Interview

名人訪談

Gu Wenmin

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Gu Wenmin

Floral artist

Graduated from the Department of Industrial Design at National Yunlin University of Science and Technology. Works in floral art and is passionate about the aesthetics of conflict.

What we call conflict and destruction is not literal destruction; it is also an attitude and a spirit. It emphasizes breaking out of fixed ways of thinking and seeing things from another perspective. Destructive floral art is not about physical destruction, but about thought: breaking established mental frameworks, reorganizing them, and infusing them with one’s own soul. Through design, it creates a different visual language for floral art and redefines the relationship between people, plants, and space.

Aesthetics of ConflictI use craftsmanship, sculpture, and design techniques to create a conflict aesthetic in the space that is uniquely mine and the plants’!

Fan pageKu flowerhttps://www.facebook.com/kuflowers/

 

Q & A

 

Q: How do you start your day?
A: Get up, have a cup of coffee, and look at the work wall while thinking about today's plans.

 

Q: Where do you usually hang out?
A: Yangmingshan. Spending more time in nature can spark inspiration.

 

Q: Which restaurant do you go to most often?
A: At Nangang Traditional Market, Lin Ji Sesame Noodles highly recommends sesame noodles with assorted soup.

 

Q: What do you do for fun after work?
A: Tidying up the studio changes the environment. My studio is in Nangang—feel free to drop by.

 

Q: What’s a book you’ve read recently? What thoughts or takeaways did you have after reading it?

A: Modern Design Meets Traditional Craft: Toshiyuki Kita recommends this book, which discusses the integration of traditional industries with modern industrial design—using design to transform the circumstances traditional industries face in a changing era and redefine their value. The book explains that when Mr. Kita engages with traditional crafts, he first gains an in-depth understanding of the entire manufacturing process and the local cultural background. Only then can design and discussion lead to creations that embody the soul of the object. When design breathes life into traditional crafts, it creates a resonance and warmth between the craft and the product, allowing users to experience and appreciate the culture of local traditional industries and gain a deeper understanding of them.

For me, it is very important to develop an eye for understanding and discovering traditional crafts. This takes time, accumulated experience, and the ability to put ideas into action. The book reveals so much skill that I deeply admire. It shows how design can transform traditional crafts and reveal their new possibilities. When a product is meaningful and beautiful, combining design with functionality, its value is elevated to another level.

The part I find most interesting is watching how Mr. Kita challenges himself and carries out each real-world project: his interdisciplinary thinking, the fusion of Eastern and Western design, the warmth of craft products integrated into everyday life, and his forward-looking perspective on the value of traditional craftsmanship.

 

Q: What do you find most interesting or appealing about Taiwan?
A: I highly recommend a hidden gem in Nangang: the Four Beasts Mountains. The four connected peaks offer views of the forest as it changes with the light and elevation along the trail, allowing you to experience the power of nature.

 

Q: What do you look forward to most when staying at a hotel?
A: An inn with character and an atmosphere thoughtfully shaped by its spaces, closely connected to everyday life.

 

Q: What is your impression of the hotels under Taipei Inn?
A: I was impressed by Fu Bei New Inn. The fair-faced concrete architecture and the art displays complement each other, creating a comfortable atmosphere with a touch of Zen. The staff are friendly and lively.

 

 

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