课程成果丨Studio2策展 · 设计史「循·常 Back to LOOP Days」在线展览

策展· 设计史Studio2由来自设计历史与理论与媒体传达设计的11位研究生组成，由同济大学设计创意学院策展实验室副主任、设计历史与批评任课老师Azinta Plantenga担任指导老师。课程涉及设计史研究与策展相关内容。

课程中，学生们调研了设计展览和收藏品，通过各类资源了解了不同类型的设计史研究与策展方法，并在此过程中培养了批判性的叙述方式和精准有力的信息传达能力。课程给学生们提供了从设计史角度研究当代主题的实践机会，并教学了展览策划、实施等实践能力。由于疫情管控原因，结题作业「循 · 常」展最终以线上展览的形式呈现。

Studio2 - Curating Design History involved 11 graduate students from the Design History & Theory, and Media & Communication Design specializations. The studio was guided by Azinta Plantenga, lecturer in Design History & Criticism and associate director of the Tongji D&I Curatorial Lab. 

The Studio investigated design historical research and curation. Students examined design exhibitions and collections, learned about different types of design historical research using varied resources, and different curatorial approaches to developing critical narratives and communicating information in a compelling manner. The studio gave students hands-on practice in researching a contemporary subject from a design historical perspective, as well as skills in exhibition curation and production. Due to the lockdown the final assignment was developed as an online exhibition named「Back to LOOP Days」.

欢迎来到「循·常」

Welcome to 「Back to LOOP Days」

Even if our daily lives are stuck in a rut, we can still make changes to create better situations through design.

策展故事

PROCESS

为什么选择这个题目?

Why this topic?

起初，我们希望以设计相关的话题作为展览的主题。在经历了2022年春天上海封控生活后，我们期望以设计的视角切入这次抗疫行动。无论是政府工作人员、医务人员、志愿者还是大众，都在疫情的风浪中凝聚成了一股股力量，为创造更好的生活状态而努力。面对这样的情景，“设计能在这个过程中做些什么？”是策展团队的核心发问。我们以“设计”为视角，并广泛地搜集“抗疫行动”中的点滴设计行为，我们开始认识到大众在封控时期的惊人创造力。这促使我们关注大众这一设计主体，并试图探究“封控期间的大众设计行为”这一主题。

For this exhibition we wanted to choose a design-related topic with contemporary relevance. Having all experienced the Shanghai lockdown, we decided to reflect on this crazy and intense time from the perspective of design. We were touched by how government workers, medical workers, volunteers and the general public all worked together to make the best of the disruptions to daily order caused by the strict “anti-epidemic” measures imposed on the city. This led to our core research question: “What can design do to improve this kind of situation?” We conducted extensive online research and were inspired by the many creative solutions the publlic created during lockdown. This prompted our final topic: Design behavior of the public during lockdown.

我们如何筛选展品? 

Selection process

我们通过以下四个标准筛选了参展的17件展品

（1）自发的设计行为

（2）创作基于有限的材料或资源

（3）因生活中的艰难情景而设计

（4）非商业目的的设计

此次展览中的物品共计17件。从服务对象来说，它们有的为社区提供便利，有的解个人生活燃眉之困；从目的来说，为功能而设计、为不确定性而设计与为趣味而设计的结合使这些物品精彩纷呈；从形式来看，它们跨越虚拟与现实，既有流露着原始意味的个人手作也有依靠网络和智能技术的创作。

The final 17 exhibits were selected based on four main criteria:

1) self-motivated design behavior

2) using limited materials or resources

3) designed to deal with hardships

4) for non-commercial purposes

Each of the 17 objects are examined from three different angles: audience, function and form. From the perspective of audience we distinguish between objects providing convenience for community life, and objects solving the problems of personal life. In function we distinguish between design for functionality, design for fun and design for uncertainty. Finally, the form of the objects span from virtual to physical, and from personal and original hand-work, to creation with help of the Internet and AI.

开展了哪些研究?

Object Research

我们试图尽可能搜集各类与展品有关的信息：图像、用户体验与反馈、媒体报道等。我们尝试各种方法与展品的设计者展开对话与访谈，以理解展品背后的创作理念及创作过程。

例如，我们与「隔离食用手册」的设计者展开的对话，让我们更清晰地意识到设计者最初的初衷；与「同小济AI智能动态识别系统」的对话向我们展示了封控管理期间的大学生活；对「脚触电梯按键装置」的调研，让我们意识到设计应当时刻保持对特殊群体的敏感度……通过这些研究，让我们了解展品背后故事的更多信息。

We tried to find as much possible information about these objects: context, images, user experience and feedback, and even conducted some interviews with the designers in order to uncover the creative ideas and stories behind each object, and better understand their design processes.

For example, the interview with the designer of「Let’s Cook」made us learn more about the designer's original intention; the interview with 「Tongxiaoji AI  recognition system」 showed us a snapshot of university life during the lockdown; the research on 「Foot touch lift button device」 made us realize: design should always be sensitive to special groups ...... We got more information of the story behind the  with these research works.

隔离食用手册 

Let's Cook

同小济AI智能动态识别系统 

Tongxiaoji AI  recognition system

脚触电梯按键装置

Foot touch lift button device

策展理念

Curation Concept

为了帮助观众更好地理解展品的创作背景，我们希望展览能复现封控期间的真实生活。封控期间，人们仿佛被限制在循环之中：在有限地空间中利用有限的资源，一遍遍重复着相似的事情。

展览借用了「彭罗斯阶梯」(又被称为“不可能阶梯”)的概念（图1）。无限循环的阶梯隐喻着封控时期的真实生活状态。

我们使用Gather平台，以像素风类游戏的形式呈现该展览。观众将游览7个典型的封控生活场景(卧室、阳台、厨房、走廊、户外测核酸等)（图2图3）。场景中的道具与对话也将用于帮助观众理解展品创作的真实背景。

展览包含两次循环，两次循环的展品有细微的变化，代表着“尽管存在不确定性和有限空间的挑战，我们仍然可以通过创造力对我们的环境产生积极的影响”。

To help viewers better understand the context in which these objects were created, we wanted the exhibition to reflect life during the lockdown. In lockdown, people’s lives were restricted to a daily LOOP, repeated over and over again in a blocked space with limited resources.

The exhibition references the concept of the “Penrose Stairs” (or “impossible staircase”), an optical illusion that serves as a fitting metaphor for the endless lockdown cycle.

We used the Gather online platform to present the exhibition in a video game style, where visitors can walk through the 7 typical spaces of lockdown life (bedroom, balcony, kitchen, hallway, outdoor testing, etc.) in an endless loop. Here they can encounter dialogues and props that help provide more context for lockdown life in a playful manner.

Visitors will experience 2 loops in online exhibition, with each loop the exhibits change slightly, representing how despite the challenges of uncertainty and restriced space, we can still have a positive effect on our surroundings through creativity.

彭罗斯阶梯 Penrose Stairs

主展厅平面图 Floor Plan

观展剧透

EXHIBITION GUIDE

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