2020 APSARA BRANDING
Across the past decade, the APSARA conference has witnessed an expansive trajectory in tandem with the robust evolution of the internet and cloud computing domains. In the process, it has asserted its stature as the vanguard of cloud computing trends, showcasing cutting-edge applications and their real-world outcomes.
In response to the disruptive backdrop of the Covid-19 pandemic, the APSARA conference underwent a transformative shift, transitioning into a virtual realm for its 2020 edition. Our mission entailed the comprehensive enhancement of the previous brand identity and the strategic redesign of the online conference experience.
On the momentous date of September 17, 2020, the global online launch of the APSARA conference unfurled, ushering in an era of digital engagement and technological exchange.
2020 APSARA Homepage 2020 APSARA Branding Video *Storytelling and scene design by me. Animation by the agency.
In response to the disruptive backdrop of the Covid-19 pandemic, the APSARA conference underwent a transformative shift, transitioning into a virtual realm for its 2020 edition. Our mission entailed the comprehensive enhancement of the previous brand identity and the strategic redesign of the online conference experience.
On the momentous date of September 17, 2020, the global online launch of the APSARA conference unfurled, ushering in an era of digital engagement and technological exchange.
2020 APSARA Homepage 2020 APSARA Branding Video *Storytelling and scene design by me. Animation by the agency.
Team member
Xiaowey Li, Yue Gao, Shengnan Guo, Xu Zhang, Bo Gong, Yang Shan, Ruipeng Zheng, Dyson, Kun Li, Minyue Liao, Chang Liu
Xiaowey Li, Yue Gao, Shengnan Guo, Xu Zhang, Bo Gong, Yang Shan, Ruipeng Zheng, Dyson, Kun Li, Minyue Liao, Chang Liu
My role
Project design manager (21st, April to 19th September 2020)
Principal designer (produces and execution core branding assets): graphic design, motion design, web design, sculpture design
I collaborated with two colleagues on the green screen previous research and online exhibition design. Besides, I worked alongside a developer team, interaction designer, marketing team, and conference execution agencies.
Project design manager (21st, April to 19th September 2020)
Principal designer (produces and execution core branding assets): graphic design, motion design, web design, sculpture design
I collaborated with two colleagues on the green screen previous research and online exhibition design. Besides, I worked alongside a developer team, interaction designer, marketing team, and conference execution agencies.
01. Challenge
Over the past decade, the APSARA conference was named the FEITIAN conference which is unknown to overseas developers. Furthermore, APSARA conception (Original Indian figures also Buddhist flying figures in Dunhuang, China)had been established in serial years but easily led to misapprehension for international users. So our goals were to:
1. Forge an unambiguous and distinguished brand identity.
2. Cultivate a seamless and enriching online conference platform, primed for optimal user engagement and experience.
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APSARA's previous brand vision from 2017 to 2019.
*2017 design by Qi Li, 2018 design by Shulun Ye, 2019 design by Qiaoqiao Tang
1. Forge an unambiguous and distinguished brand identity.
2. Cultivate a seamless and enriching online conference platform, primed for optimal user engagement and experience.
APSARA's previous brand vision from 2017 to 2019.
*2017 design by Qi Li, 2018 design by Shulun Ye, 2019 design by Qiaoqiao Tang
02. Brand Research
From inaccurate to precise:
Our design ethos deliberately avoids presuming we possess all the answers from the outset. Consequently, when initiating the project, the path towards establishing a definitive brand direction remained hazy and enigmatic, with only initial insights to guide us. In this context, my collaboration with a user researcher became instrumental in navigating the evolution of branding before and after the pandemic, a period that marked significant shifts in customer perspectives.
Early insights from the pandemic:
Users' views of the internet and Technical innovation had changed. Innovation and internet technology certainly unnecessarily can bring the advantage to the life, only when they are benefiting humanity.
Reconstruct new ways of working, reconstruct new ideas of social value, and reconstruct new environmental relationships. Technology is no longer almighty, but humanity’s concern. I collaborated with colleagues to explore what visual language would be like based on reconstruction.
Our design ethos deliberately avoids presuming we possess all the answers from the outset. Consequently, when initiating the project, the path towards establishing a definitive brand direction remained hazy and enigmatic, with only initial insights to guide us. In this context, my collaboration with a user researcher became instrumental in navigating the evolution of branding before and after the pandemic, a period that marked significant shifts in customer perspectives.
Early insights from the pandemic:
Users' views of the internet and Technical innovation had changed. Innovation and internet technology certainly unnecessarily can bring the advantage to the life, only when they are benefiting humanity.
Reconstruct new ways of working, reconstruct new ideas of social value, and reconstruct new environmental relationships. Technology is no longer almighty, but humanity’s concern. I collaborated with colleagues to explore what visual language would be like based on reconstruction.
03. Brand Conception
Drawing from meticulous analysis, the envisioned scenarios encompass an array of facets, including virtual conferences, immersive virtual exhibition spaces, channel branding, the conference console system, offline exhibitions, and even sculptural manifestations. Contrasting the dynamics of physical conferences, the brand's virtual iteration necessitates embodying two distinct qualities:
1. Versatility across diverse formats.
2. A design language that remains harmoniously consistent throughout.
Brand Introduction *Animation collaboration with Yue Gao.
1. Versatility across diverse formats.
2. A design language that remains harmoniously consistent throughout.
Brand Introduction *Animation collaboration with Yue Gao.
04. How
Once the core vision was solidified, a substantial commitment was made to crafting the online virtual theater and virtual exhibition. Throughout this endeavor, our focus extended beyond the mere aesthetics of creating captivating visual effects. Our primary concern centered on delivering an exceptional online experience that resonated deeply with viewers.
2019 APSARA Branding *Graphic design collaborate with Qiaoqiao Tang, and San Yang.
Problem: stylize all visual language instead of pile everything we could
2019 APSARA Branding *Graphic design collaborate with Qiaoqiao Tang, and San Yang.
Problem: stylize all visual language instead of pile everything we could
04-1. Service Design
Diverging from the dynamics of in-person gatherings, online meetings often contend with user fatigue and the risk of overlooking crucial details. To counteract these challenges, we harnessed the uplifting influence of the C major triad, evoking a sense of positivity among participants. Leveraging sound, I strategically accentuated pivotal visuals, essential information, and noteworthy segments. This sonic augmentation was thoughtfully integrated with the visual channel, synergistically heightening the audience's emotional engagement.
Bibliography:
(1) Amber Case, Aaron Day. (2020). Design with sound: Fundamentals for products and services.
(2) Marc Stickdorn, Jakob Schneider. (2013.3). This is service design thinking: basics, tools, cases.
*Service design by me, scene design in collaboration with Ruipeng Zheng and Yue Gao. Animation by the agency.
Bibliography:
(1) Amber Case, Aaron Day. (2020). Design with sound: Fundamentals for products and services.
(2) Marc Stickdorn, Jakob Schneider. (2013.3). This is service design thinking: basics, tools, cases.
*Service design by me, scene design in collaboration with Ruipeng Zheng and Yue Gao. Animation by the agency.
From test to solution
Between May and June 2020, an intensive effort transpired to address the intricate technical challenges associated with live broadcasting and the creation of virtual theaters. Collaborating closely with my colleagues, we embarked on a series of green screen tests. Our approach involved prerecording speaker content, followed by the meticulous composition of the virtual setting.
My objective was twofold: devising an aesthetically appealing theater and optimizing the content for a seamless user experience. Employing a visual approach, I endeavored to not only facilitate clear understanding among the audience but also to foster efficient information exchange. The ultimate aim was to ensure that users engage with the virtual environment effortlessly, garnering a sense of both clarity and efficiency.
*Green-screen technology developer: Xu Zhang. Virtual theater designer: Shengnan Guo, Xiaowey LI. Shooting executive: agencies
My objective was twofold: devising an aesthetically appealing theater and optimizing the content for a seamless user experience. Employing a visual approach, I endeavored to not only facilitate clear understanding among the audience but also to foster efficient information exchange. The ultimate aim was to ensure that users engage with the virtual environment effortlessly, garnering a sense of both clarity and efficiency.
*Green-screen technology developer: Xu Zhang. Virtual theater designer: Shengnan Guo, Xiaowey LI. Shooting executive: agencies
04-2. Online Exhibition
In response to the pandemic's impact, accommodating physical visitors within offline exhibition halls became untenable. Fueled by the imperative to disseminate a substantial volume of information, we set our sights on infusing the virtual realm of online meetings with captivating allure through a virtual exhibition hall. Central to this venture, I undertook the creation of a prototype. My aspiration was to employ a virtual cityscape to envelop the six core exhibition themes: Cultural Preservation, Olympiad, Digital Summit, Intelligent Transportation, E-Government Services, and E-Commerce. Users would be empowered to click on each theme to access its respective exhibition content.
The online exhibition halls incorporated various domains, encompassing virtual sightseeing, holographic cityscapes, VR shopping, digital expos, and more. Rooted in the imperative of adaptation, we adhered to these foundational principles:
(1) Designing for adaptability to accommodate an abundance of content.
(2) Crafting interaction design that allows for seamless zooming in, zooming out, and intuitive control.
Throughout this process, we grappled with the challenge posed by the traditional 3D model file formats. To surmount this hurdle, we opted for the gITF format. This strategic shift drastically reduced loading times, elevated transmission efficiency, and ensured users could navigate the experience seamlessly.
*three.js developer: Xu Zhang, 3D designer: Shengnan Guo
Online Exhibition
The online exhibition halls incorporated various domains, encompassing virtual sightseeing, holographic cityscapes, VR shopping, digital expos, and more. Rooted in the imperative of adaptation, we adhered to these foundational principles:
(1) Designing for adaptability to accommodate an abundance of content.
(2) Crafting interaction design that allows for seamless zooming in, zooming out, and intuitive control.
Throughout this process, we grappled with the challenge posed by the traditional 3D model file formats. To surmount this hurdle, we opted for the gITF format. This strategic shift drastically reduced loading times, elevated transmission efficiency, and ensured users could navigate the experience seamlessly.
*three.js developer: Xu Zhang, 3D designer: Shengnan Guo
Online Exhibition
04-3. Console System
The 2020 technology exhibition unfolded in the physical realm, spanning across three distinct edifices to house diverse exhibitions. To ensure seamless operations, our personnel had to meticulously monitor several key factors within each exhibition hall. These factors encompassed attendee traffic, spatial congestion, environmental conditions, service equipment availability, and other pertinent details.
The precise articulation of this information held the potential to directly shape the on-site dynamics. In this endeavor, my role centered on the visual design of the console. Collaborating in tandem with two other information designers, we pursued a cohesive approach. My emphasis rested on spotlighting the pivotal data points that commanded managerial attention, while also judiciously excluding extraneous information that could impede efficiency and service. The resultant interface empowered managers to swiftly identify issues and effectively administer venue management operations.
The precise articulation of this information held the potential to directly shape the on-site dynamics. In this endeavor, my role centered on the visual design of the console. Collaborating in tandem with two other information designers, we pursued a cohesive approach. My emphasis rested on spotlighting the pivotal data points that commanded managerial attention, while also judiciously excluding extraneous information that could impede efficiency and service. The resultant interface empowered managers to swiftly identify issues and effectively administer venue management operations.
04-4. Building Sustainable Design
In the year 2020, the exhibition hall welcomed only a limited number of visitors, its semi-underground structure often necessitating the constant use of indoor lighting and air conditioning, even during daylight hours. Notably, the exhibitions spanned just two days, yet the facilities often operated for a full week, perpetuating an inefficiency that runs counter to the call for global carbon neutrality.
The APSARA pavilion, nestled in Hangzhou, boasts a strategic geographical advantage, benefitting from ample solar energy resources. This is especially true during summer, when the local climate features an annual average temperature of 25 degrees Celsius and enjoys 1762 hours of sunshine. Harnessing this energy potential, the green roof concept was conceived. This innovative design not only facilitates rainwater absorption and indoor temperature reduction but also houses a running track and a stadium that doubles as a serene public space. The utilization of solar installations within the green roof area further contributes to the pavilion's sustainability by supplying electricity for indoor lighting.
To further enhance energy efficiency, strategic air vents adorn the exterior walls. This thoughtful addition serves to naturally cool the indoor environment, thereby diminishing the reliance on energy-intensive air conditioning systems. By embracing these innovative solutions, the APSARA pavilion aligns with the global imperative of reducing carbon footprint while enhancing the visitor experience.
*Conception design by me
The APSARA pavilion, nestled in Hangzhou, boasts a strategic geographical advantage, benefitting from ample solar energy resources. This is especially true during summer, when the local climate features an annual average temperature of 25 degrees Celsius and enjoys 1762 hours of sunshine. Harnessing this energy potential, the green roof concept was conceived. This innovative design not only facilitates rainwater absorption and indoor temperature reduction but also houses a running track and a stadium that doubles as a serene public space. The utilization of solar installations within the green roof area further contributes to the pavilion's sustainability by supplying electricity for indoor lighting.
To further enhance energy efficiency, strategic air vents adorn the exterior walls. This thoughtful addition serves to naturally cool the indoor environment, thereby diminishing the reliance on energy-intensive air conditioning systems. By embracing these innovative solutions, the APSARA pavilion aligns with the global imperative of reducing carbon footprint while enhancing the visitor experience.
*Conception design by me
05. Sculpture
To enhance the indelibility of the APSARA brand, I embarked on a sculpture project in 2019 that graced the exterior of the venue. This distinctive artwork ingeniously fashions each letter of the APSARA name from a medley of diverse subjects. Taking ecological concerns to heart, I selected plaster as the primary material. This choice ensures immediate daytime visibility, capturing the attention of passersby. To seamlessly transition to nighttime aesthetics without the need for additional lighting, I coated the structure's surface with fluorescent paint. This luminescent touch caters to an enchanting nocturnal viewing experience while honoring our commitment to environmental sustainability.
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6. Summary
During the span of September 17 to 18, 2020, as the conference achieved its global launch, I had the privilege of witnessing the practical implementation of my design by users. The seamless alignment of over 200 online presentations underscored the consistency and comprehensive nature of the content. Notably, we garnered positive feedback from a segment of users, a gratifying validation of our efforts.
*For confidentiality reasons I have omitted the summary of project data.
*For confidentiality reasons I have omitted the summary of project data.
