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產品設計 Product Design
隨着十八世紀工業革命的誕生，生產和科學研究技術的突破，以及大量生產的運作模式，讓產品設計得以多元化地發展起來。不論是體積細小的產品如牙刷、智能手機、電腦，或大至如火車、飛機、太空站，以至各種不同類別的產品，包括日常用品、醫療器材、運輸工具等，每一項設計都跟人類生活和文明發展息息相關，影響力無遠弗屆。優秀的產品設計師肩負改善人類生活質素的使命，他們運用最新的生產技術和知識，與時並進，並不斷尋求突破。 Because of the industrial revolution in the 18th century, the breakthrough in production, scientific research and the operation mode of mass production, product design has undergone highly diversified development. Each design is closely related to human life and the development of civilisation. This applies to small objects, such as a toothbrush, a smartphone, a computer, as well as to the larger train, aeroplane and space station, and a wide range of product types, such as daily commodities, medical apparatus and means of transportation. The impact is infinite and far-reaching. An excellent product designer is committed to the improvement of the quality of human life. He/She absorbs the latest production technologies and know-how, and continuously seeks breakthroughs. |
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設計師品牌 Designer Brand (p.52):
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機械和儀器 Machinery and Equipment (p.53):
設計師 Designer: 浪尖設計集團 Artop Group | 品牌 Brand: 二零二零 ( 北京 ) 醫療科技有限公司 - 一次性纖維環縫合器 2020 Medical Science & Technology - Disposable Annular Stapler |
奬項 Award: 優良設計獎 Good Design Award (G Mark) 2017
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物流與運輸 Logistic and Transportation (p.53):
Photographer: Albrecht FIETZ
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左 Left: 新倫敦巴士 New Routemaster 右 Right: 倫敦巴士 Routemaster | Photographer: Philipp REINER
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設計師受到巴士公司委託，設計新倫敦巴士。這是由於經典的紅色雙層倫敦巴士已服役 50 年，需要一輛新款式去替代。設計師考慮到長久以來倫敦巴士的形象，成了一個獨特的文化展現方式，一直是倫敦的標誌性代表，深受倫敦市民及遊客歡迎。因此在設計上，承襲了傳統倫敦巴士的特徵，包括紅色車身、雙層、低地台後門等。並加以現代化，如採取流線型設計以減低風阻係數。另外在玻璃窗的設計上，突破對稱的傳統，沿着流線型車體，跟前和後樓梯相呼應，好讓乘客在上下樓梯時，可眺望風景；也可令到街上行人更清楚的看到車內的情況。而內部空間需要考慮疏導上車和下車的乘客分流，在巴士的前和後方設立樓梯及前、中、後門。由於巴士一天只會進行一次基本清潔，跟着便需要行駛一整天，設計師有見及此，設計了紅灰色相間的椅子布，利用視覺上的錯覺，使椅子看起來耐髒一些。還要照顧乘客晚上乘車的需要，在車廂內的設計了合適的照明設備。由此可見，設計運輸工具，需要全面地了解當地文化、乘客流量數據、乘客搭乘習慣、形態與功能的物理常識（風阻係數、運輸工具的供電系統）、物料應用(例如通過玻璃的彎曲弧度去達到流線造型)、燈光設計等缺一不可。
The pictures above are the New Routemaster designed for a bus company. The classic red double-decker London buses have been in service for 50 years, so it has to be replaced by a new design. The London bus has long been the city’s image and a unique part of the culture, and this symbol of the city is very popular among London citizens and tourists. Therefore, the design absorbs the character of the traditional London bus with a red body, double-decker and lower-floor rear door. With a streamlined body to reduce wind drag, and a change of the traditional parallel design of windows to diagonal ones reveals the front and rear stairs to the outside. Passengers taking the stairs can look out of the windows, while pedestrians have a better view of the inside of the bus. To cater for the passenger flow from getting on to getting off the bus, the layout of the internal space has front and rear stairs, and front, middle and rear doors. The bus travels all day and is cleaned only once per day; therefore, the designer adopted a red and grey fabric for the chair upholstery, which by visual illusion of mixing both colours makes the seats look dirt-proof. The bus is also designed with proper interior lighting for night travellers. In the design of any means of transportation, the designer has to understand comprehensively the local culture, traffic data, travel habits of passengers, physical knowledge about form and function (wind drag and power supply system), application of materials (achieving a streamline shape by curved glass), lighting design, etc.
The pictures above are the New Routemaster designed for a bus company. The classic red double-decker London buses have been in service for 50 years, so it has to be replaced by a new design. The London bus has long been the city’s image and a unique part of the culture, and this symbol of the city is very popular among London citizens and tourists. Therefore, the design absorbs the character of the traditional London bus with a red body, double-decker and lower-floor rear door. With a streamlined body to reduce wind drag, and a change of the traditional parallel design of windows to diagonal ones reveals the front and rear stairs to the outside. Passengers taking the stairs can look out of the windows, while pedestrians have a better view of the inside of the bus. To cater for the passenger flow from getting on to getting off the bus, the layout of the internal space has front and rear stairs, and front, middle and rear doors. The bus travels all day and is cleaned only once per day; therefore, the designer adopted a red and grey fabric for the chair upholstery, which by visual illusion of mixing both colours makes the seats look dirt-proof. The bus is also designed with proper interior lighting for night travellers. In the design of any means of transportation, the designer has to understand comprehensively the local culture, traffic data, travel habits of passengers, physical knowledge about form and function (wind drag and power supply system), application of materials (achieving a streamline shape by curved glass), lighting design, etc.
消費品 Consumer Goods (p.54-62):
- 家具和佈置 Furniture and Furnishing (p.55):
Aura 沙發 Aura Sofa
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Aura Sofa
設計師 Designer: Mikko LAAKKONEN
品牌 Brand: Inno.fi
奬項 Award: 優良設計獎（芝加哥雅典娜建築與設計博物館）Good Design Award (The Chicago Athenaeum: Museum of Architecture and Design) 2015
設計師 Designer: Mikko LAAKKONEN
品牌 Brand: Inno.fi
奬項 Award: 優良設計獎（芝加哥雅典娜建築與設計博物館）Good Design Award (The Chicago Athenaeum: Museum of Architecture and Design) 2015
- 家庭用品 Household Products (p.57):
麥芽威士忌杯套裝 Malt Whisky Glass Set
設計師 Designer: Mikko LAAKKONEN
品牌 Brand: Nude Glass
奬項 Award: 德國設計奬 German Design Award 2017｜紅點設計大奬 - 佳作 Red Dot Design Award - The Honourable Mention 2016
設計師 Designer: Mikko LAAKKONEN
品牌 Brand: Nude Glass
奬項 Award: 德國設計奬 German Design Award 2017｜紅點設計大奬 - 佳作 Red Dot Design Award - The Honourable Mention 2016
- 家庭用品 Household Products (p.57):
Loveramics | Prep+
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陶瓷碗具系列 Ceramic Kitchenware Collection: Prep +
設計師 Designer: Simon STEVENS
品牌 Brand: Loveramics
奬項 Award: iF 產品設計奬 iF Design Award 2016｜紅點設計大獎 Red Dot Award 2016
設計師 Designer: Simon STEVENS
品牌 Brand: Loveramics
奬項 Award: iF 產品設計奬 iF Design Award 2016｜紅點設計大獎 Red Dot Award 2016
- 照明產品 Lighting Products (p.57):
Mars 系列 - 吊燈及座地燈 Mars Light Series - Pendent & Floor Lamp
設計師 Designer: Tapio ANTTILA
品牌 Brand: Kera Interior
Award 奬項 : 優良設計獎 ( 芝加哥雅典娜建築與設計博物館 ) Good Design Award (The Chicago Athenaeum: Museum of Architecture and Design) 2013
設計師 Designer: Tapio ANTTILA
品牌 Brand: Kera Interior
Award 奬項 : 優良設計獎 ( 芝加哥雅典娜建築與設計博物館 ) Good Design Award (The Chicago Athenaeum: Museum of Architecture and Design) 2013
- 玩具、遊戲、休閒和運動用品 Toys, Games, Recreational and Sports Goods (p.58):
Yeehaw
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- 玩具、遊戲、休閒和運動用品 Toys, Games, Recreational and Sports Goods (p.58):
Freeride
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滑板、滑雪板和衝浪板 Longboard, Snowboard and Surfboard Freeride - 滑板概念 Freeride Board Concepts
設計師 Designer: Odo FIORAVANTI｜品牌 Brand: Land Rover
設計師 Designer: Odo FIORAVANTI｜品牌 Brand: Land Rover
- 光學器材和眼鏡 Optical Equipment and Eyewear (p.59):
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黑曜石 360 度專業全景攝錄機 Obsidian 360 Virtual Reality Camera
設計師 Designer: JU&KE Studio｜品牌 Brand: Kandao
奬項 Awards: 德國設計奬 German Design Award 2018｜iF 產品設計奬 iF Award 2018
設計師 Designer: JU&KE Studio｜品牌 Brand: Kandao
奬項 Awards: 德國設計奬 German Design Award 2018｜iF 產品設計奬 iF Award 2018
- 光學器材和眼鏡 Optical Equipment and Eyewear (p.59):
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ITUM
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3D 打印眼鏡 3D Printed Spectacles - Mono Eyewear
設計師 Designer: 黃澤源 Edmond WONG｜設計師品牌 Designer Brand: ITUM
設計師 Designer: 黃澤源 Edmond WONG｜設計師品牌 Designer Brand: ITUM
設計師利用最新的立體打印技術，為客戶訂製眼鏡。這副眼鏡一體成型的結構和富有彈性的材質，突破了眼鏡傳統的結構，不再由兩條眼鏡臂加眼鏡框裝嵌而成，令配戴者毋須擔心眼鏡臂的螺絲鬆脫導致鏡片掉落，而且重量比傳統眼鏡輕，減輕鼻樑負擔，這亦只有通過立體打印技術才能製作出來。這個創新的設計，凸顯了設計師如何利用最新的科技去改善人類生活，同時兼具時尚美感。
The designer used the latest 3D printing technology to custom-make glasses for the customer. The integrally formed structure and elastic material of this pair of glasses are a breakthrough in the traditional assembly of the two arms of the frame with other parts. The wearer no longer worries about the glasses falling off due to loose screws in the arms, and the lighter weight of the frame relieves the burden on the nose. This design can be produced only by 3D printing technology. This innovative design shows how the designer makes good use of the latest technology to improve human living and to embrace fashion at the same time.
The designer used the latest 3D printing technology to custom-make glasses for the customer. The integrally formed structure and elastic material of this pair of glasses are a breakthrough in the traditional assembly of the two arms of the frame with other parts. The wearer no longer worries about the glasses falling off due to loose screws in the arms, and the lighter weight of the frame relieves the burden on the nose. This design can be produced only by 3D printing technology. This innovative design shows how the designer makes good use of the latest technology to improve human living and to embrace fashion at the same time.
- 時計 Timepiece (p.61):
評賞例子 Example of Appreciation
視障人士腕表 Braille Watch
設計師 Designer: 顧力恆 Nick GU｜設計師品牌 Designer Brand: EONE
奬項 Awards: 紅點設計大奬 Red Dot Design Award 2015｜iF 產品設計奬 iF Award 2016
視障人士腕表 Braille Watch
設計師 Designer: 顧力恆 Nick GU｜設計師品牌 Designer Brand: EONE
奬項 Awards: 紅點設計大奬 Red Dot Design Award 2015｜iF 產品設計奬 iF Award 2016
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EONE
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視障腕表的報時方法，一種是按鍵發聲報時，另一種是觸摸點字或表盤指針報時，前者在嘈雜環境未能發揮效用，後者則容易被使用者因觸碰而撥動了指針，變成誤報時間。
Wristwatches for vision impaired users tells the time in two ways: the user either presses a key to trigger a time announcement, or touches the Braille character or the dial indicator to read the time. In the first instance, a noisy environment will drown out the announcement, and in the second, the user may touch the indicator and trigger announcement by accident.
這是一隻為視障人士而設的腕表，此腕表在設計上突破傳統，利用磁力驅動表盤的兩顆鋼珠運行，表盤面上的一顆代表分針、表盤側面的另一顆代表時針，而磁力可使兩顆鋼珠準確無誤地停留在顯示時間的適當位置，使用者通過觸摸表盤上的刻度及兩顆鋼珠便可讀到時間。
The photos show a wristwatch designed for vision impaired users which is a breakthrough over the traditional watch design. A magnetic force drives two steel balls, one on the dial for minutes and the other on the side for hours, precisely into the proper positions on the dial, and the user touches the scale and steel balls on the dial to read the time.
材質上，表盤的鈦合金外殼防刮防磨，既耐用又具時尚感，兼有日常生活防水功能，表帶有金屬和皮革兩種可供選擇。據悉，此款腕表的購買者不一定是視障人士，更多的是看上它的時尚外形及設計意念。這隻突破傳統的設計，改善視障人士生活質素的腕表，不單拿下了德國的紅點設計大獎、iF 產品設計奬， 更被大英博物館列為永久收藏品。
In material, the titanium alloy watch case is resistant to scratches and abrasion, and is durable, fashionable and water-resistant. The watchstrap can be metal or leather. This watch has been launched on the market and those who purchase it may not necessarily be vision impaired. They love it for its fashionable appearance and design concept. The breakthrough design, while improving the living quality of vision impaired people, has won for this watch the German Red Dot Award and iF Product Design Award, and the watch has become a permanent collection in the British Museum.
Wristwatches for vision impaired users tells the time in two ways: the user either presses a key to trigger a time announcement, or touches the Braille character or the dial indicator to read the time. In the first instance, a noisy environment will drown out the announcement, and in the second, the user may touch the indicator and trigger announcement by accident.
這是一隻為視障人士而設的腕表，此腕表在設計上突破傳統，利用磁力驅動表盤的兩顆鋼珠運行，表盤面上的一顆代表分針、表盤側面的另一顆代表時針，而磁力可使兩顆鋼珠準確無誤地停留在顯示時間的適當位置，使用者通過觸摸表盤上的刻度及兩顆鋼珠便可讀到時間。
The photos show a wristwatch designed for vision impaired users which is a breakthrough over the traditional watch design. A magnetic force drives two steel balls, one on the dial for minutes and the other on the side for hours, precisely into the proper positions on the dial, and the user touches the scale and steel balls on the dial to read the time.
材質上，表盤的鈦合金外殼防刮防磨，既耐用又具時尚感，兼有日常生活防水功能，表帶有金屬和皮革兩種可供選擇。據悉，此款腕表的購買者不一定是視障人士，更多的是看上它的時尚外形及設計意念。這隻突破傳統的設計，改善視障人士生活質素的腕表，不單拿下了德國的紅點設計大獎、iF 產品設計奬， 更被大英博物館列為永久收藏品。
In material, the titanium alloy watch case is resistant to scratches and abrasion, and is durable, fashionable and water-resistant. The watchstrap can be metal or leather. This watch has been launched on the market and those who purchase it may not necessarily be vision impaired. They love it for its fashionable appearance and design concept. The breakthrough design, while improving the living quality of vision impaired people, has won for this watch the German Red Dot Award and iF Product Design Award, and the watch has become a permanent collection in the British Museum.
- 手袋和旅行用品 Handbag and Travel Goods (p.62):
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Ivy Clutch Ivy 手提包 - 設計概念Design Concept
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- 文具和辦公室設備 Stationery and Office Equipment (p.62):
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藍牙便攜式近場通訊擴音器 Bluetooth Portable NFC Speaker
設計師 Designer: 浪尖集團 Artop Group | 品牌 Brand: Rapoo
奬項 Award: iF 產品設計奬 iF Award 2014
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形式與功能 Form and Function (p.64):
評賞例子 Example of Appreciation
香水瓶 Perfume Bottle
設計師 Designer: Heatherwick Studio Limited｜品牌 Brand: Christian Louboutin
Image and photo credits: Heatherwick Studio Limited
香水瓶 Perfume Bottle
設計師 Designer: Heatherwick Studio Limited｜品牌 Brand: Christian Louboutin
Image and photo credits: Heatherwick Studio Limited
Photo Credits: Heatherwick Studio
設計師受到時裝品牌的委託，去設計一個香水瓶。設計師通過資料搜集和研究，首先了解到客戶的品牌形象和人們使用香水的方法。傳統的香水產品的使用方法是噴灑式或直接塗抹在身體上，因此一般的香水瓶必需預留適當空間，給放置按壓式噴咀和瓶蓋。另外就是使用香水瓶時的肢體動作，用家一般以單手去拿起香水瓶，為此瓶子尺寸需要符合人類手掌可掌握的大小；另外就是存放香水瓶的方式，有些用家會把香水瓶當作裝飾品，放在玻璃飾物櫃裏觀賞，所以香水瓶需要能夠座立擺放。至此，瓶子形態的設計前設已定。
When the designer was commissioned by a fashion brand to design a perfume bottle, the designer began to collect and study information about the brand image and how people use perfume. The traditional way is to spray or daub perfume directly over the body; therefore, the perfume bottle usually needs space to install a pressure nozzle and cap. Then comes the movement of the hand to hold the perfume bottle. The user usually picks up the bottle with one hand, so it's size has to suit a human hand. With regard to the way of storage, perfume bottles are also ornaments that are placed in glass cabinets for some users, so they need to sit or stand by themselves. This is the premise for the design of the bottle shape.
When the designer was commissioned by a fashion brand to design a perfume bottle, the designer began to collect and study information about the brand image and how people use perfume. The traditional way is to spray or daub perfume directly over the body; therefore, the perfume bottle usually needs space to install a pressure nozzle and cap. Then comes the movement of the hand to hold the perfume bottle. The user usually picks up the bottle with one hand, so it's size has to suit a human hand. With regard to the way of storage, perfume bottles are also ornaments that are placed in glass cabinets for some users, so they need to sit or stand by themselves. This is the premise for the design of the bottle shape.
在材質的選取上，由於香水的成份包的香精油、酒精等易揮發的液體，而當玻璃瓶於密封的狀態時，能最大限度地保持盛載物的物理穩定性，因此玻璃是香水瓶最常見的材質。設計師在定下材質的選擇後，便着手處理香水瓶的形態。由於玻璃在高溫製作過程中可隨意造型、還有不同的上色處理及玻璃表面的處理方法，為設計師帶來廣闊的創作空間。
In the selection of the bottle’s material, because perfume contains essential oils, alcohol and other volatile substances, a glass bottle when sealed can best keep the content physically stable; therefore, glass is the most common material for perfume bottles. After the selection of material, the designer begins to figure out the shape of the bottle. As glass can be shaped freely with different colouring and surface processing when melted at high temperature, the designer enjoys wide creative possibilities.
In the selection of the bottle’s material, because perfume contains essential oils, alcohol and other volatile substances, a glass bottle when sealed can best keep the content physically stable; therefore, glass is the most common material for perfume bottles. After the selection of material, the designer begins to figure out the shape of the bottle. As glass can be shaped freely with different colouring and surface processing when melted at high temperature, the designer enjoys wide creative possibilities.
設計手稿和原型。設計師通過繪畫和製作原型的過程，去摸索和初步構思瓶身的形態。
Designer's sketch and prototypes. While drawing the sketch and creating the prototypes, the designer explores and conceives the initial form of the bottle.
Designer's sketch and prototypes. While drawing the sketch and creating the prototypes, the designer explores and conceives the initial form of the bottle.
上圖是香水瓶設計意念圖， 左邊第一個香水瓶的面貌，是參考傳統香水瓶的四平八穩的外形。設計師以傳統為藍本，在此基礎上加以突破，瓶身左右兩邊的扭紋狀，可使用家拿着香水瓶時，比傳統的方形香水瓶更舒適。設計師令香水瓶中間縷空，當用家在搖晃香水瓶時，可使到香水在瓶裏作迴圈流轉，帶來跟傳統香水瓶不一樣的視覺效果。
The picture above is the concept drawing of the bottle design. The first bottle on the left adopts a traditional cube shape of perfume bottles. The designer seeks breakthroughs in traditional bottle design, and the twisted veins on the sides give the user a more comfortable hold than traditional square bottles. The designer also introduced a hollow in the middle of the bottle. When the user shakes the bottle, the perfume swirls and brings about a sensational visual effect.
The picture above is the concept drawing of the bottle design. The first bottle on the left adopts a traditional cube shape of perfume bottles. The designer seeks breakthroughs in traditional bottle design, and the twisted veins on the sides give the user a more comfortable hold than traditional square bottles. The designer also introduced a hollow in the middle of the bottle. When the user shakes the bottle, the perfume swirls and brings about a sensational visual effect.
香水瓶的形態測試原型。設計師由平面的繪畫構思模式邁向立體造型，繼續從中尋找理想的形態及大小尺寸。
Prototypes of the perfume bottle. It shows how the designer moved from a graphic conception to 3D shape in the search for the ideal form and size. |
香水瓶的表面材質處理原型。探索玻璃材質的表面處理，設計師選取了光潔沒紋理的表面處理方式。
Exploration of glass surface texture, the designer adopting a smooth and veinless surface. |
在決定好了最終設計後，便踏進生產樣板及投入生產。上圖是香水瓶設計生產圖，這個階段需要實在地處理產品的結構，這樣才可以協助生產製作團隊一目了然的明白瓶子的製作流程。由於考慮到一般使用者會把香水瓶收藏在櫃或架上，因此香水瓶底部必須有數個支點，以使瓶身有效達到座立形態。
After the design is finalised, the production of samples begins and then, mass production. The picture above is the design production drawing for the perfume bottle. At this stage, the structure of the product needs practical treatment to help the production team understand the production process. As perfume users usually store the bottle in a cabinet or on a shelf, the perfume bottle needs several fulcrums to sit or stand upright.
After the design is finalised, the production of samples begins and then, mass production. The picture above is the design production drawing for the perfume bottle. At this stage, the structure of the product needs practical treatment to help the production team understand the production process. As perfume users usually store the bottle in a cabinet or on a shelf, the perfume bottle needs several fulcrums to sit or stand upright.
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以上是香水瓶的製作過程和香水瓶最終的樣子，玻璃瓶上以三種顏色組合去分辨三種不同香氣。
Above pictures are the bottle making process and the final look of the bottle. The combination of three colours on the bottle represents three different types of aromas.
Above pictures are the bottle making process and the final look of the bottle. The combination of three colours on the bottle represents three different types of aromas.
創新 Innovation (p.64):
FIT-NITURE - X Bench
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X Bench 多功能健身椅 Multi-functional Fitness Chair
設計師 Designer: 黃澤源 Edmond WONG
奬項 Award: 衛星沙龍展 - 銀奬 ( 米蘭國際家具展 ) Salone Satellite Award - Silver Prize (Salone del Mobile Milano) 2017
設計師 Designer: 黃澤源 Edmond WONG
奬項 Award: 衛星沙龍展 - 銀奬 ( 米蘭國際家具展 ) Salone Satellite Award - Silver Prize (Salone del Mobile Milano) 2017
FIT-NITURE
材質與功能 Material and Function (p.65):
評賞例子 Example of Appreciation
陀螺椅 Spun Chair
設計師 Designer: Heatherwick Studio Limited
品牌 Brand：Magis (滾塑成型版本 Rotation-moulded Plastic Edition)｜Haunch of Venison (金屬旋壓版本 Metal Edition)
Image and photo credits: Heatherwick Studio Limited
陀螺椅 Spun Chair
設計師 Designer: Heatherwick Studio Limited
品牌 Brand：Magis (滾塑成型版本 Rotation-moulded Plastic Edition)｜Haunch of Venison (金屬旋壓版本 Metal Edition)
Image and photo credits: Heatherwick Studio Limited
金屬旋壓法是一種金屬成形的技術，它的特色在於能夠輕易地做出對稱的金屬物件，例如鐵鍋和燈罩。設計師的構思是通過運用金屬旋壓技術去製成一張可旋轉而對稱的椅子，希望為使用者帶來嶄新又有趣的體驗。同時設計師受到定音鼓對稱造形的啟發，開始構思一張對稱造形的椅子。
Metal spinning is a processing technique for forming metal, by which it is easy to produce symmetrical metal objects such as an iron pans, lampshades, etc. The designer's idea is to engage metal spinning techniques to make a rotational symmetrical chair, and create a brand-new and interesting user experience. With this premise and inspired by the symmetrical shape of timpani, the designer begins to conceive a symmetrical chair.
Metal spinning is a processing technique for forming metal, by which it is easy to produce symmetrical metal objects such as an iron pans, lampshades, etc. The designer's idea is to engage metal spinning techniques to make a rotational symmetrical chair, and create a brand-new and interesting user experience. With this premise and inspired by the symmetrical shape of timpani, the designer begins to conceive a symmetrical chair.
陀螺椅的原型 Prototypes of Spun Whirling Armchair
設計師通過製作細小的測試原型，去探索椅子的理想造形。這張椅子需要對稱的造形，才能於旋轉時保持平衡，同時更需要配合人體工學，使之能穩妥承托人的臀部。
Designer makes small prototypes to seek the ideal chair form. This chair has to be symmetrical in order to rotate without losing balance and conform to ergonomics to offer the perfect support for human buttocks.
Designer makes small prototypes to seek the ideal chair form. This chair has to be symmetrical in order to rotate without losing balance and conform to ergonomics to offer the perfect support for human buttocks.
設計團隊製作 1：1 比例的造形測試樣品，之後便製作一個可以讓人坐上去的樣品去作各種測試。
Making a 1:1 shape test sample. Then another sample that people can sit on is made for various tests.
Making a 1:1 shape test sample. Then another sample that people can sit on is made for various tests.
陀螺椅的金屬旋壓製作過程
Metal spinning production process of spun whirling armchair
Metal spinning production process of spun whirling armchair
鋁陀螺椅 Spun Whirling Armchair｜鋁材版本 Aluminium Version
｜品牌 Brand: Haunch of Venison
這張金屬陀螺椅在旋轉時會發出金屬炫光。
Finished work. When this metal whirling armchair rotates, it gives out a metallic glare.
Finished work. When this metal whirling armchair rotates, it gives out a metallic glare.
設計師後來獲一家家具品牌的委託，設計一張塑膠版的陀螺椅。由於塑膠的比金屬輕；加上塑膠的材質可讓椅子擺放在室外而不受天氣影響，成為一件全天候的家具；而且塑膠椅的製作方式更符合大生產的條件，迎合市場需求。
The designer later received an order from a furniture maker to create a plastic version of the metal whirling armchair. As plastic is lighter in weight than metal and resistant to weathering, plastic chairs can be placed outdoors and become all-weather furniture. They are suitable for mass production to meet market demand.
The designer later received an order from a furniture maker to create a plastic version of the metal whirling armchair. As plastic is lighter in weight than metal and resistant to weathering, plastic chairs can be placed outdoors and become all-weather furniture. They are suitable for mass production to meet market demand.
陀螺椅滾塑成型的製作過程
Production process of spun whirling armchair by rotational plastic moulding.
Production process of spun whirling armchair by rotational plastic moulding.
陀螺椅 Spun Chair｜滾塑成型版本 Rotation-moulded Plastic Edition｜品牌 Brand: Magis
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陀螺椅的附視圖 Top view of spun whirling armchair
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攝影 Photographer: Susan Smart
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設計師在塑膠的表面上，加入了凹凸紋理，以增加兩個接觸面（即人體和椅子表面）的阻力。而椅子上呈現的同心圓紋理，則是受到黑膠唱片上的紋理所啓發，從椅子的正上方看去，彷彿就是一張巨形的黑膠唱片。這紋理的設計成功改善用戶體驗，使用家可以更舒適地轉動椅子。這張椅子獲得意大利的金圓規設計奬，並成為了紐約現代藝術博物館和德國漢堡藝術工藝博物館的館藏。
In surface processing, the designer adds veins to increase contact resistance between the human body and the chair top. Concentric veins on the chair come from the inspiration of LP records. Looking down from above, the chair is like a large LP record. These veins have successfully improved the user experience and the user can swivel the chair more comfortably. This chair won the Compasso d'Oro International Award, and was collected by the Museum of Modern Art, New York, and Museum für Kunst und Gewerbe, Hamburg.
In surface processing, the designer adds veins to increase contact resistance between the human body and the chair top. Concentric veins on the chair come from the inspiration of LP records. Looking down from above, the chair is like a large LP record. These veins have successfully improved the user experience and the user can swivel the chair more comfortably. This chair won the Compasso d'Oro International Award, and was collected by the Museum of Modern Art, New York, and Museum für Kunst und Gewerbe, Hamburg.
文化展現 Cultural Aspect (p.65):
評賞例子 Example of Appreciation
現代交椅 Modernised Chinese Folding Chair
設計師 Designer: 黃競 Kent WONG｜品牌 Brand: First Initiate Foundation
現代交椅 Modernised Chinese Folding Chair
設計師 Designer: 黃競 Kent WONG｜品牌 Brand: First Initiate Foundation
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在市場定位中，有一些設計是針對文化展現而創作的。上圖所示的一張摺椅，這張摺椅借用了明代交椅的形態，並加以現代化。例如在物料使用上，選取了比實木輕巧的金屬，提高摺椅原來的功能，那就是方便展開、收藏、攜起並移動到不同地方。另外設計師為改善用戶體驗，設計了皮革夾棉椅墊和皮革椅背，比坐在傳統交椅上舒適。這個設計，只有對中式椅子有一定認識的目標受眾，才能產生共鳴。
Some designs in the market are created to express culture. The picture above is a modernised folding chair, which adopts the shape of a Ming Dynasty folding chair. In the selection of material, lighter metal replaces solid wood to highlight the original concept of folding chairs: easy to fold, unfold, carry and move to different places. The designer also improved the user experience by using a quilted leather cushion and leather chair back. This design resonates with customers who know about traditional Chinese chairs.
Some designs in the market are created to express culture. The picture above is a modernised folding chair, which adopts the shape of a Ming Dynasty folding chair. In the selection of material, lighter metal replaces solid wood to highlight the original concept of folding chairs: easy to fold, unfold, carry and move to different places. The designer also improved the user experience by using a quilted leather cushion and leather chair back. This design resonates with customers who know about traditional Chinese chairs.
文化展現 Cultural Aspect (p.65):
評賞例子 Example of Appreciation
特濃咖啡杯碟套裝 Espresso Cup & Saucer Set
設計師 Designer: 陳曉茵 H. Y. CHAN｜品牌 Brand: Private Living
特濃咖啡杯碟套裝 Espresso Cup & Saucer Set
設計師 Designer: 陳曉茵 H. Y. CHAN｜品牌 Brand: Private Living
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這是一個帶有雙重文化展現的作品。特濃咖啡是意大利特有的咖啡，一杯的份量比其他類型的咖啡小，使用一般的杯子的話，會顯得杯子太大，既不方便飲用，又不夠美觀。在考慮到這個杯子的銷售市場在亞洲地區，設計師因此產生了中西文化交融的聯想。碟子上的花紋是中式「仿清綠地纏枝蓮花紋」，這個花紋是清代乾隆年代的粉彩瓷器的經典圖案，「綠地」(粉綠色底色)、「纏枝」、「蓮花紋」可繪畫成不同的形態，並組合成不同的花樣。杯子則沿用西洋瓷器中常見的鍍金工藝，把整個杯身做成金色鏡面效果。當用家把杯子放在碟子上時，可清晰見到碟子的花紋反映在金色杯子身上，視覺上把兩者重叠起來，成功營造和諧的中西合璧視覺形象。
This is a design work with double cultural expression. Espresso is a strong Italian coffee with a much smaller cup than for any other coffee. An ordinary cup will be too big and inconvenient to drink from and not lovely to look at. As this cup is sold in Asia, the designer thought about an interaction of Chinese and Western cultures. The saucer adopts the Chinese pattern of “Qing Dynasty Intertwined Lotus on a Green Background”, a typical pattern in famille rose porcelain during the Qianlong Reign of the Qing Dynasty. The “light green background”, “intertwined branches” and “lotus veins” can be drawn in different shapes to create different pattern combinations. The cup adopts a common gilding process in Western ceramics and the whole cup is covered with a golden mirror. When the cup is placed on the saucer, the saucer patterns are reflected onto the golden cup. The overlapping vision successfully creates a harmonious integration of Chinese and Western cultures.
This is a design work with double cultural expression. Espresso is a strong Italian coffee with a much smaller cup than for any other coffee. An ordinary cup will be too big and inconvenient to drink from and not lovely to look at. As this cup is sold in Asia, the designer thought about an interaction of Chinese and Western cultures. The saucer adopts the Chinese pattern of “Qing Dynasty Intertwined Lotus on a Green Background”, a typical pattern in famille rose porcelain during the Qianlong Reign of the Qing Dynasty. The “light green background”, “intertwined branches” and “lotus veins” can be drawn in different shapes to create different pattern combinations. The cup adopts a common gilding process in Western ceramics and the whole cup is covered with a golden mirror. When the cup is placed on the saucer, the saucer patterns are reflected onto the golden cup. The overlapping vision successfully creates a harmonious integration of Chinese and Western cultures.
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The contents on the webpage “EDB Book” and its sub-links are informational and educational purposes only and contain copyrighted material, the use of which has mostly been specifically granted consent from the designers or brands or companies or photographers or image owners or agents, and do not constitute legal or other advice. We believe this constitutes a “fair use” of any such copyrighted material. The Association for Creative Education is not liable for any damages arising in the use of or inability to use this site or any material contained in it, or from any action or decision taken as a result of using the site.
This site offers links to other sites thereby enabling site visitors to leave this site and go directly the linked site. The Association for Creative Education is not responsible for the content of any linked site or any link in a linked site and/or any transmission received from any linked site. The links are provided to assist visitors to the Association for Creative Education’s site and the inclusion of a link does not imply that the Association for Creative Education endorses or has approved the linked site.