54場雨 | 54Rains 設計工藝跨域共創展 | 台湾｜工藝中心

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54個作品，54場雨。
期待在這54場共創之雨中，

誘發下一場共創計畫的新繆思。

54 works are the results of 54 convective showers of rain.

We hope to entice the new muse of the next co-creation project

with these 54 co-creation rains..

展覽現場 360°online

一起走入54場共創之雨

自2007年始，國立臺灣工藝研究發展中心開始了一連串共創計畫，Yii 、 A New Layer 、HAND IN HAND…邀請荷蘭、瑞典、德國、法國、巴西、日本、韓國、臺灣...等跨國設計師，和臺灣工藝師進行一連串異文化的創作激盪，這其中，雙方經歷了認知的顛覆、以及自身原有創作文化系統的鬆動，最後產生創作的質變，此展覽，便是這變化的精彩成果。

54個作品 54場雨

雨，是沖刷是洗滌，是重生。

本展覽以「材性X結構」「符號 X 生活」「古典 X 當代」「變化X載體」「風味X裝飾」「懷舊 X 遊戲」六大作品特性分類，呈現截然不同的詮釋語彙。

置物架
Construction Collection

設計師因著迷於台灣竹製棚架的工藝，於是將這美麗的結構與簡約的氣質轉換至層架系統：使用不同厚度的竹，並以藤捆綁固定，透過層板及隔間的使用而創造各種空間。

Fascinated by the Taiwanese bamboo rack’s craftsmanship, the designers transfer this enchanting structure and minimalistic temperament into system racks. Employing bamboo slips in different thicknesses that were secured with rattan, a variety of compartments can be created.

設計師-
gabriella gustafson &
mattias ståhlbomom

工藝師-

漆 Lacquer/
吳樹發
Shu-fa Wu

竹 Bamboo/
劉昭明
Chao-Ming Liu

材質/
竹、木、天然漆
bamboo, wood, lacquer

尺寸/
65x65x52.4cm

是否每個生活器物，都能回溯其典型的物質構造型態，有著代表其文化特色的正統跟典範？而所謂當代的設計，因其意識形態的不同，觀看事物方法的改變，隨之便有不同比例形體的設計表現。是所謂傳統技法之當代精神之呈現。

Can each utilitarian object be traced back to its material archetypes with cultural characteristics, orthodoxy, and paradigm? Based on different ideologies and perspectives, the so-called modern designs show a spectrum of shapes in different proportions. This is the manifestation of the zeitgeist of traditional techniques.

鐵竹椅-禪椅
BAMBOO STEEL- zen chair
73x67x71cm

鐵竹椅-餐椅
BAMBOO STEEL-dining chair
50x54x82cm

鐵竹椅
Bamboo Steel

在研究台灣竹產業之後，設計師靈巧地將竹管家具製作技法運用在鐵管上，並以傳統竹編技法編織鐵片，為這種量產化的冰冷材質，帶來細膩的手感與人文表情。經過日本設計師與台灣工藝師的深入互動，藉由技法及材質的轉移，為傳統產業帶來新意。

After having researched the bamboo industry in Taiwan, the designer transfuses bamboo furniture craftsmanship into steel pipes to weave steel sheets together with traditional bamboo weaving techniques. As a result, steel as a cold material was infused with meticulous handiwork and cultural expression. Profound interaction between the Japanese designer and Taiwanese craftsman unfold new perspectives in the traditional industry by fusing techniques and materials.

設計師-
Nendo

工藝師-

竹編 Bamboo/
邱錦緞 Chin-Tuan Chiu

材質/
鐵 Steel

竹陶容器
bamboo pine container

竹林是台灣常見的意象，而歐洲則是杉樹，設計師將兩者結合，遂產生這一系列作品。陶工藝師控制不同大小的圓錐體保持同樣角度，與在竹上漆的容器，
共同演奏了一場精彩的工藝協奏曲。

Bamboo groves are a popular scenery in Taiwan where is pine forests are abundant in Europe. The designers combine the two to create this series of works. By manipulating cones of different sizes at the same angle and applying the lacquer on bamboo containers, the craft artist and designers performed a wonderful symphony of craftsmanship together.

設計師-
gabriella gustafson &
mattias ståhlbom

工藝師-

漆 Lacquer/
廖家興
Chia-hsing Liao

陶瓷 ceramics/
柯有政（五行創藝）
Yu-Cheng Ko

竹 Bamboo/
劉興澤
Hsing-Tse Liu

材質/
竹、陶、天然漆
bamboo、clay、 Lacquer

尺寸/
Ø18.5×H 33cm
Ø15.5×H 27cm
Ø12×H 20cm

六方燈
Bamboo Lamp

以六支完整的竹篾構成，每支竹篾都以手工彎曲六個角度，其中並暗藏磁鐵便於開闔好更換燈泡，巧心慧手以支撐此優雅的設計。

Consisting of 6 integral bamboo slips which were bent to the desired curvature by hand with a hidden magnet for easy light-bulb changing, this elegant design is supported with ingenious design and skillful craftsmanship.

設計師-
Johan Brunel

工藝師-

竹 Bamboo/
吳明錩
Ming-chang WU

材質/
竹
Bamboo

尺寸/
25x25x35cm

直線籮
Bamboobasket strips

為了維持竹管的完整度，竹身的表皮因此被保留下來，這產生了上漆的困難：漆工藝師反覆上了30幾層生漆，才呈現此溫潤的色澤及耐久的保護效果。

The skin of the bamboo tubes was not removed for the integrity of bamboo, however, it entails difficulty for the lacquer to remain on the surface. The lacquer artist had to apply over 30 layers of lacquer to manifest the desired warm color tone and achieve the coating with a protective function.

設計師-
Carina Seth Andersson

工藝師-

漆 Lacquer/
黃金梅
Chin-Mei Huang

竹 Bamboo/
林建成
Jian-Cheng Lin

材質/
竹、天然漆
Bamboo , Lacquer

尺寸/
Ø45xH45cm
Ø50xH50cm
Ø55xH55cm

冊椅
Loop Chair

歷史上，西周及春秋時代以「竹簡」記事，竹簡可編輯成冊，以捲軸方式收藏，是造紙術出現前的主要文字記錄及傳播方式。冊椅的設計便取材自此意象，竹片圍繞成圈，神似古代竹簡；竹圈的韌性，則為坐者提供彈性與舒適。此椅為可堆疊式設計。

In Chinese history, before the papermaking technique was invented and widely spread to most of China proper, bamboo slips had long been the popular written medium for several centuries. Oftentimes, the bamboo slips were strung together into a roll and stowed away when not being read. Inspired by the ancient “books” made of bamboo slips, this chair consists of bamboo strips in a circular shape. Whereas the bamboo’s elasticity serves as the source of flexibility and comfort of this chair. Similar to its ancient ancestor, this work is also stackable.

設計師-
劉一德
Idee Liu

工藝師-

竹 Bamboo/
陳高明
Kao-Ming Chen

材質/
竹 Bamboo

尺寸/
50x60x70cm

漆桌
Bock Table

造型簡單俐落，呈現輕盈與莊重並陳的氣質。漆在此表現了無可取代的質感。

This uncomplicated design constitutes a work that seems serene and yet feather-light at the same time. Lacquer manifests an irreplaceable texture in this work.

設計師-
Carina Seth Andersson

工藝師-
漆 Lacquer/
陳明宗
Ming-Zong Chen

材質/
木、天然漆 Wood、 Lacquer

尺寸/
60x60x20cm

竹衣架
Bamboo hanger

設計師關注物件功能的基本設計，加上工藝師將一整支竹篾彎折的技藝，使作品散發簡約的魅力。

Based on the attention to the fundamental functions of the object by the designer, the craft artist bends a whole bamboo slip into the ascribed shape. This work exudes a charm of simplicity.

設計師-
Sébastien Cordoleani

工藝師-
竹 Bamboo/
吳明錩
Ming-chang Wu

材質/
竹
Bamboo

尺寸/
16x24x6cm

竹片
ZHU PIAN

竹子堅韌挺拔的意象在我們的文化傳承中具有重要象徵意義。在當代永續運動中，竹子也因為其生長快速的特性，成為取代木料的理想環保材質。本設計運用竹子的韌性，利用竹片旋轉產生彈性所醞釀的張力和曲線，襯托竹片脫俗的雅趣。

The upright and resilient bamboo is a loaded cultural significance in Chinese heritage. In the modern-day sustainable movement, the fast-growing bamboo becomes the ideal environmental-friendly material in place of wood. The resilience and the tension and curvature as a result of the spinning thin bamboo slips constitute the elegant design of this work.

設計師-
朱志康
Chih-Kang Chu

工藝師-

竹 Bamboo/
葉基祥
Chi-Hsiang Yeh

材質/
竹
Bamboo

尺寸/
35x35x200cm

橋竹長椅
Bridge Bamboo Bench

設計師造訪台灣時，深受各種橋的吸引，驚訝其型態的豐富。遂將連結人、鄉間、文化的橋，轉譯到生活中。精於椅子結構的工藝師，則畫龍點睛，使用橫向支撐使其不止於美感並能穩固。

Astonished and attracted by the diversity of bridges in Taiwan, the designer transfer the bridges that connect people, countryside, and cultures to daily life. Well-versed in the structures of chairs, the craft artist chose to emphasize horizontal support to highlight its beauty and stabilize the bench better.

設計師-
Sebastian Herkner

工藝師-

竹 Bamboo/
吳銘安
Ming-An Wu

材質/
竹
Bamboo

尺寸/
164x44x34cm

43

之所以名為43，是因為它的原始設計由43條竹片構成。
設計師與工藝師研究台灣孟宗竹的彈性，運用造形科技，和馴服自然材質之間激盪出的精彩成果，此作品重新改寫了「懸臂椅」（cantilever chair）這種家具品項的定義，堪稱台灣竹藝近年具最代表性的作品之一。

The title, 43, is named after the 43 bamboo strips in its ideation.
Exploring Taiwanese Menzong bamboo’s flexibility, as the modern shaping technique tamed the natural material, out came this dazzling ground-breaking piece. This work redefines “cantilever chair” and is certainly one of the most representative works in Taiwanese Bamboo craftsmanship.

設計師-
Konstantin Grcic

工藝師-

竹 Bamboo/
陳高明
Kao-ming Chen

材質/
竹
Bamboo

尺寸/
55 x 53 x 77cm

竹椅
Bamboo Chair

設計師試圖發展裝飾椅的新類型，而此椅背的造型確也是工藝挑展所在：每條竹片的曲度必須彎曲精準，視覺才能達到平整。而下彎處要成功反折，除了竹材條件要好，亦是功力所在。

The designer’s creative backing of this decorative chair poses a challenge to the craft artist. Each and every bamboo slip has to be bent to the exact precise curve to achieve unison in this work. In addition to a highly flexible and resilient bamboo, the craftsmanship of the bamboo artist holds the key to bending the bamboo slip to the other direction at the base of the back successfully.

設計師-
Jin Kuramoto

工藝師-

竹 Bamboo/
林建成
Jian-Cheng Lin

材質/
竹
Bamboo

尺寸/
113x80x77cm

8字籮
Bamboobasket 8

設計師在簡約及具意義的形式之間找到平衡，作品有著超越時間的品質。

The designer found balance between minimal and meaningful forms in this work that it is beyond time.

設計師-
Carina Seth Andersson

工藝師-

漆 Lacquer -
吳樹發
Shu-fa Wu

竹 Bamboo-
劉興澤
Hsing-Tse Liu

材質/
竹、天然漆
Bamboo , Lacquer

尺寸/
Ø45xH45cm
Ø50xH50cm
Ø55xH55cm

纏椅
Bamboo Chair

如頭髮延伸編織而成的椅。竹腳分支處，工藝師需精準控制材性，分支才能均勻，是支持這把優美椅子的關鍵技法。

This elegant chair is woven with hair-like long bamboo strips. The craft artist exhibits highly skillful precision to split the ends of the legs in perfect harmony.

設計師-
Samuel Misslen

工藝師-

竹 Bamboo -
林建成
Jian-Cheng Lin

材質/
竹
Bamboo

尺寸/
40×44×80cm

陶桌
Cay Table

設計概念源起於歐洲日常生活可見的起士，並試圖維持手感。陶乃一體成型燒製，而為了「用漆表現陶瓷柴燒的質感」，漆工藝師以漆加入各種不同配方的土粉試驗才得出此效果。

Inspired by cubed cheese blocks, the designer tries to maintain handcraft in this work. These clay works are fired in one piece rather than putting parts together later. Then the lacquer craftsman experimented by mixing lacquer with a wide range of different compositions of earthen powder to create a wood-fired ceramic finishing with lacquer.

設計師-
gabriella gustafson &
mattias ståhlbom

工藝師-

漆 Lacquer -
黃金梅
Chin-Mei Huang

陶 clay -
鞏文宜
(五行創藝)
Wen-Yi Kung

材質/
陶、天然漆
clay、 Lacquer

尺寸/
Ø42.2×H 40cm（大）
Ø35×H 32cm（小）

弓椅
BOW CHAIR

竹，不剛不柔，非草非木。竹子具有極佳的韌性，古人利用此一特性，將竹片製成竹弓。本設計利用這個材料特性，作為椅子支撐重量的結構部分，達到有如機械工程學中的避震器緩衝效果；竹片組成結構的方式，以及將竹子彎曲的加工技術，都有別於傳統的工藝技法。弓椅希望能夠突破傳統，在美學與力學間達到平衡。

Not hard nor docile, not grass nor wood, bamboo is highly flexible and resilient. Ancient Chinese knew this characteristic well and made bamboo strips into bows. This characteristic is also employed as the shock absorber that buffers and supports the chair. New techniques were applied in structuring bamboo strips and Bow Chair thrives to break from conventions and reach a balance between aesthetics and mechanics.

設計師-
吳東治
Dung-chin Wu

工藝師-

竹 Bamboo -
林建成
Jian-Cheng Lin

材質/
竹
Bamboo

尺寸/
44.5x55x78cm

我們浸淫在日常生活中；我們有意無意留下視覺記憶。它們也許是物件的形體、或是動態的剎那，但都直指這視覺符號背後的人情。
創作者假借這些形象作為創作要素，在作品中使其成為符號性的存在，於是便可輕盈的遊走於新形體中，原有符號夾帶的意義也因此蔓延開來...。

New concepts came from signs in daily life.
As we live our lives, we retain visual memories with or without intentions. Both the shapes of the objects and moments of movement point to the relations and connections of people behind the visual signs.
By employing imagery as elements that exemplify as signs, creators roam freely in new forms and thusly, the original meanings embedded in these signs unfold.

劍道桌
Kendo table

採擷竹劍的觀念作為桌腳，每個腳由四面竹片烤彎組成，形成作品又纖細又沈穩的特殊氣質。

Inspired by kendo, each table leg consists of 4 curved shinais (bamboo kendo sword). This work is slender and robust at the same time.

設計師-
Johan Brunel&Samuel Misslen

工藝師-

竹 Bamboo

劉昭明
Liou Zhao-Ming
洪國良
Hong Guo Liang

材質/
竹
bamboo

尺寸/
40 x 40 x 150cm

塑瓷
Plastic ceramic

這一批精心製作的薄胎陶瓷器物，靈感來自於台灣街頭常見的紅色塑膠餐具。明確可見的「肋柱」特徵，經過精湛工藝的轉化，不僅支撐薄胎陶瓷的強度及生產合理性，更活化了台灣辦桌文化的意涵，強調出本作品細膩中富含生命力的特色。

The disposable red plastic cups and plates are commonly seen at roadside banquets in Taiwan, and inspire the series of this work. The characteristic “rib columns” in the plastic disposable dining wares are preserved to highlight the traditional celebration culture and also employed to sustain thin ceramics and make these pieces more plausible for production. As a result, these works showcase a distinctive Taiwaness, delicate yet full of vitality.

設計師-
吳孝儒
Pili Wu

工藝師-

陶瓷ceramics
李存仁
Tsun-Jen Lee

材質/
薄胎陶瓷
Eggshell porcelain

尺寸/
28x28x32cm(花瓶)
12x12x14cm(高腳杯)

爆竹
explosion

竹管如花火瞬間爆開，空中的絢爛凝聚成燈，賦予傳統竹材全新的視覺效果。
本設計以竹的彈性與韌性出發，工藝師利用竹面往內彎易爆裂的特性，精準控制竹片裂開的線條，是技藝與設計呼應的美好呈現。

Having exploded in the air like a firecracker, the bamboo strips condense into a lamp to give the traditional material a whole new visual effect. Taking the flexibility and resilience of bamboo to the full extent, the craft artist manipulates bamboo and make the splits of bamboo in precision to create a perfect marriage of craftsmanship and design.

尺寸/
Ø20x13cm

蕾絲
Lace

蘊涵視覺線索與細膩觸感的詩意作品，結合東方刺繡與西方蕾絲圖樣，表達華人母親對女兒婚嫁的祝福。這件手拉胚的薄胎作品，從底部開始漸漸變薄，至開口處細薄如膜，幾乎穿透，再在上面雕刻花紋，和光線互動出幻化多變的細膩效果。

A poetic work full of visual clues and delicate tactility, it combined the cross-stitch patterns of the East and the lace patterns of the West to embody a wedding blessing from a Chinese mother to her daughter. This hand-thrown pottery started to taper down on thickness from the base and the opening is as thin as eggshell and see-through. In addition, the play of light with the perforated patterns creates various intricate effects.

設計師-
徐景亭
Ching-Ting Hsu

工藝師-

陶瓷ceramics
李存仁
Tsun-Jen Lee

材質/
薄胎陶瓷
Eggshell porcelain

尺寸/
Ø31x高8 cm
Ø17x高6cm
Ø15x高8cm
Ø13x高8cm

尺寸/
Ø17x高6 cm
Ø15x高7.5cm
Ø12x高9cm

漆器吸管系列
Urushi Straw collection

漆器吸管系列將永續性的工藝漆器與一次性塑料吸管並列呈現，重新定義了一種即用型產品的價值，並將其轉化為首飾。它以一種有趣的方式提出問題：我們如何在使用日常生活物品時更有環保意識及永續的概念？而不同質感漆黑的運用，則讓作品增添了細緻的層次。

By juxtaposing the sustainable craftsmanship of urushi lacquer and the disposability of plastic straws, it redefines the value of a ready-to-use product by transforming it into jewelry. In a playful way, it raises the following questions: how can we use
daily objects more consciously, and sustainably? Different gradations of black hue enrich the visual nuance greatly.

設計師-
Tina Roeder

工藝師-

漆Lacquer
陳明宗
Ming-Zong Chen

材質/
木頭、竹管、鋁、不鏽鋼、天然漆
wood、bamboo、aluminum、Stainless steel、Lacquer

尺寸/
胸針
Brooch Brooch
17x3cm

Ⓐ胸針零件
∅ 90x30mm
Ⓑ吸管
L170mm x D12mm

胸針
Brooch Brooch
∅ 7cm

項鍊
Bubble Collar
尺寸/
45x38x1cm

粄凳
Bamboo Squeez

此一設計源自於早期客家文化的回憶；過往在製作粄條前，常以扁擔擠壓麵粉袋中的米漿，擠出水分來製作粄脆；這個畫面成了粄凳的靈感來源。而竹管的結構，則使用在台灣雖普遍可見，卻深得老祖宗智慧的「包管」技法，表現豐富的本土文化意涵。

This piece is inspired by a childhood Hakka memory when the thick and flat rice noodle makers squeeze out the water from the rice paste in the sack with a bamboo shoulder stick. The bamboo legs of the stool employ the popular ancient wisdom of cladding technique that one of the conjoining bamboos is engulfed by the other one entirely. From the title, inspiration to the technique, this work shows multiple layers of cultural significance.

設計師-
徐景亭
Ching-Ting Hsu

工藝師-

竹 Bamboo
陳高明
Kao-Ming Chen

材質/
竹管，泡棉，織品
Bamboo, Foam, Fabric

尺寸/
33 x 40 x 50cm

蓬蓬裙椅
TUTU

竹夫人是台灣早期普遍的傳統工藝，又稱為夏天的冷氣機，轉換成蓬蓬裙的椅腳，讓腳下的風景有如涼風拂過的愜意的悠閒感。台灣傳統竹工藝六角編結構，運用它垂直向的強韌性和編織的穿透感來做成椅腳，猶如蓬蓬裙一樣輕盈優雅，傳達出台灣獨特的幽默喜感。

Bamboo lady, the air-conditioner for summer, is traditional craftwork in early Taiwan. By transforming the bamboo lady into the legs of Tutu, the breeze passing through the chair caresses and relaxes the sitter. Incorporating traditional hexagonal patterns, the tough vertical strips weave into perforated legs of the tutu that are light and elegant to personify the unique Taiwanese sense of humor.

設計師-
駱毓芬
Yu-Fen Lo

工藝師-

竹 Bamboo
蘇素任
Su,Su-Jen

材質/
竹、木、棉、麻
Bamboo, Wood, Cotton and Linen

尺寸/
35 x 35 x 50cm

作繭計畫
Cocoon Plan

把即將作繭的蠶放在竹編的成品上，蠶因為缺乏角度作繭，於是便在平面上不斷旋轉，因而覆蓋了一層層的蠶絲。而竹編的技法則如鳥築巢。
此作品亦可視為一種「有機設計」。設計師的想法讓作品有了起點，工藝師用線架構了作品，而蠶則完成了面的處理，乃設計師、工藝師與蠶的共創作品。

Placing silkworms that are about to build a cocoon on woven bamboo objects forces the silkworms to spin on the flat surface in a circular manner due to the lack of corners as anchors. Therefore, multiple layers of silk would cover the original bamboo objects which were constructed in techniques of birds’ nests.
In this “organic design”, the designer instilled a starting point of the work, the craft artist constructed the work with slender bamboo strips, and silkworms made further surface treatment to complete the plane. As a result, this is a collaboration of the designer, the craftsman, and silkworms.

設計師-
王俊隆
Rock Wang

工藝師-
竹Bamboo
陳高明
Kao-Ming Chen

材質/
竹片、蠶絲
Bamboo, Silk

尺寸/
90 x 100 x 80cm
85 x 50 x 40cm

所有的有形實體是自然的四個基本元素：火、水、土、空氣，無止境重組、不斷變形的結果。它們構成材性，也形成結構。當創作者從此著眼，往往會產生驚人的結果，因爲這是一種原點的改變。

All tangible objects are made out of the following four elements: fire, water, earth and air via endless reorganizations and constant transformations. They constitute materials and structures. When creators work on these elements, these fundamental changes can create amazing results.

竹躺椅
WAVE

為發揮台灣竹特有的彈性，本作品將連結成總長超過4米的竹管，進行多次烤彎，形成連續而多變化的曲線，不但構成了椅子本身的造型，也同時形成它的結構。這個與以往不同的設計，不但為彎竹技法建立新標準，也替工藝師本身樹立了專業里程碑。

Exercising the characteristics of flexibility, the bamboo stalks 4 meters in length were heated and bent several times to make the desired continuous and various curvature which embodied the shape of this chair and its structure at the same time.

This ground-breaking new design sets a new standard for bending bamboo and also establishes a new milestone for the craftspersons involved.

設計師-
Fernando Campana
Humberto Campana

工藝師-

竹 Bamboo-

葉基祥
Chi-hsiang Yeh,
李瑞科
Jui-ko Li
林建成
Jian-Cheng Lin

材質/
竹 Bamboo

尺寸/
50 x 84 x 86cm

共創工藝

王爾德曾詼諧地說：「也許世界上最大的謎，不是不可見的事物，而是可見的事物。」同樣形體的物件，裝飾不同，風味便截然不同：表面自有其魅力。可能來自文化、色彩、線條、型態，或者繁複難以言說的存在。

Oscar Wilde once said “The true mystery of the world is the visible, not the invisible.” By adding different decorations to a certain object, it takes on completely different styles. The appearance is charming on its own, which might come from culture, colors, lines, forms, or simply something complicated and indescribable.

瓷盤
Porcelain

在簡約的設計風格下，不拘於技法，以漆的手繪筆觸，留下一縷清楚言說的情緒。

Free from any certain technique, the minimalistic handcrafted brushstrokes of lacquer leave a clear mark of sentiment.

設計師-
Carina Seth Andersson

工藝師-
漆 Lacquer
王賢志
Hsien-Chih Wang

材質/
瓷、天然漆
Porcelain、 Lacquer

尺寸/
29x 12x 2.2cm
27x 10x 2.2cm
25 x 8x 2.2cm

藝術家之桌artits table

將漆器工藝創作時需要的緩慢與細緻，對比工藝師從事創作時環繞周圍的材料、工具及配件，一則緩慢且精準，一則快速而不精準，兩者結合，保留污漬與筆觸的痕跡，而成此藝術家之桌。

When we compare the slow and painstaking craftsmanship required when working with lacquer ware technique and the material, the implements and accessories with which the lacquer craftsman surrounded himself, we would find an interesting combination of results. By combining the slow and precise with the fast yet imprecise, and preserving the blotches and brush marks on the working bench, the artist’s table is then manifested.

設計師-
gabriella gustafson &
mattias ståhlbom

工藝師-
漆 Lacquer
廖勝文
Sheng-Wen Liao

材質/
木、天然漆
Wood、 Lacquer

尺寸/
190x95x73cm

人生
LIFE

「人生」身高尺的設計，可以在上面書寫、繪圖或縫貼來記錄孩童成長的歷程。3公尺長的絲布從地面延伸，以胚布原色象徵剛出生嬰孩的純淨；至牆面後轉為彩色，象徵隨成長帶來多采的生活。最後，可以在孩子畢業或步入婚姻的人生重要階段，捲起來當作捲軸來餽贈。這捲以天然染色染成的身高尺，見證了環保且有機的生活。

This fabric height chart is made to record a child’s growth as there is room for writing, drawing, or even stitching and quilting. A 3-meter long silk looms out from the floor in nude color which symbolized the purity of a baby. When this silk hits the wall, the colorful segment signifies the child’s various lively events as he/she grows up. When its owner graduates from higher education or enters into his/her own family, this piece can be scrolled up as a present for the celebration. In this way, this silk height chart dyed with natural colors is a testimony of organic and environmentally friendly life.

設計師-
廖軍豪
Chun-Hao Liao

工藝師-
染 dye
陳景林
Jing-Lin Chen

材質/
天然染、絲
Natural dye、Silk

尺寸/
300 x 45cm

循環
CYCLE

以高難度的色彩配方掌控才能達成的手工漸層染色技巧，同時在一塊布染上黃綠、紅橙、褐黑、紫藍，展現春、夏、秋、冬，讓觀者感受天然染布美麗的循環變化。藉由不同季節採收的植物染材染布，以暗示四季時節的變化，是一種符合人類本能感受的絕佳構思。

It is highly challenging to manage so many different colors in gradation in one piece of fabric. By presenting transitions of yellowish to green, red to orange, brown to black, and purple to blue colors that indicate spring, summer, fall, and winter seasons on the same piece of work, viewers perceive the cyclical transformation of the beautiful natural-dyed fabric. This wonderful design is in accordance with human instinctive perception by signifing changes of seasons with dyes from plants collected in different seasons.

設計師-
廖軍豪
Chun-Hao Liao

工藝師-
染 dye
陳景林
Jing-Lin Chen

材質/
天然染、絲
Natural dye、Silk

尺寸/
14 x 14 x 20cm

海報
Poster

挪用與再製為一種創作現象，此系列作品探討創新與原創的關聯、藝術創作方式和新技術、
新材料的關係，以及知識產權和共享的議題，並將其轉換成可以配戴的首飾形式。
而此作品提出新的製程，紙胎上漆後再進行雷射切割，為工藝作品的量產提出新的可能。

This series of works explore the relationships between innovation and originality, and artistic creation, new techniques, and new materials, and issues of intellectual property rights and sharing by appropriatingand re-producing pre-existing works and transforming them into wearable jewelry. The new production process developed by the craft artists, by cutting lacquer-coated paper with laser, shows a new possibilityto produce crafts in mass quantities.

設計師-
Stina Löfgren

工藝師-
Stina Löfgren

漆 Lacquer
王峻偉
Chun-wei Wang

材質/
竹、木、天然漆
Bamboo,wood, Lacquer

尺寸/
70x100x2cm

盤娛
PLATE PLAYTE

這組餐盤的設計，目的在創造用餐後的驚喜：設計師轉化了讓人頭痛的盤「餘」問題，讓酒足飯飽後的菜末醬汁，隨著餐點的內容，在盤子的凹洞處顯示不同圖案與色彩。因盤裡複雜的動物凹點造型，採用高壓注漿，而為方便清洗，表面則經過奈米塗料處理。

The purpose of this plate is to conjure up pleasant surprise at the end of a meal. As meals of different ingredients fall into the holes on the plate, the witty designer transformed cumbersome leftovers into various patterns and colors. The complex animal designs comprised of different depths of tiny sunken pockets were created by high-pressure grouting. In addition, the surface was treated with nano-coating for easy cleaning.

設計師-
何忠堂
Chung-Tang Ho

工藝師-
陶瓷 ceramics
林國隆
Kuo-Long Lin

材質/
瓷
Porcelain

尺寸/
鹿紋 30x30x3cm
魚紋 22x22x3cm
鳥紋 17x17x3cm

十字繡包
REMEMBRANCE

追尋記憶、創造回憶，原住民透過十字繡紀錄先人口耳相傳的勇氣與愛情。十字繡手藝，與工業化的材質結合，產生了不同向度的美感，透過新的語言，傳承永恆不變的民族精神。

Looking for memories and creating new memories, the indigenous people recorded their ancestors’ stories of courage and love passed down orally from generation to generation. The combination of cross-stitch and industrial material created a whole new aspect in aesthetics that inherit the ever-lasting tribal spirits.

設計師-
徐仲淼
Chung-Miao Hsu

工藝師-

十字繡 Cross Stitch-
陳利友妹
Li-Yu-Mei Chen

材質/
十字繡
Cross Stitch

尺寸/
34 x 12 x 20cm

櫃子
Cabinet

如何把插畫家的設計圖以漆工藝幾乎雷同地呈現出來？工藝師使用絹印結合漆，作品遂有了截然不同的風味。

How can an illustrator’s sketch be exemplified in lacquer? The craft artist implements lacquer in silk screen printing to infuse a different flavor into the design.

設計師-
Stina Löfgren

工藝師-

漆 Lacquer-
陳明宗
Ming-Zong Chen

材質/
竹、纖維板、天然漆
Bamboo, MDF-board, Lacquer

尺寸/
40x40x160cm

使用老元素或舊材料，與其實體客觀的對話，然後從中拆解、重組、與新元素結合...從而建立新的規則，作品因此有了遊戲感。遊戲不是脫離現實，恰恰相反，遊戲是更美好現實的實踐。

During the process of conversing with substances objectively with old elements or materials, deconstructing, reorganizing, and then combining with new elements to entail new rules, works acquire playfulness. Games are not detached from reality. On the contrary, games are the actualization of a better reality.

遊戲
PLAY

此作品使用廢舊塑料，著眼於環保。塑料的胎體毛細孔小，不容易著漆，此乃工藝挑戰所在。從材料、工法、到圖案，傳統工藝及環保精神的結合，作品呈現生命煥發的活力。

This eco-friendly series of work up-cycles deserted plastic material. Since the pores of plastic are minute, the challenge of these works is how to retain paints. These pieces exemplify high vitality from material, techniques, patterns, to the incorporation of traditional craftsmanship and environment-friendly spirit.

設計師-
Adante Leyesa

工藝師-

漆 Lacquer -
陳聖輝
Sheng-hui chen

材質/
竹、纖維板、天然漆
Bamboo, MDF-board, Lacquer

尺寸/
手提包Bean Mini-handbag
21 x 11.5 x 9cm

手提包 Round Bag
22cm x 5.5cm

手提包 Rectangular Clutch
19x11.5x5cm

頸飾 Bib Neckpiece
20x16cm

遊戲
PLAY

遊戲
PLAY

星空
The Starry Night

挪用與再製為一種創作現象，此系列作品探討創新與原創的關聯、藝術創作方式和新技術、
新材料的關係，以及知識產權和共享的議題，並將其轉換成可以配戴的首飾形式。
而此作品提出新的製程，紙胎上漆後再進行雷射切割，為工藝作品的量產提出新的可能。

This series of works explore the relationships between innovation and originality, and artistic creation, new techniques, and new materials, and issues of intellectual property rights and sharing by appropriatingand re-producing pre-existing works and transforming them into wearable jewelry. The new production process developed by the craft artists, by cutting lacquer-coated paper with laser, shows a new possibilityto produce crafts in mass quantities.

設計師-
曾永玲
Yung-ling Tseng

工藝師-

漆 Lacquer -
李基宏
Ji-hong Li

材質/
紙、天然漆
paper、lacquer

尺寸/
18.5x18.5x3.7cm

宋徽宗穠芳帖
Poem of Fragrance

挪用與再製為一種創作現象，此系列作品探討創新與原創的關聯、藝術創作方式和新技術、
新材料的關係，以及知識產權和共享的議題，並將其轉換成可以配戴的首飾形式。
而此作品提出新的製程，紙胎上漆後再進行雷射切割，為工藝作品的量產提出新的可能。

This series of works explore the relationships between innovation and originality, and artistic creation, new techniques, and new materials, and issues of intellectual property rights and sharing by appropriatingand re-producing pre-existing works and transforming them into wearable jewelry. The new production process developed by the craft artists, by cutting lacquer-coated paper with laser, shows a new possibilityto produce crafts in mass quantities.

設計師-
曾永玲
Yung-ling Tseng

工藝師-

漆 Lacquer -
李基宏
Ji-hong Li

材質/
紙、天然漆
paper、lacquer

尺寸/
12x3cm

洛可可計畫
Rococo Plan

台灣是全世界機車密度最高的地方，台灣人的生活態度，與機車文化有著微妙的關係。本設計以機車美學為出發點，探討台灣特有的繁複裝飾風格，及與西方藝術史上洛可可風格的異同之處。整個作品以機車零件組裝而成。

Having the highest density of motorcycles per capita, not only motorcycles are an important components in Taiwanese daily lives, the motorcycle culture plays an indispensable role living in Taiwan. Composed of motorcycle parts entirely, this work explores the idiosyncratic Taiwanese complex decorative style by comparing the Taiwanese motorcycle aesthetics with the western Rococo style.

設計師-
王俊隆
Rock Wang

工藝師-
鐵 Metal-
江承堯
Cheng-Yao Chiang

材質/
機車零件
Parts of “SYM Wolf 125” motorcycle

尺寸/
200 x 20 x 270cm

天然材料根植於風土，緊扣生活。人們就地取材，將之運用到生活器物中，因此形成傳統，自有其慣性使用方式。
當設計者離開傳統的眼光，有意識地改變材料使用的載體，將之運用到現今生活的物件中，材料與載體的關係鬆動了，傳統材料的新應用於是產生。
這是一種當代的拓荒者，將傳統材料及其文化開拓到新的物件土地上。

Natural materials are rooted in nature and related to our lives closely. People gather objects from their environment and over time, the habitual usage became traditions.
When the designers leave conventional gazes behind, change the traditional vehicles consciously, and apply what they envision into modern-day utilitarian objects, they loosen the relationships between materials and vehicles, which entail new applications for traditional materials.
They are modern pioneers who venture conventional materials and related cultures into the field of new objects.

落地燈
Floor lamp

設計師用竹編的疏密表達陰影的消褪，只有在頂端顯現結構。是其臺灣經驗豐富設計語言的具體作品。

The procession and recession of the shadow is cast by the density of the bamboo weave. However, the structure is only revealed from the top of the lamp. This is a manifestation of the experienced design language in Taiwan.

設計師-
Matti Klenell

工藝師-

漆 Lacquer
吳樹發
Shu-fa Wu

竹 Bamboo
劉興澤
（竹結構）
Hsing-Tse

邱錦緞
（竹編）
Chiu, Chin-tuan

材質/
竹、天然漆
bamboo, Lacquer

尺寸/
Ø 95x122cm

夜間飛行
Night Flight

在台灣看到黑色漆作品與金屬粉末的結合，給了設計師啟發。他想起在世界各地城市上空進行夜間飛行—每個城市都如此獨特。於是設計了10個機械錶，每個錶盤顯示了1個不同城市。在手錶的背面，則設計了一個飛機窗，可以從中看見機芯運轉。而錶盤上漆的精彩表現，則是工藝師用不同粗細的金屬粉、礦物粉不斷嘗試做出來的效果。

Seeing black lacquer artwork integrated with metal powder in Taiwan reminded the designer of his night flights over cities around the world, and each city is unique in its own way. As a result, this inspired him to design 10 mechanical watches with different cityscape decorated on each dial. On the back of the watch, an airplane window was made to reveal the movement. The spectacular lacquer works on the dials are the magnificent effects created by the craft artist with assorted metal and mineral powders of various sizes painstakingly after numeral trials.

設計師-
Itay Noy

工藝師-

漆 Lacquer
王峻偉
Chun-wei Wang

材質/
不鏽鋼、玻璃、天然漆、金屬粉、皮革、機芯
stainless steel, glass, lacquer, metal powder,
leather, sea shell, mechanical movement

尺寸/
30*44*16mm

筆記型電腦編織包
Weave Laptop Case

從時尚到產品設計，設計師的多學科背景讓此作品散發一股精品氣質。
將竹垂直堆疊再將之切薄，十字結合處的微彎是難度所在。傳統工藝在此像是得到一個精美的舞台而得以展現。

The multi-disciplinary crossover of fashion and product design makes this work an elegant boutique. By slicing layers of vertical bamboo strips into thin ones, the slight curvature at the cross-shaped joints is the challenge. It is as if the traditional craftsmanship is brought to the limelight to be showcased on an exquisite stage.

設計師-
Patricio Sarmiento

工藝師-

竹 Bamboo
劉興澤
Sing-Ze Liu

材質/
竹、皮革、黃銅
Bamboo, Leather, Brass

尺寸/
35×20×5cm

竹電風扇
Breeze

夏日午後，竹林在微風中搖晃，竹葉磨擦的窸窣聲，傳遞著一絲清涼與悠閒，這是設計師想要傳達的。而工藝師則用深厚的功力將之呈現：依風扇圓周大小挑選支撐竹管的口徑，讓分支展開的竹片有適當的寬度，張力才能鬆緊適當。
自然生長的材質，經工藝家巧手，卻呈現出工業產品的規律感，實為竹藝技法的成熟表現。

As the bamboo grove sways in the light breeze on a summer afternoon, the faint ruffling sound made by the bamboo leaves suggests coolness and leisurely relaxation. That was what the designer had in mind and the virtuoso craftsman delivered this piece with his mastery. The perfect size of supporting bamboo stick had to be picked to create the desired size of the fan so that the split bamboo strips would retain appropriate tension with sufficient width. To be able to present regulated measurements of industrialized products out of natural materials is the epitome of bamboo craftsmanship.

設計師-
周育潤
Yu-Jui Chou

工藝師-

竹 Bamboo
陳高明
Kao-Ming Chen

材質/
竹
Bamboo

尺寸/
26x26x60cm
26x26x20cm

竹光
BAMBOO TORCH

台灣早期的居民，除了室內使用蠟燭，戶外經常用竹子製作火把，在夜間照明。竹光的設計接續竹火把的使用行為，運用竹材製作手電筒，具有材料的歷史延續性。工藝師精準計算烤彎每片角度，而S型的竹腰身彎曲，更是工藝挑戰所在。

The popular light sources in early Taiwan are candles for indoor and torches made out of bamboo for outdoor at night. As a continuum of the traditional outdoor bamboo fire burner, these bamboo torches are flashlights made out of bamboo strips. The craft artist heated bamboo strips meticulously to bend them into the perfect contour as designed. The S-shaped handle is especially the most challenging part of this work.

設計師-
吳東治
Dung-chin Wu

工藝師-

竹 Bamboo
林群涵
Chun-Han Lin

材質/
竹
Bamboo

尺寸/
6.5 x 6.5 x 25cm

明韻-圓
MING

明韻眼鏡以明式家具線條特徵，作為設計的特點，來強調配戴者講究比例的人文風格。製作上則採用工藝家獨有的專利，連關節部分亦完全以竹藝製作，不見任合金屬零件及螺絲的蹤影。

MING glasses employ the fluid linear characteristic Ming furniture to highlight the cultured feature of the owner. The designer’s patented hinge makes it possible to present this spectacle frame in bamboo entirely without any metal part or screw.

設計師-
陳俊豪
Chun-Hao Chen

工藝師-

竹 Bamboo
黃多恩
To-En Huang

材質/
竹
Bamboo

尺寸/
14.5 x 14.5 x 5cm

陶桌
Clay Table

受極簡主義啟發，捕捉光線的細微差別。設計師維持其一慣的材質實驗性，此乃與陶工藝師一起挑戰的大尺度作品。而設計師要求的：「微帶光澤，但不是最亮。」則是漆工藝師的一大挑戰。

Inspired by minimalism, the designer captures minute differences in light with this work. Having been venturing into various materials in the past, he collaborated with the ceramic craft artist to explore work on a big scale this time. The matt finish is a huge challenge for the lacquer craft artist.

設計師-
Wonmin Park

工藝師-
陶瓷 Ceramics
五行創藝
Wu Xing Ceramic Art Studio

漆 Lacquer -
黃金梅
Chin-Mei Huang

材質/
陶瓷、天然漆
ceramics、lacquer

尺寸/
80x80x35cm

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