設計交鋒展一隅。
»»「設計交鋒展」策展人胡朝聖導覽解說展區時，我非常認同他說的話：「設計師是幸福的創作者」。上百件來自26個國家的設計作品，詮釋當今設計除了響應環保愛地球之外，標榜幸福並非獨善一小部群體，而是大家都能同時擁有，包括提供資源的大自然環境和製造生產者在內。在設計者、使用者和提供者之間找得最佳平衡。
一盞溫暖人心的燈，居然是海鹽結晶製成，我還特地問了解說員，不怕燈融化嗎？答案是海鹽燈絕對有「凍頭」，不過請盡量選擇低瓦數燈泡。雖有些小遺憾，我們收到了設計師愛惜資源的美意，醞釀生活中的「小確幸」。另一個驚喜的「小確幸」是常吃的鳳梨也可萃取纖維，拿來再利用！泰國設計師Phatayapon Chankam利用鳳梨纖維，製成長凳；從樹上刨下薄薄的木片也能上漆加壓轉製成燈具，以不傷害自然為前提之下，向自然借取資源，經過一定年限後，素材分解回歸大地。
用純天然海鹽製成吊燈。
而北歐雙人組Godspeed，則是將回收或裁切剩下的木塊，重新拼湊成椅子；以小分子概念，將過去製作家具得大面積刨鋸版材型態，轉換成用小體積重組模式，讓資源浪費降到最低。荷蘭設計師Alexander Pelikan設計的Click家具組，讓你不論身在何方，只靠電腦輸出設計圖，請建材行按照版型切割，五分鐘組好家具，節省長途運輸費。
使用廢料重組，讓家具設計減少資源浪費。 圖左為荷蘭設計師Piet Hein Eek作品，右為Godspeed設計的衣架。
將資訊科技與DIY的精神發揮到極致，就是Click家具的中心概念。
就連居住空間，也懂得和環境共生。芬蘭建築師Marco Casagrande的「終極廢墟」，和07年三芝陳宅有異曲同工之妙，窗戶沒有玻璃，屋頂滿是漏洞，甚至沒有牆壁，直接和大自然共生。這令我想起徐純一在高雄阿蓮鄉的鄭宅，都同樣選擇「共生」理念來創造住宅環境。 光共生、共享還不夠，好的設計更該有共助概念。這概念挺像國內喜憨兒烘焙屋制度，並非從銷售金額提撥給弱勢團體，而是反過來運用第三國提供製造，保障在地就業與消失的古老工藝技術，直接回饋給原產國，做到幸福可以大家享有的終極目標。
不過，設計的茉莉花革命，還有一段漫長路要走，期待用我們小市民力量來推動大時代躍進。««
|
直擊世界設計大展 小提醒： |
|
共生建築正夯 ♦三芝陳宅 ♦高雄縣阿蓮鄉鄭宅 |
“Designers are the creators of happiness” said curator Sean C.S. Hu as he was guiding us through the theme exhibition “In Bliss”, which featured hundreds of pieces from 26 countries. The works all evolved around the same theme, that bliss is not the privilege of a few but something we can all possess. Through re-discovering the relationship between the producer, the consumer and the environment, a blissful balance has been established.
An eye catching feature of the exhibition was the use of materials, lamps made of sea salt and pineapple fiber benches are only a few among them. Some designers have approached eco design from more innovative perspectives. Through the usage of smaller wooden particles, the works of Scandinavian duo Godspeed utilize raw material in a far more efficient manner than traditional furniture. Rather than saving material, Dutch designer Alexander Pelikan managed to save fuel through downloadable patterns, which could turn into stylish furniture within a few steps that any dummy could follow.
While coexisting with nature has become a cliché lately, Finnish architect Marco Casagrande gave it a whole new meaning by taking it literally. His “Ultra Ruin”, an updated version of his house in SanZhi, completely broke down the boundaries between indoors and outdoors by employing glassless windows, perforated roofs and completely open rooms.
As eco friendly design has become the norm of the industry, out arose a trend of co-benefiting design. Rather than directly injecting funds, designers look to provide working opportunities to impoverished countries through shifting a greater portion of the production chain. The profit is also shared in a more balanced manner, bringing the concept of fair-trade to a new level.
