Pdc magazine2 by DESIGNLOBBY.ASIA

设计 002

DESIGN So os hi n Ch oi

illo M l he

Mic

叶智荣

设计提升贸易

Design to Promote Trade

李琦 Toshiyuki Kita

设计 002

DESIGN

发行刊号/Issue No：PDC002

电话/ Tel：86 - 20 - 89181841 传真/ Fax：86 - 20-89181800 邮箱/ Email：leo @ pdc . org . cn 网址/ Website：www . pdc . org . cn 邮编/ Post code：510335

瓦当图腾

设计在中国源远流长 —— 文 / 商务部外贸司杨国良在古代中国，不乏借助设计来表达对美好理念的向往，实现对美好生活的追求。《诗经》的《閟宫》这样描述，“是断是度、是寻是尺。松桷（方形椽木）有舄，路寝（大厅）孔硕，新庙奕奕”。 1 这首《閟宫》歌颂了鲁僖公 2 建成宗庙的功绩。这几句大致是说，木料丈量、制造、修饰得当，庙堂宽阔而神采奕奕。可以说，在褒奖优秀设计作品上，这首诗大概创造了中国史上的第一。从故乡西安西行1800公里是敦煌。那里的莫高窟有富丽堂皇的壁画、栩栩如生的雕塑，呈现了不同时代华夏民族的服饰、家具等。它们款式各异、色彩绚丽。艺术源于生活，这些艺术品体现了古人对美的认识和追求。古代中国对设计贡献很大，但并没有停留在器物层面，理论上也是有建树的。墨子是先秦思想家，他提出了“先质后文”的设计思想，强调对产品本质的重视应大于外表。墨子认为，生产活动应当“节用”和“利天下”，强调产品功能不可华而不实，应以满足老百姓需求为目的。当下，中国货物贸易正逐步走向集约式发展，重新认识墨子“利天下而为之”的义利观，我们发现，现在流行的简约风格、绿色理念，似乎有了中国历史的沉淀。诸子百家之后，古代中国的设计思想并没有停滞不前。西汉《淮南子》提出了“中有本主”、“自有仪表”的思 3 想，认为创作不仅要流露真情实感，还要有独创精神。北齐刘昼进一步提出了“物有美恶，施用用宜”，他认为美丑是相对的，不能凭借外表来评判优劣，人的感受才是最终标准。这种思想为需求差异的合理性提供了理论依据。先进理念造就了物质文明的辉煌，也吸引了西方人的关注。明万历年间，意大利人利玛窦(Mathew Ricci)进入中国，在华居住了28年。在自传 4 中，他表达了对中国轻纺业的赞誉。他惊讶于中国人的餐桌是上了漆的，因此“光泽如镜、华采悦目”，以至于就餐可以不用台布或餐垫，餐后残物经湿布一擦，餐桌便明亮如初了。甚至，他发现了中国已经有了“时尚产业”——制扇业。扇子的材料、工艺和修饰虽然各有不同，但在社会各阶层广泛使用。即便秋冬时节，大庭广众之下不带扇子的人，也会被认为是缺乏风度的。对于江西的瓷器和苏浙的丝绸，利玛窦先生更是不吝赞誉之辞。

见《诗经·鲁颂·駉之什·閟宫》。原名姬申，公元前659年-前627年在位，春秋诸侯国鲁国君主之一，是鲁国第十八任君主。他为鲁庄公儿子，承袭鲁公担任该国君主。 3 刘中元. 《淮南子》生命美学思想初探，2007年5月。 4 见《利玛窦中国札记》第11至26页，利玛窦、金尼阁著，北京：中华书局，2010年4月。 2

Ⅰ

武汉东落雁景区胡服骑射雕塑

其实，古代中国也是会“拿来主义”的，学习和利用境外设计资源。“胡服骑射”应算是中国历史上“设计服务 1 外包”的典型。战国时期，赵国国力衰弱，不能抵挡北方胡人侵扰，甚至连赢弱的中山国也能击败赵国军队。于是，赵武灵王号令全国，引进了胡人的短打服饰，转变民风，最终使赵国最终位列战国七雄。而到了汉唐时期，中国引进海外产品和服务的例子就不胜枚举了。 3 4 5 2 自古以来，中国制造业对设计有着精益求精的追求，《考工记》、《营造法式》、《长物志》、《天工开物》这些古代文献记录着其中的点滴，这些都是中国制造业灿烂辉煌的一部分。现在想来，这些历史也应该是当下我们开展设计创新的精神财富，激励着中国在产品设计上不断精进，激励着“中国创造”不断前行。

今河北平山县一带。《考工记》是中国春秋时期记述官营手工业各工种规范和制造工艺的文献。 3 北宋李诫著。 4 明代文震亨著。 5 明代宋应星著 1 2

Ⅱ

CONTENTS 目录

1 27

一设计理念

Design Ideas

二行业概览

Design Overview

三设计案例

Design Cases

四潮流趋势

Trends

五高端访谈

Top Interviews

六 PDC专版

PDC Special

114

七活动奖项

Events & Awards

设计理念

Design Ideas

设计的守梦人 Dream Keepers

做设计，从设计自己开始 Design Begins from Self-design

中国创造，叶智荣设计 Made in China, Designed by Alan Yip

全盘意识下的家具产品设计价值观 The Design Values of Furniture Product with Overall Awareness

欧洲设计师在中国 Design in Chinese Market

文化融合中的设计 Towards a Hybrid Culture

设计理念 DESIGN IDEAS

设计的守梦人杭州瑞德设计创始人李琦专访李琦

2013年4月杭州瑞德设计参加了第 113届广交会PDC设计展示活动。期间，笔者有幸采访了瑞德设计创始人李琦。李琦在业内被称为“中国工业设计的拓荒者”，他对设计的理解和执著造就了瑞德的今天，造就了今天的瑞德人，设计的守梦人。

毕业于浙江大学工业设计专业 2010年以优异的成绩获得长江商学院（EMBA）工商管理硕士学位杭州工业设计协会会长兼法人杭州瑞德设计有限公司创始人、董事长兼总经理杭州瑞德文创科技有限公司董事长获得荣誉： ·2012年杭州都市圈新锐文创青年人物 ·2011年文化新浙商十大新锐奖

·光华龙腾奖第七届(2011)中国设计业十大杰出青年 ·2009年杭州成长型行业品质品牌青年领军人物

·2008中国十大卓越策划专家编辑翻译 / PDC 杨汉东

随着工业设计在中国的发展，中国设计师的地位如何体现？设计师的价值在哪里？笔者的这些问题，似乎能从李琦的口中找到一些答案。

PDC：从设计到商业价值的转换，瑞德是如何做到的？李琦：说到我们的转换，瑞德一直在思考，自己到底能给别人什么。这个问题其实很实在，既然是一家公司， PDC：您说瑞德人是一群“守梦人”，应该有自己的商业价值，当然学科的请问是守什么样的“梦”？瑞德是如价值是无可厚非的。帮助企业将一件何“守梦”的？产品变得更有美感，让一个硬邦邦的李琦：这个梦就是设计师的尊严。我东西变得更亲和一点，难道设计只有这么一点力量而已吗？这一直是在我觉得我们的设计师要在整个商业链里脑袋里盘旋的问题。我也是从一个获得价值，我们坚守的是这个设计的简单的设计开始的，从99年瑞德成立，梦想，要为设计师的尊严去拼搏。尊到02年我组建第一家实体公司，专门严不是靠别人施舍的，也不是靠交换做商业设施，我从来没有停止对设计得来的，而是要靠打拼得来的。我们可以设计很多，这说明瑞德做得不错，的思考：设计链的后面是什么？作为但这不能说明我们设计的商业价值驾一个真正的商业探索者，应该要自己驭得不错；我们现在只是把前面的一要去实践，不要老是作作战图，要去小段路铺好了，后面的路会很坎坷，前线体验一下枪林弹雨背后的残忍和因为竞争更激烈。设计公司跟商业公现实。我自己开始做了很多实体上的司之间的博弈，互相认知的难度会更事情，我成立的商业设施，从三年多大，但是机会会更多，成功性会更高。亏了400多万，到今天我们有1.6个亿左右的规模。我们自己做品牌，自己设计公司如何实现自身的商业价做设计，自己做工业链管理，自己做值，而不仅仅是为生产企业做嫁衣裳？渠道，看看我们对品牌的驾驭能力到三十多年来，众多的设计公司在中国底有多大。这对我们设计公司来说是遍地开花，而有几家真正能走出设计很厚重的土壤，我相信对企业的帮助本身固有的局限，打破设计和商业之也是非常大的。这也奠定了我们跟其间的高墙，实现设计到商业价值的转他设计公司的不一样，我们更看重设化？而瑞德恰好是这方面的佼佼者。计链的放大能力，而不是简单的局限 3

在某一个领域。任何一个商业链的每一个阶段都有价值的分配性，我们设计公司有这一分配价值的比例。从整个商业链来看，要完成后面整个价值分配的放大，不能缩小，不能平行，这就非常有意义了。现在我跟很多企业沟通的时候，更多的是谈企业的设计战略及其背后的商业战略，虽然这是一个很复杂的商业链，但这是一件很有意义的事情。设计的发展，离不开设计人才的培养，而人才的培养，需要的不仅仅是现有设计院校的努力，还需要更多的外部设计力量和资源的介入。 PDC：“瑞德青蛙概念工场”是如何帮助年轻的设计学生的？李琦：一家好的设计公司需要的是好的设计人才。我们做“瑞德青蛙概念工场”无非是想促进学校和教育机构去思考：职业设计机构需要的是什么样的设计人才？专业设计师要具备什么样的素质？我们从02年就开始了 “青蛙”概念工场，还有从99年开始的“瑞德毕业设计邀请赛”，这些都是要给年轻设计师的一颗种子和更多的机会，给他们不同的视野和冲击力；同时也给学校一个思考，什么样的学

生才是优秀的？这样做一个碰撞、一个沟通、一个交流，这是一件很有意义的事情。是市场培养设计公司还是设计公司引领市场？ PDC：您认为工业设计目前在中国的发展状况如何？中国要如何发展自己的创造之路？李琦：中国工业设计的发展其实也差不多快30年了。设计做到今天这样一个层面，其实有很多机会，需求也是爆炸式的，但未来这个产业到底会变成怎么样，这是一个很大的命题，很值得我们去思考。部分设计公司会走向工作室化，他们运用自己极具创意的灵感和修养，以及灵活的组织模型，在某个设计领域走得极其深入，他们跟企业会形成非常好的互动，扮演着润滑剂的作用，让整个企业变得活跃起来。这种公司在中国会越来越多，而且中国大部分的设计文化和设计行业会活跃起来，主要也是依靠他们来推动。其他的设计公司会变得更综合，个别会变得更商业性。什么叫商业性？就是更注重策略，更注重创新组织的建立，这不是简单的一个设计的创新，而是通过多种模式去探索并且跟企业有更多种商业模式的合作。这种设计公司也会形成一批。处于这两者之间的设计公司会因为两极分化而越来越

少，我相信这是中国未来工业设计演变的一个过程，至于说谁能走下去，这就要看各家的思路和战略。“中国制造”有时候虽然不是一个褒义词，但我还是觉得要坚持“中国制造”。中国在世界经济体上的地位是不可以轻易撼动的，因此“中国创造”一定要植入到制造里面，从某种程度上说，一定要走两条线路：一是要给劳动者更多的尊重；二是要加深制造的技术含量。创造就是要中国转型设计，设计不是让中国从此没有制造业了，而是让制造业变得更强大、更精细化、更专业。在本届广交会PDC设计展示活动中，杭州设计公司的抱团参展，成为了一个亮点。瑞德设计作为杭州参展设计公司的代表，谈到感受和收获，李琦流露出无比的兴奋。 PDC：瑞德这次来参加PDC组织的设计展示以及相关的设计活动，请问您有什么感想呢？效果跟您的预期有什么不一样吗？李琦：应该用两个字来形容，震撼。一般来说我们的客户相对比较集中，往往这个行业的客户我们合作就有了十多年，所以从某种意义上来说我们并没有跟太多的企业有合作。但是从这次广交会这么大的一个平台，我感

觉到了中国未来设计的迫切需要，也同样感觉到中国未来设计市场的巨大，和身上的责任感。所以感觉用两个字来形容，叫震撼。说实在话，这次参加广交会的效果比我预期的要好很多。我们一直是做设计战略的，以前别人来找我更多的是要做一个产品的外观或者某一个具体项目的设计, 但是这一次有很多人来跟我们了解整体的、从品牌到产品定位，甚至渠道以及全方位合作的问题。他们非常迫切需要解决自己在商业领域里面系统的、整体的创新和品牌运作，和整体产品转换的问题。这让我感觉到了我们存在的价值和目前所具有的能量，在广交会的平台上会发挥很大的作用。每每提到设计，李琦就两眼放光，激情四射，18年的商业历程，没有让他丢失对设计的热爱、激情和追逐，反而像陈酿的酒一样，变得更加热烈，更加深沉。PDC活动期间，李琦和他的团队用实际行动让我们感受到了设计从他们身上迸发出的力量，让我们理解了他们坚守的设计梦想。

设计的商业性，更注重策略，更注重创新组织的建立，这不是简单的一个设计创新，而是通过多种模式去探索并且跟企业有更多种商业模式的合作。 4

设计理念 DESIGN IDEAS

瑞德设计作品

DREAM KEEPERS PDC: R&D team is "Dream keepers ". What kind of dream are you keeping? How do you keep it?

Li Qi: This dream is the dignity of designers. I believe that designers should gain the due value from the entire business chain, which is what we have to ﬁght for and keep as a dream to realize. This dignity is not coming by giving or exchanging, but through ﬁghting. So far R&D is doing quite well in design, but this does not mean that we are also doing well in harnessing the commercial value of our design. What we have done so far is just paving part of the road. We can expect the bumpier roads further ahead because the competitions are getting tougher. The game between design and commercial companies will be more challenging, but at the same time there are more opportunities coming up and more chances of success. PDC: How does R&D convert design

into business value? Li Qi:We have been thinking that what exactly R&D can bring to our customers. This is a really practical question since we are a company, and a company should have its own business value. The power of design should not be limited to just making things look more beautiful or intimate. From the simplest design we made when starting R&D in 1999, to the

design of business facilities when we built up the first entity company in 2002, I never stopped thinking: what should it be behind the design chain? As the real design business explorer, we have to find out the answer from our own experiences in reality. We did do a lot and achieve a scale of 160 million today from a deficit of 4 million 3 years ago. We need to find out how capable we are in handling a design brand by doing our own branding, designing, industrial chain management as well as business channels. These are building up a solid foundation for us as a design company, and I believe it is also helpful to manufacturers. These are making us different from our competitors, because we focus more on developing the value of design chain instead of individual cases of product design. Value is existing in each phase of the business chain and there must be a certain ratio for design companies. It is significant to maximize this value distribution instead of maintaining or even minimizing it in the overall business chain. I prefer more to discuss with manufacturers about design strategies and the business strategies behind them. This matter of business chain is complicated, but it is meaningful.

PDC: How does R&D " Golden Frog Award " help the young Chinese designers?

Li Qi:A good design company needs excellent design talents. The purpose of our "Golden Frog Award" is nothing more than trying to arouse the thinking of schools and educational institutions: what kind of design talents do professional design companies really need? what qualities should professional designers have? We started this award from 2002, aiming to provide young designers with more hopes and opportunities, as well as different visions and impacts. It is actually a very meaningful thing by bringing up this kind of communication and collision of minds.

PDC: How do you think of the development of industrial design in China? How should China develop its creative industry?

Li Qi: There has almost been 30 years for the development of industrial design in China. The level it has been achieving today is bringing many opportunities and exploding demands in this industry. However, this is still a great proposition worth our thinking as where this industry will lead us in the future. Part of the design companies will be operating in the form of studio, which go really deep in certain ﬁelds of design with their own creative inspirations and ﬂexible models

瑞德设计高端油烟机图纸

of organization. These forms of design companies can interact really well with and activate manufacturers. There will be more and more such design studios in China, and they will promote most of China's design cultures and design activities. Other design companies will develop more integrated, some even commercialized. What is "commercialized "? Being commercialized is focusing more on strategy and the establishment of innovative organization. This is not simply an innovation of design, but more cooperation with manufacturers through exploring a variety of business models. The remaining design companies will be less and less because of polarization and becoming either of these two categories. I believe this is an evolution process of China's industrial design in the future, and it is the ideas and strategies of each design company that lead their ways of developing. " Made in China" sometimes is not referred to as a term of commendatory, yet we should still stick on "Made in China". The position of China in the world of economy is not easy to be shaken, hence "Created in China" must be based on its manufacture industry.

To some extent, there are two aspects that we must follow to ensure that: one is to give workers more respect; the other is to increase the technical content in manufacturing. By mentioning "Created in China", we are promoting China's transformation of manufacture industry via design. To emphasize the importance of design is not to eliminate China’s manufacture industry, instead, it makes manufacturing more powerful, more sophisticated, and more professional.

PDC It is R&D Design’s ﬁrst participation in Canton Fair. What do you think of the PDC Design Show and the related activities? Is there any difference from your expectation?

Li Qi: The only word that I can ﬁnd to express my feeling when taking part in this PDC Design Show is “shocked”. Generally, the customers we are having now are under long-term contracts, and most of them have been cooperating with us for more than 10 years. From this huge platform of Canton Fair, I can sense the strong future demand of Chinese design, and the huge potential of Chinese design 6

market; moreover, I realize more of my obligation as a Chinese designer. To be honest, it is better than expected. We have been concentrating on strategic design. People used to come to us mostly for appearance design or design of certain products. But now during this show, more people than before are beginning to inquire about branding, product positioning, channels and even overall cooperations. They are desired to solve the problems in their business of how to operate a brand systematically and integrally, and the problem of overall product changeovers. This makes me realize the value of being here and the power that we have on this platform of Canton Fair.

设计理念 DESIGN IDEAS

中国工业设计的发展时间还不算很长，相对比较大的企业来说，大部分的中小企业对于设计的认可、创新的认识可能还普遍不够深刻。对于这样的问题，李毅超有自己不同的看法。他坦言，这个问题对于像洛可可这样的工业设计的领导者也遇到过很多。坦率讲，对设计上的认知其实没有那么大的跨度，国际500强的企业和小

做设计，从设计自己开始 ——洛可可李毅超专访

编辑翻译 / PDC 杨汉东

与上届不同的是，第113届广交会PDC设计展示增加了不少亮点，其李毅超

洛可可设计集团副总裁兼深圳公司总经理深圳工业设计行业协会副会长深圳知识产权促进会常务理事贾伟设计顾问机构高级顾问北京工业设计促进中心(DRC)特聘讲师丰田(中国)设计研修会会员英国中央圣马丁工业设计联合会会员

中洛可可设计集团深圳公司的首次参展就吸引了广大参展商和采购商的驻足，也为其带来了超乎意料的收获。洛可可在以电子、家电、照明产品为主的第一期及以家居礼品为主题的第二期全面展示洛可可多项国际高水准的设计作品，同时也展示了洛可可 “大工业设计”、“大品牌设计”两大核心业务体系的实力。4月18日，笔者有幸采访了刚刚晋升为洛可可集团副总裁的李毅超。 7

型企业对设计的认知倒没有这么悬殊，但有一个很大的误区，并不是对设计的理解，而是在使用设计的方法上出现了问题。大型企业都是超前研发的，并且把设计当成投资，比如说三星。我们中国人很喜欢做投资，但是很少做到智力投资。对于智力投资的认知就是我们国家和其他发达国家的企业最大的不同。中国的企业把设计变成了成本，成本越低，价值越低，最后哭诉说我们的产品比不过别人。三星要开发一款洗衣机，它不叫概念设计，叫超前设计，是有明确定位的。五年以后的洗衣机是什么样子呢？三星找外部的设计公司去研究服装的材料，我们今天穿的服装很多都是有棉的成分，但逐渐地棉的成分越来越少了，取而代之的是未来超轻纳米和化工材料，以后我们穿的衣服是不用洗的，抖一抖、拍一拍就干净了，所以未来就没有“洗衣”这个功能了。因此三星这样开发，超前设计出五年以后的衣柜，通过超声波震荡，把脏东西震走，然后再把空气导入进来让它变得更清新，并且有你喜欢的味道。这样衣服拿出来就可以穿，是干的，甚至还有熨烫等等这样的功能在里面。这款产品已经在韩国上市，如果我们就这么去追随他们的话，我们也会觉得比他们强，但强在哪呢？强在人工便宜，强在我们国家资源多，强在我们勤奋，还强在什么呢？而他们强在智力，这就是问题。洛可可是怎么跟这样的企业进行沟通与合作的？李总说，很简单，我们一般都是从一个很小的基本的点开始，然后逐渐把它扩大成战略性的服务，很多都是这样的，我们帮助的很多企业都是从第一款产品开始，用了几年的时间培育企业上市。其实在这些过程中我们已经很成熟了，我们的客户也很成熟，就看行业对这个东西的理解，对设计的理解。

李毅超在不到四年的时间里，从进入洛可可当设计师到现在升为洛可可集团的副总裁，对于在设计行业里的人来说，这样的发展速度确实是非同寻常的，他是怎么做到的？现在来听听他的答案。李总说：其实你刚刚已经说到答案了，怎么做到的，就是做。少说话，多思考，多做事。我当时进洛可可就是跟很多工业设计师一样，没有任何区别。洛可可那时候还没有今天的规模，各方面的条件跟今天比是差很多的。但是很简单，就是卯着一股劲，我一定要做出一个好的设计，并且每天不断更新自己对设计的理解。从传统的只是做外观，然后到系统的解决方案，到服务客户，到帮助设计师成长的各个方面的事情都觉得与自己有关。因为我是从海尔全球设计中心出来的，我知道国际战略是什么，国际上大的设计公司是怎么做的，企业的设计公司是怎么做的。我接受了来自海尔的很多好的培养，所以说有一些基础吧。也没有瞧不起任何事和任何人，保持低调，保持内心真正的谦卑，向任何人学习。我没有风格，也不强调设计师的那个范，因为人人都是设计师，每个人都会告诉你从来没有听过的好的东西。我也想通过这个平台呼吁设计师，首先保持冷静和谦卑是很重要的，对万事万物要保持谦卑和敬畏之心，这是东方文化非常重要的一点，我们要敬畏自然，因为我们太渺小，但是现在因为经济发展快了，很多年轻设计师很膨

胀，很浮躁。其实我觉得这些年我的成长不是因为我跑得快，也不是因为我聪明，恰恰是因为我笨，喜欢用最笨的方法开始，所有事情从低位开始做。然后慢慢地公司给我机会，洛可可让我第一个开疆拓土，去了深圳。当时从北到南，什么都没有，就一个人，带着一个北京的项目经理，然后就组建团队。从第一个人开始，从装修公司开始，从购买每一个杯子开始，从刷马桶开始，这叫设计管理。我们公司镜子上有两句话是我当时贴上去的，第一句是“做设计，从设计自己开始。”设计自己都设计不好，怎么帮助别人做设计呢？还有一句是“不要从自己的脑袋里找答案，因为那里什么都没有。”不要以自我为中心，不要钻牛角尖，不要一意孤行，不要强调风格，要放空自己去学习别人，了解市场，了解客户需求，才能真正服务好客户。现在这些话都成大家的名言了，当时我也没想到有这样的结果。基于这样简单的理念，我们走到了今天，取得了一个一个的成绩，我也培养出十几个非常厉害的战略型的、跨领域的设计师。今年我也开始管理整个集团的工业设计，我们叫大工业设计，涵盖的业务体系特别大。在深圳，我们用了最认真、最负责任、最大工作量的投入，在前三年能够超越其他人，能够在香港甚至国际500强的、跨国的设计集团的挤压下生存下来并独树一帜，被大家认可，这完全取决于努力，完全取决于每天思考和

深圳洛可可办公休憩场所 8

不断学习，跟变化的世界学习，跟市场学习，跟每一个人学习，而不是曲高和寡地认为我是设计师，我就比谁高，不是，而是接了地气。我认为洛可可的发展其实用两个词就可以形容，叫：脚踏实地，仰望星空。李总的这两个词，让笔者想起了洛可可的“上上”品牌，似乎这两者之间存在着某种内在的联系。李总说，其实这两者是完全契合的。至于创立 “上上”品牌的内在玄机，他直言说：因为我们害怕有一天做商业设计做久了，会迷失。我们为什么要做设计？我们这些设计师，是要为这个国家，这个民族的振兴做出贡献的，这是社会责任，这就是勤奋的源头。中国人为什么这么勤奋？是因为我们过去富有过，强大过，我们知道通过勤奋能找回原来那种强大，靠智慧与创新，靠的是我们的包容，叫包容创新的民族文化。我们只不过是这几百年有问题，所以勤奋一点，这不就起来了嘛？这才30年的时间，已经不得了了，已经是第二大经济体了，这就是勤奋带来的。我们这些知识分子，这些设计师，包括应用设计的消费者，都应该为这个国家真正的添砖加瓦，用自己的能力推动它，这才是我们未来真正要走的路。我们喊出要肩负重担，自然会用行动去证明我们能肩负重担，并不是号称我有什么不同，比别人厉害。我觉得中国设计应该是百家争鸣，百花齐放的，而在这个时候有更多的人肩负历史使命，叫历史责任。我们现在有很多项目告诉我们，我们是在肩负历史责任，有些项目是在经过80 年以后才知道好不好的，如果坏就遗臭万年，如果好就名垂青史。其实今天的全球设计也不一样，现在是一个非常开放，整合立体多元的时代，所以就要求我们用更领先的理念来做设计，不能盲从，不能踩在别人的脚印里面还沾沾自喜。当然了，洛可可集团作为中国工业设计的领导者，这次由李毅超代表洛可可深圳公司首次来广交会参加设计展示以及相关活动，也表明了洛可可想更多地与国际客户接触、寻找更多的国外契机的希望。我们也来听听李总对于这次展示的感想：第一大感觉是所有人都很匆忙，这是一次淘金

“不要从自己的脑袋里找答案，因为那里什么都没有。”设计师不要以自我为中心，不要强调风格，要放空自己去学习别人，了解市场，才能真正服务好客户。之旅，让我们找回一种感觉，我们越来越被大家认可的价值。然后是今年的PDC设计展示规模比去年大很多，

不是设计师。年轻设计师毕业以后会有一段时间觉得自己知道全世界最好的设计，都会很自负，着急浮躁，容易被诱惑。浮躁其实我觉得主要是因而且国内外的设计公司都在这里，这为年轻，是热血和激情造成的，但是对我们来说是一次学习的机会，我们没关系，问问自己是不是真正擅长做看到了彼此之间的相同点、相似点和设计，如果不擅长，早一点改行。如不同点，这是件好事。同时我们也看果确实喜欢设计，那就要做好准备，到中国的设计和世界的距离越来越近看准方向，把握机会，而且这个方向了，有了PDC这个平台以后，大量的一定要看得远一点。其实设计师的生参展商和采购商也在关注设计，关注中国的原创能力和信息技术整合能力。命，是慢慢起来的，经过毕业后的三年，开始有点沉淀，36岁到40岁左右我们确实能够提供来自中国的服务战开始转折、转化，然后再提升。设计略、产品策略，产品开发的实战经验，师的生命是一直往上走的，到最高点得到了很多认可，也有很多具体的收的时候，像礼花一样绽放。希望大家获并且有实质性的进展。沉住气，踏实干，看前方，一定要每李毅超有着资深设计大师的成熟天学习不懂的东西，一定不要说“我与沉稳，但这并没有掩盖其80后特有已经知道什么是最美的，最有范，我的干劲，笔者从他的言谈之中也感受是设计师，我有话语权。”相反，我到了他对于设计、对于事业的激情与应该比别人更低，我是服务所有人的，执着，这与当今很多年轻气盛的设计像水一样的，哪里需要我，我就应该师形成了非常鲜明的对比，因此笔者去做什么，而不要给自己定性，要尊特意探寻了他对于中国年轻设计师特别是刚毕业的设计学生的忠告和希望。重消费者，每一个普通人都是设计师，至少我们每天在设计自己的形象。另他说：坦率讲，我们的教育并不是很外一个很重要的就是，设计师是先精实践的，理论也比较老，而且老师也 9

神富足，才能做到物质富足。设计师很难做到先物质富足，然后再精神富足，物质富足以后就不会做设计了。设计师是首先有了精神，有了思想，有了能力，有了很多对社会科学、自然科学的理解，然后又可以融会贯通的时候，才会慢慢产生社会价值，从而有了物质的收获，这是一个过程。设计师关键在于扎得稳，不要乱跳，实际上很少设计师是靠来来回回蹦出成果的，未来中国也不会提供这样的条件去蹦。工业设计师，一旦选择这个行业就扎实地干下去，沉住气，等到自己36岁第一次成长，如果没有到，千万不要轻言放弃。

working hard and updating my understanding of design everyday. I did almost every job in the company, considering which as my own duty, from appearance design, systematic solutions, client service to designer development assistance, etc. I used to work in Haier Global Design Center, from where I had received good trainings and learnt about international strategies and how design functions in the famous design companies

DEsIGn BEGIns FrOM sELF-DEsIGn PDC: The development of industrial design is still in its early stage in China, and most of China's small and medium-sized enterprises are still impercipient of the importance of design and creativity. What are your opinions on this and how do you communicate with this kind of customers?

Michael Lee: In fact, we have encountered a lot of such problems. Frankly speaking, the understanding towards design itself does not differ as much as we think between the international top 500 enterprises and the small and medium-sized companies; however, there are big misunderstandings towards the methods of applying design during the process of production. Big enterprises such as Samsung are doing their R&D basing on long term planning and taking design as an investment while most Chinese enterprises are considering design as costing and trying to reduce it as much as possible during production. For example, if Samsung is to develop a new washing machine, it has to be a machine that catches up with the technology like 5 years later. Keeping in mind that there may not be any washing machine that still requires "washing with water " anymore, the model of that designing should be something like a wardrobe with the function of cleaning

via supersonic waves. This is an intellectual investment. Chinese people also like investing, but rarely invest in intelligence, and that is the difference we are talking about. The only advantage we have is that we have more resources, and we are more hard-working, but not that we are richer in intelligence. When cooperating with these Chinese enterprises, we simply begin from a basic point with the very ﬁrst product, and then gradually extend it to the strategic level, even help them to go public within a few years. We are experienced in this practice, and our customers are mature as well. After all, everything is depending on the understanding of design in different industries.

PDC: It took you only less than 4 years to be promoted as the Vice President of LKK Design from an industrial designer. What is your secret? Michael Lee: Less talk, more thinking and working. This is what I have been doing all these years. I was no difference from any other industrial designers in the company when I ﬁrst joined LKK Design. Compared to today, LKK Design was small in scale and with poor conditions at that time. The only way to make progress was to keep 10

and enterprises. I always respect everything and everyone, keep a low profile and maintain inner true humility to learn from every people around. I don't emphasize the " style " of being a designer, because everyone can be a designer and be able to bring up good ideas that you never heard before. Keeping humble is very important to designers, especially in this fast developing society today. I have been growing fast these years not because I am clever, on the contrary, it is because I am clumsy so I always start learning and working from the foundational level. With the trust from the company, I set up our first branch in Shenzhen, beginning from every detail of forming the team and decorating the office, etc. There are two sentences which I sticked on the mirror in our office. One is "design starts from self-design" . The other is "don't try to seek answers from your own brain, because there is nothing in there". They have become the mottos of our staff. We must not be self-centered and go our own way. We must learn from the market, understand the requirements of customers and deliver the best service. Based on these concepts and our responsibility and hard work, we are growing rapidly and making a lot of achievements in Shenzhen branch; and I am beginning to take charge of the whole industrial design of LKK group. I think LKK's development can be described as "down to earth and full of dreams ".

PDC: Do these concepts tally with the design ideas of LKK's other brand "Shangshang "?

Michael Lee: Yes, completely. The reason why we develop this brand is because we worry to get lost after many years of operation of commercial design. Our designers have to make contributions to the nation, which is our social responsibility. Why do we have to work so hard? Because our country used to be rich and strong, and we know that this prosper can be realized

设计理念 DESIGN IDEAS

last year with both domestic and foreign design companies present. This is a great opportunity of learning to us as we can see the similarities and differences among each other. Chinese design is getting closer to the world. Via PDC, more Chinese exhibitors and international buyers are beginning to pay attention to Chinese design, creativity and the integrating capacity of information and technology. Our experiences of service strategies, product strategies and product development have been well acknowledged, and we are also making substantial progress.

again through our hard work, intelligence and creativity. This has been proved during the last 30 years of development as China has become the second largest economic power of the world. As designers, we have to shoulder this responsibility and promote our country's further development through action. In my opinion, design in China and the world has entered a time of openness, integration and competition, so besides taking responsibilities, we will have to design with latest leading concepts instead of following others' footprints blindly.

PDC: What's your hope and advice to Chinese young designers?

Michael Lee: Frankly speaking, our education is not very practical, the theory is relatively old, and most teachers themselves are not designers. There is a period of time when the graduating young designers are very conceited, anxious and easy to be tempted. They need to ask themselves whether design is really what they want as a career of life. If the answer is no, quit early. If yes, pick the right direction and get well prepared before the opportunities come, and they have to look further ahead in that direction. The value of a designer is supposed to be increasing with age until it reaches the highest and glorious point. It begins to deposit after 3 years since

graduation, then transform and upgrade gradually around the age of 36. So young designers should keep calm and steady, and keep looking ahead. Keeping in mind that they are service providers, so they have to keep a low profile and respect their customers. Another very important point is, the richness of a designer should be first in spirit, then in material. It would be difficult the other way around, because a wealthy designer in material may not need to make designing as a career anymore. Designer's value comes first from his spirit, concepts, ability and his understanding towards society and nature. Then they start to harvest in material life when all these spiritual aspects begin to generate societal values. This is a common process for the growth of every designer, so I don't suggest young designers to keep changing their careers, w h i c h i s r e a l l y d i ffi c u l t t o m a k e achievements, instead they should hold their horses in the direction they have chosen until they reach the first growth at the age of around 36. Never give up so easily.

PDC: How does PDC impress you since this is your ﬁrst participation in Canton Fair? Michael Lee: This is a journey of gold washing and everybody is rather busy here, and we feel that our value is getting recognized by everyone. The scale of PDC design show this time is much bigger than 11

前中央书记处书记尉健行到洛可可参观考察

LKK洛可可出展北京文博会

[SANSA上上]现身保利秋拍

意产业和大陆工业设计发展的看法及其个人设计发展设想等。香港一直以来都是中国连接西方世界的前沿阵地，在设计产业方面的基本情况是怎么样的呢？叶智荣说，香港在设计这方面起步比较早，从英国带过来的工业设计到现在已经快40年了，这个是历史的一部分，比中国内地工业设计的发展早很多。另一方面，香港作为全世界的一个窗口，以前有大量的工厂，我们当时叫山寨厂，这跟中国内地现在所说的“山寨”是不一样的, 内地是 copy的意思，香港以前的“山寨”是指“山上的小工厂”，等于家庭工厂或者小作坊。后来很多工厂搬去了葵涌、观塘、沙田、柴湾等，这几个地方都是工业区，养活了很多人，也包括我的父母，而且我们这一代很多人基本上都是这样过来的。基于这些工业，香港已经有培训出来的设计师，主要是由理工大学以及后来的职业学院培养出来的设计师，在此基础上就可以在相关的领域去提升，去研发新的产品。我感觉1980年后的大概20年

叶智荣专访

中国创造，叶智荣设计如果中国要打造工业设计强国的话，一定要提升企业的认知，因为企业是设计的买家。没有好的买家，再优秀的设计师也无法实现其价值。叶智荣国际知名产品设计师，原香港设计师协会主席。二十几年来他设计过的产品超过1000 件，拥有国际设计及发明专利数十项。为了进一步推动香港的产品设计，他以 “ALANYIP ” 作为品牌发行了一系列时尚产品。他的设计得奖无数，曾获荷兰、英国、日本、韩国、中国邀请展览及收藏于多家中外知名博物馆及书刊。

编辑翻译 / PDC 杨汉东

广交会设计主题论坛是广交会 “设计提升贸易”系列活动之一，分为潮流趋势类、设计创新类两大主题板块，主要针对相关行业，探讨和分享创新理念和成功范例，分析和预测流行趋势，推广以设计促贸易、以设计促升级的成功经验。演讲嘉宾有全球闻名的流行趋势权威，也有既多次获得国际设计大奖，又成功经营设计公司的资深人士。第113届广交会期间，笔者采访了论坛演讲嘉宾之一叶智荣先生，有幸分享了其对于香港创 12

时间，香港的设计师最有发挥的空间。当时香港的工厂发展起来了，有工厂就会有代工，因此开始有设计师帮他们研发自己的产品，做ODM。设计的附加值在当时来说还是蛮高的，这个对香港的企业帮助很大。后来出现了另外一个潮—北移。因为香港寸土寸金，工资贵，所以工厂要迁移。经过大概20年的迁移，现在香港90%的工厂在珠三角地区。我的感觉是，工业设计是依附工业而生存的，如果没有工业，工业设计就无从谈起。随着香港的工业经济北移到中国大陆，中国的工业设计跟中国工厂的庞大增长有着紧密的关系，中国的工业设计师可以依靠这种制造业的土壤成长起来。反观香港，现在已经没有这种优势了。我们很多人都钟情于香港产品，然而，因为地域以及交通等关系，我们对香港的设计风格和特点其实有很多迷惑，借此机会，笔者从叶智荣的口中找到了答案：很多人所说的“香港味”其实是没有的，真正的香港设计风格其实就是一种国际风格，反映着国际上的设计潮流。香港的设计师完全是国际化的，十分具有国际领域

设计理念 DESIGN IDEAS

的感觉，他们很容易从产品的形状、材质、颜色等判断出这些产品是来自哪些不同的国家。而且香港的商业模式是跟国际接轨的，因此我们要进入中国大陆市场会觉得水土不服，需要重新进行磨合。工业设计在中国发展了三十多年，与设计强国相比，我们才刚起步，需要吸取经验与教训。叶智荣结合了自己在中国大陆发展的经验表明自己的看法：如果中国要打造工业设计强国，必须提升企业的认知。企业是设计的买家，没有好的买家，再优秀的设计师也无法实现其价值。全世界的设计师都能做出好的设计，但现在要提升的不只是设计师的力量，而是买家、决策者和用户怎么去使用这些设计，这是一个非常重要的环节。目前这些概念，中国很多企业家还不懂。广交会PDC对中国的企业来说是一个很好的推广与提升的平台，可以让企业了解我们不是卖服务的，而是引导他们怎么去用好设计，怎么通过设计将利

益最大化。从“中国制造”到“中国创造” 是很大的一步，总理也说了，不改革就是死路一条。我看到了勇气，但真的是不容易。可喜的是，中国现在有很多新一代的受过教育的老板、海归等使用设计的速度加快了，版权保护方面的意识也比以前高了很多。据笔者了解，叶智荣为了在中国大陆发展设计事业，曾经放弃了其荷兰的移民。到底是什么原因让他对在中国大陆的设计事业如此执着？他说：我的经验给了我一个梦想。我年轻的时候在理工大学拿了奖学金去美国加州青蛙设计进行了4个月的学习。当时青蛙设计是世界上最高级别的工业设计公司，它的客户都是世界上的顶级品牌，包括了苹果、耐克、LV等等。青蛙设计给这些品牌提供的包年设计服务在当时来说是非常少有的，我回到香港后，甚至到了荷兰，都没有再接触到这种包年的设计服务。直到 2006年，我跟广东的生命动力公司开

始了这种包年设计的服务关系，帮助其做按摩椅的设计。另外还有一个非常好的经验，就是跟李宁公司的合作，他们主动要求跟我从2006年开始一直到2009年进行这种包年设计服务的合作。李宁公司这个例子是非常有意义的，所以我在4年半前开始进入中国大陆市场，在深圳开设了我的工作室。中国很多设计公司是做规模，而且规模做得很大。相反，叶智荣偶像是法国画家莫内，他的梦想就是，在这个创意的年代，也能像莫内那样享受到自己应有的回报，不过他的作品不是画，而是工业设计。他在做他的名，中国的设计，叶智荣的名。

叶智荣设计的按摩椅 13

MADE IN CHINA, DESIGNED BY ALAN YIP PDC: What is the basic situation of Hong Kong's design industry? Alan Yip: Industrial design began much earlier in Hong Kong than in Mainland China. There has almost been 40 years since industrial design was brought to Hong Kong from U.K., which has been a part of history. Hong Kong used to have a great number of factories, which we called "shanzhai" factories at that time, meaning the small factories located on mountains, something like family factories or workshops. Then these factories moved to Kwai Chung, Kwun Tong, Sha Tin and Chai Wan, which are industrial districts. Under such industrial background, Hong Kong designers were growing up and most of them were cultivated by the Hong Kong Polytechnic University and Hong Kong Institute of Vocational Education. My feeling is that Hong Kong designers were having the most space of development during the 20 years after 1980. In that period, factories in Hong Kong were developing and many of them were turning from OEM to ODM by asking designers to help with their own designs and projects. This helped a lot in the development of both designers and the factories because the added value of design was pretty high at that time. Afterwards, there came another trend of moving factories northwards due to the small land area and high costs in Hong Kong. After 20 years of migrating, 90% of Hong Kong's factories today are in the Pearl River Delta. From my perspective, industrial design relies on manufacturing industry, without which the industrial design would be out of the question. Chinese industrial design is developing along with the migration of manufacturing industry from Hong Kong to the south of Mainland China. In this circumstance, the Chinese designers have been growing. Looking back to Hong Kong today, this advantage of industry does not exist any more.

PDC: What are the characteristics of Hong Kong design？ Alan Yip: A lot of people are talking about "Hong Kong Style", but as a matter of fact, Hong Kong does not have her own styles. Hong Kong design is actually representing international styles, which is reflecting the international design trends. Hong Kong designers are completely cosmopolitan with international tastes of design. They can easily tell the design preferences of different countries from the shapes, materials and colors, etc. of the products.The business modes in Hong Kong are internationalized, so we will have to adapt to the new market and adjust accordingly when entering Mainland China. PDC: What do you think are the key factors of the development of industrial design in China? Alan Yip: In my opinion, if China is to become a power of industrial design, the awareness of enterprises towards design has to be improved because they are the buyers of design. No outstanding designers can achieve their value without sensible buyers. Actually, a good design can be accomplished by any designer from all over the world, but the key is where and how this good design would be placed or used by buyers, decision makers and end users. This is very essential, but unfortunately, most Chinese entrepreneurs are still not aware of it. PDC is an efficient platform to Chinese manufacturers for their promotion and upgrading, by guiding them how to make good use of design and how to maximize the benefits through design. It is a big leap from "Made in China" to "Created in China" and it is really not easy. However, the good news is that a lot of highly educated executives and those who have overseas educational backgrounds today have better awareness of design and copyright protection than before. 14

叶智荣设计作品

PDC: How did you come and set up your business in Mainland China? Alan Yip: My experiences had given me a dream. When I was young, I got an opportunity to study at Frog Design in California, USA for 4 months with a scholarship from The Hong Kong Polytechnic University. Frog Design is an industrial design company of the world's highest level, whose customers are the world's top brands including Apple, Nike, LV and so on. Frog Design was cooperating with those top brands under annual contracts, which was pretty rare in design service at that time. In 2006, I began cooperating with Life Power

company in Guangdong China under an annual contract, offering design services for their massage chairs. Another meaningful experience was the cooperation with Li Ning company. They voluntarily requested me to design for them under the contract lasting from 2006 to 2009. Four and a half years later from then, I opened a workshop in Shenzhen and ofﬁcially entered the market of Mainland China. PDC: What’s your long term target in Mainland China? Most of the Chinese design companies are aiming at enlarging the scale as much as possible. However, my idol is French painter Monet and my dream is to be able to enjoy the rewards of my works in this era of creativity, just as how he deserved his fame in his period. Of course however, my works are industrial designs instead of paintings. The brand I am devoting myself to would be: Made in China, Designed by Alan Yip.

设计理念 DESIGN IDEAS

文 / 周宸宸第113届广交会PDC青苗设计师

周宸宸，毕业于北京林业大学木材科学与工程专业，主修家具设计与制造。之后一直跟随意大利资深设计师MARCELLO BENNATI先生从事独立设计事务，学习欧洲现代家具设计理念及研发方法。2012年初创立独立家具工作室。

我最近想阐述的一件事情，叫做专业的设计评估。在生产制造业的各个方面，包括设计师、媒体、设计平台及品牌企业，我认为做好一项相对客观的设计评估工作，对每个方面都将是有巨大益处的。这个设计评估的核心，就是要有一个客观而匹配自己情况的设计价值观。下面我从家具设计师的角度陈述这种价值观。首先将生活中能见到的家具分为三个半类别:艺术品—设计艺术品— 设计产品—（概念设计品）关于概念设计品不必细说，与设计产品之间如同概念车与量产车之间的区别。而艺术品与设计艺术品，相对设计而言，更多的注重于创作者本身的思想表达，不必顾及实用性、舒适性及成本控制。讨论“设计产品”类别，也就是一个真正家具产品设计师应当从事的类别。既然是产品，就有很强的商品属性, 而且是其特性，其余两个半类别都不具有商品的属性。商品需要物美价廉，或者要物美价“值”。我们试想你来选购一把椅子。其

实这把椅子的诞生之初是以一张图纸来呈现的。图纸看起来就是一张承载着线条的纸，而线条都是一笔一划绘出来的，看似仅仅是造型层面的表达。那么真的仅仅是造型么？仅仅学好美术画的漂亮就成功么？其实每个人都能给出答案，家具是实用器，承重、舒适及结构的合理性都不是靠美学解决的。这些依靠的是材料、设备及工艺。而以上的所有决定了综合成本。如何设计出物美价值的商品？回归到之前提到的商品属性这个问题上面，价格，对于产品设计师而言就是控制成本，是其在“造型”外的一个核心要素，是中国绝大部分产品设计师缺乏的能力。讲到这里我们可以展开图表：

都会对造型产生直接并且决定性的影响。然而我们还有非常重要的第三座大山—“市场”。对于市场，甚至也对造型部分有很大影响，简单举例来讲，不同的市场定位：快消品同奢侈品的造型区别；不同的品牌风格的造型区别。而决定市场的又可细分到不同品牌定位下面的不同营销理念，品牌战略思路以及广告手法等等。那么这些或多或少的都会影响家具设计师在设计具体产品时候的思路。并且其中很大一部分要素也是市场成本投入的一部分，也直接影响了产品的价格。那么到此，我仅以目前个人阅历梳理了家具产品下的各方面要素，可能会有更多我未提及的方面，会更复杂。

全盘意识下的家具产品设计价值观

上图很明确的表示出影响成本价格的要素，生产环节主要有两大块: 一是“工时”—消耗的劳动时间；二是“出材率”—材料成本及浪费成本。而后对于商品成本影响比较大的还有运输和售后环节。售后暂对于其他要素没有直接影响，但运输成本有一部分可以通过良好的结构设计进行削减，比如平板化包装等。谈到此，我们能够理性的看到，造型并不是孤立存在的，设计者在控制成本时候所考虑的要素：不同的材料、不同的结构设计优化、对于运输的结构优化以及不同制造方式的选择

简单而言，这带出了本人观念里第一个匹配性成功概念。在设计产品阶段，设计是否成功，是以上所有要素匹配成功的结果。这就是我想阐述的设计师角度的设计价值观。对于其他产业角色而言就是反向理解，用以上所有细节环节来判断： 1.一件物品是否属于产品设计范畴，还是艺术品? 2.什么是好的产品设计? 3.同时引出第二个“匹配性”：如何判断与自己匹配的设计产品？对于媒体以及平台而言，一定要建立一个客观公正的设计评估概念，

也并不是口号。好的家具设计师不做企业不是不会做，但只要同时拥有企业思维、设计思维的同时才能够宏观地看待产品。那么一件好的、匹配性强的家具产品的诞生包含了极其复杂的过程：前期企业资讯评估、产能调整、概念设计、工程设计及后期市场指导等等全方位的判断工作。而企业要做的，要注重在前期对设计师的挑选，而不要浪费时间在执行阶段的具体设计细节上。一名真正杰出的家具工业设计师，应当是家具企业战略级别的人物。

周宸宸设计作品

甚至是对于设计师本身的客观评估后，才能准确的做到传播与对接。经过专业评估后的信息互换，才是专业媒体与平台的价值。对于品牌企业而言，一方面是依托于这种价值观以及评估体系来寻找合作的设计师；但更重要的，通过图表中各个环节对自身企业也要做设计评估，评估自己的产能、目标市场、成本承受度以及业态等等。当企业经历过这些思考之后，才会明白，好设计师很多，但真正匹配自身情况的设计师难寻。同时也是侧面向企业说明，一名杰出的产品设计师，一定是复合型的，并且也要有能力对前期对企业做出客观的评估，了解企业疾苦，了解管理，与市场同步，这

设计理念 DESIGN IDEAS

欧洲设计师

在中国文 / PDC设计服务合作伙伴 Olga Sismanidou

Olga Sismanidou 是Designlobby设计集团的设计顾问，该集团总部位于德国柏林，拥有60多家来自德国、意大利、希腊等的设计公司的共300多名设计师，主要负责在亚洲地区推广包括来自这些国家在内的欧洲设计，服务亚洲地区需要高品质设计的客户；同时在欧洲和世界其他地区不断寻找优秀的设计师资源。所涉及的设计领域包括了产品设计、平面设计、建筑设计、室内设计、网页应用设计、品牌、艺术与设计管理、包装设计、摄影、趋势预测、项目管理等。Designlobby.Asia与广交会产品设计与贸易促进中心(PDC)建立了全面的战略伙伴关系，以便更好地为中国的生产企业与国外设计师的合作扫除语言和文化差异带来的障碍，更好地服务中国市场。

7年前，我作为一家欧洲进口公司的艺术总监和设计师第一次来到中国；现在，我大部分时间是在中国生活。根据我为中国企业进行设计工作的6年经验，我有一些东西与大家分享。在过去，中国企业关心得比较多的是如何降低生产成本，现在有些企业还是抱有这种观念。市场更新换代的速度非常快，尤其是来自经济危机、生产和运营成本增加、人民币升值以及来自其他国家的竞争等等压力，使得这些企业对提升产品附加值的意识越来越强。设计、创新、科技、品质、品牌和沟通，这些都是能实现提升附加值的方法，并且这些方法都需要企业投入时间、金钱和精力。企业必须要分析自己到底是谁，明白怎么定性自己的核心价值和特点。尤其重要的是要知道自己需要和不需要哪些客户，而不是所有的客户都不管好坏全盘接收。要了解谁是真正的竞争对手，自己的产品和别人的差别在哪里。对设计师来说，这些都是非常值得重视的，这会让他们对生产企业有一个清晰的概念以便于做精准的市场调研，同时这也是实现创意的第一步。设计师必须要了解目标市场的设计文化，包括客户的目的与习惯、消费者不断变化的需求以及未来发展趋势等。这不是随便一个人就能轻易做到的，不过这对于设计师来说，他们有自己的方法和资源去找到这些资讯。坦白

Olga Sismanidou和她的合伙人

说，现在的消费者遭受了太多的信息和价格轰炸，在过去7年间，他们在挑选产品时花在单个产品上的时间从平均大概12秒减少到了5秒。因此，不管是从产品、摊位还是从标识、图像中所体现出来的信息必须要够突出、清晰和吸引眼球，要跟公司的形象保持一致，并且要让人印象深刻。以我自己的经验来看，中国企业与设计师的合作有两种常见的方式。 17

一种是只买产品的设计，也有可能会把产品的推广提案一起买下来。另一种是双方进行全面的合作，在产品设计、陈列室和摊位设计、样品展示和形象顾问等方面达成协议，合作范围覆盖了与公司形象相关的各个方面。如果公司想建立一个品牌，必须要有一支专业的创意团队，包括产品设计师、室内设计师、品牌沟通设计师、摄影师、造型师、平面设计师以及广

Olga Sismanidou设计作品

告公司协助等等。这在今天异常激烈的市场竞争中是非常必要的，特别是对那些打算做国内市场的公司，这对很多中国企业来说也是一个新事物。话虽如此，但这也并不意味着只有花费大量的金钱才能实现。通过精挑细选并组成一个小型但高效的创作团队同样也是可以实现的。对于那些不想建立品牌的公司，比如他们的客户本身就是大品牌的出口公司，他们也必须要为客户提供一些价值主张，以便客户做出自己的设计，生产独特新颖的产品，拥有可持续的品质，并提供与之相符的价格和优质的服务。买家会忠于有好的设计、好的产品、好的价格和好的服务的公司。从1991年开始，我们一直与合作伙伴Fotis Stamatopoulos进行合作，涉及的设计领域包括：时装、家纺、室内、家具、陶瓷、合成树脂、灯具及其展示、设计活动、季节性装饰品、设计展览、造型设计等等，我们同时也在一直努力开拓新的设计领域。对我们来说，在中国为生产企业做设计是一个巨大的挑战。创造一件能让世界上很多人使用并喜欢的产品是一份很大的责任，但同时也是会有回报的。我们的设计走的是艺术和情感路线，所设计的产品背后都蕴含着一段故事，牵动着人们的情感并在脑海中形成深刻的印象；通过设计，我们希望给人

们带来快乐。我们把传统的创作方式、图纸和照片等与计算机渲染相结合，今天的设计已经突破了规则和界限，设计灵感也是无处不在：大自然、建筑、时尚、音乐、艺术以及其他不同的文化。21世纪是一个设计爆发的纪元。中西方的思维方式差别很大。西方人的思维是直线型的、分析型的，直接明了地切入要点；而中国人的思维则是曲线的、整体的和隐喻的。西方人强调个体和细节，中国人则注重集体和整体结构。举个例子，西方的设计师希望每件事情都有条不紊，并且希望在整个设计项目的过程中能了解到每一个细节；而中国注重协调和灵活性的客户在遇到设计过程中可能会出现的问题时，会选择避免干扰设计师，直接依照设计师的方法去解决问题。尽管如此，这些差异还是可以通过互相学习、理解和互相尊重来克服的，而且我觉得这两种思维方式都是很好的。通过这些合作，中西方两个世界会变得更加紧密，除了双方的知识、经验和能力得到交流以外，还有他们的文化价值观念，这些都成为了中西方传统文化交融后所产生的全新文化的一部分。如今，依托广交会这个平台，PDC 广邀海外设计师与中国企业进行合作，给设计师们提供了在世界第一出口大 18

国创作和工作的机会，也给中国的生产企业带来了大量的创意人才，以发掘中国创新的无限潜力。我们深信我们的设计师团队能够提供中国企业所需要的可持续的创新设计，以便在竞争日益激烈的国际市场中为最终消费者提供更好的产品和服务。

DESIGNLOBBY 设计师Evangelos Karapetsas设计作品

设计理念 DESIGN IDEAS

Design in Chinese Market by Olga Sismanidou

Olga Sismanidou is a Design Consultant for Designlobby, a group of European designers, based in Berlin. She is also the cofounder of Miracles/visual experiments, a creative company that operates in several design fields. Designlobby was formed by Vassilios Bartzokas, former CEO of Carteco Design Centre, a company that under his management was awarded as one of the 10 best companies in Europe for the Customer Focus Award at the European Business Awards. Designlobby is a creative cluster representing 60 design companies and studios and more than 300 designers and creatives from different disciplines such as Product Design, Branding and Communication, Graphic and Packaging Design, Architecture and Interior Design, Lighting and Landscape Design, Motion and Sound Design, Photography, Fashion Design, Trend forecasting, etc. Furthermore, it sources creative talents from Europe and the rest of the world. Its aim is to bring together some of the best creatives of Europe to Chinese corporations, individuals and super brands who understand the value of good design, high quality and innovation and want to stand out in a highly competitive market. The designers are highly skilled professionals with international awards, clients all over the world and true passion and devotion towards their projects. They have a wide knowledge of the international market, the latest trends and the consumer needs. Every client is unique for Designlobby. First we understand the specific needs of each one of them, so we can recommend the right creative designer with the innate ability to deliver innovative and first rate results beyond their expectations. We can also provide them with a total solution ranging from product design to branding and communication. Designlobby has established a strategic partnership with PDC in order to understand and communicate with the Chinese enterprises in the best possible way and to provide better services.

I first came to China 7 years ago as an Art Director and Designer of a European import company. Now I practically live in China and after 6 years of designing for Chinese enterprises I am still working with my first 2 customers. So I can say some things from personal experience. In the past the Chinese enterprises focused mainly on low production cost, and some still do. But the market is a fast changing landscape. Now, because of the financial crisis, the rising of production and operation costs, also of the RMB appreciation and the competition from other countries, they realize more and more the need to add value to their products. They can achieve this through Design, Innovation, Technology, Quality, Branding and Communication. These are the sectors to invest time, money and energy. They must analyze who they are, define their core values and their characteristics. Who are the customers they want, but also do not want, also very important, not a little bit of all for all. Define who their competitors are. What differentiates their company and their products from others'. All this information is vital to the designer, so he/she has a clear picture of the company in order to make an accurate market research, which is the first step of the creative procedure. Designers must research the design culture of the market：the customer targets, the habits and the fast changing needs of the consumers and the forthcoming trends. This is not an easy task to be done by anyone, but designers have their ways and their

DESIGNLOBBY设计师CONSTANTINOS Hoursoglou设计作品，获2012德国红点奖

sources to ﬁnd all this information. Consumers are literally bombed with too much information and offers. The time they spend to spot and identify an item has dropped down in the last 7 years from 12 to 5 seconds. So the message, whether this is a product, or a booth, a logo or an image, must stand out, to be eye-catching and clear, to be consistent to the image of the company and to be strong enough to be remembered. From my experience there are 2 ways the Chinese enterprises cooperate with the designers. One way is to buy only the products designs and maybe a promotion proposition for these products. The other way is to have an overall cooperation, to make an agreement which includes products designs, show-room and booth designs and display, as well as visual consulting, which is everything that has to do with the image of the company. The companies that want to build a brand name must have a team of creative professionals to achieve that, Product Designers, Interior Designers, Brand and Communication Designers, Photographers and Stylists, Graphic Designers and Advertising

Companies. This is necessary in today's very competitive market and especially for the companies that want to do the domestic market, which is the new thing for Chinese enterprises. It doesn't mean you have to spend a fortune to achieve that. They can select carefully and form a small but effective team of creatives to support this. The companies that do not want to build a brand name, which is the case for many export companies, because their customers are the brand names, still they must have a value proposition for their customers, to create their own designs, unique and innovative products, to have sustainable quality, the price to be in accordance with all that, and to provide good service. The buyers will be loyal to a company that has good design, good products, good prices and good service. We have been working with my partner Fotis Stamatopoulos since 1991 in a lot of different kinds of design ﬁelds, fashion, textiles, interiors, furniture, ceramics, polyresin, lights and light shows, events, seasonal decorations, display, styling and we constantly explore new ﬁelds of design. Working 20

in China for mass production companies was a big challenge for us. To create products that will be used and enjoyed by so many people all over the world is a big responsibility and at the same time very rewarding. Our approach to design is artistic and emotional. We design products that have a story to tell, trigger emotions, and create images in people's minds. We w a n t t o m a k e p e o p l e h a p p y through our designs. We mix the old-fashioned ways of creating, drawings and pictures with computer renderings. There are no barriers, no rules in today's design and inspiration comes from everywhere：nature, architecture, fashion, music, art, different cultures. The 21 s t century is a Design Boom Era. Of course there is a very different way of thinking between the Western and Chinese people. Western thinking is linear, analytical and straight to the point, Chinese thinking is curved and holistic and metaphoric. Westerners emphasize on the individual and the details, Chinese on the groups and the overall structure. For example, Western designers want everything to be in order and to be informed in detail

设计理念 DESIGN IDEAS

during the project, while the Chinese customer who believes in harmony and discretion will avoid disturbing the designer about several issues that might occur and choose to give the solutions himself. These are differences that can be overcome by mutual learning, understanding and respect. To my opinion these two different ways of thinking are c o m p l i m e n t a r y. T h r o u g h t h e s e collaborations, two different worlds come closer and exchange except their knowledge, experience and skills, also their culture values, being part of the creation of a brand new culture that incorporates both Eastern and Western traditions.

N o w, t h r o u g h P D C , C a n t o n F a i r invites overseas designers to cooperate with Chinese enterprises, giving to the designers the opportunity to create and work in the No.1 export country in the world and to the Chinese enterprises the creative brains to exploit the power of innovation China has. We strongly believe our designers can provide the sustainable and innovative design the Chinese enterprises need for today's very competitive international market and for the very demanding ﬁnal consumers.

Olga Sismanidou设计作品

Designlobby

innovate 21

Thanos Zakopoulos 德国设计集团 DESIGNLOBBY.ASIA 创意总监

摄影: 梁荣

意大利米兰 CTRLZAK设计工作室联合创始人

设计理念 DESIGN IDEAS

Thanos 设计作品

文化融合中的

设计 CTRLZAK Art & Design Studio 是由Thanos Zakopoulos(希腊)和Katia Meneghini(意大利)共同创立的涉及多个领域的设计团队，在当代艺术和设计方面致力于运用极具创意的国际视野，敢于打破传统条条框框的限制，完成了一系列从产品、空间、艺术到设施等的设计项目。每个项目背后的理念就是要通过艺术赋予社会的“附加值”去激发人们对环境问题的意识和关注。

文 / PDC设计服务签约设计师Thanos Zakopoulos

随着人类发展和技术进步，当今世界变得越来越像地球村，我们的认知范围不再局限于自己生活的国家和城市，人们现在可以轻松了解世界其它地方的人如何生活。我们的所知所感造就了我们目前的生活方式，也决定了我们将在生活中使用什么样的产品。在这个历史关口，中国将扮演非常重要的角色，因为中国已成为世界最大的制造中心，也正迈向世界最大的消费国。

备注：除注明外，本文图片均由C T RL ZA K S tu di o提供

在这种大背景下，文化融合势不可挡，关键是了解并好好利用这种趋势。这种趋势也就是设计领域的混搭风。无论是针对一件家具还是一家艺 23

术酒店，我们都要了解不同文化各自的元素（特别是欧洲文化和中国文化，因为它们都拥有深厚的历史），并且把这些元素注入到创意过程中。混搭或融合方式根据不同情况各有差别。我将在下面的文章中简要介绍我在米兰的设计工作室(CTRLZAK Art & Design Studio)所做的两个各自呈现不同风格的文化融合项目。第一个项目叫D/ZEN,它的灵感来源于佛教倡导的身心合一。这个设计项目缘起于我多年前的一次厦门南普陀寺之旅。我当时在寺庙附近发现僧人在大石头下放置了一些小树枝做支撑, 而实际上这些小树枝太渺小根本就不足以支撑大石头，所谓的支撑更多是一种微妙平衡的表象。过去，这

些被放置在大石头下的小树枝上或许会刻有佛经。现在这种传统的起源已不可查证，显然它很可能表达一种请求、一种誓愿、一种证据。虽然各佛教流派有不同的佛教仪式，但这种的确有种不一般的味道。这里边肯定有禅宗的意味，而这正是这个创意的基础。D/ZEN各部分的比例正是借鉴了这种自然与人类充满敬畏的干预的微妙的结合与平衡。在漫长的创造过程中，着眼点放在充分阐释天人合一的禅宗妙旨。树枝状的支撑物正是人类作用于自然的小小愿力，同时也昭示着世事无常。D/ZEN由天然简单物料打造，主体部分由竹子构成，支撑物由树枝状的金属构件打造，以便强调这种禅意的平衡。D/ZEN的反射表面强调了天与人的联系，呈现出天人合一的禅宗意境。这个项目由意大利公司D3CO进行生产和商业化运作。第二个项目叫“融合”，是一系列充分反映中国和欧洲瓷器生产历史和几百年来东西方美学之间相互交流融合的餐具。中国在陶瓷生产尤其是瓷的生产方面有着悠久的传统，许多世纪以来欧洲一直千方百计抄袭中国在这一领域的技术。如今中国产品已遍布全世界，很多也是在试图模仿他们的欧洲同行。“融合”这个系列就是通过借助陶瓷对历史进行反讽。经过对中国和欧洲陶瓷的传统技术、方法和演变的初步研究，CTRLZAK设计团队发现了两种不同陶瓷文化的关键设计元素。因此，在这个系列中，每一件产品都用一条彩色线条轮廓分明地将东方和西方两种不同的风格区分开来，与此同时，这条分界线又看似矛盾地加强了两者之间的融合。这个系列的产品在中国著名的骨瓷生产地唐山市生产，并通过一家意大利公司SELETTI在全世界范围内广泛销售。从我个人在中国的经验来看，我相信中国在生产方面有着非常大的潜力，但另一方面，也非常有必要强调跟设计/商业相关的文化。换句话说，很多中国企业需要在设计策略方面做更大的投入，并学习如何利用更好的专业设计师，特别是那些来自欧洲的设计师，因为欧洲在设计领域有着50 多年的传统，因此，重要的是要相信这些设计师以及他们的专业知识。与

此同时，也要认识到，不能因此而失去自己的传统，相反，要将这些文化遗产跟世界各地的不同文化相互融合。这绝非易事，它需要开放的思维、耐心以及对两个（或更多）的文化有深入的了解，同时也需资金投入。当今，设计的作用至关重要，而更重要的是，要创造出自己的蕴含寓意的好设计。 24

设计理念 DESIGN IDEAS

Towards a

Hybrid Culture by Thanos Zakopoulos (co-founder of CTRLZAK Art & Design Studio, Milan - Italy & creative director of DESIGNLOBBY.ASIA, Berlin-Germany) Nowadays our world is not limited to the city or the country that we live in; thanks to technology and human advancements we can see what is going on at the other part of the world and see how people live in distant cities. All the information that we perceive shapes the way we live and in consequence all the things that we choose to have around us. China in this crucial historic moment plays a very important role since it is the world's number one producer of consumer goods and it is also rapidly becoming the world's largest consumer society at the same time. In this contemporary framework cases of cultural mix are inevitable, the key point is to comprehend them and utilize them accordingly. Whether we are talking about a furniture piece or an art hotel made in China it is imperative to pinpoint the cultural elements from both cultures (especially between European and Chinese cultures, both of which have rich historical backgrounds) and insert them the creative process. They way to do that varies according to the case studies; below I will present two examples of projects realized by my studio in Milan (CTRLZAK Art & Design Studio) that, each one in its own way, illustrate exactly that. The ﬁrst project is called D\ZEN and is a series of objects inspired by the spiritual and physical balance of Buddhist practices. The inspiration of the project comes from a discovery near a Buddhist temple in Xiamen, South China: the monks placed tiny sticks underneath massive boulders, appearing to support them but too small to bear the stone's weight. In the past it is probable that these sticks were placed beneath the stones by monks and had sutras carved on them. The exact original meaning of this folk tradition is unclear, although it could be the expression of a request, a vow, or a testimony. Although the different forms of Buddhism have diverse practices, this speciﬁc one is unusual. It is certainly a gesture within the Zen (in Chinese chán 禅) spirit, which has been the foundation of this project's creative process. D\ZEN´s balanced volumes are inspired by a rare combination of nature and man's respectful intervention. They are archetypal forms that sustain objects

and people, imperfect forms in perfect balance. Throughout the long development process the importance was placed in conveying the essence of nature and the balance of things. The stick is man's little touch, which supports nature but reminds us that everything is temporary. D\ZEN is constructed from simple, natural materials. The main volume is in bamboo wood. The support, on the other hand, imitates the original wooden stick but is handcrafted in solid metal to enhance the importance of this structural element. The D\ZEN objects are completed with reflective surfaces emphasizing the connection between nature and man, and between heaven and earth. An Italian company called D3CO makes the production and commercialization of these objects at present. The second project example is called HYBRID, a collection of tableware reflecting on the historical production of Chinese and European porcelain and its centuries of cross-fertilization between Western and Eastern aesthetics. China has a long tradition in the production of ceramics and especially porcelain and Europe has for many centuries tried to copy the Chinese in that field. Nowadays our world is invaded by Chinese products which in many cases attempt to imitate their European counterparts. HYBRID is a reflection upon the irony of history through the world of ceramics. After an initial research in the traditional techniques, methods and evolution of both Chinese and European ceramics, the CTRLZAK team has identified certain key elements that distinguish both cultures. As a result the pieces in the collection are graphically divided between east and west with a coloured line marking the boundary between the t w o s t y l e s a n d , p a r a d o x i c a l l y, strengthening at the same time the union. The collection is distributed worldwide by an Italian company (SELETTI) while the production is made in the Chinese city of Tangshan which is famous for the production of bone china.

From my personal experience in China I believe that there is a lot of potential, production wise, but also on the other hand a great need to augment the design/business related culture. In other words many Chinese companies need to invest more in their design strategies and learn how to utilize better design professionals especially those coming from Europe, where in the last 50 years there is a large tradition in the field. For that reason, it is important to trust European Designers and their expertise. At the same time it is important for them to understand that by doing so, they must not lose their own tradition but instead mix their cultural heritage with that of the rest of the world. It is definitely not an easy task and it takes an open mind, patience, deep knowledge of both (or more) realities as well as financial investment but the role of design is crucial nowadays and even more crucial is to create your own designs that tell stories.

CTRLZAK Art & Design Studio is a multidisciplinary team founded by Thanos Zakopoulos (Greece) and Katia Meneghini (Italy). The studio operates internationally in the field of contemporary art and design with a creative vision which is not limited by a specific framework developing thus work that ranges from product and space design to case specific art projects and installations. With the use of semiotic tools within the creative process the studio proposes forms which surpass common aesthetic values working on a cognitive level. The concept behind each project is to inspire a responsible awareness through the 'added value' that art has for society with a special attention to issues of environmental impact.

行业概览

Design Overview

工业设计：弘扬“广东创造”的抓手 Industrial Design: The Key to Promote "Created in Guangdong”

关于中国企业和设计的一些看法 My Views on Chinese Enterprises and Design

去繁复，铸神奇 Spanish Design Without Complexes

谷思工业设计如何打进中国市场 How did Goth Design Enter the Chinese Market?

免费设计的时代即将来临 The Upcoming Era of Free Design

2013上海家具展有感 My Thoughts on 2013 Shanghai Furniture Fair

行业概览 DESIGN OVERVIEW

产品的功能固然重要，但产品的外在美感，已经成为消费者在商品的海洋中挑选产品的最重要的参考因素。冼燃会长（左一）向习近平主席、汪洋副总理等领导介绍工业设计兴国战略

工业设计

弘扬“广东创造”的抓手

文 / 第114届广交会PDC设计展示广州团组织方 ——广州市工业设计行业协会会长冼燃

工业设计之重——在份额、在战略、在影响力无论是作为企业家，还是作为设计师，我们认为韩国三星是一个比较值得学习的企业。三星电子在 20年前是一个濒临倒闭的企业，为了挽救企业，三星将当时在美国从事销售工作的李健熙召回。李健熙掌舵三星之后，确立了以工业设计为核心的复兴计划。随后三星便快速膨胀，目前，三星的年销售量超过了日本前7家电子企业的总和，成为了不折不扣领先的国际电子产品巨头。我们又举一个不重视工业设计的例子：2001年，松下在华销售了200多万台电器，但到现在，这家企业在华的销售量减少到了40多万台。我们认为，将价格战略置于工业设计之上是松下走到今天的主要原因。我们再讲一个汽车工业的例子。 1999年某汽车品牌在广州投产，到 2008年，该品牌共进行了八代改款，每次更改都使价格在下跌之后又回升6～7万元。我们认为，“该品牌

所进行的创新，并不是发明创造，而只是对车灯、引擎盖、车尾，或是对内饰、导航系统进行局部的调整，通过工业设计的改款，使产品更符合时代气息，精美的外观造型能够让消费者感受到时尚的冲击，因而他们也愿意掏更多的钱来购买该品牌的最新款汽车。” 整个世界已经进入“疯狂”的时尚时代，诺基亚可以在3个月内推出 100款新手机，数码相机天天有新面孔。产品的功能固然重要，但产品的外在美感，已经成为消费者在商品的海洋中挑选产品的最重要参考因素。品牌力靠的是产品力，而在基本技术同构的产品中，工业设计正是打造产品力的关键所在。工业设计之机——在理念、在转型、在信心广东的工业显现出来的特征是以密集型制造业为主，但其以往的人力、土地等优势正在流失，规模庞大的制造业走到转型升级的重要关口，而工业设计恰恰可以作为改造传统制造业、 29

实现从“广东制造”转向“广东创造”的抓手。影响现今世界工业化进程的，主要是改良性技术创新― 工业设计创新。大力扶持以工业设计为中心的自主创新产业经济，充分调动工业设计的创新潜能，能够从根本上提升广东的工业水平。走在改革前列的、外向型的广东制造业，可以通过工业设计杀出一条血路。近年来，广东工业发展迅速，经济总量不断增长，很快就超过了新加坡、台湾和香港，但就是超不过韩国，这其中与韩国工业设计立国的理念是密不可分的。当前的经济形势要求我国制造业的升级，要求我国的工业设计能于其中有所担当；2008年举行的奥运会，其精彩绝伦的开幕式已向世界表明，中国一样有非凡的创意，这为我国的工业设计的未来也增添了信心。工业设计的另一个关键点是它能够创造净利润，不能永远是千万件衬衫换一架飞机。2000年，中国

和韩国的服装价格还相同，现在韩国服装的价格是中国的4倍。用的都是中国的面料，为什么会贵4倍？是设计在其中起了作用。GDP是要靠净利润支撑的！我们的调查是，国内很多的行业，如果依靠设计(包括工业设计)，在全球产业链上，每年增加1% 的产值，10年后将会是相当可观的财富增加。总之，未来10年、20年的利润增加值就是靠工业设计。为什么这么多年，我国的工业设计相较于制造业的发展大幅滞后？我们认为，一是我国的教育体系难以培养出做设计的人才；二是我国的企业，没有设计人才发挥空间的体制；三是我国还没有形成利于工业产业设计的政策环境。举一个国外教育的例子：教育发达国家的一个课程，即要求学生画一个瓢虫标本。那么，学生先要抓一个瓢虫，用什么工具抓呢？到

工业设计之憾—— 在教育、在体制、在政策什么地方可以抓到？什么样的瓢虫很好看呢？然后制作出来，随后还要画。看看整个过程，就知道学生的左脑右脑都锻炼了。而我们的教育，只锻炼右脑。虽然现在也有什么艺术课程，但多的也就是一年50 个课时。这样的艺术培养能造就出设计人才？再谈企业的管理体制，应该说到了宝马车的设计。一款宝马车从开始谋划设计到上市，需要5年时间，这期间，会出设计图，会制模，会选材，以及与配套厂商的沟通，到新车实验等，这些主要都是设计总监说了算。但是在国内，很多产品是老总说了算。也就是说，一个非专业的审美人士来决定一个产品到底美不美。作为一个老总，应该 30

是经营大师，管理的重点应该是战略、人事和财务。工业产业设计的政策环境，业内还是比较遗憾的。不过，现在广东开始极为重视工业设计，目前已经实行工业设计职称评定。在广州，《关于促进广州工业设计发展的实施意见》已经出台，包含广州市工业设计示范企业评定、大力推广广州国际设计周、制定广州市工业设计服务外包补贴政策等等。我们作为广州本土的设计协会也将会不遗余力地推动广州工业设计的发展壮大。我们有一个梦想，那就是，中国制造将在工业设计引领下顺利实现升级换代，中国的设计公司将百花齐放，中国会诞生“设计之都”，世界消费者应为中国企业精妙设计的产品而折服。相信在不久的将来，我们都能看见这个梦想成真。

行业概览 DESIGN OVERVIEW

Industrial Design: The Key to Promote

" Created in

The characteristic of Guangdong's industry mainly lies in its intensive m a n u f a c t u r i n g . H o w e v e r, t h i s industry is now coming to a crucial turning point of transformation and upgrading since its previous advantages of labors, lands and others are being lost. Industrial design has just been the key in the transformation of traditional manufacturing industry from "Made

Guangdong ”

in Guangdong" to "Created in Guangdong". Industrial design and innovation is the main factor that affects the process of the world's modern industrialization. It can fundamentally improve Guangdong's industrial level through vigorously supporting the industrial economy and fully mobilizing the potential of industrial design.

关于中国企业和设计的一些看法 Michel Millot PDC 参展商米罗设计

我觉得中国企业应让外国客商来买自己的好产品，而不是来讨价还价。如果要想和竞争对手形成差异化，就应该将设计作为一种必要的生存发展手段，而不是把设计当作一种“艺术浪漫”。

整理 / PDC 余劲文

作为最早参加PDC的设计公司之一，法国米罗设计公司创始人 Michel Millot先生近日向笔者谈了不少他对中国制造业、中国设计的看法。

中国企业需扭转对工业设计的传统观念工业设计有一些误区，这是中国企业经常会陷入的。譬如传统的市场营销人员可能会约束创新： “设计师先生，请做跟竞争对手相似但是又不同的设计”；或者技术人员可能会是一些“点子杀手”： “这样做不了，太贵了”。一些家电企业曾为模仿对手而付出昂贵的代价，但事实上，他们在模仿的同时忘记了一个事实——即使是世界名牌产品也有很多缺陷，这就是他们以为的“潮流趋势”。生态、环保、可持续发展的概念，欧洲设计师早就提出来了，大家承认并在谈论它，却在实际当中很难实现。商业价值始终凌驾于使用价值之上。

苹果公司跟随趋势了吗？创造是设计师首要的活动，让我们真正的创新，不要总是根据竞争对手产品来思考。工业设计不是一项艺术活动，不是会画漂亮图画的“外观专家”，不是一个跟随时尚潮流的艺术家，也不要以为工业设计师们对技术和市场营销一窍不通；欧洲设计不贵，它会为企业带来回报，它会寻找一些创新的解决方案，但同时遵守生产条件和商业要求的限制。

外国设计助力中国企业发展中国曾在相当长一段时间内受益于低价的经济模式。但现在，价格战难度变得越来越高，关键原因是中国产品的原材料价格优势不再，抄袭仿制或者降低价格的路越走越窄。同时，中国产品较以往要承担更多的责任——不能只是满足一部分人对财富的追求，更要回应8亿农民的需求，使他们能够购买冰箱、家用电器、汽车……从长期来说，这很有必要。在这个过程中，外国设计师扮 32

演着重要的角色：他们能够帮助企业们把握“未来的”趋势，而不是 “当下的”。他们能让中国出口企业在世界竞赛中不仅获得增长速度和规模上的优势，更能逐渐弥补在创新能力和工艺质量上的短缺，尤其是在经济保护主义开始抬头的情形下。 PDC是极具勇气和价值的项目 PDC为中国企业提供的支持极具勇气。它帮助企业开展和实践工业设计，认识“设计”，让设计在企业中从被误解到回归其本质——产品应用和外观质量。这是中国企业成功的关键所在，也是其技术发展应该专注的地方。PDC的存在，让这种追溯本源的聚焦显得可行和可贵。我觉得中国企业应让外国客商来买自己的好产品，而不是来讨价还价。如果要想和对手形成差异化，就应该切实投入来提升应用质量和环境质量，应该将设计作为一种必要的生存发展手段，而不是把设计当作一种“艺术浪漫”。这也是中国企业转型过程中面临的一大挑战。

My Views on Chinese

Michel Millot设计作品

Enterprises and Design For a long period of time China has been beneﬁting from the low-cost economic model. But now, as the price advantage of raw materials no longer exists and the road of imitation gets narrower, price war in China is getting tougher. Therefore, design is the only factor that can get into involved in order to change this situation. Foreign designers are going to play a very important role in this process since they are able to help Chinese manufacturing companies to grasp the trend of "the future" rather than "the present". They not only help Chinese export enterprises to gain advantages in the growth rate and scale in the world competition, but also gradually make up for the shortfall in innovation and quality, especially under the circumstance when the economic protectionism begins to rise. 33

行业通过整合新的技术、材料、工业流程并针对不断变化的用户需求加以适当调整，从而向世界呈现出西班牙设计的无穷活力与独特魅力。这是一种积极的态度，它源自对设计专业的高度信赖，而在横向的世界观下，其重要性便更加得以凸显。大小并非决定因素

复，铸

西班牙设计的特色正愈加国际化，这应归因于数量不断增加且海外色彩愈浓的考察研究，一方面西班牙人对于生活的热爱得以声名远播，而同时西班牙设计师并未忘记要提供适应工西班牙风格业现实需要的真正的解决方案并呈现出一个更具可持续性、不同文化彼此相互尊重的世界。在那些有着悠久设计传统且技术实力雄厚的国家，如瑞典、德国、荷的设计兰、意大利和日本（它可以作为通向东方文化的门户），西班牙都在为自己的设计产业而不遗余力地摇旗呐喊。市场竞争程度的增加而水涨船高，设从参加各种展览、在杂志上进行推广计产品即使实现销售也并不意味着最到开展其他公关活动，所有这些经历终的成功。然而，各种市场机遇却为都表明与其说人们欣赏设计师的作品那些愿意参与到商业模式的变革以及与才华更不如说仰慕其影响力（例如不断开发出新的产品与服务概念的企高迪的经典作品），而同时设计师也业敞开了大门。西班牙之所以在设计在设法打破特定的思维定式以争取国领域取得如此巨大的成就，其在很大内外企业对于设计作为一种战略工具程度上应归功于分布在巴塞罗那、瓦构想的更大共识。伦西亚、毕尔巴鄂等地区的社团协会如果说上世纪九十年代是一个统与专业院校，正是这些组织和院校源一思想、巩固力量的时代，那么本世源不断地吸引、塑造并输送了有着不纪之初则见证了西班牙设计向海外的同背景、对于类型广泛的不同设计抱大举进军。欧洲各大主流品牌的经常有共同兴趣并对设计品质加以高度关性联合表明曾经被认为是构成西班牙注的青年设计人才。同时，它们也为设计研究主要问题的那些方面（如组设计行业整体创造力的提高与发展创织架构较小、资源较为匮乏）已不再造了理想的条件。是发展创造力的决定性因素。资源优化、专业化、整合新技术以及与其他家居行业如何满足市场的整体需求专业人员的合作，这一切共同构成了西班牙的灯具、家具、家居用品、参与全球竞争的最佳平台。布艺和卫浴产品行业都越来越以本国以外的市场需求和趋势为主导，而如中国与西班牙——设计文化的联合今其成功与否在很大程度上取决于设当今中国的情况看起来更为复杂，在莫斯科、上海和纽约等城市的产品这个国家经济的快速发展为其设计产体验店。这一不争的事实更加紧密了业的持续扩展提供了强大的动力，而工业界与各个设计行业（如室内设计中国社会也在为其民众的福祉而不断和平面设计）之间的联系，并将西班求索。工作室意在与中国国内生产商牙设计的整体形象呈现在世界的各个结成中长期的设计合作战略，以设计角落。作为事业的起点，共同开展创新、制在这样一种背景下，西班牙家居定品牌策略。

奇

——来自

文 / PDC参展商占米奥设计

一盏灯，寥寥几道线条，造就出千变万化的造型；形形色色的家居用品，每件身上都有独特的DNA作为其标记；一辆日本车的内饰演绎出东西方情愫的交汇；悉尼的烧烤派对上飘散出远隔重洋的异域设计的味道；香港的充满地中海风情的酒店以及获奖的艺术设计展等等，这些看似不相关的林林总总的事物却反映出一个共同的主题：新一代的西班牙设计在对文化和传统报以充分尊重的同时，也在不断的发展演变中树立下领先于时代的潮流风向标。西班牙设计行业正对其源头进行探索，但这并非为了回归传统而是要触达更加多元和国际化的受众。这一情况的出现应归功于西班牙工业界对其发展目标的重新调整，即最终占领全球市场并以更加商业化的眼光来对设计行业做出长远规划，这具体体现在限量版和专属工业或半工业产品系列的生产上。设计领域的战略愿景在全球形成了统一并且在亚洲地区更是被广泛接受，至于将设计作为一种项目管理工具的见解，其着眼点正是在于提供具有更多附加价值的创新解决方案。毋庸置疑，当今消费者的要求正在随着

行业概览 DESIGN OVERVIEW

从创意角度来看，我们之间有很多共同的关注点，借用Stimulo驻广州办事处的总监Xavier Majoral的话来说，“亚洲是一个正在不断成长中的市场，这里的人口增长意味着新的市场能量与新的消费方式，设计也需要与时俱进以便能跟上这一趋势。” 数字上的中国显得十分巨大而西班牙设计工作室往往是中小规模，这让它们很难在国外占据一席之地，因此明确每个工作室的差异点就非常重要。同样重要的是，应充分发挥拉丁文化的独特魅力，对中国——这个创意领域最具吸引力的市场之一形成强大的磁场。值得一提的是，Stimulo 工作室最近荣膺2012 年中国设计奖 ——“最佳工业产品设计奖”LED 灯技术类奖项。

Spanish Design Without Complexes By Xavier Majoral

它们俨然已成为西班牙设计与商业模式的标杆。而除了这些代表了西班牙设计精华的品牌外，我们还可以看到数量不菲的西班牙企业的产品正陈列在遍布全球的品牌体验店中，这表明对于西班牙创意产业而言眼下正是一个大好时机，我们有理由相信在不久的将来象征着创新灵感的“西班牙制造”标签将成为市场上一道抢眼的风景。

现在正是大显身手的时候走在世界各地城市的主要街道上，你总是能在身边发现Zara、Mango、 Camper 这样的知名西班牙设计品牌， 35

A lamp of simple strokes that creates thousands of shapes, appliances with their own DNA, the interiors of a Japanese car, barbecues in Sydney, Mediterranean style hotels in Hong Kong and award-winning exhibitions reﬂect the new generation of Spanish design: a design in constant evolution that sets cutting-edge trends while respecting culture and tradition. Design Made in Spain is exploring its roots to reach a more diverse and international audience. This is happening thanks to a renewed orientation of the Spanish industry that has set itself to conquer the global markets, and a more commercial vision of design as embodied in the production of limited and exclusive industrial and semiindustrial series.

Strategic vision in design has been consolidated worldwide and has been widely adopted in Asia, understanding design as a tool for managing projects aimed at providing innovative solutions with greater added value. It is clear that in today’s competitive market, consumers are increasingly demanding and selling designer products is no longer a guarantee f o r s u c c e s s . H o w e v e r, t h e r e a r e opportunities for those companies that want to participate in this change of model and develop new product and service concepts. Credit of the Spanish success must be given to associations and design schools in Barcelona, Valencia and Bilbao (among others)that continue to attract young talent from different backgrounds who value the quality of a wide variety of design and o ff e r t h e i d e a l c o n d i t i o n s f o r t h e development of creativity.

disciplines (such as interior design and graphic design), projecting a global image of Spanish design.

The character of Spanish design consolidates worldwide thanks to an increasing number of studies that grow internationally to convey the Spanish passion about life without forgetting to provide real solutions to the industrial reality and to project a more sustainable and respectful world. Spain has done a great promotion of its design in countries with a strong tradition in the discipline, such as Sweden, Germany, Holland, Italy and Japan (which has become the gateway to eastern cultures). The experience gained by participating in exhibitions, magazine promotions and other events, shows that the work and talent of the designers is admired by their inﬂuences (for

Stimulo 设计项目展示

In this context, the Spanish habitat sector is projected to the world by integrating new technologies, materials, industrial processes and by adapting to the changing needs of users. It is an active attitude based on trust in the discipline of design which, given the transversal vision of the world around us, acquires a crucial importance. The Spanish lighting, furniture, household goods, textiles and sanitary sectors are becoming increasingly oriented to the rest of the world and now count with showrooms in Moscow, Shanghai and New York. This fact has strengthened the link between the industrial sector and the various design

example, by the masterpieces of Gaudi) but, at the same time, that designers have managed to break certain stereotypes and obtain greater recognition by both national and international companies in the conception of design as a strategic tool. As the 90s was a period of consolidation, the beginning of this century represents the expansion of Spanish design. The constant collaboration with leading brands in Europe has shown that what used to be regarded as the main problem of Spanish design studies (the small size of their structures and resources), is not a decisive factor to develop creativity. Optimizing resources, specializing, incorporating new technologies and collaborating with other specialists, constitutes the best platform to compete globally. 36

The scenario in China seems more complicated because of the country’s rapid development, which has led to a continuous expansion of the industry and a society in constant search of well-being. Stimulo, industrial design studio in Barcelona with office in southern China, is a reflection of the interest of manufacturers and Chinese brands in Spanish design. The studio aims to create design strategies in the medium and long term with manufacturers to establish collaborations that can allow developing innovation and branding approaches using design as starting point. There are many points of interest from a creative point of view but, in words of Xavier Majoral, director of Stimulo’s office in Guangzhou, "Asia is presented as a market in constant growth where the demographic boom represents a new energy and a new way of consuming that needs design to develop". China is a country of great numbers and Spanish studios are characterized for being small and medium-sized, making it difficult for them to establish abroad, so it is crucial to define the differentiating points of each design studio. It is also important to make use of our Latin character to seduce one of the most interesting markets in terms of creativity. Stimulo has recently been awarded the Chinese Design Award 2012 in the "Best Industrial Product Design" category for LED technology in lamps.

Walking in the main streets in the world it is inevitable to ﬁnd yourself surrounded by Zara, Mango, Camper and other leading Spanish designer brands which have become a benchmark in terms of design and business model. However, apart from this selected group, there are dozens of Spanish companies presenting their products in the best showrooms globally, proving that it is the time to conquer the market with creativity Made in Spain.

行业概览 DESIGN OVERVIEW

谷思工业设计公司在113届广交会期间与客户商谈设计项目

“去湖边钓鱼，并非一定要把鱼全部钓上来” 谷思工业设计(GOTH DESIGN)如何打进中国市场文 / PDC参展商谷思工业设计郑锡俊

韩国谷思工业设计公司成立于 2003年，到现在已经有10年的历史。公司在创建初期主要通过为一些家用电器和电子通讯公司提供外观设计服务在韩国市场逐步寻找自身的立足之地。就我个人而言，与中国客户的第一次合作是在成立谷思公司之前，当时我有幸为中国的海尔集团做洗衣机设计。海尔集团的设计部门想通过我的设计来进一步了解韩国的设计和市场，对韩国的设计表现出了浓厚的兴趣。但那次设计工作结束之后，没能继续维持与海尔的合作关系。其中的原因当然有很多，但我认为最重要的原因是当时的我只站在一个普通的设计工作者的角度去思考，对进军中国市场尚未产生深刻而正确的认知。随后，2005年中国TCL集团联系我们，他们有意向在移动电话开发上开展合作。为了与TCL在深圳的会面，

自己第一次单枪匹马来了中国。由于对中国不了解，发生了许多好笑的事情，甚至飞机票都订错了，不是飞到深圳而是飞到了广州。那次的会议包括我一共去了5家韩国设计公司，我用我的蹩脚英文和肢体语言为TCL做了公司介绍。现在回头想想，觉得自己当时也太“勇敢”了。也正是通过这次机会，我意识到中国的大企业对韩国设计的关注度不断提高，中国的工业设计也将迎来崭新的开始。但当时的谷思因成立没多久，须将大部分的精力投放到如何在韩国扎稳脚跟上，因此没有条件去考虑如何打开中国市场。自从那时起，谷思工业设计开始正式全面开展与韩国客户的设计合作，大多以家用电器和电子通讯为主，不断地积累经验。我们与韩国最大的电脑机箱生产厂商合作，成功地开发了一系列产品，不但在韩国广受好评，

在海外地区也产生了一定的知名度。也就是在这个时候，中国的一家电脑机箱开发厂商联系了我们，希望能够和我们展开设计业务上的合作。我们一共开发了6款产品，但销售的结果却大大出乎我们的意料。由于我们最初的设计主要针对韩国企业的销售市场，提供的设计与中国企业的销售地区消费者的喜好产生了偏差。虽然在客户和我们的立场上认为设计十分优秀，但销售业绩却很不理想。当时这也给了我很大的打击，我开始明白在对消费市场和流通结构不了解的基础上进行设计，无论多么优秀，最终也会有失败的可能。自此之后，我们开始注重进入设计阶段之前对销售市场和消费者的调查分析，制作了具体的设计流程，也开始寻找方法试图开拓海外市场。当然，这一过程也花费了很多精力，遇到过很多困难。当时的大多数中国企

谷思的设计师们在众多创意中挑选最棒的设计

业主要是为外商企业做贴牌(OEM)业务，在与设计公司合作开发自有品牌上并没有太多经验。中国国内的一些大企业找我们做设计，产品主要集中在如冰箱、电视、空调等大型家电以及手机的外观设计上。由于我们缺乏这些产品的设计案例，无论用口头讲述我们的实力和设计如何优秀，都无法得到客户的信任。他们更加倾向于那些在具体产品上有丰富经验的设计公司。由此，我又重新将目光投放到韩国市场，开始寻求方法和机会，使谷思的设计案例内容丰富起来。直到 2010年，公司已成立7年，我回过头来再重新审视谷思的成果，产品已变得多种多样，涉及各个领域，更重要的是积累了与三星等大企业合作的经验。7年间，为了让谷思不断成长壮大，为了能够为客户提供高品质的设计，我和我的同事们可以说不分昼夜地进行设计工作。也就在那时，我觉得我们的准备已经做得差不多了，又重新将目光投向了海外市场。我开始参加海外各大展会和博览会，亲自到各个展台推荐自己的公司并派发公司图册，结束后回到公司又一一向见过面的客户发送邮件。也有通过人脉和中国企业取得联系，只要客户有意向，我总是无条件地飞到中

国进行面谈。经过坚持和努力，我在展会上与位于中国慈溪市的一家中国企业董事长取得了见面的机会，并被邀请到慈溪参观访问。在了解那家公司的产品后，我们进行了设计报价，因我们的设计费用是当时中国设计公司费用的5倍，所以当时没有能够展开合作。但是，由于我们会面时的谈话非常投机，我内心又十分感谢他们对谷思的认可，因而成了好朋友。同时，这家企业也为我们在中国市场拓展客户网创造了很多机会。我开始进一步更加深入地了解中国的市场现状和对设计的具体需求以及应该以何种方式打开中国市场的大门。中国的工业设计行业可以说以北京、上海和深圳三市为主要集中地。三地的产品特征和市场特性各不相同。由于到目前为止我们在北京地区的业务量不多，所以无法做出具体评价，但上海和深圳地区在设计方面的需求显然是截然不同的。当然，对这两地的评价也仅是我个人意见，从客观性角度来看，也不能说是完全准确的。首先是深圳，我了解中国的工业设计最早发展于深圳，主要以消费电子类产品设计为主。与广东东莞等制造商集中地毗邻是深圳工业设计行业迅速发展的一个有利条件。与中国其他地区相比，我对于深圳企业的印象 38

是以技术导向型产品开发为主的企业较为集中。简单地说，最初以OEM业务为主的深圳企业，在生产过程中不断积累经验，通过与国内外企业的合作研究新技术，推动自身发展。从海外归来的留学生或者设计工作者们，自然而然地会对文化进行比较，在多元化的文化背景下，对产品开发提供出更多新想法、新创意。在产品开发时，他们希望能够通过设计将想法实现到产品上。由于他们对工业设计的理解度较高，在设计工作应该如何进行以及设计费用应该如何计算等方面都有一定的掌握。因此，他们更加注重在设计上的投资，更加倾向于选择能够充分地了解文化和技术的设计公司进行合作。与他们进行对话的时候，如果不具体谈到对文化和技术的了解，基本上无法成功地展开合作。目前，与谷思合作的深圳企业大部分具备拥有新技术并吸收大量外国文化的特征，在会面时往往容易产生共鸣。其次是以上海地区为中心的企业。上海以及浙江地区的企业大多数以电风扇、加湿器、洗衣机等家电产品为主，这主要是因为该行业在该地区起步较早，已拥有一定的历史和规模，实力雄厚。也正是因为规模庞大，相互之间的竞争当然十分激烈。长久以来以OEM生产为主，与技术开发相比，

行业概览 DESIGN OVERVIEW

第113届广交会PDC设计展示韩国谷思工业设计参展设计师

更加注重如何利用价格取得市场优势。在工业设计重要性的认知上，与深圳相比，可能会有一些不足之处。此地域的产品类别历史较久，技术开发上有一定局限性，产品最大的差别就在于外观设计的不同。尤其是我到访过的慈溪市，可以说生产厂商云集，由于产品种类和销售地区相同加上外观设计雷同，使得企业与企业之间的竞争非常激烈。在这样的情况下，比起新技术开发，企业管理者更加注重于市场的拓展和与客户的关系。事实上，以上海地区为中心的企业，现在所需要的是和能够提供差异化设计的公司进行合作。但是，另外一个问题也需要考虑，就是“抄袭”。就算提供了差异化的设计，产品一旦上市，短时期内就会有雷同产品推出，之前在设计上的所有投入将变得没有意义。因此，虽然上海地区的企业对工业设计的需求较高，但在费用上不肯投资，在推动合作上有一定的困难。但我仍努力寻找一个好的方法力求能够为这些企业提供出高质量的设计。比如说通过产品开发和推广树立自有品牌风格，与激烈的竞争相比，将更多的精力投入到技术和品质提升上。再比如说通过一些好创意将传统产品更新，并申请专利，逐渐将专利意识引入，减少“抄袭”行为的发生。

谷思工业设计一直以来最注重与客户关系的持久性，通过过去10年间积累的经验和不断学习、摸索、成长，运用谷思独有的设计方法开发产品，为客户寻找发展方向，树立品牌风格。在韩国有这样一句俗语：“去湖边钓鱼，并非一定要把鱼全部钓上来”，谷思工业设计进军中国市场，并非一定要和所有的中国企业展开合作，但我们希望遇到在企业发展上能够与我们产生共鸣，在产品开发上能够相互协作的中国企业，互利互助，一同创造企业的未来！

美国工业设计师协会(IDSA)副主席S ooshin Choi(左一)、韩国谷思工业设计CEO郑锡俊 (左二)、PDC推广部总经理谢应群(右一)在交流晚宴上合影留念 39

"You don't have to

catch all the fish when fishing by the lake." How did Goth Design Enter the Chinese Market? By JEONG SUK JUNE Translated by Yang Handong

Goth Design Co., Ltd. was established in 2003. During its early stage since establishment, the company was striving to ﬁnd the foothold in the market of Korea mainly through providing design services to companies of home appliances and electronic communication products.

Personally, my ﬁrst collaboration in China was before the establishment of Goth Design, when I had the honor of doing design of washing machines for Haier Group of China. The design department of Haier Group showed great interest because they wanted to learn more about Korean design and market through my collaboration. However, my cooperative relationship with Haier didn't continue after that ﬁrst experience. There were quite a lot of reasons, of course, but I think the most important one was that I was just looking at this matter from a common designer's point of view without a profound and correct understanding on the Chinese market.

In 2005, the TCL Group of China contacted us and intended to cooperate with us on their mobile phone development. In order to make this happen, I made my very ﬁrst visit to China alone for a meeting with TCL in

Shenzhen. As a stranger to China, I made a lot of funny mistakes when arriving. I even booked the wrong ticket ﬂying to Guangzhou instead of Shenzhen. Five Korean design companies were present at that meeting including mine, and I had to give presentation of Goth Design to TCL using my crappy English and body language. Now when I am thinking back, I thought I was too "brave" at that time. It was also through that opportunity that I realized China's large enterprises had begun to pay increasing attention to Korean design, and there would be a brand new beginning for China's industrial design. However, we could not afford to consider how to open the Chinese market at that time since Goth Design was still very young not long after establishment, and we had to put most of our energy into gaining a ﬁrm foothold in the Korean market. Since then, Goth Design had begun to carry out a comprehensive design collaboration with Korean customers in order to accumulate more experience mostly in household appliances and electronic communication products. We successfully developed a series of products for the Korea's largest manufacturer of computer chassis, which were not only acclaimed in Korea but also well known in overseas regions.

Because of that, we got a contact from one Chinese manufacturer of computer chassis, who was hoping to commence cooperation with us in design. We developed six products together, however, the sales result was far beyond our expectations. The design we originally made primarily catered to the Korean market, and was far away from the consumer preferences in the Chinese market. That was what resulted in an unsatisfactory sales performance although both our customers and ourselves regarded them as excellent designs, and was quite a great blow to me at that time. I began to realize that no matter how excellent the design itself is, it is doomed to fail if we do it without understanding the consumer markets and the distribution structures. After that, we began to focus on the market and consumer research prior to designing, and come up with a detailed design process. We also began looking for ways into overseas markets, during which, of course, we invested a lot of energy and encountered many difﬁculties. Most of the Chinese enterprises at that time were mainly doing OEM for foreign companies, and they did not have much experience in developing their own brands in cooperation with design companies. Some large enterprises in

行业概览 DESIGN OVERVIEW

China came to us to design for their products such as refrigerators, TV sets, air conditioners and other large home appliances, and mobile phone appearance. Due to our lack of design cases of such products, we failed to earn the trust of those customers no matter how hard we tried to verbally explain our design strength and excellence. They were more inclined to choose those design companies with extensive experience in specific products. Thus, I looked into the Korean market again and began to seek ways and opportunities to enrich the design experience of Goth Design. By 2010 when the company was in its 7th year since establishment, Goth Design had gained enough experience in many products of different fields, especially the experience in cooperating with such large enterprise as Samsung. My colleagues and I had been working all day and night on designing during those seven years in order to ensure the increasing growth of Goth Design and the high-quality design work for our customers. It was at that time that I thought we were almost ready for the overseas markets. We participated in major overseas exhibitions and fairs, distributed our company's introduction and catalogues personally to each booth, and sent e-mails to every customer that we had met after returning to the company. We also got contacts with some Chinese enterprises through human relations, and I would always flew to China to have meetings with them as long as they showed any interest in our design. Through persistence and hard work, I got a chance in the exhibition to meet the managing director of one Chinese enterprise located in Cixi, China, and was invited to visit his company. After thorough investigation in that company and its products, we worked out a quotation; but we could not go into cooperation because the quotation was five times higher than that of a Chinese design company at that time. However, we became good friends afterwards because our meeting was quite agreeable and I was very grateful for his recognition of Goth Design; furthermore, he had been creating a lot of opportunities for me to expand our customer base in the Chinese market. I began to further study the situation of Chinese market, its specific demands of design and the ways to open it. China's industrial design industry is concentrated in the three main cities of Beijing, Shanghai and Shenzhen, where the product features and market characteristics are all different from each other. I am not able to give a specific

evaluation to the Beijing area because our business there is quite small, but I can comment on the areas of Shanghai and Shenzhen, where there are totally different demands in terms of design. Of course, objectively speaking, these are only my personal opinions, and should not be regarded to be entirely accurate. First in Shenzhen. China's industrial design was originated in Shenzhen, where was mainly about consumer electronics products. One favorable condition for the rapid development of industrial design industry in Shenzhen is its adjacency to the manufacturer concentrated areas such as Dongguan and other cities of Guangdong province. Compared with other cities of China, Shenzhen is leaving me the impression of its concentration of technologyoriented enterprises. Simply put, these enterprises were initially based on OEM business, and developing through their growing experience of production and their cooperations in new technologies with domestic and foreign enterprises. With diverse cultural contexts, the returning overseas students and other design staff will naturally compare between different cultures and provide more new ideas and creativities during the product developments. They have deeper understandings of the industrial design, its approaches and the quotation methods, and they hope to realize their design ideas in the products. Therefore, those enterprises with such employees will pay more attention to investment in design, and are more inclined to choose to cooperate with the design companies which can fully understand the cultures and technologies. It is basically unable to cooperate with them successfully if there is a lack of understandings of cultures and technologies during the 41

communication. Luckily, Goth does share these common understandings with most of the cooperative enterprises in Shenzhen currently, which feature new technologies and absorption of foreign cultures. Then in Shanghai and its surrounding areas. Enterprises in Shanghai and Zhejiang areas are mostly major in fans, humidifiers, washing machines and other home appliances, mainly because this industry in these areas started earlier and has a certain history, size and strength. The scale of this industry is really large, so the competition between each other of course is very intense. These enterprises have long been focusing on OEM production and putting more emphasis on gaining the market advantage via price wars instead of technology development. Compared with Shenzhen, there may be insufficient recognition of the importance of industrial design in these areas, which has been resulting in certain limitations in technology development, thus the biggest difference of like products from these areas lies merely in the appearances. Especially in Cixi City where I visited, the competition among the gathered manufacturers is fierce because of the similar product categories, same sales regions and the identical appearance designs. Under such circumstances, enterprise administrators focus more on market expanding and customer relations instead of new technology developments. In fact, for those enterprises with Shanghai area as the business center, what they need is the cooperation with the design companies that can provide differentiated design services. However, "plagiarism" is another problem which also needs to be taken into consideration. There will always be imitated products following not long after the launch of new products in the market even the

design is differentiated, which makes it meaningless to invest in design in the first place. As a result, the enterprises in Shanghai area are not quite willing to invest in industrial design even though they are having high demands for it, making it difficult in promoting cooperations with them. But I'm still trying to find good ways to help such enterprises with high-quality design. For example, establish their own brands through product development and promotion, and put more efforts into upgrading the technology and quality. We may also try to gradually introduce to them the awareness of patent and 42

apply for patents for their creative products in order to reduce plagiarizing. With the experience, the unique design approaches and continuous learning, exploring and growing during the past decade, Goth Design Co., Ltd. has always been emphasizing on the longterm relationship with the clients and trying to find them the right directions of development and to establish their own brands. There is a saying in Korea: "You don't have to catch all the fish when fishing by the lake." In the Chinese market, Goth Design does not have to cooperate with all of the Chinese enterprises; however, we do hope to meet and cooperate with those enterprises that can share the common understanding of business growing and can have mutual collaboration in product development. Through mutual benefit and assistance, we can create a great future in the Chinese market!

行业概览 DESIGN OVERVIEW

免费设计的时代即将来临 ——设计公司经营模式浅析

廖志文，中国首批获得高级工业设计师资格的实战型设计师，六维空间设计咨询有限公司CDO。现任中国工业设计协会理事，广东省工业设计协会常务理事，广东“中国厨房” 产业设计联盟副主席，广东省高等院校工业设计教学指导委员会委员，兼任清华大学、华南理工大学、广东工业设计培训学院、武汉科技大学等六所高等院校工业设计专业的客座教授或研究生导师职务。

文 / PDC参展商六维空间设计廖志文

传统的工业设计经营模式是：接获设计项目，签订服务合同，按需方要求提供设计服务，项目确认完成，收取设计费用。这是一种被动型一次性收费的设计服务模式，话语权掌握在设计需方（制造企业）手上，很多时候，所谓的合同付款约定、尊重设计、尊重知识等等形同虚设，付款与否完全由设计需方的满意度来决定。在这种传统的设计服务模式下，越来

越多的设计公司因为赚不到钱而难以存活。这其中真正的原因是什么呢？首先，设计的价值没有明确的衡量标准，也无法将其量化，全凭“感觉”。作为设计需方的制造企业基于普遍的“设计费用是成本而不是投资” 的心态，认为设计越省钱越好，最好是不用钱，因而在选择设计公司时惯用的手法就是比价，低价者胜；从而激发设计公司之间的恶性竞争，甚至有些公司报出的荒唐价格连职员的基本薪水都无法保障。其次，制造企业就产品经营风险控制而言，产品前期投入越少，资本投入的风险也就越低，在无法确认设计能带来的产品市场销售效果和收益率的情况下，设计费用能省则省是大多数中小企业“风险控制”的法宝；而对工业设计在为企业增加产品附加值和拓展市场方面却认识不足。他们通常认为工业设计无非就是画画外观而已，画张图纸能要多少钱？在这种时间和费用都要非常节省的压力下，设计公司纵使有天大的本事也难以发挥出真正的设计水平。这就导致了那些对国内设计公司很强势，总是善于控制设计费用和时间的制造企业每次得到的都是半吊子的设计，并由此得出结论：国内设计公司的水平不行。与此相反，他们对外国设计公司则唯唯诺诺，一个外观设计项目投入十几万欧元和耗费数个月的时间也没问题，殊不知中国已是全球制造大国，很多国外设计公司脱离了制造产业的支撑，对材料、工艺、成本、安规、甚至结构等缺乏足够深入的了解。再次，工业设计行业没有任何规范，进入门槛也非常低，只要有桌子和电脑就可以注册一家设计公司了。良莠不分、规模能力大相径庭的各类设计公司拥挤在各处政府设立的创意园区内争夺同一市场和同一客户。有设计需求的制造企业在完全不了解设计公司实际能力的情况下，唯一的选择便是看谁的报价最低；而报出最低价格的设计公司为了不亏损，就必须尽可能地降低成本，从设计周期的大 43

幅压缩到人员费用的极度节省，因此设计质量根本无法得到保障，并由此引发恶性循环，价格越走越低，最终致使制造企业对整个工业设计行业完全失去信心。最后，部分浮躁的设计公司为了能够生存和盈利，什么类型的设计都敢接，甚至是自己从未涉足的完全陌生的领域，而且也无法静下心来进行学习和研究。在低成本的压力下匆匆赶出来的设计连小孩都能看出有常识性的错误，自己却引以为傲，不专业不深入的浮躁心态扼杀了这些设计公司仅存的一丝生存机会。这几年工业设计服务价格的平均值持续下滑，人力成本和经营成本却在不断攀升，制造企业由于经营环境的日趋恶化而对设计投入变得更加谨慎。在建筑装潢行业中，免费设计早已成为普遍的现象，以此为参照，我们可以断言：工业设计免费的时代即将来临！这并非危言耸听，这是大势所趋的必然结果。第一，制造企业基于风险控制因素的考量，希望得到的设计是符合市

即热式水壶

水果冰淇淋机

场需求的，更希望在产品投入初期设计费用更低甚至没有费用，而在产品投放市场并产生经济效益后，即使付出更多的设计费用也值得。好的设计才会有好的市场因此才能有好的分成，背离市场的设计将得不到任何回报，这种风险共担利益共享的分配原则很合理，而且将制造企业与设计公司捆绑成利益共同体，因此合作将会更加密切和长远。这样便实现了各尽所能、风险共担、利润共享的目标。第二，作为设计公司，其擅长的是市场机会挖掘分析与产品设计，欠缺的是生产加工与销售渠道，在通过其具有市场前景的创意产品与制造企业合作方面，若采用传统的服务模式，收获的只是一次性而且很有限的费用。因为是一次性收费，倘若收高了则过不了制造企业的价格心理关口，倘若收低了又会变成一单亏损的项目。因此，要获得长远而持续的收益，就应该在设计阶段免收设计费，而在产品上市销售后参与利润分成，这样才能获得超出预期的回报。第三，在传统服务模式下，设计

公司的成果只要制造企业认可就行了，不需要承担任何市场风险，而在这种风险共担、利润共享，利益与产品销售挂钩的模式下，则无需顾虑合作的双方各自不努力。制造企业根本不用担心设计公司会随便忽悠自己，相反，他们会使出浑身解数，争取将产品设计得尽善尽美，绝对不敢以文化为幌子随便画张图纸来忽悠制造企业。因为所有收益在产品销售后才会体现，这种与销售捆绑的利益关系决定了设计公司必须以谨慎认真的态度去对待每一个设计项目，配合也会空前的紧密，甚至会更加主动并积极提出建议。相应地，制造企业也并非只靠一款产品就能独步天下，而且一款产品的销售周期也只有两三年，因此需要对产品进行不断的系统升级以及外型的更新和功能的延伸发展，使之更符合市场需求，以便保持产品的市场占有率，并防止竞争对手抢占市场。因此，制造企业若在首个合作项目上获得成功，则势必要与设计公司进行更长期更深入的合作，这种合作模式就更能体现 44

双方的忠诚度和合作前景。第四，就目前的市场经营环境而言，制造企业还企望像十多年前那样凭OEM或者靠模仿跟风换个造型就可以赚个盆满钵满的时代已经是根本不可能的了。在原材料、汇率、人力成本节节攀升而且竞争日益加剧的经营环境下，靠做同质化产品或给产品换个外观的做法只有死路一条。因此寻求能设计出有市场潜力并且有附加值的差异化产品的设计公司进行合作是当今越来越多制造企业的明智之举。这种差异化产品的设计不是所有制造企业所擅长的，他们习惯于跟随市场，无法在纷繁复杂的市场信息中分析归纳出市场发展趋势，甚至引领市场，这是制造企业的短板。设计公司要实现设计价值的最大化，一无市场销售渠道，二无资本和生产能力，谈何容易？因此，遵循“让专业的人去做专业的事”的原则，制造企业与设计公司这种强强联合、互惠共赢的合作模式不但优势互补，而且还有利于长期的合作发展。

行业概览 DESIGN OVERVIEW

第五，其实极少数敢于探索的设计公司在几年前甚至更早以前就已经在尝试这种免收设计费并销售利润分享的合作模式，只是实施细节略有不同而已：有的是前期收取少量设计费，大部分费用在产品销售后收取；有的是前期设计免费，所有费用在产品销售利润中分成，至于分成的比例大小则根据设计项目的新颖性、市场前景以及利润贡献值等因素来决定。虽然这些合作案例有成功也有失败，原因也有很多，但这些敢于吃螃蟹的先驱者已经为我们展示了众多设计公司可以一同奔赴的康庄大道。实施免费设计模式的必要条件及注意事项: 首先，服务模式已由被动服务演变成主动服务，这要求设计公司具有更敏锐的市场洞察力和更深厚的功底以及更专业的设计水平，而且这不是单纯靠做外观设计就能解决的问题。试想一下，制造企业会那么傻让设计公司单凭外观设计就能参与产品销售的利润分成吗？更何况单靠外观也确实不能带来多少产品附加值。因此，设计公司提供的项目必须是有市场潜力并且具有高附加值的产品，不仅如此，设计公司还必须在产品线规划、产品延伸以及产品的升级换代上付出更大的努力，这样才能保证这种合作的稳定性以及受益的持续性。其次，设计公司选择的合作对象必须是管理和运作比较规范的制造企业，特别是企业及其老板的诚信度要比较高，并且是希望能长久合作的。合作细节以及协议条文必须要将双方

的权利和义务描述清楚，最好有律师见证，这样就可以避免日后产生不必要的纠纷。当然，在沟通过程中若发现合作方斤斤计较，就应该果断终止合作关系，那种眼光短浅只看眼前蝇头小利的企业不是理想的合作伙伴。同样，制造企业所选择的合作对象不应是仅仅会提概念或只会设计产品外观的设计公司，要明白产品的差异化不等同于产品外观的不同，企业要盈利靠的是具有市场前瞻性的系统化的产品规划以及具有市场竞争力并能给企业带来丰厚利润回报的差异化产品，而这些不是单靠提提概念或者画画外观就可以解决的，毕竟从概念到产品产业化还有太多的问题要解决，还有太多的事情要做。因此可以说，选择合适的合作伙伴也就成功了一半以上。再次，设计免费合作模式可以进行得更深入更彻底，譬如合作双方可以合资注册新的公司，共同经营具有市场前景的产品；或者是设计公司先注册一家具有独创性产品或专业技术（专利）背景的公司，当公司运行到一定程度大家都可以看到其发展前景时，再将公司部分股权估价出售，吸引制造企业或者投资商的参股合作，这种资本运营的手法可以使设计效益放大到数十倍甚至数百倍。在这方面最值得我们学习的是应放天教授，他基本上是一个产品就成立一家公司，他名下的公司多到连他自己可能都记不全了。

自动多士炉

恋爱三部曲 ——2013上海家具展有感文 / PDC 黄秋玲

半路出家的我自从踏入了设计产业的圈子以来，就耳闻了大量关于设计公司和企业关系的描述。我因自身资历有限，也写不出多有见地的东西来，这次借由上海设计周和家具展的机会，得以和台湾设计师刘传凯、杭州凸凹设计李立成和杨明洁设计机构张希春以及一些参展的生产企业等人的交流，使得我能够将设计、产业和PDC这三方关系根据自己的理解，作一次小小的书面呈现，同时也当是一种自励。 PDC作为广交会的一个平台，本身没有为生产企业提供设计服务的能力，我们在广交会这个大熔炉里，通过引进国内外的设计资源，采用商业运作的模式（收费参展），提供机会，使设计公司在这里找得到对口的制造型企业，让制造型企业找得到符合自身需要的创新来源。如果把这两端比喻为关系中的男女双方，那么PDC就是红娘。按照双方的角色定位，设计公司和企业的合作关系大致可以分为三个阶段。1.0时代，2.0时代和3.0时代。在1.0时代，设计公司是企业的丫鬟，企业给钱，企业拥有绝对的话语权，所以设计公司什么都听从于企业。企业老板按照自己的意愿，定好设计需求，交由给设计公司来执行。在这个过程中，设计公司本身的创新并没有得到多大的发挥。而此阶段，企业的需求也大多数是停留在具体产品的外观、形象上的改良，是初级的设计需求。企业所得到的创新是短暂的、不系统的。设计公司的价值没有得到完全体现。PDC这个红娘所做的工作只是简单地把设计公司拉到广交会，给个展位，任由双方自由谈，是粗放式的引荐。随着同质化竞争不断恶化，设计公司存在的价值得到了突显。以前只有大型公司和知名品牌才进行的创新行为慢慢地也被中小企业所接纳。越来越多的企业开始认识到了要通过设计、创新来发展。双方的合作关系进

入了2.0时代。经过前一个阶段的发展，设计公司，尤其在国内，已经开始求变，他们不仅仅提供纯设计服务，还希望依托企业强大的资金、技术优势，结合自身的创新，双方一同发展实业。双方进入了谈恋爱的阶段，相互喜欢，不再是不平等的主人-丫鬟关系。这种关系，尤其在国内，虽有部分已在践行，但并不常见。设计公司希望通过PDC这一红娘，在引导企业、协助他们寻找合适的合作伙伴方面发挥更大的作用，促进双方不仅仅停留在谈恋爱阶段，要进入试婚阶段。红娘通过组织一些实际的牵线搭桥活动，如广交会之前就提前了解双方的认真需求与真正能力，交到双方，使得在初次见面的广交会之后就可快速进入恋爱，再辅以广交会期间面对面的对接会、论坛等活动，推进双方进入试婚阶段。这一阶段，企业对于设计的需求不单纯是产品的外观。设计公司开始帮助中小企业相对客观地评估其现有的资源、人力和市场化情况，并为其量身定做产品策略和产品设计，为中小企业提供了适合自身发展的创新。生产企业毕竟是做实业的，创新

有限。设计公司是专注的，在创新的路上，是他们引领着生产企业。3.0 时代就是如此，设计引领，实业共同发展。此阶段，试婚已经成功，双方的关系开始进入结婚生子阶段。设计公司和制造企业之间不仅合作，还因彼此的合作产生了众多项目，这些项目集结为项目群。双方共同担任项目群的主人，共担风险。红娘是幸福的见证人，工作基本结束，但同时也可以继续成为辛苦的监督人。沟通是否顺畅，生出来的子能否达成共识，是否可以经得住市场的检验，红娘可以

通过广交会这一商业贸易平台的监督检测出结果。此阶段，必是三方都共同发展的阶段。当今时代，发展速度越来越快。一段关系的确定不简单，发展就更是来之不易。但有了红娘的牵引与监督，定能快马加鞭，甚至还会迎来4.0、 5.0等时代的到来。届时，红娘更专业，双方关系更融洽、更优配。让我们共同携手期待！（谨以此文致敬一直奋斗在产业、设计行业的前辈们。后生定当努力、奋发向前。）

设计案例

Design Cases

喜多俊之 Toshiyuki Kita

占米奥设计 Stimulo Design

叶智荣 Alan Yip

瑞德设计

R&D Design

脉拓设计 Mito Design

斯帕克设计 Spark Design

设计案例 DESIGN CASES

2004-2006 日本优秀设计奖综合审查委员长

1969年开始将创意领域从日本拓展

2006-2008 中国创新设计红星奖特别评审

到意大利，作为环境与工业产品设计师多

2010 IF中国奖评审

年来一直活跃于国际创意舞台。他为日本

2010 上海世博会日本产业馆设计总监现任北京中央美术学院客座教授上海理工大学客座教授

及欧洲的制造商设计了众多杰出的热销产品，包括家具、液晶电视、机器人以及日用品等跨界产品。其中很多作品被诸如纽

大阪艺术大学教授

约近代美术馆、巴黎国立近代美术馆、慕尼黑近代美术馆等世界著名博物馆收藏。

1975 JID奖 1983 美国工业设计杂志“RESUDENTIAL FURNISHING”最优秀作品奖 1990 西班牙“DELYA DE ORO”金奖 2011 意大利“金罗盘”国际功勋奖

喜多俊之 Toshiyuki Kita 工业产品设计师

产品设计得好就畅销，设计得不好就不卖，就这么简单。

万家乐燃气热水器设计理念热水器在现代家庭中日渐成为必需品，但到目前为止，热水器主要还是以实用性和功能性为主。喜多俊之这次的新产品是从迎合室内装饰风格的全新视角出发来进行设计的。加大的电子显示使其更加方便使用，同时也提高了安全性，LED照明配置强调了产品的未来感。产品设计从所有消费群体的使用立场出发，跨越了各个年龄层。机体分别有白、红、黑、银四种不同颜色，可根据使用者的年龄和家居风格喜好进行选择。

Gas Water Heater Water heater is becoming a necessity in modern families. The design of the water heater so far is primarily based on practicality and functionality. However, this new product from Toshiyuki Kita is a brand new design to meet the interior decoration styles. The larger electronic display makes it more convenient and safer, and the LED lighting conﬁguration emphasizes the sense of the future. This design covers all age groups from the standpoint of all consumers. There are four different colors of white, red, black and silver, which can be selected according to the age of user and home style preference. 51

AQUOS LCD TV

AQUOS液晶电视

There have only been about 10 years since the popularity of LCD TV. Toshiyuki Kita designed numerous models from the year of 2000 to 2010. Through the integration of technology and design, his products are very popular in general families. When designing this model, Toshiyuki Kita had been considering "how to make it more intimate and closer to our lives?" The charm of AQUOS lies in its difference from other TV models which suggest the feelings of coldness and stiffness. The expression of AQUOS can be seen in each and every detail, thus gave birth to a new generation of world-renowned Japanese original brand.

液晶电视普及化至今仅有10年左右。喜多俊之从2000 年至2010年设计了众多款液晶电视。通过技术与设计相融合，产品大受一般家庭所喜爱。喜多俊之在设计这款电视机时一直在考虑“怎样才能让家庭电视机更有亲近感更加贴近我们的生活呢？”AQUOS的魅力在于它不同于以往的电视机给人冰冷生硬的感觉，而是将表情融入每一个细节，从而诞生了享誉世界的新一代日本原创品牌。

项目实例 AD照明DENEB街灯 DENEB; 好的设计；中国DNA

CASE STUDY AD LIGHTING DENEB LED STREET LIGHT When AD Lighting's CEO Mr. Daniel Wang told us of his new challenge, he was pretty clear: We need to create a new product able to satisfy a new segment, which should be quality and more demanding. LED technology needed to get dressed with a new shape, creating a DNA to follow for the new generation of AD DNA products.

PDC参展商 Stimulo 设计

当AD照明的CEO DANIEL告诉我们他面临新的挑战时，他很明确提出了一点要求：我们需要设计一款能够满足多样化需求的高质量的产品。LED技术需要新的外观结构设计，我们需要打造具有全新AD DNA的产品。

Inspiration— Lighting is more than light We believe that lighting plays a key role in our lives. Lighting can create atmospheres, it can hide or highlight your perception in certain persons or objects. It can turn you on or down by just pushing a button. Lighting can even change your mood!

灵感来源- 灯光远不只是照明

We understand lighting as part of our daily lives.

我们相信，灯光已成为我们生活中不可或缺的元素。它可以营造气氛，隐藏或突出我们对人或物的感知。它可以让你开心，也可以让你伤感，只需按一下开关，灯光甚至改变你的心情。我们明白，灯光是我们每天生活的一部分。在AD，我们喜欢与光为伴，探索新的境界，并从黑暗中创造令人惊喜的意念。

At AD we love playing with it to ﬁnd new effects, and build up surprising concepts out from darkness. Design— Link between people and technology Nowadays LED technology is a very clear example regarding saving energy and efﬁciency but at the same time there is a lack of knowledge about that; lighting is under a constant revolution. Stimulo collaborates with AD Lighting to create a new range of

设计- 科技与人类的桥梁

LED street lights. New technology brings the opportunity to

LED是当今社会节能高效技术的一个代表，但同时人们对LED的了解仍是比较欠缺的，照明技术如今是在持续的进步革新中。Stimulo跟AD照明合作以开发一系列新的LED街灯。新的技术使得我们可以带来全新的有创意的理念。Stimulo 希冀从传统的人们日常所见的物体上得到灵感去为新的设计打造出一脉相承的DNA。我们想要在 LED技术研发和人们日常需求之间创造一个链接。迪娜是一款具有广泛用途和强大功能的街灯，它可以是一个单头的灯体，也可以作为一个组合的一部分，形成多种组合搭配。一个单头的灯具可以发出线性与垂直性的光芒，当六组灯具组合安装时，光的投影在地面上形成新的图案——会让人联想起一个古老的马车车轮，这样的创意使得一种全新的照明模式诞生了。它的灯光会在白天的时候消失，而当夜幕降临的时候成为夜景的一部分。灯头和灯杆秉承了简洁的几何概念，演绎线条精简之美，平滑融入到风格各异的城市景观环境中。在白天隐身了的灯光，晚上就变成了夜景的一部分，而其灯体用料又是最少的。 DENEB街灯已经获得了包括市场及业内专家的广泛认可，并获得了2012年度CDA中国设计奖大奖。

come up with completely different and original concepts. From Stimulo we have been working to build a DNA for these new items inspired in traditional and well known objects related to day to day people. We are creating a link between technology (LED) and people needs. DENEB collection is a versatile and functional street light ﬁtting that can be installed on its own or as part of a modular system, enabling many combinations. A single triangular part with a hole in the middle emits light linearly and directly, while the layout with six parts forms an illuminated circle that adds new patterns to the ground by casting a shadow reminiscent of an old wagon-wheel. Both the light and the post are designed according to the concept of continuous geometry, seeking a smooth transition with no interruptions between the different features that make up the urban landscape. The result is a lamp that disappears during the day to be part of the landscape at night time, minimize the material to produce it. DENEB street light has been honored with the Chinese Design Award 2012. 54

Stimulo的创意节能灯

概念的形成- 用创新的思路去打造AD照明的新DNA

Conceptualization — Creativity focused into AD new DNA Several creative sessions were necessary to ﬁnd out the right concept. These were the main concept requirements: AESTHETICS Enhancing the perceived value of the product INNOVATIVE In tune with the new DNA brand values and style TECHNICAL Functional, new effects, control the light QUALITY European quality at Chinese cost HUMAN Emotional links, simple, clean, makes you feel

捕捉正确的概念需要遵循几个必要的基本点： “美学”—强化产品的视觉效果 “创新”—打造具有DNA特性的品牌理念和价值 “科技”—用最好的技术来控制光效 “品质”—用中国的成本做出具有欧洲高品质的产品 “人性化”—外形简洁，能够给人带来情感的共鸣秉承Stimulo 一贯的设计理念，在经过跟客户的反复沟通和多次修改后，产品的雏形终于破日而出。

Applying Stimulo creoLAB methodology, several concepts were generated and evaluated with the client, and after some modiﬁcations the concept ﬁnally saw the light of day and started to take shape.

结构深化—产品从理念到实现的关键结构的深化目的是通过同生产厂家技术部门的沟通以实现最优化的产品生产方案。这是一个持续的过程，需要考虑到种种方面，包括如何简化产品使用操作，成本的控制，以及简化生产工艺等等。我们的设想是整个产品使用一套金属模具，这主要是从产品的整体造型和重量角度考虑的。这样出来的产品品质高端，可以达到我们设计的定位。 DENEB造型设计小巧简洁，独特的结构可以保证光源正常工作时温度不超过70度；使用光学透镜来精准控制LED芯片的发光角度，最大程度地减少眩光。 LED芯片使用顶尖品牌如CREE, OSRAM 或PHILIPS, 以保证光效及使用寿命。多个灯头可自由组合，也可高低安装搭配，适用于庭院小区、城市广场、次干道路、城市街道以及公共家居、室内空间等场所。

Development— Strength created in China The deployment tasks were focused on the continuous advice to the company's technical department to optimize the product for its serial production. As usual, this is a continuous process which leads to improvement operations, savings in material, improvements in assembly processes, etc. The ﬁrst decision we made was to use a single mold piece in metal, for both image and weight-feel reasons. Using metal, the perceived quality is higher and allows us to position the item in the targeted segment. DENEB's careful design is compact and in direct contact with the LEDs, allowing for greater heat dissipation, ensuring less than 70 ºC ambience temperature, including various light distributions. The LED technology uses lenses that enable the direction of the light to be controlled and which is more agreeable due to its cut off design, which reduces the angle of glare. Use LEDs from Cree, Osram or Philips. Different combinations can be achieved, such as light heads at different heights, ideal for use in squares, communities, urban roads etc.

产品应用—提供照明解决方案融合了先进的光学技术、散热设计和光源驱动，AD 照明提供给客户的是一款高品质产品，无需高成本的使用维护。结合智能建筑照明控制系统，可以最大程度地彰显LED高效、节能、低碳的优势，打造绿色环保可持续发展的现代都市。推出一款成功的新产品是一个持续的过程，Stimulo 在产品推向市场后又设计制作了相应的产品推介资料用于奖项的申请和展会展示。

Implementation— Lighting solutions Utilizing advanced optical & heat dissipation & driver technology, AD will provide clients superior product with stable performance, thus reduces the maintenance cost. Integrated with architectural lighting control system solutions, it represents the LED advantage of high efﬁciency & energy saving and low carbon. Hence realizing energy saving and emission reduction green city ,leading the sustainable development. Launching a new product is a non stop process and Stimulo has generated high quality virtual images to edit promotional material for awards applications and trade fairs of the sector.

西班牙Stimulo的设计师 Xavier Majoral

DENEB街灯是一款融合最新科技的多功能性产品，加上其独特的外形设计，使得AD照明成功地占领了照明行业的制高点。它是一款拥有欧洲先进工业设计理念的亚洲制造产品；无论在白天还是夜晚，都能完美融入城市景观环境中。它为城市的街道增添了故事元素，提升了城市的人文意向。

Deneb LED street light is a new product that incorporates important technical s olutions to both functional and technical, with an innovative image, which leaves AD L I G H T I N G i n a s i t u a t i o n of competitive advantage versus the current competitive and global market. We are talking about an advanced Industrial design concept from Europe with asian soul; AD LED streetlight harmonizes with the urban architectural landscape perfectly, no matter in the evening or daytime. It increases the story element of the urban street, enhances the city's humanism connotation.

设计案例 DESIGN CASES

时下人们的生活和消费水平不断在提升，各式各样的包类商品已成为不可或缺的饰物之一，进而要求包类商品不光在实用性上需有所加强，装饰性也需有所扩展。根据消费者的品位改变背包材质，引领时尚潮流的真皮、塑料、涤纶、帆布、棉麻等质地箱包，显得更加多样化。同时，在越来越标榜个性的时代，简约、复古、卡通等各类风格也从不同侧面去迎合时尚人士张扬个性的需求。李宁的“POWER PACK”背包，就是一款色彩鲜艳、造型怪异、吸引眼球的包类商品。一半硬一半软的设计，既能使人体感到舒适，又可防止里面装的贵重物品受到损坏。

Li Ning “POWER-PACK” Backpack Series China Design by Alan Yip DESIGN: The design concept was inspired by outdoor equipment such as aero gears, hiking gears and diving gears. The super lightweight Polycarbonate shell provides top-level strength and protection for the products.

叶智荣国际知名产品设计师第113届广交会PDC论坛演讲嘉宾

FUNCTIONS: The Li Ning Power-Pack works as a backpack, which can carry sophisticated equipments like laptop computer, digital camera, PDA mobile phone, etc.

香港设计师协会前主席香港康乐及文化事务局博物馆委员会委员香港创新科技署荣誉顾问香港旅游发展局旅游大使香港知识产权会委员会委员香港考试及评核局课程发展委员会委员

The small-sized model can carry a small laptop computer and the large-sized model can carry up to 2 full size laptop computers. The zipper provides easy access to the compartments inside the bag. The quick release link design allows 180 degrees opening for the ease of packing. The special design back pads provide good supports and good air ventilation for the end user.

ERGONOMIC: The half hard and half soft design construction provides a very good ergonomic and comfort for the end user yet a very good protection for the stuffs inside the bag.

半硬半软，背包怪杰 ——叶智荣之李宁“POWER PACK”背包设计案例

ENVIRONMENT ISSUES:

作为一家致力于推广和实践原创设计理念的专业运动品牌公司，李宁公司从成立之初就非常重视原创设计， 1998年3月，李宁公司率先在广东建成中国第一个运动服装的设计开发中心。2004年8月，香港设计研发中心 “李宁体育科技发展(香港)有限公司”成立，集中负责设计李宁品牌服装产品。李宁公司拥有一支享誉业界的优秀设计专业团队，目前在北京、香港、美国等地共有超过百人的专业设计人才在从事各个系列运动服装及鞋产品的设计和开发工作。李宁公司在原创设计方面的投入，使得“用现代手法诠释东方美感”的李宁品牌广受市场的好评和行业的尊重，成为了李宁品牌在全球范围内具有竞争优势的核心区隔点。 2005年，在香港挂牌上市不久的李宁公司和香港贸发局举办了一场香港设计师的交流会。曾任2002年至 2004年香港计划协会主席的叶智荣先生亦应邀出席了此次会议。在与李宁公司前品牌总经理聊天时得知李宁正寻求配件研发方面的合作伙伴。在了解到叶智荣先生曾经做过的企划之后，李宁公司决定聘请他为配件部为期

三年的首席设计顾问。 2007年叶智荣先生为李宁设计了一款采用车漆工艺和宇航PC材质的背包，由于造型类似忍者神龟的龟壳，被形象地称为“龟壳包”。这款“龟壳包”相当吸引眼球，最初李宁公司担心其夸张造型不会引起人们的购买欲望，但之后的市场表现证明了这种担心是多余的，消费者对于新奇造型的接纳程度远远出乎叶智荣先生的想象。

The Polycarbonate shell is formed by high precision vacuum forming technology, which employs relatively less moulds, dies and consumes less energy for production. The supper thin Polycarbonate shell ( around 1mm ) which employ only 1/3 plastic material compared with the traditional production method. The Li Ning logo was formed by during the shell forming process which save one extra component for environment.

系列

”黒色 “龟壳包坚强的外

柔软的内

表

为了方便出行，一般背包的作用是装载衣物、书籍、生活用品等，可是外出休闲、办公时常需要用到笔记本电脑、数码摄像机、移动电话等，一般的背包无论是布制抑或皮制，都无法避免磕磕碰碰等意外给器物带来的损伤，人们常常为没有一种可以保护电子设备的背包而遗憾。叶智荣从这个角度出发，设法为人们解决出行携带物品保护的问题。要使在撞击、挤压、摔打的时候背包里的物品仍安然无恙，那么背包的材质一定要坚硬得足够抵抗打击，而里面又必须柔软到足够避免物品受力损伤。因此产品的外壳采用超轻量及极坚固之尖端材质—聚碳酸酯（俗称防弹胶），它原本是被应用在汽车车头灯上的。早期的车头灯是玻璃材质，但是当汽车开得很快时，飞溅的石子会像子弹一样打碎车头灯，后来人们才发明了防弹胶这个材质。叶智荣把这项发明应用到背包上面，向外的一侧是坚硬的，向内的一侧是柔软的，这样就可以很有效地保护手机和电脑等电子产品。实用与美观并重轻便与环保皆善设计背包时出于对电子产品的保护，必然要用到坚硬的材质，但是坚硬的材质往往较重且质感粗糙。这款背包采用了防弹胶作为外壳，考虑到重量的问题，防弹胶外壳制成薄片，内层用软料缝制，使背包轻便不少。为了区分背包的容量，叶智荣特别设置了大小型号，小码型号背包能容纳一台小型笔记本电脑，而大码型号背包能容纳两台大型笔记本电脑，并设置了快速开合式拉链和180度开口及多功能隔层，让用户方便快捷地存取包内物品。一切以给人便利为出发点，现代背包出行的人都有途中汗流、后背尽湿的经历，而大部分背包也会因为汗水的原因而湿透，里面的东西也遭受影响。因此在设计时，背垫作立体处理，使它能提供极佳承托及透气排汗功能。一半硬壳一半布料的设计，一方面能为物品提供极佳的保护，另一方面能让用户的背部有舒适的感觉。

心

背包的设计出于保护物体安全的同时也考虑到了环境的保护，对主体外壳进行加工时采用了高精密热吸塑处理，使工序简易，以达到减少模具及能源消耗的目的。另外，用聚碳酸酯(厚度约1mm)作为材料，跟传统生产模式相比更节省了近三分之二的材料，标志直接在同一生产工序中压于外层，减少了外加零件及加工能源。专利保障活水长流产品设计出来后，其鲜明的色彩、新颖的造型深受好评，在包类世界中，很快就引起轰动。按照以往经验，一个新创意出来，就很容易被人复制模仿。为了避免抄袭引起商业纠纷和损失，叶智荣为此申请了产品及应用专利。这是有别于很多其它设计公司的方面之一，许多设计公司的创新能力很强，但对专利申请并不清楚，缺乏计划性。在专利申请领域有三个不同标准，最为基本的是外观专利，但通常这种专利的申请并不具有效果，一款产品别人并不全剽窃，只剽窃80％，那么外观专利就无法起到作用。专利保护的最高境界是发明专利，保护期二十年，但是申请特别困难。叶智荣先生将专利申请的重点放在介于两者之间的实用新型专利。实用新型专利是指对产品的形状、构造或者其结合所提出的适于实用的新的技术方案，保护期十年，保护范围比较广，而且申请速度也比较快。在与李宁公司合作的三年间，叶智荣帮李宁公司创造了数十项创新发明产品，并顺利拿到设计和发明的专利。叶智荣是所有产品的发明人，产权归李宁公司所有。而这款“POWER PACK”背包，更在2007年荣获红星奖、 2008年荣获德国IF设计奖。叶智荣先生为李宁公司共申请了四十多项实用新型专利和两项发明专利。每一项专利都可以衍生出上千款新产品，关键在于怎样应用这些专利，李宁的产品每三个月需换季下架，市场销售时间短，但龟壳包所采用的车漆工艺以及宇航PC材质的功能，仍被广泛应用到其它新产品的设计上。

设计案例 DESIGN CASES

在中国，“厨房里的重油烟”是仅次于“吸烟”的肺癌第二大致病源。多年来油烟机的设计思路也始终围绕着“提高电机功率，增大风量”来解决油烟问题。但提高功率的同时伴随而来的是巨大噪音的产生，并且油烟有其特有“生成—扩散”的规律：如果未能在油烟生成之初将其吸走，待油烟扩散之时，即使再大的功率与风量，对四向扩散的油烟也难以控制。为了彻底消除“油烟困扰”，我们在设计JQ01的过程中，首先通过下移进风口，使油烟、进风口、风机第一次排列在了同一条直线上，开创性地为油烟机带来了“最短油烟路径”，使油烟在形成之初、扩散之前就被吸走，革命性地提高了吸油烟效率。接着我们为油烟机带来了“隔烟屏”，它是在进风口上端安置的一块挡烟板，彻底将人与油烟隔离，不容一丝油烟扩散。真正实现了“人与油烟零接触” 的终极健康体验。当烹饪结束，“隔烟屏”会自动关闭，将进风口彻底隐藏，产品又恢复“纯平设计”——简

约又便于清洁。极致简约表面下蕴藏着强悍的健康体验，这便是极致设计。此款产品上市3个月便进入畅销吸油烟机排行榜的前3名。并且由于其“健康理念” 为油烟机设计领域开拓了崭新视角，红点专家评审会授予其“2013年红点荣誉提名奖”。这是对我们设计探索的巨大肯定与鼓励。

风魔方近吸式油烟机 PDC参展商杭州瑞德设计

In China, cooking oil fumes are the second most serious source of lung cancer, only next to cigarette smoking. Over the years, the design of range hoods has always been around "how to improve motor powers and increase the blowing rates" to solve the problem of cooking oil fumes . However, the problem of loud noises is coming along with the increasement of powers. The fumes have their unique rule of "generating - spreading": If the fumes are not sucked 59

away the moment they are generated, it would be difficult to control them even with more powers and higher blowing rates when they begin to spread around. In order to completely solve this fumes problem, during the design of JQ01, we firstly aligned the fumes, air inlet and the fan for the first time to create "the shortest fume path", which revolutionarily improves the efficiency by sucking away the fumes before they spread. Secondly, we introduced a "smoke barrier" above the air inlet, which completely isolates the fumes from people and avoids spreading. When the cooking is finished, the "smoke barrier" will shut automatically and conceal the air inlet, and the product returns to look "flat" again simple and easy to clean. The powerful health experience is hidden under the surface of extreme simplicity, and this is the ultimate of design. This product had been on the list of Top 3 of range hood selling within 3 months since it was launched into the market. It was awarded "2013 red dot honorable nomination" by the red dot Expert Review Committee because its "health concept" had opened up new perspectives for range hood design. This is the great affirmation and encouragement to our design exploration.

The modern fast pace of life requires a product of slow life as a spice. The design of this aroma burner got inspiration from the Chinese censer which has a history of a thousand years. We merge cultural meanings in the design and bring out a special connotation and unique composition. The container is in unenclosed structure, which makes the operation and cleaning more convenient. The material of metal represents a modern sense. The multi-point spray nozzles create a smoking ﬁlled effect, and also bring more aroma efﬁciency. The adjustable fog spraying and lighting effects make this product more perfect.

香薰炉 Aroma Burner

第113届广交会PDC参展商脉拓设计

脉拓设计案例现代人快速的生活步调，需要一种慢的产品来调剂。这个香熏炉的设计灵感来自中国存在千年的香炉，我们将文化意涵融入设计中，带来特别的内涵与独特的架构。水箱使用敞开式结构，使操作和清洁更加方便。运用金属材质来表现现代感。出雾口采用多点方式营造出烟雾缭绕的感觉，也带来更有效率的香熏效果。两阶段出雾量与灯光效果让产品更加完美。

新茶器时代 Tea Boiler

茶是全世界流行的饮品。这个煮茶器的设计灵感来源于古代的灯笼。跟据市调了解到, 很多年轻人喜欢喝各种不同口味的茶,但是排斥传统茶具带来的不便,因此我们针对这个需求设计出使泡茶过程变得很轻松的产品 ——能简化泡茶步骤，提高效率。该煮茶器能吸引眼球是因为其材料结合了高质量的玻璃和金属，创造出极简的时尚感，以扩展年轻人的茶市场。茶叶和茶是分离的，因此茶叶不会产生过度的浸泡——在这个过程中沸腾的水流过水管，洒在茶叶上，可以依照个人喜好增减浓度。它是新时代时尚的自动泡茶器具。 60

Tea is a popular drink worldwide. The design of this tea boiler is inspired by the Chinese ancient lanterns. According to market research, many young people like to drink a variety of tea with different ﬂavors, but at the same time, they reject the inconvenience of traditional tea sets. So we design this product to make it easy during the tea-making process - it can simplify the steps and improve efﬁciency. What also attract eyeballs are the materials combined with high quality glass and metal, creating a sense of minimalist fashion to expand the young people's tea market. In this design, the tea is separated from water to avoid excessive immersion - the boiling water sprinkles over the tea through the pipe, thus the concentration of tea can be increased or decreased according to personal preference. This really is a fashionable automatic tea utensil in the new era.

设计案例 DESIGN CASES

第113届广交会PDC参展商 Spark设计

斯帕克造型艺术有限公司通过对目前冰箱产品市场的调研，设计了“爱的魔法箱”主题冰箱，引导80后新组建家庭的消费观念，并把时尚元素融入到产品中。同时，为了满足时尚女性对生活的需求，设计提出了"lady box"的概念，解决女性护肤美容产品的存放与保质问题。

Design Case Through market research of refrigerators, Spark Design brings out a new collection of refrigerators "Magic box of love" with fashionable elements, which leads the consumption concepts of the new families of the 1980s. Meanwhile, the concept of "lady box" is also put forward in order to meet the needs of fashionable women in the storage and durability of their skin care and beauty products.

is a choice 乐

新德 NEW-TECH

宗旨 : 百分百本土设计,手作生产,保传中国民族传统文化,历史,工艺和现代的溶合. Objective : 100% local design, hand production, preserve and carry forward the traditional Chinese culture, history and technology with a mixture of modernization.

使命 : 要为每个人和家送上开心及快乐的祝福.为世界添上美丽而丰富的色彩. Mission : Blessings to everyone & each family to be full of joy and happiness. Put on beautiful and rich color in the world.

目标 : 创造能代表中国人的手信.最富有中国特式的礼物和全新优质的工艺品. Goal : Create a representive Chinese Souvenir and the most Chinese special gifts and New high-end arts and crafts.

开心创作有限公司

广州新德手袋厂

Happiness House Limited

Guangzhou New-Tech Handbag Factory (Arts Dept)

香港九龙旺角弥敦道794-802号协成行旺角广场十一楼1104室 Room1104.11th Floor HSH Mongkok Plaza,794-802 NathanRoad, Mongkok, Kowloon, Hong Kong. T:(852)3585-3198 F:(852)3585-5037 www.happiness.com.hk

(工艺部)

广州市番禺区化龙镇草堂村农业公司路13号 No.13 Nongyegongsi Road,CaotangVillage,Hualong Town, Panyu District,Guangzhou,Guangdong Province,China Zip 511434

T:(86-20)34751860 F:(86-20)84752653 www.happinesshouse.en.alibaba.com info@happiness.com.hk

全国经销加盟商热线 Franchisee Hotline:13632388310 容先生 Andy Yung 或电邮 Email:2011311143@qq.com

潮流趋势 Trends

国际家居八大流行设计趋势 Eight Design Trends of International Home Furnishing

时髦的模式 À la mode à la mode

从Fast Fashion说起 Fast Fashion, Inevitable for Chinese Clothiers?

巴黎家居装饰博览会趋势解读 MAISON&OBJET Trends

设计创新国际研讨会 International Seminar on Innovation and Design

潮流趋势 TRENDS

国际家居八大流行设计趋势 Eight Design Trends of International Home Furnishing 彭亮 PDC顾问教授工学博士国务院政府特殊津贴专家

国家教育部教学改革示范专业《家具设计与制造》学科带头人，国家级教学团队学科带头人，现任中国家具设计专业委员会副主任、浙江利豪控股集团“利豪家具商学院”院长以及《中国家具》、《家具》、《家具与室内装饰》杂志编委等多项重要职务。共已发表学术论文80多篇，出版专业著作及大学教材12本，主持省级以上教研课题多项，获省级以上专业奖励30多项。

PDC潮流趋势解读现场

文 / 彭亮

第一、自然与生态关键词：自然、生态、绿色、健康、可循环制造趋势解析：自然的外观和自然的材料能够传达出一种真诚的品质，让实木和贴木皮家具继续大行其道。环保和可持续发展的意识，应当成为当代家居设计的重要先决条件。当人们强化对生态环境的关心和自然资源的节约，使再循环制造的家具设计运动正在日益受到重视和流行。第二、新古典与新中式

关键词：新古典、新中式、新东方、新北欧

趋势解析：现在是新中式复兴的大好时机。新中式更多的是一种“根”的气质，用现代元素包裹中式传统灵魂，形成新中式的核心理念。大量的新中式设计证明，手工编织、刺绣、雕花和手工绘画，同时与高科技的激光雕刻、数字印刷相结合，赋予现代家具更多的文化情感与装饰细节，手工艺复兴的家具经常暗喻传统样式或后现代主题直接提升产品的附加值。曾经在20世纪50年代风靡全球的北欧家居设计风格由于其“生态有机” 的设计美学将再次成为21世纪的主流。

第三、组合与模块关键词：组合、模块、小体型、定制家具、整体家居趋势解析：模块化是现代家具的新潮流，值得深入研究探讨。模组的家具让你很快地而且容易地定制你的生活空间，以便改变建筑空间而且以不一般的方式感觉。越来越多的人希望拥有柔性模组的家具产品，定制整体家居成时尚主流。 65

家具的体型越来越小，单身主义与小空间居室的盛行，让多功能的小体型组合模块家具开始走向市场的上游，不仅指软体家具，还包括小型的书桌和办公家具。此外，人们更易变换居住环境和地点的现状也让这类家具的体型更为轻质和灵活。第四、柔性与圆润关键词：柔性、园润、曲线、生物、有机趋势解析：柔性与园润的生物体是大自然造就的奇葩，具有无穷的魅力，也是设计师用来发散思维、获取灵感的捷径。家居设计将会演绎仿生的概念，例如按照人体曲线和弧度来制造的座椅，仿树叶造型的躺椅和沙发等，为了制造家中的和谐气氛，家具外型自然也走向圆弧、轻盈，甚至带点趣味成分。今天，有机设计已不是一种怀旧风格，而是以一种极度迷人和富有灵感的形式再生，从“苹果产品”到“ 有机建筑”，从“汽车造型”到“家居产品”都呈现柔性与园润的有机设计风潮。

In the initial stage of the market economy, the success of manufacturing depends on ﬁlling the market vacancies. When the market develops to a mature stage, the ultimate success of products will depend on the terminal feedbacks, of which the fundamental lies in the integrated terminal solutions consisted of consumer demands and problem-solving methods. Most importantly, furniture enterprises have to have design strategies and innovations. The core factor of the economic structure of Chinese furniture industry is that design and innovation can be used as a strategic weapon. Design has been upgraded from the basic functional and aesthetic pursuit to a strategic and systematic level, which can create more value for business strategies, products and services. 家居时尚产品设计

第五、传统工艺与时尚设计关键词：传统、手工艺、现代、时尚、设计趋势解析：越来越多的设计师通过现代的设计理念挖掘传统材料、工艺。在延续传统设计风格的基础上，运用独具地域风格的传统雕刻（木雕、石雕）、绘画和手工等精湛技艺，寻找家居与室内设计灵感，进行更为广泛领域的设计，设计材料从当地的自然素材，扩展到国际通用的木材、石材、金属、竹子上来，设计风格也更加时尚前卫。第六、“慢设计”与“悦生活” 关键词：慢设计、悦生活、精神、品质、幸福指数趋势解析：慢生活是一种态度，慢设计是一种理念。当代西方的一种设计观念 “慢设计”，指出它的出现是基于人们对幸福指数与精神生活的追求；它的设计理念和方法是通过淡化产品的功能，增加人和身边的世界之间额外的情感交流，从而帮助人们徜徉于精神生活的世界。慢设计体现了“以人为本”的设计精神。它不是指设计时

间的长短，强调设计师在设计创作中应处于一种平和、放松、随性的感知状态，即遵从内心最率真的状态。慢设计的宗旨并不宏伟，只是希望人们在追求物质生活的过程中，有那么一刻，倾听心灵，关怀生命，享受生活。

眼球得到充分放松的色彩，看起来高档清雅，诠释着舒适家具的概念。第八、产品设计与系统战略

关键词：产品设计、系统、战略、服务趋势解析：第七、“多彩色”与“中性色” 运用设计创新的策略，完善设关键词：多彩色、时尚色、灰色调、计创新的流程，提高设计创新的能中性色力，直接创造新的产品市场。伴随趋势解析：中国家具行业的日趋成熟，家具企多彩时尚家具产品趋势，尽可能业家必须切换思维，从家具产品设满足所有人喜爱的生活方式。在时尚计开发问题切换到系统战略服务上圈大刮多彩风的当下，家居市场也很来，增加产品附加值。快做出了变化，多彩色的家居产品在市场初级阶段，以制造生产起同一系列里出现不同颜色的多款产品，家能够成功，靠的是填补市场空白，迎合了个性消费时代不同人的不同需发展到成熟阶段，产品推出最终成求，让设计师有了更多的发挥空间。功与否取决于终端反馈，消费者需当今的家具设计，中性色（含灰求和问题解决方法组成的终端一体化解决方案是其根本，最重要的是的柔和色彩）是设计一个大潮。在颜家具企业要有设计战略与设计创新。色上，无论是走古典主义路线，还是中国家具产业经济结构最相关创新的新古典主义，抑或是现代家具、的核心因素，就是设计力创新可作户外家具，都呈现出以中性色作为设为策略利器，设计由基本的实用功计的主流方向。淡雅的七彩色、咖啡能与美学形态的追求，转而提升至色、驼色、米黄色、珍珠色、灰色、战略与系统，更能为企业策略、产香槟色、杏色……不同深度不同色度品与服务创造价值。的中性色把玩着设计新潮流，这些让 66

潮流趋势 TRENDS

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文 / 菲利普科恩

巴黎是著名的时装设计之都，而巴黎时装周更是时装界的领头羊。数以千计的品牌创意设计师，行业协会的买家和卖家们都选择在这个重要的时刻齐聚法国首都谈生意，谈有关潮流新的趋势和未来的走向。巴黎的时尚产业在世界上影响力巨大，更是欧洲的旗舰产业。在巴黎，无论是在豪华奢侈品牌，或者是中间价位的品牌商品，都在世界服装市场占有非常大的比例。巴黎时装的成功，是建立在尊重传统，专业技能和创造力之上的。其中，设计师是此行业的驱动力。反之，消费者对其设计的认可成就了设计师在这个行业中的身份和地位。中国各个城市的服装行业和协会都热衷于与欧洲时装设计师交流与合作。此次中国服装行业设计师以及各协会的巴黎之行，就是为了更好地了解世界时装的走向，中西融合。如今，中国不但是世界第二经济大国，它也是继美国、日本之后第三大服装潮流市场。近年来，中国政府部门制定了大力发展创意产业经济的政策，并大力发展服务产业，转变经济增长方式，实现从“中国制造”到 “中国创造”。在这种背景下，以政府搭台，民间运作为主体的北京、上

海、深圳和广州四地举办的时装表演和展览，都已经在业内具有很强的影响力。例如，每年三月举办的中国国际服装服饰博览会，就非常有力地推动了中国时装界的发展，并使中国成为了法国和意大利波特的第一出口市场。中国深圳和广州南部也相继成为服装制造中心、经销商等。令我惊讶的是，中国时装设计在巴黎时装周上表现的风格是非常保守的，这与我对中国大型代表团在戛纳电影节、法兰克福市场的音乐展、米兰或柏林的书画展的表现给我的印象，是大相径庭的。与国际时尚接轨是中国发展其服装市场的重要策略。到目前为止，纺织服装产业在全球价值超过1000亿美元，而时尚产业则是纺织服装产业的驱动力。因为，时尚产业的发展，带动了零售、旅游产业、电子商务的发展，以及新技术的应用。此外，纺织品不仅推动就业，促进财富增加，也是对当地文化和技艺、社会价值和遗产的另一种延生。时尚更是一个国家对生活品味和生活质量的表达和追求。中国时尚产业的发展与国际同步是非常必要的，这将有助于刺激本土创作和人才培养，对传统工艺的重新发现 67

以及深度挖掘；深一步来说，这对具有丰富历史的文化产业的重新分配都有着举足轻重的意义。在某种程度上，人们对时尚的投资，反映出一个国家对其国情了解以及对社会趋势的把握，同时更代表一种社会演变。在这个层面上，中国的潮流创造者，应该在发展本土和全球的时尚产业的同时，结合城市密集度和相应的文化资源，从而更好的满足各类需求。由于时尚与奢华息息相关，因此人们追求时尚品味，是社会分化的一个标志。穿着路易•威登、巴宝莉或古琦等奢侈品牌，不但是社会分化的一个标志，它还代表着快乐与放纵。奢侈品牌投入数亿万美元的策略，是想捕捉时尚中国女性和男性对他们品牌的向往以及品牌为个体带来优越身份的一种象征。仅在 2012 年，PPR 集团(现名 kering)(如他们代理的古琦、巴黎世家、圣•罗兰等品牌)在亚洲占其全球总销售额的35%，大约为 65亿欧元，与2011年同期增长了14%。不可否认的是，中国人对奢侈品牌的模仿将依然持续，但是模仿也有其他选择的可能性。因此，中国和国际的消费者，将很快地切换到中国质

量品牌服装上，并更加注重原创。随着中国中产阶级数量接近3亿人，服装市场潜力无疑是非常巨大的。就像之前日本大力鼓励开关创作的年轻设计师们一样，中国也希望传承中国祖传工艺(例如刺绣)，从而促进新的审美准则。如果中国也希望成为新的壮观、美丽和时尚的魅力大国，必须大力鼓励创造性人才。首先最重要的是政府应该制定政策着眼于对设计人员的培训，在城市集群发展，促进专业和行业之间的相互作用和相互影响。其次是中国的发行商和投资者们，应大力鼓励支持本地创作者的创作。城市和时装协会应派送最有潜力的的时装设计师到国外参加时装展销会，使设计人员能够发挥自身技能并与欧洲设计师们进行创作交流。中国金融从业者们，也必须支持建立中国时尚品牌并承担品牌创建的风险。最后，中国也必须建立培育创意公司的生态系统，培养微观企业的创新精神。这些举措，将会鼓励欧洲时装学校来中国开学校以及创建设计工作室，从而对中国的服装市场带来商机。

深圳设计师邓欢欢作品

时尚已经成为财富。巴黎、米兰、纽约、东京和伦敦等地，都是举世闻名的时尚之都。时尚为国家增添了国际影响力，它将为中国带来渴望的国际地位和形象，以及为各大城市带来新的生机。此前人们普遍认为，时尚只是源自米兰、巴黎、伦敦、纽约或柏林，这种观念已经被质疑，正如同布鲁塞尔和纽约不再是当代艺术交易的唯一市场一样。

潮流趋势 TRENDS

THE INDEPENDENTS’ VOICE K

–

«À la mode à la mode» From Paris Fashion Week to Beijing «Chic»

潮流趋势 TRENDS

从Fast Fashion说起 —本土服装企业ODM&OBM之路

作为本土最大的运动品牌，自 1994年以来，李宁一直保持着中国体育用品市场的领头地位。但近年来服装行业迅速发展，竞争激烈，李宁和国内服装行业都面临了一个普遍的问题--库存积压。为了缓解这一问题，李宁与凡客诚品合作，在凡客官网上进行了48小时大甩卖，部分产品价格甚至低至一折，通过这种电商“闪购” 的方式来缓解库存压力。相关产业的季报显示，22家A股服装类上市公司第三季度的存货总量已达到了382亿元人民币。这些库存服装即使全国服装企业停产，也足够让中国人穿上三年。另外，今年上半年，安踏、361度、特步、匹克等42 家上市服装企业存货总量高达483亿元，其中存货最多的是雅戈尔，还有红豆股份、美邦服饰及森马服饰等服装品牌，而存货量低于1亿元的只有四家。与此形成鲜明对比的是，以 ZARA和H&M为代表的快时尚之风席卷全球，并迅速入侵中国市场，给传统服装企业以巨大的威胁。1975年设立于西班牙的ZARA，隶属于Inditex集团，为全球排名第三、西班牙排名第一的服装商，截止2012年，ZARA分店分布在全球5大洲86个国家和地区，共有1925间分店，销售额为10,541亿欧元。ZARA 为快时尚最具代表性的品牌，快时尚的每一款服装的生产数量都很少，款式非常多，全年能够推出10000余款能够上市的服装产品，从设计到上架平均周期是两周左右，库存周转时间非常快，一年会周转10 次左右。因此，类如ZARA这类的快时尚品牌库存压力相对较小。这种强烈的反差，源自中国消费者的快速成长与变化，也反映出本土服装企业商业模式及生产制造模式的逐渐落伍。中国从上世纪末以来在国际上被誉为“世界工厂”，在世界产业链中，表明了中国的OEM扮演了非

委托制造方，由制造方从设计到生产一手包办，而最终产品贴上采购方的品牌且由采购方负责销售的生产方式。 OBM（Original Brand Manufacturing）即自有品牌生产，亦作原创品牌设计，所指的就是生产商有自行建立自有品牌，并以此品牌行销市场的一种作法。它们三者的区别在于，A方看中B方的产品，让B方生产，用A方商标，这叫 OEM；A方自营渠道和品牌，让B方组织设计和生产，这叫ODM；A方自营渠道和品牌，外包市场营销策略、设计及生产给B方，这叫OBD；或B方直接自营品牌，这也叫OBM。和众多中国服装企业一样，总部位于深圳的联怡时装设计有限公司，从传统的OEM模式转型为ODM & OBM的经营模式，并建立了一套完整的品牌开发合作流程常重要的角色，成为了代工王国。OEM （Original Equipment Manufacturing）指由采购方提供设备和技术，由制造方提供人力和场地，采购方负责销售，制造方负责生产的一种现代流行的生产方式。本土服装企业也曾经凭借在 OEM制造上的优势，在全球服装出口上占有极重的比例。但近年出口形势日益严峻，本土服装企业纷纷转战内销市场。然而，本土服装品牌依旧靠扩张渠道作为最直接的利润增长来源，这种粗放式的增长已经不再适应市场化的需求。传统的OEM模式是制造上的优势，反而成为阻碍快时尚发展的重要原因，在快时尚发展如此迅猛的今天，中国服装企业纷纷转型投身快时尚，但受到传统OEM模式的影响，我国大多数OEM供应商处于世界产业链的中间环节，利润微薄，面临国内、国际的激烈竞争，发展举步维艰。因此，中国服装中小企业必须勇敢走ODM/OBM(自主品牌)转型之路，以便闯出高附加价值的企业经营，走出一条康庄大道。ODM (Original Design Manufacturing) 指由采购方 71

通过与班尼路、伊藤忠及吉之岛等知名企业的合作，公司重视自主研发，致力于各类产品和时尚服饰的设计和生产，以客为本，以质求效，时尚创新，集时装设计开发及供应链管理于一体，提供客户既安全又有经济效益的专业服务。 2013年整个服装行业并没有从低迷的市场环境呈现上升的趋势，仍然面临一系列的问题, 以ZARA和H&M为代表的快时尚之风席卷全球，迅速入侵中国市场，还有国内服装企业面临向ODM&OBM的转型压力，对于国内来说，服装企业必须探究符合自身发展之路才是首要策略。

Fast Fashion, Inevitable for Chinese Clothiers? Chinese domestic clothing enterprises going ODM & OBM By Percy Yung Overstock, the nightmare of retailing, it plaques even the strongest player in the field. Li Ning, being a leading sporting goods and apparel retailer in China faces the same inventory plight and deals with it with the same conventional tools like many others - massive markdowns. Li Ning dumped its stocks through one of the more successful digital retailer in China, Vancl, as low as 90% off its regular price tags that hurts the group's profits immensely. In China, there are about 22 A-share listed companies whose inventory level combined have reached an overwhelming thirty-eight billion RMB only for the third quarter according to a report. To put such staggering number into some context, it well covers clothing needs for the whole Chinese population for the next three years. If we look at the same figures from other non-A-share listed, but still listed Chinese clothiers, the number is even more worrisome, it has reached over forty-eight billion RMB by only the first half of the year. Some of these troubled clothiers include ANTA, 361 Degrees, XTEP, Peak Sport, etc., a m o n g w h i c h , Yo u n g o r , H o d o , Metersbonwe and Semir tops the chart. There were only 4 listed companies reported an inventory of less than RMB 100 millions. Too much inventory warrants trouble for clothiers, leads to markdowns and write -offs, impedes profit and hampers substantially on their cash flow. Fast fashion seems to be a promising way out. The fast fashion concept draws a lot of attention both worldwide and in China increasingly. It is believed that whoever masters the key to the fast fashion concept, embraces and adepts it, wins. The more successful practitioners including Zara and H&M have shown strong results even in the unfavorable prevailing economy. Zara of the Inditex Group, being the most renowned fast fashion retailer, ranked Spanish number 1 and world number 3 in the clothing retailing landscape. At the close of 2012, Zara had 1925 stores in 86 markets in five continents, with €10,541 million sales. China continued to be the market with the largest number of inaugurations, 121 in 2012, with a total of 396 stores. Zara crunches out an incredible number of styles per year, well over 10 thousands

of designs made their way from the drawing board to the shop floor with an unbelievable turnaround rate of 2 weeks. Zara flips its inventory 10 times a year which demonstrates huge difference to those names aforementioned. The Zara success in China demonstrated how rapid the change of consumer demands in the Chinese clothing market. The Zara success also renders some of the highly adopted business strategies in the industry obsolete. China's clothing market is transforming, coming out of the aged OEM model and move rapidly towards an ODM model and eventually an OBM model. Being the most sought original equipment manufacturer or an OEM in the global marketplace, China earned its share, knowledge and skills via working for offshore brands and fashion labels for decades. Recent export demand curbs encouraged the emergence of the domestic clothing markets. Chinese consumers' most basic needs were fulfilled by the wealth of knowledge and quality of the products produced by the OEMs, Internet helps maturing such consumer demands at unprecedented speed. Internet connects people to the world, aspires people and drives 72

competitions. A clothier will not be sustainable hanging on the past, being merely an OEM. Like export demand curbs led to the emergence of the Chinese domestic fashion & clothing market, the change of consumer demands calls for some new game changers. Blindly expending retail footage will no longer be a viable option as it has become very expensive and thus inefficient. To be sustainable, a clothier needs to put fashion back into the fashion business, turns their products fast enough and offers as much variety as it could to fulfill its consumers, to increase the marginal utility of its products to its consumers and earn a higher margin. Profit is the only thing that matter after all. This echoes with the fast fashion concepts and calls for adaptation of new strategies such as original design manufacturing (ODM) and original brand manufacturing (OBM) that bring about product and service innovations, instill strong brand equity and thus make a successful brand. Headquarters in Shenzhen, China, Magenta & Partners Studio Company Limited (Magenta) successfully underwent the very transformation from

潮流趋势 TRENDS

an OEM to an ODM & OBM practitioner with a set of well-built and tested methodologies in fashion brand development. Magenta renders cost-effective turnkey ODM and OBM solutions, from fashion design and development to supply chain management, to some of the major clothing enterprises in China including Baleno, Aeon Jusco, Itochu, etc. 2013 is a challenging year for all Chinese clothiers and it is thought to be more tough years to come. In order to weather through the storm, clothiers need to vigorously assess and review their business strategies to better cope with the ever-changing taste and demand of their consumers, just like Zara and H&M. Failing to do so faces an inevitable doom.

巴黎家居装饰博览会趋势解读 MAISON&OBJET Trends 作为欧洲三大著名博览会之一的巴黎家居装饰展的最大魅力是总能及时展现国际装饰界的最新动态及其他预测未来流行趋势的专业人员发布的时尚潮流趋势。从2008年开始，每年1月召开的MEUBLE PARIS巴黎国际家具博览会与MAISON&OBJET巴黎家居装饰博览会相辅相成，把家居生活所需的互为补充的两大系列产品汇聚在同一展示舞台。这个具有国际创意与超时代设计的盛会，为前来参观的观众展示着高端产品的风采。展会一直以来的定位为国际室内设计领域富有活力的商业平台，是关于公共区域和私人空间最潮流的设计趋势和创新的盛会。

1.Energies

能量

2.Illuminations

光辉

Elizabeth Leriche

又到了注入能量的时候。每当提及设计，似乎与能源节约相去甚远。然而事实正好相反。为了使更多的人有美好的体验，我们鼓励消费。引擎需要高速运转，来应对渴求变化的热潮以及巨大压力下勃发的欲望。正面的波段和乐天主义思想激励着事件向好的方向发展。这个变化对我们是有益的，它能够解放想象力，给我们的审美赋予始料未及的活力，活跃另类的思潮。

3. Funtasy

一个沉浸于黑暗之中的时代，寻求一线光芒。在光环与目眩之中的感官体验，为我们排除烦恼，照亮空间和灵魂。黑暗和光芒吸引了目光，改变了感知。朦胧的、梦幻的、迷幻的、电子魔幻效果让人惊叹。新的光辉世纪使人眩晕、心跳和强烈的触动。

幻想

4. Psychotropia

Vincent Grégoire

想象力

Franç ois Bernard

脑力激荡，设计开始发掘无形的领域，在这里，想象力和古怪混同在一起。虚幻的梦想超越真实，将我们引导至其它的空间。将思想随机弯转，迷幻的诗意发掘出隐藏的神秘事物。根据超现实主义、神秘主义、原生艺术，将我们带入一个魔幻的平行世界。

风格常常是建立在牺牲严肃教条的前提上。放大化的淘气手法，赋予生活更多的乐趣。无厘头的碰撞，诡异的颠覆，具有煽动性的拼贴，无序的组合，将新经典主义文化的规则和数码波普文化融合在一起。时髦和规则，新的打破常规的闪耀风潮，成为大胆前卫的借口。新的消遣的节目单上是幽默、嘲弄和诡诈。

潮流趋势 TRENDS

巴黎家居装饰博览会是全球唯一在专业性以及广性两个维度聚焦业内重要人士的盛会。继承巴黎的独特魅力，巴黎家居装饰博览会将独特的家居和装饰品汇集在一起，独特的产品，设计师的作品，或经典或现代的风格，无论是家用纺织用品，时装和香水，都能让观众大开眼界。巴黎家居装饰博览会分设如下馆：民族风情馆、家纺用品馆、餐桌艺术馆、空间陈列馆、装饰空间及室内装饰馆、家居装饰品馆、巴黎国际家具博览馆、文化用品礼品馆、前沿生活设计馆、内部建筑解决方案馆、户外生活艺术馆。从家纺布艺馆，室内陈设艺术馆以及前沿设计展的卓越产品，到各区域各展位，一如既往的体现着巴黎家居装饰博览会的高端品质和多样化创造性。展会的独特性和活力，使得巴黎家居装饰博览会在室内设计各领域和各行业保持着其领先地位，并在世界上多元化的领域开展和推广新业务。首届Maison &Objet 亚洲家居装饰博览会将于2014年3 月10 号-13号在新加坡湾金沙国际会展中心隆重举行，各大社交网站对巴黎家居博览会的积极讨论证实了此扩张的必要性。

MAISON&OBJET 75

设计创新国际研讨会 (家电电子类) 广交会设计主题论坛是广交会“设计提升贸易”系列活动之一，分为潮流趋势类、设计创新类两大主题板块，主要针对相关行业，探讨和分享创新理念和成功范例，分析和预测流行趋势，推广以设计促贸易、以设计促升级的成功经验。在第113届广交会期间

活动共在B区B层8号

会议室举办三期4场，邀请了13位国内外资深专家学者主讲。演讲嘉宾或是全球闻名的流行趋势权威，或是既多次获得国际设计大奖，又成功经营设计公司的资深人士，比如法国Fashion snoops亚太区销售及市场总监Michael Leow(廖志伟)、美国工业设计师协会副主席Sooshin Choi(崔秀慎)、香港著名设计师叶智荣、杭州瑞德设计李

The International Seminar on Innovative Design is one of the Canton Fair series activities of “Design to Promote Trade”. It includes two principal themes of Trends and Design Innovations, exploring and sharing innovative ideas and success stories, analyzing and forecasting trends of related industries, in order to promote the successful experience of trading and upgrading boosted by design. During the 113th session of Canton Fair, 13 experts and scholars at home and abroad were invited as speakers. They are either the world famous authorities of trends, or successful senior design company operators with multiple international design awards. The speeches were warmly welcomed by the exhibitors, and over 600 enterprise representatives participated in the seminar.

琦等等，受到参展企业热烈追捧，超过600名企业代表参与交流。

主题：探讨家用电器、电子消费品、电子电气产品等产业的设计创新理念和范例

Theme: Innovative ideas and examples of household appliances, consumer electronics and electrical products, etc.

Sooshin Choi

Dan Dongmin Ahn

Vice President of Industrial Designers Society of America

CEO of Inter Gram

第113届广交会PDC论坛演讲嘉宾

现任美国辛辛那提大学设计学院院长 2011年成为美国工业设计师协会(IDSA)副主席韩国设计师协会美国分会主席

毕业于美国艺术中心设计学院，后以优异成绩获得芬兰赫尔辛基商学院（MBA）国际设计工商管理硕士学位韩国艺术综合大学美术系客座教授著有《Design Marking》和《Marks & Logos》

获得荣誉： ·韩国优良设计奖（起亚汽车Sephia、Sportage） ·韩国首相奖及优秀设计奖（起亚Carnival） ·IF产品设计奖、IF环保设计奖、日本G-MARK奖 ·全球inclusive design理念主要奠基者，多次受邀在国际会议上进行 inclusive design 和design for innovation主题演讲

获得荣誉： ·洛杉矶艺术指导俱乐部设计奖 ·纽约ASTRID Awards ·纽约ARC大奖 ·德国IF设计大奖 ·德国红点设计大奖

设计：与众不同

设计改变世界

一、什么是设计？设计师如何能成功？好的设计，就是让产品以便宜的价格、创意的手段来改变生活，能使产品更加好看、实用、有意义。二、设计的发展可以分成三个阶段： (一)制造产品：创造更美好、有意义 (二)创造新的经验：创造出新的体验 (三)创造价值：通过市场调研，进行沟通与交流，设计出有意义的产品三、设计可分为三个层面： (一)设计是关于逻辑：指最基础的层面，产品设计的作用、使用力（度） (二)设计是关于魔术：指产品设计的物理功能，能够引起人们来使用它 (三)设计是关于音乐：指人们从产品的使用过程中获得愉悦四、设计师是由什么构成的？设计师有三个不同的功能： (一)设计师是一个概念者：能提出新的想法、概念，把自己的想法传达给别人 (二)设计师是一个联系者：把许多想法融合起来，创造更高、更大的价值 (三)设计师是一个实干者：引领自己的团队或者做出自己的设计五、设计师的设计概念结构剖析 (一)皮肤：指设计的形式 (二)骨骼：指设计的功能 (三)灵魂：指设计的意义六、杰出设计师必须具备的素质 (一)头脑：用来思考和揣测用户需求（包括想法和概念） (二)心灵：以人为本的角度来对待用户（关于顾客的感受） (三)胆量：提供及传达所有你认为是正确的想法

一、设计是关于品牌品牌是设计中最主要的因素，还需要考虑到营销和社会问题。通过产品的形状、颜色、内容，人们将认识和了解某个品牌。二、设计需要策略设计需要正确的策略，才能在市场上取得成功。三、设计是关于价值的创造设计除了把东西变得更加漂亮，考虑设计是否能让产品更省钱、更有用，同时也是一种价值的创造。四、设计是可以改变世界创新不仅是一项职业，通过网络资源的学习每个人都能产生一些非常有创意的想法及项目，设计新的产品。这样将影响到所生活的社区改变。

高端访谈

Top Interviews

企业经营 Business

设计创新 Innovation

品牌 Brands

设计与合作 Design and Cooperation

市场开拓 Market Development

PDC活动 PDC Activities

第113届广交会PDC设计展示活动期间，笔者采访了参加活动的意大利Agape Italia srl 设计公司、韩国设计振兴院KIDP、杭州博乐设计公司、格力电器、海信集团以及方太集团等。本章是他们对设计、创新、品牌等的见解。 During the 113th session of Canton Fair, the author had interviews with some of the participants in the PDC Design Show and the related activities. They are Agape Italia srl Design, Korea Institute of Design Promotion (KIDP), Hangzhou Bole Design, Gree Electric Appliances, Inc. of Zhuhai, Hisense International Co. Ltd., and Ningbo Fotile Kitchen Ware Co., Ltd., etc. The following are their insights into design, innovation and brand, etc.

Business

企业经营

格力电器海外销售公司副总经理

访谈主持 PDC 杨汉东

张征虎

PDC: How are your overseas sales going on with current situation of international economy?

PDC：在目前国际经济形势背景下，公司的海外市场方面的情况怎么样？

Fotile: Different from most of other Chinese manufacturers who are still in their stage of OEM or ODM, we are mainly focusing on building our brand in overseas markets. Our positioning is really high in these markets, and the prices may not be lower than those of congeneric products from Europe or the United States. So our first step of going out into the international markets had been very difficult, but we had also mentally prepared. During an economic downturn, low-priced products don't sell well, however, the high-end products may not be as vulnerable as what we anticipate. So despite that we had a rough beginning going out, we will stick firmly to our goal of building our brand internationally, and believe that we can do better and achieve it eventually. Fotile is currently in the leading position of the Chinese market, however, our vision is to become a respected world-class enterprise in the long run.

方太：我们做海外市场跟目前很多国内其他企业不一样，我们现在主要是做品牌，中国很多其他的企业还停留在

OEM或者ODM的阶段，做自主品牌的很少，而且我们定位很高，价格比欧美国家的产品也不见得会便宜，所以说我们在走出去的时候就已经很难了，也有了心理准备。在经济不景气的时候，低价产品的出口量往往会减少，但高档的产品却不一定会受到很大的影响，所以虽然我们前期走出去的时候很艰难，但是我们有目标，而且很坚定，坚持做自己的品牌，所以相信会做得越来越好。我们企业目前在中国还算是领先的，对于全球，我们的长远目标是做一个受人尊敬的世界一流的企业，这是我们的愿景。格力：我们也能感觉到市场上的压力，特别是传统市场，

Gree: We can feel the pressures from our overseas markets, especially from our traditional markets such as Europe and America with ﬁnancial crisis, and new markets such as Venezuela and Iran with political crisis. But on the whole Gree is still having good performance. In 2012, our sales increased by nearly 20%, with a proﬁt growth of over 40%.

如欧美的金融危机，还有新兴国家比如委内瑞拉、伊朗的政治危机导致的市场波动和压力。但整体上格力的表现还好，在2012年我们还能做到逆势增长，销售额增长接近20%，利润增长超过40%，是目前家电行业唯一的专业化的跨入一千亿元俱乐部的企业。 82

高端访谈 TOP INTERVIEWS

Innovation

设计创新

PDC：您对中国工业设计的发展现状和前景是怎么看的？

PDC:What do you think of the development of Industrial Design in China?

博乐设计：现在这个阶段真正是工业设计的春天。从几

Bole Design: Now it is the spring of industrial design in China. Firstly, we have the policy environment. Our country is unprecedentedly emphasizing on industrial design these years, and many local governments are attaching great importance to building design bases of various characteristics. Secondly, we have the industrial environment. There are so many manufacturing enterprises in China, which are the service recipients of industrial design. They are providing industrial design with a platform and opportunities, especially now when many of them are under the period of transition and innovation. And the markets today are also calling for industrial design. So I can say it is the best time for it now.

个方面来说：一是政策环境，国家是前所未有地重视工业设计，政府部门也很重视，在各地建设特色设计基地。二是产业环境，现在有那么多的生产制造企业，这都是工业设计可以服务的，是工业设计施展实力的舞台。现在很多企业在转型，在发展创新，这是一个非常好的契机。工业设计可以帮助企业在转型发展的过程中输入设计的力量，这是转型的原动力。所以无论从政策环境、产业环境、市场环境还是时间点上来说，这都是一个非常好的机会。 PDC：为什么说博乐设计是以定位为核心的？

PDC:How should we understand Bole's design is "Positioning-Oriented"? Bole Design:What do we design for? This question is what we

博乐设计：在所有的设计项目里面，我们都一直强调一点，就是为什么而设计？也就是一个设计的方向。如果没有清晰的定位，设计往哪个方向去走，或者如何评价这一个设计，都会失去方向。所谓的定位像做人一样，找到一种性格。我对产品应该赋予一种什么样的生命，什么样的性格，找准了定位之后，那么接下来的设计就会跟这家企业、这个品牌相匹配。

have always been stressing in all our design projects. This is about the direction of design, and we need clear positioning to lead our design to the right direction. Clear positioning also helps to shape the features of the product, as well as determines how the design matches with the brand and production of the enterprise. 83

PDC：你们的作品大部分也可以归为“艺术”一类，您认为艺术与设计有什么不一样的地方？你们是如何处理这两者之间的关系的？ Agape设计: 两种完全不同的感觉。跟艺术家相比，当

PDC:Your products can mostly be rated as "Art". Are there any differences between "Art" and "Design"? How do you deal with these two in your work?

你留意某一个设计师的风格时，你会发现他的作品建立在更多不同的基础上，设计师是基于某种感想、想法或要求开始进行设计，并且尝试做一些特别的东西。然而，艺术家则是更理想化，对现实生活没有太多的考虑。当我们同时拥有艺术家和设计师时，这意味着在一大系列的产品方面，有用的东西有很多。我们的作用是为他们两者之间建立一个正确的联系，尝试将设计师往艺术感方向推进；将艺术家往现实感方向靠拢。我的工作就是将设计师和艺术家的创造力、想法和感觉与现实和市场的要求匹配起来。

Agape Design：Two different feelings, completely. When you follow a designer's style, his\her work begins more from different bases than an artist because he\she normally starts from some impressions, some speciﬁc ideas or requirements and tries to do something special. However, an artist is more ideal and without much regard to the reality of life. When we have an artist and a designer together, this means something usable for a big range of products. Our function is to make the right connection between them, trying to move a designer forward to an artistic feeling and move an artist forward to a practical feeling. My job speciﬁcally is to be in the middle trying to match their creativities, ideas and feelings with the reality, and with the market requirements.

PDC：格力对于“创新”是怎么看的？

PDC:What is your understanding of "innovation"?

格力：创新代表了国家的竞争力，也是企业的灵魂。

够连续18年获得销售冠军的核心竞争力之一。至于在产品设计方面，我们很多产品也曾获得国内外的众多奖项，包括柏林设计奖金奖等。

Gree: Innovation represents the competitiveness of the country, and is also the soul of enterprise. In 2011, Gree obtained a total of 2400 new patents, bringing our products really strong competitiveness. Innovation is not just in the technical aspects, but also in creative models of marketing, which make Gree the sales champion for 18 consecutive years in the domestic market. As for product design, many of our products have obtained numerous awards at home and abroad, including the German design award.

PDC：海信的研发团队规模有多大？在设计创新方面投入的比重怎么样？

PDC:How big is Hisense R&D team? What about the investment in design and innovation?

海信：海信工业设计部门目前有一百多人，同时我们在

Hisense: Currently there are more than 100 R&D personnels in Hisense Industrial Design Department. We also have our R&D branches in the United States and Europe. Same as other large international companies, Hisense is following a fundamental principle that 7% -8% of annual turnover is used in R&D, and out of which 7% -8% is used in product design according to market requirements each year. However, the proportion of investment in industrial design is incalculable, because in fact there are too many factors related to it.

2011年全年格力就一共有2400多项专利问世，这些创新给我们的产品带来了非常大的竞争力。创新不仅仅是在技术方面，而且还有营销模式的创新，我们的国内区域销售公司制度一直是我们这么多年在国内销售市场能

美国和欧洲设立了分部，相对来说，美国的分部比欧洲的大。海信和国际上的大公司都有一个基本原则，7%-

8%的销售额是用在研发上的，而在研发里至少有 7%8%会用在产品设计上，根据市场的需求每年进行调配。而工业设计的研发比重是无法计算的，因为其实很多东西都跟工业设计有关系。

PDC：方太成立了“宁波创新研究院”，能说一下这个项目的基本情况吗？方太：这个机构主要是研究客户长期需求以及未来发展

PDC:Can you tell us something about Fotile's "Ningbo Institute of Innovation"? Fotile: Many big brands such as Samsung have their own research institutes, so do we. The main purpose of setting up our own institute is to make in-depth study and research of the long-term needs of customers and the future trends of the markets with a forward-looking vision, and to make technical reserve. We have to be the leader of this industry, and at least for now there is no problem in China, but we are looking further into the international markets. Discourse power comes from study and research, and we hope to be able to lead more trends of the market in the future. That is why we have to set up our own research institute.

趋势，用前瞻性的目光做市场调研和深入研究，做一个技术的积累。其他很多大的品牌企业比如三星等都有自己的研究院，我们也是一样，目的就是在于做技术储备和趋势了解。我们要做这个行业的领头羊，至少目前在中国是没有问题的，我们也希望以后在国际上也是一样。没有研究就没有话语权，我们目前是产品领先，但我们希望以后能更多地引领市场的趋势，所以必须要成立这样的一个机构，在了解市场趋势的同时，做技术储备。

高端访谈 TOP INTERVIEWS

Brands

PDC：格力认为品牌的创造、培养和经营的关键因素是什么？

PDC:What do you think are the key factors in brand creating, cultivating and managing?

格力：品牌是企业的生命，这是不管国家层面还是企业

Gree: A brand is the life of an enterprise. This is a very essential point from both levels of the nation and enterprise. We have a saying: "An enterprise without a well-known brand is ugly; and the one without technical innovation is spineless." The creation of a brand and its sustainable development requires a lot of factors which are working together, and ﬁrst there must be a technical support. Gree's investment in its brand building and technological innovation is very large and unlimited, which in 2012 was over 4 billion yuan and in 2013 over 3 billion. We now have over 5000 engineers and R&D staff, and many national and provincial laboratories and institutes, which we consider our core competitiveness in the industry of air conditioning. Gree is now the only world famous brand in China's air-conditioning industry, and this honorable recognition comes from our long-term efforts of proprietary brand development and enhancement.

层面都非常重视的一点。我们有一句话是这样说的： “没有知名品牌的企业是一个丑陋的企业，没有技术创新的企业是一个没有脊梁的企业。”一个品牌不是单纯的一个因素或者几个因素能够造就的，要可持续的发展需要很多因素结合在一起。品牌的打造需要做很多基础工作，但首先必须要有技术的支撑，格力在品牌打造和技术创新方面的投入是非常大并且不设上限的，2012年的投入超过了40亿元人民币，2013年也超过30亿元人民币。我们现在有五千多个工程研发人员、两个国家重点实验室、两个国家级的研究所、一个省级的重点研究室、四个研究院、二十八个研究所和四百多个实验室，这个在空调行业里是最最核心的竞争力。格力是中国空调行业中唯一的世界名牌，这个荣誉是对于我们长期坚持自主品牌发展、提升品牌含金量的认可。

PDC：作为国内厨具的第一品牌，您认为方太的产品在同行业的众多品牌中的突出优势在哪里？

PDC:What do you think make Fotile the most famous brand of kitchen ware in China?

方太：我们刚开始做方太品牌的时候就很注重差异化和

Fotile: We have been focusing on our product differentiation and core strengths since we started the brand of Fotile. There are three aspects that make our products superior to others: design, quality and core strengths. Basing on the requirements and interests of customers, we have been investing a lot in the design and development of our core technologies.

核心优势；就现在来说，有三点：设计、品质、核心优势。我们很注重产品核心技术的研发和投入，同时，我们是以顾客的需求点和利益点作为设计和开发的出发点。

设计与合作 Design and Cooperation

PDC：格力在自主创新自主设计的基础上，是否会有外部设计公司的合作？

PDC: Besides independent design and innovation, what do you think of the cooperation with third-party design companies?

Gree: We hope to see more design resources and we are happy to learn from them. In fact, many of our world leading technologies were originally learnt, digested and absorbed from our competing brands and other world leading brands. Currently Gree has been in the forefront of the air conditioning industry in terms of appearance design, product functionality design and the development of core technologies; however, as the leader of this industry, we also feel lonely with few competitors. So we will have to play with other better design companies while remaining our independency in R&D and design.

格力：如果能有更多的元素、更多的帮助力量融入，这是我们希望看到的，我们也很乐意向他们学习。包括我们现在全球领先的技术，也是在不断向竞争品牌、向国际领先品牌学习的基础上消化、吸收，才到现在的引领。从另外方面讲，不管是外观设计、产品功能设计，还是核心技术的开发，目前格力已经走在整个空调行业的最前沿，我们是整个行业的引领者，也有一种曲高和寡、独上高楼的感觉。目前我们整个研发体系和设计还是以自力更生为主，同时我们也十分乐意向好的资源学习。 PDC：在产品设计方面，海信与外部设计公司进行合作的情况怎么样？

PDC: How is your cooperation with third-party design companies in product design? Hisense: 20% of our projects each year are done together with foreign design companies, and the others are completed independently in our own industrial design center. Cooperation with external design companies is a must because one cannot solve all the problems with own strength and with blocked communications in the industry. In addition, we can improve better by absorbing new ideas from the outside world.

海信：海信每年有20%的项目是与外国设计公司一起合作的，其他的则是由我们工业设计中心自己独立完成。完全靠自身的实力是解决不了问题的，这样与业界的交流是闭塞的，所以一定要与外面开展合作。此外，外国的设计机构能带动我们水平的提高，通过吸纳外部的创意资源和思想的碰撞才能得到更好的创意。

PDC：请问方太跟瑞德设计的合作情况怎么样？方太：方太公司创立之初，第一代产品就是跟瑞德合作的。那时候瑞德和我们都是刚起家，鉴于我们总经理当时对未来工业设计的前景预测，当时选择了跟瑞德设计公司合作，推出的第一款产品比较成功，也奠定了我们两家公司长期合作的基础。 PDC：在依靠自身研发团队与跟第三方设计公司合作这两者之间，方太有哪些不同的侧重点呢？方太：我们自身的研发团队包括国内的和海外的，从人数上来说有500多人，主要是技术和功能的研发；至于外观，我们主要是委托第三方设计公司，根据我们输出的产品概念进行设计，当然这还要跟我们产品的结构、功能相结合。同时我们自己也会根据设计公司给出的外观进行结构和功能上的细化。从研发的过程来说，首先是概念阶段，设计公司把我们输出的概念和应用性图像化、可视化；然后我们技术人员通过技术把应用性实现。这是一个从文字到图像再到实物的过程，是概念实现的一个过程。 PDC: How is your cooperation going with the company of R&D Design, which is also in our PDC Design Show this time? Fotile: When we founded Fotile company, our ﬁrst generation of product was designed by R&D, which was also starting their company at that time. In consideration of the forecast of future industrial design in China, we decided to work with R&D design company to launch our ﬁrst product. It was a successful beginning, which also laid the foundation of our long-term cooperation. PDC: What is your focus when cooperating with third-party design companies? Fotile: We mainly resort to third-party design companies for appearance design, and technologies and functions are settled by our own research and development teams of over 500 people, who are based both at home and abroad. The design of a product is a combination and elaboration of structure, functions and appearance, basing on the overall product concept that we present at the very beginning of the project. This is a process from concept to image, and then to the realization of actual product, and both our own teams and third-party design companies are performing respective but cooperative duties.

市场开拓 Market Development

PDC: Do you consider the Chinese cultural background when developing for the Chinese market? Or just the original design from Italy? Agape Design : From my experience during these days, most customers are looking for good designs with specific tastes. At the moment based on the feedbacks I had, there are some potential projects, most of which are looking for something Italian original. Nobody has asked us to modify or adapt something for a specific market yet. In some cases, customers would like to develop the specific project starting from zero because they know which kind of market they want to touch and go in to.

意大利Agape设计总经理 Alessandro Nunziante

PDC：针对中国市场开发的产品，是否要考虑中国的文化背景？还是意大利设计的全盘引进？ Agape设计:从我这些天的经历来看，大部分的客户是在寻找有独特品味的优秀设计。基于我获得的反馈信息，目前还没有客户要求我们去为某一特定的市场进行更改或调整，一些有意向合作的项目也是在寻找意大利原创的设计。在某些项目中，客户希望从零开始，他们知道自己想接触并进入哪些市场。

PDC: What make your design distinguished from others in the Chinese market? Agape Design: Our designers are from Italy with speciﬁc cultures not only in design but also in the ways of life, food and history. The European culture is really rich in old day's minds, and we have to use it in the best way possible because probably it is one of the most important assets that we have now. We always try to do our best to select the best designers, to give designers our best to improve - the information, the knowledge, the capacity and the opportunity to go worldwide and pick up the details everywhere. From my experience of nearly 30 years since 1982, in my opinion, when we work hard, the ﬁnal design is not always the best but one of the best. So at the end, our product has to be different from others. This is the key of success for everybody.

PDC：您觉得你们的设计在中国市场跟别人相比有什么方面的优势呢？ Agape设计:我们的设计师均来自意大利，意大利拥有特定的文化背景，不单单是在设计上，还体现在生活方式、饮食和历史上。欧洲丰富的文化源于古老的智慧，我们必须更好的去运用它。依我看来，从1982年至今，近30 年的经验告诉我，当我们尽力投入时，最终的设计成果虽然不总是最好的，但也是最好的设计之一。总的来说，我们的产品一定要有别于其他产品，这对每个人来说都是成功的关键。

PDC: What are the characteristics of Korean design? What advantages of Korean design should be emphasized in the Chinese market? KIDP: Korean design has made high-level achievements in a short time based on the government's education policies and the rich human resources of design. The levels of Korean design especially in IT, electronic products and automobiles can be said to have reached world-class standards. In the future Korea and China will establish a closer relationship of design in these areas, and contribute efforts to the common development of design industry in both countries.

PDC：总体上来说，韩国设计有什么特点呢？在进入中国市场时需要突出哪些方面的优势？ KIDP：韩国的设计是以中央政府大力推行的教育政策和丰富的设计人力资源为基础的，在短时间内发展到了高度的水平。尤其是IT、电子产品，以及汽车领域的设计水平，可以说已经达到了世界级的水准。日后韩国的设计将在这些领域和中国市场建立紧密的合作关系，同时也为两国共同的设计产业发展而努力。 88

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PDC：韩国设计公司是如何跟中国的生产企业进行合

PDC: How do Korean design companies cooperate with Chinese manufacturers? What do you think of this cooperation?

作的？您是怎么看的？ KIDP: 一般来讲，设计开发是设计公司与制造公司在共

KIDP: Generally speaking, the cooperation between design companies and manufacturers is mostly based on piecework under joint efforts. This will not differ much with the cooperation between Korea and China, most of which are in IT equipments and electronic products. In order to achieve successful designs and developments, design companies need to have the profound understanding of the status of manufacturing companies and the time and collaborative system required to solve the problems. From my point of view, the form of cooperation based on long-term contracts(Patent Deed) would be the most reasonable solution which can not only improve the commercialization of the design and its success rate in the market, but also increase the revenues of both manufacturers and design companies.

同开发的基础上，按件数进行项目合作的情况居多。韩国设计公司在中国的合作也不会有太大的不同，到现在为止大多数是以IT器械或者电子产品为主的设计合作。为了成功的设计开发，设计公司有必要深刻地把握了解制造公司的现状和解决问题所需的时间以及协作体系。从这点来看，我认为制造公司和设计公司间的长期合约（专利契约）形式，是既可以提高设计开发产品的商品化及其在市场上成功的可能性，又能使制造公司和设计公司双方的收益同时增加的最合理的方案。 PDC：对于韩国与中国在设计领域的交流合作，您觉得我们还可以做哪些方面的努力？ KIDP：我认为这期间中韩两国在经济、贸易领域的交

PDC: What do you think we still need to do further regarding the cooperation in design between Korea and China?

流合作有了快速的发展，但在设计领域还停留在起步阶段。为了双方交流合作的扩大，第一步应该放在中韩两国对彼此的设计产业正确地理解并把握其特征方面上。为此，KIDP China首先通过中韩设计论坛、中韩设计类大学研讨会，以及K-design特别展等活动，促进两国的设计界互相了解对方的设计产业，并正在推进能够加强双方关系网络的事业。

KIDP: I think there have been rapid developments in economic and trading exchanges and cooperation between China and Korea in this period, however, we are still at the primary stage in the ﬁeld of design. In order to expand exchanges and cooperation, the ﬁrst step should focus on the understanding of each other's design industry and the characteristics. For this purpose, KIDP China has been promoting the two countries' mutual understanding of each other's design industry through activities such as the Korea Design Forum, university design seminars, and K-design special exhibitions and so on. Further more, it is also trying to promote business which can strengthen bilateral network relations. 89

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PDC: What do you think of the PDC design show? Bole Design: The Canton Fair is known as one of the largest trade fairs in the world , which has the biggest exhibition scale and receives the biggest number of exhibitors and buyers. It is a great opportunity for design companies to show their design ability on this platform. PDC Design Forum is a very good activity which allows design companies to interact with the manufacturers on subjects of design concepts, design methods, design practice and design output, etc. This is very beneﬁcial to both design companies and manufacturers.

PDC：对参加广交会PDC设计展示活动有何感想？博乐设计：号称天下第一大的广交会，无论是参展商还是采购商，数量上和规模上都是最大的。设计公司能在这样一个平台上展示设计服务，是一个非常好的机会。 PDC设计论坛的形式也非常好，把对设计有真正需求的企业组织起来，让我们设计公司能够比较有针对性地把设计理念、设计输出、设计方法，以及根据企业所处的规模如何导入设计等等问题与生产企业互动。PDC提供这样一个平台，对设计方也好，对生产企业也好，都是非常好的机会。

PDC: PDC is also trying to bring in more excellent design strength in order to promote design and innovation in China, and help more China's enterprises to grow sooner by sharing the experience of innovation. Gree: We are glad to see that PDC is leading enterprises on the way to focus on design and creativity. The creativity of any enterprise calls for a social environment of innovation, without which an enterprise cannot survive long no matter how well it has been performing now. As an enterprise, we are totally responsive to our country's policy of transformation from "Made in China" to "Created in China", and we think that the setting up of the CF Awards is quite a creative approach for Canton Fair. As a leader in China's air conditioning industry and one of the representatives of Chinese famous brands, Gree would like to shoulder the social responsibility by extending its experience to the society and leading the whole Chinese manufacturing industry to the top of the world. PDC is a good platform to generate creative ideas through communication and comparison, so we welcome it and would really like to participate in it. We really need to learn from each other and improve together, so that we can play our due roles to promote the image and competitiveness of our country in the world.

PDC：PDC的目的也是要通过引进国内外优秀的设计力量，推动中国企业的设计创新，同时也让更多的中小企业学习到优秀企业的创新经验。格力：我们很乐意看到整个社会的创新，因为一家企业的创新是需要环境的，一家企业做得再好，如果整个社会环境创新氛围不强的话，企业也走不了多远。广交会出口产品设计奖，我们觉得这就是一个非常好的创意。国家现在也提出从“中国制造”到“中国创造”的转型，企业是非常响应的。作为空调行业的领导者和中国知名品牌的代表，格力有这方面的经验，也希望将这种经验推广到社会，并能够带领整个中国的制造业一起向世界的最高峰冲击，尽到应该尽的社会责任。PDC这种形式我们非常欢迎，也非常乐于参与，只有大家在一起交流、比较，才能碰撞出火花。然后也希望通过这个平台多向大家学习，跟大家共同成长，促进中国制造转型为中国创造，对整个国家的形象和竞争力起到我们应有的作用。

Hisense: Currently, most China's SMEs are beginning to take design seriously, however, most of them are still unaware of how design helps with their development. Industrial design is beyond the design of product itself, and it is about how to apply those new ideas to the right places of the production processes. There will be mistakes and obstacles before this is fully understood. Many manufacturers still haven't begun to realize it yet. However, some large enterprises including Hisense have already gone through this period of setback and have already gained their own experience and mastered the advanced methods. I think PDC is a really good platform for everyone to communicate and exchange different ideas together.

海信：目前大部分中小企业都开始重视设计，但是还只停留在“重视”设计的阶段，至于“如何重视”，他们了解得还不多。“如何重视”设计比“重视”更关键，这个是值得讨论的。工业设计不在于设计本身，而是在于把它放在哪个生产环节，把这个理顺了就能出成果。有的企业连弯路还没开始走，有的已经走过了，包括海信在内的大型企业，都走过弯路，在工业设计发展这一块都有自己的经验，也创造了自己的特色和掌握了先进的方法。我觉得大家在这样一个平台上一起交流，沟通有无，这是非常好的。 90

PDC专版 PDC Special

直击PDC “设计提升贸易” A Summar y of PDC Design Activities th in 113 Session of Canton Fair

第113届广交会PDC媒体报道 th

Media Reports on PDC in 113 Session of Canton Fair

第114届广交会PDC亮点一览 Highlights of PDC in 114 t h Session of Canton Fair

第114届广交会主要论坛活动 th

Main Activities of 114 Session of Canton Fair

PDC专版 PDC SPECIAL

第113届广交会展览面积为116万平方米，展位总数59531个,比上届增加22个。境内外参展企业24746家。境外采购商与会202766人，来自211个国家和地区，比第112届同期增长7.06%。本届PDC设计展示面积达895.5平方米，比上届增长73%。期间，PDC“设计提升贸易”系列活动，根据广交会不同展期产品类别，包括设计展示、设计对接、主题论坛等25场专题活动，吸引了来自法国、希腊、荷兰、意大利、西班牙、日本、韩国及大陆地区、香港地区、台湾地区等10个国家和地区的45家境内外设计公司/机构，160余位工业设计师、品牌营销专才及流行趋势分析预测权威，近1500家企业、超过1万人次参与活动，达成合作意向9000多项，有力促进了工业制造与设计服务的对接合作。

直击PDC “设计提升贸易” A Summar y of PDC Design Activities in 113 t h Session of Canton Fair

The 113 session of Canton Fair had witnessed more active participation of exhibitors in PDC design activities to increase competitiveness. It was partly because the increasing number of designers and design organizations can provide more options for enterprises, and therefore the displaying areas had risen by 73% to 895.5 sqm than that of last session in October. There were in this session over 160 designers and brand management professionals from 45 domestic and foreign design companies and associations in 10 countries and regions including China mainland, Hong Kong, Taiwan, France, Italy, The Netherlands, Greece, Japan, Spain and Korea. It was also because of the design activities held by PDC that help enterprises to ﬁnd solutions and satisfy their demands. There were 4 design theme forums and 16 matchmaking activities with enterprises organized by Jiangsu trade delegate, Hangzhou trade delegate, Ningbo trade delegate, Shenzhen trade delegate and Guangzhou trade delegate. Over 10,000 buyers and exhibitors attended these forums and activities. 95

第113届广交会PDC媒体报道 Media Reports on PDC in 113 t h Session of Canton Fair

本届广交会PDC系列活动得到了与会媒体的高度关注，新闻媒体对PDC在协助参展企业加强自主创新和品牌建设，推进外贸发展转型升级中发挥的积极作用进行了充分、客观和深入的报道。 PDC design ac vi es had a racted great a en on from media, which were giving full and objec ve reports on PDC in assis ng Chinese enterprises in self‐innova on and brand‐ building, and on its ac ve role in promo ng the transforma on and upgrading of foreign trade. 广交会: 龙头企业不惜重金“砸”工业设计设计展位猛增 66% 2013年 04 月 16 日 11:32

来源：州日报

“中国设计”在广交会上“出口”了！

中国制造：开创有“设计”的未来

来源:金羊网—民营经济报

发表时间：2013-04-20 10:49:44

2013-05-15 08:58:40 来源:国际商报作者:刘昕已经连续举办 5 届的广交会产品设计与贸易促进中心受到了与会者的较高评价。它意在直接推动中国本土设计力量的提升，也在提醒从被误解到回归本质的中国制造——提升产品应用和外观质量，是成功的关键。以设计促贸易路有多远？虽然在第 113 届中国进出口产品交易会上广交会产品设计与贸易促进中心（以下简称 PDC ）举办的一系列活动受到设计机构、参展企业的较高评价——调查显示，设计机构对此次参展效果在达到预期值指标上打分（十分制）为 7.32分，且预计第 114 届展位的意向率第 113 届广交会于昨天开幕。相比历届广交会，本届广交会的一大亮点是设计展位增长超过 90% ——但作为只运营了 5 期的项目来说，成长需要走的路还很漫长。 66% 。以设计促进贸易方面，困扰企业的问题有很多，一方面是研发投入，另一方面是对轻工原来，在中国制造向中国创造的转型升级大机遇中，越来越多的企业家重视工业设计，类产品至关重要的外观设计环节。外观设计是专利中最难保护的，这也使中国产品的同质化不惜重金。于是，世界各国的设计师们纷沓而至，年轻的中国设计“野蛮”生长，基于本源问题严重。解决这些问题，需要企业的探索，也需要 PDC 这样的平台不断成熟。文化的中国设计越来越有魅力。让理想接近现实漫步在广交会 A 区、B 区，每隔几步就是一个设计展位。洛可可设计、韩国设计师、除了扩大规模邀请国内外一些知名设计机构参展外，本届广交会还启动了“青苗设计师连接巴塞罗那的桥梁、来自意大利的简单城市等等，让人目不暇接。培育计划”。PDC 物色了一批国内产品设计领域的青年设计师参与，并在人流密集的展馆过道上免费提供展位，就是为培育国内设计人才提供快速成长的平台。展馆内的设计公司展位。记者顾展旭摄

但在采访的几天中，记者发现，在青苗设计师的展位前驻足的人很少，在展期接近尾声的后两天，偶有戴着参展商证件的客人拿起设计师作品观摩、询问，随即便放下离开了，并没有主办方所期待的“搭桥铺路后的欣然成交” 。

刮起“主题设计”风

本报讯记者林晓曼摄影报道：国内工业设计公司连续参展 3 届，终于跨出了国门。记者在本届广交会上了解到，国内工业设计公司，从“零”参展，到“出口设计”，仅用了短短的一年半时间。尽管可能只有少量的合作，但是中国企业还是正努力从“中国制造” 向“中国创造”慢慢靠拢。进入广交会不容易在本届广交会上，设计展区进一步加大阵容。根据广交会开幕前新闻发布会公布的数据，本届广交会产品设计与贸易促进中心（PDC）展示规模扩至 859.5 平方米，比上届增长 66%，比刚创立时增长了 4 倍。

2013 年 04 月 21 日 23:14 来源：国际商报本届广交会期间举办的设计主题活动由上届的 10 场增至 22 场。很多企业在市场倒逼下打出了“创新牌”，并已见成效。但业内人士反映，目前外贸企业做创新仍缺乏市场认知度，市场与产品连接并不紧密，收费和分利模式还有待成熟。

中国工业设计点亮 2013广交会设计、制造商合作转型

在广交会现场，如果要问最吸引采购商的是什么，答案肯定是经过精心设计的展品。功发布时间:2013/4/19 13:56:49 来源：国际在线编辑: 徐慧晶能多、外观美、设计更加人性化，这些特点足以吸引消费者。

原标题：中国工业设计点亮 2013 广交会设计公司与制造商合作转型谋求创造型收益第 113 届广交会，富有新意的展品和设计公司比往届明显增多，广交会作为“中国第一展”，不仅是外贸形势的风向标，也是外贸产品甚至企业战略变化的风向标。有着外贸“晴雨表”之称的 2013 广交会第一期 19 日结束。在 2013 广交会上，来自世界各国顶尖的设计公司云集广交会展馆，成为一大亮点。2013 广交会的设计展示活动吸引主题设计活动翻番了 45 家境内外设计公司参与，设计展示面积也比上一届增长了 66％，此项举措体现出广交一款指甲刀，卖价 100 元，而且要做到抢手，有可能吗？如何才能做到？会培育外贸竞争新优势以及推动中国本土设计力量提升的决心。

广交会上浙江创意让人眼馋外商“抢”走创意便携插座来源: 浙江在线-钱江晚报时间: 2013年 04 月 18 日 08:25:38 一把名为“拓朴”的旋转拖把，从外贸加工制造到自主品牌进入国内家居用品市场，从 2000 万元的销售猛增到 3.8亿元。

在第 113 届广交会现场，记者见到了这款并不神奇的指甲刀。设计师们大胆地在小牛皮 “去年 PM2.5 ，于是就推出了茶几式的空气净化器。具备有空气净化的能力，但我们可背面涂上磁粉，覆盖在冰冷的不锈钢之上。这一小小的改变，使得指甲刀更加安全、美观，以按照不同的 SIZE 和不同的使用场景量身定制。就是把它的功能整合到传统的家具当中时尚之余包含了刚柔相济的文化内涵。去。 ”这是来自杭州凹凸工业设计有限公司的创意产品，而类似空气净化茶几这样的独创设计在今年的广交会上随处可见。来自深圳的洛可可公司是国内工业设计的专家。该公司设计深圳洛可可工业设计有限公司市场部经理闵大炜说，这款产品是韩国可宝公司为了突破师刘奇告诉记者，他们自主设计的产品在国际上获得多项大奖，而一款名叫“高山流水”的纯代理的业务瓶颈而找洛可可公司设计的，重新设计的指甲刀不仅卖价达到 100 元人民币，香薰烛台，因其独特的“中国风”设计受到了许多国际客户的喜爱： “外国客户的话主要是还荣膺国际红点大奖。以这种对生活有追求，追求品质生活、高端生活层次的消费者多一点。与外国客户合作现在实际上，这样的产品还有很多，如健身出游多功能步进自行车、裸眼 3D主要有两种方式：一个是设计上的交流和往来，或者是业务上的沟通；第二种方式是出口自电视、透明 3D 电视、微型投影仪„„的确，设计和创新在本届广交会上体现得格外明显。而那些以“不变主品牌的一些产品，比如说‘高山流水’这样的产品卖的比较好一点，而且得到国外一些客户的认可和赞许。 ”

广交会:" 中国设计"和"世界设计"同台 2013-04-23 17:53:43 来源：羊城晚报 [提要]

正在如火如荼举办的第 113 届广交会上，昨天，6 家杭州设计公司的代表向往来客商“秀” 了一把浙江创意。

中国设计公司在寻求国际客户的同时，许多国外设计公司也在积极与中国企业合作，打造创意产品。韩国 GOTH DESIGN 工业设计公司就是其中一例。该公司工作人员李小姐告 PK 诉记者，韩国设计公司因为地理位置和文化同源等优势深受中国合作伙伴的喜爱。

本届广交会的一大亮点，正是“设计促进贸易” ，主办方希望通过推广这一理念，引导工业设计师眼中的广交会：介入转型升级机遇广企业转型升级。在“Made in China ”向“Create in China ”的转型升级大机遇中，包括浙企

来源: 浙江在线-浙江日报时间: 2013年 04月 22日 06:57:31 在内的越来越多企业重视工业设计，不惜重金。

直击第 113 届广交会：不少企业表示，目前做自主品牌不如 OEM 好赚，希望得

这次组团出击的“浙江工业设计军团”阵容强大，包括了杭州瑞德设计、飞鱼设计、博乐设计、源骏工业产品设计、凸凹工业设计、斯帕克造型艺术等 6 家工业设计企业参展。几家工业设计企业分享的一些新概念产品，也吸引了众多往来客商的眼球。

到政策支持。有本土设计界人士感慨，如今设计创新早已不仅是为了提高附加值，而且是中国工业未来的出路和方向。直击第 113届广交会：不少企业表示，目前做自主品牌不如 OEM 好赚，希望得到政策支持由中国“第一夫人” 彭丽媛所引发的中国本土设计力量崛起的话题，在本届广交会上得到了进一步诠释。羊城晚报记者发现，本届广交会上的最大亮点，无疑是众多国内设计公司首次走出台前，与法国、意大利、荷兰、西班牙等 10 个国家和地区的设计公司“一较高下” 。

PDC专版 PDC SPECIAL

越来越高级别的关注和重视 More Attention from the Ministry of Commerce

2013年4月，商务部国际贸易谈判代表（正部长级）兼副部长钟山和参加PDC活动的杭州瑞德设计公司的设计师亲切交流。 Mr. Zhong Shan, China International Trade Representative (ministerial level) and Vice Minister of Commerce, was talking friendly with designers from Hangzhou R&D Design during the 113th session of Canton Fair.

2013年4月，商务部李金早副部长和参与PDC活动的深圳洛可可设计公司的设计师亲切交流。 Mr. Li Jinzao, Vice Minister of Commerce of PRC was talking friendly with designers from Shenzhen LKK Design .

越来越多的知名设计公司 More Famous Design Companies

设计展示

知名设计公司踊跃参与：法国米罗设计意大利Simplicity设计日本喜多俊之设计深圳洛可可设计杭州瑞德设计飞鱼设计国内外知名设计公司积极参加系列活动。 ...... 韩国设计振兴院与韩国贸易振兴社联手再次组团参展。 98

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越来越大牌的设计师

会议论坛

More Celebrated Designers

论坛嘉宾与PDC领导留影

美国工业设计师协会副主席Sooshin Choi、香港著名设计师叶智荣、杭州瑞德设计李琦、洛可可设计李毅超和韩国设计振兴院、法国 Fashion snoops、台湾特力集团的代表等应邀担任论坛嘉宾。主题论坛覆盖了产品设计策略研讨、品牌营销战略、潮流趋势预测发布等领域，着重提升高端资讯服务内涵，为家电、电子、礼品、家居、服饰以及相关行业带来前瞻性启发。第 113届广交会期间、6场设计对接活动与江苏、福建、深圳等交易团开展了定向合作，组织设计师和企业进行分行业、分市场的精准对接。

美国工业设计师协会副主席Sooshin Choi、香港著名设计师叶智荣参加会议论坛活动

越来越多的参会人员

设计对接

More Activity Participants

设计对接活动现场

企业代表与设计师交流

Gree Electric Appliances, Inc. of Zhuhai Overseas Sales Co. Vice General Manager Eric Zhang: Currently Gree has been in the forefront of the air conditioning industry in terms of appearance design, product functionality design and the development of core technologies; and we are also expecting to bring in more creativity and third-party design strength. The creativity of any enterprise calls for a social environment of innovation, without which an enterprise cannot survive long no matter how well it has been performing now. We are glad to see that PDC is leading enterprises on the way to focus on design and creativity.

珠海格力电器股份有限公司海外销售公司副总经理张征虎：在外观设计、产品功能设计和核心技术的开发方面，目前格力已经走在整个空调行业的最前沿。如果能有更多的创新元素、更多的外部设计力量融入，这是我们希望看到的。一家企业的创新是需要环境的，一家企业做得再好，如果整个社会环境创新氛围不强的话，企业也走不了多远。我们很乐意看到PDC在引导广交会参展企业注重设计、创新中所发挥的重要作用。

Industrial Design Center of Hisense Group Director Difei Wang

海信集团工业设计中心主任王涤非：在过去，工业设计的影响力还不足够，也常常受制于其他环节，比如说技术、成本、市场等方面的意见，工作比较被动。现在，随着工业设计的创新能力的提高，设计所体现的价值越来越大。工业设计得到了高度重视，在研发管理流程上也得到了革新和优化。工业设计的话语权越来越重，在创新体系中的引领作用越来越明显了。因此，我期待并相信PDC系列活动必将进一步提升企业对设计创新重要性的认识，并发挥设计创新在企业发展中的重要作用。

In the past, industrial design was passive and less persuasive as it was subjected to other factors, such as technology, cost and marketing. But now, the value made by industrial design is increasing and more attention has been drawn to it. Industrial design today has more say and a stronger leadership in the innovation system, and the R&D management process has also been innovated and optimized. I am looking forward and believing that the PDC events will raise enterprises' awareness of design and make the best use of design in their development. 100

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越来越丰富的服务

设计服务

More Services

PDC设计服务合作机构DESIGNLOBBY.ASIA展位

设计师与企业间的交流，是一种跨行业的交流；中国企业与国外设计师间的沟通，是跨国界的沟通。PDC 发现国内企业和国外设计师在沟通上存在巨大障碍，这些障碍严重影响双方的合作效率和效果。根植于广交会，PDC充分理解中国企业的设计需求，又知道如何让设计师的理念成功植入到企业的产品中。因此，PDC专门提供设计服务，协助企业与设计师进行畅顺沟通，从而促使双方达成高效合作。

PDC finds that there are big communication barriers between the Chinese manufacturers and the foreign designers, which has immense negative impact on the cooperation efficiency and effects. Based on the Canton Fair, PDC can fully understand the design requirements of Chinese manufacturers and how to successfully implant the designers' concepts into the products. PDC Design Service can smoothen the communication between manufacturers and designers, and achieve more efficient cooperations.

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越来越多的品牌入驻

设计廊

More Cooperating Brands

设计廊礼品销售中心

PDC设计廊位于广交会展馆内人流最密集的珠江散步道，大型展览期间均对外开放，面向数十万中国及全球的客商，展示并销售高品质原创设计产品。依托广交会丰富的客商资源, PDC设计廊已经成为一个国内外品牌拓展市场、提高知名度、扩大销售网络的的高效平台。目前与 PDC设计廊建立合作关系的有二十六家国内外知名创意品牌。未来，PDC 设计廊将成为各界设计师创意产品的汇聚地。

PDC Design Gallery locates at the Pearl Promenade -the main corridor of Canton Fair Complex. It is open d u r i n g a l l m a i n e x h i b i t i o n s a r o u n d t h e y e a r, embracing hundreds of thousands of visitors from China and the rest of the world. It shows and sells various high quality products with original designs. Based on the rich business resources of CantonFair, PDC Design Gallery is an efﬁcient platform for brands to raise prestige and to expand the markets at home and abroad . Currently PDC Design Gallery is cooperating with 26 famous creative and designing brands at home and abroad, and it is aiming to develop into a gathering place for all creative products of different ﬁelds. 设计廊礼品展示 102

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越来越大的社会责任

青苗计划

More Social Responsibilities

广交会珠江散步道青苗设计展位

设计创新的主体是企业，主力是设计师，而青年设计师是主力中的先锋。在全国工业设计兴起的浪潮中，广大的青年设计师必然要肩负起其重大的历史使命，为此，PDC首次启动青苗设计师培育计划，物色了一批国内产品设计领域的青年才俊参与，旨在为青年设计师和高校设计类专业学生提供一个免费、高效的展示和发展平台，同时也为中国制造企业发掘人才、促进创新。请参阅《全盘意识下的家具产品设计价值观》。青年设计师周宸宸向国外买家推广自己的设计

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第 114 届广交会

亮点一览

为贯彻落实十八大精神，强化贸易政策与产业政策相协调，培育外贸竞争新优势，由商务部外贸司主办、中国对外贸易中心承办、广交会产品设计与贸易促进中心（以下简称PDC）协办的 “设计促进贸易”系列活动将于第114届广交会期间举办。本届的亮点如下： In order to implement the spirit of the 18th congress of Chinese Communist Party, strengthen the coordination of trade and industrial policies, and fost er new competitive advantages of foreign trade, the "Design to Promote Trade" series of activities will be held during the 114th session of Canton Fair. These activities are hosted by the Foreign Trade Department of the Ministry of Commerce, organized by China Foreign Trade Centre, and co-organized by Canton Fair Product Design and Trade Promotion Centre (PDC). The highlights are as follows:

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PDC专版 PDC SPECIAL

西班牙

亮点一展示规模保持快速增长，地区组团参展活跃 Rapid growing of exhibition space, active group participants

西班牙驻广州总领事馆商务领事一行莅临PDC办公室筹划第114届广交会PDC西班牙设计主题活动事宜

“西班牙设计”将在今年10月份再次亮相广交会，由7家西班牙设计工作室组成的展团将在广交会琶洲展

截至目前，设计展示活动已有来自意大利、西班牙、法国、澳大利亚、荷兰、韩国、德国及中国香港、中国台湾、中国大陆等10个国家和地区的74家设计机构、13 名青苗设计师参展，展示面积将达1129.5㎡，较第113 届增长31%以上，较刚创立时的规模增长了6倍多。显示出PDC平台对设计行业的吸引力在逐步提高。其中，PDC首次在展馆C区新增144㎡展位，实现将设计资源引入到展馆各个区域，为企业和设计师的“面对面”和“点对点”高效对接创造更多支点。展团方面，广州市工业设计行业协会、上海国际工业设计中心均为首次组团参展，西班牙、法国、台湾则为再次组团参展，以组团形式参展的面积达432㎡，占总展示面积近4成。

Spain

Up to now, there has been a grand total of 74 design companies\organizations from 10 countries and regions participating in the 114th session of Canton Fair PDC design show and the related activities. These countries and regions are Italy, Spain, France, Australia, the Netherlands, Korea, Germany, Hong Kong SAR, Taiwan and Mainland China. There are also 13 young design talents attending the exhibition. Exhibition space of the design show in this session has reached 1129.5 ㎡, with a 31% increase compared to that of 113th session, and 6 times more than the initial design show when PDC was launched. In this session, PDC extends the design show area of 144㎡ to Area C of the Canton Fair Complex for the ﬁrst time, providing more opportunities for enterprises and design companies for their " face to face " and " point to point " communications. Guangzhou Industrial Design Association and Shanghai International Industry Design Center make their ﬁrst design show in group; and Spain, France and Taiwan continue to attend the design show in group since last participation, making the exhibition space for group participants 432㎡, which is about 40% of the total exhibition space.

Spanish design will be, once again, present at the following session of PDC Design Show. Up to seven different studios will gather together under the booth of Design from Spain at the Pearl Promenade in area A of the Canton Fair complex. Coming from Barcelona, Madrid, Basque Country and Valencia, the most developed areas in the design ﬁeld, they are looking forward to establishing cooperation with Chinese enterprises. They are specialized in the industrial design, interior and public spaces design, furniture and houseware design, etc. These seven studios work with creativity in a dynamic way. Never forget to take into account the functional aspects, market demands and the fabrication process. They have received many international awards, yet in China, and worked with clients all over the world. The close cooperation between Spanish Design and Chinese enterprises in the South of China is just going to be materialized in the upcoming opening of the China -Spain Design Center, located in Guangzhou. The event coincides with the 40th anniversary of the diplomatic and economic relationship between both countries. 105

馆 A 区珠江散步道上呈现。这些工作室均来自西班牙设计最发达的地区——巴塞罗那、马德里、巴斯克和瓦伦西亚，主要从事工业产品设计、室内和公共空间设计、家具和家居用品设计等多个领域，曾获得许多国际知名设计奖项，客户遍布全世界。他们也非常期待与中国企业展开更深入紧密的合作。

France

法国

今年的展会由UBIFRANCE（法国驻华使馆商务处/法国企业国际发展局）和APCI共同举办。后者通过多种推广活动，包括1999年成立的国际设计大奖“ Observeur du Design ”，把设计作为企业竞争力的关键组成部分。法国设计师所接受教育的院校是国际知名并被业界广泛推崇的（比如École Nationale Supérieure des Arts Décoratifs, Boulle, Duperré 和 Olivier de Serres art schools等等），这些院校每年培养出5000 多名设计专业学生。正因为如此，教育和经验是法国独特的创造力及认知的关键所在。

This year's event is being organized jointly by Ubifrance (Agency for the international development of French companies) and the APCI (Agency for the Promotion of Industrial Creation). The latter promotes design as a key component in business competitiveness through several initiatives, including the "Observeur du Design", an international design award founded in 1999. French designers are educated in schools ranking among the world's most prestigious ones (such as École Nationale Supérieure des Arts Décoratifs, Boulle, Duperré and Olivier de Serres art schools), as well as in establishments，whose professionalism is widely acknowledged providing education to more than 5,000 students each year. Education and experience are the keys of the very unique french creativity and cognition. Exhibitors this year: Denali : industrial design www.denali.fr ADI Pineau Le Porcher : design and brand strategy www.plpdesign.net

台湾 Taiwan 台湾跨域设计整合服务2013秋季广交会首度登场由来自台湾的国际文创品牌─艺拓国际，集结丰沛设计专擅和能量，整合多次夺得国际IF、红点设计大奖之设计服务公司，首次在2013秋季广交会隆重登场！除了设计服务，并集结品牌策略服务及视觉整合包装系统服务，首度推出「设计服务整合」计划，从礼品端到市场定位、品牌端；生产端到设计、视觉与策略端，为客户量身打造最完备贴心的一条龙全方位「设计整合服务」。

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Taiwan will make its debut to offer cross-cutting integration design service during the Canton Fair in Autumn of 2013 Artilize Worldwide, an international cultural and creative brand from Taiwan, will make its extreme debut in the Canton Fair in Autumn of 2013 with its design specialities and energy, together with other design companies which have repeatedly won the international awards such as IF and Red Dot, etc. The program of "Design Service Integration'' has been launched for the ﬁrst time integrated with services of design, brand strategy and visual packaging system, providing clients with customized one package and all-around integrated design services covering from gift to market positioning and brand, and from production to design, vision and strategy.

PDC专版 PDC SPECIAL

上海

广州广州兼有发达的工业经济和丰富的岭南文化资源，创意汇聚，设计产业蓬勃发展。广州市工业设计行业协会整合广州优秀设计企业资源参加第114届广交会设计展，参展企业涵盖家具、照明、服装、陶瓷等多个领域，全方位推动广州设计走向世界，为广州设计发声。

像很多其他城市一样，上海也有着其悠久的历史，我们强调历史时期以及上海政府在保持上海的城市地位方面所作出的努力的重要性，因为它让设计人员能拥有基于历史全局的国际设计视野，形成自己的创新设计理念并发挥出来。自2005年以来，上海的工业设计情况发生了非常大的变化，从一开始一些零星的外国设计师到现在大量的国际公司、新兴企业等，上海本土很多新成立的设计机构也成长为大规模的设计服务公司。上海的周边地区以制造业发达而出名，而上海本身就是品牌公司设立营销办事处的最好的集中地。此次上海设计公司组团参加第 114届广交会PDC设计展示，将助力广交会广大生产企业进一步转型升级，提升整体设计能力。

Guangzhou

Shanghai

Guangzhou is a city with both well-developed industrial economy and rich resources of Lingnan culture, and a place where creativities are gathering and the design industry is booming. Organized by Guangzhou Industrial Design Association, a great number of excellent design companies in Guangzhou are about to participate in the 114th session of Canton Fair PDC Design Show. The design offered by these companies is covering ﬁelds of furniture, lighting, clothing and ceramics, etc. All efforts are to make voice for Guangzhou Design and comprehensively promote it into the world.

Like many other cities , Shanghai also has a long history, we emphasize the importance of the colonial times and the effort of the Shanghai government to preserve the identity of the city. This is important because it enables designers to have an international design perspective over all times, to put ideas in context and formulate their own innovative design vision. Shanghai design has changed rapidly since 2005, from a few foreign designers to now busloads of international design companies, start-ups, and designers. Also the local design scene grew substantially, with some early starters to be large size design service companies. The area around Shanghai is famous for manufacturing, and shanghai itself is a f avorite hub for brands to set-up their marketing ofﬁce. The th participation of Shanghai design companies in the 114 session of Canton Fair PDC Design Show will effectively promote the growing and upgrading of Chinese manufacturers. 107

亮点二成立中国-西班牙设计中心，举行西班牙设计主题活动 Founding of the China-Spain Design Center, theme activities of Spanish Design 西班牙设计界非常重视广交会PDC这一能与中国生产资源高效对接的平台，在西班牙驻穗领馆以及马德里、巴塞罗那、瓦伦西亚等地方政府或设计机构的推动和合作下，PDC将成立“中国—西班牙设计中心”，该设计中心将成为西班牙设计资源和中国生产资源对接的门户。同时，第114届广交会将举办多场西班牙设计主题活动，包括巴塞罗那设计专题研讨会（推介巴塞罗那的特色设计）、西班牙设计主题活动开幕仪式暨“中国—西班牙设计中心”揭牌仪式和西班牙设计专题对接活动。这是 PDC为加强与设计资源丰富的国家（地区）的合作，首次引入以友好合作伙伴的地域为主题的活动组织概念。

亮点四继续培育青年设计力量、推进“PDC设计服务” Continuous cultivation of young design talents and promotion of "PDC Design Service " 本届广交会，PDC继续为青年才俊提供快速成长的锻炼平台，将在第二、三期为产品设计及服装设计领域的青年才俊免费提供展位，并组织相应的宣传推介活动。其中包括2012年获得法兰克福Talents世界年轻设计师奖的设计师徐磊。为全面提高设计资源与生产资源的合作精准度，本届将大力推进“PDC设计服务”项目，PDC增加新功能，扮演“润滑剂”和“助推器”的角色，全程介入设计机构与企业的设计合作，从获取设计需求、分析设计取向、合同签署、设计过程信息交流，到完成设计。“PDC设计服务”既解决了企业和设计师之间的沟通理解障碍，又为两者在非广交会期间的联络、合作提供了便利，大大促进了生产资源和设计资源的无缝对接。本届“PDC 设计服务”新引入了西班牙、德国和台湾的优秀设计资源，合作领域包括产品设计、设计管理、市场营销和品牌包装。

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亮点三设计主题活动进一步丰富题材、创新形式 More design theme activities with innovative forms

本届将举办7场主题论坛，5场定向设计对接活动， 14场“设计智汇”交流活动。进一步丰富题材、创新形式，活动的数量和质量都有显著提升。主题论坛从原有的产品设计策略、品牌营销战略、潮流趋势预测发布，进一步延伸到色彩应用、材料检测和展示设计营销等新题材，着重提升高端资讯服务内涵，能为家电、电子、家具、服饰、纺织面料以及相关行业带来前瞻性启发和专业探析。澳大利亚CUBE设计公司 CEO Paul Cohen、瑞典NCS色彩学院Viktor PlangtingBergloo、Link Design总裁及中欧联盟创立人/品牌顾问Marc de Roo、凸凹设计总经理李立成、德国海恩斯坦研究院香港实验室总经理Dr. Christopher Au等各个领域的专家将担任主题论坛嘉宾。为充分促进设计资源与企业的交流，本届首次推出 “设计智汇”交流活动，以类似沙龙形式，在人流最密集的珠江散步道上举办，具议题深入、互动性强的特点，将提高工业设计的传播面和影响力，是广交会“设计提升贸易”系列活动的重要创新。此外，5场定向设计对接活动将以西班牙、法国、台湾和青苗设计师等展团为核心开展，力求提升对接效率和对接目标性，其中台湾地区的对接分别在第二期和第三期展开，分别针对陶瓷、家居、礼品、服装和纺织品，以分行业的方式促进生产和设计方的精准对接。

PDC专版 PDC SPECIAL

PDC HOME 完善的会议设备及舒适的洽谈环境将为PDC设计展示参展商提供更多的洽谈场所。随着"中国—西班牙设计中心"落地，PDC新办公室将成为企业与设计师联络的另一个基地。

会议

Party

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PDC专版 PDC SPECIAL

第114届广交会主要论坛活动 th

Main Activities of 114 Session of Canton Fair

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了解更多活动详情请登录: www.cantonfair.org.cn www.pdc.org.cn

活动奖项

Events & Awards

举出口精品聚设计之光 ——2013广交会出口产品设计奖评选活动

响应国家战略，顺应业界潮流

标识设计单位：杭州飞鱼设计

据相关负责人介绍，广交会设立CF奖是响应国家发展战略、迎合国际市场需求的必然选择。从国家经济发展的宏观层面来看，广交会一直被誉为中国外贸发展的风向标和晴雨表，广交会上任何一项新的举措，在外贸行业都具有一定的引导和示范作用。创立CF奖的主要目的就是通过树立典型来引导中国企业重视创新，重视产品品质的提升，从而助力实施国家提出的创新驱动发展战略。从展览市场需求的角度而言，设立产品设计奖项评选是当前世界高端专业展会的通行做法。在中国制造逐步向中国创造转变的大背景下，广交会推出CF奖，将有助于优质的参展展品和展商脱颖而出，进一步提升优秀企业参展的积极性和参展质量，同时也有助于专业采购商迅速物色所需产品和合作伙伴，提升与会效率，拉动广交会向更高层次蜕变。有业内人士指出，作为目前世界范围内绝无仅有的大型综合性展会，广交会本身就具有办展层次高、覆盖行业范围广、行业外贸导向性强等特点。CF奖的出现将是对上述特点的一次升华，对整个制造业发展能起到积极的示范作用，可谓是“画龙点睛”之举。

CF奖LOGO

文 / CF奖评选办公室余劲文

对于那些在中国制造业中摸爬滚打多年的人们来说，工业设计已经成为当前产业发展绕不开的重要命题。随着中国制造业的不断成熟，昔日规模庞大的贴牌代工开始逐渐淡出人们视野，而作为生产性服务业核心要素的工业设计，则在此时慢慢登上属于它的舞台。国家在 “十二五”规划中提出要“把科技进步和创新作为加快转变经济发展方式的重要支撑。”诺贝尔物理奖得主杨振宁教授也曾说：“21世纪是工业设计的世纪，一个不重视工业设计的国家将成为明日的落伍者。”这些都可被视为工业设计正式亮相的开端。为了发掘更多更佳的设计创新产品，有“中国第一展”之称的广交会在今年创立了广交会出口产品设计奖（简称CF奖）。这是其继创办广交会产品设计与贸易促进中心后，又一次将目光投向“微笑曲线”上游。作为一个进出口商品贸易平台，广交会的背景对这个奖项有何影响？该奖项有何亮点和作用？它的出现对业界有何影响和意义？目前进展如何？带着这些疑问，记者特意走访了负责奖项运营的CF奖评选办公室。 115

敲定标识奖杯，立志“展翅飞翔” 为了寻找能形象传播CF奖创办宗旨的标识，CF奖评选办公室从今年2月底开始向海内外公开征集标识和奖杯设计方案，在接到75个应征方案后更就此征询了海内外约20名设计专家及20多位展览业内人士的意见，最终选定杭州飞鱼设计公司创作的“飞翔的翅膀”方案。CF 奖评选办公室负责人介绍，CF奖立足中国、面向世界，并将逐步扩大影响力，目标是打造成为与IF、红点、 Gmark等大奖齐名的国际知名设计奖项,“飞翔的翅膀” 能很好地反映出CF奖的理念和愿景。方案设计者黄强在接受记者采访时表示，创作标识时，主要以CF两个英文字母为切入点，结合广交会的建筑动势，将F变形为一只飞翔的翅膀。设计方案在构图造型上呈现出放射性，寓意中国产品向全球辐射，工业设计影响力也在不断扩大。设计方案还采用了简洁的符号元素，力求贴合目前国际设计简约、明了的趋势，以彰显奖项的国际性和时尚风格。

活动奖项 EVENTS&AWARDS

何人可

石振宇

汤重熹

辛向阳

姚远

叶宇轩

斯蒂凡诺•乔凡诺尼

应放天

吴剑

评委名单

Fa b ia n F ur rer

（以上为初评评委名单，排名不分先后）

借鉴国际经验，契合广交会特色 CF奖作为广交会的奖项，必须在充分借鉴国际知名奖项举办经验的同时，结合广交会以消费类产品为主、以满足海外市场需求为主的特色，突出功能性、国际性，这是有别于其他设计奖项的最大特点。记者了解到，为确保CF奖的专业质量，首次评选活动特意邀请中国工业设计协会作为合作单位，在评选标准、评委邀请、评选程序、后续推广等方面力求办出专有特色。一是评选标准方面，设立“创新性、功能性、品质、美感性和环保性”等五个当前通行的工业设计评审标准，并强调产品针对不同区域消费市场特点的独特创新设计。二是评委结构方面，邀请境内外设计界专家、商协会专家、品牌企业设计总监和境外采购商代表担任评委，以设计创造者和市场使用者两个角度来兼顾设计审美标准和市场认可度。澳大利亚国际设计联合会主席、国际工业设计协会候任主席Brandon Gien，中国工业设计协会副会长、湖南大学设计艺术学院院长何人可等境内外著名设计专家已应邀担任评委。三是评选程序方面，分初评与终评两个环节，初评采取“盲评”，即评委看不到相关企业和品牌等信息，以保证对产品独立评选的公正性；终评采取“看实物评分”，来自各行各业的评委数量超过30多名，境内外比例基本达到1:1，以保证评分的含金量。四是后续推广服务，获奖产品除了可获得常规的颁奖仪式、新闻宣传、实体展示、在线展示和刊物宣传等奖励外，还将作为广交会海外招商宣传的内容，打造为吸引全球买家关注“中国创造”的新亮点。中国工业设计协会副会长兼秘书长、海尔集团前工业设计创新中心总监刘宁认为，CF奖依托于广交会这个庞大的会展推广平台，这是与其他设计奖最明显的不同 116

之处，也是其不可复制的独特优势。每届广交会均有来自全球200多个国家和地区的约20万采购商与会，使得 CF奖从一开始就与产品最亲密的销售者、使用者建立了联系。获得CF奖，意味着能借助广交会的全球推广网络，对产品和企业本身均有极大助益。

产品征集踊跃，明星企业频现随着CF首轮网络初评环节的展开，评选活动可谓渐入佳境。数据显示，历经3个多月的征集，从4月1日到7 月20日截止，活动共征集到345家企业的547件产品。广东、浙江、福建、上海、江苏等地区的企业参与度最高。据CF奖评选办公室负责人介绍，由于CF奖今年首次创办，参评范围仅面向广交会50个展区中的31个，分五大类评选，分别为电子电器类、建材五金工具类、生活用品类、家居园林类、健康休闲类等，涵盖了当前具有较强工业设计元素的行业。应征参评的企业中，不乏美的、格力、奥克斯、爱普、惠达、纽威、树德、匹克等各行业的明星品牌，各地更是积极发动和推荐重视设计、不断研发创新产品的优秀企业参评。格力、纽威等企业在获悉CF奖消息后，精心准备申报的产品及资料，内部还专门召开专题会议讨论筛选，“为的就是要挑选最好的产品参评”。按照活动计划，CF奖初评于8月13日结束，其后是初评结果公示、产品实物寄送等阶段。整个活动的高潮 ——终评、终评结果揭晓和颁奖典礼将安排在今年10月底举行。届时境内外众多设计大师莅临广交会，将成为中国第一展与国际设计界的跨界合作盛事。让我们共同期待这一时刻的到来。

Shining Made-in-China with Design ——2013 Canton Fair Design Awards Insiders point out that Canton Fair, as the unique large-scale and comprehensive exhibition worldwide, has characteristics of high level, wide coverage of industries and strongly foreign trade oriented. Meanwhile CF Awards is a sublimation of the above characteristics, and a "ﬁnishing touch", which can actively lead the way in the development of the whole manufacturing industry in China.

By CF Awards Ofﬁce Yu Jingwen Translated by Yang Handong

To those who have experienced in China's manufacturing industry for many years, Industrial Design has become an unavoidable proposition for the industry development. With continuous growing of the industry, the former large-scale OEM model has faded out, and Industrial Design has gradually appeared on the scene as a core element of production-based services. China government has proposed in the 12th Five-Year Plan "to regard the scientific-technical progress and innovation as the important support to accelerate the transformation of economic development". Professor Yang Zhenning, Physics Nobel laureate, also said: "The 21st century is the era of industrial design, and a country that does not take it seriously today will become a laggard of tomorrow". All these can be considered as the prelude of formal debut of Industrial Design in China. In order to explore more and better products of innovative design, the Canton Fair Design Awards (CF Awards as brief) is launched this year, by the China's No.1 Fair. This is another pioneering move by Canton Fair to upper ends of Smiling Curve of industrial chain, following its foundation of Canton Fair Product Design and Trade Promotion Center (PDC). As a trade platform of import and export commodities, what impact will be brought about by the background of Canton Fair on CF awards? What are the highlights and effects of CF awards? What are the influences and significance of CF Awards to China's manufacturing industry? How is the current progress? With all these questions, the reporter visited CF Awards Office.

CF Awards' Logo implies Flying Wings. In order to find a logo which can vividly transmit the purpose of CF Awards, CF Awards Office started an open solicitation at home and abroad for design proposals of logo and trophy at the end of February this year. Among the 75 proposals received, the design of Flying Wings by Hangzhou Feish Industrial Design Co., Ltd. was finally selected, after consulting opinions from about 20 design experts and more than 20 exhibition insiders at home and abroad. According to CF Awards Office, the Awards will be China-based and world-oriented, and will gradually expand its influence to be an internationally recognized award as iF, reddot and Gmark, and etc. The Flying Wings can fully reflect the idea and vision of CF Awards. Mr. Huang Qiang, designer of the logo, said in the interview with reporters that, the design was mainly started with two letters of CF, then making F to be looked like flying wings, connecting to the building shape of Canton Fair Complex. The radial layout of the logo implies the global reach of Chinese products, and the continuously expanding influence of industrial design. Concise symbolic elements are used to cater to the current international trend of simple and clear design, and to highlight the internationalism and style of this award.

CF Awards conforms to industrial trends and China's national strategy

CF Awards learns from international experience and preserves Canton Fair Characteristics

According to CF Awards Ofﬁce, CF Awards is an inevitable choice in response to the national development strategies and to meet the demand of international market. From macro point of view of national economic development, Canton Fair has been regarded as the barometer and wind vane of China's foreign trade development, thus any new initiative by Canton Fair will play a guiding and exemplary role in the circle. The purpose of CF Awards is to guide Chinese enterprises to attach more importance on innovation and quality improvement, by granting awards to successful samples, which will contribute to the implementation of the national strategy of innovation-driven development. From perspective point of view of exhibition markets demand, setting up design awards is a common practice in world's high-end professional exhibitions. In the context of gradual transition of Made-in-China to Created-in-China, CF Awards will help high-quality exhibits and exhibitors to stand out from the others, and further enhance the enthusiasm and performance of outstanding exhibitors. Besides, it also helps professional buyers to quickly source out desired products and partners and improve their sourcing efﬁciency, which also will strike Canton Fair to a higher level.

As an award of Canton Fair, CF Awards shall fully learn experience from famous international awards, and preserve Canton Fair features as a trade platform of consuming products and overseas markets demand oriented. Pinning highlights on practicality and internationalism, is the main different features of CF Awards than the other design awards. Reporters learned that China Industrial Design Association has been specially invited to cooperate in the selection, in order to ensure its professionalism and features, including setting selection criteria, juries list, selection procedures and subsequent promotion plan.

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活动奖项 EVENTS&AWARDS

According to CF Awards Office, the first CF Awrds is open to 31 out of the 50 exhibition sections of Canton Fair. The participating products will be classified into five categories, namely, electronic appliances, building materials & hardware & tools, daily necessities, household articles & gardening, health & leisure, covering the sectors which are currently strongly related to industrial design. Among the participating enterprises, there are many famous brands such as Midea, Gree, Oaks, EUP, Widex, Newey, Shuter, Peak from different industries. Local government departments are also very active across the country to encourage the outstanding enterprises to participate. Enterprises like Gree and Newwish, elaborately prepare their participating products and related information, even holding inner meeting to decide which products to be submitted, "in order to pick out the best products to win the award." As planned, the preliminary selection of CF Awards is finished by August 13, followed by public notification of preliminary selection results. The climax of the whole event - the final selection, announcement of final winners and award ceremony will be held at the end of October this year. Numerous famous designers from home and abroad will gather in Canton Fair by that time, making crossover cooperation between China's top exhibition and international design industry. Let's look forward to the arrival of that moment together.

Firstly, selection criteria compose of ﬁve prevailing evaluation criteria of industrial design, including innovativeness, functionality, quality, aesthetics and environmental friendliness, and the criteria also emphasis unique and innovative design in accordance with different regional consumer markets.

Secondly, jury members consist of design experts in home and abroad, design directors of brand enterprises and overseas buyers. Thus both aesthetic standards and market recognition are taken into consideration with juries from design creators and design consumers. Well-known experts, such as Mr. Stefano Giovannoni, the famous Italian designer, and Mr. He Ren Ke, Vice-chairman of China Industrial Design Association and dean of School of Design of Hunan University, will be the juries.

Thirdly, the selection procedures has been planned to be two assessments. The juries conduct the preliminary selection via internet on products information but without any knowledge of relative company or brand, which is to ensure the fairness. The ﬁnal selection is made based on visual observation on-site by 30 juries. The ratio of juries from home and abroad is basically 1:1.

Fourthly, awards-winning products will be the highlights of Canton Fair in overseas promotion advertisement, to attract global buyers' attention to Created-in-China.

Mr. Liu Ning, Vice Chairman and Secretary General of China Industrial Design Association, and former director of the Industrial Design & Innovation Center of the Haier Group, points out that, the most obvious difference of CF Awards than the others and its unique and non-reproducible advantage, lies in the huge trade platform of Canton Fair. About 200,000 buyers from more than 200 different countries and regions around the world participate in every session of the Canton Fair, which enables CF Awards establish connection from the very beginning to the traders and users who are the closest to products. Winning CF Awards means being able to make good use of global promotion network of Canton Fair, which will be of great beneﬁt to the products and enterprises.

CF Awards has attracted enthusiastic participation, with star enterprises enrolled. Data shows that after more than three months of collection from April 1 to July 20, a total of 547 products from 345 companies have been collected. The highest participation has been from enterprises of such areas as Guangdong, Zhejiang, Fujian, Shanghai and Jiangsu, etc.

C F奖奖杯

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