DESIGN360 专访 / 2021
设计语言不在于东方西方,而在于是否面向现代和未来


在全球化日益加深的今天,有国外教育背景的设计师往往会采用独特的设计语言诠释本土文化。但这种“有着跨文化气质”的设计语言往往只是一个笼统的印象,支撑在其背后的是更高层次的设计逻辑。成立于 2020 年的 Pocca 工作室,设计主理段智华曾于澳大利亚留学,与负责品牌策略的张嘉诚一同作为合伙人,为多个领域的委托方提供品牌策略研究、视觉识别与信息设计服务。

Pocca 的作品,比如《红楼梦》和《牡丹亭》,会给人以“将中国传统文化进行当代或者西方化的处理”的印象,因为它们拒绝了使用传统中国样式和书法字体,而是把传统元素以其他方式融入到了当代的设计语言中,但融入方式却不甚传统。

Pocca 并不希望着重强调作品到底是中国语言还是西方语言的设计。他们认为所有今天要做的设计,其初衷和目的必定是面向当代和未来的,跨文化的学习、工作经历带来的更多是跨文化的文化思考能力与文化包容性。Pocca看重的是如何通过自己的理解和手段去设计出能够在当下的时代风尚中有吸引力、新鲜感和启发性的结果。

同时,服务领域广泛也是 Pocca 的特点,他们的委托方来自零售、美妆、时尚、餐饮、科技、文化艺术机构等领域,名单上还包括挪威领事馆、瑞典领事馆和世界卫生组织。工作室 70% 的项目围绕品牌设计,30% 左右的工作是文化艺术类委托以及自发型的项目。面对商业项目,Pocca 在不断拓宽合作模式,以不同的身份、视角、形式为品牌赋能。而对于文化项目,Pocca 则从不同文化视角的沟通中产生的共鸣和冲突里获得不一样的灵感以及对世界认知上的启发。

Design360°:
Pocca 是一家怎样的工作室?可以介绍一下 Pocca 这个名字的含义,以及工作室的理念吗?你们的网站上写着:“我们将混沌的周遭环境转化为持久的插曲”,请问这句话背后的含义是什么?

Pocca:
Pocca 是一间位于上海的设计工作室,我们专注于为具有设计意识的委托方进行品牌策略研究、视觉识别与信息设计等方面的工作,同时,也关注跨文化语境下的视觉美学和相关范围内的研究与创作。在项目类型上,我们有 70% 的项目围绕品牌设计,这其中既包括对初创品牌从策略研究到视觉设计呈现的品牌 0-1 构筑,也包括对既有品牌的唤新;另外 30% 左右的工作会包括文化艺术类委托以及我们工作室自发型的项目。

Pocca 这个名字源于我们对音乐的喜爱,最初想到了波尔卡(Polka)这个节奏清晰、古典又肆意的音乐类型,我们很喜欢这个单词的发音,但考虑到注册问题,因而改变了其中两个字母,但发音基本一致,于是成为了工作室的英文名称。

委托方类型上,我们比较多元,在零售、美妆、时尚、餐饮、科技、文化艺术机构等领域中都有涉猎,这一方面可能源于我们本身兴趣点比较多,另一方面我们也希望能够将我们认为更好的思考和设计尽可能多的应用在生活之中。

工作室的理念正是我们放在网站上的这句“我们将混沌的周遭环境转化为持久的插曲”,我们希望以这种抽象的方式来表达我们对自己实践的定义,一方面是因为当下我们所生活的外部客观世界与精神认知是信息过载与杂乱混沌的,所以才需要设计的不停介入进行整理和转译;另一方面,作为一间以平面设计或者视觉传达设计为核心的工作室,产出物与工业或建筑这类设计相比,迭代常常更快,更像是生活中一个个迸发灵感的插曲,但我们希望每个插曲都能够更持久,无论是在物理上、在传播中或者在记忆中。我们也根据发音将工作室的中文名称定为“颇可”。

Design360°:
两位主理人共同创立工作室的契机是什么?你们不同的背景是如何分工、协作的工作方法又是怎样的?

Pocca:
工作室最早发起于 2019 年底,刚好在疫情爆发之前,而正式注册是在 2020 年的夏天。因为一些意外和机遇,我们决定创办自己的工作室以方便设计上的实践;主观上,我们也希望能够通过独立的模式来实践我们认为更好的设计。我在工作室中负责设计工作,而我的合伙人嘉诚并不是设计出身,他在一起经营工作室之前从事品牌策略研究与相关咨询工作,他会负责品牌策略以及项目管理。由于并非所有的项目都同时完整包含策略研究和设计工作,我们两人在工作中基本是互为增补的关系。最重要的是在项目进行的过程中,我们可以为彼此提供不一样的视角和声音,这种由不一样的视角所带来的灵感的刺激对我们来说是宝贵而幸运的。

Design360°:
Pocca工作室目前的人员构成及架构是怎样的?可以介绍一下目前的架构如何支撑你们的跨国与多线程运作呢?

Pocca:
我们目前以一个灵活的小规模体量进行实践,6 月初刚完成工作室成立以来第一次正式招聘。目前我们一共有 6 位成员,其中两位专注在品牌策略研究版块,其余均是设计师。成员中既有本科和研究生均在海外留学的设计师,也有完全在国内成长或者因为疫情延后留学的伙伴,此外我们在国内外也有几位固定合作的freelancer。这样小而精的工作室架构也赋予我们相对灵活的工作时间,让我们在面对不同类型或者涉及到不同时区的项目时,可以按照具体的情况进行机动调整和协调。

Design360°:
你们的客户来自世界各地,请问这样多区域合作的特点是如何发展而来的?

Pocca:
首先因为自己之前在国外生活和学习的经历和联系,让我们有机会接触到一些海外的机会。其次,我们也会在一些国际平台上适当进行露出,过往作品也有被收录在 Gestalten 和 Niggli 等设计类书目中。工作室成立后海外项目比较多的时期是在国内疫情爆发的前半年,有收到一些让我们挺意外的委托,比如来自美国加州的乐队、来自约旦的时尚品牌以及来自印度的科技初创团队;而最近大半年,由于国内与国外疫情情况的反转,国内经济的复苏,我们基本上都在服务国内项目,只有一两个自发项目是与澳大利亚和新西兰的设计师在合作。

Design360°:
在与“DULi”和“汤亭长”两个餐饮品牌的合作中,你们都提供了相当完整的品牌设计服务。可以谈谈这两个项目中你们的工作方法和设计逻辑吗?从前期的概念构想,到品牌策略定位,再到视觉的最终落地,这是个怎样的过程?

Pocca:
DULi 是我们服务的第一个餐饮类的项目,它的创办人是一位曾在成都生活多年的荷兰人。我们的工作直接是从品牌视觉识别的概念与设计的层面介入,展开到门头设计、菜品摄影的艺术指导、菜单编辑设计、所有实体物料的制作监理以及用中英文双语文案的编辑与润色等方面。

一间餐厅的品牌感受应该是来自用餐过程中对整体环境的体验,视觉设计需要有机地融入整体环境而不造成干扰,因此整体的设计尝试使用精致的文字设计搭配高质量的图像与材质并通过一种较为克制且简约的方式呈现。这个过程中文字本身措辞斟酌也成为我们工作中的一个很重要的版块,比如我们协助餐厅将其属性定义为“植物性料理”,以对应其英文定义“Plant-based”,同时也将中英文双语的餐厅介绍和品牌故事进行了润色与优化,这些文字性的工作也是源于我们希望对文字设计的实践不仅是在视觉造型上,也应该落在文字本身的“阅读性”上。

汤亭长是我们的一个设计共创项目。设计共创(Design Adventure Program)是我们设计实践过程中的一种商业模式。Pocca 会以股东的形式参与到初创企业的运作之中,以内部品牌智囊的角度由内到外、由外至内的打造这些初创品牌。由内至外是指我们作为品牌委托方的一员共同面向外在市场和用户,简化内部沟通成本将更好的精力投入到外部市场。由外至内是因为作为设计工作室,比起内部创业团队,我们具备更多外部信息接触机会,可将这些外部品牌洞见与设计思考跨界运用到创业过程内,带来通透的嗅觉与观察。

汤亭长的项目我们共同完成了商业模型规划、整体财务模型打造、菜品利润与定价规划、品牌策略与定位、品牌命名、品牌视觉识别设计、包装与产品设计、图像艺术指导、产品供应链顾问、产品与包装落地生产、线上渠道合作与设计运营等工作,完整地参与了整个品牌 0-1 的全过程。经过近7个月的规划与筹备,2021 年 5 月,汤亭长正式上线营业,在运营的第一个月获得了不错的成绩与口碑,同时,我们已经与汤亭长的主理人一同进行品牌 1.5 阶段的迭代工作。


Pocca 现在实际投用的合作模式已经有 7 种之多,我们以不同的身份、视角、形式为品牌赋能。同时,我们也刻意不去创造自己的标准工作流程,因为我们相信每一个委托方、每一个品牌、每一个产品所面对的对象、时机都是不同的,每个项目的资源基础、目标、面临的挑战也各不相同。所以用相同的作业思路去工作并不一定是最合适的。因此,每个项目中我们都会在前期为项目定制工作方法,用我们的灵活性去赋能品牌的可能性。

Design360°:
你们服务过很多文化机构和活动,可以谈谈这类项目经历,分享一下文化机构及活动的创作吗?与挪威领事馆、瑞典领事馆、世界卫生组织等跨国组织合作设计又有什么不一样的创作体验与体会?

Pocca:
文化艺术类项目的设计委托让我们兴奋的地方,应该是在于更能够讨论概念性和抽象性,基于这类委托本身大多即是比较学术性或艺术化的内容,而这些设计的目的也成为对这些抽象概念的征象、意义发生、符号和传播的视觉转译上。比如我们一直与一个专注于北欧国家文化艺术交流的机构“极地光影”合作了多场活动的设计,包括最近一次在上海举办的挪威电影周。

挪威电影周是挪威当代电影在中国第一次比较官方的展映活动。为了让活动的形象能够包容8部不同题材的电影,同时拥有辨识度高的识别,我们将字母 N 进行了符号化演绎,它既是挪威的首字母,也是北方的常用标记;两道光芒中,向上的一道作为向北欧的远望,向下的一道作为从北欧投射而来的电影的放映。这样的设计使得活动识别简洁而利落,也拥有些许我们偏爱的语义化的表达。我们从每部电影中截取一张代表其气氛的静态画面并模糊处理,呼应每部电影气氛的同时也呈现出想要一窥究竟的悬念,使每部电影都拥有了一张独特的海报。

与挪威领事馆的合作目前大多基于北欧一系列文化艺术活动的设计;与瑞典领事馆合作,是为瑞典国庆日上海招待会的视觉推广提供了部分平面设计的支持;而与世界卫生组织的合作,是为他们“全球数字健康战略(Global Strategy on Digital Health)”的项目进行视觉识别规范的设计。在这些类型的合作中,大多也是基于文化类或者社会性项目,因此很直接的在基于不同文化视角的沟通和理解中既会产生共鸣也会产生冲突,这也带给我们很多从商业项目上难以得到的灵感以及对世界认知上的启发与自我提升。

Design360°:
《红楼梦》和《牡丹亭》都以当代的、偏西方的设计语言呈现了中国传统文化。可以请你们结合案例谈谈在现代视觉语言与中国传统文化的平衡运用吗?你们在创作中是如何结合这两者的?

Pocca:
其实在设计实践中我们并不希望着重强调作品到底是中国语言还是西方语言的设计。我们认为所有今天要做的设计,其初衷和目的必定是面向当代和未来的。而在信息爆炸且资讯流通便利的“全球化”的时代,我们的专业养成也来源于国内外教育的混合,我们看重的更多还是如何通过我们的理解和手段去设计出能够在当下的时代风尚中有吸引力、新鲜感和启发性的结果。

《红楼梦》是我们为英国画廊 Pilar Corrias 参加今年北京画廊周的展览设计的海报,参展的两位均是在西方语境的艺术家,展览标题中《红楼梦》其实出自其中一位参展艺术家受到《红楼梦》启发而创作的同名画作,并不是我们眼中曹雪芹笔下的故事。因此,整个展览主题是西方语境的艺术家受中国文化启发而创作出的有异域感和疏离感的某种中国传统文化的当代演绎。在设计上,我先为展览的英文名称“Dream of the Red Chamber”挑选了一款具有异域感和东方感的英文字体,而这个字体本身是基于亚美尼亚传统书法而设计的字型,除了字型本身的适合度之外,这种字体创作意图和被使用的意图的意外关系,与展览中艺术家创作作品的意图和被观看解读的结果,似乎也存在某种相似。在英文标题字体确定以后,才根据英文字体的字型特征以及艺术家作品的奇幻感设计了中文“红楼梦”三个字。也正是以上这几点原因,整张海报并没有走向传统中国样式或者书法风格,反而具备了一些融合性和当代性。

另一个项目《牡丹亭》是为将牡丹亭这个中国传统文化中的经典作品转化为具备当代性的文化IP形象而做的视觉识别设计。虽然《牡丹亭》是一部完全古典的著作和传统戏曲,但其中很多片段和台词所传递的情愫又和当代每个人的生活有那么近的连结。因此,无论是从作为IP品牌要面对年轻消费者的品牌角度,还是能够在传统文化中寻找到当代性的角度,这样一个品牌的视觉识别设计也必定是要用更当代的设计语言进行传递。

因此,可以看到在标识上,“牡丹亭”三个字虽然笔画上有书法的结构,但笔画造型上使用了更几何的图形处理方式;延展应用的文字上,我们也拒绝了中文书法字体的使用,而是使用今时今日大家生活里常见的黑体;延展图形上并没有创作一系列基于传统纹样的图案,而是从中文字体标识本身提取出亭子模样的 icon,以及用于导视系统的箭头符号。

Design360°:
可以深入谈谈你们的“跨文化语境下的视觉美学”范围内的研究与创作吗?主理人在澳大利亚和中国的跨国学习和工作经历,以及两位主理人间的文化背景差异对工作室的设计思路或设计视野有什么影响?

Pocca:
在如今互联网、全球化和文化相互交织融合的背景下,越来越难以在单一文化中去讨论视觉文化,因此“跨文化语境”在我们看来很多时候是必须的,这也让我们更关注设计对象所处的时代文化背景与进化可能。而跨文化的学习、工作经历给我们带来的也更多是跨文化的文化思考能力与文化包容性。比如在我们策划的展览《Catherine Griffiths: SOLO IN [ ] SPACE》中,我们展示并讨论新西兰著名设计师 Catherine Griffiths 长期往返在新西兰与澳洲和欧洲各国之间跨文化背景下带来的实践。

此外,对于将跨文化语境视为日常化的角度,也一部分来自我在墨尔本的学习、工作和生活的经历。墨尔本本身是个由各国移民与澳洲本地人共同组成的城市,各种文化相互交织融合与共处是这座城市的日常,这里的设计师和艺术家们也是受到多种文化的滋养,大家普遍将“多元文化影响”和“跨文化语境”视为一种很正常的事情。

Design360°:
请问你们对于 Pocca 的未来发展方向有什么规划和愿景?

Pocca:
我们会继续践行“将混沌的周遭环境转化为持久的插曲”,并在未来的一段时期内维持目前的团队体量。比起规模上的扩张,我们更希望专注于质量上的提升,并用一种有序的发展速度面对未来。其次,我们深知自己的时间与精力的有限性,会进一步筛选合作项目,将设计合作的深度与颗粒度做好,让我们的插曲回响在更具未来观和正向影响的设计之中。相信大多数工作室都是希望通过自己的态度来推动设计行业的多元正向发展,我们也希望成为这其中一员。

理性、有序,这是与 Pocca 的对话的最大体会,一如工作室的宣言“将混沌的周遭环境转化为持久的插曲”。在如今互联网、全球化和文化相互交织融合的“跨文化语境”之下,Pocca 所做的设计是要介入、整理和转译这个信息量过载的混沌世界,适应当代,更要适应未来。而一切现存的作业思路,只是服务于这样的设计的手段。
Exclusive Interview by DESIGN360 / 2021
Design language does not lie in the East and West, but in whether it is modern and future-oriented


Design language does not lie in the East and West, but in whether it is modern and future-oriented. Interpreting local culture with a unique design language, behind which is a higher level of design logic

In today's increasingly globalized world, designers with a foreign education often adopt a unique design language to interpret local culture. But this "cross-cultural" design language is often just a general impression, behind it is a higher level of design logic. Founded in 2019, Pocca Studio's design principal, Zhihua Duan, studied in Australia and works as a partner alongside his brand strategist, Jiacheng Zhang, to provide brand strategy research, visual identity, and visual communication design to clients in a variety of fields.

Pocca's work, such as Dream of the Red Chamber and The Peony Pavilion, can give the impression of a "contemporary or Westernized treatment of traditional Chinese culture" because they reject the use of traditional Chinese styles and calligraphic fonts and instead incorporate traditional elements into a contemporary design language in other ways, but in a way that is not quite The traditional elements are incorporated into the contemporary design language in other ways, but in a less traditional way.

Pocca does not want to emphasize whether the work is designed in Chinese or Western language. He believes that the original intention and purpose of all design today must be contemporary and future-oriented, and that cross-cultural learning and working experience brings more cross-cultural thinking skills and cultural inclusiveness; what Pocca values is how to design results that are attractive, fresh, and inspiring in the current zeitgeist through its own understanding and means.

Pocca also serves a wide range of sectors, with clients from retail, beauty, fashion, food and beverage, technology, arts and cultural institutions, and a list that includes the Norwegian Consulate, the Swedish Consulate, and the World Health Organization. 70% of the studio's projects revolve around brand design, while around 30% of the work is cultural and artistic commissions as well as spontaneous type projects. For commercial projects, Pocca is constantly broadening its collaboration model, empowering brands with different identities, perspectives, and forms. For cultural projects, Pocca draws inspiration from the resonance and conflict between different cultural perspectives, as well as inspiration from the perception of the world.

How did Pocca's unique design language come about? What is the process of creating a brand strategy for brands across multiple sectors? What is it like to work with a multinational organization? In this issue, we talk to Pocca to hear their experiences and insights from several collaborative projects, and learn about Pooca, a design studio that wants “to transform the chaotic surroundings into long-lasting episodes".


Design360°: What is Pocca like as a studio? Can you tell us about the meaning of the name Pocca and the philosophy of the studio? Your website says: "We transform chaotic surroundings into lasting interludes", what is the meaning behind this statement?

Pocca: Pocca is a Shanghai-based design studio that specializes in brand strategy research, visual identity, and information design for design-conscious clients, while also focusing on visual aesthetics in cross-cultural contexts and related areas of research and creation. In terms of project types, 70% of our work is centered around brand design, which includes both brand 0-1 construction for start-up brands from strategic research to a visual design presentation, as well as an evocation of existing brands; the other 30% of our work will include cultural and artistic commissions and our studio's own projects.

The name Pocca was born out of our love for music. We initially came up with the idea of Polka, a rhythmic, classical, and reckless genre of music.

In terms of the types of clients we work with, we have worked in retail, beauty, fashion, food and beverage, technology, cultural and art institutions, etc. This probably stems from our own interests on the one hand, and our desire to apply what we think is better thinking and design to life as much as possible on the other.

The studio's philosophy is the same as the phrase we put on our website: "We transform the chaotic surroundings into long-lasting episodes". On the other hand, as a graphic design or visual communication design studio, the output is often iterated more quickly than industrial or architectural design and is more like a burst of inspiration in life, but we hope that each episode will last longer, whether in the physical, in the communication or in the memory.


Design360°: What was the opportunity for the two principals to create a studio together? How do your different backgrounds divide the work and what is the collaborative working method?

Pocca: The studio was first launched in late 2019, just before the outbreak, and was officially registered in the summer of 2020. By accident and opportunity, we decided to start our own studio to facilitate our design practice; subjectively, we also wanted to be able to practice what we thought was better through an independent model.

I am in charge of the design work in the studio, while my partner, Jia Cheng, who did not come from a design background but worked in brand strategy research and related consulting before running the studio together, will be in charge of brand strategy as well as project management. He is responsible for brand strategy and project management. Since not all projects include both strategic research and design work, the two of us basically complement each other in our work. Most importantly, we are able to provide each other with different perspectives and voices as the project progresses, and the stimulation that comes from such different perspectives is invaluable and fortunate for us.


Design360°: What is the current composition and structure of the Pocca studio? Can you tell us how the current structure supports your multinational and multi-threaded operations?

Pocca: We are currently practicing at a small, flexible scale and just completed our first official hiring since the studio's inception in early June. We currently have six members, two of whom are focused on brand strategy research and the rest are designers. The rest are designers, including those who studied abroad for their undergraduate and graduate studies, and those who grew up in China or postponed their studies due to the epidemic, as well as a few freelancers who are regular collaborators at home and abroad. We can adjust and coordinate according to the situation.


Design360°: Your clients come from all over the world, how did such a multi-regional cooperation feature develop?

Pocca: First of all, because of our own previous experiences and connections from living and studying abroad, we have access to some overseas opportunities. Secondly, we also expose ourselves appropriately on some international platforms, and our past works have been included in design titles such as Gestalten and Niggli. During the first half of the epidemic in China, we received some surprising commissions, such as a band from California, a fashion brand from Jordan, and a tech startup team from India. projects are working with designers from Australia and New Zealand.


Design360°: You provided a complete branding service for both DULi and Tang Ting Chang, two restaurant brands you worked with. Can you tell us about your working method and design logic in these two projects? What was the process from pre-conceptualization, to brand strategy positioning, to final visualization?

Pocca: DULi was the first restaurant project we worked on, and it was founded by a Dutchman who had lived in Chengdu for many years. We worked directly from the conceptual and design level of the brand's visual identity to the design of the front door, art direction of the food photography, menu editing, and design, production supervision of all physical materials, and editing and touching up of the bilingual copy.

The branding of a restaurant should come from the experience of the overall environment during the dining process. The visual design needs to be organically integrated into the overall environment without causing interference, so the overall design tries to use sophisticated text design with high-quality images and materials and present them in a more restrained and minimalistic way. For example, we assisted the restaurant in defining its attributes as "plant-based cuisine" to correspond to its English definition of "plant-based", as well as in creating a bilingual restaurant introduction and brand story. These textual works also came from our desire to practice typography not only in terms of visual styling but also in terms of the "readability" of the text itself.

SOUPOTER is one of our design co-creation programs. The Design Adventure Program is a business model for our design practice in which Pocca participates as a shareholder in the operation of startups, building them from the inside out and from the outside in as an internal brand think tank. Inside-out means that we work together as part of the brand consignee for the external market and users, simplifying internal communication costs and devoting better energy to the external market. From the outside to the inside because as a design studio, we have more access to external information than the internal startup team, so we can apply these external brand insights and design thinking across borders to the startup process, bringing insight and observation.

For SOUPOTER's project, we worked together to complete the business model planning, overall financial modeling, dish profit, and pricing planning, brand strategy and positioning, brand naming, brand visual identity design, packaging, and product design, image art direction, product supply chain consulting, product and packaging production, online channel cooperation and design operation, etc. We were completely involved in the whole process of brand 0-1. After nearly 7 months of planning and preparation, in May 2021, SOUPOTER was officially launched for business and received good results and reputation in the first month of operation, meanwhile, we have been working with Tang Ting Chang's main manager on the 1.5 phase of brand iteration.

Pocca now has as many as 7 models of collaboration actually in use, and we are empowering brands in different capacities, perspectives, and forms. At the same time, we deliberately do not create our own standard workflow, because we believe that each client, each brand, and each product faces different targets and timing, and each project has a different resource base, goals, and challenges. So working with the same operational mindset is not always the most appropriate. Therefore, in each project we customize our working methods upfront, using our flexibility to empower the brand's possibilities.


Design360°: You have worked for many cultural institutions and events, can you tell us about your experience with such projects and share the creation of cultural institutions and events? What is the experience of working with multinational organizations such as the Norwegian Consulate, the Swedish Consulate, and the World Health Organization?

Pocca: What excites us about art and culture commissions is that they are more conceptual and abstract, based on the fact that they are mostly academic or artistic in nature, and the purpose of the design becomes a visual translation of the representation, meaning-making, symbolism and communication of these abstract concepts. For example, we have been collaborating with Polar Light and Shadow, an organization that focuses on cultural and artistic exchange in the Nordic countries, on a number of events, including the most recent Norwegian Film Week in Shanghai.

Norwegian Film Week was the first official screening of Norwegian contemporary cinema in China. In order to make the image of the event inclusive of eight different films with a recognizable identity, we interpreted the letter N as a symbolic representation of both the initials of Norway and the common symbol for the North; the two rays of light, one upward as a distant view to the Nordic countries and the other downward as a projection of the films from the Nordic countries. This design makes for a clean and crisp campaign identity, with some of the semantic expressions we prefer. We took a still image from each film to represent its atmosphere and blurred it, echoing the atmosphere of each film while presenting the suspense of wanting to see what is going on, making each film have a unique poster.

The collaboration with the Norwegian Consulate is currently mostly based on the design of a series of Nordic cultural and artistic events; the collaboration with the Swedish Consulate is part of the graphic design support for the visual promotion of the Swedish National Day reception in Shanghai, and the collaboration with the World Health Organization is the visual identity design for their "Global Strategy on Digital Health" project. In these types of collaborations, most of them are based on cultural or social projects, so it is very straightforward that communication and understanding based on different cultural perspectives can create both resonance and conflict, which also brings us a lot of inspiration and self-improvement in our perception of the world that is difficult to get from commercial projects.


Design360°: Both "Dream of the Red Chamber" and "The Peony Pavilion" present traditional Chinese culture in a contemporary, Western-oriented design language. Can you tell us about the balance between modern visual language and traditional Chinese culture in the context of the examples? How do you combine the two in your work?

Pocca: In fact, in our design practice we don't want to emphasize whether the work is designed in Chinese or Western language. We believe that all design today must be contemporary and future-oriented in its original intent and purpose. In the era of "globalization" with the explosion of information and easy flow of information, our professional development comes from a mix of domestic and international education, and we focus more on how to design through our understanding and means to create results that are attractive, fresh and inspiring in the current fashion.

Dream of the Red Chamber" is the poster we designed for the British gallery Pilar Corrias' exhibition at this year's Beijing Gallery Week. The two exhibitors are both artists in Western contexts, and the title of the exhibition "Dream of the Red Chamber" actually comes from the painting of the same name created by one of the exhibitors, inspired by "Dream of the Red Chamber", not the story we see in Cao Xueqin's writing. Therefore, the theme of the entire exhibition is a contemporary interpretation of traditional Chinese culture inspired by Chinese culture in a Western context, with a sense of exoticism and alienation.

In terms of design, I first selected an exotic and oriental English font for the exhibition's English title "Dream of the Red Chamber", which is itself a font based on traditional Armenian calligraphy. In addition to the suitability of the typeface itself, the unexpected relationship between the intention of creating the typeface and the intention of being used seems to be somewhat similar to the intention of the artist in the exhibition in creating the work and the result of being viewed and interpreted. After the English title font was determined, the Chinese character "Honglou Meng" was designed according to the font characteristics of the English font and the fantasy of the artist's work. For these reasons, the poster does not go to the traditional Chinese style or calligraphy style but has some fusion and contemporary.

Another project, "The Peony Pavilion", is a visual identity design to transform the classic work of The Peony Pavilion, a traditional Chinese culture, into a contemporary cultural IP image. Although "The Peony Pavilion" is a completely classical work and traditional opera, many of its fragments and lines convey sentiments that are so close to everyone's life today. Therefore, whether from the perspective of being an IP brand to face young consumers or being able to find contemporaneity in traditional culture, the visual identity design of such a brand must also be delivered in a more contemporary design language.

Therefore, we can see that in the logo, although the three characters "Peony Pavilion" have a calligraphic structure, the strokes are shaped in a more geometrical way; in the extended text, we have rejected the use of Chinese calligraphic fonts and used the common black font in today's life; in the extended graphics, we have not created a series of patterns based on traditional patterns. Instead of creating a series of patterns based on traditional patterns, we extracted the icon of the pavilion from the Chinese font logo itself and the arrow symbols for the guidance system.


Design360°: Can you tell us more about your research and creation within the scope of "visual aesthetics in a cross-cultural context"? How does the cross-cultural study and work experience in Australia and China, as well as the difference in cultural backgrounds between the two principals, affect the studio's design thinking or design vision?

Pocca: In today's context of the Internet, globalization, and intertwined cultures, it is increasingly difficult to discuss visual culture within a single culture, so "cross-cultural context" is often necessary in our view, which makes us pay more attention to the cultural context and evolutionary possibilities of the times in which the design objects are located. The cross-cultural learning and working experience also bring us more cross-cultural cultural thinking ability and cultural inclusiveness. For example, in our exhibition "Catherine Griffiths: SOLO IN [ ] SPACE", we present and discuss the practice of Catherine Griffiths, a renowned New Zealand designer who has been traveling between New Zealand and Australia and European countries for a long time in a cross-cultural context.

In addition, the perspective on viewing cross-cultural contexts as every day comes in part from my experience of studying, working, and living in Melbourne. Melbourne itself is a city made up of immigrants from various countries and native Australians, and it is a city where various cultures intermingle and coexist on a daily basis, and where designers and artists are nourished by multiple cultures. The city's designers and artists are also nourished by many cultures, and we generally regard "multicultural influence" and "cross-cultural context" as a normal thing.


Design360°: What are your plans and visions for the future direction of Pocca?

Pocca: We will continue to practice "to transform chaotic surroundings into long-lasting episodes through visual communication design and strategy research" and maintain the current team size for some time to come. Rather than expanding in size, we want to focus on quality improvement and face the future with an orderly pace of development. Secondly, we are aware of our limited time and energy, and will further screen our collaborative projects to get the depth and granularity of our design collaborations right, so that our interludes will reverberate in designs with a more futuristic view and positive impact. We believe that most studios are hoping to promote the diversified and positive development of the design industry through their own attitude, and we hope to be one of them.

Rational and orderly, this is the most important experience of the dialogue with Pocca, as the studio's manifesto "transforming the chaotic surroundings into a lasting interlude". In today's "cross-cultural context" where the Internet, globalization, and culture intertwine and merge, Pocca's design is to intervene, organize and translate this chaotic world of information overload, adapting to the present and even more to the future. All existing operational ideas are only a means to serve such a design.


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