时间，是一个科学的命题，也是一个哲学的命题，人类对时间最朴素的感受就是日出日落、是四季轮回、是父母的老去、是儿女的成长……

对时间的精确计量，是现代性的事物，精准的时间是现代社会的理性基础，有了精确的时间观，我们才能够度量、才能够完成人与人之间的约定、才会有准确协调的步骤、才会有统一的社会管理。

然而，对时间的感受和表达又是很主观和个人化的，关乎人的经历、情感、个性和想象力，同济大学和飞亚达这次关于时间可视化的联合课题，作品中表现出的创造力、想象力，对前沿科技的融会贯通以及作品的丰富性和多样性，让我印象深刻，为之振奋和鼓舞，也祝同学们在未来的设计生涯里，为人类社会贡献更多精彩的创意。

——孙磊

时间拥有形状吗？时间可以被观察和感知吗？

通过AI和数据的帮助可以跨越时间的界限重现甚至重构世间万物么，本次课程由同济设计创意学院与飞亚达联合策划，引入了生成对抗神经网络，ml5与Unity等工具，致力于打破自然物与人造物之间的界限，对花卉水果的自然生长、机械结构的生物进化，真实与虚拟世界的无缝切换等主题进行了有趣的探索与尝试，在这个过程中感受时间之形与时间之意，并且尝试将成果结合到交互展陈、社交网络以及表盘包装等各种媒介中去。

  —— 郁新安

Time visualization is a long-term design studio collaborating with China Aviation Group FIYTA Precision Technology Co., Ltd. This course is based on the tradition and culture of the watch-making industry, using artificial intelligence tools, exploring various possibilities of combining digital design with time symbols. We will help the students collect and translate data into patterns, textures, and interactive devices, and apply them to the design of watch dial, packaging, installations, and other integrated media of the time. 

Keywords: 

AI art and design, texture, fashion, fine watchmaking

作者姓名：彩丽甘 Tsailgan Uriankhai

作品媒介：网络 Internet

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在时间的长河中，自然界的万物也都在慢慢发生着变化。作者将时间与自然结合到一起，以一节时间代表一次生长，每次方向的转折代表一个不同的选择。

所有的生长与选择都是随机的，这是为了模拟大自然中的随机事件。就这样周而复始，最终组成了宇宙万物。每个转折就是一节时间，他们有长有短，也有各种颜色，代表着宇宙万物是多元的，所有事物在生长过程中的选择是不同的，甚至同样的事物如果重新经历一次，它的选择也可能是不同的。如此，将时间与自然的生长融合，让观者可以以上帝视角观察到整个生长过程。

In the long river of time, everything in nature is slowly changing. The author combines time with nature, using a period of time to represent a growth, and each change in direction represents a different choice. 

All growth and selection are random, this is to simulate random events in nature. It went over and over again, and finally made up everything in the universe. Each transition is a period of time. Some of them are long, some are short, and they also have various colors, which means that everything in the universe is diverse. The choices of all things in the growth process are different, and even if the same thing is experienced again, its choices may be different. In this way, time and natural growth are integrated, so that the viewer can observe the entire growth process from the perspective of God.

作品姓名：付蔚 Fu Wei

作品媒介：艺术投影 Projection Mapping

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天地玄黄，宇宙洪荒。日月盈仄，辰宿列张。寒来暑往，秋收冬藏。

千字文的前六句道出了宇宙、星象、时间与农耕的联系。基于现代农耕科学的研究与实践，人们创造了农耕日历，让我们得以从植物生长节律的角度重新探索时间的形态。

人工智能的生成对抗网络GAN赋予了植物新的生长动态与种属特征，虚拟的花朵和果实具有部分自然界存在的原始形态，却又融合了机器对植物界的想象。结合花果特征为生成虚拟植物重新命名，定义其生长时节，制成植物年历，并通过后期手段重塑虚拟植物的生长过程，运用特效强化时间聚合、流转、涌动、逝去之态，让观者在人工智能想象的动态表盘墙中重新理解宇宙、时间、生命之意。

The first six sentences of The Thousand Character Writing tell the connection between the universe, astrology, time and farming. Based on the research and practice of modern farming science, people have created the farming calendar, allowing us to explore the form of time from the perspective of plant growth rhythm.

The Artificial Intelligence model GAN(Generative Adversarial Networks)creates new growth dynamics and species characteristics of the plants. The virtual flowers and fruits have some primitive forms that exist in nature, but they also integrate the machine's imagination of the plants. Combining the characteristics of flowers and fruits to rename the virtual plants, define its growth time, make a plant calendar, and reshape the growth process of the virtual plant through C4D, then use special effects to strengthen the state of time: aggregation, circulation, surging, and passing. So The reader re-understands the meaning of universe, time, and life in the dynamic dial wall imagined by artificial intelligence.

作者姓名：赵星芮 Zhao Xingrui

作品媒介： 实时AR滤镜时钟

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潮汐，是时间的形态。

世界上大部分面积都被海水淹没，而海水的涨落运动，也是有规律的。每隔24小时50分钟，就会有两次海水的涨落，白天的潮涨称为潮，夜晚的潮涨成为汐，一天兩次的潮汐，看來規律，卻又充滿驚奇。我用潮汐涨落来表达时间，让人们在阅读自然的图像过程中，感受时间的变换，流逝。希望人们在阅读时间的时候，也同时了解到潮汐这个自然现象。

潮汐AR时钟的三维模型分为四个维度构成，它通过一天中的2次潮汐涨落，潮水色彩，以及月亮运动的位置来表达一天之中的时间节点。同时我将Style Gan生成的潮水两升两降动画，转化为了法线贴图，在潮水模型的表面进行纹理的生成，人们同时也可以通过观察纹理的涨落，来确认时间点。使用者可以从滤镜中直观的进行读数。同时也可以将其分享到社交平台。从而开启一种新型的阅读时间的体验。

Tide, is the form of time.

Most of the area in the world is under water, and the fluctuation of the seawater, also is regular. Every 24 hours and 50 minutes, the seawater rises and falls twice, the rising tide in the daytime is called Chao and the rising tide at night is called Xi. The twice-daily tides seem regular, but they are full of surprises. I use the ebb and flow of the tides to express time, In the process of reading images of nature, People can feel the time changing, passing by. I hope that when people are reading, They also learned about the tides, a natural phenomenon.

The three-dimensional model of AR tidal clock is composed of four dimensions. It expresses time of the day by Two tidal ebb and flow a day, Tide color, and Movement of the moon. I convert the animation generated by Style Gan to normal maps, and import them to tide model’s texture, so users can also observe the fluctuation of the texture to confirm the time point. Users can read time directly from the filter, and they can also be shared it on social platforms. This opens up a new kind of reading time experience.

作者姓名：陈龙琪

作品媒介：AR滤镜+界面交互

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跨越空间的时间可以被体验吗？

跨越空间的天气可以被预见吗？

Jet Lag Watch ——虚拟时差表盘提供了答案。

与手表相似，异地的时空连同各时段天气也被罩在玻璃盖子里。

不论是晴天、雨天、雪天、多云，还是白天黑夜，虚拟表盘可以清晰地显示两个时空的场景。

在作品呈现方面，作品将输入城市之间的时差转化为两圆间夹角的动态展现，将白天黑夜的概念转化为灯光和物体发光控制，把圆盘内的小蓝人和小红人作为秒针不断在场景里错过又相遇，以唤醒每个人跨时空的工作或交友的回忆和经历......最后，运用AR技术识别手部或品牌名称来进行虚拟手表“佩戴”。

作为展览作品时，作品可结合展览票的品牌标识营造互动惊喜；在面对消费者时，作品则可完成不同天气和家乡场景的布局定制化设计，以满足市场需求。

What if time across the space could be seen？

What if you could see how it rains in another country？

Jet Lag Watch -- The virtual time difference dial provides the answer.

Similar to a watch, the time and space of different places, along with the weather at different times, are covered in a glass lid.

Whether it is sunny, rainy, snowy, cloudy, or day and night, the virtual dial can clearly show the scene of two time and space.

In terms of design presentation, the design transforms the time difference between the input cities into a dynamic display of the Angle between two circles.It transforms the concept of day and night into light and object glow control.And the little blue and little red designed as a second hand constantly in the scene to miss and meet, to wake up everyone works or relationships across time and space of memories and experiences... Finally, AR technology is used to identify hands or brand names to "wear" virtual watches.

As a design for display, this design can be combined with the brand identity of the exhibition ticket to create interactive surprises; In the face of consumers, the design can complete the layout of different weather and hometown scenes customized design, to meet the market demand.

作者姓名: 王礼媛

作品媒介：交互媒体艺术 Interactive media art

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在现代计时形式诞生之前，人类已经学会从自然万物中寻求规律。花开有时，花落无声，花卉是钟表中永恒的主题，也是强烈的时间载体，回忆的容器。

结合不同种类花卉的开放时间和形态，通过数字化形式呈现时间与自然植物的关联并提取花卉的动态运动痕迹，尝试应用在手表表盘上，可视表达时间在自然生物上留下的痕迹。

Before modern forms of timing were invented, humans had learned to look for patterns in nature. Flowers bloom sometimes and fall silently, flowers are the eternal theme in the clock and is also a strong carrier of time, the container of memories. 

Combined with the opening time and form of different kinds of flowers, the association between time and natural plants is presented in digital form and the dynamic movement trace of flowers is extracted. It is tried to be applied on the dial of a watch to visually express the evidence left by time on natural organisms.

作者姓名: 余宗历YU ZONGLI

作品媒介：影像

最初的细胞从简单的大分子有机物，经历了上亿年的演变，进化为成千上万种生命体.计时器也从原始的沙漏水钟，进化为精密的机械结构。从微观细胞、宏观人类机体到精密仪器，任何一种“机器”都有其生命演进的极限。人工智能能否突破自然规律的限制，探索进化的更多可能性？

作品使用生成对抗网络来探索机芯的形态，试图让机芯如同细胞一样自由生长。细胞异形恰好与圆形的机械机芯图形同构，是一种对人工精密时代的致敬，也是一种对生命演化的提问。

From simple large molecules of organic matter, the original cell has evolved over hundreds of millions of years into thousands of kinds of living organisms. Timers also evolved from primitive hourglass clocks to sophisticated mechanical structures. From microscopic cell, macroscopic human organism to precision instrument, any kind of "machine" has its limit of life evolution. Can artificial intelligence break through the limitations of natural laws and explore more possibilities of evolution?

The work uses a generative adversarial network to explore the shape of the movement, trying to let the movement grow freely like a cell. The cell abnormality happens to be isomorphic to the circular mechanical movement, which is a tribute to the age of artificial precision, and also a question on the evolution of life.

作者姓名：朴康贤 Piao Kangxian

作品媒介：数字表盘 Digital Dial

Ripple Flow, 是对时间表达的重新思考。

传统的时间表达，是通过指针指向刻度来完成。我想重新定义时间的表达，我更愿意把每时每刻想像成指针与刻度的碰撞，用碰撞产生的结果来表达时间。

之所以选择水的波纹表现碰撞的效果有两个主要的原因：一是水波纹的产生是有规律的，二则是因为碰撞而产生的水波纹是可计数的。Ripple Flow，是一个动态虚拟表盘，12个动态波纹代表十二个小时，颜色动态变换的波纹个数代表时钟，而波纹的偏心位置则代表分钟。同时，我也在探索时间运动和静止的融合，通过对冰岛地貌纹理的学习，生成一种新的风格来表达时间的动和静，也探索在虚拟表盘上体现不同风格的时间表达。

Ripple Flow, a rethinking of the expression of time.

The traditional time expression is accomplished by pointing the pointer to the scale. I want to redefine the expression of time. I prefer to think of every moment as a collision between a pointer and a scale, and express time with the result of the collision. 

There are two main reasons why water ripples are selected to express the effect of collisions: one is that the generation of water ripples is regular, and the other is that the water ripples produced by collisions are countable. Ripple Flow is a dynamic virtual dial. 12 dynamic ripples represent twelve hours, the number of ripples with dynamic color changes represents the clock, and the eccentric position of the ripples represents the minutes. At the same time, I am also exploring the fusion of time movement and stillness. Through the study of Icelandic landform textures, I can generate a new style to express the movement and stillness of time, and also explore different styles of time expression on the virtual dial.

作者姓名：徐朝晖 Zhaohui Xu

作品媒介：视频、图像、多媒体

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古人用十二地支记时，从冬日的冰封时刻到繁荣的收获季节再到落败时重新归于寂静，时间即是如此循环往复。而在循环往复中总有个瞬间，这一时刻万物苏醒，时间进入新的循环；这一时刻，生机和活力从冰封中涌出，时间也开始新生。“解冻时间”即是对时间新生这一时刻的可视化理解和呈现。

“解冻时间”分为了三部分，第一部分是对冰封的呈现，运用Delaunay三角化算法描绘了一个动态的结冰的过程；第二部分探究的是时间解冻的过程，借助playform生成机芯不断解冻的图片并制作视频。制作机芯的材料在反复使用再生的过程中，一次次的加工，每一次都代表材料的一次新生。第三部分探究的是时间解冻过程中，人的参与的影响。希望人们可以在交互中思考人与时间流逝的关系。当人在多媒体装置前挥手时，加速了图像的溶解，呈现不一样的动态图案。寓意人参与了时间的解冻过程。

The ancients used the twelve earthly branches to keep track of time, from the frozen moment in winter to the prosperous harvest season and then back to silence when it falls, that is how the cycle of time repeats itself. In this cycle, there is always a moment when everything wakes up and time enters a new cycle; a moment when life and vitality emerge from the freeze and time begins to be reborn. 

"Unfreezing Time" is the visualization and presentation of this moment of time's rebirth. "The first part is “FREEZING”, using the Delaunay triangulation algorithm to depict a dynamic process of freezing; the second part is “UNFREEZING”, using the playform platform to generate images and videos of the movement continuously thawing. 

The materials used to make the movement are repeatedly used and regenerated, one after another, each time representing a new birth of the material. The third part is “HUMAN INTERACTION”, which explores the impact of human involvement in the process of time thawing. It is hoped that people can think about the relationship between people and the passage of time in the interaction. When people wave their hands in front of the multimedia installation, it accelerates the dissolution of the image and presents a different dynamic pattern. It implies that people are involved in the unfreezing process of time.

作者姓名：刘仁瑄 Liu Renxuan

作品媒介：视频展陈 Video Exhibition

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对于生命体来说，生命的开始意味着时间的开始。宇宙大爆炸后第一个细胞的分裂意味着生命的起源，那么在大爆炸之后是否存在着另一个生命世界？它们的世界和我们的世界相比又是如何呢？

《浮生一梦》通过描述一个人的梦境来展现不同生命世界中时间的相对性，梦境开始是现实世界里记忆片段的闪回，梦境后半段进入了另一个生命世界，所有的事物都似曾相识但又充满了不同，这种相似性与差异性也与生成艺术作品自身的特性有着高度关联性，作者通过这种对比来展现对于时间相对性的不同理解。

For living organisms, the beginning of life means the beginning of time. The division of the first cell after the Big Bang implies the origin of life, so does another world of life exist after the Big Bang? And how does their world compare with ours?

 “A Dream of Floating Life” shows the relativity of time in different life-worlds by describing a person's dream. The dream starts as a flashback of a memory in the real world, and the second half of the dream enters another life world, where all things are familiar but different, and this similarity and difference is also highly relevant to the characteristics of the generated artwork itself. The author uses this contrast to show a different understanding of the relativity of time.

CO-DESIGN STUDIO is a professional design studio courses for all second-year graduate students. It organizes students to comprehensively use what they have learned in class to complete a practical project or solve a specific problem within 6-8 weeks. Subjects need to be aimed at the frontiers of design disciplines, encourage companies to bring real problems, needs and resources into the classroom, flexibly inviting experts and scholars from different disciplines as course instructors, help students break through the limitations of the classroom, and encourage interdisciplinary collaboration and comprehensive innovation.

导师：郁新安、孙磊、Filippo Fabrocini、曹静、郑越升、张屹南

学生：彩丽甘,刘承彦, 戚倩莹, 余宗历, 陈宇, 刘仁瑄, 郑茜月, 覃羿豪, 付蔚, 朴康贤, 彩丽甘, 刘恣嫣, 袁之淇, 徐朝晖, 陈龙琪, 孙梦迪, 张淳, 王礼媛，赵星芮，何沁如

编辑：孙梦迪 赵星芮

TUTORS: 

Yu Xin An、SUN Lei、Filippo Fabrocini、Cao Jing、ZHEN Yueshen、ZHANG Yinan

STUDENTS: 

Cai Li Gan、Xu Chao Hui、He Qin Ru、 Fu Wei、Chen Yu、Yu Zong Li、Wang Li Yuan、Qi Qian Ying、Liu Zi Yan、Zhang Chun、 Zheng Qian Yue、Yuan Zhi Qi、Piao Kang Xian、Liu Ren Xuan 、Liu Cheng Yan、Zhao Xing Rui、Sun Meng Di、Chen Long Qi、Qin Yi Hao、Yu Zong Li