Doubt, discomfort, unfamiliarity, uncertainty, and anxiety, But also growth, change, and discovery
Liminal spaces offer all the ingredients for creativity.
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 cartoonsa. 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.
“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 UniversityEnvironmental 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?
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.Jared Pike
Liminal Spaces: Are they applicable or a concern.
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Takeo
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