Jamie 專欄 #151｜從校園改造到產業空間轉型：在《風城見學》的三個現場，看見設計的思考與落實

早年創立 Hey!Cheese 的時候，產業裡其實沒什麼同行。在那樣的階段，要怎麼拍、怎麼看待空間、如何理解設計背後的意圖，或是弄懂產業正在發生什麼事，幾乎沒有太多同儕可以討論。我們大部分的成長，只能靠著一次次的接案，單向地從案件中汲取養分，在摸索中建立起自己的工作邏輯。

但現在回想，這樣的背景反而給了我們另一種養分。正因為同業少，我們時常跟設計師、建築師、各種周邊廠商打交道，學習的觸角被推得很廣。

拍攝的本質，本來就是觀察。我們習慣保持「中立觀察者」的視角，試著理解對方想表達什麼，再用他們的立場去發聲。久而久之，這也成了我們看待事物的方式 —— 不屬於特定派系或風格，沒有太強烈的標籤，讓我們能在不同的公司、領域、甚至相左的立場之間自在穿梭。用不具侵略性，也不具壓力的型態，紀錄正在發生的事情。

When we first founded Hey!Cheese, there were few peers in our industry. In those early stages, there were no colleagues to discuss the nuances of photography, how to perceive space, how to interpret the intentions behind a design, or even how to grasp shifting industry trends. Much of our growth was solitary, absorbing nutrients through one commission at a time and establishing our own professional logic through trial and error.
Looking back, however, that lack of a traditional peer group provided a different kind of nourishment. Because there were so few fellow photographers, we spent our time interacting with designers, architects, and various suppliers, which pushed our learning into a much broader spectrum.
The essence of photography is, fundamentally, observation. We have grown accustomed to the role of the "neutral observer," attempting to understand what the other party wants to express and then speaking on their behalf. Over time, this has become our worldview—we do not belong to a specific school or style, nor do we carry heavy labels. This allows us to move freely between different companies, fields, and even opposing viewpoints, recording events in a non-invasive, pressure-free manner.

正因為自己是這樣一路走過來的，我很清楚，一個人單靠摸索能學到的東西終究有限。這個產業不缺努力的人，但很多時候，大家都是在自己的領域埋頭苦幹，彼此之間缺少了橫向連結的機會。這也是為什麼，這次去新竹參加「風城見學」活動，跟著不同領域的人一起走進現場，會讓我特別有感觸。

見學不只是參觀，它比較像是有人刻意把產業裡散落的節點給串接起來。一個人能去到的地方有限，能認識的人也有限；不過透過組織的力量，把主辦方、設計師、學校和地方單位拉到同一個現場，讓大家有機會面對面交流，這光靠個人的力量是很難做到的。而這趟見學的三個現場，剛好像一部電影裡的三個章節。它們講述著三件截然不同的事情，但放在一起看，反而讓思考拉得更深。

Having walked this path myself, I am acutely aware that what one can learn through solitary exploration is limited. This industry does not lack hardworking people, but too often everyone is buried in their own niche, lacking the opportunity for horizontal connection. This is why my experience at the "Hsinchu Field Study", walking through sites alongside professionals from diverse fields, resonated so deeply with me.
Field study is more than just a visit; it feels like an intentional effort to reconnect the scattered nodes of an industry. One person’s reach is limited, as is their network. However, through the power of an organization, bringing together organizers, designers, schools, and local authorities to a single site creates a platform for face-to-face exchange that is nearly impossible to achieve alone. The three sites we visited felt like three chapters of a film—distinct stories that, when viewed together, invite a much deeper reflection.

《富禮國中玻璃教室》不只是美學，重新認識腳下的土地

我一直覺得，在資源有限的環境裡，設計介入的價值並不在於規模的大小，而在於有沒有人願意開始。富禮國中玻璃教室就是很棒的示範，這個由偶然設計曾令理建築師規劃的改造計畫，規模不算大，但它真正在做的事情遠不只是空間的翻新。

新竹曾經是台灣玻璃產業的重鎮，但很多工廠在轉型的浪潮裡撐不住就收了。當一個產業從日常生活中退場，年輕一代對它的記憶也會跟著消失。玻璃教室做的事情，除了是美學教育的落實，更是讓這些學生重新去認識腳下這塊土地文化和歷史。當一個孩子有機會親手接觸玻璃工藝，理解它的溫度跟特性，他跟這個地方的關係就不一樣，這是課本給不了的實務教育。

儘管預算與規模有限，目前能參與的學生不多，但只要這個起步發生了，也許今年有一間、二間教室改變，幾年後再多一間，就像樓梯的第一階，存在的意義不是自己能承載多少人，而是讓下一步有了可以踩踏的起點。這種微小起步所帶來的蝴蝶效應，有時候比一個龐大的計畫還要深遠。

Fuli Junior High Glass Classroom: Not Just Aesthetics, but Reconnecting with the Land
I have always believed that in resource-limited environments, the value of design intervention lies not in its scale, but in the willingness to begin. The Fuli Junior High glass classroom is a stellar example. Planned and executed by architect Ling-Li Tseng of Serendipity Studio, this renovation was modest in scale, yet its true purpose went far beyond a simple facelift.
Hsinchu was once a hub for Taiwan's glass industry, but many factories closed during the waves of industrial transformation. When an industry retreats from daily life, the memory of it fades for the younger generation. What this glass classroom achieves—beyond implementing aesthetic education—is allowing students to rediscover the culture and history beneath their feet. When a child touches glass, understanding its temperature and characteristics, their relationship with the land changes. This is a practical education that textbooks cannot provide.
Though the budget and scale were limited, and only about twenty students can participate at a time, the mere act of starting creates a butterfly effect. Perhaps one or two classrooms change this year, followed by another in the years to come. Like the first step of a staircase, its significance is not in how many people it can hold, but in providing a starting point for the next step.

《富禮國中射箭場》設計是一場協商

第二個現場，是同樣在富禮國中、由胡靖元建築師操刀的射箭場。在這個案例，我看見設計的另一種樣貌：無盡的耐心與協商。最終的空間呈現固然精彩，但長達八年的過程更讓人印象深刻。

專業射箭場需要七十米的縱深，但在有限的校園腹地內，空間就是不夠。為了塞入射箭道，必須調整跑道的角度與位置，同時又不能壓縮到田徑隊的練習場域。每一方的需求都是真實存在的，沒有誰的權益應該被犧牲掉。胡靖元建築師在這個案子裡做的，其實已經超出我們一般理解的「設計」。他在充滿限制的現實條件裡，替所有使用者找到可以共存的方式。這是一種高度的「社會性設計思考」，透過不斷協商，把不同族群的需求轉化成建築，讓它們可以同時被容納在同一個場域裡。

Fuli Junior High Archery Range: Design as Negotiation
The second site was the archery range at the same school, designed by architect Hu Jing-Yuan. Here, I saw another facet of design: infinite patience and negotiation. While the final space is impressive, the eight-year journey behind it is even more profound.
A professional archery range requires 70 meters of depth, but the school’s site was simply too small. To accommodate the range, the track had to be re-angled and relocated, all without encroaching on the training space of the track and field team. Every party’s needs were real; no one could be sacrificed. What the architect did here transcended our general understanding of "design." Instead of drawing a beautiful plan on a blank slate, he found a way for everyone to coexist within a reality full of constraints. This is a high-level "social design thinking"—translating the needs of different groups into an architectural language through constant negotiation.

這個案子前後跑了大約八年。八年之間，溝通的對象會換，政策可能會變，預算、工法、現場狀況每一層打開都有新的問題。就像剝洋蔥一樣，一層一層地剝開問題，研究、解決，再往下一層走。但我覺得比拆開問題更難的是組裝回來。你要確保每一層的解法不會互相矛盾，最後還能拼成一個完整而合理的東西。

能在這麼漫長的拉扯中，面對無數次的溝通與變動，依然維持主軸不偏離，這需要的不只是專業，還有一種近乎固執的耐心跟信念。光是聽到的這些，就足以讓我對「解決問題」這件事有了不一樣的理解。真正的設計能力，也許就是在所有條件都不完美的狀況下，依然能持續推進，讓每一方的需求找到平衡的解法。

This project spanned eight years. During that time, stakeholders changed, policies shifted, and every layer of the budget, construction, and site conditions revealed new problems. It was like peeling an onion—layer by layer, researching and solving. But I believe what is harder than "peeling" is "reassembling"—ensuring that the solutions for each layer do not contradict one another, eventually forming a coherent whole. Maintaining the core vision without wavering through eight years of friction requires more than just professionalism; it requires a near-stubborn conviction. True design ability is perhaps the capacity to push a project through to completion even when every condition is imperfect.

《春場》翻新的不只是硬體，而是思維與世代關係

下午的行程來到春池玻璃的全新場域「春場」，由主理人吳庭安與彡苗空間實驗的鄭又維設計師分享。這又是另一種維度的震撼。跟前面兩個校園改造的案例不同，春池面對的則是傳統產業的轉型，還多了一層很私人的東西：血緣與情感。

SPRING POOL ORIGINAL FACTORY: Revitalizing Mindsets and Generational Relationships
In the afternoon, we visited Spring Pool (Spring Pool Original Factory), with T.A. Wu and Cheng Yu-Wei of S.M.O.L (彡苗空間實驗) sharing their insights. This was a shock of a different dimension. Unlike the campus projects, Spring Pool represents industrial transformation layered with something deeply personal: bloodline and emotion.

春池玻璃是新竹在地的玻璃回收處理廠，有著老一輩打下的深厚基礎。傳統產業的二代接班，在業界我們聽過太多次，但每一個案例的困難都不一樣。真正難的除了引進新技術或商業模式的調整，更是在於怎麼在「尊重長輩花了一輩子建立的基業」跟「承認制度必須現代化」之間，找到一條不把關係撕裂的平衡路徑。

吳庭安做到的，就像是老屋翻新。但他翻新的不只是工廠的牆面或產品線，而是整個組織的「思維與人」。制度要重建，員工的觀念要溝通，甚至與上一代之間的認知差異，都得用極具技巧與敏感度的方式處理，知道什麼時候該推進，什麼時候該等待。

這絕不是一兩天能做到的事。這是累積了二三十年的時間厚度，從小在工廠長大、深入肌肉的身體記憶，加上後續的學習，才把老中青三代的資源與智慧整合起來，撐起今天這種產業等級的反轉。

Spring Pool is a local glass recycling institution built on a foundation laid by the older generation. We have heard many stories of second-generation succession, but the difficulties are unique to each case. The real challenge is not just introducing new technology or adjusting business models, but finding a path that modernizes the institution without tearing the relationship with the elders who spent a lifetime building it.
What T.A. Wu has achieved is akin to a "historic renovation." He renovated not just the factory walls or product lines, but the very "mindset and people" of the organization. Systems had to be rebuilt, employee mindsets communicated, and cognitive gaps between generations navigated with extreme tact and sensitivity—knowing when to push and when to wait.

春池的故事跟富禮國中的玻璃教室，看起來是兩件事，但其實站在同一條線上。一個在教育端種下種子，讓下一代重新認識在地的工藝文化；一個在產業端完成轉型，讓這個文化本身找到活下去的方式。它們面對的是同一個命題：一個地方的傳統，怎麼在時代的變遷裡不被遺忘。

見學作為推動改變的載體

從之前去馬來西亞的參訪，到後來角色互換、在台灣替對方做嚮導，再到這次的風城見學，幾次經驗疊加在一起，讓我越來越覺得，這樣的交流不該只是偶爾發生的事。

透過這樣的見學活動，產業不同調性的人能有機會連結在一起。無論是攝影媒體、建築師，還是建材廠商，當不同背景的人不設限地混雜在一起，吸收到的養分與激盪出的火花是最有趣的。這不僅需要參與者的開放心態，組織從中協調的智慧更是重要。就像春池面對的世代課題一樣，主辦方也必須在不同世代與觀念之間找到平衡，讓前輩的資源發揮作用，同時留給年輕思維發聲的空間。

This is not the work of a day or two. It is the result of twenty to thirty years of observation, a physical memory ingrained from growing up in the factory, and subsequent learning that integrated the resources and wisdom of three generations. Spring Pool and the Fuli glass classroom may seem unrelated, but they are on the same line: one plants seeds in education, and the other completes the transformation at the industrial end. Both address the same imperative—how to prevent a local tradition from being forgotten in the changing tides of time.
Field Study as a Vehicle for Change
From our previous visits to Malaysia to acting as guides for our counterparts in Taiwan, and now this Hsinchu Field Study, these experiences have convinced me that such exchanges should not be mere occasional occurrences.
Through these events, people of different industry temperaments have the chance to connect. Whether they are photographers, architects, or suppliers, the nourishment and sparks generated by this uninhibited "mixing" are fascinating. This requires not only an open mind from participants but, more importantly, the wisdom of an organization to mediate. Much like the generational challenge at Spring Pool, organizers must find a balance between different generations and viewpoints, allowing the experience of the elders to function while leaving room for younger voices.

與此同時，我也重新思考了媒體的定位。作為中立的觀察者，或許能做的不只是把故事寫下來，而是更主動去成為連結本身。而見學，正是讓種種連結落地的絕佳載體。它只要持續發生，就足以讓新的可能不斷醞釀。

At the same time, I have reconsidered the positioning of media. As neutral observers, perhaps our role is not just to record stories, but to proactively become the "connection" itself. Field study is the ideal vehicle for these connections to land. As long as it continues to happen, it will be enough to allow new possibilities to constantly brew.