Friday, September 18, 2009
Try to tell wrong story
KHiO的设计研究生两年课程是一个整体计划。从MA1入学开始，大家会不断的询问你的Project是什么，由此会展开漫长的探讨，中间参与的会有教师，客座教授，专业的设计师，设计批评家等等不同人。大家往往看到的是不同侧面，给出的意见也比较多元。今天来的客座教授是Geoff Fowle，来自英国大名鼎鼎的圣马丁学院（Central Saint Martins College of Art & Design - Geoff Fowle）。
Jeff此行的目的也是在于给学生启发，更加清晰自己的方向。所有MA1学生与他的对谈从早晨9点持续到下午的四点钟，两点左右我一度非常困，但还是硬挺过去。看来大家中午找咖啡喝还是很有先见的。这节课也创我来挪威后强度最大课程的记录，包括在CAFA也很少有如此强度的课程。
Jeff是个很有意思的老头，讲话绘声绘色，肢体语言丰富，喜欢旁征博引，常逗得大家哄堂大笑。强度如此大的全英文谈话，我只是领会了部分碎片，整理如下：
-设计师如何寻找真正的自己，什么是有价值的设计？
-对设计保持新鲜感，注重个性
-打破社会的既定的规范，冲破个人的局限，打破你固有的部分
-humanity, 仁慈，道德，博爱的设计
-在你的项目中有什么你还不具备的东西
──（以上为开场白部分）
Jeff提供了如下问题供大家讨论，
-what is it
don't know / know (develop own insights)
你的项目是什么？关于整个项目，你有什么未知或已知的东西？
-what strategy（策略）
over view
position
你准备如何进展这个项目？
-how does this lead to research-best starting point
第一步要做什么？
-strip down / distill (用蒸馏法提取), underlying (成为…的原因), driver (驾驭)
下面的安排是学生两人一组，互相阐述自己的项目，相互提出问题和意见。然后对大家复述同伴的项目内容，老师据此提出关于项目的拓展或者聚焦意见，随陈述者提出对同伴项目的建议。值得注意的是，由于不同的专业学生混杂在一起，所以学生可以在阐述中了解其他专业的观点或者信息，丰富对设计的理解。
-你对搭档的项目有什么担忧？你觉得这个项目无聊吗？
与我一组的两个女孩来自视觉和室内。室内的学生提出的概念是Emotion Room。她倾向于研究人在公共空间中的心理体验，举例是奥斯陆歌剧院的室内设计。我只是觉得题目空泛了一点，还有就是公共空间的文化背景和行为方式也是可以来探讨的。
视觉传达的学生倾向于Typography的延展，将字体的个性得到彰显，给人惊喜。有别于传统的字体编排，她希望自己的作品体现出深层的意义和个性。其实这不是个新鲜的题目，但是进入研究后会发现，载体的方式和内容很重要，例如日历。再者其他民族的字体或者图形符号也可引入，例如挪威的传统文字或符号。
我讲的是信息图形，将文字信息转化为图形的story board. 她们建议我关注周一的挪威大选，有很多的资料来源。
其他的是Jeff在指导时的一些意见，摘自我的随堂笔记：
-潜在的自我意识
-像恶狼般找到一个点，深入进去
-转换为文本
-在你的方向中找到大量的资料，可能其中的有些成分会对你有害，
-站在窗前，你会干什么？（闭上眼睛，只是去体会）
-家居改变人的attitude，阐述目标？
-你设计的不是桌子或者椅子，更重要的，made the things to express sth
我设计的是舒适，可能会产生一把椅子
-室内日光的体验设计，场地神秘感，日光的教堂，有光才有视觉，有光必然有影子，“light of the world”
-头版新闻转化为diagram
-设计的思考方式与工作方式（太巨大的题目）
-自我分析（Nobody can read it without yourself）
-室内设计的有机形态，社区关系
个人的行为，人群的行为，足球流氓，建筑心理学，--可变的室内空间
-appropriation? 选取的材料是否会面对质量，技术与技巧的问题
-文化与材料的属性（竹子之于中国）
学生在讨论project方向的时候有时会害怕将自己限定在某个局限的方面，在深入到一定程度后得不到拓展，所以有时候谎称一个项目，然后做更多尝试再决定。对此，Maziar分析说：过多的研究反而会扰乱整个项目的聚焦感，到头来虽然找到很多的点，但有时会感觉自己很无知，影响自己的项目。research的范围应该适当，勿将范围无限扩大。
psychology在这边也是很热门的话题，很多学生的项目其实也是围绕着情感化，体验式设计的方法在进行。
今天最后讨论的是我的project,我想表达的是将文本式或者庞杂的信息转化为图形化的语言，中间会介入信息设计的处理方式。然后将第一步的信息图形进行再设计，加入情感化的因素，平台可以考虑交互式的装置等。Jeff的意见是“things beyond words ”，我觉得真得很概括，而且一针见血的指出要害问题。我所面对是导演与戏剧的关系。他的建议是让我尝试原理规则，maybe telling the wrong story and then you'll find really I am. 尝试去打破一些自己的固有，才会有新的可能性出现，敢于尝试才能有意外，就像在break the grid system in graphic design. Maybe it's difficult, but you need to try!
Jeff此行的目的也是在于给学生启发，更加清晰自己的方向。所有MA1学生与他的对谈从早晨9点持续到下午的四点钟，两点左右我一度非常困，但还是硬挺过去。看来大家中午找咖啡喝还是很有先见的。这节课也创我来挪威后强度最大课程的记录，包括在CAFA也很少有如此强度的课程。
Jeff是个很有意思的老头，讲话绘声绘色，肢体语言丰富，喜欢旁征博引，常逗得大家哄堂大笑。强度如此大的全英文谈话，我只是领会了部分碎片，整理如下：
-设计师如何寻找真正的自己，什么是有价值的设计？
-对设计保持新鲜感，注重个性
-打破社会的既定的规范，冲破个人的局限，打破你固有的部分
-humanity, 仁慈，道德，博爱的设计
-在你的项目中有什么你还不具备的东西
──（以上为开场白部分）
Jeff提供了如下问题供大家讨论，
-what is it
don't know / know (develop own insights)
你的项目是什么？关于整个项目，你有什么未知或已知的东西？
-what strategy（策略）
over view
position
你准备如何进展这个项目？
-how does this lead to research-best starting point
第一步要做什么？
-strip down / distill (用蒸馏法提取), underlying (成为…的原因), driver (驾驭)
下面的安排是学生两人一组，互相阐述自己的项目，相互提出问题和意见。然后对大家复述同伴的项目内容，老师据此提出关于项目的拓展或者聚焦意见，随陈述者提出对同伴项目的建议。值得注意的是，由于不同的专业学生混杂在一起，所以学生可以在阐述中了解其他专业的观点或者信息，丰富对设计的理解。
-你对搭档的项目有什么担忧？你觉得这个项目无聊吗？
与我一组的两个女孩来自视觉和室内。室内的学生提出的概念是Emotion Room。她倾向于研究人在公共空间中的心理体验，举例是奥斯陆歌剧院的室内设计。我只是觉得题目空泛了一点，还有就是公共空间的文化背景和行为方式也是可以来探讨的。
视觉传达的学生倾向于Typography的延展，将字体的个性得到彰显，给人惊喜。有别于传统的字体编排，她希望自己的作品体现出深层的意义和个性。其实这不是个新鲜的题目，但是进入研究后会发现，载体的方式和内容很重要，例如日历。再者其他民族的字体或者图形符号也可引入，例如挪威的传统文字或符号。
我讲的是信息图形，将文字信息转化为图形的story board. 她们建议我关注周一的挪威大选，有很多的资料来源。
其他的是Jeff在指导时的一些意见，摘自我的随堂笔记：
-潜在的自我意识
-像恶狼般找到一个点，深入进去
-转换为文本
-在你的方向中找到大量的资料，可能其中的有些成分会对你有害，
-站在窗前，你会干什么？（闭上眼睛，只是去体会）
-家居改变人的attitude，阐述目标？
-你设计的不是桌子或者椅子，更重要的，made the things to express sth
我设计的是舒适，可能会产生一把椅子
-室内日光的体验设计，场地神秘感，日光的教堂，有光才有视觉，有光必然有影子，“light of the world”
-头版新闻转化为diagram
-设计的思考方式与工作方式（太巨大的题目）
-自我分析（Nobody can read it without yourself）
-室内设计的有机形态，社区关系
个人的行为，人群的行为，足球流氓，建筑心理学，--可变的室内空间
-appropriation? 选取的材料是否会面对质量，技术与技巧的问题
-文化与材料的属性（竹子之于中国）
学生在讨论project方向的时候有时会害怕将自己限定在某个局限的方面，在深入到一定程度后得不到拓展，所以有时候谎称一个项目，然后做更多尝试再决定。对此，Maziar分析说：过多的研究反而会扰乱整个项目的聚焦感，到头来虽然找到很多的点，但有时会感觉自己很无知，影响自己的项目。research的范围应该适当，勿将范围无限扩大。
psychology在这边也是很热门的话题，很多学生的项目其实也是围绕着情感化，体验式设计的方法在进行。
今天最后讨论的是我的project,我想表达的是将文本式或者庞杂的信息转化为图形化的语言，中间会介入信息设计的处理方式。然后将第一步的信息图形进行再设计，加入情感化的因素，平台可以考虑交互式的装置等。Jeff的意见是“things beyond words ”，我觉得真得很概括，而且一针见血的指出要害问题。我所面对是导演与戏剧的关系。他的建议是让我尝试原理规则，maybe telling the wrong story and then you'll find really I am. 尝试去打破一些自己的固有，才会有新的可能性出现，敢于尝试才能有意外，就像在break the grid system in graphic design. Maybe it's difficult, but you need to try!
Interview Studio YOKOLAND
Sep. 17. 2009
14:00
Studio YOKOLAND
Aslak Gurholt Rønsen (工作室发起人)
- National Academy of the Arts (Oslo), Visual Communication (BA), 2002-2005
- Central St. Martins College of Art & Design, Graphic design & illustration (BA), 2001-2002
Yokoland工作室位于奥斯陆国家设计与建筑中心（DOGA）附近，院门口的大门上写着MUSIKKENS HUS，可能是与音乐创作者合用的空间。我们约好下午开始一个简单的参观访问，时间大概一小时左右。
A-Aslak, Z-Zhang
Z：Why YOKOLAND?
A：这个名称来自七岁时的童年故事，YOKOLAND不是一个有实际意义的名词或者称谓。我们觉得只是挪威的大部分工作室都太无趣，我们为了区别，但我们也确实喜欢这个名字。
Z：你们有几个成员？以什么方式进行工作？主要的创作方向和手段是什么？
A：YOKOLAND目前有四个成员：我，Thomas，Martin，Yorel Cayla（法国）。其他的时间会根据不同的项目，与不同方面的设计师、插图师和摄影师进行合作。我们的项目集中在书籍设计与印刷品，唱片设计，另外还有一些独特有意思的项目。另外平面设计和插图是我们的主要语言。
Z：你们有没有和其他领域设计师合作的经历？例如产品设计是或建筑师？
A：这种合作对我们来说并不多见，我们经常会与摄影师和卡通插图师合作。可是我们也会做一些自己感兴趣的项目，例如这个装置（在电脑上打开一个微缩小房子的图片）。这是我们参与奥斯陆艺术节的一部分内容，是在市政厅前的草地上进行雕塑或者装置的设计，唤起观众对艺术和设计的关注，这个项目实际上是我们进行的一个建筑设计，只是尺度小了很多。在某些室内视觉方面，我们会课建筑师合作，与产品设计师的合作现在还没有。
Z：你们通常的设计项目都是书籍设计和印刷品吗？
A：是的，多数情况如此。但我们也有做一些活动的形象，办括最近的挪威小电影节。另外我们也与唱片公司合作，进行封套的设计。
Z：你们在开始唱片设计的项目时如何展开工作？如何寻找灵感？如何与唱片公司或者歌手沟通？
A：每次的情况都不同，有事会从音乐中找感觉，有的时候会在生活的小意外中找灵光。我们也会关注一些好的设计师的作品。最近合作的唱片公司都是朋友，所以无论是插图的形式，还是照片的创意都是我们说的算。唱片公司给了我们很多自由，所以这些项目也很开心。现在我们设计的CD唱片已经有45张，另外还有一些黑胶唱片。
Z：你们是否认为传统的平面设计正在面临危机？尤其是面对网络和交互媒体的时候？
A：我个人并不这么觉得，我反而会认为网络实际上很无趣。相对于虚拟的网络，我更喜欢书籍的实体感。
Z：面对长期合作的出版社，你们如何在每本书的设计中寻找新鲜感？
A：在最近一年的项目中，我们与出版社合作了大小不等的四十多本书。不同于杂志的形式，我们回针对每本书的内容对书进行网格、字体和风格的重新设计。但由于成本的限制，有时候换纸印刷都是很难的，我们尽力使每本书都有自己独特的面貌。当然其中也会有出版社有很多的规范和要求，免不了也会有些无聊的工作。
Z：你们觉得标准化的装订方式会限制你作品的创作吗？
A：我们发掘书本身的能量，装订方式只是其中的一个部分。一本好的书是由很多因素构成的。
Z：你们的作品中运用了大量的手绘字体，对此你们的想法是什么？
A：字体的选用我们回基于项目出发，如果这个项目适合的话。我们回延续自己的风格，手绘的文字和插图更有人情味。
Z：你们会监督到印刷的最后一个步骤吗？
A：不会。因为输出成本的关系，很多书是在挪威之外印刷的。在多数的项目中，我们会基于经验指导最后的结果，可是很多时候还是不满意。
Z：你觉得在挪威有哪些有趣的设计师？
A：挪威没有好的设计师。。。（大笑），可能我帮你列举一些：Your friends, Heydays，Node Berlin, Kim Hiorthøy (以上是平面设计师)，Lars Fiske, Bendik Kaltenborn, øyvind Torsater,(插图师)
Tuesday, September 15, 2009
Monday, September 14, 2009
magazine list
1. Idea magazine
http://www.idea-mag.com/en/
Japanese design magazine, focus on typography and book design.
Special Feature about designer and some unique field for every issue .
2. IDN
http://idnworld.com/
3. Wallpaper
http://www.wallpaper.com/
4. Creative Review
http://www.creativereview.co.uk/
http://www.idea-mag.com/en/
Japanese design magazine, focus on typography and book design.
Special Feature about designer and some unique field for every issue .
http://idnworld.com/
IdN v16n4: Self Promotion Issue Hello, my name is...
3. Wallpaper
http://www.wallpaper.com/
4. Creative Review
http://www.creativereview.co.uk/
book list
1. Data Flow: Visualising Information in Graphic Design
More and more information is being visualised. Diagrams, data and information
graphics are utilised wherever increasingly complex elements are present,
whether it is in magazines, non-fiction books or business reports, packages or
exhibition designs.
Data Flow presents an abundant range of possibilities in visualising data and
information. Today, diagrams are being applied beyond their classical fields
of use. In addition to archetypical diagrams such as pie charts and histograms,
there are manifold types of diagrams developed for use in distinct cases and
categories.
On 256 pages, Data Flow introduces a comprehensive selection of innovatively
designed diagrams. This up-to-date survey provides inspiration and concrete
solutions for designers, and at the same time unlocks a new field of visual codes.
2.The Laws of Simplicity (Simplicity: Design, Technology, Business, Life)
In this breezy treatise, graphic designer and computer scientist Maeda proposes ten laws for simplifying complex systems in business and life-but mostly in product design. Maeda's upbeat explanations usefully break down the power of less-fewer features, fewer buttons and fewer distractions-while providing practical strategies for harnessing that power, such as SHE: "Shrink, Hide, and Embody." The first three laws, based on principles of reduction, organization and efficiency, form the foundation for increasingly complex and self-referential concepts like the importance of context and the potential for failure in simplification (by the end of the book, Maeda is chiding himself for using too many acronyms). Combined with trust and emotional engagement (laws 7 and 8), Maeda demonstrates how complex systems can become downright lovable: Maeda recalls "the Tamagocchi craze of the late 1990s... showed that anyone could fall in love with a small electronic keychain," drawing a corollary to the almighty iPod (an iconic example referred to throughout). Emphasizing the delicate balance-work involved in simplifying the complex, Maeda admits the process isn't easy, and that his ten laws don't necessarily provide all the answers-in numerous places, he directs readers to the web site where his theories continue to develop. Despite that, this slim book feels complete in itself; not only will it stimulate ideas, it will keep readers thumbing back for a second and third look at Maeda's deceptively simple advice.
3.Visual Explanations: Images and Quantities, Evidence and Narrative
With Visual Explanations, Edward R. Tufte adds a third volume to his indispensable series on information display.
4.Information Design Source Book: Recent Projects
Showing many example: the use of Information design in different field (media, architecture space, sinage system).
5.Digital by Design: Crafting Technology for Products and Environments
The convergence of interactive technologies with conventional design spheres—furniture and lighting, interiors, product design—is one of the most exciting areas affecting consumer product development. Going beyond "smart" or embedded domestic technologies, these products offer new realms of customization and experience for consumers increasingly looking for products that are more than mere tools.
6.Designing Universal Knowledge / Gerlinde Schuller / Lars Muller Publishers
The development of modern communication and information technologies like the Internet and globalization have not only changed access and spread of the available knowledge but also the speed of collecting. The author examines collections of knowledge such as archives, encyclopedias, data collections, and libraries that make knowledge accessible worldwide. Who is collecting the world’s knowledge? How is it structured and designed? Who determines the access of knowledge? Designers and researchers from different fields have set standards for the classification and design of complex data collections and thus exerted an enormous influence on how knowledge is communicated. This facilitates knowledge transfer, but it also increases the danger of manipulation. Along with these aspects, the book also explores the possibilities of “universal design” and presents new approaches to visualizing complex information.
7.How Buildings Learn
All buildings are forced to adapt over time because of physical deterioration, changing surroundings and the life within--yet very few buildings adapt gracefully, according to Brand. Houses, he notes, respond to families' tastes, ideas, annoyance and growth; and institutional buildings change with expensive reluctance and delay; while commercial structures have to adapt quickly because of intense competitive pressures. Creator of The Whole Earth Catalog and founder of CoEvolution Quarterly (now Whole Earth Review ), Brand splices a conversational text with hundreds of extensively captioned photographs and drawings juxtaposing buildings that age well with those that age poorly. He buttresses his critique with insights gleaned from facilities managers, planners, preservationists, building historians and futurists. This informative, innovative handbook sets forth a strategy for constructing adaptive buildings that incorporates a conservationist approach to design, use of traditional materials, attention to local vernacular styles and budgeting to allow for continuous adjustment and maintenance.
More and more information is being visualised. Diagrams, data and information
graphics are utilised wherever increasingly complex elements are present,
whether it is in magazines, non-fiction books or business reports, packages or
exhibition designs.
Data Flow presents an abundant range of possibilities in visualising data and
information. Today, diagrams are being applied beyond their classical fields
of use. In addition to archetypical diagrams such as pie charts and histograms,
there are manifold types of diagrams developed for use in distinct cases and
categories.
On 256 pages, Data Flow introduces a comprehensive selection of innovatively
designed diagrams. This up-to-date survey provides inspiration and concrete
solutions for designers, and at the same time unlocks a new field of visual codes.
2.The Laws of Simplicity (Simplicity: Design, Technology, Business, Life)
In this breezy treatise, graphic designer and computer scientist Maeda proposes ten laws for simplifying complex systems in business and life-but mostly in product design. Maeda's upbeat explanations usefully break down the power of less-fewer features, fewer buttons and fewer distractions-while providing practical strategies for harnessing that power, such as SHE: "Shrink, Hide, and Embody." The first three laws, based on principles of reduction, organization and efficiency, form the foundation for increasingly complex and self-referential concepts like the importance of context and the potential for failure in simplification (by the end of the book, Maeda is chiding himself for using too many acronyms). Combined with trust and emotional engagement (laws 7 and 8), Maeda demonstrates how complex systems can become downright lovable: Maeda recalls "the Tamagocchi craze of the late 1990s... showed that anyone could fall in love with a small electronic keychain," drawing a corollary to the almighty iPod (an iconic example referred to throughout). Emphasizing the delicate balance-work involved in simplifying the complex, Maeda admits the process isn't easy, and that his ten laws don't necessarily provide all the answers-in numerous places, he directs readers to the web site where his theories continue to develop. Despite that, this slim book feels complete in itself; not only will it stimulate ideas, it will keep readers thumbing back for a second and third look at Maeda's deceptively simple advice.
3.Visual Explanations: Images and Quantities, Evidence and Narrative
With Visual Explanations, Edward R. Tufte adds a third volume to his indispensable series on information display.
4.Information Design Source Book: Recent Projects
Showing many example: the use of Information design in different field (media, architecture space, sinage system).
5.Digital by Design: Crafting Technology for Products and Environments
The convergence of interactive technologies with conventional design spheres—furniture and lighting, interiors, product design—is one of the most exciting areas affecting consumer product development. Going beyond "smart" or embedded domestic technologies, these products offer new realms of customization and experience for consumers increasingly looking for products that are more than mere tools.
6.Designing Universal Knowledge / Gerlinde Schuller / Lars Muller Publishers
The development of modern communication and information technologies like the Internet and globalization have not only changed access and spread of the available knowledge but also the speed of collecting. The author examines collections of knowledge such as archives, encyclopedias, data collections, and libraries that make knowledge accessible worldwide. Who is collecting the world’s knowledge? How is it structured and designed? Who determines the access of knowledge? Designers and researchers from different fields have set standards for the classification and design of complex data collections and thus exerted an enormous influence on how knowledge is communicated. This facilitates knowledge transfer, but it also increases the danger of manipulation. Along with these aspects, the book also explores the possibilities of “universal design” and presents new approaches to visualizing complex information.
7.How Buildings Learn
All buildings are forced to adapt over time because of physical deterioration, changing surroundings and the life within--yet very few buildings adapt gracefully, according to Brand. Houses, he notes, respond to families' tastes, ideas, annoyance and growth; and institutional buildings change with expensive reluctance and delay; while commercial structures have to adapt quickly because of intense competitive pressures. Creator of The Whole Earth Catalog and founder of CoEvolution Quarterly (now Whole Earth Review ), Brand splices a conversational text with hundreds of extensively captioned photographs and drawings juxtaposing buildings that age well with those that age poorly. He buttresses his critique with insights gleaned from facilities managers, planners, preservationists, building historians and futurists. This informative, innovative handbook sets forth a strategy for constructing adaptive buildings that incorporates a conservationist approach to design, use of traditional materials, attention to local vernacular styles and budgeting to allow for continuous adjustment and maintenance.
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3. http://infosthetics.com/
Talk about the information aesthetics.
Inspired by Lev Manovich's definition of "information aesthetics", this weblog explores the symbiotic relationship between creative design and the field of information visualization. More specifically, it collects projects that represent data or information in original or intriguing ways.
4. http://www.we-make-money-not-art.com/
New media art and interview with artist.
5. http://designobserver.com/
everybody know that..
6. http://typeneu.com/
An Odyssey in Typography.
Interactive & Graphic design
2. http://www.manystuff.org/
Category:
Graphic Design (1571)
Illustration (104)
Manystuff (22)
Miscellaneous (57)
Photography (97)
Varied images (475)
3. http://infosthetics.com/
Talk about the information aesthetics.
Inspired by Lev Manovich's definition of "information aesthetics", this weblog explores the symbiotic relationship between creative design and the field of information visualization. More specifically, it collects projects that represent data or information in original or intriguing ways.
4. http://www.we-make-money-not-art.com/
New media art and interview with artist.
5. http://designobserver.com/
everybody know that..
6. http://typeneu.com/
An Odyssey in Typography.
Start for the new project-Publish and be Damned!
looking for the resources about design..
What design is, but what could be (for you)?
What design is, but what could be (for you)?
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