我们在2020年为品牌EXKOEN设计了VI，品牌主理人曾向我们描述过关于“前公园”（EXKOEN）的场景，“前公园”存在于另一个平行维度里—即次世界的乐园，那么我们与“前公园”是在一条时间线上存在于不同时空的。

In 2020, we designed VI for the brand EXKOEN. The brand director once described to us the scene of "EXKOEN". The "EXKOEN" existed in another parallel dimension, namely, the paradise of the second world.Therefore, the "EXKOEN" and us existed in different pace on the same timeline.

装置布局示意

另一方面，品牌EXKOEN的核心意愿是“认真做衣服”，并在建立SAT支线的时候提出“关切穿着者的感受”的理念，布料带来的感官则成为尤为重要的一环。

On the other side, the core desire of the brand EXKOEN was to "make clothes seriously" and put forward the concept of "being deeply concerned to the wearer's feelings" when establishing the SAT branch, then the senses brought by the fabric had becomea particularly important link.

我们提出了「穿过布料探访前公园」的设计概念，把WORKSHOP的布料展示场景进行解构，再还原到CLAP的展厅以展示织布状态，

并在举架结构里设置了3处模拟布料的屏幕。使用数学公式运算出前公园不规律的虚幻场景，通过数字编程技术制造穿梭布料编织缝隙进入前公园世界的交互功能。由此将装置命名为“INTO EXKOEN”。

we proposed the design concept of"passing through the fabric to visit the EXKOEN", deconstructing the fabric display scene of WORKSHOP, and then restored it to the CLAP exhibition hall，to display the state of weaving fabric, set up three screens for fabrics simulation in the lifting structure, calculated the irregular illusory scenes of the EXKOENby means of mathematical formulas, and applied digital programming technology tocreate an interactive function that shuttles from the fabric weaving gaps into the EXKOEN world, thus the installation was named "INTO EXKOEN".

除了上述提到的视觉部分与现场交互功能，我们希望装置除了在瞬间情绪上的抓取外，也具备 衍生 及 延伸 的作用，将「 EXKOEN /人群/行动/时间轴 」看作一个更宏观的装置，它时刻与“INTO EXKOEN”触发着交互（ 游览者每触发一次“INTO EXKOEN”的动态行为，电脑后台会自动传输数据至隐形的织布系统并自动织布一次，最终完成的“织布”会在展程结束后展示给大家），它是隐性的，如同前公园的存在一样。

In addition to the visual part and on-site interaction functions，mentioned above, we hoped that the device。not only captured the momentary emotions, but also had the function of derivation and extension, viewing "EXKOEN / crowd /action / timeline " as，a more macroscopic device, which interacted with "INTO EXKOEN" all the time Every time a visitor triggers the dynamic behavior of"INTO EXKOEN", the backstage of computer will automatically transmit data to the invisible weaving system and automatically weave once, and the finalized "weaving fabric" would be displayed to everyone after the exhibition range over). It was invisible, just like the existence of the EXKOEN.

“服务设计”的概念在80年代被首次提出，在我们领域，可以把“服务设计”看作是将交互设计/装置设计/平面设计/产品设计 等整合起来进行创作的一种方式，在创作的初始，我们就会把品牌本身的对世界的表达进行整合。我们的创作更注重解构品牌表现融入自己对艺术视觉的理解，多触点地运用多种技术手段去表达作品。对于一次活动或展览，除了装置设计本身外，我们会负责梳理文案并设计邀请函/动态海报/伴手礼包装等，使方方面面形成一个整体，以达到艺术视觉于品牌表现的平衡。

The concept of "service design" was first proposed in the 1980s .In our field, we can think of "service design" as interaction design/installation design/graphic design/product design. A way to integrate and create, At the beginning of creation, we will integrate the brand's own expression. Our creations pay more attention to deconstructing brand's performance into our own understanding of artistic vision, and using multiple technical means to express works in multiple touches. For the exhibition, in addition to the installation design itself, We will magage.the copywriting and invitation-motion design/dynamic posters design/packaging design,etc.All aspects are formed as a whole to achieve a balance between artistic vision and brand performance.