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 [2011-01-15]歡迎光臨裝潢設計資訊網
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決審觀點:以「人」為核心的設計理念

2008台灣室內設計大獎評審團決審委員
蔣 勳先生
詩人 藝評人 畫家 作家

決審觀點:以「人」為核心的設計理念

室內設計在台灣涉及到不同領域,一般住宅的室內裝潢,商業的展示空間,暫時存在的建築工地上的樣品屋……等等,不管是哪一個領域的「室內設計」,都與「人」發生很密切的關係,有時候甚至會感覺到比建築本身更具備與使用者的親密關係。

因此,如果去探究台灣室內設計領域的「人」的因素,可能是非常有趣的議題。例如:住宅的使用者,他們在自己的空間形成中究竟扮演什麼角色?或者,一個商業空間,設計者思考的是自己的表現,或是未來在這個空間裏活動的人群?

我也想到,台灣特別蓬勃的樣品物,做為一種短暫即逝的設計,是否也意味著台灣曇花一現式的美學追求?

也許,把台灣的室內設計擴大到以「人」為主的美學領域來觀察,會是設計大獎特別有長遠意義的努力方向吧!

以台灣為主體思考的設計活動又開始與香港,中國大陸,或其他華人地區有了觀摩與互動,共同思考出一個新的設計空間,以「人」為核心,不悖離「人」的生活價值,必然會有更上層樓的成果。

2008 Comments by the final Juror
Mr. Hsun Chiang, Poet, Art Critic, Painter, & literati

Comments:“People” as the central idea in Design

Interior Design in Taiwan implicates various design businesses such as interior decoration, showroom space design and temporary real-estate sample houses, along with other related sectors. No matter what sector of interior design is mentioned, “people” are closely linked to it, and sometimes feel more intimate to it than to architecture itself.

Therefore, the idea of “people” in interior design is probably a very interesting topic of discussion. For instance, what is the role of the owner of a residence in a design project? In a commercial space, does the design reflect the designer’s personal interest or the interests of the people who live in the space?

I think that the flourishing phenomenon of sample houses in Taiwan perhaps reflects an instant quest for transient beauty.

Perhaps, the effort of the TID Awards is the first step towards expanding a designer’s vision, a vision that truly believes in designing for “people,” not purely for fashion. This is the goal of the Awards that has long-reaching effects.

Design projects of Taiwan now have interaction with those of Hong Kong, Mainland China, and other Chinese regions. Together a new improved spatial design concept can be created, a design that has “people” and people’s living standard as the core.
決審觀點:多元紛呈的時代,創新是設計演化唯一的出路
2008台灣室內設計大獎評審團複審委員
張基義先生
交通大學建築研究所副教授兼所長

決審觀點:多元紛呈的時代,創新是設計演化唯一的出路

二十一世紀既是知識經濟的時代,亦是創意經濟的時代,人類正逐漸邁入一個以消費創意和文化的時代。今天投資型(investment-driven)經濟已經窮途末路,創新型(innovation-driven)經濟與知識型經濟將取而代之。文化既是生活的方式,創新則是文化演化的動力。室內設計絕對是台灣創意產業中,相對具有競爭實力的關鍵產業。

2008台灣室內設計大獎評審過程,設計概念的原創性與空間執行的完成度,應該是關鍵的考量。模擬自然森林剪影,「台大兒童醫院一樓候診室」象徵自然元素的轉譯。從新定義工作與遊戲空間,「華碩設計中心辦公室」,反應次世代開放的工作方式。炫麗幻化的色澤與圖像,「HOTEL G」恣意放任視覺感官驚豔極大化。低限留白設計,「牡丹清境民宿」,保留與環境對話的最大可能性。純一元素的組構空間,「香港深圳城市建築雙年展」近乎詩性的空間表現。水、光、影與綠,「一即一切接待中心」臨時建築卻表現出雋永的空間特質。簡單的空間模矩與懸吊金屬桁架,「宜蘭-服飾店」蘊含空間清晰而明確的紀律感。

多元紛呈的時代,創新是設計演化唯一的出路。

2008 Comments by the Semi-final Juror
Mr. Chi-Yi Cheng, Associated Professor and Dean of Graduate 
Institute of Architecture, NCTU University

In an era of multiple cultures and values, innovation is the only way for design to evolve.

The twenty-first century is an era for both knowledge and innovation economy. Mankind is entering an era of innovative consumerism and culture. Today’s investment-driven economy has hit a dead-end and is being replaced by innovation-driven and knowledge–driven economy. Culture reflects life’s patterns and innovation is a power that generates cultural transformation. Interior design is definitely a highly competitive and crucial business in Taiwan’s innovative businesses.

In the juror process for the TID Award, the criteria for the winning entries are original innovative ideas for design and completeness of project execution. “NTUH Children’s Hospital” is one of the award winners. Its design idea is derived from a mimic of jungle silhouettes and a transformation of natural elements. Redefining working space and leisure space, the “Asus Design Center” reflects a contemporary open working pattern for a new generation. “Hotel G” uses dramatic colors and icons to push the limits of the senses for city dwellers. “The Tavern is off the City” reserves a void space that induces dialogue with the natural environments. “Hong Kong & Shenzhen Bi-City Biennale of Urbanism/Architecture” is a space for poetic meditation. “One is everything” is a temporary structure that provides a meaningful mixing of water, light, shade and greenery in space. “Gallery More” uses a simple modular system and suspension trusses to build a precise order in space.

I would sa:“In an era of multiple cultures and values, innovation is the only way for design to evolve.”

「跨域」設計時代

「跨域」設計時代
2008台灣室內設計大獎評審團決審委員
張光民先生
台灣創意設計中心執行長

「跨域」設計時代

從事空間設計須考慮的面向很多,包括功能、尺度、動線、材料及氛圍形塑等等,著實不易;而要從寥寥幾張圖去評空間設計獎項之作品,更屬困難,所幸主辦單位在今年的大賽徵件中,將作品細分為6類,清楚劃分範疇,讓評審在評比時具公正客觀。雖評審僅能從設計者對其作品之扼要解說,對照平面、立面及完成圖去作判斷,還好評審來自不同的專業領域,個個閱歷豐富、慧眼獨具,了解設計的共同語彙,多能從小見大,以一知十,在討論過程中,評審間觀點頗多相近之處。個人認為在這次參賽作品水準較去年為高,設計者多具國際宏觀,材料選用嚴謹,不時將綠色設計概念之溶入作品中。也能加入人文的氛圍,讓作品更具可讀性,這是可喜現象。但亦有可以再精進的地方,比如對美學的敏銳度未能精準的掌握,跨域設計的介面處理未拿?得宜,最重要的是在處理空間設計時,不要忘記「人」是空間的主體,忽視人的存在,空間就會也僅是空間而已。

這次參與評審對主辦單位的用心規劃,並邀請國際評審透過網路共同參與,在在顯示這是一項公平的競爭。

2008 Comments by the final Juror
Mr. Tony K.M. Chang, CEO of Taiwan Design Center

“Cross-boundary” Design Era

Interior design needs to consider many aspects of the profession: function, scale, circulation, materiality and spatial ambience. This is not an easy task. It was difficult for the jurors to award projects based on the entries’ few drawings or photos. But it was fortunate that CSID already categorized the works into six groups, thereby the jurors could make impartial judgments. Although the jurors could only judge base on the designers’ brief descriptions, plans, sections and renderings, it was fortunate that the jurors came from different fields, were all well-read and experienced in the design language, and could therefore make conclusions from what were given. In the jury process, most jurors shared similar views. I believe this year’s entries were better than last year’s as many designers had great international vision and carefully selected the materials; many projects already absorbed “green ideas” into their design. Furthermore, many works added culture as an element, making it more readable. Yet there is still room for improvement. For example, sensitivity to aesthetics was not mastered. Cross-boundary design interfaces were not handled well. And most importantly, when a space is designed, “people” as the main entity of the space is not forgotten; the space is just a space when people ceased to exist.

I was delighted to see CSID worked hard in planning the competition and also invited international jurors to join the panel through the internet, all of which showed that this is a fair competition.

由設計來改造設計

由設計來改造設計
2008台灣室內設計大獎評審團決審主委
姚政仲先生
中華民國室內設計協會理事長

由設計來改造設計

2008年台灣室內設計大獎主辦單位採用初選、複選、決選的評審方式,二輪三階段的評選,以確保每件參加作品都能被評審團成員多次重覆審視。參賽作品從設計觀念的創新、設計內容的落實到表現風格的一致性及執行完整性,都是評審從初選到複選階段評選時的討論重點,來自建築、室內、時尚、平面、廣告、媒體等領域,有著多元專業背景及豐富閱歷的評審委員,試圖由各自的專業思維,從當代室內設計菁英的二岸三地各類參賽作品中,尋找出能勾勒當代生活美學的設計作品。經由複選階段投票、討論選出的作品,顯現評審團對進入決選名單的作品,能同時兼顧設計及創作的理想性與專業性。

歷經初選、複選進入決選的作品,在決審過程中,國際及台灣評審以不同方位的思維,在專業與理想的交互討論辯證下,設計作品的廣度與深度都受到嚴謹的檢視。總結台灣室內設計大獎的評選過程,我們看到評審團期待在台灣室內設計大獎的作品中,尋找能超越專業表現的理想意義,僅有專業與創意的作品,未必能完全符合評審對金獎作品的期待。設計作品呈現對社會及環境的改造理想,設計師以具體的設計方法,尋找「由設計來改造設計」的可能性,從而以設計作品改造我們生活的實質環境,進而改變我們認為設計僅是做為服務性的專業工具的觀念,讓金獎作品從眾多決選作品中脫穎而出。從作品的完整度及精緻度來看,獲獎作品雖不是參賽作品中表現最好的,但是從設計的觀念性與理想性來看,今年台灣室內設計大獎的金獎作品,以創新的設計思維來改造生活環境的努力方向,將引領大眾重新認識室內設計師工作的社會意義。

2008 Comments by the Juror 
Mr. Yao, Cheng Chung, Director of Chinese Society of Interior Designers (CSID) in Taiwan
chairman of TID Award Final Juror Panel

Final Juror Comment:To Change Design by Design

The TID Award of 2008, organized by CSID, adopted a three-round jury process with an initial, semi-final and final round. This assured that every work could be reviewed by the panel in detail. The important criteria for winning design from initial to final jury were innovation in design concept, completeness in design execution and coherence in presentation. The jurors, with professional backgrounds and experiences, came from various professions including architecture, interior, fashion, graphic, commercial and media design. Their expertise allowed them to find designs by today’s interior design elites that can represent modern living aesthetics. After voting and discussion in the jury processes, the final entries showed both vision and professionalism.

In the final jury, Taiwanese jurors and guest jurors in Europe reviewed the entries in scrutiny, with regard to the works’ scope and depth. To sum it up, in the TID Award process, we saw that the jury panel expected to find in TID entries works that can transcend professionalism to present a vision; works that were only professional and innovative didn’t necessarily meet the expectation of the jurors for the Gold Award. The winning design projects presented visions to change our society and environment. The designers actively designed to find possibilities to “change design by design”, to use their works to change our actual living environment, and further change our preconception that design is merely a tool in the service sector. These were the reasons the Gold Award winners stood out from others. Regarding completeness and sophistication, the winning entries were not necessarily the most qualified, but regarding design concept and vision, this year’s Gold Award winners were the best in their endeavor to change the living environment through innovative designs. They will lead the people to get to know all over again the social impact of interior designers.

以自己的觀點型塑自己所參與的歷史

以自己的觀點型塑自己所參與的歷史
2007年舉辦第一屆象徵台灣室內設計界最高榮譽的「台灣室內設計大獎」,激發潛藏已久的台灣室內設計能量,專業頂尖的設計作品及豐碩的參賽成果,在展覽、出版、座談、巡迴展、演講、研討會等系列活動中,得到社會、業界與學校的熱烈迴響與支持,促成2008年第二屆的TID award在報名件數上有非常顯著的成長,來自兩岸三地的設計作品,不僅是一時之選,更凝聚了當代台灣設計菁英的設計創意思維,讓台灣室內設計大獎成為觀察大中華地區室內設計發展的最重要平台,從今年的得獎作品,由台灣、香港、中國三地的參賽作品中,皆有金獎作品產生的大獎評審結果,誠如本屆評審德國紅點大獎總裁Dr Peter Zec指出「TID award在大中華地區將成為促進室內設計專業進步的重要競賽平台」,我們更相信所有參賽設計師以代表作品參賽,即是在以自己的觀點型塑自己所參與的歷史過程,台灣的室內設計史必將記錄見證台灣室內設計大獎的歷史意義。

台灣室內設計大獎的推廣效益正在持續擴大,在國際間的推廣,2007年台灣室內設計大獎的專輯甫一出版,即受到中國福建科技出版集團的邀約,將以更大篇幅的內容在中國發行,中國Domus特別來函邀請台灣傑出的室內設計師,將在慶祝Domus 80週年專刊上收錄台灣設計大獎得獎者的作品,在2007年IFI出版的國際室內設計年鑑,也已經收錄了TID award的作品,未來我們將加強TID award與國際出版媒體的合作,藉由國際刊物的宣傳,提昇台灣室內設計的形象。在國內的推廣,我們捐贈了700本大獎專輯到各大學院校及地方圖書館,希望能更深入大獎對學校及社會的影響。在政府部門,我們與經濟部工業局合作,以台灣室內設計大獎的得獎作品,經過主辦單位審核後,提名為國家設計獎入圍決選的作品,國家設計獎的國際評審團,對台灣室內設計作品優異的國際水準表現非常激賞。在2008年的TID award北、中、南校園巡迴展、演講及座談會,是我們與學校合作,對提昇室內設計學系在大學院校的學術地位及專業形象的推廣活動,在各大學均由校長率重要學術、行政主管出席揭幕儀式,親自表達學校對台灣室內設計大獎作品所代表的崇高專業意義的推崇。回應社會、學校的期待與引領大眾對室內設計師新時代社會形象的認識,是台灣室內設計大獎的工作,我們將繼續推動與政府、學校及社會的各項合作計劃。

提高台灣室內設計師在國際間的知名度及國內專業形象,是主辦台灣室內設計大獎的重要目的。我們推動2007年台灣室內設計大獎作品,參加國際及國內重要專業大獎,有非常耀眼的成績表現。「商業空間類金獎得主」胡碩峰以「雄獅旅遊」作品在新加坡獲選由APSDA「亞太空間設計師協會」ASIA PACIFIC SPACE DESIGNERS ASSOCIATION 頒發「APSDA傑出室內設計獎」,「住宅空間類金獎得主」陸希傑以微風館的「Aesop」在釜山獲得IFI「國際室內建築師 / 設計師團體聯盟」INTERNATIONAL FEDERATION OF INTERIOR ARCHITECTS/DESIGNERS 主辦的首屆國際室內設計大獎的「IFI商業空間卓越設計獎」,行政院經濟部工業局主辦的國家設計獎大賽,「商業空間類TID獎」林馬克以作品NIKE AIRMAX 360 Exhibition,獲得「國家設計獎-商業空間類金獎」,「評審團特別獎」龔書章、吳建森、陳麗雪一舉以台中親家建設接待中心,獲得「國家設計獎-公共空間類金獎」、「國家設計獎-綠色設計獎」二項殊榮,於國家設計獎頒獎典禮上,由馬英九總統親自頒發獎座。台灣室內設計近年來,以充滿創意的新時代專業形象,在國際與國內的傑出表現,獲得政府的高度肯定與重視,室內設計必將在台灣未來的創意產業中,成為重要的一環。中華民國室內設計協會要感謝熱心企業的贊助、國內外評審團、協辦團體的支持,第二屆台灣室內設計大獎才能再度成功的呈現在社會大眾面前,更要感謝所有熱心參與大獎的設計師,繼續與我們共同開創台灣室內設計的新頁。

中華民國室內設計協會理事長 
姚政仲 2009.01.09

In 2007, CSID (Chinese Society of Interior Designers) hosted the first annual TID (Taiwan Interior Design) Award, the highest recognition for interior designers of Taiwan. The award hopes to push the potential of Taiwanese interior designers. There were a great number of participants with many professional and top design entries. From exhibition to publication, conference, lecture and symposium, the award was greatly accepted and supported by the public, the design field and the schools. Last year’s success contributed to this year’s 2008’s second annual TID Award. This year, there was a definite increase in the number of entries. The entries came from across the strait as well. The competition gathered today’s design elites of Taiwan and made the TID Award into the most important platform for observing interior design developments of the greater China area. This year’s winning designs were from Taiwan, Hong Kong and China. It is like what Dr. Peter Zec pointed out, “TID Award in the greater China area will become an important competition platform for promoting advancement in interior design.” We believe, All of the designers create for themselves history with their entries that represented their viewpoints. Taiwan’s interior design history will record the importance of the TID Award.

The benefit of the TID Award is far reaching. With its promotion worldwide, the 2007 TID Award Publication received immediate attention. China Hokkien Technology Publication Co. invited CSID to publish its TID Award in China, and China’s Domus magazine invited TID’s interior design elites to be published in its 80th Anniversary Issue. In 2007, IFI’s publication of International Interior Design Yearbook also recorded TID Award winners. In the future, we will continue to increase TID Award’s collaboration with publication companies worldwide. Through international publications we can improve Taiwan’s interior design image. Domestically, we donated 700 TID Award publications to universities and libraries and hoped to provide social impact with the TID Award. We also collaborated with Ministry of Economic Affairs Industrial Development Bureau and nominated TID Award winners for National Design Award’s Final. Nation Design Award’s international Jury panel was very impressed with the international standard and high quality work of the TID Award winners. In 2008 right now, north, middle and southern Taiwan universities are taking turns to exhibit the TID Award projects and hold lectures and symposiums. This is our collaboration with the schools to promote the interior design major and uphold the professional image of interior designers. In each university, the principal leads important academic officers and school dean to attend the opening ceremony to personally express respect for the interior design profession and the TID Award. In order to realize TID Award’s vision, give back to the society and meet the expectations of schools, we will continue to promote collaboration with government, school and social organizations.

The most important goals for hosting the TID Award are to increase the visibility of Taiwan interior designers in the world and uphold their professional image. We encouraged and recommended 2007’s TID Award projects to enter international and national competitions and the results were outstanding. TID Gold Award winner of Commercial Space Shyr-Fong Hu’s Lion Travel project won The APSDA Award APSDA (Asia Pacific Space Designers Association). TID Gold Award winner of Residential Space Shichieh Lu’s Aesop won the IFI Retail Interior Excellence Award from the first「IFI 2007 Design Excellence Award 」IFI (International Federation of Interior Architects/Designers). Executive Yuan’s Ministry of Economic Affairs hosted National Design Award Competition and gave the “Taiwan Design Award-Commercial Space Gold Award” to Mark Lintott’s Nike Airmax 360 Exhibition, winner of the TID Award of Commercial Space. Special Jury Award winner Ching Jia Hospitality Center by Shu-Chung Kang, Chien-Sen Wu and Lisa Chen won two awards from the Taiwan Design Competition- Public Space Gold Award and Green Design Award. The recent outstanding performance of Taiwan interior design and the professional image of the new generation designers gained approval and the respect of the government. Interior design will become an important part of Taiwan creative industry. Here CSID wants to thank the support of sponsors, domestic and global jurors and hosting organizations for the success of the second annual TID Award. And we want to thank all the passionate designers who participated in the competition for working hard with us to open a new chapter for Taiwan interior design.

Mr. Cheng Chung Yao,
Director of Chinese Society of Interior Designers (CSID) Taiwan
2009.01.09

以設計為國力的文化創意產業發展策略

以設計為國力的文化創意產業發展策略
前言:文化、生活、創意的一體性

文化創意產業是傳統的文化產業?抑或是創新的創意產業?是以數量、產值為衡量的產業?抑或是以質量、價值為導向的產業?是內需產業還是外銷產業?在目前看法分歧的情況下,展望台灣的文化創意產業政策,我們需要從台灣獨特的歷史背景與地理環境來思考,架構屬於台灣特有的文化創意產業發展藍圖。本文試圖從台灣生活的價值、台灣設計師的價值、台灣設計的價值,三個層面來勾勒台灣文化創意產業的發展策略。以「生活」做為文化與創意的介面,「設計」做為文化與創意的觸媒,來催化文化與創意的多邊「產業化」,推動產業邁向創意、創新、創造的多方發展,做為國家文化創意產業的願景。

策略一 台灣生活的價值
先文化而生活再創意的文化創意產業競爭策略

創造台灣設計的獨特價值
在大中華圈的華人文化創意產業版圖中,台灣融合東西與古今又現代化的生活型態,是台灣發展文化創意產業的最大競爭優勢。創意來自於生活的淬煉、文化的內涵與廣度、生活的形式與深度,決定創意的品質及特色,台灣發展文化創意產業,應善用豐富的地理條件與歷史背景,開發台灣多樣的地方文化資源,運用國際化的專業管理經營能力,發揚傳統與現代結合的台灣生活價值,進而創造台灣設計的獨特價值。

開發台灣豐富的設計創意資源 
台灣位於大中華圈、亞洲、太平洋圈的多方複合地理位置,在歷史上多元融合的族群文化根源,再加以台灣自由、民主、開放的生活內涵,融合中華文化與現代化的生活形態,長期以來一直被世界公認為最有華人文化的地區,反觀我們的生活與環境,卻普遍缺乏設計美感,政府應全面推動生活美學與設計創意的結合,開發台灣豐富的設計創意資源,塑造台灣成為大中華地區生活美學與設計創意的領航者。

策略二 台灣設計師的價值
先個人而地方再區域的文化創意產業聯結策略

扶植國際級的設計師
設計師是設計創意產業中最重要的一環,台灣充沛的設計資源與國家設計形象,都需要設計師的創意來開發推動。台灣有國際級的設計人才,但相對的缺乏足夠的資源與能力,建立專業行銷與宣傳管道,無法拓展在國際間的能見度,造成國際間普遍低估台灣的設計能力,也形成台灣設計師在國際間知名度的不足。政府有計劃的扶植國際級的設計師,就是培養國家未來的創意資產,既能創造經濟產值又能推廣國家形象。

協助地方文化創意產業國際化
由地方到中央,政府應成立文化創意產業專責部門,負責規劃推動文化創意產業化的聯結 ,建構實體與虛擬網絡的國際化服務平台與互動機制,創造由個人而地方再到區域的設計產業聯結,以促成更具專業與規模的設計合作。協助地方文化創意產業國際化,政府應訂定獎勵辦法,鼓勵發展各具特色及具競爭力的文化創意產業,主動促成地方及區域形成創意產業聚落,增加多邊合作機會,以利打造更具國際形象與規模的文化創意產業。

策略三 台灣設計的價值
先台灣而中國再世界的文化創意產業競爭策略

強化台灣是大中華圈文化創意先驅的國際形象 
台灣文化創意產業在全球競爭上的策略,應從亞洲的大中華地區來思考運籌,台灣能影響大中華,就能影響全世界。發掘具有優勢與潛力的文化創意產業,遴選出最具有國際性與未來性的設計師與產品,由政府協助設計師及文化創意產業走出台灣,加強國際化的市場推廣、包裝行銷等專業宣傳,有計劃性的塑造台灣文化創意產業的品質與形象,建立台灣設計的價值,突顯台灣是大中華圈文化創意先驅的國際形象。

台灣設計應建立從設計到通路整體化的經營理念 
協助設計師以中國的市場做為進軍國際市場的舞台,台灣設計應建立從設計到通路整體化的經營理念,創造台灣文化創意產業的競爭優勢。在設計師最需要的市場行銷及通路,由政府提供具備國際化管理與市場經驗的行銷策略公司,有計劃的與優秀設計師及優良產業合作,就反映生活型態與時代風尚的設計產品提案,以敏銳的設計觸角、快速的設計整合服務、產品的製造生產、市場的整體包裝行銷,成為大中華圈文化創意產業的設計先鋒。

結論:創意、創新、創造的國家願景

以文化、生活、創意為產業創新資源的台灣,未來應邁向創意、創新、創造的台灣為國家願景。過往不善於宣傳、行銷,是台灣在國際間無法建立應有形象地位的主要原因,文化創意產業更是需要大量的國際宣傳與行銷,才得以建立其獨特之價值。建議政府每年以國際級規模舉辦「台灣創新設計大展」,開發文化與創意結合的創新設計價值,塑造台灣在國際間文化創意產業的主導形象。文化創意的產業化,要有常設的政府組織機構來推動,建議政府可與民間結合來共同成立世界級的「台灣創新設計院」,推動以創意、創新、創造為願景的文創大業。

計劃一 推動文化與創意結合的創新設計價值
舉辦台灣創新設計大展以推動文化與創意結合的台灣創新價值

由民間與政府合辦台灣創新設計大展,以大中華區為範圍及對象舉辦國際級的台灣設計創意大展,以文化、生活、創意為主題,邀請專業策展人及國際級公關公司策劃,每年主辦大型展覽及周邊活動。大展的理念為推動文化與創意結合的創新價值,大展內容為與文化、生活、創意有關的文化創意產業。大展範圍涵蓋台灣設計大獎、台灣設計論壇、台灣創新設計大展等活動,關懷由區域性、洲際性到全球性的文化創意議題,有計劃的塑造台灣在國際間文化創意產業的主導性。

計劃二 推動先創意而創新再創造全新產業的國家設計力願景
成立台灣創新設計院以推動創新設計成為產業的競爭利器

由創意進而創新再創造新產業,建議政府成立行政院部會層級的台灣創新設計院,主導台 灣產業創造的推動與開發,訂定以創新設計為國力的各項發展策略,將台灣推向世界級創 新設計大國的行列。創新設計可以提高產品的形象與價值,已是各先進國家發展各產業的 競爭利器,引入創新設計為國家創造新產業更是未來發展的當務之要,在台灣具優勢的科 技、文化、永續產業中,創新設計將成為創造全新產業及提昇產業價值的利器。

中華民國室內設計協會 理事長
台灣設計聯盟 副理事長
姚政仲
Rechecked Translation 國內外決審金獎評審評語091125修正
整體感言:

第二階段決審之評審觀點:

姚政仲 台灣室內設計大獎主席

評審觀點:當代華人生活意向

今年TID大獎的參賽作品類型涵蓋到更多的生活層面,國內外評審都一致認為作品的廣度與深度均有顯著提升。建立大獎權威性與影響力的評審團成員,歷年均由國內外知名藝術、設計、媒體等領域專家學者組成,目的在於匯聚各領域工作者的觀點,從設計、文化、社會等層面評析作品的表現與內涵,避免僅從設計角度著眼評審的侷限性,專業表現、設計創意、時代意義等都是評核作品的重點。

TID大獎最值得注意的部分,除了觀察與記錄台灣室內設計大獎參賽作品的年度專業表現,來自兩岸各地設計作品中所呈現的各式各樣當代「生活空間」的面貌,更是研究當代華人生活意向與區域生活文化的重要場域。從作品內容除了可以一窺華人生活的環境與內涵,更可從中了解時代風格的形成與意義。

相較於台灣擅於形塑人文面貌與空間意境,香港精於時尚氛圍及空間風格的表現,大陸則長於營造視覺意象與空間樣式。而這也讓今年得獎作品共同展現「創造當代生活意象」的設計特質。室內設計是生活的具體表現,設計師透過詮釋生活型式與空間型態的創作理念,所形塑出生活空間的美學風格,即是「創造當代生活意象」。歷年台灣室內設計大獎的參賽作品對傳統與現代文化的轉換、東方與西方設計元素的融合,提出許多時代性的創作觀點,正可以看到華人的空間設計美學逐漸有別於歐美日的設計潮流,肯定的是,屬於當代華人生活空間的美學風格正在成型!

黃永洪黃永洪設計顧問公司

評審觀點:設計回歸生活

再次參與TID決選評審,較特別的是有一個較為極端的現象。首先是洗鍊成熟的作品增加了,但相對的,裡頭又反而欠缺了那麼一點作品本身應有的獨特性。反倒是有另一類的作品可以看出設計者企圖以不同思維與設計概念來表達作品本身個性以及作品的獨創性,但以專業設計的角度來看,卻又不夠成熟。

TID是一個走向國際的獎項,當我們將視野拉高來看一些國際設計競賽,可以發現在之中展露頭角的新秀,他們作品卻往往具備上述的兩種特質。這個現象可反推是否是他們的生活土壤裡已具備所需的深度與養分,以致於這些新秀開始接觸設計時,便能將這兩者掌握的很平衡。設計最終仍是回歸、落實於生活,這一點,或許是在台灣這塊土地操作設計的設計者,必須深思熟慮之處。

蔣 勳 詩人‧藝評人‧畫家‧作家

評審觀點:沒有中心信仰的生活態度,就沒有真正的「美學」

每一年協會主辦的設計大獎,在華人世界有越來越多的設計者參加。從住宅的設計到商業設計,從非永久展示空間的設計到公共空間的設計。在設計的領域,開拓了更多的不同性質的分類思維。使不同社區的華人,有彼此觀摩對話的機會,也有機會反觀省視自己社群文化中對「設計」「空間美學」現階段的水平,或未來發展的可能。

「住宅」可能不再只是建築形式外在淺薄的造形設計遊戲,同時也更牽連到人類文明對「家」的意義做更新穎也更切近現實的哲學思考。「商業空間」也可能不再只是炫耀消費的奢華與功利目的,而是更深刻地重新思維物質與精神的均衡,重新釐清人類消費文化如何在重重自然危機發生時更有遠見地節制自己對消費物質的態度。

「設計」沒有中心信仰的生活態度,就沒有真正的「美學」可言!祝賀今年從眾多參賽者中脫穎而出的獲獎者。

張光民 台灣創意設計中心執行長

評審觀點:室內設計是一種整合性之設計

本(98)年8月25日台灣創意設計中心辦理第一屆「金點設計獎」評選時,受邀來台擔任評選之國際評審委員,對經由2008 TID AWARD選出進入該獎空間設計類之參選作品水平一致給予肯定,咸認為優於其他(工業設計、視覺傳達設計及包裝設計)類之作品;再看進入2009 TID AWARD之決選作品水準,比起去年又往上提升不少,足見TID AWARD之公正性、權威性已獲得業界之認同,可喜可賀。

一件好的室內設計作品,?不是由設計師去自我表現,而是要為業主找到最合適處理空間的答案,這個答案必須具備獨到之處且要與眾不同,這才是設計師的創意,決選時有幾件作品就有這樣的特質,讓評審一致肯定;再者室內設計是一種整合性之設計,人在閱讀空間是全面的,尤其公共空間、商業空間之設計更甚之;一行文字的編排、一個小標示,都可能影響空間美學之觀感,卻常常為設計者所忽視。在這次決選時也樂見年青一代之設計師有不錯的表現,他們的成就未來是可期待。

各類金獎之評語: 
‧M宅

決審團評語:「M宅」表現出在自然環境裡,將建築、室內、庭園與景觀精細鑲嵌為一體的設計理念,儀式性的空間形式中有著寫意自然的人文韻味。

‧軸線交響曲

決審團評語:「軸線交響曲」,以精簡的空間層次運用、造型手法,創造出獨特的空間意境,象徵性的室內外空間軸線,延續著生活與環境的即興對話氛圍。

‧PEGA D&E材質色彩實驗室

決審團評語:「PEGA D&E材質色彩實驗室」。以尊重人性的角度對工作環境的創新詮釋,在空間與工作的收放之間建構人與工作關係的新空間秩序。

‧影子的香氣

決審團評語:以理性與感性兼具的設計思維,創造產品、空間、消費者的場所關係。在抽象與具象之間,以樸素的空間印象來顯現產品自然的本質

‧港澳直升機場貴賓候機室

決審團評語:流線光澤的空間形體結合現代科技造型,將原本緊迫的空間限制轉化成流動延展的有機體,整體空間形象表現出華美炫麗的視覺風格。

‧潮爆

決審團評語:「潮爆」。空間造型表現強烈鮮明的視覺感,多功能的創新展出方式可因應不同的時間與環境,移動拆卸再重組的環保展覽空間。

‧生機美學館

決審團評語:「生機美學館」以環境、景觀、室內,圍塑出園林與建築的空間相應之美。框景式的建築風格結合穿引園林的迴廊,勾勒出生活與自然融合的都會園林面貌。

‧紅盒子

決審團評語:「紅盒子」以造型、視覺、空間,創造多元功能的都市景觀家具,融合傳統與現代感的立體雕塑造型兼具街道家具與公共藝術的都會意象。

‧中國國民黨永久展場

決審團評語:「中國國民黨永久展場」。開放式的展覽方式結合天圓地方的空間概念,或立或坐的環型展場,以融合的形式、平易的氛圍展現舊政黨的新時代形象。


Thoughts on the Entire TID Award Process:

Phase Two Jury Committee Comments:

Yao Cheng Chung, Chairman of the TID Award

Juror Comment: Chinese Modern Living

This year’s TID Award entries included an even broader design scope for living. International and domestic jurors all unanimously agreed that the scope and depth of the projects have obviously improved. Over the years, the jurors who stand for the authoritativeness and impact of the award included international and domestic renowned professionals and scholars in the areas of art, design, media and etc. The goal is to collect the viewpoints of people from different job domains, that is, to review and analyze a project’s presentation and content from the viewpoints of design, culture, society and etc. This is to avoid the limitation of using only the designer’s viewpoint. Professional presentation, design creativity and timeliness are all important aspects for evaluating projects.

For the TID Award, the most important aspect to pay attention to is not only to observe and record projects’ professional presentations of contemporary “living space” features that come from across the strait as well as domestically. It is also more about studying the intention of contemporary living styles and local living cultures of Chinese descents today. From project contents, the living environment and cultural depth can be seen, and furthermore the formation and meaning of the style of the time can be understood.

Wong, Wing Hung,WONG & WONG ASSOCIATES, ARCHITECTS & PLANNERS

Juror Comment: Design Living

The winners were chosen from the following five categories:

Participating again in the TID final jury committee, I realized what seems to be more particular this year is that there is a phenomenon of extremity. First of all, there is an increase in mature/professional works. However, in contrast, these works tend to lack that particular uniqueness a project should have. On the other hand, there are some works that show the designer’s intent to apply different thinking and design concepts to express the project’s innate character and uniqueness. However, from professional designer’s point of view, these works tend to be less mature.

TID Award is an award that is becoming international. When we broaden our horizon to see some international design competitions, we can discover new design vanguards. However, their projects tend to embody both of the above mentioned characteristics. From this phenomenon we can deduce whether or not these design vanguards are on solid ground with adequate insight depth and nutrient. Thus when these vanguards start approaching design, they can balance the two sides well. Design in the end is still all about going back to the basics and establishing it in daily living. This perhaps is an important point for designers of Taiwan to contemplate upon.

Hsun Chiang, Poet, Art Critic, Painter and Literati

Juror Comment: “ Heart ” of Design

Every year TID Award attracted more and more designers of Chinese descent to participate in. The design categories range from residential to commercial design and from temporal exhibition space to public space design. It has started a new thinking on categorizing more spatial typologies. This Award allows people of Chinese descent from different communities to have opportunities to observe each other and also introspect on ones own community regarding the present level of “design”, “spatial aesthetics”, or even possibilities for future developments.

“Residential design” is probably no longer only a shallow design game about architectural form/appearance. At the same time, it is connected to a fresh and more practical philosophical thinking about how humanity/culture redefines “home”. “Commercial space” is also probably no longer about showing off the sumptuousness and money-driven consumerism. It is more about rethinking in depth the balance between materialism and soul. It is reestablishing an attitude toward how consumerist culture should control itself with more foresight in a time when countless nature crises hit.

“Design” without heart for daily living is not really “aesthetics”! Here I want to congratulate the outstanding winners of this year’s participants.

Tony K.M. Chang, CEO of Taiwan Design Center

Juror Comment: Integrative Design

On August 25, 2009, Taiwan Design Center organized the first annual “Golden Pin Design Award” selection process. The invited international jurors unanimously gave recognition to the 2008 TID Award winner projects and felt that these spatial design projects are better than design projects of other categories such as industrial design, graphic design, or packaging design. Also, we can see that the project standard of the finalists of the 2009 TID Award has improved from last year. Thus, we can see that the fairness and authoritativeness of the TID Award have been approved by the design field.

A good interior design project is not only a self-expression of the designer, but rather a most suitable spatial design solution for the client. This solution needs to have particularity and uniqueness specific to the client. Only then is this a designer’s creation. During the final round, some projects have this kind of characteristic and were unanimously selected by the jurors. Also, interior design is a kind of integrative design. When a person reads a space, it is in its entirety. This is especially true for public and commercial spaces; the arrangement of a line of texts or a small sign can all possibly influence the presentation of spatial aesthetics. However, this is often overlooked by designers. In this year’s final round, it is a delight to see that young generation of designers have rather outstanding performance. Their future is very promising.

Comments on the TID Gold Award Projects:

‧House M

Final Jury Committee Comments: “House M” presents a design philosophy that sophisticatedly integrates architecture, interior design, and garden/landscape design in a natural environment. It is a ceremonial space in form that embodies culture naturally and freely.

‧Axial Symphony

Final Jury Committee Comments: This project uses minimal spatial layering and formation techniques to create a unique spatial ambiance. The symbolic axis of interior and exterior spaces extends from living spaces to the surrounding environment to allow instantaneous spatial dialogue.

‧PEGA GALLERY MATERIAL & COLOR LABORATORY

Final Jury Committee Comments: This project reinterprets the definition of workplace from humanitarian’s point of view. It balances space and work to construct a new spatial order based on human and work relationship.

‧Shadow

Final Jury Committee Comments: Using a design philosophy that embodies sense as well as sensibility, this project creates a spatial relationship that connects product, space and consumer. Between abstraction and concretization, this project uses an austere space to allow the products’ natural innate characteristics to emerge.

‧ Heliport VIP Lounge, Hong Kong

Final Jury Committee Comments: light flowing space combines with modern technological form to transfigure the existing tight and limiting space to a flowing and extending organic form. The entire space is presented in a resplendent and beautiful visual style.

‧Boom

Final Jury Committee Comments: This project’s spatial form presents a strong and bright visual effect. This environmental exhibition space with multifunctional and innovative exhibition methods can move, disassemble and reassemble according to different time and spatial need.

‧Live Forever

Final Jury Committee Comments: This project uses environment, landscape and interior space to construct a reciprocal spatial beauty between garden and architecture. The architecture that frames views integrates with the winding corridor that runs through the garden to narrate an urban landscape that merges daily living with nature.

‧The Red Box

Final Jury Committee Comments: This project uses form, visual effect and space to create multifunctional urban furniture. This project presents an urban image that integrates traditional and modern three-dimensional sculptural forms that are street furniture as well as public arts.

‧Kuomintang Permanent Exhibition Hall

Final Jury Committee Comments: This project is an open exhibition space that integrates with the spatial concept of a spherical sky. This circular exhibition hall can be propped up or down. Using integrative form and amiable atmosphere this project presents a new era image for the old political party.
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