⟨ Unexpected Welcome ⟩

360° BOOK

A universe in a book

Words / Ron Lam
Translation / Iris Heung

建築師大野友資,曾參與的建築項目包括台灣的經濟部中台灣創新園區的研究中心、國立台北教育大學的北師美術館的改裝設計等,不過讓他聲名大噪的,卻是他於2012年發表了的360°BOOK立體書系列。要讀懂這本書不能逐頁逐頁翻看,而是得將之立在桌上,拉著兩邊封面,把整本書卷成圓柱狀。你會看來一個故事的場境或一幅風景畫,像是開心地採摘著蘋果的白雪公主、手執著毒蘋果惡念蠢蠢欲動的巫婆,又或是雲霧之中的富士山。

Yusuke Oono is a renowned architect who participated in many sizable projects including the Industrial Technology Research Institute in Central Taiwan Innovation Campus and the redesign of Museum of National Taipei University of Education. But the project that actually brought wide recognition to Oono was his 360°BOOK — a 3D book series that was launched in 2012. His 3D books are not meant to be read page by page; they need to stand vertically on the desk first. By pulling two sides of the book towards each other and form a cylinder, a full picture of scene will be revealed, like a story told by a landscape picture. In Oono’s books, readers can find Snow White happily picking apples, the Evil Queen holding the poisoned apple and plotting her hideous act, or Mount Fuji surrounded by fog and mist.

360°BOOK本是大野友資的個人創作項目,後來被出版社青幻社看中,正式印製發行。最近推出了第三個版本《地球和月》,地球與月亮共存的風起雲湧的宇宙,收在小小的一冊書本裡。360°BOOK展示的是書籍的可能性,同時也展示了近年興起的數碼製造技術為創作人帶來的可能性。

360°BOOK was initially Yusuke Oono’s personal project before gaining attention of Seigensha Art Publishing which officially sent it for printing. The third book of the series is called Earth and the Moon. This handy book conceals a unsettling universe in which earth coexists with the moon. The capacity of printed book is not the only subject matter that 360°BOOK explores; it also experiments what the increasingly popular digital printing can do for designers and artists.

R:談談你開始360°BOOK計劃的契機。
O:最初的構思其實是文具Memo Pad。能否做到把綑在一起的Memo Pad打開來時,就現出立體的圖畫呢?當時並不是想做書的,只是製作途中,發現將之合起來後,就如同書本了,因此才採以書籍設計的方式。

R:第一本360°BOOK選了白雪公主為主題,有甚麼特別的理由嗎?
O:我本身並非繪本作家而是設計師,我創作的不是內容,而是360°BOOK的結構。製作第一本作品時,因為希望得到大眾的注意,所以選擇了大家都認識的著作。

R: What was the inspiration behind your 360°BOOK project?
O: My original idea was actually memo pads. I wanted to make a memo pad that can turn into a 3D picture. I didn’t plan to make a book back then, but when I was binding up pieces of paper, it actually became a book-like creation. That was why the project is designed as books.

R: Snow White was the theme of the first 360°BOOK. What gave you the idea?
O: I am a designer, not an illustrator. What I design is not the content but the structure of 360°BOOK. I picked a well-known tale so as to attract more attention for my first creation.

R:製作首本作品時,最困難的是甚麼呢?
O:打開時要怎樣令到內容裡的立體內容被清晰看見呢,為此要決定頁數及面積等,這是花費了最多氣力的。

R: What was the most difficult part in creating your first book?
O: It was a challenge to have the 3D content shown clearly. It took me considerable efforts to execute the decision of extending page number and book size.

R:360°BOOK系列推出新作《地球和月》了,跟首部作品相比,是否已沒有太多麻煩事了?
O:因為每一次都挑戰新的技術,所以每次都會遇到新的問題呢。只有逐個逐個問題,仔細地解決,才能夠提升作品的質素。R:說起來,最初的360°BOOK是採用數碼切割的方法製作的,但在2015年投入量產後,則改為刀模切割,箇中原因是甚麼呢?
O:用數碼切割來做大量生產的話,時間及經費都會多很多呢,另一方面也因為數碼切割會在切割邊緣留下燒焦的痕跡,所以後來便改以刀模切割了。

R:可以談談《地球和月》的創作靈感嗎?
O:之前做了富士山及白雪公主,這次希望找一個主題,跟以往的氣氛是完全不同的。宇宙的主題呈現出科幻的感覺,該可以把360°BOOK的可能性展示出來吧,那時我這樣想。

R: Compared to the first book, was it not as challenging to make your new 360°BOOK Earth and the Moon?
O: Every new work comes with a new technical challenge. I have to examine every single question closely, so as to solve all problems and improve the quality of my work.

R: The original 360°BOOK was made with the method of digital cutting, but was switched to die cutting when mass production was started in 2015. Why?
O: Mass-producing with digital cutting would incur high cost in both money and time. Besides, digital cutting leaves a burning mark on the rim, so I decided to switch to die cutting.

R: What inspired you to make Earth and the Moon?O: Mount Fuji and Snow White were the two themes for my previous works, this time I would like to try something with a distinctively different vibe. I believed the sci-fi quality that the universe possesses could be an ideal theme to manifest potential of 360°BOOK.

R:對大野先生而言,數碼切割及立體印刷等數碼製造技術的魅力是甚麼呢?它將會對世界帶來甚麼影響?
O:數碼的魅力在於,生產大量相同的東西,跟生產大量不同的東西,成本基本上是沒有改變的。將來數碼切割的質素提升了、成本價再低一點後,若能在網路上接受預訂,為客人度身訂製360°BOOK,一定會很好玩吧。

R: Mr Oono, which quality of digital cutting and 3D printing fascinates you the most? And what do you think they can influence our world?

O: Whether to mass produce products that are identical or different, the cost stays the same if digital technology is used. I found this fact most fascinating. If in the future, the technology of digital cutting can be further improved with cost lowered, then people can order their customized 360°BOOK online. I’m very looking forward to seeing this happen.

大野友資
1983年於德國出生,在東京大學建築學系畢業後,曾往葡萄牙師從建築大師João Luís Carrilho da Graça,回國後進入Noiz Architects,並任職東京藝術大學非常勤講師。現時除了建築及平面設計等工作外,亦致力研究數碼技術於設計及製作上的應用。

Yusuke Oono
Oono was born in Germany in 1983. Upon his graduation from School of Architecture in the University of Tokyo, Oono went to Portugal and worked under the master of architecture João Luís Carrilho da Graça. After returning to Japan, Oono joined Noiz Architects and works as an adjunct Professor at Tokyo University of Fine Arts. Apart from practising architecture and graphic design for profession, Oono is devoted to researching the application of digital technology on design and production.