2024年11月5日星期二

2025畢業設計

1) Bug Museums:以蟲為中心的交互裝置設計

設計師需要關注多元物種關係。课题探讨新的研究方法,尝试改變习惯性的觀察方式,引發想像,進入一種非人為中心的敘事空間,透過推測理解非人為中心的設計。

2) Human augmentation: 義肢對身體功能和社交關係的改變

一种可供性(Affordance)拓展的设计,对身体局部功能的放大和增强,目的在探求、实验身体与空间,与他人关系的戏剧性变化。

What is Human Augmentation? A tool never becomes a part of your identity, but an augmentation almost surely has to. Eyeglasses, pacemakers, prosthetics, wearable devices, chip implants, and genetic modifications would all be examples of augmentations under this definition.
Human augmentation 可分为功能不同的三大类:
1) 复制人类能力:恢复或复制典型人类能力的人类增强属于复制范畴。这包括为残疾人提供假肢、为聋人提供助听器、为聋人提供声音合成器等。
2) 补充人类能力:提高我们做某事的能力的人类增强属于补充的范畴。这包括人为地增强我们的力量、增强我们的视力或提高智力的设备。
3) 超越人类能力:人类增强使我们能够做我们自己无法做到的事情,属于超越增强的范畴。这包括飞行、水下呼吸、看到紫外线或红外线以及闻到人类嗅觉目前无法检测到的化学物质等能力。

Meeting memo:

-Nov. 5, 2024: 

开题报告要求(What/Why/How),项目计划表,工作方法(设计日志记录)。


參考:
The Tragic Story of Three-Legged Man!

Getting to grips with an extra thumbMultiple Arms Interaction Metamorphism

STRUCTURING HUMAN AUGMENTATION WITHIN PRODUCT DESIGN

Superception: 科技不断增强人类的感知能力,但值得注意的是,不同的物种有着自己不同的感知能力,构建了与人类不同的主观感知世界。那么,如何将各种生物的感知能力融合到人类身上呢?为了体验潜在的感官世界,我们借鉴了“蝴蝶”、“蝙蝠”、“蚊子”等其他物种的感知能力,设计了沉浸式视觉体验的展示系统。
Artist Pierre Huyghe: "I'm not interested in binarity." | Louisiana Channel
Tomás Saraceno Interview: The Art of Noticing

Underwater Robotics

专题研究1

产品2203

合作方:中电海康集团有限公司

支持单位:无锡市少年宫

实际项目,用户群为12+青少年。
-藉由PVC水管等各种零件組裝出不同造型的水下机器人,降低套件成本,以利在个人、校园与创客领域推广。
-参与式设计,与青少年合作,探究机器人用户需求和使用场景,完善设计细节。
-提出品牌策略和盈利模式构想。

Workshop1: 
Pond Observation Journal
Underwater Robot Design Ideas

Workshop2:
Prototype Test

2024年8月14日星期三

蟲(釋義
本義是動物的總名,古時包括人在內,都可以“蟲”稱之。
蟲天(百蟲能各自適應所處的環境);
蟲吊(蟲聲。其聲悽切,有如弔問);
蟲出(人死後數日則屍體生蟲。喻死後不得入土安葬)

跨专业设计实践
时长:Week 1-8
班级:产品2101
指导老师:张宪
合作机构:杨柳风人文学堂
支持机构:三零生态系统研究中心

从最日常的虫入手,以艺术、设计与科学,理解和沟通虫的生活世界。

“这就是我理想中的土地,我打算从此跟昆虫彼此亲密无间地生活在这极乐伊甸园内,我的伊甸园就是这个样子。”——法布尔《昆虫记》

一 背景
More-Than-Human Design
is an emerging approach in design that seeks to move beyond human-centric perspectives to include the broader ecosystem of interactions involving humans, other organisms, and the environment.

东郭子问于庄子曰:
「所谓道,恶乎在?」庄子曰:「无所不在。」东郭子曰:「期而后可。」庄子曰:「在蝼蚁。」曰:「何其下邪?」曰:「在稊稗。」曰:「何其愈下邪?」曰:「在瓦甓。」曰:「何其愈甚邪?」曰:「在屎溺。」东郭子不应。
——《庄子·知北游

This course explores how other-than-human partners inspire us toward other-worldly research methods.
探索非人类如何启发我们不同世界的研究方法。
To generate new questions, processes, and techniques.
催生新的问题、流程和技术。
To propose novel ways of doing research beyond routine academic paradigms.
提出创新的研究方法,超越常规学术范式。

二 讨论
问题一:非人类中心设计是否是仿生设计?
问题二:非人类中心设计是否是生态设计?
问题三:非人类中心设计是否是可持续设计?
问题四:为什么是非人类中心设计?
……
关键概念:
1)昆虫的主体世界 (Umwelt):以昆虫的视角展现出的生活世界。
2)变态发育 (Metamorphosis):神奇的昆虫。
3)生态:从整个生态系统审视昆虫的角色。
4)身体、感官世界:昆虫独特的生存能力。
5)美学:昆虫与人类的关系。
6)伦理:益虫与害虫。

三 内容与方法
1. 回到小时候:大学生跟杨柳风小朋友的互动合作。(3+2) or (2+3)。
2. 资料研读:书籍、电影、纪录片、案例……
3. 访谈:与昆虫达人、自然教育专家的交流讨论。
4. 田野调查:湿地、种植园、博物馆……以我为中心的虫;以虫为中心的生活世界。
5. 装置实验:身体(角色)置换(Life Swap);其它实验设计……
6. 研究范围:
虫(标本、碎片、活物)、養寵、防虫与消杀、环境(家、附近)、生态系统 
可能涉及的领域:动物(昆虫)学、昆虫社会学、生态学、生理学、人类学、动物伦理学、昆虫食物(Entomophagy)……

四 产出

文本、设计(visual communication, comics and animation, product)、装置(robot, prosthesis, wearable system...)、戏剧及其它。

五 时间表
1)Week 1-2 课题介绍、讨论
·破冰游戲設計;
-蟲的畫像1:想象的蟲
-生态系统

2)Week 3-4 分组;田野调查及装置实验
-夜游
-蟲的畫像2: 家蟲
-Q&A rotation game
-Persona(H/I) and Product Definition

3)Week 5-6 文献阅读;设计构思及实验
-Q: Humans and Insects (roles/relationship/future society and future nature)
-蟲疑(虛實真假)
-蟲的畫像3:flipbook (motion)
-Report+Script (地點:楊柳風課堂)

4)Week 7-8 制作、汇报
- script
-章魚課堂
-綫上沙龍
会议提纲:
1)课程介绍(10分钟)
2)嘉宾介绍和各自项目交流(30分钟)
3)话题(60分钟)
(1)人类活动对生态的影响
(2)害虫与益虫
(3)自然循环全生态 vs 技术赋能
(4)安全饮食
4)参与者互动问答(20分钟)

-Movie+Theatre

Insect-Diary

上海昆蟲博物館
南京紫金山昆蟲博物館
昆蟲多樣性監測研究科普基地:無錫大溪港省級濕地公園
瑞士博物學家、科學插畫家 Maria Sibylla Merian
李勝:華南師範大學教授,揭示昆蟲變態發育潛在分子機制。
法布爾《昆蟲記》
安妮 斯韋德魯普-蒂格松《昆蟲的奇妙生活》
有熊谷守一在的地方(2018)
我們由奇跡構成(2018)

Metamorfosis (Franz Kafka - short film)Dragonfly (Short Film | 360° - 3D - Spatial Audio)

Why are cockroaches so hard to kill? - Ameya Gondhalekar

SDGC19 | Matt Ratto: Critical Making as an Antidote to Design ThinkingCómo Hacer un Mini Robot Araña Casero

What If All Insects Disappeared?Women, Evolution and Insects as Food On Reproductive Ecology

《小日常的哲學》代序──小日常與大實踐

2024年2月21日星期三

Hear My Voice

用户研究与产品定义/(1-2节)1-7周/ 设B510/张宪/(2023-2024-2)-N0650080-03/产品2203(29人)/考查
(Supported by: 德勝社工; 無錫市太湖技工學校; 原石劇社)

“我的電波”:太湖技工學校與江南大學的共創項目。

Exercise1: Data analysis on a user's routine (by using 'A Day in the Life' tool)

1. Background
1) Education system 'creates losers'
2) Loser Psychology and Depression

2. Workshop1: "On the Playground" 

Date: March 14, 2024

Time: 13:00 pm-16:00pm

Location: Taihu Vocational School

1) Icebreaker: Sticker, Nickname, Circle, Flowing Dialogue, Grouping (simple, low-cost, fast)

2) Focus group

3. Workshop2: "Drama Healing & Paper Cup Interview"

Date: March 21, 2024

Time: 13:00pm-16:00pm

Location: Taihu Vocational School

Materials: paper, marker

4. Sound installation

(courage / confidence / happiness / peace ...
blue / black / memories / death / fantasy...
game / theatre / installation
mirror / childhood / life & death / holiness / Zen / nature ...)

5. Process

1) W1~4: Co-creation (co-design and co-production: shared ideation, joint problem-solving, transfer of skills)
Grouping: working together with users  (3+2) or (4+2)
Stage1: Engage (learn from each other; set the challenge)
Stage2: Understand (focus on user needs; gather key insights through workshops)
Documentary: Room Tour / Routine / Stories / Workshops

March 14, 2024. The first visiting, grouping, focus group, on the playground at Taihu Vocational School.

March 21, 2024. The second visiting, drama healing, paper cup interview, on the campus at Taihu Vocational School.

March 25, 2024. Paper cup phone weaving workshop

March 28, 2024. Field Research Presentation

2) W5~7: Product definition
Stage3: Ideate (market research and competitive analysis; design concepts; build prototypes)

paper puppet; sketch; sketchy model

Stage4: Validate (present; test; evaluate)
Stage5: Final Presentation

Reference:
How To Run A Design Thinking Workshop
Design Thinking workshop with Justin Ferrell of Stanford d. School at The Irish Times
Meet the Sonic Artist Making Music with Plants: Sound BuildersPass the Sound_Workshop

Liminal Spaces

产品语意设计/(8-9节)1-8周/ 设B508/张宪/(2023-2024-2)-N0680008-01/产品2202(29人)/考查

1. Background:
1) COVID-19; 
2) Offline retail on the decline.
3) Property bubble
4) Liminal Spaces
Creativity is born in Liminal Spaces
The Latin word līmen, means “threshold”. A point of entry or beginning. Liminality is the “in-between”. 
And it could mean something different to everyone.
What happens in liminality?
Doubt, discomfort, unfamiliarity, uncertainty, and anxiety, But also growth, change, and discovery
Liminal spaces offer all the ingredients for creativity.

2. The invisible
Making the invisible visible

1) 視而不見:water; smoke; waste; mildew; dust 

2) 不可視見:wind; haze; microparticles; bacteria; fungus; moisture; temperature; smell; sound; taste; mood; pressure; EM wave; time...

3) 無中生有:illusion; rainbow; ghost...

3. Composition/Aggregation

組合關係 Composition: 不可分離,整體與部分的關係;

聚合關係 Aggregation: 弱擁有,整體與部分的關係,可以分離。

(e.g.Ikea, table legs; Thomas Heatherwick's Vessel; storage; lifestyle)

...the key point would be that here we have a transition from aggregate to assemblage(s) that is not the result of an agent or a designer, but is rather the result of an emergence. (From Aggregates to Assemblages)

life in life (Conway's Game of Life)(e.g.pegboard; crocs; lego;...) (language; culture)

4. Perceptual training

Briefing: 

“ Life World Building Through Product Assemblage”
Product Design Department, School of Design, Jiangnan University

Environmental context: How does it fit with its surroundings?
Memory: Is this familiar or not?
Object affordance: How do you interpret it?
Mood: How does it feel?
Ritual of use: What is its role in our daily lives?

1) To Be a Synthesizer: liminal spaces

What is liminal space? The nostalgia aesthetic used in the most watched cartoons
...some key features and insights about liminal aesthetics:
a. Mood and Atmosphere: Liminal aesthetics often evoke a sense of mystery, nostalgia, and introspection. It embraces the beauty of twilight, foggy landscapes, empty hallways, and other in-between moments that evoke a feeling of uncertainty or anticipation.
b. Symbolism: This aesthetic may incorporate symbolic elements such as bridges, doorways, mirrors, or other objects representing transitions or thresholds between different states or realms.
c. Minimalism: The visual style of liminal aesthetics often leans towards minimalism, with muted colour palettes, soft lighting, and simple compositions. This simplicity helps to enhance the focus on the liminal space itself and the emotions it evokes.
2)Uncanny objects

“站在凳子上”(Mar.8 符號串聯:圖形與詩歌)

“這是我的凳子”(Mar.11 改變凳子一點點,宣告你擁有了它。)

"這不是一張凳子"(Mar.15 改變凳子一點點,宣告置換完成。)

“舊的瓦楞紙”(Mar. 18 結構訓練)

“Reading objects”(Mar.22 Online sampling and analysis matrix)

“增高鞋”(Mar.22 )

3)  “ Life World Building Through Product Assemblage”

Product Design Department, School of Design, Jiangnan University

Environmental context: How does it fit with its surroundings?
Memory: Is this familiar or not?
Object affordance: How do you interpret it?
Mood: How does it feel?
Ritual of use: What is its role in our daily lives?

日常生活主觀感知下的世界,是由我們感官所構造出來的世界,在伽利略看來它是不真實的且不可靠的,只有藉助數學和幾何學精確描述的世界,這樣的「客觀世界」才是真實而可靠的。
胡塞爾認為,「理想的幾何世界」並非世界本身,而是將生活世界穿上了一件「理型的衣服」。生活世界是具有顏色、聲音、氣味、觸覺的世界,是我們日常所經驗的可感知的世界。
閾限空間指的是那些空曠或廢棄區域,這些地方呈現怪異、荒涼且具超現實的特質。這種空間通常被視為過渡場所,與閾限的概念密切相關。 根據《環境心理學雜誌》的研究,閾限空間之所以顯得怪異或奇怪,是因為它們存在於建築和物理場所的一種恐怖谷中。
整理个体丰富的生活形态,选取一个侧面,写实/虚构某个一人/多人生活场景,将产品视为联系的纽带或骨架。
材料:瓦楞纸及其它回收材料
表达方式:实物原型、3分钟左右短视频。

Stage1: Memory palace

“Memory Games”(Mar.25 Card data weaving, grouping)

Stage2: Storyscaping 故事場景設定

Choosing a liminal space in reality (abandoned or empty shopping mall, subway, playground...); To explore past stories and create new worlds for users to step into and interact with.

Stage3: Affordance structure 可供性結構試驗

To distil the value, meaning, and emotion behind objects into an organising idea.

"Affordance structure experiment" (Mar.29)

"Affordance drama" on the stone benches by water (Apr.1)

Stage4: Making (Material: paper + local waste) (Apr. 5; 8; 12; 15)

Stage5: Show (Apr. 19)

Reference:

Maier, J. R., & Fadel, G. M. (2009). Affordance based design: a relational theory for design. Research in Engineering Design, 20, 13-27.
Lotman, Y. M., Uspensky, B. A., & Mihaychuk, G. (1978). On the semiotic mechanism of culture. New literary history, 211-232.
The Architecture of Liminal Space
Water Is ALIVE & RESPONDS to Human EmotionIl·lacions Gallery presents a milieu of Cristian Herrera Dalmau’s Uncanny ObjectsThe masochist's coffee pot“閾”空間|山本理顯|孤獨個人與社會互動的可能與關懷!

2025畢業設計

1) Bug Museums:以蟲為中心的交互裝置設計 設計師需要關注多元物種關係。课题探讨新的研究方法,尝试改變习惯性的觀察方式,引發想像,進入一種非人為中心的敘事空間,透過推測理解非人為中心的設計。 2) Human augmentation: 義肢對身體功能和社交關係的改變...