Portfolio yianlingyianling

y i a n l i n g y i a n l in g 2011

Cheong Yian Ling

1985 Born in Singapore

2004-2008 Completed BA Industrial Design at National University of Singapore with honours.

Awarded Lee Kuan Yew Gold Medal – Top Graduate

2007 Exchange semester at Politecnico di Milano

2008-2010 Design Researcher at Design Incubation Centre

2010- Design Researcher at A*STAR Institute for Infocomm Research

Works

ESSAY TOOLBOX WORKSHOPS

Sensibilities and Limitations Silver Talents Workscapes UCC Revamp Future Scenarios Interactive Design Intergenerational Gaming 123

PROJECTS

Experience Kaleidoscope

Interaction

Touchear Roly Poly Plug and play series Dibu Counter Water squares

Space

Future Mobility

Transportation

Tomotomo

Furniture

Mound & Mount Air glove

Item

ESSAY

Essay

For the last several years, I have been thinking about the question of what makes a good design process. I discovered my interest in the design process more than the design itself since the first design workshop I attended. I learnt how the design process can trace its way from a messy input to thoughtful ideas. The design process can be systematic and ideas are no longer entirely stumbled upon by chance. Rather they can be informed by curious and thorough exploration with collective input from ordinary people and things.

Upon graduation, I became a design researcher and a designer of the design process in two institutions. The following paragraphs record some lessons learnt from my perennial pursuit for the best design process.

Venessa Miemis - “Design can

Workshops as Research

be reactionary, responding only to

My first job required me to conduct thematic design workshops

current conditions, or

for multi-disciplinary teams to allow cross-pollination of

it can be visionary, by

information and ideas. Within 1 to 3 days, designers and people

presenting solutions

from different walks of life gather to uncover users’ motivations

to problems yet

and needs, explore the design space, and ideate together.

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Despite being new to the design thinking process, participants come with their unique repository of stories, experiences and expertise. Besides learning for them, they helped me learn more about the users as well.

In this regard, workshops became part of my design research process. It involves gathering people to help them find out more about themselves, and others around them. Research is no longer solely on reading up literature but centers on first hand information gathering and experiencing in the identified field. Being a physical probe during the research phase, we become enriched, empathic and excited about the design matter and the subsequent design process.

Adopting basic steps of the design thinking process (Collect – Analyse – Brainstorm – Refine – Prototype), I had the privilege to experiment and to evaluate an array of tools and methods, through conducting and facilitating the design workshops.

I began my practice as a designer of the design process.

Designer of the design process

The design thinking process is a given - 3, 4, or 5 steps (depending on the version) to transcribe information to insights and subsequently to ideas. Even with the structure and steps put in place, the design thinking process itself is still an abstract process for many participants. It is easy for them to understand what to do, but exceedingly challenging to execute the steps in a way that is meaningful to the design in the later stages. In addition, the quantity of information collected through field studies during the workshops can become overwhelming, especially for firsttime participants. (“Yes, I found out all these. Now what?)

1 Collect

The process of analyzing requires participants to understand

2 Analyse

the information collected, empathise with the users, spot patterns or behaviour and make meaning by sythesising the information into insights. The concept of ‘insights’ may be abstruse at first and thus, not easy to grasp. It takes acute sensitivity to spot one and even more skill to apply them sensibly. (“What is an insight? How do I know that it will be useful or not?”)

After collecting and analyzing the information, the next hurdle

3 Brainstorm

to overcome is to break conventional molds and generate fresh ideas. Thinking laterally and deeply is not second nature to many people. (“Erm... What do I draw?”) In order to dig deeper and to distil their ideas, participants are usually encouraged and probed using questions, with the help of facilitators. The next step takes courage – to trust gut feeling

4 Refine

and pick one or few promising ideas to pursue. (“What if I pick a dead end?”) In a team with varying opinions, selection becomes even more challenging.

With ideas selected, participants then try to use both their hands and heads to think. They have to struggle with the perfectionist within them, to make quick and effective prototypes to test their concepts. (“I have no idea what I am making!”) Producing something that does not yet feel complete or right is against the logical sense for some. At the end of the struggle, their prototype might emerge looking more hopeless than the one they had imagined.

5 Prototype

All in all, the design thinking process can be rather

(I find myself applying

discouraging when misguided. For every workshop

the design process to

conducted, I took time to collect reviews from both

the design process!)

facilitators and participants.

There are some questions I ask myself repeatedly -

- How should I present information to the participants just enough to inform them but not enough to obscure their creative thinking with preconceptions?

- How do I motivate them share their stories in a deep and meaningful manner?

- How can tools and methods empower participants to design freely and fruitfully?

- How can the design process be structured and flexible at the same time?

Workshop after workshop, I am still searching and polishing my answers to these questions. I ascertain that a perfect design process- one which is entirely smooth, pain free and fruitful, cannot be designed. The design process is an iterative one. Spending time and effort to dig deep, think hard and deliberate over ideas is surely inevitable. So, the only way the design of the design process can be alleviated is through management of uncertainty in this arduous process. This can

Hans Gremmen –

be done by carefully designing the tools and methods while

“when I try, however I

preparing the workshop. Modifying or selecting tools and

cant - intentional acts

methods, to keep them relevant and effective, can help by

always intrude.

reducing ambiguity and the probability of being ‘stuck’ during the design process. The design thinking process aims to be human-centered. As such, the design of the design thinking process should be human-centered as well.

Idea outcomes, derived from workshops, are also out of a facilitator’s control. Ultimately, I feel the harvest of a design workshop is not the quantity of ideas that had been generated but the quality of insights collected. Insights include all lessons learnt through the stories collected from the people, objects and environment. A workshop, repleted

Yellow tags

with insights and new knowledge, will become a valuable

like this littered this

and transferrable resource, to further inspire more people, or

document as they

even other projects.

mark precious insights which I learnt till now.

The dynamics of a design process is indeed more complex than the familiar 3/4/5 steps that we are commonly introduced to. Besides the tools and methods administered, I feel it is also intriguing to understand the complexities of a human’s creative mind. Thoughts run through in people’s minds all the time. But, how can I bridge the gap between a thought and an idea? How do people feel and therefore, become inspired? I believe great ideas come from a richly stimulated mind and behind that, lies something more than a pure coincidence. For this very reason, I am impelled to persist in my pursuit to discover novel methods to unlock the creative dam in ordinary every day people.

Tools, methods & chance

Like a spark kindling, it excites me to hear people break into creative conservations with one another, speaking a language called design. Tools and methods are firestarters used to catalyze conversations.

A paintbrush is a simple tool. Yet in its simplicity, each artist possesses different methods of wielding this tool to make a good painting. Likewise, in the design process, we need many tools and even more methods to paint new ideas. Take interviews as an example of a tool to collect information.

The idea of interview is simple. Invite a person and consult him from his opinions or knowledge. However, methods of conducting the interview can vary to produce the desired results.

- Should it be located at the home of the user?

- Should it be held in a group or conducted individually?

- Should the questions be engineered such that the person shares from personal experiences rather than knowledge?

- Should visuals be prepared as prompts to stimulate the minds of the interviewees?

I personally find it important to fine tune tools and methods for each workshop as the theme, people and contexts are always evolving. Some tools might have worked for one workshop but fail to take off for another. Understanding the profile of the participants and determining what made tools or methods effective or inept is a critical reflective exercise. Having learnt from mistakes, I have accumulated a toolbox filled with tried and tested design tools and methods suitable to spark meaningful dialogue and inspire bigger ideas. 


Design research Being a design researcher since graduation, I am glad to have explored a wide array of topics, from children to elderly to mobility and future technologies. At the beginning of each design research process, I make it my standard practice to cast the net as far and wide to capture as much information as possible. In fact, most of the time, as I delve into research; I question if I know what I am looking for exactly.

As I persist by investigating deeper, it is exciting to uncover new paradigms and to revisit old ones. Each topic poses its own unique set of constraints and challenges, which needs to be addressed. Upon reflection, it is pertinent that these limitations that I had to work around were the very ones that engendered and honed my sensitivity in design research.

A lecturer once asked me after a pre-workshop research

“Mobley’s second

presentation, “How do you know what you need to know?”

discovery is that

To this day, the answer still eludes me. But what I do know

becoming creative

now is that curiosity will ultimately lead me to where I need

is an unlearning

to look and what I need to know.

rather than a learning process.”

TOOLBOX

The design process and assortment of tools

The cycle depicts the design process as an iterative one.

Observe involves understanding users first hand and developing empathy towards them and their environment. Analyse requires us to read into the information collected from the Observe phase and make sense out of them. Brainstorm needs us to spot design opportunities from the analysis made and generate as many ideas as possible. Refine is a sieving process where we match ideas with the requirements gathered from Analyse phase.

Prototype involves making physical objects/interfaces to simulate interactions and test out the ideas with users. The cycle begins again when we observe how users operate the prototypes and give valuable feedback.

This toolbox is accumulated from readings and personal participation in several design thinking workshops. Each time, after learning a new tool and noting down its benefits and limitations, I would modify them slightly to fit my subsequent workshops.

Tools (T) may come in the form of a framework, template or even a principle.

Methods (M) refer to how these tools can be applied. Designing purposeful and thoughtful methods to an effective tool is key to reaping insightful results in the design process.

Observe

Prototype

Analyse

Refine

Brainstorm

Tools and methods

Observe

100 photos T – Collect in-depth Memory sketch

information using 100 photos M – Take 100 photos regarding

T – To illustrate past

a vaguely defined topic, open

experiences from memory to

for wide interpretation. /

physical sketches

Prepare a variety of 100

M – Recall personal history

photos, print them, and allow

and sketch memorable or

users to sort and rank them.

important moments which are related to the design topic. / Instead of taking photos, trace your daily routine/experiences and sketch them in detail in paper.

Analyse Needs, wants, barriers and

Interview

limitations

T – Elicit information directly

T- Uncover each of the above

from the users.

and group them accordingly in

M – Spend some time building

hierarchy

up a relationship with user.

M – Annotate photos collected

Ask open-ended questions

from Observe and categorise

to share freely. / Prepare no

them in 4 segments / From

questions, but allow user to

interviews, analyse the mental

guide and start telling stories

models of users according to

related to the context. / During

their needs, wants, barriers

a workshop, participants can

and limitations. If possible,

interview each other to do

sort them further in their four

profiling and understand each

segments.

other more.

Five models AEIOU

(from Prof Naohito Okude’s workshop)

T – Activtiy, Environment, Interaction, Object, User

T- Make sense out of the

A framework to look at the

AEIOU framework by

bigger and complete picture

constructing the five models

M – Through photo taking,

M- Activtiy/ , Environment/ ,

make observations of the

Interaction/ , Object/ , User/ .

target users using AEIOU

Sketch these models on large

framework. / Hold discussions

pieces of paper to study the

guided by the framework.

dynamics among the models.

Idea critic (from Futurelab

Philosophy and vision

workshop)

(from Prof Naohito Okude’s workshop)

T – Designing backwards, starting from a solution.

T- To cast a vision far into the

Useful for tight design spaces

future, assuming all things are

which are already saturated

possible

with plenty of solutions

M – Imagine you are the

M – Present a variety of

inventor of an invention which

design solutions which are

is the most amazing to date.

published and discussed their

What do you think could

pros and cons. If possible, try

have been his philosophy

the solutions first hand and

and vision? Now you are an

evaluate experiences.

inventor of objects for the future, what will be your philosophy and vision? /

Motivations and challenges

Write down users’ aspirations for the future, expecting the

T- Useful when the topic

unexpected.

requires users to accept something new.

Idea 360

M- Studying the photos, sketches and interview notes,

T- Some individual time to

mine the motivations and

generate ideas and build on

challenges face by the users.

one another’s thought process

Make sense within these two

M- Give out drawing boards

broad groups and group the

to every individual and sit

insights into sub-categories.

them in a circle. Encourage everyone to sketch an idea on the centre of the board. Once done, pass your board to the person on your right and work on that idea or sketch a new

Brainstorm

one. Effective when linked with ‘What if’ activity.

What if T- Asking the right question so as to direct the right solution M – With all analysis clearly displayed, formulate questions which suggest a design opportunity/direction, starting each question with, “What if…”. Try to keep questions general but yet thoughtprovoking.

Random word match T- Allowing the chemistry of words and human imagination to generate some unexpected ideas. Useful for topics which are not trying to solve any problems.

M- Write down as many words as possible which are directly or indirectly related to the topic. Randomly pick 2 to 3 words, string them and make meaning through ideas.

Claystorming

Storyboards

(from Prof Naohito Okude’s workshop)

T- Refining the idea by going through a possible scenario

T- Instead of making sketches,

from beginning to end.

design with your hands

M- Drawing a storyboard/

by making sculptures to

comic strip of scenario helps

represent ideas.

to ensure that the idea is

M- With a design direction in

applicable throughout the

place, mould a lump of clay

process flow from need to

to illustrate a idea you have in

use. It may reveal events

mind. As one is molding the

whereby we need to remove,

clay, it is easy to get inspired

add or change features of the

and start molding more details

original idea.

which are thought of through sculpting.

Mid-term checkup T- Consulting users to check usefulness of ideas M- It is never too early to

Refine

involve users in the design process. Even with a rough Why and why not

idea, the users, being experts in their own field, may be able

T- Repeated questionings

to provide insights to propel

to ensure idea is thoroughly

the idea forward. This stage

justified

is timely to check if the users

M- Asking a series of ‘why’

find the concepts useful and if

questions from different

they can imagine themselves

perspectives can help us think

using them in the future.

deeply about an idea. After deconstructing the idea using ‘why’ questions, rebuild the idea using ‘why not’ solutions.

Blueprints T- Mapping out all touchpoints and flow of information in a complex interaction. Useful for service or system design.

M- By sketching a blueprint of all interactions which takes place on a large piece of paper, we can study the situation by looking for loopholes or opportunities for value-adding to the idea.

Prototype Sketch prototype T- Rough prototype to demonstrate idea and simulate the use scenario M- Using ready materials and other craft materials, make quick mock-ups to illustrate the concept. Aesthetics is not entirely important at this stage, but try to make the prototype representative enough to test and prove certain parts of the concepts.

Make several prototypes to allow users to make comparisons. Bring it out for testing with target users.

Hyperlink prototype T- Fast and easy to create digital interfaces for testing M- Using powerpoint or other digital sketch tools, we can build hard coded interfaces to allow users to get a taste of the designed experience.

At this stage, investing into detailed software programming might involve too much effort and time.

the collection continues ...

WORKSHOPS

Sensibilities and Limitations Silver Talents Workscapes UCC Revamp Future Scenarios Interactive Design Intergenerational Gaming 123

SENSIBILITY & LIMITATIONS (2008) 3 day workshop Elderly, Technology, Social communication, Lifelong learning, Independent living Industrial designers, Software engineers, Policymakers AEIOU, Motivations & challenges, What if, Idea 360, Sketch Prototype

The demographic shift towards an aging

Sensibilities & Limitations workshop

population creates a new market with a

brings together experts from geriatrics,

significant consumer group. The silver

infocomm technologies, design and other

industry represents, not only a pool of

stakeholders in the silver industry to

largely untapped experienced resource, but also new possibilities and challenges.

hold a series of interactive discussions in an open and inspiring environment. By conducting ethnographic observations and employing creative approaches, we aim to find new design innovations (product, service and architectural spaces) sensibly customized to suit needs of the elderly population.

Analysis from Motivations & Challenges tool

Visiting an infocomm centre where elderly learn to use computers

Visit to studio apartments of elderly

Facilitators helping participants to make sense of findings from earlier visits

Ideas displayed ready for selection to refine further

Sketch prototypes made to illustrate and test out the concepts

Role play to communicate and present ideas to collect feedback

SILVER TALENTS (2008) 1 day workshop Elderly, Employment, Service Design Retired nurses and professionals, Industrial designers, Policymakers Interview, Needs, wants, barriers and limitations, What if, Idea 360, Service Blueprint

As the workforce in Singapore continues to age, challenges to the economy and employment structure are inevitable. Potential employers seek a company of competent employees while silver workers desire to continue contributing to the economy. Their desire to work and talents are often undervalued, resulting in uncertainty of their retirement careers.

This workshop aims to investigate on the silver working population, discovering this pool of silver talents and designing new business services to help them work and age actively with a sense of satisfaction.

Innovative service designs can play a part in retaining, retraining and recruiting the elderly into the workforce.

Interviews with retired nurses

tools & process

Findings from interviews are organised and analysed to look for potential design opportunities.

Ideas ran wild using the What if tool, to challenge conventions and encourage imagination once again.

tools & process

Service blueprint for retired silver talents to train ex-convicts to become chefs and bakers.

Service blueprint for retired nurses to continue serving as post-delivery caretakers for first time mums and babies.

outcomes

WORKSCAPES (2008) Environment, Green, Space, Work 1 day workshop Office planners, Landscape engineers, Nature scientists, Industrial designers, College students Interview, Random word match, Sketch prototype

Green elements are often the victims of urbanization today.

City planners have incorporated green elements forming scatters of greenery amidst the concrete jungle. However, greening seems to stop in homes and the outdoors even though urban dwellers are fully aware of the benefits of having living green elements in their working environment.

In this workshop, we aim to investigate how office workers can enhance their workspace from a working environment to a living environment. Using plants as a medium, we will explore ways to bring elements of green indoors to create innovative “workscapes� instead of workspaces.

tools & process

Deconstructing words

Reconstructing ideas

Each group was given some time to

Based on each set of chosen words,

begin“word generation� on the root

participants try to make sense out of

word assigned to them. Everyone

them and tell stories to reconstruct

wrote down their interpretation of

them into ideas.

the root word, thus deconstructing it.

Unlikely words are matched together to open up opportunities for ideas which we would not usually think of.

Building mock-ups

Selected ideas refined as the participants discussed their limitations and possibilities based on their experiences and information collected from the morning’s visits. To illustrate each idea more effectively, simple mock-ups are built as props for roleplaying.

outcomes

Floating Planter

Mimosa table

Plants often do not receive

This concept incorporates

enough sunlight when placed

nature with furniture; fusing

indoors. A planter, tied to a

static objects with animate

balloon, whimsically floats its

organism which reacts to

way around the office to look

movement.

for new spots to sun itself.

When a person placed the cup on the glass table surface, the plants beneath would react to the actions according to where the movement is felt. Indoors can be rejuvenated with such living furniture.

Flower tea bag

The flower tea bag creates a different experience for the user during the process of making tea. It incorporates an interaction with nature to the tea drinking experience, where the user has control over the blooming of the ‘flower’.

To use, simply hold the leaves and dip the dry flower into hot water. The flower will respond by ‘blooming’ and releasing the fragrance of the tea into the liquid.

UCC REVAMP (2009) Space, Identity, Branding, History 1 day workshop, 24 participants Curators, Marketing executives, Industrial designers, Architects AEIOU, Random word match, Idea 360

When the spatial experience becomes unique to a certain brand, it begins to build up a space’s identity, where people can feel and recognize the brand presence, just by simply visiting the place.

Philosopher Dr Douglas B. Meehan

The aim of the project is to improve and transform a transitional space in a campus cultural centre to project the university’s sense of vision and mission, identity, history, people, culture, as an engaging experience that nurtures intellectual and personal growth and a global orientation grounded in Asian insights.

This is to enable visitors - through the centre’s visual and spatial areas to experience the message of the NUS’ brand and mission:

transformative education;

high impact research;

dedicated service.

FUTURE SCENARIOS (2010) Vision, Technology, Communication, Education, Entertainment 4 day workshop, 14 particpants, Zhejiang University AEIOU, Matrix diagram, Philosophy & vision, What if, Clay sketch, Sketch Prototype

This workshop invited undergraduate and post-graduate participants from Zhejiang University, China to explore new manifestations of technology in communication, education and entertainment. With a variety of different academic backgrounds, the multi-disciplinary team challenged their imagination to design future scenarios.

Workshop outcomes will be jointly prototyped and developed further by the engineering and design team in Zhejiang University, with the Design Incubation Centre.

a. Sharing their AEIOU pictures b. Organising the pictures c. Crafting philosophy & vision statements d. Idea 360 carried out from clay sculpting methods e. Sketches with clay f. Making prototypes in the workshop. g. Testing prototypes and imagining scenarios to refine ideas.

INTERACTIVE DESIGN (2011) Vision, Technology, Installation 3 day workshop, 10 participants Games designers, Programmers, Industrial designers Input-Output, Idea 360, Mindmap, Storyboard

input --> output

Every interaction involves an input and an output, an action and a reaction. When

mistake --> knowledge

they happen, our minds process our

words --> sign

observation immediately into a conclusion.

arrow --> direction

When we see a green light, we are naturally prompted to start crossing the road. However, the sequence of events might be more complex than that. At the same time, the green lights signal for some cars to stop and parallel ones to go.

The timer starts counting as well.

outcomes

FOLLOW ME

( arrow --> direction )

Navigation application using augmented reality

A person/car mapped into your environment will bring you to your destination.

Just follow me!

INVISIBLE WALL

( hole --> peep )

A simple camera and projector set up to create a see-through effect on any walls.

INTER-GENERATIONAL GAMING 123 (2011) Elderly, Children, Gaming, Technology 3 runs, 1 day workshop, 7 hours, 18 particpants each - 9 older, 9 younger 100 photos, Memory sketch, What-if, Idea 360, Storyboard

Inter generational gaming

Intergenerational relationships play an important role in supporting the family identity. Nevertheless, the gap between generations is widening in Singapore.

The Institute for Infocomm Research (A*STAR) along with the Nanyang Technological University and National University of Singapore are conducting research into the design of intergenerational games for fun, fitness and friendship.

We aim to run a series of design workshops to challenge and understand the issues and opportunities of designing for both younger and older generations.

It does not matter if you have any video game experience! We simply want people of different ages to come together to creatively discuss, question and engage in ideas.

One of the 100 photos session

Intergenerational gaming workshop is a research-driven workshop, aimed at not only collecting insights and ideas, but also to study the behaviour of older and younger participants gathering to design together.

In what ways is participatory design effective? With the difference in perspective, will ideas be compromised or challenged? Can the same design process be applicable or easily understood by both age groups?

The design scope includes fun, fitness and friendship which are adequate measures of a good game. What kind of games appeal to a range of ages and foster stronger relationships among them?

process

100 photos Participants chose photos which are most and least representative of the themes, ‘fun’, ‘fitness’, and ‘friendship’.

Memory sketch Recalling from memory, participants share by sketching an experience when they tried something new and a fond memory with their grandparents or grandchildren.

What-if By generating ‘what-if’ questions, participants tried to synthesize the information which was shared earlier into a concise question.

Idea 360 After choosing their desired ‘whatif’ questions, participants sat in a circle and brainstorm by answering one another’s questions.

Storyboard Ideas were further refined by translating them into storyboards and in the process, considering the goals, gameplay, challenges and rewards of the game designed.

scope

PROJECTS

Experience Kaleidoscope Touchear Roly Poly Plug and play series Dibu Counter Water squares Future Mobility Tomotomo Mound & Mount Air glove

EXPERIENCE KALEIDOSCOPE (2007) Learning, Children Idea from New Learning Scenarios Workshop Conceived in Design Incubation Centre, NUS. Design direction: Patrick Chia Red Dot design award, Design Concept 2008 Featured in Add!ct Magazine, intangible.scapes, 2009

What if classrooms can be anywhere?

What if classrooms have no walls?

Children like to capture, gather and share their experiences with others. They spend hours chasing after butterflies, examining caterpillars up close and keeping pressed leaves in books to record their memories.

Experience Kaleidoscope is conceived as a personal experience diary for children to capture and project images of all things new and interesting to them.

A child peers through the viewfinder and intuitively turns the wheel to capture what he sees. Returning to a group setting, each child can project their selection of images onto the walls and ceiling to share their experience with others. The overlapping projections and sharing of images create an interactive and dynamic learning environment for children to learn through the action of play.

Prototype under development

This also opens a window for adults to see into the world of inquisitive children.

TOUCHEAR (2007) Concept, Learning, Children Idea from New Learning Scenarios Workshop Conceived in Design Incubation Centre, NUS. Design direction: Patrick Chia Featured in MOMA Talk to me publication

Finger implant: optical character recognition system and network transmitter; 3/8 x 3/8 x 1/8� (1 x 1 x 0.2 cm); Ear attachment: text-to-speech system and network receiver 3/16 x 5/16 x 1/8� (0.5 x 0.8 x 0.2 cm)

What if we can write in air?

What if we can learn without reading?

Looking up unfamiliar words while reading is disruptive, creating a break, however momentary, in narrative flow.

The Touch Hear text-recognition dictionary renders the task built-in and seamless, requiring only the scanning of a finger implant over a word or phrase to bring up related information, such as meaning and pronunciation, into a small device attached near the ear.

Touch Hear explores a way for technology to enhance human capacity in an everyday activity.

ROLY POLY (2007) Robots, Communication, Tele-presence Idea from Robots 2.0 Workshop Conceived in Design Incubation Centre, NUS. Design direction: Patrick Chia Featured in MOMA Talk to me publication Featured in SIGGRAPH 2011 exhibition, Vancouver

PC, Microcontroller, Servo, Accelerometer, TouchSensor, LEDs 4 1/4 x 4 1/4 x 5 3/8� (10.8 x 10.8 x 13.8 cm)

Inspired by the

a

quiet presence of

lava lamp

at siggraph roly poly

These egg-like objects are designed so that

While the Internet provides a vast array

two people can sense each other’s presence

of text messaging and video calling

and movements even when physically

interaction options, Roly Poly offers a

separated. Roly Polys come in pairs, each

unique, spontaneous and subtle mode

object mirroring the other’s movements

of instant communication, exclusive

and creating a simultaneous reaction. If one

between two individuals. This distinctive

Roly Poly is gently tapped, for example, the

application of technology for Roly Poly

corresponding object will move to the same

is a starting point for new possibilities in

degree, even if located across the world. In

communication as well as to open new

this way, the objects offer a “spontaneous

markets and research opportunities in

and subtle mode of instant communication.”

human interaction and response.

PLUG AND PLAY SERIES (2007) Elderly, Technology, Communication Idea from Sensibilities and Limitations workshop Conceived in Design Incubation Centre, NUS. Design direction: Patrick Chia Exhibited at 50+ Singapore Expo 2009

Physical objects that can be used as tools that evoke thoughts and trigger a sequence of actions both conscious and unconscious.

These new tools are shaped to behave like objects we are familiar with; we intuitively know how to use them for the digital world.

The act of plugging it in to use and removing it when it is not needed emulates how we would do a task physically, by taking a tool, using it then setting it aside after.

1 Net Phone Many messaging software require a complex downloading process, from registration to reading terms and conditions and finally to the actual loading.

Calling through the Internet is still a foreign association to them because they are used to the analog way of calling using a phone.

Folder within folder / layering of information is confusing.

Net Phone is designed to allow users to make free calls from their computer using existing instant messaging clients.

One only needs to plug in the Net Phone and wait for the programme to automatically install and place him online. By dialing the numbers, the two parties from different parts of the world will be connected. The Net Phone retains the familiar act of holding the receiver and enjoying the conversation for hours.

2 Pen and Paper Many elderly who are not Englisheducated, find it hard to understand the computer interface.

The arrangement of the keys on the keyboard does not make sense to the elderly users.

They find that writing a letter is much faster than typing an electronic mail.

Electronic mail (email) has replaced the custom and heartwarming quality of hand written letters and notes. Pen and Paper requires the user to place a piece of paper on a pressure-sensitive surface, which projects a simplified template of an email.

Using an ordinary pen on the paper, a corresponding version appears on the computer screen. After writing, the user can simply send the letter through the Internet without any mailing cost.

3 Digital Magnifier

Most elderly commented that fonts on the computer is too small.

When reading newspaper with equally small font size, they can easily bring the paper closer to their eyes.

However, they have to physically move nearer to the computer to compromise.

Being long sighted makes it even harder as they have to switch glasses when viewing something far (e.g. the teacher) and something near (e.g. the screen).

Digital Magnifier provides a direct interface between user and technology by having one single function – enlarging information shown on the screen like a traditional magnifying glass.

Connected to a computer via USB, the software activated focuses into portions of the screen where the Digital Magnifier scans, offering enlargements with a sharper resolution than a traditional magnifying glass.

DIBU (2009) Robots, Communication, Green Awarded Liteon Merit Award, Taiwan

Humanising energy-saving reminders

You may think we humans are going green.

dibu is our gentle reminder to always save

We try to save the environment by being

energy. It imitates human gestures (like

more aware of our energy consumption. Yet,

yawning, shivering, knocking) to remind us

once in a while, we accept compromises on

to take action in reducing our energy usage.

our green efforts. We bring the temperature

Just like how you would want to even a

of the room to 16 degrees Celsius, and

little crease on a carpet, dibu works in the

then wear a jacket; enjoy our 30 minutes

same way to help you save energy. Our

shower, and then we complain about our

daily awareness and efforts accumulates to

wrinkled skin; switch our lights on to study,

great amounts of energy being conserved.

and then fall asleep on our textbook. We

dibu is your assistant to ensure that every

may compromise, but our energy saving

small pocket of energy is saved and that will

electronic pet, the dibu won’t.

accumulate to great amounts.

dibu shivers

On a summer afternoon, you retreat into your room and turn on the air- cooling unit. You set the cooler to its lowest allowed temperature. The room cools gradually, but colds quickly.

SOUND ACTION

Sneezing Shivering/ Vibrating

REACTION

Adjust the temperature

When it gets too cold, dibu starts shivering and sneezing at intervals!

Hear the sneezes and the intermitten tremblings from dibu and know that it’s too unnecessarily cold.

Help dibu to recover by adjusting the temperature of the room to a comfortable 25 degrees Celsius.

A sensor can be placed anywhere in the room to detect the room temperature and passes its information to dibu.

dibu yawns

As you enter a room, you switch on the lights intuitively. dibu knows by its sensitive sensors when the light is on.

It moves to that room and loiters under the light, which gives him energy.

SOUND ACTION

Yawning Moves near the switch

REACTION

Switch off idle lights

You leave the room, without switching off the lights.

5 minutes pass. 10. Then 15. dibu senses your prolonged absence, and starts yawning.

Louder and louder. You hear it. And you are reminded that your lights are still on.

Switch off the idle lights and let dibu take a short nap!

dibu knocks

The water runs continuously down your body as you enjoy the warm shower that you deserved after a whole day of hard work. You simply take your time to enjoy your well-deserved hot bath.

A small sensor placed beside the drainage gauges the volume of water used. As the flow of water used during your shower approaches a pre-set volume, the sensor sends a signal to dibu.

dibu has been waiting outside the bathroom door.

To remind you about your water usage, dibu will make door-knocking sounds first softly, and gradually getting louder. Hear the knocks, and know you’ve already spent a long time bathing.

Pat on dibu’s head to make it smile again!

SOUND ACTION

Knocking Waits at the door

REACTION

Regulate water use

COUNTER (2011) Art, Installation, Interactive, Ambient

Counter exhibited in gallery, Supermama

Counter

Accumulation of individual minutes

as a social resource

Counter is derived from frustration, when

In Clay Shirky’s book Creativity and

we recount the tasks done at the end of the

Generosity in a Connected Age, he introduces

day after 9 hours of work and realizing the

the compelling idea of a cognitive surplus- the

little work done is often not justified by the

buildup of free time. As individual minutes are

number of hours spent. Where did the time

whiled away, he suggests us to start thinking

go to? We tend to let pockets of time slip

of the accumulated time as a social resource

by unknowingly. It may be the daily ritual

that can be harnessed for more productive

of rummaging for the bunch of keys before

work.

leaving the house or getting lost in a sea of hyperlinks and, thus forgetting the initial task.

Counter harnesses a clock’s power to shape behavior and activities of its users. It aims to highlight that everyone has free time to afford. Collectively, this elusive resource is significant enough to be used constructively for creation instead of passive consumption.

How it works

Counter is a “clock” which does not tell time, but tell its user(s) how much time people have spent cumulatively in its spatial perimeters. With eight digits in a row, it displays the calculated number of days, hours, minutes and seconds. The last two digits (the ‘seconds’ digit) skip in intervals according to the number of people present per second. When one person enters its boundaries, Counter starts counting a second by a second.

When two persons enter, it skips in two second intervals instead.

There are two versions of this project.

Counter can utilise infra-red sensors placed at entrances of the installations that keep track of the number of people entering and leaving its perimeters. This information is then transmitted to the row of eight digits, which will skip accordingly.

The information can also be collected through computer vision and head recognition, using an overhead mounted camera. A projected video from the overhead camera prompts members of the public to interact by moving into and out of the perimeter.

Counter can be installed in any space, with a favorable ceiling height of more than 3m.

WATER SQUARES (2008) Space, Children, Play, Learning, Water Final Year Project in university

Water is formless. So how can we design water?

Why do people enjoy water?

Temperature

Moi

How can water become the raw material of a playground?

Have ‘cookie cutter playgrounds’ been providing enough play for children?

isture

Buoyancy

Flotation

Sensation on skin

Immateriality

Resistance

Depth

A new concept for aquatic playgrounds, starting from the most basic unit, a tile.

Children can learn about qualities of water and enjoy this multi-faceted play opportunities that water can offer.

This set of nine different tiles can provide a wide range of play system configurations.

Water cage

Shallow dip pool

Water orch

When children enter the centre squares, nozzles will be activated, spraying water vertically upwards to form a water cage around the children. As more and more children squeeze into the cage, the spray will gradually reach its maximum height of 4 metres high.

Designed for younger children below two years old, shallow dip pool is a low-energy, quiet area in the water playground.

This station le imagine that t magicians of w they leave the over the nozzl of water will r levels of their maintain at th several secon

Special tiles in the centre have hidden mechanisms.

Some of them will start sinking slowly when there is a child on it. Others will rock like a plank floating on the water surface.

This allow children to experience and enjoy the multi-faceted qualities of water.

Little children might have a phobia of water at the beginning, thus this dip pool allows parents to accompany them as they are introduce to water bodies. As children hover their feet on the nozzles, bubbles will escape from the holes to tickle their soles. The depth is shallow enough for dipping of feet and light splashing of water.

Children are fr their own wat akin to the exp sculpting sand

estra

ets children they are water. As eir palms les, streams raise to the palms and hat height for nds.

ree to create ter fountains, perience of dcastles.

Water maze

Water puddle

Using the properties of water to form walls, tiles in the water maze sprays water at a slight delay after it senses motion of a child.

As if the child is leaving a trace everywhere he goes, the walls of water created behind him becomes part of a game to make it difficult for his friends to chase after him.

The splurting tiles mimicks the experience of jumping into a puddle after a rainy day. Exerting pressure on the centre of the tile triggers a splash of water away from the player. He gets people around him wet instead.

A water battle has just began!

FUTURE MOBILITY (2009) Concept, Transportation, Social mobility Ideas for Design for future mobility exhibition, Singapore Conceived in Design Incubation Centre, NUS. Design direction: Patrick Chia

Some observ

collected by ta

the mo

Multi-purpose use of space up to users’ needs.

vation photos

aking a walk in

orning.

Unattended shopping and vehicle.

A series of concepts generated from an internal workshop.

How might we enhance the mundane experience of travelling to places and getting things done?

Cycle One A personal mobility device connecting daily commuting with lifestyle preferences

Cab Tracking A cab booking system that maps out available cars within close proximity

Digital Wave A free digital cab flagging system for passengers

Cab One Resizing the cab to provide alternatives for commuters who often travel alone

Cab One Plus A 3-passenger cab that serves people with a variety of spatial needs and encourages cab sharing between strangers travelling to similar destinations.

Cycle One

Cab One

Cycle One is the ideal vehicle for riding the ‘in between walking and driving’ distances. Compact in size, Cycle One provides the agility needed to weave through crowds and tight spaces within the urban jungle. Upon arrival at the choice of destination, one simply disembarks to either park the vehicle or choose to have it stay close with you wherever you go.

Cab One reconsiders the observed commuting behavior of Singaporeans where often, we find ourselves travelling alone in cabs for journey less than 45 minutes. Cab One ferries only one passenger for each journey, therefore it constantly travels at its full efficiency and occupies minimal space on the roads.

Cycle One

Digital Wave

Cycle One can be customised with additional storage compartments, and yet retain its compactness to make its way around within a supermarket. Its ‘tag-along’ function programmes it to stay close to you while you choose and select groceries in the supermarket.

The physical act of waving for a cab is reliant on its receiving visual range and this can be very limited. With readily available technology, we can extend this range up to 3km and increase the chances of passengers getting a cab.

Digital Wave expands on the gesture of flagging a cab and increases efficiency by directly conveying the demand of passengers to the driver, bringing about more effective channels of communicatio

Cab One Plus

Cab Tracking

Cab One Plus is designed with versatile interior space which eliminates ‘dead spaces’ under-utilised by passengers.

Removing the ‘often vacant’ boot space, each back seat of Cab One Plus can be folded flat to create more room for baggage.

Our current procedure to book a cab is multi-layered with unnecessary steps.

Cab Tracking provides a bird’s eye view of any available cabs within close proximity of the awaiting passenger.

The interior seats of Cab One Plus are designed to provide basic privacy between passengers so that strangers will not fee awkward sitting next to each other. This way, we can move more people on the road without adding more cars.

Being able to select their preferred choice of cab, this eliminates the need for a middleman, making the system of cab booking more intuitive, straightforward and efficent.

Explorer Concept Vehicle The Explorer Concept Vehicle attempts to alter the way we travel through spaces and gives hint to a greater wealth of possibilities in the experience and pleasure of travel.

With large, panoramic windows, the Explorer Concept Vehicle tranforms dull and ordinary routes into leisurely journeys that enliven our sensory perceptions.

With a collective database of knowledge acquired from previous travelers,the Explorer Concept Vehicle allows travellers to connect, share and discover new road trips even in unfamiliar terrain.

TOMOTOMO PLAY COLLECTION (2009) Play, Furniture, Children Conceived in Design Incubation Centre, NUS. Design direction: Patrick Chia

“There are traces of the baby everywhere in the house!”

“Children’s toys and furniture take up a lot of space.”

“He gets tired of a toy so quickly.”

“He likes to play where he is not supposed to.”

“Safe, durable and fun!”

tomotomo

tm

’s PLAY collection seeks to build

a unique relationship between play objects, parents and young children. PLAY investigates the need of parents at home and the play behaviors of children. The result is a collection of play items that has synthesized play into the living spaces of modern homes. Every PLAY item in the collection is designed to be a faithful companion to young children and a humble being welcomed in every household.

TRUNKEE

rocker + storage Rocking bench for indoor storage use.

S T A C K E R

pull along + storage Stackable storage which can be used as a pull-along toy

TOMODACHI

cushions + landscapes Children’s play cushion for indoor use.

Animal friends fit into one another to form a packed set.

rocker + storage Rocking stool for indoor storage use.

FUTON RIDER

ride-on + musical cushions Indoor ride-on with removable cushions

CHOO

CHOO

ride-on + storage Ride-on toy train that doubles up as stackable storage

MOUNT & MOUND (2010) Furniture, Dining Idea from Design Inevitable Workshop with Naoto Fukasawa Exhibited in International Furniture Fair Singapore 2011

1 : 5 scale model

A dining table is more than a surface for meals.

It serves a family as a central station where communication takes place, be it face to face or through notes left on it.

The furniture itself and its location brings about this natural chance for exchange.

Designed with wide legroom and broad table top, the dining table imagines itself being surrounded with a ring of stools, harmonising people, food and environment.

1 : 1 foam model

Mount & Mound in oak exhibited

AIR GLOVE (2008) Celebration, Interactive item, Play Commissioned for National Day Parade, Singapore

“If you’re h a p p y

and you know it clap your hands”

We naturally clap and cheer with enthusiasm when we celebrate.

Air glove is a light-emitting noise-maker that evokes our spontaneous, playful gesture of clapping. Designed to be part of a fun pack, Air glove was distributed to thousands of Singaporeans who gathered to celebrate the nation’s birthday. It also symbolically represents Singaporeans giving their hands and hearts to build the nation.

People whom I cannot forget.

They helped me grow to become a better person and designer.

boss Patrick Chia Prof Yen Ching Chiuan

awesome colleagues Chang Shian Wei Priscilla Lui Timothy Wong Abdul Basit Khan Ang Ee Sock Fang Siwei

thesis professor Prof Teh Kem Jin

best support Mummy Daddy Elephant