自由落體設計陳俊良的設計哲思：「從i到F之間的距離」

德國iF自1953年創辦以來，已是世界最重要的設計競賽，設計遊走於理性與感性間，從個人角度發散至群體，乃至對自然的關懷、對生活的講究，每段設計故事提供給社會、世界新的進步動能。追求美好的設計過程，往往僅是一個「點」的發想，想法的交互碰撞下試圖尋覓最近的距離，「精準」落墨後如何佈局、如何控制分寸，從「好」到「卓越」僅是毫寸間的計較。

設計師的創作，不單單只考慮「人」，還需著墨每個空間、不同材質，甚至超越時間。設計沒有絕對的理性，也非絕對的道理，只有絕對的堅持和講究，永遠也不會有設計師知道一個作品的終點為何，只因距離完美永遠都只差了一點。

iF設計獎不啻為對作品的肯定，更多是見證時代的趨勢，定義新的生活方式，2020是人類文明消失存在的一年，重新定義設計師思考的維度，透過設計也能感受出有別以往的趨勢，設計的過程也正反思自身作為「人」存於世上的關係，不僅是對人類的便捷帶來什麼？重要的是對環境、自然有何新的體悟？

台灣有許多優秀設計師，iF便是給予他們一個良好的視野，站立於巨人的肩膀上，是為了眺望更遠的標的，洗淨鉛華的美好，只因時間的集粹更貼近本質，設計之所以美好正因看似與生俱來的恰如其分，透過拂掠每頁的得獎設計，向經典致敬！

The distance between the i and the F.

Design is all about the progress of connecting two dots of thoughts. It is the condense of simple to complex; the separation between the wheat and the chaff.

Since iF of Germany is founded in 1953, the event has turned into a critical design competition worldwide. Design is within rationality and sensibility, personal and groups, and even concerns towards nature and particular attention to life; stories behind each design offer societies and the world the motivation to innovate. The progress of perusing delicate designs often starts from just a "dot"; the interaction of thoughts colliding pushes the search for shortest distances. How to set up and having a sense of decency after "precise" planning makes the minor differences between "well" and "outstanding."

A designer's creation is considered beyond "human," each space, and different materials, even time passage is also considered. There are no definite rationality nor reasons, but absolute persist and delicate; no designer could ever know the end of a work, but only that missing step towards perfection.

iF Design Awards is more than an affirmation to works, it is a trend that witnesses the change of times and how new lifestyles are defined. 2020 is a year that human civilization paused and disappeared; it redefined how designers think. A different sense can also be told through these designs. At the same time, the progress also reflected how the existence of a "person" relates to the world, not only on how humans' convenience brought, but more importantly, the new comprehension towards the environment and nature.

There are many outstanding designers in Taiwan, and iF has been given them a great perspective as if they are standing on a giant's shoulder. These designers are willing to see further and reveal the beau of their true selves just to be close to the essence through time. The beauty of designing is that the appropriates that seem to be born are tributing to the classics through each and every awarded design.』

不僅僅是空間設計的琢磨，在陳俊良許多關於跨界美學的思維與豐富的作品，他認為設計是軟性的科學，創作作品都是在理性架構下而有感性美學。從事設計數十載的陳總監，被問到是否有經歷設計瓶頸時，坦言道不曾有。並向設計迷們分享設計的精要即是：「今天醒來就沒有理由抄襲昨天的事情」，如同陳總監執行著各式設計形式的轉變，從平面轉到產品轉到空間轉到時尚，無論是何種概念的作品對於陳總監而言皆是未曾停歇的創作與進程。