Creating Human-centered Products and Services

This reading is all about the business and management side of a designer’s job; mostly a guide to project planning, when and what to convey to the other collaborators e.g. engineers and stakeholders. In the design process, the protagonist is not the designer but the client and there are many supporting roles that participate in the process. Therefore it is important to have project planning, to provide an estimate overview of the procedure and expected result for the other collaborators. Communication is important in these multi-participation because people of different fields have separate priorities and that may risk the project veering off the wrong direction if not under the supervision of the designer.

The reading starts off with the basic definition of design and its different types. The writer made an interesting point about experience design, that human-centered design is not experience design and it was presumptuous that we could experience like others would.

We can design every aspect of the environment to encourage an optimal experience, but since each person brings their own attitudes, behaviours and perceptions to any situation, no designer can determine exactly what experience someone has.

He also discussed how beneficial data can be in design under Goal-Directed design, where software inventor Alan Cooper and designer Wayne Greenwood created multiple personas as references for implementing design guidelines; “making conversations about product design and functionality much easier than before”. One of the good advices in the reading is Principles, which I understood as something similar to rules or parameters. It is one of the factors of Goal-directed design and it helps to steer ones process to good solutions. It is important to ask two questions when settling upon the principles of the project.

Does it help your users accomplish their goal? Will it help users minimize their work? 

This is a personal throwback for me as I have done less design projects as compared to my polytechnics days. Which makes me wonder, during the time while I strive to make my work more substantial, have I lost sight of its purpose to visualize concrete solutions? I do suppose I stand on the border between design and art as I gear towards function and yet rejects restrictions by exploring creative expression.

Social Practice Art

A critique of social practice art

This article was my introduction to Social Practice art and I confess, the notion of activism as an art form is rather difficult to grasp. It is like the article describes “indistinguishable from simple museum outreach, or any other vaguely progressive type of work with some creative connection”; the definition of Social Practice art was never clearly specified and is unlike any other.  Originally, I thought it might be something similar to Art Therapy, maybe using art as a catalyst to drive a “social practice”, whichever it may be. However, further research proves that may not the case.

The way I see it, Social Practice art is simply social work with an addition of art used to promote their cause – http://adcglobal.org/tanisa-sharif-vessel/

There is little to no integration between the two. Nevertheless, that may be what sets them aside from regular social campaigns, these “Social Practices” led by reputable artists whom bring along their existing supporters and publicity to the problem at hand.

In contrast, Project Row Houses (PRH) have done a better job at welding the two together. Seeing their documentation of TrePhonos was closer to my expectations to Social Practice art.

Though at one point, the article argues that Project Row Houses did nothing to improve the situation that they were building towards, despite building several affordable housing, the statistics of those living in “extremely poor neighborhoods” still doubled over the past decade. Despite this failure, the PRH is still applauded as a success and I think it is because the core of Social Practice art is naturally the social aspect; the social sculpture as Joseph Beuys says. I can see why it works well with activism since their purpose is to rally supporters. Rirkrit Tiravanija’s 1992 artwork helped me that understand it best.

https://www.moma.org/explore/inside_out/2012/02/03/rirkrit-tiravanija-cooking-up-an-art-experience/

Strands of Time

Strand of Time was an animated media piece made for Elbphilharmonie’s media wall in Hamburg. Under the theme of Silk Road, I delved into the history of dyes and textiles during the time when its reputation was at its peak. The main idea was to restore an ancient fabric and reveal its timelessness.

Strands of Time at Elbphilharmonie Hamburg

The chosen source image was a Chinese embroidery piece predicted to be from the Yuan or Mind Dynasty around the 14th-15th Century. It may be in tatters but is still beautiful in the traditional way.

Original Scan from Threads of imagination Central Asian and Chinese Silk from 12th to the 19th Century

The poem featured in ancient chinese text is a poem about time by tang poet, Wei Zhuang (韦庄).

槐陌蝉声柳市风,驿楼高倚夕阳东。
往来千里路长在,聚散十年人不同。
但见时光流似箭,岂知天道曲如弓。
平生志业匡尧舜,又拟沧浪学钓翁。

(Poem Translation tbc)

Process link: https://oss.adm.ntu.edu.sg/ytan149/silk-road-process-part-2/

Artist Bio

Artist: Tan Ying Hui

Bio:

Ying Hui a trained interior designer who seeks to deliver more substance into her spaces. Her passion in textiles, traditional and culture led her to further studies as a Design Art student at the School of Art, Design and Media at Nanyang Technological University. At ADM, she experiments with narrative within the interactive field searching for the best method to express connection between the one’s historical origin and identity.

An additional titbit about the artist, she is also musically inclined, with a mediocre Grade 8 certification in Violin.

Bio2:

Ying Hui is a artist who came from a interior design background who likes to express emotions into her art. She left the field of interior design to search for a soul in her art. She is now mainly exploring the field of interactive design, working in sound design, animation and coding. She also likes to explore textiles and embroidery and is passionate about incorporating ethnicity in art. She is inspired by the artists who uses traditional mediums for modern art and is inspired by their own ethnic groups such as Yuko Shimizu. Ying Hui particularly likes traditional Chinese costumes especially hanfu during the Ming dynasty.

Recent Artwork: Media Art Nexus

Resume: My Resume 2020

Artist Inspiration: Faig Ahmed

https://www.faigahmed.com/index.php?lang=en&page=8&projID=13

Faig Ahmed is an Azerbaijani contemporary visual artist who attempts to explore ancient tradition and culture through his experiments with textiles, pattern in oriental rugs.

Intro for Interactive Environment

Interactive II

https://drive.google.com/open?id=1eGjhwGAbpKju_c04pvIJCuSPq8WfyX_4

Media Art Nexus

https://vimeo.com/377817913

Angpao

https://drive.google.com/open?id=1ycsjFzLpgTbCkZP-3JiMDWEldItZxB72

CCC Essay

https://oss.adm.ntu.edu.sg/ytan149/wp-content/uploads/sites/1883/2019/04/The-Expansion-of-the-Hanfu-Movement.pdf

Narratives for Interaction

https://youtu.be/n-ixjGi8EX8

Interactive Environment Example

https://www.studioroosegaarde.net/project/lotus-dome

 

Chopstick Holder

Product: Chopstick Holder & Housing

Medium: Reclaimed Pine

Finish: hand-waxed

Chopstick Holder (on the top): W 50 x L 235 x H 77 mm.

Housing (on the bottom): W 79 x L 262 x H 72 mm.

Course: DR2009 Products in Asian Cultural Context (AY 2019-20, Semester 1)

Project’s title: Wooden doll and its housing

Designed & made by: Tan Ying Hui (U1730916L)

Photographed by: Tan Ying Hui (2019)

Project’s description

The way of Dim Sum dining is a wholistic one. Served in small bamboo baskets, they are usually shared between families and friends. It is a gathering that speaks of camaraderie and togetherness. The imbalanced form of the product plays on the interactivity between its own kind; in that physical action of support and reliance.

To form a cohesive set with the previous rolling pin project, the cone shape outline and layering is repeated here, in the head and silhouette. There are echoes in the curves to visually tie the pieces together. The lid is matched with care to allow the grain of wood to flow naturally from left to right.

Using the alternative sections of light and dark colours, their size and placement creates additional features to the doll such as hair and clothing.

Although the doll is designed to be used in multiples, where the higher tip rests on another’s tail, it may also be used independently. Despite the slight instability, it will not tip to an extreme due to the shallow curved base. In fact, the weight of the utensils balances the doll evenly.

Full Documentation: YING HUI’s 2PE Journal DR2009_NOV19

Prev: Rolling Pin

Rolling Pin

Product: Rolling Pin

Medium: Plywood and Reclaimed Pine

Finish: hand-waxed

Rolling Pin: W 50mm x L 300mm x H 50 mm.

Course: DR2009 Products in Asian Cultural Context (AY 2019-20, Semester 1)

Project’s title: Rolling pin and its suspending components

Designed & made by: Tan Ying Hui (U1730916L)

Photographed by: Tan Ying Hui (2019)

 

Project’s description

18 lines is achieved in the segments, an auspicious number set by the folds of soup dumpling. The lines include the edge of the pin, representing the concept of unity in Dim Sum culture. While dimensions were intended to be multiples of 5 – following the 5 Element Theory in Traditional Chinese Medicine.

Despite the gradation, the ends – almost equal in width, uses two different materials; maintaining an illusion of balance. It is also obtained through the gradation countered by the direction of tapered, which applies to the orientation of the bead as well. The twisted cotton cord plays its part by continuing the lines – connecting the pin to the bead.

The pin may also be hung by the handle or stand vertically for storage. The handle is removable, so when rolling it may be removed and replaced after wash. As the process of making soup dumpling skin requires rolling pins of various thickness, the tapered edge fulfills that in a single product.

The rolling pin is designed to the preparation of the skin of soup dumplings. It can be used to roll out dough and the larger end can flatten a dough ball to an estimated palm size. The material choice is also more affordable and sustainable as compared to the use of solid wood, fitting to the use of several segments.

Full Doumentation: Rolling Pin’s E-Journal_DR2009 AY2019-20_Sem1_TAN YING HUI

Next: Chopstick Holder

References

Williams, Claire. 2019. “History Of Dim Sum – Yauatcha Life”. Yauatcha Life. Accessed October 24. https://www.yauatcha.com/life/home/home-featured/history-of-dim-sum/.

Republic, Food. 2014. “Taiwan’s Most Famous Soup Dumplings Are Exceedingly Hard To Make – Food Republic”. Food Republic. https://www.foodrepublic.com/2014/10/23/taiwans-most-famous-soup-dumplings-are-exceedingly-hard-to-make/.

“The Legend Behind Chinese Dumplings”. 2012. Gbtimes.Com. https://gbtimes.com/hello-china-60-dumplings.

Weiss Adamson, Melitta, and Francine Segan. 2008. Entertaining From Ancient Rome To The Super Bowl: An Encyclopedia. Westport: Greenwood Publishing Group.

White, Aimee. 2019. “The History Of The Xiao Long Bao”. Culture Trip. https://theculturetrip.com/asia/china/articles/a-brief-history-of-xiao-long-bao-shanghais-signature-dish/.

Cafe Mascot Design

Prior to this, I had been reunited with an old friend who was currently running a cafe founded by his father. The cafe served a combination of western and local cuisine thus I have chosen chinese mythical creature- Taotie for their mascot. It is a hunger beast that ate even its own body, hence communicating that their food is so good, you will never get enough of it.

Taotie Features
Coaster Design
Napkin Design
Promo Poster Design

Reflection on Digital Theatre and Scenic Spectacle by Steve Dixon

Chapter 14 of Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation by Steve Dixon focused on how the incorporation of media screens affected and enhanced the spatial possibilities of a traditional three-dimensional theater space. Digital projections, despite being two dimensional, offer “pliable and poetic space”. Pliable refers to the flexibility of the medium, for example, to view from multiple perspectives through various camera angles simultaneously. Visuals ranging from 360 panorama to extreme close ups and slow motion shots. With the combination of video editing, space and time may be altered by the artist build scenes impossible to materialize physically.

Poetic, the latter, I believe, refers to the “semiotic dialogue between screen image and stage action.” As seen in Robert Lepage’s performance, the use of computer technology can be used as a prop to deliver dramatized and surreal imagery. Dixon made an interesting point about how projected media is often used to “appeal to the senses rather than to the rational intellect”; drawing on the visceral instincts of the audience instead of intent. This statement brought Inter-Mission’s performance to mind. Was the “Disappearance, Bar in the Gallery” with INTER—MISSION trying to engage the audience consciously?  Is that why its meaning was lost in the process?

Under one of Dixon’s examples – The Builders Association, it was mentioned that “their Brechtian use of media displays reminds the audience of the dialectical interplay between the actors and the screen.” Brecht argues that theater should not blur the boundary of reality and allow the audience to view the performance more as a past event. I think this is where Matapolis would be classified under because Dixon also wrote that Brechtian critiques more on the aspects of culture and society more than the political. The use of “the ubiquity of electronic images and their falsifying and banal natures” is exactly what we are doing with Matapolis. Minus the live-actors, we are doing the same, creating distance between the viewer and the content by fictionalizing it. This way the audience can enjoy recognizing references close to home.

References

“Bertolt Brecht | Biography, Plays, Poems, & Facts”. 2019. Encyclopedia Britannica. https://www.britannica.com/biography/Bertolt-Brecht.

Dixon, Steve. 2015. Digital Performance: A History Of New Media In Theater. Cambridge, Mass.: MIT Press.