Weiche Wu 巫瑋哲 is a Taiwanese designer. He studied Industrial Design at Chang Gung University in Taiwan and received his MA in Industrial Design from Central St. Martins, London. In addition to product design, Weiche also specialises in graphic design, photography and critical design thinking. His expertise lies in shaping products in a very visual way, which in short means designing with a priority on aesthetics.


In 2011, Weiche worked with the French company, Rémy Martin, to generate a new concept for their heritage Louis XIII brand. The final outcome ’Cérémonie pour un Roi’ and ‘L'essence de Rémy Martin’ have been featured at MAISON & OBJECT in Paris, Salone in Milan, Wallpaper Magazine and in other global media.


Upon graduation from Central St. Martins, he joined Benjamin Hubert’s studio in London and participated in several iconic projects such as ‘Tenda’ lamp and ‘Construction Site’ in 2012 Designjunction.


In 2012, he founded Taipei based Union Atelier. The studio works on varying design commissions and collaborations; and with the deliberate intention to combine international design trends with Taiwanese traditions, the team has created, and consistently applies, their own unique signature design language.

Time Series

We are now living in a throw away society where it is the norm to dispose of items. In many cases, these items are not worn or broken and are fully functional. People simply get bored of items and can afford to change objects that are so cheap due to the capitalist exploitation of labour and global outsourcing. In addition, items are not made to last.

Is it possible for us to encourage users to keep ‘disposable items’ or items that are not made to last for a longer period of time? If you knew exactly how long you have had an item for, would you feel guilt for wanting to dispose of it if it had been a short period of time? Could you feel an element of pride or achievement for keeping something for longer than originally intended? Is it possible to create emotional attachment to an object by giving it a birthday or name? 


The project is to encourage a personal and close relationship with our furniture through the use of time. We propose that the confrontation of time could make the consumer consider their habits more carefully and think twice when disposing of items that are fully functional. Relationships and emotional attachments can occur when you have kept an object for a longer period of time. Given the chance, perhaps people can form attachments to cheap furniture that the consumer never intended to keep.

Possibly over time you can create a friendship and relationship with your chair. The longer you have your chair the better your relationship with the chair is. You feel pride in owning your chair for such a long time. You have made memories with your chair and respect the chair in its old age and look at it with fondness. The chair become ‘part of the furniture.’




Imagine the day you have bought your chair is its birthday. You may or may not give your chair a name. After a number of months you get bored with your chair, you feel you might like another. You look at the dials and notice that the chair is only 8 months 2 days and 4 hours old. Perhaps you feel guilty when you realise how young your chair is. You decide that perhaps you should keep your chair longer. You form memories with the chair, you sit on it to read or eat with your friends and family. Your chair is now 1 year old, you feel a sense of achievement, fondness and pride in having kept the chair for so long. Each year you wind the dials of your chair and celebrate its birthday. With the memories and the realisation of time you grow fond of the chair.

Designed by Charlotte Medin, Diana Kovacheva, Juhee Jo and Weiche Wu.

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