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2017-12-12 彩陽畫會展
2018-01-02 文化事業發展系畢業展
2018-01-16 廖偉立建築作品展
2018-03-19 感恩!祭典之美-山海的傳唱 全國學生臺灣原住民海報設計競賽暨成果展
2018-04-25 黃志農台灣百年玻璃工藝收藏展
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Exhibition Imformation

4/25 - 5/14


黃志農台灣百年玻璃工藝收藏展

11/29 - 12/8


台灣國際創意設計大賽
得獎作品展

11/16 - 11/24


當代陶瓷展

10/27 - 11/11


鑿花工藝李秉圭作品特展

9/04 - 9/28


台灣玻璃花器特展

5/25 - 5/29


紙質與修復國際研討會暨教學工作坊
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臺灣百年玻璃收藏展

臺灣自日據時期、光復初期至今,留下豐富玻璃文物,本次展出玻璃仍以前其生產器物為要。臺灣玻璃製作與使用方式雖深受日本技術與文化影響,但從本次展覽文物造型、顏色、圖紋及用途,不難發現百年來臺灣生產之玻璃,融合外域文化,卻具濃厚臺灣味,說明了器物因應使用需求,隨著人文習俗信仰與自然氣候地理而調整。 其次,臺灣早期製作玻璃技術於日據時期引進,機器設備、原料或製作技術雖屬起步階段,成品忠實地呈現了初期玻璃工藝自然拙趣特質。藉由臺灣百年玻璃收藏展,說明了不同文化交流,豐富了民族人文藝術創作,參觀者也可從展出文物觀察到,臺灣玻璃工藝技術百年來發展演進脈絡。
Taiwan Glass Artifacts Exhibition
Since the Japanese-ruled period and the early stage of the recovery of Taiwan, the Treasure Island has been left a lot of glass-made cultural relics. This Exhibit is mainly about the glass artifacts that are manufactured during the period. Despite the way how the glass artifacts are produced and how glass utensils are used is heavily influenced by Japanese technology and culture, it is not tough to find that the glass products manufactured in Taiwan for the past 100 years are featured with foreign tastes and, at the same time, some proper characteristics that exist only in the island as is justified by the cultural relics, colors, patterns, and uses of glass products--which shows that the utensils are automatically adjusted according to the needs of the people and their use, and are in accordance with the cultural beliefs, geographic nature and climate as well. Secondly, the early production of glass technology in Taiwan is introduced during the Japanese-ruled period. At that time, the machines, manufacturing equipment, raw materials and production techniques are still at the initial stage; however, the finished products faithfully present the features associated with the early glass products: being natural and naïve. In the Exhibit, we learn that different cultural exchanges have been illustrated and the creation of ethnic culture and art has been enriched. The Exhibit guests can also observe--from the exhibition of cultural relics---how Taiwan’s glass processing technology has evolved over the past 100 years.
感恩 ! 祭典之美-山海的傳唱

臺灣原住民族不管是在臺灣史上,或是在人類學、南島語系研究中都扮演著非常重要的角色。此次以臺灣原住民族文化為主軸,舉辦第六屆《全國學生臺灣原住民海報設計競賽暨成果展》,期望藉此系列活動鼓勵具有美感及設計天賦的學子自主學習、認識原民文化,也藉由學子們的創意與巧思,向大眾展現原民文化與臺灣設計潛力的結合。
本次展覽以臺灣原住民族尊敬自然萬物而生的祭儀,較抽象的文化層面作為競賽主題,期望能讓學子深入了解其中各種不同的核心價值。
Heaven’s grace! The Beauty of Worship-The Inherited Singing for the Mountains and the Seas

The aboriginal peoples in Taiwan play an important role in the history of the island as well as the study of anthropology and South Island languages. “The 6th National Aboriginal Poster Design Contest and the Exhibition for the Students in Taiwan” takes the aboriginal culture of Taiwan as the main axis. It is our hope that the series of activities will encourage students with aesthetic and design abilities to independently learn and understand the culture of indigenous peoples. Through creativity and originality, the students are also able to reveal to the public in general the culture of natives and the potential of Taiwanese design. This theme of the exhibition is based on the worship festivals which have the origin out of the respect for nature and life—a more abstract cultural aspect. All the students are expected to have a further understanding of various core values that lie behind the nature and life.
台灣國際學生創意大賽得獎作品展

由教育部青年發展署主辦的「臺灣國際學生創意設計大賽」已邁入第十年,本屆吸引來自全球71處國家及地區、910個校院系所的學生報名,總計徵得18,932件作品報名參賽,報名作品數超越德國IF、紅點設計獎等國際競賽,是全球規模最大的國際學生設計競賽。今年競賽以「Opportunity」為主題,期望學生面對挑戰、選擇機會、整合資源、創造價值,終透過設計體現,傳達Opportunity的概念。本屆共有四個類別「產品設計類」、「數位動畫類」、「視覺設計類」及「廠商指定類」,由初選22位及決選27位,來自17個不同國家地區所組成的龐大陣容評審團,歷經這些設計領域專家們的熱烈討論,最終選出年度大獎一名、國際設計組織特別獎、各類組金、銀、銅獎、佳作得主,總計頒發68個獎項。
Exhibition of Concepts & Innovations from International Students

Till now, The Contest of Concepts & Innovations from International Students, officially held by Youth Development Administration, Ministry of Education, has reached the 10th year. The participants and contestants are made up of students from more than 910 college departments in 71 different countries and areas. As many as 18,932 pieces of works are presented to the contest, surpassing the number they have had in those international contests from Germany’s iF Design and Red Dot Design. The Contest has turned out to be the biggest international event in terms of design for college students. “Opportunity” is featured in the contest this year: in the hope that all students worldwide are able to realize that concepts of “Opportunity” with a view to facing challenges, opting for good chance, putting together the resources available and creating new sense of value as well. Four main categories are included in this year’s contest: Product Design, Digital Animation, Visual Design and a special category designated by the manufacturers. We have 22 judges in the preliminary round and 27 judges in the final round out of 17 countries and areas in the jury of expertise, the members of which—through thorough discussions—decide who wins The Annual Award, A Special Award from international design organizations and the Gold, Silver and Bronze awards for the four categories above—issuing the sum total of 68 awards.
鑿花工藝-李秉圭作品展

李秉圭,民國38年出生於鹿港,承襲家學於民國102年,獲中文化部指定為文化資產【鑿花技術】保存者。本特展展出李秉圭的木雕與家具作品,木雕屬李氏家族名聞遐邇的人物像,其取材深入探搜史冊,以創作「既寫實,更寫意」的人物作品;家具作品包括創作與修護兩大類家具設計,在結構上極為在意榫卯的精準與牢固,造型則呈現獨樹一格的審美。修護方面,體現當代文資修護的觀念,接納現代文資修復師的科學診斷與建議,成為傳統匠師文資修護工上的涵養。實至名歸為近代最重要之鑿花工藝人間國寶。
Wooden Sculpture Craftsmanship by Bing-Gui Li

Bing-Gui Li, born in 1949, was grown in an arts-oriented family. He was honored in 2013 by the Ministry of Culture as a preserver in the category of “Wooden Sculpture.” The Exhibition is featured in his wooden sculpture and furniture. The Li family has long been renowned in the field of wooden sculpture on personal figures—the raw protocols of whom are from historical volumes—creating wooden images in both senses: physical and psychological. The furniture works include two main categories of furniture design: innovation and maintenance. He lays emphasis on the precise and robust tenon structures; besides, the works are aesthetically unique as they are presented. As it comes to maintenance, he comes to realize the renovated ideas of maintenance. He is open to the scientific diagnosis and suggestions made by the experts of cultural assets and emerges as a master of traditional maintainer as far as cultural assets are concerned. Bing-Gui Li is without doubt a part of our national treasures in the art of wooden sculpture.
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