關於珠寶製作 :: About Jewellery Making

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每件珠寶作品，都是由許多的零配件所組成；可能是一個扣圈，一個墜頭，或是鍊子和鑲座。每個零件都需要先由工具鋸切、磨削、清洗等步驟，再透過焊接，將每個零件組合起來。

組合之後，也必須再經過清洗與拋修的程序，將金屬拋光、拋亮，或是進一步硫化染黑、鑲嵌等處理，才能算是完成一件珠寶。

就像所有的工藝一樣，珠寶工藝的每一個步驟都是需要按部就班，每一個零件都需仔細處理，才能在接下來的程序中順利銜接，直到完成。

中間的必要過程一但省略或偷懶，都會讓作品更難以製作，或是完成後有明顯的瑕疵跟無法挽救的缺陷。常常只有重做，才能符合自己接近完美主義的標準。

但也因為每個零件都是手工製作，都具有不同的差異；包括修整的手勢、焊接的位置、拋修的程度、和當下製作的心情等等，即使是相同的作品，也能觀察到些微不同的地方。這也是為何從手工製作的作品中，可以感受到作者的溫度和心意。

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常覺得製作珠寶就跟走人生道路一樣，都需要腳踏實地、認真靜心，既不能偷懶，也沒有捷徑。

札哈 ‧ 哈蒂建築師事務所 - 全球設計實驗室特展 :: Zaha Hadid Architects - Global Design Laboratory Exhibition

從很久以前就知道這位享譽國際的建築師 - 札哈·哈蒂（Zaha Hadid），但因為去年一次撞設計經驗（我的某件設計竟然在概念上，與她為Georg Jensen所設計的珠寶系列類似），讓我對她的設計產生了比較大的興趣，因此想趁著這次札哈·哈蒂（Zaha Hadid）在台灣展覽的機會，一窺她的建築設計作品。

這次札哈‧哈蒂建築師事務所（Zaha Hadid Architects; 簡稱ZHA）在松山菸廠的展場不算小也不算大，並巧妙的劃分成了八個區域：『公共建築』、『文化建築』、『辦公建築』、『住宅設計』、『體育場館』、『交通及基礎設施』、『產品設計』和『數位和設計研究』等區域，每個區域放置了她的經典設計與模型。經由海報說明與作品規格書，可以詳盡的了解每個建築設計的概念生成過程，及構造規格的詳細內容。

其中最值得推薦一看的就是VR互動體驗區！ 戴上跟HTC合作的VR眼鏡後，就可以體驗札ZHA為臺灣設計、即將在2020年完工的“淡江大橋”。這是MARU第一次發現到，原來VR這樣充滿視覺與聽覺的感受，可以讓人如此輕易被撼動。根據身歷其境的體驗，虛擬的作品可以更容易讓人認識與了解，細節也可以更輕易被發現。在觀看的瞬間，真的有種被場景和音樂同時感動到的感覺！

另外ZHA中，有一個相當讓人欽羨的團隊，就是特別為了研發數位科技的小組－CoDe。經由CoDe小組對數據的分析和運算程式的開發，建築可以更符合客戶的需求，或是更能挑戰結構性、環保傾向、創新材質的建築方向，就算是天馬行空的設計，也更有機會被實現。

雖然近年來札哈·哈蒂（Zaha Hadid）的作品被廣為人知，全世界都遍及了ZHA為了各種需求因應而生的建築，但我卻被她早年的設計作品深深吸引。例如1977年倫敦飯店的馬列維奇構造（Malevich's Tektonik）和2005年丹麥的哥本哈根大學博物館（Ordrupgaard Museum Extension）擴建。極簡卻大膽的設計風格，有別於近期的有機體和未來風，除具有個人風格外，也更能融入週邊環境。

 Malevich's Tektonik

London, United Kingdom 1976-1977

經由這次展覽，我看到了世界級的設計團隊，如此努力、有計畫性的發展自己的建築設計。深深覺得每個領域都需要不斷突破自己，作品才會具有前瞻性，能有所發展，影響為更廣闊。

Ordrupgaard Museum Extension

Copenhagen, Denmark 2001-2005

I had a chance to visit the exibition -'Zaha Hadid Architects(ZHA) - Global Design Laboratory Exhibition' this month in Taiwan. It is good to see a well-known architect shows most of her designs and models at Songshan Cultural and Creative Park. All works are categorised  to eight areas. Each area is set with architecture models and proposals for people to understand the process and background of each design.  There is also a VR zone for people to experience her upcoming design for Taiwan - Danjiang Bridg. Through this exhibition, I not only realised how a great architect team can be, also truly be touched by the efforts they made for human being on the developments in saving energy of architecture design.


展覽日期Date：2017.7.8(六)-10.10(二)
展覽地點Venue：松山文化創意園區 多功能展演廳(製菸工廠2F 台灣設計館樓上) Multi-functional Hall, Songshan Cultural and Creative Park
展覽時間Open Time：10:00-18:00(停止售票入場No entry after17:30)


展覽官方網站 Exhibtion Website
札哈‧哈蒂建築師事務所（ZHA）網站 Website

我的偶像(二) / My Idols(2)

最近因為課業進入尾聲，要為畢業展做準備，所以很久一段時間都沒有更新部落格了。但是自己並沒有因為忙碌所以放棄任何出遊和增加見聞的機會，利用了復活期的假期，到了倫敦跟湖區(Lake District)一趟；在倫敦看了許多的展覽，去了很多博物館跟美術館，也在美麗的湖區感受了大自然的魅力。從二月到四月這段期間有好多事情想要分享，但真的苦無時間，希望等我畢業展結束再好好把一切都記錄下來！






Self Portrait as an Artist, 1888. Oil on canvas.
Van Gogh Museum, Amsterdam


而這段時間最讓我印象深刻的收穫，除了德國之旅、讓人驚豔的湖區以外，就是我在倫敦看到的梵谷的展覽(The Real Van Gogh: The Artist and His Letters)。很幸運的我在4月7號看到了這個展覽，它是從2010年的1月23日展到4月18日，在皇家藝術學院(RAA,不是RCA)展出。我大約下午一點到，就看到了滿滿的人龍，一排就是一個半小時，才進到展場看了一個半小時的展。展場相當的大，總共展出超過35件的梵谷信件，與65幅油畫，30幅素描(詳情可上展覽官方網站)。

從小我就一直都很愛梵谷，我愛他畫裡斑斕繽紛的顏色，充滿了生命力與滿滿的熱情。是他讓我幻想過有一天，我也要當個畫家。也許現在我已經放棄這個念頭了，但是我卻不放棄任何可以看到他作品的機會。從愛丁堡、慕尼黑到倫敦，我看到了許多他的真跡，包括了兩幅他最知名的向日葵(Sunflowers)。從沒想過自己可以如此幸運，可以近距離的深深地被他的畫感動。他一直是我的偶像，也是我最愛的畫家。

在這個展覽中，我不但認識了他的生活與背景，也認識到了他的決心與性格。從他寄給弟弟的信件中可以瞭解到，他並不是一個我過去以為的狂人，而是一個認真看待作品與職業的實踐家。從他決定當畫家到過世，短短的十年間，他就創作了超過800幅的油畫與1200幅的素描。每一幅畫，他都認真的思考與實踐，不斷的超越自己，試圖以新的手法表現。

他是這樣一個努力的畫家，就算是一個藝術家，也從不鬆懈。

我也不由得思考自己是不是夠努力，有沒有像他一樣努力？如果我像他一樣努力，會不會有不同的結果？所以我想是時候，開始更認真的研究自己的作品，不管代價多大，這樣也許會有機會留下一件滿意的作品。

It's a long time I haven't updated my blog. These days, I'm busy working with my project and was looking for some information for my project book. However, I still used my time to have a short trip in London and Lake District in April. I really had a good time! I've seen many museums, galleries, exhibitions and amazing scenes.. I'd like to share everything but I don't have enough time doing this. I hope I can write more in the future!!

Nonetheless, I choose to post the great exhibition I've seen in London - 'The Real Van Gogh: The Artist and His Letters'. This is Van Gogh's exhibition at Royal Academy of Arts (RAA) in London from23 January to 18 April 2010, and I was so lucky I can see it on 7th April. I spent about 1.5 hours waiting for buying ticket in the queue, and another 1.5 hours to look at his creations and letters. This exhibition includes over 35 original letters, around 65 paintings and 30 drawings. (for more details please go to this website)

I love Van Gogh since I was a child. I love the colours he uses in his paintings - vivid and glaring. It's full of energy and passion. I dreamed about being a painter because of his influence. Maybe I gave it up now, but I never miss any chance to see his work. I've seen so many his paintings in different places, like Edinburgh, Munich and London, including two of his famous 'Sunflowers'. It's so unbelievable I could be so lucky seeing his work in person. I can't help being touched and motional. He is my idol and the first love painter ever.

In this exhibition, I know more about Van Gogh - not only the history of his life and paitings but his personality and determination. I thought he is a crazy and insane but talented painter before, but now I think he is not only like that, he also spent his life in a very serious way. From his letters to his brother, I could realise he considers about his work in different process and pushed himself every day. He has only being an artist for only 10 years since he decided when he was 27-year-old, but has left an abundant body of work of more than 800 paintings and 1,200 sketches.

He's a painter and works very hard. I couldn't help thinking - am I work hard enough like him? Can I work as hard as he did? If I do so, will everything be different - especially my work? I would like to try working harder. Even maybe It will cost a lot, I still could have a chance to leave great work in the world.

那天剛好下雨，人還是非常的多！
It was a raining day but still so many people!

只有兩個現場售票窗口，網路預定票前一天查都被買光了！
All tickets in advance have been booked, and only two windows for sale in that day

展出的信件真跡
The original letters from Van Gogh

展出的畫作 - Cypresses, June 1889. Oil on canvas.
Metropolitan Museum of Art, New York

Designers can do more / 設計師能做的更多

美麗的雪景
Pollok Country Park, Glasgow, Uk / Dec.2009

這篇其實是12月中就想寫的，但之後遇到期末..放假（出去玩）..趕開學作業..開學..到現在，就變成晚了一個月的文章了！

話說12月中，所有的碩士生都將自己要做的研究，做成了一張A3的海報，以向大家說明自己的設計和已經進行的研究過程。很高興的，我看到了很多學生都將自己的研究往環保的目的設計，而這也是自己一直努力的方向之一。

反觀自己，其實要做的主題跟環保也有那麼一點點關係，並不是為環保而環保，而是相信地球只有一個，其他生物都有生存的權利，也異常的美麗，如果自己可以多做一些些，每個人都多做一些些，就可以變成很大的力量。所以在生產Miss Maru®商品時，就開始投入這樣的概念，包括不過量與適度生產（接訂單後再行製作）、避免電鍍、注重設計品質與效果，而非只講時效的推陳出新..等等。

這禮拜也剛好聽了一個講座（Ethical Fashion Symposium），討論關於時尚與生產道德相關的議題，有一位學校的老師、兩位校外團體與一位有機服飾布料生廠者的演講。每位演講者都提出了自己的意見與現在正在進行的努力，不管是從監督者的角度、生產者的角度，還有提供問題和意見的學生角度，都可以得到相當多的資訊；包括棉花與棉布的生產如何造成土壤雨水污染..有機羊毛布料的生產流程..到超時工作的服飾勞工與資方的給付問題..以及正在就讀時尚與布料相關設計學院的學生，對自己能力所及的疑惑，都給了我很多不同的啟發。就我來說，其實有些建議只能在理想的狀況下才能完整的實現，或是根本不可能實現，畢竟這是資本主義的社會，很多狀況不僅僅是勞資糾紛或是生產程序的問題而已，放大來看可能是階級、種族、甚至資本主義社會與人類資源分配的問題。如果要完全改變，必須靠相當強大的力量，推翻現有問題的狀態，以達成完全平等或是有限資源使用的目標。

但是，難道因為不能改變就放棄或是停止努力？

我想不是的。

因為設計師可以做的更多..任何人都可以做的更多！

雖然要使用昂貴的有機材料做設計並不是那麼容易，設計師也無法控制資方給予勞方的待遇，第三世界的勞工也無法得到合理的工作時數（或是擺脫貧困），但是我相信從設計師的角度，還是可以做許多事；包括思考產品的再利用度、提高產品的品質與資源使用程度、把設計與環保概念結合、尋找環保或是永續性素材、減少同類型與款式設計..等等。我想都可以幫助自己，也幫助地球～

而同樣生為消費者的我，也努力的做回收（英國竟然沒強制垃圾分類...）、去二手市場買東西與材料（省錢又環保！）、在台灣夏天也可以不開冷氣..等等。也許跟更多環保人士相比，我做的並不多，但是多做一點是一點，資源就多剩一點，美景就可以多留一點點。



This article is what I liked to write about last month, however, it became a late article because of my assessment by the end of semester, holiday and assessment of the beginning of second semester.

In the middle of December, all masters had to make an A3 poster contains their idea of project and the process they have done. I was so glad to see many students are focus in eco issues that I try to put my effort in my work as well.

And my project has a little relevant of eco idea; it is not for a purpose, it is for our earth, creatures and lives. If I can do a little, everyone can do a little, and then this can become a big power. I also put this idea in the making process of Miss Maru. I try to produce the product after I received the order to avoid over producing, not do the plate unless customers asked and not ask for efficiency but quality and design.

In this week, I joined a symposium about ethical fashion. There were one ECA teacher, two speakers from society groups and a producer from an organic garment design company presented their ideas and efforts. They pointed out different ethical ideas as an adviser, producer or designer, including what is the influence to earth by making cotton fabrics, what is the process of producing organic wool fabric and the labour issue by fashion industry. There are also some students asked them some interesting questions, like what student can do. I can not help wondering after this symposium, maybe most problems could not be solved, and some suggestions only can be put into practice in ideal situation. The true reasons causes these problems actually are the levels, races and capitalism in societies or the earth resources we can not divide equally. If we really want to change this situation, that means we need to reverse this world in many ways.

However, should we stop trying because we can not change?

I think it is not. We designers can do more, everyone can do more!

Maybe it is not easy using organic materials as designed products, designers can not decide the benefits for labour and labour could not get reasonable working hours or rid of poor, but I believe as a designer we can still do many things good for earth. We could think about how to reuse the designed products, combine designs with eco ideas, search for recycle materials or reduce similar designs, etc. It is not good for earth also our lives.

Furthermore, as a consumer, I try my best doing recycling, buying materials from second hand stores and living without air condition in summer, etc. Maybe it is not as much as environmental people do, nevertheless, more people put their efforts in this part, more resources and beautiful scenes will be saved. I really hope I could do more and more in the future.

How to design / 如何做設計

九月往St. Andrews小鎮路上的風景（很喜歡不期然動態的效果）
On my way to St. Andrews (I like the unexpected moving effect)

如何做設計，既是一個問題，也是一個教學綱目，但對我現在來說，他是一個沒有答案的問題，我也會學著先不要去回答它。因為自從來到這個新的環境，我開始瞭解到了另一種製作／設計的作法。我愛設計，但其實在設計之前，還有許多可以嘗試的可能性，能夠試著去做出許多更廣泛或是更瘋狂的想法。而我真的覺得這個階段非常有趣，就像人生可以有不同的可能性一樣！就算最後畢業前我還是需要完成一件作品，把成品交出來，但我的未來也因此改變了，我能夠在做到設計的步驟之前，拓展更多的方向，而這是跟以前在台灣學的方法，非常不同的地方。當然台灣的方法不一定是好或壞，但我已經多了一扇通往另一條路的門，而我也非常高興可以有這樣的學習。

在剛開始的課程中，CVCS（論文指導部（自我認定的說法））的老師就給我們播放了一個從Ted.com（集合許多知名人士演講的網站）上Elizabeth Gilbert的演講。她講到了如何跟創意相處，並與平衡自己的心理狀態，不應給自己太大的壓力。我也經由朋友的介紹，看了Ken Robinson的演講，闡述他對現今創意設計和教育現狀的想法。而對我來說，我經由這樣的學習跟從不同人的觀點得到的關鍵想法是，其實我並不需要經由設計去真正達成某樣特別的成就，而是要將自己的創意實踐，並帶到這個世界，無論是用何種方式。

兩天前學校有一個題目為'Touch'（接觸）的演講，請到了三位包括藝術家、愛丁堡大學研究3D的團隊、和開發3D軟體等不同領域的人來幫我們做作品介紹。最後的發問時間，一個同學問到他們："我真的需要去學那麼多新方法來做作品嗎？我真的對這些新科技相當困惑，他們似乎讓大家都用同樣的方法做作品。"雖然他的問題並不能改變任何現狀，或是阻止科技向前邁進，同時也有太多相關的議題可以討論，但是這卻是一個我不曾思考過的問題。我總是很樂意去知道任何新的方法或技術，並思考是否有我可以學習與應用的地方。我們真的需要這個方法去製作作品嗎？難道不能用傳統的方式嗎？是否有必要用這樣的技術去生產如此多的產品來販賣呢？也許答案是肯定的，也許是否定的，但我真的對於這位同學會問這樣的問題十分感興趣，是因為國外的教育所致嗎？那他又是用怎樣的方法在做他的作品呢？

很高興自己可以知道各種不同的想法，大家都有權表達意見，沒有誰對誰錯的同時，世界也變得比較寬廣了。在真正開始做設計之前，我還有許多想法跟事情可以做，而這正是創意可以發揮的地方。大膽嘗試，不管成功與否，是一件非常有趣的事，也真的對我很有幫助呢～

演講中文字幕連結：
Elizabeth Gilbert
Ken Robinson



The title is a question or a taught issue, but for me now, it is a no answer question and I will not try to answer it. Through the journey I have in a new country, I have started realising a fresh way doing my work/design. I love doing design, however, before design I could do a lot of wide or wild thinking about my idea. It is totally interesting to me. Life can have more possibility, even in this study, I need to finish a piece of work. Nevertheless, I can explore a new world after this, and try to create my work in a new way unlike the education I had before. I can not say the education I had is bad, but now I had opened a new door for my life and mind. Sometimes the process and test could bring different ideas (or not), but I do enjoy this and I am so happy to have this.

In the beginning of study, our CVCS tutor showed master group this talk, addressed by Elizabeth Gilbert from Ted.com (an interesting website collected talks from remarkable people). She talked about what we can think about our creativity, and how to deal our emotion. I also saw Ken Robinson's talk today from my friend's message. He discussed the relationship between creativity and education nowadays. Maybe the key point to me, is not achieving anything through my creativity, yet how to do what I love and bring my creativity to the world, no matter what it is.

Two days ago, I listened a lecture about 'Touch'. School asked three people talked about their work, including artist's work, 3D software and 3D research work. One student asked them: 'Do I really need to know so many skills or technique to create my work? I am so confused about new technology. They all bring us to do our work in the same way.' Actually, his opinion can not change anything at all, new things and technology will keep going forward, and there are too many ideas for these issues. But I really think, this question is what I never thought before, I always love to learn new skills and technique, and try to use them wisely to achieve my goal. Do we really need them? Can we create our work in a traditional and simple way? Do we really need to produce so many works for sell? Maybe, or maybe not. But I am interested in why he thinks in that way, is it because of education? And how does he make his work instead?

I am really glad to know different ideas and thinking. Everyone can express their idea directly. Nothing is totally right and wrong and has so many possibilities in it. I am thinking, before design I have so many things can do and develop, and that is where the creativity is. Trying without thinking is good for me, I do enjoy it, no matter what it is.

Busy Week 3 :: 忙碌的第三週

在開學的第三個禮拜，變得異常的忙碌，有一個作業、一個報告跟兩個小短文的閱讀，幫朋友慶生，外加訂車票跟鐵路卡（young person railcard）。不過因為課堂上的討論，開始瞭解到外國的教育跟台灣的是如何的不同。他們並不會告訴我應該怎麼做，或是何時要做，甚至是做的好不好，一切都是自己來，自己找方法。我想這樣開放的態度對我現階段來說是很有用的，尤其自己在設計了那麼久的時間之後，應該讓想法更廣闊，努力打破自己的設限。

其中有個必聽課叫CVCS（其實還不是很瞭解它的功用..），老師要我們介紹一件自己很有興趣或是喜愛的作品。我介紹了藝術家Dorothy Cross在2000年的影片創作-'eyemaker'。這是我在2002年的台北當代藝術館看的展覽-「科技禁區」的作品之一，總共是22分鐘的影片，影片全程都是在拍攝玻璃工藝師如何從零，用拉絲技法，製作出一顆栩栩如生的玻璃眼珠。影片的最後，藝術家要求工藝師將作品吹破，一瞬間眼球破裂成千千萬萬個碎片，化為無形。

我想在這件作品中，藝術家傳達了從無到有，從無形到具體，從人工到自然，和從完美到破碎的過程。另外這件作品給觀看者的衝擊，也是相當強烈的，我總期待著眼球完成的時刻，一件作品完美呈現的時刻，然而在最後，眼球卻是破碎的，一瞬間化為虛有，那種從期待到失落的感覺，是相當奇妙的，也不同於以往藝術作品所傳達單一或是完美的概念。我也從那時開始思考，我的作品是否也可以給觀看者或是配戴者一些感受，除了美麗以外的感受。於是2008我做出了「森之夜想」系列，將自己的恐懼轉換到作品上，相信也讓一些觀看者感受了相當的恐懼感，而那正是我想表達的一部份。我也希望未來能繼續把這樣的概念加到作品上。

Eyemaker - Dorothy Cross, 2000

這是我一直忘不掉的作品之一，而我一向喜愛不完美的美麗，就像電影「美國心玫瑰情」的故事，縱然最後留下一抹淡淡的憂傷，但其實那就是人生最美的片刻。


In third week, I finished my first project, one presentation and two short reading in school, celebrated my friend's birthday, applied for railcard and booked the tickets. It is quite a busy week, however, I really learned a lot thought these experiences.

I have realised how different the education in UK and Taiwan is. I have to find out what I can do and need to do for my study, and never limit myself at first. Then I can have more possibilities and gain more knowledge from different sources.

In one of my lecture, the teacher asked us to introduce a work I like or I am interested in. I selected a piece of video art created in 2000 by Dorothy Cross, an Irish artist. I saw this work in an exhibition called 'TECH/NO/ZONE' at Museum of Contemporary Art Taipei in 2002. It's a 22-minute video, projected on a screen. It presents a process of making a glass eye that made by ocularist by using lampworking skill. You can see how the ocularist creates a glass eye from glass rods to an artificial eye, and how real it is. At the end of video, she has directed the ocularist to destroy his work – blowing apart the eye. Suddenly, the eye becomes a thousands pieces.

In this work, I think the artist tried to display the journey from empty to concrete, artificial to natural, and perfect to broken. In addition, the feeling of audience follows the making process. At first, I am very expected what will happen next, and I also can feel the eye almost done and is so beautiful and perfect. But it just broken in a second and nothing left. I was astonished at that moment. I started to think what kind of art work can brings such emotional feelings to audience, and keep all the images in my mind. Can I achieve this result in my work? That is a question I thought about at that moment, and I would like to explore in every piece of my creations. Then I created 'Forest Fantasy' in 2008, the first attempt, and wish I can do more about it in the future.

It is the one of the most unforgettable creation I have seen. I really love the broken/imperfect beauty, like the movie 'American Beauty', the sadness left in the end of life is the most beautiful moment.

Two trips in the first week! :: 第一個禮拜的兩個校外教學

在ECA(Edinburgh College of Art)開學的第一個禮拜，我就參觀了蘇格蘭的兩間博物館跟一間美術館。博物館分別是St Andrews Musuem與National Museum Scotland，美術館叫做Dovecot Studios。

St Andrews Musuem

在9月24日，我們整個系先參觀了St Andrews Musuem，博物館就位在小鎮St Andrews裡，那是一個非常可愛的小鎮。我們參觀的展覽叫做Marzee Collection，由位於荷蘭的Marzee美術館（Galerie Marzee），展出他們的珠寶收藏。令人感到不可思議的是，美術館的擁有者（Marie Jose）也在現場，讓我們聆聽她的故事與提問。

St Andrews Musuem 樓梯

Marzee Collection

小鎮 St Andrews

小鎮 St Andrews（是個有陽光的好天氣～）

隔天一早我們參觀了National Museum Scotland，參觀博物館並不稀奇，神奇的是我們是從後門進去的，看到的是他們博物館收藏的所有珠寶，從古埃及到現代都有。那些我在書上看到的古董珠寶、皇冠，通通都在眼前，還可以讓我觸摸，真的是讓人感動萬分～下午則是到了Dovecot Studios美術館，看他們的展覽。其中一個展覽叫做Jerwood Contemporary Makers，裡面有一位設計師的作品讓我感到印象非常深刻，她叫做Linda Florence（剛被提名British Design Award），作品名稱叫做Sugar Dance，她將她設計的圖案用糖粉撒在地上，並請到舞者於其上跳華爾茲，將圖紋用不同於一般的方式展現，糖粉就像雪花般紛飛，氣氛十分的唯美浪漫。

National Museum Scotland (蠻大的，應該要花一天來看)

Dovecot Studios Gallery

Beautiful 'Sugar Dance'

真的覺得自己超級幸運，可以得到這些在台灣都沒有的體驗，而這些竟然只是開始呢！


Ref. Links:
St Andrews Musuem
Galerie Marzee
National Museum Scotland
Dovecot Studios
Linda Florence



In the first week of my study, I have been traveled two museums and one gallery. One museum is St Andrews Museum, another is National Museum Scotland, and the Dovecot Studios gallery.

On 24th Sep., we took the trip at St Andrews outside Edinburgh and visited the Marzee Collection at St Andrews Museum. This exhibition shows the collection of Galerie Marzee, and the most amazing thing is the owner of gallery - Marie Jose is there. We can talk to her face in face. That is an opportunity that I never have in Taiwan. The showing way of this exhibition is also well. After the visiting, we took lunch in St Andrews, which is a really lovely town. There are so many cute shops!

In the next day, we visited National Museum Scotland, we saw the jewellery collection of the museum and have an unbelievable chance to see the jewelleries from Egypt time to now. The 19th century jewelleries I saw on the books all become real and I can touch them as well!! That is truly a great experience, and I am so grateful to that. Then we visited Dovecot Studios - a gallery in the city. I also saw a modern art exhibition called Jerwood Contemporary Makers and have many inspirations in there. The most impressive one is from Linda Florence, a textile designer, shows her video of her work called 'Sugar Dance' in this exhibition. I really love the way she shows her works and the atmosphere in it.

How can I be so lucky to see these? However, it is just the beginning.

IYDE國際青年設計創業家工作坊

在2008年的6月16日，MARU參加了一個非常有意義的活動，就是IYDE國際青年設計創業家工作坊。

這個活動是由英國文化協會（British Council）舉辦，目的是為了讓在設計領域上創意創業家可以有發聲的機會，並到國外參展與國外設計師交流。而這個工作坊是以通過書面初選審核的參賽者為主，安排學術與業界知名的導師 (Mentor)參與討論，創造一個和彼此互動學習的機會。參加的導師有：政治大學創新與創造力中心的溫肇東教授、華晶創投總監的曾煥哲(Joseph)老師、中子文化執行人的張培仁(Landy)老師（簡單生活節主辦者）、出色創意執行長的陸承蔚(Lou)老師。

一開始經由大家的自我介紹，我看到了好多跟MARU一樣，將自己的理想全力付諸實現的創意創業家，而且大家不約而同的往環保與文化發揚的方向在努力，真的是相當令人感動～之後經由不同老師的課程與活動，讓大家對自己的事業模式做更深的反省與規劃，幫助我們這些創業家思考更多問題。最後每個老師都對我們說了一些鼓勵與建議，希望我們繼續努力，不要因為任何原因而妥協自己。

我想這個部份真的是很重要，也很需要克服的一環。每個創業家一定會碰到如資金..技術..和共同合作等各環節的問題，每個環節都是對自己的打擊與考驗，放棄的念頭更是會不停的發生。但還好自己可以陸陸續續，得到許多不同的鼓勵，讓自己繼續相信自己的信念，堅持走下去。真的感謝所有給予MARU與Miss Maru©支持的所有人，你們的鼓勵、認同、欣賞或是一個拍賣網頁的問題，都會是我繼續生長的養分。


這次參加創意創業家有～（還有很多是創意市集推廣者...創意概念者...等等）

可愛的 金可蘿Dream Carrot --手工車縫的夢幻包包與配件(Hand-made Begs and Accessories)
愛台灣的 農麗Nong-Li --推廣在地台灣精神與文化的潮流品牌(Taiwan Style and Sprit Goods)
勇敢地球人 漱木齋home-handiwork --環保手繪圖畫與回收木頭創作(Hand-made Drawings and Wood Crafts)
愛寵物又愛地球的ppark--生產環保在地的寵物用品(Eco-friendly Pets Equipment)
時尚的 黑田莉子牛肉乾 --家傳的牛肉乾滋味加上新穎的包裝設計

這真的是一個很美好的經驗～也希望大家能支持在台灣土地努力的所有創意創業家！～^^

（結束回家的路上,天空剛下過雨,好美好乾淨～）

I have attended a meaningful competition called International Young Design Entrepreneur (IYDE) Award 2009 these days, and participated the workshop for candidates on 16th June. This competition is held by British Council. The goal of it is creating the opportunity for creative design entrepreneurs to have a chance to attend the exhibition called 100% Design in UK. The workshop aims to let every design entrepreneur think about their business though the activities and lectures from some good mentors: Professor Wen(
Professor & Director of The Center for Creativity and Innovation of NCCU), Joseph(Managing Director President if Crystal Ventures), Landy(Inaugurator of Simple Life) and Lou（The CEO of Pumpkin Creative Inc.）. They all gave us their good advice and encouraged us to keep working on our business. I was so touched in this workshop. It is not only because I met so many talented people in Taiwan, but also encouraged by mentors and these entrepreneurs well. I really glad I can attend this competition and have such a great experience. And Thanks all supports from my family, friends, customers and any people who gave MARU and Miss Maru© courage.

What I am doing these days...

Ribbon Bracelet/ Jan.2009
925 銀
Sterling silver
Not for Sale

最近都在忙著新作品的製作，所以潛伏了一段時間。尤其當作品是需要經由嘗試與實驗才能完成的時候，真的需要投注時間跟心力在上面。我總是希望自己的作品，對我已足夠完美，到足以交代自己的內心的時候，再拿到顧客與消費者眼前的。他們不只是一件作品，而是可以代表一個想法或是嘗試的成就。

所以，我已經不會去追求，在某個時間或日子，應該做出某樣東西的想法，那並不能讓我做出對於我來說完美的事物。我的作品和藝術一樣，都應該生在對的時間與地點，不同的是需要經由縝密的設計來生產。

我認為，在對的事上必須努力堅持，雖然對的事都是最難去做到的；而對於作品，我希望用一種中庸的作法完成，太過與不及都不是好事。


品牌的概念是「零存整取」，最後整個品牌價值是整個取出來，零存是你每天的工作往對的方向走，存的時候不費力。 －施振榮先生說



I have been working on my new pieces for a while. Sometimes, a new inspiration needs new experiments to complete. It really takes time and energy. I wish my design would be perfect enough for me to present. It is not only a piece of work, but also an achievement of an idea and an attempt. Therefore, I won't push me to create something on time or date. Arts or my creations should come out at the right time and right place. I really think less is more and "Golden Mean" is important!

我的偶像(一) / My Idols(1)

前陣子去一家知名琉璃公司面試時，面試的主管問了一個很有趣的問題，他問：「為什麼珠寶跟琉璃，兩者差別那麼大，會想來這邊應徵？」這時，我腦海裡出現的並不是問題的答案，而是一個問題的開始；

為何珠寶跟所謂的藝術品不是等號？

在我的觀念裡，我之所以選擇珠寶作為我的作品與專業的領域，是因為它能被賦予藝術品的意義，而不是一般人眼中奢侈品的定義。而我之所以這樣認為，是因為有許許多多的設計師，設計出了無數美麗的珠寶，而那些珠寶活生生的演譯出了珠寶既是雕塑品、藝術品、裝飾品、生活用品等等多樣精緻的面貌。也許是高中開始閱讀「珠寶界」雜誌，與大學時期翻閱許多國外金屬工藝家的作品之後，而有了這樣的觀念，但我始終認為，珠寶不應該被賦予奢侈品的定義，因為它的美麗是許多人心血的結晶，不只是被有錢人拿來作為一種炫耀的工具而已。

而下面介紹的＂珠寶＂領域設計師跟品牌，都是我的偶像。他們豐富的作品，我想不能說只有用＂錢＂堆積而已，其精湛的工藝與設計，絕對不是一般人要做就做得到的！


Elsa Peretti－我的啟蒙設計師

知名的Tiffany設計師之一，自高中從在雜誌上看到她的介紹跟作品之後，就開始嚮往起當Tiffany珠寶設計師的念頭。雖然她最知名的作品是Open Heart跟Bean系列，但我最喜歡的反而是下面的那款Bottle墜子跟Bone系列、Mesh系列。

尤其Bottle墜子的設計理念十分有趣，她是為了將自己喜歡的香水或是俯拾而得的花朵，可以隨時待在身上，而設計了這個Bottle墜子。

Bone系列當然是以＂骨＂的造型作為靈感的設計，但去掉了血腥與寫實的部分之後，取而代之的是流線與優雅的現代風格。
「優美的線條、優美的造型是永恆的」，這是設計師Elsa Peretti對自己設計的作品下的注解，而這也是她一貫的設計風格，事實也說明了這樣的設計，是經的起時間考驗的，自1974她加入Tiffany至今的設計作品便可以證明。

也因為她的作品影響，我始終喜歡流線多過於稜角，喜歡圓多過於方，取材自然的造形更是Miss Maru不可少的風格之一。

/產品圖片版權為Elsa Peretti所有/

Jewellery Theatre－獨特的珠寶設計品牌

由俄羅斯雙人設計師 Irina Dorofeeva與Maxim Voznesenskiy所創立的珠寶品牌，當初一逛到他們網站的時候，直感到不可思議，原來珠寶可以做的如此獨特而精緻。

他們的作品應該被稱做珠寶嗎？他們應該被稱做珠寶設計師嗎？我想他們被Moscow World Fine Art Fair 稱做jewellery artists，就可以顯示出作品的藝術表現遠遠大過珠寶的意義了。

而我也始終認為，珠寶是將天馬行空的想像，幻化成微小雕塑的一個產品。無論材質、價格、使用方式等等，都不應該受到限制。也許珠寶工藝會像所有舊時代的工藝技術一樣慢慢沒落，最後被大量機器生產的產品所取代，一如服飾、鞋子、玻璃與藝術製品等等，但我還是愛那種用手工一步步完成，賦予作品情感的感覺，那是被大量生產與機器製作之後，不能被附加的，而人其實是可以分辨的。

/產品圖片版權為Jewellery Theatre所有/

Joel Arthur Rosenthal－令人驚艷的珠寶藝術家

會認識Joel Arthur Rosenthal 是因為一本以他名字作為簡寫的JAR的書(上圖)，而認識了他的作品。

他是一位生於美國紐約的哈佛畢業生，卻因為對寶石的喜愛，在1976年的巴黎開了一間珠寶店，經過30多年的努力之後，他成了專為首富名流訂製珠寶的設計師，一年只做70~80作品，而這家隱身在Place Vendome的珠寶專賣店，沒有櫥窗也沒有固定的開放時間，卻依舊在業界有聲有色，光從2006年Christie's 拍賣會上賣出的一對由銀和18K玫瑰金製成，同時鑲有紅寶石和鑽石的黃玉耳環，拍出了710400美元(而拍賣前的估值僅為6-8萬美元)，實際成交價幾乎翻了十倍的狀況可看出來，他的作品可以在珠寶設計界舉足輕重的角色。

用鋁、金和藍寶石裝飾的羊頭

他的作品總是形象豐富，寶石色彩運用的出神入化，不同於一般的商業珠寶，一次量產千千萬萬件，相信他的作品每款要做到第二件都很不簡單，不但寶石稀有，造型獨特，在珠寶工藝上的突破與創新，真的無法用言語形容。

/產品圖片版權為Joel Arthur Rosenthal 所有/

珠寶的材質跟價格真的有那麼重要嗎？其實對我來說，珠寶跟畫作是一樣的，它被賦予的感情和意義，才是真正源遠流長的的東西。而珠寶設計師追求的，除了購買者心靈上的滿足以外，工藝技術上的精緻，和作品美感、立體感的呈現，更是不可或缺的重要部分。

珠寶就跟藝術品一樣，欣賞的角度不同，美的程度也不同。但我知道，珠寶是美麗的，是可以兼具傳統與創新、藝術和商業的藝術品，只要細細觀察，都可看出每個設計師對每件作品的用心。

在我心裡，珠寶它跟藝術品一樣，是絕對相等的。

I had an interview with a famous crystal glass company lately. When I talked to the director, he asked me a very interesting question.

"Why the jewelry and glass are so different, and you wanna work in the crystal glass company ?"

After he asked, I can't help wondering are the jewelry and glass really different? In my opinion, they are always the same thing. And here are my idols of jewelry area. Their design and works all show the jewelry is not only a kind of accessories but also a craft of art.

Elsa Peretti - the first jewelry designer I admired.

Elsa Peretti is the one of the most famous designers of Tiffany & Co. She designed many of Tiffany's best-selling items including the famous 'Open Heart' and 'Bean' pendant collections. But my favorite are the 'Bottle' pendant and 'Bone' collection.

"I hate that impeccable, perfectly perfect look, all matched and prearranged," Elsa Peretti said. "Style is to be simple." Her jewelry proved her points are right since 1974 she worked in Taffany & Co. Until now, her work is still modern and chic.

She was inspired by nature, and her jewelry often has circular and curvilineal shape. By her influence, most of Miss Maru's work often contains curve and nature elements. They are always my favorite subjects.

Jewellery Theatre - special jewelry style company.

Jewellery Theatre is the leading Russian jewellery house created by Irina Dorofeeva and Maxim Voznesenskiy. When I saw thier website at the first time, I can't believe that fine jewelry can have so many possibility. Is their jewelry just jewelry? The two designers are called jewellery artists by Moscow World Fine Art Fair. It's clear enough to show the art value of their works.

Joel Arthur Rosenthal - incredible jewelry artist.

I know about Joel Arthur Rosenthal from the book as his name called 'JAR'. Joel Arthur Rosenthal who was born in New York and works in Paris. He's well-known by 'JAR'. His work is sold in only one store in Paris 'Place Vendôme', sequestered from the outside world, and only make 70~80 pieces of work each year.

His jewelry is always colorful and amazing, whether the technic of jewelry making or intelligence of choosing gem. It's really a very high level for jewelry designer to achieve, and that's also my goal.

Therefore, after seeing those top jewelry designer and their works, I really can't tell the difference of jewelry and glass. Jewelry can be comercial or artistic by different ways rested on everyone's appreciation. And every jewelry is cerated by designer's mind and thought. That's why I think jewelry is equal to art.

To know more about designer..

Tiffany & Co.

Jewellery Theatre