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John James Audubon: ’’a Pair of Magpies’’ from the Birds of America Greeting Card Pack: Pack of 6

為了解決Original wallpaper的問題，作者 這樣論述：

Gorgeous foiled, handmade pack of 6 greeting cards, blank inside and shrink-wrapped with a gold envelope, printed on FSC paper and wrapped in biodegradable cellobag, perfect for all occasions!Sold in packs of 6. Gorgeous, foiled, handmade greeting cards, blank inside and shrink-wrapped with a gol

d envelope. Themed with our art calendars, foiled notebooks and illustrated art books. Our greeting cards are printed on FSC paper and wrapped in biodegradable cellobag, and are themed with our art calendars, foiled notebooks and illustrated art books. The ornithologist John James Audubon is best re

membered for his influential book The Birds of America, which included over 400 beautiful artworks. This image was a collage created by Lady Hertford, who owned Temple Newsam House in Leeds, England. Lady Hertford cut the images from Audubon’s book and applied them to the hand-painted Chinese wallpa

per in her drawing room. The result was a stunning room filled with a mixture of Audubon’s birds and the original Asian garden birds that featured on the wallpaper. The two birds on the left here are Audubon’s depictions of Columbia Jays, now known as Black-throated Magpie Jays.

Original wallpaper進入發燒排行的影片

時尚產品的奢侈概念與表現手法之設計探討

為了解決Original wallpaper的問題，作者張家碩 這樣論述：

產品設計除了講求功能性與實用性等考量外，常帶有情感性與象徵性等抽象的附加價值，此關乎人們心理層面的差異化需求；而抽象價值的源頭亦可溯及奢侈概念，其與一般消費品本質上有所不同。本研究即在探討奢侈概念的根本意義、大眾對其消費的欲望動力，以及現代奢侈品牌透過時尚的力量，在產品的表現手法上有其特殊訴求。研究方法上，首先，以文獻探討從奢侈概念的起源、企業界的看法、經濟學的定義到哲學思想家的論述，分別從不同的角度釐清其概念；再者，分析人類的情感與認知系統、內在的消費動力與外在的物件演變，釐清奢侈價值的運作原理與人們追求異化的心理需求。此外，亦透過現今奢侈品牌之時尚產品的案例解析，針對其消費趨勢與價值觀，

歸整出理論性的見解及其創作之表現手法。應用上述觀點，本研究進一步以「Kitsch」為命名概念的創作實驗，從中產生了三個主題之包款與首飾配件的概念作品。最後，在本研究結論中提出三項主要的見解。其一，時尚產品藉用奢侈概念，可發揮區隔作用和想望連結，對此，奢侈概念有著體現潛在階級的功能，而現代的時尚品牌與產品，則可借用設計引發人們的崇尚與消費慾望。其二，在表現手法上，需有異於常態的設計訴求，因此在產品形式上，經常可見出「時尚化」、「符號化」與「差異化」的新奇與獨特表現。其三，引用日常元素的創作發想，可發揮顛覆作用並重現新的時尚訊息，在本次創作實驗的產出物件及其視覺意象上，也兼有平常與特殊的認知感受。

Art on Deck: An Exploration of Supreme Skateboards from 1998-2018

為了解決Original wallpaper的問題，作者Hawes, Byron 這樣論述：

An invaluable resource, Art on Deck represents the most cohesive examination to date of Supreme's skateboard output.For 25 years, Supreme's skateboard collaborations have represented an iconic intersection between art and skate culture, ultimately birthing an entire culture of skateboard art. This

book features original images of all decks, including ultra-rare and unreleased pieces such as the "LV" Cease-and-Desist series, the "Japan-only Jesus," and the Louis Vuitton x Supreme trunk, from the world's only complete collection, as well as "in-the-field" shots from noted photographers includin

g Los Angeles-based @baariksgallery and Johannesburg's I See A Different You. Exploring the history of Supreme's artistic collaborations, from pieces with now-legendary contemporary artists including Kaws, Damien Hirst, Takashi Murakami, Christopher Wool, Jeff Koons, and Richard Prince, as well as u

nderground icons including Raymond Pettibon, Harmony Korine, and Larry Clark, Art on Deck contains original photography, artist interviews, and discussion from the design and fashion critic Byron Hawes. Byron Hawes is a writer, designer, and curator who splits time between NYC, LA, and Shanghai. H

e is the founder and editor of the underground design magazine The Après Garde, and co-founder of I-V, a boutique architecture and design firm that has done projects including a recording studio and offices for OVOsound, Campari’s Canadian HQ, and Spin. He is the senior editor at Flofferz, and a con

tributing editor at both Fucking Young and SidewalkHustle. He has served as a contributing editor for both Hypebeast and HighSnobiety and as a consulting editor at Architectural Digest China, as well as contributing to publications including Vice, Wallpaper, Monocle, and more. Additionally, he has

authored the books Drop, We Are Wanderful, Modern Tropical, Façades, and others. I See A Different You is a collective of visionary creatives born and bred in Soweto, South Africa. Co-founded by Fhatuwani Innocent Mukheli and Vuyo Mpantsha, their aim is to bring an alternative view of South Africa t

o a global audience, demonstrating the South African experience, and their love and optimism for the people they share their country with. They have served as Nikon’s Ambassadors for Africa, the faces of Scottish Leader Whiskey, and shot music videos, editorials, and advertisements with the likes of

Converse, South Africa Tourism, HBO, and a host of other clients and partners. @baariksgallery is a Los Angeles-based photographer who has pioneered a new aesthetic in contemporary film photography. His work shows emotion through cinematic framing and locations, in order to construct seamless visua

l narratives. Preferring to shoot at night, Baariks shapes light in order to explore the shadows inherent in power and lust. His oeuvre combines high fashion, musicians, and eroticism; culminating in a story that has enticed a rabid Instagram following, and a host of editorial works.

球狀活性碳對揮發性有機物的吸附與電熱再生

為了解決Original wallpaper的問題，作者尤皓鋕 這樣論述：

揮發性有機物(Volatile organic compound, VOC)為近年來中央及各地方主管機關在空氣污染管制上的重點物質，而其光化學衍生物也對環境生態以及人體健康有短期和長期的影響，如何限制和控制VOC的排放就成為了空氣污染防制中一個極其重要的課題。球狀活性碳(Beaded activated carbon, BAC)由於其高機械強度、高比表面積及高度流動性等特性，因此成為可被應用於VOC控制之吸附材料，且特別適合被應用於流體化床技術中。而活性碳吸附法除了可以去除低濃度VOC外，也具有回收有價值之蒸氣的潛力。本研究使用商用球狀活性碳，吸附去除甲苯(TOL)及丁酮(MEK)，並搭配電

熱再生技術(Electrothermal Swing System, ETS)，在惰性氣體環境中對活性碳通電以加熱球狀活性碳並使吸附質脫附，達到活性碳再利用的目的。由氮氣吸脫附結果顯示材料之BET比表面積介於1135.69－1277.81 m2 g-1，孔體積介於0.473－0.522 cm3 g-1。經過一次吸脫附後球狀活性碳其比表面積與微孔體積有略為減少，而經過循環吸脫附試驗後之球狀活性碳，其微孔表面積與微孔體積有顯著的下降，此下降現象也反映在吸附容量上面。研究以電熱方式對吸附TOL及MEK至飽和之BAC在120、140、160oC三種不同溫度條件下進行再生，吸附TOL之BAC (TOL-

BAC)脫附效率介於54.83‒79.68%，而吸附MEK之BAC (MEK-BAC)脫附效率介於84.67‒89.88%之間，兩者均呈現隨著溫度升高，脫附效率也越高。而在循環吸/脫附試驗當中，經過6個循環後，吸附TOL及MEK的BAC吸附容量均有減少，而TOL-BAC相較於MEK-BAC，其影響更為顯著，第二循環之吸附容量已經減少至約原始吸附容量的一半，而MEK-BAC還有著約7成的吸附容量，較低的吸附效率可能源自於活性碳再生過程中孔洞結構的塌陷降低表面積及孔體積。整體而言，本研究探討了電熱系統對於TOL及MEK之脫附效率以及應用於球狀活性碳上之可行性。