In Bliss

Transcription

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2 In Bliss

3 The growth and decline between human and objects Endangered species Human Bluefin Tuna Polar Bear 25,000 Pacific Walrus Tiger Leatherback Turtle Rhinoceros Panda Black-faced Spoonbill Penguin Gorilla Happy Ever After is not merely a small personal desire, but a vision we co-author to compose for the future.

4 Zzz No Yukata 107 Re-Use Navy 1006 Navy Puosu Lime Rausku Re-Design 149 OAT Jameson 2 Eco eco 159 Innergie Evelo 169 OmniPod ican ilisten icare One Laptop Per Child I-Design 181 CLIClounge Red-Design 199 Gaga IKoNO Ekobo Gone Rural 207 AfroArt Rice 217 Q

5 ESSAYS 009 Blissful Evolution Sean C.S. Hu 018 Cross Over to the Next Phase of Design Max Wang 026 Happily Ever After Rainfong Chang 031 Tell the Story Blissful Melody One Day-no.02 Fly Zzz No.68 What Designers Are Thinking 054 New Everyday Life Aestheticism for Happiness Yi Wei-shen 057 When Happiness Comes Knocking The Original Sense of Beauty Wang Jun-Long 060 Algae, The Human Future and Design Olof Einarsson 064 Consumer, Maker, Consumaker... Oscar Honeyman-Novotny CONTENTS CATALOGUE Original Bliss 069 Live with Nature Ultra Ruin Beetle House Oogst1000 Wonderland Green School 079 We Are One Family Childlike & Animals Welcome to the Jungle Global Warming Carpet Mugtail Animal Index Bird Lamps Human Blocks Balloon Chandelier Hasta Chair 091 We Are One Family Simple & Natural Booktree Nut Bench Yukata Wooden Light Salt Xuan OTTO Fan Reversed Volumes Sisal Tray Bag-kaku & Bag-maru 107 Taiwan Original Bliss Happy Rice Package Green-in-Hand Food Bank Co.,Ltd. CHAngrila Organic Green Tea Delight Tea Geow Yong Tea-bag Ju Ware Collection Lotus Dessert Set Illumination Candle Holder Epiphany Bamboo Teacup Chirp Chirp Chirp Cooking Tool More Than Bliss Re-Use 119 Re-Use Design Concept Favela Chair Offcut Bench Scrapwood Godspeed Coat Rack Urban Recycling 111 Navy Chair 1006 Navy Chair Melt Project -- Living (in a plastic) Room Trash Me Lamp A little A mickle Clock made from a Recycled Bike Wheel Pendulum Sound Machine Preface Tony K. M. Chang CEO of Taiwan Design Center 139 Enterprise Action 002 Vacs From The Sea 141 Personal Action Indian Toys from Trash Brazilian Fashion from Trash 143 Re-Use Fashion Baguette Bag Up PPC Cement Laptop Bag Globe Hope Puosu Shoes Lime Bag Rausku Notebook Re-Design 149 About Material Da. Ai Baby Shoes OAT Shoes Jameson 2 eco eco Can Preserve Toothbrush O'right Shampoo Headscarf of Earth Baby Crochet Table 159 About Energy Resources Live Pod Dyson Air Multiplier Innergie Energy Tower TATUNG Water Battery Digital Watch Evelo Algae Air Concept 169 About Interaction House of Music Between OmniPod Insulin Management System ican for Autism ilisten for Hearing-impaired Persons icare for Elders One Laptop Per Child Sky Shield Concept Inpiritual Paradise UI Concept I-Design 181 In Bliss of Living CLIClounge Bamboo Cardboard Furniture Tide Kvadrat Clouds Divina Take n Make Favourite Things Lamp Snap Block Button Masala Red-Design 199 Renew Traditionl Gaga for Kids IKoNO Wooden Radio Before and After Ekobo Gone Rural Swaziland 207 Profit Back Coupling AfroArt Rice Leather Lampshade The Rainforest Coffee The Big Issue 217 Design for the other 90% Vhembe Water Filter LifeStraw Q Drum The Peepoo Ultimate Bliss 223 Inner Journey 227 Extended In Bliss Reading 229 Designer Introductions 245 Acknowledgements 247 Organizer

6 Preface 序文 歷經五年的籌辦 2011 臺北世界設計大展 於 9 月 30 在松 山文創園區率先登場 該展設於南港展覽館及台北世貿展 1 館 展區將在 10 月 22 日加入 不但展覽規模為歷年首見 更是全 球首次跨工業設計 平面設計 室內設計等不同領域的設計展 覽 另臺北市立美術館及當代藝術館亦在同一時段策劃以設計 為主題之展覽 復加結合經本中心評選出來大台北地區的 50 個 設計好站 形成以城市為全場域之展覽 讓創意設計在 臺北市到處可見 盛況可期 31 天的展期預估將吸引 100 萬 人次參觀 這是台灣設計發展的重要里程碑 也將是台灣重要 的創意設計活動平台 更是台灣接軌國際設計絕佳機會 辦各種設計展會及研討會等多元化的活動 帶動台灣對設計的 關注 2011 臺北世界設計大展 被賦予提升全民對設計美學的認 知 形塑美學的生活型態的重要使命 更是台灣設計發全球發 聲 行銷台灣設計實力的重要舞台 期待藉此帶動更多產業導 入設計 應用設計提高產品附加價值 讓台灣的設計在大家持 續努力下 持續成長茁壯 2011 臺 北 世 界 設 計 大 會 主 題 定 為 交 鋒 (Design at the Edges) 交鋒 同時亦為大展的主題 本中心特別邀請胡朝 聖老師策劃 設計交鋒展 詮釋大展主題意涵 胡老師透過 幸福所在 試著探討人類在面臨現今複雜生活環境下所追求 的幸福是什麼 在 設計交鋒展 裡 可以看到來自不同國家 不同領域的設 計師們 以精湛的作品展現他們用設計語言所詮釋的幸福 在 本展中 策展人帶我們超越時下流行的綠色設計等議題 從關 注生態環境的層面 擴大到對人類社會 人文價值的關懷 呈 現熱血設計 (red design) 以人為本的善念 本中心執行經濟部工業局設計產業推動計畫多年 努力透過舉 001 台灣創意設計中心執行長 Based on an extensive planning period of five years, Taipei World Design Expo 2011 premiered on September 30th at the Songshan Cultural & Creative Park. The other two venues, Nangang Exhibition Hall and Hall 1 of Taipei World Trade Center, will also open on October 22nd. The grand scale of the exposition is unprecedented and is also the first globally to integrate cross-disciplinary genres of industrial design, graphic design, interior design, and other fields into one grand event. Furthermore to correspond with the exposition, Taipei Fine Arts Museum and Museum of Contemporary Art Taipei are also presenting exhibitions of design themes during the same time period. Additionally, our center has also selected fifty Good Design Stations in Taipei to link together a network throughout the city as extensions from the core exposition. The intention is to let creative designs be seen everywhere in the city of Taipei. It is anticipated that throughout the 31-day exhibition period, the exposition will attract one million visitors. This is a key milestone for the development of design in Taiwan, and will also become an integral platform for creative design events; it is certainly a great opportunity for Taiwan to link with the international design industry. The theme of the Taipei World Design Expo 2011 is Design at the Edges, and we have especially invited Mr. Sean C.S. Hu to be our exhibition curator, and through In Bliss, Mr. Hu attempts to bring up issues for discussion regarding what constitutes as blissfulness amidst today s complex living environments. The exhibition is comprised of works by designers from different countries and fields, and through their exceptional creations, we are able to observe the sense of bliss conveyed in their language of design. The audiences are also guided through topics of green design to focus on critical ecological issues that expand to concerns for the society and humanitarian values. Through Red Design, the objective is to communicate the concept based on good humanitarian intentions. Our center has been extensively devoted in the project launched by the Industrial Development Bureau, Ministry of Economic Affairs for the promotion of the design industry. Through hosting various design conferences and symposiums, our efforts are targeted toward spurring more focus and interest for design in Taiwan. Taipei World Design Expo 2011 has been bestowed with the important mission of elevating the general public s awareness for design aesthetics and for shaping aesthetic into becoming a part of everyday lifestyle. It is also a vital platform for Taiwan to express and market ourselves for the world to recognize the design capabilities we have. It is further anticipated that through this exposition that more industries will begin to apply design into their fields and for design to bring added values to their products. Through design and collective efforts, we hope for Taiwan to continue to thrive and blossom Tony K. M. Chang / CEO of Taiwan Design Center. 002

7 Essays We have to evaluate our past pursuit with prudent principles to face the challenges of climate change, in order to redefine the new value of mankind in the blue planet.

8 幸福進化論 我們期待這樣的跨界交鋒可能產生的化學反應成為一種行動的開始 跨越自身想像的超然思考 走出一種封閉在 自己空間的浪漫想像 設計可以是一種利他也利我的共好運動 一種喚起大家良知的集體運動 更是一種積極改善 世界的社會運動 為人類創造更友善的環境 真正的幸福所在 文 / 胡朝聖 幸福所在 策展人 當策展團隊與我開始策劃這個展覽之時 思索著大會的主題 交鋒 心中一個一個問題不斷竄出 有甚麼論述與內容可 以與之呼應並對話 將屬於這個時代的思潮與設計濃縮集結 展現在世人面前 一個真實反映全球設計的展覽 而先進國家或是經濟大國在享受著新自由主義大開並把他國當 成內需市場看待的同時 自身內部也面臨著社會上貧富不均的 民怨 更迫使人民走上街頭抗爭 全球各地城市不斷發生的街 頭暴動 是不是正暗示著巨大的社會矛盾正如暗湧滾動著? 從十三問或更多的問號開始 當全世界沉浸在科技帶來的發明與可能的無限商機而沾沾自喜 的同時 這個地球似乎又以人類無法理解或是不願面對的方式 裂解崩壞中 那麼我們所謂的進步到底是指向何方 問題就是這樣開始的 若當今設計的潮流強調的是一種跨界的互動與學習 那麼這之 間該交集的 該互為文本的 到底是甚麼 是一種設計形式上的相互援引 挪用或是混血 還是精神和哲 學上的交流 抑或只是一種口號上的宣達與自我感覺良好呢 若設計是用來解決人類問題的話 那為何當今的世界並沒有隨 著人類文明的演進與科技的進化 而有所改善 或朝向更美好 的明天邁進 第三世界或後進國家的貧困與被剝削 並沒有在資本主義交換 價值下獲得雨露均霑 那這之間交換的到底是甚麼 是財富流向一方 還是無法翻身的宿命輪迴 005 我們怎麼理解這個正在不斷異化的世界 和這個離我們越來越 遠去的地球 當地球的病徵不斷的顯現時 我們還能安居樂業嗎 若人類工作的動力是為了更美好的生活品質 那麼品質的定義 到底是甚麼 捫心自問 在努力的當下 我們真的幸福嗎 錯下以更清晰的方式被揭露出來 而答案似乎也就呼之欲出 換句話說 這個主題以更多元的方式被思考著 於是 它必須進入到正題 設計到底是甚麼 設計師又該扮演 甚麼角色 設計師如何在不同的領域 學科 文化 國家的交 界邊緣上交鋒 一個最根本的價值提問 就這樣浮現出來了 當然 本文無意重新定義甚麼是設計 這樣的答案在相關專業 書籍裡比比皆是 重點應該是更進一步思考設計還可以是甚 麼 筆者以為在當代社會中 設計應該是一種將創意發想以更活化 的執行方式呈現出來 它藉由對應著人類所面臨的環境而有所 變形或調整 終極目的肯定是一種超越人類當下侷限的超高視 野 引領著人們直接跨越物質與精神困境 如同哲學般地直指 問題核心 並以智慧 創意與美學找出解決之道 一個思維更 為周延的設計觀點 當我們看著財富橫亙在眼前時 我們又真的快樂嗎 先面對工業化全球化之後的問題 進一步思考設計還可以是甚麼 現今的世界依循著工業革命後的現代化脈絡發展 我們沿著軌 道進入了一個前所未有的複雜現實與新時代風景 一個問題牽 扯著背後盤根錯節的全球化處境 許許多多的問題就這樣彼此 交鋒 以一種刀光劍影的鋒利 刺耳聲在空中刻劃著 其背後需被討論與延伸意義在如此的交 麼人類應該可以在民主制度下活得更為自由自在與豐衣足食 可這樣的基本邏輯與思考卻似乎無法解決當今我們面對的諸多 問題 反而每下愈況 如地球暖化 糧食危機 貧富不均 階 級問題 族群問題 心靈貧乏 後殖民現象 新自由主義思維 等 那麼設計師與使用者是否能一反過往傳統上對下的思想輸出關 係 可以因為設計而扮演介入改造世界 以及協助弱勢脫離困 境的積極合作角色 如此 設計更能彰顯根本價值與延伸的社 會功能 而設計師也更能發揮其社會責任 如此談論設計的交 鋒才方有意義 過去幾年當中 世界各地的設計師正以全心的正面姿態回應 這個面臨危機的人類社會體系與地球環境 不論他們以何種 觀點 宣言 展覽或行動展現 正可以充分感受這潮流之湧 動 搖籃到搖籃的設計 Cradle to Cradle 熱血設 計 (Red Design) 為 90% 的 人 做 設 計 Design for the Other 90% 善念設計 要緊的設計 Design that Matters 綠 色 思 考 Thinking Green 等 潮 流 之 所在也說明著關懷與問題之根源 而這些必須正視的問題就在 策展團隊的分析討論下一一呈現 也成為了展覽內容架構的基 礎 以及尋找展出物件的依循標準 若現代主義帶來的全球化讓資本主義所向披靡的橫掃世界 那 006

9 認知地球只有一個 重視多元文化價值 首先 必須回到設計對象物為何的最根本思考 不論世界如何 進展 不論財產如何分配到哪個國家或哪些階層 但地球只有 一個 環境的破壞與汙染 地球與之回應的絕對會一視同仁地 報復每一份子 當然也包括了非人類的其他生物 而牠們是何 其的無辜 另外 全球化為人類帶來空前便利的同時 也壓迫到其他種族 文明或階級 跨國企業與設計利用了這樣的方便性與霸權 建 立出創造財富的有效方法 而資金和財富從一方導入到另一方 的同時 它似乎也代表了一種在壓迫之下完成的利我主義 有 人獲利 有人則被剝削或壓迫 重新學習愛護地球 成為設計師的當務之急 也成為必要性 或者這樣說 愛地球不該只停留在口號或宣導的狀態 而根本 就該成為一種生物性的本能與意識 所謂生物的 DNA 所有 的行為終將指向以愛護地球並與之共生為目標 看著世界每年舉辦促進經濟成長的各種高峰會 再看看在許多 國家陰暗角落裡的 血汗工廠 我們能否達成更為同理心的 協助與調整自我對於物質的欲望 經濟發展下的財富累積難道 是通往幸福的唯一道路嗎 除此之外 全球化產生的壓迫也還 包括了精神或文化上的影響 一種後殖民式的強弱對照 於是 我們不得不再思索反省全球化背後代表的意義到底是甚麼 學習不再索求無度 資源再回收 觀念再利用 再來 如何從現有的資源當中創造資源 不要再需索無度的跟 這個世界要求 用我們現成已有的取代對地球的再開發 這 也是一個重要的觀念 如此也方能減低對地球的消耗 不至讓 人一步步走向毀滅 即便這樣的努力與企圖是否有效或徒勞 也無從立即判斷 但不做就等同直接宣布滅絕或死亡 既然資 源可以再利用 觀念也是一樣 我們也必須回過頭來思考那曾 經帶給人類幸福感的好設計 在時代的嬗遞之下能否再與時俱 進 重新創造原本即有的價值 幸福可以再來一次 建立全球化嶄新思維 全球化的霸道性格 使得弱勢一方不斷地被迫同化 地方感 消失 在地文化也逐漸消失 人類活在越來越相似的既視之 方 (déjà vu realm)(1) 在不尊重在地傳統文化的思維下 用著 同樣的設計解決不同的問題 是不是全球化可能帶給人類一 種共好的生活形態 一種全球與在地和平共處的全球在地化 (glocalization) 呢 即便我們對於自由市場經濟有著太多的疑慮和批評 畢竟這是 007 現存較被全世界廣泛執行的經濟體系 若是可以 濟弱扶傾是 一種必須被認真再看待的合作方法 藉由設計而引導出的聰明 消費來改善世界 協助他人 幫助弱勢 因此 全球化所引導出來的設計思考應該有著一種重要的使 命 在擁抱世界與創造財富的同時 也要凸顯弱勢的經濟能力 與在地的文化差異化 並尊重多元傳統與文化的存在價值 讓 有能力的人協力需要幫助的人 如此在天平兩端才能達到可能 的平衡 跨領域交鋒爾後的幸福 幸福所在 做為大會主題展 交鋒 的子標題 在資料蒐集 研究與反芻之後 也在反覆辯證與詰問之下 逐漸浮現出來 企圖以更為寬廣的思考面向與執行能力 邀請包含工業設計 建築 服裝 航空科技 藝術 聲音 動畫等跨領域的創作者 針對展覽內涵提出個人之觀點和創作與之對應 解構一般人對 於設計展的傳統想像與思維 從設計 藝術 人類學 社會學 經濟學 心理學 科學和地理學等學科出發 進行交鋒 以擴 大更多的可能性 跨越自身想像的超然思考 因此 台北世界設計大展主題展 --- 幸福所在 呈現的重點不 只在物件式的觀賞與討論 更重要的是整體展覽以及展品之間 觀點的串連與再現 展品與展品之間息息相關 也缺一不可 展覽在完整的脈絡 氛圍與論述之下 形成一個關於全球當代 設計的幸福論述 我們相信它所呈現出來的不會因為種族 文 化或語言上的隔閡而有所差異 相反的 它們的展出讓人一目 了然 也感同身受 期待這樣的跨界交鋒可能產生的化學反應成為一種行動的開 始 讓設計師的社會責任重新被定義 進一步對於地球環境 對於弱勢 對於使用者都能有跨越自身想像的超然思考 讓設 計師離開工作室 離開電腦桌 走出一種封閉在自己空間的浪 漫想像 他 / 她可以真正的進入人群 與他人和使用者一同攜 手改善世界 我們更相信 在這樣的激撞與交鋒之下 設計可 以是一種利他也利我的共好運動 一種喚起大家良知的集體運 動 更是一種積極改善世界的社會運動 為人類創造更友善的 環境 真正的幸福所在 (1) 既視感 déjà vu 為心理學用語 簡單的說就是所謂的 似曾相識 既視之方 (déjà vu realm) 為筆者於 2007 年策劃一關於全球化下城 市樣貌因同質化 而予人似曾相識感之展覽主題 008

10 Blissful Evolution We anticipate for these cross-disciplinary interactions to spur some chemical reactions or to kick start some actions. To surpass one s boundaries of imagination and to break from constraints of selfish wishful thinking. Design could be a movement of shared goodwill that promotes win-win situations for all. It could be a communal movement that calls upon everyone s consciousness and is also a social movement for assertive actions in making the world a better place. Let s create a friendlier environment for everyone and to seek for authentic happiness. By Sean C.S. Hu Curator of In Bliss When I was planning this exhibition with the curatorial team, the theme of Design at the Edges for this year s IDA Congress led to many questions and discussions about what kind of ideas and contents could correspond with the theme. Our intent is for philosophies and design concepts of this era to be condensed and assembled together to be presented for the world to see, and for this exhibition to truly reflect the designs of the world. Start with 13 or More Questions This is how our series of questions got started: If the emphasis of today s design trend is about cross-disciplinary interaction and learning, what sort of exchanges and contents should it be based on? Is it about some kind of indication, appropriation, or hybrid in design approach, or spiritual and philosophical interactions? Or perhaps it is just some catchy slogans for announcement purposes and for making oneself feel content? If design is used to solve problems, why hasn t the world been made better along with the evolutions and improvements in civilization and technology; why haven t we reached a better tomorrow? Countries in the third world that are underdeveloped, poor and exploited, and they have not been able to receive proper distribution of resources under capitalistic exchanges; in this case, exactly what kind of deals have been conducted? Is it an unbalanced distribution of wealth, or is it an irreversible cycle of fate? As advanced nations or economic superpowers enjoy their neo liberalism and view other countries as domestic markets, internally, they are also facing problems with the widening gap between the rich and the poor. People are taking to the streets to protest, and with the many riots around the world, could this be a hint to us all that the society-at-large is about to be hit with more threats and critical situations? When the world is still immersed in the excitement of the infinite commercial opportunities that technological innovations have created, the planet we live in seems to be breaking down in ways that are unfathomable to human beings, and perhaps we are just in denial about what s really happening. In this case, what direction should we go to be able to go in the path to a better tomorrow? How could we understand this ever-changing world, and how could we patch up with this planet that seems to have grown more and more distant from us? When Planet Earth is showing more and more signs of distraught, how could we carry on pretending to be living in a stable and pleasant place? If people are motivated because of the pursuit of a better quality in life, how can we define the sense of quality we are pursuing? Let s ask ourselves this question: when we are working hard to achieve our goals, are we really happy? When we are presented with wealth, are we also genuinely happy? Take a Further Step and Think About What Else Could Design Be Many questions were popping up because of the contemplations for the theme of Design at the Edges, and many of the hidden matters and extended issues were being revealed, with the answers seemingly just to be right at the tip of the tongue. In other words, this theme has spurred many different thought processes. Consequently, the core of the matter must be dealt with, and that is what exactly is design? What roles should designers play? How could designers interact and compete in different fields as they make their move in the realms of science, culture, and across national borders? This fundamental question has come about through the continuous probing and inquiries made. Certainly, it is not the objective here to redefine what design is, as the answers are easily found in other applicable published works. The point with this is about taking a further step and think about what else could design be? I feel that in the contemporary society, design should be viewed as a way to make alive creative thoughts, and adjustments and changes should always be made in accordance with the changes in the environment we are in. The ultimate goal should be about reaching a superior perspective to surpass present confinements and to lead people in breaking material and spiritual confinements. Core of any problem should be dealt with through profound philosophical thought process, and together with wisdom, creativity, and aesthetic, a proper solution should be sought after. The overall objective should be about trying to come up with a more well-rounded perspective through means of design. First Let s Face the Issues Caused by Industrialization and Globalization Today s world is still following the modernization context that came about after the industrial revolution. We have walked on this path and entered into a never before seen complex reality with a new

11 world scenery, and the critical questions being discussed here are interconnected with the current globalized state we are in. If globalization has come about due to ideas of modernization, which has taken the world by storm with capitalistic ideologies, in this case, people should be able to live more freely and feel more content under a democratic setting. However, these kinds of basic logic and thought process don t seem to be able to resolve the many issues we are facing today. On the contrary, things seem to be getting worse, such as global warming, food shortages, widening gap between the rich and the poor, class issues, racial issues, spiritual discontent, post-colonization conditions, neoliberalism thoughts, and more. Could designers and users break free from the traditional thought output relationship, and use design to intervene and change the world and help the underprivileged combat the challenging situations they are in? In that case, designs would focus on basic values and create extended social functions, and designers would be able to exercise their social responsibilities. It is more meaningful to discuss design at the edges from this approach. In the past few years, designers around the world have been dedicated in responding to the critical social and environmental issues we are facing. No matter what viewpoints, declarations, exhibitions or actions they choose to express themselves, it is obvious that this green wave is becoming stronger as more attentions are paid to show considerations for the environment, as seen with ideas such as Cradle to Cradle, Red Design, Design for the Other 90%, Design that Matters, and Thinking Green. The trend also shows the root for the concerns and the source of the problems, and these questions that must be dealt with are being presented one by one through the curatorial team s analyses and discussions. They have come to form the framework for the exhibition contents, and also the references we looked to in selecting the works to be exhibited. There is Only One Earth First of all, we must return to the fundamental issue of what constitutes a design object. Despite how the world develops and which assets are distributed to which country or to what social level, there is only one Earth, and the destruction and pollution caused to the environment will be combated with retributions from nature. The vengeance would be cast down upon other nonhuman creatures, and this is certainly unfair, as they are innocent! Relearn to love the Earth is a critical matter for every designer. Love Earth should not just be a mere catch phrase or propaganda. It should become a basic instinct, with all actions leading to the mutual goal of protecting the planet. Learn to Avoid Excessive Need; Reduce, Recycle, Reuse Moreover, focus should be placed on how to create resources from existing resources, and stop the endless demand from nature. Use what we already have to replace further exploitation of the planet is also an important concept. This way it will decrease the exhausting demand on Earth and stop our path toward destruction. Even if pessimists may say that these efforts or intents are useless and ineffective; however, this is something we cannot predict, but it is for certain that if we don t take action now, we might as well declare doomsday now. Since resources could be reused, same goes for concepts. We must rethink about the good designs that once brought happiness to people, and as time progresses, could the concepts move along with time and try to recreate the values that we once deemed important. Happiness could be revisited. Value Culture Diversity Additionally, although globalization has created unprecedented convenience, it has also caused oppression of other races, cultures, or social classes. International corporations and designs have used this sense of convenience and power to produce effective ways to generate wealth. However, as assets are allocated from one end to the other, it seems to be executed with only the self in mind and done with exploitative ways causing oppression to others. As we watch the various annual global economic summits, we should also be reminded of the sweat shops that are still in existence in dark corners around the world. Are we able to reach the position where we would think with more compassion and also adjust personal materialistic desires? Is becoming rich the only way to happiness? Furthermore, the oppression arising from globalization also includes spiritual and cultural impacts. From post-colonial comparisons, it is obvious to see the line dividing the weak from the strong. Therefore, shouldn t we reflect and contemplate about the true meaning behind this grandiose concept of globalization? Create New Globalization Ideologies As the globalization bully crushes the weak, anything pertaining to localization fades, and also gone are the local cultures. People live in a déjà vu realm 1, and as local traditions and cultures are disrespected, similar designs are used to solve different problems. Could globalization bring to humankind a living situation that is based on sharing, and could glocalization truly exist? Although there are many concerns and criticisms toward free market economy, however, it is the one existing economic system that is currently being implemented throughout the world. If possible, we should seriously consider the collaborative approach

12 of helping out the needy and try to rectify any injustice. Through design, a smarter way to go about consumerism could be sparked to attempt to change the world, help others, and give a hand to those in need. Therefore, there is a great sense of mission for designs that have come about due to globalization. As we value both the world and the opportunities to generate wealth, focus should be placed on the differences in the local cultures and also the economic capabilities of the underprovided people. Meanwhile, respect should be paid to value diverse traditions and cultures and to encourage the capable ones to help the less fortunate. All the efforts should be put forth in reaching a balance for all sides. In Bliss After Cross-Disciplinary Interactions at the Edges The theme of In Bliss is chosen to correspond with the exposition s key concept of Design at the Edges. Throughout the data collections, researches, and continuous thought processes, along with the back-and-forth speculations and inquiries, finally a central theme was formed. The intent is to think with broader perspectives and more comprehensive execution approaches and to invite creative individuals from various backgrounds coming from fields of industrial design, architecture, fashion, aviation, technology, art, sound, animation, and more. Based on the exhibition context, the designers are invited to propose their responses to the theme, and to attempt to deconstruct 013 conventional thoughts and concepts pertaining to design. From perspectives of design, art, anthropology, social, economics, psychology, science, and geology, the objective is to interact and create more sparks for greater possibilities. Transcend Confinements and Let Imagination Soar With the above considerations, this exhibition of In Bliss for this year s IDA Congress Taipei is not an exhibition that only focuses on exhibition objects; more importantly, the overall exhibition and its contents should form a connection and for each display to be closely connected with each other, making each detail an integral part of the whole exhibition. With the comprehensive exhibition context, ambiance created, and curatorial proposal, we hope to form a statement about being in a state of bliss for the contemporary design industry. We believe that people will not feel indifferent or distant because of the differences of race, culture, or language presented; on the contrary, the exhibition is organized in a way that is clear and understandable and is able to draw the audience in further for an up-close intimate experience. It is anticipated that this cross-disciplinary endeavor will ignite reactions that will lead to actions. As designers social responsibilities are redefined, let confinements be transcended and let imagination soar for more possibilities to be realized for those that are in need and also for the protection of the environment. Let designers step out of the offices and move away from computers. Take a step away from confined spaces that are full of empty wishful thinking. Step into the community and join hands with others in making this world a better place. We believe that under these powerful impacts and interactions, design could become a movement of shared goodwill that will create win-win situations for all. This is a communal movement that intents to call upon everyone s conscience, and it is further also a social movement set out to improve the world and to create a better environment for all to live in. It is set out to create a world in bliss. (1) Déjà vu is a psychological term that simply means the experience of feeling familiar and that one has previously witnessed or experienced before the particular situation at hand. Déjà vu realm is another exhibition that the author curated in 2007, as an effort to address the sense of déjà vu that contemporary people feel as cities are homogenized under the influx of globalization. 014

13 跨越設計的下一步 當一種哲學式的 從設計者的角度重新思索身為一個人在地球上之意義 概念被開始思索時 我們才能看見人類 從能源消耗者 提昇至能源生產者 這般美好的遠景 文 馬克斯 幸福所在 協同策展人 以 IDEO 為 首 之 設 計 思 考 已 成 為 顯 學 大 家 都 認 同 Design Thinking 是那些於新世紀迷途之商業界人士的指路明燈 令人 好奇的是 當設計思考逐漸走進成熟期之後 未來 設計產業 要走向哪裡 向時尚與藝術靠攏之後的設計 當世界已逐漸被圖像思考的視覺文化所統治 設計產業亦開始 將時尚概念加入了其產出之中 設計對於 時尚 的使用 便不再局限於追趕潮流顏色或探索 當紅材質 時尚產業中那些真正迷惑消費者的手法 比方模特 兒使用 比方燈光彩妝與情境布置等等技術 正式地被引進設 計產業之中 設計師們也漸漸跳出了產品核心 物核心的思維 開始從情境 想像與對完美生活的企盼 這些消費者購物時最真實的驅動力 著手 於此同時 藝術 的概念與作法 也逐漸以 設計的 更高型式 之面容 出現在世界各地的設計展會中 若我們以斯德哥爾摩家具展主館邀請的 Guest of Honor 來看 可以得到與這個觀點相當一致的結果 2010 年是英國時尚界大 師 Paul Smith 2011 年則是以色列身兼詩人 導演 設計師 藝術家等多重身份的 Arik Levy 015 在設計師們大量汲取藝術與時尚精髓之後 他們於是從單純的 物件的創作者 成為一位說故事的人 然而這就夠了嗎 設計產業在造型 (Form) 已臻善好 時尚藝 術氣質兼美 動人故事業已說盡之時 它還有下一步嗎 其實 這個問題 2011 世界設計大會主辦單位已藉由包括經 濟發展 網路技術 生物科技 都市發展與國際遷移等五大趨 示論壇 為我們指出了兩個相當清楚的方向 其一 就是設計 應與資訊與生物科技等以研發為核心的學科進行跨界創新 其 二 就是透過設計來重新思考人類在地球上的角色與定位 開放創新 與以研發為核心的學科進行跨界結合 人類因著自身愚行 為自己與地球帶來了污染 貧困 剝削等 等看似無解的困境 於是激發了社會責任與永續生活的反向 善念思維 接著我們開始看見各國設計師們在這樣的鼓舞下紛 紛提出了對治之道 比方協助第三世界發展的 熱血設計 (Red Design) 比方對抗都市環境惡化的生態設計 (Ecological Design) 等等 然而這些辛苦努力 許多時候 似乎都只能緩 解表象 無法有效地解決問題 為什麼呢 是因為這些設計師缺少創意 缺少邏輯思考 缺少 設計思維 (Design Thinking) 或用心不夠嗎 不是的 一個可 能的答案是 在這些牽涉領域繁浩的巨大問題前方 單純的創 意 單一的學問視角已不足夠 在大問題前方 必需要有以研 究為核心的紮實知識為基底 再加上跨領域整合的能力 才有 可能真正地看清全貌 也就是說 熱血沸騰的設計師們必需跨出自己的慣有地域 以 開放的態度 與不同學科的學者來自各領域的研究人員合作 才足以解決這樣巨大的 關於地球生態與人類生存的問題 法國設計師 Matthieu Lehanneur 就是一個相當好的淺顯的例 證 他嘗試將一些基礎的科學技術應用在設計上面 比方互動 式中和噪音球 比方提醒兒童服氣喘藥的醫療器具 或是活植 物空氣濾淨機等等 他的這些設計都有著相當紮實的研究結果 在後方支持著 也因此 Lehanneur 的作品 就比許多輕飄飄 的 綠色設計 更能有效地解決我們面對的困境與難題 設計讓發明 (Invention) 變成創新力量 (Innovation) 也許有人會說 以研發為核心 這便已不是設計 這是工研院 或學術單位技轉的工作 我認為這樣的看法 是小看了設計的 價值 小覷設計師的專精 在技轉層次技術優先的角度下 很 多時候設計師都是一個被動的角色 一個處理風格 (style) 或是 生產流程 (process) 的外圍人員 其實 設計師的價值不僅於此 他們比學者比研究人員 常 有著更多的消費者洞見 也更懂得貼進市場需求 他們可以 主動地依著需求面去反向整合研發 去調取可用的技術 在 這樣主動的積極的參與之下 設計師便與各領域之研發團 隊 站在一個平等的地位上 互相啟發交流 讓所謂的創造 發明 (Invention) 變成為真正能為社會與人類所用的創新力量 (Innovation) 這樣的看法 可以說是北歐所主張的設計階梯 (The design ladder) 理論中 最高位階 設計做為一種創新核心 (Design as innovation) 的概念之延伸 階梯理論探討的是設計在商業 中所扮演的角色 它指出在階梯最高位階時 設計師與所服務 公司高層是密切互動的 設計本身是在公司的商業模式與創新 概念層級運作 當明白了這個理論之後 只要將公司轉換成任一創造發明的組 織時 就能全然明瞭這個開放創新的意義了 我們也可以觀察 史丹佛大學的哈索普萊特納設計學院 (Hasso Plattner Institute of Design) 之授課模式 這個網羅工學院 醫學院 商學院等 不同領域教授的課程 就是一個相當有啟發性的類似例證 要提出說明的是 這樣的概念 並不是回到科學至上 技術為 尊的論點 一切學術研究單位甚至民間發明家所產出的智慧結 晶都是設計者得以善用的 也因此所謂的跨界 可以是生物與 生命科學 可以是社會學 心理學 更可以是統計概念或是人 類學田野調查 也當設計者 開始以更高的角度 思索自己的 能用之後 才發現自己不僅是商業界的指路明燈 更可以是永 續地球的開路先峰 016

14 Cross Over to the Next Phase of Design When people start to think with a philosophical approach about how to rethink from the designer s perspective about each individual s significance on this planet, only when such thoughts are being contemplated in such a way could we begin to see the beautiful future with the shift of position for humankind from energy consumer to energy producer. By Max Wang Co-curator of In Bliss 重新思索人的角色與定位 從資源消耗者 成為資源生 產者 從歷史角度來看 舊世代的設計者 受到了職業上 將物體之 造型與功能推到極致 的內在要求影響 許多因此被跼限於物 件導向的思考模式 常常忘了身為一個人 (Human) 一個地球 上的物種 (Species) 的這件事 於是乎 物體的功能越來越強 種類越來越多 然後開啟了一 種 為了維持某物件功能的完善 所以再設計了九種物件與十 多種功能的周邊配件 這樣惡性的循環 而我們人啊 也就無 自覺地成為一個巨大的血肉機器 以無盡物體無量資源來填充 運轉 這情況幾乎註定是無法長久的 所幸 許多有著前瞻目光的設 計者 開始透過重新思考人類在地球上的角色與定位 嘗試 反轉這個惡之循環 比方德國 MDCV 設計公司就提出了一個 相當好的概念 修正工業循環的 從搖籃到搖籃 (Cradle to Cradle) 之設計提案 於此之外 更有透過科技訊息管理 將已存在人類文明體系的 能源做有效分配之智慧網路 當然還有世界各國急切發展的再 生能源產業等等 這些努力都是我們 從資源濫用者 進到資 源珍惜者 的巨大跨步 更進一步發展成一種哲學式的 從設計者的角度重新思索身為 一個人在地球上之意義 的概念 我必須這麼說 也只有在資 本主義體系下扮演重要趨動角色的設計者 開始思索如是簡單 如是基本的問題之後 我們才能看見人類 從能源消耗者 提 昇至能源生產者 這般美好的遠景 我想 當人們漸漸明白自己在這個世界的定位與角色之後 設 計下一步該走向哪裡這樣的提問 便已不再是問題了 The design concept led by IDEO has become a shared ideology for many, as we all agree that Design Thinking is the beacon of the new century guiding lost souls in the commercial industry. Inquisitively, when design thinking gradually enters into a mature phase, in the future, where should the design industry move towards? Looking at the invited guests of honor for the main pavilion at the Stockholm Furniture Fair, we could come up with the same conclusion as the above mentioned observation: for 2010, British fashion designer, Paul Smith, was invited, and for 2011, Israeli poet, director, designer, and artist, Arik Levy, was the invited honorable guest. Design that Moves Closer to Fashion and Art As designers absorb the essence of art, they have then been transformed from simple object producers into storytellers. When the world gradually becomes dominated by visual cultures, the design industry has also begun to incorporate fashion concepts into its outputs. However, is this enough? As the form in the design industry has achieved the balance of being perfect, fashionable, artistic, and as the touching stories are all told, what s next? The use of fashion in design is not limited to the chase of trendy colors or popular materials. The tactics employed by the fashion industry to lure in consumers, such as models, spectacular lighting, make-up, and settings, have all been officially introduced into the design industry as well. Actually two clear directions have been pointed out by the presenter of the 2011 IDA Congress, which includes seminars in the five key global developments in the categories of economic developments, internet technologies, bio-technologies, urban developments, and international diasporas: One of the directions is that design should be integrated into the researches and developments for information and biological technologies to prompt for more cross-disciplinary innovations. The other direction is that design should be used to rethink human s role and position on this planet. Designers are breaking free from product/object-oriented ideas, and have begun to think more in tune with the consumers anticipations for a perfect life, as this is the real drive behind consumer behaviors. At the same time, art concepts and approaches are also gradually appearing in various design expositions around the world, with the elevated status of becoming high-end designs. 於新世紀開端不久的此刻 上述 從搖籃到搖籃 等各種努力

15 Open Innovation: Cross-Disciplinary Collaboration with Other R&D Fields Because of mankind s foolishness, we have caused pollution, poverty, exploitation, and other dilemmas that don t seem to have solutions. However, from chaos come the surge of good thoughts based on social responsibility and sustainable life, and we are now beginning to see designers from around the world taking on this sense of mission by proposing various solutions, such as Red Design with a mission to help third world countries, and Ecological Design that is set out to solve urban environmental issues. However, often times, these efforts seem to only be able to slow down the superficial process, but a real effective solution doesn t seem to have been come up with. Why is that? Is it because these designers lack creativity, logical thinking, or lack in design thinking? No, certain not; but a possible answer could be that these issues are closely connected with a large problem ahead, and simple creativity and a single-minded outlook are no longer enough to combat the enormous situation. It is necessary to form a solid foundation with knowledge acquired from researches and to incorporate capabilities from crossdisciplinary integrations; this way, the real big picture will be able to be observed in full. In other words, passionate designers have to step out of their familiar zones, and venture out with an open attitude and to work together with experts from different fields. This will lead to solutions for the critical issues pertaining to ecology and human survival. French designer, Matthieu Lehanneur, is a great example of such cross-disciplinary collaboration. He uses basic scientific technologies with design, such as interactive noise neutralizing ball, medical apparatus that reminds children to take asthma medicines, or living plant air filters. His designs are supported with solid results from researches and developments; therefore, works by Lehanneur are effective in solving the problems we are facing, compared to other designs that boast to be green but usually are just empty greenwash claims. Design Let Invention Become Innovation Maybe some people would say if a design is based on R&D, perhaps it would end up not being a design after all; it is more like jobs for the Industrial Technology Research Institute or other scholastic units, where they transfer certain technologies into particular objects. I think assessments like this disparage the value of design and belittle the expertise of designers. With priorities placed on technology transfer, designers frequently play the passive role, or outsiders that are only in charge of handling the style or production process. However, the value of designers should not just end there. Compare to scholars or researchers, they have a keener sense of understanding for the consumers, and they also have more understanding for the market demand. They are capable of actively working with the demand and to bring in these elements into a reverse-integration for the entire R&D process and to seek for appropriate technologies to fit the demand. Under such active and assertive participation, designers are able to be placed on an equal positioning with R&D teams in various fields. Through interactions and exchanges, inventions are able to be turned into innovations that could bring true benefits to the society and the human race. This view is an extension from the top-tier concept of design as innovation originating from the Nordic-based theory of the design ladder. The ladder theory talks about the role of design in commercial fields, and points out at the top tier of the ladder, designers are closely connected with the upper managements inside the company. Design itself is a new way to operate the ranking and business model inside a firm. Upon coming to an understanding of this theory, by turning the company into an organization based on creativity and innovation, the meaning behind the concept of open innovation would be quite apparent. We could also observe the curriculum setup for Hasso Plattner Institute of Design at Stanford. The curriculum is one that incorporates classes from various fields of engineering, medicine, business, and other academic schools. This is undoubtedly an inspiring example based on the aforementioned theory. It is crucial to emphasize that this concept is not about the return of placing science and technology as priority. It is about integrating design with the innovative results from official research units or even private inventors, and through the well incorporated applications, cross-disciplinary effects are made possible, and such collaborations could come from biology, life science, sociology, psychology, statistics and field studies of anthropology. As designers look at themselves with a higher perspective and think about their purpose, they could come to the realization that they are not just the beacon for commercialism; furthermore, they could become pioneers for a sustainable environment. Rethink People s Roles and Positions: From Energy Consumer to Energy Producer Viewing from a historical perspective, designers of the previous generations were restricted in their thought processes because of the demand of their profession to push the shape and function of an object to the extreme. They often forgot to consider that they are human beings, a part of the world s species sharing the Earth with others. Therefore, objects are bestowed with more and more powerful functions, and the vicious cycle of in order to upkeep a certain object s functional perfection; let s design another nine objects with ten functions to accompany the original product. People were turned into enormous insatiable machines that needed

16 從此過著幸福快樂的日子 從此過著辛福快樂的日子 並不只是童話故事結尾的句字 而是切切實實發生在 21 世紀初 村球村上的每一個人 共同在撰寫的故事 而 設計 則是推波這股 追求幸福 運動的關鍵作手 文 張人鳳 幸福所在 協同策展人 excessive resources to operate. This is certainly a situation that could not be sustained. Luckily, many visionary designers have begun to rethink about people s roles and positions on Earth, with attempts to reverse the vicious cycle. MDCV of Germany has proposed a very good design concept of Cradle to Cradle with the vision to correct the industrial cycle Furthermore, through technological information management, efforts are put in effectively distributing resources within the entire human civilization system. Also, we are seeing more efforts around the world to develop reusable energies. These efforts are helping us to take giant steps in shifting from energy consumers to energy producers. As we embark into a new century, the aforementioned concepts and efforts are guiding us into thinking with a philosophical approach about how to rethink from the designer s perspective about each individual s significance on this planet, only when such thoughts are being contemplated in such a way could we begin to see the beautiful future with the shift of position for humankind from energy consumer to energy producer. When people gradually come to the awareness about our positions and roles in this world, what s the next step for design would no longer be in the question form. 021 從此過著辛福快樂的日子 不只是小時候愛聽的童話故事 其實隱喻著每個人心中追求幸福的小小渴望 故事裡主角總會歷經考驗 冒險旅程 甚至魔力消失 最後找 到一個信物或發現真諦 然後迎接幸福 真實的世界裡 設計師們打造賞心悅目的物件 小至配飾大到 建築 施展魔術一樣 帶給我們生活便利及視覺喜悅 但有一天 魔法消失了 因為 地球資源耗盡 生態破壞 氣 候異常 人情疏離 如故事裡展開各項考驗 情境是在地球村的彼端 不少人被勞力剝削吃不飽喝不到乾淨 的水 這一端雖然物質充裕 憂鬱症強迫症成癮等 像怪獸一 樣 吞食愈來愈多人的心靈 童話故事魔法的消失 意謂必須啟動自覺與智慧 用自己的力 量打擊幽黯 以幸福設計打擊幽黯 真實世界裡 設計師們彷彿意識到這點 以順暢的設計讓使用 者更自由自在 更關心地球永續生態 更尊重地方人文工藝 並像童話故事一樣揚著正義旗幟 在意起上個世紀被忽略的生 產流程 要求必須公平與人道 此起彼落追求幸福的設計運動 網路上可輕易點選並支持 與第三世界合作設計的交易平台如 Formission AfroArt Ekobo Rice 主張人道關懷的 Design for the other 90%( 為 90% 的設計 ) Design that Matters( 要緊的設計 ) 訴求有機永續的 Cradle to Cradle( 搖籃到搖籃 ) 已與跨國企業 GAP 蘋果電腦 星巴克等合作 將商品設 計成時尚紅色視覺後 部份所得捐給非營利組織幫助弱勢的 (Product) Red 地球村的美麗魔法消失了 網路讓地球村變小 變得像童話故事的小村落 網路讓村民更 容易去體會自己與村落脈動連接 並察覺美麗世界可能稍縱即 逝 如 2001 年網路流傳一封 如果世界是 100 人村 的信 原本只以文字比擬 63 億人口 但後來有平面設計師以簡單的 色彩比例 (1) 讓村裡發生的一切 全村的能源 有 20 人耗費掉其中的 80% 有 80 人分用著 剩下的 20% 20 人營養不良 1 人瀕臨餓死邊緣 25 人無法 遮風避雨 17 人喝不到乾淨的水 100 人村的生態 變的醒目且容易記住 022

17 當然 村裡更有人去探究吞蝕心靈的怪獸是怎麼回事 為何上 個世紀後 40 年 憂鬱症罹患率增加十倍 且平均年齡下降到 14 歲半的青少年身上 且愈有錢情況愈嚴重 (2) 一股追求幸福的集體運動 於是 村裡頭逐漸吹起慢活 (In Praise of Slow) 3 慢食 (Slow Food)(4) 及樂活 (LOHAS)(5) 等生活方式 想喚醒細膩的感知力 讓美好沉澱成永恆 村裡也形成綿密的 珠玉之網 不以營利為目的的組織 猶 如珠玉串連的網絡 持續推動生態永續及濟弱扶貧 散發萬粒 光芒 有人形容像阻止環境惡化的免疫系統 (6) 也有人稱之 60 億人的幸福互助會 (7) 村裡有人悉心評量各種現象 繪製第一張 幸福地圖 也有 經濟學者提出村人的幸福快樂 除了 GDP( 國內生產總值 ) GNP( 國民生產總值 ) 更需要國民幸福指數 (GNH)(8) 國民幸福指數除了評量經濟物質外 還要綜合環境 生理 心 理 工作 社會 政治等健康的狀態 定義真實的快樂 重新推崇美德與東方哲思 管理學 (15) 集體意識展現了自覺與智慧的運作 這時 心理學者經由科學方式 研究並定義幸福的層次與真諦 就好像村裡的東方人原本就知道 高興 快樂 喜樂 在內心的深度並不一樣 出乎意料的是 走過解放奔放自我的 20 世紀 美德 重新 被推崇 心理學者統計三千年不同文化傳統 十餘個國家的哲 思後 歸納出智慧 勇氣 人道與愛 正義 修養與心靈上的 超越 認為這六項美德是真實快樂的特徵與元素 (11) 設計 則是推波這股運動的關鍵作手 期待從 20 世紀炫麗 迷惑的物質文明中 孕育出下一波溫暖的幸福 一種更永恆深 層的 以人為本 以善念為手法的幸福 學者發現太多的 捷徑 電視 血拼 零食 商業化娛樂 可 以讓感官高興 導致村人忘了用心品味 用心投注事情 心靈 餓壞了 怪獸便有機會趁虛獵食 (10) 學者後來定義具滿足感的快樂 Gratification 相較感官高興 (pleasure) 的短暫 Gratification 像喜樂一樣 是一種帶著滿 足感 會讓人像蓄了電的永備電池 充滿正面能量 (9) 此外 各方科學評析証實 以自己的特長 與他人有更高目的 有意義的連結 才會獲得真實的快樂 (10) 所謂 更高的目的 顧名思義不是滿足私欲 從 更高的目 的 獲得的 滿足感 讓快樂前得以加上 真實 二字 童 話故事的真諦浮現了 真實的快樂 authentic happiness 意含 長久的喜樂 不同於物質文明所塑造如夢幻泡影般的感官 高興 這與東方人常說 施比受更有福 又如出一轍 當然先不能狹 義成為賑災濟粥 佈施 的 施 023 腦神經學科學家更進一步拿著腦神經造影 (12) 諄諄告訴村民 快樂是可以學習的 因為掃描禪定喇嘛的腦部 在面對不悅情 緒聲響時 腦部顯影出同理心慈悲心的情緒迴路 不同於一般 人保衛 扺禦 沮喪 拒絕等喋喋不休的情緒迴路 這與東方說 知止而後有定 定而後能靜 靜而後能安 安而 後能慮 慮而後能得 (13) 又異曲同工 西方於是興起透過 冥 想 學習 發展同理心與慈悲心 就像 愛 一樣 用愛心關 懷他人關懷地球 進行所謂有意義的連結 寫下童話幸福結局 所以 從此過著辛福快樂的日子 並不只是童話故事結尾的 句字 而是切切實實發生在 21 世紀初 地球村上的每一個人 共同在撰寫 追求幸福 的故事 這是一股集體運動 這股運動集結心理學 經濟學 腦科學 社會學 飲食科學及人文道德 甚至行銷學裡的奢華行銷 (14) (1) 如果世界是 100 人村 後來由東販出版社設計出版 2002 年台灣 首刷 (2) 摘錄 真實的快樂 by Martin E.P Seligman, Ph.D 洪蘭譯 遠流出 版社 (3) In Praise of Slowness by Carl Honore 台灣翻譯成 慢活 大 塊文化出版 (4) 由義大利人 Carlo Petrini 所提出的 slow food 理念 主張 eat good 024

18 Happily Ever After To live happily ever after is not just the ending for fairytales. It is being strived for in the real world, in the beginning of the 21st century. Each member inside this Global Village has come together to compose a story based on the pursuit of happiness. Therefore, design has come to be recognized as an integral part in this movement. By Rainfong Chang Co-curator of In Bliss eat clean eat fair 著有 慢食新世界 商周出版 (5) LOHAS Lifestyles of Health and Sustainability 最早是由美國社會 學家 Paul H. Ray 在 文化創造 5000 萬人如何改變世界 書中所 提到 相映文化出版 (6) 摘錄自描述全球非營利組織運作及力量的 看不見的力量 by Paul Hawken 野人出版社 (7) 日本非營利組織 Think the Earth 出版的 60 億人的幸福互助會 探討用錢與全球弱勢團體的關係 野人出版社出版 (8) GNH Gross National Happiness 國民幸福指數 最早由不丹國王 吉格梅 辛格 旺楚克於 1972 年提出 後來各國經濟學者提出不同的 評量參數 (9) 摘錄 真實的快樂 by Martin E.P Seligman, Ph.D 洪蘭譯 遠流出 版社 (10) 同上 (11) 同上 (12) 摘自 心智拼圖 該書引用冥想訓練的結果 並指出新的心智科 學是混合內在與外在的研究 by Miriam Boleyn-Fitzgerald 洪蘭 譯 遠流出版社 (13) 摘自四書五經裡的 大學 一書 (14) 由聯合行銷總裁 Pamela N.Danziger 所著的 M 型社會新奢華行 銷學 臉譜出版 指出奢華費裡的蝴蝶族 追求奢華時 會尋找內 心情感與外在世界的平衡 (15) 領導高峰會 天下出版 由彼得杜拉克基本會邀請 27 名各界領 導專家共同撰述 指出全球化時代各地緊緊相扣牽一髮動全身 各 企業必須有更長期永續的目標 025 Happily Ever After is not just for fairytales, it is also about the small yearning in each of us for the pursuit of happiness. Storybook characters are always being challenged and going on quests that may lead to the loss of their magical powers; however, in the end, when the treasures are found and truth discovered, each of them always end up living happily ever after. In the real world, designers make beautiful things, and they may be something small as accessories or big as buildings. They use their magic to bring convenience and visual pleasure to our lives. However one day, the magic disappears, as Earth s resources are depleted and destruction of habitats, climate changes, and emotional detachments bring on various challenges like the ones we read in storybooks. The setting takes place at the other side of Earth, and many people do not have access to clean water and are depraved and hungry. On this side, although we are satisfied materially, but depression and obsessive-compulsive disorders are like monsters eating away people s spirits. As fairytale magic disappears, it means that self-awareness and wisdom must be ignited. We must use our own power to defeat the looming darkness. Overcome Darkness with Happy Designs In the real world, designers have become aware of this condition, and more user-friendly designs are produced to make the users feel more at ease; more concerns are being placed on ecological sustainability; and more respects are being paid to local cultures and humanities. Just like in the fairytales, justice is celebrated, and production process that was neglected in the last century is now focused on with considerations for equality and humanity. As movements promoting happy design gain momentum everywhere, it is simple to go online to show your support; listed below are some examples of such websites: -Fair trade platforms that collaborate with partners in the third world, such as Formission, AfroArt, Ekobo, Rice -Design for the other 90% and Design that Matters with missions focused on humanities. -Cradle to Cradle with focus on organic sustainability -(Product) Red has already worked with international corporations such as Gap, Apple, and Starbucks. As products are recreated with the fashionable red design, parts of the proceeds are provided to NPO groups to help people in need. The Disappearance of the Global Village Magic The internet made the Global Village smaller, very much like a town in any given fairytale. The internet has allowed the villagers 026

19 to easily link with the entire village, and they have become aware that the beautiful world is fast dissipating. In 2001, there was a letter circulated on the internet titled If the World were a Village of 100 People. It was originally done in text to make analogies to the population of 6.3 billion, and it was later transformed by graphic designers using simple colors and ratios to make a visual presentation of the happenings inside this village (1). Of the energy of this village, 20 people consume 80%, and 80 people share the remaining 20%. 20 are undernourished, 1 is dying of starvation, 75 people have some supply of food and a place to shelter them from the wind and the rain, but 25 do not. 17 have no clean, safe water to drink. The ecology of the village of 100 people was made apparent and memorable. Certainly, there are villagers that are curious about the monsters eating away people s spirits, and why four decades after the last century people suffering from depression have increased by ten times, and from which, the average age has decreased to teenagers around 14.5 years old. Also, the richer you are, the more severe the symptoms. (2) A Collective Movement for the Pursuit of Happiness Therefore, we begin to see promotions of alternative lifestyles in the village, such as In Praise of Slow (3), Slow Food (4) and LOHAS (5), and their objective is to awaken the senses and make beautiful things eternal. The village embarks on forming an intricate web that is not based on objectives for profit, and the glistening web promotes ecological sustainability and gives a hand to the poor and the needy. Some people refer to this as an immune system fighting off the bad forces causing the environment to degenerate (6), and some call it the 6 Billion People Happiness Mutual Association. (7) Some villagers have carefully evaluated the various phenomena and made a Map of Happiness. Some economists have proposed that in order for the villagers to live happily ever after, in addition to GDP and GNP, we also need to pay attention to GNH (Gross national happiness). (8) In addition to measuring economic factors, GNH also takes into considerations environmental, physiological, psychological, workrelated, societal, and political conditions. Definition for Authentic Happiness Psychologists are also using scientific ways to study the true meaning behind happiness. The villagers from the East seem to already know that cheerfulness, happiness, and joy have different depths of meaning inside the heart. Scholars have discovered that with the influx of shortcuts via outlets such as TV, shopping, junk food, commercialized entertainment although the senses may feel cheery, but neglected are heartfelt experiences and attention to details. Spiritually, the villagers are starving, and this is when the monsters would have a chance to sneak up and attack. (10) Scholars have later defined gratification to be a sense of happiness with satisfaction, and as compare with pleasure, which refers to more transient sensual enjoyments. Gratification is a sense of joy that brings satisfaction like a fully charged battery that is packed with positive energy. (9) Furthermore, scientific studies have shown that in order to achieve authentic happiness one must try using the new positive psychology to realize your potential for lasting fulfillment. (10) In order to realize your potential, it does not refer to merely satisfying your personal desires; attempts should be made in gaining gratification so to gain authentic happiness. This brings us back to the principle behind fairytales, and as authentic happiness implies at the idea of happily ever after, the sense of happiness here is different from the transient pleasures achieved through materialism. This idea is similar to the saying in the East, giving is better than receiving, but of course the idea of giving here is not limited to just acts of charitable giving. Reconsider Virtue and Eastern Philosophy Surprisingly, after the self-liberating 20th century, the ideas of virtue are being reconsidered. After studying various cultures and traditions from the past 3000 years and evaluating the philosophical thoughts originating from more than ten countries, psychologists have categorized six virtues to be the distinctive elements for authentic happiness, and they are: wisdom, courage, humanity, love, justice, self-cultivation, and spiritual transcendence. (11) Neuroscientists have further taken brain imaging (12) to share with villagers the ideas that happiness can be learned. When they scanned the brain of a Buddhist lama faced with disturbing noises, his brain imaging shows signs of compassion, which differs from ordinary people s emotional expressions of defense, depression, refusal, and annoyance. This concept could be related to the Eastern philosophy of the point where to rest being known, the object of pursuit is then determined; and, that being determined, a calm unperturbedness may be attained to. To that calmness there will succeed a tranquil repose. In that repose there may be careful deliberation, and that