According to the Curriculum Requirement, creating a workshop log book is compulsory.
“ we are moving into a hyper integrated world in which all aspects of production — raw materials, design, manufacturing, distribution, fulfillment, financing and branding — have become commodities that can be accessed from anywhere by anyone.” [Friedman NYT.Nov 24 Column “Advice from Grandma”]
As a beginning of my interaction design study, this book might be a nice choice. This article is my reading notes and collecting datas. Enjoy it. [一把年纪，居然到了这个即将开启职业生涯的本命年，准备大跨一步扯到蛋疼的程度转个专业。]
假期蜗牛般读完《消除设计的界限》（Nothing yet everything）这本访谈录，虽然朱锷编著此书并参与参与访谈，但我个人对他唔甚好感，很多交谈显得双方有点不在一个纬度上。
当然，有价值的是在序文部分提出“击空”一词汇。也由此可以看出，之前对隈研吾的《负建筑》等书的翻译内在意义。以涵义极为广阔的“空”来概括“有”设计，加上“击”这一动词，衍生出了几位设计师的设计方法——以不变应万变。至少从著者归纳角度来说，平面剪裁对抗立体剪裁、自然对抗非自然、日常与非日常、未知化与既有概念还是整理与混沌看来，日本主流设计师们的设计风格可以看做很工整。
还有值得一提的是关于日本设计师的修行。简单的说就是设计师在设计事务所呆满一年就需要外出自助旅游一次，所见所闻的设计价值成为旅行费用能否报销的凭证。感叹下，如果国内设计能够提倡类似的灵感采集方式，该多好。
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