中国美术学院视觉传播学院三年级项目制教学·内容编辑与媒介

Inter-World-View（IWV）是中国美术学院的一个长期行动计划，将人类文明视为超越时空局限的整体，以中国美院各特色学科的小人文方向对应自然和社会科学的大人文方向，进而以之形成跨学科师生团队奔赴世界，寻访艺术背后的文明史和人类学意涵。对内联通诸学科，拓展艺术概念和实践场域，对外建立新链接，建立高能级的国际学术伙伴圈，让“未来的同道”加入中国美院的共同愿景之中，以期在世界文明互鉴的大视野中思考艺术教育大本大源的问题，不仅是追本溯源，更是关注当下，感知21世纪人类文明的发展脉博和潜在趋势。

本期以2024年世界寻访中的15位平面设计师及3个机构为主要研究对象，包括室賀清徳 (Kiyonori Muroga)、田中良治(Ryoji Tanaka)、白井敬尚(Shirai Yoshihisa)、服部一成 (Kazunari Hattori)、北川一成 (Issay Kitagawa)、TOTO GALLERY・MA、gottingham、SKWAT等，对其设计思维及社会意义进行深度访谈与交流。本次课程以该计划调研的相关内容为对象，包含但不限于系统性采访、影像拍摄、创作过程记录以及文献收集等多种研究路径。在此基础上，学生将以“编辑”为方法，通过图文的采编与重构、采访与叙事、编辑与逻辑、书籍材料与工艺实验等，实现对不同设计思维的多种叙事表达。以在成品中形成“观念-内容-版式-印刷-装帧”的多位一体，进而将书籍“社会界面”的公共性，即人与人、人与机构、人与社会之间的复杂联结关系，转化为可阅读、可感知并可参与的视觉结构。从而在这种开放的编辑实践中，推动学生对高观念内容的叙事实验，将内容本身视作一种可构筑、可重组的“材料”，拓展设计在叙事建构与社会连接中的可能性。

Inter World View (IWV) is a long-term action plan of the China Academy of Art, which views human civilization as a whole that transcends the limitations of time and space. The small humanities directions of each characteristic discipline of the Chinese Academy of Art correspond to the larger humanities directions of natural and social sciences, forming an interdisciplinary team of teachers and students to travel to the world and explore the cultural history and anthropological implications behind art. Internally connecting various disciplines, expanding artistic concepts and practical fields, establishing new connections externally, building a high-level international academic partner circle, and incorporating "future peers" into the common vision of the Chinese Academy of Fine Arts, in order to reflect on the fundamental issues of art education in the context of world civilization mutual learning. This is not only about tracing the origins, but also about paying attention to the present and perceiving the development pulse and potential trends of human civilization in the 21st century.

This issue focuses on 15 graphic designers and three institutions featured in the 2024 World Search, including Kiyonori Muroga, Ryoji Tanaka, Yoshihisa Shirai, Kazunari Hattori, Issay Kitagawa, and TOTO GALLERY・MA Gottingham, SKWAT, and others, conducting in-depth interviews and discussions on their design thinking and social significance. This course focuses on the research content of the aforementioned projects, encompassing but not limited to systematic interviews, video shooting, documentation of the creative process, and literature collection. Building on this foundation, students will adopt "editing" as a method, utilizing image and text selection, reconstruction, interviews and storytelling, editing and logic, as well as book materials and craftsmanship experiments, to achieve diverse narrative expressions of different design thinking approaches. This will result in an integrated "concept-content-layout-printing-binding" framework in the final product, transforming the "social interface" of books—namely the complex connections between people, people and institutions, and people and society—into a readable, perceptible, and participatory visual structure. Through this open-ended editorial practice, students will advance narrative experimentation with high-concept content, treating the content itself as a constructible and reconfigurable "material," thereby expanding the possibilities of design in narrative construction and social connection.

姜珺

JIANG Jun

2024年，“天问：文明的互鉴”（Inter-World-View）团队在日本完成了“来自世界的报道”的18份面对面采访，《内容编辑与媒介》课程基于这部分一手材料，完成了从多元素材到完整出版物的系统训练。学生不仅可以借之与视觉设计领域的名家和机构作隔空对话，更通过内容编辑将碎片化的一手材料，梳理、转译并重构为具有逻辑脉络的书籍语言。内容编辑的本质是跨媒介的叙事转译与系统构建。它远不止于文本润色，而是统筹编辑逻辑、版式呈现与装帧体验的整体设计，旨在让内容在不同的媒介形态中准确、有力且美观地抵达受众。本次实践充分体现了课程“在真实项目和一手经验中学习”的理念。学生必须综合考虑文化语境、叙事节奏、视觉层次与阅读体验，最终完成从内容策划到实体成书的闭环，不仅是技能的锻炼，更是编辑思维与媒介素养的深度塑造。

蔡文超

CAI Wenchao

编辑设计：以观念为刃，重构阅读的本质。

编辑的概念是开放无界的，纸媒、网络、展览、空间、事件皆是其场域。面对不同时代语境与阅读群体，编辑设计的价值远不止于视觉表层，其核心旨在探索阅读体验的可能性：有趣的、清晰的、图解式的、倒置式的、点阵式的、总分式的、渐进式的、探寻式的……编辑是观念，是策略，更是系统性的内容生产。很多时候，“如何呈现”远比“呈现什么”更为关键。引言、导览、目录、图片、标题、正文、链接、文献、综述、体例、线索，皆是编辑切入内容的切口，以逻辑与秩序搭建内容的骨架。编辑是一场深度内容探索，也是一次完整的观念表达集合。关键词即核心观点，更是执行过程中的概念导航。它让内容产生互动、重组、再编辑、结构提炼的动态韵律，赋予文本生命力与节奏感。

书籍是编辑的一种载体与媒介外化。编排与装帧是内容的延伸与协作，将抽象观念具象为可感知的形态。打开、翻动、触摸、思考，多重感官在阅读中被唤醒，最终汇成对内容的理解、感知、想象与思辨。

谢雨佳

XIE Yujia

此次《内容编辑与媒介》的课程大家主要围绕“书籍”来展开实践。“书籍”作为一种结合内容生产和建立对话的工具，其通过物理媒介呈现与传达内容。在这个过程中，内容和形式是一实一虚相辅相成的，“书籍”即内容与人（作者、编者、读者）之间的媒介。“内容生产”与“编辑逻辑”是书籍设计中的两个共存且相互作用的部分。“书籍”中的版式是对文本信息的空间转译，版式中的“内容”指向文本信息、主题思想、知识架构与情感表达；“编辑”则聚焦于信息传播的形态构建、视觉语法、空间叙事与媒介特性。“编辑逻辑”作为设计的结构性元素，是灵变性的元素，是骨与肉的关系。“编辑逻辑”的构建，是使创作过程从单纯的被动接受外部委托，转向主动参与创作的过程，是从编辑角度进行一种设计，它们在整个创作过程中是并行的，并且为内容所服务。

书籍设计本质上是视觉化的编辑行为，是编辑逻辑的视觉化延伸，其为一种缄默知识，其核心在于大家在创作过程中所积累的隐性经验和直觉。

蔡哲晔

CAI Zheye

媒介不只是内容的容器，而是内嵌时间结构与观看路径的感知场域：正如书写中的笔势在行进中生成节奏，媒介本身也在塑造意义的展开方式。文字的线性推进、图像的瞬时整体、空间的步移景异，分别对应不同的时间逻辑与身体经验。编辑由此不再是静态排序，而更接近一种“调度势能”的实践——通过取舍、断裂、延展与停顿，构建内容内部的张力与流动。

从去欧洲中心主义的视角看，传统现代设计中的编辑往往服务于清晰、理性、网格化的信息秩序；而在引入在地方法后，编辑可以转向一种更具生成性与暧昧性的结构：允许不对称、节奏错位与观看游移的存在，使内容叙事从被规范的阅读路径中解放出来。

因此，《内容编辑与媒介》不仅关乎如何组织内容，更关乎如何通过媒介与编辑策略，重塑一种跨文化的视觉时间结构与叙事伦理。

1/2 2/1

Gottingham: Twelve Fractions of Influence

尺寸：

297*420

橡皮筋骑订

Rubber Band Binding

封面：

滑面艺术纸250克

Smooth Paper 250g

内页：

道林85克

Offset Paper 85g

铜版纸128克

Art Paper 128g

本书以摄影框为启发，探讨了Gottingham摄影创作中继承与独创的动态关系。全书以“框内/框外”的视觉对话展开，其中分母代表历史文本，分子对应他的当代实践。编辑逻辑上，我们以分数值变化，从2/2（平衡）、1/2（信息内化）到2/1（自成体系），构建起一条关于Gottingham自主性演进的视觉叙事线索。

运用多层编辑语言深化这一主题：插入式的对话碎片构成了创作的“呼吸层”，错版与文本叠印的设计模拟了排版过程，呼应了其“留保”理念中未完成的生长状态。作为重要的研究方法，编者团队以具身体验介入对艺术家理念的验证与延伸，构成了独立的声音维度。

最终以未装帧的散页形态呈现，仅以皮筋捆束，这一物质形式本身即是对“过程性”的回应——它邀请读者亲手参与这场关于影响的思辨剧场，在翻阅中完成对创作自主性命题的具身体验。

This book takes the photographic frame as a conceptual starting point to examine the dynamic between inheritance and originality in Gottingham’s practice. It unfolds through a visual dialogue of “inside/outside the frame,” where the denominator represents historical context and the numerator signifies his contemporary work.

Editorially, we trace the evolution of Gottingham’s autonomy through shifting fractional values: from 2/2 (balance), to 1/2 (internalization), to 2/1 (self-sufficiency). This progression forms the book’s core narrative thread.

The design employs layered editorial language to deepen this inquiry: inserted textual fragments create a “breathing layer” of dialogue, while deliberate misprints and overprinting mirror the process of typesetting—echoing his concept of “retention” as an open, evolving state. As a key methodological intervention, the editorial team’s own photographic experiments offer an embodied engagement with and extension of the artist’s ideas, establishing an independent voice within the volume.

Finally, the book is presented as unbound, loose sheets secured only by a rubber band. This material form responds directly to the notion of “process”—inviting readers to physically participate in this theater of influence, completing the embodied experience of autonomy through the very act of handling its pages.

加问

JAPAN IN JAGDA IN INQUIRY

尺寸：

297*420

裸脊锁线

Exposed Spine Stitching

封面：

欧若棉纸 300克

Oucun Cotton Paper 300g

环衬：

博冉优黑 120克

Excellent Black 300g

内页：

新渲染色咭 120克

Colorcard 120g

丹青纸 100克

Drawing Paper 100g

轻型纸 70克

Light Paper 70g

双铜纸 105克

Coated Paper 105g

本书以“加问”为核，构建“+”与经纬网络为编辑逻辑，视JAGDA为观测窗口，却不止于记录其发展脉络。本书通过“时间+人=事物场”的加法逻辑，横纵交织定位，追问JAGDA如何构建自身的主体性。书籍超越线性叙述，升维至可阅读的“社会关系矩阵”，在时间与人的每一次相遇中，追问设计何以构建自身，人又如何以创造栖居。

This book revolves around the concept of "adding questions," constructing an editorial logic based on a "+" and a network of intersecting dimensions. It views JAGDA as an observation window, but goes beyond simply documenting its development. Through the additive logic of "time + people = field of events," the book uses interwoven horizontal and vertical positioning to explore how JAGDA constructs its own subjectivity. The book transcends linear narrative, elevating to a readable "social relations matrix," and in each encounter between time and people, it questions how design constructs itself and how people inhabit through creation.

被介入的空间

Intervening Space

尺寸：

240*115mm

裸脊锁线

Exposed Spine Stitching

封面：

雪绒 银霜 216克

Edelwelss Paper Silver gray 216g

内页：

嵩质粗面纸90克

Songzhi Rough Paper 90g

芙桑 烟云116克

Galsang Flower Paper Cloudy Gray 116g

这是一本灰与绿的空间诗。它以高架桥下的野生艺术机构SKWAT为现场，汇聚画家、居民、工作者等多重目光。图像先经提炼为视觉笔记，再与原始影像对照，在五个章节中漫步五个真实场景。全书采用灰纸绿墨，摹拟桥下混凝土与生机交织的质感，将碎片感知凝成一份城市缝隙中的创造档案。走进这灰绿层叠的叙事，一场关于边缘、共存与再生的小型实践，就此展开。

This is a spatial poem of gray and green. It takes the wild art organization SKWAT under the viaduct as the scene, gathering the diverse perspectives of painters, residents, workers, and more. The images are first refined into visual notes, then compared with the original videos, and wander through five real-life scenes in five chapters. The entire book uses gray paper and green ink, mimicking the inter twined texture of concrete and vitality under the bridge, condensing fragment ed perceptions into a creative archive of urban cracks. Stepping into this narrative layered in gray and green, a small-scale practice about the edge, coexistence, and regeneration unfolds.

POOPLOOP的现场报道

Scooploop

尺寸：

285mm*210mm

活页装订

Exposed Spine Stitching

封面：

白陶纸180克

White Pottery 180g

内页：

铜版纸150g

Art Paper 157g

新闻纸80g

Newsprint 80g

在快速变迁的世界中，万物皆处于永恒的循环，我们习惯于将排泄物等人类视为“不洁”的事物隐藏，却忘了自然界中的一切都经历着形态的转变与循环。而Pooploop展览，重新审视了这些被我们刻意忽视的现象，并尝试通过平等地展示废弃物， 重新引发人们对废物对循环的思考。《Scooploop》意为“独家报道循环”，是关于pooploop展览的现场报道，编书逻辑在于将展览转化为思想的循环，创造一个从“提问”到“回答”再到“重启思考”的循环系统。本书分为4册，第1-3册中，我们针对展览提出问题，将观众未明说的困惑捕捉下来，将展览内容转化为公共对话，同时使展览在时空上生长，让其成为一种可再阐释的媒介。第4册中，我们提取了艺术家讲座的精华，将问题交还给策展人，形成完整的对话循环。对话是循环的驱动核心，我们想通过编辑，让思想持续流转。

In a rapidly changing world, everything is in an eternal cycle. We are accustomed to concealing things that humans consider "unclean," such as excreta, yet we forget that everything in nature undergoes transformation and recycling of forms. The Pooploop exhibition reexamines these phenomena that we deliberately ignore and attempts to rekindle people's reflection on waste and recycling by equally displaying waste. "Scooploop" means "exclusive coverage of the cycle," which is a live report on the Pooploop exhibition. The logic of the book lies in transforming the exhibition into a cycle of thought, creating a circular system from "questioning" to "answering" and then to "restarting thinking." This book is divided into four volumes. In volumes 1-3, we pose questions about the exhibition, capture the unspoken confusion of the audience, transform the exhibition content into public dialogue, and allow the exhibition to grow in time and space, making it a re-interpretable medium. In volume 4, we extract the essence of the artist's lectures and return the questions to the curator, forming a complete dialogue cycle. Dialogue is the driving core of the cycle, and we want to allow ideas to continue to flow through editing.

二手书屋

Second-Hand Library

尺寸：

240mm*320mm

PUR胶装

PUR Perfect Binding

封面：

牛皮纸400g

Kraft Paper 400g

内页：

筒子页 Fold-out Pages

棉质环保纸 80克 Recycled Cotton Paper 80g

“把书放在中间，让所有人平等对话。” 理解并不只属于“读过的人”，也可以在共同讨论与比对中生成。围绕此中心主旨，本书以“档案库建构”的编辑逻辑重组古贺稔章采访内容，将他提及的书籍、设计师与艺术活动作为条目归档，并以三个提问式章节组织整体结构，What is the old media？Why we need designers？和How to express design language？我们并非直接阐释古贺的观点，而是让这些被引用的对象反向呈现他的回答。 阅读方式更接近查阅而非线性叙事，是一本极具探索感的书。侧边切口将三大章节变成可触摸的入口，每个条目页嵌入采访视频的抽帧画面，作为章节内的定位线索。除此以外还延伸出可收集的实体标签，让“阅读”同时成为一次整理与入库。牛皮纸封面呈现工作室般的原生态气质，内部则通过印银处理与贯穿条目的句子线索，在“看似朴素”与“秩序清晰”之间建立张力。可撕开的纸张结构赋予读者进一步的探索空间，并在翻开后呈现强烈反差。

“Put the book in the middle, and let everyone speak on equal terms.”

Understanding does not belong only to those who have “read” it; it can also be produced through shared discussion and comparison. Guided by this core idea, the book re-edits Minoriaki Koga’s interviews through an archival-construction logic: the books, designers, and art events he mentions are filed as entries, and the whole is organized into three question-led chapters—What is the old media? Why do we need designers? and How to express design language? Rather than explaining Koga’s views directly, the referenced objects work in reverse, allowing his answers to emerge through what he cites.

The reading experience is closer to browsing and consulting than linear narration, making the book highly exploratory. Side-edge cutouts turn the three chapters into tactile points of entry, and each entry page embeds a frame-grab from the interview video as a locator within the chapter. Collectible physical labels extend this system, turning “reading” into an act of sorting and archiving. A kraft-paper cover suggests a raw, studio-like character, while silver printing and a sentence-thread running through the entries create tension between apparent simplicity and clear order. Tear-open paper structures offer further room for discovery, revealing a strong contrast once opened.

小物志

Compendium of Curios

尺寸：

210mm*210mm

裸脊锁线

Exposed Spine Stitching

封面：

嵩质粗面纸 175克

Songzhi Coarse Surface Paper 175g

内页：

薄型环保纸 80克

Thin Eco-friendly Paper 85g

宣纸 80克

Xuan Paper 80g

设计师新村则人的工作常被形容为“及物”的——他的设计从不悬浮于抽象理念之上，而是系于一个具体的物：一片压平的蕨叶、一段修补过的渔网、一把手柄磨亮的旧剪刀……

《小物志》正是基于这一“及物设计”的视角展开，走进新村则人所构筑的“及物世界”。本书以微观切口，从其作品中提炼出 94 个具体物象，进行系统性梳理。通过设计语言的转译与百科档案式的记录，将个人化的地域记忆与情感体验，转化为具有普世共鸣的文化符号。研究采用田野调查与文本分析，既关注物的物理形态与使用痕迹，也捕捉其内在叙事；并结合文化研究与情感理论，深入探析背后的历史脉络、生态意识与象征结构。

在此基础上，本书提出“小物之大”的哲学命题：这些物既是自然与传统的承续者，也是审美价值与日常伦理得以重新校准的中介，连接个体经验、生态感知与社会文化，由此形成一种由“及物性”所衍生的认知方式。

The work of designer Norito Shinmura is often described as "object-oriented"—his design never hovers above abstract concepts but is anchored in a concrete thing: a pressed fern frond, a mended fishing net, a pair of old scissors whose handles have been burnished by years of use…

Compendium of Curios takes precisely this "object-oriented design" perspective as its starting point, entering the world Niimura has quietly built around things. Through a micro-scale lens, the book isolates 94 specific objects from his practice and subjects them to systematic examination. By translating design language into encyclopedic documentation, it transforms personal, place-based memories and emotional experiences into cultural symbols capable of universal resonance.

The research combines fieldwork and textual analysis—attending not only to the physical forms and traces of use these objects carry, but also to their inner narratives. Drawing on cultural studies and theories of emotion, it further unpacks their historical contexts, ecological awareness, and symbolic structures.

Building on this foundation, the book advances the philosophical proposition of "the grandeur of the curio"： these objects are both inheritors of nature and tradition, and mediators through which aesthetic values and everyday ethics may be recalibrated. They connect individual experience, ecological sensibility, and social culture—giving rise to a mode of understanding that emerges directly from object-orientedness.

评论，再评论

Review on Review

尺寸：

128*210

瑞士装

Swiss Attire

封面：

触感纸275克

Tactile Paper 275g

内页：

触感纸84克

Tactile Paper 84g

本书是一项自觉的设计哲学实践。其核心命题在于，将室贺清德所秉持的“批评性编辑”方法论，从文本观念转化为系统的视觉语言与物质形态。本书的设计实践超越了传统的装饰功能，旨在使书籍的物质实体、空间逻辑与视觉结构，成为其学术论述在形式维度上的延伸与隐喻，从而构建一个形式与思想深度互文的阐释系统。

This book is a conscious practice of design philosophy.The overall design of this book is a conscious practice of design philosophy. The core proposition is to transform the "critical editing" methodology advocated by Seide Muroga from a textual concept to a systematic visual language and material form. The design practice of this book goes beyond the traditional decorative function, aiming to make the material entity, spatial logic, and visual structure of the book an extension and metaphor of its academic discourse in the formal dimension, thus constructing a deep intertextual interpretation system of form and thought.

Connecting-Connected-Connectivity

尺寸：

180*250

裸脊锁线

Exposed Spinestitching

封面：

粗纹白卡 270克

White Cardstock 270g

内页：

内页棉质环保 110克

Cotton Rag Paper 110g

蒙肯纸 100克

Monken Paper 100g

“连接”是一种被反复使用和检验的状态，它通过实践显现出来，对野老朝雄来说，这种状态伴随了他的整个创作过程。Connecting- Connected-Connectivity试图回应一个问题：“连接”如何在不同媒介、尺度与协作关系中持续发生？

本书采用双线叙事，一条线索沿着时间推进，将野老的人生经历与创作事件归类梳理，呈现连接实践如何在长期积累中逐渐转向、深化；另一条线索以链接的方式展开，将书中出现的人、事、物、场域与思想横向铺开，形成一张可以反复进入的关系网络。两条线索彼此穿插，使阅读产生多重路径。

Connecting–Connected–Connectivity并非静态的概念划分，而是一种持续递进的状态。Connecting指向行动的过程，Connected是已生成的结果，Connectivity则用于评估连接体系的完成度。本书恰似一个持续运作的连接系统，使读者穿行于不同的时间、媒介和协作关系中，连接不断发生，野老的拓扑式图样生成逻辑也随之显现。

“Connection” is a state that is repeatedly employed and tested, one that reveals itself through practice. For Asao Tokolo, this state has accompanied his entire creative career. Connecting-Connected-Connectivity seeks to address a central question: how does “connection” continue to occur across different media, scales, and modes of collaboration?

The book adopts a dual narrative structure. One thread unfolds chronologically, organizing Tokolo’s life experiences and creative events to show how practices of connection gradually shift and deepen through long-term accumulation. The other thread expands through links, laying out horizontally the people, events, objects, sites, and ideas that appear throughout the book, forming a relational network that readers can enter repeatedly. These two threads intersect and interweave, generating multiple pathways of reading.

Connecting-Connected-Connectivity is not a static conceptual classification, but a continuously progressive state. Connecting points to the process of action, Connected refers to the results that have been generated, and Connectivity serves to evaluate the degree of completion of a connective system. The book itself functions like a continuously operating system of connections, allowing readers to traverse different times, media, and collaborative relationships. As connections keep emerging, the generative logic behind Tokolo’s topological patterns is gradually revealed.

未完成的房间

Unfinished Room

尺寸：

297*420

裸脊锁线

Bare-spine Stitching

封面：

欧纯棉纸250克

European Cotton Paper 250g

水洗纸135g

Water-washed Paper 135g

内页：

欧纯棉纸115克

Cotton Paper 115g

新渲染色咭120g

New Xuan Ran Colorcard 120g

《未完成的房间》是一本围绕设计师田中义久展开的书籍作品，但它并不试图以传记或作品全集的方式建立一个完整、封闭的设计师形象。本书以“编辑”为方法，将内容视为一种可被构筑与重组的材料，通过结构、关系与阅读方式，回应田中义久在设计实践中所体现出的生成性与未完成状态。

全书被构建为一间“未完成的房间”，并以“入口—生成—统一视角”三层结构展开。第一部分通过八位与田中产生实际关系的他者，形成多个进入田中的路径，这些入口并非完整系统，而是特定时间节点上的关系切面。第二部分围绕材料、空间、对话、展览及设计与艺术之间的边界，呈现判断如何在对话与实践中生成。第三部分则将视线收回到作品本身，以统一视角并置呈现，使作品成为判断落实于形式的痕迹。

在形式上，本书采用 AB 本结构：A 本呈现他者的叙述与围绕，田中义久的发言仅以符号标示其位置并留白；B 本对应呈现其原话。两本书既可独立阅读，也可相互对照。视觉系统中，三种符号分别指代田中、他者与编辑者，使不同立场在同一文本空间中清晰共存。通过这一结构，本书将“未完成”转化为一种可被阅读的状态，而非结论。

The Unfinished Room is a book centered on designer Yoshihisa Tanaka, yet it does not attempt to establish a complete, closed portrait of the designer through a biography or collected works. Employing “editing” as its methodology, the book treats its content as material that can be constructed and reconfigured. Through structure, relationships, and modes of reading, it responds to the generative and unfinished state embodied in Tanaka's design practice.

The entire book is constructed as an “unfinished room,” unfolding through a three-tiered structure: “Entrance—Generation—Unified Perspective.” Part One creates multiple pathways into Tanaka through eight individuals who share actual relationships with him. These entrances are not complete systems but relational cross-sections at specific points in time. Part Two explores how judgments emerge through dialogue and practice, focusing on materials, space, conversation, exhibitions, and the boundaries between design and art. The third section refocuses on the works themselves, juxtaposing them through a unified perspective to reveal how judgments materialize as traces within form.

Formally, the book adopts an AB volume structure: Volume A presents narratives and reflections from others, with Tanaka Yoshihisa's statements indicated only by symbols and left blank; Volume B corresponds with his original words. Both volumes can be read independently or cross-referenced. Within the visual system, three distinct symbols denote Tanaka, others, and the editor, allowing differing positions to coexist clearly within the same textual space. Through this structure, the book transforms “unfinishedness” into a readable state rather than a conclusion.

补丁

Patch

尺寸：

170*240

瑞士装订

Swiss Binding

封面：

触感纸275克

Tactile Paper 275g

内页：

棉质白卡370克

Gentle VL 370g

极墨黑115克

Extremely Black 115g

轻质环保纸120克

Prime W/F 120g

本书缘起于与北川一成的深度对谈。整理档案的过程中我们发现，“设计师”已不足以定义他-他更像持针引线之人，穿梭于商业与艺术、传统与现代、理性与感性的裂隙，以设计为针脚，修补被遗忘的记忆与断裂的联结。这便是《补丁》的由来。本书的核心路径，正是将承载真价值的品牌，转化为社会共享的记忆，这本质上，是一场“再连接”。

Here is a simplified translation that pre-serves the poetic nuance while beingconcise and direct: "This book grew fromdeep conversations with Issay Kitagawa.Reviewing his archives, we found the titledesigner' inadequate-he is more likea threader of needles. Moving betweencommerce and art, tradition and moder-nity, he uses design to mend forgottenmemories and severed connections. Thiss the origin of Patchwork. The book'score mission is to transform brands oftrue value into shared social memories.UItimately, it is an act of'reconnection."

态

Vibe

尺寸：

210*297

胶装

Perfect Binding

封面：

铜板 250克

APP Digital 250g

内页：

亮铜128克

APP Digital-Gloss 128g

蒙肯 100克

Munken Paper 100g

这三册杂志，如同三扇不同色调的窗口，分别对准涩谷克彦创作宇宙中的三个核心维度。涩谷克彦如何从文化中捕捉灵感，又如何将美学与当代设计语言熔炼成独特的视觉语法。那些标志性的图形与字体背后，藏着哪些文化的对话、技术的挑战与直觉的决断。那些看似随性的线条，又如何勾勒出一位创作者与世界互动的方式。

These three volumes, like three windowstinted in different hues, each focus ona core dimension within the creativeuniverse of Shibuya Katsuhiko: howhe draws inspiration from culture andrefines aesthetics into a unique visualgrammar through contemporary designlanguage; what dialogues of culture,challenges of technique, and intuitive de-cisions lie behind those iconic graphicsand letterforms; and how those seeming-ly free-flowing lines ultimately outline acreator's way of engaging with the world.

人人都是设计师？

Is Everyone a Designer？

尺寸：

119*190

锁线软精装

Sewn Soft Cover Binding

封面：

滑面蒙肯纸300g本白

Matte Uncoated Munken Paper 300g, Natural White

内页：

粗面蒙肯纸120g本白

Textured Munken Paper 120g, Natural White

棉质环保纸120g浅米

Cotton-based Eco-friendly Paper 120g, Light Beige

这是一本关于若杉浩一设计理念的时间流讲座体书籍。在广义的，现行的商业系统设计之外，设计也可以是一种以“人”本身为单位来构建社会的方式。通过设计，让行政部门、企业和市民保持“弱连接”，不断积累小而确切的实践来实现地域的再生。在这种理念下，设计作为一种机制介入，作为重新连接人与人之间关系的媒介，成为维护地方/场所的持续运作的动力。

整本书以他的一次讲座为线索，主要由正文讲座和链接文章两大部分组成。正文讲座部分以讲座时间记录贯穿，又辅以外部资料相互对照。链接文章部分的Q&A标注了可作为对照的讲座内容部分相应的时间。读者可前后对照阅读，更加立体地认识若杉先生的社会设计理念。正文与链接分为两种纸质，使内容便于区分、富有节奏感。

This book takes the form of a time-stamped lecture, exploring the design philosophy of Koichi Wakasugi.Beyond the broad and prevailing framework of commercial system design, design can also be understood as a way of constructing society centered on the human being. Through design, administrative bodies, enterprises, and citizens can form “weak connections,” continuously accumulating small yet solid practices that contribute to regional regeneration. In this sense, design operates as a mechanism for rebuilding interpersonal ties and supporting the continuous maintenance of local environments and places.

Structured around a single lecture delivered by Wakasugi, the book comprises two main sections: the lecture transcript and supplementary linked essays. The main lecture text follows a chronological timeline, cross-referenced with external source materials for contextual depth. The Q&A segments in the linked essays are marked with timestamps corresponding to specific points in the lecture, encouraging readers to navigate back and forth for a multi-layered understanding of Wakasugi’s social design approach.To enhance readability and create a rhythmic reading experience, the main lecture text and supplementary linked content are printed on two distinct types of paper.

缺席建筑的三种在场

The Threefold Presence of the Absent Architect

尺寸：

174*231

裸脊锁线

Exposed Spine Stitching

封面：

墨极黑115g

Sirio Ultraquarelle 115g

内页：

暗纹艺术纸 100g

哑粉纸 105g

薄型再生纸 85g

Artic Volume 100g

Digital Art Paper 105g

Thin Recycled Paper 85g

这是一本以“剧场”为核，构筑“编辑”为语法、视“缺席〞为舞台的实验之书。它不仅是对TOTO GALLERY • MA一场同名展览的记录，更是以书籍为场所，将“编辑”本身重演为一场多幕戏剧。书中，大、中、小三册对应着后台、舞台与节目单，一道红线如追光般贯穿始终，牵引视线。建筑与漫画在此并非主从，而是并置的演员；吉村靖孝与TOTO画廊也非孤立的作者，而是互为“架构者” 与“转译者”。全书试图追问：当建筑师主动“缺席”，权力让渡之后，意义如何在多重媒介的接力转译与读者的身体性栖居中，被重新编辑、生成与确证？

This is an experimental book that takes"theater" as its core, "editing" as its syntax, and "absence" as its stage. It transcends documenting the TOTO GALLERY MA exhibition to restage "editing" as a multi-act drama. The large, medium, and small booklets correspond to the backstage, stage, and playbill, traversed by a red thread that guides the gaze. Architecture and manga are juxtaposed per-formers; Yoshimura Yasutaka and TOTO GALLERY are mutual "Architectors" and "Retranslators." It poses a central ques-tion: when the architect's power is relin-quished, how is meaning re-edited and affirmed through multi-modal translation and the reader's embodied dwelling?

卓物志

Specimen Taku

尺寸：

210*267

欧姆钉装订

Ohmic Nail Binding

封面：

蓝图纸80克

Blueprint Paper 80g

内页：

蓝图纸80克

Blueprint Paper 80g

全书以实验性的“物种图鉴”形式，从解剖的视角系统解构佐藤卓的设计生命体。书中仿照生物学分类，将其核心理念划分为五大“属”，分别对照佐藤卓的五个理念，每个理念都被转化为可被观察、剖析的“设计物种”。通过档案式排版与视觉化解剖，不仅展示佐藤卓作品的表层形态，设计生命也在分类与并置中显露出本质的逻辑进化轨迹。

The book uses an experimental "species guide" form to systematically deconstruct Taku Sato's designed life form from an anatomical perspective. The book follows the biological classification and divides its core concepts into five "genera"Compared with Takesu Sato's five concepts, each concept is transformed into a"design species" that can be observed and analyzed. Through archival typesetting and visual anatomy, not only the surface form of Taku Sato's works is displayed,but the design life also reveals the essential logical evolution trajectory in classification and juxtaposition.

跳格子

Hopscotch

尺寸：

148*210

胶装

Perfect Binding

封面：

水纹纸250g

Watermarked Paper 250g

内页：

艺术纸米白70g

Off-White Are Paper 70g

《跳格子》是一本像跳房子游戏一样充满趣味与自由的设计之书。它通过服部一成的设计哲学，带你在规则与创意之间玩转跳跃。在这本书中，网格不再是束缚，而是自由发挥的舞台，服部一成用他的独特方式将“错误”和“偏差”转化为设计的亮点。每一页都像是跳跃的格子，读者可以选择自己感兴趣的部分，尽情探索服部的设计世界。这不仅是一本设计书，更是一场探索创意思维的游戏。

"Hopscotch" is a design book that's as playful and free as a game of hopscotch. It takes you through the design philosophy of Issei Fujita, guiding you to jump between rules and creativity. In this book, the grid is no longer a constraint but a stage for free expression. Fujita transforms "errors" and "deviations" into highlights of design in his unique way. Every page feels like a jumping grid, allowing readers to explore Fujita's design world by selecting parts they’re most interested in. This isn't just a design book; it's a game of creative exploration.

光巡集

Light Patrol Collection

尺寸

256*128

三孔穿线装

Three-hole Cable

Threading Assembly

封面

触感艺术纸160克

Tactile Art Paper 160g

内页

触感艺术纸 84克水洗纸揉纹 145克

Tactile Art Paper 84y Washed Paper with Ruffled Texture 145g

本书以"散步"为叙事框架，全书文字统一置于页面上方，构成视觉"道路"；下方留白处则散落着田中良治的灵感、图像与工艺痕迹，形成可供凝视的"街景"。通过书脊色彩的渐进变化，模拟从凌晨到深夜的天色流转，时间在翻阅中推移。

这是一场从凌晨到深夜的光影漫游。它以故障为路、微光为语，沿着霓虹、长椅、后巷与地铁的轨迹，在破碎处捡拾散落的视觉诗。

This book uses "walking" as its narrative frame. The text is aligned at the top of each page, forming a visual "road," while the lower space is scattered with Ryoji Tanaka's inspirations and sketches, creat+ing a "street view." The spine color shifts gradually from dawn to dusk, simulating the passage of time.

It is a journey of light and shadow from morning to night. Following paths of neon, benches, alleys, and subways, it gathers visual poetry from fragmented places-using faults as paths and faint light as language.

有尺，无尺

With a Ruler or Without

尺寸：

182*257

裸背锁线精装

Thread-sewn Hardcover With Exposed Spine

封面：

棉白248克

All Rag Aaper 248g

内页：

双胶纸100克

Woodfree Paper 100g

硫酸纸73克

Sulfuric Acid Paper 73g

这本书记录了白井敬尚的日常思考与实践方法。全书分为黑白与彩色两册，用简单的色彩对比展现设计师外在的理性与内在的感性：黑白册聚焦“有尺”，讲述如何通过测量、手工操作和实体工具完成设计，强调身体经验的重要性；彩色册则探索“无尺”，分享直觉创作和灵感内化的过程，体现设计中的自由表达。

两册内容相互交织，帮助读者理解白井敬尚的设计逻辑。书中没有复杂的理论，而是通过具体案例和日常记录，让学习者感知设计背后的手感与思考轨迹。无论是测量时的专注，还是灵感迸发的瞬间，都以朴实的语言呈现，适合学生群体借鉴。翻开本书，就像跟随一位前辈的足迹，在实践与感知中寻找设计的平衡点，为创作提供实用的启发。

This book records the daily thinking and practical methods of Yasunobu Shirai. The book is divided into two volumes: black and white, and color. Through simple color contrasts, it showcases the designer's external rationality and internal sensibility: The black and white volume focuses on "measuring tools", explaining how to complete designs through measurement, manual operations, and physical tools, emphasizing the importance of physical experience; The color volume explores "no measuring tools", sharing the process of intuitive creation and the internalization of inspiration, reflecting the free expression in design.

The contents of the two volumes interweave with each other, helping readers understand Keisuke Hasegawa's design logic. There are no complex theories in the book; instead, through specific cases and daily records, it allows learners to perceive the touch and thinking trajectory behind design. Whether it's the concentration during measurement or the moment of inspiration, it is presented in plain language, suitable for students to draw inspiration from. Opening this book is like following the footsteps of an elder, seeking the balance point of design through practice and perception, providing practical inspiration for creation.

媒介即按摩

The medium is the Mæssage

尺寸：

225*297

裸脊锁线

Exposed Spine Stitching

封面：

精装封面纸·树纤条纹110g

Cover Fibline 110g Simple White

内页：

超白高级复印纸 80克

Inside pages UPM Jetset Presentation Extra White 80g

《Mæssage》是一次设计实验。本书以日本平面设计师加藤贤策为镜，并非撰写传统传记，而是运用中医“子午流注”理论，将其职业生涯解构为十二组环环相扣的核心命题。

全书遵循“气血循环”的逻辑，从“子时胆”的创生决断，到“亥时三焦”的整体贯通，生动阐释了加藤如何从DTP技术的一代，成长为一位“数字时代编目者”。我们深入剖析其“媒介即按摩”的核心理念——设计不是被动的信息传递，而是主动的感知塑造与编辑介入。

更具挑战的是，本书自身即是其理论的实践。将“按摩”哲学转化为可触摸的阅读体验。这不仅是一部关于设计师的书，更是一本邀请读者用手、眼、心共同参与，亲身体验“设计如何塑造认知”的感官书。

"Mæssage" is a design experiment. This book takes Japanese graphic designer Kato Kenzo as the subject, not writing a traditional biography, but using the Chinese medicine theory of "zi-mu flow" to deconstruct his career into twelve interlocking core propositions.

The entire book follows the logic of "blood and qi circulation", from the "creation decision of Zi Shi (the gallbladder)" to the "overall connection of Hai Shi (the triple burner)", vividly explaining how Kato transformed from a pioneer of DTP technology to a "cataloguer of the digital age". We deeply analyze his core concept of "media as massage" - design is not passive information transmission, but active perception shaping and editorial intervention.

Even more challenging is that the book itself is the practice of its theory. Transforming the "massage" philosophy into a tangible reading experience. This is not only a monograph about a designer, but also a sensory book that invites readers to participate with their hands, eyes, and hearts, and to personally experience "how design shapes cognition".