SIYANG ZIUI CHEN
A collection of discoveries, reflections, and pennings on design
Man is the measure of all things. - Protagoras There are two sides to every man and every one of them is a little world. I have always been interested in the hidden codes of human gestures and behavioral expression. A comparison of those emotions we present in a public context, versus those we hold in private. I am interested in what they signify, from a wink to a tear in the eye, and how a range of emotions are expressed in face and by the body as a psychological puzzle of dynamic dimensions. In my work I choose to focus on figures that are in response to culturally and ethically contradicting conditions. The figures in my painting vary in their identities, and range from politicians to unknown persons, both whose emotions act out seemingly forgotten by a reckless society. Yet, in my paintings they are living, albeit in a another world, through their unpredictability. Subversively; the playful side of my subjects are cast against their internal struggles with power, and combined with other allusions to project a frightful innocence. In this sense, I am in pursuit of a new aesthetic romanticism. I want my viewers to feel that they are familiar with where these characters are in my paintings, yet naive to knowing where they coming from or where they were going. They exist in some new place, as an exchange between character questions, and the possibilities of embodying pain, or enjoying fears whilst playing depending on a certain point of view. My curiosity of these strange emotional conflicts drives my character development and their portrayal on the canvas towards new questions of behaving bravely in a dangerous situations, to challenging the gender bias of subtle sexuality in gentile character. In essence my work is about the conflagration of the contextual society and it’s male dominant bureaucracy. 2
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PAINTING
PRODUCT
Pop Art Abstraction Classic
COMPETITION
Tea Set President Seal Money Bag
PROFESSIONAL LiNing Ule.com Siemens
FREELANCE
Fingertips Zoso Pervasive Ninja Exhibition Poster
ABOUT
Brand Identity Illustration Avatar Design
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PROFESSIONAL 1. VISUAL ART DIRECTION 2008-2009
2. EXPERIENCE DESIGN 2009-2010
3. INTERACTION DESIGN 2011-2012
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Ule China mobile interface, 2010
From 2008 until 2009, I worked for the New Channel Management Department within the LINING sporting goods corporation. My role was specifically in the Mini Shoe Store, which within the LINING brand targets a younger generation that is more inclined towards a fashionable image than the majority of China. My responsibilities involoved creating a unique image for multiple shoe stores, working within a prescribed buget, and engaging the online community awarenss of LINING’s shoe store. Primarily my conceptual ideas involved use of the postcards below as part of the promotion material I developed for use at opening events. Each postcard matches a pair of shoelaces of the same color used in the display.
“ Ule.com is a localised e-commerce platform jointly launched by TOM Group and China Post. It offers wide range of quality and authentic products including home goods, food and supplements, personal care, infant and mother care, fashion and electronic goods etc.”
Illustration 30, 2008
Additionally in the Mini Shoe Store project, I worked with the LINING Digital Marketing Department to plan and direct an online event for multiple shoe stores. At the end of the event, we received over 200,000 page views while operating on a ¥70,000 / $10,000 buget. Overall, I have created a the visual merchandising standard for more than 1000 of LINING’s Mini Shoe stores. A standard that not only coverd the essential needs of the company, but one that expanded to include the creation of posters guidelines, the display of the company’s core brand values in merchandising, and the development of gifting policies for customers after their purchase.
Postcard for the LINING Mini Shoe Store 8
Ibeam, Siemens Corporate Reserach, 2012
2011 summer, I took a full-time internship with Siemens Corporate Research and Technology. Siemens Corporate R&T is comprised of more than 300 of the world’s most talented scientists, engineers, and technical experts from over a dozen countries. During twomonth internship, I supported two projects and worked on four (4) projects. I mainly designed computing products for building technology interface systems that will in the future provide consumers an awareness of current and projected energy consumption. All of the projects were designed for the American Federal Government, and collaborated on with universities and institutions worldwide.
I joined Ule China at the end of 2009 as a Experience designer. Ule is uniquie for its commitment to sell anthetic goods to Chinese shoppers. By working with the brand owner and retailer, my responsibility was to leverage the Ule online store with the in-store visual image. My design approach focused on projecting the merchandise of the physical store onto the online store, allowing the webpage to display mutilple brands.
Screenview of Ule.com 9
LINING Mini Shoe Store Display
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LINING Mini Shoe Store Display
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LINING Mini Shoe Store Display
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Ule.com Web Interface Graphics
“Ule is a unique open platform for brand owners and retailers, aiming to be a onestop e-commerce and mobile commerce solution provider to those merchants entering into the fast growing China e-commerce market at affordable cost.” -Ule.com The online brand store is a featured service for ule.com. Ule host numerous brands directly for the brand owners. In the online brand store, shoppers can browse a brand exclusively, looking through a specific product category, detailed information, or promotional details while being able to access his/her viewing history. 14
Seimens IBeam Interface Software
The search function embedded in the online store helps shoppers to easily find their preferred items in that store by filters of price, popularity, shipping, and more. In the design of online brand-store interaction, the challenge of aligning with the shopper’s sensibility plays a important role in providing consistency for their experience. In every Ule brand store design I worked to leverage the brand image with the interaction functions of Ule by incorporating a fluid relationship between the brand visual style, the functions of the user interface, and carefully crafting the brand image within the selection of the graphic web-skins and the overall digital atmosphere.
During my brief tenure with the Seimens Corporation I worked directly with Dr. Sam Zheng who is a specialist in human centered interface design. Dr. Zheng’s research on experience design empowers the facility manager to better manage the assets of the building. Our scientific explorations of aesthetic investigated the sense of management and control users are able to maintain within their daily activities whether focused on an interface specific task or distracted by other business interfaces.
My work investigated the incorporation of color and simple geometries for the navigation bar, demonstrating the ability of the facility manager to comprehend easily the controls of the interface. The design employed a simple three color system, red, green and yellow to visualize the status of each asset in the building. The navigation bar on the left displayed the building architecture as a structured information bar.
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Seimens Interface Design
Above is the second IBeam project I work on with Dr. Zheng. Within the IBeam interface the facility manager is able to schedule, issue, and manage the energy flow for a group of buildings. From this portal the facility manager able to issue energy alerts among the buildings and manage the sharing of energy resources versus consumption among buildings. The sustainable energy considerations adressed consumption as a means to solve localized energy problems in relationship to the comfortability of occupants and the demands of events.
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For the IBeam interaction concept, I emphasized the importance of the building schedule within the overall visual and being to employ a softer visual tone to the interface. The visual styling is simple and direct in the content allowing the interface to guide the user’s attention to key information requiring action. The building schedule theoretically shows the facility manager live references to events in the building, and gives them control in comparing systems when and predicting the energy performance based on activity changes along with the abilty to notify the each building from a single location.
Also created for Seimens, DOE is an interface system that enables occupants in the building to be aware of energy consumption, sustainable practices, and the affects of their preferences on levels of comfortability. This interface prioritizes the occupants awareness, but removes the control that the facility manager maintains. They can however direct the energy performance of the building through collaborative controls that mediate crowd-sourced preferences for comfortability, mood, and overall general behaviors in the environment.
This experience with Seimens engaged a variety of social, psychological, and behavioral issues inherent in human nature and my design work focuses on producing a solution respective of their consideration. More importantly, it is where my workdeveloped in relationship to the complexity of virtually modeled systems that provide social and cultural tools to occupants into an eco-system of sustainable buildings.
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PAINTING 1. Pop 2012-2012
2. Classic 2012-2013
3. Expressinism 2012-2014
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Painted Man, 2016
Behind the scenes, Waiting in the wings, All of life is but a stage, And the butterflies so restless.
Silent King, 2016
From the deepst night, The darkest part of one soul, Reaches out to lead the few, Into a terrible plight. The day is full of hunting, Wanderlust from before the frost, Fridged as the heart has grown, the few must parry on.
Annunciation By Text, 2016 (Diptych)
In the spiritual realm the bear is significant in that it carries with it the glorified role of guiding those in need through their path. As such, my portrayal of them in these situations is in deliberate disregard of them lacking an obvious humanity. A vacuum of sorts that situates fragmented perceptions of social strata formed from the onslaught of
the consumer industries delving into the canonical moments of painting history. Born of the void in preferential identity out of the places of belief, what then do we deem sacred when the characterizations intended to emote power within belief are given over to the conceptualism of consumerism.
Body Casino - Detroit Girls, 2016
Line, Conscious Breath My work lives between each breath, and each breath lives amongst the hairs of my brush. With each stroke I am rendering real some semblance of the breath, an essence full of emotion that embodies the emotions in form. It calls for healing, a conjuring of the evidence engineered from the transference of consciousness into an animalistic movement against the canvas. If the “Land of Bliss” is made of consciousness as Buddha says, then these “animals” I draw serve to whisk away the slightest fingerprints of confusion in me. I share them as an extension of my personal pursuits of purity, an enrichment made whole from their presence
Balerina No. 5, 2016
Seeing is Conversing Seeing releases suffering, and focus brings to light being in the present. The making of these images should been understood as a context fully aware of consciousness, across the 24 hours of a day. A state of being that challenges each breath, each movement, each moment that we have been given to experience and expand our influence on our surroundings.
Pink Party Acrylic on canvas / 2013 48‘’ x 48’’(in)
Carnival Girl #1 Acrylic on canvas / 2013 30’’ x 48’’(in) Contemplating His Return Oil on canvas / 2014 48’’ x 60’’(in
An Unlikely Bride Acrylic on canvas / 2013 30’’ x 48’’(in)
Unveiled Oil on gesso-board / 2013 12’’ x 24’’(in) My American Mother’s Double Identity Oil on board / 2013 12’’ x 30’’(in) 20
Carnival girl #2 Oil on gesso-board / 2014 12’’ x 24’’(in)
Contemplating on Her Departure Pencil drawing on paper / 2014 12” x 24” (in) Framed 21
The Lone Ritual, 2013
The Lone Ritual, Has two lives. One holds history. The other holds the now. Inside the cowboy hat, outside the emperor Tea and cup, Between east and west, Past and future. He is a world, wandering in pink. Silent, like a cloud in the evening.
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Loosing Control, 2014
Losing Control Shelf, empty and tall. Room, vacant and clean. Landscape, far and quiet. No date on the calendar. No books on the shelf. She reaches for the fish tank, He breathes with swimming goggles. She ignores the fish, and he ignores her. The world ignores him, that’s why he can’t breathe. Everything in the painting ignores one another, all is clear in life itself. Ignorance, like a transparent air bubble, breathes its own oxygen. Although you can see everything clearly, only the world inside the bubble is your own. Control comes not from the bubble, instead it is to find a world where one breathes free without a bubble.
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The Sailor, 2014
Sailor
Sailor, sailor, You are a dream to me, I am a breeze to you.
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Loosing Control, 2014
Contemplating His Return
Life is short. Living is long. She is in the middle, And turns for some rest. The world becomes approachable.
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The Sun Field, 2014
The sky is gray. The field is gray. The flowers are gray. The sun is gray. In the reality of gray, sitting with two golden babies, I say no to the gray world and lift a colorful shield to paint. Gray to yellow, Paint pain’s excitement, Paint hunger’s laughter, Paint all young hope.
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Unholy Intoxication, 2014
We walk a long way, Unto a evening dusk. To join a banquet party. It is by the forbidden city. All the children taste it, and Dream about love.
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FREELANCE 1. LOGO & IDENTITY 2007-2013
2. BOOK DESIGN 2008-2010
3. ILLUSTRATION 2006-2007
4. AVATAR DESIGN 2007-2007
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Since 2007, I have been doing freelance work for institutions and startups in China developing their visual identity. The process often starts with gaining an understanding of their business mission, its uniqness, and developing optional design proposals.
Illstration 42, 2008 Illustration 30, 2008
New Oriental Education is the largest private english service provider in China, maintaining 60% of the market share in english education. From 2007 to 2010 I did freelance work for New Oriental Publishing’s new english book series. This series strived to explore enjoyment of english learning processes for students and young professionally working girls located in mainland China. The idea was to let the readers incorporate english into their own daily life, whether traveling or some other part of their schedule. I collaborated for three years with the english editor, and created more than 1000 pages of illustration.
At the end of 2010, four of the books I illustrated had been brought to market, and they are currently still available for purchase on a variety of mainstream bookstores and online stores, such as Amazon.com.cn, Dangdang. com, and Jingdong.com. The illustrations feature visuals familiar to the reading experience pulled directly from the comic storylines.
Illstration 42, 2008
ILOOK is a popular Fashion magzine in mainland China, and in the summer of 2006, I created a series of fashion illustrations for their magzine. ILOOK magazine’s approach to fashion is a unqiue cultural perspective, exposing China to styles made popular in other parts of the world. It consistently features a blend of China’s emerging fashion, design, artists within a local and international scope. The illustrations I worked on for ILOOK were published in the summer 2006 issue.
Illstration 42, 2008
Illustration 75, 2008 36
In 2013, Ialso designed and illustrated 12 book covers for Ann Arbor based startup Qlovi.com. 37
Graphic Design for Chinese Literature
Golden sentence is a English-Chinese book that encourages readers to see the difficulties in life positively. It is edited by Mr. Minhong Yu, founder of the New Oriental Education publishing house. The book carefully selected 201 powerful english sentence that encourage readers, and I worked to parallel the intent of the statements with a compelling visual narative. “It is great art to do the right thing at the right season.�
Four books I completed in 2010. They are available online at Amazon.com.cn.
- Aesop
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Brand Identity for a local American Design firm
CVOA was started as art gallery where they featured the work of local artists and designers. In this design, I used the reference of an old doorplate and refined the decoration to recognize its identity in the architectural body of the font.
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Brand Identity for astartup applications
LONGMA is a car part provider in China. They are proud of their fast and reliable service. In this design the “Dragon and horse� metaphorically, references the speed and energy inherent in both of these beings. I keep the literal meaning of LONGMA, as dragon horse and abstracted the overlapping metaphorical meaning.
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Southwester University of Finance and Economics, Sichuan, China
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Brand Identity for a astartup business in China
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Avatar Design
In 2007, I worked with a star-up team to build social networking avatars for children. The idea of the avatars created was based on a balance of childhood fears and playfulness, and to let the children have a favorite avatar from which to represent themselves.
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COMPETITION 1. Fingertips 2010-2013
2. ZOSO 2010-2011
3. Pervasive Ninja 2011-2011
4. Exhibition Poster 2014-2014
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Pervasive Ninja, 2012
Pervasive Ninjia helps North Quad residents find empty spaces to study and socialize more easily. The tool would let North Quad residents search for empty common areas that would be ideal for them to study or find populated areas to socialize with other residents of the building. Our system had three independent components; a website, a TV display and an Android application. Each component serves a different need of users.
Details_Fingertips Prototype 3, 2011
Linkedin Test, 2012
Details_Fingertips Prototype 5, 2012
Fingertips Lab enables the blind to use mainstream devices such as iPhone, iPod Touch, & Android through familiar userinterfaces that include physical tactile buttons. My partnership with Fingertips began in 2010, working on the ideations of the physical prototyping and involved every aspect of the product development. Additionally, I also served as the creative director of Fingertips in defining the visual identity and creative concepts for future scenarios. The Fingertip team collectively won numerous competitions and raised more than $100,000 grant financing for its product development. In 2014 Fingertips is expected to complete its beta testing and launch of the product. 48
2012, I took a linkedin test, which ask applicants to produce conceptual ideas based on actual production scenarios. My proposal promoted a human-centered user interface by creating categories for each job candidate by relevance as a way to organize user preference relative job opportunities. The new design would have integrated posted jobs information from the user’s Group, his/her connections and the companies he/she is following to give better job recommendations.
Team members: Peter Andrews, Jose Rafael Jimenez, Kiran Jadadeesh, and Siyang Ziui Chen.
Zoso Phone Interface, 2012
Zoso is an smartphone based recommender system which takes into account several context such as location, friends “like” activity, and what previous “like” activity to generate suggestions for places to visit and events to attend at any given time. Instead of browsing through the endless list of yellow pages, the system suggest activities the user would be interested in.
In 2011, I served as visual design director for Impact Everyday, a local startup. I designed and produced business card as well as website design for its marketing campaign.
The Zoso team is group of Candra K. Gill, Xin Li, Vamshi Polam, Arjun Vora and Siyan Ziui Chen. My participation with the team was to produce the visual appearance for the application across multiple interface screens.
General Avatar Design
I have also initiated and participated in a wide range of graphic design projects, ranging from postcard development, gaming poster design, typeface design, and cultural and commercial merchandising for a variety of regions.
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Fingertips
Details_Fingertips Prototype 5. 2012
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Zoso
Zoso Poster and Application Design
ZOSO is a system that uses contextual information to give users a rich, interactive experience with a location. Contributors and consumers provide symbiotic enhancement to existing content to create a unique, locationbased knowledge environment. How often do we want a friend who knows us or a local who knows all of the inside knowledge about a place to be our guide. In the online world, however, users are presented with an overflowing of results, most of which are not relevant at that given time or in a changing context. More often than not, we have a much
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better time if an activity, venue, or restaurant was suggested by someone we know, especially when that someone knows us well and understands our contexts and what we value. All of this relevant information is difficult to gather, process, and present to the user to help make decisions about where to have the best time and most fulfilling experience Team members: Candra K. Gill, Arjun Vora, Xin Li, Vamshi Polam and Siyang Ziui Chen
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Pervasive Ninja
Peter Andews, one of our team member is testing our TV application.
Pervasive ninja is a school project I participated with a team in 2011, working from the concept to completion. The goal of the in-class project was to give students a hands-on experience designing and prototyping applications that run in a pervasive computing environment. This theme is North Quad. We imagined prototypical augmentations for North Quad that enhanced the experience of living and working there. 54
North Quad is a particularly interesting site because it contains a number of different types of environments. There are classrooms, meeting rooms, labs, offices, informal meeting spaces, group offices, dorms, a cafeteria, and several different campus units, not to mention numerous lobbies, hallways, stairwells, and elevators that connect all of these spaces.
The TV screen installation in North Quad of Information School.
The project focused on applications that are context-aware and social. By context-aware, I mean that the application changes its behavior based on conditions in the immediate physical environment.
This meant that the application had to change based on who was in a particular space, the activities concurrently occurring in that space, or other properties (e.g., sound level, light level, temperature). The purpose of the application is to, in some way, facilitate interaction between people.
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Exhibition Poster
I believe that in this contemporary age Graphic Design shapes our communication. As such, it is a visual interpretation of the artist. Therefore, I also initate projects for my own art studio by designing my own promtional materials.
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PRODUCT DESIGN 1. Tea Set 2012-2012
2. President Seal 2012-2012
3. Money Bag 2012-2012
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The President Seal, 2013 The Tea Set: Tray, 2013
An Industrious Gamble: The Rice, 2013 The Islands, 2013 In my installation The Islands (2012), I question the perception of emptiness versus empathic objective identification, asking the viewers to question if the objectivity of a dispute versus the subjectivity of conflict as hidden meanings in the conflict come to light. In the installation the viewers perception is distanced from the conflict and they are asked to view the value of the islands from a cultural perspective.
A welcoming design is not defined by either the medium or the means of its production, but rather by the collective relationships that it belongs to, as categorically referencing experiences that can be deamed “welcoming.” The comprehension of design is more a criticism when included in the sum of relationships, because the context is the source of all our relationships, social and political, as an ever changing exchange. Relative to the guests, it can be the authority of the host. Relative to object, it can be gestures in the form. Relative to the purpose, it might be the process on display in the final object. In relationship to tea, I believe it is the etiquette. The hospitality of tea is based on the particularly personality of the host in establishing the beauty of the ceremony as an exchange between processes of hosting the tea and people.
The Tea Set: Kettle 5, 2013 60
The President Seal, 2013 The seal as it has been used to represent identity references the connection between words, forms, and wirters personality. The redesign of nine dragon stones and their individual statements as a symbol focuses on how the seal in series can be used to cultivate historic meaning as a both reflection on Chinese economic growth in the broadest sense and the effects of this growth as they influence the perception of Chinese cultural. The seals themselves use a community of factories to express the regal nature of industry in modern China, while the contridicting tone of a presidential quote challenges the significance of this industry for the future.
An Industrious Gamble:The Rice Bowl, 2013 The Rice Bowl project worked on the formative ideas of process to define the factual territory of objective decision-making and the subjective portrayal of time. In this process, I see a basic relational between the logic of creating an image across time in the use silhouettes pulled through a spun clay body. The selection of global financial leader’s faces pulled through the clay represents their influence on the Earth. By combining the ten profiles together, the form and the process of their formation invents a new spatial relationship between the neighboring silhouette.
Moneybag, 2012 In my installation Moneybag (2012), concerns around the ideological relationship between people and objects are visually portrayed by incorpating the tradtional symbols of money from across Chinese history into a monogram portrayed on the bag. Inviting the audience to celebrate financially the maker’s identity. 61
The Tea Set, 2013
“When a host picks up the teapot to pour tea for a guest, he or she realizes the relation of giving and to be given.” -Siyang Ziui Chen The Tea Set design chooses not to distinguish a role between the tea pot and tea cups, but instead measures the boundary between the role of the pot as a manifestation of the cup. Therein the pot is indicative of the, which is indicative of the relationship between the host and guest. The design simplifies movement within each piece as the connection of conversations introcing a visual narative on the play of the tea cup parts across the time of the tea ceremony. Symbolically, the teapot reflects the lack of difference between hosts and guests by merging the two. For a guest who is being served, he or she can reflect on their perspective of the host’s actions. And within this intimate watching, the design stresses their interaction through the styling. This transformation seems simple, but bears the visual impact of these blended roles. Fundamentally, the design aims at asking the audience to ask which object the host the tea, and therein think about how host and guest can have a transformative dialogue.
The Teaset: Kettle 9
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The Tea Set, 2013
The aesthetic of the food in action shows the passion of the host. The representation of emotion in food is not in the taste alone, but also the visual presentation and commitment to the process of its creation. The tea refreshments plate is designed to present the favor of welcoming gestures with the beautiful gesture of what can be eaten. By studying the differences of welcoming postures from around the world, I found similarities in the postures that are classified as gestures of relationships. Quite simply, the postures that are symbolic of the relationship between open and closed, defined by arc-shape objects that provide the welcoming bridge between hosts and guests. Inspired by the posture of these gestures, I generated ideas for six tea refreshment trays. In each tray, different angles provide viewers differing points of view for the plated food. The notion of hiding or displaying of food elevates the seductive scenery and flavor, influencing visual preferences for eating based on the seen and unseen.
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The Tea Set Refreshment tray Concepts
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The President Seal, 2013
“If over a billion Chinese citizens have the same living patterns as Australians and Americans do right now then all of us are in for a very miserable time, the planet just can’t sustain it, so they understand that they’ve got to make a decision about a new model that is more sustainable that allows them to pursue the economic growth that they’re pursuing while at the same time dealing with these environmental consequences.” -Barack Obama, President of the United States The Chinese translation is different enough from its original English to warrant anger by the Chinese audience. While Obama uses a more suggestive tone, the Chinese translation stresses an absolutely negative tone by using such phrases as “not allowed to“ and “must have,” which are degrading to use in Chinese culture. Additionally by using a different tone, the Chinese translation changes the original wording from “life pattern” to “life style”. Upon further research I learned that within the English language, word patterns imply the model of configuration or the configuration of expression, while the style often shows the attitudes of the people involved. Between these two translations, I perceive two completely different implications, each aiming for distinct and different outcomes depending on the provocateur. This accidental misinterpretation points out the crucial role of narrative identity and the importance of its correctness for the proper comprehension of ideas.
The President Seal
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The President Seal in Jade Stone, 2013
While reading the text from Obama’s speech, I started to wonder if his words have color, or texture? Does his statement have a form or shape, which can accurately describe the compete background of his original meaning? How do the current trends and popular opinions of culture and politics subtlety challenge the portrayal of the same ideology as an object? Can the reflection on the statement be masked a hidden formal agenda? Is there any chance of removing misunderstandings between the two cultures? In the process of verifying the message, I came to realize that the eastern seal possesses a similar validating role for rethinking the message in design. When the seal first appeared in China it was first to used as the certificate for commodity trading. The seal was then extended into fine art and other fields as with a Poet’s seal, as a means of validation of both the beauty of a work of art and tool to prevent forgery. Besides its functional use, the seal has always been a connection between words, forms, and identity, and most importantly; the beauty of the seal’s narrative work is an extension of the owner’s identity. The author of the seal keeps the physical seal close, hidden under a stone that embodies their identity.
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MoneyBag, 2013
Money is currently the connections between the identity of products and the identity of people. While asking whether the economic growth of a product reforms the way a society pursuits its collective interests, MoneyBag also is the pursuit of preferences related to the material identity of products. Asking in what capacities material identity affects the way that same societies direct their goals and participation based on the development of the products. MoneyBag is in itself a play on the crossing between the symbol of money and the idea of money in the current cultural context. By referencing money symbols from Chinese history, the system of symbols on display as a brand identity questions our perception of value. Putting on display the transformation of money as the symbol of humanity in our time.
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MoneyBag, 2013
A detail image of the MoneyBag’s leather body.
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The pattern plate for creating the leather details.
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ABOUT 1. CONTACT INFORMATION Siyang Ziui Chen 2350 McKinley Street Ypsilanti, Michigan 48197 cellphone: (267) 969-2925
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