「打從三澤遙一出現，我便認為她擁有極優秀的才華。
所以不過數年的時間，她實際上已經成長為我所信賴的存在。
我深知只要在她背後輕輕地推一把，她一定能創造些什麼出來。
我也衷心期待，三澤遙能夠朝向世界的中心奔馳而去。」——原研哉

　　・原研哉心中極優秀的日本新銳設計師三澤遙（Haruka Misawa）
　　和國際設計大師原研哉（日本設計中心 原設計研究所）與佐藤大（nendo設計事務所）一起工作過的三澤遙，跨領域的設計能量豐富。2014年7月在日本設計中心成立三澤設計研究室，從平面設計到產品設計，乃至於空間規畫，多領域從事設計工作。2015年台北華山展出的竹尾PAPER SHOW 「Subtle」，三澤遙創作了兩件精彩作品：〔紙之花〕與〔紙的飛行體〕；只要看過她的作品，一定能感受她所創造的纖細與美麗，同時呈現細緻的設計思考。

　　・水中風景：「重力」與「浮力」間的不可視之美
　　三澤遙認為，探討設計的可能性就是她一生所面對的功課。在【水中風景】系列中，她重新思考、捕捉物體在水中的「重力」與「浮力」的關係，營造出恰到好處的平衡狀態，成為作品中「不可視」的重點之一；在無聲世界中，靈動的魚兒穿梭於巧心設計的結構物之間的姿態，令人屏息，彷彿超越了時空，進入了禪的意境，讓人悠游其中、流連忘返，觀者也一同悠游在魚缸—這個被三澤遙創造出來的世界中了，而觀者體驗到的世界觀是那麼的纖細、無暇、純淨和洗練。藉著觀賞此系列與傳統魚缸完全不同的嶄新水中風景，發現並體會其中潛藏的多種可能性，【水中風景】正訴說著美的本質。

　　・「Waterscape 水中風景 三澤遙個展」海外首站在台北Link Lion
　　展覽專書首度在台出版，中英對照唯一正版
　　2016年春天，應雄獅美術邀請，三澤遙首次於海外台北Link Lion（雄獅星空）展出此系列作品（2016/2/20-4/3）。本書完整記錄系列中的九件作品，九個大小一致的方形魚缸中，魚兒、水草與三澤遙設計的各式造形物，創造出景象各異的水中風景，在喚起人類本能，喚醒不可視的直覺美。本書另收錄原研哉推薦序、攝影師林雅之先生、Link Lion藝術總監李柏宏的專文；書中照片由攝影師林雅之（Masayuki Hayashi）先生所拍攝，大幅橫向跨頁呈現魚蝦們悠游其中的空間感；三澤遙更將作品細部全面公開，以詳細圖解記錄九件作品的細部結構與成形。

作者簡介
    
三澤遙  策展人/設計師    Haruka Misawa, Curator／ Designer

　　2005年畢業於武藏野美術大學工藝工業設計學科。曾任職於設計事務所nendo，2009年進入日本設計中心原設計研究所。2014年7月成立三澤設計研究室，獨立進行設計相關活動至今。從平面設計到產品設計，乃至於空間規畫，多領域從事設計工作。至今曾參與的企劃案有：2013年KITTE丸之內（日本郵政開設的第一個商業設施）的視覺識別（Visual Identity）與指標設計；竹尾TAKEO PAPER SHOW 2014「SUBTLE」展出兩件作品：〔紙之花〕與〔紙的飛行體〕；以及上野動物園的年度視覺識別「UENO PLANET」等等。

　　Haruka Misawa graduated from Musashino Art University’s Department of Industrial, Interior and Craft Design in 2005. She worked for the design office nendo, and then joined the Hara Design Institute, Nippon Design Center in 2009. She founded the Misawa Design Institute in July of 2014, and has since been devoted in doing independent design work, including endeavors in various disciplines such as graphic design, product design, and space planning. Some of the projects she has been involved in include: visual identity and entrance sign design for KITTE, which is Japan Post Co., Ltd.’s first commercial facility (2013); she also presented two of her works, Paper Flower and Paper Vehicles of Flight, at the Takeo Paper Show, Subtle, in 2014. Misawa is also the designer of Ueno Zoo’s annual visual identity, UENO PLANET.

中譯簡介

李柏黎

　　1974年出生。日本同志社大學美學與藝術學科畢業、京都大學美術史碩士。現為雄獅美術主編。著有《遺民‧深情‧劉錦堂》（雄獅美術，2009），譯有《SUBTLE—纖細的、微小的》（雄獅美術，2015）、《欲望的教育—美意識創造未來》（雄獅美術，2013）、《原研哉的設計》（雄獅美術，2009）。

英譯簡介

廖蕙芬

　　美國加州大學University of California, Irvine美術系畢業，台灣大學Global MBA碩士。曾於表演藝術推廣與視覺展覽領域工作九年，目前為自由譯者，從事藝術類中英文筆譯工作。Email: [email protected]

推薦序 | 原 研哉（Kenya Hara）
 
Waterscape  | 三澤 遙（Haruka Misawa）
 
Waterscape
01 水中溫室・氣球型  Underwater Greenhous・Balloon-shaped
02 水中溫室・巨蛋型  Underwater Greenhouse・Dome-shaped
03 泡沫的區劃  Zoning with Foams
04 彷彿雲朵的塊體  Cloud-like Lump
05 階梯狀之木  Step-like Tree
06 有開口的境界皮膜  Membranes of Boundary with Openings
07 集光模樣的丘陵  A Mount Where Light Gathers
08 空氣的綿毛  Fluff in the Air
09 襯托出環境的四角護堤塊  Environment Enhancing Tetrapod
 
不可視的設計 | 攝影師 林 雅之（Masayuki Hayashi）
 
訴說著美的本質的魚缸 | Link Lion 藝術總監 李柏宏
 
Diagram Waterscape 01-09
 
後記 | 三澤 遙（Haruka Misawa）

推薦序

原 研哉（Kenya Hara）

　　三澤遙曾經在我的事務所工作了約五年的時間。雖然打從她一出現，我便認為她擁有極優秀的才華，但當時的我，甚至是她本人應該也不清楚如此的才能會朝向何處並以什麼樣的方式嶄露頭角吧！所以，我當時便想將她暫時安置在原研究所（Hara Design Institute），幫助我去實現我想要完成的設計，應該是還不錯的安排吧。所謂「設計者」乃是——以為非常了解自己，事實卻是什麼也不知道。是一種非常主觀抽象的存在，彷彿是漂浮在這世上的水母一般。

　　「好像往這個方向前進比較好吧？！」於是便往心中所想的方向漂移過去。無論是我還是三澤遙，在此意義上都是相似的存在。只要是還活著的時候，就會自覺到何處才是可讓自己的能力發揚光大的方向，然後具有十分強大的欲求朝著那個方向前進。

　　這些年來三澤遙始終以一種嚴謹的態度跟隨著我所堅持的頑固，並且將她所擁有的感性與技術毫不保留地提供給我。所以不過數年的時間，她實際上已經成長為我所信賴的存在。不過儘管如此，倘若超出某個臨界點的話，我便感覺無法再要求她幫我的忙。就如同在動物的世界中，孩子長大後便要離父母而去。在創作者的深處也潛藏著某種本能，能夠預測「從此不要再一起工作比較好」的時機。

　　2014年三澤遙開始在日本設計中心（Nippon Design Center）裏面設立了屬於自己的研究室。並且也在銀座的Design Gallery開了個展。當時她的想法原本是希望展示自己歷年來的作品，但我建議她還是能夠展出新作會比較好。雖然展覽的準備期很短，而我或許也只能提供她稍微不負責任的建議，但我深知只要在她背後輕輕地推一把，她一定能創造些什麼出來。【水中風景】正是此次作品中的一部分。雖然的確是非常有趣的作品，但我卻不覺得意外。此次在台灣舉行的個展，更是在她背後再推一把。我衷心期待，三澤遙能夠朝向世界的中心奔馳而去。

Preface  
                                  
Kenya Hara

　　Haruka Misawa worked in my company for a period of about five years. I noticed her exceptional talent right from the beginning, but I, or even she for that matter, was not aware of what direction she will be heading towards and how she will shine in the future! Therefore, I then temporarily placed her in Hara Design Institute, assigning her to assist me in completing the designs that I wanted to do. I thought that was a pretty good arrangement for her at that time. So-called “designers” are often people that think they know themselves well but are time and again ever so oblivious. Their existence is very subjective and abstract, resembling jellyfish that floats in water. They often listen to their voice inside to tell them which way to go, and this way of existence is something that Misawa and I seem to share. As long as we are still alive, we will instinctively know which way we should go and where we will be able to let our abilities shine. We are propelled by a strong sense of desire that pushes us towards the direction that we should be heading.

　　Throughout these years, Misawa has always worked diligently and accommodated my insisting stubbornness, contributing generously all of her perceptual and technical skills to help with my endeavors. In just a few years, I’ve become quite depended on her. However, beyond a certain point, I have also begun to feel that I can’t ask her for help anymore. Just like in the animal kingdom, when an offspring has grown mature enough, it will leave its parents. Buried deep inside each creative soul is also the ability to foresee the time when it would be best for two people to “stop working together.”  

　　Misawa started her own research studio inside Nippon Design Center in 2014, and also presented a solo exhibition at the Design Gallery in Ginza. Her initial intention was to present the works that she has created throughout the years, but I suggested that it was better to just showcase her newer pieces. Although the preparation time for the exhibition was quite short, and perhaps my suggestion was slightly nonchalant and irresponsible, I knew that she only needed me to slightly nudge her from the back for her to come up with something brilliant. Waterscape was a part of that exhibition, and I wasn’t surprised that she created something that is utterly amazing. I’ve also once again pushed her just a little bit to realize this solo exhibition in Taiwan. I wholeheartedly anticipate seeing Misawa striving forward towards the center of the world.

Waterscape

三澤遙（Haruka Misawa）

　　水面之下，乃是會發生與空氣中完全相反力量的特殊環境。
　　在使用器皿與水，這兩種極單純的組合所構築而成的魚缸內空間，
　　充滿了平常在空氣中所無法成立的非日常世界。
　　這是起因於「浮力」，也就是與「重力」相反之往上之力在作用著的緣故。
　　比方說沙礫與水草，在空氣中兩者不消說會往地面墜下，
　　但來到水中卻是沙礫緩緩地沉沒至底下，而水草卻是靜靜地往水平面上升。
　　此外，在地面上會因自體重量而容易損壞的纖細構造物，
　　也因重力與浮力之相對作用力的關係，而能保持安定的狀態。
　　我有意識地控制「浮起」與「沉沒」兩股力道的相互作用，
　　嘗試從零開始探索水中棲息生物的生態環境，並且將其具體化，
　　這便是名為「Waterscape」的計畫。
　　在此呈現的作品雖仍處於雛形（prototype）的狀態，
　　但希望觀者能夠藉著觀賞與傳統魚缸完全不同的嶄新水中風景，
　　發現並體會其中潛藏的多種可能性。

Waterscape                            

Haruka Misawa

　　Underneath the surface of water is a unique environment that exudes an energy which is completely opposite from that which is surrounded by air.

　　The inner space of this fish tank is created by combining two simple elements of container and water, with an extraordinary world created that differs from the world with air.

　　Propelled by buoyancy, this is the result of an opposing gravity that is pushing upwards.     

　　For example, when placed in midair, gravels and aquatic plants are bound to fall instantly to the ground, but when placed in water, the gravels would slowly sink to the bottom, and the aquatic plants would gently rise up to the water surface.

　　Moreover, delicate structures that are prone to damage caused by their own weight on land are able to maintain a stable state because of the relative force of gravity and buoyancy.

　　The interaction between gravity and buoyance is consciously controlled with this, seeking to explore from zero the ecology where aquatic beings dwell. The observations are then tangibly realized, transformed into the project, Waterscape.

　　The piece being presented here is still just a prototype, and the objective is for the viewers to see from it a brand new aquatic landscape that differs from what is perceived with conventional fish tanks, and for them to discover the endless possibilities hidden within.