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.

表4中可以看出PISA题的每一道题都是设有情景，而中考题里设置情景的题目仅有33.3%；PISA题目中四种情景所占的比例相差不大，职业的稍微偏少，而中考题中也都涉及到四种情境，只不过每种情境所占的比例都较少，更多的无情境题目是对知识点的掌握和运用的考察.

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.

首先是让教师掌握微格教学的训练方法、教学技能的功能和行为模式，并让教师组成一个教学小组，亲身体会微格教学的基本流程和精髓。

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.

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.

改革开放40年来，农业、农村发展和农民生活都发生了巨大变化，其背后的原因当然有很多，其中，农民合作经济组织的产生、发展及其在形式上的不断创新，是推动农村经济社会发展的重要动力之一，也是中国从传统农业向现代农业转变的重要载体。本文拟在回顾农民合作经济组织40年变迁历程的基础上，讨论实践中创新的各种类型合作社及其与标准合作社之间的关系，指出中国农民合作社演变的未来路径，并提出对策建议。

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.

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.

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.

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.

由图1～3可知，3种水灰比的试件，经过冻融0次、25次和50次后，其峰值应力均随着应变加载速率的增加而增加。

我来之前也做了一些功课，因为我想了解一下现在做设计的人是怎么理解这个概念的。这是英国经济委员会讲到设计的概念，好的设计可以改变生活、改变社区、改变组织，让他们变得更好，可以帮我们在更好的环境下生活，让社区和组织更加繁荣。这是比较简单容易理解的方法。对我来讲，重要的不是什么是设计，而是由设计能让我们做什么。我们可以回顾一下看看我们周围的文化，我们的行为由设计带来了哪些变化？比如机动汽车的出现，使得我们可以到处走，过一个社交非常丰富的生活。而福特公司所设计的成本相对较低的汽车给我们的生活带来了翻天覆地的变化。 更护着笔记本电脑的出现，一个设计的创新带来了巨大的意义，改变的是我们的工作方式。

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.

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.

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.

针对以上情况，如何合理有效、有针对性的分类整合江苏临港产业集群，发挥地理和区位优势，提高临港经济水平，显得尤有必要。我们认为，江苏临港产业合理集群化发展的必要性体现在以下几个方面。

大家可以看一看这个图，出自Thomas Berry，展现了未来人类发展的生态系统的情况，包括我们也在不断的向系统设计思维的这个模式发现。如果大家真的考虑到系统的话，你会发现不同的体制当中它的体系和系统思维是非常相似的。在这种体系的思维范式当中，其实我们是要先具有一个宏观的概念，知道这当中一些重要的部分，也就是这当中列出来的一点一点。但是系统的体系化的设计思维并不仅仅只是找到这些重要的点，而是找到这些重要的部分之间的相关联性。比如说我曾经花了很多时间研究的一个叫做未来公司（Institution of Future）的公司，它位于斯坦福，但是他们的研究当中其实就是研究关于未来的思维、设计方式的。其实在未来的发展当中，我们就需要理解所有的重要的因素以及他们之间的相互关系，然后提出一个平衡方法。

在英国我关注经济，是因为我也想知道未来的发展并不仅仅是考虑我们设计的生态系统，同时要知道市场是不是可持续的。在英国，设计占据的经济份额是举足轻重的，经济附加值达七百一十亿英镑，这些钱为英国经济做出了巨大的贡献。目前有两个领域发展得非常好，一个是数字化领域一个是交叉学科领域。我想大家要知道，它们这两个领域在未来的发展方向是非常重要的。还有一点是，人们对于设计投资的汇报的考虑，这当中也是涵盖不同的维度的。我们也可以从纯经济的角度看说在财政上带来了多少的回报。其实还有其他的维度，比如内部的一个维度，包括还有文化的维度和客户的维度，比如，客户满意度。文化的维度，包括社区对文化的变化。这些都是有效设计的重要维度。我现在所做的就是将这些理念融入到我目前在普利茅斯大学所从事的设计教育和设计实践中。

韵玲：我是北方人，大学毕业后就留在了山清水秀的江南，一年四季，其他三个季节都很舒服，就是到了冬天，实在是受不了这种阴寒的凉气。在南方过冬，我已经习惯晚上盖着好几床被子睡觉了。不过做了孕妈妈之后，就感觉很不方便了，盖两床棉被感觉太压迫人了，都快喘不过气来了。而且在北方暖暖和和的棉被到了南方也水土不服不好用，天气潮湿的时候，反而黏糊糊的，如果没有个艳阳天，反而晒不透。孕期晚上睡觉怎么能睡得舒服，就成了我的心头大事！

在我讲正题之前，我想介绍一下我的背景。我曾在IEDEO从事了多年的设计实践，经历了非常广泛领域的设计实践，这为我奠定了很好的基础，让我知道如何在学术领域当中去更多的理论上的学习，在从事多年行业实践之后，我加入了学术界，进入大学。我觉得这是一个很好的了解大学教育宗旨的方式。

我最近的经历，是从事设计教育。 大家现在看到的是我的学生的作品。他所想要表达的是到2050年，世界人口会超过100亿， 而他想要探究的就是我们如何在未来的时间里生存。 所以他设计的理念就是我们如何在未来生产蛋白质，用以保障人类2050年的人口蛋白质需求。 你可以从他给出的例子中看到，我们未来将能够在包装袋或者在家里培植蛋白质。而我们所做的，就是引导学生前瞻性的思考，去考虑未来的生活方式。

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.

我的演讲希望大家可以理解什么叫做革新型的变革型的设计。这其实是一个非常重要的思维方式，这样可以帮助我们在接下来的十年进一步的发展。我希望大家可以真正的掌握到我演讲的精髓。这当中会讲到整体设计，以及我们如何可以促进推动经济的发展，还会分享一些设计思维方法论。

数字化课程的建设要将课程内容的数字化作为基础，课程内容的设计要符合学生认知规律和职业能力形成规律，将数字化资源作为项目内容的载体，把课程内容设计成为几个大项目，比如基础、强化、拓展这几种任务类型，基础项目则是认识数控机床，对机械部件的维修、对电气控制系统装调维修、整机联调等，而强化任务则是对数控系统输入输出信息号进行连接，在扩展层任务中进行综合故障诊断。基础任务是为了让学生掌握最基础的知识与操作技能，同时也是培养职业能力与职业素质的基础。在教学时可以使用视频、动画或者是仿真环境进行数字化教学，让学生能够对相关知识进行直观性了解。

面对小学教育多媒体教学的新形势，我们应该首先加强教师思想教育，加强党员和教师的先锋模范作用，因为人们的思想决定了动机、行为和创造力，决定了教育的方向和质量。其次是管理上要跟得上时代，对于小学英语教师的培养要遵守人才发展规律。再次是加强教师的教研改革活动，可以给英语课堂注入新的活力和魅力，甚至可以形成一定的校园氛围，从而全面提高教学质量。还有要适度对教师进行中长期进修培训，让教师有针对性、实效性、全身心的投入到培训中去。

我们正处于一个转型的时代，我们无法预计未来将是什么样子的，新的景观、心的视野， 而我们想要设计一些项目帮助我们了解未来范式的变化。比如我们有开放的数据、开放的治理、开放的制造，所有这些都是接下来发展的趋势，是我们需要学习的内容。现在有一些非常好的流程，上午提到设计思维的概念，这是以人为中心的。还有讲过共秩序、人治学等等，所有这些东西都帮助我们来理解我们的用户，理解我们的终端用户。我们如何和他们可以联系起来。事实上我们现在已经把以人为中心或者以生活为中心的这种设计思维的模式转变到生态系统的设计模式。这是我们做设计提供解决方案的时候要思考的。

大家好！ 非常感谢江南大学邀请我来演讲，我演讲的主题是为生活而设计。我要从这张图开始我的演讲。我想我们正处在一个新的人类的可能性的时代。对于我来讲，我的理解就是说，我们都是相互依赖相互依存的。我认为为生活设计，其实就是一个把我们联结在一起的一个过程，让我们在设计过程中可以互相的交流，并且不断的发展。

我们现在所处的社会和环境问题的设计范式是相同的，但是我希望通过不同的方法来理解和解决这些问题。也就是说如果我们一直保持和过去一样的设计方法，那么我们其实制造出来的问题也是不会改变的，我们必须要想出一种新的工作方式，这也就是我过去几年所做的研究，去了解共存的行业属性，去找到一个新的方法，新的方法论。

我想要做的事情，其实就是了解一个新的生态系统，新的经济，共同的看这两个问题。那么从这个过程当中也要了解所有的不同的行业当中的工艺流程。我想所有我讲的这些大家都是知道的，所有这些都是方法，都是工艺。作为我们这些年轻的设计师来讲，是我们学习的过程，更是解决问题的途径。

和我一起合作的博士学生，其实我们就开始了解这个自然当中的一些变化，其实就是说，我们要对大自然有更多的了解，这会给我们带来更多的启发。通过我们对自然当中学习到的东西，习得这些技术习得的这些感悟，用它作为我们未来发展做创新做设计的灵感和概念。因为这样就让我们可以想到我们在做设计的时候，怎样能够确保我设计的产品是和自然能够和谐共处的。我做了一些探索，如果我们只关注设计的话，其实是可以预测到的，可以预见到的。实际上我也有学一些物理，和一些教授一起学物理，还有一个量子物理学的教授。我有跟他们一起学习物理，了解了他们的行业，了解了他们的学科以后，我就画出了这样的地图，让我们了解说其实创造的流程是怎样的。生物学，分子生长，共生，还有基因治疗以及细胞的突变等等，所有这些东西都可以刺激我们做设计和创新。之后还会具体和大家讲。大家要知道，重要的不是我们设计了什么，而是我们的思维模式。

这当中重要的就是核心的价值观，也就是学生在设计东西的时候，他知道我设计的东西的价值观是什么。大家要知道这个价值观，设计的物品当中涵盖的价值是非常重要的。我们要知道一个初始者的心态，也就是我们刚开始学习的时候要有开放的心态，就像初学者一样，有一个初学者的心态，保持开放的心态去学习，去了解很多东西。还有了解很多的因果关系，同时还有非因果的关系，还有真实性。这也就是说，我们有了新的想法的时候，要确保这个想法是真实的。还有我们要鼓励所有的设计师培养自己讲故事的能力，还有就是要享受愉悦以及要有这种惊奇感。其实这两点，我们现在在设计学院当中，在教学当中已经不太讲了。但是这其实是人的本性，就是人都是有好奇心的，想要享受这种愉悦的感觉。

还有一点就是要不断的进行反思，因为我们现在的社会步伐太快了，我们其实没有时间去反思我们自己在做什么。所以我们在课程当中也会留些时间让学生反思去思考自己设计的作品的缘由。

这些创意潜力以不同的方式发生着，有的学生喜欢比较随性的工作方法，他们比较喜欢以有趣轻松的方法激发自己的创意而不是参照流程做事，而我们在学校的教学过程中需要能够清楚的认识到这一点。有一些学生就喜欢和不同的原材料打交道，有的人是习惯工艺的，喜欢流程的，像今天上午Vijay Kumar讲到七步的设计步骤，也是很好的步骤，我们很多学生都这样来做。举个例子，像大家看到这个照片上的船，是我们的一个学生Martin用可持续材料做的，它是可以折叠起来的。普利茅斯是一个靠海的城市，所以我们和大海有很多互动。 他所取得多成功便是因为他鼓励设计师在设计的过程中关注洞察、策略、表达和流程以及所有适合设计师的流程与方法。

“当然有。”我掏出来给他，正疑惑着他要做什么，只见他低头在纸上迅速写下几个字，贴到玻璃窗上给儿子看。里面的年轻人，看着看着，神情变了，两行泪缓缓地从腮边滚落下来。

但是我们还有整合。一些设计师喜欢和别人合作，喜欢把自己的想法玩转。我最近有带一些学生去印度，和他们一起参与设计印度的铁路。我们一起去坐火车，一起和乘客们一起选取创造原型，并设计一些新的概念。这也是设计思维非常有意思的地方。我提出过关于创造力潜能的概念，Stefan Sagmelster，一个常驻纽约的平面设计师，在他的设计中把所有这些过程都放在一起。他有自己的工作室，他为不同的机构做设计，他设计的时候可以用比较随机比较有创意的方法进行设计。他每七年就把自己的工作室关闭一段时间，然后就利用这些时间到处走走，来收集一些想法； 他有他自己和客户合作的流程，因此他能够阐释出客户所需， 他喜欢和人一起工作，使他能够把不同的事物融合在一起。

这里我画了一张地图，地图上反映了设计的过程，有些是随机的，有些是整合的，和他人共同合作的过程，有些则是针对性的过程。因此我们在执行这些过程的时候我们会发现这个过程适用于不同的人，当然在这个过程的核心是问询。 我认为作为一个不断学习的设计师，很重要的一点是，我们具备基于同理心之上的判断力。同理心非常重要，它是你和其他人之间的联结，是你和自己的联结，和生态系统以及和周围环境的联结。 你在做设计的时候，有的时候是下意识的，有时候是无意识的，有时候是有意识的。所以大家要知道，通过这个流程图，一个地图，就想让大家知道我们创意的发生、激发，它的源头到底是怎样产生的。我希望通过这些来理解创造力和设计，通过这样和我的本科、研究生还有博士生一起合作。 我还设计了这些小的装置，希望把我设计理念进行实践，这是其中的一个例子，它是用一种当地的木材打造的，希望能够反映设计的创造力特性。

非常感谢大家的聆听！