Next Article in Journal
Growing ‘Genovese’ and ‘Valentino’ Basil in Pots Using Peat Substrate Combined with Phytoremediated Sediment: Effects on Yield and Nutraceutical Content
Next Article in Special Issue
Analyses of Sustainable Development of Cultural and Creative Parks: A Pilot Study Based on the Approach of CiteSpace Knowledge Mapping
Previous Article in Journal
Study on Inhibition Range of Liquefaction of Saturated Sand by Load Using a Shaking Table Test
Previous Article in Special Issue
Gamification of Culture: A Strategy for Cultural Preservation and Local Sustainable Development
 
 
Search for Articles:
Title / Keyword
Author / Affiliation / Email
Journal
Article Type
 
 
Advanced Search
 
Section
Special Issue
Volume
Issue
Number
Page
 
Journals
Sustainability
Volume 15
Issue 9
10.3390/su15097311
sustainability-logo
Submit to this Journal Review for this Journal Propose a Special Issue
► Article Menu

Article Menu

share Share announcement Help format_quote Cite question_answer Discuss in SciProfiles thumb_up
...
Endorse textsms
...
Comment
first_page
settings
Order Article Reprints
Font Type:
Arial Georgia Verdana
Font Size:
Aa Aa Aa
Line Spacing:
Column Width:
Background:
Article

Designing “Forest” into Daily Lives for Sustainability: A Case Study of Taiwanese Wooden Furniture Design

by
Yikang Sun
1,
Ching-Chiuan Yen
2 and
Tien-Li Chen
3,*
1
College of Art and Design, Nanjing Forestry University, Nanjing 210037, China
2
Division of Industrial Design, Keio-NUS CUTE Center, National University of Singapore, Singapore 117356, Singapore
3
Department of Industrial Design, College of Design, National Taipei University of Technology, Taipei 10608, Taiwan
*
Author to whom correspondence should be addressed.
Sustainability 2023, 15(9), 7311; https://doi.org/10.3390/su15097311
Submission received: 17 February 2023 / Revised: 14 April 2023 / Accepted: 26 April 2023 / Published: 27 April 2023
(This article belongs to the Special Issue Cross-Cultural Design for Sustainability: From Design Thinking to Design Strategy)
Browse Figures
Versions Notes

Abstract

:
Taiwan’s forest resources are abundant, diverse, and of high quality. However, Taiwan’s self-sufficiency rate for timber is only 1.2%. How to build Taiwan’s local wooden furniture brand to improve quality of life and achieve sustainable development is worth considering. This study adopted a qualitative research method using Taiwan’s local carbon-negative furniture brand “Forest in Living” as a case study. We used communication theory to construct a conceptual model that was then used to analyze the design and promotion of furniture. Carbon-negative furniture makes people feel like they are living and breathing deep in the forest, which is one of the best ways to reduce one’s carbon footprint. The Forest in Living furniture is full of Taiwanese characteristics and firmly captures the country’s foundation and soul. The designers have great respect for wood and strong control over the characteristics of the material, and the furniture has unique characteristics and rich content. In the future, we will further study the findings of this paper by inviting consumers to express their views on the design concepts and finished products of this type of furniture, which will be used to examine whether the design concepts can be recognized by consumers.

1. Introduction

Sustainable development is not just a slogan, its basic definition was established a long time ago [1]. Over the years, numerous related concepts, methodologies, and principles have been proposed. Within this field of study, they are employed in various processes of product development and design, as well as serving to reflect on whether these designed objects genuinely embody the principles of sustainable development [2,3,4,5]. However, it must be implemented in all aspects of life. The attention given to this issue by official authorities and their ability to find suitable development paths and specific policies for their respective countries or regions is undoubtedly a good starting point [6].
Taiwan was introduced to the Forest Stewardship Council (FSC) network in 2011, at which point, it began to set standards for forest management and timber production and established a management plan for planted forests. In order to achieve effective forest land management and maintain forest health, Taiwan proposed a plan called Forest Sustainable Management and Industry Revitalization from 2017 to 2020, which emphasizes increasing the capacity of plantation clearance and guiding the management of public forests, including protecting the health of trees and promoting the conservation and restoration of nature [7].
During 2008–2013, the Forestry Bureau completed the Fourth Forest Resources Survey, which showed that the forest area in Taiwan reached 60.71%, twice the global average of 30.3%. However, most steep hills in Taiwan are not conducive to logging, and since the 1990s, laws have been enacted to restrict forest harvesting. Taiwan relies on imports for timber, which has seriously affected the development of its forestry industry. Taiwan, which is rich in forest resources, faces a timber self-sufficiency rate of less than 1% (the rate rose slightly to 1.2% in 2019), making it susceptible to the impact of policy adjustments in timber exporting countries and affecting daily life. The increase in forest cover is mainly due to the increase in the area of naturally occurring forests, while plantation forests are rapidly decreasing. The Forestry Bureau speculates that the decline in plantations may be affected by the policy that bans natural forests completely and that limits annual logging, limiting forestry development and creating a one-sided public perception of forest environmental protection. However, plantations are the primary source of timber production, and a decrease in plantations means less timber output. Internationally, there are issues such as reducing emissions from deforestation and forest degradation, which reduce people’s willingness to support afforestation when state-owned forests can only be sporadic and private forests are insufficient. Conventional wisdom holds that deforestation is the destruction of nature. In fact, moderate logging is a means of protecting forests in line with the rational use of forest resources based on conservation. Therefore, how to increase Taiwan’s timber supply and stabilize supply sources has become a critical issue.
Taiwan’s distinct culture and cultural variety offer potential applications in the field of design, with designing local features into products becoming more important for the global market, where products are losing their identity because of similarities in function and form [8]. Cultural elements are considered to be unique characteristics that can be embedded into a product both to enhance its identity in the global market and to enhance the individual consumer experience [9,10,11]. The increasing emphasis on localized cultural development in Taiwan already demonstrates an ambition to promote Taiwanese style in the global economic market [8]. The unique multicultural background of Taiwan is suitable for creating wooden furniture products and brands. Taiwan has rich forestry resources, but the process of developing, promoting, and using domestic wood is not promising, and there is room for improvement, providing an opportunity for Taiwan to build a domestic wood brand [12,13,14].
However, whether in Taiwan or in the broader global market, the reach of Taiwanese wood furniture brands is relatively low, and this phenomenon needs to be reversed. This is also the most critical motivation behind the research and creation of wood furniture presented in this study; that is, we aim to introduce the characteristics, advantages, and value of Taiwanese wood to people in different countries and regions and to consider the future of furniture design from the perspective of sustainable development.
It is important to note that this study does not discuss specific design processes and methods, but this is not to say that they are unimportant. As mentioned earlier, there are already mature research findings available for reference, including furniture design, on how to implement the principles of sustainable development and the potentially more suitable methods or principles [15,16,17,18,19,20,21]. Based on the context and the core issues mentioned above, this study focuses on two issues:
  • We address the design concept and method of producing Taiwanese negative-carbon wooden furniture using the brand Forest in Living to allow more people to understand the advantages, characteristics, and value of Taiwanese wood and wooden furniture.
  • We construct a conceptual model of communication and cognition and apply it to analyze the process of the conceptualization, design, and promotion of domestic wood and furniture production in Taiwan.

2. Literature Review

2.1. The Correlation between Taiwan’s Forestry Background and Furniture Design Concepts

The forestry environment in Taiwan has played an important role in the country’s economy and culture for centuries. The island’s abundant natural resources and diverse ecosystems have fostered a rich tradition of woodworking and furniture making. Taiwan has a long history of using wood in traditional architecture, furniture making, and art. The concept of Taiwanese furniture design is deeply rooted in the country’s forestry heritage. Over time, Taiwanese designers have developed a unique approach to furniture design that draws inspiration from local materials, craftsmanship, and cultural traditions [22]. Meanwhile, the forestry industry in Taiwan has also undergone significant changes in recent years. In response to concerns over deforestation and environmental degradation, Taiwan has implemented new policies and practices aimed at promoting sustainable forestry and reducing waste [23,24]. These policies have led to the development of new materials and technologies that are now being used by Taiwanese furniture designers to create innovative and eco-friendly designs. In short, the connection between Taiwan’s forestry and furniture design concepts can be seen as a reflection of the country’s rich cultural heritage as well as a reflection of its commitment to sustainability and innovation. By drawing on the island’s natural resources and traditional craftsmanship, Taiwanese furniture designers are creating designs that are both beautiful and functional and that also promote a more sustainable and environmentally friendly approach to furniture making [25,26].
As far as the field of furniture design is concerned, the concept of green furniture is widely adopted in manufacturing to avoid the negative environmental impact of the manufacturing process and final products, and this type of furniture is gradually becoming more accepted by consumers [27,28,29,30,31,32]. As Muhammad Suandi et al. [33] pointed out: “The design of furniture products is influenced by increasing consumer interest in green products and sustainability values. However, although the demand for sustainable furniture products is high, the standardization of sustainability characteristics in furniture design has still not been achieved”. Although this situation may not affect furniture design in the short term, it makes it difficult for local furniture brands to enter the global market, and it is also not conducive to the sustainable development of furniture manufacturing in the true sense. Therefore, creating a standard with a more established brand as the leader may be a solution. Some existing research and models have provided great inspiration in this regard [34,35,36,37].

2.2. The Concept of Humanistic Design

The two concepts of user-centered design (UCD) and human-centered design (HCD) are easily confused [38,39,40]. UCD focuses on the individual, resulting in a user-friendly design, whereas HCD focuses on a range of people, which may be appropriate when addressing deeper social issues. In addition, more attention is being paid to the experience of users or consumers using products.
Thus, in the process of product development, designers need to consider the beauty of the product while also fulfilling function and efficiency, especially in terms of whether beauty can satisfy consumers at the psychological and emotional levels. It is not difficult for consumers to buy good furniture, but not all furniture can provide a deeper experience during consumer interaction. This study argues that this deep experience can be achieved through different senses, including vision, touch, and smell. The appearance of the furniture should be unique and beautiful, the materials should make people feel comfortable when they touch and use it, and the unique smell of wood should make people relax and feel like they live in the forest.
The aesthetic movement that prevailed in the 1970s and 1980s centered on the worship of beauty, which was defined as an independent life force that transcends religious, historical, and geographical boundaries. The aesthetic movement emphasized the need for beauty in everyday life and attempted to introduce art into the daily lives of every family. This movement advocated the cultivation of people’s tastes; cleverly decorated goods (furniture or ornaments) are often referred to as “artistic furniture” [41]. In other words, when designing furniture, designers need to pay attention to its beauty and composition in addition to ensuring that it will meet the needs of users (e.g., the form and material used in some furniture may have a story or a meaning).

2.3. The Transmission and Cognitive Model of Design

There is a dialogue that takes place between the consumer and the designer while appreciating the furniture. The theory of communication can further explain this phenomenon. Figure 1 is the communication matrix for evaluating furniture, and Figure 2 is the cognitive model of decoders perceiving furniture [42,43,44,45].
The following theories and their core essences are used to construct these two models, which are briefly described below.
Briefly, the designer is the coder, and the consumer is the decoder. Encoding and decoding are widely used in various fields of study [46,47], and their mechanisms can also be applied to the interpretation of furniture design. In this study, we believe that people’s ability to successfully “decode” is an important aspect of communication. Designers’ creativity is often described as a manifestation of their pursuit of beauty, characterized by a process by which connotations are expressed through form, and the connotations enrich the form [50]. Form (style) and connotation (concept) complement one another in the process of design. The question is, how does the relationship between connotation and form result in a creative visual concept? Form and connotation seem to be in a close interrelationship, and there seems to be some evidence of connotation in form. From the viewpoint of artistic production as a form of semantic transformation, designers encode their work with particular messages that are later decoded by consumers [42,43,51].
From the perspective of decoding by the consumer, exploring the cognition of furniture design helps one to gain an understanding of the process of creation [52,53,54,55]. Whether it is product design or artistic creation, a designer should consider whether their work can transfer information from the consumers’ perspective during conceptualization. As far as communication theory is concerned, the designer’s expression of the creative process in terms of mood and situation is the process of encoding, and the consumer’s understanding of the product of design can be called “decoding”, with the designer as the transmitter and the consumer as the recipient [48,56,57,58]. Goldman [49] proposed that evaluating artwork requires a deep understanding of the communication between the artist and the viewer, not only in a social context, but also to understand the emotional and cognitive experience between designer and consumer. Understanding this communication process is of great benefit to designers.

3. Materials and Methods

Exploratory research into these issues would be beneficial [59,60]. This study was mainly carried out using case studies based on a detailed description of the situation and a problem statement and with systematic data collection and analysis to better understand the phenomenon, background, and enlightenment of the case [61,62,63,64,65].
This section begins with an explanation of the concept and design approach of Forest in Living. Then we propose a conceptual model of communication and cognition, which is used to interpret the process of conceptualizing, designing, and promoting car-bon-negative furniture using Taiwanese wood. More importantly, the model is used to analyze whether the cultural connotation of Forest in Living furniture can be recognized by consumers.

3.1. Forest in Living: An Brief Introduction

Forest in Living was created at the Woodworking Training Design Research Center (WTDRC), National Taipei University of Technology, after being in development for more than 7 years. The team hopes that through the establishment of this brand, the world will see the characteristics and advantages of Taiwanese wooden furniture. WTDRC carried out a systematic study of Taiwanese wood and constructed 60 pieces of various types of furniture and related crafts or ornaments (see Table A1). The design team called for the use of carbon-negative furniture made from Taiwanese wood to support a sustainable net-zero environment. Carbon negative means, in effect, the emission of less than zero carbon dioxide and carbon dioxide equivalent (CO2e) greenhouse gasses. Carbon negative as applied to furniture means that the carbon sequestration of the furniture itself is greater than the carbon emissions generated by the furniture manufacturing process.
The Taoist classic Tao Te Ching states that “The Tao produced One; One produced Two; Two produced Three; Three produced All things.” Chen [7] applied this as inspiration to further propose the theory of spiral innovation and the theory of three needs (survival, living, and life), which are used as the design concept for Forest in Living. On this basis, the 30–70 principle was proposed as the criterion for innovative design (see Table 1 and Table 2).
The most important thing is that furniture design should be human-oriented, meaning that it should meet the needs and expectations of consumers. Designers highlight the natural form of wood given by nature, and the finished furniture expresses the highest state of harmony between humans and nature.
Taiwanese forests have a rich variety of trees of excellent quality, and many of them also have rich cultural connotations or unique meanings, thus furniture made of their wood can evoke stories or memories (see Table 3).
The interaction of these three elements, Taiwan (local brand), wood (high-quality product), and design (creative ingenuity) motivated the creation of the furniture brand Forest in Living, the core concept of which is shown in Table 4.

3.2. Transformation from Wood to Wooden Furniture: A Conceptual Framework

Traditional craftsmanship is an important part of the culture of a country or region, and the finished products are cultural products. Furniture designed and manufactured using Taiwanese wood and transformed through creative ingenuity not only has the functional attributes of furniture, but, more importantly, can integrate Taiwan’s diverse culture. This furniture, reflecting Formosa style and taste, can better integrate into society and meet the deeper cultural and aesthetic needs of consumers.
This research focuses on promoting furniture made from Taiwanese wood. In addition to various official support and incentive policies and the joint efforts of designers, industry, and academia, it is also important for consumers to recognize such furniture.
According to communication theory [46], if the designer (sender/coder) is to successfully communicate a signal to the consumer (receiver/decoder), certain requirements must be met on three levels [59]. As a result, the cognitive process of furniture design and promotion in this study are as follows:
  • On the technical level, the craftsperson must accurately convey the message they intend to transmit so that the decoder can see, touch, and even feel it. (Do you see it?)
  • On the semantic level, the decoder needs to appropriately understand the message being transmitted. (Do you understand?)
  • On the effectiveness level, the message needs to affect the decoder in such a way as to elicit a particular response or behavior. (Are you touched?)
For the audience to understand the cultural significance of furniture, three steps must be followed: (1) attract their attention (recognition); (2) generate correct cognition (understanding); and (3) encourage them to form deep emotions (reflection) [45,51,52,53,66]. In short, recognition, as situational perception, indicates whether the furniture appeals to the consumer; understanding, as artistic cognition, indicates whether the consumer can understand the meaning of the message being conveyed; and reflection is a psychological response that indicates whether the consumer can be moved in the process of viewing or experiencing the furniture.
Therefore, in this study we constructed a conceptual model to examine the communication process and cognitive patterns between designers and consumers (see Figure 3). This process of communication and cognition is as follows:
  • Designer: Designers think about how to transform wood into beautiful furniture based on their own life experience, creative thinking, and from the perspective of sustainable development. In this process, designers attach great importance to materials and can integrate creative thinking and cultural connotation into the design process. The furniture completed by the designer must not only have good function, but should also take into account aesthetics and culture.
  • Consumer: For consumers, the function of a piece of furniture is the first thing to consider, followed by style. Finally, consumers consider whether the furniture piece itself has a connotation and story. In other words, a piece of furniture can be seen by consumers through the promotion carried out by designers or manufacturers, and consumers can read the designer’s intentions and have the opportunity to recognize the value of the product while interacting with the product.

4. Results: Case Analysis and Discussion

In 2016, the National Taipei University of Science and Technology created a desk using traditional construction methods and Taiwanese wood, which was given to President Tsai as a gift (see Figure 4: left). The height of the desk was specially designed for ergonomic fit, so it is suitable for President Tsai, making it more comfortable for her to review documents. In addition, the desk was built using traditional construction methods; it does not use nails, and a total of 438 mortises were used. The table is mainly made of Chamaecyparis formosensis, and the drawers are made of Zelkova serrata.
In Chinese characters, Chamaecyparis formosensis and Zelkova serrata are pronounced “jumu” and “kuaimu”, or, idiomatically, “ju” and “kuai”, meaning “shoot to fame” and “happy life”. The 12 kinds of wood used in the decoration on the front of the desk were collected by the designer from all over Taiwan; they represent the essence and soul of the country and can accompany the president in determining the country’s future. Mount Jade and Lilium formosanum are typical images of Taiwan, giving this desk a distinct Taiwanese style and feel (see Figure 4: right). In short, the desk not only reflects the roots of Taiwan, but also highlights the essence of the Taiwanese soul.
Details determine the success or failure of sustainable development. Many craftsmen and designers have a deep bond with the materials they use. The mirror shown in Figure 5 is one of the best examples of the use of fragmented wood. Designers create new products in the most natural way possible.
“Formosa Flower” uses wood chips or shavings as the main material, which the designer transformed into beautiful and interesting ornamentation. For example, as shown in Figure 6, shavings of different types of wood are transformed into beautiful flowers that make up the hair of the characters.
Another interesting piece is shown in Figure 7. The shavings are transformed into peas, and the pronunciation of the Chinese character for “pea” is similar to “wonderful”, which has the meaning of fulfillment and blessing.
Consumers may not have the same frequent contact with a variety of furniture made of Taiwanese wood as professionals do, and they may be relatively unfamiliar with the properties and characteristics of different types of wood. Therefore, the design team of Forest in Living has held many exhibitions on different occasions. Designers use Taiwanese wood to show the uniqueness of Taiwan, and carbon-negative furniture created with ingenious thinking successfully shows rich Taiwanese cultural patterns.
Figure 8 shows some photos of an exhibition. Exhibitions have a significant effect on promoting various products, crafts, and works of art, including furniture. Holding exhibitions generally has four advantages: (1) it provides consumers with the opportunity to get close to a variety of excellent works; (2) it provides peers with the opportunity to stay abreast of the latest design trends; (3) it provides the industry with the opportunity to grasp popular business opportunities; and (4) it provides the academic community with the opportunity to carry out in-depth learning, communication, and research.

5. Conclusions and Follow-up Research

5.1. Conslusions

In 2017, a new starting point was officially designated for the development and use of domestically produced timber in Taiwan. The amount of felling and production of timber has increased significantly, and the quality of the wood is excellent, which makes it a good choice for various products, including furniture. In the past, most Taiwanese wood was used for construction, stencils, flooring, and plywood. In recent years, the Forest Service has integrated industrial, official, and academic resources to develop products based on Taiwanese timber in an attempt to shake off the stereotype that domestic wood is of poor quality, resulting in its underuse. For example, some wood can be used to develop products for health care and pest control or to develop recyclable and environmentally friendly products that are strong and resistant to decay. In addition, domestic wood can be used to manufacture general daily necessities so that more Taiwanese consumers can understand its advantages and characteristics. In recent years, a new trend has begun to emerge. Designers are paying more attention to the grain, color, and smell of wood, and even use nodules, branches, leaves, roots, bark, and other parts that are usually considered waste materials to give them new life and create many crafts and works of art. In addition, some materials left after processing can also be used as substitutes for raw petrochemical materials or agricultural products, which can solve problems such as material waste and environmental pollution.
The potential for developing and designing furniture using high-quality Taiwanese wood is great. Carbon-negative furniture evokes the feeling of living and breathing deeply in one’s own forest and is undoubtedly one of the best ways for individuals to reduce their carbon footprint.
Forest in Living furniture is full of Taiwanese style and taste, firmly capturing the roots and soul of Taiwan. The designers have great respect for wood and strong control over the characteristics of the material and design furniture with unique characteristics and rich connotations. Future research will further examine the results of this paper by inviting consumers to express their views on Forest in Living furniture. Their feedback will be used to examine whether the design concept is recognized by consumers to better promote Taiwanese wooden furniture and the new concept of carbon-negative furniture.
The establishment of a style must involve finding its roots and soul. Different cultures are blended in Taiwan, forming a multicultural society. Using local elements in areas such as humanity, landscapes, and materials, an exclusive style has been created in Taiwan, the Formosa style, which highlights the advantages of Taiwanese wooden furniture.

5.2. Follow-Up Research

Regarding the concept model, our research team built the core framework of this brand based on Chinese traditional philosophy and communication theory, and developed this series of furniture and some handicrafts according to the basic principles of furniture design, highlighting the characteristics and advantages of different types of wood. This article believes that the concept of sustainable development is receiving more and more attention from society, but there are still many issues that need to be improved. By using models or methods that have been repeatedly verified as feasible, we can focus more on product development and how to get consumers to recognize the concept of the product.
As the communication and cognitive models constructed in the study show, consumer recognition is an important condition for a design or a brand to succeed and to have a chance to stand firm in the market. In addition, the two concepts of “carbon-negative furniture” and “carbon footprint” are relatively unfamiliar to most consumers. Therefore, future research, in addition to increasing publicity and promotion, should aim to help the public to understand what role “carbon-negative furniture” plays in our lives and how these concepts can improve the environment. At the same time, we also aim to invite consumers to experience this type of furniture and aim to determine what people really think about it through questionnaires. The results of these surveys can not only be fed back to designers, but can also further clarify the future development trend of this type of furniture. Consumers are more concerned about the relationship between furniture and health. Many pieces of furniture tout that they are environmentally friendly, but the reality is very different. The series of furniture developed by this research team can also be measured by scientific means, and consumers should be invited to try it to further highlight its value in contributing to health and sustainability. These studies will be carried out in an orderly manner in the next phase research.
In short, we hope that more and more people will become interested in carbon-negative furniture. Additionally, our research team looks forward to receiving valuable feedback from anyone, including designers, entrepreneurs, consumers, and researchers, on the beliefs of this brand, the design of these furniture pieces, and even their promotion and marketing. Only when everyone truly realizes the importance of sustainable development and contributes their efforts from different perspectives can we gradually achieve a low-carbon, healthy, and sustainable living environment and lifestyle.

Author Contributions

Conceptualization, T.-L.C. and C.-C.Y.; methodology, T.-L.C. and Y.S.; writing—original draft, Y.S.; writing—review and editing, T.-L.C., C.-C.Y. and Y.S. All authors have read and agreed to the published version of the manuscript.

Funding

The authors gratefully acknowledge the support for this research provided by the National Science and Technology Council Special Research Project under Grants No. MOST 111-2410-H-027-022-, and the Forestry Bureau, Council of Agriculture, Executive Yuan Special Research Project under Grants No. 111FD-04.1-P-17.

Institutional Review Board Statement

Not applicable.

Informed Consent Statement

Not applicable.

Data Availability Statement

Not applicable.

Acknowledgments

The authors thank the National Science and Technology Council and the Forestry Bureau, Council of Agriculture, Executive Yuan for their support. Thanks to the support of Woodworking Training Design Research Center, National Taipei University of Technology, which allowed this study to use the figures of the furniture they designed.

Conflicts of Interest

The authors declare no conflict of interest.

Appendix A

Wooden furniture and derivative artworks or ornaments of Forest in Living are shown in Table A1.
Table
Table A1. Forest in Living: All products.
Table A1. Forest in Living: All products.
CategoryNamePhotoInformation
ArtsRoots and soul [A desk specially designed for the President]Sustainability 15 07311 i008Size: W1880 × D950 × H740
Material: Chamaecyparis formosensis and Zelkova serrata.
The will of the people [Table]Sustainability 15 07311 i009Size: W1930 × D690 × H750
Material: Swietenia macrophylla, Acacia confusa, Cinnamomum camphora, Taiwania cryptomerioides, Chamaecyparis and Pinus taiwanensis
Blessing of superposition [Stools]Sustainability 15 07311 i010Size: W400 × D400 × H450
Material: Chamaecyparis formosensis, Quercus glauca, Taxus sumatrana, Melia azedarach, Ulmus parvifolia, Calocedrus formosana, Litchi chinensis Sonn, Cinnamomum camphora, Michelia compressa, Acacia confusa, Cryptomeria japonica, Machilus zuihoensis, Taiwania cryptomerioides, Elaeocarpus sylvestris Thermally modified Acacia confusa and Swietenia mahagoni
The beauty of nature [Table]Sustainability 15 07311 i011Size: W1930 × D795 × H695
Material: Taiwania cryptomerioides
Exemplary conduct and nobility [Bench]Sustainability 15 07311 i012Size: W1900 × D380 × H430
Material: Taiwania cryptomerioides
Pleasurable and enjoyable [Table and Chairs]Sustainability 15 07311 i013Size: Desk (W1800 × D800 × H750); Chair (W580 × D460 × H820)
Material: Swietenia macrophylla
Pleasurable and enjoyable [Chairs]Sustainability 15 07311 i014Size: W580 × D460 × H820
Material: Swietenia macrophylla
Pleasurable and enjoyable [Stool]Sustainability 15 07311 i015Size: W1550 × D380 × H430
Material: Swietenia macrophylla
Combining vigor and suppleness [Dining Table]Sustainability 15 07311 i016Size: W2100 × D900 × H750
Material: Zelkova serrata
Naturally [Chair]Sustainability 15 07311 i017Size: W1880 × D950 × H860
Material: Zelkova serrata
Freely andcomfortably [Desk]Sustainability 15 07311 i018Size: W1750 × D475 × H690
Material: Ulmus parvifolia
Blinking [Teapoy]Sustainability 15 07311 i019Size: W1830 × D1050 × H460
Material: Zelkova serrata
Rest [Table and Chair for Zither]Sustainability 15 07311 i020Size: Desk (W1100 × D420 × H620); Chair (W500 × D280 × H430)
Material: Ulmus parvifolia
Good luck great blessing [Chair]Sustainability 15 07311 i021Size: W1900 × D390 × H830
Material: Cinnamomum camphora
Good-luck of opening [Stools]Sustainability 15 07311 i022Size: W2600 × D350 × H440
Material: Cinnamomum camphora
DesignRespect the material [The Mirror]Sustainability 15 07311 i023Size: Large (1560 × D610 × H50), Medium (W1130 × D490 × H50), Small (W890 × D680 × H50)
Material: Taiwania cryptomerioides
A blessing of superposition [Backrest chair]Sustainability 15 07311 i024Size: W434 × D431 × H681
Material: Swietenia macrophylla
Five types of wood, double the blessing[Stools]Sustainability 15 07311 i025Size: W400 × D400 × H450
Material: Swietenia macrophylla, Acacia confusa, Melia azedarach, Cinnamomum camphora, and Fraxinus griffithii
Wuxing (Chinese philosophy) [Chest of Drawers]Sustainability 15 07311 i026Size: W1200 × D500 × H850
Material: Acacia confusa, Melia azedarach, Swietenia mahagoni, Cinnamomum camphora, and Formosan Ash
Pleasurable and Enjoyable [Tea Table]Sustainability 15 07311 i027W1250 × D480 × H650
Material: Swietenia macrophylla
Dancing [High Table]Sustainability 15 07311 i028Size: W450 × D360 × H750
Material: Swietenia macrophylla
Self-discipline and freedom [cabinet]Sustainability 15 07311 i029Size: W1810 × D460 × H550
Material: Taiwania cryptomerioides
Colorful [Stools]Sustainability 15 07311 i030Size: Large (W315 × D315 × H500), Medium (W265 × D265 × H400), Small (W225 × D225 × H300)
Material: Taiwania cryptomerioides
Formosa FlowerThe Passing YeaSustainability 15 07311 i031Size: W610 × D610 × H150
Material: Rosewood, Maple, False cypress, Walnut, Fokienia hodginsii, Purpleheart, Alnus formosana and Metallic paint
Abundant Blessings and HappinessSustainability 15 07311 i032Size: W700 × D485 × H135
Material: Rosewood, Maple, False cypress, Walnut, Fokienia hodginsii, Purpleheart, Alnus formosana and Metallic paint
The PeaSustainability 15 07311 i033Size: W1530 × D170 × H630
Material: Picea asperata and Alnus formosana
Source: [7].

Appendix B

Wood is an environmentally friendly natural resource and the most temperate material, which can adapt to Taiwan’s humid and hot weather and increase the durability of furniture. The use of domestically produced wood can save transportation costs and reduce carbon emissions, which is in line with the concept of green consumption. The main categories of trees commonly found in Taiwan are shown in Table A2.
Table
Table A2. The main categories of trees commonly found in Taiwan.
Table A2. The main categories of trees commonly found in Taiwan.
CategoryNamePhoto
ConifersTaiwania cryptomerioidesSustainability 15 07311 i034
Cryptomeria japonicaSustainability 15 07311 i035
Cunninghamia konishiiSustainability 15 07311 i036
Calocedrus macrolepis var. formosanaSustainability 15 07311 i037
Chamaecyparis formosensisSustainability 15 07311 i038
Chamaecyparis obtusa var. formosanaSustainability 15 07311 i039
Taxus sumatranaSustainability 15 07311 i040
Broad-leaved treeSwietenia macrophyllaSustainability 15 07311 i041
Acacia confusaSustainability 15 07311 i042
Cinnamomum camphoraSustainability 15 07311 i043
Melia azedarachSustainability 15 07311 i044
Machilus zuihoensisSustainability 15 07311 i045
Michelia compressaSustainability 15 07311 i046
Cyclobalanopsis glaucaSustainability 15 07311 i047
Ulmus parvifoliaSustainability 15 07311 i048
Fraxinus griffithiiSustainability 15 07311 i049
Zelkova serrataSustainability 15 07311 i050
Cinnamomum kanehiraeSustainability 15 07311 i051
Source: [7].

References

  1. World Commission on Environment and Development (WCED). Our Common Future; Oxford University Press: Oxford, UK, 1987. [Google Scholar]
  2. Information Resources Management Association (IRMA). Green Business: Concepts, Methodologies, Tools, and Applications: Concepts, Methodologies, Tools, and Applications (3 volumes); IGI Global: Hershey, PA, USA, 2019. [Google Scholar]
  3. Luther, B.; Duggan, W. Creating a cradle to cradle world: Executive summary cradle to cradle products innovation institute. In The Green Industrial Revolution; Butterworth-Heinemann: Oxford, UK, 2015; pp. 357–368. [Google Scholar] [CrossRef]
  4. McDonough, W.; Braungart, M. Cradle to Cradle: Remaking the Way We Make Things; North Point Press: New York, NY, USA, 2010. [Google Scholar]
  5. McDonough, W.; Braungart, M. The Upcycle: Beyond Sustainability—Designing for Abundance; Macmillan: London, UK, 2013. [Google Scholar]
  6. Taiwan Forestry Research Institute (TFRI). Annual Report 2021. Available online: https://ws.tfri.gov.tw/Download.ashx?u=LzAwMS9VcGxvYWQvNDM1L3JlbGZpbGUvMTIzNDMvMTg0NjYvMDJiNjNiOTEtMDlmYy00NGRiLWFmYzEtMTE1YWE4MDQzMzQ5LnBkZg%3d%3d&n=MTEw5bm05aCxLTIwMjIxMjA1LnBkZg%3d%3d (accessed on 5 February 2023).
  7. Chen, T.-L. Forest in Living: Taiwan Woods Design; Woodworking Training Design Research Center, National Taipei University of Technology: Taipei, Taiwan, 2022; (In Chinese, semantic translation). [Google Scholar]
  8. Lin, R. Transforming Taiwan aboriginal cultural features into modern product design: A case study of a cross-cultural product design model. Int. J. Des. 2007, 1, 45–53. [Google Scholar]
  9. Handa, R. Against arbitrariness: Architectural signification in the age of globalization. Des. Stud. 1999, 20, 363–380. [Google Scholar] [CrossRef]
  10. Yair, K.; Press, M.; Tomes, A. Crafting competitive advantage: Crafts knowledge as a strategic resource. Des. Stud. 2001, 22, 377–394. [Google Scholar] [CrossRef]
  11. Yair, K.; Tomes, A.; Press, M. Design through making: Crafts knowledge as facilitator to collaborative new product development. Des. Stud. 1999, 20, 495–515. [Google Scholar] [CrossRef]
  12. Chan, W.-H.; Lin, C.-C. Current situation of domestic manufacturers of materials using domestically produced wood. For. Res. Newsl. 2016, 23, 114–117. (In Chinese) [Google Scholar]
  13. Chan, W.-H.; Lu, H.-F.; Chen, I.-H.; Lin, C.-C. Where does domestic wood come from? Examine the yield and characteristics of domestically produced wood from forestry statistics. For. Res. Newsl. 2021, 28, 51–55. (In Chinese) [Google Scholar]
  14. Lin, J.-C.; Chen, S.-J.; Wu, M.-S. An Analysis of the Timber Harvest Volume and Production in Taiwan between 1991 and 2013. Taiwan J. For. Sci. 2015, 30, 121–130. (In Chinese) [Google Scholar]
  15. Choodoung, S.; Smutkupt, U. Factors of Successful Wooden Furniture Design Process. World Acad. Sci. Eng. Technol. Int. J. Mech. Aerosp. Ind. Mechatron. Manuf. Eng. 2012, 6, 2117–2121. [Google Scholar] [CrossRef]
  16. Ehrenfeld, J. Sustainability by Design: A Subversive Strategy for Transforming Our Consumer Culture; Yale University Press: New Haven, CT, USA, 2008. [Google Scholar]
  17. Fry, T. Design Futuring: Sustainability, Ethics and New Practice; Berg: New York, NY, USA, 2008. [Google Scholar]
  18. Parr, A.; Zaretsky, M. New Directions in Sustainable Design; Routledge: London, UK, 2011. [Google Scholar]
  19. Penty, J. Product Design and Sustainability: Strategies, Tools and Practice; Routledge: London, UK, 2019. [Google Scholar]
  20. Russ, T. Sustainability and Design Ethics; CRC Press: Boca Raton, FL, USA, 2010. [Google Scholar]
  21. Whiteley, N. Design for Society; Reaktion Books: London, UK, 1997. [Google Scholar]
  22. Wu, S.-H.; Chen, Y.-P.; Chen, C.-H. A study of the styles of early Taiwanese bamboo chairs According to the methodology of style. J. Lit. Art Stud. 2014, 4, 359–374. [Google Scholar]
  23. Lee, J.-Y.; Lin, C.-M.; Han, Y.-H. Carbon sequestration in Taiwan harvested wood products. Int. J. Sustain. Dev. World Ecol. 2011, 18, 154–163. [Google Scholar] [CrossRef]
  24. Lee, S.-H.; Chu, Y.-C.; Kung, P.-C. Taiwan’s forest from environmental protection to well-being: The relationship between ecosystem services and health promotion. Forests 2022, 13, 709. [Google Scholar] [CrossRef]
  25. Chen, T.-L.; Chen, C.-C.; Chuang, Y.-C.; Liou, J.J.H. A Hybrid MADM model for product design evaluation and improvement. Sustainability 2020, 12, 6743. [Google Scholar] [CrossRef]
  26. Wu, S.-H.; Fan, K.-K.; Sun, C.-J. A study on the application of code theory in the decorative design of Taiwan bamboo tube furniture. Sustainability 2021, 13, 3722. [Google Scholar] [CrossRef]
  27. Chang, C.; Hsieh, M. Application of Co-creation design experiences to the development of green furniture. In Human Interface and the Management of Information: Applications and Services, Proceedings of the HIMI 2016, Held as Part of the 18th HCI International Conference, HCII 2016, Toronto, ON, Canada, 17–22 July 2016; Springer: Cham, Switzerland, 2016; pp. 235–243. [Google Scholar] [CrossRef]
  28. Fernando, Y.; Shaharudin, M.S.; Xin, W.W. Eco-innovation enablers and typology in green furniture manufacturing. In Green Business; IGI Global: Hershey, PA, USA, 2019; pp. 379–394. [Google Scholar] [CrossRef]
  29. Huang, K.; Zhang, Z.F.; Tao, Z.P.; Liu, H. Study on key technologies of the green furniture design. Appl. Mech. Mater. 2012, 224, 208–211. [Google Scholar] [CrossRef]
  30. Ratnasingam, J.; Ioras, F. The sustainability of the Asian wooden furniture industry. Holz Roh Werkst. 2003, 61, 233–237. [Google Scholar] [CrossRef]
  31. Susanty, A.; Tjahjono, B.; Sulistyani, R.E. An investigation into circular economy practices in the traditional wooden furniture industry. Prod. Plan. Control 2020, 31, 1336–1348. [Google Scholar] [CrossRef]
  32. Yeğin, T.; Ikram, M. Performance Evaluation of Green Furniture Brands in the Marketing 4.0 Period: An Integrated MCDM Approach. Sustainability 2022, 14, 10644. [Google Scholar] [CrossRef]
  33. Muhammad Suandi, M.E.; Amlus, M.H.; Hemdi, A.R.; Abd Rahim, S.Z.; Ghazali, M.F.; Rahim, N.L. A Review on Sustainability Characteristics Development for Wooden Furniture Design. Sustainability 2022, 14, 8748. [Google Scholar] [CrossRef]
  34. Azizi, M.; Mohebbi, N.; De Felice, F. Evaluation of sustainable development of wooden furniture industry using multi criteria decision making method. Agric. Agric. Sci. Procedia 2016, 8, 387–394. [Google Scholar] [CrossRef]
  35. Bianco, I.; Thiébat, F.; Carbonaro, C.; Pagliolico, S.; Blengini, G.A.; Comino, E. Life cycle assessment (lca)-based tools for the eco-design of wooden furniture. J. Clean. Prod. 2021, 324, 129249. [Google Scholar] [CrossRef]
  36. Epede, M.B.; Wang, D. Competitiveness and upgrading in global value chains: A multiple-country analysis of the wooden furniture industry. For. Policy Econ. 2022, 140, 102737. [Google Scholar] [CrossRef]
  37. Ratnasingam, J.; Wagner, K. Green manufacturing practices among wooden furniture manufacturers in Malaysia. Eur. J. Wood Prod. 2009, 67, 485–486. [Google Scholar] [CrossRef]
  38. Boy, G.A. A. A human-centered design approach. In The Handbook of Human-Machine Interaction; Boy, G.A., Ed.; CRC Press: Boca Raton, FL, USA, 2017; pp. 1–20. [Google Scholar] [CrossRef]
  39. Lahlou, S. Socio-cognitive issues in human-centered design for the real world. In The Handbook of Human-Machine Interaction; Boy, G.A., Ed.; CRC Press: Boca Raton, FL, USA, 2017; pp. 165–188. [Google Scholar] [CrossRef]
  40. Still, B.; Crane, K. Introduction to user-centered design. In Fundamentals of User-Centered Design; Still, B., Crane, K., Eds.; CRC Press: Boca Raton, FL, USA, 2017; pp. 1–17. [Google Scholar] [CrossRef]
  41. Banham, J. Encyclopedia of Interior Design; Routledge: London, UK, 1997; Volumes 1–2. [Google Scholar]
  42. Fiske, J. Introduction to Communication Studies; Routledge: London, UK, 2010. [Google Scholar]
  43. Jakobson, R. Language in Literature; Harvard University Press: Cambridge, MA, USA, 1987. [Google Scholar]
  44. Lin, R.; Lee, S. Turning “Poetry” into “Painting”: The Sharing of Creative Experience; National Taiwan University of Arts: New Taipei, Taiwan, 2015; Available online: https://issuu.com/yuchenebook/docs/color_poetry_e-book_ (accessed on 10 April 2023). (In Chinese)
  45. Norman, D.A. The Design of Everyday Things; Basic Books: New York, NY, USA, 2002. [Google Scholar]
  46. Hall, S. Encoding and decoding in the television discourse. In CCCS Selected Working Papers; Gray, A., Campbell, J., Erickson, M., Hanson, S., Wood, H., Eds.; Routledge: Abingdon, UK, 2007; Volume 2, pp. 386–398. [Google Scholar]
  47. Lloyd, R. Cognitive maps: Encoding and decoding information. Ann. Assoc. Am. Geogr. 1989, 79, 101–124. [Google Scholar] [CrossRef]
  48. Yen, H. Constructing and analyzing a measurement model of product emotional design. In Proceedings of the 10th International Conference, CCD 2018, Held as Part of the 20th HCI International Conference, HCII 2018, Las Vegas, NV, USA, 15–20 July 2018; pp. 449–459. [Google Scholar] [CrossRef]
  49. Goldman, A. Evaluating art. In The Blackwell Guide to Aesthetic; Kivy, P., Ed.; Blackwell Publishing: Malden, MA, USA, 2004; pp. 93–108. [Google Scholar]
  50. Gao, Y.; Wu, J.; Lee, S.; Lin, R. Communication between artist and audience: A case study of creation journey. In Proceedings of the 11th International Conference, CCD 2019, Held as Part of the 21st HCI International Conference, HCII 2019, Orlando, FL, USA, 26–31 July 2019; pp. 33–44. [Google Scholar] [CrossRef]
  51. Barthes, R. Elements of Semiology; Jonathan Cape: London, UK, 1967. [Google Scholar]
  52. Beatty, E.L.; Ball, L.J. Investigating exceptional poets to inform an understanding of the relationship between poetry and design. In Proceedings of the 2nd Conference on Creativity and Innovation in Design—DESIRE 011, Eindhoven, The Netherlands, 19–21 October 2011; pp. 157–165. [Google Scholar] [CrossRef]
  53. Lin, C.-L.; Chen, J.L.; Chen, S.J.; Lin, R. The cognition of turning poetry into painting. US China Educ. Rev. B 2015, 5, 471–487. [Google Scholar] [CrossRef]
  54. Lin, R.; Qian, F.; Wu, J.; Fang, W.; Jin, Y. A Pilot Study of Communication Matrix for Evaluating Artworks. In Proceedings of the 9th International Conference, CCD 2017, Held as Part of the 19th HCI International Conference, HCII 2017, Vancouver, BC, Canada, 9–14 July 2017; pp. 356–368. [Google Scholar] [CrossRef]
  55. Lin, R.; Hsieh, H.; Sun, M.; Gao, Y. From Ideality to Reality- A Case Study of Mondrian Style. In Proceedings of the 8th International Conference, CCD 2016, Held as Part of the 18th HCI International Conference, HCII 2016, Toronto, ON, Canada, 17–22 July 2016; pp. 365–376. [Google Scholar] [CrossRef]
  56. Gao, Y.; Yen, H.; Lin, R. A study model on the transformation of “artwork” to “interior design”: Take the series of “poetic artwork” series as an example. J. Natl. Taiwan Univ. Arts 2017, 101, 107–134. (In Chinese) [Google Scholar]
  57. Karwowski, W.; Soares, M.M.; Stanton, N.A. Human Factors and Ergonomics in Consumer Product Design: Methods and Techniques; CRC Press: Boca Raton, FL, USA, 2011. [Google Scholar]
  58. Kreifeldt, J.G.; Hill, P.H. The integration of human factors and industrial design for consumer products. Proc. Hum. Factors Ergon. Soc. Annu. Meet. 1976, 20, 108–112. [Google Scholar] [CrossRef]
  59. Babbie, E. The Practice of Social Research, 11th ed.; Thomson Wadsworth Publisher: Belmont, CA, USA, 2007; pp. 87–89. [Google Scholar]
  60. Sekaran, U. Research Methods for Business: A Skill-Building Approach, 4th ed.; John Wiley & Sons, Inc.: New York, NY, USA, 2003. [Google Scholar]
  61. Bromley, D.B. The Case-Study Method in Psychology and Related Disciplines; Wiley: Chichester, UK, 1986. [Google Scholar]
  62. Edmondson, A.C.; Mcmanus, S.E. Methodological fit in management field research. Acad. Manag. Rev. 2007, 32, 1246–1264. [Google Scholar] [CrossRef]
  63. Eisenhardt, K.M.; Graebner, M.E. Theory building from cases: Opportunities and challenges. Acad. Manag. J. 2007, 50, 25–32. [Google Scholar] [CrossRef]
  64. Feagin, J.R.; Orum, A.M.; Sjoberg, G. A Case for the Case Study; University of North Carolina Press: Chapel Hill, NC, USA, 1991. [Google Scholar]
  65. Yin, R.K. Case Study Research and Applications: Design and Methods, 6th ed.; SAGE: Thousand Oaks, CA, USA, 2017. [Google Scholar]
  66. Craig, R.T. Communication theory as a Field. Commun. Theory 1999, 9, 119–161. [Google Scholar] [CrossRef]
  67. Forest in Living. Available online: https://openmuseum.tw/muse/exhibition/6952f59bd86716240f256162125cd71d (accessed on 5 February 2023). (In Chinese).
Sustainability 15 07311 g001 550
Figure 1. The communication matrix for evaluating furniture. (Source: Adapted from [46,47,48,49]; Redrawn for this study).
Figure 1. The communication matrix for evaluating furniture. (Source: Adapted from [46,47,48,49]; Redrawn for this study).
Sustainability 15 07311 g001
Sustainability 15 07311 g002 550
Figure 2. The cognitive model of the decoder’s perception of furniture. (Source: Adapted from [46,47,48,49]; Redrawn for this study).
Figure 2. The cognitive model of the decoder’s perception of furniture. (Source: Adapted from [46,47,48,49]; Redrawn for this study).
Sustainability 15 07311 g002
Sustainability 15 07311 g003 550
Figure 3. The communication and cognitive models in the process of design and development of Forest in Living: a conceptual model. (Source: Adapted from [42,43,44,45,46]; Redrawn for this study).
Figure 3. The communication and cognitive models in the process of design and development of Forest in Living: a conceptual model. (Source: Adapted from [42,43,44,45,46]; Redrawn for this study).
Sustainability 15 07311 g003
Sustainability 15 07311 g004 550
Figure 4. A desk specially designed for President. Size: 1880 × D950 × H740. Material: Chamaecyparis formosensis and Zelkova serrata. (Source: [7]).
Figure 4. A desk specially designed for President. Size: 1880 × D950 × H740. Material: Chamaecyparis formosensis and Zelkova serrata. (Source: [7]).
Sustainability 15 07311 g004
Sustainability 15 07311 g005 550
Figure 5. The mirror. Size: Large (1560 × D610 × H50), Medium (W1130 × D490 × H50), Small (W 890 × D680 × H50). Material: Taiwania cryptomerioides. (Source: [7]).
Figure 5. The mirror. Size: Large (1560 × D610 × H50), Medium (W1130 × D490 × H50), Small (W 890 × D680 × H50). Material: Taiwania cryptomerioides. (Source: [7]).
Sustainability 15 07311 g005
Sustainability 15 07311 g006 550
Figure 6. The Passing Years. The three portraits show the appearance of a woman at three different ages, symbolizing the passage of time. Size: W610 × D610 × H150. Material: Rosewood, Maple, False cypress, Walnut, Fokienia hodginsii, Purpleheart, Alnus formosana, and Metallic paint. (Source: [7]).
Figure 6. The Passing Years. The three portraits show the appearance of a woman at three different ages, symbolizing the passage of time. Size: W610 × D610 × H150. Material: Rosewood, Maple, False cypress, Walnut, Fokienia hodginsii, Purpleheart, Alnus formosana, and Metallic paint. (Source: [7]).
Sustainability 15 07311 g006
Sustainability 15 07311 g007 550
Figure 7. The Pea. Size: W1530 × D170 × H630. Material: Picea asperata and Alnus formosana. (Source: [7]).
Figure 7. The Pea. Size: W1530 × D170 × H630. Material: Picea asperata and Alnus formosana. (Source: [7]).
Sustainability 15 07311 g007
Sustainability 15 07311 g008 550
Figure 8. Some exhibitions. (Source: [67]).
Figure 8. Some exhibitions. (Source: [67]).
Sustainability 15 07311 g008
Table
Table 1. Two theories of ‘Forest in Living’.
Table 1. Two theories of ‘Forest in Living’.
Two TheoriesInterpretation
Spiral InnovationInspired by the Tao Te Ching, in the process of innovation, if designers achieve harmony between yin and yang, new wisdom can be generated and the efficiency of innovation will be improved. In this way, designers can create good products and make corresponding profits. In short, the metaphysical is the Tao, and the physical is the artifact.
Three “L” of Needs
  • Livelihood level: The basic conditions necessary for human survival.
  • Living level: What humans need in their daily lives.
  • Life level: In addition to the conditions for survival and life, humans need to pursue the meaning and value of life.
Source: [7].
Table
Table 2. The 30–70 Principle.
Table 2. The 30–70 Principle.
Three AspectsInterpretation
DesigningLanguage of the design: local (30%) + international (70%)
ManufacturingManufacturing mode: handmade (30%) + mechanization (70%)
MarketingProportion of marketing: taste for art (30%) + goods (70%)
Source: [7].
Table
Table 3. Cultural connotations or meanings of trees commonly used in Taiwan.
Table 3. Cultural connotations or meanings of trees commonly used in Taiwan.
NameInterpretation
Chamaecyparis formosensisSustainability 15 07311 i001The tree of a happy life.
The most familiar Taiwanese wood for most people. It has a unique fragrance and is most often used to make door and window frames or to make storage cabinet drawers.
Swietenia macrophyllaSustainability 15 07311 i002A pleasing tree.
Has long been believed to ward off evil spirits, and the color of the wood is close to pink, which has a festive connotation and evokes reassuring and pleasant feelings.
Acacia confusaSustainability 15 07311 i003A tree full of childhood memories.
Many people went to acacia woods to catch cicadas as children. Thus, acacia trees evoke memories of the past.
Fraxinus griffithiiSustainability 15 07311 i004The unicorn’s favorite tree.
Between June and August, it is said that its sap is the favorite food of adult unicorns. A zipper-like strip on the bark is seen as a bite, a unique creation of the unicorn fairy.
Melia azedarachSustainability 15 07311 i005A cursed tree.
It is said that the neem tree was cursed by Zhu Yuanzhan (founding emperor of the Ming dynasty in China). When the New Year comes, the whole tree will appear dead and will not grow new shoots until spring comes.
Cinnamomum camphoraSustainability 15 07311 i006A tree with a smell from childhood memories.
Camphor oil was an important economic industry in early days and was collected by cutting pieces in the tree and extracting it through steam. Because of the poor living environment in the past, people used mothballs and camphor oil to remove insects, often placed in wardrobe drawers; its familiar smell on clothes is a special Taiwanese preference.
Taiwania cryptomerioidesSustainability 15 07311 i007The tree that hits the moon.
Taiwan cedar has existed on the earth for more than 100 million years, so it has the title of living fossil. It is the only plant of the genus Taiwania. It can grow to 40 to 50 m and higher. Because it is hard to see the canopy from the ground, the Rukai people call it “the tree that hits the moon”.
Source: [7].
Table
Table 4. Forest in Living: The concept and connotation.
Table 4. Forest in Living: The concept and connotation.
NameInterpretation
ForestCircle of Life
Being generous and kind
Step down gracefully and benefit all living being unconditionally
Forest giving us a new lease of life.
InThe beginning of ways,
Repeating the way, in every 7 days.
Being simple and profound, with skill and ease.
Enjoy the life footloosely.
OurCircle of Our Life, “TaiChi”
Two Forms, Three Powers, Four Divisions
The greatest attribute of the amazing world
Livelihood, Living, Life.
LivingLive our own life, Savor our life
Woodcraft can represent Taiwan.
Show the world a different Taiwan
with woodcraft from Taiwan!
Source: [7].
Disclaimer/Publisher’s Note: The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of MDPI and/or the editor(s). MDPI and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.

Share and Cite

MDPI and ACS Style

Sun, Y.; Yen, C.-C.; Chen, T.-L. Designing “Forest” into Daily Lives for Sustainability: A Case Study of Taiwanese Wooden Furniture Design. Sustainability 2023, 15, 7311. https://doi.org/10.3390/su15097311

AMA Style

Sun Y, Yen C-C, Chen T-L. Designing “Forest” into Daily Lives for Sustainability: A Case Study of Taiwanese Wooden Furniture Design. Sustainability. 2023; 15(9):7311. https://doi.org/10.3390/su15097311

Chicago/Turabian Style

Sun, Yikang, Ching-Chiuan Yen, and Tien-Li Chen. 2023. "Designing “Forest” into Daily Lives for Sustainability: A Case Study of Taiwanese Wooden Furniture Design" Sustainability 15, no. 9: 7311. https://doi.org/10.3390/su15097311

Note that from the first issue of 2016, this journal uses article numbers instead of page numbers. See further details here.

Article Metrics

Back to TopTop