Creative Workshop Milano 2022 Summer

MILANO 2022 SUMMER

WITH ICO MIGLIORE

GLOBAL

DSU GLOBAL DESIGN SOCIETY

GDS 2015

■ New York_SVA Workshop

▪ Attendees : Se Ri Seo, Da Seul Park, Ji Yoon Jung, Eui Chul Park, Min Jung Kim, Sang Eun Park, Min Ju Lee, Yeong Jin Choi, Ju Hyun Park, Joong Won Yu

▪ Year Dates : 11. Jul. 2. Aug. 2015

▪ Location : SVA (New York, USA)

▪ Theme : Creative Art & Design

GDS 2016

■ New York_SVA Workshop

▪ Attendees : Yu Jeong Lee, Ji Won Choi, Ki Bock Do, Bo Hyeon Kim, Seng Min Oh

▪ Year Dates : 7-29. Jul. 2016

▪ Location : SVA (New York, USA)

▪ Theme : Creative Art & Design

■ Milano_DA Workshop

▪ Attendees : Geun Woo An, Ha Kyung Kim, Ah Lim Ok, Joon Woo Kim, Sang Ki Lee, Bo Kyoung Kim, Jeong Hyeon Kim, Eun Song Kim, Yeon Su Lee, Eun Ji Kim

▪ Year Dates : 2 15. Jul. 2016

▪ Location : Domus Academy (Milano, Italy)

▪ Theme : Product Design

GDS 2017

■ New York_SVA Workshop

▪ Attendees : Tae Yeong Kim, Hyun Kim, Min Ji Kim, Hee Young Seo, Young A Lee

▪ Year Dates : 10 28. Jul. 2017

▪ Location : SVA (New York, USA)

▪ Theme : The next Culture

■ Milano_DA Workshop

▪ Attendees : Mi Jung Kim, Min Jun Park, Yu Shin Kim, Seung Yeop Jeon, Chang Gyu Lee, Hye Ji Kim, Ji Yun Ha, Da Hee Kim, Da Un Jung, Jin Ju Lee, Sun Jin Kim, Hyun Yeong Ku, Seo Yeon Choi, Ga Ram Choi, Ji Hye Lee, Yu Mi Yeo, Gyu Sun Cho

▪ Year Dates : 3 15. Jul. 2017

▪ Location : Domus Academy (Milano, Italy)

▪ Theme : Certification of Product Service Design for the Social Innovation Course Completion

GDS 2018

■ Milano_DA Workshop

▪ Attendees : You Jung Kwon, Da Young Kim, Eun Yeong Kim, So Young Park, Ye Been Park, Hee Won Ahn, Won Kyung Lee, Su Min Oh, Ji Na Yu, Su Min Ji, Yun Ju Jung, Ji Nah Choe, Gyeing Lim Pyo

▪ Year Dates : 2 13. Jul. 2018

▪ Location : Domus Academy (Milano, Italy)

▪ Theme : Interior Design : Small Commercial Spaces

■ Chicago_Purdue Start-Up Workshop

▪ Attendees : Gi Yong Jang, Do Hun Kim, Ga Min Lee, Su Min Hwang, Myeong Su Lee, Eun Hye Park, Min Ji Park

▪ Year Dates : 3 15. May. 2018

▪ Location : DSU, KIDP (Busan, Korea)

▪ Theme : Smart Home Design

■ Melbourne_International Design Workshop & Field Trip

▪ Attendees : Jeong Min Yang, Na Yeong

Jeon, Ji A Han, Ye Ram Kim, Seung Hui Lee, Hoi Ji Hwang, Se Hwa Yoon, Young Jin Park, Seung Hoon Han

▪ Year Dates : 3 11. Jan. 2018

▪ Location : Monash University (Melbourne, Australia)

▪ Theme : Media & Culture

■ DSU+Monash+SUES International Design Workshop

▪ Attendees : So Hyeon Kim, Myeong Ji Lee, So Yeon Kim, Ga Young Yun, So Hyun Kim, Yu Mi Kwon, Ji Ni Kang, Da Un Kim, Eun Ji Lee, Hee Ji Park, Tae Eun Kim, Hye Yeong Choe

▪ Year Dates : 3 6. Jul. 2018

▪ Location : DSU (Busan, Korea)

▪ Theme : Design & Cultural Exchange

■ Chicago_Purdue Start-Up Workshop

▪ Attendees : Gi Yong Jang, Do Hun Kim, Ga Min Lee, Su Min Hwang, Myeong Su Lee, Eun Hye Park, Min Ji Park

▪ Year Dates : 3. Aug. 4.Sep. 2018

▪ Location : Purdue University (West Lafayette, USA)

▪ Theme : Smart Home Design

GDS 2019

■ Melbourne_International Design Workshop & Field Trip

▪ Attendees : So Hyeon Kim, Myeong Ji Lee, So Yeon Kim, Ga Young Yun, So Hyun Kim, Yu Mi Kwon, Ji Ni Kang, Da Un Kim, Eun Ji Lee, Hee Ji Park, Tae Eun Kim, Hye Yeong Choe

▪ Year Dates : 7 17. Jan. 2019

▪ Location : Monash University (Melbourne, Australia)

▪ Theme : Media & Culture

■ DSU+PCU _Global Culture Design Project

▪ Attendees: 26 students from DSU 39 students from PCU

▪ Year Dates: 7 8, MAY 2019

▪ Location: DSU, ICB 1F (Busan, Korea)

▪ Theme: Busan Culture and Street Story

■ Milano_M+S Architects Workshop w/Professor Ico Migliore

▪ Attendees : Re Mi Do, So Young Park, Ji Na Yu, Su Min Oh, Hee Won Ahn, Tae Min Kim, You Jung Kwon, Myeong Jun Seo, Wook Choi, Se Un Lee, Sang Wook Jeong, Da Hee Kim, Chae Yeon Lee, Hyun Gyu Jung, Ho Yeon Shin, Ji Won Chun

▪ Year Dates : 25 27. Jun. 2019

▪ Location : DSU (Busan, Korea)

▪ Theme : Stage of numbers Designing a pavillion with Ico Migliore

■ DSU+Monash+SUES International Design Workshop

▪ Attendees : Yeon Hong Jeong, So Hee Park, Myeong Ju Kim, Na Yeon Kim, Si Eun Jang, Yu Kyeong Kwak, Bo Kyung Kim, Hye rim No, Ye Rin Lee, Seo A Park

▪ Year Dates : 9 14. Jul. 2019

▪ Location : DSU, ICB 3F (Busan, Korea)

▪ Theme : Design & Cultural Exchange

■ Milano_M+S Architects Workshop w/Professor Ico Migliore

▪ Attendees : Re Mi Do, So Young Park, Ji Na Yu, Su Min Oh, Hee Won Ahn, Tae Min Kim, You Jung Kwon, Myeong Jun Seo, Wook Choi, Se Un Lee, Sang Wook Jeong, Da Hee Kim, Chae Yeon Lee, Hyun Gyu Jung, Ho Yeon Shin, Ji Won Chun

▪ Year Dates : 5 24. Sep. 2019

▪ Location : DSU Centum Campus, Sohyang Gallery (Busan, Korea)

▪ Theme : We all live in patterns

GDS 2020

■ Melbourne _International Design Workshop & Field Trip

▪ Attendees : Yeon Hong Jeong, So Hee Park, Myeong Ju Kim, Na Yeon Kim, Si Eun Jang, Yu Kyeong Kwak, Bo Kyung Kim, Hye rim No, Ye Rin Lee, Seo A Park

▪ Year Dates : 2 10. Jan. 2020

▪ Location : Monash University (Melbourne, Australia)

▪ Theme : Media & Culture

■ DSU+PCU_Global Culture Design Project

▪ Attendees: 20 students from DSU 39 students from PCU

▪ Year Dates: 13 20. Jan. 2020

▪ Location: Petra Christian University (Surabaya, Indonesia)

▪ Theme: Surabaya Culture and place story

■ Milano_M+S Architects Workshop w/Professor Ico Migliore

▪ Attendees : Re Mi Do, Ji Na Yu, Su Min Oh, Hee Won Ahn, You Jung Kwon, Wook Choi, Se Un Lee, Da Hee Kim, Ho Yeon Shin

▪ Year Dates : 26. Jan. 1. Feb. 2020

▪ Location : M+S Architects (Milano, Italy)

▪ Theme : Genius of Loci

■ Milano_M+S Architects Workshop w/Professor Ico Migliore

▪ Attendees : Ji Na Yu, Su Jeong Yu, Da Hee Kim, Su Min Kim, Ji Hyeon Ahn, Se Un Lee, Se Jin Jang, Ye Eun Kim, Seon Hwa Lee, Jin Hee Kim, Jae Hee Jung, Se Eun Choi, Ji Woo Noh, Ji Su Lee

▪ Year Dates : 16 27. Jul. 2020

▪ Location : M+S Architects, DSU (On-line)

▪ Theme : Cultural Outdoor Extensions

GDS 2021

■ Milano_M+S Architects Workshop w/Professor Ico Migliore

▪ Attendees : Jae Hee Jung, Hu Jeong Kim, Su Min Kim, Chang Jun Park, Tae Won Kim, Ye Eun Kim, Hui Kyeong Baek, Kyeong Min Kwon, Ji Su Lee, Hong Beom An, Yun Ho Je, Ji Na Yu ,Jae Myung Lee

▪ Year Dates : 12 22. Jul. 2021

▪ Location : M+S Architects, DSU (On-line)

▪ Theme : Readymade Cocoons From a folding chair to a collective nest

■ Chicago_GDS Workshop w/Professor Michael Prince

▪ Attendees : Ho Yeon Shin, Ji Won Chun, Seo Young Kim, Hye Won Shin, Yang Yang, Han Sol Oh, Hye Ji Kang, Yu Gyeong Kim, Ji Won Seo, Yeoun Ju Lee, Yoon Ho Jegal, Yeong Rang Kim, Ji Su Choi, Su Jin Seo, Min Jeong Shin, Hye Jin Lee, Hee Yeon Jang, Dong Yeop Lee, Ji Yeon Yang, Yun Gyeong Lee, Su Bin

Lee, Wang Li, Jong Hee Yoon, Ho Jin Kim, Seong Yeon Go, Zhang Ji Fa, Ga Bin Park, Beom Sik Park, Hyun Sik Hong , Da Bin Hong

▪ Year Dates : 02 08. Nov. 2021

▪ Location : Beyond Design, DSU (On-line)

▪ Theme : Hear What I Say

GDS 2022

■ Milano_M+S Architects Workshop w/Professor Ico Migliore

▪ Attendees : Jeong Wo Kim, Seong Eun Park, Yong Min Jo, Yoon Seo Jang, Ha Yoon Nam, Dong Ok Kim, Dong Jin Lee, In Ju Yoon, Yu Gyeong Jang, Yoon Su Lee, Chae Young Seo, Dae Gyu Kim, Su Young Kim, Jeong Hun Kim, Jeong Bin Park, Jun Young Choi

▪ Year Dates : 11 21. Jul. 2022

▪ Location : M+S Architects, DSU (On-line)

▪ Theme : Light Towers The Theatres of Creativity

INTRODUCTION

05 DSU GDS Program Busan Design (Global)

06 About Ico Migliore

PREFACE

09 Creative workshop Milano, 2022 summer

WORKSHOP KICK-OFF

10 Pre-workshop

11 Webinar kick-off

Face Off

12 Ex tempore exercise

WORKSHOP Process 1

14 1st presentation

WORKSHOP Process 2

22 2nd presentation

WORKSHOP Process 3

34 Final presentation

PHOTO ARCHIVE

44 Physical model & Video

EPILOGUE

58 Review & Episode

SOCIETY

DSU GDS Program - Busan Design (Global) MILANO SUMMER WORKSHOP 2022

The summer intensive online workshop was truly successful again this year. This special workshop with Professor Ico, which has been going on for four years in a row, was transformed this year into a three-credit course called ‘Busan Design Global.’ The newly minted course grabbed many students’ attention.

The course required seven teams of 2-3 students to continuously create original works, revealing the students’ unique individuality. The first project involved a simple personal work, where students looked deeply into themselves and expressed their inner selves by creating a mask. The next main project was for the students to create a light tower. This was no easy task the students had to create an original spatial structure that communicates and interacts with its surroundings. The students had to balance elements such as light, space, structure, storytelling, and materials with the five senses and human emotions. The students created their light towers using playing cards and supplemented the towers with video presentations explaining their concepts.

Throughout the course, the iterative process of discussion, production, and class feedback seemed endless. As the course progressed, the creativity and concentration of students began to shine. Professor Ico's feedback and critiques gradually turned into praise. Despite the students’ exhaustion and course’s rigor, I felt the youthful energy and spirit of the students who persistently strived to improve their works throughout the course.

I also would like to mention that we, as professors, also learned from our students. Confucius once said that even if only three people go down a road, there must be someone

among them who can become my teacher. I learned from my dear students many things: the importance of a positive mentality; the beauty of an eagerness to try new things; and the receptive attitude required to learn. I also learned a lot from my esteemed colleague, Professor Park, whom I admire for passionately teaching our students with excellent guidance and leadership. She indeed is a veteran professor!

I also want to highlight again how lucky we are to have Professor Ico as a chair professor at our school. Indeed, he has also been a great teacher not just to his students but also to his colleagues. His feedback was always valuable and stimulative of the students’ creativity. I was impressed by his ability to bring out the best in each student. He led an extremely successful summer workshop, as he has in the past four summers.

I would also like to express my gratitude to our teaching assistants, Jina & Rossella, for their diligence and attention to detail. Further gratitude goes to Sue, who worked tirelessly to translate each class session. Without the hard work of these individuals behind the scenes, the workshop could not have been as successful as it was.

This booklet reflects the hard work, passion for learning, and creativity that encompassed the workshop’s two weeks. I am proud of the fascinating works that the students produced. I hope this experience was as valuable and rewarding to the students as it was for the professors.

by Prof. Juyoung Chang Coordinator, GDS Milano Workshop Director, Asia Design Center for future

About Ico Migliore

✽ Co-founder of Migliore + Servetto Architects with Mara Servetto

✽ Professor at Design Department Politecnico di Milano

✽ Chair professor at Dongseo University

INTERNATIONAL PRIZES

✽ 11 Red Dot Design Award (GER)

✽ 2 German Design Award (GER), 1 special mention, 2 nominations

✽ 3 Compasso d’Oro ADI Awards (ITA), ⅩⅩⅠ (2008), ⅩⅩⅢ (2014), ⅩⅩⅤ (2018)

✽ 2 FX International Interior Design Award (UK), 6 nominations

✽ Gold Award 20th Annual Exhibit Design Award (USA)

✽ 2 IDA International Design Award (USA)

✽ CITY’SCAPE City_Brand&Tourism Landscape Award

✽ CITY_BRAND&TOURISM Landscape Award 2021

SOLO EXHIBITION

✽ “We all Live in Patterns!” installation with DSU Students at the Art Sohyang Gallery, Busan (2019)

✽ “Lightmorphing. From sign to scenery” at the Onground Gallery, Seoul and Art Sohyang Gallery, Busan(2019)

✽ “Spacemorphing” travelling exhibition, Tokyo 2007 / Turin 2008 / Seoul 2008

EXHIBITION

✽ “Achille Castiglioni and Brothers” at Arts Center’s Hangaram Art Museum of Seoul (2020)

✽ “4 Elements / Taking Care” Italian Pavilion, at the ⅩⅩⅡ International Triennale Exhibition of Milan (2019)

✽ “Coats! Max Mara, Seoul 2017” at the Dongdaemun Design Plaza, Seoul (2017)

✽ “B&B Italia / The perfect density” for the 50th anniversary of B&B Italia (2016) permanent

MUSEUM

✽ “A World of Potential” within The Human Safety Net premises, Procuratie Vecchie, Venice (2022)

✽ “ADI Design Museum Compasso d’Oro” in Milan

✽ “Chopin Museum” in Warsaw

✽ “Leonardiana. A new Museum” inside the historical Vigevano’s castle, Italy

✽ “Egyptian Museum” in Turin

INTERIOR

✽ Tod’s Group

✽ Bticino

✽ Max Mara

✽ Mondadori

✽ Luceplan

✽ Generali Group

URBAN DESIGN

✽ MIND Flow intervention and art direction of all the urban installations for Lendlease, MIND Milano Innovation District (2022)

✽ “Into the Ocean”, Millak Waterfront Park, Busan (2021)

✽ “Blue Line Park” in Busan (2020)

✽ “Expo 2015 Flags Boulevard” , Milan (2015)

✽ Lighting installation for the 150th Anniversary of unification in Italy, Turin (2011)

✽ “Look of the City” for the ⅩⅩ Winter Olimpic Games in Turin (2006)

Creative workshop Milano, 2022 summer DESIGN WORKSHOP WITH ICO MIGLIORE

Our summer workshop has been held since 2019, with students of various years. This year is the fourth with M+S Architects & Ico Migliore, and 16 undergraduate students participated and well communicated through the real time internet meeting that took place in Milan and Busan for 11 days.

We have performed two projects with the main subject of ‘The Theatres of Creativity’. The first was making ‘A Liberal mask’ with paper bags, from which students really enjoyed, ruminating on their emotion, introspection, identity, and expressions. And the second was creating ‘Light Towers’, which was much more complicated and done by using cards and lighting with each team’s cooperation, patience, creativity, and passion. These two projects were presented by image drawing, masks, 1/20 scale tower models, PPT, and video.

Whenever we finished a summer workshop, I could always appreciate the potential and creativity of my students, and learned and expanded my vision of design education: how to imagine, think, develop, and give feedback to student's project with new different perspectives. This simple comment given by Professor Ico has been carved deep in my mind, “People can understand about themselves by Art, and the world can be understood by Design”.

While students have learned a lot from the Professor Ico's teaching methodology that encouraged using boundless imagination in a huge playground, he also showed them how to steal/transform other’s idea to make their own creative idea. I have tried to support my students develop their concept by helping them draw out inner ambivalence, challenge, and find their potential ability as much as I could. Also, students in this year’s workshop have learned that skills of non-visual aspects figuring out the meaning of invisible things, giving metaphorical message, expressing emotions and values, and understanding humanity and one’s own enthusiasm are as important as skills related to the visual aspects, such as sketching, making, editing, and analyzing. I'm quite certain this summer workshop has been another big step for my students’ development in their thought, attitude, and philosophy, and they would already be ready for the future project.

Prof. Boo Mee Park Professor-In-Charge, Milano Workshop 2019-2022

/ Ico Migliore

What is creativity?

Creativity is a free process of operations. First. we need to simultaneously address the problems and solutions. Thus, we need to scrutinize the problem to understand it. Thereafter, we can incorporate a variety of solutions which we can then combine.

Designers are relatively open-minded people who converge elements of poetry and engineering. Accordingly, we have to extend our capabilities into two different fields. To help with this, I suggest the following.

The first suggestion is “stealing.” While this word may have a negative connotation, I think it is a very useful idea. Stealing is necessary for creativity. If you start stealing from everywhere, you can determine what is useful for you in your creativity. Once you have a better understanding, you can develop your skills. You can steal from several fields and sources such as our culture, cinemas, nature, common knowledge, history, the kitchen, food, and fashion. The mix of creations can further enhance your understanding.

Creativity means being very open. Furthermore, it requires you to focus less on achieving what you create initially because the final result will most likely differ completely from what are you expecting. Thus, you need to be very open. Hence, creativity is referred to as serendipity which means allowing yourself to change your chances of finding different things and pathways. You may not necessarily find what you are looking for. However, if you start with this attitude, your investigation can suddenly change which is why we normally change ideas during the design process. In my opinion, this is a positive method.

Another important aspect to change is your point of view. If your vision does not change and you are not open to different points of view, your creation will lack connectivity. Thus, it is important to view the world and everything in it from an alternative perspective, even briefly. Even when someone critiques your project and presents you with a problem, you have to try to transform and create a different vision for this problem.

Creativity also means being brave. You need bravery to overcome fear because when you are afraid, you cannot push it forward. This forms a very strong connection between bravery and creativity. Thus, you need to be open to personal change. You should not be afraid of the unexpected. Furthermore, you need bravery when you meet your clients and other people. Creativity can be very demanding as clients may not always trust you from the beginning. Thus, you need to be very brave in that regard.

"Creativity is an act of courage and struggle, it needs curiosity and perseverance."

”Who am I?”

We must understand identity before asking others ”What they are?”, which often underscores the things they have to do for others.

”Who am I?”

”Why am I here?”

”Who changed my life?”

”What do I expect from myself?”

It is pertinent that you ask yourself these questions. Similar to your identity (ID) cards, building your identity is establishing who you are and we want to develop this further. This identity consists of your skills, references, and vision.

You can change both your references and vision. However, if you develop these two aspects simultaneously, you become different among people. By being different, we can all orient the world in a positive way.

WORKSHOP

TEAM 1

Team 1 comprises Jeong Wo Kim, Seong Eun Park, and Dong Jin Lee.

Why can we not be more sentimental and adventurous in this city? Throughout our upbringing, we have grown and lost the immature courage of our childhood. Our team conducted a "via character" survey and found that prudence and judgment were the highest responses, in contrast to emotion and courage. Thus, we speculated that childhood courage and innocence could enhance our lives. This raises the question, “What is Childhood Innocence?” We describe childhood innocence as a pure state of mind without prejudice or stereotypes. Typically, an unpretentious and simple mind does not take things for granted. Childhood innocence facilitates adventurous and emotional thinking in terms of imagining new creations. We grew up with many stereotypes. Thus, we assumed that a spotless mindset could make our lives more adventurous and emotional. The shape of the opening and the various forms of light entering the tower through it overlap and create a new shape. Based on this, we would like to introduce a new perspective in the user's

mind. We reviewed the classic novel named "The Little Prince." The little prince went on a trip and learned about what happiness and preciousness are in the context of his relationship with his favorite rose. We decided to analyze the eyes of The Little Prince, who was happy to receive goats while looking at ordinary box paintings.

Thus, we established the concept as "The Little Prince's Journey," with the subtitle "Childhood Blooming." Here, the user embodies a little prince, climbs the blooming petals, experiences daily life in various sequences, and realizes the importance of living. Consequently, we anticipated that the innocent imagination and courage that we often forget would bloom from within.

Overall, the idea is to bend the card to represent the leaves in multiple layers to form an observation deck and a vertical public square. Thereafter, the light emanating from the inside would flow between the leaves and flowers of creativity bloom.

In this way, various forms of light can be reflected through the card. Therefore, we would like to express this beyond the context of conventional visual stereotypes.

TEAM 2

Hello. We are Team 2. The presenter is Yong Min Jo, and the other members are In Ju Yoon and Su Young Kim. We found that depressive emotions have been exacerbated since the pandemic. Therefore, we want to identify and solve negative emotions and their associated factors which can be connected to the project. Two types of feelings emerge from losing a relationship, namely, an indirect and direct loss. Indirect loss refers to the temporary separation from others because of social factors, while direct loss refers to permanent separation because of the death of people. We wanted to mitigate the impact of indirect loss by establishing a new relationship with the light tower. We selected the surface of the ocean in various forms of nature. During the reflection-transitionresolving process, repetitive actions, sounds, and visual elements from the water create stability and comfort. Placing individual emotions on the waves significantly impacts alleviating loss. Thus, we want to express our emotions in three stages based on the sea surface (both above and below the surface). Particularly, the lower part of the sea contains negative human emotions such as

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1. Team 1_Concept

2. Team 1_Concept

3. Team 2_Brain Storming 4. Team 2_Concept

suffocation and discomfort. The user will enter the tower and repeatedly pass through the partially shaped cards before hearing a heavy, dark sound. At the upper level of the sea, a small amount of light, gradually increasing sound, and the act of directly touching the card will convey the user's emotions to the tower. Lastly, we aim to use the surface to deflect the user’s negative emotions to the tower, enhancing positive emotions such as excitement and lightness. We want to provide the user with a sense of relief through a wider space, a large amount of light, and a cheerful sense of rhythm. We aim to apply continuous patterns and repetitive behaviors of the wave to the tower and control the inflow of light by creating different distances between modules.

TEAM 3

Hello. We are Team 3, comprising Yoon Seo Jang and Jeong Hun Kim. Let us begin the presentation. These days, people conceal their feelings. Emotions that are subject to change depending on the context and environment do not establish our identity. We need a space where we can

focus solely on our emotions, underscoring emotions such as joy, sadness, love, curiosity, anger, and confidence. Thus, we want to provide a space where an individual communicates with one’s inner self. Our concept is based on a chameleon. Chameleons are animals that camouflage to hide their emotions. However, they change their body colors to communicate and express their emotions. In addition to pigment changes, the principle underlying the color changes in chameleons is based on using reflection patterns by the wavelength of light. Thus, we want to use these elements to design a tower that can experience various emotions emerging from light changes in space. Depending on the light, height, and size of the space, individuals can focus on their own emotions from inside the tower. We want to directly adjust the brightness of the space by altering the module in the form of a cube, similar to a chameleon that exhibits different colors according to emotional changes in space. This creates a variety in brightness depending on the utilization of the space. Moreover, we want to change the brightness of different lights depending on communication by enhancing the

brightness in the center and slightly darkening the private spaces.

TEAM 4

Hello. This is Team 4. I am senior Ha Yoon Nam, and this is junior Jeong Bin Park. Let us begin the presentation. We first assessed our personality strengths through the "VIA INSTITUTE ON CHARACTER" test. We found that “love” was common among the top four strengths. We thought about the feelings we felt while we were in love. Interestingly, we found a higher variation of emotions than expected and we attempted to express various emotions about love. We referenced "About Time," which is a movie about time travel for perfect love. The main character cannot forget his first love and experiences a time slip merely for the success of his first love. However, living through several experiences ignited the epiphany that true happiness is "when you do not have to go back to the past." Consequently, we observed that perfect love is not completed with just one but through various emotions. Therefore, by comparing the love of the main character in the movie with the love among our team, we will build and

share various emotions to create a space to understand love. Similar to the Pickman game, our design is created to enhance feelings of various emotions while climbing the tower.

Finally, we aim to solve this from a spatial perspective to develop a comprehensive understanding of true happiness. We would like to acknowledge the closet which represents a time slip in “About Time.” Particularly, to ascend the tower and put the door in a space where you face other people. In this space, you have the opportunity to organize your thoughts so that you can feel each emotion and communicate with others by sharing mutual feelings. Consequently, this will provide you with an indepth understanding of love.

TEAM 5

We are Dong Ok Kim and Yu Gyeong Jang, beginning the presentation.

First, we conducted this analysis with the Via Personality Research Center and investigated 24 characteristics of various people. Based on these findings, we assessed current challenges in society and found that modern

society had unintentionally suppressed one of the analyzed traits. Modern society underscores a community life and this relationship can cause the suppression of individual emotions. Consequently, individuals may reach the stage over time during which these emotions start to diminish and unintentionally become socially unadaptable. Thus, we want to design a space for these social maladaptors. Social maladaptors have commonly found that a substantial category of characteristics of justice has been suppressed by society.

Justice has three main characteristics; fairness, leadership, and teamwork. Socially, we found that social maladaptors lacked these three traits. Thus, we want to provide a platform to solve the missing traits based on these keywords.

The light tower solves three characteristics that are associated with a lack of social maladjustment. Typically, everything starts with a relationship. Thus, the suppressed traits were removable by the medium of human beings in the Tower of Light. Fairness provides a space to show that you are equal by instilling the perception that you are no different from others from the same point of view.

1. Team 6_Concept

2. Team 6_Behavior

3. Team 7_Motif 1

4. Team 7_Motif 2

5. Team 7_Concept

Teamwork provides a space to learn about the community by reassuring people that they are a team based on the formation of relationships with others. Lastly, while leadership comprises a form of coercion, good leadership is to empathize and lead with the most significant emotions. I thought I had to self-reflect and understand my mind to raise this matter as it provides space for people to look into themselves through their relationships with themselves. Through these three spaces, they regain their characteristics and experience new emotions.

TEAM 6

Ciao. We are Team 6. Our names are Jun Young Choi and Yoon Su Lee. Let us start our presentation. The extended period of the pandemic naturally grew the distance between people. Minor temptations were easily resisted before becoming strong enough to destroy a person. The temptations that exist in everyday life are destroying people mentally and physically. These are mermaids and they are also referred to as cirectalled Seiren. These creatures carry several interesting myths about temptation. The mermaids often sing fascinating

songs to sailors while seducing and distracting them, and causing them to fall off the deck or cause shipwrecks. Our concept is based on how the mermaids suck in their lives, pretending to save the drowning men. We are trying to highlight the temptation and addiction experienced by modern people using the narrative of the singing mermaid. We want to align the various temptations of modern society with the seduction of a mermaid that destroys the body and spirit. Furthermore, we aim to show the possibility of overcoming and recovery. We constructed four stages of temptation and self-awareness while considering the feelings of the individual at each stage. The users discovered the light tower and were fascinated by it. We want to use a mermaid's tail and a waist of a woman as an exterior component. Thus, we hope that the mermaid scales and the combination of light with the intriguing sound will fascinate the user. Users enter the light tower and become interested in it before falling into oblivion. While the user is still inside, they slowly recognize that something is wrong. What we want is for the user to admit the presence and

context of temptation, and it's up to the user to initiate action who could escape or just remain where they are.

TEAM 7

Team 7 has Dae Gyu Kim and Chae Young Seo. We will start the presentation.

We can see that mutual consideration of emotions and communication are important for maintaining a relationship. We asked ourselves, "Is this kind of communication going well these days?" The answer was "No." The following question asked was, “Why did we stop communicating?” The reason was COVID-19. Wearing masks and social distance measures forced people to stay home and reduce conversations. During this time, people covered their faces and individuals in virtual spaces became more prominent. Consequently, this increased the number of anonymous cases based on violence, verbal abuse, and crime. We contrasted this situation and ambivalence to the good and evil of the Garden of Eden and the story of the Bible.

This story shows the good and evil of the beginning and the ambivalence of humans. In medieval Europe,

these biblical stories were considered law and religious authorities divided the public into good and evil. In contrast to distinguishing between good and evil, modern society acknowledges that each individual has two sides that remain in communication, experience, and relationships with each other. The narrative between good and evil in Eden’s ancient department was comparable to COVID-19, while we were like Adam and Eve as we were divided by the pandemic. Inspired by our situation and the Eden story, we will design communication spaces similar to Adam and Eve's Tree.

For this, we opted to use Nam June Paik's multiple elections because the author intends to communicate with the world through digital media. Our goal is to make people feel the importance of communication and emotional sharing worldwide through the experience of being able to evaluate themselves in the space we create and face the people we often spend time with.

Everyone wears a mask, whether it is real or metaphorical. People invent personas using makeup, facial expressions, and hairstyles. Eventually, these facades often become who they are.

“The mask is a protection against revelation”

Through different ages and continents, masks have continually responded to the human need to transform or disguise the identity of an individual. The mask is an ornament that accentuates the face and comprises a character with strength and evocative power. When you transform your face and filter your reality, you gain an immense amount of freedom.

TEAM 1

We selected the theme of childhood innocence via the previous character survey. Thereafter, we decided to shift from the visual stereotype and used The Little Prince as a concept to enhance his unconventional experience similar to The Little Prince's story.

Our emotional keyword is “joy” because children's innocence develops from blissful curiosity. The little prince travels across the wide universe, meets various people, and experiences the world from a young child's perspective. Soon after the trip, The Little Prince introspects and realizes his precious feelings. We wanted to put this journey of The Little Prince in our space. First, we will use light to guide the user's movement. When moving from one space to another, the psychological change in each adjacent space refers to the transition and light provides the user with strong induction. Thus, the increasingly bright light was intended to be used as an element of spatial representation of the ever-brighter innocence as well as a close and natural connection to the process. As you ascend the tower, the inflow of light increases and the space becomes brighter. This is

an expression indicating inner curiosity and creativity are increasing in brightness. This will induce the user's movement and create expectations in the next space. The overall space journey is also divided into three stages. First is a dark space and a shining star that expresses the wide universe where The Little Prince travels. The user will experience a shadow play that puts itself in various cards and forms. Finally, the user blooms their inner innocence by finding and opening the door by themselves and going out to the brightest space. Next, we assessed the structural references to make structures. We wanted to preserve the shape of the card, ensure minimal cuts, and create flexible shapes by bending the card. This presents the resulting model. We cut and insert both sides of the card to ensure a close and flexible connection without adhesion. The cards that are connected this way will be bent to form petals on one side and placed in layers facing the center. Next is a map that expresses the journey of space travel. The space journey is largely divided into three stages, brightening the space as it progresses. In the first space where the journey begins, shiny planets made of cards in dark space represent

1. Team 1_Idea Sketch

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floating universes. The user is guided along the light and becomes curious before immersing in the space. The second space depicts the story of The Little Prince who meets various personalities and introspects. The various characters of a king, queen, jack, and little prince were drawn and shaped on the card so that when the user stands in front of the card, their shadow would be represented like a figure drawn on the card. I tried to look back on myself by playing various shadow games. The last space was intended for the user to find the door on the wall and open it by themselves. The door opening enhanced the meaning of innocence inside, and the process of finding the door independently evoked a series of passion and challenging spirits among many people. The last space is a large void without a ceiling, which emits an open, bright feeling. The following is a draft that I made while conducting a structured study. Thank you.

TEAM 2

While observing the emotions that I have been feeling recently, I found that depressive emotions have been exacerbated further since the pandemic. We want to

identify negative emotions and their associated factors and connect them to the project to solve them. Depression was the most prevalent feeling measured because of loss of relationships through death and social distancing because of the pandemic. The feeling from the loss of a relationship can also be divided into two types, namely, indirect and direct loss. Indirect loss refers to temporary separation from others because of social reasons while a direct loss refers to the permanent separation because of the physical death of people. The causes and emotions are different. Thus, the solutions are different. We aimed to relieve the impact of indirect loss by establishing a new relationship with the light tower. We selected the surface of the sea among various natural shapes. The constant sound and pattern of the waves on the surface of the water evoke a sense of stability and comfort. Furthermore, the process of reflectiontransmission-resolving allowed people to reserve their emotions on the waves and overcome the sense of loss. Therefore, we want to relieve the user’s emotions by dividing the sea into three categories, namely, the surface, upper, and lower levels. Thereafter, repetitive actions,

sounds, and lights that occur at each stage along with light were applied to the light tower to maximize the effect. The lower part of the sea contains negative emotions that humans feel such as suffocation and discomfort. The user will enter the tower and repeatedly pass through the partially shaped cards and hear a heavy and dark sound.

At the upper level of the sea, a small amount of light, gradually increasing sound, and the act of directly touching the card will convey the user's emotions to the tower.

Lastly, the surface part aims to deflect the user’s negative emotions to the tower and to enhance the feeling of positive emotions such as excitement and lightness. We want to provide the user with a sense of relief through a wider space, a large amount of light, and a cheerful sense of rhythm. We aim to apply continuous patterns and repetitive behaviors of the wave to the tower and control the inflow of light by creating different distances between modules.

We conceived a module pavilion in the form of overlapping intersections that were established by dividing one card into four sections. The height of each

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card is approximately 1,700 when scaled. However, this is temporary so I anticipate a height of 10,200, which is approximately six cards in total.

In the lower part of the tower, the space between the cards is narrowed to reduce the amount of light while the space in the upper part between the cards is widened to enhance the light. Since the lower part is dark from the inside, we used the back of the card to show the darkness. However, as it gets brighter, we use both sides of the card to represent the changing emotions. Moreover, we used the stairs to connect the three layers. The stairs have a height of 220, which is half the length required to divide a card into quarters.

TEAM 3

These days, people live with their feelings concealed. Mental illnesses such as depression and panic disorder are increasing among individuals because they cannot express their feelings. To solve this problem, these individuals have to express their feelings through communication with people. Hence, we chose a chameleon concept to express our feelings.

Chameleons reflect the light of their skin and express their emotions using various colors. Using light in the tower, visitors can express and reflect on their feelings in various ways. Chameleons have various characteristics. Among them, the eyes can rotate 360 degrees to look around. The foundation of communication is to speak to the other person while looking into their eyes as if the eyes can look inside the person. Therefore, I would like to design the tower using the eye of the chameleon. A surface made of cards folded in half can express different colors depending on the angle of light. We want to design the tower through a structure that cuts and connects the cards. The circular space formed by connecting the cards has a panel at 360 degrees and can accept light entering from any time zone. The light entering between the cards controls the amount of light inside the space. The panel using the rotating function can adjust the amount of light by moving the panel according to the direction of the sun. This design ensures that the panels of the tower can rotate by forming structures in the cards that are stacked regularly.

To design the tower in the shape of a chameleon's eye, space can be designed in various ways. As shown in the

1. Team 3_Map

2. Workshop Image

4. Team 4_Map 3

3. Team 4_Concept

reference picture, the card embodies each panel which is designed as a dome-shaped mass. Chameleons express emotions by changing colors on their bodies according to their emotions. People’s emotions can be expressed using colors in several ways. Blue and red colors express feelings of comfort and anger respectively. When chameleons express emotions with colors, negative emotions appear with dark brightness because their skin cells reflect a small amount of light in the body. An expression of such emotions is formed by a card panel and can be expressed by a difference in brightness caused by the reflection of light. The tower's color is determined by the user's current feeling and the subsequent direct movement of the panel. Different tower colors may be expressed according to the user's emotions, movement, and the angle of light. We tried to express emotions by using different colors depending on the height. The 1.7 m card can be moved by the direct movement of the viewer. Furthermore, there are two layers of reflective cards above the card. The second layer is a dome-shaped space, designed to allow various amounts of light to enter the space by placing different opening sizes from varying intervals between cards

TEAM 4

I will briefly cover the previous parts and focus on the new additional content. Based on the via test, we chose "love" as the theme. Social distancing induced by the pandemic has made people psychologically distant, resulting in a gradual loss of feelings for each other. We defined love as the emotions that exist in various relationships and try to recover the lost love by encouraging the users to exchange emotions in the tower. The movie "About Time" taught us that "love" can only be complete when I have a variety of experiences and feel various emotions. Based on this, we understand that we should accept various emotions as opposed to just one emotion. Thus, we tried to express this in the tower. To organize the various emotions that emerge from love, we noted the philosopher Aristotle, who articulates that, "to love someone is to identify yourself with him.” Thereafter, we selected four representative emotions present throughout the stage of love as expressed by his disciple Plato. The first eros is physical love, which reflects impulsive and one-sided love. I chose "pleasure" to represent this. The second philia is moral and friendship love.

I chose “happiness” to depict this. The third storge is spiritual love, which is often expressed in kinships such as parents and children. I chose "comfort" for this.

Lastly, agape is unconditional love and refers usually to God's love. I chose "respect" for my feelings.

I used the stairs intuitively so that the user could experience perfect love as they climb up the steps.

Emotions representing spaces in each stage are expressed in terms of the intensity and color of light. I expressed the different love meanings using the direction of light.

Eros’s impulsive feelings are expressed using a strong red light. Since this love is one-sided, I will light the space from only one direction. Phileas, the feeling of happiness, is expressed using yellow light. This love characterizes an interactive love. Thus, I placed lights on two sides facing each other. Storge is expressed with a faint green light to deliver a sense of stability. I provided light to all four directions to represent parents holding and comforting their children. Agape’s unconditional love of God is expressed by natural light. Buttons will be available in each space and users that ascend to the top can press

them to switch on the light. During this process, the user will experience all the positive and negative emotions such as waiting and meeting. We aim to inform them that all of this is love. Furthermore, instead of avoiding these feelings, the individuals have to wait to see the light. Thus, they learn that "love is complete" only when you accept all of its associated feelings. It is difficult to achieve perfect love if you merely enjoy pleasure.

I looked for references related to the tower and stairs to try and express the stage of love intuitively. Upon trying various modules to express the structure, I decided on three modules. Module 2 was used as the stairs while Module 3 was used as a tower. The design depicts a recurring pattern with a heart shape when viewed from the top. I would like to use Module 4 for the stair landings and insert a few box-type spaces among some of them so the user can enter and experience the space. We first devised a structure module for users to move safely. This structure can be complemented by referring to more sources and expressing my inspiration from the movie “About Time.” The module used in the tower was used as is, and the scale was reduced to allow internal and

external connections. Based on this change, I aim to notify the user that remaining in one emotion for a long time can result in a dilemma. Finally, this is the actual image of the module and the rough version of the tower.

TEAM 5

First, we proceeded based on the problems of modern society. Modern society is said to be a fair and equal world although this is not true. Thus, we would like to create a space to be used and experienced by socially disadvantaged individuals. These individuals mainly require fairness and equality. Thus, our light tower intends to underscore the discrimination issues they have experienced. We chose the Joker as the concept of our project as he represents socially disadvantaged individuals. We will use the background and keywords from the movie, “Joker” for our light tower. In the movie, the real pain of the protagonist is solved through the element of stairs. Consequently, we included stairs to this tower and created a storyline where the user feels a sense of despair while climbing up the stairs. However, after feeling a sense of fairness and equity,

1. Team 4_References 1

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the user laughs and becomes carefree as they walk downstairs. In further reference to the movie, the dark space will gradually light up as the user comes closer to an equal society. If you enter the modern world surrounded by buildings, you will see stairs in front of you amid the darkness. However, when you walk up the dark stairs, the bright lights at the top of the stairs will gradually light your path. Here, you can see hope in the dark world. Thereafter, when you reach the top of the stairs, you find yourself illuminated by lights on the same line as several other people. This enhances the sense of belonging with others

. Upon receiving this enlightenment, you can walk down the brightly lit stairs into the bright world and improve your emotions through the movement from the dark to the bright space. The structure is made of trump cards. The expression of the stairs is achieved using folding art techniques to make the shape of the foldable stairs by cutting the center of the card and folding it.

TEAM 6

The extended period of the pandemic increased the distance between people. The temptations that exist in

everyday life are easily addictive and slowly destroy the body and mind. These serve as sirens that predominantly seduce people and destroy their bodies and minds. We would like to construct a tower that shares the characteristics of mermaids. Previously, we matched the negative aspects of the temptations that exist in modern society with the mermaids. Currently, we focused on the optimistic view of possibly overcoming rather than the negative view of temptation and addiction. Thus, we aim to express the temptations and addictions that modern people experience and the possibility of overcoming them. By using the characteristics of mermaids that seduce people, we want to create a space that has the potential for recovery and overcoming for users. We developed a comprehensive tower shape in the lower half of the mermaid and the body of a woman. It has the form of the upside-down woman's lower body and the tail of the mermaid. The top of the tower is 2 m wide and 3 m long with an oval-shaped hole. Inside the space, there is a 1 m wide ramp that can be accessed along the inner wall which is up to 7 m high. The floor is filled with human voices and singing, which can be heard

from outside. The mermaid's voice symbolizes the various temptations of society. Users move further from the sound as they climb up along the ramp. Thus, we want to illustrate how to move away from temptations and shift closer to overcoming them. The tower has a light source in the center and a light in the middle of the tower. Lights represent modern temptations. Users can also see natural light coming from the outside through a hole in the top. This light signifies an openness and the possibility of overcoming, contradicting the meaning of artificial lighting. The users are fascinated by the light, sound, and shape of the tower as they enter. The user moves along the wall from the colorful, bright space and gradually moves closer to the open space. The first floor space symbolizes all kinds of temptations. As they climb the floor, they move away from temptation and come closer to the possibility of overcoming it. The walls of the bottom layer are stacked like fish scales and we aim to include space between the cards so that light can be seen from the outside. As the wall height increases, the gap between scales decreases, and the configuration simplifies. Outside, you can observe the light and sounds that attract

1. Team 6_Motif

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users. A person’s voice or singing voice that can stimulate users along with light comes to mind.

TEAM 7

First, we will simply explain what we covered previously before proceeding. We initially reflected on why human communication remains interrupted even though COVID-19 has subsided. We found that we had become accustomed to the ”untact relationship” forced upon us and that several human connections are still disconnected.

Our team thought that this ambivalent situation resembles the tree of good and evil of Adam and Eve, in the Bible. The tree of good and evil is comparable to the pandemic as it is two-fold. Furthermore, we are comparable to Adam and Eve in that we are separated and distanced because of COVID-19. Thus, we decided to create a modern Garden of Eden by combining the ambivalence of primitive good and evil and the ambivalence of modern good and evil with contact and untact.

Furthermore, we referred to DaDaiksun, which states, ”the more the better." We intend to create a tree of

3. Team 7_Map 2 1 3

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communication and relationship and "DaDaiksun" symbolizes the first global digital art and communication. The "DaDaiksun" is well-suited to represent our theme of ambivalence as it is similar to the tree of good and evil in the beginning.

We only wanted to use the structure of "DaDaiksun," so eliminated the round shapes. Our tower has three levels. Thus, we erased all the lines except the main three lines. Thereafter, we stacked the boxes together with the three lines. Lastly, we left behind the root of the tree which served as the main entrance.

For the inner structure, we were inspired by the Guggenheim Museum in New York and the National Museum of Contemporary Art where "DaDaiksun" is presented. We wanted to express the grandeur coming from a great height and have a vertical light structure through the glass ceiling. We thought that the vertical structure made from light could comprise holy light.

Moreover, we felt the need to express the grandiosity of the tower as it is related to Eden in the Bible. We choose the one-floor tower as the final approximated size of our light tower.

You may wonder, ”why do they use the box?”

DaDaiksun's television refers to communication. Hence, we aim to use the shape of the box and the boxes combined for contact and untact program. The sizes were different because individual communication ways and spaces were different. Furthermore, the light effects were different for different colors, namely, blue referred to the good component while red represented evil. Thus, the red box of evil reduces the effect of light while the blue box of good uses the light effect to the highest extent in our program. The blue and red boxes were defined as contact and untact boxes respectively. Contact refers to in-person or face-to-face communication. In contrast, untact refers to communication between individuals and the media. Hence, we made a blue box that is empty inside to see people and make a relationship with them. The red box is composed of mirrors and media elements because communication between us and the media helps you determine what you are feeling. This comprises the whole map of our light tower and prototype.

Start thinking about everything in a very detached way. This means changing your point of view.

Feel free to mix and match everything together including the materials, colors, and something else to inspire any ideas. Start thinking freely about that. You have everything. Now you have to build a creation using what you have at hand.

WORKSHOP PROCESS :

21st

TEAM 1

Our main goal was to express joy and experience childhood through cards, light, and interactions between users within this light tower. The presentation will include the project commencement, the feelings we aim to achieve in this tower, and the overall expression of concept and structure.

We started this project hoping that people in the city would be more emotional and adventurous than they currently are. Furthermore, we hoped that the people would regain the joy and innocence of childhood. In our opinion, childhood innocence is a pure state of mind that is free from prejudice or stereotypes. An unpretentious and simple mind does not take anything for granted. Thus, we referred to the classic novel, “The Little Prince.“ The little prince went on a trip and learned about what happiness and preciousness mean in his relationship with his favorite rose. We aim to analyze the eyes of The Little Prince, who was happy to receive goats while looking at ordinary box paintings. To construct the space, we first planned to use the difference in internal brightness to guide the movement. Furthermore, the music from the

center will enhance the immersion and expectation of space among users as they climb up the spiral path while the number written on the trump card increases.

The following is a map of the overall structure and production. We planned to preserve the shape of the card as much as possible while developing a structure. Cards were cut and inserted into each other to form a single structure before being bent to create a wall. Similar to gradation, the color of the card changes from blue to red as the audience enters. The overall height of the structure was set at 11 m with a diameter of approximately 45 m. The following is a description of the interaction between space and users. We developed the idea of shadow play throughout the space. In front of cards such as king, queen, jack, and joker, the user can see their shadows becoming characters in the cards, increasing curiosity and pleasure by facing various personalities. As they climb the tower, the number of cut card patterns increases. The light of the pattern entering the cutout gradually illuminates the path.

This is a drawing map that represents the overall identity of the space. We focused on the overall structure of

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the tower and the possible interactions that can be experienced by the users. For example, users can travel through space and play various shadow games. Furthermore, they can experience their inner innocence while listening to music that feels brighter and with enhanced sound. The drawing map above expresses the interaction and behavior of the tower and the user and the figure below describes the card structure. The following is a picture of the model that was created. The picture illustrates the overall structure and interaction that occurs internally.

TEAM 2

As a result of quarantine and the loss of relationships, the highest levels of depression were observed among people during COVID-19. The sense of loss of relationship could be categorized into indirect loss, which is experiencing temporary separation, and direct loss, which is experiencing eternal separation. We tried to focus on and alleviate the indirect sense of loss. People often visited nature to relieve their depression emerging from this sense of loss. However, individuals

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have not been able to do so because of many mutations of the virus and limitations in their movements. Therefore, we intend to help the user with experiencing nature and resolve the sense of loss of relationship even in their daily lives.

Our concept is based on the surface of the sea. Particularly, we focused on the transcendence of emotions and repetitive behavior that occurs on the surface. This was based on the keywords "imply emotions," "deliver emotions," and "let go of emotions." Thereafter, we determined the general actions and linked them to the card. The main features of the card were continuity, pattern, and color. Each pattern had its own meaning. In this context, we used the spades to express negative feelings and the heart to express positivity while both sides of the card were differentially used to effectively elicit the user's emotions and actions in the space. This illustrates the overall structure and size of the tower and the meaning of its components. Inspired by the repeated wave action, we placed pieces of the card in four equal parts continuously and piled them up in the shape of a tower. The pattern of appearance gradually changes

from the spade, which is negative, to the heart, which is positive. Moreover, the number of patterns gradually decreases, and white margins increase in an attempt to ease the user’s emotions in the mind. The structure surrounding the tower guarantees their private space. We created different shadows coming out from the inside of the tower to induce the user’s curiosity.

The user takes a detour and approaches an atypicallooking entrance.

The complex structure has an empty space inside while there is a device in the center that users can directly touch. As users ascend to the top, they observe visual and tactile changes in the surrounding space from spade to hear, K, Q, and J, thus making it easier for them to express their feelings to the pavilion. Moreover, they can relax and enjoy the structure of the final floor with the view of waves.

TEAM 3

In the current context, people live by hiding their feelings. Thus, we want to provide a space in the tower where people in modern society can reveal their emotions and

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find their identities.

People who cannot express their feelings often suffer from mental illnesses such as depression and panic disorder, which has resulted in the recent increased number of people visiting hospitals.

To solve this problem, you have to express your feelings and communicate with people. Thus, we use the chameleon to externally express our inner feelings. Chameleons are often known for changing their body color to hide. However, they also do this to communicate and express their feelings. Particularly, the skin reflects the light and expresses emotions in various colors.

Using the light in the tower, visitors can express and confirm their feelings in various ways. The characteristics of the chameleon can change several times in space by utilizing the element of light. Depending on the purpose of the space, you can also express your emotions by adjusting the degree of light. Chameleons’ eyes can rotate 360 degrees and look around. Communication is based on looking into the other person's eyes while speaking. First, we designed the tower using the eyes. The tower design changes from blue to red cards to express the

TEAM 3_Video

change of color based on emotion and the pattern of the card that is placed.

Second, we use death, a characteristic of the spade card, as an opening to convey hope as the light in the spade shape enters the space.

Third, we aim to illustrate the gradual change of emotions using the number arrangement of cards.

Finally, the entry space is where the rotating cards are placed to intersect the inside and outside. This indicates that people enter the space and focus on their emotions from the outside. I would like to emphasize we symbolize the interior of a person by using cards such as K and Q.

At first, people who enter the tower turn the door themselves so that they can experience something different from the outside.

Following this, individuals ascend from the first to the second floor using the stairs. On these stairs, people are exposed to natural light and wind so that they can look back on their hidden inner selves. The movement lines form through the stairs and individuals are able to feel the sequences of various heights. This facilitates interaction with people inside through the sphere-shaped opening in

the center and individuals can confront their inner selves.

On the second floor, it enters through a spade-shaped opening and appears as a shadow on the floor. People can transform their negative thoughts positively by viewing the bright spade shadow.

Space is accessible through two entry routes. The rotating panel serves as an entrance, dismantling outer and inner boundaries. In space, light flows through the lighting on the first floor and the natural light on the second floor. The lighting on the first floor gently illuminates the surroundings and the spades of different openings appear on the second floor over time.

TEAM 4

From the movie "About Time," I learned that "love" can be completed only with a variety of experiences and emotions.

Based on this, we understand that we should accept various emotions rather than just one. Thus, we tried to portray this message in the tower.

To organize the various emotions that emerge from love, we noted the philosopher Aristotle, who articulates

that, "to love someone is to identify yourself with him.” Thereafter, we selected four representative emotions present throughout the stage of love as expressed by his disciple Plato.

We first expressed our love step by step using the heartshaped towers and stairs intuitively. Furthermore, the lightbox and graffiti on each step encouraged the outside and inside to interact. The internal program consists of experiences of light and fragrance that represent the space of each stage. The user will experience all the positive and negative emotions that are generated by the various relationships that occur in space and learn that all of them are love. This process indicates that "love is complete" only when you accept all forms, rather than avoiding or obsessing over one emotion.

TEAM 5

We sought to understand the current social context before proceeding with the project. Society has undergone several changes over time. Therefore, many individuals were not able to keep pace with society and social activities. These individuals are referred to as

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social outcasts. In an attempt to solve social problems, we provided a space for people who are not treated equally and do not adapt well to society. The theme of this space was inspired by the movie “Joker.” Particularly, we wanted to create a space for people like Joker, who is discriminated against in the oppressed society.

In the movie “Joker,” stairs are used to express the vertical relation to the suppressed people in society. As Joker walks up the stairs, his identity is confirmed. Thus, we aim to use the various meanings of stairs and use the colors from the movie to form our space.

First, the user climbs up a staircase surrounded by walls resembling city outlines and shapes of people. The design comprises human-shaped shadows on the wall to underscore that social bias influences the failed adaptability of individuals to society. Once the user enters the interior, they can walk around the space while facing society. The mirror is used to enhance their realization further regarding their identity and that they are not different from others. Thereafter, while descending the central stairs, the user will observe a brighter space with multiple colors, enjoy descending the staircase, and exit

the tower with a significantly lighter mind, while listening to music.

TEAM 6

I will briefly describe the process we have conducted. As the pandemic period extended, the distance between people increased. Previously resisted minor temptations have become strong enough to destroy a person. The temptations that exist in everyday life are destroying people both mentally and physically. The siren was the main characteristic we used. Particularly, they seduce sailors and break their bodies and spirit.

Our concept is a song of a siren. The main goal of our project was to enhance the user’s realization of surrounding temptations and possible ways to overcome them. The tower's form is inspired by the mermaids and it is 17 m high and 7 m wide.

Furthermore, there is a ramp that can be climbed along the wall with light and sounds emerging from the bottom which can be seen and heard from outside. People become fascinated by these lights and sounds and enter.

TEAM 5_Video

As they ascend the floor along the ramp, they move away from temptation and shift closer to the sky. Through this, we expect users to gradually realize the possibility of recovery.

We bent the cards to form scales and provided different meanings based on their color. The lower part is full of colors and signifies temptation. The more distance the user creates between the colors, the more the wall colors change. Similarly, we expect the users to move away from temptations.

This is our tower. Since there was a part where the shape curves, it was not easy to form. Furthermore, the direction and density of cards made it difficult to create a glow on top.

TEAM 7

Firstly, we focused on the changes in people’s relationships because of COVID-19 and discovered the ambivalence of untact and contact. From this, we compared ambivalence with good and evil and found the resemblance in its ambivalence ranging from the beginning of time to the Middle Ages. Thus, we introduce

TEAM 6_Video

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Team 7_Model Image 2

the Garden of Eden as it is the place of the good and evil created in the beginning. While creating these good and evil trees, we considered Namjoon Baek's "DaDaiksun," which represents communication.

In this context, we are trying to make a relationship tree to use as a reference. However, we had to remove the image to merely obtain the structure.

Upon removing the rounded shape, we attached the cards to the frame to complete our tower. This is the physical map of our tower. We first set the light coming from the inside.

The contrast between lights from inside and outside enhances the user's view of both sides of the tower. By inducing the user to move inside, we tried to make them perceive the light as holy. Through a program that has free and diverse movements, the user can have various choices to interact among themselves, both inside and outside of the tower. Additionally, the user will move along the path of the cards on the floor from the entrance. The following is a cross-section and elevation view. We tried to use the cards to induce emotions in users using keywords we had selected for each pattern. Spades,

TEAM 7_Video

clubs, hearts, and diamonds represent peace, being together, love, and glitter respectively. The user will feel more confident in themselves by using the glitter of the diamond to establish a relationship with other users by being together through a club, forming a relationship with a heart, and maintaining contact using a spade. This illustrates a copper-based map of these processes. To depict the glitter of the diamond, the diamond pattern was drilled at the top of where the light from the diamond can shine a light on users, boosting their self-confidence. For the club, the reflected user’s figure on J, Q, and K cards is not visible to them despite being visible to another user on the other side. This will prompt a conversation and create a relationship between these two people. For the heart, users can partially face each other and communicate emotionally and clearly in the context of spades.

Through this movement, users can remember their experiences in the tower they had with light and card relationships.

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CHILDHOOD

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OF THE OCEAN Team 2

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TEMPTATION OF SIREN

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SOCIETY

Try to transmit more value using the power of the object that you have in your hand. Try to use this to take advantage.

You can also transmit that, and I think this exercise ignores the idea that you already have it.

How can you use the material? In addition to assembling the material, materials can be used as a tool for a character. Every material has similar properties.

MODERN EDEN

EPILOGUE

REVIEW &

TEAM 1

Hello, we are Team 1. Our three-member team of seniors was undergoing a slight design transition before this workshop. The bright creativity and imagination changed into mechanical and planned thoughts as the grade increased. During this process, I thought extensively about design and slightly lost interest. However, throughout this workshop, I tried many things that I would not normally do. I came up with a metaphorical idea that emphasizes the inside rather than the outside. I exceeded the limit placed on my imagination by briefly developing ideas. I overturned the existing stereotypes and proceeded with new thoughts and challenges. This attempt, of course, was not easy, but it was an opportunity to gradually enhance our imagination. After the workshop, we moved away from the framework of thinking, and we were able to imagine more flexible things. I have the courage to think and be more challenging and adventurous than before. In the future, we will try to embody a designer who can develop more diverse imaginations based on the memories and experiences of previous workshops.

TEAM 2

The GDS program was brief, but I felt many things. Our team was worried in the beginning and it took a while to gather individual opinions. Therefore, we proceeded slowly. However, while trying to solve and organize this, I was able to create new and unique ideas. The content became more abundant and solid the more I thought about it. In this respect, I could feel the breadth of my thoughts expand and I realized the importance of choice and concentration. At times, I could feel the need to open my mind. The most difficult part of the program was the lack of transmissibility among our team. I combined all my ideas and was able to convince them using a practical reason, but I could not convey them clearly. However, I was able to express the structure of the tower and the contents of the program in various ways using sketches. Furthermore, I was able to adequately convey what I was trying to do and the kind of structure I designed. That is how we grew up and I felt a great sense of accomplishment. Thereafter, I had to produce videos, modeling, and proposals in a short period of time. Consequently, I was able to focus on the areas where I could demonstrate my

abilities, maintain consistent communication between team members, and accomplish the project. The driving forces underlying this project were the fun experience of putting pieces of a puzzle together as well as the feedback and praise from the professors. This GDS program helped expand the horizon of thought and experience the important parts. I would like to thank Professor Ico Migliore, Professor Park boo mee, and Professor Chang Ju young for leading us well.

TEAM 3

During the Milan workshop, I was able to learn to design from a new perspective, in contrast to the projects we have participated in at the university. It provided the opportunity to think about and express things that we generally ignore, particularly during the free imagination and expression exercises.

First, during the mask project when we made ourselves masks, we were able to think more about and observe ourselves. While designing the mask, we were able to reflect upon our individual interests and identities. Furthermore, expressing this on the mask enhanced our

ability to learn about various approaches and expressions of design. Second, we made a structure representing a card in the light tower project. The process of analyzing society’s context and expressing the tower using chameleons was the most memorable. Particularly, using the various characteristics of the chameleon as a communication element and applying this to the meaning of the tower was significant because the tower comprised the meaning of the building, as opposed to the design. Interestingly, forming a tower of communication would connect it to the surrounding area and it could serve as a landmark. Our team's shape took the form of a sphere. Therefore, it was very interesting for us to think about the arrangement and organization associated with using this card and enhance the purpose of the design so that it does not just merely look cool. Furthermore, it was quite impressive to observe the progress through the feedback from Professor Ico Migliore and it was a great opportunity to experience various perspectives, ideas, and problemsolving processes from the context of the teams involved in this project. This workshop provided us with a fresh and fun experience, particularly because we could engage in

the things that interest us which we typically cannot do. Moreover, it was significant to learn various methods of directing while creating a video for the first time. Utilizing and applying what we learned to future projects can improve the design process and the overall experience.

TEAM 4

We were able to achieve several valuable things through this workshop. The workshop was conducted differently from the space projects that were often demonstrated in school classes. Therefore, I gained more knowledge about myself and had various experiences such as developing my skills through various attempts and expressing projects effectively, among others. Going forward, this may be the most useful for creativity in the design process. The most notable memory was that I was able to learn while interacting with other students as well as seniors and juniors. Professor Ico Migliore and his instructors helped us to improve our ideas which yielded positive results. The workshop was long and challenging. However, I enjoyed the valuable experience with positive outcomes.

TEAM 5

During this Milan workshop, individuals used paper bags to make their own masks and cards to build a light tower.

At first, I did not feel much about expressing my personality and inner self by using a paper bag. However, throughout this project, I was able to observe myself clearly which provided a good opportunity to introspect.

During the process of creating the card-based light tower, I experienced several difficulties thinking about what kind of story and experience to express in the space.

However, I received positive feedback upon consistently communicating with my team members. I experienced difficulty with the approach as it differs from the one I am used to doing and it required a lot of creativity. However, I successfully completed the project with the encouragement of Professor Iko and the advice of the other professors. Through the Milan workshop, I learned about how to think creatively, the effect of lighting, and how to express what users experience and want to gain in space. The 10-day workshop was particularly useful because I learned how to intentionally convey my

LIGHT TOWER_Project

thoughts using video production and developed a broader sense of design.

TEAM 6

The main benefit of this workshop was developing the confidence to create multiple works and receive feedback in a short period of time. To build Professor Ecomiliore's design, I required my own mindset. While I learned how to present and express the actual work, the aforementioned things were particularly valuable. I found that a nice design without any meaning typically cannot be considered a good design. Despite the brief period, the process of capturing the meaning of even small elements as per our design plan was truly a valuable experience.

I think this program should be highly recommended to other students because it has made major progress in a short period. Once the world stabilizes again, I want to participate in the on-site workshop in Milan.

TEAM 7

The workshop was remarkable as it did not limit the sources of inspiration which could range from movies

to literature. Throughout this workshop, I learned the attitude and creative way of thinking that I should possess as a designer. Initially, I found it difficult to create something new in a short period of time. However, the professor's advice provided me with immense strength. He informed the designer that these projects are required daily and are mandatory which enhanced my ability to work harder on the project with the idea of naturalness. While working on the project for less than two weeks, I was able to share my strengths and weaknesses with new friends and in return, I gained extensive knowledge and skills. Within a short tenure, our team experienced extensive growth which was commonly acknowledged and this became the driving force to improve and grow in the subsequent semester. This workshop helped me plan and learn about which personal aspect I should develop and grow further. I would like to recommend this workshop to any individuals who may come across it. We were fortunate to experience this project as we often do not have many opportunities to participate in international workshops. Thank you to everyone who provided us with the opportunity.

DSU GLOBAL DESIGN SOCIETY

CREATIVE WORKSHOP ARCHIVE BOOK SERIES

Creative workshop

Milano, 2022 summer

With Ico Migliore

Date of event 11th to 21st July, 2022

Place Busan & Milano (through on-line)

Host Dongseo University, College of Design

Organizer Asia Design Center for Future

Tutor Ico Migliore

Coordinator Ju Young Chang, Boo Mee Park

Assistant Rossella Forioli , Ji Na Yu

Publisher Asia Design Center for Future

Date of issue 23rd August, 2022

Editorial board Ju Young Chang, Boo Mee Park, Kyung Won Kim

Book design Ji Na Yu

Address 47 Jurye-ro, Sasang-gu, Busan 47011, South Korea

Tel +82-51-320-4833. 4883

Website https://uni.dongseo.ac.kr/adcf https://uni.dongseo.ac.kr/designcollege/

ISBN 979-11-970017-4-1

© This book is designed and edited by the ADCF(Asia Design Center for Future) and no contents can be copied without permission.

This work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2019S1A5C2A04083375)