Common Module — AY25.26 WOII

School Assignment. Posts are Work in Progress.

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WOII Compulsory: Summary

Overall, the WOII module introduced me to a comprehensive overview on theories that establish structure to creative practices, as well as how they respond to and are viewed in certain contexts. 

Phenomenology allowed me to see how individualised lived experiences shape how people view design differently. Similarly, the Poststructuralism theory also emphasises that the viewer interprets works of design based on their unique contexts as meaning is unstable. Postmodernism showed me how objective truths and traditional ideas could be challenged or rejected. Semiotics taught me how images and objects can signify meanings beyond their literal form. 

Aesthetics taught me the importance of designing for the whole experience rather than just visually. Cultural Materialism taught me how material factors shape cultural practices, which in turn shapes how design is created and viewed in different cultural contexts. Lastly, Art Ecosystems and Learning how to analyse a work of design allowed me to put into practice the theories I learnt and study more thoroughly real cases of design work (Refer to Fig. 1-2). 

After completing the WOII module, I was able to better analyse and recognise the different factors and contexts that shape design. Thus, I found that design does not exist in a bubble, but rather reflects the different cultural contexts that inspire it (Drazin 176) (Refer to Fig. 3).

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References:

Drazin, Adam. Design anthropology in context: an introduction to design materiality and collaborative thinking. Routledge, 2021.

Sydney Opera House. “Jørn Utzon AC.” www.sydneyoperahouse.com/our-story/jorn-utzon. Accessed 15 Apr. 2026.

The Museum of Modern Art. “Massimo Vignelli.” www.moma.org/artists/6155-massimo-vignelli. Accessed 17 Apr. 2026.

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WOII: Week 10 - Poststructuralism

I think the most simplified version of the meaning of Post-Structuralism to me is inspired by the phrase ‘thinking outside the box’. The main idea of it is to challenge the socially accepted meaning of certain things or ideas to find a non-linear way of thinking (Refer to Fig. 1). As opposed to Structuralism, where meaning is derived from the relationship between the concept and the source material directly, Post-Structuralism argues that new meanings can constantly be derived in an endless loop. 

I think Post-Structuralism is an extremely important concept in the world of design and art. I think many artists deconstruct certain ideas, meanings and structures to challenge them, creating art with a purpose (Refer to Fig. 3). By leading the viewer or user through non-linear pathways when experiencing the art, it can influence social beliefs and relationships between them and the signifier. I believe this is also a necessary part in the creative process, where a designer looks deeper into a structure to create a more innovative design with new meanings derived.

I found that the meanings I accept are based on my position in the world. Due to new standards, experiences and ways of thinking in my time, I will accept certain ‘truths’ over others compared to other people who are familiar with different structures such as culture or language. Thus, the different environments people are bound to live in will influence their views on certain things to develop their own individualised and innovative meanings (Kushi and Yanagisawa 38-39).

(252 words)

References:

Argun, Erin-Atlanta. “The Banksy Shred: Five Years in the Market.” MyArtBroker, 9 Jan. 2026. www.myartbroker.com/artist-banksy/articles/banksy-shred-five-years-in-the-market. Accessed 9 April. 2026.

Kushi, Shotaro, and Hideyoshi Yanagisawa. “Innovation of meaning: design-driven study based on the interpretive theory of new meaning.” Proceedings of the Design Society, 2024, pp. 38-39. Cambridge Core, http://dx.doi.org/10.1017/pds.2024.6.

The Museum of Modern Art. “Barbara Kruger.” 2022, www.moma.org/artists/3266-barbara-kruger#:~:text=Barbara%20Kruger%20is%20an%20American%20artist%20whose,*%20Who%20has%20a%20voice%20in%20society. Accessed 17 Apr. 2026.

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WOII: Week 9 - Cultural Materialism

The most significant idea from the lesson was that economic and material factors can shape aspects of culture, which then shapes how design is viewed and created in said cultures. The infrastructure, which are the technological and material conditions, affects the structure; society’s social, economic and political organization. It then affects the superstructure, which is symbolism and ideology. For example, the modern age’s technological reality is the common use of smartphones in most countries. Such devices have developed new culture; norms, values and beliefs around communication and self-expression. With the new culture, it spearheaded design choices such as minimalism in accordance with the technological reality of most people viewing images on their smartphones (Refer to Fig. 1).

I also learned how technological and material realities can allow me to analyse design culture deeper and why certain design choices are made in certain places. For example, due to the limitations of computer displays, Susan Kare strategically designed easy to understand pixel icons within those constraints (Brewer) (Refer to Fig. 2). Cultural materialism allows me to understand why design looks a certain way, and thus it teaches me how to look for strategies designers use to innovate within limitations of their reality. 

By understanding the culture and context in which design is created, I can also better understand and anticipate the way design will be viewed in certain cultures. I found that design is often not just what is seen literally, but what people perceive in accordance with the lens in which they view the world through, just like culture (TEDx Talks 11:35-11:38). 

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References:

Brewer, Jenny. “Inside Susan Kare’s sketchbooks are the makings of Mac’s graphic interfaces.” It’s Nice That, 24 May 2017, www.itsnicethat.com/news/susan-kare-apple-macintosh-icons-california-designing-freedom-design-museum-240517. Accessed 11 Apr. 2026.

TEDx Talks. “How Culture Drives Behaviours | Julien S. Bourrelle | TEDxTrondheim.” Youtube, 11 Jul. 2015. www.youtube.com/watch?v=l-Yy6poJ2zs. Accessed 11 Apr. 2026.

Vox. “It’s not you. Phones are designed to be addicting.” Youtube, 23 Feb. 2018. www.youtube.com/watch?v=NUMa0QkPzns. Accessed 17 Apr. 2026.

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WOII Compulsory: Week 4 & 5 - Design Analysis and Field Trip

I learnt that analyzing design requires consideration of multiple different aspects. Rather than just looking at the visuals and what it communicates, analyzing a design is not complete without considering the process, medium, form, meanings and context. After today’s activity (Refer to Fig. 1-2), I learnt that through deeper analysis of everyday or unique objects, I could gain inspiration from and better understand the design process and what it means to create effective design. 

If I am more conscious of the process that goes into designing, I can be more deliberate with my approach, problem-solving and tool usage when creating (Christensen, et al. 215). Thus, as a designer, appreciating the designs that came before me allows me to step closer to innovating my own. Lastly, by identifying the thematic connections between design works, I can also gain more knowledge on the message they communicate and the different ways it can be communicated.

For the three objects I chose during the field trip, I grouped them under the theme ‘Play’.

The plush toy designs playfulness as a stress-reliever for an older demographic. It is made with higher quality, softer fabric, along with the more mature colour palette. The bag charm designs playfulness as a means of self-expression for any demographic with the convenience of hanging it onto any bag. This can be seen in its small size and cartoonish depiction of a turtle. Both are placed near similar products to attract customers by evoking emotional responses. The stickers are a little different as they design playfulness as self-expression for children. It depicts cartoons and the adhesive backing allows children to decorate their items. This is placed near grocery products to evoke the interest of children shopping with their parents to encourage them to make an impulsive purchase. All of them are designed not to be taken seriously, and as a way to add some humor or lightheartedness to life.

Overall, I find that design analysis is an important part of the design process. As designers, we problem solve, and to do so we can learn from those who came before us or the world around us to help us with the design process.

(366 words)

References:

Bo T. Christensen, et al. Analysing design thinking : studies of cross-cultural co-creation. CRC Press, 2017.

Bennett, Harry. “Zitong Zhao’s fermentation-inspired brand identity came to her when she was making pickles.”It's Nice That, 26 Feb. 2025, www.itsnicethat.com/articles/zitong-zhao-pioklepiokle-graphic-design-project-260225. Accessed 18 Feb. 2026.

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WOII: Week 2 - Aesthetics

I found that form and function creates aesthetics, shaped by context and content. A designer intends to form a design, shaped by purpose, to communicate a message (Refer to Fig. 1). My idea that aesthetics evokes emotions and feelings was strengthened as I found how they change how we perceive and make meaning of things. It is not just about the visuals, but rather the experience a design provides as a whole (Norman 293).  Thus, my takeaway from the research is that aesthetics builds the comprehension of a design.

Secondly, I learnt that I can become inspired by aesthetic experiences from anywhere. Everything around me has a certain aesthetic, and by truly analyzing and understanding the elements that shape their perceived beauty or ugliness, I can gain a deeper understanding on how to shape aesthetics with better intention when designing.

Lastly, I found that the way design aesthetics are shaped, it can completely change how a person perceives something. It is possible to intentionally and unintentionally create pleasant and unpleasant aesthetics, and to elicit the viewer to have an interpretation of and a response to a design work. This is possible by utilizing the relationship between form and function, to create a sensory experience that is either cognitively harmonious or dissonant (Refer to Fig 4). 

However, as people have different life experiences, the intended experience might differ as different interpretations could occur. This is where being objective and subjective comes into play. A work of design may have an intended interpretation, but it is still possible to find my own meaning in it (TED-Ed 1:11-3:43). I found that understanding shapes the design experience as a whole.

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References:

Massari, Giorgia. “Adult Issues Become Toys.” Collater.al. 22 Jan. 2026, www.collater.al/en/shampoooty-kids-toys-issues-adults-product-design/. Accessed 19 Feb. 2026.

Norman, Donald A. The Design of Everyday Things. Basic Books, 2013.

TED-Ed. “Who decides what art means? - Hayley Levitt.” YouTube, 27 Nov. 2018. www.youtube.com/watch?v=HoXyw909Qu0. Accessed 19 Feb. 2026.

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WOII: Week 1 - Phenomenology

A significant idea to me was that people shape their reality, and their reality shapes them. My consciousness and reality constantly build each other, and I build my own understanding of reality. This results in my previous lived experiences affecting how I perceive new things, which then forms new individualised experiences. In relation to design, elements of a work might evoke different interpretations, even if unintended (Refer to Fig. 1).

For example, in 1993, iconic toy company Mattel redesigned Ken dolls into “Earring Magic  Ken” with a new outfit that unintentionally resembled outfits that members of the LGBTQ+ community wore. LGBTQ+ activist Dan Savage theorised that it was the rise of LGBTQ+ culture seeping into popular culture, and Mattel’s re-design team was unaware of it (Andrew). The LGBTQ+ community were able to link the clothes to them while the re-design team could not due both groups having different lived experiences and thus different perspectives on elements of the design.

Some parts of design are inherently subjective. I have my own memories, emotions and desires, and thus form different thinking frameworks when experiencing a piece of art (Refer to Fig. 3). However, this might limit how I view the world. When I recall my experiences, I might develop expectations and bias. This might then restrict me from forming new ideas and experiences when observing elements of a design (Horowitz 102).

Thus, as a designer, the consideration of context is most important. I need to view things objectively when creating designs to effectively communicate to people a certain message or idea.

(259 words)

References: 

Andrew, Scottie. “Who is Ken, really? The history of the world’s most misunderstood doll.” CNN, 22 July 2023, edition.cnn.com/2023/07/22/style/ken-barbie-doll-biography-cec.

Andrivet, Marion. “What to Learn From Tropicana’s Packaging Redesign Failure?.” The Branding Journal, 1 May 2015, www.thebrandingjournal.com/2015/05/what-to-learn-from-tropicanas-packaging-redesign-failure/. Accessed 19 Feb. 2026.

Horowitz, Alexandria. On Looking: Eleven Walks with Expert Eyes. Scribner, 2013