Haiyao Lan

MIND THE LIFE

Spatial Interaction Design by Visualising War Suffering Images and Data

This project involves summarizing previous literature and theories to find visualization methods for the theme of war suffering. By combining these visual graphics with symbolic methods for practical output, the project ultimately creates a site-specific spatial interactive design focused on the theme of war victims.

Design Highlights

The current project “mind the life”which explores the intersection of spatial interaction design and the visualisation of war suffering. By integrating graphic design and visualisation techniques, she aims to convey the profound impact of war through imagery. This work also reflects on the challenges and missteps encountered during the design process, offering insights for future projects on similar themes. Ultimately, the project aspires to enhance the role of visualisation in addressing global issues and increasing public awareness of war victims around the world.

Some of the special:

• Customized according to the customer journey, they enter the designed space from the moment they step into the subway system. Each subway station corresponds to casualty data from different battles in World War I.
• More than 3 application spaces for visualisation, more than 5 output modes including print posters, brochures, motion posters and demo videos.

The power of humanity to overcome difficulties, even the threat of death, can be illustrated through the accurate portrayal of suffering and tragedy, highlighting the greatness of mankind (Allan, 2016).

Allan, D. (2016). The Death of Beauty: Goya’s Etchings and Black Paintings through the Eyes of André Malraux. History of European Ideas, 42(7), pp.965–980. Doi: https://doi.org/10.1080/01916599.2016.1161533.

Design Outputs – Main processes of platform interaction

The interaction began by engaging the audience through the placement of symbolic ‘footprints’ on the ground, which appeared at random at regular intervals. To resonate with the target audience, the symbols were strategically placed at ‘Westminster Station’ near the political centre of London.

One footprint symbolised 10,000 of the 419.654 British casualties at the Battle of the Somme during World War I (Sheffield, 2011, pp.194 and 197), so approximately 42 footprints were visible at a given time. At smaller stations such as South Kensington, representing 158.660 British casualties from the Battle of Arras (Falls, 1992), 15 footprints would be visible, visualising the scale of the lost.

Other process:

• A series of thematic posters with effective communication power
• Motion posters as well as presentation videos and adverts with strong communication power.
• Print brochures, which explain the meaning of the visual images.

Falls, C. (1992). Military Operations France and Belgium 1917: the German Retreat to the Hindenburg Line and the Battles of Arras. History of the Great War Based on Official Documents by Direction of the Historical Section of the Committee of Imperial Defence. Vol. I, pp556. (Imperial War Museum and Battery Press ed.). London: HMSO. ISBN 0-89839-180-6.

Sheffield, G.D. (2011). Douglas Haig and the British Army. London: Aurum, pp.194, 197.

Advertisement Showcase – Mind The Life

Experience and awards

Lan has excellent organisational skills, having organised and participated in the design of over 5 zines in the last 2 years; she has good communication skills and is able to communicate with partners from different disciplines.

2023-2024 LOUGHBOROUGH UNIVERSITY – Graphic Design and Visualisation MA

2018-2022 CHINA WOMEN’S UNIVERSITY – Visual communication design BA

Other work