Elsewhere Lub Hom Phiaj Tseem Ceeb: Cov Khoom Noj Mov los ntawm Yuhua Li

Qhov qauv tsim Elsewhere Lub Hom Phiaj Tseem Ceeb: Cov Khoom Noj Mov los ntawm Yuhua Li yog tus yeej muaj nqis heev ntawm qhov khoom plig 2024 A' Design Award Tooj hauv Pawg Sib Tw Tsim Khoom Ci, Khoom Siv Rooj Noj Mov, Khoom Haus thiab Khoom Siv Ua Noj.

ToojKhoom Siv Chav Ua Noj· 2024

Elsewhere Lub Hom Phiaj Tseem Ceeb: Cov Khoom Noj Mov

los ntawm Yuhua Li

Tus Neeg Siv: Ke Tong

Tus Yeej A' Design Award Tooj hauv Pawg Khoom Siv Chav Ua Noj

24,841

Tus Yeej Khoom Plig Tau Txheeb Xyuas

Txheeb Xyuas Qhov Xwm Txheej Khoom Plig rau #157088

Saib ntawm A' Design Award Tsab Xov Xwm Daim Phiaj Khoom Plig

Xim

Qhov Tsim

Txog Elsewhere Lub Hom Phiaj Tseem Ceeb: Cov Khoom Noj Mov

Ntawv Qhia: Elsewhere yog ib pluag khoom noj mov porcelain uas muaj tshuaj tiv thaiv tea thiab kev kos duab paj. Cov khoom muaj ib lub laum (vase), ib lub tais tshuaj tea, ib lub thawv khaws tea, ib lub khob thiab ib daim taig rau lub khob. Txhua yam khoom raug tsim los ntawm bone china los ntawm txoj kev slip casting thiab dhau plaub zaug hluav taws ci (firings). Ib qho tshuaj xim dawb tsis ci ci pub rau qhov chaw sab nraud muaj tus xim ivory. Cov qauv qhov puab thiab muaj me ntsis kev txiav khoom qhia tau qhov chaw sab hauv, ua rau muaj kev sib txawv ntawm qhov khov (solid) thiab qhov qhib (void). Cov qauv raws li Suav teb cov porcelain qub, tab sis cov kev txiav ntawd rhuav lawv txoj kev sib xws (symmetry) los qhia txog qhov chaw nyob hauv qhov chaw.

Qhov Lees Paub

Txog A' Design Award Tooj

Elsewhere Lub Hom Phiaj Tseem Ceeb: Cov Khoom Noj Mov yog tus yeej ntawm A' Design Award Tooj, ib qho kev lees paub muaj meej mom heev uas muab rau cov qauv tsim tshwj xeeb uas txawv los ntawm kev tsim tshiab, kev txawj tsim thiab kev ntse. Cov neeg yeej Tooj yog cov khoom muaj txuj ci heev thiab tsim tshiab heev uas ua pov thawj txog kev paub ntau, kev xav thiab kev txawj ua ntawm cov kws tsim qauv. Elsewhere Lub Hom Phiaj Tseem Ceeb: Cov Khoom Noj Mov xav tias yuav yog ib qho khoom uas neeg hwm, qhuas thiab hlub, uas tshaj lij heev thiab tsim tshiab. Cov qauv tsim yeej A' Design Award Tooj no siv cov kev coj ua zoo tshaj plaws ntawm kev kos duab, kev tshawb fawb, kev tsim qauv thiab thev naus laus zis thiab zoo heev vim nws saib xyuas cov ntsiab lus. Elsewhere Lub Hom Phiaj Tseem Ceeb: Cov Khoom Noj Mov ua tau raws li cov kev xav tau zoo kawg, kov cov kev xav, ntxias cov kev xav thiab txhawb kev xav paub.

Tom Qab Qhov Tsim

Pob Xov Xwm

Cov credit, cov neeg pab thiab cov ntsiab lus kev txawj ntse muab los ntawm tus tsim.

Yam Tshwj Xeeb: Elsewhere is a porcelain tableware set that blends tea and floral art. It draws from the Chinese aesthetics and philosophy, but also subverts them with a daring design. The pieces have a white finish and an indented design with small cut-outs showing an inner layer. The cut-outs contrast the solid and the void, the perfect and the imperfect, the real and the imaginary. They lure the user to discover the hidden beauty and meaning of the objects, and to flee from the dull reality to a different world. Elsewhere is not just a functional and elegant tableware set, but also a poetic and symbolic expression of the human condition.
Qhov Loj & Ntim: vase:150 mm x 150 mm x 250 mm; teapot: 170mm x 120 mm x 130 mm; tea container: 110 mm x 100 mm x 110 mm; cup: 120 mm x 70 mm x 60 mm; cup plate: 130 mm x 130 mm x 15 mm.
Cov Ntsiab Lus: Chinese Tea Ceremony, Ikebana, Bone china, Aesthetics in life, Ceramic design
Thev Naus Laus Zis Tsim Khoom: This design is made of bone china using the slip casting technique. It went through four firings: the first one was a high-temperature sintering, the second one was a medium-temperature glazing, the third one was a low-temperature decalcomania, and the fourth one was a low-temperature silver plating. Unlike ordinary bone china glazes, the design chooses to use a non-glossy white glaze with the intention of displaying a kind of ivory texture, and an indented design with small cut-outs revealing an inner layer. The cut-outs contrast the solid and the void, the perfect and the imperfect, the real and the imaginary. Wish to express the theme of elsewhere, a space within a space, a solid nothingness, a reality that is cut off. It drew inspiration from the Chinese traditional aesthetics and philosophy, but also challenged them with a bold and innovative design.
Kev Sib Tw Tsim Qauv: The hardest part of this design were
1. To create a design that matched the Chinese traditional aesthetics and philosophy, but also challenged them.
2. To do in-depth user research to understand the needs, preferences, and experiences of tea and floral art lovers from different cultural backgrounds.
3. To use materials and techniques that suited my design concept and theme.
4. To balance functionality and aesthetics, as well as tradition and innovation.
Kev Tshawb Fawb: Elsewhere is a design research to create a porcelain tableware set that combines tea and floral art, drawing from and subverting the Chinese aesthetics and philosophy. I used a mixed-methods approach with 40 participants from different cultural backgrounds. The results showed that my design was appreciated by both groups, as it enhanced their tea and floral art experience, and created a sense of ritual and elegance. It offers a new way of enjoying tea and floral art.
Kev Txhawb Siab: Elsewhere is a fable, a space within a space, a solid nothingness, a reality that is cut off. It is a faithful reproduction of classic Chinese porcelain shapes, embodying the Confucian aesthetics of dignity, fullness, steadiness, and calmness. But Elsewhere also breaks perfection - a part of perfection is cut off, revealing the content of the entity, which is: a person looking away from this world, towards a hard pot or the emptiness in it. The cut-off part is the soul out of the body.
Lub Sij Hawm Ua Hauj Lwm: The project started in May 2015 in Nanjing and finished in March 2016 in Nanjing.
Txheej Txheem Ua Hauj Lwm: This object is a set of porcelain tableware that can be operated by pouring hot water into the teapot and the vase, and adding tea leaves and flowers. The object transforms by creating a visual and aromatic contrast between the tea and the floral art, and by revealing the inner layer of the pieces through the small cut-outs. The interaction happens by inviting the user to appreciate the beauty and meaning of the objects, and to enjoy the tea and the floral art. The key frames are the moments when the user pours the water, adds the tea leaves and the flowers, and sees the inner layer of the pieces. This object deals a better result by adding a sense of ritual and elegance to the normal functionality of the tableware, and by making the tea and the floral art more decorative. It performs better by expressing the theme of elsewhere, a space within a space, a solid nothingness, a reality that is cut off.