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。
“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.