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2026年10月13日星期二

ClaraView


ClaraView: Private. In-the-Moment. Connected.
Smart glasses must earn their place on the face: make absence cost more than wearing, subtract before you add, show less and hear more, and never spend the wearer’s attention or the bystander’s trust.

ClaraView: 隱私優先的智能眼鏡生態系統

Class: PD2402

Location: A405

Time: Tue. pm; Fri. am


1. Project Overview

- Project Name: 

Clara, from Latin Clarus--bright, clear, transparent--carries a deliberate double meaning in this project. 

Optically, it names what eyewear has always done: render the world clear.

Ethically, it names what this device must do differently, which is to remain clear to its wearer. Here, privacy is not a promise, but a verifiable state. Transparency is not just a technical feature, but also a form of respect.

- Vision statement: 

To develop smart glasses that seamlessly integrate AI capabilities and elevate privacy and scenario-driven ecosystem connectivity.

- Core Objectives:

  • Privacy can be a design constraint that becomes a selling point, not just a compliance checkbox.
  • Deliver a technically robust, comfortable, and stylish AI-powered wearable.
  • Validate product-market fit across target user segments.
  • Establish sustainable business model and ecosystem partnerships.
- Project Duration: 11.3-12.25

2. Workstream Structure

Phase 1: Discovery & Research (Week 9-12)
- Materials
Create a product that is lightweight, durable, and desirable to wear daily.
Frame materials, Lens technology, Battery & power; Sensors integration; Comfort engineering; Sustainability
Deliverables: Material selection matrix

- Core Technology
Build the technical foundation enabling intelligent, context-aware interactions.
Deliverables: Technical architecture document

- Market Research & Competitive Analysis
Understand market landscape, sizing, and positioning opportunities.
Deliverables: Market research report, competitive matrix, pricing strategy brief

- User Research
Ensure product-market fit through deep user understanding.
Persona development (vision/hearing impaired users), User journey mapping
Deliverables: User persona deck, journey maps

- Speech (Week 10-11)
- A Short Report (Week 12)


Phase 2: Concept & Design (Week 13)
- Scene discovery & Ecosystem Integration
Position glasses as a control hub within broader ecosystems.
Scene discovery workshops
Deliverables: Ecosystem integration roadmap, initial prototypes

Phase 3: Testing and Iteration (Week 14)
- Usability testing

Phase 4: Marketing Strategy (Week 15)
- Brand Positioning
Make AI glasses a desirable fashion item, not just a tech gadget.
Deliverables: Brand positioning document

- Business Model
Define sustainable revenue streams and go-to-market strategy.
Deliverables: Business model canvas

Phase 5: Final Presentation (Week16)

3. Case Study: Even G2

G2 demonstrates that doing less (no camera, no complex onboard compute) but doing it reliably, privately, and stylishly can outperform a feature-maximalist approach. 

4. Pillars:

Pillar A: Privacy & Trust by Design
Privacy and bystander impact are gating criteria for every feature, not compliance add-ons. Prefer no capture → minimal capture → on-device processing → cloud only when necessary. Capture indicators must be hardware-backed, visible, and not software-disableable.

Pillar B: Scenario Value & Wearability
Combine user research with scenario invention. Prioritize scenarios where the cost of absence exceeds the cost of wearing, especially those rooted in physiological, safety, or contractual needs. Validate frequency, duration, interruption cost, and fallback behavior—not just novelty or demo value.
Deliverables: Scenario Prioritization Matrix + Scenario Journey Maps.

Pillar C: Distributed Sensing & Ecosystem Integration
The glasses are a contextual interface within a distributed system—not a universal sensor or a standalone computer. Place sensors close to the measured object, and allocate computing according to latency, privacy, and bandwidth. Connect phones, appliances, and cloud services through controlled interfaces, with graceful degradation when connections fail.

Pillar D: Actionable Perceptual Augmentation
Reveal hidden properties only when sensing is reliable and the result can guide action. Present fast-changing information as one or two values; present slow-changing information as event-based guidance. Every output should indicate confidence, freshness, and source.
  • Environmental: verified readings from nearby sensors—water hardness, air quality, pollen, and UV exposure.
  • Accessibility: sound amplification, captions, color assistance, and low-light support where technically feasible.
  • Safety: verified hazard alerts and allergen decision support; avoid unsupported medical, safety, or structural claims.
Pillar E: Wearability, Style & Trust
Style is not a branding layer added at the end. Comfort, weight, fit, prescription compatibility, appearance, battery life, and social acceptability determine whether people continue wearing the product.
First a good pair of glasses, then a smart device.

5. Principle (draft):

P1 · 通道分工
P2 · 需求先行
P3 · 翻译,不是显示
P4 · 减法优先,形态即产品
P5 · 隐私不对称原则。

五个问题
- 不戴的时候,用户损失什么?
- 变量是快还是慢?慢变量不要放进视野。
- 这个数据凭什么可信?
- 删掉哪个功能,产品反而更好?
- 旁观者会怎么想?

Links:

2025年10月14日星期二

The Trivial Matters

The climate and ecological emergency and the covid pandemic have been major factors influencing change in design education, as well as continual economic and political crises. Design education is opening up beyond traditional disciplinary boundaries and becoming less siloed, more trans and interdisciplinary – rather than simply multi-disciplinary.
AI has a significant impact on thinking and practice in all sectors. In Spatial Practices at CSM, we are responding to the challenges of AI positively and experimentally, working with it in collaboration with external industry and research partners, to explore the potential of AI to support advanced thinking and practice around the climate emergency and planetary futures.
"AI has a significant impact on thinking and practice" says CSM's Alex Warnock-Smith

Entitled 'The Trivial Matters: Autonomous Mobility Platform', the project explores how the 'no-man-driving technique' could transform life in urban and rural communities. The mobility platform studies fairly ordinary situations that are thorny and challenging. The project imbues these autonomous hybrid entities with a sense of purpose and significance, aiding in the navigation of challenges such as transportation, food safety, and community relations, thereby mitigating the substantial pressure experienced in contemporary society.

Some background information is provided below:
Revillaging is an international movement towards localized communal living, as a powerful solution to the global metacrises humanity faces. The idea is to reintroduce the sense of community and neighborly practices inherently found in villages (I’m referring to vibrant, thriving villages, not dwindling ones) into urban environments. This approach, coupled with redesigning spaces to cater to the primary needs of city dwellers within walking distance, can effectively tackle mental health issues, housing shortages, and even the climate crisis.
digital nomadism:The first village for digital nomads
Pop-up cities

Keywords:
embedded systems, intertextual world-making

Objectives
Katrina Spade: When I die, recompose me

2) contextualize design practice
energy, society, nature
Futuristic, modular, organic, experimental and always in flux

5) future speculation, story telling
making the invisible visible, new human-object relationships, tackling your worries...
Social Robots at Reichman University
Inside Kyoto University’s self-governed Yoshida Dorm student residence and its radical philosophy
tomorrow-now-when-design-meets-science-fiction

Research
project teams of 1 to 3 students with AI as a partner
encourage bold ideas and view art as a key tool
regular meetings with instructors
build social relationships
ethics and safety

Module 1: social context analysis
Week 09: questions to raise
genuine design innovation: 
layered, improvised, not smooth or logical
to invite exploration, carry memory
participation, people shaping their spaces, bending rules, clashing styles, leaving traces, nourishing human creativity, unpredictability, identity, agency, self-expression
to grow organically over time
Life Inside "THE LINE" - Why Saudi Arabia’s Glass Megacity Will Fail
The Line
homelessness, delivery workers, garbage classification, elderly lifestyles, mental disorders, abandoned mansions, market, breakfast, light meal, children's cafeterias, medical assistance, art activities, museum...
Week 10: community models
atypica.ai

Speech:
Nov.14, 2025 
“自动驾驶如何重塑人机交互”,讲者:范晓宇
“人机共驾 Situation Awareness 和心理负荷”,讲者:杨晔
Nov.21, 2025 “智能技术概要”,讲者:赵佳

Module 2: crafting the speculation
Week 11: data, structure and information
Week 12: proposal presentation

Part 1: new value
1. warm-up exercise: people and space
2. timeline arrangement: prompt design
3. from non-linear thinking to linear thinking to non-linear thinking: anchor points
4. community model building

How do self-driving cars “see”?
Material and Energy Flow Analysis (MEFA)
Week 14: experimenting
Italdesign unveils Climb-E: A unique urban mobility concept at CES 2023
Pixmoving 喻川
Generative Design at PIX
PIX Modular Chassis Platforms With Reconfigurable Wheelbase and Wheel-track
neolix.net 新石器
Why Self-Driving Taxis are a Terrible Idea

Module 4: module growing 
Week 15: testing and iteration
Week 16: final presentation

Part 2: new interactions/skin
1. user - capsule - community 
2. user to capsule: wearables 
3. user in capsule: privacy, trust, security, activities…
4. user in community: business/service model
journey map, storyboard, mood board

Speech: 
Dec.1, 2025 "人机共生时代的交互美学", 讲者:陈辉

Workshop:
Dec.8, 2025 OPPO Wearable Watch Workshop

Final Report:
Dec.25, 2025 
Guests: 武洲,沈亦可,陳春虹,朱令儀。
1. community model building: new value
2. mood board: new skin
3. user - capsule - community: new interactions (wearables, modules, activities)
4. conclusion: ethical thinking for the future

Grading overview
1) 40% of the grade: 
user research (20%), reading and discussions (10%), bi-weekly updates (10%)
2) 60% of the grade:
a high-quality research project: proposal (25%) and final presentations (35%)

2022年10月14日星期五

HIDE AND SEEK

2023年毕业设计

“Hide”和"Seek"很明显与两个角色相关,两个可以互换的角色,如果按照中国“捉迷藏”的翻译,有藏躲的人和寻找躲藏人的人,找到意味着游戏角色开始反转互换,这样循环往复下去;按照西方“Peek-a-boo”的翻译,则是同一个人角色表情的突然转换,或者叫“变脸”。

这两个都是游戏,一个可以多人玩,另一个则是一人分饰多个表情面具,共同点是,游戏需要有意外,找人太简单就无趣,变脸不丑不怪也不好玩。出人意料之外能提高游戏的娱乐性。

两个游戏也体现出角色的不确定性,角色只在短暂的时间处于稳定态,这种不确定性是“HIDE AND SEEK”课题的核心,长期以来,设计物的逻辑大多是静态的、确定的、可靠的,而此次课题则试图探讨不确定的设计。

这种研究方向背后的基础是,“不确定性”作为现代社会的本质特征,已成为不可忽视的现实问题,这方面受到关注很大程度上得益于德国量子物理学家海森堡所提出的“不确定性原理”(Uncertainty Principle)。基于此,可从以下几点去理解并拓展“HIDE AND SEEK”课题的设计理念:

一、解读:

1. 游戏
2018年成都华西都市报一篇专栏散文写道:“北方人叫捉迷藏,南方人叫躲猫猫,只有四川人叫逮猫儿。从语感上来说,还是四川人这个“逮猫儿”的叫法最生动,包含的游戏品种也最丰富(……),不管是捉迷藏还是躲猫猫,字面理解总有寻找躲藏者的意思,但四川人的叫法就不同了,强调的是一个逮字,不光动感十足,而且也不一定非要躲起来才能耍。”
躲猫猫(英语:Peekaboo或Peek-a-boo),是一种逗乐婴儿、幼儿的游戏。躲猫猫的反覆遮眼玩法多是西方国家逗乐婴儿的游戏,玩法是父母用双手蒙住自己的脸,然后靠近婴儿,将手突然拿开,变出怪面及大叫一声,从而引起婴儿大笑。不过亦可能吓到婴儿而造成反效果。

2. 隐与显(0-1;1-0)(0-1/2;1/2-0)

物/人

·隐(线索)

·半隐半显

·显(反常规)

3. 秘密/隐私

4. 伪装

5. 消失

二、可能性:

1. 行为(触发功能开显)

2. 跨维度(材料、结构)

2D-3D;2D-2.5D;3D-3D’

3. 多感官(声、触、嗅)

4. 情绪与心理(焦虑、抑郁;幽默、享乐主义)

5. 戏剧的(叙事性)

6. 社会议题(伦理、政治)

……

三、概念:
·形式:
1. 消失(生存、流浪)
2. 伪装(安全感、戏谑)
……
·主体:
1. 物(或因人的行为导致)的显隐、定或不定
2. 人(因物)的显隐、行止
……
·内容:
流动的、转化的、私密或社交的、个体或社会的
……


















Reference:
Pierre Huyghe

2021年10月23日星期六

Living with Nonhumans

原初时代的人类如何看待非人类?又是如何与非人类共存?今天种种迫在眉睫的挑战令我们不得不盘旋回返至历史的源头找寻答案,也许不是答案,是对二元论哲学的反思,古老哲学与神话的再发现以及新的哲学观的重建。

【Living with Nonhumans】主题的设计探讨可能会是一项长期的工作,面对这样一个宏大课题设计师如何介入,如果我们觉得无从下手感到迷茫,其他设计师,特别是Speculative Design的研究者会给我们很多启发,比如Nonhuman Nonsense的Tale of a Tree Human,启示我们对古老神话的重新发掘,以及阿布拉莫维奇在TED演讲上展示的艺术实践,令我们思考最寻常之物的体验,我们或许能够将奇幻色彩加诸于日常生活的设计,比如水、动植物、日常物、日光、空气或者看不见的魂灵,不仅仅是炫目的科幻的技术元素,更有可能是朴素的语言,意义即在于这样的设计能够带来严肃的思考。

可能的路径:

living with/in air/water: 微观(或者无实物)视觉化(或者多感官);

living with/in old stories: 蕴含哲思的古老神话的回归;

living with/in chairs: 以物为主体的设计;

living with/in books: 书籍以及书籍家具的设计
面临消失的纸媒亟待找寻新的价值(吕敬人:“书籍设计必须让读者在页面空间中‘行走’,在翻阅过程的时间流动中享受诗意阅读的体验,更可流连于阅读过程中展开‘居住其中’的联想。”);
案例:

《空间,随着时间扭转》(Raum,verschraubtmitderZeit/Space,Twisted with Time)

《夜幕降临——诗歌》(Nachtflügge:gedichte)
Artists' Books

living with/in nature/pets

living with/in light...

学生:

柯静雯:比格实验犬的传达设计

徐业文:无声之声-关于听障者生活的多模态装置设计

张馨月:肌理材料的家具设计实验

张紫若:黑陶废料的再设计

别浩然:小土人-以灰尘为奇点的配饰设计

陈雅婧:Home生态实验-家庭生态微系统的创新设计

朱高灿月:Reading in the Dark-书籍阅读体验设计

刘聪妍:亲密关系-情感型可穿戴交互家具设计

Artists and designers:

Interspecies Futures
Featured Artists:
Kuang-Yi Ku
Hypothetical Studios X Designmatter

Institute of Critical Zoologists
Thomas Pausz
Richard Pell (c/o Center for PostNatural History
Kristoffer Ørum
Ege Kökel
Javier Viver
Noam Youngrak Son
Tomás Saraceno

Baum & Leahy (c/o The Institute of Queer Ecology)
Saša Spačal
Nicholas Mangan
Jenna Sutela
Thomas Thwaites
Dougal Dixon
Alexandra Daisy Ginsberg

Paper:
Living with Nonhumans. A review of The Conservation Revolution: Radical Ideas for Saving Nature Beyond the Anthropocene

2020年10月13日星期二

Thing power

物质力量
简·本尼特(Jane Bennett)在《活生生的物质》(Vibrant Matter)(2010)一书中描述她如何被某些东西或材料吸引,因为它们就是能够“令人怦然心动的东西”,她称这种内在特质为“物质力量”(thing-power)。
今年的毕业设计我们将聚焦于“物”的研究,这个研究试图摆脱“人”的视角,不再将人作为中心,从而呼应本尼特的“生机物质主义”(vital materialism)概念,她认为物不能被简单粗暴地视为呆滞物质 (dull matter)或是消极事物,籍此解构人类中心主义,彰显一切非人类实体(nonhuman entities)的生机力。
基于此,我们以设计探究未来社会的日常生活形态,可尝试从如下角度展开设计实验:
1)将物视为灵性生命体,强调物对人的影响力及控制力,如感官设计与空间设计;
2)物与人的互动关系,赛博格(或者家具、服装饰物以及可穿戴物)可以说是人和物的一个重新的生命组装;
3)物与物的互动关系,与人无关或者人不居于关系的中心,比如对自然物的诠释。

1. Background: 新物质主义New Materialism反人类中心主义
新物质主义(New Materialism)是最近十多年在美国和欧洲影响非常大的一个理论潮流,各种各样的理论流派都把兴趣和重心转向“物”的讨论。这个潮流的崛起和“后人类转向”的时代背景有莫大的关系。
动物研究、怪物研究、鬼魂(幽灵)研究,自然,机器和人工智能。这些研究的共同特点都是摆脱了“人”的视角,不再将人作为研究中心。或者说,研究人,以“非人”的角度展开。

2.Keywords:















Students:
郭璇:包袋的多义性设计
周佳新:物质主导世界的游戏设计
康馨元:感官首饰设计
王继林:图像媒介转译的影像产品设计
刘晓洁:记忆容器的反思式设计
毛婧祎:都市压力背景下的治愈系产品设计
何海全:以物为媒的装备设计
许思远:交互电子音乐产品设计

Reference:
汪民安:新物质主义的联合及其不满
简·本尼特《活生生的物质》(2010)
PonkichiM

2019年10月31日星期四

2020 Graduation Project

Olfactory Art and Design

我们可以轻易分享和解释清楚很多东西,然而对气味的描述和试图令他人感同身受却是件困难的事,这不可见可嗅可感之物如幽灵一般对我们情绪的影响往往超出我们想象,早在100年前敏锐的艺术家们已经开始渐次介入。

嗅觉艺术是以气味为媒介的艺术形式,这种艺术形式从1980年代逐渐开始被认可。

嗅觉艺术简史:
1919 Marcel Duchamp《巴黎的空气》(Air de Paris),将50毫升(大约是一次吸气所需的空气含量)的巴黎空气压缩在一只安瓿(安瓿最早用来盛放死者血液样本,并用来陪葬他们身边)之中,并在上面签名,使之成为一件艺术品。
在随后一系列杜尚主导的超现实主义艺术展览中,气味的确得到了运用——1938年国际超现实主义展中的咖啡烘焙味、1942年展览“超现实主义首批文献”(First Papers of Surrealism)中的雪松香气……这些嗅觉元素构成了展览表意不可或缺的媒介,与其它装置所提供的视觉经验一起形成多维的艺术欣赏空间。

1992 Janine Antoni, Gnaw
When art is made new so are we

"Olfactory Art is a contemporary modality of expression in which creators intentionally engage a very unique human sense in their practice - that of smell. Through innovative, multidisciplinary, and aesthetical approaches to art involving olfaction, contemporary creators are harnessing the unique dynamics of this system of perception to investigate, inquire, provoke and make visible, in ways that visual art cannot, knowledge and qualities about the complex relationships of humans, nature and culture. "
嗅觉艺术是创作者从人类独特的嗅觉感官出发的当代艺术表现形式,以创新的跨学科的以及美学路径介入嗅觉艺术,通过探寻、叩问、触发和视觉化呈现这种动态感官系统关于人、自然、文化之间的复杂关系,是单一的视觉艺术所不能。

Joseph Beuys (1921-1986) worked with decaying materials, such as earth, animal fat, blood, wax and honey, that produced pungent and putrefying smells but advanced his philosophical and political ideas about death and transformation.
约瑟夫·博伊斯用泥土、动物脂肪、血液、蜡和蜂蜜等材料来创造充满仪式感的艺术装置和表演现场,辛辣和腐败的气味成为观众欣赏作品时无法避开的隐形场域。通过这一充斥着嗅觉刺激与视觉奇观的美学仪式,艺术家提出关于死亡和转变的哲学思想。

沃尔特·德·玛丽亚(Walter De Maria)的装置作品同样运用了强烈的气味刺激来还原场景性体验。其1977年的作品《纽约土室》(New York Earth Room),56cm厚的深黑色泥土铺洒在197m³的展厅之中,观众在装置边缘能感受到泥土的强大视觉与嗅觉冲击力。

Paul McCarthy, involves violence, self-mutilation, sex, blood, mucus and body fluids. However, with his practice, the materials do not decay but are preserved, visually fresh, in recordings alluding to the work's smells.

2004年,在美国国际香精香料公司的资助下,西塞尔建立了“气味研究实验室”。

原文網址:https://kknews.cc/culture/4q85njv.html
Sissel Tolaas
嗅觉艺术家西塞尔求学于斯堪的纳维亚半岛、波兰和俄罗斯,拥有数学学士学位以及化学和艺术学的研究生学位,她精通9国语言,工作时又游离于心理学、科学和艺术之间。
2004年,在美国国际香精香料公司的资助下,西塞尔建立了“气味研究实验室”。
其中曾以腳臭味、腋下、肚臍眼的細菌製成「人類起司」。

嗅觉艺术家 Klara Ravat 的“Smell Lab”
Olfactory Artist and Experimental Filmmaker, lives and works in Berlin
Olfactory Experimentation

Peter De Cupere,安特卫普嗅觉艺术家。
2004年,在美国国际香精香料公司的资助下,西塞尔建立了“气味研究实验室”。

原文網址:https://kknews.cc/culture/4q85njv.html

Gayil Nalls (born July 17, 1953) is an American interdisciplinary artist and theorist living in New York City and Hudson Valley, New York. Her artistic practice originates in philosophical investigations of personal and collective sensory experiences, memory and identity, and often include the relationship of these experiences to disappearing ecologies. She has been a pioneer in the field of olfactory art (art that emphasizes the sense of smell), and an influential contributor to the aesthetics of crowds and human massing. Her multimedia work frequently unites scientific and technological approaches to art-making, exploring the boundaries between the two.

Anicka Yi
Anicka Yi (born 1971 in Seoul, South Korea) is a conceptual artist whose work lies at the intersection of fragrance, cuisine, and science. She is known for installations that engage the senses, especially the sense of smell, and for her collaborations with biologists and chemists. The scholar Caroline A. Jones uses the term "bio-fiction" to describe Yi's work. She describes her works as exploring "a biopolitics of the senses.” Yi lives and works in New York, and is represented by 47 Canal.

Maki Ueda
smellart
The Dutch-Japanese artist Maki Ueda has been teaching the course ”Smell and Art” at the ArtSicence Interfaculty at the Royal Academy of Arts the Hague for almost 10 years now. Ueda choose the olfactory game as a starting point because it requires a creative approach, that is neutral in a sense that the quality and nature of the scents are less important than the sense of smell itself.

Victoria Henshaw
Her research focused upon experiences, perceptions and the design of cities and buildings according to the senses and in particular, the sense of smell.

Ani Liu
Ani Liu is a research-based artist working at the intersection of art & science.
Her work examines the reciprocal relationships between science, technology and their influence on human subjectivity, culture, and identity.

2015 “泰特感官”(Tate Sensorium)


嗅觉戏剧艺术节(Osmodrama)
Osmodrama is the art of timebased composing and storytelling with scents via Smeller 2.0. – Smeller 2.0 is a functional artwork and electronic instrument for the creation, recording and projection of distinct scent-sequences in collective experience. This opens up a new practice of olfactory art: Osmodrama.

Reference:
ASMR

Smell Festival

芳香治療(Aromatherapy)
墨西哥惠丘(Huichol)地区的印第安人会将甜万寿菊混入烟丝,以改善忧郁症与焦虑症。甜万寿菊原产于中美洲和墨西哥,又称为“墨西哥香艾菊”,当地常用其干燥的叶片和花泡茶,以感受舒适清爽的茴香味。

普魯斯特現象(Proust phenomenon)

紐約藝術與設計博物館(The Museum of Arts and Design)建立嗅覺藝術中心(Center of Olfactory Art at the Museum of Art and Design),2013年“嗅觉艺术1889-2011”(The Art of Scent, 1889-2012)

The Institute for Art and Olfaction (IAO) 
is a non-profit organization devoted to access, education and experimentation with scent.

Scent Culture Institute
is a hub for projects on smelling in culture, business & society based at Bern & Zurich in Switzerland. We offer thought leadership, consulting & educational services as well as cultural production. 

Art And Olfaction Awards

Schedule:
2019.11.20 anosmia/briefing
2019.12.4 first-hand/ second-hand research
2019.12.18 selecting the target expression
2020.1.1 conceptual exploration
2020.1.15 mind map
2020.1.29 
2020.2.12 olfactory analysis
2020.2.26
2020.3.11 user-interaction scenario
2020.3.25 draft model experiments
2020.4.8 draft model test/feedback
2020.4.22 model making
2020.5.6 report/paper writing
2020.5.20 exhibition preparation
2020.6 exhibition/presentation
 

2018年10月25日星期四

2019 Graduation Project

Sensory Design

人類的眼睛(視覺)、耳朵(聽覺)、鼻子(嗅覺)、舌頭(味覺)、身體(觸覺) 等感官是人類認識世界的工具與方式。亞里士多德宣稱人類只有五感,神經科學家則說起碼有 22 種感官,甚至多達 33 類,而感官之間互為影響,亦不如古希臘人想像的一板一眼獨立運作。英國哲學家 Barry Smith 在一系列 BBC 節目及訪問就深入探討了神秘的感官世界。
本次課題將聚焦感官這一概念研討它帶給人們體驗世界的可能影響,可以圍繞某一種感官,亦可涉及多重感官,以之為出發點嘗試極富創意的互動體驗設計,產出形式可能涵盖到影像、空間、儀式、家具和器物等。
Hendrik N. J. Schifferstein在他關於Multi sensory design的研究中總結了感官設計的8個步驟:
Step1: selecting the target expression
Step2: conceptual exploration
Step3: sensory exploration
Step4: sensory analysis
Step5: mind map
Step6: user-interaction scenario
Step7: model making
Step8: multisensory presentation
The ultimate design challenge is to develop a product that provides users with an interesting, rich experience, and nonetheless is perceived as a coherent whole.

楊汝菁:感官首飾的商業設計
張一:焦慮症患者的音樂療癒
劉佳佳:減肥人群的通感餐具設計
付丹立 :家庭黃豆製品輔助工具設計
溫依苓:兒童死亡教育互動體驗設計
華梓昱:穀物能量棒的“無味”體驗設計
李澤霖 :脫敏-性教育系統設計
李妍潔:基于实时视频处理的沈浸式體驗設計

Reference:
Sensory Design 
The Senses: Design Beyond Vision 
The Guild of Ambience
Mother's Hand Taste 
Follow your nose
curbed
HOT&COLD
Tijmen Smeulders 
Studio Ayaskan 
Tapas: Spanish Design for Food 
Jinsop Lee
sensory design for colors
聯覺
飛機上的食物味道 
冰激凌王國
香水 
smell dating
Omer Polak
Why you should train your sense of smell 
時間的歌
Unisex public toilet
Jinhyun Jeon 
Jinhyun Jeon's website
marijevogelzang
from peel to peel
Kosuke Araki 
Andrew Thomas Huang
pinch food design
Steinbeisser
jouwstore
happy pills
critical design
what it feels like to die
体感场
Snoezelen
告別的勇氣

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