2019
Plastic in the ocean by Suzy Chan
Using a sweet tone to tell a sad and serious issue in the ocean- I was talking with one of my friend about ocean pollution. As a design engineer, she told me that when she did
her research in the US, she found that the microplastic problem is one of the most serious problems in marine life
I have learned the truth through an article on NOAA (National Oceanic and Atmospheric Administration), which lists several most common marine microplastics. Commonly found Plastics cigarette butts, food wrappers, beverage bottles, straws, cups and plates, bottle caps, and single-use plastic bags. Although there have been a lot of designs about environmental issues, I still decided to do something to bring up this issue again, regardless of possible cliche or neglects of real problems.
I propose a web which is set as a “salvage site”, and the visitor will become salvager through four steps: entering the ocean, salvaging dead animals, confirming the death, and continuing salvage. I don't want to use a very serious or horrible tone to state things about marine plastics, though the serious tone was popular in this kind of design, I think people are a bit tired about that kind of tone. To make it different, the death notice is what I came up with to introduce these dead animals. The anthropomorphic description, with designs of bright colors and wonderful patterns of the underwater animals, gives these animals more " dignity”

2019
海洋塑料 by Suzy Chan
用歡樂的設計語言去講述海洋中一個悲傷和嚴重的問題 - 我和我的一位朋友談論海洋污染問題，作為一名設計工程師，她告訴我當她在美國做研究時，她發現“微塑料” 是海洋生物中最嚴重的問題之一。我通過NOAA（國家海洋與大氣管理局）的一篇文章得到了實時數據，列出了幾種最常見的海洋微塑料。常見的塑料煙頭，食品包裝，飲料瓶，吸管，杯子和盤子，瓶蓋和一次性塑料袋。儘管有很多關於環境問題的設計，我仍然決定為此做點什麼來重新提出海洋塑料的問題，儘管冒著有可能陳詞濫調的風險。
我的設計是將一個網站設置為“打撈地點”，訪客將通過四個步驟成為救助者：進入海洋，打撈死去的動物，確認死亡，並繼續打撈。我不想用一種非常嚴肅或可怕的語氣來陳述有關海洋塑料的事情，儘管在這種設計中，嚴肅的語氣很受歡迎，但我認為人們對這種語氣有點厭倦。為了使它與眾不同，我使用擬人化的描述來撰寫死亡通知，鮮豔的色彩和水下動物的美妙圖案設計，是我想帶給這些這些動物更多的“尊嚴”。

WP / 1873
From Studies in the History of the Renaissance
Like the elements of which we are composed, the action of these forces extends beyond us; it rusts iron and ripens corn. Far out on every side of us those elements are broadcast, driven by many forces; and birth and gesture and death and the springing of violets from the grave are but a few out of ten thousand resultant combinations. That clear, perpetual outline of face and limb is but an image of ours, under which we group them - a design in a web, the actual threads of which pass out beyond it.

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