金點設計-花窗舞影、三角棚

By 欣建築2016/03/29

文章目錄

藝拓國際股份有限公司-花窗舞影
永興祥木業股份有限公司-三角棚

藝拓國際股份有限公司-花窗舞影

圖片說明：圖片提供/台灣創意設計中心

《花窗舞影》系列，是以中式園林建築的門窗為發想，集所有傳統的窗框式樣及紋飾圖騰為大成，融合現代時尚設計的實用餐茶具。採用骨瓷器皿結合異材質(如琺瑯、金屬)的方式，創造出別出心裁的新穎設計感，對接當今美學，並滿足消費者真正的需求。

圖片說明：圖片提供/台灣創意設計中心

《花窗舞影》的設計概念來自於，第一，美學思考上，引領消費者以不同的視角，體驗全套餐茶具，平面的花窗式樣轉化成立體的線條，不管是正視、側視或底視，皆有全新的突破，全新的美感詮釋，以蓋碗為例，突破傳統兩個圓形對接的蓋碗設計，而用造型不一的杯與蓋附合，藉而體現產品差異。第二，實用功能上，全系列包含碗、盤、碟、蓋碗、馬克蓋杯、茶壺及茶杯，提供消費者最全面多元的選擇，以油切盤為例，透過器型的特殊設計，避免骨瓷盤底部燒製時塌陷，設計師延伸了紋飾線條，不但加強了結構的支持力，透過花瓣稜線，提升視覺美感，還能輕鬆排除盤內多餘的食用油或是菜湯，讓消費者在享受美食的同時也吃得健康。

"Rhythm of Lattice" series conceived its core ideas from the windows and doors of the Classic Chinese Gardens and designed with the best traditional forms and totems to produce a uniquely cosmopolitan tableware. Moreover, using a hybrid of traditional bona china and alternative materials (enamel and metal) creates a novelty on the modern aesthetics that meets the real needs of consumers. Aesthetically, Rhythm of Lattice offers a new visual experience. There are breakthroughs from either front, side, or bottom views. For example, a traditional gaiwan is covered seamlessly with circular shapes on both ends. Our gaiwan breaks away from that with two different outlines of both the bowl and its cover. Practically, this series of products are varied and many, which offers plenty choices for consumers. Our oil-off dish, too, by the deepened curvature of the linework, not only holds the delicious foods on top but also separate oily water at the bottom. Thus it becomes a visually pleasing and conveniently healthy tableware to have.

永興祥木業股份有限公司-三角棚

圖片說明：圖片提供/台灣創意設計中心

過去家具設計似乎一直圍繞於人的議題上，這一次我們改變出發點，從空間的角度出發。試著讓家具不再只是單純的滿足生活機能與營造美感經驗而已，促作品能融入空間之中轉化畸零空間，推擠空間的界域向外延伸。

圖片說明：圖片提供/台灣創意設計中心

作品的構成運用了簡易的木藝工法搭接與楔片的方式組成，而三角型態作為轉化畸零空間的因子之外，更以形變後的「類直角三角形」三種不同邊長關係，予以因應空間的各種形態。

該形態在嚴密的計算下，以外切圓的幾何圖學原理求得重心的平衡外，其中邊長決定了被圍合出的面積，與可置放物品的數量和尺度。而類直角一隅則對應於空間角落，將最大的斜面向外延展，並可增加使用的視覺面積。層板的配置由上而下逐層縮減採漸變的級距配置，無形之中增加下部重心強化其穩定性，另也對應了擺放置物的彈性使用機制。作品的腳型亦透露了東方人文精神，傳達了中國哲思的謙遜思維，有別於西洋以自我為主體的創作觀，於接地之時含蓄地以柔美線條置入環境中。

此外，單元個體的類直角三角形元素，在不同模式的個體與群體組成下，更可創造多元的使用可能。這樣的概念源至我們對未來都會空間狹隘的想像，以及對應快速變遷生活輕量化的可能。

圖片說明：圖片提供/台灣創意設計中心

In the past, the design of furniture has always surrounded the issues of Man. We have shifted this time to start from the angle of space and trying to take furniture beyond purely satisfying life mechanisms and building an aesthetic experience. The work can blend itself into the space and transforms the leftover space into an extension, pushing the applicable space to extend outwardly.

The structure of this work sees composition of simple woodcraft junctures and wedges. The triangle shape transforms the leftover space and the relationships among the three sides in a "quasi-right triangle" after transformation, and respond to all shapes and forms of space.

With precise calculation, balanced barycenter is attained through the principle of an excircle in geometry. The sides decide the covered area, the number of objects installed and the angles of placement. Placing the quasi-right angle on the corner of the space, extending the longest side outward to increase the applicable visual space, the barycenter on the lower part is emphasized by placing the shelf layer plywood with ever shrinking intervals between each two shelf layer plywood, which also provide flexible uses for storage and object placement. The foot of the work reveals the oriental humanistic spirit, an ideology of modesty in Chinese literature, which varies itself from Western creative ideology that centers on the creator himself as an individual. It draws a gentle and soft contour implicitly as it attaches the ground.

Furthermore, the factors of the quasi-right triangle in this unit can create multiple possibilities in its usages, individually or in combination, in various models. This concept originates from our imagination of the future limited space in metropolitan life and the possibility to respond to an ever-changing, swift lifestyle of lightness.

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圖文提供/台灣創意設計中心；編輯/何?融(何熊貝)

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