Highlights

In summer 2026, nine students from National Cheng Kung University (NCKU) took part in a five-week arts internship at Loughborough University’s School of Design and Creative Arts in the United Kingdom. Led by Professor Ming Turner and supported by Taiwan’s Ministry of Education through its “學海築夢” overseas internship programme, the group comprised three students from the Institute of Creative Industries Design (ICID) and six from the Master Program on Techno Art.Centred on the theme “Ecologies,” the internship explored the intersections of creativity, design, nature and people, extending these enquiries to materials, culture and the environment. Through fieldwork in the British countryside, students collected natural objects, created artworks using unfired earth and constructed a “world of hills.” They also explored fabric as a carrier of memory and responded to their surroundings through creative writing and sound recording. These explorations culminated in five series of works spanning multiple media.The resulting exhibition, Unbounded — Coexistence, was open to the public at MPND Gallery in Loughborough on 18–19 August. Jointly organised by MPND Gallery, Loughborough University and NCKU, it marked the students’ first exhibition in a UK gallery. The opening evening welcomed members of the local arts community, students and faculty. One of the most popular attractions was an interactive activity inspired by the Taiwanese prize game chuo chuo le, in which visitors poke through paper-covered compartments to reveal small surprises. For the activity, students painted stones collected from a farm with Taiwanese motifs and offered them as gifts, introducing visitors to Taiwanese culture through play.From fieldwork and art-making to exhibition curation, students applied their skills across media to curatorial practice and workshop design. Collaboration with UK students and faculty also strengthened their intercultural communication skills, broadened their international arts perspectives and helped them build new connections. After the exhibition, the painted stones remained with visitors in Loughborough. What the students brought back to Taiwan was a way of working: observing, making, engaging in dialogue and presenting their work, starting from scratch in an unfamiliar environment. How this approach develops in their future practice remains something to look forward to.

In September 2026, the Institute of Creative Industries Design (ICID) at National Cheng Kung University (NCKU) welcomed Prof. Dr. Felix Kosok, Professor of Communication Design at German International University Berlin and Lead Design Discourse for World Design Capital Frankfurt RheinMain 2026. With his work spanning design, democracy, civic participation, and urban transformation, Kosok brought international experience from WDC Frankfurt RheinMain 2026 into a graduate-level educational setting at NCKU. Through public lectures, workshops, and academic exchange, his visit explored how City Design Power can be understood, identified, and strengthened within the local context of Tainan.The programme began with the public lecture “World Design Capital Frankfurt RheinMain 2026 – Empowering Citizens through Design.” Drawing on the experience of World Design Capital, Kosok introduced how design can extend beyond shaping the physical environment to strengthen citizens’ capacity to participate, collaborate, and take part in shaping their cities. Rather than asking simply what should be designed in Tainan, the programme focused on a broader question: How can a city build the capacity to act on what it decides?During the two-day workshop, students—primarily from ICID, with additional participants from Urban Planning and Gerontology—worked with city data, maps, and an ecosystem canvas to examine Tainan as an interconnected urban system. They identified key actors, resources, relationships, existing strengths, and gaps in civic participation and cross-sector collaboration. By looking across different scales, students were encouraged to understand urban challenges not as isolated problems, but as part of wider networks of people, institutions, resources, and relationships.These observations were then translated into a series of reframed design challenges. Rather than moving immediately toward solutions, students practised identifying how problems are formed, which relationships need to become more visible, and how design might facilitate dialogue and collective action. The process expanded the role of the designer from a provider of solutions to someone who can connect perspectives, navigate complex systems, and create conditions for participation.Kosok’s workshop also served as the first stage of ICID’s broader international programme, “From Understanding the City to Reimagining the City.” The urban questions and design challenges identified through City Design Power were carried forward into the following Evolutional Creativity programme led by Eisuke Tachikawa. Together, the two programmes created a connected learning journey—from understanding existing urban systems and capacities for action to generating and iterating possible futures.Through this international programme, ICID invites scholars and practitioners actively engaged in international design practice, urban issues, and future-oriented discussions into direct dialogue with students and faculty. Rather than introducing international cases alone, the courses use systematic tools and guided inquiry to help students reconsider their relationships with cities, society, and multiple stakeholders, while learning to identify problems, make connections, and develop responses across different scales.Bringing Kosok’s experience from WDC Frankfurt RheinMain 2026 into graduate education at NCKU also created a connection between international urban design practice, higher education, and design research. Tainan became more than a case study: it served as a living context in which methods could be applied, discussed, and examined through local conditions. Through this exchange, ICID continues to explore how design can support more participatory, collaborative, and future-oriented cities while opening further possibilities for international collaboration across teaching, research, and design practice.

In September 2026, the Institute of Creative Industries Design (ICID) at National Cheng Kung University (NCKU) welcomed Japanese designer Eisuke Tachikawa. A board member of the World Design Organization (WDO) and founder and CEO of NOSIGNER, Tachikawa works across industrial design, graphic design, architecture and social innovation, using design to address disaster resilience, environmental change and complex social challenges. His methodology, Evolutional Creativity, draws on variation and selection in biological evolution to explore how creativity emerges and develops. His visit brought this approach, developed through design practice, into graduate teaching and academic exchange, connecting it with discussions on climate adaptation, urban systems, artificial intelligence and the future of creativity.The series began with “ADAPTMENT: Climate Adaptive Design.” Drawing on adaptive mechanisms in nature, Tachikawa invited students to reconsider climate adaptation. Beyond seeking a single, fixed solution, he encouraged them to explore how cities and societies can function like living systems—observing, adjusting, learning and evolving in a continually changing environment. Through case studies and discussions across different scales, students re-examined the interconnected relationships among climate, cities, the environment and everyday life.The subsequent two-day workshop focused on Evolutional Creativity. Participants explored different forms of “Variation” to expand possibilities, then applied “Selection” through observation, comparison, evaluation and refinement, gradually developing creative proposals through repeated iterations. The workshop also included experiments in AI collaboration, enabling students to test how Evolutional Creativity could work alongside generative artificial intelligence. These experiments raised a central question for contemporary design education and research: when AI can rapidly generate numerous possibilities, at which stages do human judgement, intention, values and choice remain indispensable?The workshop built on the City Design Power programme led by Felix Kosok the previous week. Students first identified actors, resources, relationships and design challenges within Tainan’s urban systems, then brought these challenges into the Evolutional Creativity process for further development. Together, the two weeks formed a continuous learning journey titled “From Understanding the City to Reimagining the City,” moving from an understanding of existing urban systems towards the generation of possible responses and future directions.Through this international series, ICID brought design practitioners who are actively developing new methods and addressing contemporary and future challenges into direct dialogue with students and faculty. Beyond introducing methods and case studies, the programme sought to open up the boundaries between design practice and academic inquiry, allowing knowledge and approaches developed through practice to be applied, discussed, critically examined and extended within a university setting.By integrating Tachikawa’s design methodology into ICID’s teaching and connecting it with Tainan’s local context, students’ observations and interdisciplinary discussions, the exchange opened further possibilities for sustained collaboration among design practice, higher education and research. For students, the experience went beyond exposure to international case studies: it offered opportunities to identify problems, build connections and develop responses to real-world challenges across different scales and from the perspectives of diverse stakeholders. For the methodology itself, the university served as a platform for continued testing, discussion and the deepening of knowledge developed through practice.Spanning climate adaptation, urban systems, AI and creativity, Tachikawa’s visit offered more than a set of design tools. It introduced a way of understanding change: design involves continually observing uncertain environments, generating possibilities and making choices, while evolving through practice, teaching and exchange.

Yueh-Lin Yang, a doctoral student at the Institute of Creative Industries Design (ICID), is presenting his solo exhibition, *Suchness: as it is*, at the NCKU Art Gallery, part of National Cheng Kung University’s Art Center.The exhibition begins with organic forms found in nature. For Yang, weathering, insect damage, growth, decay and regeneration are all traces that life leaves over time. He sees them as imprints shaped by time and the environment, rather than imperfections. Instead of pursuing intact forms, he is drawn to the openings and empty spaces left by transformation. These openings allow light to pass through and air to flow, making each form unique.Yang interweaves ceramics, glass and screen printing in his work. By weaving clay into organic forms, he explores the rhythms of the body and the material through repetitive handwork. Glass flows at high temperatures before cooling and solidifying, suggesting a fleeting moment in which light, shadow and the energy of life are held in place. Screen printing, meanwhile, records the stories and traces of life. Through the exhibition, Yang invites viewers to slow down, notice the subtle presences often overlooked in everyday life, and rediscover—and perhaps embrace—their connection with nature.The exhibition poster was designed by Dalton Bruyns, an Australian ICID student and graphic designer, making the exhibition a collaboration across cultures and disciplines within the institute. ICID students come from diverse backgrounds and pursue their own creative practices alongside their research. Visitors are warmly invited to the NCKU Art Gallery to experience their creativity and energy firsthand.

Congratulations to Associate Professor Hui-Wen Lin of our institute on receiving the Outstanding Teaching Award for the 2025 Academic Year and being recognized as an Outstanding Teacher. We warmly invite everyone to join us in celebrating her remarkable dedication and excellence in teaching.

TAINAN, Taiwan — The Institute of Creative Industries Design at National Cheng Kung University held a final exhibition for its course “Contemporary Cultural Translation and Interpretation” on May 31 at the Zuozhen Church in Tainan, showcasing student works inspired by the culture of the Siraya people. Led by Professor Hui-Wen Lin, the course was conducted in collaboration with the Bama community in Zuozhen, Laolao Studio, and Jishe Workshop. The initiative offered both local and international students an opportunity to engage deeply with Siraya cultural heritage, culminating in a student-curated exhibition translating their research into contemporary design works.The course adopted an intensive teaching format that integrated cultural semiotics, field research, and hands-on design practice. Students began by studying local museums and artifacts to understand the historical context of the Siraya people, before transforming traditional visual symbols into contemporary creative expressions. Yet, for many participants, the experience extended far beyond design. Upon entering the community, several students realized they had unconsciously assumed the role of “helpers.” However, the Bama community—particularly its younger generation—has long been actively engaged in cultural revitalization, with substantial experience in preserving and reinterpreting its heritage. Vukin Takalomay, convener of the Bama youth group, noted that the community hopes to establish a systematic framework to help non-Indigenous designers better understand cultural contexts before initiating creative work, thereby fostering a more balanced and respectful model of collaboration. Within this framework, students in the course participated as authorized “co-creators” rather than external contributors.Conducted entirely in English, the course brought together 10 international students from the United States, Spain, Thailand, Indonesia, Paraguay, and China, who collaborated with Taiwanese students on team-based projects. Cross-cultural exchanges enriched the learning process. For instance, a Spanish student expressed surprise and delight upon discovering that certain place names in Taiwan retain Spanish linguistic traces due to historical connections, creating an unexpected sense of familiarity.From cultural research and fieldwork to prototyping and production, the course environment fostered active exploration, dialogue, and comparative learning. Students completed the full design process and presented their final works—ranging from garments to accessories—to community members. The exhibition not only highlighted creative outcomes but also demonstrated new possibilities for cultural preservation through contemporary design practice.

Co-Designing the “Cultural Crossroads” at Minglun Hall, Tainan Confucius Temple—Taiwan’s First Confucian Academy.On February 11, 2026, the Institute of Creative Industries Design (ICID), National Cheng Kung University, organized the “Cultural Crossroads” Design Workshop at Minglun Hall (明倫堂; Hall of Ethics) within the Tainan Confucius Temple, Taiwan’s first Confucian academy founded in 1665. Convened by the Tainan Confucius Temple Cultural Foundation, the workshop was structured around six nodes × six thematic issues, including Confucius Temple 360 and the night-time economy; Tainan Art Museum and the City Biennial; the National Museum of Taiwan Literature and literary outreach; the Taiwan Fu City God Temple and place-based governance; homestay operators and cultural brand value; and NCKU’s Institute of Gerontology in relation to third-act (later-life) design.Group discussions addressed topics such as the planning of night-time cultural programming, multi-sensory spatial experiences, senior participation, and the integration of cultural narratives into hospitality branding. Participants included representatives from cultural institutions, local government, industry practitioners, and academic researchers, forming a cross-sector platform for dialogue.Building on the established identities and agendas of these cultural institutions, ICID facilitated interdisciplinary dialogue through a design thinking framework and group-based co-creation. The workshop was led by ICID Chairperson Yang Chia-Han, with graduate students trained in workshop design serving as facilitators. Their academic backgrounds—ranging from aging studies and place-based development to Taiwanese literature—supported cross-sector exchange and reflected the institute’s integrative approach to cultural collaboration.

Naomi Sím (Shen Wan-Ying), a master’s student from our institute, was recently invited by the National Museum of Taiwan Literature to appear at the 2026 Taipei International Book Exhibition as an emerging Taiwanese writer. She participated in the panel discussion titled “Translation and Transits of Taiwanese Literature.” At the event, she engaged in dialogue with Taiwanese translator Jenna Tang, American translator Jeff Miller, Korean translator Kim Tae-sung, editor Will Buckingham from the UK-based independent publisher Wind&Bones, and Kuo Pei-Yu, editor-in-chief of Guerrilla Publishing.This invitation not only recognizes Naomi Sím’s creative achievements but also highlights the effectiveness of our institute’s interdisciplinary training. In her literary practice, she incorporates design thinking concepts such as “user-centeredness” and “translation” learned in class. After the event, she shared with the institute: “My training here has taught me to view the literary translation industry from a macro perspective.” She believes that her short story Cuilan ê Love Letter gained international attention partly because she conducted “user experience research” during the early stages of writing—treating readers as “users” and even developing “personas” to guide her creative process. By considering topics that might resonate with potential readers before writing, her approach resembles a form of design practice. Naomi humorously remarked that she may not be a traditional literary writer, but rather a “designer-novelist.”Her outstanding performance at the event reflects the institute’s core mission of integrating creativity, industry, and design thinking. The institute will continue to encourage students to step beyond the classroom and transform their design capabilities into tangible actions that impact the industry.

The capstone exhibition for the Institute of Creative Industries Design’s first-semester required course, Creative Industry Experience, concluded successfully on January 7, made possible through the collective creativity and collaboration of 31 first-year master’s and doctoral students.In addition to presenting the core values and creative outputs of each professional track within the institute, this year’s exhibition also highlighted the unique personal journeys of every student before entering the program, as well as their reflections on learning experiences during their first semester.The exhibition featured diverse and interdisciplinary projects, including:Group A (Branding and Marketing Planning), which curated a cultural and creative market journey exploring the life cycle of creative enterprises;Group B (Media and Interaction Design), which developed an immersive interactive gaming space;Group C (Industry and Service Innovation), which designed an experiential cultural and creative lodging tour; and doctoral students, who collaboratively presented a one-stop guided showcase of their individual life narratives and creative development processes.Serving as a meaningful milestone in their learning journey, the exhibition marks both a pause for reflection and a starting point, encouraging all first-year master’s and doctoral students to continue exploring new possibilities in their creative and academic paths at the institute.

Hayashi Department Store, one of Tainan’s most iconic cultural and tourism landmarks that has accompanied generations of the city’s residents, celebrates its 93rd anniversary this year. To mark the occasion, the store specially invited students from the <i>Creative Industry Experience course</i> to participate in the <i>Hayashi Parade</i>, joining artistic and cultural groups from across Taiwan and around the world.Led by Professor Hui-Wen Lin, the institute’s student team adopted <i>participatory observation</i> as the core of their learning approach. Through direct involvement and action in real-world settings, students were guided to gain a deeper understanding of the practices and dynamics of the creative industries and culture. In the parade, students transformed cultural and ecological symbols—such as Tainan fish vendors, local street foods, and the Formosan black bear—into wearable and interactive characters through meticulous craftsmanship and cross-disciplinary creative thinking, bringing these figures into the streets and among the crowds.By personally engaging in the parade, students were able to observe in action how creativity is seen, interpreted, and responded to by the public. This experience vividly demonstrates the institute’s distinctive pedagogical approach, which integrates design education with culture through experiential, city-based learning.

In 2020, NCKU ICID student Victor Wu was invited by NCKU’s C-Hub to work on a project in collaboration with KPMG and the Taiwan Power Company. Called “Returning Home”, this project aimed to find solutions for retired power distribution equipment and materials. Inspired by how Taipower workers were reusing retired parts, Victor focused on re-interpreting galvanized steel utility pole components and considered how other end users could also use them. Thus, “Rebloom”, a new modular end-of-life design was created.Through Rebloom, student Victor Wu imagines a second life for these retired parts without compromising their original function as structural load-bearing utility crossarm components. By enhancing the crossarm beam with additional holes, Rebloom explores the possibilities of further use before conventional recycling. Investigation into the life cycle of hot-dip galvanized steel and a comparison of carbon footprint showed that Rebloom would reduce carbon intensity by over 70%. It could also be potentially used across all of Taipower’s utility yards.In 2021, Rebloom was featured in two circular economy exhibitions by Taiwan Power Company. It was also recognized with a 2023 A’Design Award for Sustainable and Green Product Design, and was displayed in the Taiwan Design Research Institute’s 2024 Taiwan Design Expo at the Tainan Art Museum Building 2.During the exhibition, Taipower Department of Environmental Protection Director Yuan-Long Liu expressed his optimism of future application of the design within their facilities.The design process not only involved product planning but also, through collaboration and brainstorming with C-Hub, KPMG, and various departments of Taiwan Power Company, elevated the potential for rethinking future power distribution components with a “start with the end in mind” approach.

The 2024 Fearon Community Association Art Exchange Internship, led by Associate Professor Ming-Hui Chen, involved five graduate students from the ICID and Techno Art programs in an immersive experience in Loughborough, UK, during July and August 2024.The internship this year focused on assisting the Fearon Hall Community Centre plan a family fun day titled “Create, Connect, Celebrate”. Under the mentorship of British artist Jacqui Gallon, our students brainstormed ideas at the Careers & Enterprise Hub, and then engaged in artistic creation at the Fearon Hall Community Centre. Jacqui Gallon guided the students in developing event themes and gathering necessary materials, leading to a successful and engaging parent-child community art event.Co-Creation: Fostering Cultural Exchange, Family and Community ConnectionsThe family fun day kicked off with “Create”, inviting community members to participate in various parent-child activities. In the clay creation activity titled ‘Rooting With Your Soul, participants molded clay to express deeply rooted imagery, fostering deep spiritual inspiration. A different papermaking activity utilized scrap paper and dried flowers from local gardens in the pulp, offering an environmentally friendly and creative experience.The “Connect” segment embodied cross-cultural exchanges and emotional ties within the community and Fearon Hall. The artwork “Reimagining Playground” used plant-dyed fabric to evoke playful imagery reminiscent of childhood, stimulating imaginations and the nostalgia of the adults. Meanwhile, “Weaving Bond,” crafted from newspapers and mixed media, symbolized the interconnectedness of individuals, nature, information, and education within the Fearon Hall community. The performances of Taiwanese and British folk music, played on the violin and guitar, echoed through the historic buildings and gardens, connecting attendees emotionally and enhancing the sense of community. An interactive installation “Network of Community” allowed attendees to freely tie ribbons and fabric of different shapes and colors together, gradually forming a collaborative artwork that embodies community connection and illustrates how art fosters interaction.“Celebrate” highlighted the achievements and joy of the tenth cohort of interns. The interactive activity “Meet Your Celebration” featured colorful yarn scattered throughout the venue, capturing the spirit of party streamers and symbolizing freedom and joy in creativity. An installation showcasing photos of the past internships, wrapped in vibrant cellophane, reflected colorful light in the sun, representing a decade of cultural exchange and the accomplishments of the internship program.The family fun day at Fearon Hall not only strengthened connections between families and the community but also provided our students with invaluable opportunities for cultural exchange and practical experience. Through the fusion of artistic creation and music, the event successfully conveyed the core values of “Create, Connect, Celebrate,” showcasing the powerful role of art in promoting social cohesion and cultural resonance.Inspiration Gathering: Art Creation Workshops, Studio Visits, and Nature ExplorationThis five-week internship included a variety of creative workshops and studio visits led by local artists. Our students explored topics such as gel printing, handmade book production, and visits to art studios like Albert Street Artists and The Tangent Gallery. They also visited the historic Old Rectory Museum, engaged in sculpture creation using earth-based pigments and plant materials, and participated in interactive abstract painting sessions. Through materials collected during nature walks and employing a range of artistic techniques, the students were inspired to integrate their physical and mental experiences into their artistic creations.The internship was not only a platform for artistic and cultural exchange but also a profound exploration of art’s impact on community cohesion. Through active participation in artistic creation and event planning, the students gained a valuable international perspective, illustrating how art can foster exchange, connection, and celebration across diverse cultures.