❶ 作品名稱
再來一盤 - 在來義的木食器展
❷ 合作單位
國立台灣工藝研究發展中心
❸ 合作類型
設計策展、產品設計
❶ Project
One More Plate Laiyi
❷ Partners
NTCRI、Woodpecker Wood Carving Studio
❸ Project Type
Design curation、Product design2021 秋天，在臺灣工藝研究中心的促成下，我們拜訪了屏東來義、佳興，傳承豐饒排灣族傳統木雕工藝的兩地。 考現交流中，我們發現部落的木雕器物，從物件的造型、象徵的意義、互動的儀式性，在排灣族的祭儀與餐桌中都扮演著重要社會文化功能。 從設計類型學（typology）的角度，工藝師透過美麗的紋飾、造型語彙，創造出不只美的實用物，而是背後具有更深層意涵，對於一個集體重要的精神象徵。舉例來說，最具特色的連杯（ragal），在過去部落與部落間時有溝通、協調的場合，二到三人一齊飲下，在當下便能和解向前。 在這個溝通媒介眾多快速、裁決明確的時代，部落朋友分享到：「若不想見面，委任律師或是存證信函，都比傳統的調解方式來的更具驅動性。」 外來的機制，雖然方便、迴避了所有相處的不愉快，同時間，也剝奪了過去人與人之間真實、原始的相處。而這些消失的感受，正是構築一個文化群體最重要的意義。在我們的觀察中，許多具有類似特質的物件，都能常在過去的餐桌上看到。食物設計師Marije Vogelzang在訪談中曾說過「唯有彼此信任，才有一起食的可能」。我們重新審視設計在部落合創中的功能，透過三組設計師與四組工藝師交流，設計思維萃取，以「食」為題，轉化這些過去排灣族文化中美好的語彙，延續到我們今天的餐桌上。
2021 fall, with the invitation of National Taiwan Craft Research and Development institute (NTCRI), we traveled all the way to South Taiwan, visiting the beautiful Indigenous villages of Tjaljaqavus (Laiyi) and Puljetji (Jiaxing) where they nurtures refined Paiwan wood craftsmanship. Through research and conversation with local friends, we realize that wooden objects in Paiwan culture serve significant cultural functions beyond their appearance. From its formality, symbolism and interactivity, the craftsmen deliver a deeper collective spirit of “connection and reconciliation”.For instance the renowned ceremonial drinking cup, a long wood bar with 2-3 cups carved from it known as ragal. It was an important object to solve any conflicts and make alliances of any kind, once two agree to drink together, anything can move forward. It was a common object for ritual and dining purposes. However, as the law system progressed, one of our friends shared: “If you don’t want to communicate these days, court notices are more efficient than traditional ceremonies.”With democratic solutions strengthened in the modern world, it presents an easy and convenient arbitration. On the other hand, it also removed genuine connection between people; and those missing feelings are fundamental elements for building an identity for any cultural collective.In our observation, wooden objects with similar function and quality are often found on food related occasions in Paiwan culture. As food designer Marije Vogelzng said in an interview: “only two who trust each other can dine together.” Thus, we review how design could provide a fresh perspective on the co-creation of “one more plate” project. We invited 3 designers and 4 craftsmen with the initial theme set for “food” and the “potential scenario to adapt the meaning in modern context”. From creative thoughts to treasures in family stories, over 7 objects are created to translate essential typology to prolong the meaning in our everyday life.
無限和解 連杯盤
這個世界需要更多的和解。如果「意義」僅是「象徵」，某些傳統價值，隨著當代溝通媒介更新而遺忘也是必然。 取樣於來義文獻與排灣族連杯多元而現代的菱形造型、比例，把傳統象徵「和解」「連結」的物件，轉譯在「喝一杯茶」就能重新談談的餐桌上。 打開排排站才能共飲的器物語彙，獨立的物件，在茶席之中自由時使用，讓自主分享作為開啟對話的第一步。 四件成套，木質的顏色深淺與盤的深度漸層對比。木盤的邊緣相互呼應，有多少人想和解，就可以有多少盤子可以無限支援這份良善。
infinitive reconciliation - plate set
In our current world, it takes lots of reconciliation to make things work. Ragal, typical ceremonial connected drinking cup for Paiwan indigenous community, is known for reconnecting people. With modern interpretation, extracting the essences of significant diamond shape. Opening up the connected typology, each plate is independently crafted. Willingness is the key to reconciliation. The plates are design as a set of four, each plate has side that corresponding to one and another one, It is a poetic respond to welcome anyone who’s willing to make an effort to change the way things are.
媒材 : 梣木、臺灣櫸、胡桃木、鐵刀木
material：ash wood, Taiwan zelkova, walnut, kassod
｜指導單位｜文化部
｜主辦單位｜國立臺灣工藝研究發展中心
｜執行單位｜啄木鳥藝雕坊
｜設計總籌｜黃若潔Jo-Chieh Huang / 葉玟妙Wen-Miao Yeh
｜平面協力｜蔡政哲 Cheng-Che Tsai
｜攝影協力｜鑿光影像 陳麒年 Chi-Nian Chen
｜參與藝術家｜沈安日 Kapang Livulivuwan/ 塗南峰 Laluyu Lodn/ 貴多樂門 Kui Djuveljelem 王晉彥 Pavelav Ambi/ 許鶯薰 Zita Ying-Hsun Hsu/ 葉玟妙 Wen-Miao Yeh/ 黃若潔 Jo-Chieh Huang
｜特別感謝｜宋姐 宋麗玲 、宋婕汝、宸宸、厄若絲、瑪藟姿.多樂門、比多愛.馬拿尼凱、亭夷、雅慧姐、許慶福老師、阿和 、芷翎 ＆何大哥、Daniel Rous，還有一路上願意無私與我們分享故事、協助我們完成專案的貴人們。