TAIPEI CYCLE 2018 Spearheads the Cycling Industry into the Era of Smart Riding Through the Expansion of TAIPEI CYCLE+
Dec 15, 2018

TAIPEI CYCLE 2018 concluded November 3, attracting 33,885 visitors, including 4,932 overseas visitors and 28,953 domestic visitors. The 4-day event, organized by the Taiwan External Trade Development Council (TAITRA), was held at the Taipei World Trade Center (TWTC) Nangang Exhibition Hall 1 and Exhibition Hall 3. Buyers from Mainland China (including Hong Kong) came in large numbers, followed by those from Japan, U.S., South Korea, Thailand, the Philippines, Malaysia, Germany, Singapore and UK.

TAITRA and the Bureau of Foreign Trade, the Ministry of Economic Affairs, jointly organized the “TAIPEI CYCLE 2018-EEN Matchmaking Meetings” for 10 buyers from 8 countries, including Romania, Spain, Germany, the Czech Republic, Austria, Italy, France and Ireland. The representative of Spanish company LittiumKaos Engineering was very pleased to find Fox Factory, a supplier of high-end shock absorbers for competitive cycling, and planned to increase the amount of purchase from USD 300,000 to USD 2 million.

Among the over 120 first-time exhibitors, the representative of Swedish company Thule indicated that “TAIPEI CYCLE is the key international show in Asia for the cycling industry. We exhibited our latest offerings and received many inquiries during the 4 days of the Show. We are pleased with building and solidifying our brand image through the Show.” Another first-time exhibitor, Italian company Basso, also had surprisingly good results. It will definitely return in 2019, even though the two editions of the Show are only 4 months apart. Korean company VAZALAB Co, Ltd., one of the winners of the TAIPEI CYCLE d&i awards this year, has already registered for the Show next year as well. Its representative had visited the Show for 13 years before becoming an exhibitor, and thanked TAITRA for organizing the Korean Pavilion that enhanced the overall image of participating companies.

TAIPEI CYCLE DEMO DAY was held at Hua-zhong Campsite one day before the opening of the Show (October 30). 25 companies from 6 countries took part in the event, with nearly 1,000 buyers and the general public test riding new models of bicycles from over 40 brands along scenic riverside paths. TAIPEI CYCLE Forum was held November 1 and 2, fully-packed with over 300 participants. In-depth discussions of hot topics for the cycling industry today drew enthusiastic responses, including anti-dumping cases in Europe, U.S. Trade Act Section 301 actions, smart manufacturing in response to the rise of Industry 4.0, and the impact of future evolution of human transport on bicycles.

In addition, with the support of organizations such as SwiCity Project of the Ministry of Science and Technology, Taiwan Urban Bicycle Alliance (TUBA) and VeloCity, lectures and games were held at TWTC Hall 3 to promote cycling as a culture. “E-bike Innovation Presentations” demonstrated low-carbon smart living though integrating e-bikes with internet of things and artificial intelligence technologies. CyQlo, an exhibitor at “TAIPEI CYCLE+” at TWTC Hall 3, expressed appreciation to TAITRA for the multi-faceted effort to attract visitors.

Ms. Gina Chang, Secretary General of Taiwan Bicycle Association recognized that from a broad perspective, the cycling industry would further evolve to meet the demand of the unstoppable trend towards digital living, but the speed of such evolution would depend on conducive regulatory environment and technical breakthroughs. TAIPEI CYCLE 2018 responded to such an industry trend through the first-ever “TAIPEI CYCLE+”, a hall dedicated to bringing bicycle, innovation and technology together. Exhibits and industry discussions in the Show also revealed the germination of cycling for the digital generation and the expansion of cycling as a culture. TAIPEI CYCLE 2019 will be held March 27 through 30, using the newly-open Nangang Exhibition Hall 2 and the 4th Floor of Hall 1.

For more details, please visit:

Media Contact:Ms. Jasmine Wu
Tel: +886-2-2725-5200 Ext. 2853

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Trends in huaren design: Golden Pin Design Award & Golden Pin Concept Design Award 2018
Dec 12, 2018

Taipei, TAIWAN --( ASIA TODAY )-- The Best Design winners were announced at the Grand Ceremony on November 29 in Taipei’s Songshan Cultural and Creative Park, Multi-Showcase Hall. A total of 34 Best Design winners were revealed in the Golden Pin Design Award, along with 2 Special Annual Award for Green Design winners, and 1 Special Annual Award for Social Design winner. There were 3 Best Design winners in the Golden Pin Concept Design Award who each took home a US$13,000 cash prize to help bring their concepts to market.

Among the winning designs, this year’s jury found trends in social design, green design, and artificial intelligence. In terms of social design, many designers are looking to post-demographics such as elderly people who have specific healthcare needs. As for green design, the use of sustainable materials is most apparent among winning designs focused on up-cycling. The prevalence of educational devices for children that integrate AI technology is another apparent trend in the Product design category.

Statistics on 2018 Entries

2018 was yet another record-breaking year for the Golden Pin Design Award and Golden Pin Concept Design Award. The combined total number of entries across both awards increased to a massive 7,572 designs and concepts. Whereas in previous years companies were required to enter through a partner in a Chinese-speaking country or region, this year marked the first time that companies registered anywhere around the globe were allowed to enter the Golden Pin Design Award. As a result, the number of companies that entered the Golden Pin Design Award rose to 1,385, which is an 18% increase from the previous year.

Geographical Areas

In just one year, the number of countries and regions represented by the Golden Pin Design Award entrants has climbed from 14 to 21. For the first time, the Golden Pin Design Award received entries from companies in Turkey, Belgium, Canada, Hungary, South Korea, Italy, Mexico, and Poland. The vast majority of entries come from companies in Taiwan and China, Taiwanese companies making up 40% and Chinese companies making up 50% respectively. The majority of the remaining 10% came from other countries and regions in Asia with Hong Kong companies making up 5%.

The Golden Pin Concept Design Award received entries from designers in 23 countries and regions. For the first time ever, entries were received from designers in South Korea, Indonesia, Hungary, France, Austria, Serbia, and Cameroon. Again, entries from Taiwan and China made up the majority, Taiwanese entrants making up 35% and Chinese entrants making up 62% respectively, with the remaining 3% made up of entrants from other countries and regions in Asia, Europe, America, and Africa.


The Golden Pin Design Award introduced two new categories this year; Communication design, which consolidates the Visual Communication design and Packaging design categories; and Integration design, which focuses on multidisciplinary practices in professional curation and social design for example. Communication design accounted for 29% of the total number of entries. Already, the Integration design category received 78 entries, with the majority of entries in the Professional curation subcategory, and it produced 22 Design Mark winners. Almost one out of every three Integration design entries won an award, which is a very high ratio, reflecting the trend of multi-disciplinary work in this era of informational and technological revolution.

The category that saw the most growth in both the Golden Pin Design Award and Golden Pin Concept Design Award was Spatial design. Compared to last year, the number of entries in the Golden Pin Concept Design Award’s Spatial design category grew from 393 to 619 entries. In the Golden Pin Design Award, it accounted for 23% of the total number of entries, and almost half of those 686 entries were in the Residential space subcategory. This insight is reflected in the Product design category where more than half of entries fall into home-related subcategories such as TV and Home Entertainment, Home Appliances, Furniture, Homeware, and Kitchenware. This all points to the empowered role of Chinese-speaking consumers, along with the huaren design community’s awareness of home and lifestyle trends.

Trends in the Winning Designs

Social Design

Final Selection jury member, Tony K.M. Chang (Regional Advisor to the World Design Organization) says, “Nowadays we live in an aging society. From the entrants we can see projects that talk about elderly peoples’ issues and medical equipment. You can see that designers have deep concerns about society.”

‘Hanyi Alzheimer font’ by Beijing Hanyi Information Technology Co., Ltd. won Best Design in the Golden Pin Design Award’s Communication design category. In her speech at the award ceremony, the company’s COO Ma Yiyuan said this project taught her that fonts can be about more than just design. To her, Hanyi Alzheimer font represents the goodwill of society. Designed for World Alzheimer’s Day 2018, the font visually represents the symptoms of memory loss associated with Alzheimer’s disease. The objective of the project was to raise awareness about the issue in China, which has the largest population of people with dementia in the world according to the World Health Organization.

Another great example of Social Design is ‘2017 TNH Center | He-Ji Project’, which won the Special Annual Award - Social Design. Entered in the Golden Pin Design Award’s Communication design category, the project brought together solution design consultant Plan b with graphic designer Joe Fang. A group of journalists from Taiwan, China, and Hong Kong were brought together to discuss their shared cultural heritage in relation to rice. Their discussions culminated in an urban rice farm where visitors could learn about the project, and finally a book made from rice paper, using rice harvested from the urban farm. The project’s mission was to bridge the divide between Chinese-speaking people from both sides of the Strait.

Design Mark winner in the Golden Pin Concept Design Award, ‘EASY TO PICK TEA UP’ by CAI WAN-LIN is designed around the needs of elderly tea farmers in Taiwan. The concept is to replace the DIY blades used by generations of tea pickers, whereby a razor blade is taped to the thumb and forefinger so that the action of cutting and picking can be done in one motion. Following the same principle, ‘EASY TO PICK TEA UP’ is a safer option for Taiwan’s elderly tea pickers, eliminating the chance of injury through good design.

Artificial Intelligence

Final Selection jury member, Shikuan Chen (Senior Vice President of Compal Electronics, Inc.) says, “Artificial intelligence is rising. It is already used in a lot of consumer electronics products, and designers are beginning to use it in children’s educational products too.”

‘LUKA BABY READING ROBOT’ by Ling Technology Co., Ltd. won Best Design in the Golden Pin Design Award’s Product design category. Its cartoon character-like appearance makes it child-friendly, and inbuilt AI technology makes it smart. It can read books like a human-being, recognizing written text and repeating it verbally. Due to the pressure and time constraints on teachers and parents nowadays, not all children get the attention they deserve, so this reading robot could help many children get a better education.

Design Mark winner in the Golden Pin Design Award, ‘IRONBOT EDUCATIONAL ROBOT KIT’ is a 3-in-1, DIY learning kit that teaches children about STEM and robotics. This robot building kit is customizable, allowing its builder to set the robot’s name, character, voice, and expression. In our fast changing world, it is increasingly important for children to learn how to utilize the latest technology, and this product helps them do just that.


Final Selection jury member, KUAN CHENG-NENG (Honorary Chair Professor in the Department of Industrial Design at Shih-Chien University) says, “People’s lives are becoming more convenient because of high tech goods, but we’re forgetting about our relationships with others. Craft can help us reconnect and cherish our relationships.”

Best Design winner in the Product design category, ‘comicam T1 kids camera’ by Shenzhen XIVO Design Co., Ltd. is an instant camera designed for children. Its designers are going against digitalization to offer a colorful camera product that produces printed pictures on BPA-free heat-sensitive paper, which is both safe for children and cheap to buy. The designers believe that children can benefit from non-digital cameras in many ways; for one, its more hands-on and creative; and also its not detrimental to their eyesight, as opposed to digital screens.

The Typesetting Master’s Table by Muwu Design Studio won Best Design in the Golden Pin Design Award’s Communication design category. The designer, Peng-Hsiang Kao was born into a family that ran a printing shop, therefore printing is very close to his heart. Kao produced this book, which turns into an assembly kit with an instructive guidebook, and teaches readers about traditional typesetting methods.

‘The Affairs’, ‘Fountain’, and ‘Landscape of City Magazine’ are all popular print publications, which won Best Design in the Golden Pin Design Award. One is a broadsheet newspaper, one is a magazine, and the other is an artwork commemorating the 499th issue of Hong Kong’s City Magazine. While most mass media companies are digitalizing, these three are going against the grain to offer a more tactile medium.

Green Design

Final Selection jury member, Ed Bakos (Managing Director of CHAMPALIMAUD Design) says, “Design has always drawn inspiration from nature. It's an age old proposition. We have a responsibility towards stewardship of the environment, and the use of materials that we have, and how we're going to create things.”

‘WOWMOON’ by PiliWu-Design won the Special Annual Award - Green Design in the Golden Pin Design Award. It’s a glassware collection designed especially for the Moon festival celebrations at Taipei W Hotel’s Woobar, made from recycled champagne bottles. This ingenious use of recycled materials is exemplary, sustainable product design; the concept is to reuse waste from past parties to fuel a new celebration.

‘Not Just Library 2018 Admission Ticket’ by mistroom also won the Special Annual Award - Green Design in the Golden Pin Design Award. This is another up-cycling project, which refashions past editions of design magazines in the library’s storage to create limited edition, collectible tickets for the library. By recutting and reprinting on pages in the magazines, the library aims to transform a single-use item into a valuable souvenir for its guests.


Final Selection jury member, Lin Xiao Yi (Art Director of atom no color) says, “From this year’s winning projects, I can see many have combined global language with local cultural spirit. Many of them have this in common.”

Best Design winner in the Golden Pin Design Award’s Communication design category, designed by Godkilla Art Studio, ’No Dream, No Life’ is the packaging for an album of the same name by rock band Sorry Youth. It communicates the global language of rock music, while at the same encapsulating the spirit of Taiwanese youth. The album artwork depicts a sea of writhing limbs, representing the hardship faced by young people in Taiwan.

Similarly, Best Design winner in the Integration design category, ’HIP HOP KIDS’ communicates the global language of hip hop while capturing the spirit of the Taiwanese sub-culture. The exhibition, designed by InFormat Design Curating, took place a the 2018 Cultural Expo in Taipei, which is a hive of emerging Taiwanese cultural trends. It features several stars of the underground hip hop scene in Taiwan, and describes the idiosyncrasies of each one, according to colloquialisms in their language and style.

Expanded Interiority

Secondary Selection jury member, Johnny Chiu (Founder of J.C. Architecture) says, “One thing that jumps out today about the spaces is the removal of boundaries between inside and outside. Asian people, and especially Taiwanese, have this tendency to not really care about their exterior space. I think it’s very important to change this spatial concept.”

‘Dining in Nature’ by 9 studio design group won Best Design in the Golden Pin Design Award’s Spatial design category. This dining experience is inspired by ant colonies, designed to guide guests between the buffet area and seating enclosures. Each enclosure is like the interior of an anthill, whereby diners can enjoy some privacy within a contemporary, open plan dining space.

Another Best Design winner in the Golden Pin Design Award’s Spatial design category is ’Connection and Conversation - Yinchuan Han Meilin Art Museum’ by SUNLAY. The low profile architecture is designed to merge with the mountains and barren plains that surround it. Made from local materials with viewing areas to take in the immensity of the landscape, the architecture is striking, but at the same time humble.

Experience Economy

Secondary Selection jury member, Ping Chu (Founder of the Ripplemaker Foundation) says, “Integration design is a category that we are trying to celebrate. It’s things like curation. It’s not a product that you can sell. A lot of it is one time only, and once it’s done it’s done. This is ephemeral.”

‘Soundscape of Body’ by Dimension Plus and ‘Prismverse’ by XCEPT both won Best Design in the Integration design category’s Ambient experience subcategory. Both projects are by Hong Kong design companies that specialize in high tech design solutions. ‘Soundscape of Body’ utilizes low energy laser scanners to produce a 3D impression of the inside of the body, and custom-designed algorithms transform the 3D data into an audiovisual performance. A different kind of audiovisual experience, ’Prismverse’ is triggered by a touchpoint at the center of the exhibition space, which sets off a kaleidoscopic light display, manipulated by diamond-like reflective walls within the space.

Designed by TRUNK DESIGN INC., Design Mark winner ‘Hyogo craft’ is shaped by Hyogo Prefecture’s unique, local, traditional crafts. By integrating with the local craftspeople, TRUNK DESIGN INC. establishes a comprehensive sales channel system throughout Japan, and also sets up original brands overseas. Not only does the project sell crafts, but it also creates local craft tours where visitors can interact with the masters. The project’s aim is to set up a system that can sustain traditional craft industries in contemporary times.

What do designers think about the Golden Pin Design Award?

According to a selection of past award participants surveyed in the Golden Pin Design Award’s service experience questionnaire, designers value the Golden Pin Design Award for building agency within the huaren design community and bringing designers from all over the Chinese-speaking world together in one place. They believe the award is reliable due to its expert, international jury panel, and feel honored by the quality of the award ceremony and the organizers’ global ambitions. Ultimately, they come back to the Golden Pin Design Award year-after-year because of the connections they make with fellow design professionals.

The Golden Pin Design Award constantly seeks the highest standards of reliability. This year the award invited a total of 76 judges, which is the largest jury panel in the award group’s 38 year history. Each year the ceremony becomes bigger and better. This year, the ceremony was directed by Taiwan’s leading motion design studio Bito, setting the stage for the likes of singer-songwriter Crowd Lu and master of ceremonies Mickey Huang. Furthermore, the ceremony is a platform for designers from all around the globe to exchange opinions and share in the award’s honor together.

Facts & Figures

Total submissions: 7,572

Golden Pin Design Award: 2,932
Design Mark: 697
Best Design: 34
Special Annual Award: 3
Participating countries/regions: 21
• Taiwan, China, Hong Kong, Macau, Singapore, Malaysia, USA, Germany, Thailand, Japan, Turkey, Belgium, Canada, Hungary, South Korea, Italy, Mexico, Poland, UK, Netherlands, Australia.
Participating companies: 1,385
Categories: Product design (1,326), Communication design (842), Spatial design (686), Integration design (78)

Golden Pin Concept Design Award: 4,640
Design Mark: 45
Best Design: 3
Participating countries/regions: 23
• Taiwan, China, Hong Kong, Macau, Japan, Singapore, Malaysia, Thailand, India, South Korea, Indonesia, UK, Italy, Germany, Poland, Iran, Hungary, France, Austria, Serbia, USA, Mexico, Cameroon.
Categories: Product design (2,471), Visual Communication design (1,293), Spatial design (619), Packaging design (257)

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Creative Mavericks from Japan, Netherlands, Singapore, and USA Champion Design for Social Responsibility at the Golden Pin Design Award 2018 Forum
Nov 30, 2018

November 30, 2018, Taipei, TAIWAN --( ASIA TODAY )-- On the morning of November 29 at the Multi-Showcase Hall in Taipei’s Songshan Cultural and Creative Park, the Golden Pin Design Award held its annual Forum where trailblazing international designers spoke to the huaren design community. This year’s theme was design and social responsibility, discussing how designers can better serve society. The Forum’s speakers, who come from the Netherlands, Japan, USA, and Singapore, offered solutions to problems that exist between economic development and human or environmental welfare.

TV news anchor, Lulu Hsia hosted the Forum, and the keynote address was given by Chi-Yi Chang, Chairman of the Taiwan Design Center. In his opening remarks, Chang noted some trends among this year's more than 7,500 award entries.

“More and more designers are thinking about user-oriented design, and design geared toward specific issues,” he said. “More are using recycled materials, and thinking about how to provide a better living environment for future generations. We are all citizens of the earth, and we all have our responsibilities.”

After the introductions, the four international design experts took to the stage, each speaking for twenty-minutes, then answering questions from Lulu Hsia for ten-minutes. Their topics, addressing design and social responsibility, ranged from education to business and culture.

Ad van Berlo — Creative Equity
First up was Dutch designer and visionary Ad van Berlo, founder of VanBerlo, founding partner of IQ+ Innovation Capitalist, and part-time professor of Entrepreneurial Design of Intelligent Systems at Eindhoven University of Technology. He introduced his theory of 'Creative Equity’, which is his vision for how creatives can enhance their value. One of the ways designers can reap higher returns on their innovation, he said, is to bring people and technology closer together rather than simply focusing on making things that are aesthetically pleasing.

“We always think about aesthetics, but I think that's 20 percent of our work,” he said. “It's not about how it works. There's nothing wrong with that, but there's always a gap between technology and people. How can we bring them together? You need to work multi-disciplinary to make the next big thing.”

The key to being successful in multi-disciplinary design, he said in the course of his presentation, is to open your firm up to the knowledge of the world at large, as VanBerlo has done by employing people of 15 different nationalities.

“Let's open the doors, because there's more knowledge outside our company than within. Let's find all those smart people. We know a little about AI, but there are so many smart people out there, so let's invite them in.”

Later, van Berlo implored companies to utilize a bottom-up approach to innovation, the most effective method to innovate in his opinion. He called for more designers to be included on the Board of Directors across a variety of industries and organizations. Too many CEOs, he said, look at designers only in terms of the bottom line.

“We as designers are not a cost. We are an investment,” he said, later adding, “Because if you don't innovate, you're dead.”

Kashiwa Sato — Creating new perspective for early learning
Next to the stage was Kashiwa Sato. A rock star of the Japanese design and creative industry, a bestselling author, and the Creative Director of SAMURAI Inc., Sato spoke about ‘Creating new perspective for early learning’. His talk centered on the case of Fuji Kindergarten in Tokyo, which follows the Montessori Method whereby children are granted the freedom to learn through discovery, and which was designed by Sato himself.

“For this kindergarten,” said Sato, “My concept was to turn the building into a large playground. I commissioned a famous architect, and he designed this donut-like building. It's very large, 3,000 square meters. And you can climb up to the roof, where it's like a second playground. But it's not just a playground. It can also be a classroom.”

Sato later drew attention to yet more features of the unique building which made international headlines thanks to its revolutionary approach to facilitating learning through design itself.

“This kind of design makes it very suitable for students to run around. Using GPS technology, we realized that one kid could run up to six kilometers on the roof. It's almost like fish in a tank. They run around all day long and they're very healthy and active.”

And thanks to Sato's pioneering work, the kindergarten, which opened in 2007, saw unprecedented demand for enrollment; a feat made all the more impressive by the fact that Japan is one of the most rapidly aging societies in the world, as it endures a period wherein the national birthrate has fallen to an all-time low.

“Our kindergarten was on the front page of a mainstream newspaper. We have 600 students. Usually you need six months to recruit that many. But after it was in the newspaper, we got that many within two days,” he said.

Ed Bakos — Re-Imagining Sustainability: Designing for Longevity
The third speaker to address the audience was American interior designer and architect, Edmond Bakos, Managing Director of Champalimaud Design (USA), discussing his concept of ‘Re-Imagining Sustainability: Designing for Longevity'. Throughout his talk, Bakos drew on his experiences of traveling all over the globe for various design projects.

“The key to our work is being a kind of cultural anthropologist, looking at the way different people around the world think of luxury, and creating spaces that are inspiring and capture your imagination,” he said.

Bakos also expounded upon the responsibility of designers, particularly in the architectural sphere, to supplant the current culture of 'build-demolish-rebuild'.

“Worldwide construction waste is predicted to double by 2025,” he pointed out. “Fast consumerism and rapid consumption is turning architecture and design into a disposable industry. So what do we do?”

“The solution has to start with each of us,” he later offered. “We need to move away from the idea that buildings are so temporary that they're going to contribute to this landfill problem.”

Chris Lee — Once upon a time…Making history relevant to a new generation
Last to speak, but certainly not least was Chris Lee, Founder and Creative Director of Asylum (Singapore). A maverick of the Singaporean creative sphere, Lee titled his talk ‘Once upon a time…Making history relevant to a new generation’, in which he discussed design education.

A flagship project for Lee and Asylum was The Warehouse Hotel on Singapore's Robertson Quay. The 120-year-old building had previously seen life as a spice storage facility, a center of bootlegging, and even as a disco in the eighties. Lee and his team searched for a way to incorporate the history of the space into something more contemporary.

“The idea for us was how to engage people who want to appreciate the culture, and have a bit more money to spend, and are tired of staying in business hotels, looking for a different experience. Stylish, worldly, independent people,” he said.

“I was very inspired by the 1927 movie Metropolis and brutalist architecture,” he later said of his inspirations. “The skin of the space we didn't touch. Even the truss is original, 120 years old.”

Concern for the natural environment was never far from Lee's mind as well, as he sought to utilize reusable materials wherever and whenever possible, and to do things in-house.

“The water is all bottled by the hotel. All the mugs are created by our own potters. Everything is sustainable, from the toothbrushes to the showers.”

Like Bakos before him, Lee also drew attention to the fact that going forward, design should be about reusing what is already available; not about destroying what's already there and building atop the old foundations.

“Everything is new in Singapore,” he said of his home city-state. “Everything is modern and boring. The idea of reusing a building without interjection is good. You want to keep the integrity of the space, but you want to say something to the modern-day user.

“They might not know the building from 120 years ago,” he said of his multi-award winning hotel, “but today it's their space. Slowly it will become a trend where clients say it's not trendy to keep redoing things.”

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The Golden Pin Design Award 2018 Best Design Winners are Announced!!
Nov 29, 2018

November 29, 2018, Taipei, TAIWAN --( ASIA TODAY )-- Earlier this evening, the highly anticipated Golden Pin Design Award 2018 Grand Ceremony took place at Songshan Cultural and Creative Park’s Multi-Showcase Hall. A total of 34 Best Design and 3 Special Annual Award winners in the Golden Pin Design Award, along with 3 Best Design winners in the Golden Pin Concept Design Award were revealed on stage at the ceremony. The Best Design winners came from Taiwan, China, and Hong Kong to accept their awards this evening, delightedly taking home the Golden Pin trophy and certificate. In addition, the three Golden Pin Concept Design Award 2018 Best Design winners each received a generous US$13,000 cash prize.

Golden Pin Design Award 2018 Best Design and Special Annual Award

Of the 34 Golden Pin Design Award 2018 Best Design winners, there are 12 in the product design category, 11 in the communication design category, 8 in the spatial design category, and 3 in the integration design category. Additionally there are 2 Special Annual Award for Green Design winners and 1 Special Annual Award for Social Design winner. One Best Design winner also won the Special Annual Award. Among the Best Design and Special Annual Award winners are 23 from Taiwan, 9 from China, and 4 from Hong Kong. One of the Special Annual Award for Green Design winners is WOWMOON, a glassware collection made for the moon festival celebrations at Taipei W Hotel’s WOOBAR. Among the Best Design winners is Prismverse, a branded installation created for Dr.Jart+, and The Affairs newspaper that was founded by the editor-in-chief of The Big Issue Taiwan.

Looking back after judging, the jury members gave their comments on the Best Design winners. Chief editor of Fountain magazine, Tieh-chih Chang feels that the standard this year is really high, especially in the communication design and spatial design categories. He remarks on this year as a real breakthrough for those categories. Senior Vice President of Compal Electronics Inc., Shikuan Chen comments on the rise of artificial intelligence. He sees a lot of consumer products using AI, particularly educational products for children. Honorary Chair Professor at the Department of Industrial Design in Shih-Chien University, Kuan Cheng-Neng notices that many of the winning designers are catering to trends in our aging society. His examples include medical products and communication designs for social impact.

Golden Pin Concept Design Award 2018 Best Design

The 3 Best Design winners of the Golden Pin Concept Design Award 2018 are RobloX, Printing on the Tiny, and NET GUARD. Each concept audaciously attempts to utilize the most progressive forms of design in its given discipline. RobloX is a prefabricated building block, made from advanced UHPC (ultra-high-performance-concrete), and designed for robotic assembly. Printing on the Tiny is a book, which teaches design graduates and freshman about printmaking, featuring beautiful prints of insects as examples. Finally, NET GUARD is an autonomous UAV drone that rescues people from high altitude emergencies, such as fires in high-rise buildings.

After judging, the jury members gave some advice for future entrants. Creative Director of SAMURAI Inc., Kashiwa Sato recommends that when you think about a concept, you must harness your motivation to think deeper. For him, the question of why comes first, and how comes later. CEO of backer-founder, Tahan Lin encourages designers to consider the feasibility of their concepts actually becoming real. He asks, does your concept address the user’s real needs, and does it reflect real social issues? Founder of bod design corp., David Wang appreciates simplicity. He says, when you work on a concept, just think about one thing, and don’t complicate it. Your concept should be straightforward and easy to understand, and it is also important that you communicate your motivation when pitching to the judges.

Preliminary, Secondary, and Final Selection

This year’s jury was the biggest in the awards’ history. A panel of 76 design experts scrutinized the entries over three rounds of judging. A combined total of nearly 7000 entries were received in the Golden Pin Design Award and Golden Pin Concept Design Award before the call for entries deadline in June, and Preliminary Selection began in July. Secondary Selection took place from August to mid-September in Taipei, Shenzhen, Shijiazhuang, and Shanghai, whittling down the entries to just 742 Design Mark winners, 91 of whom passed through to the final judging stage. The Final Selection jury convened in Taipei at the end of September to decide on the Best Design winners.

Ceremony Opening Video by Bito

Nature Knows is Bito’s concept for this year’s ceremony, emphasizing the importance of cycles in nature and sustainability in design. The opening video at the ceremony echoes this concept, featuring a girl who finds pollution, and sets out on a journey with the pollution through jungles, oceans, and outer space. In the end, she plants the pollution in the ground as a seed that grows into tree, representing a cycle in nature. The opening video’s message to designers at the ceremony is to promote sustainability in design. It took Bito six months to create the video, using 3D animation techniques.

Ceremony Host, Interval Performance, and Installation Art

Mickey Huang hosted the award ceremony for a third consecutive year. As ever, Huang brought his charm and humor to the event, along with his vast knowledge of Taiwan’s design industry. During the ceremony interval, Taiwanese singer-songwriter Crowd Lu performed three songs to much applause from the audience. Lu has risen to fame in Taiwan over the past decade and it was an immense privilege to have him play at the ceremony. The audience also had the opportunity to appreciate installation art by WHYIXD in the ceremony reception. The kinetic sculpture entitled X Land is made from recycled Brightness Enhancement Film, inviting onlookers to rethink the relationship between sustainability and design.

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The Winning Designs are Hidden Inside a Bamboo Labyrinth at Taiwan Design Museum
Nov 16, 2018

November 16, 2018, Taipei, TAIWAN --( ASIA TODAY )-- Bito transforms the gallery space of Taiwan Design Museum into a bamboo labyrinth to highlight the importance of design for sustainability at the Golden Pin Design Award 2018 Winners’ Exhibition. The exhibition echoes the concept of the award ceremony “Nature Knows”, taking inspiration from cycles in the natural world, and raising awareness of the environmental cause among Taiwan’s design community. It opens until January 13, 2019, inviting visitors to explore more than 100 of this year’s winning designs, and video art by Bito.

Deputy CEO of Taiwan Design Center, Nina Ay led today’s exhibition preview event. The Chairman of Taiwan Design Center, Chi-Yi Chang gave the opening speech followed by the exhibition curator Keng-Ming Liu, Founder and Creative Director of Bito, Taiwan’s leading motion design studio. Also at the event were many of this year’s winning designers, including Pili Wu of PiliWu-Design, Joe Fang of Joe Fang Studio, Tieh-chih Chang (Chief Editor of Fountain magazine), and Fines Lee (Founder of The Affairs newspaper).

“This year we have over 7000 outstanding projects and we invited 76 judges from around the world,” says Chi-Yi Chang, Chairman of Taiwan Design Center. “This is the most judges we have ever had. We will announce the Best Design winners on November 29. Today, we have a lot of finalist designers at our press conference. We hope that designers will keep competing to win the award and push our design industry forward.”

“The concept Nature Knows focuses on natural cycles and sustainability,” says Keng-Ming Liu, the lead curator of the exhibition. “We use bamboo in the exhibition. On the one hand, it’s related to nature and sustainability, and on the other hand we want to create an Wulin (martial arts competition) -like environment. We want to communicate that entering a design award is not just about competing with other designers, but also about bettering one’s self.”

The Exhibition Curators
Liu curated the exhibition to echo the concept of the award ceremony "Nature Knows", inspired by cycles in nature along with the importance of design for sustainability. His co-curators are architect Bird Hsu, and artists Lee Ming Teh and Tzu-Hung Yang. Together, they have transformed the interior of Taiwan Design Museum into a bamboo labyrinth, integrating the exhibits with nature, while communicating the relationship between people and the environment. Bamboo is considered a sustainable material due its rapid growth and decomposition. Specifically in East Asian culture, bamboo symbolizes moral integrity due to its qualities of straightness and strength. During the two-month exhibition period, the bamboo will gradually decompose, turning from green to yellow, further emphasizing the role of the natural cycle and sustainability in design.

To either side of the exhibition space, Bito’s video art is displayed across both walls, illustrating the changes between four seasons; another reference to natural cycles. In between the video art, more than 100 of this year’s award-winning designs from the Golden Pin Design Award and Golden Pin Concept Design Award are on display, ranging from lifestyle and technology products to graphic design and architectural plans. The exhibits are curated according to the four Chinese characters in the concept “Nature Knows”, pronounced in Taiwanese Hokkien as 自 (Tsū) 然 (Then) 知 (ti) 道 (DAU). The section of “Tsū” features bionic design that imitates nature; the section of “Then” is for design of reused or recycled materials; the section of “ti” is for design that demonstrates analysis of a space, object, or the environment; and the section of “DAU” is for technology.

The exhibition opens on November 17 and closes on January 13, 2019. This heads up a series of events situated around the award’s Grand Ceremony on November 29, and the highly anticipated announcement of this year’s Best Design winners. Spectators can tune in to watch the live stream of the ceremony via the official Golden Pin Design Award Facebook page, and Tencent Home in China. In addition, design professionals, students, and enthusiasts will congregate on the morning of the ceremony to hear from global design experts at the annual forum, discussing design and social responsibility. Tickets to the forum are still available online.

Golden Pin Design Award 2018 Winners’ Exhibition: Nov 17, 2018 — Jan 13, 2019

Golden Pin Design Award 2018 Winners’ Exhibition
WHERE: Taiwan Design Museum (01-03) in Songshan Cultural and Creative Park (133 Guangfu South Road, Xinyi District, Taipei)
WHEN: Opens daily (except Mondays) from 9.30am to 5.30pm, November 17, 2018 - January 13, 2019
*The ticket price is NT$150 (general) or NT$130 (students and concessions).

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INT'L MEDIA LIAISON T 886 2 2311 7007 X 406 | F 886 2 2311 7008

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Taiwan Jewellery Show 2018: Changes in jewellery sector could open new opportunities for players
Nov 13, 2018

TAIPEI, Taiwan, Nov. 13, 2018 --( ASIA TODAY )-- Taiwan premiere jewellery international exhibition, Taiwan Jewellery & Gem Fair 2018, has concluded on 5th November at Taipei World Trade Center, Hall 1. The trade show attracted 9,407 visits from 22 regions and countries, including USA, Canada, China, Japan, India, Malaysia and Philippines. The 2019 edition will be held from 15-18 November, 2019, announced the organiser UBM Asia Ltd., Taiwan Branch.

The jewellery industry is facing a significant shift and suffering from its impact after De Beers disclosed its expansion on lab-grown diamond business. It has triggered a tense atmosphere in the diamond market and moreover, the spill-over effect caused by the US-China trade war dented consumption and dragging down the jewellery industry in Asia, remarked Ms. Sabine Liu, General Manager of UBM Taiwan. "The re-conversion and a big change amid jewellery supply chains can be foreseen, while most of the loose stone vendors also showcased jewellery pieces to reach a 'win-win' solution. This bilateral intention is obvious and believed to be a normal state in the recent years," she highlighted.

Investment Outlook

A rare 124.00-carat no oil emerald displayed by Jurassic Inc., a Taiwan renowned colour diamond company, is the most attention-grabbing piece amongst all. It is a limited edition, weighted second to the one with 169.00-carat auctioned in 2015. The rate of discovering a blue diamond remained one in 200,000. Not only the source of new mining is not yet discovered, but also the yields of global gemstone mining are steeply declining, stated Richard Li, General Manager of Jurassic Inc.

He also encouraged the connoisseur collectors to invest on Argyle pink diamonds, brown diamonds and grey diamonds while offering prices are still friendly, since they have boomed in popularity for international auction houses in recent years. "We don't worry synthetic diamonds will seriously impact consumptions of colour diamonds. After all, they are targeting two different markets," said Richard Li. A 3.00-carat fancy vivid pink diamond was sold for the highest price during the exhibition period, exceeded US$140,000, and had been confirmed to break the record last year.

On the other hand, the collection of 'Koi Carps and Lotus' brooch and 'Swimming Koi' ring presented by Liangher, an 80-year founded art jewellery corporate, displayed a remarkable craftsmanship creation and technique. The showpieces adopted basic machine theory to allow the adjustment of the koi carps swimming towards and backwards. This brilliant artwork has attracted international auction company and will open the bid in the middle of 2019. Meanwhile, Liangher also debuted the latest collection 'Tiger Diamond' during the show to drive aggressive buying.

Red Waves

According to the post-show report, the suppliers of loose stone grew 35% this year and over 70% of them came from ASEAN countries. Customization has become the ongoing trends and many tourists from Greater China are mostly interested in ruby and red spinel, which buoyed the vendors' exploration in Taiwan business opportunities, commented by exhibitors SP Gems and Thida Gems from Myanmar. A 10.45-carat Burma non-treated star ruby, exhibited by Thida Gems, had received the most enquiries at the show.

This year, coral is bejewelled as a main gemstone in many showpieces that can be seen at the area of contemporary jewellery designers, such as Wang Chin Lin, Bunrei Umehara and Chang Hsiu Jan. The designers urged the legality of using coral jewellery and coral reef conservation by retaining its original shape to design the jewellery pieces. In addition, new designers, Huang Wei Lin, Chang Chun Ting and Fancy Chang, presented their artworks with delicate inspiration in pave and setting techniques, which had also won a great reputation.

With the Taipei Jewellery Workshop Union's support, the 4th edition of Craftsmanship Competition Award Ceremony was held at Taiwan Jewellery & Gem Fair 2018. The contest theme was "Treasure Taiwan" and the goldsmith winner of the year went to Mr. Su Yu Chang. Yu-Shieh Hsu, Department of Labor, Taipei City Government Commissioner attended the ceremony to award the certificate to the winners.

In comparison to 2017 exhibition, the sixth edition of Taiwan Jewellery & Gem Fair has shown a 10% increase in the number of foreign visitors and 38% growth of local buyers collectively. There are 27 domestic and overseas companies signing the rebooking contract and 50 booths were sold out before the show closed, in which they came from Taiwan, Japan, Poland, and Hong Kong.

About UBM Asia

Taiwan Jewellery & Gem Fair is organised by UBM, which in June 2018 combined with Informa PLC to become a leading B2B information services group and the largest B2B Events organiser in the world. Please visit for more information about our presence in Asia.

About news release, please contact
UBM Asia Ltd., Taiwan Branch
Ms. Joy Chou

For exhibitor or visiting inquiry, please contact
Ms. Rita Hung

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Bito's Golden Pin Design Award 2018 Key Visual is a Euphoric Ecosystem of Life and Death
Nov 09, 2018

Taipei, TAIWAN --( ASIA TODAY )-- The key visual of the 2018 Grand Ceremony reimagines the Golden Pin Design Award logo as a euphoric ecosystem of life and death. It is designed by Bito, the leading Taiwanese motion design studio, which has led the award ceremony’s key visual design since 2015. Bito’s concept for this year’s award ceremony is Nature Knows, inspired by cycles in nature along with the importance of design for sustainability. Bito’s key visual, along with the opening film and exhibition, all echo this concept.

At the award ceremony on November 29, Taiwanese singer-songwriter Crowd Lu is billed to perform live, and Mickey Huang is to host the event for a third consecutive year. The ceremony will be live streamed at the Golden Pin Design Award’s Facebook page, and via Tencent Home in China. Tune in to witness a night of celebration, announcing the highly anticipated 2018 Best Design winners.

Nature Knows
This poetic concept, Nature Knows raises awareness of our planet’s ecological crisis, and the need for designers to seek out sustainable solutions. “The cycle is the most original design of nature,” says Keng-Ming Liu, Founder and Creative Director of Bito. “Everything has worked according to its principles for hundreds of millions of years. I hope to bring the beauty of nature to everyone.”

Liu continues, “The pin represents an organic ecosystem, containing an ocean, tectonic plates, plants to represent birth, and bones to represent death; symbolizing an endless cycle. Golden lava erupts with inspiration, signifying the innovative ideas that emerge from the Golden Pin Design Award.”

From concept to completion, it took Bito six months to hand draw this year’s key visual, creating more than five different editions along the way. In contrast with last year’s key visual, which was dark and futuristic, this year’s key visual is colorful and up lifting.

Crowd Lu & Mickey Huang
Taiwanese singer-songwriter, Crowd Lu is billed to perform during the halftime interval at the Golden Pin Design Award 2018 Grand Ceremony. Lu has risen to success in Taiwan’s pop music scene over the past decade. He recently won the Golden Melody Award, which is Taiwan’s premier music industry prize, picking up the trophy for Song of the Year in the record label awards Vocal category, and Best Composition in the individual awards Vocal category. He also received two awards at this year’s Golden Bell Awards for Best Leading Actor and Best Newcomer in a Television Series.

Mickey Huang hosts the award ceremony for a third consecutive year. As ever, Huang brings his charm and humor to the event, along with his vast knowledge of Taiwan’s design industry. He boasts an illustrious background in television, radio, and as Master of Ceremonies for Taiwan’s Golden Bell Awards, Golden Melody Awards, and Golden Horse Awards.

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2018 Taiwan Design Expo-International Design Forum invited international experts to share different design aspects
Oct 18, 2018

TAICHUNG CITY, Taiwan, Oct. 18, 2018 /PRNewswire/ -- The Taichung City Government began hosting the 2018 Taiwan Design Expo on August 15th at Taichung Cultural and Creative Industries Park for a total 33-days of exhibition. This year the design expo took on the theme of the dialogue between "soft" and "hard," the expo focused on the future to explore diverse aspects, including digital technology, smart materials, craftsmanship, and urban design.

The design expo showcased the design power Taichung possesses while the design forum on Sep 13th and 14th highlighted the connection Taichung bridges with international cities that invest in design. At both the opening ceremony and during his speech, Taichung City Mayor Lin, Chia-Lung spoke about the city's future: "Taichung is ready to bid for the 2022 World Design Capital by embedding design into our city's planning, and, through the design expo this year and the floral expo around the corner, as well as the infrastructure of the riverside regeneration and Shuinan Smart city, citizens and industries will benefit from design, and Taichung will continue to be the most livable city in Taiwan."

Invited as one of the guest speakers, WDO president-elect Mr. Srini Srinivasan emphasized that design should emerge in society and citizens' daily life not only to catalyze the combination of old and new cultural elements, but also to influence economic and social issues - the ultimate power of design. This was also echoed by Board member Chen Shi-Kuan's remarks that bidding for the WDC title is only the beginning of thinking about how to improve life quality and economic growth. This process can only be successful when joined by design industries and citizens, and that communication is the DNA of a design city.

The forum also celebrated with speakers from 8 cities: Hong Kong, Jakarta, Manila, Kobe, Toyama, Cape Town, Montreal and Paris. Speakers were invited to offer diverse perspectives and introduce multiple design roles through discussions across disciplines, borders, and topics. As Mayor Lin Chia-Lung said, the concept of Design To Connect has made Taichung become a hub for architecture, creative industries and design, and the design forum stands as the platform for these designers to deliver their views on the power of design and shows what Taichung has to offer to connect with international design cities. He hopes that this forum opens up future opportunities with international design affairs and is a stepping stone for Taichung to enter the international design stage.

Source: Taichung City Government, 2018 Taiwan Design Expo-International Design Forum

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ITRI’s Liquid Crystal Recycling Breakthrough
Oct 18, 2018

Taiwanese LCD display makers generate large volumes of scrap screens that have been buried in landfills or crushed into pellets for use in construction. But Taiwan’s ITRI has stunned the world by finding a way to bring discarded panels back to life.

“Global liquid crystal suppliers are all really wondering how Taiwan is able to recycle liquid crystals.”

That’s how Sung Hsin-chen, the deputy executive director of the Environmental Protection Administration’s Recycling Fund Management Board, described the world’s reaction to a recycling breakthrough that could change how LCD (liquid-crystal display) panels are made.

Liquid crystal materials have been around for over a century. Big multinationals such as Germany-based Merck Group are now the main producers of liquid crystals and the biggest source of imported raw materials for Taiwan’s LCD manufacturers. But the ability to recycle liquid crystals from discarded flat panels has so far eluded these prominent global suppliers.

It was not until last year that the answer to the riddle finally surfaced in the form of an “LCD Waste Recycling System” developed by the government-backed Industrial Technology Research Institute. It was cast in the spotlight by winning an R&D 100 Award, known as the “Oscars of Innovation.”

The system extracts liquid crystals from discarded panels for reuse in the production process, which can save a panel manufacturer more than NT$1 billion in new raw material costs a year.

The nearly 100 percent recovery of the liquid crystals also transforms the panel’s glass substrate into a new usable material, easing the burden on landfills and lowering the risk of water pollution from scrap LCD screens.

Now, the complete panel, from the glass on the outside to the liquid crystals on the inside, can be recycled, which for Taiwan has increased the value and usefulness of screens that have been consigned to garbage dumps.

That’s a big deal when one considers how much electronic waste is produced. In 2016, the world generated 44.7 million metric tons of electronic waste, or about 4,500 Eiffel Towers, and only 20 percent of that was recycled through appropriate channels, according to a United Nations report.

Taiwan is the world’s third largest producer of LCD panels – a key component in many electronic products – and generates about 8,000 metric tons of waste panels a year. Beyond simply burying them, the only recycling option for them in the past, and one with limited economic value, was to crush them and use the waste glass as a building material.

“The yield rate of our [panel plants] is the highest in the world. We have very good technology. But when it came to figuring out how to handle discarded panels, we initially had no idea of how to proceed,” admits Hung Huan-yi, deputy director of ITRI’s Material and Chemical Research Laboratories.

In particular, liquid crystals have been critical to the evolution of panel technology, and Taiwan has long been dependent on imports of the material. At a price of about US$5 per gram, panel suppliers in Taiwan spend nearly NT$30 billion a year to buy the material from Merck Group and other big suppliers.

Two Birds with One Stone: Economical and Eco-friendly

The 10-person team led by Hung researched the waste recycling technology for more than 10 years to help resolve the industry’s pain points. The team’s starting point consisted of two questions: “Is there a way to recycle liquid crystals?” and “How can it be done to strengthen productivity and be environmentally friendly?

Hung recalls visiting a major flat panel producer at the time, and R&D staff took to him to a room with shelves stacked with unusable liquid crystal material that had been accumulated over many years.

“Its value alone was more than NT$2 billion,” he estimates.

Liquid crystal materials only account for around 3 percent of an LCD display’s production costs, but if they can be recycled and re-introduced into the process, it can directly reduce the amount display makers have to spend on new materials while also solving solid waste handling problems. In other words, killing two birds with one stone.

That motivated ITRI to study how to recycle and reuse scrap liquid crystal displays, but it immediately ran into problems.

“We needed at least three to five years to make breakthroughs for each type of technology required,” recalls Lu Chien-wei, a researcher in ITRI’s Material and Chemical Research Laboratories.

Recycling Different Liquid Crystals a Problem

Lu says there are two main sources at present for recyclable liquid crystals – defective panels from the production line and waste electronic products, such as those with LCD screens. An LCD panel may be only a few millimeters thick, but it consists of at least 10 kinds of materials, meaning that once the panel’s two glass substrates are split apart, other materials have to be eliminated before the liquid crystals can be extracted.

That extraction technology alone took the ITRI nearly 10 years to develop.

Once the material has been extracted, the next step is “purifying” it, a challenge that even the big liquid crystal suppliers doubted could be overcome because of the variety of materials involved.

Dick Hsieh, the managing director of Merck Group Taiwan, explains that liquid crystal materials are usually customized because they are used in different combinations for panels of different specifications. To meet those requirements, Merck Group sells more than 100 types of liquid crystals, each with distinct compositions.

“So to recycle all of those materials together and then treat them so they can be reused is basically really difficult,” especially considering that the higher a screen’s resolution, the higher the purity of the liquid crystals required, Hsieh says.

To tackle this “mission impossible,” ITRI researchers resorted to distillation, adsorption and filtering to remove impurities from the extracted liquid crystals, hoping to elevate the material’s level of impurities to “parts per billion” (ppb). It set a goal for impurities not to exceed 1 ppb.

As liquid crystal formulas were changing to meet more exacting flat panel specifications, the ITRI’s purification technology had to grow even more sophisticated. By using a “repeated verification” approach, ITRI has been able to identify different types of liquid crystals and blend them together into products that meet the needs of panel manufacturers.

“That’s the reason nobody overseas has been able to do this yet,” Lu says.

Though developing a technology can be difficult, having it reach beyond the laboratory can be even more challenging. ITRI’s Hung admitted that even though the process had been developed over many years and received related patents, panel manufacturers were initially unwilling to use it.

“We had to rely on our industry contacts and ask them to give us a hand by letting us try [the technology] out,” Hung says.

Panel makers were reluctant to take the plunge because of the irreparable harm they could suffer if using the recycled liquid crystal material resulted in quality problems. To verify the technology, they also had to stop their production lines, not an appealing prospect.

“A production line’s capacity is about NT$60 million a day. Who is willing to take that risk?” Hung says.

Just to get the process into a factory on a trial basis took a year, but once one company adopted it, others were willing to follow.

One of Taiwan’s two biggest LCD display producers, Innolux Corporation, formally signed an agreement with the ITRI last year that will pave the way for the ITRI’s waste processing system to be installed in its nine factories in Tainan within two years. The necessary equipment is now being built.

By extracting and reusing liquid crystals, the technology is expected to save Innolux hundreds of millions of Taiwan dollars a year in procurement costs, and it will make the production process more eco-friendly. Recycled scrap panels will no longer contain toxic liquid crystal material that has made buried panels a pollution threat.

At present, the system can treat 1,000 metric tons of discarded LCD displays a year. The leftover waste glass can be used as a nanoporous adsorbent capable of removing heavy metals from wastewater and soil, a departure from the more traditional coagulation and sedimentation approach. The method is currently being tested in the electroplating section of the Changhua Coastal Industrial Park on a trial basis.

“This proves that we can not only recycle and reuse waste materials but also solve other people’s pollution problems, putting the concept of ‘urban mining’ into practice,” says the EPA’s Sung.

The development is favorable for flat panel makers because of the money they can save, and Merck Group’s Hsieh sees it as making perfect sense from his customers’ perspective.

“From an environmental point of view, you don’t want to waste anything. Every little bit of liquid crystal material represents a cost, so the ability to recycle it is of course beneficial to the companies,” Hsieh says.

Though the technology could cut into Merck Group’s raw material sales, Hsieh said it has not had much of an affect so far, and his company will continue to work with panel makers in creating new technologies and applications and provide products that meet their needs.

Good Technology Benefiting the World

The ITRI’s technology is creating new value for discarded screens once treated as garbage, giving it value even in places where LCD displays are not widely manufactured. The ITRI has started to export its technology to the United States to help companies there extract liquid crystals from used panels and enable the waste glass to have more uses, hoping that this more environmentally friendly approach can solve a growing electronics waste problem.

“Although the direct beneficiaries seem to be Taiwanese flat panel makers, in the bigger picture, human beings and the environment are also beneficiaries because a source of waste and pollution has been reduced,” Hung says.

In an age of increasingly sophisticated electronic products and shorter product life cycles, finding better ways to recycle and reuse materials has become a pressing issue around the world, and Taiwan, as a big producer of LCD displays and semiconductors, is no exception.

The growing volume of smart devices permeating daily life will create even greater amounts of waste in the future, and if Taiwan can find ways to break through technology barriers and develop viable recycling systems, it will inevitably emerge as a good business and good optics for the country.

Developer: Material and Chemical Research Laboratories, Industrial Technology Research Institute
Factories Using It: Innolux Corporation and others
Technology Used: Extracting liquid crystals from discarded flat panel displays and recycling and reusing them in the production process, saving costs
Impact: Recycling 1,000 metric tons of discarded panels a year will help panel makers save more than NT$1 billion on purchases of new liquid crystal material.

By Laura Kang
Translated from the Chinese Article by Luke Sabatier
Edited by Shawn Chou

November 29, Golden Pin Design Award 2018 Forum - Design and Social Responsibility
Oct 17, 2018

Taipei, TAIWAN --( ASIA TODAY )-- On November 29 at the Multi-Showcase Hall in Taipei’s Songshan Cultural and Creative Park, the Golden Pin Design Award holds its annual Forum where trailblazing international designers speak to Taiwan’s design community. This year’s theme is design and social responsibility, discussing how designers can better serve society. The Forum’s speakers, who come from the Netherlands, Japan, USA, and Singapore, offer solutions to problems that exist between economic development and human or environmental welfare.

Famous TV news anchor, Lulu Hsia hosts the Forum, and the keynote address will be given by Chi-Yi Chang, Chairman of Taiwan Design Center. After the introductions, the four international design experts take to the stage, each speaking for twenty-minutes, then answering questions from Lulu Hsia for ten-minutes. Their topics, addressing design and social responsibility, range from education to business and culture.

Early bird tickets are available from October 15-31 via Accupass for just NT$500, and starting from November 1 the standard admission price is NT$600. Group tickets are also available from October 15. The talks are given in English, Chinese, and Japanese, while translation devices are available to everyone in attendance. Doors open at 9am, and each talk lasts for half an hour, finishing at 12pm.

When: Monday, November 29, 9AM - 12PM
Where: Multi-Showcase Hall, Songshan Cultural and Creative Park

Chi-Yi Chang, Chairman of Taiwan Design Center (Taiwan)
Chi-Yi Chang is dedicated to raising the quality of architecture in Taiwan and promoting aesthetics in education. The current Chairman of Taiwan Design Center, he also holds positions as Vice President for General Affairs and Professor in the Graduate Institute of Architecture at National Chiao Tung University, as well as Vice Chairman at Xue Xue Foundation.

Ad van Berlo, Founder of VanBerlo (Netherlands)
Dutch designer and visionary, Ad van Berlo introduces his theory of ‘Creative Equity’, which is his vision for better returns on innovation. His study establishes a model that can measure and quantify an organization’s potential for innovation. Founder of VanBerlo, and founding partner of IQ+ Innovation Capitalist, he also holds a teaching position at Eindhoven University of Technology.

Kashiwa Sato, Creative Director of SAMURAI Inc. (Japan)
Rockstar of the Japanese graphic design industry, Kashiwa Sato talks on ‘Creating new perspective for early learning’. His talk centers on the case of Fuji Kindergarten in Tokyo, which follows the Montessori Method whereby children are granted the freedom to learn through discovery. Aside from his role as Creative Director at SAMURAI Inc., Sato is also a bestselling author on subjects related to design thinking.

Edmond Bakos, Managing Director of CHAMPALIMAUD Design (USA)
American interior designer and architect, Edmond Bakos discusses ‘How One Lives: The Designer as Cultural Anthropologist’. His projects, as Managing Director of CHAMPALIMAUD Design, see him traveling all around the globe. As a result, he encounters diverse cultural understandings of luxury, which leads him think of his profession as cultural anthropology before architecture or design.

Chris Lee, Founder and Creative Director of Asylum (Singapore)
Maverick of the Singaporean creative sphere, Chris Lee titles his talk ‘Once upon a time…Making history relevant to a new generation’, in which he discusses design education. Outside of his role as Founder and Creative Director of Asylum, he is also a founding member and ex-President of The Design Society, a non-profit organization that aims to promote visual culture through exhibitions, workshops and education.

About the Golden Pin Design Award Group
The annual Golden Pin Design Award is the longest-running international design award that celebrates products or projects expressly created for and within huaren (Chinese-speaking) communities, offering entrants an unprecedented opportunity to prove their prowess in the world’s largest market.

The Golden Pin Design Award Group is comprised of two international awards — the Golden Pin Design Award, the Golden Pin Concept Design Award — and the Young Pin Design Award for students in Taiwan. The Golden Pin Design Award Group is executed by the Taiwan Design Center and organized by the Industrial Development Bureau, Ministry of Economic Affairs. The Ministry of Economic Affairs acts in an advisory capacity.

For more insight into what it means to design for huaren communities, visit

For the latest news on the Golden Pin Design Award, visit:
Official Website:
WeChat: 金点设计奖

International Media Enquiries
Daniel Cunningham
International Project & PR Marketing Manager, DDG
+886 2 23117007 x 402

Award Enquiries
Janice Cheng
Project Manager, Taiwan Design Center
+886 2 27458199 x 335

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