TastePICK Coffee
Tasting without the decision fatigue. A social layer for coffee: discover what others drink, build your own recipe, then let a surprise wheel choose for you in public.
I design for the moment before someone decides — the hesitation, the workaround, the thing nobody wrote down. Currently an MA Communication Design student at Southampton.
Participatory design / Public service / Speculative experience
Fully keyboard navigable
From the object to the system, and back.
I began in product design, learning to carry an idea all the way to a market-ready object — packaging awards, several patents, and a working grasp of the whole loop: a user need, a functional answer, a commercial reason to exist.
The MA moved me into the digital. My work now sits where human-computer interaction meets service design, joining physical and digital craft — designing interaction flows for complex service ecosystems, often with AI as a material, and validating ideas fast through prototypes before committing to them.
One thread runs through all of it: making a system legible to the person inside it. London Liming hands authorship back to the people being represented; BatSense asks what space feels like when vision is not the default.
“Design isn't making the decision
for someone. It's handing it back.”
Tasting without the decision fatigue. A social layer for coffee: discover what others drink, build your own recipe, then let a surprise wheel choose for you in public.
The shame of a gynaecology exam isn't the exam. A self-service booth inside a community hospital that makes privacy, safety and hygiene hold at the same time.
A game about Aboriginal healing: gathering, meditation, purification. You understand the practice by doing it, not by being told about it.
A walk to the end of vanity, in VR. No lecture — three choices and their consequences, until the room shows you what “face” actually costs.
A dumped shared bike reads as “the neighbourhood is going down”. This project doesn't argue with that. It hands the pen over: young riders author their own portrait, in public. Made with Lime and the youth charity Boyz 2 Men across Hackney, Lambeth and Southwark.
Rules, dice and a two-hour clock. A drawing made by three people who could only respond to each other — individual authorship replaced by attention.
An atlas of handwritten notes — the signals we leave on walls, desks and classroom surfaces without ever meaning to communicate.
One week of tracking: social media, study, steps, sleep. What the numbers say that the routine quietly hides.
Ants navigate by pheromone trails our surfaces keep erasing. A design study of a user who is not human, in a city that was never planned for them.
A map for a city that refuses to be flat. Chongqing is navigated by systems built for a plane; this counter-map is drawn for the people who climb it every day.
EARTH+™, 2041. A deployed environmental access system that meters who gets to be outside — six touchpoints, one policy made visible.
A museum interface that scans an object's hidden layers — memory, power, identity — and shows what the wall label leaves out.
Nan Liu · Sole author · Journal of Technology Innovation and Engineering · Accepted
Abstract This article presents London Liming, a proposed co-designed public social display in Hackney, Lambeth and Southwark developed in relation to Lime and the youth charity Boyz 2 Men. It examines how participatory design can challenge stigmatising readings of shared bicycles and young male riders through peer-authored portraits, reversible bicycle wraps, public seating and transparent data notices.
Drawing on semiotics, site-specific and participatory art, and scholarship on mobility justice, the paper describes a design process centred on youth authorship rather than externally imposed representation. The article offers a practice-based design proposition: the workshops and pilot are proposals rather than completed interventions, and their social effects remain to be evaluated.
Keywords participatory design · public display · urban mobility · youth representation · design ethics
Tap to read the abstract, tap again to close
A speculative multisensory interface inspired by bat echolocation. It translates distance and direction into sound, vibration and real-time visual feedback — and rather than reproducing how a bat perceives, it uses echolocation as a lens to ask why human interfaces remain so visually dominated.
The research moved from “how do bats see?” to “how does an echo become spatial information?” Emission, reflection, return — time, direction, difference — proximity, orientation, environmental cue. An ultrasonic module turns those cues into a wearable and a horizontal app interface, tested against a real prototype rather than a render.
Alongside it, a smaller study in the same question: can a quantity you cannot see be made legible by feel? Framed under Regenerative Systems and more-than-human communication, with Jennifer McHugh.
What if vision were not our default interface with the world?
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A one-page summary below — open the original PDF for everything