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媒體報導

FEATURE: Studio fosters artistic talent in special needs care home

May 03, 2013 ,Taipei Times,
By Jake Chung / Staff writer, with CNA

Within the Happy Mount Facility, decorations are ubiquitous, bringing color into the otherwise dull facility.

Happy Mount — like the Lo-sheng (Happy Life) Sanatorium — was established as a facility for Hansen’s disease patients, but is currently a home for the mentally challenged.

 

It was founded in 1934 by George Gushue-Taylor, the founder of Losheng.

 

All decorations were made by the facility’s residents under the guidance of members of the Sandwishes Studio, a team of artists from the Taipei National University of the Arts who make creative products, as well as run design courses.

 

The workshop was founded last year after three graduate students, Lee Wan-keng (李萬鏗), Tseng Yun-chieh (曾韻婕) and Hsieh Ruo-lin (謝若琳) visited Losheng as part of a course on the arts and social participation.

 

After finishing the course, the students said they returned to the sanatorium not only because of the good memories, but also because they were moved by the children living there.

The workshop has met with enthusiastic support from students from the university’s different departments.

Hsieh Ruo-lin of the Sandwishes Studio holds up some of the workshop’s products on Saturday in New Taipei City.

Utilizing their specialities, the students sought to design and create a brand that would not only help promote the workshop’s image as a social welfare organization, but also promote the visibility of disadvantaged groups. Hsieh said the first thing the workshop did was enlarge the drawings of the facility’s residents and use them as billboards and direction signs for visitors.

 

Hsieh said the workshop had produced postcards, one of which had been chosen by the Thinking Taiwan Foundation as its card to thank donors or to wish them a happy Lunar New Year.

The facility has received calls from people who had received the postcards asking how they could make a donation, Hsieh said, adding that the cards helped spread the name of Happy Mount and aided its fundraising.

Hsieh said that after she visited the facility and took courses on how to care for disabled patients she saw some works made by children with special needs and saw the potential of starting a business for creative and cultural products.

 

Hsieh said the visit prompted her, Lee and Tseng to found the workshop last year.

 

The three students were further encouraged when they received an award of excellence from the Ministry of Education after they submitted their project ideas on the workshop’s establishment to the ministry’s Junior College Entrepreneurial Service contest.

Hsieh said that after founding the workshop, she understood how the majority of social welfare facilities struggled to adequately manage their financial affairs.

Taiwanese companies have raised about NT$40.9 billion (US$1.3 billion) in funds for social welfare facilities, but the money did not seem to be evenly distributed, Hsieh said, adding that the more renowned facilities seemed to get more, while the less known or more rural ones received less.

 

“I hope the Sandwishes Studio can use the art and design skills of its members to help make resource distribution fairer,” she said.

Although the students started the workshop as a non-profit organization, Happy Mount director Yao Yu-ching (姚 靜) said she felt that something should be offered as a reward for the people who helped the facility so much, so she gave the students paychecks for their first designs.

 

The students helped Happy Mount’s younger patients cultivate their artistic talents, she said.

 

The enlarged drawings on billboards not only surprised residents living near the facility, but also made the patients happy and proud to see their creations displayed to promote the facility, she said.

 

Yao said that she wanted to thank Sandwishes Studio for not taking a short-sighted approach when handling their projects, but stationing many members at the facility to spend time with the children, asking about the patients’ feelings and what they thought of their own works.

 

“Art shouldn’t be just about aesthetics. It should have soul, and it is they, the students and the workshop, who have accurately portrayed the souls of the patients who had drawn the pictures,” Yao said, adding that it was through the workshop’s efforts that the patients at the facility were able to show society what they were capable of.

​藝術 X 公益的社福工作室 - 從「三名志工」到「三明治工」

Sandwishes Studio

 

​採訪 ・ 整理 | 吳樹安          攝影 | 李盈靜

2011年李萬鏗與曾韻潔兩人,因台北藝術大學藝術跨領域研究所的課程,而在開課老師陳愷璜的領路下踏入了位於八里,用以收容重度身心障礙青年的樂山教養院,並順應這課程規劃於院區中進行考察與創作發想,除激發出一系列緊扣樂山教養院,結合藝術創作與社服實踐的創作成果,同時也促成了其後位於「竹圍工作室」的成果展演。即便只是研究所學生中的一個環節,但在半年間持續往返學院與樂山教養院的生命經驗,亦使得兩位創作者的藝術關懷產生了關鍵的轉變。而在隔年甫取得學位的謝若琳加入後,三人一同成立「三明治工」工作是協助樂山教養院的相關設計案,進而在該年底,因應教育部的「U-START 大專畢業生創業服務計畫」第二階段補助門檻需求,而將工作室立案為有限公司,且於隔年獲得U-START計畫文創業的首獎殊榮,從此正式的從「三名志工」變成了「三明治工」!

​「用吃一塊餅乾的時間,認識一個默默用心經營的台灣組織。」這是三明治工的合作提案Cookie News,希望結合公益與消費,不定期推出手工餅乾,報導不為人知的公益機構和組織的故事,售價的20%也回饋給各期報導的組織

基於專為公益與社服機構服務的設計團隊在國內仍不多見,且公益社服機構間的人際網絡並不疏離﹔配合著團隊成員的設計、創意與資源 整合能力,除持續與「樂山園社會 福利慈善事業基金會」相巨配合外,亦陸續與「台灣破冰專業服務協會 」、「行無礙資源推庫協會 」、「O 'rip 生活旅人」與「未伸堂基 金會」等社服機構以及企業基金會展開各種合作,除平面設計外,近年也開始進行活動與展潰規畫。業主們的口耳相傳與邀約,使得工作室即便資歷尚淺,但在獲取案源方面也並不困難。當然以公益/社服 之名,同樣的案件規模,其勞動報 酬顯然不如一般業界行情﹔但基於案源充裕,透過以量制價的營運模式,使得工作室如今不需補助仍能妥善地平衡收支。即便工作室成員多半也有過工作經驗,但成立公司所需的相應知識與技術卻又是完全不同的另一回事﹔而學院訓練以及培養多年的藝術知識在此同樣無法適用,三人僅能在一次次的合作過程中學習,面對失誤也只好當做課後補習費(謝若林語)。

那 些 學 院 沒 教 的 事一 從 「創 作 」 到 「創 業 」

藝 術 做 為 公 益 / 社 福 的 資 源 整 合 中 介       

如果說三明治工是一專為社會企業或公益機構提供設計服務的工作室,或也並不全面。畢竟成員的藝術養成與社會理想,在工作室的成果個案與發展進程中,都隱而不顯地表示著「這不僅僅是設計」,而更像是從藝術出發,串聯起設計與公益/社服,非單一目標的跨領域實踐 與藝術相關但又不完全是藝術,除妾案合作外,同時也是串聯各種資源,藉以開創更多對公益/社服機構 有利之合作模式的創意發想工作。對此工作室在成立滿週年之際,於「北藝風創新育成中心」策畫的成果展覽 「三明治工實驗室」無疑正是一鮮明的實踐案例﹔即便展覽的主要目標設定在工作室的成果展現,但以「實驗室」為名的展覽現場又無處不體現著各種當代藝術的巧思,與造型語言的開創。對於工作室的未來,除持續精進本益管控以求「三明治工」的永續發展,成員們更希望能將業務範疇拓展成為四個面向,包括現有的工作室、以公益創新為目的的「實驗室」、開發公益產品,以及一個著重推庫公益性質的展潰空間。而即便目前工作室不愁案源置乏,但誠如前文所述,與公益/社服機構的合作酬勞相對較低,故而僅能透過大量妾案來平衡收支,也因此目前僅有李萬鐘與謝若林兩位全職員工的「三明治工」,現前最為迫切的困境即是工作人力的缺乏,「有時甚至忙到連睡眠都想發包」(李萬鏗語)。面對「三明治工」的營運現況,對於三位原始成員而言恐怕都是始料未及的,比起具體規畫準確築夢,實際上更像是一路撿拾糖果,然後不斷地思考手上的糖果能如何轉化成何種價值。也因此當筆者問到工作室的長期願景,成員沉默了好段時間,李萬鐘才勉強答道:「其實我們還沒想到,不好意思啊~ 」

工作室年表

2011      

2012.03 

2012.05  

2012.12  

2013.03

2014    

李萬鏗和曾韻潔參與北藝大藝術社會參與課程,進入樂山教養院,進行藝術創作。

 

李萬鏗邀請謝若琳及其他北藝大的朋友一同進樂山協助設計案。

 

謝若琳申請教育部 U-Start 計畫,「三明治工」成立。

「三明治工有限公司」登記。

榮獲教育部青年創業 U-Start 計畫文創業首獎

三明治工成立週年,「三明治工實驗室」開展

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