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MDES 2010/2011

Process Saijia Sun


Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Table of Contents MDES 6030 1 11 17 23 29 35

Intensive 1 Intensive 2 Intensive 3 Intensive 4 Intensive 5 Intensive 6

Tania Harrison Karen Cope Marlene Ivey Denise Saulnier Arlene Gould David Peters

Library: REF Works Critical Reading Modelling Ideas in 3D Graphic Design Design Management Design Problem Solving

MDES 6200 41 53

Exercise 1 Exercise 2

Balmond Dilemma Poster Objects

57 65

Exercise 1 Exercise 2

Field Agents Mapping the Object Experience Mapping the Environment Experience

77

Phase B

87

Thesis


Process Book 2010/2011 Saijia Sun

Table of Contents MDES 6600 Graduate Design Studio 2 97 / 113 121 / 127 139

Exercise 1 / Project 1 Exercise 2 / Project 2 Project 3

Halifax Typographic Map / Derive 2011 Calendar / Spaces Self-portrait / Brand Identity

147

MDES 6112 Thesis Research Proposal

199

MDES 6114 Situated Design


Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Intensive 1 Tania Harrison

Library: REF Works

Tania Harrison and Rebecca Young introduced the NSCAD library system. Library research is a very important part in graduate study. NSCAD Design Library Research Guide has well appointed online system. The online website connect with Novanet and other online libraries. Students can be free to use the library system through NSCAD student account number. In the intensive 1, I am clearer about reference works, bibliographies and APA styles. For thesis writing, I need to refer a lot of books, journal articles, the APA style can help me to organize these materials.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Library Web Article Research

http://www.pcworld.com/businesscenter/article/200517/reading_volume_outweighs_impact_of_slower_reading_speed_on_ereaders.html

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Process Book 2010/2011 Saijia Sun

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Process Book 2010/2011 Saijia Sun

Library Book Research

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Process Book 2010/2011 Saijia Sun

Library Video Research

http://www.cctv.com/program/cultureexpress/20071120/103169_1.shtml

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Process Book 2010/2011 Saijia Sun

Library Digital Images Collection

The image and an information website will be downloaded when I need to save the image. It is very conveninence for the future references and bibliographies checking.

www.artsmia.org. (n.d.). www.artsmia.org. Retrieved June 30, 2010, from http://www.artsmia.org/

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Process Book 2010/2011 Saijia Sun

Thesis References

Apple iPad Tablet News, Reviews and Accessories | TechNewsDaily. (2010, March 31). TechNewsDaily - Where Technology Meets Daily Life. Retrieved July 7, 2010, from http://www.technewsdaily.com/ipad-news-archive-0375/ Bradley, T. (2010, July 6). Reading Volume Outweighs Impact of Slower Reading Speed on e-Readers - PCWorld Business Center. Reviews and News on Tech Products, Software and Downloads - PCWorld. Retrieved July 7, 2010, from http://www.pcworld.com/businesscenter/article/200517/ reading_volume_outweighs_impact_of_slower_reading_speed_on_ ereaders.html Bryner, M. (2010, April 18). 7 Ordinary Things Turned Hi-Tech | TechNewsDaily. TechNewsDaily - Where Technology Meets Daily Life. Retrieved July 7, 2010, from http://www.technewsdaily.com/7-ordinarythings-turned-hi-tech-0438/ Cambras, J. (2004). The Complete Book of Bookbinding. New York: Lark Books. Cockerell, D. (2005). v (New title ed.). New York: Dover Publications. Eddy, N. (2010, July 7). People Prefer Books Over E-Readers Like iPad | eWEEK Europe UK. Technology news & breaking stories from Green IT industry | eWEEK Europe UK. Retrieved July 7, 2010, from http://www. eweekeurope.co.uk/news/people-prefer-books-over-e-readers-likeipad-8250 Hadhazy, A. (2010, July 1). Amazon Announces Cheaper ‘Graphite’ Kindle DX | TechNewsDaily. TechNewsDaily - Where Technology Meets Daily Life. Retrieved July 7, 2010, from http://www.technewsdaily.com/amazonannounces-cheaper-graphite-kindle-dx-0798/ Hadhazy, A. (2010, July 6). People Read Real Books Faster than E-Books on iPad and Kindle | LiveScience. LiveScience | Science, Technology, Health & Environmental News. Retrieved July 7, 2010, from http://www.livescience. com/technology/ebooks-kindle-ipad-100706.html Hannett, J. (2010). Bibliopegia: Or, the Art of Bookbinding in All Its Branches; Illustrated with Engravings. Toronto: Nabu Press. Heater, B. (2010, July 7). Amazon’s E-Reader Patent Could Threaten the Nook. PCMag.com. Retrieved July 7, 2010, from www.pcmag.com/ article2/0,2817,2366142,00.asp

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Reading speed comparison: e-readers vs traditional books


Process Book 2010/2011 Saijia Sun

Kindle 2 2010 - TopTenREVIEWS. (n.d.). eBook Reader 2010 - TopTenREVIEWS. Retrieved July 7, 2010, from http://ebook-reader-review.toptenreviews. com/kindle-2-review.html Krause, D. S. (2009). Book + Art: Handcrafting Artists’ Books. New York: North Light Books. Marks, P. (1998). The British Library Guide to Bookbinding: History and Techniques (British Library Guides). Toronto: University of Toronto Press. Meredith, L. (2010, April 26). iPad Takes on Ebook Readers | iPadNewsDaily. iPadNewsDaily.com - Apple iPad tablet news, reviews, apps, games and accessories. Retrieved July 7, 2010, from http://www.ipadnewsdaily.com/ ipad-takes-on-ebook-readers-0738/ Weston, H. (2008). Bookcraft: Techniques for Binding, Folding, and Decorating to Create Books and More. Gloucester, Massachusetts: Quarry Books.

e-readers category

eBook Reader 2010 - TopTenREVIEWS. (n.d.). eBook Reader 2010 TopTenREVIEWS. Retrieved July 7, 2010, from http://ebook-reader-review. toptenreviews.com/ iPhone 4 to Have Ultra-High Quality ‘Retina Display’ | TechNewsDaily. (2010, June 7). TechNewsDaily - Where Technology Meets Daily Life. Retrieved July 7, 2010, from http://www.technewsdaily.com/iphone-4-tohave-ultra-high-quality-retina-display-0662/

Popular Technology Articles

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Intensive 2 Karen Cope

Critical Reading

Karen Cope introduced the overview of critical reading and journal articles structure to students. The book “They Say / I Say� is a guide for academic writing use in this course. This course helps me to organize the structure of academic writing more orderly and distinctly. And I understand the target audience is the first thing the writer needs to clarify when s/he started to write. The clear thinking is necessary when a writer starts to write. Brainstorming can help me to make the structure of long thesis writing.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Poster for Judy

Chinese name: Rufan Wang

Beijing, China

Love Manga

Industrial Design

Judy

Love Cooking Love Travel

Nanjing Forsetry University

In chess, as in life... I think chess can express life. Judy gives me the sense of instability, and creativity. So I chose to use chessboard to show the feeling of her.

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Process Book 2010/2011 Saijia Sun

When I was a child , I play Flight Chess Game with my family or friends. Older people usually say “chess as life“ by their experience. That’ s where my idea came from.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Intensive 3 Marlene Ivey

Modelling Ideas in 3D

Marlene Ivey introduced how to model ideas in three-dimensional structure. This course is based on students’ thesis contents. The course helps students to clarify thesis structures and use 3D to analyze thesis outline. In this course, I learnt how to use 3D to model my thesis ideas. The abstract three-dimensional structure makes my thesis outline clearer. “Quick and Dirty” is very interesting and useful for me to get my ideas on paper. Before my ideas are mess in my mind, but after “Quick and Dirty” exercises, my ideas on paper is clearer and organized. “Quick and Dirty” is a freedom exercise. Students are allowed to write words in their mind on a big and no limited paper.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Modeling Ideas in 3D

The element I chose is gear. Because the gear teeth need to meet and then transmit energy and motion. My thesis structure also express the same idea. In the first stage, I need to collect a huge amount of information to broaden my vision and knowledge. And then after I find a direction, I will narrow my idea to the next stage. It should be the second large gear. My thesis structure follows the gear structure. The rolled paper also express a traditional Chinese book binding concept.

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Thesis Abstract First Draft

Book design is a very old topic that continues today. With the development of society, the material of books, the binding of books, the form of books, the function of books, the feature of books, the purpose of books, there are a lot of elements in books are changing subtly. The arrival of electronic books deeply changed people’s reading habits. Personally, I love books, real books, traditional books, and Chinese traditional books. But I don’t exclude electronic books. I live in modern times, I need to accept and enjoy electronic and high-teach products that bring great convenience to people’s life. But on the other hand, we are losing some sensitive feeling while we enjoy the compact and functional e-books. We lost the real weight of books, we lost free marking on real papers, and we lost the feeling of touching real books. But of course, we will not get paper cut from real books. Some people worry that e-books might instead of real books. But I believe the fears are unnecessary. As the advent of email, it did not instead of traditional mails. The result is emails coexist with traditional mails.

As a Chinese, my culture background influences my design more or less. Chinese traditional book culture is well worth exploring. There are some very sensitive haptic book culture appeared from Chinese traditional books. In Chinese traditional book culture, there are a lot of interesting ways to open books, to read books and to use your hands to turn pages. So these feeling might bring a new haptic relationship to books. And that is what e-books lack. In my thesis, I want to combine Chinese traditional book culture to electronic books, or make comparisons between Chinese traditional books and electronic books, and explore the similarities and differences. For the outcomes, no matter what the book in my final design should bring both the Chinese traditional book design elements and haptic sense to readers. It might be paper book or the book designed for electronic book reader devices.

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Space Exhibition


Process Book 2010/2011 Saijia Sun

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Intensive 4 Denise Saulnier

Graphic Design

Denise Saulnier introduced the basic concept of graphic design. Book and magazine layout is the most important thing in this course because students need to face on process book and thesis layout in their future courses. This course helps me to improve my graphic design skills and especially in layout design. I reviewed the basic concept of typography and typeface choice. There are a lot of details I need to pay attention when I do a book layout. The work needs a lot of patience and a pair of eyes to discover beauty because working a long time in layouts is easy to make people be tired.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

The Mac Is Not a Type Writer Presentation Slides

AW Wa AW Wa

unkerned

7.

7.

kerned

8.

8.

01273 01273

Williams, R. (2003). The Mac is Not a Typewriter, Second Edition (2 ed.). Berkeley, CA: Peachpit Press.

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Process Book 2010/2011 Saijia Sun

Using existed grid and putting texts and images in is a hard thing. A lot of limitation about the boundary line. Two facing pages, two repated of Mondrian’s painting is my final decision.

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Process Book 2010/2011 Saijia Sun

Layout Exercises

In this exercise, I need to use Mondrian’s painting as grids in my layout design. So I chose Mondrian’s paintings and time line as the content of the two pages. And the grids showed his vertical lines and horizontal lines to lay images and texts.

reading direction

In this exercise, I used grids in this photo to design another side of these two pages. The content is part of my time line.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Intensive 5 Arelene Gould

Design Management

Arelene Gould introduced the concept of design management, and time management. As a designer, we can be a part of business, and design management is a strategic tool for business. Therefore, a designer cannot only do design, but also need to coordinate with a whole team by using design management. It is my first time come into contact with the idea of design management in this course. After this course, I feel I am more clear about design process. And it shows me very clear steps about how to manage design process during a whole project. Critical thinking and creative brainstorming can help me to broaden my horizon and think divergent.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Mind Maps Design Management Mind Map Saijia Sun July 20, 2010

Vision Problem-Solving Leadership & Team Building Organizational Skills Skills Information Management Creativity

Design Management

Strategy

Design Strategy Corporate Image Strategy Marketing Design Orgnaization Design Management Design

Goo d co rpor ate im g age can raise market positionin

Responsibility goals Key Social Issue Improve Quality of Life

Orgnaize Managers Leadership Control Conduct Project

Manage

Design Objectives

Added Value Differentation Sustainable Market Leadership Improve Quality

eness should be conside red in d e s ign str ate gy

Cooperation Market Positioning

Advantage

Environmental Competitive Social

awar ntal nme viro

Consumer Needs Budget Economic

Design

Protection Eco-design Reduce Wasting of Resources Raise the Environmental Awareness

Challenges

En

Thinking Designers Imagination Problem-Solving Visual Communication Products Ideas Plan

Designers: pioneers How to do things How to do new things Better, Cheaper, Faster

Reduce Costs People Oriented

Corporate Competency CEO Design Culture Connection Engages Emphoyees in Design Awareness

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Process Book 2010/2011 Saijia Sun

1. Traffic light efficien cy 2.Colour 3.Shape 4.Technology to control traffic light 5.Halifax road situatio n old street, five or six way intersection

Analysis and Improvement of Halifax Traffic Light System Report Halifax is a medium size city. People live in Halifax need to face the traffic problem every day. Traffic lights can organize transportation, raise efficiency; it still can slow down transportation, and hide hazards. Halifax traffic light system problem No. 1: In some intersections, there are over much traffic light on one intersection. It makes drivers confused. Halifax traffic light system problem No. 2: Some traffic lights are not clear to see. The bulbs’ colours are not strong. Halifax traffic light system problem No. 3: Some traffic light covers’ paints peeled off. It makes the traffic lights not conspicuous. Halifax traffic light system problem No. 4: Halifax traffic light system is not intelligent. At night, although no car on another side, traffic lights could not increase efficiency. Halifax traffic light system problem No. 5: No enough design for colour blindness. Solution: Traffic lights in complex intersections need to be organized. Using LED lights instead of light bulbs to increase brightness. LED light can also save energy. One LED bulb burns out, others can still work. LED lights give benefit to colour Blindness. Using universal geometric figures for colour blindness. Using Induction Loop to control traffic lights. Between 10pm to 5am, the green lights in main intersections are usually on. But if some cars wait on secondary streets, and no car on the main streets, the green lights will change to red and let the waiting cars go. These improvements can raise Halifax traffic efficiency, make driving safe.

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Process Book 2010/2011 Saijia Sun

Design Process Participate

Rethinking Halifax

Traffic Light System

Light Bulb

Changing Light Bulbs to

LED Light

LED Light

The Benefits of LED Light LED light’ brightness is stronger than regular bulbs Energy Efficient Long Lasting Save backup battery power in the electricity power supply break-down One LED bulb burns out, others still work Benefit for colour Blindness

Saijia Sun MDES6030 July 23, 2010

1.bp.blogspot.com/_rsZ3PQM7ufM/SXXuXEwBEAI/AAAAAAAABBo/9C2Wu3ldRtM/s1600-h/signals.jpg

ehemplo. (2008, November 25). thepirara.com. Traffic Light Tree. Retrieved July 22, 2010, from thepirata.com/traffic-light-tree/

Halifax Traffic Lights Analysis

For the Colour Blindness Using universal geometric figures

Montreal

South Korea

http://forum.skyscraperpage.com/showthread.php?t=159344

jalopnik.com/5559908/uni+signal-a-trafficlight-for-the-color-blind-and-everyone-else

3 2

1

Dartmouth

maps.google.ca/

Using

1

Induction Loop

to Control Traffic Lights

3

2 en.wikipedia.org/wiki/Induction_loop

1

2

3

Many traffic lights make drivers confused The traffic light is not clear to see The paint peeled off.

The green lines show Halifax’s main streets. Between 10pm to 5am, the green lights in these intersection are usually on. But if some cars wait on secondary streets, and no car on the main streets, the green lights will change to red and let the waiting cars go.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Intensive 6 David Peters

Design Problem Solving

The most important thing for a designer is to solve problems. A designer need to deal with complete problems in a project. There are three “C“ that can instead the behaviour of designers. They are cooperation, coordination, and collaboration. As a designer, I asked myself how can you hold a role in a project. Even though we say hold a role is better than just doing a job. It is still difficult to gain control of degree.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Problem Finding NSCAD Graville Cam pus – Halifax Train Station – NSCAD Port Campus Via Barrington street

on Barrington st, parkin g overtime. downtown parking fee is so high and only few par king place.

TD Bank too noisy need private space

It’s really close to the tra in station, but no any tra in station sign. The intersection to train station is no traffic lig ht.

on Barrington st ads poles, a lot of staples shape skin

Near Spring Garden rd. the bus station is in fron t of Aliant building But the bus station sig n is separated with the bus shelter 5m

The sign in the train sta tion are difficult to understa nd The place of booklet is hard to get, and not disabled peo ple friendly.

In front of the train sta tion, TAXI only can park 5 mins

on Barrington st at Sou th st Bus station is opposite from the street

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Process Book 2010/2011 Saijia Sun

I remember in the beginning of this class, David peters talk about Chaos theory. Suddenly, it remained me to think about worm hole and time machine. And then, I fond a video about talking worm hole by Stephen Hawking and took some notes.

Journal-Keeping

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Producing Experience Requirement: “Produce a group experience in which everyone in class learns something wonderful.�

simple, useful, easy to remember Something close to our life daily small thing What we use often cellphone, computer, car, cooking, email... Computer problem of computer season: summer hot: need radiant panel

cables be on fire less organized

some small tools can be panel

some thing can hold and fixate cables

must be easy to get, cost less

must be easy to get, cost less

sucking disc (from bath)

binder chips

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Balmond Dilemma Exercise 1

Poster

This is my first time to come into contact with Cecil Balomnd. I have seen his works before, but I haven’t pay attention to this engineer. After I read a lot of books from him, I understood his ideas deeply. As a structure engineer, he has a style of his own. I really admire his ideas among mathematics, geometry, and sturcture engineering. In the geometric conecpt poster design, even through I did not use Balmond structure ideas, but his attitude gives me some feeling to do these poster designs.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Geometric Concept Research

Ammann Squares Printed on canvas, 2' X 2', 2006.

The Ammann-Beenker tiling is the eight-fold sibling of the more famous, five-fold Penrose rhomb tiling. It was discovered independently by R. Ammann and F. Beenker.Like the Penrose tiling, the Ammann-Beenker can be constructed by both a substitution rule and as a slice of a higher dimensional lattice. This picture and Ammann Squares try to explore these two methods in a visual manner. In this picture the scaling symmetry given by the substitution rule is considered.

Ammann Scaling Printed on canvas, 2' X 2', 2006.

The Ammann-Beenker tiling is the eight-fold sibling of the more famous, five-fold Penrose rhomb tiling. It was discovered independently by R. Ammann and F. Beenker. Like the Penrose tiling, the Ammann-Beenker can be constructed by both a substitution rule and as a slice of a higher dimensional lattice. This picture and Ammann Scaling try to explore these two methods in a visual manner. In this picture the joined lines of tiles, that show the higher dimensional origins are considered. "I am a professional mathematician, interested in the images that can be generated using mathematics and how those can be made to look beautiful. I am especially interested in ways in which these images can be used to show the beauty of mathematics in an accessible manner." (Edmund Harriss)

http://www.bridgesmathart.org/art-exhibits/bridges2007/harriss.htm May 15, 2010

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Process Book 2010/2011 Saijia Sun

Ammann A3

Discovered by R. Ammann In 1977 Robert Ammann discovered a number of sets of aperiodic prototiles, i.e., prototiles with matching rules forcing nonperiodic tilings. These were published as late as 1987 in [GS87], where they were named Ammann A2 (our Ammann Chair), Ammann A3, Ammann A4 and Ammann A5 (better known as Ammann Beenker tiling). The substitution of this one uses the golden ratio as inflation factor. It is certainly true that this is a cut and project tiling, but to our knowledge, noone bothered to compute the window of it up to now. So we don't know whether it is polytopal or not.

[GS87] Gr端nbaum, B and Shephard, G.C. Tilings and Patterns W.H. Freeman, 1987, , MR0857454 http://tilings.math.uni-bielefeld.de/substitution_rules/ammann_a3 May 15,2010

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Process Book 2010/2011 Saijia Sun

Proof Let Tn be an Ammann Tiling. There is necessarily a Penrose tiling by rhombs that corresponds to Tn. The vertex star atlas of a Penrose tiling by rhombs contains the eight distinct vertex stars shown below (Senechal, 177).

As can be seen by inspection, a type 1 rhomb of the Penrose tiling is needed to form a type A tile in the corresponding Ammann tiling. So, to look at all possible coronas of A, we must look at all possible coronas of a type 1 rhomb. In forming these, I have positioned the central rhomb with the same orientation in each case. Based on the vertex star atlas, there are six possible configurations: (Image) Now, here are the same images again, with only the relevant lines colored: (Image) As you can see, the six possible coronas of a type 1 rhomb yield exactly six possible coronas of the corresponding type A tile (the ones we wanted). Therefore, these six coronas are the only possible coronas of A.

http://wiki.canisiusmath.net/index.php?title=Ammann_Tiling May 15, 2010 http://www.mathematicians.org.uk/eoh/files/Can_Subst_Poster2.pdf May 15, 2010

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Process Book 2010/2011 Saijia Sun

Delaunay images Using a scripting plug-in for Illustrator, Jonathan Puckey creates triangular portraits he calls Delaunay Rasters. The images are based on Delaunay triangulation: Delaunay triangulations maximize the minimum angle of all the angles of the triangles in the triangulation; they tend to avoid skinny triangles.

Heesch Number The Heesch number of a closed plane figure is the maximum number of times that figure can be completely surrounded by copies of itself. The determination of the maximum possible (finite) Heesch number is known as Heesch's problem. The Heesch number of a triangle, quadrilateral, regular hexagon, or any other shape that can tile or tessellate the plane, is infinity. Conversely, any shape with infinite Heesch number must tile the plane (Eppstein).

http://mathworld.wolfram.com/HeeschNumber.html May 15, 2010 http://kottke.org/09/10/delaunay-images May 16, 2010

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Process Book 2010/2011 Saijia Sun

File:Delaunay circumcircles.png From Wikibooks, the open-content textbooks collection

http://en.wikibooks.org/wiki/Proteomics/Protein_-_Protein_Interactions/Prediction May 16, 2010

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Process Book 2010/2011 Saijia Sun

Balmond: “Also I think if you have a perfect idea in your mind

when you design, you are designing in the assumption of an answer, which is 99% of what happens. People think of an answer and they make a design. If you make it a different way, so that it is evolving in design, more flexible, more as an approach as you are saying, the interest there is that you get moments, different moments, as the design is evolving in the tectonic. Something happens to the space. Because you don’t have the answer in a way, you are looking for it and somehow that is expressed in the architecture. It is more interesting.”

I totally agree with Balmond’s opinion.

Conversation: Cecil Balmond and Toyo Ito. (n.d.). CA-GROUP. Retrieved May 28, 2010, from www.cagroup.cn/au/001/44-53.pdf

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Poster Draft 1

Voronoi Diagram in Nature

Voronoi Tessellations in Nature Human skin

Collected stones

The veins of a leaf

The Voronoi Diagram is a two-dimensional diagram based on mathematics that is concerned with nature. Even through the Voronoi Diagram is a two-dimensional diagram, it can be used in three-dimensional model making programs and makes model building more easy to visualize. The Voronoi Diagram, also called Thiessen polygon, or Delaunay tesselation, is a set of continuous polygons which are made by perpendicular bisectors. And the perpendicular bisectors bisect two neighboring points to make shapes. The number of points distributes randomly on a plane, and demarcates by the neighboring principle. Each point is linked to the nearest point.

Voronoi Diagram

Taxonomy Area – “A part of a surface that has a particular characteristic or appearance so that it looks different from its surroundings.”(Team, 2004) Edge – “A line that joins a polygon or the line (edge) where two faces meet in a three-dimensional solid.”(AboutMathematics) Perpendicular Bisector – “The line perpendicular to a segment passing through the segment’s midpoint.” (Mathwords, 2008) Polygon – “A polygon may be defined as a plane figure having many angles, or a rectilineal figure bounded by more than four sides. A irregular polygon has its sides unequal, whilst a regular polygon has all its sides and angles equal.” (Keep & Nicholls, 2009) Vertex – “A corner point of a geometric figure. For a polygon, vertices are where adjacent sides meet. For an angle, the vertex is where the two rays making up the angle meet.” (Mathwords, 2008)

Voronoi vertex Voronoi edge Voronoi area

References Balmond, C. (2008). Number 9. New York: Prestel Usa. Category. (n.d.). Math dictionary. Math tutorials, resources, help, resources and Math Worksheets. Retrieved May 19, 2010, from http://math.about.com/library/ble.htm Keep, N., & Nichols, T. (2009). Geometry of Construction: For Builders, Architects, Engineers (Facsimile of 1954 2e. ed.). Shaftesbury: Donhead Publishing. Mathwords: Perpendicular Bisector. (2008, July 29). Mathwords. Retrieved May 19, 2010, from http://www.mathwords.com/p/perpendicular_bisector.htm Team, E. (2004). FLTRP/COLLINS English-Chinese Chinese-English Dictionary (English and Chinese Edition). Beijing: Foreign Language Teaching and Research Press. Voronoi Diagram -- from Wolfram MathWorld. (n.d.). Wolfram MathWorld: The Web's Most Extensive Mathematics Resource. Retrieved May 19, 2010, from http://mathworld.wolfram.com/VoronoiDiagram.html

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Poster Draft 2

The Voronoi Diagram is a two-dimensional diagram based on mathematics that is concerned with nature. Even through the Voronoi Diagram is a twodimensional diagram, it can be used in three-dimensional model making programs and makes model building more easy to visualize.

Voronoi Diagram

T h e V o ro n oi

Dia gr a

m

is

a

two

e n si o n

al dia gra m

b ased

- d im

o n m ath ema ti c

st

ha

t is

dw

it h

n

ure

.

Dia

gr a

is

m

a

two

- d im

e n si o n

al dia gra m

b ased o n m ath

ema ti c

The real printed poster has two layers, the background gray ans pink circles used regular paper to print; but the black leaf Voronoi lines were printed on a transparence plastic papers. I use this idea to show the idea that geometry comes from nature and beyond nature.

T h e V o ro n oi

c o n c ern e

at

st

ha

t is

c o n c ern e dw it h

n

at

ure

.

Voronoi Diagram 51


Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Balmond Dilemma Exercise 2

Objects

In this exercise, I needed to change the Voronoi diagram from 2D to 3D by single colour card board. I started to craft a lamp by using Voronoi diagram.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Voronoi Lamp

The 3D vironoi diagram lamp is effected by light. Turn on and turn off light can give me the different feeling of the geometric form. When the light is off, the colour of the background and frontground are very close to each other. But when the light is on, the outline of Voronoi diagram become very dark, it refer to my poster draft 2.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Field Agents Exercise 1 Mapping the Object Experience

I think the goal of this exercise is to be familar with information design. I used the handkerchief to transfer the information that I carried and used it for 24 hours.

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Process Book 2010/2011 Saijia Sun

Exercise #1

Mapping the Object Experience

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Process Book 2010/2011 Saijia Sun

The Process of Making a Green Shape

Projection

Magnifier

Green Laser Pen Fixer

Camera

Handkerchief (required object)

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Poster Draft 1

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Process Book 2010/2011 Saijia Sun

Poster Draft 2

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Field Agents Exercise 2 Mapping the Environment Experience

This is an existing exercise. We went to Kejimkujik National Park and Georges Island to experience the environment. And we carried a GPS device in Keijim to test the interface and function. It’s really helpful to do the design on computer. For me, I felt I was as a doggie and there was a leash on my neck because the GPS device looked like my master that I had to follow. In Georges Island, there is no path, no GPS. I was free, but that was a limited free because we were on an island. I felt isolated but I was still familiar with the surroundings.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Maps Comparsion GPS Tracking System by GAMIN

This handhold GPS device interface has better communication with user. Path tracking is smarter than Mio in Kejimkujik.

Google Earth Garmin Map

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Feedback for Mio Explora Based on Window Mobile System, and tested in Kejimkujik National Park

In a suspension bridge, the GPS device should have a warning for visitors’ attention.

The screen should have a lock function to avoid mistouching.

The interface need more design. The icon blocked some texts in the back.

In the location of Mill Falls, it should be the core of Mill Falls Trail, the GPS device did not lay more emphasis on this area. The content of Mill Falls in the GPS device is average as other areas. The sign of do not jump to the water is at the corner, but the GPS device did not warn the safty cautions.

The images are few. More images are better than texts.

The GPS device restarted by no reason.

The time of the device was wrong.

When I was back to the Information Center, The GPS device warned me that was a wrong way.

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Process Book 2010/2011 Saijia Sun

Ideas sketch for Kejimkujik National Park two paths design: one GPS path (simple), another one is personal path (complicated).

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Process Book 2010/2011 Saijia Sun

Mapping the environment Kejimkujik First Draft

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Process Book 2010/2011 Saijia Sun

Ideas sketch for Georges Island

Compare past history of Halifax harbour and the present environment. Past: tense situation; Present: comfortable and multicultural life.

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Process Book 2010/2011 Saijia Sun

Mapping the environment Georges Island First Draft

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Process Book 2010/2011 Saijia Sun

Mapping the environment Kejimkujik Second Draft The feeling in Kejimkujik National Park: Because the GPS device is our guide when we have a tour in Kejimkujik National Park. Actually, the path is not hard to find and no too much information in this loop. So I feel I was tied on the GPS device and no freedom. I had to follow the GPS device and when I went opposite way, the device warned me. I looked like a doggy and followed my master unwillingly.

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B4 I see a lot of beautiful flowers.

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Kejimkujik Emotion with GPS Mill Falls Trail

But the leash is on my neck.

A

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A

Legend

B

B

Robot Doggy Doggy’s footmark the hope’s path Doogy Leash Leash Handle Doggy’s Master: GPS Device

C

130m height

C

Mill Falls

D9 I’m really really tired.

Suspension Bridge

I’m not excited during this tour. But I have no choice. I need to follow my master.

D

Mersey River

D

D4, F4 I start to be tired. I start to feel bored. E

E

120m height

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F

G14 I see the beautiful green colour in front of me. Every thing is fresh. Here looks like a natural Oxygen bar.

G

G

110m height

H

H Kejimkujik National Park and National Historic Sit of Canada

J11, 12 I hate the leash on my neck.

H7, I7, I8 This is the location of Mill Falls, and it

I want to turn right, but I have to turn lift.

is the core of Mill Falls Trail, I want to spend more time here. But my master said we just have 2 hours.

I

I

J15 I’m waiting for the leash chain

J

on my neck.

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K12, K13 I’m chained by leash. I lost my freedom. I’m in no mood to play.

K

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Process Book 2010/2011 Saijia Sun

Mapping the environment Georges Island Second Draft The feeling in Georges Island: The point of closest distance between the Georges Island and Halifax harbour is about 0.38 kilometers. Even though it is an isolated island, it still has a lot of links with Halifax and Dartmouth harbor. Standing on the ground of Georges Island, visitors will look out harbour views unconsciously. Visitors could not see the beautiful view on the land because they are too closeto those building downtown and they could not feel the counterchanged shape of buildings. The underground is another point to visit. This is in marked contrast to the natural environment. The complexity of the building structure is invisible if we just look at the surface of the island. Thus, deeply explore the nature and manmade environment will be the next step of visiting Georges Island.

Pa st

t sen Pre

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Phase B Phase B is a no limitation project about Georges Island. We can do this project by the feeling and what Georges Island bring to us during “mapping the environment“. The final outcomes is a persentation, so no real object need to be made. Georges Island is preparing to open to public, so a brochure to publicize this place is necessary. So I decided to make a brochure. How can this brochure be special, and how to let people keep it are my questions in brochure design.

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Georges Island Mind Map

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Paper Engineering

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Process Book 2010/2011 Saijia Sun

3D Images and 3D Glasses

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Dial Brochure for Georges Island PhaseB Presentation Slides

Life Cycle Cradle to Cradle

Your friend may wants to visit here.

Keep it

Your friend get it Use it during a trip Mail it to a friend Visitor enters Get a brochure Look at it

Put it in bag

Dial Brochure

Cradle to Grave

for

Georges Island Saijia Sun MDES 6200 Phase B

What are the problems of the typical brochure?

Problem No. 1 Folding Colour Shape

What are the problems of the typical brochure?

Problem No. 2 Space requirement Advertisements

Problem No. 1 Folding Colour Shape

What are the problems of the typical brochure?

Problem No. 1 Folding Colour Shape

Problem No. 2 Space requirement Advertisements

Problem No. 3 Too much texts

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What are the problems of the typical brochure?

Remember it Throw away


Process Book 2010/2011 Saijia Sun

Something need to keep... First Impression Functionality To remember...

Something need to keep... First Impression Functionality To remember...

Target Audience Tourists

Something need to keep...

“Precedent� Development of Cycle Form

First Impression How to make it useful for the tourists ?

Functionality To remember...

Digital Elements

Target Audience

3D barcode

Tourists Anaglyph image 3D red cyan glasses

3D

Dial shape with window

Paper Engineering

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George’s Island Way Finding Points

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Need More Information? Scan it

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Plan View of George’s Island Dial Brochure

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km

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Making 3D photo


Process Book 2010/2011 Saijia Sun

Brochure Holder Display in Visitor Center 140mm 2mm

60mm

2mm

30mm

Acrylic Panel 150mm

2mm 80mm

900mm

Stainless steel

15mm

50mm

50mm

200mm

200mm

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Thesis How can traditional Chinese book design inform new haptic relationships with literature?

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Process Book 2010/2011 Saijia Sun

Arrange Thoughts Taking position: In the future, I believe e-books will secure the most of book market. But I still think regular books can bear test of time and take a place in the world book market. As a person from China, I am going to reintroduce the characteristic of traditional Chinese book to the age of e-books.

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Process Book 2010/2011 Saijia Sun

How can traditional Chinese book design inform new haptic relationships with literature In the future, I believe e-books will secure most of the book market. How can regular books bear test of time and take a place in the world book market? Can the introduction of the characteristic of traditional Chinese books assist in bringing a new value of the “book” in the age of e-books? The book is a medium of knowledge; it is also a tool to stimulate thought. Reading is a way to promote people’s value. Different people have different reading habits, but each reader interacts with books in many different ways. As a person from China, my culture background influences my behaviour with a book. In traditional Chinese book culture, there are a lot of interesting ways to open books, to read them and to use your hands to turn pages. There are many sensitive relationships between traditional Chinese book design and the human body, which have not been fully explored. These haptic relationships to books may have importance in the 21st century.

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The Experience of Reading How do we read books? How do we hold books? What are our gestures when we read books? What kind of environment do we like to be in when reading? Do you have the habit to take notes when you read? What time do you read? Traditional Chinese book design can create an unusual haptic experience, such as what is a reader’s posture and gesture when s/he reads a book. How does the book communicate with the reader; and what is that interaction? With the introduction of electronic books in the last decade, changes are taking place with people’s reading habits. Many people love books, real books, traditional books, and Chinese traditional books, and also enjoy the convenience that new electronic books offered. We are moving to a high-tech era, and our life is inseparable from high-tech products. For the next generation, I believe electronic books are ubiquitous. Electronic books can interact with people and usually they are multifunctional. In book market, e-books have already come into people’s view gradually. Only a small memory disk, can save hundreds and thousands books to an e-reader. But when people work with apathetic machinery, they lose the chance to experience the real world. On the other hand, we are losing some sensitive feeling while we enjoy the compact and functional e-books. The software behind e-books operates on yes or no commands. It is a communication without any emotion. What we can touch is just the frozen screen and it never changed. We lose the real weight of books, we lose free marking on real paper, and we lose the feeling of touching real books. But why is this even important?


Process Book 2010/2011 Saijia Sun

The Objects “Book” What are the true characteristics of a book? Book is a very old medium to pass information and knowledge; and it has never gone out of use with the development of society. The material of books, the binding of books, the form of books, the function of books, the feature of books, the purpose of books, there are a lot of elements in books are changing subtly. In traditional Chinese book design, the object “book” has appeared in many forms. They have bamboo books, spun silk fabric books, scroll books, album books and so on. And the size, material and binding they chose because of some reason, which is influenced by the historical environment. A good designed book can take a pleasing feeling to readers.

Knowledge

Distribution

Why do we read? What do we gain from books? Do we learn from books? How much? Can we learn from writers or we need to experience in the real world? Can we gain the same amount of knowledge from two differently designed books with the same content? We read books because we need something from books. It can be knowledge, information, references or just spend time. Whatever, our hearts are somehow associated with books. No matter active or passive, we gain something from books.

How does buying and selling literature inform other physical relationally to reading? Does the introduction of e-books change the relationship? There are some reasons why traditional Chinese books went out of style. Nowadays, everything is becoming electronic. With the development of new technologies, e-books are clearly sharing the world book market. The advantages of e-books are that they are small, easy to carry, easy to get and easy to share. In my thesis, I want to combine Chinese traditional book culture with electronic books, and make comparisons between Chinese traditional books and electronic books and try to find how the body’s behaviour influences reading. What you have in your bookshelf is a channel that other people can understand you. From a person’s bookshelf, it is not difficult to find what the person’s habit is. And it can bring more communication between the visitor and the person. To compare e-books and real books, a reader can take more information from a real book. From a designer’s point of view, as a reader, I may look at the quality of the paper material; how the typeface suit for the paper; the cover colour design and so on. But by using an e-reader, a lot of things are hard to measure. For example, I cannot understand the quality of the paper, the font size can be changed, and the colour brightness is adjustable.

According to James Geary, “haptics research will certainly extend the human hand’s reach, acr oss biological frontiers and into virtual worlds ”

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Process Book 2010/2011 Saijia Sun

Research of Chinese Traditional Books binding

margins, columns

http://idp.bl.uk/education/bookbinding/bookbinding.a4d June 20, 2010

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Process Book 2010/2011 Saijia Sun

size, facing page

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Graduate Design Studio 2 Exercise 1 Halifax Typographic Map

The exercise of Halifax Typographic Map is a group work. Jessica, Brad and me are in the same team. The purpose of the exercise is not just look at typefaces for each building, but it is how is our feeling when we look at these buildings. We need to bring these feeling to typefaces. In this exercise, I learned some skills about typeface choosing, and typeface design. After the observation in Halifax downtown, I found some building’s typefaces not really suit the buildings’ styles. For the map, after sketches, our group decided to use building’s birds view outline shape to design the typefaces.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Typographic Group Work Group members: Brad, Jessica and Saijia Schedule:

September 14-15, walking on streets, collect datas and take photos. September 20 group work, drawing the map

Location:

september 14-15: Halifax downtown area September 20: working at Saijia’s place

the first day covered place the second day covered place

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Process Book 2010/2011 Saijia Sun

Halifax Downtown Photos

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Process Book 2010/2011 Saijia Sun

Typographic Group Work Hand Drawing Sketch The hardest thing in this exercise is how to build the map by space division.

Our group matched the typeface shapes with building outlines on the map

Roads’ typefaces are hard to decide in this term. We used wider spaces between each letter and seperated them with building typefaces by space.

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Process Book 2010/2011 Saijia Sun

Sketchs of Types Map

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Process Book 2010/2011 Saijia Sun

Types Maps for the 4 Days Exhibition

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

For “4 Days“ Exhibition: Food

Better City LAB is an unconference and idea-launchpad to spark a Better City, Better Life in Halifax October 20-23, 2010 (www.4days.ca) Our MDes group deals the issue with food. Basically, we try to find some interesting points with food such as five senses with food that people normally could not see. We want people come to our project, look at it, suddenly find these so interesting points about food in their daily life in Halifax downtown.

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Process Book 2010/2011 Saijia Sun

In the 4 Days exhibition , our works take a place in the first day. I have joined the firs t day. I found the most valuab le thing is the conversation. Peo ple also stoped in front of our wor ks to discover the “food� sys tem in Halifax downtown are a.

This project brings more interactive feeling between the object and audience.

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Process Book 2010/2011 Saijia Sun

The scene of the 4 Days Exhibition

Personally, I love the idea of this ballot box. I remember when I wrote some complaints to Halifax, I balloted the note into the ballot box. It was a shredder! The ideas is that you come here, the 4 Days exhibition can help you to deal with the complaints, you will not have it. Don’t we really have any complains?

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Process Book 2010/2011 Saijia Sun

Graduate Design Studio 2 Project 1 Derive

“GET OUT NOW. Not just outside, but beyond the trap of the programmed electronic age so gently closing around so many people at the end of our century. Go outside, move deliberately, then relax, slow down, look around. Do not jog. Do not run. Forget about blood pressure and arthritis, cardiovascular rejuvenation and weight reduction. Instead pay attention to everything that abuts the rural road, the city street, the suburban boulevard. Walk. Stroll. Saunter. Ride a bike, and coast along a lot. Explore�(p.1, Stilgoe, 1998). Publication Information: Book Title: Outside Lies Magic: Regaining History and Awareness in Everyday Places. Contributors: John R. Stilgoe - author. Publisher: Walker and Co.. Place of Publication: New York. Publication Year: 1998. Page Number: 190.

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Process Book 2010/2011 Saijia Sun

Research of Derive

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Process Book 2010/2011 Saijia Sun

Derive path notes and sketches

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Process Book 2010/2011 Saijia Sun

Derive Map sketch

I wrote down why I turned right or left in each intersection, wrote down and drew what things attracked my attention.

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Process Book 2010/2011 Saijia Sun

Photographs of Derive I took photos for my interested point on a street. Without any purpose, just walked on a street. I found a lot of surprise which I never paied attentation before.

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Process Book 2010/2011 Saijia Sun

Group Derive Map Each colour shows a person’s derive path. when we put them together, we get a crossing in a place. Six people came to the same place in a day, a time. But why we passed the same place. I believe our original intention are different. Somethings attracked us to be here in different time. We have a layer by layer intersection on the map, but we did not have intersection in the real space and real time.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Graduate Design Studio 2 Exercise 2 2011 Calendar

2011 calerdar design is a typographic exercise in visualization. The calerdar will show to public. So it is not a very personal calender. But for foreign students, consider their culture backgrounds. They can combine their own culture elements to the calendar design.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Calerdar ideas’ quick and dirty sketch

In China, we have a Nine Nine Song to descirbe temperature in winter and summer. I want to combine tumperature in the 2010 calerdar design which is for Canada. I will design for the coldest month and coldest nine days for winter and opposite way for summer.

I also like an idea which is from Hawkin’s book “The Universe in a Nutshell“. He says time ends in the black hold. It gives me some clue about time and calerdar. I want to combine time flowing in my calendar, and the end day of a unit will flow into the center space and fall down.

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RSD FRIDAY FRID FRIDAY FRID HU Y

DAY MOND MON UESDAY TUAEY MO SD N AY DAY T ND TUESDAY WEDNDEAYSDTHAY WEDNE AY T D URSDA SD Y NES Y THURS A Y T A AY

Process Book 2010/2011 Saijia Sun

Y MO NDA MO Y TUESDA AY ESDA DNESDAY W U WE THURSDA Y DAY Y FRI

124 RS Y FRIDA A

THURSD WE RIDAY FRAY THU D IDA

YM O N SDAY DAY M EDNESDATUESD O Y A


Process Book 2010/2011 Saijia Sun

MONDAY MON DAY D ON TUESDAYESTDUESDAY T AY Y M DAY AY WEDN AY WEDNESUESD M Y D S A T D H S U NESSDAY THUDRAY FRIDAY FRSDAY TH DA RIDAY U R AY FRI F ID

ONDAY AY TUESDMOND WEDNESD AY T A AY THURSDAAY WE UE IDAY FRIDA Y THU D Y FR

125 ND Y MO DA SDAY T ON TUE SDAY AY WEDNETHURSDA Y DAY RIDAY RS IDAY F R


Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Graduate Design Studio 2 Project 2 Spaces

How many spaces around us? If a person is calling somebody in a crowed subway station, how many space does s/he have? The space between s/he and another person on the phone, The space between s/he and other people in the station. The space between s/he and the city... There are many abstract spaces around us. In this project, we need to find at least three spaces we occupy at one time, and map them on a poster.

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Process Book 2010/2011 Saijia Sun


Process Book 2010/2011 Saijia Sun

Spaces ideas’ quick and dirty sketch

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Process Book 2010/2011 Saijia Sun

I’m on a plane...? in the sky...? above the Pacific Ocean...? 48 01’13.11” N, 130 07’15.77” W...?

Where am I?

Cabin Space

On the plane, the direct space is the cabin space. Passengers and flight attendants are in the same space in motion.

Cloud Space

When I look out through the window, clouds are around me. I could not see anything except clouds. Coulds separate me from the surface of the earth.

Internet Space

Using internet in airplanes has became possible now. Some specific planes allow passengers to plug into the net via ethernet connection on the seat. If I plug into the net, I connect with all my online social networks. I chat with my Chinese family, talk about last night’s dinner. At this time, my personal space is in China, at my home, and with my family.

40 30 20 10

Radar Space

I’m on the airplane, I’m still on the radar screen. I’m a dot on the screen.

Reading Light Space Turning the reading light on, the sharp contrasts between light and dark areas limite me in a light space. When I turn on the reading light, I feel there is a invisible wall around me to be separated with other passengers.

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Graduate Design Studio 2

Project 3 Self-portrait/Brand identity

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PREMIERE

Red Earth

Neutrogenasame kind-a

新乐敦

benefit evian facial spray “that gal”

YOUNGBLOODWaterpik

SK CARA white light 3+ B.B cream

PHILIPS SONICARE

Sensodyne-F

ESTEE

Biore LANCOME Polysporin

benetint

NEXXUS

LISE WATIER

Elizabeth Arden 红霉素眼膏

CLIO

gorgeous

Panasonic

THE FACE SHOP

The Body Shop

therappe luxurious hydrating humectress ultimate hydrating

FANCL LANEIGE

GOODY CONAIR DOVE Extra Hold

za

ElizabethOHMU Arden SCOPE Gee...that was quick!

LAUDER Swarovski

鄂尔多斯华蓉 H&M 093003 Downy GUCCI ENVY me

Tide

BASIC HOUSE

CottonLA SENZA CalvinKlein VENUS

85(155/80A) Polyester

YKK

The Restaurant Story

百家好(上海)时装有限公司 handwash only do not bleech 150 C petroleum solvent only dry away from the sun

天涯论坛

LANCOME NUTRIX ROYAL BODY

iPhone

AVEENO

Facetime 欧路词典

QQ 留园 75cm MSN SANYO CRUMPLER eneloop Swarovski CASIOSkype Summer’s eve 金山词霸3.0 Qzone FIDO

ESPRIT

FACEBOOK TANGO 郭子,鸽子与海

LIQUID HAND SOAP

DOVE

GARNIER

Levis

SLIGHT CURVE

CalvinKlein

GlassLock SHOPPERS QuickCharge Kinder bueno Compliments Chopsticks IKEA Fried Rice Gode Kiwi

THERMOS 27HALIFAX B3J 3L8 Ziploc

NS

1881 BRUNSWICK STREET PNY

PJ’S PETS Limited Language:SUN000093003-00 rewriting design Optimum HALIFAX PUBLIC Libraries 0012 914 776 DeSerres Clean & Clear THE BODY SHOP 603207 899 983 308 6090271

ssun@student.nscad.ca GREEN SHIELD LISTERINE i love Dachshund Value Village MECaeroplan BANK OF CHINA tokidoki MONAMI 晨光miffy Hotmail 中国古代书籍装帧 2 3293 00723 763 3

600294 575 428 272

BEST BUY

BURGER KING

CANSON SketchCORSAIR

COACH

PILOT STAPLES

SPCGoogle

PEKO deli

心相印 Hbc Post-it 材料与印刷的创意解决方案

Gmail

Macbook Pro TD VISACASIO Levis HSBC

CARLTON CARDS

ZAPTEL Magic Mouse

37 CONVERSE 142

CONAIR

777 PUMA ONE STAR

GLYSOMED

泰山百货

PUMA


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Graduate Workshop Thesis Research Proposal

This course give students a great chance for working on their thesis writing. In this course, I learned how to ask questions for my thesis; how to building my thesis structure; and how to use different methods and methodologies to deal with complex thesis problems. From thesis research proposal, I built up my thesis outline, have more clear abstract for my topic. The most important thing is I learned how to use different methodologies and methods to ask questions and solve problems in my thesis.

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Timeline Plan for 2010 Fall Semester Plan For: MDES 6600 Graduate Design Studio 2 MDES 6112 Design Research Proposal MDES 6114 Situated Design Thesis Process Book

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Study of “Visualizing Research” & “Ask Stupid Questions“ The research process need four basic steps: what? why? how? so what? The last question “so what“ is a way to challenge my thinking. T-shaped people. In design, my point of view of a T-shaped person is that a designer should integrate develop and should be well up at least in one field.

Different T-shaped people

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A Review of Literature of Ask Stupid Questions in GLIMMER how design can transform your life, and maybe even the world

I think in the beginning, we need to ask ourselves, when we communicate with other people or when we need to ask questions, can we ask stupid questions without scruples? Different people have different scruples. The chapter “Ask Stupid Questions” in the book GLIMMER how design can transform your life, and maybe even the world perhaps can help people to come out of their shells and enjoy the process of asking stupid questions. In the end, people may find those questions are not stupid. Probably, they are the basic, important questions that people neglect. The author of this book is Warren Berger, who is also an award-winning journalist. He has written for the New York Times Magazine, Wired, GQ, Reader’s Digest, The Los Angeles Times Magazine, Business 2.0, and New York magazine. Berger’s advice a theme that runs to designers in this chapter is use the easy way in giving examples, and don’t be afraid to ask stupid questions. These stupid questions can help designers to organize the thought, or let designers pay attention to small, simple details around them. As a designer, I think sometimes my thinking is too big and far when I look at problems. Through training myself to ask stupid questions, I find that some questions look simple and stupid, but they are not easy to answer. There is an old Chinese tale about a man who plans a new house, but only care about the second floor. He does not care about the foundation and the first floor, because he is only interested in the view. This house is unstable and could not be built. Designers need to use their hearts to feel tiny details. They also need to ask questions for some commonplace things. When Dean Kamen was buying an ice cream, he saw a person in a wheelchair. As a designer, he felt shame because the old style wheelchair brings much inconvenience and inequality to disabled people. Thus, he invented the iBOT wheelchair. People who sit on the iBOT wheelchair can adjust the height to be equal to standing people, so they can easily make eye contact with others. Similarly, stairs cannot block the iBOT either. Another example in this chapter, concerns the joke “How many designers does it take to change a light bulb?” perhaps not many designers will question a light bulb. The designers question the need of a light bulb. Designers will reframe the question and maybe put in a roof window instead of a light bulb (Berger, 2009). In China, there is a series of famous encyclopedia

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called Hundred Thousand Whys. Why do children have a lot of whys? Why does a child’s creative power have no limits? Children are not tied by the social framework. They have not formed stereotypes of the world. Therefore, they take a lively interest in anything. How about adults? Why do we not often ask “why”? Why do we hesitate when we ask “why”? For the past many years, people think it has been thus. Adults lose curiosity, and they lose the spirit of inquiry, but will it continue to be so? Berger sees “questioning”, “framing” as similar to Bruce Mau’s opinion. People could change and be “akin to adopting a child’s view of reality, in which everything is noticed as if for the first time and it’s all subject to inquiry and investigation” (p.25, Berger, 2009). A very good way to change people, and particularly designers views is to do a selftest using IDEO’s Five Why Methodology. A subheading of the chapter “Ask Stupid Questions” is “What is design? Who is Bruce Mau? And, by the way, does it have to be a light bulb?” The most used word by a designer is “design”. But how many people ask themselves or other people a simple, basic, and stupid little question: What is design? It is a really hard question to define because the word design has a wide outreach. The second subtitle is “a Word that Needs its Own Dictionary” because “design” is such a broad topic. Indeed, different types of designers have their own definition of the word “design”. Yves Behar says design is “how you treat your customers” (p.29, Berger, 2009). I agree with his opinion. Customers and designers need two-way communication and coordination. Treating customers it a responsible behavior for designers and design itself. In Joe Duffy’s opinion, design is “the art of making something better, beautifully” (p.29, Berger, 2009). I agree with just the first part “the art of making something better”, but I cannot agree with the word beautifully. Just making things beautiful is not design. It is the artistic surface appearance, but the deeper functionality and practicability are not included. Artistic appearance is the evil of the design area. I cannot agree with the sculptor Donald Judd’s opinion, “Design has to work. Art does not.” (p.30, Berger, 2009) I think art also has to work. “French New Wave” film director JeanLuc Godard against the closed concept of artistic creation. He said a picture needs two people. His understanding of the process resources of image creation needs to determine and anticipate other


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side. The conversation between artists and audiences is work, isn’t it? Another section of the Chapter “3 Levels of Design Appeal: Visceral ‘I want it’, Behavioral ‘I can master it’, and Reflective ‘It completes me’” explains how in beautiful looking products, can have weaknesses, which have been minimized by artistic appearance. For instance, many people know that iPhone 4 has an antenna problem, but it is still the best-seller because of its look and functionality. Apple Company made a smart move to solve the antenna problem: each iPhone 4 box has a silica-gel case to avoid the antenna problem. This also paved Apple heavy losses which result from recall. IDEO’s chief executive Time Brown calls the best designers “T-shaped people”. In his understanding, the horizontal line is equal to how many skills a designer has in different field. The vertical line expresses the indepth area of the designer. Each person can have his/ her own view of “T-shaped people”. I think the capital T can be a scale. The left part of horizontal line is designers; the right part is customers. The vertical line is the knowledge, skills, and experiences that a designer has. Designers need to use these things to balance the relationship between designers and customers. This apparently simple and gentle chapter can bring some inspiration and thought to designers. From the basic details, keep asking stupid questions and keep asking “why”.

References Berger, W. (2009). Glimmer: How Design Can Transform Your Life, and Maybe Even the World. New York: Penguin Press HC, The. Berger, W. (2010). CAD Monkeys, Dinosaur Babies, and T-Shaped People: Inside the World of Design Thinking and How It Can Spark Creativity and Innovation. Boston: Penguin (Non-Classics). type. (n.d.). Jean-Luc Godard - Biography. The Internet Movie Database (IMDb). Retrieved September 26, 2010, from http://www.imdb.com/name/nm0000419

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Thesis Research 1

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Thesis Research 2 How Can Traditional Chinese Book Design Inform New Haptic Relationships With Literature

Saijia Sun

MDes 6112

In my thesisi research 2, I asked myself to rethinking my topic. I think after a peroid of time of my research, I need to review my topic to keep myself focus on it. Thus, I used IDEO’s five whys method which I learned from “Visualizing Research“ to keep myself still on the path.

Oct.4, 2010

IDEO’s Five Whys Methodology

Why

Why

Why Why

books?

Topic?

in western environment?

Traditional Chinese book design? In western environment? Senses?

traditional Chinese book design?

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Standers View Person concerned View

More clear to see Chinese culture by rational eyes.

Haptic relationship?

Why

Choose something I want to do.

explore haptic sense?

Keep my interest in book design. Book is a media for communication without intermediate agent. Cheap carrier for information.

Why

China

http://jishi.xooob.com/sj/20097/384552.htm

http://www.shu000.com/

Humans have very complex and keen five senses. Only shapes and colours cannot satisfy customers in the existing market. More and more sense perception are applied in design area.

When we talk about a book... Culture background. Cultural aggression.

but not contents of a book TEXTURE

Chinese market was flooded with foreign goods. Worshipping everything foreign.

PAPER’s QUALITY FIVE SENSES

How to reaccept and improve the good tradition?

PAPER’s COLOURS WEIGHT

PAPER’s SOUNDS

Loss of traditional book culture.

SMELLS of INK & PAPER

(p. 73, Hara, 2003)


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Lenz, S. (n.d.). Facts about Chinese Book Market. Frankfurter Buchmesse. Retrieved October 17, 2010, from www.buchmesse.de/imperia/celum/documents/ Leipzig2009_11_Book_Market.pdf

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Thesis Research 3 The purpose of thesisi research 3 is using visual diagram to build my thesis research methods.

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Thesis Research 4 In this step, I compared sony’s e-reader with i pad’s ibooks. From using both, I make diagram for them and try to figure out the trend for future e-books.

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Thesis Research 5 In this stage, I read several books about traditional Chinese book history and generalize some inmprtant book binding skills in ancient China.

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images

Google Books Library Project

Europeana

"In 2010 Google estimated that there are about 130 million unique books in the world (129,864,880 to be exact).[1][2] In June 2010 google passed the 12 million scanned booke mark."[2]

archives

ideas

think culture

inspiration

Europeana[1]

museums & galleries

texts 6 million digital items videos

sounds 1. "Books of the world". Google. August 5, 2010. Retrieved 2010-08-15. "After we exclude serials, we can finally count all the books in the world. There are 129,864,880 of them. At least until Sunday." 2. Google: 129 Million Different Books Have Been Published PC World

1. Europeana think culture: www.europeana.eu/portal/aboutus.html

1.5 pounds Wi-Fi model 0.68kg 1.6 pounds Wi-Fi + 3G model 0.73kg

weight glass

iPad & Sony Reader performance test

highlight

bookmark sepia

easy to touch (capacitance screen)

screen type

free drawing weight couldn't be saved create/edit notes PDF./TXT.

notes

white

page colour iPad-iBooks Test library

fonts: 11 zoom Baskerville in/out size Cochin Georgia Palatino Times New Roman Verdana whole book

online selling website

featured top charts browse purchases

search function highlight words

It's a machine, not human being. In the interaction between me and the iPad, sometimes, it is mechanized. Even through programmers designed a lot of humanized functions such as highlight, notes taking, I still feel constrained. Eg. Notes always go to right margin of the page. When I have notes of a word (this word has been highlighted). Then I started to highlight a sentence which included the word, only one colour I can use. The noted word's highlight mark disappears. "Papers" are always made by one material. I only feel cold glass. Only six typefaces. Layouts are same. I can change typeface for each book. Real books couldn't do that. Multi-language environment is not designed very well in book search categories.

save on SD card no Wi-Fi or 3G

formats of books

buttons hard to touch

0.155kg

audio

pictures B/W

other functions

The Sony Reader Test zoom in/ out interface types no background light books digital ink screen

thumbnails black / white

hard to touch (resistance screen)

sorted by title author date

s. m. l. xl. xxl.

support different typefaces

Ron Hawkins, the Sony Reader's marketing boss says "our mission is not to replace the print book."[3] After using Sony Reader, I understand that I'm sure I need the print book: The system is very slow, reacting time is often 2 seconds after a simple gesture. Hard to use gestures to turn pages. Pressure is hard to control. Before I was thinking it has a great feature: free drawing on any page, but when I turn to the next page, the free drawing couldn't be saved.

1: iPad Edition: Wi-Fi + 3G 16GB. 2: Sony Reader Edition: Pocket Edition, Silver. 3: The future of books. (2007, March 23). Global Technology Forum. Retrieved October 24, 2010, from http://globaltechforum.eiu.com/index. asp?layout=rich_story&channelid=5&categoryid=15&doc_id=10370

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Thesis Research 6 IDEO's Future of the Book

Nelson's future of the book: Critical thinking tools Multiple perspectives link history and future[1]

The future of e-books’ prospect

Coupland's future of the book: Tracking cutting-edge information "Book Club", share and learn[1]

Alice's future of the book: "Interact and affect written narratives"[1] "Non-linear"[1] reading 1: Lancker, W. V. (2010, September 21). IDEO's Future of the Book - Core77. Core77 / industrial design magazine + resource / home. Retrieved October 24, 2010, from http://www.core77.com/blog/technology/ideos_future_of_the_book_17449.asp

My prospect

Trend: base on screen electronic multifunction internet panel computer a "purer" book flexible electronic papers simulate different materials energy saving combine E-ink and LCD technology

References BBC News - Q&A: Google Books in court. (2010, February 18). BBC News - Home. Retrieved October 24, 2010, from http://news.bbc.co.uk/2/ hi/8522004.stm E-Books and Printed Books Are Not the Same in Design, Typography, or Text Delivery” The Book Designer. (2010, October 19). The Book Designer” Practical Advice to Help Self-Publishers Build Better Books. Retrieved October 24, 2010, from http://www.thebookdesigner. com/2010/01/the-problem-with-ebooks/ Lancker, W. V. (2010, September 21). IDEO's Future of the Book - Core77. Core77 / industrial design magazine

+ resource / home. Retrieved October 24, 2010, from http://www.core77. com/blog/technology/ideos_future_ of_the_book_17449.asp The future of books. (2007, March 23). Global Technology Forum. Retrieved October 24, 2010, from http://globaltechforum.eiu.com/index. asp?layout=rich_story&channelid=5&c ategoryid=15&doc_id=10370

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Thesis Research Specified Outcomes Draft 1

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Thesis Research Specified Outcomes Draft 2

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M.Des 6112 Specified Outcomes

6

Saijia Sun / 07 Dec, 2010 How can traditional Chinese book design inform new haptic/tactile relationship with literature?

Basic Gantt Chart Activites Data collection Visit museums Traditional Chinese books collection Material collection References collection Sample survey collection Data analyzing 3D modeling Sketching “Quick and Dirty“ Visual diagrams Literature summaries Diagrams IDEO’s five whys Historical analysis Thesis writing Brainstorming Thesis outline Introduction Background information Review of the literature and research Literature review 1 Literature review 2 Literature review 3 Literature review 4 Case study 1 Case study 2 Case study 3 Case study 4 Building diagrams Report of questionnaire Statement of the question or problem Statement of the output design Conclusion Output design process Questionnaire design Survey Prototyping Real model making

Finished work Unfinished work

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2010.08 – 2011.04

AUG

SEP

OCT

NOV

DEC

JAN

FEB

MAR APR


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Saijia Sun / 07 Dec, 2010 How can traditional Chinese book design inform new haptic/tactile relationship with literature?

Visual Research Samples

Figure 1. IDEO’s five whys: Why researching in western environment? Figure 2. Brainstorming of human and communication

Figure 3. Brainstorming of five senses

Figure 4. Five senses architecture Hara, K. (2006). Design of design. Jimam: Shandong People’s Publishion House.

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Saijia Sun / 07 Dec, 2010 How can traditional Chinese book design inform new haptic/tactile relationship with literature?

Figure 5. The comparison with E-readers: iPad & Sony Reader

Figure 6. Europeana is a online gallery which collects paintings, music, films and books from Europe’s galleries.

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8


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Saijia Sun / 07 Dec, 2010 How can traditional Chinese book design inform new haptic/tactile relationship with literature?

Figure 7. Research methods diagram

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10

Saijia Sun / 07 Dec, 2010 How can traditional Chinese book design inform new haptic/tactile relationship with literature?

Figure 8. “Quick and Dirty“ in the beginning of topic choosing

Figure 10. Sketch of 3D model connection

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Figure 9. 3D model to show the general thesis structure


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11

Saijia Sun / 07 Dec, 2010 How can traditional Chinese book design inform new haptic/tactile relationship with literature? PosterDraft2.pdf 1 2010/8/17 21:40:36

1562 B.C. - 1066 B.C. carapace-bone-script

Reintroducing Traditional Chinese Book Design to the 21 Century Book Market 770 B.C. inscriptions on a tablet

481 B.C. silk manuscript

420 - 589 inscribed bamboo-slips inscribed wooden table

105

paper

album of painting or calligraphy scroll binding whirlwind binding traditional thread binding wrapped-ridge binding

al Ch

ition

Trad e Bo

M

Y

oks

CM

MY

?

?

ines

C

? ?

CY

CMY

Questions for Future Prediction

K

How much is the market share for regular books?

How much is the market share for e-books?

How much is the market share for traditional Chinese books?

What is the haptic relationship between traditional Chinese book design and the human body? How can market influence traditional Chinese books?

ic

on ctr

oks

Bo

Ele

Regular Bo

oks

2009 1990

the Amazon Kindle model and Sony's PRS-500

Internet

1971 1970

in the Gutenberg Project

personal computer

In the future, I believe e-books will secure most of the book market. How can regular books bear test of time and take a place in the world book market? Can the introduction of the characteristic of traditional Chinese books assist in bringing a new value of the “book” in the age of e-books? The book is a medium of knowledge; it is also a tool to stimulate thought. Reading is a way to promote people’s value. Different people have different reading habits, but each reader interacts with books in many different ways. As a person from China, my culture background influences my behaviour with a book. In traditional Chinese book culture, there are a lot of interesting ways to open books, to read them and to use your hands to turn pages. There are many sensitive relationships between traditional Chinese book design and the human body, which have not been fully explored. These haptic relationships to books may have importance in the 21st century.

Saijia Sun August 18, 2010 Master of Design Program Summer 2010

Figure 11. Thesis proposal poster

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Saijia Sun / 07 Dec, 2010 How can traditional Chinese book design inform new haptic/tactile relationship with literature? Thesis abstract

Chapter 1: introduction Defination of haptic Defination of tactile Defination of book Give definitions

Thesis research question How can traditional Chinese book design inform new haptic experience with literature? Why the issue is important? Culture background Chinese book market Chinese reader groups (Shanghai 2010 reading group survey) Development of electronic technology

Chapter 2: background information History of traditional Chinese books Prototype of the beginning of books:

Tying knots book / engraved book / drawing book / inscription on pottery / carapace-bone-script / inscriptions on bronze, stone, jade, tablet.

Regular book forms:

Bamboo scripts, wood plaques, silk manuscripts, paper scripts.

Traditional book binding:

Scroll binding, whirlwind binding, tipping binding, sewing binding

How the thesis will provide an answer? Methodology: action research / case study Methods: survey / diagram / historical analysis Chinese ancient books preservation project Preserving the rare books Contributing to research Spreading of Chinese culture

Traditional Chinese book binding with culture Harmony between man and nature

Album of painting or caligraphy

Future book outlook The electronic future Traditional books vs other supports Yesterday’s future

Chapter 3: Review of the literature and research

The future tend to look backwards rather than forwards

Case study 1: Chinese bookish temperament (Shu Juan Qi)

Reading habits survey Target audiences:

Chapter 4: statement of the question or problem

Chinese university students and Chinese white-collars workers

Reading habits Reading types Reading motivation Reading media

Chapter 5: statement of the output design

Chapter 6: conclusion

References Spigel, L. (2001) “Yesterday’s Future, Tomorrow’s Home.” Emergences, vol. 11, no. 1., pp. 29-49.

Appendices

Visual Diagram of Thesis Outline How can traditional Chinese book design inform new haptic experience with literature?

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Figure 12. Visual diagram of thesis outline


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Thesis Research Specified Outcomes Draft 3

Rationale

In the beginning of 2010, the Shanghai Youth Office of Literature did a reading research survey for whitecollar people in Shanghai. According to the report, close to 50% of people indicated they do not have reading habits, and only 12.4 % of people read more than one hour per day. Among all those who read, more than half of them started to read on the internet rather than on paper. The influence of the Information Super highway is deep and extensive. The magical virtual reality diffuses inexhaustible fascinations. The age of information explosion is changing people’s reading behaviours. The vivid visual stimulations are transforming people’s notion of aesthetics. In the fast food style of culture pattern most popular content amongst those who read up entertainment, even though people’s abilities to gain information become fast and efficient, they lose direct emotional perception. This research suggests that not only is online reading replacing the traditional reading habits but also deep reading starts to lose its market. [At one point you discussed, how the loss of deep reading impacted on culture - where is this? It lends significance to your action - why design for deep reading?] In the thesis, the mainly discussion is that how to design a book for deep reading. As a way to improve readers reading qualities. The deep reading will not judge contents of a book; it will focus on how to bring haptic and tactile sensations to readers to lead them into deep reading. In the area of books, material, layout, typeface, and even the weight of a book, can communicate different information to readers. These sensations are the direct proto experience for people. Proto experience is a process of experience coming from the basic senses of sight, hearing, touch, smell and taste that coordinate with eyes, ears, hands, nose, and mouth. Tactile and haptic sensations are the feelings of touch which occur first and last the longest. The feeling of touch makes people’s lives become real in a threedimensional space. The famous artist Vincent van Gogh used the physical weight of oil paint to draw the depth of colour, original power of the soil, and the solid feeling of the soil because the sense of sight only tells people the difference of colour;

the haptic and tactile experience will paint the depth of life to construct the self-subjective consciousness to understand the world. Haptic means “force based”. We can feel it, when we hold heavy objects. In my thesis, the haptic part will be the book’s physical weight to readers. Tactile means “touch based”. The tactile feeling makes people feel the texture of things. The tactile part in the thesis will be the texture of materials. People may have different sensations to objects even though the weight of both is the same. For example, if one object is made in iron and the other is made in leather, even though they have the same haptic force they will possess a different touch sensation. An old Chinese saying says, there are three stages when reading a book: in the first stage, people will feel the book gets thicker and thicker as they may not fully understand the content of the book, and more research must be undertaken to understand the content; in the second stage, people will feel the book get thinner as they have a deeper understanding of the book after the research; in the third stage, people will feel they are a part of the book as the book influences their daily behaviour. If an individual is interested in reading a particular book, the texture of this book to this individual will be light. There are three ways to improve the tactile nature of reading: material, binding, and layout. Each reading experience should be unique, and each should provide a unique tactile experience to different readers. In modern society, in addition to paper books, more communication channels are available for readers to choose.[What are they?] Internet reading is one of them. When internet reading becomes available, it seems that people start to adopt this new trend and shift traditional reading to internet reading.[Evidence] Some people think traditional reading should become out dated;[Evidence] however, I will argue it is the time to pierce the slumber of traditional Chinese reading by combining the traditional with innovative elements. In this content, it is important to study the design of traditional Chinese books because after all these years, traditional Chinese books still haven’t failed the market even though more and more selections

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become available. There are several types of traditional Chinese books; for example, one type is called ‘ce ye’. When people flip the pages, they will use the index finger to flip pages. This will improve the speed of reading.[Why is this important to your designing for reading experience?] Also, the layout was simpler in traditional Chinese books. They all have the same layout: the right to left, top to bottom. It is easy for readers not only to develop their own reading habits through this simple design but also to find information.[Say why you are drawing out these design features] When people read, information is delivered through the finger tips. Each fingertip has 2500 nerve receptors per square centimetre (p12, McBride & Schmorrow, 2005). The Chinese ancients successfully applied these statistics so that they managed to produce unique sensations when reading a book. In ancient China, there were different ways to bind books. For example, one style is called ‘xuan feng’, where pages were stacked on top of each other and aligned down the right hand side and pasted together at the edge. The advantage of this binding is that readers feel they are gently brushing against feathers when flipping pages. This indicates how sensitive human being’s sensations can be. The sensation of an object is more important to a designer than the object itself. Overall, the book is a medium of knowledge; it is also a tool to stimulate thoughts. Deep reading is a way to improve the quality of a person. Different people have different reading habits, but readers may have their own ways to interact with books. As a Chinese, cultural backgrounds influence people’s reading behavior. Traditional Chinese book culture is well worth exploring. In the Chinese book market, traditional Chinese book design has been nearly discarded. Thus, to research traditional Chinese book design and its market place in present societies are very important duty for a Chinese. After the research, I will reintegrate the advantages of traditional Chinese books, and find a point of penetration to use these advantages in today’s Chinese book market. I hope these actions will arouse people to ponder books again.

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Stakeholders

Chinese culture will benefit from the research. In the digital age, different cultures become very similar. The concept of the global village is becoming true. How to keep cultural features is a main need everyone should to consider. Although haptic and tactile sensations are only a small part of traditional Chinese book culture, they are what Chinese people are losing. What have been lost can still be recovered and well-used now and in the future. Researchers interested in the sensations will benefit from the research. Haptic feeling and tactile feeling belong to the sense of touch. It is the basic and original way for people to get a message and interact with other objects. Combining the haptic and tactile sensations of books in addition to texts and images give people information when reading. The feeling of touch influences people’s reading habits. Chinese readers will benefit from the research; however, Chinese readers will reactivate the traditional Chinese books which are rich in haptic and tactile sensations. Book designers may benefit from the research. The research will expand another point of view: a sensation area to reconsider book design rather than just concentrate on layouts and typefaces. Overall, even though the research focuses on traditional Chinese books, western culture also will benefit because the research emphasizes haptic and tactile sensations in nature and Chinese book culture rather than addressing hard to understand Chinese texts. Everyone has the ability to use their senses to feel the world; thus, it is a borderless benefit for every reader.


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Graduate Design Workshop Situated Design

This course require student to write critical “reflective response� for articles from the book: Limited Language: rewriting design: responding to a feedback culture; and design response diagrams for some of the articles. Building students own glossary to each article is another request for students.

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Thoughts after reading “Modernism 2.0” & “Design of possibility”

The concept of “altermodern” by Nicolas Bourriaud shows a new age after postmodernism. Post modernism influenced world society for a long period of time. Before the word “altermodernism” named by Bourriaud, the concept of post modernism controlled the world for half a century. But the word postmodernism is hard to divorce from modernism. Postmodernism is a response to modernism. Even though people’s consciousness, ideology and action are beyond modernism, post modernism cannot get away from modernism. The idea altermodernism is related to the ideas in Bourriaud’s book Relational Aesthetics, which was published in 1998. The key word altermodern describes the reaction of artists in the age of mass information. In the 1960s, “the medium is the message” and “global village” was put forward by Marshall McLuhan (Mcluhan, 1967). McLuhan’s statement was a prediction for today. The extension of television is narrow and limited compared to the extension of the internet which brings a wide range to build the information society. The electronic media overcomes distance in space and lets people emerge from a limitation. Information transparency has been enhanced. The electronic media are creating new behavior and ethics. When distance disappears in electronic media, we have difficulty separating the real from virtual and true from false. My thesis research shows that¬ people do not make a choice when they talk about the performance of e-books and traditional books. A universal answer is “I love real books, but I can still accept e-books.” People’s conflicting philosophy is hard to explain. On one hand, they love the weight that a real book brings; on the other hand, they appreciate the convenience of e-books. Thoughts about Relational Aesthetics I think “deliver” is a key word for Relational Aesthetics. An art work needs to deliver something to an audience. Without delivering something, the art work is lifeless. Delivery is more apparent in the design field. Interaction design becomes important in the highly developed information society. Designers need enormous amounts of information to flood our heads. Many programs are interdisciplinary. How a designer delivers his/her ideas to a cooperative group needs to be considered. Jean-Luc Godard, who is a French-Swiss film director, screen writer and critic,

says that a picture needs two people¬ -- one is the creator, another is an audience (Morrey, 2005). This idea is really close to Marcel Duchamp’s opinion: an art work is not made by a creator, but by audiences (Cabanne, 1987). Any work can be an object that has relation to something. There are many participants around the object. And these participants can have conversation with the object; everything is equal. Thus, it is a cooperative social system. Artists are not the center of the work; they need to do something about care, care of the surroundings, care of the audience. Overall, altermodernism is a moment for new arts. When we talk about postmodernism, the stereotype of that age is about western arts. A very positive aspect of altermodernism is that not only western arts, but global arts are important. In the information society, the impact of communication by artists will be more influential.

References Bourriaud, N. (1998). Relational Aesthetics. Paris: Les Presse Du Reel,France. Cabanne, P. (1987). Dialogues With Marcel Duchamp (Da Capo Paperback) (New Ed ed.). New York and Washington D.C.: Da Capo Press. Mcluhan, M. (1967). The medium is the message; an inventory of effects (1 ed.). united states: Bantam Books,Inc. Mcluhan, M., & Powers, B. R. (1992). The Global Village: Transformations in World Life and Media in the 21st Century (Communication and Society (New York, N.Y.).). New York: Oxford University Press, USA. Morrey, D. (2005). Jean-Luc Godard (French Film Directors). Manchester and New York: Manchester University Press.

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Analysis and Diagram of “Modernism 2.0” & “Design of possibility”

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Thoughts after reading “Rethinking tactile graphics: a propositional methodology / Rethinking craft” & “Visual communication in 0.4 seconds / The buzzword and creativity” “Looking” is a word in the visual world. Visual communication as a concept in design schools is not only a design language, but it also influences people’s spending habits, aesthetic features, and life habits. Graphic design is a branch of visual communication. Is visual communication in visual is the only way to communication between designers and clients? When people look at a visual work, the surface communication is just a quick sight without thinking. A person is far from that visual work, s/he just glances at it. If it’s interesting, s/he will stop briefly, and look at it. But s/he will come close to look at details if s/he is very curious about that work. But all the while, the sense of space exists between the object and a person. We just use our eyes to look. Distance always consists in eyes and objects. If there is no distance, our eyes will choose to close instinctively. Can other senses be used in graphic design? In the article “Rethinking Tactile Graphics: a Propositional Methodology” it was mentioned that “off-screen artefacts bring a sense of touch and the whole haptics sensorium (back) into play” (Moszkowicz, 2009). Thus, designers or audiences can use hands to send and receive information. The handrendered artefact can pass more emotion to people. For example, the embroidered Partial copies of newspapers by Karen Reimer is unique. In the situation of no computer-aided or machine-aided manufacturing, that newspaper cannot be perfectly duplicated. Many graphic designers cannot survive without computers. We use computer to aid our designs, and then use printers to reproduce our works. They can be duplicated. So what is the value of this kind of work? Where is the uniqueness of arts? I don’t want the world to go back to the preindustrial society. But the point is how to find the point of penetration to combine the present technology with haptics sensorium. In the article “Rethinking Craft”, the author mentioned book binding. This is also the same point that my thesis needs to explore: how to take the tactile feeling of book design in an information and technology society. I’m very interested in the “change blindness” experiment. The experiment talks about “Depending on what we focus on, our brains can be completely blind to obvious changes going on around us. This is called ‘change blindness’, and it is unnerving when you observe it” (Grossman, 2010). Visual pollution

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can be seen in every developed city. There are tons of graphic design works hung on streets and they are so loud and say “look at me.” But when all these elements are around my eyes and become overwhelmed, what I can do is just shut down my brain and turn to “blindness” because visual exhaustion. Our brains are free to shield the thing that we don’t want to see or we don’t want to hear. So when designers think about their work, can they think about people who don’t care about everything they made? It is also advice for me. I have another idea of the “change blindness” experiment. For clients, they are under the situation of no design background. So they are not very good at exploring the change of details. Sometimes designers are too focused on details; actually, clients don’t care about that kind of things. If a designer is very focused on one point, sometimes s/ he will not pay so much attention to the whole project.

References Davies, C., & Parrinder, M. (2009). limited language: rewriting design: responding to a feedback culture (1 ed.). Berlin : Birkhauser: Birkhäuser Basel. Grossman, M. (2010, January 18). Change Blindness | UX Magazine. UX Magazine | Defining and Informing the Complex Field of User Experience (UX). Retrieved September 25, 2010, from http://uxmag.com/design/ change-blindness? utm_source=feedburner&utm_ medium=feed&utm_campaign=Feed:+UXM+%28UX+M agazine%29&utm_content=Google+Reader The Gestalt Principles. (n.d.). SFCC Graphic Design. Retrieved September 25, 2010, from http:// graphicdesign.spokanefalls


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Analysis and Diagram of “Rethinking tactile graphics: a propositional methodology / Rethinking craft” & “Visual communication in 0.4 seconds / The buzzword and creativity”

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Julia Moszkowicz

Rethinking tactile graphics: a propositional methodology

? Hand-rendered production

Don’t be limited in the frame

off-screen

on-screen

3 Dimensional

2 Dimensional

5 senses

(Graphic)

Design

semiotic mode inspiration

need help?

Designers

Gestalt Products

Customers

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Thoughts after reading “Design in crisis / Too much history” & “Shock and awe: the politics of production / The process of consumption”

In July 31st 2010, Chelsea Clinton, the daughter of former President Bill Clinton and Secretary of State Hillary Clinton, married Marc Mezvinsky. Chelsea’s wedding dress is designed by a famous ethnic Chinese fashion designer Vera Wang. The wedding dress and the person Chelsea are combined together, is given a political meaning. Some American fashion medias believe that choosing this wedding dress has the meaning of ethnic hybrid. And also because Vera Wang’s wedding dresses have a wideranging price, people first is another meaning from Chelsea’s wedding dress. The above is only one side opinion. Maybe Clinton family doesn’t give any political meaning to a wedding dress. It is just a simple, beautiful wedding dress with a favorite brand. Paul Rand who was an American graphic designer said that “It is no secret that the real world in which the designer functions is not the world of art, but the world of buying and selling.” Design is a problem-solving activity. Designers need to work with business not aesthetics. But designers have skills from aesthetics. It is the basic difference between designers and engineers. Design is a complicated career because designers need to have inspiration, creativity, skills, technology and aesthetic approach. From the surface, we could not see any connection between design and politics. But Politics is related to value; design is a way to embody value. Thus, design has indirect connection with politics. The article “Design in crisis” by Ezri Tarazi talks about the relationship between arts and design. I think arts are the express of willpower when artists face the society. The unit should be individually. Thus, only artists can control the roots of arts. This is the aloofness and frankness of arts. Not every understands artworks. For an artwork, it can have a lot of different annotations. Basically, design does not have the motive for selfexpression. The focus point is more in society. Everyone can evaluate design. And designers need to be tied by parameters. Solving problems that most people facing is the essence of a designer. In the process of problem solving, or in the design process, designers and normal people can feel the values and the spirit; it is the attractive point of design. The article “Design in crisis” also talks about the influence for designers from the digital age. John Maeda, who is a Japanese-American graphic

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designer, computer scientist, university professor, and author, says “It’s not about making the world more technological anymore, it’s about how to make it more humane again.” And there is a student’s response “I came here to learn how to design, not to learn how to use a computer”. A computer is not a stage property, but it is a source material. Source materials have great advantage of concrete plasticity. Thus, computer cannot limits designers’ inspiration. But the reality is a lot of students are limited by the “stage property” computer, and cannot get out of the living hell.

References Green, J. (2008, May 9). Serious Play 2008: John Maeda Rocks!. Core77. Retrieved October 2, 2010, from http://www.core77.com/blog/events/serious_ play_2008_john_maeda_rocks_9758.asp John Maeda - Wikipedia, the free encyclopedia. (n.d.). Wikipedia, the free encyclopedia. Retrieved October 2, 2010, from http://en.wikipedia.org/wiki/ John_Maeda Kenya, H. (2003). Design of Design. Tokyo: Iwanami Shoten.


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Analysis and Diagram of “Design in crisis / Too much history” & “Shock and awe: the politics of production / The process of consumption”

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Thoughts after reading “Multiverso / Embodied information” & “This page is no longer on this server… / The influence of neighbours”

New ideas and technologies would impregnate new activities for the development of design. “Global village” is true existing in our lives. Markets are no longer individual units that distinguish by countries. Markets become parts of a global economic chain. In chaos theory, for example, “A butterfly flapping its wings in South America can affect the weather in Central Park.” The subprime mortgage crisis in America sent reverberations around the globe and affected almost every country’s economic growth in the short term. Design is closely related with markets. Design plays the roles of comprehensive discipline in global capitalist markets, which include in literature, ethics, economics, advertising, marketing and body engineering, etc. I think economics is the most important idea that be implemented. Designers need to analyze the objective world, to analyze existing markets, in order to serve the real world. Designers also need to accommodate themselves to circumstances with the change of the global markets’ trend. In the dynamic change, people have experienced the development road of three historical courses from pre-industrial civilization to industrial civilization until digital and information civilization. In the social development and social change, we cannot make an omelet without breaking eggs. In the article of “The Work of Art in the Age of Mechanical Reproduction” by German cultural critic Walter Benjamin, it says, “Which withers in the age of mechanical reproduction is the aura of the work of art. This is a symptomatic process whose significance points beyond the realm of art.” Copy is a convenient and terrible word. An object can make an inconceivable increase in quantity. But in creativity, the repeat does not have any meaning. In Walter Benjamin’s words, it doesn’t have aura and authenticity. Copy is a convenience and terrible word. An object can be increased in quantity. But in creativity, the repetition doesn’t mean anything. This is my understanding about losing aura and authenticity. In today society, papers and pens are replaced by computers and keyboards; a stack of files are replaced by a tiny memory card; and films are replaced by digital images. Nowadays, for information preservation, it will be a great disaster. In China, the earliest characters were found in tortoise beetles and animal bones. These writing can be kept for thousands

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years without any damage. But now, many people prefer to save information on microchips. When we need to look at the information, we still need the third party media as a carrier. Information loss maybe just because press a Delete button, or the error of a chip. In the article of “This page is no longer on this server…”, author says when we click a link, the webpage shows “This page is no longer on this server…”; it is today’s mini explosion. Probably, in the near future, it will be no longer a mini explosion. Our life rhythm and life quality are closely related to the whole social trend. In Maslow’s hierarchy of needs, there are five hierarchies of needs: Self-actualization, Esteem, Love and belonging, Safety needs and physiological needs (Maslow, 1943). Physiological need is the basic needs in Maslow’s theory. Most designers’ concern is the basic level. People’s desires are increasing with their satisfied. The desire of purchase can stimulate markets. Design cannot separate with global markets. Thus, designers need clear and keen eyes to observe what people’s needs are. Sometimes, designers need to shift themselves from bystander to people concerned.

References Butterfly effect - Wikipedia, the free encyclopedia. (n.d.). Wikipedia, the free encyclopedia. Retrieved October 11, 2010, from http://en.wikipedia.org/wiki/ Butterfly_effect Davies, C., & Parrinder, M. (2009). limited language: rewriting design: responding to a feedback culture (1 ed.). Berlin : Birkhauser: Birkhäuser Basel. Maslow’s hierarchy of needs - Wikipedia, the free encyclopedia. (n.d.). Wikipedia, the free encyclopedia. Retrieved October 11, 2010, from http://en.wikipedia.org/wiki/Maslow%27s_hierarchy_ of_needs Subprime mortgage crisis - Wikipedia, the free encyclopedia. (n.d.). Wikipedia, the free encyclopedia. Retrieved October 11, 2010, from http://en.wikipedia.org/wiki/Subprime_mortgage_crisis Walter Benjamin. (n.d.). Center for Digital Discourse and Culture | @ Virginia Tech. Retrieved October 11, 2010, from http://www2.cddc.vt.edu/marxists/ reference/subject/philosophy/works/ge/benjamin.htm


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The Return of “the Hand” When people compare a farmer’s hands in the pre-industrial age with a famer’s hands in the industrial age, the difference is obvious. The hands of a pre-industrial farmer are with rough skin and thick callus, but the hands of an industrial farmer are smooth and fine. There is no denying that people use their hands every day. But with the help of machines, our hands’ jobs become easier. A part of my thesis research is about how to make our hands more “flexible”, and how to make our hands out of the limitation from computers. According to the article “Rethinking tactile graphics: a propositional methodology,” Rita Street, who is the managing director of Radar Cartoons, mentions that “handmade work conveys a sense of personal contact between the sender and the recipient because it’s not something you just look at but also have to handle. Even if it’s printed in some aspect, the tactile element makes the printing seem more personal” (P. 125, Moszkowicz, 2010). The differences between humans and machines are: machines are made by humans; machines’ functions are to reduce people’s work and to make people’s lives easier. Humans are made of flesh and blood, humans have anger, grief, joy and happiness; humans have emotions. Thus, handmade products express emotions to people, but machine-made products only show the repetitiveness and no emotions. Human beings are intelligent. For instance, some smokers can even distinguish handmade cigars and machine made cigars from the handle, taste and smell. Thus, it can be seen how important five senses are because the five senses are basic elements for human beings. In my thesis “How Can Traditional Chinese Book Design Inform New Haptic Relationships with Literature,” I try to discover haptics sense which has been hidden in books. In the five thousand years of Chinese history, books have been the carrier of Chinese culture; and books play an important part to bridge Chinese history. Character recording and invention of paper are revealed in the early Chinese history. In traditional Chinese book design, multiple materials are used in book binding, such as tortoise shells, animal bones, bamboo slips, silks and papers. Materials are the carrier for creation and design concepts because of its sight and tactile sensation. Materials are inseparable with book design. First, materials are the carrier of a book’s contents. The shape of the book at the beginning of Chinese history starts with shells, bones, bamboos, silks and then

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paper. Traditional Chinese books have been initially built with the bamboo slip books. Materials have started to influence Chinese book culture. Second, the physical form of materials can change books’ essential qualities. Books have their own artistry; and they are for people to enjoy and touch. Readers not only read contents of books, but also see delightful colour, delicate shape, and feel textures of materials through touch (Xu, 2010). Kohei Sugiura, who is a graphic designer and a book designer, believes that books can bring five senses: sight, hearing, touch, smell and taste in whole. But human civilization separates the five senses, and makes them directionally developed (Sugiura, 2006). Thus, in the age of high technology, keep a tiny space for traditional culture and gift traditional culture a sensible spirit is what I learned from the book Limited Language: Rewriting Design; and it is one part of my thesis research. References Davies, C., & Parrinder, M. (2010). Limited Language: Rewriting Design: responding to a feedback culture (1 ed.). Berlin : Birkhauser: Birkhäuser Basel. Human vs Machine. (n.d.). Difference Between. Retrieved October 17, 2010, from http://www. differencebetween.net/miscellaneous/differencebetween-human-and-machine/ Kohei, S. (2006). Books, Text, and Design in Asia. Beijing: Joint Publishing. Liu, H. (2004). On Humanization of Book Design. Hebei Normal University of Science & Technology (Social Science), 3(3), 79-82. N, P. (2007). Quantification and Evaluation of Human Tactile Sense Towards Fabrics. Journal of Design & Nature, 1(1), 48-60. Ottawa 05 International Animation Festival. (n.d.). AWN | Animation World Network. Retrieved October 17, 2010, from http://www.awn.com/ottawa/OIAF05/ conf_speakers_street.php Rio, A. d. (n.d.). The Difference Between Handmade And Machine Made Cigars. Article Dashboard. Retrieved October 17, 2010, from www. articledashboard.com/Article/The-Differencebetween-Handmade-and-Machine-MadeCigars/1498022 Xu, M. (2010, May 5). The Experience of Texture. A Vast View on Publication, 3. Retrieved October 17, 2010, from http://pi.cuc.edu.cn/ChapterDetail.aspx? chapter_id=415


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Previous articles’s responses (related to thesis)

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Thoughts after reading “New Reading Space” & “Print vs. Screen”

Why people need to read? Reading is a way to get information, to gain knowledge, and to diversify experiences. Generally, people read from two mediums: paper and screen. Nowadays, a lot of people’s reading mediums are moved from printed papers to screens. After reading the article “New Reading Space” by Max Bruinsma, I could not agree with the idea “Reading on screen can be a rewarding experience instead of an eye soaring exercise” (P. 272, Bruinsma, 2010). In Europe, moveable type was introduced in 1456 when Gutenberg printed his Latin Bible. In China, moveable type was developed in the 11th century in the Song Dynasty by Bi Sheng. People have started to be familiar with keyboards with the personal computer came up. When typographers started to use computers to design typeface, even though computers can make typographers’ works become easier, they loss the process of carving; at the same time, they loss the opportunity to find new ideas in the process. For ordinary people, typing on screen gradually takes the place of hand writing. In China, the major concern is that China is moving an age of “take pen, forget character”. Originally, keyboards are designed for English language. When people want to type Chinese characters on computer, they need to use Pinyin or Wubi Chinese character input method. Chinese people learn Pinyin from primary schools, so most of them will choose Pinyin input method when they type. Pinyin is a transliteration system, so when people use Pinyin input method, they start to lose the ability of writing by strokes (Spano, 2008). Chinese people had to pay to integrated into the global culture. In China, encouraging people to use screen reading and writing, Chinese hand writing and traditional culture will run off quickly because the progress of technology will cause the lost of traditional culture. Each typeface has its own suitable area. For instance, some typefaces are displayed well on screen, but if they are used in printed works, the results are not good. Some other typefaces are printed well in paper, but do not work perfect with screen. After using iBook application in an iPad for a period of time, I found several functions to break the specificity of typefaces in books. First, each e-book’s type size can be changed. There are 11 different sizes for people use. There are 6 typefaces for people choose: Baskerville,

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Cochin, Georgia, Palatino, Times New Roman, and Verdana. But for printed books, the size and typeface of fonts are settled; margins are strict. As the article “New Reading Space” says, “Design typeface that are tailored to the peculiarities of the screen is a growing concern for designers, and some are doing excellent job making them work” (P. 269, Bruinsma, 2010). Thus, I think even though reading on e-readers can bring some convenient for people who only care about contents of book, it is not designed for people who really love books. In the article “New Reading Space”, the author Max Bruinsma mentions that for online reading, people can go to another layer of text by linked texts. It is the potential of the screen. But if an online article has many elements, many key words you can click, won’t you be lost, won’t you feel be tied by other people’s points of view? Just the opposite, I feel real printed books can give people more space to think because the printed books won’t force people to get more opinions from the third part, only the dialogue between the author and the reader. However, although many people will move to screen reading than print reading, I still believe that printed books will still take an important place in the reading revolution.

References Bauerlein, M. (2009, October 21). Screen Reading and Print Reading - Brainstorm. The Chronicle of Higher Education. Retrieved October 22, 2010, from http:// chronicle.com/blogs/brainstorm/screen-readingprintreading/8551 Davies, C., & Parrinder, M. (2010). limited language: rewriting design: responding to a feedback culture (1 ed.). Berlin : Birkhauser: Birkhäuser Basel. Spano, S. (2008, January 6). Learning Chinese more than a language lesson. Los Angeles Times - California, national and world news . Retrieved October 22, 2010, from http://www.latimes.com/travel/printedition/la-trchinese6jan06,0,636158.story


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“Stay Humble, Stay Hungry” Thoughts after reading “Work ethics” & “How much of this can we take?”

Shane Battier, who is a basketball player for Houston Rockets team, says “stay humble, stay hungry” for his team. These words are also used as Mountaineers’ motto. Confucius, who was a Chinese thinker and social philosopher of the Spring and Autumn Period, said “if three of us are walking together, at least one of the other two is good enough to be my teacher.” Even though I do not know who said it originally, I still think it is a perfect motto for designers because design is a major that keeps pace with times; designers need to learn anytime and anywhere. I do not have any right to speak to western education yet because I have not been educated in western countries until last year; but I have a right to speak to the education of design in China because I used to live there for more than twenty years. How many students will keep working in design areas after they graduate? Take my undergraduate classmates as examples. Conservatively, only one third of my classmates survive in design areas three years after they graduated. On average, each person sent seventy to eighty resumes, but just got two or three interviews. Then, half of the people got a job. It has been the situation in China for recent years. Judging by the numbers, the one third people who found jobs in design areas should be top-quality designers. But it is hard to use students in the beginning because school educations are out of step with external environments. In schools, what students have learned is how to use software. Students have never been asked why they want to choose design and what a designer’s work ethics are. Thus, the current situation is: in China, work ethics for designers is down. For example, when a designer gave us a presentation at school, he announced that he hit a wonderful “edge ball” in an advertisement of tires. He directed the tire factory to supply the tires to airplanes; the tire factory lost money. Then the advertisement emphasized this point. It makes people misinterpret the tire’s quality. Actually, airplanes don’t ask too much of friction of tires. As graphic designers, in a lot of Chinese graphic design competitions, the judgment criterion of judges is only ideas, only the beautiful pictures to catch up people’s eyes. What they want to solve is just marketing and economics. In the basic courses of graphic design, the most important point is creative graphic ideas, but the courses put social responsibility

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away. After the World War Two, designers had focused on humanization and social responsibility. But in contemporary design, because of the relationship with business, designers are starting to exclude themselves from social responsibility. People are loudly praising market economy, and are trumpeting consumption; but they do not see the waste of earth resources, the deterioration of the environment. “The Story of Stuff,” which is made by Annie Leonard, discloses the principle of work in the consumption age. Under the cover of many economic languages, humans are making great strides to the preposterous way. All of it seems unbelievable, but real. However, in the end of the video, there is a light at the end of the tunnel: we could be helped with quick action. If the cruel market economy is pop, designers are the upper bubbles. They have high social status and beautiful appearance. They remain neutral in political dispute. However, I do not want to be the executioner of businessmen; I do not want to be the grave digger of our earth. Stay humble, I should tell myself: I’m a person who understands nothing, because only in this way, I can be motivated in studying, such as a hungry dry sponge to water.

References Arun, S. (2009, May 11). What is Your Work Ethic? | Virtual Assistance For Business. Virtual Assistance for small business: Get dedicated staff / support assistants for business, maintenance, advertising and marketing tasks.. Retrieved October 30, 2010, from http://www.va4business.com/ business/222/what-is-your-work-ethic/ Leonard, A. (n.d.). The Story of Stuff with Annie Leonard. The Story of Stuff. Retrieved October 30, 2010, from http://www.storyofstuff.com/international/ Shah, A. (2008, September 3). Consumption and Consumerism — Global Issues. Global Issues : social, political, economic and environmental issues that affect us all” Global Issues. Retrieved October 30, 2010, from http://www.globalissues.org/ issue/235/consumption-and-consumerism


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Glossary #10 “Stay Humble, Stay Hungry” Thoughts after reading “Work ethics” & “How much of this can we take?”

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Analysis of “Work ethics” & “How much of this can we take?”

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Thoughts after reading “Slow times…” & “The slow fast”

Life is like a journey that the destination should not be the main concern. What really counts is the scenery along the way and the mood to enjoy the scenery. I think this not only describes our lives, but also can describe the design process because from point A to point B, even though the line segment is the shortest distance, and is the fastest speed we can go, what we miss along the way cannot be measured. But slow or fast, it is hard to determine. From point A to point B, there is no right or wrong answer for how to spend the time in the journey. To measure the progress of a society, one factor is about technological development. From the stagecoach to the train, to the jet plane, the speed increases. When we describe the characteristics of cities, the tempos are different. Usually, a modern city’s tempo is fast. What increases people’s speed? It looks like a cycle. Fast transportation, fresh information, fast food, etc., all make people hurry. If a city is divided by speed, the downtown area will be the fastest part. An elevator in a high rise building can take people from point A to Point B directly just by pressing a button. In a subway, people from point A, B, C, or D can travel directly to the busiest junction point Z because there is no “scenery” along the way. In an elevator, people are trapped in a cube. They come in the door, press a button, hear a beep, and come out of the door where the floor and the space are different. In this process, speed has cause people to miss the “scenery” along the “journey”. I think people will argue that they may not want to see the scenery because catching time is more important in a modern society. Society, families and friends are pushing people to be fast in their lives. People cannot be slow down. Slow and fast, is not just about time, it also has an indirect meaning. Sometimes, slowing down is another way to be fast. For designers, in the screenbased culture, screens instead of pens and paper, can save time compared with traditional sketching and drawing. However, try to slow down and take a curve from point A to point B. That activity may bring different inspiration and experience to designers. No matter whether we are designers or ordinary people, we may need to try curves. Slowing down, we might reach the destination faster. The straight line may take longer and be very tiring.

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References Davies, C., & Parrinder, M. (2009). limited language: rewriting design: responding to a feedback culture (1 ed.). Berlin : Birkhauser: Birkhäuser Basel. Mcluhan, M., & Powers, B. R. (1992). The Global Village: Transformations in World Life and Media in the 21st Century (Communication and Society (New York, N.Y.).). New York: Oxford University Press, USA.


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Thoughts Upon reading “Patronising Prada” & “Critical effects”

Miuccia Prada states “When I buy art, I want to keep it separate.” This indicates a mindset that looks at art as only art, as a sophisticated, arrogant and independent extension of one’s personal tastes. However, in recent years, we increasing hear artists’ names mentioned in fashion circles. For instance, in Prada’s spring summer 2008 collection, Miuccia Prada cooperated with James Jean, a Taiwanese-born artist who grew up in America, to create the “Trembled Blossoms” series. Likewise, an Australian aboriginal artist, Gloria Petyarre, designed a pattern for the Hermes spring summer 2009 collection from her work “Bush Medicine Leaf Dreaming”. The Louis Vuitton fashion house invites artists to their shows almost every season. In 2006, Louis Vuitton invited the Chinese artist Tiehai Zhou to design their window display in Beijing. At the time, the public response was negative as Zhou was known then as a purely conceptual artist and people thought he did the window display solely out of economic interest. Then, at the end of 2008, a large-scale exhibition was staged by Christian Dior in Beijing, called “Christian Dior & Chinese artists”. Dior invited more than twenty artists to create their display in the form of an exhibition. This time, the public response was positive. From Zhou’s Louis Vuitton window display design in 2006 to “Christian Dior & Chinese artists” exhibition in 2008, Chinese people’s attitudes had changed sharply on the issue of cooperation between luxury brands and artists. In my opinion, luxury brands and artists have a relation of dependence. Luxury brands can support art, and arts can support luxury brands. This relationship brings good economic benefits for both brand names and artists. Luxury brands and art have become two interlaced rippled lines; they can always find interesting joints. Further, I believe that art work prompts a lot of conversation in luxury brands’ collections. For example, in a Fondazione Prada exhibition in Milan, Tom Sachs made a Nazi “Prada Death Camp” from a Prada hatbox. He also made a “Prada Toilet” out of Prada shoeboxes. These two pieces of contentious art have received their fair share of publicity both negative and positive since their debut. Due to this publicity, Prada has earned a lot of free advertising. Art not only makes luxury brands a hot topic of conversation, the artist’s and his/her art work’s

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values can lift prices of luxury brands. This gives new meaning to luxury brands as a consumption style. Art, when combined with the power of a luxury brand, increase the consumers’ satisfaction that they not only have purchased a vanity product but invested in art. To integrate artists’ art works to luxury brands is a sublimation of commercial value of luxury brands. The Fondazione Prada or “Christian Dior & Chinese artists”, while supportive of artists’ activities, are ultimately based on boosting commercial value. I do not think that artists can give full play to their art when hooked to commercialism. Therefore, it is my hope that art and commerce can influence and inspire each other, but that commerce does not propel or merely support art. Rather, art should be able to influence commercial enterprise without being limited by them.

References DuBow, C. (n.d.). Public Prada? - BusinessWeek. BusinessWeek - Business News, Stock Market & Financial Advice. Retrieved November 13, 2010, from http:// www.businessweek.com/lifestyle/business_luxury/ archives/2007/12/public_prada.html Lin, L. (2008, December 1). Christian Dior & Chinese artists @ UCCA Beijing 798 | SLAMXHYPE. Mens Fashion, Contemporary Art, Pop Art, Street Art, Street Style. Retrieved November 13, 2010, from http://slamxhype. com/blogs/christian-dior-chinese-artists-uccabeijing-798/ Mower, S. (2007, October 7). Louis Vuitton Spring 2008 Ready-to-Wear Collection on Style.com: Runway Review. Style.com: The Online Home of Fashion: News, Runway Shows, Trends, Fashion Models, Designers, Shopping, Beauty & More. Retrieved November 13, 2010, from http://www.style.com/fashionshows/review/ S2008RTW-LVUITTON


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Thoughts Upon reading “Speech, writing, print…” & “Serifs and conduits”

‘Yahya!’ ‘Wazi jahm?’ ‘Ah didadididacti, didadidiacti.’ ‘Kataka mukha?’ ‘Ah mawardi, mawardi.’ ‘Jelly.’ The above dialogue, which comes from Ronald Firbank’s novel, Valmouth were written in 1919, as author Michael Clarke says, it “is a literary device”. Indeed, these printed characters on a piece of paper seem as a series of elements in a two-dimensional space to be shown to their readers. If the “literary device” were to show up in an exhibition, people would not just judge the content of the dialogue; people would also judge its layout and typographic style because this dialogue is printed on paper. But if it is just a dialogue that is spoken by people, as listeners, people would have different and unlimited feelings if compared with reading on paper because when people use their eyes to read, the reading action is not pure; people will be “interrupted” by typefaces, layouts, colors and so on. Different typefaces always represent some other meaning for people such as the history of the typeface. Plato asserts that texts can disable memories. Jacques Derrida states that logocentricism is based on reality and phonetics-centered combinations of linguistics. He believes phonetic language can express ideas perfectly. On the one hand, spoken words are better than written. Spoken words relate to collections of knowledge. Marcel Jousse, who was an anthropologist, states that a person’s value is what s/he remembers; memory is deeper intelligence. Therefore, if spoken words are based on knowledge that a person gains, and if spoken words are the refining of what people gain, spoken words should be better than the written. On the other hand, in the example of Stephane Mallarme’s 1897 book Un Coup de Des, “to hear someone speak this text is to severely limit the richness of the printed page”, (p. 262, Clarke, 2010) because a speaker has her/his own way to pause a sentence by punctuation, and s/he has her/his own way to stress a word, what s/he delivers to readers more or less mixed personal feeling. The richness of the printed page brings to readers different thinking. For instance, everyone’s reaction with typefaces is different. Typographers and layout designers pour

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emotions into their typefaces and layout designs. Each reader will have his/her own reaction to the design. The typeface and layout emotions will affect readers. People can only get freedom of thought when they hear someone speak. But writer’s emotions can be transmitted by the designers in their printed pages. As the article “Serifs and conduits” mentions “Today’s obsession for speed and quantity has profoundly influenced the way in which we think and feel”. (Davies & Parrinder, 2010) In the age of speed and efficiency, the fast pace of urban life makes people on the run. We have less time for ourselves; we have less time for thinking. I think no matter whether it is speech, writing or print, any way to obtain knowledge will has its own benefits; people have different linguistic skills to understand what they hear and what they see. Therefore, there is no complete argument for the spoken word over written or the opposite. It depends on people’s linguistic skills in speaking, listening and writing.

References Davies, C., & Parrinder, M. (2010). Limited language: rewriting design: responding to a feedback culture. Basel, Switzerland: Birkhäuser Verlag. Logocentrism - Wikipedia, the free encyclopedia. (n.d.). Wikipedia, the free encyclopedia. Retrieved November 20, 2010, from http://en.wikipedia.org/wiki/ Logocentrism Untitled Document. (n.d.). Jousse. Retrieved November 20, 2010, from http://www.marceljousse.co.za/home. html


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Pared down to its barest essence, wabi-sabi is the Japanese art of finding beauty in imperfection and profundity in nature, of accepting the natural cycle of growth, decay, and death. It's simple, slow, and unclutteredand it reveres authenticity above all. Wabisabi is flea markets, not warehouse stores; aged wood, not Pergo; rice paper, not glass. It celebrates cracks and crevices and all the other marks that time, weather, and loving use leave behind. It reminds us that we are all but transient beings on this planet-that our bodies as well as the material world around us are in the process of returning to the dust from which we came. Through wabi-sabi, we learn to embrace liver spots, rust, and frayed edges, and the march of time they represent.

What is wabi-sabi?

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Thoughts Upon reading “Boredom, b’dum, b’dum…” & “Boredom to freedom”

Communication is not easy. I can understand what the author means by easy communication; however, I think easy is not the only word to describe modern communication. Superficial is a more appropriate word to define modern communication. After finishing reading these two articles, I was immediately reminded by our home mail box. Don’t get me wrong, I enjoy every moment that I open my mail box. I imagine myself being a little girl expecting a surprise inside the mail box. However, most of the time, I am disappointed. After I take out all the checks and bills, all there is waiting for me is different kinds of flyers, such as take out menus, lotteries, grocery coupons. I usually scan these flyers for less than 10 seconds before throwing them into the garbage. I have also noticed that it is not just me, but almost all my neighbors do the same thing as well: throwing away the flyers as soon as they take them of their mail boxes. Soon enough, the garbage is filled with flyers. All the time included in designing, printing, delivering those flyers is far more than the time that they are skimmed. Therefore, how to design those interesting, meaningful, and memorable advertisements is what a designer should consider. If you happen to walk in the downtown one day, you will notice that the whole city is filled by all kinds of commercial advertisements. Companies will try their very best to promote their products and services. However, all these advertisements are in bold or in highlights, how many of them will actually be remembered? When consumers walk by those bolds and highlights, how many of them will really pay attention? The reality is that all those so-called eyecatching advertisements may not leave any deep impressions. These advertisements are fit-for-purpose; they discourage free imagination. This article reminds me of my experience of learning English. I found I learned better if I could comprehend the meaning of a word instead of simply memorizing it. The process of learning a language reminds me of communication in advertising. If an advertisement can leave some room for imagination, where different individuals may have different interpretations of the same advertisement, it may cause a heated discussion among consumers, which will lead to a deeper impression. I believe this shows a successful business case in today’s modern world which is full of advertisement.

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In the example of the Norway airport in the article “boredom to freedom”, the wooden structure of the airport itself indicates the culture and economy of Norway. It is easy for tourists to comprehend the wood culture and economics of Norway even though there is no pretentious or distracting use of wood. A designer should focus on the use of a design piece rather than superficial fashionableness. The example also shows the ethical nature of a design work. The application of the wood is not for an exhibition but for the structure of the airport itself. By the time tourists enter the airport, they are already exposed into the wood culture and economics of Norway, no matter whether they realize it or not. Designing is not limited to glamorous planning. It is as simple as mathematics. In this modern world, we need more interesting, meaningful, and memorable communications instead of superficial or fit-for-purpose pieces. The integration of culture and economy as well as ethical principle is also essential in any design work. This way, we can make our designing more about freedom than about boredom.

References Davies, C., & Parrinder, M. (2009). limited language: rewriting design: responding to a feedback culture (1 ed.). Berlin : Birkhauser: Birkhäuser Basel.


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Thoughts Upon Reading “After digital…/Sense making?” & “Digital glass /Digital behaviours”

As the article “After digital ...” and the article “Sense making?” mentioned, the global network that is currently under construction, not only is an information delivery platform, but also a new infrastructure. This infrastructure is just as the rail, highway, power grid and telephone network that can greatly facilitate the people to speed up urban development. The invisible infrastructure has made people’s lives more efficient and simple. The Internet world is closely linked with reality to some extent, such as shopping online, reading e-books, etc. However on the other hand, it is a virtual space, such as chat rooms and online games. In e-topia, the book of “Urban Life, Jim-but not as we know it”, William J. Mitchell has built a new e-topia life based on digital networks. The impact of the digital age on people is profound. E-topia is undoubtedly the word evolved from the Utopia, in the author’s opinion, e-topia is a virtual world that people want to build with, but in real life they cannot reach the ideal. The real world is full of frustration and absurdity, so people would go into this virtual world to escape the reality. The heart of the desire has come true in the e-topia world; everything impossible in reality has become possible. People get to enjoy themselves in e-topia. Internet has provided a very interesting platform for e-topia residences to inhabit. Internet opens up a park space in general. Everyone is really here, and bare in the face of their own. However, perhaps they are not as real as when they live in reality. Because the world is a desire to liberate all have been bound at any time of the world, a variety of ethics, norms, customs, traditions, institutions, all more or less suppressed in the normal functioning of human nature. Internet has no border in this world where people can relax and free up their mind. In the Internet world, nothing really matters except for the essence of communication. This digital Internet infrastructure is not as comparable as the railway, highway, power grid, or telephone network. It helps to speed up the process of building an equal and democratic world, where there is no hierarchy, class, rich and poor, or geographical boundary. The full exchange of thoughts can be interactive and the human relationships are based on understanding. The essay of “Moving Into the Digital Decade”

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by Bill Gates shows a visible future “magic crystal ball”, where we can be connected to others or have access to various information in this non-boundary digital world. Almost everyone has such a magic crystal ball nowadays. The development of digital technology and the Internet in the past decade or even two decades ago has brought to the people profound and dramatic changes. No one doubts its future, because it has become indispensable as a part of the infrastructure of the world.

References Davies, C., & Parrinder, M. (2010). Limited language: rewriting design : responding to a feedback culture. Basel, Switzerland: Birkhäuser Verlag. Gates, B. (2001, October 29). Moving Into the Digital Decade. Microsoft Corporation. Retrieved December 6, 2010, from http://www.microsoft.com/presspass/ ofnote/10-29digitaldecade.mspx Mitchell, W. J. (1999). E-topia “urban life, Jim--but not as we know it”. Cambridge, MA: MIT Press.


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Saijia Sun—Process Books, 2010/2011