CRITICAL DESIGN F.A.Q by anthony dunne Head of the department, Design Interactions, rca
1. What is Critical Design?
Critical Design uses speculative design proposals to challenge narrow assumptions, preconceptions and givens about the role products play in everyday life. It is more of an attitude than anything else, a position rather than a method. There are many people doing this who have never heard of the term critical design and who have their own way of describing what they do. Naming it Critical Design is simply a useful way of making this activity more visible and subject to discussion and debate. Its opposite is affirmative design: design that reinforces the status quo.
2. Where did it come from?
Design as critique has existed before under several guises. Italian Radical Design of the 1970s was highly critical of prevailing social values and design ideologies, critical design builds on this attitude and extends it into today’s world. During the 1990s there was a general move towards conceptual design which made it easier for noncommercial forms of design like critical design to exist, this happened mainly in the furniture world, product design is still conservative and closely linked to the mass market. The term Critical Design was first used in Anthony Dunne’s book Hertzian Tales (1999) and later in Design Noir (2001). Since then many other people have developed their own variations.
3. Who does it?
Dunne & Raby and their graduate students from the Royal College of Art (RCA) such as James Auger, Elio Caccavale and Noam Toran, are probably the most well known, but there are other designers working in a similar way who would not describe what they do as critical design: Krzysztof Wodiczko, Natalie Jeremijenko, Jurgen Bey, Marti Guixe ...
4. What is it for?
Mainly to make us think. But also raising awareness, exposing assumptions, provoking action, sparking debate, even entertaining in an intellectual sort of way, like literature or film.
5. Why is it happening now?
The world we live in today is incredibly complex, our social relations, desires, fantasies, hopes and fears are very different from those at the beginning of the 20c. Yet many key ideas informing mainstream design stem form the early 20c. Society has moved on but design has not, Critical Design is one of many mutations design is undergoing in an effort to remain relevant to the complex technological, political, economic and social changes we are experiencing at the beginning of the 21c.
6. What role does humour play?
Humour is important but often misused. Satire is the goal. But often only parody and pastiche are achieved. These reduce the effectiveness in a number of ways. They are lazy and borrow existing formats, and they signal too clearly that it is ironic and so
relieve some burden from the viewer. The viewer should experience a dilemma, is it serious or not? Real or not? For Critical design to be successful they need to make up their own mind. Also, it would be very easy to preach, a skilful use of satire and irony can engage the audience in a more constructive way by appealing to its imagination as well as engaging the intellect.
7. Is it a movement?
No. It’s not really a field that can be neatly defined. It’s more about values and an attitude, a way of looking at design and imagining its possibilities beyond the narrow definitions of what is presented through media and in the shops.
8. What are the biggest misconceptions?
- That it is negative and anti-everything. - That it is only commentary and cannot change anything - That it is jokey - That it is not concerned with aesthetics - That it is against mass-production - That it is pessimistic - That it is not real - That it is art
9. But isn’t it art?
It is definitely not art. It might borrow heavily from art in terms of methods and approaches but that’s it. We expect art to be shocking and extreme. Critical Design needs to be closer to the everyday, that’s where its power to disturb comes from. Too weird and it will be dismissed as art, too normal and it will be effortlessly assimilated. If it is regarded as art it is easier to deal with, but if it remains as design it is more disturbing, it suggests that the everyday as we know it could be different, that things could change.
10. Isn’t it a bit dark?
Yes, but not for the sake of it. Dark, complex emotions are ignored in design, nearly every other area of culture accepts people are complex, contradictory and even neurotic, but not design, we view people as obedient and predictable users and consumers. One of critical Design’s roles is to question the limited range of emotional and psychological experiences offered through designed products. Design is assumed to only make things nice, it’s as though all designers have taken an unspoken Hippocratic oath, this limits and prevents us from fully engaging with and designing for the complexities of human nature which of course is not always nice. It is more about the positive use of negativity, not negativity for its own sake, but to draw attention to a scary possibility in the form of a cautionary tale.
11. And its future?
A danger for critical design is that it ends up as a form of sophisticated design entertainment: 90% humour 10% critique. It needs to avoid this situation by identifying and engaging with complex and challenging issues. Areas like Future Forecasting would benefit from its more gritty view of human nature and ability to make abstract issues tangible. It could also play a role in public debates about the social, cultural and ethical impact on everyday life of emerging and future technologies.
批判式設計常見問題 安東尼 達恩 著
英國皇家藝術學院互動設計系 - 系主任
1. 批判式設計是什麼? 批判式設計利用設計來挑戰人原本狹窄的觀點，打破對生 活中產品的期待。批判式設計不是一種設計，而是一種態 度，一種思維模式。在這個名詞來臨前，早已有許多設計 師以這種思維模式作設計。現在這個名詞的出現只是方便 討論及敘述此類的發展。
2. 批判式設計從哪裡來? 利用設計來批判其實存在已久，1970年，義大利的激進 設計就以相當批判及諷刺的角度在看社會價值和設計哲 學，而今天的批判式設計就是從這種態度加以延伸出來 的。1990 年，概念設計開始盛行，容許了一些較非商業的 設計，如批判式設計，較容易存活。由於產品設計當時還 是比較以商業考量為中心，比較保守，所以批判式設計當 時大多以家具的形體來發表的居多。 Critical Design 這個名詞第一次出現於 Anthony Dunne 的書 Hertzian Tales (1999) 及 Design Noir (2001) 中。自此，這 個名詞被發展成許多不同的解讀，應用在許多不同領域的 研究中。
3.有誰在作批判式設計? Dunne&Raby和許多他們在皇家藝術學院的學生，其中幾 個包括 James Auger, Elio Caccavale, Noam Toran 等都是 較知名的例子。當然還有許多其他設計師例如 Krzysztof Wodiczko, Natalie Jeremijenko, Jurgen Bey, Marti Guixe 也 是利用類似的思考模式，但沒有冠上批判式設計這個名詞。
4.目的是什麼? 主要是要讓我們思考。提出值得思考的問題，吸引各界的 注意力，引發一系列的討論，挑起一些爭議，甚至可以把 它當作有深度的娛樂。
5.為什麼是現在發生? 現今的社會非常的複雜，我們的社交關係、慾望、幻想、 希望和恐懼與二十世紀初比較起來有明顯的改變，但設計 理念卻沒有跟上腳步。 社會變了，但設計卻沒變。批判式設計就是希望能帶領一 波新的設計理念，隨著科技、政治、經濟和社會人文的改 變來做設計。
6.幽默的角色是什麼? 幽默很重要，但常被誤用。反諷(satire)往往是最終想達到 的目標，但是常表達出的效果卻是拙劣的模仿，沒有達到 真正反諷的效果。但大部分的設計師習慣套用已經存在的 幽默型式或時常因深怕觀眾沒注意到笑點而清楚的點出諷 刺點。成功的幽默應該讓欣賞作品的觀眾處在一種複雜的 情緒中，心中應該質問著這個作品到底是真是假?觀眾最終 該選擇自己的批判立場，判斷作品的真實性。 另外，想要傳達訊息或宣揚意念時，反諷和諷刺都是能製 造更多想像和深刻印象的好工具，能更有效率的傳達原先 想傳達的訊息。
7.這算是一種設計運動嗎? 不能算是一種設計運動，因為界線太過於模糊。焦點應該 放在批判式設計的價值、態度、新的設計理念和無止盡的 發展與可能性。
8.有哪些是常見的誤解? 批判式設計… - 是負面的 - 只是在批判，無法改變事實 - 只是個玩笑 - 不在乎外觀
- 反對量產化 - 是悲觀的 - 不是真的 - 是藝術品
9.但這不是藝術嗎? 批判式設計不是藝術?或許理念和研究過程與藝術幾乎相 同，但結果還是相當不同的。我們認為藝術是相當震撼， 相當極端的。批判式設計和藝術比起來更接近人的日常生 活，那也是作品威力的所在。作品太怪就會被當成藝術 品，作品太平淡，探討的議題就會輕易的被忽略。當批判 式設計被視為藝術品時，其中批判的力量容易被埋沒；但 批判式設計被視為設計時，批判式設計提倡著不同的想 法，和不同的角度來看我們周遭的生活，更容易讓人反思 生活中可能有的改變。
10.這不會有點黑暗嗎? 對，人的黑暗面往往在設計時被省略。幾乎每個其他的領 域都會討論並且接受人的黑暗面、人複雜的情緒、人的焦 慮、人的矛盾、人的神經質，但設計不會。設計把人看的 太完美，太一陳不變，太遵守規則了。 批判式設計的其中一個角色就是要凸顯設計多麼的不關切 情感及心理層面的問題。設計往往只朝著解決問題，把世 界變得更美好的方向去想，好像所有的設計師都發了同一 個誓似的。這種無形的界線阻擋了設計師們去探索人的真 實面，沒有為人複雜且不太完美的黑暗面作設計。希望能 藉由批判式設計來提出一些被忽略的問題，一些沒有被敘 說的故事。
11.批判式設計的未來? 最擔心的就是當批判式設計變成有質感的娛樂:90%幽默 10%批判。選擇批判的議題時應該選擇一些較複雜，較有挑 戰性的議題。探索一些現在還未具體化的未來話題可以表 達出人多方面的觀點，也可以將還沒有很具體的話題視覺 化。批判式設計也因此成了一個能挑起許多人討論著科技 對社會、文化、人文道德的出發點。 Anthony Dunne 現任皇家藝 術學院 (RCA) 互動設計系系主 任。有著 RCA 工業設計碩士 及互動設計博士學位，曾擔 任日本 SONY 產品設計師。當 上系主任後，因教育模式相當 特殊而榮獲了傑出設計教育獎 Sir Misha Black Award。他是 Design Noir (2001) 及 Hertzian Tales (2005) 的作者。歷年來 的作品也被 MoMA, Victoria & Albert 及其他收藏家收藏。
Anthony Dunne is professor and head of the Design Interactions department at the Royal College of Art in London. He studied Industrial Design at the RCA before working at Sony Design in Tokyo. On returning to London he completed a PhD in Computer Related Design at the RCA. Anthony was awarded the Sir Misha Black Award for Innovation in Design Education in 2009. Dunne is the co-author of Design Noir (2001) and Hertzian Tales (2005) His work is in the permanent collections of MoMA, Victoria & Albert as well as other private collections.
commodity replace relationships commodity love (2009)
As products get more and more attractive, can they replace the feelings we have towards our loved ones? Will you love your phone more than your girlfriend? Or will you love your car more than your wife? And how would you feel if your wife told you she suddenly loves chocolate more than sex? 當身邊的產品越變越有吸引力時， 它們會不會有一天佔據了我們對其他人的感情? 你會不會愛你的手機比愛你的女朋友多一點? 你會不會愛你的車比愛你老婆多一點? 那如果你老婆有天突然跟你說：她愛巧克力勝過與你的性生 活，你又會有什麼感想?
I LOVE MY CAR MORE THAN MY WIFE I LOVE MY BLACKBERRY MORE THAN MY GIRLFRIEND I LOVE CHOCOLATE MORE THAN SEX I LOVE DESIGN MORE THAN MY WIFE I LOVE MY DOG MORE THAN MY HUSBAND I LOVE TAKEAWAYS MORE THAN MY MOM’S COOKING I LOVE CIGARETTES MORE THAN MY LUNGS
7 different phrases to choose from 共有以上七種不同款式 約 45x45x0.8cm Special Stainless Steel 特殊不鏽鋼
tall people big salaries brain orders legs to shake facebook causes cancer
chairs for the dysfunctional (2009)
The society we live in is changing, shouldn’t the interactive side of these daily objects change with us? Perhaps the function of the objects stay, but it is the process of how we interact with them that must change. Should there be different chairs designed for people with different sitting habits? Do you sit on all four legs or just two? Do you continuously shake your leg? Or do you like to sit with your back facing the public? This series of chairs illustrates each of these stories. Will these chairs become props that normalize the unwelcomed habits? Or will they act as therapy to “cure” one’s syndromes? 在一個不斷改變的社會中，這些天天與人互動的產品不該跟著改變嗎? 或許功能不該被改變，但使用過 程和與人互動的方式是可以被創新的。 不同的人有著不同的生活習慣，不同的坐姿，不就應該有不同的椅子? 你坐椅子時習慣翹著坐嗎? 你會不自覺的抖腳嗎? 還是你喜歡背對著群眾坐? 這系列的椅子，敘述著這些生活中常見的小故事。 這些椅子會變成生活中的道具；將那些不太受歡迎的 舉止正常化嗎? 還是會構成一種療效，幫助那些人矯正他的壞習慣呢?
Silent Farter 偷放屁
49x35x40cm Metal, Electronics 鐵, 電子零件
Those with excess gas in their abdomen can find it difficult to hold it in sometimes, even at important times such as formal dinner gatherings or meetings. Quietly letting the gas out may be the solution, but although the sound may be muted, the scent is still present. It can often cause misunderstanding and unnecessary embarrassment for the innocent others.This chair announces who the gas is from by amplifying the silent fart exhausted. 時常脹氣的人有時或許會很難忍屁，就連在正 式場合，如開會和正式聚餐等都不例外。偷放 屁或許是個解決方法，但雖然聲音降低了，味 道卻還是存在，造成自己與其他人不必要的丟 臉和誤會。這張椅子會將屁聲擴音，默默的公 佈肇事者。
Skilled Tilter 翹椅子
45x35x35cm Metal, Spirit Level 鐵, 水平儀
This chair is specially designed for people who tilt their chairs. It has a spirit leveler attached to the side allowing one to measure how balanced one is. 這張椅子是特別為了愛翹椅子的人所設 計的。椅子只有兩隻腳，因為這種人通 常不會用到另外那兩隻。側面附有水平 儀，方便使用者測量自己的平衡。
Status Announcer 公開狀態 54x35x37cm Metal, Acrylic 鐵, 壓克力
More and more people are reliant on online social communities such as Facebook and Twitter, leading to possible technology related anti-social behaviours. Those who are used to regularly publishing their personal life online may have difficulty adjusting to public scenarios in real life and may loose the ability to speak or interact with others face to face.This chair allows one to update their status like they usually do on their online profiles by putting up various signs that shows their current status. 有越來越多的人長時間的仰賴著網路社群，如 Facebook 和 Twitter，引發許多科技相關的自閉行為。習慣在網路 上公開自己生活狀態的人或許因為時常面對機器而不知 該如何在公眾場合面對其他人。這張椅子讓人在公眾場 合利用掛牌來表達現在的狀況，或許與網路世界的表達 方法相近，因此較熟悉。
Constant Shaker 抖腳
54x35x35cm Metal, Electronics 鐵, 電子零件
Researchers believe these unconscious muscle movements may be caused by a chemical produced in our brain to trigger additional calories to be burnt. This chair calculates the amount of calories burnt when one fidgets or shakes their leg when sitting down. 研究專家認為，人纇有些不自覺肌肉動作， 如抖腳，可能是腦部為了消耗多餘卡路里所 產生的運動。我們從這些不經意的動作中不 知不覺的消耗了多少熱量呢? 這張椅子計算 著一個人抖腳時所消耗的卡路里。
Equality Seeker 平等待遇 160x35x35cm Wood 木頭
Researches show that taller people are more likely to be successful in life. This may well be part of the nature’s natural selection process, however, can products help strive against such theories? In order for shorter people to still have a chance of survival in the modern day society, these chairs are specially designed so everyone is equal at the table. The taller one is, the shorter their chair should be. Each chair can be customized so everyone sits at the world average sitting height of 140cm. 研究證明了身高較高的人，凡事成功的機率都比矮 的人大。這現象或許是自然界，適者生存的法則， 但產品能否輔助人類逆向競爭?為了讓較矮的人在 這世界上擁有相同的競爭機會，這張椅子讓每位坐 在同桌的人都可調整為同等高度。高的人坐矮的椅 子，矮的人坐高的椅子。每張椅子都需針對每人的 身高來鋸成合適的高度，讓每個人坐下後都是世界 平均坐高，140公分，受到平等的待遇。
millions die from anorexia 58% women hated their bodies more suffering from manorexia asimov’s first law (2008) “A robot may not harm a human being.” - the first law of robotics by Isaac Asimov.
“機器人不得傷害人類，或看到人類受到傷害而袖手旁觀” - 以撒艾西莫夫小說中，機器人的第一個定律
Artificial intelligence is a topic widely used in the media, however, exactly how far are we from such technology? Are these fears towards robotic developments necessary or purely irrational? What is it about these currently fictional characters that scare us? Are there existing domestic objects that already break this law?
訂定這些定律明顯的表現出人對機器人的恐懼 但以現在的科技來看 我們離要製造出很聰明的機器人還相當遙遠 科學家甚至開始質疑人工智慧的可能性 所以我們的恐懼到底是哪裡來的? 我們生活中有沒有已經違反這個定律的產品?
Weighing scales, although don’t perform physical harm, have been subtly damaging us psychologically. Should objects like these exist in a complex society like ours where people are more emotionally fragile?
磅秤(體重計)雖然不會對人造成實質的傷害 但卻造成不少心理層面的傷害 許多人的生活因磅秤而默默的在改變 更有人因磅秤而斷送生命 市面上的磅秤缺乏人性 相當的直接 無論人的心情好壞 都很冷酷的將體重顯示出來 當人很脆弱時 是否不適合使用這種產品? 有沒有可能設計出”傷害力”較低的磅秤?
weighing scales potentially fatal
White Lies 白色謊言
60x30x5 Metal, Weighing Scale 鐵,體重計
This weighing scale allows one to lie to him/ herself. The further back you stand, the lighter you become. The user can gradually move closer and closer to reality. 這是個可以欺騙自己的磅秤 站越後面就越輕 越前面就越接近你真實的體重
Half-Truth 半真假
30x30x5cm Metal, Weighing Scale 鐵,體重計
Weighing scales can be harmful cause they don’t have intelligence to judge when’s the right moment to hit you with the truth This weighing scale puts your partner responsible for deciding whether to lie or hit you with the truth, adding a little bit of human intelligence back into these simple machines. 站在這個磅秤時看不到自己的體重 需要另一個人的協助才能得知 對方則得衡量該不該說實話
Open Secret 公開的祕密 30x30x6cm Metal, Electronics 鐵, 電子零件
This weighing scale reveals your weight every time you weigh yourself by sending a text message to the desired mobile phone The receiver is then responsible to reveal the answer immediately or the next time you two meet. 這個磅秤會將你的體重分享給其他人 當你站在這個磅秤上時 它就會傳簡訊到一個已設定的手機號碼 收到簡訊的人得決定該如何告知這個消息
innovative colour device man measures lawn’s greeness parktone (2008)
Competition naturally occurs between two living organisms that co-exists in the same environment. In wealthier neighbourhoods, the size of the house and how well maintained the garden is, often represents status. The Grass Scanner is a device designed to measure how green the grass is. It takes reading from 3 random patches of the grass and outputs a Pantone* colour code for one to reference and compare. With the codes, one can then refer to the PARKTONE** cards which contains true grass colours of Royal Parks and other green areas in the UK for people to match up with their own garden.
* The PANTONE MATCHING SYSTEM(r) is a colour system that allows designers to match specific colours during production. ** Each green area was carefully measured several times before an average of the data was used to create the PARKTONE card. Grass condition in different areas of the park may vary.
Parktone 探討的是英國人對於自家草皮過度熱情的現象 Grass Scanner 是一個草皮掃描器 可偵測出草皮的 Pantone* 顏色 PARKTONE** 則是一系列草皮的色票 用許多國家公園及知名皇宮花園、網球場作為優質草地 的範本 讓很注重自家草地顏色的人可以比照這些顏色 * The PANTONE MATCHING SYSTEM(r) is a colour system that allows designers to match specific colours during production. ** 每塊草地都準確的測量過數次後收集成為 PARKTONE 卡上的結果。實際草地顏色 會隨著季節改變。
PANTONE, the PANTONE MATCHING SYSTEM and the PANTONE Chip Design are the trademarks of Pantone, Inc. USA. PANTONE, PANTONE MATCHING SYSTEM and PANTONE Chip Design used under permission from Pantone, Inc. NOT intended to be a commercial product/service
guilt can turn off sleep switch alarm clocks (2008)
If we look closely at objects that surround us, they often belong to a unified system, a system created by big commercial cooperations. Our habits and behaviours are often sculpted to adapt these systems because there usually isn’t a second choice. Everyday objects such as alarm clocks are a good example of these unified systems. There are over thousands of alarm clocks on the market today, but they are all set the same way. The society we live in is changing, shouldn’t the interactive side of these daily objects change with us? Perhaps the function of the objects stay, but it is the process of how we interact with them that must change. Should there be different clocks designed for people with different lifestyle; with different sleeping habits? Maybe those who has to get up at a set time in the morning should own a different clock to those who suffer from insomnia. Perfect Sleep and Tyrant are all examples of possible variations on alarms that caters different people’s physical and emotional needs.
仔細的看看我們周遭的產品，它們通常都屬於某個大型 企業所設計的單一系統。我們的行為和習慣也不知不覺 的隨著這些系統在改變，因為除了跟著潮流的改變外， 沒有第二選擇。 身邊常見的產品，例如鬧鐘就是單一系統的好例子。市 面上有上千種鬧鐘，但幾乎所有的鬧鐘設定方式都相 同。在一個不斷改變的社會中，這些天天與人互動的產 品不該跟著改變嗎? 或許功能不該被改變，但使用過程和 與人互動的方式是可以被創新的。 不同的人有著不同的生活方式，不就該有不同的鬧鐘嗎? 或許天天需要早起的人該有更嚴厲的鬧鐘；每晚失眠的 人則該有更溫柔，更體貼的鬧鐘。 Perfect Sleep 和 Tyrant 提出人與鬧鐘之間可能有的新互 動方式。 是否能滿足人類新的生理及心理需求?
Tyrant 羞恥鬧鐘
Perfect Sleep 完美睡眠
This alarm clock steals your mobile phone and randomly shuffles through your contact list and calls someone every three minutes after the desired wake up time.
More people have flexible lifestyles and can therefore have the perfect amount of sleep before they start their day. So, instead of setting when you want to wake up, this clock allows you to set how long you want to sleep for.
Tyrant是為了需要每天準時報到的人使用 賴床時，它會偷你行動電話內的通訊錄 隨便撥號給其他人 告訴接電話的人你還沒起床
現在越來越多人不需要過著朝九晚五的生活 所以每天都可以選擇擁有一個完美的開始 別於一般鬧鐘要設幾點起床 Perfect Sleep讓你設定你想睡多久 設定後會以相當抽象的方法來顯示你所剩下的 睡眠時間
Businessmen buy popularity online Peer Pressure (2007)
Peer pressure is something we live with since the moment we are born. It is something that encourages us to fit in and be like everyone else. As we grow older, we gradually develop a secondary personality for the public self, leaving the private, the real personality only for our loved ones. Social psychology explains how people unconsciously compare one’s own attitudes, values, interests and personality with others. Those with a high similarity are likely to develop into interpersonal attractions, leading onto friendships or romantic relationships. However, not everyone has the potential or enthusiasm to act through their life just to impress others. Can products be designed to create these similarities for you? Can these products create the perfect public personality for us?
人從生下來的那一刻就受身邊的人所影響 成長的過程就逐漸的會發展出公共場合用的個性 而真正的你只有你家人和很熟的朋友才看的到 人的潛意識會找出別人的相似點 (頭髮顏色、肢體語言、服裝、想法等) 而會對相似度較高的人較有好感 所以每個人也會不自覺的為了討好別人而演戲 但如果不會演戲或不想演戲的人 是不是就比較難和其他人相處? 產品能不能幫你達到同樣的效果? 幫你在公共場合製造出一個超完美的你?
Double Sided Headphone 雙面耳機 For when you want to listen to embarrassing music but worried people near you can hear it too. It plays one track inwards and another track outwards simultaneously. 看似普通的耳機其實裡面藏有兩對喇叭 一對朝內，一對朝外 裡面放著你想聽的歌 無論多難聽，開多大聲，附近的人都聽不到 因為他聽到的是外面放的那首正當紅的歌曲
Popular Mobile 裝忙手機 A phone that randomly receives text messages to make you look popular in public. 一個會一直收到簡訊的手機 讓你在等你那遲到很久的朋友時，看起來不那麼孤單
Fast Typing Keyboard 快打鍵盤 When you are in your office cubicle, your colleagues often can’t see you but can vaguely hear you. This keyboard is designed for those who are worried about getting picked on about typing too slow. 在辦公室的小隔間內 同事雖然看不到你在作什麼 但卻隱隱約約聽得到 現代人打字速度沒有到一定的程度可能會被人家笑 所以這個鍵盤是個聽起來打字打很快的鍵盤 讓你有足夠的時間找你想要打的字
Positive Printer 八卦印表機 This printer helps generate positive rumours for you in the office. It filters your email inbox and automatically prints out all your positive emails. When your colleagues pick up their print from the shared printer, they will accidentally see your prints and gets the gossip going. 在辦公室聊同事的八卦是難免的 但你會不會懷疑人家到底在說你的什麼八卦呢? 這台印表機表面看似正常 但其實它正默默的過濾著你的email 自動幫你把含有對你有利關鍵字的信件全部列印出來 其他和你共用一台印表機的同事 去拿他們列印的文件時 就會不小心看到你的八掛 但從此你就不用擔心了 因為這些都是你想要向他們炫耀的八卦
spoilt dogs worldwide singles prefer fine dining with pets Pet plus (2006)
When there’s no time for a proper meal, vitamins can be bought as health supplements. But what happens when there’s no time for relationships?
現代人沒有時間吃飯時，會去買維他命來當補 品。未來如果忙到連感情生活都沒空時，怎麼辦?
In the same way as one can purchase accessories and additional companions for Barbie dolls, will consumers be able to purchase accessories which creates hyperreal relationships? Let us try to imagine when certain hyperreal dog relationships become a commodity product and consumers have the choice to decide which experience to indulge in. Regarding Maslow’s theory of human motivation (1954), all individuals must satisfy certain needs. Specific relationships can perhaps be purchased as supplements to aid one in fulfilling certain needs, resulting in a new form of hyperreality.
和買芭比娃娃的配件一樣的道理，消費者能購買 創造超現實關係的輔助品嗎?讓我們設法想像將 人與狗的超現實關係變成商品時，消費者會決定 沉溺於哪種經驗?心理學家Maslow(馬斯洛)的衍生 需求理論指出，每個個體都需必須被滿足某些需 求。人是否可以購買特定的感情來滿足各方面的 需求以達成另一階段的超現實主義?
Pet plus offers various packages acting as social supplements encouraging further interaction between humans and their dogs. Pet Plus invites you to embark on a brand new social adventure!
Pet Plus提供各式各樣的感情補給品，增進人與狗 之間的互動關係。Pet Plus邀請你來嘗試一個嶄新 的感情生活!
alice wang since 1984 Education
2006-2008 Royal College of Art MA Design Interactions Conran Foundation Award Winner 英國皇家藝術學院 互動設計碩士 康藍集團獎得主 2003-2006 Central St. Martins College of Art and Design BA (Hons) Product Design (First Class Honours) 聖馬丁藝術學院 產品設計 (優等) 2002-2003 Central St. Martins College of Art and Design Foundation Studies in Art & Design (Distinction) 聖馬丁藝術學院 基礎課程 (優等)
selected Exhibitions Only now Design Museum Holon Israel, Nov 2009 SaloneSatellite 米蘭設計週 Milan, Italy April 2009 TEI Microsoft Cambridge, UK 2009 Design Parade Villa Noailles, France 2007 Life is a Design Eslite Gallery, Taiwan 2007 Concept Products Award London, UK , 2007 Designers Block Tokyo Tokyo, Japan 2006 New Designers London, UK, 2006
Selected Publications
Love Design, Daab 2009 Icon Magazine, London 2009 Blueprint Asia, 2009 Form Magazine, Germany 2009 Digital by Design, Thames & Hudson 2008 藝術與設計, China 2008, 2009 Computer Arts, China 2008 Design Week, UK 2008 Vision, China 2007, 2008, 2009 [Art]ifact by Victionary 2007 外灘畫報 2007 設計，無所不在 2007 Dazed 2006 Egg Magazine, Taiwan 2006
alice wang F.A.Q.
王艾莉常見問答
1. Your work looks at how technology influences one emotionally and psychologically. Where did this interest come from?
1. 你在設計裡暗示著科技發展所帶給人的心理 影響，你是如何對這個研究方向產生興趣的?
I’ve always been interested in psychology and sociology, interested in people’s thoughts and behaviours. What is it that caused them to think and behave in such way? What happens if we magnified behaviours? How can products influence people’s behaviour thus influence the entire society?
2. What type of books and movies do you like and how do they influence you?
I love to read. My favourites are popular science and psychology books. I like to look into stories of real patients, the therapies they’ve been through and how they feel emotionally. I also love watching documentaries. Firstly, that’s when I’m forced to take a break; Secondly, I get a lot of inspiration from the characters in the film. I often start to design what the character will do in certain scenarios and what type of products they may need.
3. What do you want to achieve with your design?
I don’t aim to design for the mass market, and the goal is not to make this world a happier place. I see design more as a discourse to illustrate social issues that are often unnoticed. My work often looks at a smaller target, satisfying needs that big corporations tend to ignore. I hope to use my design to generate debate and discussion around these issues and inspire people to look at the society that surrounds us from a different point of view.
4. What makes a good designer?
我對心理學和社會學很有興趣，喜歡思考人的行為是什麼造 成的，未來會延伸成什麼? 將一個行為放大、誇大會變成什麼 樣? 產品能如何影響著人的行為? 我喜歡坐在很忙碌的咖啡店裏看人，寫下一些很奇怪的對 話， 畫下一些奇怪的舉止，幻想每個人之間的關係和故事。
2. 平時喜歡看書或電影嗎？ 我很愛看書，也看很多種書。最喜歡 popular science (生活科 學) 和 psychology (心理學) 類的書。喜歡研究一些真實病例， 治療過程，患者的心態。我也很愛看紀錄片。一來是因為那 是我唯一被強迫休息的時候，二來是我可以從片中角色獲得 很多靈感。在做設計時，我常會幻想某某角色在這個情況會 怎麼想，會需要那些產品等等。
3. 你在設計上想要達到的目標是什麼？ 我設計的產品不是為了量產，也不是為了解決問題，是用產 品來點出一些社會現象，表達出一些平時沒被注意的議題。 作品往往都是針對一些特定的、較小的族群所設計的，滿足 一般量產化商品無法滿足的使用者。我希望藉由我的產品能 引起一些討論，能透過我的產品看到平時沒有時間或心思觀 察到的現象。
4. 你認為一個好的設計師應必備什麼條件？ 多觀察這個世界，多挑剔自己的作品，多嘗試新東西。
One who knows how to observe, to self critique and not afraid to challenge new things.
5. 你的作品總是試著提醒觀眾關心一些有趣的 社會現象，能不能談談接下來是否有打算為台 灣的社會現象設計新的作品?
5. do you plan to look into taiwan’s social issues?
每個地方都有著自己特殊的文化，也因此會”研發”獨特的社會 現象，台灣當然也不例外!現在既然回到台灣了，就會開始尋 找這個地方帶給我的靈感。
Each country has its own culture, and therefore resulting in different social issues. I’m always looking for new inspirations, so while I’m back in Taiwan, it is no exception.
6. critical design is a new method of thinking, you think it will accepted in taiwan? what influences will it have?
To introduce any new method of thinking is hard work initially, however, the responses have been quite positive so far. I’ve recieved plenty of talk and conference invites, so it’s a good start. Critical Design illustrates issues that people working outside the creative industry can also connect to, therefore it shouldn’t be difficult to popularize.
7. how do you guide people to understand the issues you try to express?
Most of my work is a combination of psychology and humour, making what was originally a very serious topic easier to “digest.” Some projects illustrate a true story while others describe one of the hidden secrets in our society. A different design language is aplied to present each specific issue.
6. 批判式設計在台灣算是個新的概念，你認為 這種思考模式能被接受嗎? 會有什麼樣的影響 力? 要推動任何一種新的思考模式，一開始都是艱辛的，不過目 前看來，台灣的觀眾反應還滿熱絡的，有興趣的人也很多。 到現在為止，已經受邀到國內外許多學校演講，所以我想是 個好的開始吧! 批判式設計影響的不僅就於藝術及設計人士， 因為探討的議題相當廣泛，是個每人都能置身融入的藝術。
7. 妳如何引導觀眾能接受到你所謂想表達的社 會現象? 我的作品中大多是心理學和幽默成份的結合，將原本有些沈 重的議題輕鬆化，讓原本”難以下嚥”的資料較容易被吸收。有 些或許敘述的正是身邊某個人的故事，有些可能是敘述著某 種隱藏在社會角落的秘密。每個不同的議題用不同的方法來 表達出我想要凸顯的論點。
Arts borderless Creativity unleashed
藝術無疆 創意無界
My Humble House Art Gallery
寒舍空間
當我們初次見到；甫自英國皇家藝術學院取得碩士學位的王艾莉及其 作品，在如獲至寶之餘，也的確絆在她「設計師」的背景裡，苦惱一 時。但很快地，在我們充分了解其作品本質與內涵之後，會發覺，不 論在形式與內容上，即便以最嚴格的理論規範去審視，我們都很難將 它與純藝術做切割。在多方辯證後，我們豁然發現，在當代藝術紛呈 的形式中，各類藝術表現手法早已互融共構，藝術和設計之間也漸漸 沒有明顯的疆界。王艾莉的作品理念、陳述內容和呈現方式都已跳脫 商品設計的框架，其所探討的議題，已趨近藝術的範疇，所以將艾莉 的作品歸類為藝術與設計的跨界之作，而不僅是單純的設計品。 事實上，王艾莉的設計擁有純正的英式血統，其核心可以上溯至英國 經驗主義美學觀，試圖從人類的感覺器官與生理結構中去尋找審美 趣味，後遵循英國皇家藝術學院互動設計系系主任，也是其指導老 師－Anthony Dunne教授所提出的「批判式設計」觀點，對於普遍存 在的審美規律和標準表示質疑，巧妙利用幽默的反諷，挑戰既有的、 約定俗成的設計觀，甚至是透過逆向的思考與操作，打破對設計品「 實用性」的定見，對抗觀者的期待心理，反轉直向性的思維模式，在 錯愕、驚喜或畏懼中，讓人重新思考生活中習以為常的現況，甚或點 出一些被忽略的當前社會現象或議題。也因此，他的作品總能引起 廣泛的注目與討論(或爭議)，往往在作品未上市之前，就已上遍各大 中外媒體，固定的收藏群更直接點出了「設計將成為收藏品!」的趨 勢。其實，在國際市場上早有明顯的例證：與國際上最具分量的藝術 展覽之一「巴塞爾藝術博覽會」（Art Basel）同時舉行的「邁阿密/巴 塞爾設計博覽會」（Design Miami / Basel），內容以當代設計為主， 每年6月與12月分別在美國與瑞士的兩大城市舉行，在短短幾年建立 起的知名度與佳績，足以證明當代設計已成為當今收藏的新顯學。 此檔展覽中，寒舍空間完整展出王艾莉的新作及過往於國際發表的設 計，分為六個系列，共約20件的創意與裝置作品。從現代人日常行為 模式、社交關係或心理狀態的觀察出發，跳脫一般設計中強調實用性 的供需關係，取而代之的是一種主題性的、極富學術性的研究，著重 精神性的供需，凸顯「批判式設計」的精神。每件別出心裁的作品都 像是一項社會學的研究，或許是生活周遭的小故事、那些曾經令你發 窘的場景，又或者是隱藏在內心的小煩惱，訴說著現代人自身與外在 環境和社群目光的複雜關係。 王艾莉的作品一如展覽的主題－「行為診療室」，以幽默包裹批判， 就像一只軟毛刷，輕輕撫慰、也騷動著人們心裡的「隱疾」，讓人莞 爾會心之餘，也進行反思，從而獲得一帖治療心靈的良劑。透過此檔 展覽，我們也期待傳遞寒舍空間面對當代藝術形式的觀點：藝術本無 疆，創意更無界，只要有足夠的能量，就可以在每一條不同的渠道自 在奔流。我們在王艾莉的作品中看到這股力量，更有相信她將站在這 股潮流的浪尖上，領航先行。
6/20-7/20 開診期間 mon
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11:00-13:00 13:00-16:00 16:00-20:00 現場諮詢時段會有行為診療團隊在場為您做專業諮詢
On our first encounter with Alice Wang who recently obtained her master degree from the Royal College of Art, and her portfolio, we were quite surprised at her talents, at the same time we were also troubled by her background in designing. Nonetheless, soon after a full comprehension on the essence and context of her portfolio, we discovered that, regardless of the formality or content, it is quite difficult to separate her work from pure arts, even if examined through application of the most stringent theories and norms. After much debate, we suddenly found that each art expression was already mutually blended and co-structured, whereas there was eventually no distinct boundary between arts and design. Alice Wang’s portfolio concept, content statement and presentation were already thinking outside of the box for product design and the topics of discussion were approaching the scope of arts. Therefore Alice Wang’s portfolio is categorized as the cross-field work in arts and designs rather than a pure design. In fact, Alice Wang’s design posses a pure British decent with a core traceable to aesthetics of British empiricism , and an attempt to search fun in aesthetics through human organs of senses and physical structure. She later followed concept of “Critical Design” coined by Professor Anthony Dunne, her mentor and Head of the Department of Design Interaction at the Royal College of Art. She ingeniously challenges the existing design concept agreed into custom or breaks the prejudice of designing product with practicability through reverse thinking and operations. In addition, her work applies a vertically reserve-thinking pattern to resist audience expectation, and allows people to rethink over current habitual situations in life or points out current social phenomenon or issues in astonishment, surprise or fear. Therefore her portfolios can always have a widespread compelling attention and discussion (or controversy), which are often reported by the Chinese and foreign media before the release of new work. A fixed group of collectors also points out the trend in “Designing to be collected.” In fact there is a significant illustration in the international market: One of the major international art exhibitions, Art Basel and Deign Miami/Basel concurrently held, whereas the content mainly emphasizes on contemporary design. Each June and December, the exhibitions will be held in two cities in US and Switzerland accordingly and have established reputation and achievement in just a few years. This is sufficient to prove that contemporary design has already become the new collectivity today to be collected. In this exhibition, My Humble House Art Gallery displays a complete new portfolio and designs by Alice Wang, which were published internationally in the past. The display is divided into six series, including approximately 20 pieces of works. Based on the modern day behavior patterns and observation on social relationship or psychological state, her works does not display a supply and demand relationship in an average design with emphasis on practicability, but rather replaced with a thematic and highly academic research which emphasizes on a spiritual supply and demand relationship, highlighting the value of “critical design.” Each work is a study on sociology, life stories, embarrassing moments, or anxieties hidden in us. They all describe the fragile emotional side among most modern day people, the anxiety trigger by external environment, and community opinions. Alice Wang’s works coincide with the exhibition theme, “The Behavior Clinic,” in which criticism is wrapped in humor like a soft brush which gently comforts and yet disturbs the “taboo” side within us, enabling people to smile while obtaining a “prescription” that treats the fragile heart and soul within. We expect to deliver the point of view from My Humble House Art Gallery when facing with contemporary art formality through this exhibition: Arts have no boundary and creativity can go beyond borders. When sufficient strength is gathered, it can flow freely on different canal. We see this power from Alice’s works and we believe that she can ride on this tide and sail on.
自我診療
www.alice-wang.com/behaviour-clinic 線上關心診所每日動態 診療師每天更新病人資料及病情 讓不能來的你也能在家裡自我診療
6/28 (sun) 2:30pm 趨勢觀察師 詹偉雄 診療設計師 王艾莉 聯合講座 免費參加 名額有限 來電預約