2016台灣設計週主題館「燎原」，以火焰燃盡後的空間狀態作為敘事起點。整體場域並非單純表現破敗，而是將「燃燒」轉化為一種重新觀看設計的方式：當華麗、秩序與日常被火光洗禮後，留下的是材料的肌理、結構的骨架，以及文明曾經存在的痕跡。

 

空間中大量使用深色、斑駁、焦痕般的牆面處理，搭配木地板、金屬網架、鐵件格柵與古典家具，形成強烈的時間感。華麗的沙發、燭台、鏡框與吊燈，原本象徵著裝飾與階級，但在幽暗光線與粗獷結構的包圍下，轉變成一種被時代燃燒後的殘影。黑色鋼筋框架如同未完成的建築骨骼，也像火後仍未倒塌的秩序，將觀者包圍在介於廢墟、劇場與居所之間的場景。

 

「燎原」的精神並不是毀滅，而是從毀滅中引出新的生命力。微弱燭光、金屬反射與暖色燈源，在黑暗中形成星火般的視覺焦點，象徵設計在混亂之後仍能重新點燃想像。床、餐桌、座椅與客廳物件，暗示人的生活仍存在於這片灰燼之中，使空間不只是觀看的展場，也是一個關於記憶、慾望、文明與重生的沉浸式敘事。

 

此作品透過郭俠邑與其他設計師的共同創作，將室內設計、裝置藝術與劇場氛圍結合，讓觀者進入一個被火焰淬鍊後的世界。它提醒我們，設計不只追求嶄新與美觀，也能面對腐朽、殘缺與時間，並在其中尋找下一次燃起的可能。

 

The 2016 Taiwan Design Week theme pavilion, Liaoyuan, uses the image of fire not only as destruction, but also as transformation. Based on the atmosphere shown in the photographs, the space appears like a room after a silent burn: dark, damaged, theatrical, and yet strangely alive. The design turns ashes, shadows, metal, wood, and antique objects into a spatial narrative about memory, civilization, and rebirth.

 

The mottled walls resemble smoke stains and burned surfaces, creating a strong sense of time and decay. Against this background, classical sofas, candle holders, mirrors, chandeliers, and dining furniture are no longer simply decorative objects. They become fragments of a past world, suspended between luxury and ruin. The black steel grids and rebar structures act like architectural skeletons. They divide the space, frame the furniture, and suggest a world that has been damaged but not completely collapsed.

 

Light plays an essential role in the concept. Small candles, warm lamps, and reflective metal surfaces become sparks inside the darkness. These points of light echo the idea of liaoyuan — a fire that can spread across a field. Instead of showing fire directly, the design presents the emotional condition after fire: silence, tension, remains, and the possibility of starting again.

 

The bedroom, dining area, and living room settings also make the installation feel human. They suggest that life once happened here, and perhaps may happen again. This makes the pavilion more than a visual display; it becomes an immersive stage where visitors can sense the relationship between destruction and renewal.

 

Through the collaboration of Kuo Hsia-Yi and the other designers, the pavilion combines interior design, installation art, and theatrical scenography. It shows that design does not always need to be clean, bright, or new. It can also work with darkness, decay, and memory, using the remains of the past to ignite a new imagination.

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