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(new bloom light switches for droog)





droog design asked me for an interview a while ago. when the first time i saw those questions i was shocked, because i would never expect that someone is interesting in which book i am reading now that kind of questions...

but anyway, i did answer in my own way. afterwards i compare with itay's answer (he is also designer from droog, and my friend too), i only can feel : how intelligent answers he has.....T_T (i know i am dull). but thinking in more possitive way, the answer is really "mina", there is no faking no pretense no fancy. as a person who start to be a designer just for a year, doing something quite good but still knowing who she is and where she stands.



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the whole interview is on droog website: http:// www. droogdesign.nl



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Interview with Mina Wu, designer of the Bloom electric socket



date: 06 Oct 2005

location: droog@home



Mina Wu (1976) is living in Amsterdam and currently following the IM master course at the Design Academy in Eindhoven. She was born in Taiwan and studied anthropology in her homeland. Afterwards she came to the Netherlands to study jewellery design at the Rietveld Academy in Amsterdam. In 2005 she participated in the Milan project with the ‘floral showering’ T-shirt and she features in the Droog collection with her ‘Bloom’ electric socket. We asked Mina Wu some questions about her Bloom electric socket, her work in general and what keeps her busy.



- What is the basic idea behind the Bloom Socket?



“I like those kinds of things that everyone has but no one notices. I just pick them up and make people notice them. For my graduation at the Rietveld I made hand-drawn wallpaper decorated with flowers. The flowers grow into the electric socket because the electric socket is part of a wall and I don’t want to ignore it and leave it as a plain hole. Gijs Bakker came to visit the graduation exhibit and picked out the electric socket.”



- How does your design process start?



“Normally it springs from my daily life. And sometimes being homesick helps me too. When I miss Taiwan, I want to create something which can make me feel at ease like being at home and which also makes people understand why I feel homesick.”



- Where do you get your inspiration from?



“From life. I grew up in Taiwan, but now I am living in Holland. The details of culture differences already bring enough stories to tell. I am not that much interested in the big differences people describe in books. It’s rather the difference in common sense that strikes me. For example, if you visit a Dutch people’s home, everyone thinks it’s normal you don’t take off your shoes. No one even mentions it. The first time people came into my house with their shoes on, I was shocked. Everyone thinks you will understand, but actually sometimes I don’t.”



- What is your starting point in design, your philosophy?



“Being seriously homesick . But I couldn't find an exact place to call my ‘home’, so I start to research my sense of ‘home’ and ‘identification’.”



- What is the biggest challenge in design at this moment according to you?



“I am still very new in the design field, so sometimes my work is not so stable. My brain and expression technique sometimes don’t fit with each other. One big challenge is to make people understand my personal stories and have sympathy for it. So they can identify with it and connect to their own feeling. The other challenge is to make people notice daily life objects. I am trying to express the ordinary daily life in outstanding, intensive design expression, but not too aggressive and abrupt. I want to find the recipe for that.”



- What annoys you?



“Money doesn't come easily, haha.”



- What is the most interesting project (by others) that you have noticed in the last year?



“Too many. .........it’s really too many. For example, the Martin Margiela S/S 2005 collection. He deconstructed and reconstructed garments by simply changing the way the parts were put together. The garment has simple sewing and a simple cut. It is still about garments, but in a story telling way. It looks new but somehow you recognise the old shape.”



- What is the most interesting project you have been working on in the last year?



“Value for Money by Droog. I learned a lot and it was very interesting to be part of a complete project. I am used to work alone. This was the first time I participated in such a big project, working together and creating the prototypes which will be mass produced in the future.”



- What is you advise to young designers?



“Haha - I am a young designer too right?”
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- What is a good design? What requirements should it meet?



“To me, good design is something which can easily fit into your life. Something you can use. The design should only make your life feel more comfortable.”



- What are you reading at the moment?



“Japanese manga "20 century boys". Really great.”



- What is your favourite CD?



“I don't listen to CDs that much, because I like to listen to the sound of life. I like the sound of people. But my last favourite CD is music made by my friend DJ Tomoho ‘you should feel what I feel, you should take what I take’.”



- Where should we go to?



“Good question, I am always asking myself the same question. Tell me when you get the answer… Last month I went home to Taiwan. I had been gone for five years and it was a real culture shock as my past home had changed a lot. It is interesting to see it after such a long time, after you have been gone.”



- What are your plans for the future?



“To graduate and I hope I can work in Holland, telling my stories by art and design.”



- What are you working on now?



“Hmm, it's a secret due to the contract I have. I can only tell when the project is finished.”



- Do you have a Bloom Socket at home?



“I don't. But I have a whole wall decorated with my hand drawing.”

昨天晚上去了學學文創承辦的Pecha Kucha Night vol.6。

http://pechakucha.xuexue.tw/index.html 這是台灣版學學的網頁。

http://www.pecha-kucha.org/ 這是Pecha Kucha的總網頁，可以看到全世界現在哪兒在辦pecha kucha。





這個活動是從在日本的德國建築師團體Klein Dytham發起，全世界輪流舉辦的創作者交流平台。Pecha Kucha在日文中就是「喋喋不休的閒聊」的之意思。因為有鑑於設計師（尤其是建築師）一拿到麥克風就會講不停，所以規定了「遊戲規則」：一人20張幻燈片，一張20秒。

台灣的Pecha Kucha是學學承辦，之前也邀過我，但是時間不對所以不能成行。再加上去年夜市工作坊的演講因為颱風取消，這樣算起來學學是第三次邀我的了，所以這次是來還人情債的（笑）。



題外話，學學真是有夠遠！超不便！



又一個題外話，原來現在學學的執行長黃曉薇是舊識呢！我曾經在去紐約玩時叨擾過她。但是她不知道我回台灣（大約也不知道我中文名字），我也不知道她回台灣。是剛好去學學前一天跟朋友聊天時才赫然發現的。世界真的很小。









等我到了會場，還真的有嚇到的感覺。
xyz軟體補給站
看照片，真的是滿坑滿谷的人，而且大家都乖乖坐地上是怎樣？不是「互相交流」嗎？你坐地上是聽講啊！

那一瞬間我真的很想說，救命啊我不要講了。



我覺得目前的我並不是適合站在鎂光燈下的人。現在的我並不是準備好的、完整的可以去分享我的理念。我可以並喜歡在私下閒聊，然後和人分享我的思考片段、我的掙扎我的猶豫我的計畫我的理想。但是這些東西拿到台上手握麥克風....我就覺得整個可以被敘述的東西表面化掉了。

這對來聽講的人不公平、對我也不愉悅。
xyz軟體補給站


但是，總之，我還是被趕鴨子上架了（淚）。


xyz軟體補給站






很偷懶的我把四張圖組成一張，然後重複四遍（變成80秒）。這是我偷時間的辦法。但是反正照慣例，我只要一上台就會腦筋一片空白，所以其實時間再多也沒差，排練與否也沒差....。（默）





學學本身就是具有嚴肅菁英氣息的機構，場地氣氛也傾向於講堂。加上台灣人本質上大多數都屬於被動的接收者，所以我預期的「互動」就變成了獨舞演講。



不過講者名單中有好幾位都是我之前就想認識認識的。這是講者名單：



廖軍豪／「2008台灣設計師週」籌備志工

周育如／「都市酵母」 策展人

眼球先生／眼球愛地球品牌設計師

李尉郎／「牆」策展人

盧泓／「食玩」策展人、廣告/電影導演

李霽／HHnL DESIGN GROUP設計師

吳協衡／「食玩」策展人

陳美娟／ “享受不完美生活”策展人

陳柏任／電影《詭絲》、《六號出口》 美術設計

吳明倫／設計師 -->這是我啦。

趙印祥／形策國際專案設計
xyz
周育潤／設計師

沈可尚／紀錄片《野球孩子》、 《賽鴿風雲》導演

陳永基／陳永基設計有限公司創意總監





然後才發現一個好笑的巧合。我在台灣只參加過兩場朋友的婚禮，一場是今年的斑馬的婚禮，在他的婚禮上我見過講者周育潤。這還不奇怪，畢竟斑馬的朋友同僚多的是設計圈的。

但是我參加過的另外一場兩年前老友阿程的婚禮，在一桌桌老師們的包圍下，我遇見過另一位講者吳協衡。（好啦，其實是他認出我來的。我有記人的障礙。）

真妙。不知道下回如果我參加朋友婚禮又會認識到誰？

有些東西，我以為大家都知道。

不過發現沒講過的事情還是不要以為別人會心神領會好了。





留言版收到一篇留言，我沒刪，不過對方也沒留名字，所以我這邊貼過來應該無所謂：



主題: 請尊重原創

留言人: 我說 (2008-07-28 13:46:22 來源:118.165.226.221)

留言內容:

你的作品Eindexam DAE的概念,實在很像Hussein Chalayan 2000 A/W的作品

http://www.husseinchalayan.com/past-collections.php?year=2000

雖然我不確定你是不是抄的,但比別人晚了好幾年才出現的概念

你又是學服裝的,會沒看過Hussein的作品我不是很相信

希望能尊重原創
xyz軟體補給站
就算是別人的概念衍生也都是二手的
xyz軟體補給站
我和朋友看到你的作品馬上連想到Hussein 這種感覺不是很好







被差沒指著鼻子只差沒直接說我抄襲了對吧....=_=





我寫論文時就把所有做過「椅子＋衣服」的資料都蒐集了，Hussin Chalayan和Tord Boontje那兩組作品還問過導師Joost，藉由他通知對方我的作品內容和聲名會用他們的作品作為論文reference。

所以留言者這點倒不用擔心。我還可以給你看我蒐集到的資料（如果您想看論文全文請另外來信通知）。
xyz軟體補給站








這是Hussin Chalayan的作品，2000年秋冬的。

他那一季不只這一系列，還有那件有名的，穿在身上變裙子的那張茶几。

這一系列的概念是由逃難者所引發靈感，逃難者為了隨時可以離開，所以會把所有身家，包括家具都穿在身上。







Tord Boontje在2005年為了Alexander McQueen的衣服所設計的chair doll。

理念不確定。要說長的像，我的作品在視覺上還比較像他的....

那篇留言者大概不知道這件作品吧....



同一年，Issey Miyake在A-poc與Ron Arad合作做了這個可以穿在身上的椅墊。要說起來，理念上我的也還和這件比較相近。




xyz軟體補給站


這樣的話為什麼我可以畢業？為什麼我可以認真的跟你說我以我做出來的東西為榮？

這是老師說的（所以我以為大家都知道嘛）：



除了視覺呈現，重要的是作品背後的概念。

如果你選擇了一樣的視覺呈現，你就要確定你背後的概念比人家好。



太陽底下沒有新鮮事。有人做過椅子＋衣服及沒有別人可以碰了的話，那只要你多看看網路新知，設計師很快就發現能做的東西變的很少。

我前幾年跟人討論過這個，台灣設計（甚或大中華設計）對於「概念」這東西還是不甚明白，所以看設計常常只看到了視覺呈現就不再深入。連設計師背後的理念都不看，甚至有聽過設計師自豪：我就是不愛看書不愛閱讀的，這樣是可以真的瞭解什麼是設計的精髓嗎？



抄襲當然非常可惡至極，但是在罵人抄襲之前先搞清楚對方到底抄到了什麼吧。



講到視覺二手，那我大概可以去唾棄今年義大利的Onlymited今年在米蘭家具展的作品吧（感謝陶記者告訴我這件作品）：







那時陶記者義憤填膺說應該要告他們，我還奇怪，有什麼好告的？背後要說的故事不一樣吧？

我的作品一直很清楚的是在探討何為 identification ，我這系列畢業作品就是在講如何將個人特質轉化到除了衣服以外的私人物件上；甚至進一步的相互影響。所以我做了可以穿的椅套，但是穿上了椅套，我就是椅子的再呈現。

這樣的概念是被老師所欣賞的，所以我才有這一系列作品，甚至被潮流預測教主校長大人Li Edelkoort選來當Design Academy Eindhoven六十週年校友作品聯展中的一件。校長大人會不知道Hussin Chalayan的作品嗎？我想不至於。





倒是真要講起來，我還對於今年五月Kartell與Moschino合作把Philip Starck椅子做成Ghost Chair的婚紗系列比較介意。







有沒有跟McQueen的很像？這個也是從網路上得來的破碎消息，所以並不清楚背後的概念。但是要講二手視覺甚或可能的二手概念......這還比較說的上吧。





說我的跟Hussin比讓人不愉快？不尊重原創？那位熱心的留言者我不介意您直接寫信給Hussin Chalayan再一次告知他我的作品。

我還是可以很驕傲的告訴你，我的東西跟他的作品完全不一樣！



（就算講視覺呈現好了，好歹你拿我的作品跟McQueen或Issey Miyake的比嘛。Chalayan的作品放著可是行李箱變身成的椅子咧。而且，我的重點是那些洋裝就是椅子的外觀直接再呈現，並不是fashion design啊。）





原來做設計的還是很多人搞不懂概念是什麼啊.....



啊對，最後一句，我不是學服裝的。我是Conceptual designer啊。

五月份台灣的dpi雜誌有一篇我的訪問，這篇算是近期訪問中的最後一篇，也算是集大成的一篇。對方要了我差不多30張照片，最後弄成這篇。刊出後的版面與我拿到的電子檔略有不同，改過的更好看，所以請各位不要偷懶，還是去買一本dpi雜誌吧（笑）。

其實當初dpi要訪問我時，我蠻高興的。很大的一個原因：因為dpi是一本雙語設計雜誌。所以我終於有英文除了Droog Design的官方訪問之外的第一篇英文訪問了（笑）。

我是很得意我的訪問和作品照片到處飛啦，不過我也真的有點膩了。

好想做東西......（扭手指）。









台灣花漾荷蘭綻放 Droog Design合作設計師吳米娜



dpi | 2008 CREATIVE PRODUCTS 創意商品櫥窗

來自台灣，後於荷蘭學習設計的Mina Wu，她的作品往往在簡單中深深引動人們的浪漫情懷，其中的藝術性和溫柔的感染力，更讓識才的Droog Design 創辦人Gijs Bakker也動心。

xyz軟體補給站

此篇採訪由吳米娜中文筆述，何思瑋協力英譯

Mina Wu replies to questionnaire in Chinese, support translation in English by Jessie Ho, 29 February



她為插座／電燈開關穿上的花朵紋樣貼紙，讓原本平凡無奇的物件瞬間成為能令人目光駐足的焦點。雖然只是生活中的小小巧思，但出自米娜之手的代表性圖樣設計，卻在簡單中深深引動了人們的浪漫情懷，更讓識才的Droog Design創辦人Gijs Bakker 感到驚艷。不只幫忙推薦她進入設計學院攻讀碩士，更讓米娜成為與Droog Design合作的少見台灣設計師之一。

碩士剛畢業的她，目前正準備前往下一個國度日本繼續挑戰自我。吳米娜的產品設計，無論是「椅/衣」中關於身分轉換的有趣思考，還是「Floral Shower T-shirt」中讓花朵蔓延在一般T恤上容易產生汗漬處的顛覆趣味；都具有著藝術性和一種令人驚豔的溫柔感染力，相信她的設計在未來還會持續的向世界芬芳，也請大家密切期待。



Profile

吳米娜（本名吳明倫），台灣土生土長的女生。在台大人類學系畢業後於2000年遠赴荷蘭阿姆斯特丹的 Gerrit Rietveld Academie念珠寶設計。之後在艾恩霍芬設計學院（Design Academy Eindhoven IM Master）續攻碩士，終於在2007年畢業。七年荷蘭生活後，目前她在荷蘭、台灣和日本間流浪，作品自2004年起被Droog Design發掘後，在歐洲及亞洲各地都有作品發表及媒體披露。

Mina Wu was born and grown up in Taiwan. She went to Gerrit Rietveld Academie to study Jewelry Design after she finished her study in Anthropology, NTU Taiwan. Afterwards, she went for Design Academy Eindhoven for IM Master studying and graduated in 2007.

After 7 years being in Holland, now she is moving in between Holland, Taiwan and Japan. Her works are also traveling world-wildly since her works became Droog Design collection in 2004.





著迷物質‧不戀時尚

dpi：創意對你來說是什麼？時尚對你來說是什麼？

我不太關心時尚是什麼。不過時尚的方便性是在同一段時間內你可以找到很多類似性質的產品。我看時尚新聞，因為我對於物質著迷。

但是下一季流行什麼我就不太在乎……至少，那個在乎程度沒有影響到我創作或我的穿著。至於創意是什麼？創意是你比別人早一步想到生活可以這樣過。

dpi: What does creativeness/fashion mean to you?

I don’t care much about fashion, but it’s convenient when you find similar items within a certain period of time. I keep an eye on fashion news because I am obsessed with materials. However, what will be on stage next season is not that important so as to affect my way of dressing and my creation. What is creativeness then? It means you are one step ahead in thinking of a new way of life.





從陶開始‧走向世界

dpi：原本大學是念人類學的你，是從何時發現自己對於藝術設計的喜好？當時是如何下定決心出國念設計？

我一直喜歡畫畫、喜歡做些小東西。自從念人類學修物質分析，然後因此跑去修陶瓷學概論之後，就對做陶無可救藥的著迷起來。那時我還認真想過（都大三了），要不要休學重考聯考進藝術學院的。不過因為家裡支持我出國增廣見聞（那時我父母也都在美國工作），所以就沒有實行這個瘋狂想法，而是決定出國唸書了。

dpi: You studied anthropology in university. How did you find your interest in art and design? What made you decide to study design abroad?

I like to draw and make handy crafts since I was little. I began to fall in love with ceramics after I took Introduction to Ceramics when I was studying material analysis for anthropology. At that time

I even thought about suspending my study (I was already a Junior then) to retake entrance exam for art college. But due to my parents’ support, who lived in the U.S., I abandoned this crazy idea and decided to study abroad.





是衣是椅‧是我是你

dpi：請談談「椅／衣」的創作概念，每件作品製作上曾遇到什麼困難？這一系列作品之後還會新發展嗎？

這一系列啊……最大的問題就是我想做衣服，但我不是服裝設計師，所以問題當然很多。一些進階的縫紉技術、針織技術都是為了這系列而學的。而且我向來以做小東西為多，所以這一系列對我來說算是很大的發展。至於以後……有可能。

因為這種將自我身份認同轉換的模式已經完成了，所以其實可以運用在很多不同方向上，不只是「椅／衣」而已。

dpi: Please explain the idea behind “Chair/garment.” Did you encounter any challenge? Will this series have further development?

The biggest problem is that I wanted to make clothes, but I am not a costume designer. So for this, I have especially learned advanced weaving and sewing techniques. Besides, I have always been making only little things, so this series is a great breakthrough for me. Talking about the future…well, probably. The mode of self-identity interchange has completed, so this can be applied to many other ranges, not only “Chair/garment.”





潮流會消逝‧設計要意義

dpi：你認為在未來，台灣設計師該如何在世界的舞台上找到自己的位置？

我不知道我能不能給這種建議。因為我沒有在台灣做過設計，對於台灣的設計型態也不是那麼清楚。我想第一步就是不要跟隨潮流吧。台灣的環境，要不去跟隨潮流實在很難，因為市場小、媒體又多。但是跟隨潮流的設計，很容易就變成潮流的一部份然後被時間帶走消失。應該要在考慮能不能賣之，先想我到底要做什麼設計、設計對我而言到底是什麼吧。

dpi: Any thought about the place of Taiwanese designers on world stage in the future?

I am not sure if I could give any suggestion, for I haven’t done any design work in Taiwan, and I am not very familiar with the mode of design here either. I suppose the priority is not to go with the stream. Although it is pretty hard to do so, design that follows the trend will easily become part of the trend, and then be knocked out and forgotten through time. Before you place any work on the market, think ahead about what you want to design, and what on earth does design mean to you.





茶香迴旋‧走向日本

dpi：除了創作，最近還有什麼事令你著迷或投入？

最近嗎？要讓我「迷」上一樣東西還蠻難的……最近一次的著迷是茶。台灣茶中國茶日本茶，還有各式綠茶在生活中的其他運用。從顏色到氣味到食品香料到餐廳主題，茶這東西非常細微的變化很多，非常有趣……。

dpi: Beside creation, what else do you feel fascinated with?

It is hard for me to be fascinated with something. My recent fascination is tea…Tea from Taiwan, China, Japan, and also the multiple applications of green tea. From color, smell, food flavoring to the theme of restaurant, tea has many subtle changes and varieties, which is very fascinating.





dpi：接下來最想做的事？或在008年的新希望、新計畫是什麼？

今年的計畫？把日文學好，然後在日本找到工作。

dpi: What is your next plan? Any hope for 2008?

Learn to speak good Japanese, and find a job in Japan.









荷蘭友情‧溫暖隨性

dpi：在荷蘭生活多年，曾令你很難適應的當地文化和最令你懷念的荷蘭生活片段是什麼？

最難適應的荷蘭生活，就是聖誕假期期間沒有商店開門、路上也沒有行人的日子。冷到爆炸，天又很早黑，同學們都去度假了，然後連超級市場都不開門，就只能坐在家裡發呆。第一年的聖誕節就是這樣過的（因為沒有人想到需要提醒我聖誕節商店不開門），很慘。而且那時也沒有網路沒有手機……。不過等到在荷蘭待夠久了，現在最親近的朋友都是荷蘭那邊的。最懷念的就是住附近的朋友們，沒有預約就一個個來敲門，帶著食物和啤酒，莫名其妙就開起聚餐來了的那種輕鬆隨性但是被照顧的感覺。

dpi: What is the hardest/most memorable part when you lived in Holland?

The hardest part in adapting the life in Holland is during Christmas holiday when no stores opened and no pedestrians on the street. The day went dark soon and it became really, really cold. All of my classmates went on vacation, and even supermarkets were closed. What I could do was only sat at home and mellowed out. That was my poor first Christmas. (No one thought it’s necessary to remind me of closing stores.) What’s more, I had neither Internet nor mobile phone. But after I stayed there long enough, I got many close friends. The most memorable time was when friends next by knocked on my door unexpectedly with food and beer. It was a feeling of easiness, freedom, and it is good to feel I was being cared of.





漫畫開花‧靈感敲門
xyz
dpi：你通常會在哪裡發現靈感？你會如何形容自己的創作風格？

通常是在路上看行人或是在家裡發呆時被靈感撞上。或是等人等車無聊到極點時，靈感也會偶爾找上門。我的創作風格？裝飾風格、平凡生活風格、介於中間的風格。

dpi: How do you usually get inspiration from? How would you describe your own style?

Usually ideas bump into me when I am watching passersby on the street or staying home in a trance. Or it happens sometimes when I am bored to death waiting for the bus or someone. My style is decorative, of ordinary life, and in-between.



xyz軟體補給站 dpi：在你的作品中，極富特色的手繪花朵圖樣剛開始是如何發展而來？

從少女漫畫男女主角背景中的花來的啊（笑）。我從小一直就在畫漫畫， 現在可以畫的東西多了，漫畫就沒有再畫了。不過那時開始準備畫花花壁紙時，我也只會畫這樣的花， 然後越練越順、越畫越快，就變成了「我」的花了。

dpi: Where does your unique floral pattern come from, and which often appears your works?

From manga for teenagers, haha. I had been drawing comics until now when I can draw many more things. However, when I first began to draw floral pattern for wallpaper, I could only create a certain comic form. Then, the more I practice, the faster I draw, and gradually it has become MY flower.





牆綻花開‧敬請期待

dpi：最近最滿意的作品是哪一件？請談談你的創作概念和靈感來源。

最近我畫完，但是還在等對方做完的是我第一次碰上的建築作品。這是一間在Amsterdam的建築公司，他們的一個案子已經有設計師了，但是找我做其中的藝術設計部分。和建築師談過後，決定延續當地原本是陶瓷工廠舊址的故事，將那些陶藝品上的花朵轉繪在建築立面上。應該是說，對方一開始就知道我畫的花的風格和以前陶瓷工廠生產的產品花紋有共通點，才來找我的。而對我這邊而言，就像是畢業製作Minafication（「椅/衣」）的延續，給了我一個很好的機會來嘗試Minaficate一整排房子。我用不同顏色的磚頭來拼出像是馬賽克或是電子繪圖的花紋，並且各棟樓有不同種花樣代表不同季節。不過這一部份因為還沒有公開，所以並不能給圖片。

dpi: What is the most satisfying work you have done recently? Pease share you concept and source of inspiration with us.

It was my first encountered architectural work, which is from an architecture company in Amsterdam. There is already a designer engaged with this project, so I am only responsible for the artistic part. After exchanging ideas with the architect, I decided to follow the story about the site’s past, which was originally a ceramic factory. So I move the patterns on those ceramics onto the architecture. Or I should say, it is the common place between my floral style and the pattern of ceramics the factory produced that the architecture company chooses me. For me, it’s like the continuation of my graduation work “Minafication” (Chair/garment). It is a great chance for me to “minaficate” a roll of buildings. I use bricks of different colors to piece together mosaic-like or digital-like patterns. In addition, each building represents a certain season based on their various patterns. Sorry I cannot show any pictures to you because it’s an ongoing project.





「椅／衣」介紹：

你穿衣服，衣服改變你。這是一個雙向的影響。而你身邊的其他物件，也這樣默默的被你使用，同時影響著你的外在個性。在我 0 0 7 艾恩霍芬設計學院IM碩士班畢業製作中，我以椅子為例子做了一系列創作。我選擇了這些椅子，而這些椅子的個性也改變了我。我做了一系列的衣服作為表達如何將我的個性與椅子的個性連結在一起的橋樑，這些「椅/衣」掛在椅子上時是椅套，穿在身上是衣服，而當我蹲下來時，我就變成了椅子。

Project Name: Minafication (Chair/garment) Year: 2007

Graduation work 2007 in Design Academy Eindhoven IM Master. There are 7 pieces in collection.

Things change people. The chair you sit on changes you. Have you thought that everything you buy, you choose, represents your identity? Mina Wu believes not only “she changes objects” but also “objects change her”. So she creates a series of stories about her and the chairs she chooses.

The link as the bridge between her and chairs is chair cover. The two-way communication collection combines fashion and interior, thus when the garment is hanging on the chair, it is a chair cover. But when someone is wearing the garment, he/she become the chair.





圖片介紹：

P128-129

＊「椅／衣」：Minafication「椅／衣」系列中的馬甲小洋裝，對照椅子是荷蘭老設計師Friso Kramar的Result椅子。模特兒Lise穿著洋裝、Friso Kramar椅子套著洋裝、Lise變成椅子和Mina穿這件洋裝的樣子。

＊ Bloom switch：Droog Design的Bloom電燈開關/插座官方圖像。

＊ Bloom socket redd：droog design Bloom電燈開關/插座。Mina的成名作。

＊「椅／衣」：Minafication「椅／衣」系列中的鄉村風針織小洋裝，對照椅子是二手民俗風格藤編椅子。Mina的全身照。

P129-130

＊「椅／衣」：Minafication「椅/衣」系列中的王袍，對照椅子是荷蘭新銳設計師Maartem Baas 的 Smoked armchair椅子。椅子套著袍子、模特兒Shu穿著袍子的樣子、模特兒Shu變成椅子的樣子。

＊「椅／衣」：Mina穿著王袍的樣子。

P131-132

＊ Wallpaper： 2004年Rietveld Academie畢業展的作品，手工繪製的10公尺壁紙。材料為原子筆，花了Mina11週才畫完。Idea是從Mina老家的壁紙是由印章連續複印做成的，所以Mina也用手繪來複製她心中壁紙的花朵。

＊ Amsterdam Index：Amsterdam Index 007雜誌的合作計畫結果。與攝影師Shinji Otani合作，在Mina當時的住家中放置她的作品，想要傳達設計是要被使用的、以及事實是可以被偽造的雙重概念。

＊ Floral Shower T-shirt





圖片影像資料來源由 吳米娜 提供　責任編輯：翁韶懃　美術設計：張上祐