢慢拼湊出空間的全貌,在泉場,他特別提到電梯出風口,「設計很低調,但材質和線條都很精緻,這些微觀元素細膩到讓人很想摸一摸、感受 一下。」 而建築本科出身的黃薔,對建築的興趣始於高中。「我喜歡畫畫,也對力學感興趣,覺得建築是藝術與技術的結合。」但大學時的學習顛覆了她的想像,「我的老師王俊雄採用比較自由的教學方式,不直接教硬知識,而是讓我們思考如何面對城市的紋理與脈絡。」建築不再只是工程,而是設計師對場域的詮釋,與在地文化的對話,當時讓她覺得,「這比單純蓋房子有趣多了!」黃薔喜歡親身走訪建築現場,「我前陣子去了義大利和西班牙,參觀許多建築師的作品,比如Carlo Scarpa和高第。現場的震撼是平面無法傳達的,尺度、光影、聲音,都讓人感受到建築的生命力。」她一開始就被泉場的外立面吸引,「它的鐵皮和RC結構很有工業區的粗獷感,但設計師用輕盈的金屬窗框,讓它變得現代又不失脈絡,這種處理方式很打動我。」對她而言,建築的距離感並非障礙,而是需要身體力行去跨越的邀請。任意穿梭不同維度 藉由平面設計、網站設計、策展等不同面向轉譯建築空間,觀者更能以「建築以外」的觀看方式感受建築。「我把泉場看成一個rebranding的案例,」牛子齊說,「它保留了工業區的氣質與調性,比如金屬元素,但用設計語彙重新詮釋,就像給品牌換上當代的妝容。」她認為,平面設計在空間中的角色,是將抽象的概念具象化,「平面設計關注的是觀者的閱讀動線,這與空間的物理動線有共通之處。只是維度不同——一個是平面上的流線,一個是人在空間中的移動方式,如同設計畫面時的視覺分配。」跨領域的思考讓她能從視覺系統的角度,放大建築的細節與故事。 移動中微觀,品味細節 「我喜歡用『移動中的觀看』來感受建築,」李明分享道,「我和女朋友常騎摩托車在台北巷弄慢騎,速度控制在20公里左右,邊看房子邊聊天。」這種方式讓他捕捉到建築的多元面向——「窗戶的造型、樓梯的線條、漏水的痕跡,甚至外掛電梯的設計。」他和牛子齊兩人不約而同提到臨沂街一帶,「那裡有日式老屋、現代建築、公共住宅, 風格交雜得像台灣文化的縮影。令人不禁猜想,住在那樣的老屋裡,會是什麼生活樣貌?」對李明來說,建築不只是靜態的物件,而是城市生活的動態拼圖。「我不會刻意打破建築的距離感,因為這種距離本身就是一種美,讓人有空間去思考和想像。」他認為,網站設計可以延伸這種體驗,「它不該只是模擬現場,而是提供現場沒有的東西——歷史背景、未來想像,甚至是情感連結。比如泉場的網站,可以加入三重工業區的脈絡,讓人更理解這棟建築的意義。」敘事 VS 轉譯建築的多重面向 黃薔則從建築的立面切入,分析泉場的設計。「它的外觀很聰明,用金屬鐵件拉出深窗框,既保留原始立面,又讓光線更有層次。」她認為,這種輕盈的手法不僅整合了RC、鐵皮等不同質感,還讓建築在工業區中醒目卻不過於突兀。「建築師的意圖是回應環境,而不是壓過它。這裡的窗框重複出現,既有識別度,又不顯得沉重,我很欣賞這種平衡。」 她還興奮地想起義大利建築師Scarpa的打字機展示中心,「那個空間一開始就是為展示打字機設計的,樓梯如打字機鍵盤的懸浮感、金屬飾條的工藝細節,都呼應展品的主題。」她認為,成功的策展應該讓空間與展品相輔相成,而非把空間當成單純的載體。她想像,「泉場可以利用它的金屬元素和工業感,設計與電梯零件相關的主題,在外立面投射電梯運行的動畫,或者在室內用AR展示零件結構,讓人更理解這裡的故事。」對她來說,如何回應空間的特性至關重要。沉浸帶來啟發,數位想像擴展空間體驗 「數位視覺也可以讓空間更有參與感,」牛子齊進一步想像,在泉場的外立面紗網上做投影,就像畫布一樣,也許能創造聲光效果或大色塊的視覺衝擊。她提出可以用投影從外立面到室內,創造互動體驗,比如1樓投影零件製作,2樓做AR互動,3樓辦沉浸式派對等等,並強調數位體驗的核心在於記憶與傳播,「它不只是展示,而是讓使用者留下印象,甚至分享到社群媒體,自然擴散空間的影響力。」李明則認為,「網站是數位體驗的好工具,它能補充現場沒有的東西,比如建築的歷史或未來的可能性。」以泉場為例,「網站可以加入三重工業區的歷史資料,或者展示這棟建築如何從工廠轉型成展示空間,甚至開放使用者提案未來的活動。」他強調,數位呈現不該只是傳遞資訊,「而是讓人即使離開現場,仍然能回溯體驗,甚至產生新的連結。」對3樓的無定義空間,他認為數位設計也能反映這種彈性。「網站不必做滿內容,而是根據不同活動動態調整,就像這空間本身一樣,讓使用者參與定義它的未來。」這種開放性,讓數位成為建築的延伸,而非單純的複製。 文章出處

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百年運動品牌 Mizuno 不僅持續拓展運動時尚版圖,甚至還跨界與機能科技結合。這次 Mizuno 2025 春夏系列不僅燃起 Y2K 復古潮流,還將戶外越野元素融入設計,讓運動時尚更具層次感。除了鞋款發表,Mizuno 首度進軍綠能市場,與新加坡電動自行車品牌 EQUICK 攜手推出聯名車款,將速度與環保提升至全新層次。這次發表的鞋款與電動自行車將在 EQUICK 旗艦店正式亮相,讓更多人感受移動美學的全新可能。 MIZUNO攜手EQUICK將戶外越野元素融入設計,打造兩款聯名電動自行車!向 Y2K 與越野文化致敬 MIZUNO攜手EQUICK將戶外越野元素融入設計,打造兩款聯名電動自行車! 本季春夏系列包含 Millennium 與 Mujin 兩大鞋款,各自展現不同文化的精彩風貌。Millennium 系列以千禧世代的未來主義為靈感,從 Wave Rider 10、Wave Prophecy LS 到 MXR,打造融合金屬銀、亮黑光澤、鑽石網紋與反光細節的未來感設計,並運用紫色與靛藍點綴,巧妙平衡科技感與街頭風格,完整詮釋 Y2K 年代的前衛魅力。 MIZUNO攜手EQUICK將戶外越野元素融入設計,打造兩款聯名電動自行車!相較之下,Mujin 系列更著重機能與戶外探索精神。Wave Mujin LS GTX 延續越野跑鞋標誌性的功能,配備 Vibram 黃金大底與 Gore-Tex 防水技術,不論日常穿搭或戶外探險,都能穩定應對各種地形變化。Mizuno Enerzy 中底則提供緩震回彈力,確保長時間穿著依然舒適無負擔。MIZUNO攜手EQUICK將戶外越野元素融入設計,打造兩款聯名電動自行車! 文章出處 

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  圖片來源 / 屏東縣政府因應 2024 年全民運動會即將於 10 月在屏東盛大展開,屏東縣政府推出相關系列活動作為前導,透過「設計有夠南」特展傳遞運動家的精神與魅力。2024 全民運動會即將於 10 月在屏東縣展開,為因應運動會的舉辦,屏東縣政府祭出系列活動做為暖身。其中,包括在屏菸 1936 文化基地展出的「設計有夠南」特展,該展結合設計師、運動員跨領域專業,於展區打造五感體驗互動裝置,邀請民眾發揮設計想像力,傳遞運動員不畏艱難的精神。 運動與設計可以怎麼結合?   圖片來源 / 屏東縣政府「設計有夠南」特展由曾於 2022 年策劃台東設計師週的時尚設計師 Daniel Wong 擔任策展人,結合 Daniel Wong 狂想、叛逆與創新創意的特質,透過設計將跨領域的知識相互彙整,為屏東設計運動會揭開序幕。此次,「設計有夠南」特展邀請來自全國 50 位空間、服裝、平面、產品等不同領域的設計師,以 2024 年的全民運動會為主軸,於屏菸 8、9 號倉庫打造結合設計及運動的沉浸式體驗,帶領觀者感受創意無限的設計力。 其中,設計師們將四大設計領域轉化為運動探索互動裝置,讓觀者可以敞開五感大門,猶如置身於各賽場,以滑梯、球池深化空間設計的感知,也可以在服裝秀上為喜愛的設計師歡呼加油;或是化身設計師,透過數位裝置創造一款獨家運動套裝,甚至騎著自行車與設計師們一起奔馳,努力完成作品。  圖片來源 / 屏東縣政府四大主題展區,闡述運動與設計之間的關係 針對此次跨領域的合作策展,屏東縣府文化處表示,每個創作的過程都由如運動競技一般,皆是經由無數次嘗試與挑戰方能形成,設計的成果也希冀融入運動家精神,讓觀展者可以透過與展區互動,看到運動與設計節後所摩擦出的火花。此外,也能藉由展區各種有趣的互動體驗,了解設計的歷史、方法、風格、特色及每件作品背後的努力、巧思與發展過程,激發出無限創意與靈感。 針對此次與屏東縣政府的合作,策展人 Daniel Wong 提到:「我認為『運動』與『設計』很像的兩個特點,是我們可以透過好玩、互動的模式,將這個精神與更多人分享。」設計是表達的管道、亦是一種語言,設計的根本在於解決問題,同時設計師透過不斷提升自己來精進自己解決問題的能力,這也與運動希望傳遞出的精神不謀而合。   圖片來源 / 屏東縣政府此次「設計有夠南」特展包括四大展區,將羽球、桌球、游泳、攀岩、網球、撞球等運動項目,結合各種設計領域,包括平面設計、產品設計、空間設計、服裝設計等,穿越不同領域,以設計師獨特的視角和想像力,解構想法、面對挫折與挑戰,傳遞運動員不畏艱難的態度。 在空間設計展區中,設計師以「五感」為主題,期待打開觀者的眼睛、耳朵和雙手,如同運動員在賽場上關注所有細節一般,深化觀者對於空間的感知;而產品設計展區著重於「創意」與「技術」的結合;服裝設計展區則強調追求卓越的精神,傳遞運動員與服裝設計師融合才華與信念,展現出驚人成果的過程;而平面設計展區則強調美感的培養有如運動員持續訓練的歷程,兩者皆透過不斷發散與收斂的過程,找到自身的能力與特色。  展覽期程|112.12.29 – 113.10.31展覽地點|屏菸1936文化基地 8、9號倉庫購票資訊|購買屏菸「常設展票」即贈「設計有夠南」門票,票價請參考 設計有夠南 DESIGN SUPER SOUTH文章出處

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 The evolution of retail design warrants a study of architectural practice in the digital realm. While physical commercial spaces have been the conventional center of shopping experiences, the emergent frontier of the metaverse—an interconnected network of virtual 3D environments—indicates an important shift in brand-consumer interactions. For architects, this liminal space presents a unique canvas, free from the material constraints that have traditionally molded design ideations.The metaverse is a new terrain where the architecture of imagination may be fully realized, inviting a reconceptualization of retail design possibilities. For decades, retail design has focused on crafting experiential spaces that draw in consumers, optimize product presentation, and reinforce brand identities. From the carefully composed displays of upscale boutiques to the efficient layouts of supermarkets, every element of the physical retail environment is purposefully designed to influence shoppers' experiences and behaviors. The retail landscape has witnessed a shift with the disruptive advent of e-commerce, leading to the gradual erosion of traditional brick-and-mortar establishments. The commodification of convenience by online marketplaces has captivated consumer attention, drawing them away from physical retail spaces. While the digital realm's dominance is an indisputable reality, it often obscures the sentimental bonds and serendipitous sense of exploration enabled by physically engaging retail outlets. Related ArticleTech, Big Data, and the Future of Retail DesignWithin this digital realm, the boundaries between the tangible and intangible become fluid, giving rise to immersive environments that challenge conventional notions of retail engagement. The metaverse presents an opportunity to reimagine the very essence of the consumer journey, blending the tactile allure of physical spaces with the boundless possibilities of virtual realms. The metaverse brings an unexplored technosocial phenomenon that may catalyze the revival of traditional physical retail infrastructures.By holding space for a confluence of virtual and material touchpoints, this medium holds the potential to reconstruct consumer experiences.  Save this picture!Retail Design in the Metaverse: A New Venture for Architects - Image 5 of 8Mango Teen Store / Masquespacio. Image © Luis Beltran. Image Courtesy of TheArsenaleSamsung has taken a pioneering step by unveiling a virtual replica of their flagship 837 store in New York City within the Decentraland metaverse platform. This initiative underscores how major tech giants are swiftly embracing the metaverse as an innovative commercial frontier. Samsung's virtual 837X store offers an immersive "experiential playground" with multi-zoned attractions and rewards users with exclusive NFTs for completing quests, setting an example for other businesses to follow. The store's engaging features, such as a resident virtual DJ and raffles for branded avatar accessories, highlight the advantages established brands enjoy in leveraging their resources and brand equity to build a compelling presence within metaverse environments. As an early mover, Samsung's 837X demonstrates how retailers can creatively translate their physical experiences into captivating digital realms.  It's not just technology firms embracing virtual retail spaces, but also iconic fashion brands renowned for their cutting-edge sensibilities. Balenciaga, for instance, made a bold statement by unveiling its collection through an immersive video game experience. Available to fashion enthusiasts at videogame.balenciaga.com, users embark on a journey through a dystopian Balenciaga store setting, ascending to increasingly lush and utopian virtual environments, culminating in a calming breathing exercise. The brand has established a dedicated virtual division "entirely focused on developing products, projects, and experiences designed specifically for the metaverse," signaling a broader strategic shift within the fashion industry towards embracing these emerging digital spaces. provenance

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HONOR × Porsche Design聯名系列登場,科技和汽車愛好者們一定會驚艷!先前Porsche Design與科技潮流引領品牌HONOR合作,推出厚度低於1cm的Porsche Design × HONOR Magic V2摺疊屏智能手機,近期雙方更再度合作,推出別注旗艦摺疊屏手機HONOR Magic V2 RSR,時尚輕巧的設計標誌著奢華生活與科技的一大進展,絕對會成為許多摺疊屏智能手機愛好者的新選擇! 隨著智能手機的製造科技越來越先進,手機尺寸也越做越薄,HONOR攜手Porsche Design設計出了市場上最薄的內向折疊手機,展示了技術藝術。設計直接從賽道中汲取靈感,模仿Porsche保時捷傳奇車款911的流線型線條及其辨識度極高的輪廓。  流線型的外型貼合手掌人體工學,確保了舒適的握持感,再現了在賽車道上高速行駛的跑車的快感。溜背舷窗則打破以往手機以圓形、方形為主的設計,仿造Porsche車款後車窗的溜背弧形造型,以嶄新姿態出現眾人眼前。 手機外觀採用獨特的Porsche車款瑪瑙灰,由Porsche Design德國斯圖加特原廠大師負責調色,鏡頭周圍的鈦金屬圈採用限量跑車款的金屬蝕刻工藝製作,並採用以手工填墨方式,將低調奢華融入。Photo from Porsche Design 玻璃纖維打造5D一體成型的機殼Photo from Porsche Design 這款超薄設備僅重僅234 g,折疊後厚度僅9.9 mmPhoto from Porsche Design 這款超薄設備僅重僅234 g,折疊後厚度僅9.9 mm,材料受到Porsche千萬級別的跑車款918 Spyder上A柱加固填充物料「羽纖」的啟發,玻璃纖維打造5D一體成型的機殼,輕薄但強度絲毫不受影響,具有出色的抗日常磨損能力,更具有Porsche獨具個性的質感。 源自超跑引擎極耐磨螢幕 源自超跑引擎極耐磨螢幕Photo from Porsche Design 手機螢幕上,採用由HONOR研發,突破性的金剛巨犀玻璃,以用於超跑引擎上具耐磨性的物料的氮化矽進行鍍晶生成,確保手機耐用性和防刮性能,並提供最強的防護性,展現Honor對於手機保護的重視以及及取自Porsche Design工藝美學。成為捕捉動態物體的絕佳之選Photo from Porsche Design 可折疊OLED LTPO顯示器支援10.7億種顏色,為用戶創造身臨其境的視覺體驗,三重後置相機系統,配備50MP主相機和多種攝影模式,使其成為捕捉動態物體的絕佳之選,感興趣的讀者不妨親自選購。  文章出處

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Image Credits: Intuitive MachinesNASA has given three space companies the chance to design the next generation moon buggy — but only one design will go to space. Intuitive Machines, Lunar Outpost, and Venturi Astrolab are developing rugged vehicles intended for astronauts to drive around on the lunar surface, from which NASA may choose as early as next year.The three teams will now enter into a 12-month “feasibility phase” that will culminate in a preliminary design review. At that point, there will be a subsequent competitive request for proposals, where the trio of companies will compete for a demonstration task order, NASA officials explained during a press conference on Wednesday.At that point, a final awardee will be selected. The chosen company will be responsible not only for designing the LTV but for launching and landing it on the moon prior to the Artemis V mission, which is currently slated for no earlier than 2029.NASA declined to specify the dollar value of the awards, though Intuitive Machines said in a statement that it was awarded a $30 million contract. The total potential value of all the task orders over the next 13 years is $4.6 billion.The three teams are also keeping specifications, like range or battery technology, close to the chest, though NASA specified that the rover would have to have an incredible 10-year lifespan and be capable of carrying two suited astronauts. Intuitive Machines is leading a team that includes AVL, Boeing, Michelin, and Northrop Grumman; Lunar Outpost is leading the “Lunar Dawn” team that includes Lockheed Martin, General Motors, Goodyear and MDA Space; and Astrolab is joined by Axiom Space and Odyssey Space Research.The awards are the latest to be doled out to private industry under the agency’s ambitious Artemis program, which seeks to eventually establish a permanent human presence on the moon. But in order to truly explore the surface, astronauts will need something to get around — and it will need to withstand the harsh environment of the lunar south pole, which is known for temperature extreme swings and very long nights.“Think of it as a hybrid of the Apollo-style lunar rover that was driven by our astronauts and an uncrewed mobile science platform,” NASA’s Johnson Space Center director Vanessa Wyche said.With the vehicles, astronauts will be able to transport scientific equipment, collect samples from the surface and travel farther than on foot, Jacob Bleacher, NASA’s chief exploration scientist, said. When astronauts are not on the moon, humans will be able to remotely operate the LTV, so it can continue to explore the region and even meet new astronaut crews when they arrive on the surface.“With NASA’s Artemis campaign, we are building up the capabilities needed to establish a longer-term exploration and presence of the moon,” he said. “Where it will go, there are no roads. Its mobility will fundamentally change our view of the moon.”provenance

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