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100 YEARS OF DUTCH DESIGN

100 YEARS OF DUTCH DESIGN

荷蘭設計100年

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活動時間: 2016/11/15 – 2017/02/19
週二~日 09:30-17:30
展覽地點:台灣設計館 / 概念區 金點區(松山文創園區內)
講座及設計工作坊地點 : 台灣創意設計中心 - 創意劇場 (北向製菸工廠2樓)
主辦單位: 田田圈文創工作群、台灣創意設計中心
協辦單位: NTIO 荷蘭貿易暨投資辦事處 / Nuffic 荷蘭高等教育 / 2016臺北世界設計之都設計響應 / MOT CASA / MOT TIMES / 蔡明穎建築師事務所 / Stedelijk Museum Amsterdam / Design Academy Eindhoven / Centraal museum Utrecht / Museum Boijmans Van Beuningen Rotterdam / Het Nieuwe Instituut / I amsterdam / Piet Zwart Institute / Sandberg Instituut / Stroom Den Haag / Hogeschool voor de Kunsten Utrecht / Rijksakademie van beeldende kunsten / ArtEZ Hogeshool voor de Kunsten / ArtEZ Hogeshool / AKV| St. Joost Academy / Koninklijke Academie van Beeldende Kunsten / Amsterdamse Hogeschool voor de Kunsten

策展人: 呂姵儒 Emma Lu | 田田圈文創工作群
視覺設計: 張軒豪 Joe Chang

100 YEARS OF DUTCH DESIGN

如果要思考國家競爭力、創新及設計產值,與台灣相似性高的歐陸國家荷蘭一定為標的物。因為土地大小及人口數相似,面臨鄰近強國包圍也是相同的處境,且未來皆有相當大的可能性將面臨因缺乏天然資源,需以智能開發及設計創新來發展。荷蘭設計風格為何?荷蘭設計重視概念及想法、諷刺又幽默、勇於嘗試及具自由表現型式。

荷蘭政府給予荷蘭設計相當大的發展空間,荷蘭文化機構在文化領域地位非常崇高,相對責任也相當重,擔負讓荷蘭設計在國際舞台上發光發熱的重責。不只於文化機構,私人及民營企業也給予設計師很大的自主空間,如 PTT(TPG)、de Bijenkorf及KPN 等。設計師得到企業完全信任並且和企業有長期的合作關係,在此關係下,企業成長、設計師也得到表現空間。

荷蘭設計運動自1910年後期開始發展成形,至今大約有100年的歷史,1920年因第一世紀大戰剛結束,歐洲各國掀起一陣「要文化活動,不要戰爭」的意識,各國均有不同的文化復興活動及流派產生。1917年風格派(De Stijl0)又稱新造型主義(Neo Plasticism)是由都斯伯格(Theo van Doesburg)、蒙德里安(Piet Mondriaan)及李特維德(Gerrit Thomas Rietveld)等人所發起,並在當年發行一本De Stijl藝術期刊,主要為簡化藝術設計,以抽象幾何取代自然的型態,以原色或非色彩來表現,並影響其他領域風格的走向,風格派也影響現代主義發展。後都斯伯格(Theo van Doesburg)於 1931年過世後,風格派雜誌於1932年停刊,宣告風格派結束。

1940-50年正逢二次世界大戰及二戰後,歐洲城市正在復興和重建,卻也給Willem Sandberg、Dick Elffers、Jurriaan Schrofer和Jan Bons平面設計師難得的機會,以團體及個人的方式參與多項重建工作,這時期有「獨立設計藝術家」的稱號。

1960年Tel Design以登貝(Gert Dumbar)為主和Total design以維姆.克羅威(Win Crouwel)為主,這二家設計公司承接荷蘭大多數企業視覺識別系統設計規劃案,而這也正是讓荷蘭本土企業走入全球市場唯一的方式。最具代表的例子為荷蘭國鐵NS、荷蘭航空KLM及荷蘭皇家飛利浦Philips 等企業。

1980年維姆.克羅威(Win Crouwel)所代表的國際設計風格壟斷視覺領域市場,後受到登貝(Gert Dumbar)和托爾恩(Jan van Toorn)的挑戰,也因經濟的衰退及流行文化的影響,造成一股反規則運動,而轉為多層拼貼及實驗性的設計。

21世紀有了電腦幾乎人人可以做設計,設計師陷入身份認同的危機,平面設計師不再只是工具操作者,也需具備美學、手工及故事講述的能力,後又稱為「設計策略專家」,如Irma Boom、Mevis&van Deursen及Thonik,此時形式表現的作品己過時,設計的過程變得重要。 這次我們以荷蘭100年設計歷史演進的過程為範本,給予臺灣未來設計發展的方向和脈絡。

DUTCH MASTERS / DESIGN ACADEMY EINDHOVEN

台北,我們居住的城市。有仁愛路豪宅帝寶,也有龍山寺旁一群居無定所的遊民;有信義區一級百貨戰區高檔名品城,也有二手回收衣物暢銷中心;有外傭推著年長人士到公園曬太陽,也有老人推著資源回收三輪車,步著沈重的步伐在雨中行進,為生計打拼。城市進步及多元的發展,除了公部門人力及資源的投入外,另一部份是全體公民都需要有相同的共識,用自己的力量扮演不同的角色。社會的發展需要均衡,利用社會的力量喚醒不被重視的角落及社會議題。今年特別不一樣,是設計力量掘起的一年,設計師除了可以提升我們的生活水準、改善城市視覺的美感外,也能提出解決方案改變或改善社會上不同的面象。

社會設計(Social Design)以如何利用設計的力量對於社會產生動力及改變來做多元發展,包含社會參與、社會關懷、社會正義、社會環保、社會救助、社會長照、社會認同及社會企業等,在台灣以社會企業及社會環保有較明顯的發展。但社會參與及社會關懷較難展現,這二大項的內容是社會設計很重要的面象,因為在社會進步和發展中,弱勢族群總是被忽略及不被照顧的那塊,另一個面象則是有能力付出的社會人士及群體找不到可以幫助的個體及群體,他們希望能藉由社會參與得到成就感。

以社會主義發展出荷蘭社會制度,以人為本的思考邏輯,不管是過去或是當代的平面及工業設計,都有一種劃時代性的領先思維。例如產品設計以使用功能至上為前提;平面設計拿掉裝飾的圖騰,讓訊息單一又清楚。藉由 1917 至 2016 年近100年荷蘭設計歷史的發展,可以清楚了解整個設計脈絡,希望給予從事設計及一般民眾不同程度的啟發。 荷蘭自由開放的環境孕育無數優秀設計師,但在自由的同時,各類型設計的孕育卻是以專業且嚴謹的方式在進行。社會設計身為一門新興學科,與其說它是種專業,不如將它歸類為新時代設計師的一種涵養,一種套用在大多數設計活動上的高階思維。不論從事哪種設計類別之設計師,觀察事物的眼界不同,做法與產出也將不同。發自內心、誠實、具有公民素養與國際觀的脈絡,以及內涵豐富、不限形式之表現特性,在目前全球環境瞬息萬變的時代日漸重要。「社會設計」將成為下個時代舉足輕重的設計顯學。

社會設計看似一門很深的學問,其實不然,在你我生活周遭都是密不可分的。或許你現在不會碰到此問題,未來仍將需要。荷蘭最具代表性的設計名校Design Academy Eindhoven,2010年成立全世界第一所社會設計碩士課程(Master Social Design),講求概念的荷蘭設計教育,孕育出非常多設計師從事社會設計,此風潮也成為全民的社會運動,特別是社會參與的部份,有非常多優秀的先例,因此我們以此出發點,藉由荷蘭社會設計展覽實例、講座分享與設計工作坊等達成不同的效益和見解。

這次活動不只是個展覽,也是一種教育及思維的啟發。台灣以製造業起家,品牌在這10年中建立發展起來,而台灣設計師以高科技產業為主,目前己有設計師從事居家用品開發,但台灣設計師應該更有多元性的思維,來投入社會設計,成為改變社會動力的一份子。每年有近 38,000多位設計科大專院校畢業學生,只要有1%設計師加入社會設計的領域,社會必會不一樣。本展內容涵蓋 3 位荷蘭及 9 位留荷台灣設計師展現對社會的影響力,例如設計師如何和地方產業結合創造產業升級、設計師如何到第三世界國家利用設計的力量改善當地居民生活,如何利用社區活偏捉E社區的向心力及如何以研究的精神探索食品成份的真實性。

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延伸活動
工作坊 Workshop
2016/12/03 (Sat) 14:00-17:00 松菸浪人工作坊
陳蕙群 | 設計師 / MA Social Design, Design Academy Eindhoven
劉軒慈 | 設計師 / /MA Contextual Design, Design Academy Eindhoven

講座 Lectures
2016/11/19 (Sat) 14:30-16:30 荷蘭設計教育的優勢
陳儀霏 | 設計師 / MA Social Design, Design Academy Eindhoven.
林伃恩 | Preparatory year, Gerrit Rietveld Academie / 中原大學室內設計

2016/12/10 (Sat) 14:30-16:30 荷蘭百年工業及平面設計歷史
施承毅 | 輔大博物館學研究所博士後研究 / 英國萊斯特大學博物館學博士 / MA Man and Humanity, Design Academy Eindhoven
吳國強 | 設計師 / MA Editorial Design, Utrecht school of arts

2016/12/24 (Sat) 14:30-16:30 我的阿姆斯特丹
蕭晴 | 作家 / Lovely Holland 愛荷蘭左擁右抱 lovelyholland.com

2017/01/14 (Sat) 14:30-16:30 荷蘭紅燈區的改造經驗
鄭采和 | Owner of Boundary Unlimited / 荷蘭 West 8 & de Architekten Cie 建築師 / Postgraduate Architecture, Berlage Institute

2017/02/11(Sat) 14:30-16:30 荷蘭綠建築及建築師
江世彥 | 原石空間策略工作室 / Postgraduate Architecture, Berlage Institute 廖嘉舜 | 百里城市設計工作小組 / Postgraduate Architecture, Berlage Institute

2017/02/18(Sat) 14:30-16:30 Design Academy Eindhoven學長學姊學弟學妹分享會

*講座無須預先報名及費用,惟空間有限請儘早入場*

導覽每週六 13:30



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100 YEARS OF DUTCH DESIGN

Date and Times: 2016.11.15 - 2017. 02 .19 09:30-17:30 (closed on Monday)

Exhibition location | Songshan cultural and creative park - Taiwan Design Museum / Concept area / Golden Pin area
Lecture location | Taiwan Design Center - Creative Forum 2F No. 133, Guangfu South Road, Xinyi District, Taipei City
Organizers: Tien Tien Circle Creative / Taiwan Design Center
Collaborators: NTIO / Nuffic / WDC 2016 Taipei / MOT CASA / MOT TIMES / Ming-Ying Tsai Architects / Stedelijk Museum Amsterdam / Design Academy Eindhoven / Centraal museum Utrecht / Museum Boijmans Van Beuningen Rotterdam / Het Nieuwe Instituut / I amsterdam / Piet Zwart Institute / Sandberg Instituut / Stroom Den Haag / Hogeschool voor de Kunsten Utrecht / Rijksakademie van beeldende kunsten / ArtEZ Hogeshool voor de Kunsten / ArtEZ Hogeshool / AKV| St. Joost Academy / Koninklijke Academie van Beeldende Kunsten / Amsterdamse Hogeschool voor de Kunsten

Curator : Emma Lu / Tien Tien Circle Creative
Visual design : Joe Chang

100 YEARS OF DUTCH DESIGN

Willem Sandberg discovered the work of Gerrit Rietveld through the journal De Stijl (1917-1932) and considered Rietveld a brilliant designer -architect calling his Red and Blue Chair a ' three- dimensional Mondriaan'. Both Rietveld's three-dimensional work and Sandberg's two -dimensional graphic designs are characterized by the pursuit of clarity and the elimination of superfluous elements. These are the principles of Modernism, which was then taking shape in architecture and other art forms.

In 1930, the Hague Arts Academy established a dapartment of Advertising , headed by the designer Gerard Kiljan. The course was intended to teach students how to take photographs that could be used in advertising. Kiljan worked closely with pieta Zwart and Paul Schuitema. Zwart himself took photographs for commercial assignments. His belief was that professionally photograph was not an art; their interest lay rather in its documentary important.

In 1945, when Sandberg was director of the Stedelijk Museum, he undertook the design work for all the museum's printed materials, from posters to catalogues, data forms to entry tickets. The designer Jan Bons once described Sandberg's work as 'the cheerful minimum'. a description which fits Sandberg's work precisely; it is clear vibrant and simple.

Amsterdam manufacturer Herman Hart, working closely with the Stedelijk Museum, took the initiative to involve artists closely in the production of his cloth, to ensure that the artist' designs could be produced to everyone's satisfactions. Hart also sponsored competitions for the student of arts academies, such as the then recently established Design Academy Eindhoven. The Hart Prints emerged from these competitions.

From 1985-2003, Anthon Beeke often produced designs for the Stedelijk Museum. In addition to catalogues and annual reports, he made a number of outstanding posters for the museum. Autonomy was of great importance to Beeke's work; he sought to achieve independence from the rules of typography, and from popular trends. This predilection for the unconventional has earned Beeke a unique place in the history of Dutch graphic design.

In the 21st century computers were viewed merely as tools, not as essential elements for delivering quality products. A new generation of graphic designers began using the medium intensively and skillfully, but they were often physically present to influence the printing process. They tested the limits of printing techniques through their choice of colors and materials, as well as by binding.


DUTCH MASTERS / DESIGN ACADEMY EINDHOVEN

A lot of pendent problems calling for societal attention, vulnerable and marginalized groups being treated as the invisible are still striving for understanding and help. Design might not be a strong pain -killer, but it might be a speaker full of positive energy , helping the invisible to be seen and heard.

What's the interaction between design and social value ? Where could designers with social responsibility find their stage? How would design balance itself in its commercial and social value? Plenty of these questions arising when it comes to the problem of " creating value " In face of all kinds of knotty social problems, what designers should do is to gently and gradually apply their creativity. With brand new vision and bold ideas, they are infusing new meanings to these serious old themes, Reformation from ordinary posters, installation art and fair trade products to corporation branding, all intents to awaken the social consciousness of mess public . we can see the efforts of these designers when they are funding ways to evolve towards the future society.

As birthplace of design modernism and internationalism, the Netherlands has a long tradition of design. As for the nation of the Netherlands where people suffer pressure of living in low -lying terrain, design is a key to open doors toward better life.

In the Netherlands, the support to design from government has offered Dutch design excellent developing environment. Of course, development can't do without education. In such a small country, there are many celebrated design academies as Design Academy Eindhoven that numerous design students are longing for entering. Design activities are also the indispensable activating agent boosting Dutch design.

DAE emphasizes practice and experiment. When doing some professional practices, students can get appropriate guidance, and more importantly, inspiration from the teachers to finish projects in their own way. Every projects is open so that students can have wider space to explore and experiment with high freedom and independence. We do not require design to be responsible for social issues but more or less speak up with creative thoughts and action, which is the best gift to the future.

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Activities
Workshop
2016/12/03 (Sat) 14:00-17:00 Informal Living Workshop
Hui Chun Chen | Designer / MA Social Design, Design Academy Eindhoven
Hsuantzu Liu | Designer / /MA Contextual Design, Design Academy Eindhoven

Lectures
2016/11/19 (Sat) 14:30-16:30 Dutch Design Education
Yi Fei Chen | designer / MA Social Design, Design Academy Eindhoven.
Yu En Lin | Preparatory year, Gerrit Rietveld Academie / Chung Yuan Christian University Department of Interior Design

2016/12/10 (Sat) 14:30-16:30 100 years of Dutch Design
Cheng Yi Shih | Postdoctoral researcher of Museum Studies, Fu Jen Catholic University / PHD. Museum Studies University of Leicester / MA Man and Humanity, Design Academy Eindhoven
Ralph Wu | designer / MA Editorial Design, Utrecht school of arts

2016/12/24 (Sat) 14:30-16:30 My City Amsterdam
Ching | writer / Lovely Holland lovelyholland.com

2017/01/14 (Sat) 14:30-16:30 Red Light City
Tsai Her Cheng | Owner of Boundary Unlimited / West 8 & de Architekten Cie / Postgraduate Architecture, Berlage Institute

2017/02/11(Sat) 14:30-16:30 Architects & Green Building in the Netherlands
Shih Yen Chiang | HMM+ Architects │ Spatial strategies / Postgraduate Architecture, Berlage Institute
Ivan Liao | TEAM FIELD DIREKTOR / Postgraduate Architecture, Berlage Institute

2017/02/18(Sat) 14:30-16:30 Design Academy Eindhoven

*unnecessary booking but space issue, please come earlier *

Guided tour every Saturday 13:30 - 14:30



聯絡 Contact
田田圈FB: www.facebook.com/tientiencircle
台灣創意設計中心 www.tdc.org.tw
台灣設計館 www.tdm.org.tw
松山文創園區 www.songshanculturalpark.taipei
NTIO 荷蘭貿易暨投資辦事處 www.ntio.org.tw
Nuffic 荷蘭高等教育 www.epnuffic.nl
Stedelijk Museum Amsterdam www.stedelijk.nl
Design Academy Eindhoven www.designacademy.nl