Prototyping Room: The Weight of Silence 輕重〔原型展〕
MADE PROTOTYPING ROOM
room a–c, 6/f, gee chang industrial building108 lok shan road, to kwa wan
PROTOTYPES 原型
remain bookshelf
“remain” bookshelf
product page↗Furniture is silent. They are silent to support life, silent to carry emotions. But silence is not necessarily passive. When we seek a quiet afternoon to sort out the weight of life, we would need a chair. Regarding silence, writer Wong Bik-wan says, “Speech is useless. Silence can hurt.” When words temporarily fail to convey emotions, we should start from silence and look for another more intimate and authentic feeling.
silence沉默
metaphor table
“metaphor” table
product page↗家具是沉默的。它們沉默地支撐著生活，沉默地承載著情感。但沉默不一定是被動的。當我們尋求一個安靜的下午，梳理生命種種輕重，我們需要的就是一張椅子。關於沉默，作家黃碧雲說：「言語無用。沉默可傷。」當語言暫時失效，無法承載情感，那就從沉默開始，尋找另一種更貼近、更真實的感受。
time vase
“time” vase
product page↗Wood is a material closely connected to the environment and can represent the individuality of a place. Techniques such as joinery, lacquering, Shou Sugi Ban and iron staining showcase the dialogue between the carpenter and the material’s environment. Trees never exist in isolation but are connected to different lives or even form a symbol of a place. When a tree falls, it is the carpenter’s responsibility to pick it up and transform it into objects that accompany us, extending the connections that the tree creates.
wood木
adapt chair
“adapt” chair
product page↗木是一種與環境有著緊密連結的材質，能夠代表一方水土的個性特質。而入榫、上漆、燒杉、鐵媒染等技藝亦呈現了木匠與材質環境的對話。樹木從來都不是單獨存在，而是連繫了不同的生命，甚或構成一個地方的象徵。當一棵樹木倒下時，木匠的責任就是將它們拾起，轉化成陪伴的物件，延長樹木所構成的連繫。
burnt box
“burnt” box
product page↗Burning is one of the important elements in this exhibition. Gazing into the flames is one of the earliest meditative experiences of mankind. Even now, fire still strongly attracts us. However, the Shou Sugi Ban technique offers a different aesthetic experience. The wood is not reduced to ashes but instead becomes more robust. Shou Sugi Ban reveals a profound blackness, symbolizing resilience reborn from fire. In the midst of destruction, we are able to reconstruct.
burning燃燒
inner bowl
“inner” bowl
product page↗燃燒，是這次展覽中其中一個重要元素。凝視燃燒中的火焰，是人類最早的冥想體驗。直至現今，火仍然強烈地吸引著我們。然而，「燒杉」技藝卻帶來了另一種審美體驗。木材不僅沒有被燃成灰燼，反而變得更為堅固。燒杉呈現一種深邃的黑，也象徵著一種浴火重生的韌性。在毀壞之中，我們得以重構。
with stand
“with” stand
product page↗What constitutes “I”? Besides the body and mind, identity, a sense of belonging to a place, and everyday consumption choices also form parts of “I.” From this perspective, furniture is not just a passive backdrop to life. By choosing the furniture we live with, we can support valuable things and actively impart beliefs and values to our lives.
The Subject主體
relive pencil
“relive” pencil
product page↗「我」是怎樣構成的？除了身體和心智，身份認同、對一片土地的歸屬感以及日常的消費選擇也構成了「我」的一部份。從這個角度出發，家具不只是被動的生活背景。透過選擇一起生活的家具，我們可以支持有價值的事物，主動賦予生活信念和價值。
vignette floor lamp
“vignette” floor lamp
product page↗The pursuit of furniture is not merely driven by a desire for beautiful objects but also involves the pursuit of spirituality. Objects and spirituality are often considered opposites, but in reality, they are not so diametrically opposed. The pursuit of objects requires spirit and will, as in the case of collecting books and records, which requires perseverance, patience and taste. Similarly, the creation of objects requires long hours of research and prototyping. In fact, objects and spirit often complement each other. A beautifully designed chair, a piece of designer clothing, a statue of Buddha, or a cathedral all evoke a sense of beauty because they reveal the intersection of the material and the spiritual.
Objects物體
worship bookstand
“worship” bookstand
product page↗對於家具的追求，並不只是出於對美好物件的欲望，還牽涉精神的追求。物件和精神常常被認為是相對的，但事實並非如此截然二分。追求物件的過程要求精神和意志，例如收藏書籍唱片需要堅定、耐心和品味；又例如製造物件的過程中，需要漫長的時間用以鑽研、製作原型。事實上，物件和精神往往互為表裡。就如一張線條美好的椅子、一件設計外衣、一尊佛像，又或是一座教堂，物件令人產生美的感受，是因為令人看見物質和精神的交會。
near chair
“near” chair
product page↗Why do people insist on handcrafting furniture when we can easily buy mass-produced furniture? There are many answers, one of which is the creation of relationships. Furniture is not a consumer product but an object that forms connections with people. A carpenter has to think a lot before making a piece of furniture. Why is the material chosen? Is it to adapt to the local climate? How does furniture design respond to the relationship between objects and people, and among people? In crafting a piece of furniture, the interaction between the carpenter, the designer, and the user creates a relationality, forming a community that connects different people.
crafting製造
near cabinet
“near” cabinet
product page↗當我們輕易就能夠買到大量生產的家具時，為什麼仍然有人堅持以手製作家具？答案有很多，其中一個，就是關係的創造。家具不是消費品，而是與人產生連結的物件。木匠製作一件家具前要思考很多問題。為什麼選擇這種材料？是為了適應本地的氣候嗎？家具的設計如何回應物件與人、人與人的關係？製造一件家具時，木匠和設計師、使用者之間的交流，都創造了一種關係性，形成一個連結眾人的社群。
block stool
“block” stool
product page↗How can we retain what we remember? French philosopher Bernard Stiegler divides memory into three categories: perception, memory and external material memory. Making a piece of furniture with our hands can help us bear the weight of memories and keep them alive–directly or hidden.
memory記憶
trace side table
“trace” side table
product page↗我們怎樣能夠將自己記得的事物留存下來？法國哲學家Bernard Stiegler將記憶分成三種：當下、回憶，以及外置於物質的記憶。以雙手製作一件家具的過程，能夠幫助我們承受記憶的重量，也能夠將一段記憶延續下去——直接地，或是隱藏起來。