“心·物”，主體與客體，精神與物質，是人類設計文化的最基本起點。“心·物”既是一種對待現實的態度，也是一種認識事物的方法，強調藝術之感悟與科學之嚴謹的有機融合與不斷昇華。
因心造物，由物觀心，物通常被當作是心的鏡子。由人類創造活動所産生的物，可以被看作是心的慾望與憧憬的客觀化。心以創作者的身份，通過造物而得以實在地復現自身，將其本性進行外在顯現，同時，在它所創造的物的世界中，心得以諦關其自身。在這個主體與客體的直接關係中，心是物之源，而物是心之鏡。
然而，心在不間歇的創造或者改造物的過程中，除了對實物功能的把握與消費之外，同時賦予物符號意義。自此，物不再是純粹的物，物與心的關係也不僅僅是單向度的慾望投射或者滿足需求那麼簡單。心貌似是控制者，通過造物、購買和使用物，在掌控著物的世界的發展。而事實上，被心賦予了概念意義的物形成了一個自我的體系，自有其運作方式，並通過消費這一仲介，反之對心的邏輯進行影響，産生了反向制約的關係。
因此，心與物的關係也許更類似DNA構造的雙螺旋，在螺旋線上，兩個範式各自演化，不斷遵循自身的目的性發展。兩者在相互依存卻又彼此對立的位置上共同交織著，既親近地共同參與，又相互壓制地作用於彼此發展的軌跡。
對於“心·物”複雜關係的體悟，成為本次六位參展設計師的創作原點。
Mind ·Object
Mind and object, subjectivity and objectivity, spirituality and materialism – these are the starting points of our designing culture. An attitude toward reality is derived from our mind and reflected through objects we create precisely because our way of perceiving reality emphasizes the perpetual sublimation aspired by artistic appreciation and scientific vigorousness.
We create objects through our mind while we see the mind’s workings through objects. In the process, human desires and yearnings are objectified by the transformation of human innovations into objects of creation, and therefore the objects we create can be said to be like a mirror of our mind. But the mind is also part of our heart and soul. For those who create objects by heart-felt passions and through soul-searching efforts, they will find the reproduced externalities of themselves and their character. In this direct correspondence of the subject and the object, the mind is the original source of our creations and the objects we create are the mirrors of our mind.
In the process of non-stop creation and innovation, our mind gives the objects not only their functionalities but also their symbolic meanings. It is natural therefore an object is more than just an object since it is more than a simple projection of one-dimensional gratifications. Our mind is the controller of things in making, buying, and consuming them. Inserting a restraining influence on both sides, consumption is the medium of conceptualized meanings and objectified production of our creations. Put differently, the relationship of mind and object may be more like DNA and the Helix, operating in two modalities and serving different purposes but they co-exist in opposition and are dependent of one another with intimately joint participation and exclusiveness in their trajectories.
These understandings about the intricate relationship between mind and object serve as the set points of participation by six designers in this show.