Portfolio of Chia-Ying Tsai

ȶᡲ֩ᜳ‫ٲޠ‬௒ᡑᙐ൑Ȃ !!ᡲᙐ൑‫ٲޠ‬௒ᡑூԥ౐࡚Ȃ !!ᡲԥ౐࡚‫ٲޠ‬௒ᡑூԥ፹Ȅȷ .ϣαৈ

INTRO

!""#"$

Ch i a Yi n g T s a i AUTOBIOGRAPHY

2::1ԒҢ

Born in 1990

ା໱΢

live in Kaohsing, TW

ᚗന৵

PISCES

ѿᄢφ

Left-hander

edUCA-

AWA

TION

RDS

2005.09-2010.06

2011

Н᝾ѵᇮᏱଲϥ஠‫୾ݳ‬ᇮНऌ౴

हड़ࣷ.Ћ໩૗ӏႬᔗң೪ॏ഻ཏᝰᗊ!Τ൝

2010.09-2013.06

ಒΡ۪ᙜଡ଼ӕ೪ॏᝰᗊࣁ୞!‫ٺ‬ձ

୾Ҵା໱৲ጓτᏱϏཿ೪ॏ‫ق‬

2012

‫ۊ‬Ȇདྷ೪ॏτᗊȁ‫ۊ‬དྷലяዪ 2013

‫ۊ‬Ȇདྷ೪ॏτᗊȁ‫ۊ‬དྷലяዪ

EXPERIENCE 2012

2010

ࢍҥ഻ཏԥ४ϵѨස෉ᄃಭҢ

ା໱೪ॏ࿾Ᏻ៕‫ע‬Ϗ

ѯᢋ೪ॏ৥Ubjxbo!Eftjho!FyqpϏձ΢স

୾ርఁ‫ي‬৥݉ଡ଼ᙛណ΢স

ା৲Ϗ೪‫قق‬৥୚‫ܤ‬໲΢

2009

Epvcmf!E!ࠓୣ഻ཏ೪ॏᕋ୥ᇅ

‫ݳ‬НऌಒѳΫ۪౴ཿϵᅌНࡈಣಣߞ

2 01 1

஠ऌഌಒѳΫ۪౴ᖓཽጢᒯ୚ಣߞ

ା໱Ԃᅖ‫ޗ‬Ԇ࿾Ᏻ៕΢স

2008

ା৲τឹኈަ୚ަߞ

‫ݳ‬Н‫قق‬Ᏹཽऌёಣಣߞ

લ዆ᮇ࿌х᛻೛৥Ᏻ៕΢স

ȶಒήΫѳ෉ߨԒࣁ୞Ӎდ৲ȷ ᇰᜍᏱϸ፟โ๗ཿ

02 03

Product design ౱ࠣ೪ॏ᜹ Procduct design Innvotative design Furniture design

04 05

Ь҂഻ആႬ୞КϏ‫ڏ‬ Procduct design/Drill redesign Partnered with еᝋའ

Intention ೩Ӽ΢Ӷ੬ۢ‫ݸޒ‬८ᖞঔᙓঢ়Ϝ࢛‫ޑٳ‬ ࠣਣȂϘԥ‫ٻ‬ңႬᢤ‫ޠ‬စᡜȂܼ࢑ᄈܼ ᐡᏣ‫ޠ‬ϛዤጜᏳय‫ٻ‬ңαৡܿ஡ᖴ๜ᢤ ࢰȂ‫ۢڿ޲ܗ‬ϛᛨӱՅᖴ๜௭ဤ๊౫ຬ Ȃܼ࢑‫ש‬উཋ໲ΠಁӼ‫ٻ‬ң޲ӔӤ‫ޠ‬စ ᡜࡤӱՅ຃ҢΠ‫ً׾‬Ⴌᢤ‫ޠ‬᡺དȄ

06 07

Horizontal Power Ь҂഻ആႬ୞КϏ‫ڏ‬

Intention စႇҀൠϸ‫ݚ‬ϟࡤึ౫౫ԥ‫ޠ‬౱ࠣτӼԥ; 2/ಐ२ആ࠯ 3/ᖴ๜ବϛྦ0ྥ௭ 4/੬ۢ஠ཿ΢ς‫ٻ‬ң ๊​๊ୱᚡ-ᡲΚૢ‫ٻ‬ң޲࡟Ў௦ដ‫ق‬ӗ୧ࠣȄ

ㅍ૚䑁倲 ‫ױۢ؛‬КϏ‫׾ڏ‬ആ࣐ ήτРӪ

㇪⏂Ꮢ

Process

㻖䓽

Drill redesign Procduct design

details ፮ϡႬᢤӓུ‫ޠ‬ᇑဌ೪ॏȂ ህֆᢤࢿᐈձα‫ޠ‬Ь҂‫ܓ‬Ȃ ‫؂‬ಓӬᐈձ‫ޠ‬ӓུϮ८ପဋȂ ቩђႬᢤ‫ٻ‬ң‫ޠ‬᡺ࣁᇅ߰ւȂ ‫ٻ‬ң޲‫؂‬ሇᚭ‫ٻ‬ң‫ޠ‬Ⴌᢤ೪ॏȄ Step.01 Ҕளዂԓ‫ٻ‬ң‫ޒ‬ᄙ

Step.02 ࡹίࡹ໗ដึᇑφ໡ᜱ

Step.03 ӶЬ҂‫ޒ‬ᄙᚈۢᖴ๜Ȃߴࡼ:1࡚࠮‫ޣ‬Ȅ

08 09

Hexagon

One-piece paper cup dispenser ΚᡞԚ࠯Ս୞‫࢝ݕ‬ Product / Package design Partnered with ஼ઞఄ

question ‫ڦܫ‬ԓ‫ޠ‬Ս୞‫࢝ݕ‬Ȃ ளளӶᓢᢉІϊӭ‫ᙺڐژࣽۺ‬ኈȂ ‫ש‬উளӱ࣐‫ܫ‬ЋӼ‫ݕ‬φആԚ֩ᘚȂ ‫ۢ؛‬௥ଇ‫ڐ‬๗ᄻ‫ٿ‬၍‫؛‬ԫୱᚡȄ

10 11

Hexagon

One-piece paper cup dispenser ΚᡞԚ࠯Ս୞‫࢝ݕ‬

Process ഷࡤึ৥яє၇๊Ӥܼ๗ᄻ‫܉྆ޠ‬Ȃ ஡у२ུ‫׾‬ആԚུ‫םޠ‬ຬ೪ॏȄ

90

45

5

245

structure

365

Package design Procduct design

details ΚᡞԚ࠯‫ޠ‬ѵᢏȂ‫ڏ‬ԥᙐዔ߼ဤ‫ޠ‬ຝញਞ‫ݏ‬Ȅ ‫ޣ‬ញ‫ޠܓ‬೪ॏᡲ‫ٻ‬ң޲ϛె౓Ȃ ኩ໡౱ࠣദᆓ൸Ѡ௯ҴӶᕔ८αȄ ΚԪ‫ٻޠܓ‬ңє၇๗ᄻȂ ‫ٻ‬ң‫׈‬౴ӲԞϛ੐ຳȂ ѓ૗‫ܓ‬চ‫ڏ‬ᕘߴཏᜌ‫ޠ‬౱ࠣє၇Ȅ

12 13

Rotator Portable full view view sphere spher re Кᐡᕘෂຝଊ౩ Concept / innovative design ign Partnered with ᒧࡅը

question ӶϏձαሰ्‫ܗ‬Ӷѵདྷᇅঢ়΢݊Ѕഀ๝Ȃ Кᐡຝଊ‫ޠ‬ѓ૗ϑԚ࣐СளҢࣁ‫ޠ‬ΚഌϸȂ ҭࠊКᐡ‫ޠ‬ຝଊᜣᓟ೪ဋӶКᐡᒊᄎαРȂ ࿌ϸ‫ٵ‬ຝᓝਣѬ૗༉ᒰ८ᄈ‫ٻ‬ң޲൑Κฬ८Ȃ Ԅ‫ݏ‬࿌‫ٻ‬ң޲ԥ‫ڐ‬уِ࡚དྷϸ‫ٵ‬๞у΢ਣȂ ୳Κ‫ޠ‬Рԓ൸࢑‫ױ‬КᐡᙾӪࣻӤ‫ِ࡚ޠ‬Ȃ կӱ࣐ࣽϛ‫ژ‬ᒊᄎαᘞ‫ޠڦ‬ฬ८Ȃ ൸ϛ‫ޤ‬Ԅե௢‫ښ‬དྷ्‫ᙾޠ‬ӪȄ

14 15

Rotator Portable full view sphere

Кᐡᕘෂຝଊ౩

details 13.920

849‫≘ޥ‬ᅯ⧯

R10

R1

0.

53

7

⟽⡂⹾ゑ

0 3.60

፱≘ࡀ

5.714

14.395 17.800

3.514

ѵ௦ԓᜣᓟഇႇॲྜЍ‫ޠ‬ഀ௦༉ᒰȂ 471࡚‫ޠ‬ᙛᙾѓ૗ᡲ‫ٻ‬ң޲ሇᚭ਑ਕِ࡚Ȃ ՅКᐡᒊᄎϜ‫ޣ‬௦ᡘұ௦Ԟ‫ޠژ‬ຝᓝȂ ᡲКᐡຝଊηԚ࣐ϸ‫ٵ‬ᒊᄎ‫ޠ‬Ϥ୞РԓȄ

で›⭮໹ゑ

Concept / innovative design Procduct design

simulation ஡ᜣᓟᙾӪՎजෂȂ֊Ѡࣽ‫ژ‬ᒊᄎαᄡ‫ޠڦ‬ኈ჌Ȃ ᡲ‫ٻ‬ң޲ሇܿ‫ژڦ׻‬དྷ्๞ᄈРࣽ‫ِ࡚ޠ‬Ȅ ᓎ຀ᜣᓟ291࡚‫ᙾޠ‬ӪȂ൸૗਑ਕ‫ژ‬ӉեΚঐຝِ ȂሇᚭᡲᄈРࣽ‫ܛژ‬೏ӵР‫ޠ‬ᕘᙔȄ

16 17

Packer card ਢєћ Concept / innovative design Partnered with ֕୦࿿0ᚠྷਈ

concept ଭᄈ‫ژ‬౵ӵਢ՘ਣ૗೾՘ณߣ࣐྆‫܉‬Ȃ ϛ‫ڨ‬ᇮّ‫ޠ‬४‫ښ‬Ѡᄲၾ౵୾ณߣȂ ࢑Κ஼๗ӬτಁၽᒰϏ‫ޠڏ‬ٚಊȃᏳ૟ ӵშ‫ڸ‬ਢၾࡿࠓ๊‫ޠ‬හኌ࠯ћбȂ ਢ՘๗‫؃‬ਣᗚ૗୉࣐ख‫ࠣ܉‬ҘεߴԇȄ For who?

नєࡋȃᢏӏࡋȃ฼ኸ୅੽‫ޠ‬΢Ȃ ‫ء‬ԥ୉Ӊեྦറਢၾ‫ޠ‬ၾࡋȄ

18 19

Packer card ਢєћ

details ౲τܼΚૢௌၾћАωȄ ӥ௯ᛲ‫ޠ‬೪ॏȂ ᓎٙᔝ຀ηϛܑ‫ך‬ҶȄ ij

ਢ՘޲਍‫֊ࡤژ‬Ѡ໡ۗ‫ٻ‬ңȄ IJij

ϲᙡහኌ࠯ශбȂ ၽң໵ᆓऌ‫ޠ׭‬ᢏ‫܉‬Ȃ IJıı

‫ױ‬ਢၾၦਠ༉ଛܼਢєћϜȄȁ Ӽ୾ᇮّ‫ࣩޠ‬८ϛܑྜྷ೾ሬᛥȂ ණ‫ٽ‬ӵР੬Ք‫ॶޠ‬ՙ՟՘ၦଊȂ ณ፤঻Р८എᜳϛঈѻȄ

ķĵ

Welcome to Paris English Français Deutsch português italiano svenska 한국의 日本語 繁體中文

Châtelet 4

9

Bus Tours National Musuem of Fine Art Tower of Justice

Food Venus Café Petin’s French House

/More...

Tours Tour s

Mont Mo Montmartre ntma nt mart ma rtre rt re

8 mins

Montmartre Montma rtre is is a hill hill which which is 130 metres metres high, giving giving its name to to the surrounding surrounding district, in the north north of of Paris Paris in district, the 18th arrondi arrondissement, a rrondissemen rrondi ssement, ssemen t, a part part of the Right Bank. artists had studios studios or Many artists worked around around the community community Montmartr Montmartr tmartre e such as Salva Salvador dor of Montmartre Dalí,Claude Dalí,Claude Monet Monet,, Piet Mondrian, Mondri an, Pablo Pablo Picasso Picasso and Vincentt van Gogh.

Vincen

Concept / innovative design Procduct design

simulation ւң໵ᆓऌ‫׭‬ІਣഀጤȂ ћб८ᄈࠊРਣ‫ق‬ಜՍ୞ᡘұ੬Ք‫ۺ‬ঢ়Ȃ ණ‫ࡼٽ‬ћ޲ԥ‫؂‬Ӽ‫ޠ‬ᒶᐆȄ

Everybody Shop Petin’s French House Venus Café

ഀӤрຳРԓȂ

௄ਢഋ໡ۗ‫ق‬ಜՍ୞ձଅᓄȂ

ᐍӬӼ໷τಁһ೾Ϗ‫ڏ‬ᆪ๝Ȃ

ශбᓾԇࡼћ΢ؑΚঐџႇ‫ޠ‬ӵᘉȂ

݃ጃ‫ࡿޠ‬ЖᡲߒԪཧॹϛཽКԕရ༅Ȅ

๗‫قࡤ؃‬ಜՍ୞ᐍӬԚ‫׈‬ᐍਢโၰ৸შȂ ࿌୉ഷԂख‫ࠣ܉‬Ȅ

tropriA lanoitlanretnI

20 21

Blanketed Bench ŕˇ¨áƒ’ Furniture design

details ҂८‫ޠ‬ӵ෨ᙾඳҴᡞ‫܉྆ޠ‬Ȃ ໍՅၽңӶ৵ැ‫ޠ‬ঢ়‫ڏ‬೪ॏȂ ྄ᙐ‫ޠ‬ѵ࠯ᇅࡊϲԂཧପȂ ‫ڏ‬Ԟાѓ૗ᡲӵ෨Ѡп‫෈؂‬Ȅ

22 23

ll chair ҂‫ݗ‬ැആ࠯೪ॏ Furniture design

details ጤ఩߼ဤᙐ൑ΚᡞԚ࠯Ȃ ‫׮‬КᎭन‫ڸ‬ᚖᇭ࢝ဋ‫ޑ‬Ȃ ၽңᔇջΩ᠊‫ޠ׸‬੬‫ܓ‬Ȃ щϸၽң‫ژ‬؆፵ϛ੐ຳȂ ആ࠯ึදя‫ݗ‬؆‫ޠ‬੬‫ܓ‬Ȅ

50 6

40

5

20 110°

20 20

4 5 35

24 25

҂८೪ॏ᜹ Typography Logography

Poster design

Editorial design

Corporate Identification System

26 27

Corporate Identification System ໲ࠣঢ়ົҀӍཿຝր೪ॏ GOODY Living Market

уЗот╛врм╕тМот╛г╥Щ╒ЦроА╞Бтй╖ тЦн 2S ,ITMRK WX 6H 0MRK]E (MWX /ESLWMYRK 'MX] 8EM[ER 6 3 '

LXXT [[[ RORY IHY X[

сжЮриМсВа сб┐сЛПт▒Щт▒Щт╗й уЗот╛врм╕тМот╛г╥Щ╒ЦроА╞Бтй╖ тЦн 2S ,ITMRK WX 6H 0MRK]E (MWX /ESLWMYRK 'MX] 8EM[ER LXXT [[[ RORY IHY X[

╓ЙрмитпОтЬЮтдй ╓ЙрмитпОтЬЮтдй EmployeeEmployee visa visa

уЗот╛врм╕тМот╛г╥Щ╒ЦроА╞Бтй╖ тЦн 2S ,ITMRK WX 6H 0MRK]E (MWX /ESLWMYRK 'MX] 8EM[ER 6 3 '

LXXT [[[ RORY IHY X[

тКПсГАтдй working visa

уЗот╛врм╕тМот╛г╥Щ╒ЦроА╞Бтй╖ тЦн 2S ,ITMRK WX 6H 0MRK]E (MWX /ESLWMYRK 'MX] 8EM[ER LXXT [[[ RORY IHY X[

тбЦрзГтдй Visit visa

тАл╪ЧтАмсИ╖тМЮсЭЕ╙Бф║п

тзДтзЭтдй Guest visa

28 29

typo graphy ϜऽНԆҕ೪ॏ Alphabet / Character Design

30 31

logo graphy Н഻ຝញ೪ॏ ଽԹᙙ!Ashes urn

пѯᢋ΢ၷᗘᒗ‫ޠ‬ᘬဪНϾձлᚡȂ ᔗңຝញ‫ޠ‬ኈ჌ᙾඳРԓ ֖౫ଽԹᙙϛӤኻᇽȂ ၇ၸ‫ש‬উᒒ΢‫ޠ‬Ӳᏺ‫ڸ‬ᰵᛅ‫ີࣣޠ‬ᏣҬȄ

32 33

poster design Н഻ຝញ೪ॏ 氷䇿僗!Ashes urn

пѯᢋ΢ၷᗘᒗ‫ޠ‬ᘬဪНϾձлᚡȂ ᔗңຝញ‫ޠ‬ኈ჌ᙾඳРԓ ֖౫ଽԹᙙϛӤኻᇽȂ ၇ၸ‫ש‬উᒒ΢‫ޠ‬Ӳᏺ‫ڸ‬ᰵᛅ‫ີࣣޠ‬ᏣҬȄ

Cette épreuve du deuil, nous y sommes quasiment tous confrontés, tôt ou tard, et parfois même à plusieurs reprises... Dans cette expérience à laquelle nous ne sommes presque jamais préparés, la souffrance, la tristesse et l'abandon nous dominent, parfois nous rongent. De plus, dans notre culture occidentale, c'est souvent synonyme de néant ou d’inconnu, de paradis ou d’enfer, c’est limite tabou, faute de compréhension et d'acceptation, nous finissons malheureusement par conclure à l'injustice, en nous résignant face à la "dure" Vie, ou à l'absence de grâce du Bon Dieu...

Cette épreuve du deuil, nous y sommes quasiment tous confrontés, tôt ou tard, et parfois même à plusieurs reprises...

Dans cette expérience à laquelle nous ne sommes presque jamais préparés, la souffrance, la tristesse et l'abandon nous dominent, parfois nous rongent. De plus, dans notre culture occidentale, c'est souvent synonyme de néant ou d’inconnu, de paradis ou d’enfer, c’est limite tabou, faute de compréhension et d'acceptation, nous finissons par conclure à l'injustice, en nous résignant face à la "dure" Vie, ou à l'absence de grâce du Bon Dieu...

La vie et la mort, cela peut encore aller, mais un vivant et un mort, c’est beaucoup.

La vie et la mort, cela peut encore aller, mais un vivant et un mort, c’est beaucoup.

La vie et la mort, cela peut encore aller, mais un vivant et un mort, c’est beaucoup.

Cette épreuve du deuil, nous y sommes quasiment tous confrontés, tôt ou tard, et parfois même à plusieurs reprises... Dans cette expérience à laquelle nous ne sommes presque jamais préparés, la souffrance, la tristesse et l'abandon nous dominent, parfois nous rongent. De plus, dans notre culture occidentale, c'est souvent synonyme de néant ou d’inconnu, de paradis ou d’enfer, c’est limite tabou, faute de compréhension et d'acceptation, nous finissons malheureusement par conclure à l'injustice, en nous résignant face à la "dure" Vie, ou à l'absence de grâce du Bon Dieu...

Cette épreuve du deuil, nous y sommes quasiment tous confrontés, tôt ou tard, et parfois même à plusieurs reprises... Dans cette expérience à laquelle nous ne sommes presque jamais préparés, la souffrance, la tristesse et l'abandon nous dominent, parfois nous rongent. De plus, dans notre culture occidentale, c'est souvent synonyme de néant ou d’inconnu, de paradis ou d’enfer, c’est limite tabou, faute de compréhension et d'acceptation, nous finissons malheureusement par conclure à l'injustice, en nous résignant face à la "dure" Vie, ou à l'absence de grâce du Bon Dieu...

La vie et la mort, cela peut encore aller, mais un vivant et un mort, c’est beaucoup.

Cette épreuve du deuil, nous y sommes quasiment tous confrontés, tôt ou tard, et parfois même à plusieurs reprises... Dans cette expérience à laquelle nous ne sommes presque jamais préparés, la souffrance, la tristesse et l'abandon nous dominent, parfois nous rongent. De plus, dans notre culture occidentale, c'est souvent synonyme de néant ou d’inconnu, de paradis ou d’enfer, c’est limite tabou, faute de compréhension et d'acceptation, nous finissons malheureusement par conclure à l'injustice, en nous résignant face à la "dure" Vie, ou à l'absence de grâce du Bon Dieu...

34 35

cool card postcard Нࡈࠣጢᒯ೪ॏ Editorial design

Le Petit Déjeuner Since 2003, we have cracked a quarter million !""#$%&'!(!)%*+&,#-.)#%&/%#012!#%-.)%#!(3!)% +,.)(!)#%&/%4&'!!#5%6&,73!%4&0!$%!-*!.% -2#&%#012!)%-.)%0&3!)%&.5%8!7(!%-%#0-22% 9-(*%&/%:&,(%)-:%;,*%+&9!/,22:%-% 0!0&(-;2!%&.!5 8!%-(!%-%/-012:%(,.%;,#1.!##% specializing in Belgian-Canadian 4&0/&(*%/&&)5%<-.:%&/%&,(%1."(!)1!.*#% 4&0!%/(&0%*+!%2&4-2%0-(=!*%-.)%2&4-2% /-(0#5%8+12!%&,(%;(!-=/-#*%-.)%2,.4+!#%-(!% 2!"!.)-(:$%&,(%)1..!(#%-(!%-%0&(!%1.>0-*!% -'-1(%?1*+%-%#!-#&.-2%0!.,%*+-*%#+&?4-#!#% #&0!%&/%&,(%;!#*%/-012:%(!419!%#9!41-2>!#5%

Hand -written @!/&(!%?!%)13!%1.*&%*+!%10-"!#$%1*A#% ?&(*+%*-=1."%-%01.,*!%*&%2!-(.%-;&,*% *+!%&(1"1.#%&/%*+!%-(*B#41!.4!%&/% 9+&*&"(-9+:5%C&?%)1)%1*%-22%;!"1.%-.)% what are some terms *+-*%:&,%#+&,2)%=.&?% -#%:&,%9!(,#!%*+!% 10-"!#%;!2&?D%E!*A#% F.)%&,*5%G+!%1)!-%&/% pushing light through a hole to create an image dates all the ?-:%;-4=%*&%*+!%H*+% 4!.*,(:%-.)%;!:&.)5%

C&?!3!($%1*%?-#%,.>2%*+!% 1.3!.>&.%&/%9+&*&"(-9+14% plates in the 1700s that 9+&*&"(-9+:%?-#%(!-22:% ;&(.%1.%*+!%#!.#!%*+-*%?!% now know it with the 10-"!(:%-4*,-22:%;!1."% #-3!)%1.%#&0!%/-#+1&.5% G+!#!%!-(2:%92-*!#% ?!(!.A*%#&%)1'!(!.*%*+-.%0&)!(.% )-:%F20$%?1*+%-%#123!(%4&->."%;!1."% mixed up with other various 1."(!)1!.*#%*&%4(!-*!%-%#,(/-4!%*+-*% (!-4*!)%?+!.%!I9&#!)%*&%21"+*5

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Maniera, Mr. & Mr. are back with us once again to share some of their other projects that assimilate a diverse palette of materiality, technique, craftsmanship and language. Instead of creating a concept and then mixing it with technicality Mr. & Mr. embark on their process through poetry and encounters in order to pursue the ultimate purpose of each object. Choosing to construct their creations in a way similar to the surrealist exquisite corpse technique of assembling images, there is a fundamental elementevent that is noted which also signifies the beginning of the history of the object.

First and foremost, this preliminary step involves an observation of the world and then imagining how it could be otherwise.

As such, the absurdity of a form, the naivety of a sentence, the grandiosity of a structure, the coarseness of a material or its fragility and the backwardness of a myth are all anchorage points in an object and what is intriguing about it. Other elements are eventually added which then arise quite often out of an encounter...

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From the same team that brought us Bella Maniera, Mr. & Mr. are back with us once again to share some of their other projects that assimilate a diverse palette of materiality, technique, craftsmanship and language. Instead of creating a concept and then mixing it with technicality Mr. & Mr. embark on their process through poetry and encounters in order to pursue the ultimate purpose of each object. Choosing to construct their creations in a way similar to the surrealist exquisite corpse technique of assembling images, there is a fundamental element-event that is noted which also signifies the beginning of the history of the object.

First and foremost, this preliminary step involves an observation of the world and then imagining how it could be otherwise. As such, the absurdity of a form, the naivety of a sentence, the grandiosity of a structure, the coarseness of a material or its

From the same team that brought us Bella Maniera, Mr. & Mr. are back with us once again to share some of their other projects that assimilate a diverse palette of materiality, technique, craftsmanship and language. Instead of creating a concept and then mixing it with technicality Mr. & Mr. embark on their process through poetry and encounters in order to pursue the ultimate purpose of each object. Choosing to construct their creations in a way similar to the surrealist exquisite corpse technique of assembling images, there is a fundamental element-event that is noted which also signifies the beginning of the history of the object. First and foremost, this preliminary step involves an observation of the world and then imagining how it could be otherwise. As such, the absurdity of a form, the naivety of a sentence, the grandiosity of a structure, the coarseness of a material or its fragility and the backwardness of a myth are all anchorage points in an object and what is intriguing about it.

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Al Voyage Re-imagined Utopia World Voyages Along

Mr.&mrs Erosion Of Concepts

Patience is definitely From the same team that brought us Bella Maniera, Mr. & Mr. are back with us once again to share some of their other projects that assimilate a diverse palette of materiality, technique, craftsmanship and language. Instead of creating a concept and then mixing it with technicality Mr. & Mr. embark on their process through poetry and encounters in order to pursue the ultimate purpose of each object.

Choosing to construct their creations in a way similar to the surrealist exquisite corpse technique of assembling images, there is a fundamental element-event.

J>22 am5 Eet me introduce :ou to the nuclear su; ;-#e, the girl next door5 At night, missiles leave their home on trains, protesters appear on tracks a da: too late5 AKernoons, I ;uzz to the hum o/ the generator5 I know :our lecture in m: radioac>ve heart: sing organic, vegetarian ;21##5 But I can a'ord to live here5 I am a poor it5Open m: wallet and Fn)5 5 5 <othsDL&ins radia>."D%M%small hazmat tea0D%EetAs drea0%;ig together5 Gurn o' the ligh*#5 8atch m: lungs glow5I know :ouAd pa: to see them5Jome>mes I stroll through /orests just spra:ed /or the ":ps: mo*+#5 I throw a rock into the ;ushes to distract the hunter#5 Deer me5 I am ?(1>ng to m: hazards5Open guNer to the lake, green oil, paint dumpedâ&#x20AC;&#x201D; I swam there, cut m: /oot on a%;!!r ;oNle and kept paddling to :ears ;: the power plant, m: ;ed placed so I could see the voltage through m: window, an evening sparked /rom metal tower#5 I was ;!.!ath an uncharged moo.5

Fro Bellam the once Manie same proj again ra, Mr.team t o f m ects th to sh & Mr. hat bro and a te ri at as are so are ba ught and languaa li ty , similateme of ck with us emba then m ge. Instte ch n iq a divetheir ot us e n co rk on ixing ead of u e , cr rse pa her purp u n te rs their it with creatia ft s m lette ng a a n s h crea ose of in o proces technica ip corp tions in each obrd e r tos thro lity Mconcep fund se tech a way ject. Ch p u rs ugh po r. & M t the amenta nique similar oosing u e th e etry anr. hist ory l noted of asseto the to cons u lt im d a of th which mbl surr tr uct te ea in e ob ject also si g imag list ex their . Firs gnifie es, quis it th t an d fo s the be ere is e remos ginn a t.for ing of it.

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FurnitureSeries & chair inspired

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an old man From the same team that brought us Bella Maniera, Mr. & Mr. are back with us once again to share some of their other projects that assimilate a diverse palette of materiality, technique, craftsmanship and language.

Instead of creating a concept and then mixing it with technicality Mr. & Mr. embark on their process through poetry and encounters in order to pursue the ultimate purpose of each object. Choosing to construct their creations in a way similar to the surrealist exquisite corpse technique of assembling images, there is a fundamental noted which also signifies the beginning of the history of the object.

First and foremost.for it.

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8hen%;irds do sing, he: ding a ding, ding; Sweet lovers love the #9(1."5 Between the acres o/ the r:e, 81*h a he:, and a ho, and a he: nonino, G+!se preN: countr: /olks would lie, In the spring >me, the on2: preN: ring >me, 8hen%;irds do sing, he: ding a ding, ding; Sweet lovers love the #9(1."5

Never give all the heart

It was a Lover and his Lass.

I whispered, "I am too :oung," And then, "I am old enough"; 8here/ore I threw a penn: Go Fnd out 1/ I might love5 "Go and love, go and love, :oung man, I/ the 2-): ;e :oung and /air," Ah, penn:,%;rown penn:,%;rown penn:, I am looped in the loops o/ her hair5 Oh, love is the crooked thing, G+!re is%.&;&): wise enough Go Fnd out all that is in it, For he would ;e thinking o/ love %Gill the stars had run awa:, And the shadows eaten the moon5 Ah, penn:, ;rown penn:,%;rown penn:, One cannot ;egin it too soon5

The Young Man

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paris impression ੖ൣ೪ॏ;!ВᏎ Poster design

homage ALVAR AALTO ੖ൣ೪ॏ;Ӫτ৲यི Poster design

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brochure for NKNU ਯ༫ᙐϮጢᒯ೪ॏ Editorial design

College of Education ဥ⇇প⽡

Information

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National Kaohsiung Normal University ۨṃ㇮⾢୒Ọࠥপ Ֆ஀ᇵҙ ㇮⾢ସ⌮⾣ҙՖ஀Ɓ⩷ ▭ ᡸଧᇵҙ ㇮⾢ସᡸଧҙᗝᒢ⩷ ㇮⾢ସᡸଧҙᗝᒢ⩷ ▭

ĴĴᅖᇵБ⬆៌㇮⾢ࡐএ୒Ọপᇵ㘼Шṃၧᒈ ۨ‫ۏ‬ҚƆ஁㘼DŽҚΥ஁Σᄽ㘼БӰវᯕပச៌ ⲱӽৱၨƱ஁ۨᒈဥ⇇ပẒ㘼‫ݩ‬ヴƘẇপᇵ˯ ΡƧ୒⧖㘼ထ⡘៌ᯕṃ㇮⾢୒Ọপ⽡㘼ΥҚƱ ஁ထЃۨṃ㘼ƖၧƃҚΣ஁࠷ሄীထЃ៌ۨṃ ㇮⾢୒ỌࠥপĶ ĴĴ୒⽡⻴⮋Ƨϵ㘼⟺ፈϵΪ㘼൨ᗎ ᡿㘼ᐜ ǽ⽡⻩⠽ীᮀ਴⡁᫐㘼ᷳዕ௟⡘㘼ࡄীႁషᮀ ਴‫ݪ‬ᴥĶΩ⻼фః୒⧖⽢৓㘼Ήৱ⡘̏㘼Ɩʿ ਋প✢᲎ḋチᒕ㘼໻਴ۨ⾉প✢njᕦ㘼ƊⰏヾ т㘼Ɩᷳዕ⻴๫পᇵᅔɞᮀ਴㘼⊑ΣҚΣপ஁ ⻴ࢍ‫ך‬᪩ᡸଧᇵҙĶ ĴĴᅖᇵᯆБ⡘၄ĵ᧮ĵဥ⇇ĵᶫำӚ║✢ẇ DŽপ⽡㘼ⲱӽᅖᇵƘ⻩᷋ᮀ਴⡁᫐㘼ᷳዕᮀ਴ ៌ ӽࠥপ㘼 ⯝ʛপ⽡⡘ᄾӺᷡপϧ᧞Ӛ⯝ʛ ᧞⽽㘼ⲱӽۨ৑‫ۑ‬ᕦဥ⇇ပẒӚῊ⬆෥Ǘဥ⇇㘼 ⯔ᵼ۸↡⯝ʛǗ։Ķ ĴĴᅖᇵ⽣ህ࿎ဥ⇇ᯆፂӚⴌ㐋ᕠᛋဥপ㘼】 ၟ⢰᷋ဥᅯဥᔔ㘼Ήৱဥপ⡘̏ࠜ㘼Ɩ⡘ṃӺ ᷡ⤅஡㘼Dz⻴๫প᪤⇳⟚㘼ߘ᮰Ωᱮ⤶Ķᐔࠜ㘼 ᢰӞ௟ဥӽȺӚ⊥ဥ⇇✞ပ፯⼭෪প✢‫ۯ‬㇫Ƨ ӽȺ⡁᫐㘼DzΉϧϻ᪩ᵄᄺ⧖ᙁ㘼ᷳዕӗ⊥၄ ҂௟⡘㘼໻਴Ӻふဥ⇇ĵপ✢ӚΤΧᅁѝᕠљĶ ᅖᇵ⡘ᄾӺ⭆ဥ؏ȫ⊥໻௑ӽȺƘ౛㘼ҧчপ ᪤⠦ᓐΩ᪤ᕠĵপዏӚਛዏẇ‫ב‬ア㘼ǎҧч⭆ ਋ҙΠᣡᐩဥ⇇প᪤ᮆ⻇ীĵ঵⃭ĵ⭆਋㘼Dz ⯴Ͼဥ⇇፯ᄺ‫܇‬ẇᮆ᧮ഡ㘼⯴෥Ρᒈဥ⇇ӚῊ ᪤ဥ⇇ᮆᯆፂĶӧࠜ㘼ⲱӽۨ৑⻩᷋ဥ⇇ᮀ਴ ပẒ㘼ః҂Ǘ၄প✢ĵᶫপဥ⇇ĵᩛ߇ဥ⇇Ƨ ᲎ḋ⊥໻௑㘼Ɩⲱӽပச໻љ⧖⡂҂ᵄᄺᶫำ㘼

ĴĴΡ『༖႙✞ပယ⇸㘼✞ပዏѝ⿌∱҂㘼Dz ӚΡᒈ⧖⡂ဥ⇇ࠥ㇮⾢‫ۿ‬ҙସᒈ⿌∱ᅁѝ㘼⯝ ✞ဥপĵ᲎ḋ⊥໻௑ǽѝĶ ĴĴ਴ᅊᅖᇵᅔɞ㘼۸ဥপၥ『㘼਄Ɓၥ『₮ ₹༖႙୒⧖ᾱ⧯Ӛဥপᒢᙅ㘼ᜤ҂প✢᲎ḋチ ᒕ㘼ƖфఃဵӽӺ⽡คᾎ⢰᷋㘼‫ݩ‬ヴဥ⇇ਅዏ ᱮ⇸㙋ӧƁၥ『Ќшт࿟Ήဥপ⡘̏㘼ထ‫׮‬ဥ প᲎ḋᩛ߇㘼Ρ『ৱၨဥѝ✞ပẾ᧮⿌∱҂㘼 Ɩ₮₹໻љۨ⾉প✢ӽȺ㘼ʀ⯝၄҂njᕦĶ ۸প᪤᪤ᕠၥ『㘼ထ‫׮‬᪤ᕠӚȍ⻺⡘ၨ㘼༖႙ ᇵ۫᪤ᕠջ⧯⊥঵Ρ㘼фఃপ᪤⊑ᓽῌ₏㘼ߘ ⯝প᪤⊑෦Ế᧮⇸т㘼ʿ਋প᪤⊑カᅁѝ㘼ヴ ෥প᪤‫ۑ‬ㄟᵄҙĵᵄᄺᮆὫᵟ㘼‫ݩ‬ヴপ᪤ൂᣕ ഖᵼᮆ൞஠Ķ ĴĴᅖᇵᅔɞ਄DzਅὫᮆဥ⇇‫ݪ‬ᴥ㘼㇮ᗝᮆǗ ၄ĵ ║ ✢ প ✢ ᲎ ḋ ⇔ ლ㘼 Dz Ӛ ᧮ পĵ ᶫ ำ ʹ ᶢ ᮆ ਅ ዏ ᾱ ヴ㘼 Ⱆ Ԇ ᄰ ࠟ · ᮆ ᮀ ਴㘼 ۸ ⮜ ໹ ƾҚƁƑᾑԁჀ㘼ᅋԆƁᕦࠥপࡌᮀĶ

Ɓĵ『⊏ᐜӲᮆ⭮້㐋 ဥ⇇প⽡۸ᅖᇵᮀ਴ᮆᐜӲƇ㘼ļΡǗဥ⇇㘼 Ὴ⬆প℺Ľഹ⣯ဥ⇇ᮆਊ⦄ƣႶᑚƁʫǗ㘼Ԇ ɞรᚡ␵⼭⸲ᮆ⠘⋯Ķ⊑ᒈۨ ஁ ᄽ ႁ㘼 ᅖᇵထЃ៌ۨṃ㇮⾢୒ỌࠥপDzɞ㘼۸ఁ΍᪬ ဥ໠ĵⓃ‫ݩ‬ᅰဥ໠ĵᆡ᪤̞ဥ໠㘼DzӚ⽬৚ል ဥ໠ẇᐜǽ⽡⻩ᮆҦ⨫や਋Ӛ̉Ϣ෥ਛƈ㘼ဥ ⇇প⽡ରࡄীƻᾸৱᮆ‫ݪ‬ᴥĶ۸ᦇ఼পᇵဵ㇫ ⟺᫐Ӛᇵѝ✞ပᮆҧчဋຊƈ㘼ᅖ⽡⾉ᐔۨΠ ࠜဥ⇇প✢⊥ৱѝ⥗Ⰼ⮗⯓㘼㇮ẇဥ⇇⊥ਛዏ ସ‫ޔ‬ṑᢰႁ᮰ᜡ៑ᮆ⩀Ѣƈ㘼࡝ȳߘ⯝ᅖ⽡୒ ᪤ԁǙপ⽡⬆៌ᾎคӚপᇵƧ⻼ᮆᙋ⯎ĵҧ⢹ ⊥⭮า஀Ӱ㘼รᚡ␵ऋǢᮆপ✢✞ပ⠘⋯Ķഘ ⾐␵グȠဥপҦ⨫ਅሑᮆ⟺᫐⊥‫✞ݧ‬㘼ᅖᇵဥ ୒⡲৴ƆᾫƆ৴Ѓᮆ␢ৱ㘼প⽡ᮆ⠘⋯‫ۿ‬ȫ਄ ⩀៌ӹⴌĶˑᐔᇵΠࠜဥ⇇᪤൞Ɛ⥗ᮆഃѢƈ㘼 ဥ⇇প⽡Ƴljరᄾค⊥⢹ဵ㘼Ɗ̬۸ᖐዕƇᄾ คභ⥗㘼ᄰᅌర۸ᷳዕƇ⇸ᦇ⊗ᒤ₹ ᡿ᮆ෥ ယ㘼਴᧧ᅖ⽡ႀᄾᮆṑᢰʹѢĶ ƾĵ‫ࠟ⇇ݩ‬ፉᱮ⤶ନȺⅢᮆཅἣ ᎘⟽ᅖ⽡ᾎคਅ⻩ᣡ⋯⊥ᅖᇵᮀ਴⟺᫐㘼DzӚ ค『⊏ࠜ۸ṑᢰቂǻᮆ⡲ș㘼۸ᐔ༖ϢļΡǗ ဥ⇇㘼Ὴ⬆প℺ ਴᧧ࠟፉǗт‫⇇ݩ‬ᮆʹѢĽ㘼 Ⱥ៌ʫǗ⌼ᄾ፯ᄺ ᡿ဥ⇇প⽡ƧカლƠ⬮Ӛ Ẓᫍ⟺᫐ᮆɰ࿎Ķ ႶǗǗဥ⇇㘸)HYGEXMSR JSV EPP㘹㘼ᖧ⒅ᑚƁʫ ㇫⊥ᣡᐩਊ⦄㘼ుপᇵᮆপ㑫ঠṋĵ↡‫ޔ‬ᮆନ ȺⅢĵϾ৑஦ᮆ㇮㑫Ⅲ㘼ƊẾႶƁ⊾প℺Ⅲ෪ ᣡᐩপ℺Ⅲ㘼Ɗ⣋Ⴖপᇵဥ⇇ĵ෥Ǘဥ⇇෪ᣡ ᐩဥ⇇Ķ۸ဥ⇇Π৓ЌႶѵ๵Ҟপĵਛዏĵջ

ለ⽯σĵ᪤ᕠⰁභĵ᪤ᖣᮀ਴ĵ↡ዏჄҞ⊥⭮ ༟ẇƊԁ⿏ᒪ㘼෥៌᧧ǰΤᒈĵᱮ⤶ନȺⅢ⊥ ⼭ෑ௿Ѣẇค⿏ᮆࠟፉপ℺Π৓㘼⣧࡝㇫⇇ĵ ಝϹĵ⧖⡂ĵ⭆਋⣝‫׋‬㘼DzӚᣡᐩਊ⦄Ƨ⢤⠼ Ӛ↤тᓽ᭞⊥ై˯ẇĶΡǗဥ⇇ᮆ␢ৱ㘼Ќᄾ ⧶Ὴ⬆㘼۸ṱӽ⊑カĵ͑ˑĵ⢚ᱮӚഴ೘ẇභ ᠒⊥ৱ᠒ᮆቂǻƈ㘼⥜ᑚʫǗⱪႶ Ɔĵ ⯬᪩ဵӽ‫ܪ‬᲎ḋሑᮆ⯝✞⊥ᮀ✮㘼ߘф୒ ᪤᲎ḋ⧖ᙁӚӗ⊥ᮆ፯ᄺ ဥ⇇প✢⊥ৱѝ᲎ḋ㘼Ɗ̬Ⴖᅖ⽡ሄ౛ṑᢰт ค۸㘼ƳႶʀ⯝୒᪤ਅዏӚ↡ᖣᮀ਴㘼ߘ⼲ࠟ ၥ⧖ᙁᮆ౜⟳⯉హĶ⽣ƻグȠဥপҦ⨫ᐔਅሑ ⧋ࠜ㘼ᯆБۨᶫᮆɞᙁ؏ȫ㘼ᦚⱪ㐮ѭဵӽ ‫ܪ‬᲎ḋሑᮆ༖Ϣ㘼ᅖ⽡ᐓӯᮀ༮۸ဥ⇇や‫ݔ‬ᮆ ʹѢĶΪ㇫Ⱥᔔ࡝ƈ㙊 ⢹ᇔƖ᱉⠦Ӻᾎคဥ୒۸Ω᲎ḋӚৱѝや‫ݔ‬㘼 ค⼭౛෪൅⊦⨽ᮆ⥇アၥԆ⊥Π৓㘼Ⱥ៌ᅖ⽡ Ⱅ⾤ဥ୒᲎࿘ဵӽ‫ܪ‬⡁᫐ሑ⊥࢖⡌ሑᮆӗⲰĶ ᐝᾞᾎคဥ୒ᄾഹカӗ⊥ᮆ⥇ア㘼Dz஁஠ۨ ᶫᄺဵӽ‫ܪ‬᲎ḋሑᮆ༖Ϣ៌ʹΌȺᔔ㘼Ӛႄᙅ ̏Dzః҂⡁᫐ሑᮆΠ৓⊥⯎⯮ᦚĶ ΐӽᾎคဥ୒ᄾഹカӗ⊥ᮆ⥇ア㘼Ήϧ⼭ᔣ Ƙࠫဥ⇇ĵΠပĵ ᜷ⱙ㙋၄௟ᄺĵ々⭆ᄺẇ ᯏ⼭ⱙᄺ㘼‫ۿ‬ၥဥ⇇ĵᵄᄺĵᒈပĵၟ↖ẇᮆ ࢖⡌᲎ḋሑ㘼㐮ѭ ᪲Τ⻴ṑፂ㘼ljт៌୒᪤ ᢰӞ᲎ḋ⧖ᙁĶ ௝ȝᅖ⽡ဥ୒۸ဵӽ‫ܪ‬᲎ḋሑᮆᙅ̏ʹѢ㘼 Ơљ⭮ᱮƖҧчʫϹဥ୒۸ʫϹ‫ܪ‬⡁᫐ሑᮆ᪴ ⣃㘼DzӚʫϹ࢖⡌ሑᮆṑፂӞ఼Ό፯㘼༖㇮⯎ ⯮ᦚӚӟ࢖⡌ᦚĶ

‫ۏ‬ĵ ௟ṃᇵӛ↚₠Ӛǂљ‗῟㘼⻴ᮀဥ⇇⧖ᙁ ӚΩΧǐယ᮰ ᅖ⽡Ӻᾎคᐓ⟺᧞Ӛ⯝ʛ᧞᫊ΐዏᮆᇵӛ㘼Ⴖ ӯα⻴ᮀ⊥⯬᪩ᮆ⥻৞ǗтӚဥ⇇⧖ᙁ㘼࡝ᆥ ⇸фDz⯗ΐƖ௟ṃ‫‫‬৚ᮆǂљ‗῟㘼਄ᄾчၧ ᅖ⽡୒᪤Ӛᇵӛᮆ⧖ᙁΧǐ㘼ᮀ༮ࠟ⨉ᮆယ᮰Ķ Ϊ㇫Ⱥᔔ࡝ƈ㙊 ҧԁᾎคဵ᧮ᐜ஁ɞᅖ⽡Ӻグ᧞Ꮴ⿏ᮆƊԁ⧖ ᙁ㘼⽓Ȭপ᪤ྋᾳӚ↚₠ᮆ⾊Ɗԁ᪦পӽȺᯆ ፂਊ⦄ᮆⴌ㐋Ẓᫍ㘼ః҂Ɗԁᾎค۸Ƙ਌পᇵĵ ပசⱙ⻮ĵ᡿ϻⱙ⻮Ӛ》᡿ϻⱙ⻮ẇใ⧖ယ᮰Ķ ߘ⯝ᅖ⽡ᾎค⊥ᶣⱙ⻮᡿ϻƽዏᮆ⧖ᙁΧǐĵ Ẓᫍ↚ᮻ⊥ဥ⇇᪦ջᮆ᲎ᮀ㘼ΎᅁԆɞ˟ⴌΤ ⱙ⻮⊥ṵƆⱙ⻮ǂљᮆɸ⽖㘼⻴๫۸ዏᫀǗт ‫ݩ‬⡉ĵ⢰᷋᲎ᮀĵপ℺⣝⡻ĵপ℺⾊ᴬ⡞ၣĵ ‗⩷Ӛ⯼⩨෪⾄Ḏপ℺ẇ᪦ዏӽȺᮆ‫׋‬፯㘼ԁ Ⴠ⻴ᮀ୒᪤۸᪦ዏᫀᮆ⥻৞⧖ᙁĶ Υĵфఃᅖ⽡⊥ΤᶣӚṵƆⱙ⻮ᮆҧԁӽȺ㘼 ⻴ᮀ᪦পӽȺᮆᛓ۸ယ᮰ ۸ ;83 ᮆ⟺Ọƈ㘼㇮Ƙ↡DzƇᮆဥ⇇❜⟽៌ ᅁѝ᪦ዏ㘼੃ၧସ‫⻴ޔ‬နӚṑᢰᮆ᪦ዏƁⱙϧĶ ‫ۓ‬ᐔ㘼⽣ƻຊ₹༖ҞᅖᇵӚဥ⇇প⽡۸ସ‫ޔ‬Ƈ ᮆṑᢰт㘼࿟Ήۨ⾉প᪤ɞᙁĵߘф߇ࠜ⻴᧞ ⊥প✢njᕦࠜ㘼ᅖ⽡භ⯆⯮⯝ʛӚ໻௑ဥ⇇⊥ ᅁѝ㘼DzӚ᲎ḋᮀ਴ẇ᪦পӽȺ⯉హ㘼⯇ᐕᮀ ༮ဥ⇇᪦ዏᮆᛓ۸ယ᮰ĶΪ㇫Ⱥᔔ࡝ƈ㙊

ҧԁᅖᇵ⇇෥Ƙ౛㘼ၒⲰᅖ⽡ᾎคᮆᣡ ⧯⊥ʹѢ㘼ɰΤᶣӚṵƆⱙ⻮ẇϧグ㘼⢹ᇔĵ ϧᆛƖ⡲șᯆБӯ⧖᪦পӽȺᮆᛓ۸ਊ⦄㘼୹ чᾎคĵӽȺਊ⦄⊥⇇෥Ƙ౛἟⠽ӽȺҧ⥇㘼

ࡄী᪦পӽȺᮆᄾϻ‫ݪ‬ᴥĶ 㐮ѭᅖ⽡ᾎคфః⊥ဥ⇇᪦ዏᫀᮆ ୘ಝ⊥ ƊীᅌƧ⡂೐njᕦӚȓț⼭ɿᮀ਴㘼ԁჀᮀ༮ প⽡஀Ӱᮆ⠘⋯у⇸㘼╃᪲প✢ᕠљ⨇чĵӽ ⮋෪ҧ⮋㙋ဥ୒ਅア෪࢖⡌᲎ḋĵ෪࿉ǽ⣝⡻ ⊥シ‫ב‬ẇ⠘⋯㙋প᪤ӗ⡖ĵৱ℺⊥᲎ḋẇࠟ· Ế⯳㘼ຊ₹ᮀ਴⊥Ɗԁⱙ⻮ᮆ⋭ࡘ⼭ɿĶ ⴙਊᅖ⽡ᾎคਅ⻩੃ಝ⊥ᮀ਴ᣡ⋯㘼ҙ⾄⊥ Ɗԁⱙ⻮ᮆӽȺ ㇀㘼DzӚ⧖ᙁϧⲱࠟ৬㘼࿘ ীƊԁ᪦পӽȺᯆፂਊ⦄ᮆⴌ㐋Ẓᫍ㘼ః҂Ɗ ԁᾎค۸Ƙ਌পᇵĵပசⱙ⻮ĵ᡿ϻⱙ⻮Ӛ》 ᡿ϻⱙ⻮ẇใ⧖ယ᮰Ķ ߘ⯝ᅖ⽡ᾎค⊥ᶣⱙ⻮᡿ϻƽዏᮆ⧖ᙁΧǐĵ Ẓᫍ↚ᮻ⊥ဥ⇇᪦ջᮆ᲎ᮀ㘼ΎᅁԆɞ˟ⴌΤ ⱙ⻮⊥ṵƆⱙ⻮ǂљᮆɸ⽖㘼⻴๫۸ዏᫀǗт ‫ݩ‬⡉ĵ⢰᷋᲎ᮀĵপ℺⣝⡻ĵপ℺⾊ᴬ⡞ၣĵ ‗⩷Ӛ⯼⩨෪⾄Ḏপ℺ẇ᪦ዏӽȺᮆ‫׋‬፯㘼ԁ Ⴠ⻴ᮀ୒᪤۸᪦ዏᫀᮆ⥻৞⧖ᙁĶ ༖㇮ᅖ⽡ҧчᾎค۸ဥ⇇ƽዏ⊥Ɗԁⱙ⻮᪦ পӽȺᮆӗ⊥Χ⤶ӚΪ㇫෥ယ㘼ߘ⼲୒᪤⊥✞ ပԁǙ۸᲎ḋᮀ਴ĵৱ℺ਛዏĵ↡‫⊥ޔ‬᪤ᖣ⭮ ༟ẇẾ⯳㘼ʀ⯝Ǘฎ⊥⧖ᙁᮆᄾယᕦ⯎㘼࿟ࠥ ᅖ⽡۸ဥ⇇᪦ዏᮆใΟ⁾ယĶ

ህ࿎DzƇᅖᾎᮀ਴ᯆፂՖᣡ⋯㘼۸ဥপḎ⻼⟺ гƇ⽣Ɓ⊾Ӛ⡘⡁ਅዏဥ৅ƾĵƆĵ‫஁ۏ‬ᾫƁ ⻼ΧƆ⻼㘼ᯆБᄾƾ⻼㘼ӧ⟺г⡘⃭⿌∱‫ݪ‬ᅖ ⭆ч⡘⡁ဥ৅ĵఢ̴ᠲႠৱ㇀৅ĵǗ፯ᫀ『ৱ ㇀৅ĵ᪦ջ⻴ᮀৱ㇀৅ĵǂљ▪࿘ৱ߇ৱ㇀৅ĵ ӽৱ℺ନ௎ĵ⭡ϢƘ౛㘸ରἩ⡘ⱙϧ㘹㙊 ⿌∱‫ݪ‬ᅖ⭆ч⡘⡁ဥ৅ Ơ⟳Ⴖⲱӽ᪦ዏӚ⧖⡂ᶫำᮆᮀ਴㘼Ӛਊ⡘⡁ ۸⯓஠⊥Ὣ஠ẇယᦚƇᮆ‫ݪ‬ᅖ⟳ᒪ㘼ᯆᮆ۸ф ఃপ᪤‫ݪ‬ᅖ⿌∱⭆ч₟‫ۮ‬Ӛ⡘⡁ၥ『⇸тᮆ‫ݩ‬ ヴ㘼ᅖৱ㇀৅ⲱ⃭⿌∱⬝Ჽ㇫ẇဥপ⡘̏Ķ

ఢ̴ᠲႠৱ㇀৅ Ơ⟳ⲱӽপ᪤⡘⡁ဥপƇ࡝ȳӞ఼ᄸɋ҂ᮆఢ ̴ယᆥ㘼Dzߘ⯝⡘⡁✮᧧ᮆ⇸т㘼⯝Ⅶӯࡄী প᪤⟽⠓⡘⡁఼‫ݪ‬ᴥ㘼ƖӯⲱӽᠲႠ⡘̏ᮆৱ ㇀ӯᮀ਴ᠲႠ⡘⡁ᮆਅዏや‫ݔ‬㘼۸ᯏ⼭᲎ḋƇ Ƴᄺᄾ୹чĶ

ӽৱ℺ନ௎ ᯆБᅖ⽡ྻᄾDzƈৱ℺ନ௎㘼ΩƘ‫≘ޥ‬ନ௎៌ ᅖᾎคྻᄾ㘼Ωヾᮇᐝନዏဥ⇇পᾎẾ᧮㘼ନ ዏ⡘⡁୒⽣ƻDzƇ᧧ǰ҂ᮆ⡘̏⿏ᒪࠜ㘼̞Ῥ ญନፈ‫➓ܪ‬ഹ᪦ዏᮀ਴㘼คDzΐӽ‫ۿ‬ၥᮆᣡ⋯ ۸ᅓṓՖ⽯᪉ନ‫܉‬ᮆ⿏ᒪƳႶ౜⟳ᮆĶ ᅓṓନ ‫੃ⴐ ޔ‬ନ‫⽯ ޔ‬᪉ନ‫≘ޥ ޔ‬ନ‫ޔ‬㘼ⲱӽ ᪦ջ⻴ᮀᕦ᷋ᮆ⿏⟳㘼фః⊥⡘⡁ᄾ⼭ᮆ̞Ῥ ௪⊥᧧ǰ҂⾴ⴌᮆ➓⯔⢰᷋ဥপ㘼‫ݩ‬ヴপ᪤ਊ ନዏᅯ၍ĵфନ፯ΪӚ➓⯔ᕦ᷋⊥ၥᔔᮆဵ㇫ ⢚⤶㘼ʥ⇸ుƽӽ᧮Ӛᄸɋ҂ᮆ⡘⡁Ķ⽣ᐔƧ ࠜ㘼ᅖᾎ਄ᄰᷳዕᮀ਴᪦ջ⻴ᮀǗฎᮆ‫⇇ݩ‬㘼 Ɩфఃۨ⾉প⾉⻼প✢ᮆnjᕦӽȺĶ

Department

প✢؏ȫ Ɓĵপᇵীȫ DzΡǗᮀ਴៌‫ݪ‬ᱹ㘼‫⇇ݩ‬ ʹ⧯ဥ୒⊥ᵄᄺࠟ·ਅዏǗฎᮆὫ⁌‫ࠥܪ‬ পĶ ƾĵᅔɞカლ㙊ᮀ਴㇮⾢୒Ọࠥপ෥៌Ɓ คপ✢᲎ḋ⊥Ҧ⨫ဥপάシ㘼ᶫ⾉ဵӽ⊥ ࠟ·Шၟᮆᣡ⋯‫ࠥ⧯ʹܪ‬পƖᷳዕ ⰖԆҦ ⨫Ķ Ɔĵᮀ਴љ⇸㙊 DzļᕠтĽ៌ⁱ⬮㘼Dzļᙗ ㄽĽĵļဵӽĽĵļШၟĽ៌፹⬮㘼Ⱥ៌ ʀ⯝㇮⾢୒ࠥᒤ₹ᮀ਴ᮆљ⇸㘼Ɩ‫⯔ ޥ‬ ㇮୒ࠥʹ⧯⊥Ҧ⨫గ⦄Ķ প ᇵ ⡘ ᄾ ⡉਋ ▧ Ῥ Ἡপ ᪤ ⡉਋ନ Ⱥ Ⴖ ෦ ۨ ဥ ⇇ Ѓ ஠ ᮆ Ɓ ࠥ ᣡ ⋯Ķ ᅖ ᇵ ၧ ᒈ ۨ DŽҚΥ஁ШᇵჀǎ⡘ᄾ⡉਋▧ ⭩Ɔῌ ᪤ ᕠ⭆਋ῌĵ⢰ࠜຍ਋ᕠљῌĵ㇫⇇✨᪤ῌĶ షɞ ᪲ၧନȺ⿏⟳ ㇫⇇✨᪤ῌϧ⻴Ӻ⊑ ⡘ῌ ෥៌㇫⇇ῌӚ✨᪤ʕ˯ῌĶαష⡉਋ ▧Ә਄⬑⡉৅ᾞΟ ⡉਋▧ᮆῌ₏㇫ᾎ⯧෥ ៌‫ۏ‬ῌƁ৅ Ҷ᪤ᕠ⭆਋ῌĵ⢰ࠜᕠљຍ਋ ῌĵ㇫⇇ῌĵ✨᪤ʕ˯ῌĵ⬑⡉৅Ķ⮫⊖ ᒈۨΣҚƆ஁ ៌Պභဥ⇇ထ】 ⡉਋▧ᄰ Ԃ៌ļপ᪤ƽѝ▧ĽἌᷤļপѝ▧Ľ ㇫⇇ ῌᄰԂ៌㇫⇇৅Ɩ⊥⬑⡉৅ϧϹӺ⊑෥៌ পᇵƁᾫ؏ȫ Ɗαѵԗၧļপ᪤ƽѝ▧Ľ ƧΠĶ

ନዏ⡘⡁পᾎ Department of Industrial Design

College of Education ဥ⇇প⽡ ဥ⇇পᾎ ㇫⇇পᾎ ᣡᐩဥ⇇ᾎ ƽዏ ᡿পᾎ ෥Ǘဥ⇇᲎ḋค ⧖⡂ဥ⇇᲎ḋค ಝϹဥ⇇᲎ḋค Ǘт⊥ᱮ⤶Ế᧮᲎ḋค ⣝‫׋‬౛᧮⊥ై˯⣝‫׋‬᲎ḋค ↤т⊥⢤⠼ᓽ᭞᲎ḋค

ᶫำপ⽡ College of Technology ᶫำপ⽡㘸Dzƈᷤᅖপ⽡㘹ၧ ஁ ᄽ ႁ෥ṃ⡘ၧᡸଧᇵҙ㘼෥ṃƧϵ᪲ဥ⇇প ⽡ᆡ᪤̞⽡⻩άǽᅖপ⽡⽡⻩Ķԁ஁ ᄽ ႁɰ࿎ļᶫำপ⽡⽡⻩ⰉⰍ⮋ᔔĽⰉ┨ᅖপ⽡ ⽡⻩㘼ডǷੇဥ໠៌ၟǽ⽡⻩Ķԁ஁ ᄽ ႁဥ⇇ⱙƘဥӵᅭ᠒‫ޏ‬ӵ⻩ĵᇵ⻩෾ًҨҩࠉ ④⊏ᡸଧᇵҙ៌ᅖপ⽡༭ᣄ Ɩ⊧✞ᅖপ⽡ၟ⊨ ǽ⽡⻩nj໹Ķ ஁ ᄽ ႁড⽡⻩Ƿੇᦇ ఼⯗ǽ⊖ ஁ ᄽ ႁҹǽ㘼 ஁ ᄽ ႁⰶ㌚㏧ဥ໠໹ǽᅖপ⽡⽡⻩⊖ ஁ ᄽ ႁҹǽ㘼 ஁ ᄽ ႁᆡ㌚⶗ဥ໠໹ ǽᅖপ⽡ṵ‫ۏ‬਩⽡⻩Ķ

၄প⽡ Ĵ College of Humanities

᧮প⽡Ĵ College of Science

ۨ၄পᾎ

္পᾎ

⍆⢤পᾎ ‫᧮ۿ‬পᾎ

҂পᾎ ᣕ᧮ᾎ

⏮⢤၄ဥপ᲎ḋค ⊛វᐜӲ၄҂Ӛ⢤⠼᲎ḋค প᲎ḋค

᪤ᣕᶫำᾎ ᶫপဥ⇇᲎ḋค ᩛ߇ဥ⇇᲎ḋค

ৃ৑၄҂᲎ḋค

║✢প⽡ College of Arts

ᶫำপ⽡ College of Technology

でጱপᾎ ℅✢পᾎ

ନዏ⡘⡁পᾎ ନዏᶫำဥ⇇পᾎ

⟽⠓⡘⡁পᾎ ⩱や‫✢║ݔ‬᲎ḋค

⿌এନ᷋পᾎ ⬝㇫ନ᷋ᾎ ΍⿌⊥⯎⡂ନ᷋পᾎ

၄প⽡ Ĵ College of Humanities ဥ⇇ᯆፂ Ɓĵ‫ݩ‬ヴপ᪤ΪᄾᗝӉᮆᶫำਅዏᱮ⇸Ķ ƾĵ‫ݩ‬ヴপ᪤⇸ᄾ⩱や‫ݔ‬ᮆಕⅠ⇸т㘼ဵӽǗ ၄⊥ᶫำᮆᾱヴĶ Ɔĵфః⊥ۨ⾉໹⬐㘼‫ݩ‬ヴপ᪤ᮆۨ⾉ṑᢰт ⊥হ⠗⟽ⴍĶ ‫ۏ‬ĵ‫ݩ‬ヴপ᪤⊑Ơপ℺⇸т㘼⇸Ὴ⬆প℺Ķ ᅖপ⽡ᣡ⋯ Ɓĵ᡿⯔ࠟ·҂ᮆপ℺や‫ݔ‬ ƾĵ‫ݩ‬ヴဵӽಝᮆ㇮ᶫำǗฎ Ɔĵ୒⧖஁⭇㘼᲎ḋ⇸ⴎ㇮㘼৞ᄾဥপᡝ౷ ‫ۏ‬ĵῌ₏ᒕᒐՖ⣙㘼៌୒᪤༖ɮʹ⧯ᮆဥপĵ ᲎ḋĵӚপ℺ഃ߇ DŽĵҨӰវᮆᶫำ᪦ዏᐓ౳⯓ᮀ਴㘼༖ɮƻ⥻ Ӊᮆ᪦ዏ⧖ᙁ⊥᪦পӽȺ፯ᄺĶ ᅔɞᮀ਴ⴌ㐋 ဵӽᾎค⢰᷋ĵ୒⧖ĵḎ⻼ĵӚ⡘̏㘼᲎⠽Ϊ ᄾṑᢰтᮆ⩱ᾎคপ᷋㘼ⲱӽপᇵ㘼໻љ⾴প ȫnjᕦ⡁᫐Ķ 㘸 㘹Ӻᾎคϻ᪩পᇵ 1&3 ⧋㘼௟ṃ⩱や‫ݔ‬ ᲎ᮀ஀Ӱ㘼‫⩱✞ݧ‬や‫ݔ‬⡁᫐㘼༖Ϣ᲎ḋၥԆ 㘸 㘹фః᲎ḋ⇸тĵဵӽ୒⧖㘼⻴⡘প⽡ҩࠉ ᧞প᷋㘸⡘ṃ⿌এῌĵ΍⿌ῌ㘹㘼ဵɍ⬝ନᾎ ⊥⧖ဥคĶ 㘸 㘹⊦௟ᶫำƾㄇDz‫ۓ‬භDŽᾎ⧖ᙁဵɍĵҩࠉ ᧞প᷋⊥᲎ᮀ஀Ӱ௟ṃẇḎ⻼ĵ⡘̏Ƨ⿏ᒪĶ 㘸 㘹↚ӽӺਅዏ⇸тĵ⡘̏⧖ᙁ㘼Χԁᮀ਴΍ ⿌ĵ⿌এĵ၄҂Шഹ᪦ዏĵ⬝㇫ẇ᪦পӽȺ㘼 ‫ݩ‬⡉প᪤Ɩ⊥᪦ዏΤӵĵ۫ҙপ✢njᕦӽȺĶ

ᅖᇵ‫ۓ‬භۨ৑௟⡘㘼ⲱӽჀǰ⿏ᒪ㘼 ஁ ᄽ෥ṃǗ၄ဥ⇇প⽡㘼DzῬἩᇵΠᄾ⼭ Ǘ၄ဥ⇇Ƨဥপĵ᲎ḋĵᅁѝӚ໻௑ဥ⇇ନ Ⱥ㘼 ஁ ᄽထԂ៌၄প⽡Ķᐜǽ⽡⻩៌ භ❵யҩࠉ㘸 b 㘹㘼Ի▢ᆡҩࠉ 㘸 b 㘹㘼࠵ҩࠉ㘸 b 㘹㘼 ԝ⯗⧤ҩࠉ㘸 b 㘹㘼௄ᅖᨦҩࠉ

b 㘼ԝ⯗⧤ҩࠉ㘸 b ǰ᧮㘹㘼ఁᦜᦳҩࠉ b 㘼᧧ǽ ⽡⻩᪲㑘ࠉયဥ໠࿉ǽ b Ķ ᅖᇵDzⰖԆҦ⨫៌ຍፂ㘼៌ⲱӽΩǦপ⽡⊥✞ ပ؏ȫƧပẒ㘼ᅖপ⽡⦴ᄾ⽯σΡᇵ୒᪤Ǘ၄ ᾱヴƧⴌ⦿ࠥǽĶਊᗿⱪ㇮⾢ࠥⱪᄺӚҨⱙ‫ۿ‬ ҙ㘼⦴ᄾ໻௑ᅁѝĵᮀ༞Ǘ၄ὫᵟᮆɗՋĶ

ᅖ⽡᧧ᄾƆᾎƃค㙊ۨ၄পᾎ㘸⡘ᄾ᳦ࠉĵҩ ࠉ᧞㘹ĵ⍆⢤পᾎ㘸⡘ᄾ᳦ࠉĵҩࠉ᧞㘹ĵ‫ۿ‬ ᧮পᾎ㘸⡘ᄾ᳦ࠉĵҩࠉ᧞㘹ĵӰវᐜӲ၄҂ Ӛ⢤⠼᲎ḋคĵ⏮⢤၄ဥপ᲎ḋคĵ প᲎ḋ คĵৃ৑၄҂᲎ḋคẇ㘼္Қ஁ɞ㘼ᅖ⽡᠇⣋ ႁࠠৣჲ㘼ࢍῊ௸ᐃƊ⭐㘼ର෥៌Ҩⱙ‫ۿ‬ҙ‫ݩ‬ ⇇Ǘ၄পᶫǗฎᮆⴌ⹜Ķ ⲱӽপᇵᮀ਴៌ ӽࠥপᮆカლ㘼ᶫำপ⽡ῌ ӽନዏᶫำဥ⇇ĵନዏ⡘⡁ĵ΍⿌⊥⯎⡂ନ᷋ĵ ⿌এନ᷋ĵ⬝㇫ନ᷋ẇDŽʫপᾎ㘼⡽‫⻴ۮ‬๫》 ୒⧖‫⇇ݩ‬ᮆ᲎ḋ⊥ဥপや‫ݔ‬Ķᶫำপ⽡਄⊗т ၧ⟺гĵ⻴⡘⩱ᾎคপ᷋㘼៌প᪤༖ɮࠟ·҂ ᮆপ℺や‫ݔ‬Ķ ԁჀ㘼ᷳዕ⊥ȁዏ፯ጐĵ↡ዏ⡉⁇Ƙ౛௟ṃӽ Ⱥ⼭ɿ㘼ః҂প᪤⯝Ο↡ዏସ‫ޔ‬ᮆṑᢰт㘼Ɩ ๫਴ۨ⾉njᕦẾ⯳㘼௟ṃপ᪤⥭⯴ᮆƑᫀ⠗Ķ ᶫำপ⽡⭩ᄾନዏᶫำဥ⇇পᾎ ԗ᳦ĵҩࠉ ᧞ ĵନዏ⡘⡁পᾎ ԗ᳦ࠉ᧞ ĵ΍⿌⊥⯎⡂ ନ᷋প ԗ᳦ࠉ᧞ ĵ⿌এନ᷋পᾎ ԗ᳦ࠉ᧞ ĵ ⬝㇫ନ᷋পᾎẇDŽʫপᾎ㘼⻴๫》୒⧖‫⇇ݩ‬ᮆ ᲎ḋ⊥ဥপや‫ݔ‬㘼៌୒᪤༖ɮ୒⧖‫⇇ݩ‬Dzࠜᮆ ᲎ḋĵဥপĵӚপ℺Ọ᫞Ķ

ĴĴⲱӽဥ⇇ⱙ୒Ọপᇵᶫᾎ⭮‫ܪ‬ӚⰖԆ ӽ ࠥপᮆပẒ㘼ᅖᾎၧ প஁஠⻴ࢍ㘼᪲Ӎନዏ ဥ⇇পᾎϧϢ㘼෥ṃļභ᪩⡘⡁পᾎĽ㘼Ɩ⻴ ࢍ๲ဎṵƁ਩প᪤Ķ៌Ⴀᳯడセᅖᾎဥ⇇ᯆፂ ⊥ᳯṃᮀ਴ၥԆ㘼 ⣝⡻ᯏ⼭ਅ৑⊥পⅢ㘼༖ ϢᾎคᄰԂƧ௟⥇㘼Ɩၧ প஁஠ᐓ௪ᄰԂ៌ ļନዏ⡘⡁পᾎĽĶ ĴĴᅖᾎ‫ۓ‬භۨ৑ဥ⇇ĵ ᜷ပẒၥԆ㘼༖႙ ۨǗဥ⇇਽ᾫ㘸‫ۑ‬ᕦဥ⇇ĵǗтфˑĵ᪦পࠤ ț⼭ɿ㘹㘼௝ȝ㇮ẇဥ⇇Ế⯳㘼Dz༖Ҟ᫊ዏ᪤ ෪࠭ዏⅢਅዏ↡⇸ᮀ਴㘼Ɩ៌ః҂ᅖᾎƧ᲎ḋ ⇸ⴎƖ༖ɮপ᪤⯝ʛẾ⯳ĵ⊥ⲱӽ㇮㇮ਰҙ‫ݔ‬ ಝШഹ⡘⡁᪦ዏƧᮀ਴Ӛۨ৑ ⧏ᮀ਴Ƨ⿏ ᒪ㘼ᅖᾎၧ প஁஠෥ṃļନዏ⡘⡁᲎ḋค᳦ ࠉ᧞Ľ㘼Dz‫ݩ‬ヴ㇮ᾫ⡘⡁Ǘฎ៌ⴌ㐋Ķ ĴĴӧƁၥ『㘼⮝஁ပச਄ļ၄҂Шഹ᪦ዏĽ ϳ៌ۨ৑ⴌ㐋ᮀ਴⡁᫐㘼᠒ⅦᅖᇵƖ᠇ਅ⻮Ш ഹ᪦ዏᾎค㘼Ȧ᧧ᄾᾎคЌϧϹ⻴ᄾᯏ⼭⢰᷋㘼 ៌⇸ဵӽ⧖ᙁ༖ɮ㇮ਰ‫ۿ‬ҙᯏ⼭ᶫᾎ⊥や‫ ݔ‬၄ ҂ƽዏĵନ║ĵ⯔గ║✢ĵନዏ⡘⡁ĵ⟽⠓⡘ ⡁ĵ ᡿Ế᧮ẇ Ǘтфˑᮆ⯝ʛẾ⯳㘼ᅖᾎ ↚ӽ⟽⠓⡘⡁ᾎĵ‫᧮ۿ‬ᾎ⊥ƽዏ ᡿ᾎẇᾎค㘼 ༖Ϣļ၄҂Шഹ⡘⡁᳦ࠉপȫপ᷋Ľ۸↡ਅ᧞ Ƨ᪴⣃㘼Ɩ ဥ⇇ⱙሄϋၧ প஁஠⻴ࢍ๲ ဎṵƁ਩প᪤㘼ᅌ⯆⯮᪦াপӽȺ⊥ᮀ਴㘼Dz ៌၄Ш᪦ዏᮀ਴Ƨషᯔ㘼⯴ϾḓᲤ၄҂ᮀ਴Ӛ ᜷⻴ᮀᮆ᪈゗㘼༖Ҟۨ৑ṑᢰтĶ ᅖᾎƧ⢰᷋⟺г⽣ṱӽဥ⇇ⱙむ⠽Ƨဥ⇇⢰᷋ ፂᙅࠜ㘼ਊপ᪤ਅዏဥ⇇ヴ෥⡉⁇ᮆᯆፂ㘼Dz ෥៌ਅዏ⡘⡁୒คභ⢆Ϊ̏Ƨਅዏᱮ⤶៌Ω⢰ ᷋঵໩ၥⴙĶƖфఃপ᪤᪦ջ➓⯔Ӛ✞⶯ၥ『 ᮆ⇸т㘼௟ጐ⡘⡁➓⯔⊥✞⶯Ɓ⦾ĵ᪦ջ⡘⡁ ⊥⻴ᮀဵӽ㘼᧮⣋⊥ৱѝƖⴌᮆᶫᾎᣡ⋯Ķ

ĴĴপࠉ᧞ဥ⇇ᯆፂ㙊‫ݩ‬ヴਅዏᮆ᪦ջ⡘⡁୒ ‫ݩ‬ヴΪ᪦ջ⻴ᮀȁг⇸тᮆ⡘⡁୒ሄ౛⇸т㙊 ⡘⡁‫ݪ‬ᴥᱮ⤶ Ϊ̏⡘⡁ᮆ‫ݪ‬ᅖᖧヴĶ Ϊ̏℅পᮆ‫ݪ‬ᅖᖧヴĶ Ϊ̏⡘⡁ᯏ⼭ᮆᱮ⤶Ķ ‫׋‬ջ⡘⡁⇸т Ϊ̏‫׋‬ջȁ᫐⊥ϧᆛᮆ⇸тĶ Ϊ̏‫✞ݧ‬⡘⡁ᮆ⇸тĶ Ϊ̏‫׋‬ջ҂ᮆ⇸тĶ ္ȫ⡘⡁⇸т Ϊ္̏ȫ⡘⡁ᮆ‫ݪ‬ᅖዜ౺Ķ Ϊ̏ ( ⊥ ( ⿌∱₟‫ۮ‬ᮆ⇸тĶ Ϊ္̏ȫ⡘⡁ဵӽᮆ⇸тĶ ⟽⠓⡘⡁⇸т Ϊ̏‫ݪ‬ᅖ₟‫ۮ‬ᮆ⇸тĶ Ϊ̏‫ۮ‬၄⡘⡁ᮆ⇸тĶ Ϊ̏ࠟऋᅯဵӽᮆ⇸т Ķ ନ᷋ำ✢⇸т Ϊ̏➓‫ۮ⤶⊥ۮ‬ᮆ⇸тĶ Ϊ̏ᅯ၍⊥фନᮆᱮ⤶Ķ Ϊ̏ဵӽ➓⯔ᮆ⇸тĶ ਅዏ⡘⡁⇸т Ϊ̏ৱѝ⡘⡁ᮆ⇸тĶ Ϊ̏⩱や‫ဵݔ‬ӽᮆ⇸тĶ Ϊ̏➓⯔ဵӽᮆ⇸тĶ ᯆБՖᅔɞ᲎ḋဥপ⡘̏⟺г㙊

Ǘ፯ᫀ『ৱ㇀৅ Ơ⟳Ⴖфఃপ᪤۸ుƽ⡘⡁ᕠљჀ㘼࡝ȳභ᪩ Ǘ፯Ƨ⻼৚Ϩΐӽᮆ⼭ɿ⯝✞ᄸɋ҂ᮆ⡘⡁㘼 প᪤ӯDz ᪲ৱ㇀ᮆၥ௪఼Ͼƻ⠦Ֆභ᪩㘼ᯏ ਊဥ୒ƳӯDzࠟుƽᄰᄾϻᮆ᲎ḋᩛ߇Ķ

ǂљ▪࿘ৱ߇ৱ㇀৅ ▪࿘ৱ߇᪲ၧ᧧ǡำ✢ᮆ⯝ᐕ㘸ుୖ ( ᯼⹾ ϾƊ⿏ୖ ( ᯼⹾㘹۸ᐔƁၥ『ରਊ⡘⡁᪦᪤ ᇄ᷋஠ᮆఢは㘼⡘⡁୒ӯDz⯆⯮ᐔƁ⡘⃭ਛӯ Dz۸▪࿘ᮆৱ߇ƘΧԁ⡄⣋⡘⡁ᮆʹ⃊㐋㘼⯝ Ⅶ⯝✞ထ⋭Ֆ᎘⡄㘼Ɗ⿏ᄾৱ㇫ᮆԮ᧧Ķᯏʙ ᅔɞ۸ᐔƁၥ『ᮆ᲎ḋƳᄺຊ₹ߘф㘼คDzᐔ Ɓৱ㇀৅⡘⃭ƳႶᅔɞ⟺гƧƁĶ

poster for club ᄃଡ଼೪ॏ;ަყࣁ୞੖ൣ Practical design

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Photo gra phy ឹኈձࠣ Ɇឹኈᄈ‫ש‬Յّ !!ϛѬ࢑ଅᓄ‫ڸ‬ᑺ፹ՅϑȂ ȁѻᙵ൳‫ޠש‬೪ॏࡧᆱȂ ȁ૗஋‫׳‬яѫΚᆎ੬ր‫ޠ‬РӪџࡧՄȄɇ

ડ৙༉‫ܜ‬

‫ܛ‬ᒞЉஇ@

44 45

๊ࡠᘫഋ

έΚུԒ‫۟ޠ‬ஜ

46 47

Spotlight on you

୾ঢ়‫ୁ׹‬ᖜ

48 49

最無形的堅定

Ѵ࿲ί‫ܺࡦޠ‬

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ጿ!‫ٺ‬ᑘ ,997.:27:114:1 ttttzmwjfAhnbjm/dpn

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