未来を創る“Hybrid Innovation” 

This article introduces the programme “Hybrid Innovation” Creating the Future: Transcending Boundaries through Multi-Communication, a new collaboration between Tokyo Tech and Central Saint Martins, University of the Arts London (scroll down for English text).

東京工業大学とロンドン芸術大学セントラル・セント・マーティンズ校(以下CSM)の新しいコラボレーションが始まっています。科学とアートの融合により、研究・教育を超えて社会・産業界にも大きなイノベーションのうねりを作る、それを実現すべくユニークな活動に取り組んでいます。 → 東洋経済ONLINE 2021.1.16「技術革新を”翻訳”で促す」東工大の意外な研究:科学とアートの融合を可能にする新しい学問

私たちは2009年よりサイエンス&アート研究教育ラボCreative Flowを開始し、武蔵野美術大学やフィルムアート社/コンセントなどのクリエイティブな盟友たちと合同ワークショップ「コンセプトデザイニング」を立ち上げて運営し、またCreative Caféシリーズで科学とアート間の対話を推進してきました。両分野の学生や研究者が協働することで、創造性、チームマネジメント、コミュニケーション、課題解決力が変化しソフトスキルが上がることが確認されています。

2017年にはCSMともタッグを組み、両分野の知の統合をさらに推進しています。シンポジウム「the Experiment 科学・アート・デザインの実験」 (2017)、研究プロジェクト「Existential Wearables: What are we going to wear in Tokyo in 10 years’ time? 実存ウェアラブル:10年後の東京、ひとは何を着ているか?」(2018) 、合同ワークショップ 「Becoming Hybrid 生まれゆく混成」 (2019) 、心臓をテーマとしたデザインワークショップ” Hacking Hearts” (2019) など思索的・学際的研究活動を積み上げてきました。このコラボレーションは、東工大WRHIサテライトラボとして公認され、科学とアートの学際的研究+クリエイティブな実践活動の拠点となっています。

科学技術とアート/デザインが接するとき、自分たちとは異なる「他者」に出会うことで、私たちは思い込みや習慣に縛られていることに気づきます。言語文化、考え方、価値観にはオルタナティブがある。均質の文化で守られたコンフォートゾーンから出て異分野空間に自分を置き換えてみることで、自分自身は翻訳され、発想の転換を体現することができます。

これらを背景に、このたび私たちは異分野の人材・情報を融合する企業向けプログラムを実施することにいたしました。

VUCA (Volatility (不安定); Uncertainty (不確実); Complexity (複雑); Ambiguity (曖昧) と言われる今、既存の分野に安住し定型的思考のみに頼っていては、新しい視点で未来に挑むことはできません。イノベーションは技術革新でなく、社会革新でなくてはならない。そのためには思考の革新が必要です。課題は、「知の分断」をのりこえ柔軟に発想すること、それを可能にする「道筋」です。

本プログラムでは、イノベーションの創出と発想転換の文化・手法を確立するための“Hybrid Innovation”プロセスを体現します。参加企業様が、科学者、技術者、アーティスト、デザイナー、哲学者を含む、東工大とCSMの多彩なスタッフとともに、科学技術とアートをつなぐ様々なダイナミックな活動を提供いたします。既存の枠にとらわれない価値・感覚・心理をアイデアに反映させるマルチコミュニケーションの場と議論を体験し、各企業におけるイノベーション創出に向けた戦略立案と実行に向けた知見を得ることができます。

活動期間:    2022年10月~2023年4月(8, 9月にプレシーズンイベント)

募集期間:         2022年6月1日~2022年9月15日 

プログラム内容:   対面/オンラインを柔軟に用いたセミナー、ワークショップ、ものづくり、実験、クリエイティブコミュニティ活動など。最終シンポジウム(参加企業限定と一般公開の両方)も開催します。

産学協働プログラム

 未来を創る“Hybrid Innovation”:    

~マルチコミュニケーションで境界を超える~

我々はイノベーションを生み出すことができているだろうか?

詳しい情報:プログラムご案内 (PDF)

お問い合わせ:  

東京工業大学 環境・社会理工学院URA(リサーチ・アドミニストレーター)                                 米山 晋  E-mail : yoneyama.s.aa@m.titech.ac.jp – TEL : 03-5734-2260

東京工業大学 社会連携課 シニアマネージャー                                              百瀬 洋  E-mail : shiwatanabe@jim.titech.ac.jp – TEL : 03-5734-7619

STADHI 事務局 E-mail : tokyotechxcsm@tse.ens.titech.ac.jp


Creating the Future through “Hybrid Innovation”

A new collaboration was launched between the Tokyo Institute of Technology, a leading science and technology university, and Central Saint Martins (CSM), University of the Arts London, a world leader in art and design. The fusion of science and art can create a great wave of innovation in society and industry, beyond research and education. Following this approach, we have been engaging in various unique activities. → READ Prof. Nohara’s interview “Encouraging technological innovation through ‘translation'”: Tokyo Tech’s surprising research: a new discipline that enables the fusion of science and art, on Toyo Keizai ONLINE 2021.1.16 (in Japanese).

Our Science & Art Lab “Creative Flow” started in 2009. We have been running joint workshops on “Concept Designing” in collaboration with Musashino Art University and promoted dialogue between science and art in the Creative Café series. Collaboration between students and researchers from both disciplines has been shown to improve soft skills such as creativity, team management, communication, and problem-solving.

In 2017, the Tokyo Institute of Technology and CSM teamed up again to further promote the integration of knowledge across disciplines through speculative and interdisciplinary research activities such as: “the Experiment” Symposium (2017), the research project “Existential Wearables: what are we going to wear in Tokyo in 10 years’ time?” (2018), the joint workshop “Becoming Hybrid” (2019), and the design workshop “Hacking Hearts” (2019) about biotechnological research on the heart. This collaboration is recognized as a WRHI Satellite Lab at the Tokyo Institute of Technology, a centre for interdisciplinary research and creative practice between science and art.

At the point of contact between science & technology and art/design, we find ourselves bound by assumptions and habits as we encounter “others” who are different from us. We recognize alternative language cultures, ways of thinking and values. By leaving a comfort zone that is protected by homogeneous culture and placing ourselves in an interdisciplinary space, we can translate ourselves and embody a shift in thinking. Against this backdrop, we are implementing a program for companies that integrates human resources and information from different fields.

In a time of VUCA (Volatility, Uncertainty, Complexity, and Ambiguity), we cannot face future challenges with a fresh perspective if we remain complacent in existing fields and rely only on formulaic, conventional thinking. Innovation must be implemented in a social sense, not only in a technological sense. This requires innovation in our way of thinking. What is needed is a roadmap to think flexibly and overcome the segmentation of knowledge.

In this program, participating companies will experience a “Hybrid Innovation” process to establish a culture and methodology for creating innovation and transforming ideas. They will work with a diverse range of staff from Tokyo Tech and CSM, including scientists, engineers, artists, designers and philosophers, to provide a range of dynamic activities that connect science, technology and art. The participants will experience a multi-communication space and discussion where ideas reflect values, feelings and psychology without being bound by existing frameworks, and will gain insights for planning and executing strategies for creating unique innovation in their companies.

Program period:            October 2022 – April 2023 (pre-season event in August/September 2022)

Application period:       June 1, 2022 – September 15, 2022

Program contents: Seminars, workshops, manufacturing, experiments, and creative community activities that will be carried out flexibly face-to-face and/or online. The program will be concluded with a final symposium (limited to participating companies and open to the public).

Industry-University Collaborative Programme

 “Hybrid Innovation”    

Crossing boundaries through multi-communication

Can we generate innovation?

For further information, please contact:

School of Environment and Society, Tokyo Institute of Technology

Research Administrator, Shin Yoneyama  (E-mail: yoneyama.s.aa@m.titech.ac.jp)

W9-83  2-12-1 Ookayama, Meguro-ku, Tokyo 152-8550 – TEL : 03-5734-2260

Public Engagement Office, Tokyo Institute of Technology

Senior Manager, Hiroshi Momose (E-mail: shiwatanabe@jim.titech.ac.jp)

T-2 2-12-1 Ookayama, Meguro-ku, Tokyo 152-8550 – TEL : 03-5734-7619

STADHI Office (E-mail : tokyotechxcsm@tse.ens.titech.ac.jp )

4-8 Nov 2019: Reflecting on the Hacking Hearts project UK

【下記の日本語訳をご参照ください】

The Hacking Heart hackathon was held at Central Saint Martins, London, UK, on 4-8 November 2019 (full programme here). Prof. Nohara and the team reflected on the interdisciplinary exchanges performed during their weeklong project. 

Illustration by Libby Morrell

“After day one I was a bit overwhelmed by the presentations – there’s a lot to absorb”. Participants and organisers of the Hacking Heart hackathon sat down 10 days later to reflect on the event. The project was a weeklong experimental collaboration between scientists and Art & Design students, held on 4-8 November 2019 at Central Saint Martins college (CSM) in London, UK. The activities were designed to interrogate and reimagine contemporary scientific research centred on heart disease, energy harvesting and cellular sensing. Talking to the organisers Dr Heather Barnett and Dr Ulrike Oberlack, the students described the initial difficulties in accessing scientific language and content delivered by the scientists, “I had more one-on-one experience discussing the research with the scientists that cleared up a lot of misunderstandings… it helped with our research and planning before we went to discuss it with the scientists”. Researchers from the Tokyo Institute of Technology (Tokyo Tech) and Queen Mary University of London (Queen Mary) worked with the organisers and 12 students from across a range of postgraduate courses at CSM (MA Art and Science, MA Design Furniture, MA Graphic Communication Design, MA Industrial Design, MA Jewellery Design, and MA Performance Design and Practice). Over the course of the week, the workshops facilitated a fertile exchange of ideas between artists and scientists. Each of the three groups of students produced a performance, delivered to participants and members of the public in a symposium on the last day.

The workshops took place in the Grow Lab at CSM, a biology facility dedicated to art and design teaching and research.  Photo © Hacking Hearts CSM/TiTech 2019

Initially, the event presented the typical difficulties of working collaboratively. “At the beginning we have a lot of ideas about the project, about the Hacking Hearts, how to show that, but, finally, we should give up some of them, some things are not very strong or some things not very connected, not very related”. The students learned to sacrifice some ideas to build up a clear outcome. “It was that phrase that consumed my mind: that a horse designed by committee could look like a camel”, the group laughed.

“It was that phrase that consumed my mind: that a horse designed by committee could look like a camel”

On the first day, the scientists shared their work in biotechnologies for the students to hack over the course of the week, ending with a public symposium on 8th November. Dr Thomas Iskratsch (Queen Mary) presented his research on biotechnological approaches for preventing and curing heart disease. Integrating biology with engineering, bioengineering solutions employ a combination of cells, signals and materials to create tissues outside the body that “will give us insights into disease processes, which in the future might aid design of novel drugs”. Dr Iskratsch researches the ways in which heart cells measure muscular stiffness by using simplified systems to investigate specific parameters in isolation, such as rigidity or shape. The students were invited to respond to his research and develop a “transdisciplinary translation” of its contents, as part of a wider effort to create a “third place bridging science/tech and art/design through communication”, as the organisers described. 

The participants collaborated for 4 days before presenting their responses in a public symposium. Photo © Hacking Hearts CSM/TiTech 2019

The research discussed by Prof. Wataru Hijikata (Tokyo Tech) provided additional food for thought. His presentation gave a quick overview of his work on energy harvesting systems that can be implanted in the human body, such as those required to power artificial heart pumps. The students responded to this work by creating props for a performance built around the idea of natural and artificial heartbeats. This inspired a question about accuracy during the symposium’s Q&A, as according to the students, by engaging with scientific content artists can “try to accurately communicate [in a] very certain and interesting way to a wider public audience, or you can go down the route where you’re just using as a jumping-off point, something to interpret, something to inspire you”.

The experience also changed the scientists’ own perception of what could be possible through collaboration with artists. On a straightforward level, Hijikata had to censor the content of his presentation to avoid discussing ethically challenging methods, such as the use of animal testing in research. This triggered a sort of suspicion about scientific procedures but resulted in a positive artistic outcome. For the scientist, “some disturbances are necessary for making impressive emotional performances”. He admired the performance about the beating hearts, which showed the essence (if not the details) of his research had been received appropriately by the students. For him, the value of art lies in translating scientific information into emotions. He compared his experience of the performance with that of watching the Japanese martial art of Kendo, “you’re very close in that moment – there’s no distance”. This was a superb achievement for the students. “I think that a lot of artists would aspire to this”, the organisers noted.

CSM students used lighted-up heart-like props and suggestive videos in their performance. Photo © Hacking Hearts CSM/TiTech 2019

By working with people with “different disciplinary knowledge, methods and mindsets”, the participants explored and reinterpreted social, ethical and philosophical dimensions of scientific research. In her role as Social Scientist in Residence at CSM, Prof. Nohara observed and reflected on the hybrid nature of those interactions. The team observed, “I guess the creative process generally goes through several phases of diversion, conversion, diversion, conversion, diversion, conversion. It’s sort of when you hit a problem, you then open it up and then have to close it down, and then you’ve got another problem”. The social dimension involved in collaborating with others can lead to the attempt to include all voices and “embrace everything”. But achieving a definite outcome requires some final convergence of views. This was compared to an artist’s creative process, embracing all ideas at the start only to reject, select and develop components later.

During the hackathon, thinking creatively was promoted by exercises such as exploring alternative meanings for the words used in the scientific presentations. “It was really interesting how we all had different kind of ideas about some of the words”, the students convened, pointing out differences in specialised knowledge and personal interests among the participants. “So, the strategy worked in inviting inspiration?”. A student confirmed, “I think that helped everyone open up and look at it a little bit more creatively [free] instead of just thinking in terms of […] how to interpret that research”.

“The ‘right’ is when you’re feeling connected enough to the artwork so that what you’re proposing has some sort of plausibility to it, but far enough away so that it is not a one-on-one translation”

Another team of CSM students proposed a “symbiotic ecology system between human body and plants”. Photo © Hacking Hearts CSM/TiTech 2019

The programme of events concluded on 8th November with a public symposium, during which the scientists presented their work to the audience and the students performed work created in response to the discussions held during the week-long activities. Four students entered the stage in the dark holding heart-like luminous objects while a projected video asked, “Can you distinguish between the different heartbeats? Healthy heart, unhealthy heart, pacemaker, artificial heart”. The audience was invited to participate in the performance and answer the question by beating different materials. Their active engagement surprised even the artists, “it was amazing that in one moment […] was interacting and it was very beautiful to see that”. This mimicked the contents of the presentation given by Prof. Hijikata but provided an alternative take on the issues. 

Dr Iskratsch from Queen Mary presented his work on Bioengineering Approaches for Heart Disease. Photo © Hacking Hearts CSM/TiTech 2019

Finally, the participants agreed on the importance of having a symposium at the end of the week, “I think that even though we know that there was no specific outcome required, there was – because of the symposium. I think without that, we may not have formulated pieces that were ready to show”. The participants appreciated the pressure given by the tight schedule and linked their productivity to it, “It wasn’t stressful. It was more trying to come up with creative solutions in order to get to a place where we were satisfied that the audience would have something somewhat finished to interpret”.

“So that was quite nice to go out of your comfort zone and I feel like I want to push that a bit further maybe in my own work”

Beyond the success of the project for the team and their audience, the experience left a mark on individual artists, e.g. inspiring further performative elements and using materials closer to those the scientists employ in their work. “So that was quite nice to go out of your comfort zone and I feel like I want to push that a bit further maybe in my own work”. The discussion concluded with positive remarks about continuing the collaboration with Dr Iskratsch, who is also based in London, and plans for a potential exhibition at the Science Museum to produce a physical body of work aside from the performances.


「Hacking Heart」ハッカソンプロジェクト(http://www.tse.ens.titech.ac.jp/~deepmode/en/event/hacking-hearts-4-8-nov-2019/)は、2019年11月4〜8日に英国ロンドンのセントラルセントマーチンズ大学(CSM)で開催された、科学者とアート&デザインの学生による1週間にわたる実験的なコラボレーションワークショップです。東京工業大学とロンドンのクイーンメアリー大学の研究者が、CSMのさまざまな大学院コースからの12人の学生と協働しました。

初日、科学者たちは、学生がハックできるように、バイオテクノロジーの研究を紹介しました。学生によると、科学的なコンテンツに取り組むことによって、アーティストはより広い聴衆に非常に確実で興味深い方法を用いてコミュニケーションを試みことができます。一方、この経験によって、アーティストとのコラボレーションを通じて何が可能であるかについての科学者自身の認識も変えました。

参加者は、「さまざまな分野の知識、方法、考え方」を持つ人々と協力することにより、科学研究の社会的、倫理的、哲学的側面を探求し、再解釈しました。UALの社会科学者として、野原教授は、アート・デザインの大学院生のチームで、科学と工学の議論がどのように翻訳され、言い換えられ、再表現されたか、ワークショップ中のすべての参加者間のコミュニケーションと相互作用のハイブリッドな性質を観察し、分析しました。

イベントは11月8日に公開シンポジウムで終了しました。このシンポジウムでは、科学者が作品を発表し、学生は過去4日間の活動で行われた共同ディスカッションに基づいて作成された作品を発表しました。次に、参加者は、科学的知識の伝達(設計手法の使用など)と、アーティストが作品のあいまいさのレベルを維持する必要性との違いについて話し合いました。彼らは自分たちのパフォーマンスを、サイエンスコミュニケーションの演習ではなく、「一種の仲介」と見なしていました。

このプログラムの活動は、互いの強みを強化し、材料や機械への関心など、既存の類似点を強調することで、分野間のギャップを埋めることに成功しました。その上、この経験は、さらなるパフォーマンスのアイデアを与え、科学者が仕事で使用するものに近い材料を使用するなど、個々のアーティストに痕跡を残しました。議論はロンドンのイスクラッチ博士とのコラボレーションを継続することの前向きな発言で締めくくられました。彼は、パフォーマンスとは別に、物理的な作品を制作するために科学博物館での展示を計画しています。

2nd July 2020 – Social Design Project: Week 2

The Social Design Project course is taking place during the second trimester of 2020. Due to the Covid-19 pandemic, classes are offered online on Zoom for the first time. The article below provides a summary of the lectures given on Week 2 by Dr Giorgio Salani. These were attended by about 45 students, who also participated in online group exercises and completed a formal assignment at the end of the week. A description of Week 3 classes can be found here.

In line with Prof. Nohara’s working definition of Social Design as “planning and presenting services or products that contribute to our society”, Dr Salani discussed the delivery of ‘value’ through technical and design work. Week 2 classes focused on “delivering value to clients” through consultancy services, and Week 3 on “creating original value” through research. Effectively, these were used as contexts to introduce basic notions of Engineering Consultancy in Week 2 and Design Research in Week 3. Dr Salani’s professional background in both fields offered direct insights into real projects, merging theoretical explanations with practical considerations.

An Introduction to Engineering Consultancy

The class started with a description of Visibility Graph Analysis (VGA), a method of quantitative assessment of urban spaces that was initially developed in the late 1990s and quickly grew into an industry standard. VGA provides clients with measures of visibility and accessibility that can be used to directly compare the performance of proposed plans and masterplans during initial design stages. Results can also input into predictive pedestrian models to simulate the traffic expected to occur in a variety of scenarios. This is a powerful tool for transport engineers – worth discussing in its own right – but in the lecture Dr Salani primarily used it to illustrate the work of Engineering Consultants. The VGA software Fathom was developed by Intelligent Space Partnership in the UK in the early 2000s, and initially offered as a software package to architects and urban planners. Failing to attract sufficient interest, the founders began to use the software to provide evidence-based professional advice to their clients, and so the company flourished as a consultancy. A typical business success story, the company quickly grew to employ 25 staffs and was later acquired by a major engineering corporation, Atkins Ltd, itself recently bought out by the SNC-Lavalin group.

Credit: nca.gov.au

So, what is consulting? Consultants are professionals who make their expertise available to clients (Williams and Woodward, 1994). They offer technical assistance and professional advice, e.g. in the form of policy recommendations, data analysis or design work. Often working on multiple projects at the same time, they operate in a corporate environment that is highly regulated by company procedures and industry standards. The lecture discussed typical roles and responsibilities shared by a team of consultants, highlighting the need for teamwork and multidisciplinarity. Accounts from Dr Salani’s professional experience illustrated approaches and real-life conditions in which engineering consultants operate.

The Skills of an Engineering Consultant

The “1+7 model” offered by Williams and Woodward (1994) was adapted to show the multiple roles a consultant is expected to play when undertaking a project. This goes well beyond the goal of providing specialist information and advice as an expert in a particular field, and involves the multiple roles shown in the figure below.

Credit: Giorgio Salani (adapted from Williams and Woodward, 1994)

The focus here was on the non-technical nature of these important roles. A goal of the lecture was to emphasise the need for additional skills required by engineers and technical specialists. To further illustrate this point, a recent, real profile of a software engineer from an online recruiting ad was discussed in the class, highlighting several competencies expected from a graduate applying for the position. Besides a comprehensive understanding of the profession, the employers listed skills and attitudes that included the ability to manage time, space and power constraints, being confident and responding positively in stressful situations, interacting constructively with customers and colleagues, being able to provide creative solutions, and generally demonstrating excellent communication skills. Interestingly, the assignment completed by the students after the class showed these requirements resonated with the students’ needs to prepare for a professional career. Many expressed the desire to develop further communication skills during the course of their studies. As explained in the lecture, this is seen as key to enable the implementation and application of the more strictly technical expertise acquired at university.
At the end of the first lecture, students completed concept maps of non-technical consultancy competencies. The exercise invited them to reflect on the knowledge, skills and attitudes required by employers in work that involves – among other activities – direct contact with clients and communication with diverse audiences.

The Consulting Process

The second part of the class went deeper into the analysis of the engineering consulting process. Theoretical diagrams and definitions of the various stages involved in delivering services to clients were illustrated by a real case study: a transport assessment undertaken by Dr Salani for the Royal Parks (client) in London, UK, in 2014. The purpose of the project was to monitor the use by pedestrians and cyclists of a shared path located within an important public green space in central London. This aimed at identifying current flow levels, conflicts and interactions between transport modes to provide a baseline analysis before the installation of cycle speed calming measures along the route. The project exemplified a typical transport engineering service whereby consultants provide specialist advice to a client, informed by the collection and analysis of new data. The project included an initial scoping study, surveys conducted by the consultancy team and CCTV surveys commissioned to sub-contractors. Using the project as a context for discussion, the students were introduced to key phases in engineering consulting work, which are summarised in the diagram below.

Credit: Giorgio Salani

An account of the tasks involved in delivering the project for the Royal Parks provided context to describe not only the tasks involved but to highlight the technical and non-technical competencies involved at each stage. This illustrated the content of the first lecture with a practical example of the application of the characteristics discussed in the group exercise. The example of the Data Analysis phase is shown in the figure below. Negotiation, communication and critical skills play an even more central role in the last phase of a consultancy project, the Evaluation phase. The diplomacy and reliability of consultants is put to the test in this final stage, in which the project is internally evaluated to identify mistakes and lessons to inform future procedures. This can also be a period of more intense communication with clients to acquire – or at least test the waters for – project extensions.

Credit: Giorgio Salani

Delivering Value

In his seminal book Design for the Real World (1972), design theorist Victor Papanek tells the story of his young self in New York in the 1950s, invited by his new employer to describe his role as a designer in the factory. Discussing his work on a new model of transistor radio, Papanek mentioned the “beauty” of the product at the market level and the “consumer satisfaction” created by his original design. His boss interrupted him and reminded him instead of his main responsibility as a designer to create something that could be produced and sold to support the company’s stakeholders and all the workers that would flock from various parts of the US to find employment in the factory and produce his radio. Later on in his life, Papanek realised the designer has also additional responsibilities, not just towards customers and workers, but society and the environment. This simple tale set the basis for the discussion on delivering value through consultancy work, not just to clients but to society at large.
The model to assess the impact of consultancy work was developed for this course based on the 7-point radial charts utilised by Prof. Nohara in her Week 1 lectures. For Week 2, this was adapted to include the characteristics listed in the diagram below.

Credit: Giorgio Salani

A final qualitative assessment of the project introduced the end of the lecture. A few concluding considerations summarised the impact of the project on various stakeholders (i.e. client, consultants, local community) and broader categories (i.e. health & safety, environment, politics). The visualisation clearly identified the project to be mostly beneficial to those directly involved in undertaking it (client and consultancy firm) and the users of the proposed solutions (the local community of pedestrians and cyclists in the park), particularly in terms of increased safety. A lower impact was identified on public welfare, politics and the environment. Although beneficial, the effect on these was considered of minor importance. This qualitative assessment provided a final review of the lecture and its relevance to the theme of Social Design discussed in the course. The standard format of the 7-point spider map used in the evaluation offered a direct comparison with those discussed in other weeks, offering an additional binder among the classes given by the various lectures, week after week.
The participation in the classes, group exercises and the completion of the assignments on Google Forms showed a notable interest in the topics among the students, and the classes greatly benefited from their active participation. The smooth delivery of the class was made possible by the help of teaching assistants Purevsuren Norovsambuu (Nasso) and Dolgormaa Banzragch (Banzai), and the professional translation support provided by Takumi Saito over the entire lecture. In addition to introducing specific topics, Week 2 classes provided students with methods and food for thought for the Social Design Project course.
Read this blog on Dr Salani’s Week 3 classes on Delivering Original Value.

References

Atkins, 2009 Spatial Analysis of Pedestrian Movement for the Royal Borough of Kensington and Chelsea. Report.
Atkins, 2015a Kensington Gardens, Mount Walk. Cycle and Monitoring Study for The Royal Parks. Final report R3.
Atkins, 2015b Adelaide Riverbank Precint, Pedestrian Modelling Assessment. Report.
Betancur, J. 2017 The Art of Design Thinking: Make more of your Design Thinking workshops.
Chau, Hing-Wah & Newton, Clare & Woo, Catherine & Ma, Nan & Wang, Jiayi & Aye, Lu. 2018. Design Lessons from Three Australian Dementia Support Facilities Buildings.
Grace, R. 1997 The `chaîne opératoire approach to lithic analysis, Internet Archaeology 2
IDEO, 2015 The Field Guide to Human-Centered Design.
IDEO, What is Social Design? Video Available at:
Papanek, V. 1972 Design for the Real World
Plattner, H. 2018 Design Thinking Bootleg. D.School Stanford.
Stickdorn et al. 2011 This is Service Design Thinking
Williams, A.P.O., Woodward, S. 1994 The Competitive Consultant, A Client-Oriented Approach for Achieving Superior Performance. The MacMillan Press. The Royal Parks 2020 Movement Strategy. Report.

29 July – 3 August: Concept Designing Report

The 10th Musashino Art University-Tokyo Institute of Technology joint workshop was held from July 29 to August 3, 2019.

The collaboration was sponsored by Modulex Inc. and brought together students from the two schools to share their knowledge and skills. Groups of five students combined science & technology and art & design approaches to create new ideas and artworks.

Each group created a single artwork based on the theme “Right Left”.
For some students from the Tokyo Institute of Technology, communications were very difficult because they have fundamentally different ways of thinking from Musashino Art University students. However, communications went beyond the mere use of words.
Drawings of sheets of paper were used as a whiteboard to create connections between the team.

  

Difficulties in communication can also have positive outcomes. They force one to enter another person’s mindset through face-to-face interaction. Once the overwhelming “otherness” of the other party is accepted, a “responsible relationship” is established. When we say “I understand you”, what we often imply is “I understand you the way I can understand.” There is no threat to the underlying assumptions of one’s cognitive framework.

However, as Levinas repeatedly points out, the responsibility for responding to others lies in the overwhelming “otherness” of inviolability, or “heterogeneity” (Levinas, 1986).


When faced with the “face” of another person, we are inevitably required to take some action.
Saying “I fail to understand you” does not mean the end of the communication. We ask ourselves, “What shall I do?” because the “otherness” of other people continues to prompt a dialogue even without any questions asked.

Here, communication loses the means of understanding others in a way that allows them to understand themselves, and makes it impossible to reverse the alienness of others. In this way, while being overwhelmed by the overwhelming heterogeneity of others, by continuing to direct words and gaze to others, a “responsible relationship” with others begins. We are vulnerable to the foreign nature of the other person, but we still fail to understand her/him (but we’re here, we are here). This may be important in communication.

  
All the artworks the students created had a “meaning” and a “story” that were crafted by communicating with each other, and they were all original and fun to look at.

Piano Bar Oto (音):

The wonderful idea of drinking sound. It made us think about the difference between what is shaped and what is not.

AI God (AIの神さま):
The idea that a QR code connected to AI is a god. It can be used as a satire for modern society.

  

Humans without left and right (左右をもたない人間):
The inconvenience of not having left and right. Someone’s freedom may be associated with someone else’s inconvenience.


Seeing things from the beginning (始まりから物事を見る):
A very philosophical work with a well-defined concept behind it. Is it possible for humans to see everything from the beginning to the end?

Products that change the position of the eyes (目の位置を変えるプロダクト):
It’s supposed to be here, it’s the freshness that changes the position of the eyes that you’re thinking about. It can be interpreted as “what is always there is not always there”.
  

References: Levinas Emmanuel (1986) “Time and Others”, Translated by Yoshihiko Harada, Tokyo: Hosei University Press.

(Photos © Nohara Lab 2019)


2019年7月29日から8月3日までの間、武蔵野美術大学と東京工業大学の合同授業、「コンセプトデザイニング」が開講されました。この授業の目的は、相互のコミュニケーションを通して、両校の学生が一緒にアート作品を制作することです。5名のグループを5つ作り、各グループで一つの作品を制作しました。

今回の作品のテーマは、「右 左」でした。学生たちはお互いにコミュニケーションをとりながら、グループで一つのアート作品を作り上げます。
東京工業大学の学生からは、武蔵野美術大学の学生とは「考え方」が根本的に異なるので、コミュニケーションがとても難しいという声も聞かれました。しかしながら、コミュニケーションは言葉だけで成立するものではありません。学生たちは、テーブルに敷かれたホワイトボードとして使えるシートに絵を描いたりして、言葉以外の方法も用いつつ自分の考えをお互いに伝えあっていました。

アート作品を作り上げるために、言葉だけでは伝えることが難しい点を、絵にして図にしてコミュニケーションを図っている姿が印象的でした。

両校の学生からちらほらと聞いたことの一つに、「コミュニケーションの困難さ」があります。どちらの学生も、自らの大学で慣れている「考え方」が別の大学では一般的ではないことに少しならず戸惑っているようでした。

「コミュニケーションの困難さ」は、単純に悪いことではありません。コミュニケーションにおける困難には、相手という自分とは異なる人間と向き合うことを要請し、その対面を通して自分の認識の枠組みに相手を押し込めないようにする力があります。相手の圧倒的「他者性」を受け入れるとき、その関係は「責任ある関係」に巻き込まれていきます。
「私はあなた(の言うこと)を理解した。」と言うとき、それはしばしば「私は私が理解できる形であなたの(言う)ことを理解した。」という事実にとどまります。そこには根源的な驚きや認識の枠組みが揺るがされるような脅威は感じられません。しかし、レヴィナスが繰り返し指摘するように、他者へ応答する責任が生じるのは、その不可侵の圧倒的「他者性」、別の言葉にすれば「異質さ」にあります(レヴィナス, 1986)。他者の「顔」に対面したとき、私たちは否応なく何らかの対応を要求されます。

私はあなた(の言うこと)を理解することに失敗する。」と言うことは、コミュニケーションの終わりを意味しません。それは続けて「では、あなたはどうするのか?」という要求に続いていきます。他者の「他者性」は問答無用で要求し続けるからです。ここにおいて、コミュニケーションは他者を自分の理解できるように理解する手段を失い、他者の異質さを取り消すことができなくなります。こうして圧倒的な他者の異質性に打たれつつも、他者に対して言葉やまなざしを差し向け続けることで、他者との「責任ある関係」が始まります。相手の異質さに対して無防備である自分は傷を負いますが、それでも、「私はあなた(の言うこと)を理解することに失敗する。けれども、私はここにいる。」と言い続けることが、コミュニケーションにおいて重要なことかもしれません。

学生たちが最終的に作り上げたアート作品は、どれも背後にコミュニケーションから練り上げられた「意味」や「物語」があり、独創的で見ていて楽しいものばかりでした。

Piano Bar Oto (音):
音を飲むという素敵な発想。形になるもの、ならないものの違いを考えさせられます。

AIの神さま:
AIとつながるQRコードがご神体という衝撃。現代社会への風刺ともとれます。

左右をもたない人間:
左右がないことによる不自由について言及していました。だれかの自由はだれかの不自由と関わっているのかもしれません。

始まりから物事を見る:
背後にあるコンセプトがとても哲学的な作品。人間は何かの始まりから終わりまでを見届けることはできるのでしょうか。

目の位置を変えるプロダクト:
ここにあるはずだ、と思い込んでいる目の位置を変えてしまう新鮮さ。いつもそこにあるものが次もそこにあるとは限らない、とも解釈できます。

参考文献
レヴィナス・エマニュエル. (1986). 『時間と他者』. 原田佳彦 (訳). 東京:法政大学出版局.

2017-2019: UK visit on Science Communication Report

Science Communication/Science & Engineering Design for Global Talents – Overseas Programme

Some reports from the past participants available:
UK programe final report_2019
UK program final report_2018
UK program final report_2017

Further information here.


① ロンドン科学博物館 (London Science Museum) での研修
② Science Communication Research Group (SCRG)  ロンドン科学博物館やロンドン芸術大学CSMを含む複数の機関を訪問し調査するプログラム
その他、英国王立研究所 (Royal Institution)での研修などがあります。
興味のある方、過去レポートはこちらから↓
UK programe final report_2019
UK program final report_2018
UK program final report_2017

Betti & Ulli returned to UK

Thanks a lot for your devoted research activities and contribution to all the events. See you very soon again.


おつかれさま。科学とアート/デザイン研究と教育に、私たちは、なんとまあよく働いたことだろう。それだけ私たちを駆り立てる研究テーマを見つけた、ということなのだと思う、どう考えても、幸せだよね。

New! 9 Jan 2020: Hybrid Innovation Workshop Taster

HYBRID INNOVATION: A VISION BUILDING WORKSHOP will be offered.

ART AND DESIGN MEET SCIENCE AND TECHNOLOGY
13:00-16:30, 9 Jan 2020 @407A Workshop Room, South 5

We are a multidisciplinary team made of a designer, a translation/facilitation expert and a theorist working across art and design, science and technology and the humanities. We have been working together for years developing new research, educational and communication methods that bring together different perspectives from our respective fields and across several cultures. We have run a range of activities including academic symposia, hackathons, workshops and public events for different expert and non-expert audiences, in Tokyo and London.
With this workshop taster we want to share with you some of the insights we have been developing to address this urgent question:
how can we imagine alternate futures?

Most important for you, our guests, how can our methods and insights be mobilized to help you amplify your capacity for innovation, to think about the futures you want and to ask new questions about the values that matter to you and to your company.


HYBRID INNOVATION: A VISION BUILDING WORKSHOP
ハイブリッドイノベーション企業向けビジョン構築ワークショップを実施します。
ART AND DESIGN MEET SCIENCE AND TECHNOLOGY
アート/デザインと科学技術が出会うとき
2020年1月9日 13:30-16:00
東工大大岡山キャンパス 南5号館407A

科学技術/デザイン/哲学/翻訳・コミュニケーションなど、日英のマルチ分野のスペシャリストをそろえた東工大xCSMチームが、「科学技術&アート/デザインを人文科学知を用いてつなぎながら未来を思考する方法論」を「ちょこっとだけ」シェア(taster=味見です)。
世界は、コミュニティは揺れ動いています。どう未来を「想像」し、それに向かって自分たちを変えていくか。私たちはまだ、間に合うのか。
イノベーションを起こすキャパシティ、未来をささえ、社会にとって意義のある価値と変革を生み出すビジネス、そしてそれぞれの生き方に思いを馳せる、小さな時間を体験してください。[:en

26 Nov 2019-7 Jan 2020: “Media Editorial Design” Course

The “Media Editorial Design” course took place in the 4th trimester of 2019. The overall theme was “design to prevent transmission” and the task was to produce a “graphic expression to prevent transmission”.

Course summary

The students experimented with designs that “do not communicate” a message. The lecture’s goal was to understand the usability of information, the meaning of design today, and the basics of editing. Despite the difficulty of the task, all the students took on the challenge and produced bold works. It was wonderful to tackle these issues. We think that the experience of actively discovering both the difficulty and fun aspects of “communicating” thoughts will be useful in their own research in the future.

  

In the first half of the lecture, we discussed the nature of design and thought of a familiar “not transmitted” design.

“Art is a medium that can express invisible dynamic elements.
Design is the medium that fixes the visible event”

The students received clear instructions: learn how to sketch and start creating works. Specify the location of the text, graphics and photos on a sketch paper sheet, and type specific text. The important point is to know where to put what.

  

During the production process, fine adjustments (e.g. number of pixels) were made with the teacher. Small differences affect the mood of the work. On the last day, the students’ work was reviewed. Each work was a masterpiece that pursued a design that was “not transmitted”. Some examples are shown below:

  
  

(Photos & Illustrations © “Media Editorial Design” Course, TiTech 2019)


2019年度第4クォーターに、「メディア編集デザイニング」が開講されました。
全体を通してのテーマは、「伝わらないためのデザイン」であり、制作課題は「伝わらないためのグラフィック表現」でした。

講義総括
あえて「伝わらない」をデザインすることで、情報のユーザービリティ、デザインの今日的な意味、編集の基礎を理解するという目的の、かなり難しい講義にもかかわらず、受講者の全員が果敢に(挑戦的に)課題に取り組んだ姿勢は見事でした。思考を「伝える」ことの難しさとおもしろさの双方を能動的に発見できた経験は、今後の各自の研究においても必ず役に立つと思います。

講義の前半では、デザインとは何か、身近な「伝わらない」デザインは何かについて考えました。

「アートは、見えない動的なものを表現することができるメディアである。
デザインは、見える事象を固定するメディアである。(再現可能性がある。)」ということを学びました。

ラフの描き方を学び、作品の制作をはじめます。
ラフ用紙に文字の場所、絵、写真の場所を指定し、具体的な文字を打ちます。

重要なことは、どこに何を置くかがわかることです。
製作途中で、先生と画素数などの細かい調整を行います。
少しの違いが作品の雰囲気を左右します。

最終日は、学生の作品に対して、講評が行われました。
どの作品も、「伝わらないデザイン」を追い求めた力作ばかりでした。

21 Dec 2019: Prof. Nohara as Panelist of the ToDai IIS Forum Design-Led Engineering @Shibuya QWS

Prof. Kayoko Nohara acted as a panelist at the Value Creation Design Forum sponsored by the Institute of Industrial Science (IIS), The University of Tokyo.

Saturday, December 21, 2019 14: 00-19: 30 @ Shibuya QWS Scramble Hall

Programme – Part 1: Practice and systematization of design-driven engineering

Is a design that links engineering research and future society possible? How?

The speakers introduced recent practices and research cases by DLX Design Lab and discussed design methodology.

  

Speakers: Yuichi Washida (Hitotsubashi University), Kayoko Nohara (Tokyo Institute of Technology), Toshiki Shinno (The University of Tokyo), Miles Pennington (The University of Tokyo), Yukiko Matsunaga (The University of Tokyo), Mitsuru Muramatsu (The University of Tokyo), Midori Yamazaki (The University of Tokyo), Kensei Miyoshi (The University of Tokyo)

Programme – Part 2: Education for design-driven engineering

What kind of education is needed to develop professionals who can conduct design-driven engineering?

Experts in design engineering education from companies and universities were invited to discuss.
Speakers: Noriko Kamiyama (Dyson), Teruyuki Kaduchi (Osaka University of Arts), Keita Watanabe (Meiji University), Shunji Yamanaka (The University of Tokyo)

More info on the event can be found here

Photos © Shibuya QWS 2019

The Institute of Industrial Science (IIS), the University of Tokyo, is promoting “Value Creation Design (Design-Led X)” based on the concept of “value creation through a fusion of engineering and design perspectives”. We have rediscovered the value of engineering technology from the viewpoint of design and set this approach to give new goals to engineering research: we call it “design-driven engineering”. This is an attempt to significantly change the academic and artistic approaches that currently define this field.

(Photos © Nohara Lab 2019)


価値創造デザインフォーラム 東京大学生産技術研究所(IIS)
2019年12月21日(土)14:00~19:30 @渋谷QWS内スクランブルホール

プログラム:
– 第1部 デザイン駆動工学の実践と体系化

工学研究と未来の社会をつなぐデザインはどのように可能か? DLX Design Labによる最近の実践・研究事例を紹介し、デザインの方法論を議論。
登壇者:鷲田祐一(一橋大学)、野原佳代子(東京工業大学)、新野俊樹(東京大学)、Miles Pennington(東京大学)、松永行子(東京大学)、村松充(東京大学)、山崎みどり(東京大学)、三好賢聖(東京大学)

第2部 デザイン駆動工学のための教育
デザイン駆動工学を実践する人材を育てるためにはどのような教育が必要か? 企業や大学からデザインエンジニアリング教育に関わる方を招き議論。
登壇者:神山典子(ダイソン)、門内輝行(大阪芸術大学)、渡邊恵太(明治大学)、山中俊治(東京大学)

詳しい情報はこちら

東京大学生産技術研究所(IIS)は、「工学とデザイン視点の融合による価値創造」をコンセプトとする取り組み『価値創造デザイン(Design-Led X)』を推進しています。
デザインの視点で工学技術の持つ価値を再発見し、工学研究に新たな目標を与えるこの取り組みを「デザイン駆動工学」と位置づけ、現在、方法論の開発や人材育成の仕組みづくりに取り組んでいます。これまでの学術・芸術の体系を大きく変革する試みです。

Dr. Betti joined the Debate in the “Urban and Infrastructure in the 100-years of Life”

Tokyo Institute of Technology Industry-Academia Collaborative Program
“Urban and Infrastructure in the 100-years of Life”
5th Workshop “Town”

Date: 19 December 2019
Time: 13:30~17:45
Venue: Tokyo Tech Ookayama Campus, Main Building, 3rd Meeting Room

Betti joined the debate and gave a speech as a commentator.
Her words which includes “to build better futures, you first need to imagine them” remains in us.


東工大産学協働プログラム「人生100年時代の都市・インフラ学」
第5回ワークショップ「まち」
日時:12月19日(木)13:30~17:45
場所:東工大大岡山キャンパス 本館第3会議室 276号室
ベティ・マレンコWRHI特任教授がディベートに参加+コメンテーターとしてトークを提供。

”To build better futures, you first need to imagine them.” で始まるコメントが、私たちの議論に広いサステナビリティの視点と新鮮な気づきをもたらしてくれました。