主持设计师：邵唯晏

　　主题: 自在 (Freedom)

　　当代设计师的使命

　　本作品为受邀参展之作品，展览主轴希望能针对当代「节能永续」的议题出发。而室内装修业(interior design)一直以来都是相当耗能的产业，由其是木料的使用更是惊人。有鉴于于此，本作品所使用的材料为废弃角材或工地剩余角材，期望透过设计手法给予废弃角材新的生命，也企图透过本作品传达当代设计师新的使命，如今设计产业已非当时工业革命时期(Industrial Revolution)一昧地制造生产，设计师当代更重要的任务是要往化腐朽为神奇的方向迈进，为永续节能尽一份心力。

　　Designers’ Green Mission

　　“Freedom” is invited to be on display at Taipei World Design Expo 2011 with the theme of “Green and Sustainability”. Interior design business is often considered not earth friendly as so much woods are used in construction, and so much redundant woods are thrown out simply because people don’t have any other way of re-using them. Given above reason, this chair is designed and made entirely out of discarded woods. As green designers, we not only want to show that these waste woods scraps can be recycled and turned into innovative and stunning pieces but also make people more conscious about the environmental problem.

　　坐卧之间，但求自在

　　中国人最早并没有所谓有椅背的「椅子」，而中国人对于椅子的观念受佛教影响甚远，佛教的弥勒通常高坐于座位上，垂一足或双足，有时双足交叉下垂、有时双足下垂、有时右足下垂等，而这样或坐或卧的姿势随着佛教的盛行也影响中国人对于「椅子」的思维。比如先秦时代的人民们就已发展出一套完整「席地而坐」的文化，「席」则成为当时日常生活最普遍的坐具。直到战国时期后，低型的家具，比如「床榻」就为当时常用的坐具。到了魏晋时代则流行独坐式小榻，这种小榻也有两人坐的。而汉唐的「韩熙载夜宴图」，更能读到古人以「榻」和「罗汉床」为中心待客的场面，当时的「坐具」已有了复 合性的机能。到了清朝，清朝人或卧或坐着吸鸭片的景像，我想各位歷歷在目。

　　Sitting or lying? It’s your freedom.

　　It is said that originally there was no chair in China. Around AC 200 Buddhism entered China and brought with it the idea of the Buddha sitting upon a raised platform. The sitting or reclining postures of the Buddha began to have a great influence on Chinese concept of chair. History shows that in early period, woven mats, which sometimes accompanied by arm rests or low tables, were commonly used by ancient Chinese to sit on floors. The raised platform evolved as an honorific seat for special guests or officials, and longer version of mats were used for reclining and evolved into bench, daybed and bed with multiplex functions.