文/Roberto Fraquelli（英國(guó)普利茅斯大學(xué)）

Hello everyone! Thank you very much for inviting me and I am going to share with you my presentation on Design for Life. I am starting with this image here. I think that we are now in the era of new human possibilities，we are all connected,for me, that means we are actually all interdependent, as well as dependent, and I think that design for life, is a process that links us altogether，and allows us to express ourselves creatively in design and also looking forward.

I'm going to take about 20 minutes to share with you, or help you grasp, the essence of what I mean by transformative design. It's an important part of thinking about How we move forward into the next decade. I’m hoping you can take away the essence of my presentation. It is filled with holistic design，how we might encourage economic growth，and have an empathy with living systems.So I’m going to share with you some design thinking methodology.

Before I start I want to give you some background about me, and where I’m from, I spent many years working in design practice with a company called IDEO. And I walk across a very broad range of disciplines. That gave me a grounding and a foundation,for academic Inquiry. I've joined academia after spending many years in the industry. I think that's a nice way around understand the game what education can be about.

So my latest experience is in design education. This is a project by one of our student who's looking at how we may provide protein in the year of 2050 when the population of the planet is going to be exceeding ten billion people, and what he's doing here is asking questions of how we may live in the future time.So he has created this idea where we can growing protein in culture, and enable it to reach the sustainability of protein and meat eating in the year of 2050. You can see some examples there, maybe we could grow it home or its in packaging. So we are getting our students to think ahead, to think about the life would be like in the future.

So I thought I needed to do some homework before I came here, to find out what people are talking about design in the moment. And in the UK,this is what they say at the design council, that “design can change lives, communities and organizations,for the better; design is a way of helping in moving organization in the way they work”. This is all very traditional very predictable and easy to understand. But for me the important thing about design is that's it is not what is design but what does design let us do. So you can go back in time you can see how our culture how our behavior has been changed by the things we've done in terms of designing, the motor car enabling us to gather around,and live a sociable life. And Ford producing a fairly economical vehicle that changed the whole world in terms of how people live. Or the laptop computer, and again an innovation of design has a real significance, to change our culture from the way they work.

So in the UK I looked at the economy because I’m interested in how we move forward with the ecological mindset, but also have a sustainable business somehow. And in the designing economy in the UK, it's big money, seventy-one billion pounds in gross value added, it is the money that contributes to the overall economy of the country. And in that there are two really key disciplines that are flourishing at the moment,multi-disciplinary and digital,and it's important to understand where these are moving our culture forward. Also, it is important that people would like to know or have an understanding of the return of design investment. And of course, we can always measure the design investment in terms of financial gain, and what it does in terms of our business;but also, there are other aspects,customer measures, for instance,understanding customer satisfaction;Internal matters, how we develop our knowhow within our business, and also cultural matters, how we change involves the culture. These are all important measures, of the effective design. And something I am interested and trying to weave into some of the design practice and design education at Plymouth University.

So we are in a transitional time, and we can't predict what the new future is going to be like, new landscape, new horizons, and what we are trying to do is to create projects, that understand how we are going to change the paradise of how we live now and embracing openness,open fabrication, open governance,open raw data. All of these are new behaviors that we need to weave into design as we learn about design education. So there are some really well established treatment or processes, human-centered design has been talked about this morning,and it has many formats, empathic design, feel the connections with people, co-design, ethnography, all the these are aspects of us trying to understand, users, people that we might be designing for. And empathy is a real fuzz word particularly in this decade and in the moment. But I think, what we're doing is moving from human centered mode to an all of life centered mode. And we need also embrace this as we are thinking about our design concept and design solutions.

This is a phrase called ECOZOIC,which looks at the regeneration of human endeavors, written by Thomas Berry a few years ago. And then also moving forward into systems design thinking. Again look at the big picture, if any of you looked into system, you realize that,the patterns, the forms, in one industry, have been very similar across different patterns. I've been looking at the systems thinking, to understand, what creativity might be like. So in systems thinking, what we are trying to do is looking at that picture, and we're trying to join another dots, in order to give a rational argument for what we are doing. System thinking is actually a little bit more than that. It’s looking at all the connections in different ways, and understanding what they may mean. A lot of research I do is looking at a company called the Institution of Future, again in Stanford, it's a very interesting research organization, and they’ve developed this colorful approach,to look at systems thinking and giving colors to give a balanced perspective. So as we moving forward into designing for the next decade.We need to understand all the issues,and take the balanced approach.

The current paradigm that we are in, of designing the social and the environment issues remains the same, and what I’m trying to do is to understand different approach, an approach that doesn't keep feeding the same thermal industrial system.In other words, if we keep designing in the same way we have done in the past, we are just going to create the same issue that we face the moment.So we need to find a new way working,and this is where my research, has got into last few years by looking at parallel industries to understand the new methodologies.

So what I’m trying to do is look at the new economies and new ecologies together. And again, there are lots of information around,processes, and techniques, are around there, regenerative mindsets, I'm sure you're aware of all these. These are all processes, all treatments as young designers with them to apply to the problem solving.

I also interested in nature,and the connection we have with the nature, and some of the PhD student I am working with are looking at that in more depth. And in particular we are looking at the notion of biophilia, and understanding the developing in awareness of nature as a source of creation, as a source of inspiration, and then taking that into biomimicry, using that learned behavior, learned aesthetics,learned technology, that we fine in nature, and applying it as a tool for creation of new ideas. And thirdly,resilience, how to be future proof,and in short what we are designing is in harmony with nature.

So I’ve been doing a few explorations away from design, and I think that was important, if we keep looking at design only, it would be a little bit predictable. And I’ve been studying a bit of physics with couple of professors, one call Fritjof Capra, who has written a lovely book call The Systems View of Life; and professor Arthur Zane who is a quantum optics professor. And by understanding different aspects of their lives, and their industry,I have tried apply this to a map to understand how we may move forward with creativity. And in Fritjof Capra’s book, he looks at the way in which creativity happens in biology and get developed in cells and you get things like random mutations,symbiosis, gene treatment, and I translated those into aspects of creativity. So what's important in here, it's not how we design, but the manner in which we are doing it.

I'm trying to encourage what I called, intrinsic value. In other words, when students are designing things and creating ideas, they understand the intrinsic value,the value that important to us,not necessarily just outside. So these are some of the things that we're working on, first one we called Beginners’ Mind. So that when we start a project, it's okay to start with a beginner’s mind,you open to learning, having a connection, whether that's with the empathic approach grounding in some technology, and looking at causation,not just cause and effect, and also where inspiration comes, sometimes from we don't know; authenticity, so that when we are producing ideas,they are honestly integrated, they're transformative, in terms of they are moving things forward. We turn it into stories, encourage people to engage with things that we're doing. And also aspects of joy, or wonder, these are things that not really talked much in design schools anymore, but they are in heritage moving on, who we are, in the behavior.

This is a really important aspect of trying to do design in a new and different way. And also finally to have a reflective mind. Because we are working in such a fast and haste environment. There is little time to reflect on what we are doing. So, I’ve been developing techniques to allow student to take Reflective time, to think about cause of their designing.

So, these creative potentials are happening in different ways. Some students like to work in a random way, they are not good at working with processes, and they would like to work with materials and they would like to have a more playful approach,we need to recognize this, in our pedagogy as we are teaching design to allow students to do that. So our students work with raw materials, to understand the material and design,thanks, some of our students love processes and treatments, we saw that in Vijay’s presentation this morning, the 7 point processes, and that's good because some students do that. We have a student here,Martin, who designed this boat using sustainable materials, it's a boat that folds up. Plymouth is by the sea, by the way, so we have a lot interactions with the sea. What he is encouraging is that to go through insights, strategy, expression and processes, all those that kind of suit those designers.

But we also have synergies. Some designers like to work with other people, they like spin off the ideas.I recently went to India, with a group of students, to work with the national railways. And we worked with passengers on the trains, taking prototypes and designing with them to create in new concept. So, this is a really interesting aspect of design thinking. So I’ve created this term called creativity potentials, and Stefan Sagmelster who's a graphic designer based in New York. And he kinds of blends all these processes together. He has a studio, he provides graphics, and brand design for organizations. He has a very playful approach to design. He closes his studio one in every seven years,and goes on walk about to regenerate things. He has a process of working with Clients so that they can deliver the things that they are asking. And also He likes to work with people,so he kind of blending all different kinds of thing.

So I put together this map,which is a an intuitive map and design is intuitive process. And there are aspects of randomness,there are aspects of synergies, work with people, and of what we called treatment processes. So as we go to these processes of designing, it's suit different people, but right in the center is this contemplate inquiry. And I think it's important that as you learn as designers,that we have that aspect， floating on the outside of Empathy chains.Empathy with other people is really important, it's a connection with other people, and also empathy with yourself, and the with ecology, and empathy with context. And as you all know in design process, sometimes we do things consciously, and some time unconsciously, so this for me, I can summarize this, how creativity,the emergence of ideas can work. And I’m trying to use this, as a tool for understanding creativity and design, and working with students,undergraduate, postgraduate, and PhD level. I've also designed these little floor stores, which are my little meditation stores that I made.Because what I like to do is to put it into practice the things that I’ve been designing, so this is one of the example of the things. They are made of a local wood, and they allow for that reflective aspect of design.Thank you very much.

大家好！ 非常感謝江南大學(xué)邀請(qǐng)我來(lái)演講，我演講的主題是為生活而設(shè)計(jì)。我要從這張圖開(kāi)始我的演講。我想我們正處在一個(gè)新的人類(lèi)的可能性的時(shí)代。對(duì)于我來(lái)講，我的理解就是說(shuō)，我們都是相互依賴(lài)相互依存的。我認(rèn)為為生活設(shè)計(jì)，其實(shí)就是一個(gè)把我們聯(lián)結(jié)在一起的一個(gè)過(guò)程，讓我們?cè)谠O(shè)計(jì)過(guò)程中可以互相的交流，并且不斷的發(fā)展。

我的演講希望大家可以理解什么叫做革新型的變革型的設(shè)計(jì)。這其實(shí)是一個(gè)非常重要的思維方式，這樣可以幫助我們?cè)诮酉聛?lái)的十年進(jìn)一步的發(fā)展。我希望大家可以真正的掌握到我演講的精髓。這當(dāng)中會(huì)講到整體設(shè)計(jì)，以及我們?nèi)绾慰梢源龠M(jìn)推動(dòng)經(jīng)濟(jì)的發(fā)展，還會(huì)分享一些設(shè)計(jì)思維方法論。

在我講正題之前，我想介紹一下我的背景。我曾在IEDEO從事了多年的設(shè)計(jì)實(shí)踐，經(jīng)歷了非常廣泛領(lǐng)域的設(shè)計(jì)實(shí)踐，這為我奠定了很好的基礎(chǔ)，讓我知道如何在學(xué)術(shù)領(lǐng)域當(dāng)中去更多的理論上的學(xué)習(xí)，在從事多年行業(yè)實(shí)踐之后，我加入了學(xué)術(shù)界，進(jìn)入大學(xué)。我覺(jué)得這是一個(gè)很好的了解大學(xué)教育宗旨的方式。

我最近的經(jīng)歷，是從事設(shè)計(jì)教育。 大家現(xiàn)在看到的是我的學(xué)生的作品。他所想要表達(dá)的是到2050年，世界人口會(huì)超過(guò)100億， 而他想要探究的就是我們?nèi)绾卧谖磥?lái)的時(shí)間里生存。 所以他設(shè)計(jì)的理念就是我們?nèi)绾卧谖磥?lái)生產(chǎn)蛋白質(zhì)，用以保障人類(lèi)2050年的人口蛋白質(zhì)需求。 你可以從他給出的例子中看到，我們未來(lái)將能夠在包裝袋或者在家里培植蛋白質(zhì)。而我們所做的，就是引導(dǎo)學(xué)生前瞻性的思考，去考慮未來(lái)的生活方式。

我來(lái)之前也做了一些功課，因?yàn)槲蚁肓私庖幌卢F(xiàn)在做設(shè)計(jì)的人是怎么理解這個(gè)概念的。這是英國(guó)經(jīng)濟(jì)委員會(huì)講到設(shè)計(jì)的概念，好的設(shè)計(jì)可以改變生活、改變社區(qū)、改變組織，讓他們變得更好，可以幫我們?cè)诟玫沫h(huán)境下生活，讓社區(qū)和組織更加繁榮。這是比較簡(jiǎn)單容易理解的方法。對(duì)我來(lái)講，重要的不是什么是設(shè)計(jì)，而是由設(shè)計(jì)能讓我們做什么。我們可以回顧一下看看我們周?chē)奈幕?，我們的行為由設(shè)計(jì)帶來(lái)了哪些變化？比如機(jī)動(dòng)汽車(chē)的出現(xiàn)，使得我們可以到處走，過(guò)一個(gè)社交非常豐富的生活。而福特公司所設(shè)計(jì)的成本相對(duì)較低的汽車(chē)給我們的生活帶來(lái)了翻天覆地的變化。 更護(hù)著筆記本電腦的出現(xiàn)，一個(gè)設(shè)計(jì)的創(chuàng)新帶來(lái)了巨大的意義，改變的是我們的工作方式。

在英國(guó)我關(guān)注經(jīng)濟(jì)，是因?yàn)槲乙蚕胫牢磥?lái)的發(fā)展并不僅僅是考慮我們?cè)O(shè)計(jì)的生態(tài)系統(tǒng)，同時(shí)要知道市場(chǎng)是不是可持續(xù)的。在英國(guó)，設(shè)計(jì)占據(jù)的經(jīng)濟(jì)份額是舉足輕重的，經(jīng)濟(jì)附加值達(dá)七百一十億英鎊，這些錢(qián)為英國(guó)經(jīng)濟(jì)做出了巨大的貢獻(xiàn)。目前有兩個(gè)領(lǐng)域發(fā)展得非常好，一個(gè)是數(shù)字化領(lǐng)域一個(gè)是交叉學(xué)科領(lǐng)域。我想大家要知道，它們這兩個(gè)領(lǐng)域在未來(lái)的發(fā)展方向是非常重要的。還有一點(diǎn)是，人們對(duì)于設(shè)計(jì)投資的匯報(bào)的考慮，這當(dāng)中也是涵蓋不同的維度的。我們也可以從純經(jīng)濟(jì)的角度看說(shuō)在財(cái)政上帶來(lái)了多少的回報(bào)。其實(shí)還有其他的維度，比如內(nèi)部的一個(gè)維度，包括還有文化的維度和客戶(hù)的維度，比如，客戶(hù)滿(mǎn)意度。文化的維度，包括社區(qū)對(duì)文化的變化。這些都是有效設(shè)計(jì)的重要維度。我現(xiàn)在所做的就是將這些理念融入到我目前在普利茅斯大學(xué)所從事的設(shè)計(jì)教育和設(shè)計(jì)實(shí)踐中。

我們正處于一個(gè)轉(zhuǎn)型的時(shí)代，我們無(wú)法預(yù)計(jì)未來(lái)將是什么樣子的，新的景觀、心的視野， 而我們想要設(shè)計(jì)一些項(xiàng)目幫助我們了解未來(lái)范式的變化。比如我們有開(kāi)放的數(shù)據(jù)、開(kāi)放的治理、開(kāi)放的制造，所有這些都是接下來(lái)發(fā)展的趨勢(shì)，是我們需要學(xué)習(xí)的內(nèi)容?，F(xiàn)在有一些非常好的流程，上午提到設(shè)計(jì)思維的概念，這是以人為中心的。還有講過(guò)共秩序、人治學(xué)等等，所有這些東西都幫助我們來(lái)理解我們的用戶(hù)，理解我們的終端用戶(hù)。我們?nèi)绾魏退麄兛梢月?lián)系起來(lái)。事實(shí)上我們現(xiàn)在已經(jīng)把以人為中心或者以生活為中心的這種設(shè)計(jì)思維的模式轉(zhuǎn)變到生態(tài)系統(tǒng)的設(shè)計(jì)模式。這是我們做設(shè)計(jì)提供解決方案的時(shí)候要思考的。

大家可以看一看這個(gè)圖，出自Thomas Berry，展現(xiàn)了未來(lái)人類(lèi)發(fā)展的生態(tài)系統(tǒng)的情況，包括我們也在不斷的向系統(tǒng)設(shè)計(jì)思維的這個(gè)模式發(fā)現(xiàn)。如果大家真的考慮到系統(tǒng)的話(huà)，你會(huì)發(fā)現(xiàn)不同的體制當(dāng)中它的體系和系統(tǒng)思維是非常相似的。在這種體系的思維范式當(dāng)中，其實(shí)我們是要先具有一個(gè)宏觀的概念，知道這當(dāng)中一些重要的部分，也就是這當(dāng)中列出來(lái)的一點(diǎn)一點(diǎn)。但是系統(tǒng)的體系化的設(shè)計(jì)思維并不僅僅只是找到這些重要的點(diǎn)，而是找到這些重要的部分之間的相關(guān)聯(lián)性。比如說(shuō)我曾經(jīng)花了很多時(shí)間研究的一個(gè)叫做未來(lái)公司（Institution of Future）的公司，它位于斯坦福，但是他們的研究當(dāng)中其實(shí)就是研究關(guān)于未來(lái)的思維、設(shè)計(jì)方式的。其實(shí)在未來(lái)的發(fā)展當(dāng)中，我們就需要理解所有的重要的因素以及他們之間的相互關(guān)系，然后提出一個(gè)平衡方法。

我們現(xiàn)在所處的社會(huì)和環(huán)境問(wèn)題的設(shè)計(jì)范式是相同的，但是我希望通過(guò)不同的方法來(lái)理解和解決這些問(wèn)題。也就是說(shuō)如果我們一直保持和過(guò)去一樣的設(shè)計(jì)方法，那么我們其實(shí)制造出來(lái)的問(wèn)題也是不會(huì)改變的，我們必須要想出一種新的工作方式，這也就是我過(guò)去幾年所做的研究，去了解共存的行業(yè)屬性，去找到一個(gè)新的方法，新的方法論。

我想要做的事情，其實(shí)就是了解一個(gè)新的生態(tài)系統(tǒng)，新的經(jīng)濟(jì)，共同的看這兩個(gè)問(wèn)題。那么從這個(gè)過(guò)程當(dāng)中也要了解所有的不同的行業(yè)當(dāng)中的工藝流程。我想所有我講的這些大家都是知道的，所有這些都是方法，都是工藝。作為我們這些年輕的設(shè)計(jì)師來(lái)講，是我們學(xué)習(xí)的過(guò)程，更是解決問(wèn)題的途徑。

和我一起合作的博士學(xué)生，其實(shí)我們就開(kāi)始了解這個(gè)自然當(dāng)中的一些變化，其實(shí)就是說(shuō)，我們要對(duì)大自然有更多的了解，這會(huì)給我們帶來(lái)更多的啟發(fā)。通過(guò)我們對(duì)自然當(dāng)中學(xué)習(xí)到的東西，習(xí)得這些技術(shù)習(xí)得的這些感悟，用它作為我們未來(lái)發(fā)展做創(chuàng)新做設(shè)計(jì)的靈感和概念。因?yàn)檫@樣就讓我們可以想到我們?cè)谧鲈O(shè)計(jì)的時(shí)候，怎樣能夠確保我設(shè)計(jì)的產(chǎn)品是和自然能夠和諧共處的。我做了一些探索，如果我們只關(guān)注設(shè)計(jì)的話(huà)，其實(shí)是可以預(yù)測(cè)到的，可以預(yù)見(jiàn)到的。實(shí)際上我也有學(xué)一些物理，和一些教授一起學(xué)物理，還有一個(gè)量子物理學(xué)的教授。我有跟他們一起學(xué)習(xí)物理，了解了他們的行業(yè)，了解了他們的學(xué)科以后，我就畫(huà)出了這樣的地圖，讓我們了解說(shuō)其實(shí)創(chuàng)造的流程是怎樣的。生物學(xué)，分子生長(zhǎng)，共生，還有基因治療以及細(xì)胞的突變等等，所有這些東西都可以刺激我們做設(shè)計(jì)和創(chuàng)新。之后還會(huì)具體和大家講。大家要知道，重要的不是我們?cè)O(shè)計(jì)了什么，而是我們的思維模式。

這當(dāng)中重要的就是核心的價(jià)值觀，也就是學(xué)生在設(shè)計(jì)東西的時(shí)候，他知道我設(shè)計(jì)的東西的價(jià)值觀是什么。大家要知道這個(gè)價(jià)值觀，設(shè)計(jì)的物品當(dāng)中涵蓋的價(jià)值是非常重要的。我們要知道一個(gè)初始者的心態(tài)，也就是我們剛開(kāi)始學(xué)習(xí)的時(shí)候要有開(kāi)放的心態(tài)，就像初學(xué)者一樣，有一個(gè)初學(xué)者的心態(tài)，保持開(kāi)放的心態(tài)去學(xué)習(xí)，去了解很多東西。還有了解很多的因果關(guān)系，同時(shí)還有非因果的關(guān)系，還有真實(shí)性。這也就是說(shuō)，我們有了新的想法的時(shí)候，要確保這個(gè)想法是真實(shí)的。還有我們要鼓勵(lì)所有的設(shè)計(jì)師培養(yǎng)自己講故事的能力，還有就是要享受愉悅以及要有這種驚奇感。其實(shí)這兩點(diǎn)，我們現(xiàn)在在設(shè)計(jì)學(xué)院當(dāng)中，在教學(xué)當(dāng)中已經(jīng)不太講了。但是這其實(shí)是人的本性，就是人都是有好奇心的，想要享受這種愉悅的感覺(jué)。

還有一點(diǎn)就是要不斷的進(jìn)行反思，因?yàn)槲覀儸F(xiàn)在的社會(huì)步伐太快了，我們其實(shí)沒(méi)有時(shí)間去反思我們自己在做什么。所以我們?cè)谡n程當(dāng)中也會(huì)留些時(shí)間讓學(xué)生反思去思考自己設(shè)計(jì)的作品的緣由。

這些創(chuàng)意潛力以不同的方式發(fā)生著，有的學(xué)生喜歡比較隨性的工作方法，他們比較喜歡以有趣輕松的方法激發(fā)自己的創(chuàng)意而不是參照流程做事，而我們?cè)趯W(xué)校的教學(xué)過(guò)程中需要能夠清楚的認(rèn)識(shí)到這一點(diǎn)。有一些學(xué)生就喜歡和不同的原材料打交道，有的人是習(xí)慣工藝的，喜歡流程的，像今天上午Vijay Kumar講到七步的設(shè)計(jì)步驟，也是很好的步驟，我們很多學(xué)生都這樣來(lái)做。舉個(gè)例子，像大家看到這個(gè)照片上的船，是我們的一個(gè)學(xué)生Martin用可持續(xù)材料做的，它是可以折疊起來(lái)的。普利茅斯是一個(gè)靠海的城市，所以我們和大海有很多互動(dòng)。 他所取得多成功便是因?yàn)樗膭?lì)設(shè)計(jì)師在設(shè)計(jì)的過(guò)程中關(guān)注洞察、策略、表達(dá)和流程以及所有適合設(shè)計(jì)師的流程與方法。

但是我們還有整合。一些設(shè)計(jì)師喜歡和別人合作，喜歡把自己的想法玩轉(zhuǎn)。我最近有帶一些學(xué)生去印度，和他們一起參與設(shè)計(jì)印度的鐵路。我們一起去坐火車(chē)，一起和乘客們一起選取創(chuàng)造原型，并設(shè)計(jì)一些新的概念。這也是設(shè)計(jì)思維非常有意思的地方。我提出過(guò)關(guān)于創(chuàng)造力潛能的概念，Stefan Sagmelster，一個(gè)常駐紐約的平面設(shè)計(jì)師，在他的設(shè)計(jì)中把所有這些過(guò)程都放在一起。他有自己的工作室，他為不同的機(jī)構(gòu)做設(shè)計(jì)，他設(shè)計(jì)的時(shí)候可以用比較隨機(jī)比較有創(chuàng)意的方法進(jìn)行設(shè)計(jì)。他每七年就把自己的工作室關(guān)閉一段時(shí)間，然后就利用這些時(shí)間到處走走，來(lái)收集一些想法； 他有他自己和客戶(hù)合作的流程，因此他能夠闡釋出客戶(hù)所需， 他喜歡和人一起工作，使他能夠把不同的事物融合在一起。

這里我畫(huà)了一張地圖，地圖上反映了設(shè)計(jì)的過(guò)程，有些是隨機(jī)的，有些是整合的，和他人共同合作的過(guò)程，有些則是針對(duì)性的過(guò)程。因此我們?cè)趫?zhí)行這些過(guò)程的時(shí)候我們會(huì)發(fā)現(xiàn)這個(gè)過(guò)程適用于不同的人，當(dāng)然在這個(gè)過(guò)程的核心是問(wèn)詢(xún)。 我認(rèn)為作為一個(gè)不斷學(xué)習(xí)的設(shè)計(jì)師，很重要的一點(diǎn)是，我們具備基于同理心之上的判斷力。同理心非常重要，它是你和其他人之間的聯(lián)結(jié)，是你和自己的聯(lián)結(jié)，和生態(tài)系統(tǒng)以及和周?chē)h(huán)境的聯(lián)結(jié)。 你在做設(shè)計(jì)的時(shí)候，有的時(shí)候是下意識(shí)的，有時(shí)候是無(wú)意識(shí)的，有時(shí)候是有意識(shí)的。所以大家要知道，通過(guò)這個(gè)流程圖，一個(gè)地圖，就想讓大家知道我們創(chuàng)意的發(fā)生、激發(fā)，它的源頭到底是怎樣產(chǎn)生的。我希望通過(guò)這些來(lái)理解創(chuàng)造力和設(shè)計(jì)，通過(guò)這樣和我的本科、研究生還有博士生一起合作。 我還設(shè)計(jì)了這些小的裝置，希望把我設(shè)計(jì)理念進(jìn)行實(shí)踐，這是其中的一個(gè)例子，它是用一種當(dāng)?shù)氐哪静拇蛟斓?，希望能夠反映設(shè)計(jì)的創(chuàng)造力特性。

非常感謝大家的聆聽(tīng)！