未来提案｜厦门大学创意与创新学院2026毕业设计作品②

透明之墙

The Transparent Wall

视觉传达设计

Visual Communication Design

阙呈润 QUE Chengrun

指导老师 | 甘森忠 GAN Senzhong, Mark Bellingham

手语是一种无声的身体语言，它不依赖声音，却通过手势、姿态与情绪传递信息。每一次抬手、停顿与转折，都在空气中留下转瞬即逝的痕迹。本项目《透明之墙》试图将手语中看不见的沟通，转化为可被阅读的视觉形式：通过捕捉手势的节点、运动的方向、传递的能量、肢体的轨迹，构建一套以“看见”与“被看见”为核心的视觉语法。我希望打破“声音”作为沟通的唯一标准，让更多人读懂无声世界的表达逻辑，让手语不再是一道看不见的墙，而是一座连接彼此的桥。

Sign language is a silent language of the body. It does not rely on sound, yet conveys meaning through gestures, posture, and emotion. Every raised hand, every pause, and every turn leaves a fleeting trace in the air. This project, The Transparent Wall, attempts to transform the invisible communication within sign language into a readable visual form: by capturing the nodes of gestures, the direction of movement, the energy transmitted, and the trajectories of limbs, it constructs a visual grammar centered on "seeing" and "being seen." My goal is to challenge the notion that "sound" is the sole standard for communication, enabling more people to understand the expressive logic of the silent world, and allowing sign language to cease being an invisible wall and instead become a bridge connecting us all.

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导师评语 Mentor’s Review

阙呈润同学的设计以听障群体的手语为视觉设计切入点，通过对手语进行长曝光轨迹摄影实验，解构听障人群在手语表达过程中的“不可见能量”。结合信息设计逻辑与空间现象学理论，对手语进行几何映射、数字化转译重构，探索消除感官壁垒的视觉叙事策略。项目从视觉设计的视角提升手语的社会可见度，以此推动公众对听障人群的关注与关怀，同时也为探讨沟通本质、促进特殊群体的社会包容性进行设计实践。项目整体视觉设计完整性强，有较好的创新性与实验探索性。

Que Chengrun's design takes sign language as its visual entry point. Through long-exposure trajectory photography experiments, the project deconstructs the "invisible energy" in the signing process of the deaf and hard-of-hearing. Combining information design logic with spatial phenomenology, it applies geometric mapping and digital translation reconstruction of sign language, exploring visual narrative strategies that eliminate sensory barriers. From the perspective of visual design, the project enhances the social visibility of sign language, thereby promoting public attention and care for this community, while also engaging in design practice that explores the essence of communication and fosters social inclusion for marginalized groups. The overall visual design of the project demonstrates strong completeness, with considerable innovation and experimental exploratory qualities.

甘森忠 GAN Senzhong

未完之渡

Bridging

视觉传达设计

Visual Communication Design

黄景浩 HUANG Jinghao

指导老师 | 张文化 ZHANG Wenhua, Caleb Fahey

本项目以绍兴桥梁与水系文化为研究对象，通过田野摄影、图谱整理与编程生成，将桥洞、水纹、石痕与河岸生活转译为动态视觉系统。作品由"渡口"与"对岸"两本实验书、生成影像及交互程序组成，试图在传统水乡记忆与当代数据流之间建立新的观看关系。桥不只是通行结构，水也不只是地域景观，它们共同构成一种未完成的连接、流动与回望。

This project explores the bridges and waterways of Shaoxing through field photography, visual mapping and generative coding. Bridge arches, water ripples, stone traces and riverside life are translated into a dynamic visual system. The work includes two experimental books, Ferry Point and Far Shore, alongside generative video and interactive programs. It attempts to build a new visual relationship between traditional water-town memory and contemporary data flow. Here, bridges are more than mere structures for crossing, and water is not only a landscape; together, they form an unfinished state of connection, movement and looking back.

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导师评语 Mentor’s Review

很荣幸能在黄景浩的毕业设计项目以及他在ICI整个本科学习期间担任他的导师。他的项目就像一条河流，历经许多意想不到的曲折，最终结出硕果——这是一个连贯且经过充分迭代的、对其研究历程的圆满回应。

这个名为《桥接》的项目，将黄景浩对新兴技术的兴趣与他对家乡的自豪感巧妙融合。绍兴水道的重要性与我们当今对日益赛博化社会的依赖有着惊人的相似之处，而水道同时也为连接更广阔的世界提供了平台。

黄景浩在这个项目上勤奋努力，并且总是乐于接受建议和反馈。我衷心祝愿他在研究生阶段一切顺利，并期待看到他在人生下一阶段取得新成就。

It has been a pleasure working as Huang Jinghao’s tutor during his Final Major Project and throughout his BA studies at ICI. His project, much like a river, has taken many unexpected twists and turns before eventually arriving at its outcome: a coherent and well-iterated response to his research journey.

The project, Bridging, connects Huang Jinghao’s interests in emerging technologies with his pride in his hometown. The importance of the waterways of Shaoxing has striking parallels to our modern-day reliance on increasingly cybernetic societies, with waterways also providing a platform for connection to the wider world.

Huang Jinghao worked diligently on the project and was always keen to respond to advice and suggestions. I wish him the very best of luck in his postgraduate studies and look forward to seeing what he will achieve in the next stage of his journey.

Caleb Fahey

数字消费主义背景下注意力分散现象的思辨设计探讨

A Critical Design Inquiry of Attention Fragmentation in the Context of Digital Consumerism

视觉传达设计

Visual Communication Design

肖嘉 XIAO Jia

指导老师 | Ruehl Muller, 吴鑫 WU Xin

注意力分散的本质是数字消费主义通过内容符号化，对个体注意力不断切割与分散。

本设计聚焦算法时代注意力分散与认知退化议题，以 “打字即破碎” 为核心隐喻，构建静态海报、动态视频、互动装置及生活化延展物品的多载体思辨设计体系。将抽象的注意力分散过程可视化，引导观众反思注意力碎片化对自身的深层影响，并唤起公众对深度思考能力的珍视。

At its core, attention fragmentation stems from digital consumerism, which constantly fractures and scatters our focus by turning content into symbols.

This project tackles the issues of attention fragmentation and cognitive decline in the algorithmic era. Centered on the metaphor "Typing as Fragmentation," it constructs a multi-carrier speculative design framework that spans static posters, dynamic videos, interactive installations and everyday objects. By visualizing the abstract process of attention dissipation, it invites the audience to reflect on the profound impacts of attention fragmentation, fostering a renewed appreciation for deep thinking.

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导师评语 Mentor’s Review

肖嘉的项目探讨了算法时代注意力的碎片化问题，审视了数字消费主义与网络内容的持续干扰如何侵蚀专注力，进而削弱深度批判性思考的可能性。该项目并未局限于通过传统平面媒介传达这一理念，而是将碎片化的注意力体验转化为一种沉浸式的多感官环境。印刷品、动态影像、装置与互动元素的结合，创造了一件实验性且浑然一体的“总体艺术作品”，各组成部分共同服务于统一的概念体验。其视觉语言既独特又富有目的性，运用材料、动态与参与感来强化项目的核心论点，而非简单地图解它。这种整体性的方法鼓励观众在智识与身体层面与作品互动，促使其反思自身与数字媒体及注意力的关系。最终成果展现了对当代思辨设计的深刻理解，成功通过远超普通海报（尽管这种形式常被推崇）的体验，传达了复杂的社会议题。

Xiao Jia's project explored the fragmentation of attention in the algorithmic age, examining how digital consumerism and the constant interruption of online content erode concentration and diminish opportunities for sustained, critical thought. Rather than communicating this idea solely through traditional graphics, the project translated the experience of fragmented attention into an immersive, multi-sensory environment. The combination of print, moving image, installation and interactive elements created an experimental and cohesive 'gesamtkunstwerk', in which components contributed to a unified conceptual experience. The visual language was both distinctive and purposeful, using material, movement and participation to reinforce the project's central argument rather than simply illustrating it. This holistic approach encouraged audiences to engage with the work intellectually and physically, prompting reflection on their own relationship with digital media and attention. The outcome demonstrated an advanced understanding of contemporary speculative design, successfully communicating complex social issues through an experience that extended well beyond just a simple poster which is so often encouraged.