Spatial Design 2 ：Weekly Learning WEEK 1-WEEK 14
SPATIAL DESIGN 2 :
Weekly LearningWEEK 1-WEEK 14
Start from 22.4.2025
22.4.2025 -22.7.2025 /Week 1- Week 14
LI XIN LI / 0379305
Spatial Design 2 / Bachelor of Interactive Spatial Design
This semester's spatial design was led by our familiar teacher Zoen. In order to get everyone familiar with it as soon as possible, the teacher asked us to share our travel experiences during the holidays and encouraged us to introduce the places we explored. I think this is a very interesting part.
In the formal class, the teacher explained the specific plans for a BISD student in the three years at school.
- The nine major basic projects studied are: spatial design I, environmental design, application design I, 3D modeling, spatial design II, application design II, game development, and programming.
- Regarding interactive space design, it mainly revolves around: design principles, design methods, design elements, and of course the most important user experience. We have already learned some basics about these elements in Spatial Design 1.
- Emphasized the importance of e-portfolio, which will accompany us for three years.
- In the second year, we will be divided into two major directions, smart home and smart environment. Smart home is more technical, while smart environment is more artistic.
- There are three types of study modes in the third year.The first is to complete the graduation project in the first semester of the third year. The second is the WBL mode, but it is not yet certain for international students. The third is entrepreneurship.
After we learned about the main tasks for the next three years, the teacher explained the course tasks for this semester, which are mainly divided into four parts:
- Assignment 1: 20%
- Assignment 2: 30%
- Final Project: 40%
- E-Portfolio: 10%
- For Part A, we need to find a creative commercial space design on the Internet and find as many pictures as possible for reference and case analysis.
- For Part B, we need to find an interesting commercial space design in the mall and take as many photos as possible for case analysis. This week we can find some partial pictures on the Internet for reference, and next week the teacher will show us some examples.
Reflection:
Through this course, I have a clearer understanding of the three-year plan and the main learning direction and main tasks of this semester.
WEEK 2 :
This week, Mr. Zoen introduced us to narrative environments and explained in detail the specific requirements of assignment 1 as well as the research and analysis of precedents.
1.Narrative environments
- It combines architecture, technology and art to tell stories through spatial design, making the environment not only functional, but also interactive and emotional with users.
- Graphic communication design; Architecture design; Spatial Design; Scenography; Interaction design; Moving image, Film, Sound; Exhibition making; Curation; Participatory design and co-design; UX design; Service design; Urban design.
3.Technology and interaction design play a key role
- Screen-based practices such as digital signage and Displays can enhance user engagement and experience.
- Allow users or community members to directly participate in the design process to ensure that the design is more in line with actual needs and enhance a sense of belonging.
5. Change of audience role- Through interactive design, the audience changes from "passive observer" to "active participant", who can influence or even change the spatial experience, such as by collaboratively building or decorating the environment.
6. Environmental Storytelling- The space itself can become part of the story, such as guiding users to explore through hidden clues and interactive devices to enhance immersion.
7. Multisensory Elements- Combining vision, hearing, touch and even smell to create a richer and more memorable experience (such as the art installation of Yayoi Kusama that we came into contact with last semester)
In general, I think the core of narrative environment is to make the space "alive" and through interaction, stories and multi-sensory experience, users are no longer bystanders, but become co-creators of the environment.
Then the teacher introduced the specific requirements of assignment 1.
The entire assignment 1 is divided into two parts.
Part A is the overseas shop (accessible via the Internet), which is also the task we need to complete this week.
Part B is the real-life project and should be completed before the fifth week.
It is required that the two stores belong to the same type and the analysis of both must include design features, brand identity, customer experience, technology integration, sustainability, and improvement suggestions.We can collect information through official websites and design case platforms, and choose stores with facade interior design drawings and graphic design drawings. At the same time, the teacher suggested that we look for stores with environmental protection concepts to ensure that we have content to analyze.
Point out design deficiencies and make optimization suggestions in the form of sketches
How to improve spatial design capabilities through case studies:
Excellent cases should be influential, innovative, and have design depth; the research process needs to combine primary and secondary information, and analyze from multiple dimensions such as spatial layout, material technology, and user experience; emphasize discovering problems and proposing improvement plans through critical thinking, and finally clearly present the research results in a visual way.
Mr. Zoen's explanation gave me a deeper understanding of precedent research. I realized that the real value of studying excellent design cases is not imitation, but understanding the design thinking and methods behind them. I was impressed by the three key criteria emphasized by the teacher: influence, innovation and design depth. This made me understand that when choosing a research case, we should not only look at the surface effect, but also pay attention to whether it has promoted the development of the industry, whether it has used innovative methods, and whether it has been well thought out.
In terms of research methods, I learned a systematic analysis process. First, I need to fully understand the project background, and then deeply analyze the design concept, spatial organization, material application and other details. I paid special attention to the difference between primary and secondary materials, and realized the importance of the designer's original drawings and interviews. This changed my habit of relying only on online pictures and comments. Now I will actively look for floor plans and technical drawings, and try to understand the work from the designer's perspective.
The analytical framework provided by the course has been very helpful to me. I now analyze cases from multiple dimensions such as concept purpose, spatial organization, material selection, technical application and user experience. This structured thinking allows me to understand design works more comprehensively, rather than just staying at the visual level. For example, when analyzing retail spaces, I will think about how traffic flow design affects customer behavior, how material selection shapes brand image, and how lighting settings create atmosphere.
Reflection:
Through this course, I mastered the core methods of narrative environment design, learned to analyze cases from three dimensions: influence, innovation, and design depth, and was able to propose innovative improvement plans. The course cultivated my critical thinking and system analysis skills, enabling me to shift from simply describing the design to deeply thinking about the interactive relationship between space and users, laying a solid foundation for future design practice.
“The ultimate goal of precedent research is to turn the wisdom of others into your own design tools.”
WEEK 3 :
At the beginning of this class, the teacher once again emphasized the focus of our assignment 1. We can study the product, clarify the style and characteristics of the product, pay attention to the target audience, consider the use of color in the store and its impact on customer experience. The teacher played Nike's promotional video, which made us more clearly understand that brand goals and target audiences are closely linked.Brand stories are equally important. A good story can resonate, enhance users' emotional connection and sense of participation, improve brand credibility, enhance brand core values, and create a unique space experience in space design.
The teacher then gave a lecture on User autonomy, which was mainly divided into two parts.
Freedom of Choice - Multiple Entry Points: Provide users with multiple starting points, enabling them to choose the thematic areas or activities they want to explore first.
- Open - Ended Activities: Design interactive elements that encourage exploration and discovery without dictating specific outcomes.
Sense of Agency- Intuitive Navigation: Intuitive design with clear layout and flow.
- Clear Feedback Mechanisms: Interactive elements should provide clear feedback on users' actions, allowing users to understand the results of their choices and feel in control of their experience.
Reflection:
Through this course, I realized the importance of brand value and gained a preliminary understanding of user autonomy. In subsequent research and study, I will focus on these aspects.
WEEK 4 :
In the fourth week, the teacher mainly took us to review the importance of narrative elements in the previous class, and then the teacher explained the causal relationship, the environment affects the user's behavior, mainly through visual touch and hearing to feedback these behaviors, enhance the user experience immersion, and at the same time remind us that in Assignment 1, the choice of the store needs to include these behavioral feedback, and then the teacher led us to watch the documentary and other videos of the exhibition in Nakajima, let us experience the design ingenuity of these behavioral feedback from real cases, and the brand story is equally important. The design reflects the brand story. The teacher made it easier for us to understand through the twelve hero stages, but this is the part of Assignment 2. We learned in advance that at the end of the class, the teacher shared with us some good cases from Singapore and Japan for us to see.
“Feelings don't disappear just because you leave.”
“What's important in design is the aftertaste it gives people.”
Reflection:
The teacher's review of narrative elements has consolidated my foundation. The explanations about how the environment affects user behavior and how multi-sensory feedback enhances the sense of immersion have opened up new ideas for design. Through case videos such as the Nakashima exhibition, I have intuitively felt the exquisite application of theory in practical design and realized that excellent design needs to balance creativity and practicality. The cases of Singapore and Japan have broadened my horizons, making me understand that design comes in various forms, and the key lies in the application of knowledge and the conveyance of experience. Reflecting on myself, I find that my ability to transform theory into practice is insufficient, and my design ideas are limited. In the future, I will learn more from cases, strengthen my practice, and improve my design ability.
WEEK 5 :
This week we had a presentation where classmates showcased their assignment1, and I also learned a lot from their presentation.
At the end of the class, the teacher also assigned some tasks for Assignment 2. This week, we need to create a questionnaire related to the survey of some of the stores. The teacher will give us feedback next week.
WEEK 6 :
In this class, the teacher first explained the requirements of assignment 2 and subsequent projects. We need to complete Project 2 before the 10th week. Currently we need to complete user portraits and some questionnaires to determine the research direction of the final project. At the same time, we need to draw some rough sketches to conceive the final model and record the process.
At the same time, in the design process, it is necessary to consider the brand background design, which should echo the brand. At the end of the course, the teacher gave a more in-depth explanation of user portraits.
WEEK 7 :
Our main task this week is to complete the user journey map. Then the teacher explained to us what the user journey map is. The user journey map helps us understand the user's experience in using the product or steps, so as to optimize the user experience. The order should be from the starting point to the climax and then to the end. Focus on studying the user's pain points and how to solve them in my design. At the same time, the user journey map is not imagined out of thin air, but needs to be supported by data based on the research results. At least there are four areas in the user journey we are about to design.At the end of the class, the teacher checked our user portraits. At the same time, the teacher said that students who are fast can continue to sketch and model the interactive device.
Reflection:
After studying the user journey map, I have deeply realized that it is a powerful tool for understanding users. By mapping out user behaviors, needs, and pain points, I have not only learned to optimize product and service processes from the user's perspective but also grasped its significance in breaking down information silos among teams and facilitating precise decision-making. This knowledge has equipped me with a more systematic and comprehensive mindset for future work.
WEEK 8 :
Through today's study, I learned that before designing, I need to deeply analyze the brand's mission, vision, core values and future goals. The teacher used Nike's case study to make me understand the importance of brand visual consistency, personality expression, and conveying emotions through touch points.
In the part of emotional keywords and design conversion, I learned that I need to extract 3 brand emotional keywords and then convert them into design elements such as color, material, and shape. Moreover, the design cannot be too monotonous, and creative shapes must be used to reflect the brand personality.
Regarding the function and purpose of installation design, the teacher taught me to clarify the core purpose of the installation, set up at least 3 functional areas, and ensure that the function is consistent with the brand emotion, in line with user needs and brand tone. In the production of mood boards, I learned that the production of mood boards must be based on brand analysis and emotional keywords, first determine the design clues, and then find pictures, so as to ensure originality.
In addition, sustainability and material selection also made me realize that design must consider sustainability, choose recycled materials, and the materials must be consistent with the brand's values such as environmental protection. In the study of critical thinking and originality, I understand that I cannot directly copy the design. I have to analyze and integrate elements to make a unique plan, and I have to clearly present the design thinking process. Finally, the practical tasks assigned by the teacher made me clear that I have to complete the brand emotional keywords, design clues and other contents this week, start the mood board production, and run through the user needs throughout the design process to maintain logical coherence.
Reflection:
Looking back on what I learned today, I found that my thinking was too limited when I transformed the abstract brand emotions into specific design elements. For example, when I visualized the keywords "motivation" and "vitality", I only thought of common bright colors and dynamic lines, which were completely unoriginal. When making mood boards, I really used to put together pictures casually, and I didn't sort out the design clues well, which resulted in a lack of logic in the work. In addition, when using critical thinking, I always unconsciously imitated existing designs, and my independent thinking and innovation abilities were not enough. Next, I plan to do more creative exercises, study more excellent design cases, cultivate my own unique design ideas, and strictly follow the steps when doing practical tasks to improve the originality and logic of the design.
WEEK 9 :
This class mainly studied brand environment design, including brand interactive space types and multi-sensory experience design. We learned that brand space design must start with understanding the core values of the brand and convey the brand story through visual elements and layout.
We need to complete the concept board and mood board and sketch the installation design. We don’t need to complete the 3D modeling part yet, so we will do it in task 3.
WEEK 10 :
This week theToday, the teacher talked about Final Project's retail store design and creative installation projects:
I. Basic information on design space
• Space size: A standard store is 8 meters x 23 meters (two stores are connected, and the middle wall has been removed), and the height is usually 3 meters (high-end stores can reach 5 meters, and the design can be 3-5 meters).
• Space layout premise: It is necessary to reserve entrances, back doors (fire protection requirements), reception areas, etc., avoid using only walls as partitions, and doors and windows must be designed to ensure access.
II. Core design requirements
1. Immersive space integration: The three core immersive spaces in the user experience map must be integrated into the store, and other functional areas (such as reception desks and artist studios) can be added on this basis.
2. Requirements for adding a creative installation laboratory:
◦ An artist interaction space (such as a small studio, installation display area) that is linked to the brand must be designed, allowing artists to create, display works or interact with users, and can be integrated into the three core spaces.
◦ Example: Nike stores can set up studios where artists design sneakers on site, and users can watch or participate.
III. Design Process and Methods
1. Preliminary planning:
◦ First clarify the functions of each space (such as immersive ocean room, brand story area), required furniture, technical equipment (such as projection mapping), and then draw a bubble map to plan the space layout (use circles to represent functional areas to avoid limiting creativity).
◦ At least 10 possible spaces (such as entrance, reception area, product display area, artist studio, etc.) must be listed, and then screened and optimized.
2. Stage advancement: First complete the floor plan layout, and then enter the 3D model production. The model must reflect details (such as furniture, interactive devices).her mainly gave feedback on our assignment 2.
WEEK 11 :
Today, the teacher talked about Final Project's retail store design and creative installation projects:
I. Basic information on design space- Space size: A standard store is 8 meters x 23 meters (two stores are connected, and the middle wall has been removed), and the height is usually 3 meters (high-end stores can reach 5 meters, and the design can be 3-5 meters).
- Space layout premise: It is necessary to reserve entrances, back doors (fire protection requirements), reception areas, etc., avoid using only walls as partitions, and doors and windows must be designed to ensure access.
II. Core design requirements
1. Immersive space integration: The three core immersive spaces in the user experience map must be integrated into the store, and other functional areas (such as reception desks and artist studios) can be added on this basis.
2. Requirements for adding a creative installation laboratory:- An artist interaction space (such as a small studio, installation display area) that is linked to the brand must be designed, allowing artists to create, display works or interact with users, and can be integrated into the three core spaces.
- Example: Nike stores can set up studios where artists design sneakers on site, and users can watch or participate.
III. Design Process and Methods
1. Preliminary planning:- First clarify the functions of each space (such as immersive ocean room, brand story area), required furniture, technical equipment (such as projection mapping), and then draw a bubble map to plan the space layout (use circles to represent functional areas to avoid limiting creativity).
- At least 10 possible spaces (such as entrance, reception area, product display area, artist studio, etc.) must be listed, and then screened and optimized.
2. Stage advancement: First complete the floor plan layout, and then enter the 3D model production. The model must reflect details (such as furniture, interactive devices).
WEEK 12 :
1. Space Division and Function Definition
Dividing spaces using different elements
◦ Through changes in ground lines or the height of walls, spaces can be effectively divided and different functional areas can be defined.
Distinction between public and private spaces
In design, it is necessary to clearly distinguish between public and private spaces for easier management and use.
2. Space Fluidity and User Experience
Designing circulation lines and people - flow lines
Reasonable circulation line design can guide users' behaviors and make their movement within the space more smooth.
Creating an immersive experience
Through the clever use of lighting, materials, and space layout, an immersive experience that attracts users can be created.
3. Diversity of Space Elements
Using different shapes and materials
Different shapes and materials can add interest and a sense of hierarchy to the space, avoiding visual fatigue caused by a single design.
Application of color and light
The application of color and light can enhance the atmosphere of the space, highlight important areas, and improve the attractiveness of the overall design.
Reflection:
Space design is not just the arrangement of physical space, but also a profound understanding and creation of user experience. Through reasonable space division, circulation line design, and the use of diverse elements, the functionality and aesthetics of the space can be effectively enhanced.
WEEK 13 :
This week the teacher further checked our final project and made suggestions for improvements.
WEEK 14 :
In this class, the teacher mainly introduced the final requirements. We need to make two posters of A2 size, including a floor plan, two elevations, concepts, practical ideas and practical principles.
- Allow users or community members to directly participate in the design process to ensure that the design is more in line with actual needs and enhance a sense of belonging.
5. Change of audience role
- Through interactive design, the audience changes from "passive observer" to "active participant", who can influence or even change the spatial experience, such as by collaboratively building or decorating the environment.
6. Environmental Storytelling
- The space itself can become part of the story, such as guiding users to explore through hidden clues and interactive devices to enhance immersion.
7. Multisensory Elements
- Combining vision, hearing, touch and even smell to create a richer and more memorable experience (such as the art installation of Yayoi Kusama that we came into contact with last semester)
In general, I think the core of narrative environment is to make the space "alive" and through interaction, stories and multi-sensory experience, users are no longer bystanders, but become co-creators of the environment.
Then the teacher introduced the specific requirements of assignment 1.
The entire assignment 1 is divided into two parts.
Part A is the overseas shop (accessible via the Internet), which is also the task we need to complete this week.
Part B is the real-life project and should be completed before the fifth week.
It is required that the two stores belong to the same type and the analysis of both must include design features, brand identity, customer experience, technology integration, sustainability, and improvement suggestions.We can collect information through official websites and design case platforms, and choose stores with facade interior design drawings and graphic design drawings. At the same time, the teacher suggested that we look for stores with environmental protection concepts to ensure that we have content to analyze.
Point out design deficiencies and make optimization suggestions in the form of sketches
How to improve spatial design capabilities through case studies:
Excellent cases should be influential, innovative, and have design depth; the research process needs to combine primary and secondary information, and analyze from multiple dimensions such as spatial layout, material technology, and user experience; emphasize discovering problems and proposing improvement plans through critical thinking, and finally clearly present the research results in a visual way.
Mr. Zoen's explanation gave me a deeper understanding of precedent research. I realized that the real value of studying excellent design cases is not imitation, but understanding the design thinking and methods behind them. I was impressed by the three key criteria emphasized by the teacher: influence, innovation and design depth. This made me understand that when choosing a research case, we should not only look at the surface effect, but also pay attention to whether it has promoted the development of the industry, whether it has used innovative methods, and whether it has been well thought out.
In terms of research methods, I learned a systematic analysis process. First, I need to fully understand the project background, and then deeply analyze the design concept, spatial organization, material application and other details. I paid special attention to the difference between primary and secondary materials, and realized the importance of the designer's original drawings and interviews. This changed my habit of relying only on online pictures and comments. Now I will actively look for floor plans and technical drawings, and try to understand the work from the designer's perspective.
The analytical framework provided by the course has been very helpful to me. I now analyze cases from multiple dimensions such as concept purpose, spatial organization, material selection, technical application and user experience. This structured thinking allows me to understand design works more comprehensively, rather than just staying at the visual level. For example, when analyzing retail spaces, I will think about how traffic flow design affects customer behavior, how material selection shapes brand image, and how lighting settings create atmosphere.
Reflection:
Through this course, I mastered the core methods of narrative environment design, learned to analyze cases from three dimensions: influence, innovation, and design depth, and was able to propose innovative improvement plans. The course cultivated my critical thinking and system analysis skills, enabling me to shift from simply describing the design to deeply thinking about the interactive relationship between space and users, laying a solid foundation for future design practice.
“The ultimate goal of precedent research is to turn the wisdom of others into your own design tools.”
WEEK 3 :
At the beginning of this class, the teacher once again emphasized the focus of our assignment 1. We can study the product, clarify the style and characteristics of the product, pay attention to the target audience, consider the use of color in the store and its impact on customer experience. The teacher played Nike's promotional video, which made us more clearly understand that brand goals and target audiences are closely linked.
Brand stories are equally important. A good story can resonate, enhance users' emotional connection and sense of participation, improve brand credibility, enhance brand core values, and create a unique space experience in space design.
The teacher then gave a lecture on User autonomy, which was mainly divided into two parts.
Freedom of Choice
- Multiple Entry Points: Provide users with multiple starting points, enabling them to choose the thematic areas or activities they want to explore first.
- Open - Ended Activities: Design interactive elements that encourage exploration and discovery without dictating specific outcomes.
- Intuitive Navigation: Intuitive design with clear layout and flow.
- Clear Feedback Mechanisms: Interactive elements should provide clear feedback on users' actions, allowing users to understand the results of their choices and feel in control of their experience.
Reflection:
Through this course, I realized the importance of brand value and gained a preliminary understanding of user autonomy. In subsequent research and study, I will focus on these aspects.
WEEK 4 :
In the fourth week, the teacher mainly took us to review the importance of narrative elements in the previous class, and then the teacher explained the causal relationship, the environment affects the user's behavior, mainly through visual touch and hearing to feedback these behaviors, enhance the user experience immersion, and at the same time remind us that in Assignment 1, the choice of the store needs to include these behavioral feedback, and then the teacher led us to watch the documentary and other videos of the exhibition in Nakajima, let us experience the design ingenuity of these behavioral feedback from real cases, and the brand story is equally important. The design reflects the brand story. The teacher made it easier for us to understand through the twelve hero stages, but this is the part of Assignment 2. We learned in advance that at the end of the class, the teacher shared with us some good cases from Singapore and Japan for us to see.
“Feelings don't disappear just because you leave.”
“What's important in design is the aftertaste it gives people.”
Reflection:
The teacher's review of narrative elements has consolidated my foundation. The explanations about how the environment affects user behavior and how multi-sensory feedback enhances the sense of immersion have opened up new ideas for design. Through case videos such as the Nakashima exhibition, I have intuitively felt the exquisite application of theory in practical design and realized that excellent design needs to balance creativity and practicality. The cases of Singapore and Japan have broadened my horizons, making me understand that design comes in various forms, and the key lies in the application of knowledge and the conveyance of experience. Reflecting on myself, I find that my ability to transform theory into practice is insufficient, and my design ideas are limited. In the future, I will learn more from cases, strengthen my practice, and improve my design ability.
WEEK 5 :
This week we had a presentation where classmates showcased their assignment1, and I also learned a lot from their presentation.
At the end of the class, the teacher also assigned some tasks for Assignment 2. This week, we need to create a questionnaire related to the survey of some of the stores. The teacher will give us feedback next week.
WEEK 6 :
In this class, the teacher first explained the requirements of assignment 2 and subsequent projects. We need to complete Project 2 before the 10th week. Currently we need to complete user portraits and some questionnaires to determine the research direction of the final project. At the same time, we need to draw some rough sketches to conceive the final model and record the process.
At the same time, in the design process, it is necessary to consider the brand background design, which should echo the brand. At the end of the course, the teacher gave a more in-depth explanation of user portraits.
WEEK 7 :
Our main task this week is to complete the user journey map. Then the teacher explained to us what the user journey map is. The user journey map helps us understand the user's experience in using the product or steps, so as to optimize the user experience. The order should be from the starting point to the climax and then to the end. Focus on studying the user's pain points and how to solve them in my design. At the same time, the user journey map is not imagined out of thin air, but needs to be supported by data based on the research results. At least there are four areas in the user journey we are about to design.
At the end of the class, the teacher checked our user portraits. At the same time, the teacher said that students who are fast can continue to sketch and model the interactive device.
Reflection:
After studying the user journey map, I have deeply realized that it is a powerful tool for understanding users. By mapping out user behaviors, needs, and pain points, I have not only learned to optimize product and service processes from the user's perspective but also grasped its significance in breaking down information silos among teams and facilitating precise decision-making. This knowledge has equipped me with a more systematic and comprehensive mindset for future work.
WEEK 8 :
Through today's study, I learned that before designing, I need to deeply analyze the brand's mission, vision, core values and future goals. The teacher used Nike's case study to make me understand the importance of brand visual consistency, personality expression, and conveying emotions through touch points.
In the part of emotional keywords and design conversion, I learned that I need to extract 3 brand emotional keywords and then convert them into design elements such as color, material, and shape. Moreover, the design cannot be too monotonous, and creative shapes must be used to reflect the brand personality.
Regarding the function and purpose of installation design, the teacher taught me to clarify the core purpose of the installation, set up at least 3 functional areas, and ensure that the function is consistent with the brand emotion, in line with user needs and brand tone. In the production of mood boards, I learned that the production of mood boards must be based on brand analysis and emotional keywords, first determine the design clues, and then find pictures, so as to ensure originality.
In addition, sustainability and material selection also made me realize that design must consider sustainability, choose recycled materials, and the materials must be consistent with the brand's values such as environmental protection. In the study of critical thinking and originality, I understand that I cannot directly copy the design. I have to analyze and integrate elements to make a unique plan, and I have to clearly present the design thinking process. Finally, the practical tasks assigned by the teacher made me clear that I have to complete the brand emotional keywords, design clues and other contents this week, start the mood board production, and run through the user needs throughout the design process to maintain logical coherence.
Reflection:
Looking back on what I learned today, I found that my thinking was too limited when I transformed the abstract brand emotions into specific design elements. For example, when I visualized the keywords "motivation" and "vitality", I only thought of common bright colors and dynamic lines, which were completely unoriginal. When making mood boards, I really used to put together pictures casually, and I didn't sort out the design clues well, which resulted in a lack of logic in the work. In addition, when using critical thinking, I always unconsciously imitated existing designs, and my independent thinking and innovation abilities were not enough. Next, I plan to do more creative exercises, study more excellent design cases, cultivate my own unique design ideas, and strictly follow the steps when doing practical tasks to improve the originality and logic of the design.
WEEK 9 :
This class mainly studied brand environment design, including brand interactive space types and multi-sensory experience design. We learned that brand space design must start with understanding the core values of the brand and convey the brand story through visual elements and layout.
We need to complete the concept board and mood board and sketch the installation design. We don’t need to complete the 3D modeling part yet, so we will do it in task 3.
WEEK 10 :
This week theToday, the teacher talked about Final Project's retail store design and creative installation projects:
2. Stage advancement: First complete the floor plan layout, and then enter the 3D model production. The model must reflect details (such as furniture, interactive devices).her mainly gave feedback on our assignment 2.
I. Basic information on design space
• Space size: A standard store is 8 meters x 23 meters (two stores are connected, and the middle wall has been removed), and the height is usually 3 meters (high-end stores can reach 5 meters, and the design can be 3-5 meters).
• Space layout premise: It is necessary to reserve entrances, back doors (fire protection requirements), reception areas, etc., avoid using only walls as partitions, and doors and windows must be designed to ensure access.
II. Core design requirements
1. Immersive space integration: The three core immersive spaces in the user experience map must be integrated into the store, and other functional areas (such as reception desks and artist studios) can be added on this basis.
2. Requirements for adding a creative installation laboratory:
◦ An artist interaction space (such as a small studio, installation display area) that is linked to the brand must be designed, allowing artists to create, display works or interact with users, and can be integrated into the three core spaces.
◦ Example: Nike stores can set up studios where artists design sneakers on site, and users can watch or participate.
III. Design Process and Methods
1. Preliminary planning:
◦ First clarify the functions of each space (such as immersive ocean room, brand story area), required furniture, technical equipment (such as projection mapping), and then draw a bubble map to plan the space layout (use circles to represent functional areas to avoid limiting creativity).
◦ At least 10 possible spaces (such as entrance, reception area, product display area, artist studio, etc.) must be listed, and then screened and optimized.
WEEK 11 :
Today, the teacher talked about Final Project's retail store design and creative installation projects:
I. Basic information on design space
- Space size: A standard store is 8 meters x 23 meters (two stores are connected, and the middle wall has been removed), and the height is usually 3 meters (high-end stores can reach 5 meters, and the design can be 3-5 meters).
- Space layout premise: It is necessary to reserve entrances, back doors (fire protection requirements), reception areas, etc., avoid using only walls as partitions, and doors and windows must be designed to ensure access.
II. Core design requirements
1. Immersive space integration: The three core immersive spaces in the user experience map must be integrated into the store, and other functional areas (such as reception desks and artist studios) can be added on this basis.
2. Requirements for adding a creative installation laboratory:
- An artist interaction space (such as a small studio, installation display area) that is linked to the brand must be designed, allowing artists to create, display works or interact with users, and can be integrated into the three core spaces.
- Example: Nike stores can set up studios where artists design sneakers on site, and users can watch or participate.
III. Design Process and Methods
1. Preliminary planning:
- First clarify the functions of each space (such as immersive ocean room, brand story area), required furniture, technical equipment (such as projection mapping), and then draw a bubble map to plan the space layout (use circles to represent functional areas to avoid limiting creativity).
- At least 10 possible spaces (such as entrance, reception area, product display area, artist studio, etc.) must be listed, and then screened and optimized.
2. Stage advancement: First complete the floor plan layout, and then enter the 3D model production. The model must reflect details (such as furniture, interactive devices).
WEEK 12 :
1. Space Division and Function Definition
Dividing spaces using different elements
◦ Through changes in ground lines or the height of walls, spaces can be effectively divided and different functional areas can be defined.
Distinction between public and private spaces
In design, it is necessary to clearly distinguish between public and private spaces for easier management and use.
2. Space Fluidity and User Experience
Designing circulation lines and people - flow lines
Reasonable circulation line design can guide users' behaviors and make their movement within the space more smooth.
Creating an immersive experience
Through the clever use of lighting, materials, and space layout, an immersive experience that attracts users can be created.
3. Diversity of Space Elements
Using different shapes and materials
Different shapes and materials can add interest and a sense of hierarchy to the space, avoiding visual fatigue caused by a single design.
Application of color and light
The application of color and light can enhance the atmosphere of the space, highlight important areas, and improve the attractiveness of the overall design.
Reflection:
Space design is not just the arrangement of physical space, but also a profound understanding and creation of user experience. Through reasonable space division, circulation line design, and the use of diverse elements, the functionality and aesthetics of the space can be effectively enhanced.
WEEK 13 :
This week the teacher further checked our final project and made suggestions for improvements.
WEEK 14 :
In this class, the teacher mainly introduced the final requirements. We need to make two posters of A2 size, including a floor plan, two elevations, concepts, practical ideas and practical principles.
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