坪日 Re: Ordinary

Kit Chan

島民書店・創辦人 Islanders Space Founder

Myriem Alnet

島民書店・共同創辦人 Islanders Space Co-Founder

Hong Hui

Studio Orbit・負責人 Studio Orbit Founder

Conversation with 3 Creatives of ISLANDERS

與�位島民雜誌 創作者的對話

誠摯感謝 Sincerely thanks Kit Chan & Myriem Alnet - 島民書店 Islanders Space

Hong Hui

- Studio Orbit

目錄

Table of Content

Chapter

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Anchoring 對談者 Interviewee

Chapter

佇足

Kit Chan

-〈島民空間〉經營者 Founder of Islanders Space

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Stopping by 對談者 Interviewee

Chapter

匯聚

Myriem Alnet

-〈島民空間〉共同經營者 Co-founder of Islanders Space

p.57

Gathering 對談者 Interviewee

Hong Hui

-〈Studio Orbit〉負責人 Founder of Studio Orbit

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Chapter

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Anchoring

“

Becoming an Islander

與 Kit 的對談 Conversation with Kit Chan 立 書店，透 過 以 地 圖 為主 題 的

獨立出版物《島民》來探索島嶼 生活。

今 天，我 們 有幸 聆 聽 書店 老 闆 Kit 的創立理念以及在島上發生 的故事。

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Islanders Space is an independent bookstore located at Peng Chau.

Through the map zine Islanders, Islanders Space explores different aspects of island life.

Let’s hear about the rationale behind the bookstore and anecdotes from the bookstore owner, Kit.

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島民書店為位於坪洲的一家獨

我會說我是位 對設計有興趣的製作人， 負責將事物化為可能。

成為島民

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myself a producer “ I'dwithcalldesign interests.

Producers can do anything that can make things happen.

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踏入設計領域

Into Design Fields 其實香港中文大學物理系出身的我在求學 時並沒有接觸太多與書店相關的知識背景， 但是在物理系學到的科學數據研究方法卻 在製作《島民》雜誌時，成為我為研究主題 分析佐證的工具。 從原本的職業到開始經營書店這件事說來 話長。

I studied physics when I was in the university, which has little to do with my career, owning a bookstore, now. However, I found that the research methods I learned through physics enable me to cooperate with this background with the ISLANDERS project to describe and prove the topics by using scientific methods and numerical values.

在 某 個 暑 假 於 SKY High Creative 學 習 的 3 個月間接 觸 到了設計思考，而這 是 促 使 我開始從多元化視角思考的起點。之後搬 到深 水 埗 後，我開始蒐 集古董，將自己的

Switching my career to running a bookstore was a quite long journey. I studied a 3 months summer course about design in SKY High Creative. I learned about design thinking, which allowed me to think about 住處變成一間「垃圾屋」，經營起一家古董 things from diverse aspects. Afterward, I 店，並且遇到我的太太 - 有都市設計背景 moved to Sham Shui Po. I opened an antique shop and met my wife, Myriem who has a 的 Myriem。 background in urban planning. After all this 當我的想法與 Myriem 的知 和專業一起交 knowledge and training combined with my 互碰撞後，出版獨立刊物的念頭便就此誕 wife’s background, I was able to create a 生，而這也是我成為一名「製作人」的開始。 publication. This is why I refer to myself as a producer. 總 體 來 說，我 所 經 歷 的 天 時、利、人 和 造 就了現在的我，環境的影響更是塑造我最 深。 我在深水埗的生活總是被垃圾雜物環 繞，在那裡找件古董和便宜貨如家常便飯。 來到坪洲後，截然相反的優質環境讓我開 始思考坪洲與深水埗之間的差別是什麼、 是 什麼 因素 造 成了反 映 在 生 活 環 境 中的 不同？

When I lived at Sham Shui Po I was surrounded by trash. It was easy to find antiques and cheap stuff there. In contrast, Peng Chau made me question why living here is better; what makes the difference?

As a result, the publication systemically answered this question.

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沒有斗大顯眼的招牌，稍不留神就會 擦身而過，融入在街坊裡的島民空間。 With little attention, you will pass by the Islanders Space without any notice.

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聊聊島民書店吧！

About Islanders Space 以坪洲為新起點

畢業的那年不知為何我開始對深水埗產生 厭倦，或許是因為那裡雜亂的生活環境， 因此我開始著眼新的落腳處，換換心情，而 坪洲充滿活力的氣氛吸引了我。在坪洲，創 造是不受限的。

除了書，透過島民書店，我們也想提供一些 日常生活用品讓顧客在這個島上找到自己 的定位與島嶼產生連結。在這裡閱讀書籍 不要當作是知識的汲取，而是當成一個探

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索當地生活的一種方式，即便是隨手翻閱 或性取使然都沒有問題。當你進入到這個 空間後，你已經探索了這個島嶼一個小隅。 因此我們總是在想如何加深加廣讓顧客探 索的方式。

下舖上居

我們剛來到坪洲時原本計畫住在店裡，為 了將 整 個家庭容納於店中，我們設計了我

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除了書，島民書店也販售日常用品。 Apart from books, Islanders Space also sell necessities in the shop.

A New Starting Point After I graduated, I looked for a place to live on one of the islands. That year, I do not know why, but I got tired of Sham Shui Po. Maybe because of its poor living area and busy atmosphere. I wanted to change the atmosphere. I was attracted by Peng Chau being dynamic; here, you can create anything without any borderline.

Through building a bookstore, we wanted to sell necessities that are needed every day to anchor yourself. Books are more visible; entering this bookstore becomes a way to anchor on the island in a different aspect.

People can find resources that are not difficult to digest.

No degree nor knowledge is required to read those books, only interest is needed. So we dug into this anchoring idea.

Shop, House, Shophouse When we first came to Peng Chau, we wanted to live at a shop. Since the whole family had to fit together in the shop, we designed the place where we wanted to live, which was combining the bookstore with the house. Before this idea, the bookstore was more like an exhibition place where there were only a few tables without any living room like an ordinary shop.

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擺放在書櫃上的坪洲地圖， 在書堆中隨處可見坪洲的影子。

The illustration of Peng Chau's topology placed on the bookshelf.

Everything related to the Island can be spotted among the book stacks.

們的理想居住空間，那是一個結合住所與 書店的地方。在我們有這樣的想法之前，書 店原本更像是一個只容納了幾張桌椅的展 覽室，沒有太多其他的休憩空間。

為了能夠更近一步融入坪洲社區，我們改 造了店內擺設，增設了一張長桌來營造一個 共居空間的氛圍，讓更多在地人能夠平日 也在店裡一起工作。書店，是建立連結的平 台，而住在書店裡，是讓我們更加融入坪洲 社區的方式。

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在現今的社會中，有很多方式能夠實現共 居。尤其在島上，人們因為疫情不得不在家 工作，更是無意間的推 動了共居空間的概 念。大家共同在一個屋簷下生活的型態無 形中形成了一個小的群體社會。

在空間的利用上，要營造一個結合私人以 及公共的空間是很具挑戰性的。關鍵是在 於我們如何劃清它們之間的界線。舉例來 說，我們的 書店後方有一 個 花園，但 對於 客人來說因為我們提供了一個過度自由的 空間導致他們認為這更像一個家而不是書 店，因此我們得拿捏好如何在空間上做出 限制。

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Instead of this exhibition feeling, we changed to this living room style bookstore, then added a co-working space using a table.

This was stepping more inside the community and allowing more people to work together at day times. We were inviting more locals than tourists; hosting those who live on the island and providing them with co-working space. Thus, connecting with the community and building relationships through the bookstore, living in the bookstore became a way of connecting with the community.

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Nowadays, there are diverse ways of coliving and adopting with the space.

Especially on the island, people had to work at home due to COVID-19, which further developed this concept. This idea of everyone in the house can somehow establish a small public and social life.

For the spatial usage, the mixture of private and public life was challenging. The main focus was how we set the special border. For instance, there is a garden inside the house that is accessible to everyone. However, some thought it was more like a home, not a bookstore. Therefore, we had to set limits of the space and set up the private space.

島民空間平面圖

Floor plan of Islanders Space 1 2

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討論長桌 Co-working table 店內販售的酒 Sold wine 閱讀喫茶桌 Coffee table

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島民書店實際上還在經歷實驗的階段，目 前比起外來的旅客我們更加注重在經營當 地居民以及熟客。客人與書店的關係可以 大致上分成幾個層次，而不同層次的顧客 就會有不同的體驗。以觀光客為最表層的 層次，若你瞭解了我們，了解這個島更多， 與島嶼有更深厚的連結，你就會屬於下一 個層次，進而可能參與我們所舉辦的活動 而有截然不同的體驗。

摘自 島民書店 Retreived from Islanders Space

今年（2021）四月我們邀請夏威夷來的音樂 人 邱立信（Nelson Hiu），來 到 坪洲與當地 的年輕音樂人合作演出和朗讀詩句。我們 也在坪洲島上貼滿了海報來宣傳這場在地 的演出。我印象中那場表演非常具現代風 格，有些人很欣賞，不過也有不少人提早起 身離席（笑）。不過這些都不是重點，重點 是在這封閉的一年，真的很難得有機會能 夠讓來自不同國家，不同年齡，不同背景的 人能夠齊聚一堂欣賞音樂，進而拓展坪洲 的社區文化。

Nielson Hiu（左） 跟 Trista Ma（右前）。

Nielson Hiu (left) and Trista Ma (front right).

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LITTLE YELLOW ORCHID 活動海報 Event Poster 摘自 島民書店 Retreived from Islanders Space

The use of Islanders Space is still in the process of experimenting. Nowadays, we tend to focus on acquaintances instead of walk-in customers. There are several layers of the relationship at the bookstore. Tourists and islanders have different layers; if you know a bit more you move into the second layer. To move to the next layer, you can enter the Peng Chau group or join the event. The customer experience depends on which level of customer you are, bringing different experiences.

Once a musician, Nelson Hiu from Honolulu, Hawaii, came to Peng Chau in April. We invited him to collaborate with young musicians in Peng Chau and read some poems at the same time. As it was a local event, we have put up posters all around Peng Chau to promote. Performance was in a contemporary style; some people appreciated it but some left earlier. However, people with diverse ages, nationalities, and backgrounds could merge and enlarge the community. It was a year of confinement.

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島民書店的書籍以公共空間 Public space, community, and social science 、社區營造、人文社科為主。 are the main genres in Islanders Space.

島民選書

最初，我們販賣的書籍大多是我們過去讀 過且認為有價值的書。在出版了兩期島民 雜誌後，我們增加了一些和雜誌主題（公共 空間和農業）相關的選書，而在做研究時所 閱讀的書我們也都有在店內販售。 其中一項島民雜誌的原則就是盡可能的讓 讀者們能夠更容易地吸收其中的內容。過 去我常問我自己，是不是一定得讀艱澀難 懂的學術書籍才能成長，現在我認為不是

Islanders' Bookshelves At the beginning, most books were the book we read before and thought it was useful.

For Islanders zine, the first issue is about the public space; the second issue is about farming. We select books that discuss the principles related to the topic and put those information in the Islands zine.

One of the principles for Islanders is to make the reader easy to read. I always question myself whether we always need to read 的。我希望自己所創辦的《島民》能夠讓任 complicated books without any academic background. I conclude that anyone without 和非相關專業出身的人都能讀書中的思想， any knowledge can read this magazine. We 因此我們集結了學者專家的書並且重新梳 gathered information from the books written 理內容將其門檻降低，藉此推廣給更大的 for professionals and made it into a book that 群眾認識。 anyone can read.

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關於《島民》

About ILSANDERS 《島民》的誕生

每 季 一期，《島民 》以不同角度去 研 究一 些極不起眼的事物。透過每期的主題向島 嶼、島民以及島上的生活方式提問，探討原 創性的永續生活觀點。 一開始我們想記錄下坪洲的文化，讓更多人 能欣賞這片土地，因此我們展開了為期一年 的嘗試，最終製作了兩個雜誌的雛形不過 都以休刊告終。

第一個版本我們照著傳統雜誌出版的方式 去推廣在地文化。第二版則政府出版的的 文化刊物。這些嘗試讓我們得以重新定位

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自己，讓我們更加注重於資訊的結構以及 其學術價值。因此在後來的島民雜誌裡，我 們 找 到一 位 設 計 師來替我們 梳 理 資訊 架 構，進而設計出能更讓讀者以更有效率的 方式消化雜誌內容。

《島民》第一期內容插圖， 由 UUdeny Lau 繪製。

Illustration by UUdendy Lau for the first issue.

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Birth of ISLANDERS ISLANDERS島民 is a seasonal map-zine from Peng Chau that enquires into islands, their people and lifestyles to develop original perspectives on sustainable living.

We wanted to record something to show to the people so we came with a one year journey with two magazines that did not work for us. We followed the traditional way of magazine publication. The first magazine was the typical magazine about the community. The second magazine was the government publication about the culture. These trials refined ourselves to be more urban and academic with structure.

Therefore, we searched for a designer for ISLANDERS project to help the readers digest information effectively.

正式發行前嘗試的不同的 封面排版設計。 Different cover layout designs for ISLANDERS.

最終問世的封面設計版本 The final cover layout for ISLANDERS we know

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在分類 上，《島民 》屬於地圖雜 誌。我們用

插畫 風 格的地圖來呈現島嶼背後的 故事。 我們主要的讀者為當地居民。在第一期雜誌

中，我們期望居民們能透過閱讀我們的刊物 而欣賞島上的椅子。近期隨著島上外國人的 增加，他們也變成了我們主要的讀者之一。

若要 說《 島民 》的 發 行 對 坪 洲 有 帶 來 什麼

改變的話，我不確定這是否與雜誌的發行有

關，不過，我們觀察到在雜誌發行後坪洲港 口堆放椅子的角落多了雨傘替椅子遮蔽日曬 雨淋。

The categorisation of the ISLANDERS is map zine; we use an illustrative map to show the story about the island. The primary target readers are the locals. Initially, we wanted our neighbors to appreciate the chair by reading the first issue. Nowadays, as the non-Cantonese and foreigners are newly coming, they also became our main target.

Any changes perceived after the publication of ISLANDERS? Well... I'm not sure if it influenced but near the Peng Chau ferry there is a chair umbrella corner, which was created after the publication of ISALNDERS.

Myriem（左）分享在《島民》 之前的嘗試。 Myriem (left) shared about the early attempt before ISLANDERS.

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正在閱讀《島民》的島民。 Islander reading ISLANDERS. 摘自 島民書店 Retreived from Islanders Space

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摘自 島民書店 Retreived from Islanders Space

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1.4

〈船到橋頭生活節〉 Inter-Island Festival 離島生活

〈 船到橋頭 生活 節〉以「離 島 生活」為主 旨，想宣揚離島獨特的環境、社群、歷史和 議題，探討島同島之間的連繫，以及島與城 市的交流。「離島生活」即是這個節的靈感 和精髓，同時也都是我們想塑造、充實的主 題。稱這個節為「生活節」，最能表達我們 的原意。 從與島民的交流中，我們理解到推廣活動 並不需要邀請到知名的藝術人士。現在的 坪洲多了很多新移入的居民，比起像島嶼外 界尋找藝術家，我們決定邀請坪洲上的藝 術家。透 過 這個活動我們將所謂的『藝術 節』轉換成『生活節』來探索坪洲獨有的生 活資產。

活動主視覺標準字（左頁左上）。 Logotype for the event (Left page upper left).

Into Islanders' Life Inter-Island Festival is a festival about the insular life: its distinct environments, communities, histories and concerns, and the exchanges among and beyond these islands. Insular life is the inspiration, the essence and what we want to strengthen and enrich. We think calling this event a 'Life Festival' reminds and reflects our intent.

From the conversation with some islanders, we realized that there is no need to invite renown artists to promote the festival. Peng Chau already has newcomers living on the island. Rather than searching for artists outside of the island, we decided to engage what the island already had: the traditional artists in Peng Chau. Through this we focused on what is valuable in Peng Chau changing the name from the “art” to the “life” festival.

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花牌印象

談到生活節的標誌設計，我們的靈感來自 香港郊區的節慶中使用的花牌和竹子搭建 起的結構。

花牌為中國的傳統工藝，用竹同紙造成，有 廣告或者裝飾的作用。每逢節慶場合都會 用到的五顏六色花牌，十分搶眼，然而今日 市區已經很少見到花牌的影子，但是在鄉 村地區仍然經常用到。 即使是傳統也會一直隨時代演變，如同花 牌上面的字一樣。長洲的花牌字體在經過 多年演變之後，運用了新的書寫工具：麥克 筆運來簡化複雜的筆劃，竟然變出一種長 洲獨家的長洲體。

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我們借用了花牌體，加入現代的元素，結合 成為我們標誌的字體，響應生活節的主題： 傳統文化與當代生活的共存。

我們不只以這套主視覺貫穿了整個生活節， 也以此為標準去挑選活動內容，我們特別 挑選和傳統文化有關的活動，所有活動相 關的人、事、物都需要與坪洲有相應的連結。

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Fa-pai Image For the logo of the event, we were inspired by the traditional Fa-pai typography and the bamboo structure used in the festivals in rural Hong Kong regions.

years of transformation. We modified the Cheung Chau font and used it as our logo, to represent the coexistence of tradition and modern life.

Fa-pai, the flowery banner, is a Chinese traditional handicraft, mainly made by paper and bamboo. In festivals or celebrations, colourful fa-pais are to be used. However, they are now rarely seen in the city yet they are still commonly used in rural areas.

Traditions evolve as time goes by, so as the font on fa-pai. Like the font of fa-pais in Cheung Chau, a unique Cheung Chau font has literally been created through

This branding was applied throughout the whole festival. It became one of the criteria to choose the activity for the event.

For instance, we searched for art activities that are related to traditional culture. Either events, people, or materials had to be living in Peng Chau or being traditional in Peng Chau.

長州的花牌文化。 Cheug Chau's Fa-pai culture. 摘自 島民書店 Retreived from Islanders Space

Kit 與我們分享香港的花牌文化， 說明了活動視覺設計背後的精神。 Kit shared the Fa-pai culture with us and the rationale of the event art direction.

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摘自 船到橋頭生活節 Retreived from Inter-Island Festival

島嶼的反思

整體而言，舉辦生活節的用意在於增進島 上人與人之間的連結，也借此機會呈現坪 洲的生活樣貌。這場活動的本質是為了島 上的民眾舉辦的，竹子搭建的看板代表了 我們的傳統文化，是我們島上節慶的一大 特色。當時我們與一位製作舞龍舞獅獅頭 的師傅，還有《香港之間》的作家一同製作 了一個長 30 公尺的長桌〈坪洲開枱〉。透 過這樣的合作，我們希望大眾能夠重新思 考島上公共空間的意義。

我無法斷言地說出島民與生活在城市者有 明確 的差 別。除了坪洲的島民，在 這 次的 活動中我們也 邀請了外界的參與 者。以一 個外來的藝術家的角度，他們大多希望從 這座島上獲得「特別」的經驗，因為這並不 是他們生活中的一部份。 25

裝置 〈坪洲開枱〉 Installation Connecting Table

我 們 想 要 展 示 的， 是 這 座 島 嶼 上 最 真 誠 的 一 面，並 與 當 地 生 活 產 生 直 接 的 連 結。因 此 我 們 回 絕 了 與 當 地 連 結 較少的大規模公共藝術建設或計畫 去 避 免 讓 這 個 活 動 變 質 成 商 業 導 向， 因為來 到坪洲的人們無法透 過這類 作品與坪洲產生連結，旅客來此的目的僅 止於與這些作品拍照便離開，並不會真的 去深入探索觀察坪洲。 活動中有一位藝術家在他的作品裡活用了 城市中廢棄的電話亭。每一座島嶼都有電 話亭，只是現今不再被使用了。透過這個作 品這位藝術家邀請觀者去思考電話亭在生 活中的意義。每當觀者與這個電話亭擦身 而過，都會產生不同觀看視角。

C h a p t e r 01

登島 A n c h o r i n g

Reflection on the Island Overall, the festival aimed to connect people and present how life would be for the islanders living in Peng Chau surely not for the visitors. The application of traditional culture was delivered through the bamboo structure that is part of the big festival culture in Peng Chau. I remember the moment with a craftsman who used to make a lion head for the lion dance. With the craftsman, we collaborated with the author of the book, Hong Kong In Between, and made a 30m long Connecting Table.

Together, we enticed people to consider the use of public space.

I cannot directly say that there is a clear difference between islanders and those in

cities. We not only engaged artists living in Peng Chau but also invited participants from the outside. Most likely, the artists from cities were not aware of the situation in Peng Chau as the island life is detached from the city; they expected something different from the actual island.

Therefore, we tried to select those projects that were more connected to genuine island life. We rejected big-scale architecture or projects that were not closely related to Peng Chau and avoided commercial and superficial works. These works do not make visitors stay and explore the island; instead, visitors tend to come to the island, take a photo, and go away without any deep understanding or perspective towards Peng Chau.

I remember one artist from the city redesigned a telephone booth to make an artwork. For this one, each island has telephone booths, which are not used these days. Through this project, the artist reused the telephone booth to create artwork. Thus, we prepared works that require the viewer to digest the meaning; the viewer will have diverse perspectives every time when they see the artwork.

裝置 〈寫畀我，打畀我〉 Installation Write me, Call me 摘自 船到橋頭生活節 Retreived from Inter-Island Festival

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“ 島嶼的保守性

現在的坪洲跟七年前我剛到來的坪洲相比 有著顯著的變化，因此我會說坪洲並不會 保持現狀。現代人越來越傾向於搬離城市， 隨著這些新居民的移入，外來的因素自然地 會影響當地文化的發展。 當外界的人事物移入時老舊的城區時，無可 避 免地會 翻新汰舊，而這 就 是仕紳化。我 希望這個社會變遷的過程並不會覆蓋坪洲 原有的文化，而是與之融合。變化總是由外 開始的，對於坪洲，我們試著讓這些外力產 生其他方面的影響與改變。

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更根本的反思是： 為什麼我們需要節慶？

以結論來講，透過這個生活節，我學到了其 實 我們需要的並不是 一 個節慶。當然，繁 忙的準備過程也是原因之一，但是更根本 的反思是：為什麼我們需要節慶？為什麼我 們需要一次性的大量吸引人群？為什麼我 們需要對外廣告宣傳坪洲？ 最終，來自外地的遊客離開活動後，會遺忘 掉坪洲的一切。

”

C h a p t e r 01

started from “ This the basic question:

why do we need festivals?

登島 A n c h o r i n g

”

The Insular Island I assume that Peng Chau’s future would change since my life here 7 years ago changed a lot. Nowadays, people tend to move away from the city. As one of the ways of development, this change will naturally bring direction into the culture.

Eventually, people from the outside will forget about Peng Chau after the festival.

摘自 船到橋頭生活節 Retreived from Inter-Island Festival

Gentrification, the process of renovating deteriorated urban places by the people moving in would happen. I hope this social displacement would not dominate the place or import the culture, but compromise with the local Peng Chau culture. The change is always from the outside priority. For Peng Chau, we are just trying to change it the other way around.

In general, through the festival, I learned that a festival like this is not necessarily needed.

Not only because the organizing process is weary, but this started from the basic question: why do we need festivals? Do we need to attract many people at once? Do we need to advertise Peng Chau to outside people as well?

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C h a p t e r 01

登島 A n c h o r i n g

1.5 下一步

Next Steps

在 未 來，我 們 想要 探 索 更多不同的島 嶼 並 且擴展『島民』計畫的內容到這些島嶼上。 在這個嘗 試中我們想要保留現階段的研究

方式並運用到不同的島嶼脈絡中。以都市規

劃的角度來看，不同面向的好設計總是容納 了日常生活中平凡的人事物。對我而言，坪洲 是個探索這些好設計的起點。

若要 說 近 期 的目標 的 話，我 希望島民空 間

即使香港天文台掛起八號風球，仍然能保持 營業，就像許多坪洲本地店家那樣。

In the future, we want to investigate different islands and expand this project to other islands. We will try to keep the method but apply it on other islands. Different aspects of good design record ordinary things from an urban planning perspective. For me, Peng Chau is the starting point.

As for the short-term goal, many shops open during typhoon 8 at Peng Chau, and therefore my goal is to open the bookstore even in typhoon 8.

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Chapter

佇足

Stopping By

“

Ways of Seeing

Conversation with Myriem Alnet

島民空間的另一位靈魂人物，

Myriem，是一位都市設計師，

同時也是《島民》計畫的研究 者。

讓我們聆聽 My riem 是如何接 觸到都市設計，並將其實踐於 日常當中。

35

Myreim, another key figure of Islanders Space, is an urban designer and the lead researcher in the Islanders zine project.

Let's hear about how Myriem went across urban design and practice her design philosophy in the daily life.

”

與Myriem的對談

如果不是坪洲，我想我現 在並不會在香港生活。

觀看的方式

C h a p t e r 02

佇足 St o p p i n g by

“ If it wasn’t Peng Chau, I would not have been living in Hong Kong.

”

2.1

來到香港

Occasion to Hong Kong 來到香港前我在越南生活，當時我正在尋找 前往亞洲的契機，而我便遇到了一位來自坪 洲的朋友並邀請我前往坪洲。當時她正著手 於一項關於將咖啡廳轉換成實驗性居住空間 三個月的小型研究計畫。

在坪洲待了三個月後，我便決定在這裡活。 我總是在尋找一個能夠同時生活並研究當 地的生活場所，而坪洲對我來說再適合不 過了。 其實在來到坪洲之前，我一直很害怕島嶼生 活，因為島嶼給我一種被困住且無法逃離的 感覺。但在實際生活後才發現島嶼生活的美 好。這裡的居民熱情友好，而且空間是相互 連結的，無論是物理上或是心理上。 坪洲是我第一個踏入香港的地方。如果當初 坪洲不是我第一個接觸香港的地方，我想現 在的我也不會在香港生活。

I was in Vietnam before settling in Hong Kong. I was looking for an approach to move into Asia. Then, I met a friend who was living at Peng Chau; she invited me to come to Peng Chau. At that time, she was working on a small research project about transforming a cafe into a residential experimenting space for 3 months.

After these 3 months, I decided to live here.

I was always looking for a place where I could live and research at the same time; Peng Chau was suitable.

Before coming to the island, I was afraid of Island life as it gave me the feeling of being stuck and unable to escape. But actually, it is worth it. People here are welcoming; spaces are connected together.

I came directly to Peng Chau. If it was other than Peng Chau, I would not have been living in Hong Kong.

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越南 Vietnam

越南與坪洲的相似之處是其微型城市的特色。

Vietnam Ho Chi Minh City is similar to Peng Chau like a micro-city.

腳踏車是坪洲島民的日常用品。

A bicycle is a daily necessity for Peng Chau Islanders.

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C h a p t e r 02

坪洲 Peng Chau

佇足 St o p p i n g by

在坪洲房屋們緊鄰著彼此。

Buildings are compacted together in Peng Chau.

與都市設計的機緣

高度的稠密性是我對坪洲的第一印象。 以一座島嶼來說，坪洲給我的感覺更像 是一個微型城市，所有事物都緊緊的綁在 一起，而非一般島嶼上村莊零星分布的 印象。 在公共空間的運用上，坪洲與越南其實頗 為相似。人們在將自己的私人物品帶入公 共空間的過程中，與他人建立起了連結。 我在法國的一個小鎮長大，居民對於車子 的依賴程度相當的高，那裡的街道與其說 是為人設計的，不如說是為了給車子使 用，因此我曾經相當厭惡這種倍感拘束的 城市結構。但是在坪洲，沒有你用雙腳行 走到達不了的地方。

“

在坪洲，沒有你用雙腳 行走到達不了的地方。

”

can visit “ You anywhere with your feet in Peng Chau.

”

Impression of Peng Chau The density of the place was the first impression of Peng Chau. It did not feel like a village, which is usually far away apart.

Here, everything is compacted together like a micro-city.

Peng Chau is quite similar to Vietnam in terms of the use of public space. People build up relationships while bringing out private belongings to the public.

I grew up in a small town in France where everyone relied on cars. Even streets are designed for cars rather than pedestrians.

I used to detest this city structure since it felt restricted. However, you can visit anywhere with your feet in Peng Chau.

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1

2

3

1

Myriem的專案〈平凡城市〉中的都市設計計畫。 Urban design planning from Myriem's project: An Ordinary City.

2.2

成為一名都市設計師

Becoming an Urban Designer

2 3

開始 Beginning

過程 Processing 成果 Ending

與都市設計的機緣

最初我的研究領域是中東的政治科學，在接觸到與城 市議題相關的中東社會運動像是2010年的阿拉伯之春 後，我便決定投身到城市相關的主題領域。之後，我 在一間土木工程的公司實習並且拿到了都市設計的碩 士學位。

起初我對於既有的都市設計的生態是感到沮喪的。理 想上，都市設計研究人們的生活型態，並梳理出適合 人們的生活模式。然而，現今的都市設計只是一昧的 建起高塔阻礙並無視人們真正的生活所需。舉例來 說，即便是人口組成相當多元的英國，在那裡幾乎所 有東西都是以西方視角為中心，其他觀點的事物是不 被欣賞採用的。這個現象激發了我對在地文化的興 趣：居民在城市中所扮演的角色，以及居民是如何形 塑城市的，然而這些議題經常被人們忽略。

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C h a p t e r 02

“

佇足 St o p p i n g by

Vernacular culture: the role of citizens and how citizens shape the city.

Into Urban Design I was initially studying Political Science in the Middle East. When I encountered the social movements in the Middle East such as the Arab Spring in 2010 that were related to the urban issue, I decided to focus on urban topics. Afterward, I did an internship at an urban engineering company and received a master’s degree.

In the beginning, I was frustrated by the way urban design worked. Ideally, it studies the way of living and maps out their life.

“

”

However, the urban design nowadays builds new towers as the intervention disregarding people’s life. For instance, even if the population background in the UK is diverse, almost everything there is still Westerncentered. Any other perspective would not be appreciated. This expanded my interest in vernacular culture: the role of citizens in the city and how citizens shape the city, which are often overlooked.

居民在城市中所扮演的 角色，以及居民是如何 形塑城市的。

”

沿著海岸線建設的矮房。 Low buildings are along the way with the ocean.

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Georgia 的專案中轉變成實驗性居住空間的咖啡館。 The cafe that transformed into a residential experimenting space for Georgia's urban project.

“

這種獨立感 是相當珍貴的。

” Georgia Golebiowski（左）是邀請 Myriem 到坪洲居住的朋友。

Myriem's friend, Georgia Golebiowski (left), who invited her to Peng Chau.

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C h a p t e r 02

佇足 St o p p i n g by

kind of independence “ This is cherishable. 設計實踐

在去到越南之前，我在巴黎一家小型的都 市設計機構工作。當時我負責向政府提案， 這個不斷在提案與回絕重複循環的過程讓 我感到無趣。與在巴黎執行的計畫相比，現 在在坪洲執行的計畫給我更多的自由空間 和自主性。這種獨立感是相當珍貴的。

我們的計畫總是以我們觀察到感興趣的事 物出發。我們向觀察到的現 象提問，並開 始著研究。在研究過程中，我透過 Kit 在開 古董店時建立起的人脈與島民們訪問。研 究方法主要為大量的觀察以及現場測繪， 之後再重複進行收斂篩選的過程找出中心 議題。 在這個計畫中，我從許多導師以及建築師 友人身上學到了許多，尤其是當初那位 邀 請我來坪洲的那位朋友以及另一位在越南 的朋友。

Design Practice

”

Before going to Vietnam, I was part of a small urban design agency in Paris. I used to submit proposals for the government.

It felt a bit boring as it was a repetition of the suggesting and getting rejected process. Compared to those projects in Paris, the Peng Chau project gave me freedom and self-determination. This kind of independence is cherishable.

The project in Peng Chau often starts with things we feel interested in. We raise questions and begin to research. During the research, I interviewed the islanders of the local community from Kit. He used to build a relationship from his antique shop. The research methodology involves observations and mapping of the site. After the data collection, we wrap down and narrow down until the keywords come out.

During the projects, I learned from my mentors and friend architects, especially the friends who invited me to Peng Chau and another in Vietnam.

咖啡廳的工作空間。 The workspace of the cafe.

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C h a p t e r 02

佇足 St o p p i n g by

在香港脈絡中的設計師

身為一個在香港身活的外國人讓我覺得我 與其他人的生活並不對等。雖然我被人們 友善的態度優待，相對地我容易被當成局 外人對待。當你是個西方臉孔，香港本地 人預期你會照預設的行為行動。我想這個 現象可能與香港的殖民地背景有關。

因為我沒有在坪洲以外的執行過都市設計 的經驗，因此我有點難去描述身為一名 「外國」都市設計師是怎麼樣的感覺。我 會說我是與都市設計的專業實際面是脫節 的，因為在坪洲我面對的是一座島嶼，而 這讓一切又更加不同。

A Foriegn Urban Designer in HK Being a foreigner in Hong Kong makes me feel like I am living on a different level.

Although I am privileged by people’s nice manners, I sometimes get easily put aside.

When you are a Westerner, local Hong Kongers expect you to behave in a particular expected way. The way Hong Kong was built as a colonial city might be one of the reasons behind.

It is quite difficult to describe how it is to be a foreign urban designer since I have not been working on urban design outside of Peng Chau. I am disconnected from the reality of the urban design profession. In terms of Peng Chau, you are facing the island, which makes everything different from others.

坪洲的都市設計。 Urban Designing in Peng Chau.

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C h a p t e r 02

佇足 St o p p i n g by

在坪洲都市研究中搜集到的統計 數據以圖表和數字表示。

2.3

Statistical urban research on Peng Chau is included as graphs and numbers.

關於《島民》: 幕後研究

About ISLADERS：Behind the Scene 坪洲的研究計畫

最重要的是看看所有普通但平凡的事物， 那些你認為落後或甚至無關緊要的一切。 這些種種的日常跡象相當重要，因為普通 微小的事物往往暗示著一個更大的系統， 而我們不該去忽略這些平凡。了解到冰山下 隱藏起的部分是很重要的。 都市設計是由研究和方法組成，是一項關 於了解一個環境並且如何提供方法促成行 動的學問。《島民 》雜 誌採用實驗性 質形 式，它可以是一份社區刊物，也可以是讓人 們了解到活用公共空間的方法。最後，《島 民》會成為一份指引人們改進公共空間的 指南。

The Research Plan of Peng Chau The most important thing is to look at all ordinary but mundane things; things that you think are backward or even not nonimportant. These signs of daily life are significant. Ordinary things suggest a bigger system; we should never overlook the ordinary. It is important to understand the hidden part of the iceberg.

Urban design is all about research and methodology. It is about understanding the place and how to give tools for the action. The format of the Islanders zine is experimental; it can be a community post, but people can also read it as a method for key principles enhancing public space.

Eventually, it is a guideline for people on how to improve the public space.

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印象深刻的事情

在第一期的訪問中有一位令我印象深刻的 島民。當我們訪問他關於在島上的生活時， 他表現得像「終於有人問我了！」的反應， 好像早應該有人要提出這個問題，只是在 此之前從來都沒有人問過。在第二期關於 木瓜樹的訪問也令我印象深刻。我們發現 一位島民在坪洲上擁有一片木瓜園，而我 們從她身上請教到了許多關於木瓜的深度 知識。

這些小小的訪問都將人們納入參與進了這 個研究過程。從與每一位島民的討論中都 展現出了他們如何用自己獨特的方式在坪 洲上平凡地生活。街坊鄰居有時也會帶給 我們靈感以及適當的研究方向。在探討每 一個人在日常的生活習慣的同時，我們也 透過這些經驗學習。

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C h a p t e r 02

佇足 St o p p i n g by

第二期《島民》的印製過程。 The printing process of the second issue of ISLANDERS.

第二期的主題為木瓜（上） UUdendy Lau繪製（下） The second issue exhibition about papaya (top) Illustration by UUendy Lau (bottom)

Memorable experience I remember the interviewee from the first issue. When we interviewed him about life on the island, his reaction was like “finally, someone is asking about me!” It was like someone should have asked about this before but no one did it until then. There was also another memorable engagement from the second issue, which was about the papaya. During the research, we discovered that one of the islanders has a papaya farm.

We were able to gather in-depth information about papaya from her.

These small interviews engage people as part of the research process. Every discussion with the islanders shows how people in Peng Chau live normal lives but are special in their own ways. Our neighbors sometimes give inspiration and appropriate direction towards the project. Learning through these experiences, we discuss what individuals do every day as their habit.

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看看所有普通但平凡的事物。 Look at all ordinary but mundane things.

“ 49

如何定義界線 充滿挑戰性。

”

C h a p t e r 02

“

過程中遇到的挑戰

在做研究時，理應你要到實地去然後正式 地告知受訪者有關研究的內容。雖然大部 分的島民都很大方地分享他們的故事，但 不是每 個人都想在《島民》中公開他們的 生活故事。 因為我們在坪洲上生活，所以大部分的島 民都認得我們，而大家彼此間的關係親近， 因此我們的訪談調性都蠻愜意隨性的。但 是當我們提到這是有關研究的訪問時，他 們語氣突然變得正式拘謹，深入的見解也 隨 之消失。對 我們來說，是 否應該告知訪 問的「正式性」或「非正式性」是個顧慮， 如何定義界線充滿挑戰性。

佇足 St o p p i n g by

Defining the boundary is challenging.

”

Challenges during the process When you research, you should go out in the field and formally inform the interviewees about the research. Although most of the islanders are open to share their stories, not everyone wants to share their life stories with the public as Islanders Zine is the publication that is accessible by others.

Since we live in Peng Chau, most of the islanders identify us. Because we are close to them our interviews are casual. However, when we are informed that the interview is for research, their tone becomes formal without in-depth insights. It is challenging whether we should inform them the interview to be formal or informal. Defining this boundary is challenging.

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C h a p t e r 02

佇足 St o p p i n g by

胡志明專案中的空間規劃。 Planning of the space for the project in Ho Chi Minh City.

2.4

平凡城市

About An Ordinary City 一個城市的誕生

Born of a City

當我還在越南時我創建了「平凡城市」這個 平台，旨在透過這個匯集文化相關活動的 平台去提高人們對於城市議題的意識。我 們的重心擺在胡志明市的居民如何利用公 共空間以及根據他們的生活所需去形塑這 個城市。

I created a platform called An Ordinary City while I was in Vietnam. It was a cluster of cultural events that aimed to raise awareness of urban issues. We focused on Ho Chi Minh City to make use of the public space and shape it based on their needs.

在這個平台上我們舉辦了「玩樂時間」這個 專注在建築和都市設計上的活動。我們分 別在 2018 年和 2019 年總共舉辦了兩屆活 動。在 2018 年我們邀請了來自其他國家像 是南韓和丹麥的講者來分享他們跟都市設 計有關的經驗。通過電影放映、演講和小型 研討會，人們可以以不同的方式體驗這座 城市。2019 年的活動更像是一個場域特定 的活動，人們透過小型的公共裝置和活動 與當地的鄰里結合。

As part of the platform, we arranged an event Play Time that focuses on architecture and urban design. This was held twice in 2018 and 2019. In 2018, we invited international speakers from other countries such as South Korea and Denmark to share their experiences with urban design.

Through film screening, speeches, and small workshops people could experience the city in diverse manners. The event in 2019 was more like a site-specific event. There were small installations and activities where people combined with the local neighbors.

開發中的國家通常會有抹去殖民時期的建 築並轉向現代化的「乾淨感」的傾向。這轉 變了整 個城市的觀 點。透 過 這個計畫，我 們從胡志明市的居民身上的生活模式學習 到城市化的不同方式。

Developing countries tend to erase colonial buildings and approach the modernity of being clean. This changed the whole perception of the city. Through this project, we learned theor lifestyle of people in Ho Chi Minh City and different ways of being urban.

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過程挑戰

在這計畫中我遇到了一些困難。首先，我需 要反思我身為一個外國人的角色。當你以 異國風情去看待當地時，你無法讓自己以 當地的視角去真正了解此地。在整 個過程 中，我必須堤防自己帶入過多的異國視角， 並且專注在尋找當地人的根本所需而非當 個評論家。對我來說最大的挑戰是我身為 西方人的批判性角色，因此我必須時常反 思我的定位。

在第二屆的活動結束後，我與一位都市規 劃師有了些交流。在互動的過程中，我感受 到無論是都市規劃師或是本地居民，他們 都會不斷地對外國人的角色存在提出疑問。 因此，要建立互動也不是件容易的事。

在越南與香港來回的期間，我手上也有些 專案正在執行，但我感覺這些專案並不是 真正滿足人民需要的實際行動，而這正是 我為何尋找一個我能直接融入我的生活以 及研究計畫的居住地。 在坪洲的計畫是個 長期的、緩慢推動的過程，讓我在專案中能 夠為自己的行動負責，而非利用島民們來 達到我完成研究計畫的私利。

“

我必須時常

反思我的定位。

〈平凡城市〉中的都市設計研究過程。 The urban design research process for An Ordinary City project.

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”

C h a p t e r 02

佇足 St o p p i n g by

在活動〈玩樂時光〉中於 公共空間玩耍的兒童。

Children playing at the Play Time event in the public.

“ I had to critically

reflect on my position.

”

Challenges during the process There were some difficulties I encountered during the project. First of all, I had to reflect on my role as a foreigner. When you exoticize local things, you prevent yourself from understanding the perspective of the locals. Throughout the whole process, I had to prevent myself from having too much exoticism and to focus on finding their genuine needs rather than being a critic. In this case, the biggest problem was the whole idea of being a westerner who criticizes; therefore, I had to critically reflect on my position. After the second edition of the festival, I had an interaction with an urban planner. During this process, I felt like they, including the planner and locals, kept asking who this foreigner was. It was challenging to establish the interaction.

I had some projects when I was in between Vietnam and Hong Kong. It felt like those were not real actions for the people’s needs.

This was why I looked for a place to live and got directly involved in the project. In Peng Chau, the project is a longer-term with a slower process, which allows me to be responsible for the action, not using the islanders for my selfish benefit.

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2.5

回歸日常

Re: Ordinary

附錄：平凡的事物

我相信平凡的事物，就像掛在店裡的那個 生命麵包燈罩一樣。

當 Kit 住在深水埗時，那裡沒有桌椅甚至是 燈具，有的只有他因為興趣而蒐集的物品。 有一天他拿到了一盞燈但是並沒有燈罩，因 此，他便拿了手邊的生命麵包包裝充當燈罩 去控制光的強 度。之後 Kit 利用了同樣的 手法製作了生命麵包燈籠。 這是香港精神的一部分也是一種香港的傳 統方式，重複利用手邊的物件快速創造一 個新的物件。 沒有了麵包的麵包包裝或許只是個垃圾，

55

但香 港人在 這個老舊經典的日常麵 包品牌包裝上看到了自己身為香港人 的身份認同，並以不同的方式重複使 用它。這個重複利用的文化反映出了 人人都能是設計師的概念。

這些重新設計的物件並不需要 經 過 精 心 設 計， 它 們 所 乘 載 的 是香港的集體回憶以及背後的 人 情 味。這 個 生 命 麵 包 包 裝 的 燈 罩 展 現了即 使 是 垃 圾 也 能 夠 透 重新設計讓人們再次發現它的 價值。

C h a p t e r 02

佇足 St o p p i n g by

Appenndix: The Ordinary I believe in the ordinary, just like the “Lifebread” lantern hanging in the bookstore.

When Kit lived in Sham Shui Po, there was no table, chair, or even a light; he had the habit of keeping interesting objects near him. One day, he got a lamp but without lampshade. Therefore, he took the package of the “Life bread” at hand and turned it into a lampshade. Later on he used the same method to create the “Life bread” lantern.

This is part of the spirit of Hong Kong as being a traditional way to quickly and easily reuse objects to create a new object.

The leftover bread package is trash, but somehow Hong Kongers have an identity to this old yet classic packaging and reuse it in diverse ways. The identity of reusing objects has the cultural concept that anyone can be a designer.

These redesigned objects are not required to be well-designed. These redesigns contain the collective history of Hong Kong and the human touch behind it. This lifebread design presents that even the trash can still impress people through redesigning.

生命麵包燈籠。 The “Life bread” lantern.

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Chapter

匯聚 Gathering

“

Balance and Design

與 Hong Hui 的對談 Conversation with Hong Hui

Hong Hui 是 Studio Orbit 的 創辦人，從香港遠赴瑞典學習設 計的他，擅長發掘品牌的視覺設

計，設計上透過豐富且真誠的設 計語言，來傳達日常生活中細微 的感受。

在接下來的文章中，我們將帶你

更深入的了解 Hong Hui 以及 Studio Orbit 的設計觀。

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Hong Hui is the founder of Studio Orbit. After he graduated, he visited Sweden to continue his design journey.

He is expert in designing and communicating through diverse, sincere, and subtle visual language.

Let's hear more about Studio Orbit’s design rationale in the following parts.

“

行星繞行軌道 是一種平衡的自然現象， 而我也相信設計是平衡的。

平衡與設計

Chapter 03 匯聚 Gathering

“ Orbit is a state of

equilibrium which I believe is the same as design.

“

3.1

Studio Orbit 的創立

Foundation of Studio Orbit 設計師背景

我畢業於香港理工大學的傳意設計系，在 那之前其實在高中時我並沒有修讀過任何

藝術或設計相關的課程。第一次接觸設計 就是在理大還有去參加交換學生的時候。

創立初衷

Studio Orbit 的名字的是來自於我對好設計 的 定 義。Orbit 是 一 種 生 生 不 息 的 自 然 現

象，而我也相信設計是平衡的。

說到創立 Orbit Studio，是因為我突然意識 到以個人名義接案會產生一些複雜的問 題。從一個商業的角度看，當你是一位設 計師要面對客戶，有一個公司名字是更有 利的。Studio Orbit 的成立讓我得以與其他 來自不同領域的人共事。

Designer's Study Background I graduated from PolyU majoring in Communication Design. Beforehand, I did not study any art or design-related courses during high school. PolyU was my first experience studying design and going abroad for the exchange program.

Occasion of the Foundation The name Studio Orbit began from my belief of what good design is supposed to be. Orbit is something that happens naturally; it lasts forever when there is the right timing. And I also believe in the equality of design.

I founded the studio as one day, I suddenly realized that the personal adamantly for the freelance is complicated when I encounter a client. To work as a designer, it is beneficial to have a company name and value from the marketing approach. This allowed me to collaborate with colleagues in different fields and create an individual studio together.

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移居瑞典

在定居瑞典之前，我嘗試幾個不同的國家，想看一看哪一 個地方最適合我生活。因為我認為香港並不是適合我生活

的地方，因此大學時期我就曾飛到巴賽隆納實習，在交換 學生時也曾到瑞典學習，而在瑞典我找到了我所喜歡的生

活模式以及設計思想。為近一步遷居至歐洲，那個我一直 以來所嚮往的地方，我也曾在瑞典做過為期一年的打工度 假來增加在那生活的可能性。

瑞典相較於香港有個更舒適且緩慢的生活步調。而 以設計而言，我認為香港目前並沒有一個屬於自己

的設計風格，總是隨著大潮流的一直在變化，反觀 瑞典人非常重視設計，他們的風格並不像香港那般 的瞬息萬變。等會兒我會在近一步解釋我在移居瑞 典後所體認到的知識與思想。

香港的嘈雜與錯綜復雜的街道，以及車水馬龍的 交通被許多人的生活造成了不小的壓迫。 The complicated street and traffics become a huge pressure on peoples' life.

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香港 Hong Kong

Chapter 03 匯聚 Gathering

瑞典所呈現的歐式風情以及恬靜的氛圍，成為了 許多設計師所嚮往的地方。 The European style and tranquil atmosphere of in Sweden have become a place that many designers yearn for.

Ocasion to Sweden I explored diverse countries to test out which place most suits me for living. I lived in Hong Kong and have been to Barcelona for an internship. Surely, Hong Kong was not the place I was pleased to live. After experiencing the exchange in Sweden, I preferred the lifestyle and design beliefs there compared to any other country. Europe was the exact place I desired to live. To spur my decision, I had a working holiday in Sweden for 1 year and even more pursued my life in Sweden.

In terms of personal life, Sweden has a slow life compared to the fast-paced lifestyle in Hong Kong.

From the design perspective, the way people in Sweden value design is quite pleasant. In contrast, Hong Kong design keeps changing, which is related to the fast-paced society. Hong Kong never had its own design trends or styles; it tends to follow the general design trend. Later on, I will continue to contribute the knowledge learned from Sweden to Hong Kong.

瑞典 Sweden 64

對於傳意設計的觀點

其實在香港理工大學，我們系最初的命名 為『視覺設計』，是後來才更名為『傳意

用我們所有的技能來保存現有的文化。

設計』，我認為『傳意』這個字在設計裡

品牌世界

身為一個傳意設計師，我非常重視溝通所

獨立品牌都有不同的目標受眾與消費模

是很有價值的。

扮演的角色，一直以來我都在試著以正確 的方式傳播訊息，因為我相信正是訊息的 傳遞以及溝通構建了我們現有的文化。此

外，傳意設計師讓資訊與想法視覺化且更 容易被吸收，相當於替訊息傳遞者與接收 者建立了一個完善的橋樑。不過在日常生 活中人們時常忽略設計存在的價值，就如 同俗話說『好設計是很難被察覺的』，因

生活在一個充斥著品牌的世界中，每一個 式。我認為這對整個設計界而言是有趣且

有正面影響的。人們會投向他們所認同的 品牌因而認識到更多與自己有相同特質的

人，而不同品牌的追隨者某種成度上也互 相啟發，讓這個產業鏈變得更佳多變與豐 富，近一步推動品牌成長與重塑。最終， 這個多變的產業就造就了現有的環境。

此我更認為設計師背負著更大的責任去運

同品牌的追隨者某種成度上也互相啟發， 讓這個產業鏈變得更

Studio Orbit 也自製了許多品牌小物，其中最引人注目的絕非那優雅的 logotype。 Studio Orbit also produced many branding elements, the most eye-catching part is the elegant logotype.

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多變與豐富。

“

“

Chapter 03 匯聚 Gathering

Different brands and users inspire each other in diverse ways creating

dynamics.

“

“

View on Communication Design Before the name changed to “Communication Design”, the major was initially known as “Visual Communication” in PolyU. The word “communication” is valuable. As a designer, I seek to lead the communication in a “correct” way, where the receiving information can be transferred to diverse ways. I believe that communication creates our culture; appropriate communication shapes and builds the culture. As a communication designer, the value of communication is significant. Communication designers who work on graphics make the process of transferring information easier and generate the bridge between the receiver and the sender to be solid. In our daily life, we often forget aboutthe value of design. Good design

is subtle; we do not recognize so-called “good design.” So I believe that designers should make use of our skills and ability to maintain our culture.

In a World Full of Brand Living in a world full of diverse brands is pleasant. Each brand has its target audience asking that specific group to consume their brand. It is beneficial to embrace the whole industry. When people act upon what they believe in, those who share a similar belief assemble. Different brands and users inspire each other in diverse ways creating dynamics. This develops the existing brands to evolve and rebrand; eventually, the diversity enhances the whole environment.

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Chapter 03 匯聚 Gathering

3.2

關於《島民》・續

About ISLANDERS．Continue 遇見 Kit

十年前還在就讀高中時，我就認識了現在 島民書店的老闆。就像前面所提到的，我 在高中時期並沒有學習任何設計相關的科

目，儘管如此，我還是發覺了我對插畫的 熱情進而申請了一個在設計工作室當實習

生的機會，在那之後我便持續學習設計， 而也是在那個時間點，我認識了 Kit。

The Met with Kit I knew the owner of Islanders Space, Mr. Kit, from 10 years ago during high school. As mentioned before, I did not study design until high school, but I realized my interest in drawing at that time and applied for the internship for the design studio. I worked and learned design at an internship after school. And there, I met Mr. Kit.

《島民》的色調就如同坪洲的海水一般清新。 The color set of ISLANDERS is as refresing as the ocean of Peng Chau.

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整體雜誌設計由黑白黃三色構成，

簡單的設計卻非常內人尋味。 The overall magazine design is composed of black, white and yellow, but the simple design is very intriguing.

攤開雜誌即可看見背面的坪洲地圖 以及椅子們的所在地。 When you open the magazine, you can see the map of Peng Chau and the location of the chairs on the back.

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Chapter 03 匯聚 Gathering

我想讓讀者長久保存它， 看完就丟的導覽手冊。 看見誠實的坪洲

Keep the Map!

『島民雜誌』整體的設計方向都是啟發自

坪洲的各種特色，舉例來說，選擇黃色作

為整個雜誌的主色的原因，是因為看到了 坪洲那些公共座椅上的黃色交叉線，同樣 的不只顏色，所有照片也是在坪洲拍攝， 希望能進一步的給讀者呈現坪洲的真實生

活樣貌。然而其實在設計初期，整體的設

計方向對我們來說是一個挑戰，因為島民

In the beginning, we planned it to be a single map like a rectangular-shaped leaflet.

After the discussion, we decided the whole composition to influence how people see the product; to appeal enough for them to keep it as the map collection. Afterward, we made the map-zine that is more valuable enough to prevent it from being thrown away.

們不希望坪洲成為一個充滿遊客的地方，

Showing the Real Peng Chau

廣本地文化。

The overall art direction of Islanders Zine was inspired by life in Peng Chau. For instance, there are yellow cross signs on Peng Chau chairs to indicate those belong to the public.

This led to the use of the color yellow as the highlight color yellow. Likewise, colors were extracted from Peng Chau, and photos were only taken in Peng Chau to present the real-life to the readers. However, the whole direction was a challenge. Islanders did not prefer Peng Chau to be filled with tourists but at the same time, the zine was promoting Peng Chau to the outsiders.

但同時這本雜誌卻是以一個宣傳的方式推

保留地圖！

在設計初期，我們原本計劃將雜誌設計成

一個呈長方形的，類似地圖的手冊。然而， 在近一步討論過後，我們決定利用雜誌的 形狀以及包裝來增加他的價值，讓讀者能 夠長久保存它，不要讓其淪為那些看完就 丟的導覽手冊。在那之後我們便一直往這 個方向前進。

“

We made the map-zine valuable enough to prevent it from being thrown away.

“

不要讓其淪為那些

“

“

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半透明的包裝設計

和大家分享島上的模樣以及特色。

在不同期的雜誌封面中，都有不同的主題圖片。在目 前發行的兩期雜誌中我們都選擇了半透明的，類似描 圖紙的材質當作包裝，在那上面也印有坪洲獨一無二 地理特色的抽線條設計。我希望這本雜誌能夠以更誠 實和環保的方式設計，而半透明的包裝就更給人一種 沒有隱藏，且容易親近的感覺。

讓書本訴說自己的語言

雜誌在分類上被歸類為文化、歷史，和人文紀錄類， 因為我們誠實地記錄了島民在這塊土地上的生活。『島 民雜誌』讓島民們能夠為自己發聲，和大家分享島上 的模樣以及特色。我們的目標完全不是為了商業上的 推廣坪洲，相反的，我們想要以更宏觀的角度觀看整 件事。『誠實』，是我們製作這本雜誌的初衷，所有 我們所呈現的內容都是建立在我們所相信的價值之 上。 其中一件有趣的事是，所有與 Kit 還有 Myriem 的會議 都是在坪洲上進行的（畢竟如果我人在瑞典卻在設計 一款屬於坪洲的雜誌是有點不合理的），這也增強了 我個人與坪洲的連結，讓我在整個專案上有更好的掌 握度。此外，為了確保每個雜誌的元素都對坪洲有足 夠的連結，我們也特意尋找島上的人才來參與雜誌的 進行，因此雜誌的插畫家也來自坪洲。整體而言，是 我們在坪洲的體驗造就了雜誌的設計方向。

島民正在閱讀《島民》。

Islander reading ISLANDERS.

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“

“ 《島民》讓島民們能夠為自己發聲，

Chapter 03 匯聚 Gathering

The Transparency of the Zine For each issue, Islanders Zine has different hero images for the cover. For both issues, the package with the transparent paper depicts the geographical outline of Peng Chau in an abstract line. I seeked the project to be more honest and sustainable. The filter-like texture makes the magazine feel accessible without hiding any content.

For the further plan, we aim to produce publications for other islands. There will be 4 issues for each island; Peng Chau already has 2 issues. There will be different outlines on the package for each island issue.

Let the Publication Speak The magazine is categorized as cultural, historical, and documentation as we document life as the islander. The publication Islanders Zine let the islanders speak for themselves sharing their life in Peng Chau.

We dare not to promote Peng Chau. Instead, we do not aim to stand out of the market. We strive to be honest; what we show is what we believe.

let the islanders “ ISLANDERS speak for themselves and share their life in Peng Chau.

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雜誌內頁上有許多關於坪洲島的資訊以 及統計資料，閱讀後讓讀者更了解坪洲 的人事物。 On the inside pages, there are a lot of information and statistics of the Island.

Readers will know more about the people and affairs of Peng Chau.

The publication Islanders Zine let the islanders speak for themselves sharing their life in Peng Chau. We dare not to promote Peng Chau. Instead, we do not aim to stand out of the market. We strive to be honest; what we show is what we believe.

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3.3

療傷：Lyricstherapy About Lyricstherapy

Hong Hui 所製作的專輯字體設計。

Font design for album made by Hong Hui.

音樂作為治療

Lyricstherapy 是我在香港理工大學的畢業

設計。當初我還在香港時，我時常替香港 的音樂 mv 設計字體。在聽音樂時，比起

旋律，我通常會著重在歌詞的內容。而在 這個過程中我也發現我對於音樂和文字設

計間的連結非常感興趣，因為我相信一首 個的歌詞能夠反映一個時代的文化與價

值，這也讓我決定在畢業製作時對這個主 題做更深入的探討與研究。

之 所 以 會 用 “Therapy” 這 個 字 眼， 是 源

自 於 當 你 聽 音 樂 時 所 感 受 到 那 深 層 的、

情 緒 上 的 連 結。 人 們 時 常 無 法 在 感 到 低

落 時， 完 整 的 表 達 自 己 的 感 受 與 情 緒。 而 當 你 獨 自 一 人 時 更 是 如 此， 你 無 法 適 當的傳遞你內心深處的想法因為沒人能

夠 與 你 說 話。 因 此， 音 樂 成 為 了 一 個 讓

Music as a Thearpy Lyricstherapy was my final year project for graduation. When I was in Hong Kong, I worked on some typography designs for Hong Kong music videos. I usually focus on the lyrics rather than the melody while listening to the music. The connection between music and typography motivated me to come up with this project. I believe that a song reflects the culture of a generation and society.

The word “therapy” came from the idea of music being emotionally connected with the deep-down feeling. When you are down, you cannot properly communicate your deep feelings. When you are alone, no one talks to you. Then, the song helps you to release your emotion like a therapy process. Music is there to communicate with you.

人 釋 放 情 緒 的 出 口， 像 是 一 個 療 癒 傷 痛 的過程。

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在微弱的光線下，人們透過歌詞， 看見了自己與他人脆弱的一面。 In the dim light, people can see the fragile side of themselves and others through the lyrics.

UV 顏料所印製的歌詞只有在紫 外光照射時才能顯現出來。 Lyrics printed by UV pigments can only appear when exposed to ultraviolet light.

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Visualizing the connection between lyrics and emotion.

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Chapter 03 匯聚 Gathering

將療程視覺化

將歌詞與人們情緒 的連結視覺化。

選擇黑白作為 Lyricstherapy 的設計主色是為

緒，我在媒材上我選擇使用只有被紫外線照

品將歌詞與人們情緒的連結視覺化，並且也

計。使用白色且半透明的外包裝也是為了表

了呈現在診療室治療過程的臨床感。這份作 表現了我們如何透過聆聽音樂，去治療我們 的日常所感受到的負面情緒。

主視覺的部分是由一個圓形的，無數小黑點 構成的癌細胞，我將癌細胞治療的療程變

“

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射時，才能夠被看見的顏料來印製我的設

達療程的純淨感。而場域佈置上，我也參考

了診療室的設計，嘗試創造一個由文字與圖 像構建的診療空間。

化作為整個設計的主軸。此外，為了用一種 比較隱晦的方式去記錄人們不想被揭露的情

T H

E

R

A

P Y

Visualize the Therapy The overall color scheme for Lyricstherapy is the combination of black and white visualizing the therapy process of clinical and therapy feelings. This project visualizes how the power of lyrics allows people to release their daily negative emotions and overcome those in a form of therapy.

In terms of the main visual graphics, I choose a cancer cell that is made up of countless small dots. I transformed the treatment

process of cancer into the main visual elements. As for the UV-sensitive paint, it is inverted for screen printing, becoming a medium to record the hidden negative emotions inside the participants. White, which represents pureness, begins to cover the surface of the sphere during the therapy process. Inspired by the clinical environment, I made a connection with the graphic and medical world.

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白淨的展覽場模擬著平時人們看診的空間。 The white and clean space simulates the atmosphere of clinics.

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那些不曾被揭露的情緒

我們以一間安靜的咖啡廳二樓，以及一

面有白板的牆，作為展覽空間。為了讓

每個來參與的人能夠在擁有足夠隱私的 條件下自然地去分享自己的經驗，每個

參觀者都是以輪流單獨的方式進入展 區，而他們在進入展廳時需要脫下鞋

子，就像在自己家裡的私人空間一樣。 在展覽形式方面，為了讓人們能夠分享 日常生活中不常被提及的負面情緒，第

一個人進入時會在紙上留下他所想寫的 歌詞，而當第二個人進入展區時即能看 到前人所留下的歌詞訊息。被留下的歌 詞通常是人們深藏於內心的情緒抒發， 透過這樣間接的分享方式，能夠讓更多

Chapter 03 匯聚 Gathering

程及稱作『療程』。

在設計發想的過程中，我嘗試使用各種 媒材來呈現人們試圖隱藏的深層情感， 最後我發現，悲傷與負面情緒時常在我 們感到孤獨時湧上心頭，所以我決定用

一種能對應紫外光的透明顏料作為給參 觀者書寫的墨水。而這種顏料白天時並 不能被輕易發現，只能在晚上透過特殊 的燈過照射所看見，就如同那些被我們

刻意隱藏的感受一樣。最後，透過這次 的設計，我認為設計應該注重於整體的 體驗而非單指視覺上的呈現，

人感受到他人的想法以及情緒，這個過

Reveal the Unspoken At the exhibition, the second floor is a quiet cafe with a whiteboard. A person enters the therapy room one at a time.

The person is required to take off one’s shoe to experience the whole feeling as if the person is at one’s home. Privacy is guaranteed for the person to share emotions in the room. The next person who enters the room faces lyrics that previous people left for the person.

Those lyrics are usually about deep down feeling allowing the person to emotionally empathize with the next person. This visualizes how we hide our

deep-down feelings in our daily life, which cannot be hidden anymore during the therapy process.

I tried to find the media that represents the deep-down emotions we tend to hide from others. The sadness often knocks on our door when we are alone. The UVsensitive paint is used to represent the unspoken feeling; we get to see those negative feelings when we are alone and dark but not visible during the bright daytime. Communication cannot be just visual; it is about the experience.

展覽的主視覺『癌細胞』，間接道 出人們在聆聽歌詞所感受到心靈 上的變化。 The main visual "cancer cells" of the exhibition indirectly reveals the healing process of people listening to the lyrics.

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Chapter 03 匯聚 Gathering

3.4

啜飲月光

About Moonlight 一杯 Moonlight

Moonlight 是個創立於香港的茶葉品牌，致

力於推廣與現代化香港的傳統品茶文化。 Moonlight 提供人們出色的品茶體驗以及專 業的服務，因此我在進行其品牌重塑特別 注重於營造一種雅緻而微妙的感受，希望

能帶將這樣的細節一併給觀者的感。透過 品牌化，Moonlight 有了一個完整且一致的

方向。在設計方面，我所選擇的主色為象 徵月亮的灰色，那純淨以及平靜的視覺手 法正好符合富有藝術價值的品茶體驗。

A Cup of Moonlight Moonlight is a Hong Kong tea company, which aims to modernize the traditional teadrinking culture in Hong Kong. The branding focuses on the sophisticated and subtle feeling to offer the finest tea curations and professional tea service. Through branding, I gave birth to the brand with a consistent art direction. The major element and color tone is gray, which represents the moon. The pure and tranquil visual expression embraces the art of tea tasting experience.

高雅的瓶身以及字體設計， 體現出了品茶所有的氣質特色。 The elegant bottle body and font design reflect the characteristics of tea tasting.

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Moonlight 的網站以及品牌書籍設計。 Website and brand book designed for Moonlight.

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Chapter 03 匯聚 Gathering

In the interaction with consumers, every design element is important.

在與消費者的互動中，每一項設計元素都

致 關 重 要， 從 感 覺 到 情 感 再 到 最 後 的 行 動，一個細節的疏漏都有可能破壞原有的

品牌體驗。因此，為了提供顧客更加全面 的服務以及品牌上的體驗，Studio Orbit 也 一併設計了網站以及品牌書等周邊設計來 呈現 Moonlight 鮮明的品牌特色，希望能在

與客戶的互動中，建立起強而有力的品牌 忠誠。

“

在與消費者的互動中，

A Comprehensive Brand Experience Moonlight is a Hong Kong tea company, which aims to modernize the traditional teadrinking culture in Hong Kong. The branding focuses on the sophisticated and subtle feeling to offer the finest tea curations and professional tea service. Through branding, I gave birth to the brand with a consistent art direction. The major element and color tone is gray, which represents the moon. The pure and tranquil visual expression embraces the art of tea tasting experience.

每項設計元素都致關重要。

“

完整的視覺體驗

“

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未來展望 以工作室來說，我希望能俜請更多來自不

同 文 化 背 景 的 人 來 參 與 設 計。 身 為 設 計 師， 我 認 為 我 們 會 有 更 加 多 元 的 思 考 模 式，且能在某種程度上相互啟發。以外國

人的身份在瑞典從事設計的我，時常能與 同事分享看世界的不同角度，東方國家的

設計師傾向更深入的探索設計與人們情緒 上的連結，這點與西方是不同的，因此透 過交流，我們更能激發好的設計。

說到西方設計所帶給我的啟發，誠實可說

是我在瑞典同事身上學到最重要的概念之 一，他們時常強調設計就是誠實，在香港

我們反而避諱誠實，就像時常我們能看到 包裝設計的比內容物還好的產品一樣。對 我來說做誠實的設計是一大文化衝擊，也 重新告訴了我好設計該是什麼樣子。

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『永恆的設計』的工作室 的話，那我就滿足了。

Aspiration

誠實的設計

如果能成為一個貫徹

一位溝通者

在我的印象裡有不少同學最終不是成為平

面設計師，而是去追尋了他們所相信的美 學，像是陶藝等傳統藝術。在我眼中，平

面設計不是傳達訊息的唯一方法，我相信 有更多值得探索的媒材。

我一點都不會對我在設計路上所做的任何

決定感到後悔。我長期的目標是能真正建

立屬於我的工作室，如果能夠成為一個貫 徹『永恆的設計』的工作室的話，那我就 滿足了，我想做我所愛的事物。好的設計

不應蓋被侷限於一個方向，他應該要是誠 實，有情緒，且理性的。

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3.5

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Chapter 03 匯聚 Gathering

If it becomes a brand I'm confident enough to say it's a timeless design, I'm satisfied with it.

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Design is Honesty

Timeless Communicator

From the studio point of view, we prefer hiring designers with diverse cultural backgrounds. As designers, we think in different ways, which inspire each other.

As a foreigner in Sweden, I am gratified to share a different angle to see the world; Eastern designs tend to go deeper and more emotional, while the meaning might not be as deep in Western designs. Thus, we share each other's aspects to come up with a qualified design for the world.

I remember a few classmates from the School of Design were searching for something different for their beliefs and aesthetics such as ceramic instead of graphic design. Graphics are not the only way to communicate and design.

Honesty is one of the most inspiring concepts provided by my colleagues in Sweden. They often phrase design as being honest. Hong Kong is afraid of being honest, design-wise; they make the design such as packaging look better than the product itself.

Staying honest had the most cultural impact on me and taught me what “good design” should be.

I do not regret any single design decisions I previously made. As a longterm goal, I would like to establish my own studio. If it becomes a brand that I am confident enough to say it is a timeless design, I am satisfied with it.

Later on, I want to do something that I like. Good design should not be only in one direction; design should be honest, emotional, and rational.

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Vertical Discover y of the land.

Practice of Kit

Horizontal Span of the perspective.

Practice of Myriem

Circle

The confluence of all.

Practice of Hong Hui

坪日

Re: Ordinary 與3位島民雜誌 創作者的對話

Conversation with 3 Creatives of ISLANDERS

Name in alphabetical order

Design Abby Yang Justin Fang Kay Lee @2021

Text Editing Chinese

English

Abby Yang Justin Fang

Kay Lee

Photo Shooting

Interviewees

Image Source

Abby Yang Justin Fang

Hong Hui Kit Chan Myriem Alnet

Islanders Space Studio Orbit