林本源園邸意象應用於餅乾設計研究

Abstract

板橋林本源園邸集結豐富的文化資產，擁有「北臺第一名園」的美稱，它蘊藏了百年建築藝術、園林造景以及人文歷史的精華，其中建築上的工藝表現與裝飾圖飾更是考究堪稱經典。為了讓這些富有吉祥寓意的裝飾圖樣有意義地傳承並融入於生活中，使觀園的遊客除了觀賞休憩外，還能帶走具教育性兼美觀性的紀念商品，因此本研究藉由「舊紋樣轉化新紋樣應用在餅乾設計」來活化傳統，旨在提升板橋林本源園邸觀光文化商品的產品價值。根據研究整理發現，日本在文化意象商品的運用相當成熟，但大部分具有在地意象的伴手禮商品，紋樣設計大多取原樣造形再現，變化性較少，故本研究以「舊元素加入新創意」為研究目標，讓老東西以新樣貌呈現食趣。研究方法利用田野調查法、圖像分析法、焦點訪談法進行圖像歸納，將板橋林本源園邸建築上的吉祥圖飾整理分類後，分析其符號含義，再利用造形構成元素進行新轉化組合創作。根據六位遊客焦點訪談的結果發現，受訪者對於林本源園邸文創商品多抱有再多樣性、實用性與驚喜感的期待，且若要開發餅乾伴手禮新紋樣，美觀性大於教育性的期望偏多。依訪談整理後，創作方向以能代表園內意象各個建築的吉祥圖案為主軸，理念則以「吉上加吉」的概念，重新組合成新意義、轉化成新圖樣；造形部分，取遊客印象最深刻的圖樣當外框，內紋樣以「對稱、均衡」為原則進行圖樣重新設計。冀望所創作出具板橋林本源園邸代表性的意象餅乾紋樣與伴手禮，讓入園的觀者，以親近易懂的方式，理解傳統建築構件吉祥圖案的意義，並引起民眾的自發性積極珍賞在地文化。Hailed the greatest garden in northern Taiwan, the Banqiao Lin Ben Yuan Family Mansion and Garden has an exceptionally rich cultural heritage. A distillation of the centuries-old development of architectural design and gardening art in Taiwan, the Garden boasts excellent craftsmanship and is remarkable for its exquisite ornaments. Nowadays, these architectural ornaments, carrying auspicious implications, have been integrated into souvenir items that visitors to the Garden can take home. Such souvenirs, both educational and decorative, have helped to pass down architectural traditions while drawing the Garden closer to people’s lives. Following the effort to revive tradition through cultural commodities, this research intends to design souvenir cookies that integrate the ornamental patterns employed in the Garden’s structure. It is hoped that this new souvenir item will provide a higher product value. Previous studies have indicated that Japanese people have been adept at combining local images with cultural commodities. But in their practices, the patterns on the souvenir items are not adapted; they are usually exactly the same with the original patterns, thus lacking variations. In light of this, this research aims to redesign and restructure the various patterns taken from the Garden’s ornaments, giving them new forms, and use the new patterns in the souvenir cookies. To achieve this, the Garden’s architectural ornaments were analyzed and classified by methods of field study, image analysis, and focused interviews; then, restructure of the patterns were carried out based on the analyses. Moreover, according to focused interviews with six visitors to the Garden, they would place a high value on the diversity, practicality, and creativity of a souvenir item. They also responded that a souvenir item’s aesthetic value would be more important than its educational value. Based on these opinions, therefore, ornaments that carry auspicious implications were mainly used in the design of the cookies. Founded on the idea of “multiplied auspiciousness,” various ornamental patterns employed in the architecture of the Garden were restructured and combined together. With the combinations, the new patterns were therefore endowed with multiple auspicious implications. The shape of the cookies drew inspirations from images with which visitors were most impressed, and the cookies’ patterns were designed based on principles of symmetry and balance. It is anticipated that these souvenir cookies, representative of the Garden’s architectural designs, would help people better understand the ornaments’ auspicious implications while inspiring them to appreciate and cherish this invaluable local culture.