DTFS 2019 “HERITAGE IS INNOVATION” EXHIBITION BOOKLET by designtrust

Design Trust Futures Studio 2019 「未 · 共研社」

What is the future of critical making? 香港創新製作的未來？

Contents 目錄 Lead Curator’s Message 主策展人的話

Design Trust Futures Studio「未．共研社」計劃簡介

About Aw Family & Haw Par Mansion 關於胡氏家族與虎豹別墅

Design Process 設計過程

Design Projects 設計項目

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Feature Carpet Design 特式地氈設計

•

Elaine Yan Ling Ng 吳燕玲 •

Multi-sensory Design 多感官設計 Re-staging Heritage Artefacts 重置遺產文物

•

Souvenirs 紀念品設計

•

Lighting Installation 燈光裝置設計

Florian Wegenast & Christine Lew

Sharon Tsang-de Lyster 曾思朗 •

Adonian Chan 陳濬人

Xavier Tsang 曾首彥 •

Graphics 視覺設計

Acoustic Textural Panel 聲學吸音面板設計

108

Polly Ho and Andy Wong 何善恒與黄漢邦

Ire Tsui, Rony Chan & Michael Leung

Functional Sculptural Object 功能性雕塑設計

120

Julie Progin & Jesse Mc Lin

徐巧詩、陳凱納與梁展邦

People 成員

134

Programme Highlights 活動回顧

155

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Site Visits 實地考察

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Design Review 設計回顧

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Design Workshops 設計工作坊

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Studio Visits 工作室參觀

Meeting with Antiquities & Monument Office 與古物古蹟辦事處會面

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Archive Visits 文獻庫參觀

Singapore Research Study Trip 新加坡考察之旅

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Tai Ping Xiamen Factory Visits 太平廈門廠房參觀

Public Lectures 公開講座

•

Exhibition & Launches 展覽及合作啟動

•

About Tai Ping 關於太平

194

Exhibition Floorplan 展覽平面圖

197

About Design Trust 關於信言設計大使

202

Acknowledgements 鳴謝

204

Lead Curator's Message 主策展人的話

Our heritage has been our grounding, and has brought us innovation. Design Trust Futures Studio 2019 is engaged within and around the historic 1936 Haw Par Mansion in the Tai Hang neighbourhood, an entry point into analysing Hong Kong's rich heritage, researching the legacy of individuals to the collective community in shaping our city's future. Through design dialogues and workshops, we engage the public with exciting public programmes, curated tours - free and open to the public. There is no power for change greater than a community discovering and understanding of “heritage is innovation”. Hong Kong-based designers, grant recipients and mentees of DESIGN TRUST have been exploring these themes through deep research, experimentation and critical making, catalysing and engaging in an indepth process to create something new, without boundaries yet with support on free exchange of ideas. The site-specificity, design parameters and the creative energy of the partners involved, the advisory community to artisans have sculpted the designer-mentees' current practice, thinking and ideology on heritage, innovation and identities for the last year and it has been most inspiring to witness. Contributing to the larger creative culture and outreach as a public exhibition, this year-long initiative showcases our design journey and process. DESIGN TRUST's mentees have been embracing the challenges of learning new methods of production, reusing and 4

reinstating artefacts from the Haw Par archive; working within the local microfactory system and the wider design ecology. Our programme partner Tai Ping has been generously sharing their expertise in carpet making allowing our community of designers to examine making and craftsmanship by taking inspiration from the past and now to build new dialogues within the context of the Haw Par Mansion in Hong Kong. Our partner foundation Haw Par Music has generously opened up the site, sharing their own conservation practice and architectural design explorations, contributing to the process of design research and curatorial approach. From workshops, round-tables, visits to the Hong Kong Heritage Archive, Xiamen Tai Ping factory, and the research trip to Singapore, the designers explored the crossing between cultures and different design disciplines, linking educational, aesthetic, mythical, inspirational and economic legacies. We invite you to revel and be inspired by the incredibly innovative prototypes, installations and narratives present in this exhibition and event series, and something we hope can continue as a pilot collaboration model between the nonprofit sector, educators, larger community and designers in and around Hong Kong and beyond. Without heritage, there is no innovation; heritage is innovation. Marisa Yiu Co-founder, Executive Director of Design Trust

文化遺產是驅動創新的基礎。本年度「未．共研社 2019」以位於大坑、建於 1936 年的古蹟建築虎豹別墅為切入點，深入分析香港豐富的傳統文化以及有關社區結構等議題。我們希望透過不同的論壇與工作坊，令公眾對本土文化產生更深認同。我們相信，讓社區發現並且了解何謂「創新的文化遺產」，才是推動變革的最大力量。信言設計大使的同行夥伴，來自不同設計領域的本地設計師、信言設計大使資助計劃的成功申請人及設計師學員一直就相關議題進行深入研究，通過實驗創作及批判性製作，促進及參與這一場深度的研究過程。在「未．共研社」計劃當中，設計顧問與各位設計師學員建立了師徒般的交流，學員們得以更充分掌握到有關特定場域設定、不同設計參數以及團隊創意的力量，從而攫取更多關於文化承傳、創意及身份認同這幾方面的想法及理念。

設計領域作跨界思考，同時也涉獵到教育、美學、神秘學，認識到啟發人心、創業致富的社會傳奇。我們誠邀你一同參與其中，希望大家循這次展覽以及活動系列中的各種創新設計原型、裝置、敘述等得到啟發。我們更展望可繼續推出涉及不同界別的先導計劃，促成各個非牟利組織、教育工作者、更多的在地社群、本地與海外設計師的互相合作。總括而言，沒有文化遺產，就沒有創新。文化遺產就是創新。

姚嘉珊信言設計大使聯合創辦人及執行總監

為帶動創意文化，鼓勵公眾參與，在這個為期一年的計劃裡，我們都積極分享及展示我們的設計過程及豐碩成果。從展品可見，每位設計師學員都敢於挑戰各種新的創作方法，包括將虎豹別墅的文物進行仿製及復修；與本地小型廠家合作，同時連接上更宏大的設計生態。我們的計劃夥伴太平更慷慨地向設計師學員傳授了有關批判性製作的專業知識。從過程當中，大家都能夠從虎豹別墅的歷史中得到啟發，以設計語言展開新的對話，亦對本地製造業與工藝創作重新審視。我們的核心夥伴虎豹樂圃將開放虎豹別墅予公眾參觀，讓市民可以親身一睹這座古蹟的保育方式，以及在建築設計方面的探索，這個項目的設計過程也有助於設計與策展領域的研究。透過不同的工作坊、圓桌論壇、香港社會發展回顧項目檔案庫的參觀、太平廈門廠房考察、以及最近的新加坡實地交流，都促使設計師學員們就文化與不同 5

Design Trust Futures Studio 未．共研社 Design Trust Futures Studio (DTFS) is a long-term flagship programme that makes visible the processes and positive role of design in the culture of contemporary design and production. The programme stems from a project-studio concept that promotes life-long collaborations through a mentor-mentee programme.

「未．共研社」是信言設計大使的長遠旗艦計劃，使設計在現代

DTFS is a cross-disciplinary initiative created and conceptualised by Marisa Yiu, Co-founder and Executive Director of Design Trust. Experts from different fields will contribute to the mentor-mentee teams in the exploration of materials, production, and put forth the positive value of design of assets in Hong Kong, the Greater Bay Area and internationally.

「未．共研社」由信言設計大使聯合創辦人及執行總監姚嘉珊推

"In 2019, Design Trust Futures Studio theme and concept is focused on 'HERITAGE IS INNOVATION', exploring the difficult yet animated definitions of Hong Kong identity, shaping conversations on "Conservation", and finding new ways to open up heritage sites to build new narratives of the role and place of heritage – not as a static subject but a dynamic living and inspiring process. The programme deals with how design disciplines could relate and contribute to making heritage artefacts and buildings in Hong Kong more accessible to the public, while positioning for sustainable tourism in heritage sites in the city and the region. Constituting a major part of our cultural background and collective memory, heritage conservation can be achieved by a dynamic process and design disciplines can play a significant role in the shaping of intangible and dynamic processes." – Marisa Yiu (Co-founder/ Executive Director of DESIGN TRUST) Design Trust Futures Studio 2019 curates site-specific objects by Hong Kong-based designers, who have been involved in the Design Trust foundation as grant recipients and designer mentees in the last years. The programme tests and experiments with building a series of design dialogues in the old 1936 Haw Par Mansion, the Tai Hang neighbourhood, and its extension to other cultures and communities beyond Hong Kong. Haw Par Mansion has recently been unveiled to the public to become home for a new music foundation, and the neighbourhood of Tai Hang is undergoing transformation, both presenting a fascinating intersection of old and new, ancient and modern, colonial and post-colonial histories. Tai Hang neighbourhood enables a space for extending the role Haw Par as a public space and space for community. Programme partners such as Tai Ping with its rich history, and specific archives of Hong Kong Heritage; Haw Par and its highlighted collections; and such research on Hong Kong through the lens of various advisory members, will be continuously shared throughout the programme. 6

設計和生產文化中的過程和積極作用顯現出來。他們集中討論前瞻思維，並展示出設計如何能為社會和公共空間帶來正面的貢獻。該項計劃源於一個項目工作室的概念，透過導師與學員互相學習而促進終身合作。

動及構思。來自不同領域的專家將協助導師和設計師學員團隊探索不同材料的運用、製作及如何能夠改善香港的公共空間；進一步將香港、大灣區以至國際的正面的公共空間設計再推前。「2019 年，『未．共研社』的研究主題及概念將聚焦在『創新的文化遺產』，主動探索難以定義且不斷流動的香港身份。這些問題既令我們得以和文化保育這一公共議題對話，也打開了我們理解、談論文化遺產的新角度—文化遺產不只是靜態的建築，它是一個動態的，不斷啟發人們投入的過程。本計劃主要探討設計這一學科如何介入本地文物與古蹟保育，增加古蹟場所對公眾的可及性，亦藉此機會向公眾教育有關文化古蹟的可持續及批判性旅遊概念。文化古蹟作為我們文化背景和集體記憶的重要載體，其保育及活化的過程應該是多變活潑的，而設計這門學科的介入將發揮重要作用。」 — 姚嘉珊（信言設計大使聯合創辦人 / 執行總監）「未．共研社 2019」由香港本地設計師在特定場地進行設計，他們都是過去曾參與信言設計大使研究資助計劃的成功申請人及設計師學員，在今年的計劃中，他們將會在 1935 年建成的虎豹

heritage is innovation

2019 Theme 2019 年主題

創新的文化遺產 What is the future of critical making? 香港創新製作的未來？ In 2019, the theme and concept of DTFS is 'HERITAGE IS INNOVATION'. With this focus, DTFS 2019 curates new conversations and site-specific objects with Hong Kong-based designers, many of whom have been involved in Design Trust as grant recipients and designer mentees over the past years. The 2019 programme tests a series of design dialogues and prototypes at the historic 1936 Haw Par Mansion in Tai Hang, and experiment with the extension to other cultures and communities beyond Hong Kong. 「未．共研社 2019」的研究主題及概念聚焦在「創新的文化遺產」，主動探索難以定義且不斷流動的香港身份。由香港本地設計師在特定場地進行設計，他們都是過去曾參與信言設計大使研究資助計劃的成功申請人及設計師學員，在今年的計劃中，他們在 1936 年建成的虎豹別墅中，以一連串的創新與實驗，透過設計跟古蹟、大坑社區以至香港以外的文化社群展開對話。

別墅中，以一連串的創新與實驗，透過設計跟古蹟、大坑社區以至香港以外的文化社群展開對話。虎豹別墅最近已對公眾開放，建築也搖身一變成為虎豹樂圃的同時，大坑社區也正在慢慢蛻變：社區內充滿著新與舊、傳統與現代、殖民時期與後殖民等各種元素的交匯。而虎豹別墅就正正是屬於這一社區的一個公共空間。我們的合作夥伴也相當多元，包括歷史悠久的太平，庫存中有大量珍稀文物檔案的「香港社會發展回顧項目」，當然還有虎豹及其特色典藏，以及對香港研究充滿熱誠的信言設計大使顧問團隊。我們將共同努力令計劃順利延續下去。

Design Trust Futures Studio 未．共研社 Concept 概念

Goals 目標

• Project studio concept 項目工作室概念

• Promote exchange of ideas and processes 推廣意念交流

• Continuing learning 持續學習

• Use design to advance and improve social well-being, health and community interaction 以設計推進及改善社會健康及社群交流

• Life-long collaboration 終身合作 • Mentoring as a collaborative process 以師徒指導的方式合作 • Mentor as mentee, mentee as mentor 導師與學員互相學習

• Raise awareness of environmental issues through creative means 通過創意手法提升對環境議題的意識 • Produce collaborative campaigns or alternatives to advocate for the positive values of design 以合作或另類活動來提倡設計的正面價值 7

About Aw Family 胡氏家族

The brothers Aw Boon Haw and Aw Boon Par originated from China's Fujian Province, and were born in Rangoon. In 1909, they inherited Eng Aun Tong, a small herbal shop established by their late father Aw Chi Kim. Perfecting their father's prescriptions, they began producing Ban Kim Ewe (Ten Thousand Golden Oils) for relief of body aches and pains, later renamed as Tiger Balm. The ointment soon became a household name in Rangoon and other parts of Southeast Asia. The packaging and promotion of the Tiger Balm was also a big component of Aw Boon Haw's business. The layered packaging, the tiger figure on each product box, and also on each of his cars, houses, and gardens were all his ideas. In 1929, the Aw brothers moved the company, Eng Aun Tong to Singapore, and Hong Kong was the second largest production by 1932. In 1936, Aw Boon Haw bought the land on Tai Hang Road to start building Haw Par Mansion and the Tiger Balm Garden. In 1913, the Aw brothers started Yangoon Daily newspaper, and in 1938 Sing Tao Daily, which remained in the family until 1999. Aw Boon Haw also founded the "Star Press" with twelve newspapers published in different countries.

1870

胡文虎及胡文豹兩兄弟祖籍福建，生於仰光。 1909 年，兄弟繼承父親胡子欽在當地開設的小型中藥舖永安堂，隨後將父親的配方改良，製成於仰光及東南亞各地家傳戶曉、專治身體痛症的虎標萬金油。胡文虎包辦了早年虎標萬金油的品牌包裝及宣傳工作。虎標萬金油的包裝盒採分層設計，每個盒子上均印有老虎標誌，此標誌後來也出現在他的座駕、房子及花園裡。胡氏兄弟於 1929 年將永安堂遷至新加坡，稍後又於各地設立廠房生產虎標萬金油。而香港的廠房於 1932 年時成為了產量第二高的廠房。1936 年，胡文虎購入大坑道一塊地段，並於 1936 年，建成虎豹別墅了虎豹別墅及萬金油花園。，其後於 1938 年胡氏兄弟於 1913 年創辦《仰光日報》創辦《星島日報》。《星島日報》由胡氏經營至 1999 年。胡文虎亦曾創辦「星系報業」，坐擁旗下 12 份報刊。星系旗下的報章遍佈多個國家。

1929

Eng Aun Tong (later on Tiger Balm) opened in Fujian 永安堂（後易名虎標萬金油）於福建成立

First factory in Singapore. 新加坡首個廠房落成。

1936

1954

Aw Boon Haw passed away, the Mansion transferred to Haw Par Brothers International. 胡文虎逝世，虎豹別墅由虎豹兄弟國際有限公司接管。

Aw Boon Haw started Sin Chew Jit Poh Newspaper. 胡文虎創辦星洲日報。

1978

Part of Mansion's land was sold. 虎豹別墅部分用地被出售。

Haw Par Mansion and its private garden completed. 虎豹別墅及私人花園落成。

2000 Source 資料來源 King, S. (1992) Tiger Balm King. Times Books International; Brandel, J. Turbeville, T. (1998) Tiger Balm Gardens: A Chinese Billionaire's Fantasy Environments. Aw Boon Haw Foundation. Sin Chew Jit Poh billboard advertising Tiger Balm medicated ointment (1938-39). Singapore. National Museum of Singapore Collections. Accession No. 2007-50928-251. Inventory of Intangible Heritage Online Platform of Museums in Singapore. Haw Par Music.

1926

Haw Par Mansion, its private garden, and Tiger Balm Garden completely sold to real estate developer 虎豹別墅，萬金油花園及私人花園全部售予地產發展商。

2011

2001

Haw Par Mansion and its private garden preserved and passed to the HKSAR Government. 虎豹別墅正式成為活化歷史夥伴計劃的歷史建築項目。

2009

Haw Par Mansion accorded Grade 1 Historic building. 虎豹別墅被列為一級歷史建築。

2013

Haw Par Mansion included in the Revitalising Historic Buildings through Partnership Regime. 虎豹別墅正式成為活化歷史夥伴計劃的歷史建築項目。

Haw Par Music Foundation, a not-for-profit organisation, providing music training at the revitalised Haw Par Mansion opened in 2019. 在 2019年，非牟利音樂陪訓機構虎豹樂圃進駐。 8

About Haw Par Mansion 關於虎豹別墅 In 1932, the Aw brothers had built the second largest Tiger Balm production facility in Hong Kong. Tan Kyi Kyi, Aw Boon Haw's second wife, was fond of this city for its cosmopolitan atmosphere and more moderate climate. Haw thus purchased a steep rocky lot on Tai Hang Road, and built a residence for her. The house and its private garden, occupying 8 acres of land, was completed in 1936. Although the house was built for Aw Boon Haw's family, the brothers named it with both their names as Haw Par Mansion. Haw Par Mansion is one of the few surviving specimens of the Chinese Eclectic style architecture in Hong Kong, and an invaluable heritage site. Designed by Aw Boon Haw, the architectural style of the Mansion shows the cultural influence of Britain, China, India, and Burma. Its axial symmetrical plan, stained glass windows from Italy, staircase entrances, arches, bay windows and fireplaces shows Western influence; flying eaves imitations, Chiwen roof decorations and brackets, green glazed tile roofs, moon gates, and red columns displayed that of Chinese influence; and the timber carvings and mouldings that are gilded with gold, as well as the reliefs showing Indian and Burmese influence. The French style outdoor garden was designed along the main axis of the Mansion with a water fountain at the centre, but also a Chinese style pavilion, a corner tower structure, and a small bridge.

1932 年，胡氏兄弟選擇以香港作為虎標藥物第二大生產地。胡文虎的二夫人陳金枝喜歡香港的國際性氛圍與溫和宜人的天氣，胡文虎於是購買了港島大坑道一塊陡峭多石的地段，並於 1936 年為夫人建成佔地 8 英畝的房子及私人花園。房子雖然是胡文虎家人的住所，但以兄弟二人的名字來命名，稱為虎豹別墅。虎豹別墅是香港碩果僅存採用中國式折衷主義的建築之一，以及一項極具歷史價值的文化遺產。別墅的設計出自胡文虎之手，其建築風格可見受英國、中國、印度及緬甸文化影響。大宅整體的格局左右對稱，而不同風格也在其中取得平衡：既有西式元素中常見的意大利塗漆玻璃窗，樓梯入口，門廊，窗台及壁爐；屋頂的飛簷、螭吻裝飾、斗拱、綠色瓦片、月門以及紅色柱子，則可見其中式韻味；富印度及緬甸色彩的木雕金框亦隨處可見。別墅前方的私人花園則採取法式庭園佈局，正中置有噴泉，並配以中式涼亭、角樓及小橋。毗連別墅及其私人花園、依山而建的萬金油花園，亦於同年開放予公眾遊覽，成為好幾代香港人的集體回憶。

Adjoining the Mansion and its private garden was the landscaped Tiger Balm Garden, opened in the same year for public enjoyment and has since become part of the collective memories of generations of Hong Kong people.

Design Process 設計過程

Design Trust Futures Studio 2019 brings together international and Hong Kongbased mentors to work together with diverse and multidisciplinary designer-mentees who have been involved in Design Trust as grant recipients and designers. Each mentor contributes to the mentees in the exploration of materials, production, and narrating the processes of making. The advisors involved in the programme support the Futures Studio regarding the larger notions of heritage, preservation, conservation, history and identity. The mentoring method includes each mentee being matched with a mentor; archive and workshop visits for mentees; advisors overseeing the programme; research study tours; and establishing international partnerships.

「未．共研社 2019」邀請到世界各地及本地知名導師合作，為來自不同領域、不同學科的設計師學員提供指導。這些設計師學員都是過往信言設計大使資助計劃的成功申請人及設計師。每位導師都會向學員傳授有關物料、製作過程的心得。而我們的顧問團隊，則負責支援「未．共研社」目前探索的議題，包括文化遺產、保育、活化、歷史、城市身分等，提供專業研究論述與方向。計劃採用導師與設計學員一對一師徒制，透過定期分享及安排學員到訪工作室，促進雙方互相學習。顧問團會負責監察整個計劃進度與方向，安排實地考察，以及與國際專家建立夥伴關係。在每個設計及製作過程當中，設計學員都將展示其最擅長的專業技能，同時我們也要求學員或團隊在過程中嘗試加入新元素，而導師將在這一環擔任主導角色。

Each object's fabrication process uses and highlights the best of the individual mentee's expertise with mentors facilitating new elements outside of the designer mentees' existing oeuvre and practice.

Design Projects 設計項目

Feature Carpet Design 特式地氈設計

Elaine Yan Ling Ng (Hong Kong) 吳燕玲 ( 香港 ) Designer Mentee 設計師學員 Recipient of Design Trust Feature Grant 信言設計大使專題資助計劃成功申請人

Lyndon Neri & Rosanna Hu (Shanghai) 郭錫恩與胡如珊 (上海 ) International Mentor 國際導師

Design Brief 設計概要

Feature Carpet 特式地氈設計 In questioning design process and translations of authenticity and the 'original' via textural experiments, the designer will re-interpret and create a new circular feature carpet for the main space. With references and cues of the past, the designer will re-frame critical making in the Haw Par context that aspires to integrating the old and the new.

設計師需要將虎豹別墅歷的史以新角度呈現特式地毯設計。通過實驗、設計過程和原版的反思，設計師將重新演繹並為主要空間創建一張新的圓形特式地毯。參考過去的線索，設計師將在虎豹別墅背景下挑戰並重新構建批判性的製作，以期融入新舊元素。

"My design journey challenges the meaning and value of 'authenticity' for the 6-meter carpet, designated by the Antiquities and Monuments Office (AMO). Is it simply 'replicating' the aesthetics of the carpet or 'replicating' the spirit of the Haw Par Brothers, the original authors of this space?" 「我面對的設計挑戰是目前受古物古蹟辦事處保管、原位於虎豹別墅主樓的六米地氈，並探討古物『真跡』的意義與價值為思考點— 到底是否只需要將它的美學、甚至是虎豹別墅主人的精神直接複製便算完成？」 - Elaine Yan Ling Ng 吳燕玲

COPYRIGHTS@THEFABRICKLAB2010

Feature Carpet Design 特式地氈設計 1 2

Dancing Phoenix 鳳凰舞動 Conservation is a living, dynamic process, continuously transforming and evolving based on our contemporary values and context. Engaged in deep research and material innovation, Elaine Yan Ling Ng explored the notion of 'authenticity' and the dichotomised values of the past and present to give new meaning to the feature carpet of the Mansion. Once a private, intimate space of gathering, the spirit of the space has evolved into a public space of cultural studies and interpretations. "Considering the notion of time and the object's relativity with the space itself, as well as Haw Paw Mansion repurposing into a music foundation, the new carpet enables a personal journey within the space, just like music." – Elaine Yan Ling Ng Through the study of existing motifs of the original carpet as well as the space, Ng reinterprets the traditional carpet by applying contemporary values and material innovation. Responding to the question of authenticity and the notion of time, different material approaches were explored focusing on texture, colour, function and form, challenging traditional carpet-making techniques. Threading the different explorations on time, authenticity and making, Ng creates a new narrative with Dancing Phoenix brought to life by newly formulated interactive yarn that changes according to the environment. "The key Chinese mythology figure Phoenix that I designed on the carpet can be perceived differently from different angles, 20

lighting levels, and distances, in different times of the day, and indoor temperatures." – Elaine Yan Ling Ng

Elaine's attempt to recreate original carpet from various photos from the Haw Par archive. 以虎豹別墅檔案資料中的相片為參考，重新創作特色地氈。

A study of different motifs present on the original carpet. 對原有地氈主題進行研究。

As a result of Ng's inquisitive design process, heritage research and material experimentation, 9 new interactive fibres were formulated with 72 different new yarn combinations. Together with Tai Ping's traditional craftsmanship and meticulous hand tufting technique, Dancing Phoenix is the essence of heritage innovation.

所謂對話，是我們在當下建立的價值觀與文化背景下，不斷演變及進化的過程，一個生動且充滿活力的過程。吳燕玲透過深入研究及物料創新，探討有關古物「真跡」在過去與現在的二分法價值，重新為大宅特有的地氈賦予新的意義。這個曾經是私人、親密的聚會空間，即將化身為文化研究及詮譯的公共空間。「考慮到地氈與大宅的時間和空間的特殊意義，而這地方即將變身成虎豹樂圃，我認為新的地氈作品應該像音樂一樣，可以成為一種個人化的獨特體驗。」— 吳燕玲通過對時間、真實性及製作的探索，吳燕玲以一種嶄新的、能與環境互動的紗線，創造了「鳳凰舞動」這個故事般的作品。「我會為新地氈設計一款中式傳統鳳凰圖案，在不同的角度、燈光水平、距離、時間以及室內溫度下，會呈現出不同的視覺效果。」— 吳燕玲在吳氏這個有趣的設計過程中，她進行了不少古蹟研究及物料實驗，並以 72 種不同紗線編織糅合成前所未有的 9 款互動紗線。結合太平地氈的傳統工藝及細緻的手工簇絨技術，「鳳凰舞動」可謂是傳統創新的精髓。 21

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Preparation for tufting at Tai Ping factory. 在太平工廠準備簇絨。 Feature carpet's production files by Tai Ping. 太平的特式地氈生產檔案。 23

"Together with Tai Ping, we have pushed the boundaries of yarn application, on top of the tradition wool fibre which constructed the durable base of the carpet. We have also introduced nine new interactive yarn which brings the phoenix icons alive." 「我嘗試將一款特製紗線與太平獨有的簇絨技術結合，開發更多互動纖維的應用。一般地氈都會運用較耐用的羊毛纖維作為基底，我與太平聯手，將紗綫的應用推向極致；而且，我們更引入九種嶄新的互動紗綫於作品中，務求令鳳凰圖案更立體生動。」 - Elaine Yan Ling Ng 吳燕玲

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New yarn developed by Elaine Yan Ling Ng and Tai Ping. 吳燕玲和太平共同研發的新紗綫。 Testing of different textures and effects for the feature carpet. 對不同質感及效果進行測試。 Hand-tufting by Tai Ping artisan at Xiamen Factory. 廈門太平工廠手工簇絨。 25

"These animated surprises are composed with 72 different yarn combinations of the 10 different fibres. The precision of hand tufting and the ability to work with new material and innovate with different fibre strength and property are the essence of heritage innovation." 「這些動畫般的驚喜效果是由 72 種紗綫與 10 種纖維混紡而成，當中講求精準的人手簇絨工藝，以及將不同韌度、不同特性的纖維與新物料糅合、革新，這些都是屬於將文化遺產創新的要素。」 - Elaine Yan Ling Ng 吳燕玲

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Yarn spooning at Tai Ping Xiamen Factory. 太平廈門廠房的捻紗過程。 Production meeting with Tai Ping with yarn samples and prototype. 與太平開會討論紗線的樣本及設計原型。 Production File showing the different yarn types, colour and material. 顯示不同紗線種類、顏色及物料的生產檔案。 27

Design Specification 設計說明

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Elaine demonstrating gradation of colour with thermochromatic yarn. 吳燕玲用熱色紗展示色彩漸變。 Light reflective and iridescent yarn to highlight details. 淺色反光和彩虹色紗線，突出細節。

Background 背景 Heat Responsive Feature 感溫變色特效 Thermochromatic elements integrated into pixelated background. Solid pixel to change colour when in contact with heat. 感溫變色元素混紡到像素化背景中。固體像素在與熱接觸時改變顏色。

Phoenix Outline 鳳凰輪廓 Gold and Light Reflective 黃金色澤反射 Gold thread in loop to create extra texture and wow effect. Gradation with light reflective and iridescent yarn in loom. 金黃色的紗綫交織出獨特質感以及閃耀奪目的效果。織製時更採用了反光物料及彩虹色紗綫。

Wings 翅膀 UV Responsive Feature 紫外線變色特效 UV gradation yarn, changes from pink and yellow to purple when exposed to UV light. 由紫外線變色紗漸層織成，紗綫在紫外線下會由粉紅漸變成黃與紫色。

Tails 尾巴 Cellophane Backing 玻璃紙背襯 When light hits the special backing, it will reflect in multi-colour. 當光線照射到特殊背襯上時，它會以多色反射。

Feather Details 羽毛細節 Light Reflective 折射出美妙光線 Light reflective and iridescent yarn to highlight details. 以反光紗綫和彩虹色紗綫，突出細節。 29

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Tufting process at Tai Ping's Xiamen Factory. 太平廈門工廠的簇絨工藝。 Elaine Ng working with Enoch To (PR, Marketing Manager, Asia, Tai Ping) on finalising details of the feature carpet. 吳燕玲與和杜嘉祺（太平亞洲區公關及市場經理）討論特式地氈的細節設計。 Elaine demonstrating gradation of colour with UV responsive yarn. 吳燕玲用紫外線展示色彩漸變。

Multi-sensory Design 多感官設計

Xavier Tsang (Hong Kong) 曾首彥 ( 香港 ) Designer Mentee 設計師學員 Participant of Design Trust Futures Studio 2017, 2018 「未．共研社」2017 和 2018 年的參與者

Michael Young (Hong Kong 香港 ) Hong Kong-based Mentor 香港導師

Design Brief 設計概要

Multi-sensory Design 多感官設計 Universality and accessibility are the two aspects of design that is often overlooked. Considering Haw Par's location, and its architectural and heritage characteristics, the designer will create fragrances around a narrative that represents and complements the building as a holistic space, inviting and orienting visitors. Fragrance inspiration also draws upon the neighbouring Tai Hang community and the Tai Hang Fire Dragon dance.

普遍性及可及性都是設計理論中經常被忽視的要素。設計師需以虎豹別墅的所在地、建築及文化特色作為考量點，創作出虎豹別墅的專屬香味，並由此營造別墅富人文氣息、親民、廣納百客的形象。有關香味的靈感，可循大坑社區的特色，及當中舞火龍這一傳統活動中探索。

"One of the most fascinating things I have noticed about Haw Par Mansion is the 'fragmentation' and eclecticism of the space. A melting pot of different cultural influences, architectural styles and the interplay of reality and the fictitious, underpinning the different elements is the universality of family values, which has inspired me to create works that reflect Haw Par's history and narratives." 「虎豹別墅其中一個引人入勝的空間特色，是它的『碎片性』及折衷主義風格。它就像一個熔爐，融合了不同文化影響、建築風格與虛實間的互涉。這些元素都是胡氏家族所信奉的價值，同時啟發我去創造反映虎豹別墅歷史及故事的作品。」 - Xavier Tsang 曾首彥

Multi-sensory Design 多感官設計

10 Scents 十種香氣 Taking on an ethnographic approach, Xavier Tsang explored the collective memories of the Haw Par Mansion and Tiger Balm Garden in Hong Kong. Through a series of conversations and interviews, Tsang centres on the Ten Courts of Hell wall mural as a starting point to explore notions of humanspatial interaction, mythology and morality. As the best-known feature of Tiger Balm Garden Hong Kong, the large sculpted mural depicted gruesome punishment for those who committed mortal sins, referencing Daoist and Buddhist beliefs.

曾首彥以民族志學的切入點，研究虎豹別墅及萬金油花園的集體記憶。透過一連串的對話與訪問，他以「十殿閻羅」壁畫為起始，探討人類與空間的互動、神話學及道德觀。作為萬金油花園最廣為人識的壁畫，這座大型建物以道教和佛教中的警惡勸善故事為題，刻畫出煉獄刑罰的場景。

Under the context of Haw Par Music and the lost gardens of Tiger Balm, what constitutes our collective memory today? Through a multi-sensory exploration, Tsang heightens the audience's experience and amplifies the Ten Courts of Hell stories through different scent nodes such as 'fire', 'ice', 'metal', 'blood' in the form of a pendulum diffuser in an attempt to trigger the collective memory and underlying morality.

曾首彥與導師 Michael Young 緊密合作，將實驗物料「泡沫鋁」加到擴香器裝置內，它可以完美地將特別調製的香氛鎖住然後揮發；隨著擴香器鐘擺般搖動，此作品跟萬金油花園內的「十殿閻羅」壁畫故事互相融合著，將胡文虎的對宏揚及傳播中國文化的願景重新展現。

在虎豹樂圃以及那些已拆卸花園的前提下，到底是什麼建構成我們今日的集體回憶呢？曾首彥試圖以一次多重感官的探索，以氣味提升觀眾有關「十殿閻羅」壁畫的感官體驗。他運用節拍式擴香器將代表「火」、「冰」、「金屬」、「血」等氣味釋放，讓觀眾置身於「十殿閻羅」的集體印象與道德思考當中。

Working closely with mentor Michael Young, the pendulum diffuser incorporates his experimental material – aluminium foam, which perfectly traps and diffuses the specially formulated fragrance oil. With the swing of the pendulum, this work blends together narratives of the Ten Courts of Hell that once stands in the Tiger Balm Garden, reinvigorating Aw Boon Haw's will and vision in the dissemination of Chinese culture.

Testing of Michael Young's experimental material the aluminium foam. 測試 Michael Young 的實驗物料「泡沫鋁」。 36

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Testing of Michael Young's experimental material the aluminium foam. 測試 Michael Young 的實驗物料「泡沫鋁」。 Xavier at Michael Young's design studio. 曾首彥在 Michael Young 的設計工作室。

"With the generous support of mentor Michael Young on providing his experimental mindset and the material 'aluminium foam',which works perfectly to trap and diffuse fragrance oil. A scent diffuser was created, composing of ten hanging spheres, each infused with one of the ten scent notes, while they swing like a pendulum, the scents blend together with particular proportions and diffuse into the space." 「在導師 Michael Young的支援下，我們採用了他實驗開發的材料『泡沫鋁』。此物料完美地吸留和擴散香油，每一塊注入了不同氣味，而他們的擺動將氣味混合，擴散到空間的不同角落。」 - Xavier Tsang 曾首彥

1 3 2 1,3 Making of the pendulum at local metal workshop. 本地金屬車間製作。 2 Michael Young's experimental material – aluminium foam. Michael Young 的實驗材料 - 泡沫鋁。 40

"As the original wall sculptures and murals had been demolished, I wanted to create a new scent memory for the public and visitors to trigger their connection with the original wall mural." 「由於雕刻壁畫已拆卸，我希望可以創造一種全新的氣味記憶，令觀眾與不復見的壁畫重新聯繫。」 1 2

- Xavier Tsang 曾首彥 1

Xavier's inspiration board for the scent installation and design. 曾首彥的香氣裝置設計靈感板。 With the swing of the pendulum, this work blends together narratives of the Ten Courts of Hell that once stands in the Tiger Balm Garden. 隨著擴香器鐘擺般搖動，此作品跟萬金油花園內的「十殿閻羅」壁畫故事互相融合著。

"When I grew up and thought back, I realised that those sceneries have been influencing my personal growth. The memories about each punishment had been building my own moral standards. When I knew that the Garden was closed, I was very disappointed that I could no longer visit this place which has been influencing my life."

Multi-sensory Design 多感官設計

Sensory Fragments 感覺片段 Decomposing the individual scent nodes into physical fragments on display, this installation reveals the underlying fragments that form the basis of 10 Scents. Reconfiguring the moral narratives of Ten Courts of Hell into physical reality, the audience are submerged in an installation of plants, herbs, chemicals, ointments, minerals and objects in their exploration of goodness and evil. One fundamental element underpinning the work stems from Tiger Balm Garden Hong Kong as a place of morality and public education, as well as Aw Boon Haw's fascination of tigers, myths and folklore. What evidence can we draw when we look closely at these different layers of history, stories and artefacts? The multi-sensory installation enables the audience to explore these layers, submerging them in dimensions between fiction and reality, and reflecting upon the different narratives of Haw Par's history while projecting future narratives.

Design concept sketch by Xavier Tsang. 曾首彥的設計概念草圖。

每種香氛都被物理分解成獨立的香調，將《10 種香氣》的基調碎片化呈現。「十殿閻羅」的故事在現實中被重新配置，觀眾將沉浸於植物、草藥、化學物、藥膏、礦物等的氛圍之中，探索何謂良善與邪惡。香港萬金油花園的其中一個基本願景，是成為一個品德及公眾教育的地方，因此創作了虎標先生作為品牌大使。這種對老虎形象、神話及民間傳說的的崇拜，將如何成為萬金油王國的象徵？循解構萬金油成分及其他虎形工藝品的過程中，又可會找到什麼線索？這個多重感官的藝術裝置，讓觀眾穿梭於現實及虛構之間，從不同層面及維度探索，從中找出虎豹別墅的不同敘述及片段及預測未來的敘述。

"Working with aromatherapist and perfumer Jodie Chan, we have created a unique blend of fragrance that reflects the rich history of Haw Par Mansion through 10 provocative scent notes." 「我跟香薰治療師 Jodie Chan共同研發了獨有的香水，以 10 種誘惑人心的香調，詮釋出虎豹別墅源遠流長的歷史。」 - Xavier Tsang 曾首彥

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Design concept sketch by Xavier Tsang. 曾首彥的設計概念草圖。 Xavier's design inspiration taken from Haw Par's archive. 曾首彥的設計靈感來自虎豹的檔案和他自己的個人收藏。

Re-staging Heritage Artefacts 遺產文物研究與重級

Sharon Tsang-de Lyster (Hong Kong)

曾思朗 ( 香港 )

Designer Mentee 設計師學員 Recipient of Design Trust Seed Grant 信言設計大使種籽資助計劃成功申請人

Brendan Cormier (London 倫敦 ) International Mentor 國際導師

Design Brief 設計概要

Re-staging Heritage Artefacts 重置遺產文物 The design mentee will re-stage objects or materials from the archive of Haw Par Mansion. Complementing the existing setting curated by Haw Par Music, the designer could narrate old stories, as well as new ones through the re-staging of artefacts, other documents and objects. The goal is to bring cultural conservation to attention, and emphasise the dynamism and publicness of heritage.

設計師需參照虎豹音樂基金團隊的解說，將虎豹別墅存檔和收藏的物品如照片、電影、地圖、海報等現有展品重新策展，以完善當下别墅內現存的佈置。設計師可以重述舊有的故事，也能在策展的過程中透過相關文物、文件及物件重新敍述新的故事，其目的是使大眾關注文化保育議題，同時展現文化遺產的活力及公共性。策展所呈現的故事將會為虎豹別墅設計的作品整合成為一體。

"The Evolving Tiger is a response to the ever-changing brand identity and iconography of the Aw family business, which welcomes flexible and creative interpretations across South East Asia in the early 20th Century." 「虎標萬金油的品牌標識與肖像圖案，自20世紀初一直備受東南亞各種富創意的詮釋，而『演化中的老虎』則希望對此回應。」 - Sharon Tsang-de Lyster 曾思朗

Sharon de Lyster's research into Aw Boon Aw's fascination of tigers. 曾思朗對胡文虎先生的研究。 50

Re-staging Heritage Artefacts 重置遺產文物

The Evolving Tiger 演化中的老虎 Sharon de Lyster has been engaged in the deep history and heritage of Haw Par. Through the exploration of Haw Par's archive and publications, de Lyster presents The Evolving Tiger through a vignette of re-staged objects and materials, telling the story of the Aw family business through a contemporary lens. "Tracing the history of the brand, the Aw bothers and the site, I discovered layers of connected narratives including visual cultures, collective memories, the experience of Chinese diaspora and entrepreneurs, and the broader Asian social values."

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Sharon de Lyster's research into Aw Boon Aw's fascination of tigers. 曾思朗對胡文虎先生的研究。 Sharon's algorithm generated mash-ups of found tiger images and objects. 曾思朗的平面設計將老虎圖像以數學公式拼湊而成。

經過對虎標品牌、胡氏兄弟及虎豹別墅的深入研究，曾思朗發現當中所涉及的議題及論述層面非常廣泛，包括視覺文化，集體回憶，中國僑民生活經驗與創業事蹟，以及更宏觀的亞洲社會價值等等。作品的設計重點將會聚焦在這些個人及公共論述的互涉。虎標品牌標識與肖像圖案，自 20 世紀初一直備受東南亞各種富創意的詮釋，而《演化中的老虎》則希望對此回應。曾思朗以胡文虎先生為參考，創造出來一系列的老虎形象，以動態的一面呈現出來。透過虎豹檔案資料庫的照片、工藝品及其他復古虎形物品，她的作品挑戰了古跡遺產只局限於過去的概念。

Interweaving the personal and public 「經過對虎標、胡氏兄弟及虎豹別墅的深入研究， narratives of Haw Par, the Evolving Tiger 我發現當中所涉及的議題及論述層面非常廣泛，包 responds to the ever-changing brand identity 括視覺文化，集體回憶，中國僑民生活經驗與創業 and iconography with influences from across 事蹟，以及更宏觀的亞洲社會價值等等。」— 曾思朗 the South East Asia in the early 20th Century. 從程式混搭生成的老虎圖案，讓訪客沉浸於大宅內 Drawing on the analogy of Aw Boon Haw as 的幻想當中，從而了解虎豹別墅一直被人們重新演 Mr. Tiger and the Company's open system 繹的身份與影響。而我的設計重點將會聚焦在這些 of appropriating various tiger images for its 個人及公共論述的互涉之中。胡氏品牌標識與肖像 branding, de Lyster presents a dynamic way 圖案，自 20 世紀初一直備受東南亞各種富創意的 of viewing Aw's legacy. Through a series of 詮釋，而《演化中的老虎》則希望對此回應。圖案 visual graphics, and artefacts from the Haw 將胡文虎畫成虎標先生，同時結合公司為品牌形象 Par archive as well as other newly crafted 而創作的各種老虎圖像，這組平面設計是將那些老 tiger objects and visual materials, de Lyster's 虎圖像以公式拼湊而成，以一個較動態的視角去觀 work challenges the notion that heritage 看胡氏家族的傳奇。 sites are not only confined to the past but also projecting forward. 此外，我們亦在大宅內擺放了「復古版」的明信片，上面印有不同時代的老虎圖案，由此表達出古蹟文 Through algorithmic mashups of found tiger 物的存在並不局限於過去，它的角色與影響是一直 images and objects, the installation allows 被人們重新演繹的。明信片將會在胡氏的文物周邊 the audience to immerse in an imagined 展示，讓訪客沉浸於大宅內的幻想當中。 narrative of Haw Par through the discoveries of experiences and identities that are continually reinvented. 52

"Drawing on the analogy of Aw Boon Haw as Mr Tiger and the company's open system of appropriating various tiger images for its branding, this series of graphics created through algorithmic mashups of found tiger images presents a dynamic way of viewing Aw's legacy." 「借用胡文虎先生作為老虎先生的比喻，品牌佔用各種老虎圖像。這一系列圖形通過老虎圖像的算法混搭，呈現一種觀察胡文虎遺產的動態方式。」 - Sharon de Lyster 曾思朗 54

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Sharon de Lyster's newly crafted tiger objects inspired from the Haw Par archive. 曾思朗受到了虎豹檔案資料庫啟發重新制造的虎形物品。 2,3 Sharon de Lyster exploring artefacts from Haw Par's archive. 虎豹檔案資料庫的工藝品。 4 An evolving icon from Haw Par's collection. 虎豹系列中不斷變化的圖標。 5 De Lyster's inspiration board on "The evolving tiger". 曾思朗《演化中的老虎》的靈感板。 55

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Souvenirs 紀念品設計

Ire Tsui, Michael Leung, Rony Chan (Hong Kong) 徐巧詩、陳凱納和梁展邦 ( 香港 ) Designer Mentee 設計師學員 Recipient of Design Trust Feature Grant 信言設計大使專題資助計劃成功申請人

Alexander Groves & Azusa Murakami (New York 紐約 | London 倫敦 ) International Mentor 國際導師

Design Brief 設計概要

Souvenirs 紀念品設計 The designers will make visible the Hong Kong and Greater Bay Area based manufacturers and artisans through their work. They will work on designing souvenirs re-interpreted from that of the Haw Par Collection, and other archives in Hong Kong. The idea is to present local production and craft in relation to the history and heritage of Haw Par and beyond, as well as re-interpreting the concept of what a "souvenir" is and its presentation in the context of history, heritage, critical tourism, and Haw Par as a new music foundation.

設計師需對虎豹別墅文物藏品及其香港本土特色作重新詮釋，製造紀念精品。這些紀念品既發揚了虎豹別墅這一歷史文化遺産所代表的香港製造以及本土工藝的精神，同時也是對「紀念品」這一概念的重新詮譯：它們不只是普通的紀念品，而是承載了虎豹別墅與萬金油花園的歷史文化的載體，及一種深度文化旅遊的可能性。

"Inspired by the creative spirits of the Haw Par Mansion and Aw brothers, we looked into the stories behind the family, garden, interiors and objects. A series of storytelling objects, as new heritage souvenirs, are developed with key design elements taken from the Haw Par Mansion and collections." 「我們以虎豹別墅和胡氏兄弟的創新精神為起點，著手研究與胡氏家族、虎豹別墅、大宅室內建築和藏品背後的歷史，選尋當中具有代表性的人事物，利用虎豹別墅和藏品的設計元素，延伸成為一系列的新歷史古蹟紀念品。」 - Ire Tsui, Rony Chan and Michael Leung 徐巧詩、陳凱納和梁展邦

Design Brief 設計概要

"A Little Kindness, A Little Madness, Makes for Happiness." 「一點善心，加一點瘋狂，向著幸福前進。」 Quote from Aw Boon Haw, Tiger Balm Gardens: A Chinese Billionaire's Fantasy Environments 引用自胡文虎，《虎豹花園》

Continuing their exploration of unique narratives through curated objects as part of the Design Trust Feature Grant research and design project Micro Factory, Ire Tsui, Rony Chan and Michael Leung responded to the history of Haw Par through the study of the different architectural features, motifs and narratives of the Mansion. Working in collaboration with local metal craftsman, paper-product makers and Tai Ping, the trio transformed the stories and legacy of Haw Par into a range of souvenirs, highlighting the Aw Brothers' creative spirits and challenging the preconceived notions of souvenirs through an autonomous and innovative approach. These objects include a DIY mobile decoration toolkit inspired by visual elements of the Moon Gate at the Mansion, allowing visitors to create unique combinations and characters from a readymade kit of geometrical shapes and forms; a series of re-adapted decorative vases with acoustic properties that tells the unspoken stories of Haw Par; as well as a series of candle holders inspired by the iconic hexagon shape commonly found at the Mansion as well as Tiger Balm products. 62

Going beyond the preconceived and standard notion of souvenirs, the series of bespoke design objects fosters the agency of discoveries, story-telling and new narratives at Haw Par, enabling visitors to roam free with their creative minds.

徐巧詩、陳凱納和梁展邦以他們的獨特方式進行實驗性研究及信言設計大使專題資助計劃 - Micro Factory。他們對不同建築特點、主題及論述作出研究從而了解更多有關虎豹別墅的歷史。通過與當地金屬工匠，紙製品製造商和太平合作，三人組將虎豹的故事和文化遺產轉變為一系列紀念品，突出了胡文虎的創作精神，並通過自主和現代挑戰先入為主的紀念品概念。此系列包括一組玩味創意掛飾，靈感取自虎豹別墅客廳彩繪玻璃門的視覺元素，讓用家自由組合出不同造型的虎豹角色；常見於虎豹別墅和虎標產品的六角形狀，則活用於金屬燭台設計上；最後是嶄新的立體花瓶，以太平地氈工藝重新演繹的虎豹別墅藏品。

Souvenirs 紀念品設計

House of Haw Par Hanging Mobiles 虎豹家族紙掛飾系列 by Rony Chan and Ire Tsui 陳凱納與徐巧詩

"The mobile decoration is a set of 「這套創意紙掛飾系列的靈感，源自虎 creative paper hangings, inspired 豹別墅客廳的彩繪玻璃門，利用設計 by the Haw Par Mansion's stained 將彩繪轉化成為造型元件，初階段試 glass art, translated into a system 模共有十五個不同形狀、大小的幾何 of playful shapes. The prototype 造形，採用近利（香港）紙商紙品，交 consists of 15 geometrical forms, 由位於柴灣的偉利印藝和啤盒廠，以 made by die-cutting technique 模切技術製作。用家可以參考我們提 at Willey Printing and Box 供的「角色設計指南」，製作不同造形 Cutting Factory in Chai Wan, and 的虎豹角色，從龍、蝙蝠、鳥兒到大 paper sponsored by Antalis HK. 宅內的室內裝飾，發揮多元的創造力 Following a few simple steps of 及使用家積極參與製作 DIY 紀念品。」 "See & Make" character - making instructions, our design inspires - Rony Chan and Ire Tsui 陳凱納與徐巧詩 people to create 2D & 3D graphical and animal characters, such as dragons, bats, birds, or other motifs inspired by the Mansion, and participate actively in the making of DIY souvenirs."

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The designers' sample 3D mobile bird created from 3 simple 2D geometric forms. 由 3 種簡單的幾何形狀砌成的立體鳥形掛飾。 The 15 geometrical forms can be used to create different combinations of 2D & 3D graphical and animal characters. 15 種幾何圖形可用於創造不同的 2D 或 3D 圖形組合。 65

House of Haw Par paper mobile inspired by visual elements of the Mansion's feature Moon Gate. Simple geometrical forms from the paper mobile toolkit enables visitors to create unique combinations and creative characters for Haw Par. 虎豹家族紙掛飾系列靈感源自虎豹別墅客廳彩繪玻璃門，利用設計將彩繪轉化成為造型元件。用家可製作不同造形的虎豹角色，發揮多元的創造力。

1 2 1,2 Die-cutting technique at Willey Printing and Box Cutting Factory in Chai Wan. 柴灣的偉利印藝和啤盒廠，以模切技術製作。 68

Souvenirs 紀念品設計

Hexagon Candle Holder 六角燭台 by Rony Chan and Ire Tsui 陳凱納與徐巧詩

"From Haw Par Mansion's 「從大宅建築、花園亭台到地上的裝飾， exterior, pavilions, to decorative 如果細心留意虎豹別墅中的設計元素， floor motifs, if you take a closer 一定少不了六角形的份兒。聯同擁有多 look into the architecture of 年製作經驗的金鴻五金李鎮耀師傅，設 the Mansion, you may notice 計師陳凱納將這個標誌式的設計，轉化 that hexagonal shapes are 成為一組三件的燭台系列，各有高矮、 everywhere. Collaborating 雙單不同尺寸的變奏。全新的設計運用 with Mr Lee, a local one-man 了來自萬金油早年的六角形快閃商店 metal-factory craftsman, Rony 的層層疊靈感，並加入現代元素，使其 Chan reinterpreted the iconic 成為具備功能和美感的家居用品。」 hexagon into a set of candle holders, ranging in three different - Rony Chan and Ire Tsui 陳凱納與徐巧詩 dimensions and heights. The stackable feature references to the iconic designs of the early Tiger Balm brand's popup shop, whereas in this modern version, they become functional and adaptable to any home environment."

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Hexagon candle holder inspired by Haw Par. 六角燭台的靈感來自虎豹別墅。 Design drawing of the hexagon candle holder. 六角燭台的設計圖。 71

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The stackable feature references to the iconic designs of the early Tiger Balm brand's pop-up shop. 全新的設計運用了來自萬金油早年的六角形快閃商店的層層疊靈感。 Design drawing of the hexagon candle holder. 六角燭台的設計圖。 Collaborating with Mr Lee, a local one-man metalfactory craftsman, Rony Chan reinterpreted the iconic hexagon into a set of candle holders. 聯同擁有多年製作經驗的金鴻五金李鎮耀師傅，設計師陳凱納將這個標誌式的設計。 73

Souvenirs 紀念品設計

Haw Par Vases 虎豹花瓶 by Michael Leung 梁展邦 "I was inspired by the tangible, intangible, 「花瓶上的圖案是啟發自虎豹別墅的古蹟元素，從視覺元素至虎豹兄弟的生平事蹟都包含在內，有些 and untold stories of Haw Par, from the 是大眾都知道的事，亦有鮮為人知的小故事。例如 different visual elements of its interior, to 虎標先生雕像的尾巴被截斷，原來是因為訪客為了 stories of the Haw Par Brothers, and other 坐上去合照而弄斷的；還有虎豹兄弟如何在沒有任 untold stories, such as Mr. Tiger's broken 何圖則的情況下，單靠與工匠之間的談話來完成庭 tail damaged by a visitor trying to take a 園設計。有了這些故事作為根據，我希望訪客對大 selfie; or the intuitively designed Mansion 宅與胡氏兄弟有更深入的了解。因為用上地氈物料 and Garden bounded by no rules or official 的原故，只要將花瓶擺放在小房間的適當位置，意 drawing plans. It is the culmination of these 外地發現它能令室內音質大大改善。花瓶的面板組 stories and anecdotes that engenders the 件由太平地毯專業工匠人手製作。」— 梁展邦 design of the vases. Situated amongst vases from the Haw Par archive, not only are the vases decorative, they also double act as 這些花瓶是由多塊面板與黃銅支架製成。每塊面板 portable acoustic panels for the new music 都是跟同樣工序製造而成的地氈。因為地氈是軟身 foundation. I hope the visitors can experience 而且平放的，最大的挑戰就是要用最簡化的組件， Haw Par through a different lens." 去將它轉化成較立體的形態。當中涉及到地氈製作 – Michael Leung 過程的精準度，增加了不同製作方法的可能性。黃銅支架則由本地一家由李姓師傳開設的店舖製成。 Challenging traditional carpet as material for a three-dimensional object, the vases are meticulously hand-tufted by artisans at Tai Ping, and finished by a local brass workshop in Hong Kong.

Michael Leung's vase design inspiration stems from Haw Par's hidden stories and narratives. 梁展邦的花瓶設計靈感源於虎豹兄弟的生平事蹟和敘事。 74

"Through conversations and dialogues with mentors Studio Swine, we were encouraged to develop a local-global approach for the designs and to create an extraordinary creative experience for the viewers." 「透過與導師 Studio Swine 的對話，他們鼓勵我們發展本地 - 國際的方向，並以大膽的形式為觀眾創造別開生面的創意體驗。」 - Ire Tsui, Rony Chan, Michael Leung 徐巧詩、陳凱納和梁展邦 1 2 1

Alexander Groves and Azusa Murakami of Studio Swine meeting with Ire Tsui, Rony Chan, Michael Leung. Studio Swine 的 Alexander Groves 和 Azusa Murakami 與徐巧詩、陳凱納和梁展邦會面。 Prototype making at Tai Ping factory. 太平工廠原型製作。 77

Haw Par in Graphics 虎豹別墅視覺設計

Adonian Chan (Hong Kong) 陳濬人 ( 香港 ) Designer Mentee 設計師學員 Recipient of Design Trust Seed Grant 信言設計大使種籽資助計劃成功申請人

Hunter Tura (U.S. 美國 | Canada 加拿大 ) International Mentor 國際導師

Design Brief 設計概要

Haw Par in Graphics 虎豹別墅視覺設計 The designer will respond to a curatorial brief and develop a graphic design concept that relates the Haw Par Mansion's history and myths, while bridging them to the contemporary, music foundation and its future use. The concept will be realised as visual identity elements and wall murals working with and inspired from the archives of the Mansion, as well as symbols and recovered ornamentation at Haw Par.

設計師將回應策展人的設計概要，將虎豹音樂基金及虎豹別墅的歷史、傳奇切入，並連結到當代的時空。設計師會將整個設計概念以璧畫及其他視覺元素、主題加以呈現。此一設計概念是受別墅的歷史檔案，别墅在建築外觀上的各種符號、裝飾等等所啓發。

"Visual identity is a mean to convey the Foundation's background and vision through the use of logo, logotype, graphic style, colour, and graphic collaterals. The overall concept of the proposal is to convey Haw Par's heritage background while creating a dynamic system which evolves and adapts to future developments." 「視覺識別是以徽標、標識、造型元素、顏色與設計宣傳材料等，有效傳遞基金背景與理念的重要媒介。總體概念旨在傳達虎豹古蹟的歷史與背景，同時創造一個具流動性的傳意系統，可就基金未來的發展進化與適應。」 - Adonian Chan 陳濬人 80

Adonian Chan's visual identity study. 陳濬人的視覺形象研究。 81

Haw Par in Graphics 虎豹別墅視覺設計

Design Concept 設計方向

Haw Par Music Visual Identity Design Research Study 虎豹樂圃視覺設計研究 Looking into Haw Par's history and heritage, Adonian Chan has unpacked various architectural elements, motifs, colours and patterns of Haw Par into a simple and unified palette that truly represents the spirit of the new music foundation, its ethos, evolution and future application for different contexts. Working closely with Haw Par, the visual identity proposal consists of seven directions with different approaches. The overall concept is to connect Haw Par's mission in nurturing the next generation's music talent under the context of the conserved 1936 heritage building, fusing the eclectic architectural features with their vision in providing a unique space for the learning and appreciation of Chinese and Western music.

With Adonian's interest in Chinese calligraphy, the first design direction stems from the Chinese calligraphy 'tiger' which can be further simplified into a dynamic form to represent different categories of the music foundation.

陳濬人一直對中國書法很有興趣，第一個設計方向源於中國書法「虎」字。這「虎」字可進一步簡化為動態形式，代表不同類別的音樂基礎形態。

從窺視虎豹別墅的歷史和傳統，陳濬人將建築元素、顏色及圖案分解成為簡單而統一的調色板，真正代表了虎豹音樂基金的精神、願景、演變和將來應用於不同的背景。通過與虎豹別墅的緊密合作，視覺識別提案以 7 種不同手法及方向組成。總體概念是將虎豹別墅的使命與下一代音樂人才於與 1936 年保存至今的傳統建築環境中聯繫，將不拘一格的建築特色融合起來，為中西方音樂提供學習和欣賞的獨特空間。

Adonian Chan's visual identity study. 陳濬人的視覺形象研究。 82

Design Concept 設計方向

Inspired by the gestures of a moving tiger which can be reduced into rhythmic lines and curves, the imagery of a moving tiger that can be morphed into different illustrations.

靈感來自動態老虎的姿態，將其縮小為具節奏感的線條和曲線，創造出可以變成不同形態的老虎插圖。

Adonian Chan's visual identity study. 陳濬人的視覺形象研究。

Concept 3 takes the architectural elements of Haw Par Mansion as a symbolic motif by extracting the silhouette of the roof and fountain into a symbol that can be evolved into other icons.

設計方向 3 將虎豹的建築元素作為像徵主題，將屋頂和噴泉的輪廓提取成可以演變成其他圖標的符號。

Adonian Chan's visual identity study. 陳濬人的視覺形象研究。

Design Concept 設計方向

Inspired by the iconic Tiger Balm packaging, morphing the hexagon shape into different forms, symbolising the vast possibilities of future developments.

靈感來自虎標萬金油標誌性的包裝及其六角形融入不同設計之中，象徵著於未來發展的巨大可能性。

Inspired by the tiger and leopard patterns, forming a set of unique icons resembling different music instruments.

靈感來自於老虎及豹紋的圖案，形成一種看似不同樂器的獨特標誌。

Adonian Chan's visual identity study. 陳濬人的視覺形象研究。

Design Concept 設計方向

Inspired by the architectural ornaments of Haw Par, which was reinterpreted as music symbols to create a dynamic supporting graphic for different applications.

靈感來自於虎豹別墅的建築物裝飾，被重新詮譯為音樂符號，以動態形式運用於不同情況。

Adonian Chan's visual identity study. 陳濬人的視覺形象研究。

This concept combines the distinctive silhouette of the Mansion with an 'H' for Haw Par. The form of the 'H' could also be adjusted to contain different content and images, representing the idea of a stage or platform for music sharing.

設計方向 7 的靈感來自於虎豹別墅的剪影及英文名字首的 H。H 的內容及圖案亦可調整，代表音樂共享平台的想法。

Adonian Chan's visual identity study. 陳濬人的視覺形象研究。

Haw Par in Graphics 虎豹別墅視覺設計

Lobby Mural 大堂壁畫 The mural design situates in the former bedroom of the Mansion. Now an entrance point and lift lobby, a number of original features and artefacts, including the Sun and Moon god from the former Tiger Balm Garden Hong Kong, are situated amongst the new mural design.

壁畫設計位於別墅的前臥室。現在是一個電梯大堂和入口，一些原有的特色和文物，包括來自前香港萬金油花園的日神和月神，都位於新的環境中。壁畫運用了虎豹別墅拆卸前原有的照片，再重組成分層圖像，以投影形式使動畫躍然於牆上。這意念是希望將虎豹歷史以生動輕鬆的方式，給予訪客一個概括的印象。

The mural utilises photos depicting the Garden prior to its demolition, and consists of layered imageries and an animated projection to provide a playful impression of Haw Par's history. 1 2 1,2 Design drawing of the wall mural with layered imagery and lighting. 分層圖像和照明壁畫的設計圖紙。

Lighting Installation 燈光裝置設計

Florian Wegenast & Christine Lew

(Germany 德國 | U.S. 美國 | Hong Kong 香港 ) Designer Mentee 設計師學員 Recipient of Design Trust Seed Grant 信言設計大使種籽資助計劃成功申請人

Douglas Young 楊志超 (Hong Kong 香港 ) Hong Kong-based Mentor 香港導師

Design Brief 設計概要

Lighting Installation 燈光裝置設計 The designers' intervention will integrate the building's artefacts, transforming them into lighting elements for the Mansion with a focus on sustainable materials. Artefacts from the Haw Par collection would be incorporated in the lighting object design to act in dialogue with the architectural features and the interior environment of the Mansion to create new interpretations.

設計師重點關注可持續材料，以創意將虎豹別墅內的文物轉化為燈光元素裝置。陳置佈局，部分虎豹別墅的珍藏文物經在設計過程中亦必須考慮別墅內總體設計文物的陳置佈局，以及別墅的內部環境，創造新的演繹。

"Our project challenges how conservation and heritage artefacts could be utilised and redesigned within a contemporary design context. The Totem Tile Lights are a collection of lighting installation that is designed to create a sense of discovery within Haw Par Mansion." 「這是將文物應用於保育、並以現代設計重新演繹的一項挑戰。瓦片圖騰燈飾是一系列的照明裝置，旨在呈現虎豹別墅的發現之旅。」 - Florian Wegenast and Christine Lew

Lighting Installation 燈光裝置設計

Totem Tile Lights 瓦片圖騰燈飾 Highlighting the meaning of heritage and sustainability, Florian Wegenast and Christine Lew focused on how heritage artefacts could be regenerated into functional objects. Exploring the archive of remaining materials from restoration works of the Mansion, including restoration glass, ceramic roof tiles, and floor mosaic tiles, the designers focused on the traditional Chinese roofing tiles, which are a significant representative of the traditional Chinese built-environment and culture. "Working with the design brief, we chose to work with roof tiles, whose pre-existing curve and shape mimics a 'lamp-shade' form; the heaviness of the roof tiles also create a nice contrast with the softness of light. As done so in our Design Trust Seed Grant project 'Future Seacraft', we repurposed our found material from the heritage site itself, but also brought a sense of local craft into our final object through the collaboration with a local metal craftsman to create the internal structure for the light system." - Florian Wegenast and Christine Lew Not only is Haw Par Mansion a heritage site of Hong Kong, it is also a culmination of different cultures, styles and crafting techniques. Continuing this multi-faceted craft-making influence of the Mansion, Florian Wegenast and Christine Lew collaborated with different craftsmen, including a metal artist, lighting designer, and a tombstone carver, to create an object that explores the intersection of craft, heritage, and innovation. While usually placed high up and unreachable by visitors, the designers shifted the 96

Christine Lew working with local craft maker. Christine Lew 與當地工藝品製造商合作。

experience and perception around these tiles by creating a floor-standing light installation with the tiles. Highlighted with LEDs, brass and marble, the tiled lighting can now be examined up close by visitors and adds a different dimension and emotion for its environment.

為了彰顯古蹟及可持續性的意義，Florian Wegenast 及 Christine Lew 想到利用虎豹別墅現成的物料如經修復的玻璃、陶瓷屋頂瓦片、或馬賽克地磚等升級再造。虎豹別墅經復修後，剩餘很多建築物料，當中有很多都是傳統中式屋頂瓦片。他們認為它是屬於中式古蹟以及虎豹別墅文物的一部份。「我們利用屋頂瓦片設計了一座虎豹燈飾，以瓦片的天然線條構成燈罩的形狀，而且它的厚重感剛好與燈光的輕柔感形成強烈對照。一如我們的信言設計大使種籽資助計劃『Future Sea Craft』，我們將從古蹟中尋得的物品重新定義，並結合本地工藝製作出成品。這次我們跟一位本地金屬工藝師合作，共同研究燈飾內部結構。」— Florian Wegenast 及 Christine Lew 從 Florian Wegenast 及 Christine Lew 對虎豹別墅的研究及考察當中，他們發現此建築不僅是一座香港古蹟，更是匯集了世界各地不同風格、不同工藝技巧的藝術空間。有別於往常只可在屋頂出現的瓦片，他們將瓦片裝上 LED 燈，綴以黃銅及雲石，製成座地的燈飾，讓遊客可以近距離觀賞。

Florian Wegenast 及 Christine Lew 希望創作一組照明裝置結構，以映襯出大宅內這些跨媒介、兼具國際級工藝精神的特色，同時我們開始與不同的工藝師合作（金屬工藝師、燈飾設計師及篆刻師），將工藝、古蹟與創新糅合於一身。 97

"We want to highlight and preserve the original structural design of the roofing tiles, such as their vertical alignment based on the internal slotting structure, and highlight that feature for our lighting design." 「我們想要突出及保留屋頂瓦片的原始設計形態，例如是它們垂直排列的結構，因此，我們決定此照明裝置採用垂直式的設計，而名稱『瓦片圖騰燈飾』也因此而得名。」 - Florian Wegenast & Christine Lew

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Light test with Haw Par's traditional Chinese roof tiles. 使用虎豹的傳統中國屋頂瓦片進行輕度測試。 Testing the vertical alignment of Haw Par's traditional Chinese roof tiles. 測試虎豹傳統中國屋頂瓦片的垂直排列。

1 3 2 1,2 Florian and Christine's research and inspiration board focusing on Haw Par's remaining Chinese roofing tiles. Florian 和 Christine 的研究靈感源自虎豹的傳統中國屋面瓦。 3 The designers exploring the archive of remaining materials from restoration works of the Mansion. 利用虎豹別墅現成的物料如經修復的玻璃、陶瓷屋頂瓦片、或馬賽克地磚等升級再造。

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"Ultimately, we were inspired by the traditional lighting sources found in Mansion, where most lights are traditional chandeliers or lantern-shaped lights. We investigated how we could incorporate these traditional light design forms whilst utilising repurposed materiality to reinterpret the light object for a contemporary context of the Haw Par Mansion." 「我們發現虎豹別墅內裝設的大部分均為傳統水晶燈或燈籠狀燈飾，故決定以此傳統特色作為主要參考，也深入探討如何將此特色注入我們的再造物料，重新演繹出虎豹別墅的當代美。」 - Florian Wegenast 及 Christine Lew

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Florian and Christine's reinterpretation of light object for a modern Haw Par. Florian 和 Christine 重新演繹出虎豹別墅的現代美。 Through the study of traditional light sources of Haw Par, the designers created a modern light object for the Mansion. 以虎豹別墅傳統特色作主要參考，設計師創造了充滿現代感的燈飾給虎豹煥然一新的感覺。 103

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Furthering mentorship to the student community. 進一步指導學生進行可持續產品設計。 Florian and Christine mentoring students on sustainable product design. Florian 和 Christine 指導學生進行可持續產品設計。 Experimentation with materials for sustainable production. 用於可持續生產材料的實驗。 105

1 3 2 1,2 Experimentation with materials for sustainable production. 用於可持續生產材料的實驗。 2 Final design for light fixture working in collaboration with students and local artisans. 燈具的最終設計將與學生和當地工匠合作。 106

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Acoustic Textural Panel 聲學吸音面板設計

Polly Ho & Andy Wong (Hong Kong)

何善恒與黄漢邦 ( 香港 )

Designer Mentee 設計師學員 Recipient of Design Trust Seed Grant 信言設計大使種籽資助計劃成功申請人

Frank Leung & Irene Lai (Hong Kong) 梁以立與黎蘊琪 ( 香港 ) Hong Kong-based Mentors 香港導師

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Design Brief 設計概要

Acoustic Textural Panel 聲學吸音面板設計 The designers will re-interpret the history and current needs of the Mansion to create a new functional textile item with acoustic possibilities, at the same time challenging concepts of materiality and craftsmanship.

設計師需要將別墅歷史以新角度呈現，並結合別墅當下需要，了解實地背景，為別墅設計具功能性的紡織作品，加上聲學研究的關係和物料技術，創造出聲學原理的吸音板。

"For us it's very important to keep the stories and heritage alive because one day it may disappear. Therefore we tried to translate these stories into our designs. Working with our mentors and Tai Ping we developed a new acoustic panel for Haw Par with its new musical context." 「對於我們來說能夠保持故事及傳統的真確性是非常重要的，因為它們會消失的，所以我們嘗試將這些故事融入我們的設計之中。透過跟導師太平地氈的合作，我們發展了一個以虎豹別墅為背景的聲樂平台。」 - Polly Ho and Andy Wong 何善恒與黄漢邦

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Acoustic Textural Panel 聲學吸音面板設計

Uphill Downhill Tiger 上山虎及下山虎 Delving into the Haw Par archive, its history and heritage, Polly Ho and Andy Wong was particularly interested in Aw Boon Haw's fascination and obsession of tigers. Taking the "Uphill and Downhill Tiger" painting as a starting point, the designers reinterpreted the tiger motif fusing it with other architectural elements and patterns of the Mansion. "We came across the Uphill and Downhill Tiger painting, and was inspired by the strong symbolic meaning it has for the older generation which is no longer known by people in our generation. For us it's very important to keep these stories alive." - Polly Ho and Andy Wong Responding to the Mansion's new context as a music foundation, the duo worked closely with Tai Ping and mentors Frank Leung and Irene Lai in the creation of a new portable music panel. "After studying sound waves and the relationship between acoustics and materials, we used wool, silk, and felt as sound-absorbing material. Together with various tufting and carving techniques, different textures and pile heights are created to absorb and deflect different levels of sound." - Polly Ho and Andy Wong A playful tiger cover has also been developed for the gong at Haw Par, enabling a soft pedal effect for the Eastern percussion, also celebrating the nurturing mission of Haw Par Music. Beyond its acoustic properties, the 112

materials used also lend itself as a multisensory piece, enabling different audiences to experience the Tiger story through touch.

透過深入了解虎豹別墅的檔案資料庫，黄漢邦和何善恒很有與趣知道為何胡文虎對老虎如此迷戀。他們以《上山虎及下山虎》畫作為起點，將建築元素與別墅的圖案糅合，重新演繹出老虎的圖案。「我們發現《上山虎及下山虎》當中蘊含的文化意義，而這些道理到現在只有年長一輩才會明白，我們這一輩都從沒聽及了。因此我們要把這些故事承傳下去。」— 何善恒與黄漢邦虎豹別墅在音樂基金會的背景下，梁以立及黎蘊琪跟太平地氈及兩位設計導師，合作創造出全新流動音樂平台。「經過研究音波及聲學和物件的關係，我們利用羊毛、絲和毛氈為吸收聲音的物料，加上簇絨及雕刻技術，創造出不同的質地及樁高，以吸收和偏轉不同程度的聲音。」— 何善恒與黄漢邦他們更為虎豹別墅的鑼設計了一個有趣的虎形外套，為這個東方敲擊樂器加上柔和的踏板效果，同時宣揚虎豹樂圃的教育使命。除了聲學特性之外，所使用的材料還可以作為一種多感官作品，觀眾可以觸摸它來體驗有關虎標的故事。

Acoustic panel prototype and add-on baby tiger gong pedal presented at the March prototype preview. 在三月原型預覽中展示的聲學面板原型和附加虎兒鑼踏板。 113

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1,2 Polly and Andy's early inspiration from Haw Par Mansion and the Tiger Balm Garden. 黄漢邦和何善恒的早期靈感來自虎豹別墅和萬金油花園。 3 The designers' research into sound waves, and absorption and deflection mechanisms. 設計師對聲波，吸收和偏轉機制的研究。 114

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Diagram showing different pile heights for the acoustic panel. 設計圖紙顯示聲學盤區的不同的堆高度。 Prototype making at Tai Ping Xiamen factory. 太平廈門廠房的原型製作。 117

"Different compositions of the 'Uphill and Downhill Tiger' carry different meanings. Tigers going uphill imply continuous progress and prosperity; tigers moving downhill are believed to help ward off evil spirits and symbolises stability; tiger portraits represent leadership and is popular among soldiers, entrepreneurs, and government officials." 「上山虎及下山虎的不同型態有不同的含義。上山虎意味著持續的進步和繁榮、下山虎有助於抵禦邪靈並象徵穩定。以老虎肖像代表領導力，在士兵，企業家和政府官員中很受歡迎。」 - Polly Ho and Andy Wong 何善恒與黄漢邦

Prototype making at Tai Ping, showing Uphill and Downhill Tiger. 太平廈門廠房的原型製作，顯示上山虎及下山虎。 118

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Functional Sculptural Object 功能性雕塑設計

Julie Progin & Jesse Mc Lin (Hong Kong 香港 ) Designer Mentee 設計師學員 Participants of Design Trust Feature Grant 'Micro Factory' project 信言設計大使專題資助計劃「Micro Factory」參與者

Ho Puay-Peng 何培斌 (Hong Kong 香港 | Singapore 新加坡 ) International Mentor 國際導師

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Design Brief 設計概要

Functional Sculptural Object 功能性雕塑設計 The designers will re-interpret the history, and the current needs of the Mansion, rethinking its textile elements to design a functional sculptural object. The design object may also include the use of re-interpretation and reuse of various materials that build on their expertise and techniques with ceramic making.

設計師需要將別墅歷史以新角度呈現，並結合別墅當下需要運用最適切的素材去創作出功能性雕塑品。設計作品可運用不同材料以陶瓷製造的專業知識和技術為基礎再演繹或再用。

"Taking on the alternate role of 「透過不斷切換自己的身分，以當代考 contemporary archaeologists, 古學者、煉金術士、設計師的角度，去 alchemists and designers, We 嘗試將陶瓷、環保紗綫和人手簇絨地氈 have experimented with ceramic, 製成戶外雕塑作品。我們希望可吸引訪 recycled yarn and tufted rugs in 客到虎豹，親自觀賞、遊歷、探索及駐 the making of outdoor sculptural 足於如微觀世界般、由他們重新詮釋的 objects. Our aim is to incite 萬金油花園。」 visitors of Haw Par to look, - Julie Progin and Jesse Mc Lin travel, wander and dwell into a reinterpreted microcosm of the torn down Tiger Balm Gardens." 1 2 3 1

Inspiration of landscape-cum-benches elements Haw Par Villa Gardens, Singapore, June, 2019 © Julie & Jesse 景觀兼長椅元素的靈感來自新加坡的虎豹別墅。

2,3 Material research and samples for Terra Mobiles, created by Julie Progin & Jesse Mc Lin of Julie & Jesse. Julie & Jesse's studio, Hong Kong, March, 2019 © Julie & Jesse Terra Mobiles 的材料研究和樣品。 122

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Designer mentees Julie Progin and Jesse Mc Lin at Haw Par Villa, as part of DTFS 2019 Research Study Tour. 設計師學員 Julie Progin 和 Jesse Mc Lin 在新加坡虎豹別墅，作「未．共研社」2019 研究考察團的一部分。

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Functional Sculptural Object 功能性雕塑設計

Terra Mobile

Through deep research and exploration into the history of Haw Par Mansion and its archive, Julie Progin and Jesse Mc Lin created Terra Mobile, a series of functional sculptures that reveal the different narratives underpinning the mansion and gardens.

Delving into history and innovating through experimentation with ceramic, recycled yarn and tufted rugs, the sculptures reveal the expressions of classical Chinese garden landscape elements that could be found at Gardens.

Designed to promote traditional Chinese values as well as the Aw family brand, the park became iconic for Hong Kong from the 1940's until its demolition. It still exists in photography, memories, travel posters, postcards, movies and is even simulated in video games. As an essential part of the original estate the duo thought it indispensable that it should manifest itself again in the context of Haw Par Music housed in the Mansion.

"In the making of the outdoor sculptural objects, our aim is to incite visitors of Haw Par to look, travel, wander and dwell into a reinterpreted microcosm of the torn down Tiger Balm Gardens."

"Called Terra Mobile, our project contains multi-layered narratives that explore with wit and nuance the didactic, sculptural and unconventional qualities of Aw Boon Haw's visionary wonderland." - Julie Progin and Jesse Mc Lin

Working with mentor, Professor Ho PuayPeng, the duo traced and deciphered formal and metaphorical components of Chinese landscape paintings, literati, royal and merchants' gardens exemplified within Haw Par Villa and the Hong Kong Gardens. These rocks-cum-furniture sculptures not only offer visitors places of respite, roaming freely with the psychedelic renditions of mountains and caves, they also "escape into worlds reminiscent of Chinese landscape paintings".

Julie and Jesse's studio showing their research into the Tiger Balm Gardens, Chinese landscape paintings, and experimentation with materials and colour. Julie 和 Jesse 的工作室展示他們對虎豹花園的研究，中國山水畫，以及材料和色彩的實驗。 126

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Functional Sculptural Object 功能性雕塑設計

Terra Mobile

透過深入研究及探索虎豹別墅的歷史，Julie 與 Jesse 創作出一系列功能性雕塑品 -Terra Mobile，展示虎豹別墅及展示虎豹香港及萬金油花園的不同敘述。

這次 Julie 與 Jesse 為「未．共研社」創作的作品，嘗試將陶瓷、環保紗綫和人手簇絨地氈製成戶外雕塑作品，呈現了萬金油花園的古典中式庭園元素，這些傢俱雕塑由混凝土製成，並漆上令人驚艷的色彩，不但為遊客提供休憩之處，作品亦演繹了山脈和洞穴的引人入勝，漫步其中，也可暫且迷失於中國山水畫的世界中。

Julie 與 Jesse 運用前花園作為介紹香港古蹟的序幕，此花園的設計旨在推廣傳統中華文化價值，以及萬金油品牌本身，花園更於 40 年代成為香港地標之一，直至後來被拆卸。一直以來，花園的形象「我們希望可吸引訪客到虎豹別墅，親自觀賞、遊歷、探索及駐足於如微觀世界般、由他們重新詮釋都可見於舊照片、人們的記憶中、旅遊海報、明信的萬金油花園。」— Julie Progin 與 Jesse Mc Lin 片、電影甚至是模擬電腦遊戲之中。作為古蹟原貌的一部份，二人認為花園是不可或缺的，應該以虎身兼新加坡及香港虎豹別墅的保育顧問，何培斌教豹音樂樂圃進駐後的形象將它再次重現。授同時是二人的設計導師，何教授不但為他們的花園歷史考察提供專業指導，更幫助他們追溯及破譯「取名『Terra Mobile』，我們的作品包含了多個層次的敍述，巧妙細緻地去探索胡文虎的視覺樂園，中國山水畫上所呈現的文人雅士、皇室及商人等，以及其蘊含的教育意義，雕塑藝術及非傳統特質。」從而分析其形式和隱喻的意思，從而將之體現於虎豹花園之中。 — Julie Progin 與 Jesse Mc Lin

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1 3 2 1,3 Experimenting with materials and making prototypes of Terra Mobiles, created by Julie Progin & Jesse Mc Lin of Julie & Jesse Julie & Jesse's studio, Hong Kong, March, 2019 © Julie & Jesse 試驗材料和製作 Terra Mobile 的原型。 2 Leftover yarn from Tai Ping carpet making to be incorporated into the designers' ceramic making process. 來自太平製造的剩餘紗線將被納入設計師的陶瓷製作工藝中。

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Production files for Tai Ping's carpet making process. 太平製作過程的製作檔案。 Making of cushion for the sculptural furniture at Tai Ping. 太平廈門廠房的製作過程。 133

People 成員

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Lead Curator 主策展人

Collaborators 合作夥伴

Marisa Yiu 姚嘉珊

Roger Wu 胡燦森

Michelle Chu 朱蒨蒨

Roger is the Executive Director, Project Development, of Haw Par Music Foundation Limited (HPMF), a non-profit organisation set up to oversee the revitalisation of the historic Haw Par Mansion in Tai Hang, Hong Kong, into Haw Par Music Farm - a centre for crossculture exchange through music, heritage and the arts. Roger is also an Adjunct Associate Professor at the School of Architecture, Chinese University of Hong Kong, and has lectured at architectural schools in universities across the UK, including Bath, Nottingham, Central England, (Birmingham) and Plymouth. Actively involved with both the Royal Institute of British Architect (RIBA), Roger is also the Council Member representing the Asia and Australasian region as well as Chairman of the RIBA Hong Kong Chapter, and the Hong Kong Institute of Architects (HKIA), where he is a member of the Heritage and Conservation, Education Development and Accreditation Committees.

Michelle is the Design Director, Asia Tai Ping, has worked with Tai Ping for close to two decades. Building on her knowledge in fine arts and design, she has gained extensive project experience on handmade and machine-made carpet design in commercial, luxury retail and residential sectors, as well as production planning and estimation. Over the years, Michelle collaborates continuously with renowned designers. Her contemporary yet elegant style won the favour of Peter Marino and Andre Fu, creating exquisite and unique pieces that enrich spaces. Today, with a unique experience blending creativity and rigor craftsmanship, she is in charge of developing Tai Ping collection. Michelle is also a pianist and composer.

Marisa Yiu is the Co-founder and Executive Director of the DESIGN TRUST initiative, that supports creative and research content related to Hong Kong and the Greater Bay Area. Yiu has been instrumental in shaping the growth of the NGO since 2014 and the Design Trust Futures Studio programme. She is also an architect and Founding Partner of ESKYIU, an award winning multi-disciplinary architecture and research design studio actively integrating culture, community, art and technology based in Hong Kong. She was the Chief Curator of the 2009 Hong Kong & Shenzhen Bi-City Biennale of Urbanism\ Architecture located at the West Kowloon waterfront; and curated Studio-X Shenzhen. Along with her partner Eric Schuldenfrei, they were awarded the 'Architectural League Prize' for their installations featured in the Venice Biennale received Architectural Record's Design Vanguard recognition and Design for Asia Award for Ephemera, commissioned by Swire Art Basel and Movement culture: installation for Ido Portal. Yiu's work and writings have been published in A/D, Domus China, MIT's Thresholds, and Architectural Record among others and spoken at numerous global platforms including TEDxCUHK, BoDW, UNESCO forum and at Harvard's AsiaGSD conference. She has taught at London's Architectural Association, Parsons, HKU, School of Architecture at CUHK.Yiu is an AIA member, HKIA associate, served on the Board of Advisors for RTHK (seven years term), and formerly a Board member of the Hong Kong Ambassadors of Design. 136

建築師姚嘉珊為 ESKYIU 的創辦人之一。ESKYIU 乃一間駐於香港的多領域建築及研究設計工作室，積極從事文化、社區、藝術及科技等設計項目。她曾於

2009 年擔任由西九龍海濱舉辦的港深城市 \ 建築雙城雙年展總策展人，並策劃了 Value Factory 位於深圳的「Studio-X」項目。姚嘉珊與合夥人 Eric Schuldenfrei 於威尼斯雙年展和紐約曼哈頓下城區文化協會發表的裝置項目榮獲「Architectural League Prize」；也曾以 Movement culture: installation for Ido Porta 」及由巴塞爾藝術展贊助的作品「Ephemera」榮獲《Architectural Record》2014 年「設計先鋒（Design Vanguard）」稱號，以及亞洲最具影響力設計獎（Design for Asia Award）。他們共同編寫《INSTANT CULTURE: Architecture and Urbanism as a Collective Process》一書，並在《High-Rise –Idea and Reality》中合著「Unitary Urbanism」一章。、《Domus 國際姚嘉珊的作品和文章曾發表於《A/D》中文版》、《MIT's thresholds》以及《Architectural

Record》等出版物。她亦於 TED x CUHK、設計營商周、UNESCO 論壇、哈佛大學 AsiaGSD 研討會等國際論壇平台上公開演講。她曾任教於倫敦建築聯盟學院、帕森設計學院、庫珀．休伊特國立設計博物館、以及香港中文大學建築學院，現為美國 AIA 建築學會成員、香港建築師學會附屬會員，並於過去 8 年間曾受任於香港電台顧問委員會（ 7 年任期）和香港設計大使董事會。姚嘉珊現為信言設計大使的聯合創辦人及執行總監，致力於支持香港及大灣區的創意研究。

朱蒨蒨現擔任太平亞洲設計總監。憑藉其對美術與設計的專業知識，她在商業、高級零售及住宅領域的手工及機織地氈設計，以及地氈生產規劃與評估方面積累了豐富的項目經驗。多年來，朱蒨蒨不斷與眾多享譽盛名的設計師合作。她那現代而優雅的設計風格贏得了世界頂

胡燦森先生（ Roger Wu），於建築業界擁有超過二十

尖設計師 Peter Marino 與 Andre Fu 的青睞，創造出

年經驗，曾受聘於多家建築事務所。在英國、中國

精美絕倫、別具一格的作品，在世界各地展現出耀眼的

大陸以及香港領導設計的各種大型、有複雜運營要

光芒。如今的她，擁有獨樹一幟、兼具創新與縝密的設

求的項目，更使得他成為經驗相當豐富的資深建築

計理念，負責太平創新系列的開發，致力於創意、專業

師。Roger 近年積極參與香港多項文化遺產及社區計

與手工藝品質之間追尋最完美的平衡。朱蒨蒨同時也是

劃。Roger 現身兼虎豹音樂基金的執行長，香港建築

鋼琴家和作曲家。

師學會古蹟及文物保育委員會成員，以及英國皇家建築師學會（香港區）會長，帶領小組委員會籌備多個重點項目。胡燦森曾多次負責大中小型的總體規劃、商業、住宅以及結構設計項目，並從中國、阿爾及利亞、美國、意大利、俄國和土耳其等多項海外計劃中，積累了不同國家建築體系、法規和文化的經驗。

137

International Mentor 工作坊國際導師

Designer Mentee 設計師學員 Recipient of Design Trust Feature Grant 信言設計大使專題資助計劃的成功申請人

Lyndon Neri & Rosanna Hu 郭錫恩與胡如珊 Lyndon Neri and Rossana Hu are the Founding Partners of Neri&Hu Design and Research Office, an inter-disciplinary international architectural design practice based in Shanghai, China, with an additional office in London, UK. Neri&Hu are the Overall Winner of The PLAN Award 2018; named EDIDA Designers of the Year 2017 and Interior Designers of the Year of Iconic Awards 2017 by German Design Council, Maison&Objet Asia Designers of The Year 2015 and Wallpaper* Designers of The Year 2014. In 2013, they were inducted into the U.S. Interior Design Hall of Fame. Their practice was the 2011 INSIDE Festival Overall Winner, won AR Awards for Emerging Architecture in 2010 by Architectural Review and was one of the Design Vanguards in 2009 by Architectural Record.

Elaine Yan Ling Ng 吳燕玲郭錫恩與胡如珊共同創辦了如恩設計研究室，一家總部設於中國上海、另於英國倫敦設立辦公室的跨學科國際建築設計公司。如恩設計研究室於 2018 年榮獲意大利 The PLAN Award 建築設計大獎年度總冠軍；二人多年來更先後獲世界級獎項評選為年度設計師，包括

EDIDA 國際設計大獎（ 2017），德國設計協會（ 2017），巴黎家居裝飾博覽會（ 2015），《Wallpaper*》（ 2014）。 2013 年二人入選美國《室內設計》名人堂；如恩設計研究室曾獲 2011 年 INSIDE 設計節年度總冠軍，2010 年度獲《Architectural Review》新銳建築獎，2009 年獲《Architectural Record》年度「設計先鋒（ Design Vanguards）」殊榮。郭錫恩亦是由香港設計大使創辦信言設計大使的海外設計顧問團成員之一。

Lyndon Neri also serves on the International Advisory Council of Design Trust, an initiative of the Hong Kong Ambassadors of Design.

Elaine Yan Ling Ng, also known as the 'techno fairy' by Elle Deco, is the founder of THE FABRICK LAB and UNFOLD STORIES. She brings together heritage research, textiles, electronics, biomimicry, interiors and installations. Elaine is a British Chinese materialologist and a graduate of Central Saint Martins in London where she earned her MA Design in Textile Futures with distinction. She is a TED fellow and is globally recognized, having worked with international design companies such as Nissan Design Europe and Nokia Design Beijing with multiple design awards, including Design Anthology 'Emerging Designer Award', the GGEF 'Eco Innovator Award' and Swarovski 'Designer of the Future Award'. Her magical approach towards materials is recognised by some of the best in the field and has proved inspirational to many. 'The Chinese designer creates materials that move and grow like trees – but faster.' - Wired UK

吳燕玲（Elaine），曾獲《Elle Deco》雜誌譽為「高科技界仙子」，是 THE FABRICK LAB 及 UNFOLD STORIES 的創辦人，專門研究智能紡織品、電子產品、仿生科技、室內設計及裝置藝術。吳燕玲是一位英藉華裔物料設計師，畢業於倫敦中央聖馬丁藝術與設計學院，以優異成績取得 Textile Futures 設計碩士學位。她是國際知名的 TED 研究員，曾與日產汽車歐洲設計中心以及諾基亞北京設計中心等國際設計公司合作，並榮獲多個設計獎項，包括《Design Anthology》新晉設計師獎，全球綠色經濟論壇（ GGEF）「生態創新獎」，施華洛世奇水晶「未來設計師獎」和 DFA 亞洲設計金獎。她對材料的神奇應用備受業界推崇。「這位華裔設計師研發了像樹木般移動和生長的物料 — 而且速度更快。」－《Wired UK》。吳燕玲是信言設計大使專題資助計劃的成功申請人，其計劃為「UN/FOLD Weaving Time Travel」。

Elaine Yan Ling Ng is a recipient of Design Trust Feature Grant for her project entitled "UN/FOLD Weaving Time Travel".

The Waterhouse at Sounth Bund. Neri&Hu Design and Research Office. 水舍南外灘精品酒店，如恩設計研究室（Neri&Hu)。 138

"UN/FOLD Weaving Time Travel", a Design Trust Feature Grant project by Elaine Ng. 吳燕玲是信言設計大使專題資助計劃的成功申請人，其計劃為「UN/FOLD Weaving Time Travel」。 139

Designer Mentee 設計師學員

Hong Kong-based Mentor 香港導師

Participant of Design Trust Futures Studio 2017, 2018 「未．共研社」2017和 2018年的參與者

Michael Young

Michael Young founded the Michael Young Studio in 1993 with the aim of providing exclusive, quality design services across an eclectic range of markets – from interiors to technology. After nearly a decade working across the UK and Iceland, Michael was enticed to Asia by his passion for pioneering technology. Today Michael Young Studio is considered to be one of the most exciting and formidable design companies operating in Asia, responsible for designing award-winning icons for its clients that last a lifetime and are presented in museums globally. The studio specialises in creating modern design through exploring the endless possibilities Asia's technological ingenuity provides. Propelled by the momentum created through collaboration with Chinese industrialists, the studio captures the strengthening ties between local industry and design, and exemplifies the skills of Asia's industrial innovation.

Xavier Tsang 曾首彥 Michael Young 1993 年創立了 Michael Young 工作室，旨在提供獨特而高品質的設計，服務的市場範圍非常廣泛 — 從室內設計到技術設計。過去 20 年來， Michael Young 成為了國際設計領域中的領先人物。他的作品的獨特性質源自於對設計類型和習慣的不斷質疑、與生俱來對技術的熱情、和以新方式重新解讀空間的強烈慾望。他的設計有無可匹敵的營造氛圍的能力，既充滿活力又閒適自在，因此作品在世界各地被廣泛效仿。時至今日，Michael Young 工作室已經被公認是亞洲最令人興奮、最強大的設計公司之一。工作室為客戶設計可沿用一生的標誌性產品，在全球範圍內榮獲多項大獎，並在世界各地的博物館展出。 Michael Young 持續推動實驗性設計的發展。

曾首彥畢業於香港中文大學，主修 Design Engineering，是一位設計師和蠟燭匠，曾獲多個獎項包括「Asia

Design Excellence Award 2012」、《透視雜誌》的「透視 40 驕子獎 2013」和「DFA 香港青年設計才俊大獎優異獎 2013」。曾首彥於 2009 年在米蘭開設了自己第一個設計工作室 Atelier Poesia，回港後積極以 BeCandle 的名義創作並展出他的蠟製工藝品和蠟燭。在全球銷售的 BeCandle 均有在主要設計展覽如意大利的 Salone del Mobile 和巴黎的 Maison et Objet 展出。受意大利家族企業的理念啟發下，他於 2017 年在香港西貢設立了一間工作室專門店。曾首彥是「未．共研社」2017 和 2018 年的參與者。

Xavier Tsang is a participant of Design Trust Futures Studio 2017 and 2018.

MY Dynasty. A unique collection of Aluminium foam vases inspired by Chinese Taoism. MY 朝代花瓶系列，以泡沫鋁材打造，其創作意念呈現中國道家哲學的五行元素。 140

Xavier Tsang is a designer and candle artisan. He holds a BA in Design Engineering from The Chinese University of Hong Kong since 2005, and has been awarded the Asia Design Excellence Award (2012), 40 UNDER 40 Award from Perspective Magazine (2013) and the Young Design Talent Special Mention Award (2013). In 2009 he co-founded his first design studio Atelier Poesia in Milan. After returning to Hong Kong, he began creating and exhibiting his works of wax and candles, under the label BeCandle. BeCandle has been sold internationally and featured in major design exhibitions including the Salone del Mobile in Italy and Maison et Objet in Paris. Inspired by Italian family-run atelier businesses, he set up an atelier shop in Sai Kung, Hong Kong in 2017.

Memory Chest, for Bangkok Design Week 2018. A chest of tools for capturing future memory with scents. 記憶箱，2018 年曼谷設計週。一個用香氣捕捉未來記憶的工具箱。 141

International Mentor 國際導師

Designer Mentee 設計師學員 Recipient of Design Trust Seed Grant 信言設計大使種籽資助計劃成功申請人

Brendan Cormier

Brendan Cormier is a senior design curator at the Victoria and Albert Museum. He was the lead curator for the V&A Gallery at Design Society which opened in December 2018 in Shenzhen, China. He has also curated exhibitions for the Venice Biennale of Architecture, the London Design Biennale, the Urbanism\Architecture Bi-City Biennale, and the London Design Festival. Much of his recent curatorial work focuses on re-situating reproductions and copies into a wider ecosystem of design; and how they play a vital role in design education, creative production, and cultural preservation. Prior to working at the V&A, he was the managing editor of Volume Magazine. Brendan Cormier is a recipient of Design Trust Feature Grant for his project entitled "Unidentified Acts of Design.

'A World of Fragile Parts' curated by Brendan Cormier, 2016 Venice Biennale of Architecture 2016 年威尼斯建築雙年展 Brendan Cormier 策展的「脆弱的世界」 142

Sharon Tsang-de Lyster 曾思朗 Brendan Cormier 是倫敦 V&A 博物館的高級設計策展人。2018 年 12 月曾於中國深圳開幕的 V&A 藝廊擔任首席策展人。此外，他曾在威尼斯建築雙年展、倫敦設計雙年展、港深城市 \ 建築雙城雙年展以及倫敦設計節擔策展要職。他近年大部分策展項目都強調將藝術仿品及複製品重新定位，在更廣泛的設計生態中應用，以及它們在設計教育、創意製作甚至文化保育所發揮的重要作用。在加入 V&A 前，他曾任《Volume Magazine》的執行編輯。 Brendan Cormier 是信言設計大使專題資助計劃的成功申請人，其計劃為「Unidentified Acts of Design」。

Sharon Tsang-de Lyster is a heritage, textile and design trends researcher. She is the founder of design studio Narrative Made and award-winning resource platform The Textile Atlas, which champions intangible heritage conservation and sustainable sourcing through documenting and network building for textile making practices. Building on her experience and knowledge in handmade textiles, sustainable production and journalism, Sharon is known for her considered and stylistic approach in bringing artisanship to the international stage. Her work has been showcased at global fashion weeks and design weeks, and featured by international media.

曾思朗是一位古蹟文化、紡織品及設計趨勢研究者，時裝品牌 Narrative Made 及資源平台 The Textile Atlas 的創辦人，透過建立有關時裝製造工序的文字紀錄及網絡，支持及推廣非物質遺產保育與可持續採購。

Sharon 擁有全人手時裝製作、可持續生產以及媒體相關的知識及經驗，她亦將工藝精神帶到國際舞台，其細緻兼具個人風格的方式令她備受肯定。至今，她的作品已獲邀展示於世界各地的時裝週，設計週，以及國際媒體的專題報導。曾思朗是信言設計大使種籽資助計劃的成功申請人，其計劃為「Textile Atlas」。

Sharon Tsang-de Lyster is a recipient of Design Trust Seed Grant for her project entitled "Textile Atlas".

"The Textile Atlas", a Design Trust Seed Grant project by Sharon Tsang de Lyster. 曾思朗是信言設計大使種籽資助計劃的成功申請人，其專題項目名為「The Textile Atlas」。 143

International Mentor 國際導師

Designer Mentee 設計師學員 Recipient of Design Trust Feature Grant 信言設計大使專題資助計劃成功申請人

design*lab Alexander Groves & Azusa Murakami Studio Swine (Super Wide Interdisciplinary New Explorers) is an art collective established in 2011 by Alexander Groves and Azusa Murakami. Their work straddles between the spheres of sculpture, installations and cinema, blending poetry and research into immersive experiences. The studio adopts an unique approach to each work, drawing on the distinctive resources and vernacular aesthetic of its cultural, historic and economic landscape. Professional training in art and architecture allows the studio to bridge rich and emotional narratives with rigorous technical and spatial awareness. Studio Swine's films have been awarded at Cannes and other film festivals around the world and their work have been widely exhibited at institutions such as the Victoria & Albert Museum in London, Pompidou Centre in Paris, and the Venice Art and Architecture Biennales.

Ire Tsui, Rony Chan and Michael Leung, 徐巧詩、陳凱納和梁展邦 Studio Swine是由Alexander Groves與Azusa Murakami 於 2011 年創辦的藝術團體，作品涵蓋雕塑、裝置藝術及電影，融合詩歌及大量的資料搜集製作成沉浸式體驗。每次跟不同單位合作，他們都會運用對方獨有的資源，並了解其文化、歷史及經濟背景而生成的本土美學，創作出與別不同的藝術作品。二人的藝術及建築學術背景也使他們能駕馭各種技術應用及空間運用，令每個作品都成為蘊藏濃厚情感的敍事體。Studio Swine 的電影作品曾獲康城及其他影展的獎項殊榮，而不少機構都將他們的作品納入為館藏，包括倫敦 V&A 博物館，巴黎龐畢度藝術中心以及威尼斯藝術與建築雙年展。

獨立設計研究室 design*lab 由徐巧詩、陳凱納與梁展邦成立，主力實驗跨界設計創作。首個先導計劃項目 Micro Factory，嘗試尋找新角度的論述，並跟香港和珠江三角地區的設計師、工藝師、製造者、發明家和本地工業合作，創造新和舊，高端和低成本，工藝和科技的混合創新。徐巧詩、陳凱納和梁展邦是信言設計大使專題資助計劃的成功申請人，其計劃為「Micro Factory」。

Ire Tsui, Rony Chan and Michael Leung are recipients of Design Trust Feature Grant for their project entitled "Micro Factory".

Blue (Infinity Blue), 2018 by Studio Swine. Photo: Petre Krejci. 144

Ire Tsui, Rony Chan and Michael Leung are the founding members of design*lab, an independent research and production laboratory specialising in interdisciplinary design practices. Micro Factory is a pilot research and design project, aimed at exploring new narratives through curated objects with designers, craftsmen, makers, innovators and local industries from Hong Kong and the Pearl River Delta region. Micro Factory is an experimental concept，combining the old and new, high and low, crafts and technologies.

"Micro Factory", a Design Trust Seed Grant project by Ire Tsui, Rony Chan and Michael Leung. 徐巧詩、陳凱納和梁展邦為信言設計大使專題資助計劃的成功申請人，其計劃名稱為「Micro Factory」。 145

Hong Kong-based Mentor 香港導師

Designer Mentee 設計師學員 Recipient of Design Trust Seed Grant 信言設計大使種籽資助計劃成功申請人

Frank Leung & Irene Lai 梁以立與黎蘊琪 Frank Leung & Irene Lai founded via. in 2009 and has created notable works that include multipurpose arts space ArtisTree; boutique workplace W50; and urban sanctuary 28 Aberdeen. Frank is the driving force behind the award winning architecture & design studio via; and Irene develops via.'s external profile, covering areas including publicity, media, and client relations.

Polly Ho & Andy Wong 何善恒與黄漢邦梁以立與 Irene Lai 於 2009 年創辦 via. 建築工作室，其著名作品包括位於太古坊的多功能藝術空間 ArtisTree，精品商廈 W50 以及住宅項目 28

Aberdeen。梁以立就是屢獲殊榮的 via. 的首席設計師，而 Irene 則負責公關傳訊及客戶關係，將 via. 的業務帶到更遠的地方。畢業於德克薩斯大學奧斯汀分校，梁以立加入了本地主

Polly Ho is the co-founder and designer of Loom Loop. Her experiences at Misa Harada Millinery in London in 2003 and extensive consultancy works have consolidated her artistic approach that is intrinsic to the Loom Loop brand. Polly is a design graduate from Hong Kong Polytechnic University and University of Central England in Birmingham, respectively.

要地產商任職建築師及設計經理，曾負責地標性項目包

A graduate of the University of Texas, Austin, Frank's professional trajectory as an architect and design manager at a major real estate developer covers signature projects including Hong Kong Cyberport, ICC, Shanghai IFC, and West Kowloon Cultural District. Believing in a holistic approach in architecture and design, Frank created via. as "a path of design" where all creative disciplines converge. As a graduate of UC Berkeley and SCIARC, Irene gained a wealth of experience in bespoke projects while at renowned architectural practice Ronald Lu & Partners, and is well versed with the administrative side of design practices.

W50, via. studio. 146

括數碼港，環球貿易廣場，上海國際金融中心及西九文化區。他相信建築設計是對空間作全面、整體的探討，因此將工作室命名為 via.，寓意這是匯聚所有創意學科的「設計路徑」。Irene 畢業於柏克萊加洲大學及南加洲建築學院，其後任職於享負盛名的建築所 Ronald Lu &

Partners，具備度身訂做式設計項目的豐富經驗，並精通設計實務方面的各種行政事務。

After graduating from Central Saint Martins College of Art and Design in London, Andy Wong worked with avant-garde British designers such as Robert Cary-Williams and Shelley Fox, and later became the first Chief Designer at Issa London. Upon returning to Hong Kong, Andy worked as a fashion consultant with several international fashion labels.

何善恆是碌祿品牌的創始人及設計師之一。她畢業於香港理工大學設計學院，並於英國伯明罕 The University of Central England 就讀藝術專業。自 2003 年起於倫敦 Misa Harada Millinery 任設計助理，及後又累積了專業顧問服務經驗，自此她對精細工藝產生了濃厚興趣，碌祿這個品牌亦以此為基礎創辦。設計師黃漢邦畢業於英國倫敦的 Central Saint

Martins College of Art & Design，曾與眾多聞名遐邇的前衛設計師合作，包括 Robert Cary-Williams、 Shelley Fox 等，他還曾擔任倫敦 Issa 的首位總設計師。回港後，他曾為多個國際時裝品牌效力，擔任專業時尚顧問。這兩位設計師聯手於東京時裝週推出碌祿品牌首個 SS15 時裝系列，作品隨即於倫敦、北京及紐約時裝週展出，並榮獲多個獎項，包括 2017 意大利 A' 設計大獎—類別獎（銀獎）、2018 德國設計大獎 —生活與時尚卓越產品設計獎等。

The duo debuted their first Loom Loop Collection SS15 at Tokyo Fashion Week, since then they have showcased their designs in London, New York, Beijing and New York Fashion Weeks extensively, and received numerous international awards, including the A'Design Award- Category Award (Silver) in 2017, and the German Design Award for Excellent Product Design Lifestyle and Fashion in 2018.

黄漢邦和何善恒是信言設計大使種籽資助計劃的成功申請人，其計劃為「廣州莨紗綢和中國傳統針織工藝」。

"Rejuvenation of Canton Silk Fabric and Traditional Chinese Needlework", a Design Trust Seed Grant project by Polly Ho and Andy Wang. 黄漢邦和何善恒是信言設計大使種籽資助計劃的成功申請人，其計劃為「廣州莨紗綢和中國傳統針織工藝」。 147

International Mentor 國際導師

Designer Mentee 設計師學員 Recipient of Design Trust Seed Grant 信言設計大使種籽資助計劃成功申請人

Hunter Tura

Hunter is President and Chief Executive Officer of Bruce Mau Design where he is responsible for the firm's overall strategic direction, creative excellence and global business development. He is passionate about building truly great teams, helping develop strategies and driving growth for clients and brands. Over the course of the past two decades, he has worked with business, cultural and design leaders from organizations such as Asics, Samsung, GE, Unilever, Sonos, Harvard University, the University of Pennsylvania, and the Ullens Center for Contemporary Art in Beijing on a range of design initiatives.

Adonian Chan 陳濬人 Hunter 是 Bruce Mau Design 的主席兼行政總裁，負責主理公司的總體決策方向，創意優勢以及全球業務發展。他熱衷於建立優秀團隊，共同策劃專案以幫助客戶及品牌增長。過去 20 年他曾與各大品牌如 Asics、三星、通用電氣、聯合利華、索諾斯、哈佛大學、賓夕法尼亞大學等組織合作，以及為北京尤倫斯當代藝術中心策劃一系列設計項目計劃。他曾任馬德里 IE 商學院的設計委員會成員，丹麥柯靈設計學院的外務顧問和客座講師，並於 2015 年 5 月籌辦了第一次 BRAND x（ Place）會議。此外，他曾在加州大學伯克利分校設計學系、哥倫比亞大學以及加州藝術學院擔任過教職，並在不同大學及各地會議上擔任講

He serves on the Design Council for IE Business School in Madrid, and was previously an External Advisor and Guest Lecturer at Designskolen Kolding in Denmark, where he organized the first BRAND x (Place) Conference in May 2015. He has served on the design faculty of the University of California - Berkeley, Columbia University, and California College of the Arts and has been a lecturer and guest critic at Universities and conferences worldwide.

Asics Tiger. Brand & Retail Design, Osaka, 2016. Bruce Mau Design. 148

師和客座評論。

Born in Hong Kong in 1986, Adonian is a specialised artist in lettering, graphic design as and a musician. After graduating from Hong Kong Polytechnic University in 2009 he co-founded Trilingua Design with Chris Tsui in 2010, and a restaurant and cultural space "tfvsjs.syut" with his music group "tfvsjs". He has been researching on Hong Kong BeiWei Zansyu since 2011, and has published a book "A Study on Hong Kong Beiwei Calligraphy & Type Design" in 2018, which documented his eight years of research on Hong Kong Beiwei, as well as his lettering type design. He is now on a process of reinterpreting and redesigning this lettering style under today's aesthetics and technological context, he has launched a crowdfunding campaign on type design "Hong Kong Beiwei Zansyu" in summer 2019.

香港文字設計師，平面設計師及音樂人。1986 年香港出生，2009 年香港理工大學畢業，2010 年與徐壽懿共同創辦叁語設計，同時也跟其樂隊 tfvsjs 創辦餐廳及文化空間「談風：vs：再說」。2011 年起，陳濬人開始著手研究北魏真書，及後於 2018 年出版了《香港北魏真書》，綜合了他八年來就香港北魏真書的研究所得，以及他的字型設計。目前，他正研究在當代美學及技術背景下，北魏書法可如何重新演繹及重新設計，為此他在 2019 年夏季發起了眾籌，為「香港北魏真書」字型設計募集資金。陳濬人是信言設計大使種籽資助計劃的成功申請人，其專題項目名為「香港北魏真書」。

Adonian Chan is a recipient of Design Trust Seed Grant for his project entitled "Hong Kong Beiwei Kaishu".

"Hong Kong Beiwei Kaishu", a Design Trust Seed Grant project by Adonian Chan. 陳濬人是信言設計大使種籽資助計劃的成功申請人，其專題項目名為「香港北魏真書」。 149

Hong Kong-based Mentor 香港導師

Designer Mentee 設計師學員 Recipient of Design Trust Seed Grant 信言設計大使種籽資助計劃成功申請人

Douglas Young 楊志超 Hong Kong native, designer and artist Douglas Young is the founder and creative force behind Goods of Desire, an original Hong Kong lifestyle brand. Douglas is a leading voice regarding design, arts, creativity and entrepreneurship in Hong Kong and is often called upon to share his views on Hong Kong culture and identity. He hopes, through his work, to inspire future generations of designers to seek inspiration from Hong Kong and foster pride in the community. In 2017, Douglas was awarded the Honorary Doctorate of Humane Letters by Savannah College of Art & Design.

Florian Wegenast & Christine Lew 生於香港，設計師兼藝術家楊志超是香港原創生活品牌「住好啲」的創辦人和創意主腦。作為香港設計、藝術、創意和企業家精神的領頭人，楊氏經常獲邀分享他對香港文化和身份的看法。楊氏希望透過他的設計和工作，激發新一代設計師以香港作為創作靈感來源，令他們對本地設計引以自豪。

2017 年，楊氏被薩凡納藝術設計大學授予榮譽人文博士學位。

Studio Florian and Christine is a multidisciplinary design studio, currently based in Hong Kong. As a two-person led practise, both designers are MA graduates from Central Saint Martins College of Art and Design. The two come with experience working internationally and their expertise includes, industrial design, fashion and material innovation design.

Studio Florian and Christine 是由 Florian Wegenast 及 Christine Lew 成立的多學科設計工作室。他們二人皆畢業於中央聖馬丁藝術與設計學院，擅長工業設計、時裝設計及物料創新。工作室致力探索可持續物料、工藝及社會創新的相互關係，同時探討可持續物料可如何達至以設計為主軸的社會創新。他們的目標是突破可持續物料及工藝的界限，以適應未來在形式上或功能上之應用。

Their studio is working at the intersect of sustainable materials, craft, and social innovation. The studio philosophy involves investigating sustainable materials, and how they may be utilised for design-led social innovation. They aim to push the boundaries of sustainable design, and how it can be used for future forms and functions.

Florian Wegenast & Christine Lew 是信言設計大使種籽資助計劃的成功申請人，其專題項目名為「Hong

Kong Harbour: Future Sea Craft」。

Florian Wegenast and Christine Lew are recipients of Design Trust Seed Grant for their project entitled "Hong Kong Harbour: Future Sea Craft".

Douglas Young reinterprets traditional Hong Kong style in new ways. His collection remains part of his design inspiration. 楊志超的設計靈感來自香港本土文化，這香港風格亦反映在他的設計收藏品中。 150

"Hong Kong Harbour: Future Sea Craft", a Design Trust Seed Grant project by Studio Florian + Christine. Florian Wegenast & Christine Lew 是信言設計大使種籽資助計劃的成功申請人，其專題項目名為「Hong Kong Harbour: Future Sea Craft」。 151

International Mentor 國際導師

Designer Mentee 設計師學員 Participant of Design Trust Feature Grant research 信言設計大使專題資助計劃的參與者

Ho Puay-Peng 何培斌 Having close to 30 years of experience in academia, Puay-Peng's main interest is to integrate research, teaching and practice in his research areas of architectural history and conservation practices. Prior to joining the National University of Singapore (NUS) in 2017, Puay-Peng was Professor of Architecture and served as Director of School of Architecture and University Dean of Students at The Chinese University of Hong Kong. Sustaining his research is the quest to understand religious culture and its architectural forms. His main focus is Buddhist architecture and ritual of medieval China. Puay-Peng is a conservation consultant, architect and adviser to some 100 conservation projects in Hong Kong since 2013, including PMQ, Haw Par Villa, Comix Homebase, Oil Street Art Space, Court of Final Appeal, and New Campus for Chicago University Booth School. Puay-peng Ho was also appointed to many public and private boards and committees in Hong Kong, including as Chairman of the Lord Wilson Heritage Trust, member of Town Planning Board, Antiquities Advisory Board, and the Housing Authority.

Julie Progin & Jesse Mc Lin 何培斌教授在學術界工作近 30 年，一直致力將研究、教學與實踐融入他的建築史以及文化保育研究領域。

2017 年加入新加坡國立大學（NUS）前，何教授曾任建

Julie & Jesse is an art/design studio established in Hong Kong & Jingdezhen by designer Julie Progin and artist Jesse Mc Lin.

Julie & Jesse 是一家本地藝術 / 設計工作室，成立於香港及景德鎮，由設計師 Julie Progin 和藝術家 Jesse Mc Lin 共同創立。

The duo's practice is cross-disciplinary in design, craft and art, using function as a pretext for visual discourse and ceramic experiments as a method.

這二人組合涉足設計、工藝與藝術的跨界創作，以功能

築學系教授，並擔任香港中文大學建築學院院長及大學輔導長。他的研究涵蓋宗教文化及建築形式的關係，而主要焦點集中在佛教建築和中世紀中國的儀式。由 2013 年起，何教授曾為香港本地逾 100 個活化保育項目擔任保育顧問、建築師及工程顧問，項目包括元創方、虎豹

作為視覺語言的修詞，並以陶藝實驗作為方法。二人的藝術及設計領域背景，令他們能夠將概念性與情感相關的敍述以精細的陶藝技巧連結起來。

別墅、動漫基地、油街實現藝術空間、終審法院，以及芝加哥大學布斯商學院新校舍。此外，何教授也曾被多個香港公私營機構的董事會及委員會任命為委員，包括衞奕信勳爵文物信託主席，城市規劃委員會，古物諮詢委員會及香港房屋委員會。

Training in art and different disciplines of design allows them to bridge conceptual and emotional narratives with meticulous making technique. Julie & Jesse's work manifests research into materials, and follows a consistent conceptual path to capture a moment in time and place. They embrace a unique approach to each project, inspired by its cultural, historic and economic context as well as particular resources available at hand. Julie & Jesse's unique perspective on ceramics is recognised by experts in the field. Their projects have been shown at institutions such as M+ Museum, Design Society, the Triennale Di Milano & Chicago Design Museum. They also work in close collaboration with international design companies such as COS to create unique installations.

Julie 和 Jesse 對物料的選用非常講究，而且創作時都會循既定的理念去捕捉某時間某地點的一瞬。二人在處理設計項目時都會採用一套獨特的方法，他們喜歡從文化、歷史與經濟背景著手，再結合特別為此搜集得來的資料一同研究。

Julie 和 Jesse 對陶藝的獨特觀點已備受業內專家認可。他們的創作項目曾獲 M+ 博物館、設計互聯、米蘭三年展以及芝加哥設計博物館收為館藏。此外，他們更與不少國際設計公司如 COS 合作，創作獨一無二的裝置飾品。 Julie Progin and Jesse Mc Lin 曾參與 design*lab 的信言設計大使專題資助計劃「Micro Factory」。

Julie Progin and Jesse Mc Lin participated in design*lab's Feature Grant research. Haw Par Music Farm, Architecture Conservation Consultancy. 虎豹樂圃，歷史建築保育諮詢。 152

Fragment(s), The Bottle edition, 2017. Julie & Jesse. 153

Programme Highlights 活動回顧

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Site Visits – Designer Mentees 實地考察 – 設計師學員團隊 The designer mentees conducted several site visits to Haw Par since 23 July 2018. Taking inspiration from the Mansion's eclectic architectural styles, cultural influences and the Aw family history, the designers are engaged with different narratives that will facilitate their design process. Lead Curator, Marisa Yiu (Co-founder/ Executive Director of Design Trust), and Advisor Roger Wu (Executive Director, Project Development of Haw Par Music Foundation) have been continuously guiding the team on the Mansion, its adaptive re-use process, and topics around heritage, and conservation.

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Date 日期

2018.7.23 - ongoing

設計師學員自 2018 年 7 月 23 日起開始到虎豹別墅進行數次實地考察。從大宅的歷史及胡氏家族的故事入手，了解大宅背景，整理出設計與工藝製作的可能性與大方向。主策展人姚嘉珊（信言設計大使聯合創辦人 / 執行總監）以及顧問胡燦森（虎豹音樂基金會執行長）也隨行為大家講解有關此建築的種種，包括它被活化再利用的過程，與其相關的文化遺產及保育議題等。

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Istanbul Design Biennale 伊斯坦堡設計雙年展 During the 4th Istanbul Design Biennial "Learning From Heritage" panel, Lead Curator Marisa Yiu (Co-founder and Executive Director of Design Trust) shared on DTFS 2019 to explore new narratives on the role and values of heritage, alongside Brendan Cormier (Senior design curator, V&A Museum, London), Cem Kozar (Founding partner, PATTU, Istanbul), Jana Scholze (Associate professor, Kingston School of Art, London), Aric Chen (Curator-at-large, M+ Museum, Hong Kong), and Merve Bedir (Guest Curator).

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Date 日期

2018.9.25 Location 地點

Yapı Kredi Culture Centre

在第四屆伊斯坦堡設計雙年展的設計圓桌論壇「例外的空間」當中，主策展人姚嘉珊（信言設計大使聯合創辦人 / 執行總監）在「向文化遺產學習」為題的討論上分享了「未．共研社 2019」將如何以全新的詮釋方法，探討文化遺產的角色及價值。在座講者包括 Brendan Cormier（倫敦 V&A 博物館高級設計策展人），Cem Kozar（伊斯坦堡建築公司 PATTU 聯合創辦人），Jana Scholze（倫敦京士頓藝術學院副教授），陳伯康（香港 M+ 博物館首席策展人）以及 Merve Bedir（副策展人）。

Introductory Workshop 簡介工作坊 The introductory workshop brought together the designers, mentors and advisors, who shared their personal experiences and connections with Haw Par. The unique history and characteristics of the Mansion reflects different cultural influences, history and heritage of the Aw family across the contexts of Fujian, Burma, Singapore, and Hong Kong. This leads into the question of how heritage diplomacy plays a role in cultural exchange, the notion of cultural tourism, and how we can rethink cultural engagement in a contemporary context, adding value and criticality.

Date 日期

2018.11.9 Location 地點

Haw Par Music

參與計劃的設計師學員、導師以及顧問親身參觀了虎豹別墅，了解這幢受各地歷史文化影響的建築，其座落的社區，及社區內珍貴的非物質文化遺產。此外，他們也認識了胡氏家族於福建、仰光、新加坡及香港等地的發跡史，及他們遺留下來的豐富的文化遺產。這些歷史和文化遺產背後，跨越四地的語境，使我們得以切入以下一系列的重要問題：文化遺產如何在文化交流中產生作用？它們如何可以扣連到文化旅遊？

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Asia Art Archive Visit 參觀亞洲藝術文獻庫 The visit to Asia Art Archive (AAA) was led by Public Programme Lead, Ozge Ersoy, who shared on the importance of archives, and heritage conservation. With an interest in different communities, craft makers and artists, Ersoy shared on the lesser-known histories of art and what is accepted in Asia today. Through its collections of biographical materials, exhibition catalogues,references, and special collections, the AAA goes to locations where artists are based, and digitises their works for their archives. During the visit, examples from the AAA, such as stencils and handcrafts by Nilima Sheikh and Jyoti Bhatt from Baroda (India), Frog King (Kwok Mangho), and Ha Bik Chuen (Hong Kong) were presented and discussed.

Date 日期

2018.11.14 Location 地點

Asia Art Archive

亞洲藝術文獻庫 (AAA）的參觀由公共項目負責人 Ozge Ersoy 領導。分享包括檔案和文化遺產保育的重要性，以及被主流忽視的公眾群組、工匠、藝術家資料，和一些不為人知的亞洲藝術史。其館藏包括藝術家簡介，展覽場刊，各種參考資料以及特別館藏，亞洲藝術文獻庫更會遠赴藝術家的所在地，即場為他們的作品製作數據存檔。館方更即場與設計師學員介紹及討論，展示了來自印度巴羅達藝術家 Nilima Sheikh 及 Jyoti Bhatt、蛙王（郭孟浩）及夏碧泉（香港）的創作模板與工藝品。

Lines of Flight: Nilima Sheikh Archive. Photo courtesy of Asia Art Archive. 逃逸路線：Nilima Sheikh 檔案庫。照片由亞洲藝術文獻庫提供。 160

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Tai Ping Workshop 太平地氈工作坊

Date 日期

2018.11.29 Location 地點

Tai Ping Showroom

With Tai Ping's 63 year rich history and craftsmanship, we invited Enoch To (PR, Marketing Manager, Asia, Tai Ping), Michelle Chu (Design Director Asia, Tai Ping) and Jennifer Wong (Assistant Curator, M+) to share on the history and development of Tai Ping, while exploring different materials, possibilities, and carpet making techniques. Studying Wong's Tai Ping archival research, the designers explored the cultural significance of Tai Ping's craftsmanship, trade and design in Hong Kong and internationally. Through working with Tai Ping, the designers will be experimenting and innovating materiality and craft-making through their design projects.

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太平地氈屹立本地 63 年的香港品牌，此歷史悠久的老字號在工作坊上，杜嘉祺（太平地氈亞洲區公關及市場經理）、朱蒨蒨（太平地氈亞洲區設計總監）和黃鈺雯（M+ 設計及建築助理策展人）分享了太平的歷史及發展、與設計師學員一同探索各種地氈物料、可能性及製作技術，和太平的歷史檔案研究。設計師學員從中得到不同形式的靈感，包括中國傳統文化、圖案、工藝等。他們亦探討了太平在香港和國際上工藝、貿易和設計的文化意義。通過與太平合作，設計師將透過他們的設計項目試驗和創新材料和工藝。

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Partnership Launch 夥伴合作啟動

Date 日期

2018.12.3 Location 地點

Public Design Dialogue 公開設計對話

Haw Par Music

The Partnership Launch started with an introduction of the programme by Programme Partner, Mark Wogan (Chief Executive Officer, Tai Ping) and presentations by Roger Wu (Executive Director, Project Development, Haw Par Music Foundation) and Kuanghan Li (Director, China Heritage Programme, Global Heritage Fund) focusing on the heritage, conservation, and innovation of Haw Par, and other examples beyond Hong Kong. The launch was also joined by Alan Lo (Co-founder/ Chairman, Design Trust), Ivan Pun (Director, Design Trust Board) as well as Design Trust Trustees Jo Black, Yama Chan, Akarin Gaw, and the Design Trust community and friends. The designer mentees also shared on their approach towards design, making, heritage

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and identity in the context of this year's theme HERITAGE IS INNOVATION. The evening ended with a guided tour around the mansion.

計劃夥伴代表 Mark Wogan（太平地氈行政總裁）先作簡短分享；接著由顧問胡燦森（虎豹音樂基金會執行長）、李光涵（全球遺產基金中國項目總監）就古蹟、保育與創新三方面介紹了虎豹別墅以至香港類似建築的背景及情況。羅揚傑（信言設計大使聯合創辦人及董事會主席），潘艾文（信言設計大使董事會成員）以及信言設計大使贊助人 Jo Black，陳雅文，繼淦以及其他持份者和朋友也參與了此次活動。在場的設計師學員逐一就本年度主題「創新的文化遺產」發表他們初步的設計構思。活動最後以一場虎豹別墅導覽結束。

Date 日期

2018.12.8 Location 地點

HKCEC

During the Business of Design Week 2018 "Contemporary Heritage in Translating Culture". Marisa Yiu (Co-founder/ Executive Director of Design Trust) and Suzy Annetta (Editor-In-Chief, Design Anthology) co-moderated a thought provoking panel discussion with speakers Jefa Greenaway (Director, Greenaway Architects), Ewan Mceoin (Senior Curator, Department of Contemporary Design and Architecture, National Gallery of Victoria), and Elaine Ng (Founder, The Fabrick Lab). Discussion included the role of curation in contemporary heritage, as well as the role of design as activism and how it challenges the status quo.

信言設計大使 x 設計營商週（BODW）文化與大都會「當代遺產 / 演譯文化」論壇討論了策展在當代遺產中的作用，還探討設計作為行動主義的議題。我們如何將傳統觀點、感知和知識體系融入我們的城市呢？感謝 Suzy Annetta (Design Anthology 總編輯 )，Jefa Greenaway (Greenaway Architects 總監 )，Ewan Mceoin ( 維多利亞國立美術館當代設計及建築資深策展人 )，吳燕玲 (The Fabrick Lab 創辦人 ) 和主持人姚嘉姍 ( 信言設計大使聯合創會成員 / 執行總監 ESKYIU 創始合夥人 ) 這場發人深省的。

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Tai Ping Xiamen Factory Visit 太平廈門廠房參觀 The designers learned about the processes of carpet making including the preparation of yarn, various dying techniques, preparation of designs and stencils, as well as Tai Ping's famous hand-tufting and carving techniques. The visit also included a tour at Tai Ping's archive and provided the designers with a comprehensive context to Tai Ping's history and craft making methods. The trip ended with a productive meeting with the production manager, where the designers shared on their concepts and discussed on feasibility, materiality, and mapping out of the next stage design in preparation for the experimentation and production of the first batch of prototype testing.

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Date 日期

2018.12.9-12 Location 地點

Tai Ping Factory, Xiamen

負責研究紡織品的設計師學員於 2018 年 12 月 9 至 12 日前往太平廈門廠房參觀。導覽團由太平代表杜嘉祺（亞洲區公關及市場經理）及朱蒨蒨（亞洲區設計總監）帶領，走進太平地氈的歷史檔案及陳列室，了解製作工序的用具及技術。設計師學員更親身到生產工場體驗，觀察預備紡紗的工序，各種染色技術，模板設計，以及太平最著名的手工簇絨技術。最後，大家一同見證工藝師傅為地氈進行裁剪、雕琢成形等最後工序。這次參觀為學員提供了全面的地氈製作知識。參觀完結前，設計師學員獲邀與生產部經理會面，大家都把握此難得機會分享自己的設計概念，討論製作的可行性、用料選材，逐步準備及實踐每一個設計步驟，並期待設計樣板的誕生。

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Workshop 工作坊

Michael Young The internal workshop took place at Michael Young's studio, where designer mentee Xavier Tsang shared on his scent inspiration taken from Haw Par's infamous ten courts of hell mural and folklore. Mentor Michael Young (Founder, Michael Young Studio) shared on the importance of translating visual representation into other sensory forms. The designers also discussed on materiality, textures, and production methods for Xavier to further develop his concept. Some of the examples shared by Michael included Zens, the bamboo light range, which promotes the use of locally sourced material that is of cultural signicance; the Oxygen Chair and the role of material innovation; and MY Dynasty, a collection of aluminum foam vases inspired by Chinese Taoism, amongst others. The workshop ended with concrete next steps for Xavier's concept development, including the testing of the different scents, and elaboration and refinement on the pendulum system.

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Date 日期

2019.1.29 Location 地點

Michael Young Studio 此個別導修工作坊在 Michael Young 的工作室進行。設計師學員曾首彥（Xavier）以虎豹別墅中的十個地獄壁畫為靈感，創作了一系列香水，將故事由花園帶到別墅裡去。導師 Michael Young （Michael Young 工作室創辦人）即席與 Xavier 分享了視覺轉化為其他感官形式的重要性，以及在生產過程可能用到的各種物料、材質及製作方法，有助產品日後進一步的發展；Michael 以自己的作品為例，如以竹為主要物料的傢具系列《Zens》，就是能在地取材而又兼具文化標誌性的創作；而《Oxygen Chair》則實現了物料創新；以鋁金屬泡沫製成的《MY Dynasty》花瓶系列的靈感是來自中國道教等等。來到課堂的尾聲，Xavier 總結出接下來一連串的設計工序，以及為香水系列作仔細調整。

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G.O.D. Archive Visit & Workshop 「住好啲」設計藏品參觀及工作坊

Douglas Young 楊志超

During the workshop, mentor Douglas Young (CEO & Co-founder, G.O.D.) shared on the Hong Kong brand's unique style and form of aesthetics. Their product range reinterprets traditional Hong Kong style in new ways under a contemporary context. Young also takes an alternative approach to the traditional concept of souvenirs, and infuses subtle and esoteric designs in their souvenir collection. The designers also visited mentor Douglas Young's personal collection which is now housed in his Shek Kip Mei studio. The collection has its own definition of Hong Kong as a style and culture, and is used to transform as ideas for his designs, such as the famous mailboxes, or Yau Ma Tei facades.

Date 日期

2019.1.30 Location 地點

G.O.D. Studio 楊志超（Douglas）（「住好啲」行政總裁及共同創辦人）在工作坊上分享了香港品牌的獨特風格，以及如何以新的美學形式及產品去演繹此一的香港風格。「住好啲」品牌自創辦以來顛覆了大眾對紀念品的想像，有趣的是，只有熟悉廣東話及英語的人，才能完全明白「住好啲」這充滿玩味的名字中那一語雙關的意思。走進 Douglas 位於石峽尾的工作室，可見他的設計收藏品自成一格，各自表述著對香港的定義，也呈現出香港文化與風格，例如迷你郵箱及油麻地街景。當被問到香港最具象徵性的物件時，Douglas 選擇了中式湯匙，因為它有著完美的形狀，具功能性，可堆疊收藏，而且價錢廉宜，可大量生產，是早於古代商朝已存在的傳統設計。

When asked to choose a prominent cultural object for Hong Kong, Douglas chose the Chinese spoon, with its perfect form, materiality, function, cost effectiveness, the ability to be mass produced, and its long history dating back to the Shang Dynasty.

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Hong Kong Heritage Project Archive 香港社會發展回顧項目 The Hong Kong Heritage Project was established to collect and interpret the historical records of the Kadoorie Family, their businesses, and charitable activities. and charitable activities. During the visit Fanny Iu (Executive Director) and Melanie Li (Manager – Corporate and Community History) of The Hong Kong Heritage Project shared with the designers the Kadoorie business history and its relationship to Hong Kong's social and economic development from 1884 to 1980. The designers also looked into the archive's paper records, photographs, sound-tracks and films, architectural plans and maps, as well as oral history interviews. Some of the topics explored include Hong Kong's rural communities, its industry, manufacturing and tourism scene, as well as Hong Kong's post-war rehabilitation.

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Date 日期

2019.2.13 Location 地點

Hong Kong Heritage Project Archive 香港社會發展回顧項目的成立，是為了收集及整理嘉道理家族及其業務發展及慈善事業有關的歷史紀錄。當日參觀由香港社會發展回顧項目代表饒啟芬（執行總監）及李靄慈（企業及社區歷史經理）帶領，並與設計師學員分享嘉道理家族的業務歷史，以及這段歷史與 1884 至 1980 年間的香港社會及經濟發展的關係。學員們也親身閱覽檔案室內的紙本紀錄、昔日照片、錄音及短片、建築圖則及地圖，以至口述歷史檔案。當中探討了不少議題，包括有關香港農村社區、工業、製造業及旅遊業的發展，以至戰後香港社會復甦及發展。

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Studio Visit 工作室參觀

via.

During a special tour to via.'s studio, Frank Leung (Founder & Principal, via.) shared with us his philosophy, design, and selected projects related to heritage and identity. These include a 1938 Bauhaus family house renovation project in the Kadoorie estates, the Holy Trinity Cathedral, as well as other working examples. Sharing with the designers the different ways of updating the space while preserving the heritage characteristics of the building, Frank highlighted the importance of context and craftsmanship, as well as translating different craftsmanship into architectural designs.

Date 日期

2019.2.13 Location 地點

via. Studio 梁以立（Frank）（via. 建築工作室創辦人及首席設計師）帶領設計師學員參觀其工作室之後，隨即分享他的個人哲學及設計心得，並精選幾個跟古蹟與城市身份有關的項目作仔細介紹，包括 1938 年採包浩斯風格的翻新項目 The Kadoorie Estate，聖公會聖三一座堂等，深入剖析在為空間的特性升級的同時，也保留古蹟建築的文化特徵。Frank 以他主理的項目為實例，分享計劃工程時對背景、紋理及工藝上的各種考慮，以及將工藝紋理轉化為建築設計細節的方法。此外，大家還探討了「活古蹟」（living heritage）的概念，一座建築如何透過不斷的改動變化，建立出新與舊、人與歷史的對話。透過大量的跨界研究， via. 致力創造整全的設計意念及願景，令古蹟活化及與時代並進。

The concept of living heritage was also explored, how buildings should be used and be continuously changing, creating a conversation between the old and the new; people and history. With a multi-disciplinary approach, via. creates holistic design ideas and aspirations, updating heritage and making it relevant to time.

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Design Review 設計回顧

Date 日期

2019.2.26 Location 地點

Haw Par Music

The Design Review of Design Trust Futures Studio 2019 (DTFS 2019) "Heritage is Innovation" at Haw Par was a feedback and review session on the progress of the designer mentee's project proposals. Guest critics included Lead Curator Marisa Yiu (Co-founder/ Executive Director), Advisor Roger Wu (Executive Director, Project Development, Haw Par Music Foundation), Mentors Douglas Young (CEO & Co-founder, GOD), Irene Lai and Frank Leung (Director and Founder/ Principal via.), as well as Programme Partner Michelle Chu (Design Director, Asia, Tai Ping) and Enoch To (PR, Marketing Manager, Asia, Tai Ping), together with special guest James Chau (Host, The China Current).

「未．共研社」設計回顧討論了設計師的進展。評論嘉賓包括主策展人姚嘉珊（信言設計大使聯合創辦人 / 執行總監），顧問胡燦森（虎豹音樂基金執行長），導師楊志超（Goods of Desire 住好啲創辦人），梁以立（via. 建築工作室創始人兼首席設計師）及黎蘊琪 (via. 建築工作室發展總監），計劃夥伴朱蒨蒨（太平亞洲區設計總監）和杜嘉祺（太平亞洲區公關及市場經理），以及特別嘉賓周柳建成 (The China Current 主持人 )。設計師分享了他們的設計發展，然後與評論嘉賓就真實性、功能性、以及虎豹別墅的不同故事和敘述問題進行討論和對話，探討如何將設計進一步發展為原型或最終產品。同時也考慮虎豹別墅這選址，設計的實用性，技術配合和物料。

The designers shared on their concept development, followed by a discussion and dialogue with guest critics on questions of authenticity, functionality, and the different stories and narratives of Haw Par. Bridging the development of concepts into prototypes and objects under the specific context of Haw Par, the discussion also considered the practicality, techniques and materials involved.

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DTFS 2019 "Heritage is Innovation" 未˙共研社 2019「創新的文化遺產」

Design Prototypes Preview 設計原型預展 The Design Prototype Preview was launched in March 2019 during the occurrence of Art Basel Hong Kong. Exploring the animated definitions of Hong Kong identity through new conversations and site-specific objects created by Hong Kong based designers, the launch brought together design prototypes under the context of the recently revitalised 1936 Haw Par Mansion.

The opening preview was opened by Tim Reeve (Deputy Director & Chief Operating Officer, V&A Museum) and Lead Curator Marisa Yiu (Co-founder and Executive Director, Design Trust), followed by a special guided tour of the design prototypes and objects along with Advisor Roger Wu (Executive Director, Project Development, Haw Par Music Foundation). The week also included a design dialogue with presentations from International Mentors Azusa Murakami and Alexander Groves (Co-founders, Studio Swine) and Hunter Tura exploring their past projects that highlighted areas in which heritage has played a key role. The sharing was followed by a wider discussion between the Mentors and Mentees, along with Design Trust Advisor Beatrice Leanza and Guest Associate Curator Merve Bedir, on heritage values and its influence on their design processes. Several pilot guided tours were joined by students, designers, researchers, and the public on the inaugural collaboration between DTFS and Haw Par Music.

Date 日期

2019.3.25 Location 地點

Haw Par Music

未 · 共研社 2019「創新的文化遺產」項目經已正式展開。一眾本地設計師共同以建於 1936 年、最近活化重修的虎豹別墅為創作概念，就古蹟的歷史及空間創作出一系列設計原型，並從中打開不同的對話，尋溯出多變的香港身分定義。開幕預覽於 2019 年 3 月 25 日舉行，首先由 Tim Reeve（V&A 博物館副館長及營運長）及總策展人姚嘉珊（信言設計大使聯合創辦人及執行總監）致歡迎辭，接著由「未．共研社 2019」合作伙伴胡燦森（虎豹音樂基金會執行長）帶領一節特別導賞，讓參加者率先預覽虎豹別墅內的設計作品及原型。開幕期間，我們幾位國際導師 Azusa Murakami 及 Alexander Groves（Studio Swine 聯合創辦人）、Hunter Tura 展開了一場設計對話，就他們以往各自參與過的古蹟活化項目逐一探討；緊接下來有導師與設計師學員的深入討論，信言設計大使的顧問 Beatrice Leanza 及客席副策展人 Merve Bedir 也參與其中，分享有關古蹟的價值以及它對設計過程的影響。另外，信言使計大使亦聯同虎豹別墅基金舉辦了幾場優先導賞團，參加者包括學生、設計師、研究員以及公眾人士。

Opening remarks by Tim Reeve (Deputy Director & Chief Operating Officer, V&A Museum). Tim Reeve（V&A 博物館副館長及營運長）致歡迎辭。 178

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Workshop 工作坊

Hunter Tura During the internal workshop, designer mentee Adonian Chan shared on his visual identity design research studies with mentor Hunter Tura. Taking inspiration from the movement of tiger, architecture of the Mansion, as well as the new context of Haw Par as a new music foundation, Adonian hopes to create an evolving visual identity for the different needs of Haw Par yet keeping the historical and heritage significance of Haw Par. International mentor Hunter Tura shared his design process and highlighted the importance of the brand mission. "Start from the mission, the kids, the sound, the amazing moment making music. How do we brand that moment? If you come from a mission stand point then the visual identity will work out itself." - Hunter Tura

Date 日期

2019.3.26 Location 地點

Haw Par Music

在個別導修工作坊間，設計師學員陳濬人與導師 Hunter Tura 分享了他的視覺識別設計研究。從老虎的動作，虎豹別墅的建築，以及作為新音樂學院的背景中獲取靈感，陳濬人希望為虎豹的不同需求創造一個不斷變化的視覺形象，同時保持歷史和遺產的意義。國際導師 Hunter Tura 分享了他的設計過程，並強調品牌使命的重要性。「從使命、孩子、聲音、製作音樂的動人時刻開始，我們如何標記那一刻？我們需要集中焦點於樂圃的使命。」— Hunter Tura 在討論過程中，他們還探討了標識和排版選擇的概念，以及如何在數碼、印刷、海報和標牌之間進行溝通和保持一致性的重要。會議以探索性的方式結束，從國際視角思考當地意義的重要性。「你的設計也應得到國際認可。我們如何製作一個可打進國際的視覺識別設計呢？」— Hunter Tura

During the discussion, the concept of logotype and typography choices were also explored, as well as the importance of how we communicate and keeping consistency across digital, print, poster and signage. The meeting spurred further thinking on the importance of locality with an international perspective. "Your work should also be internationally recognised. How do we make a project that puts you in this international place?" - Hunter Tura

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Workshop 工作坊

Alexander Groves and Azusa Murakami (Studio Swine) During the international mentors Alexander Groves and Azusa Murakami's visit, designer mentees Ire Tsui, Rony Chan and Michael Leung engaged in discussions on micro manufacturing and design making beyond the physical object. During the meeting, the designer mentees shared on their Design Trust Feature Grant 'Micro Factory' and the importance of creating a local ecology and craftsmanships in Hong Kong. Sharing on the context of Haw Par and their design brief on creating a series of heritage souvenirs, the mentors and mentees explored different audience types, the potentials of souvenirs, and Haw Par as the global icon of Hong Kong. "Thinking about the potential, the possibilities are endless if you design a system for it. It's great that you as designers can bring so much into this place." - Alexander Groves

Date 日期

2019.3.26 Location 地點

Haw Par Music

在國際導師 Alexander Groves 和 Azusa Murakami 與設計師學員徐巧詩、陳凱納和梁展邦的工作坊期間，設計師學員分享了他們的信言設計大使專題資助計劃《Micro Factory》，以及香港當地創造和工藝生態的重要性。在分享虎豹及其設計簡介的背景下，導師和學員探討了不同的觀眾類型，紀念品的潛力，以及虎豹作為香港的全球圖標。「考慮到潛力，如果你為它設計一個系統，可能性是無窮無盡的。你作為設計師可以為這個地方帶來如此多的價值，這是很棒的。」— Alexander Groves 當設計師正在完成一系列遺產紀念品並重新思考紀念品概念的同時，他們也在探索與當地和國際不同社區合作的方式。「本地概念是可以走向全球的，只需要力量和時間。它是令人回味和令人興奮的。事實上它不再存在使它變得可取，令人渴望和興奮。」— Alexander Groves 和 Azusa Murakami

As the designers are finalising the series of heritage souvenirs and rethinking the concept of souvenirs with criticality, they are also exploring ways to collaborate with different communities both local and internationally. "The power is that local can go global, there is so much power and time. It is evocative and exciting, translating the pieces. The fact that it's not there anymore makes it desirable, yearning and exciting." - Alexander Groves and Azusa Murakami

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Meeting with the Antiquities & Monument Office 與古物古蹟辦事處會面 Designer mentee Elaine Yan Ling Ng, lead curator Marisa Yiu and advisor Roger Wu met with Queenie Chiu (Heritage Officer, Antiquities & Monument Office) and Christy Chan (Architect, Antiquities & Monument Office) and Henry Lo (Project Conservation Consultant). During the meeting, Elaine shared on her vision on creating an 'authentic' feature carpet for the present and future of Haw Par as a new music foundation. The Antiquities & Monument Office also shared and advised on detailing of the feature phoenix, as well as the exploration on other motifs and symbols.

Date 日期

2019.4.16 Location 地點

Haw Par Music

設計師學員吳燕玲、總策展人姚嘉珊及顧問胡燦森與古物古蹟辦事處會面，成員包括行政主任趙天欣、建築師陳海韻及項目文物保育顧問羅嘉裕。虎豹別墅的特色地氈作深入了解，也為 Elaine 希望注入地氈設計的「真實性」提供建議。至於有關鳳凰以及大宅內不同圖案和符號的背景，處方人員都給予了詳細的解說。由於地氈將放置於大宅最富象徵意義的地方，相關的家具設置與訪客動線都需要作仔細考慮。當地氈的最後成品出來後，訪客將在它身上看清何謂真實性和時間；而透過創新的紡紗技術，鳳凰圖案將與周圍環境互動，以翊翊如生的姿態呈現。

As a main feature of the interpretation area, furniture placement and audience flow was also considered and discussed. The final carpet will bring back authenticity and time. Through innovated yarn technologies, the phoenix will come alive responding to the immediate environment of the Mansion and interaction of its surrounding.

Elaine's design concept presentation for the Antiquities and Monument Office in April 2019. 吳燕玲於 2019 年 4 月為古物古蹟辦事處提供的設計概念。 184

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Singapore Research Study Trip

Date 日期

2019.5.30 – 2019.06.02 Location 地點

Singapore

Design Trust Futures Studio 2019 hosted a series of site visits, workshops and research study meetings in Singapore that explored the crossing between cultures, linking cultural, educational, aesthetic, inspirational and economic legacies. The designermentees visited Haw Par Villa, Haw Par Corporation, Baba House and the National Gallery Singapore for a transformative learning journey to better understand the essence of the “heritage is innovation” theme. Along with Lead Curator Marisa Yiu and Design Trust Futures Studio mentor Professor Ho Puay-peng (Head of Department of Architecture, School of Design and Environment, National University of Singapore) led the Design Trust Futures Studio 2019 team for a special tour at Haw Par Villa. Formerly known as Tiger Balm Garden in 1937, the site is home to over 1,000 statues and 150 dioramas. The villa’s vibrant colours and culture mixing serve as the fount of designers’ installation ideas for the September exhibition at Haw Par Mansion in Hong Kong.

The designers continued their journey under the guidance of NUS Baba House docent Donald-Eric Lim. NUS Baba House was built in 1895, this Peranakan Chinese house reflects the cultural hybridity of Singapore with its laundry blue paint, custom-made furniture from China and bricks imported from Fujian. One of Lion City’s most visionary companies is the Haw Par Corporation. Executive Director Mr. A.K. Han’s leadership shared with the team on the corporation’s innovations for tiger balm graphic design. Tiger Balm’s iconic tiger gradually evolved from a sleeping to leaping position, which parallels with the brand’s growth from a local ointment into a global establishment. Designers also explored the National Gallery Singapore together with its Chief Architect Jean Francois Milou. As Jean utilised light to connect the new and the old, he transformed the former Supreme Court and City Hall Buildings into National Gallery Singapore, incorporating the modern needs of a museum into the historic structures.

Mentor Professor Ho Puay-peng leading a research study tour at Haw Par Villa. 導師何培斌教授帶領參觀新加坡虎豹別墅。 186

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新加坡考察之旅

Date 日期

2019.5.30 – 2019.06.02 Location 地點

Singapore

「未．共研社 2019」舉行了新加坡考察之旅，並在當地進行多個研究會議，作文化交流之餘亦向當地文化、教育、美學、創意與經濟發展方面取經，讓設計師學員更充實地完成他們各自的設計項目。此行考察點包括新加坡虎豹別墅、虎豹企業有限公司、Baba House 以及新加坡國家美術館，我們都體驗了一次充滿變革與啟發性的旅程，從而對「創新的文化遺產」主題有更深入的認知。「未．共研社 2019」團隊在總策展人姚嘉珊及導師何培斌教授（新加坡國立大學設計與環境學院建築學系）的帶領下參觀新加坡虎豹別墅。此古蹟原名萬金油花園，建於 1937 年，園內放有 1,000 多座雕塑及 150 個園景模型。整座建築展現了充滿活力的色彩和文化交融，我們將於九月在香港虎豹別墅舉辦的設計裝置展覽，也由此獲得不少策展靈感。設計師學員跟隨新加坡國立大學敦陳禎祿峇峇屋的導賞員 Donald-Eric Lim 繼續行程，到訪建於 1895 年的新加坡國立大學敦陳禎祿峇峇屋，沿著彩藍色的繞道進入建築，可見中國定製的家具、福建進口的磚牆等，這座土生華人的老房子充分呈現了新加坡的混雜文化。

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接著抵達獅地最著名的虎豹企業有限公司，其執行董事 A.K. Han 先生與「未．共研社 2019」團隊分享了公司就虎標萬金油圖案設計上的演變與創新。虎標萬金油標誌的老虎圖案從原本俯伏睡眠演變成現在跳躍的姿勢，與萬金油躍身國際品牌的發展姿態如出一轍。團隊之後參觀新加坡國家美術館並與總建築師 Jean Francois Milou 會面，了建他如何善用光線的設計去連結新舊建築，將前高等法院與大會堂建築群轉化成新加坡國家美術館，成功運用歷史建築去滿足城市當下的需要。

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National Gallery Singapore visit with its Chief Architect Jean Francois Milou. 團隊跟總建築師 Jean Francois Milou 參觀新加坡國家美術館並與。 2,4 Research study tour at Haw Par Villa. 新加坡虎豹別墅考察之旅。 3 Haw Par Corporation Executive Director Mr. A.K. Han shared on the corporation’s innovations for tiger balm graphic design. 虎豹企業有限公司執行董事 A.K. Han 先生分享虎標萬金油圖案設計上的演變。

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Tai Ping Xiamen Factory 太平廈門廠房

Production Workshop 製作工序考察 Design Trust Futures Studio designers visited Tai Ping's factory in Xiamen, as part of a production progress visit. The visit was led by Enoch To (PR, Marketing Manager, Asia) who shared the processes of carpet making for the works of Elaine Yan Ling Ng, Polly Ho & Andy Wong, Michael Leung, as well as Julie Progin & Jesse Mc Lin. The designers' work challenges the traditional carpet making methods at Tai Ping in different ways. While Elaine experimented with different yarn mix to create thermochromatic, light sensitive and iridescent finishing; Polly and Andy's work utilises different tufting and carving techniques to create different pile heights for a variety of sound absorption levels; Julie and Jesse's work combines offshoots from the carpet making process to innovate their ceramics practice; and Michael's work challenges the preconceived idea of carpet as a two-dimensional object by creating three-dimensional objects that act as sound absorption devices for Haw Par Music.

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Date 日期

Location 地點

Tai Ping Xiamen Factory

「未．共研社」設計師專程前往太平廈門廠房，作一次實地製造工序的考察。考察由杜嘉祺（太平亞洲區公關及市場經理）帶領，分享作品的製作工序，給予設計師學員包括吳燕玲、黄漢邦與何善恒、梁展邦、Julie Progin 與 Jesse Mc Lin 一些專業意見。一眾設計師學員將會聯同太平，在傳統地氈的製作方法上作出不同形式的挑戰。吳燕玲嘗試混紡不同的紗綫，製作出感溫變色、感光變色以及彩光的效果；黄漢邦與何善恒則運用不同的簇絨及雕飾技法，製作不同吸音效能的地氈板塊；Julie 與 Jesse 的作品從地氈製作過程中得到啟發，進一步創新他們的陶瓷創作；至於梁展邦的作品，則打破地氈平面形態的先入為主局限，將之創作成立體物件，成品將會成為可攜式的吸音裝置，供虎豹樂圃使用。

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DTFS 2019 "Heritage is Innovation" 未˙共研社 2019「創新的文化遺產」

Exhibition 展覽

Date 日期

2019.9.13 - 30 Location 地點

Haw Par Music

DTFS 2019 "Heritage is Innovation" Exhibition 「未 · 共研社 2019」所舉辦的「創新的文化遺產」展 explores definitions of heritage, conservation 覽，就設計如何介入文化遺產、保育與批判性製作進行探索。踏入計劃的第三年，參與「未 · 共研社」 and critical making through design. In its third iteration, the collective community 的伙伴們共同以建於 1936 年的虎豹別墅作為研究 of Design Trust Futures Studio (DTFS) has 對象，從文化遺產及歷史檔案中啟發創意，更與計 been creating new, site-specific objects 劃夥伴太平地氈共同推出嶄新的、為特定空間創作 inspired by the old 1936 Haw Par Mansion, 的設計作品，參與其中的本地設計師，都是過往信 heritage archives in Hong Kong and new 言設計大使資助計劃的受惠者及設計師學員。 methods of craft and making by exhibition partners, Tai Ping. On view at Haw Par will 一連串的導賞考察，工作坊及設計論壇於展覽期間 be a culmination of site-specific objects 同步舉行，為公眾分享設計與創新將如何賦予力量 by Hong Kong based designers, who have 給我們的文化遺產。 been involved in the Design Trust foundation as grant recipients and designer mentees during the past years. A series of guided tours, workshops and design dialogue will be presented during the exhibition period, sharing with the community how design and innovation can empower our collective heritage.

Guided Tour 設計導覽

Heritage Design Dialogue 文化遺產設計對話

Date 日期 2019.09.13, 15, 18, 22, 27

Date 日期 2019.09.20

Time 時間 12:00pm - 1:00pm

Time 時間 6:00 - 8:00pm

Craft Workshop by Ire Tsui & Rony Chan 手藝工作坊 – 徐巧詩及梁展邦

Fragrance Tour by Xavier Tsang 香味導賞團 – 曾首彥

Date 日期 2019.09.14

Date 日期 2019.09.21

Time 時間 3:00 - 4:20pm 4:30 - 6:00pm

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Location 地點 Haw Par Music, 15A Tai Hang Road, Tai Hang, Hong Kong 香港大坑大坑道 15 號 A 虎豹樂圃

Open to public, registration only. Enquiries at studiolab@designtrust.hk 向公眾開放，報名需先作網上登記。查詢 :

studiolab@designtrust.hk

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About Tai Ping 關於太平

Tai Ping may have exceeded the dreams of its founders, however a belief in creating the very best possible quality has been at the heart of the brand since the company was founded in Hong Kong over half a century ago. In 1955 the then British colony of Hong Kong was experiencing one of the largest increases in population ever witnessed. In the ten years following the second world war, Hong Kong's population had grown from less than half a million to 2.5 million. It was apparent that Hong Kong must change from a trading port into a manufacturing base for the city to thrive. A group of businessmen founded Hong Kong Carpets Manufacturer Limited in 1956 with the idea that making carpets could help provide the much-needed employment for the colony's burgeoning population.

自創辦至今，太平的成就或許已超越了創辦人的想像。在香港成立半個多世紀以來，品牌一直秉持最佳品質為原則，並視此為公司的核心理念。

1955 年，英殖香港正經歷著其中一次最大幅度的人口膨脹。二戰後的十年之間，香港人口從不到 50 萬暴增至 250 萬。為使城市繼續繁榮發展，香港顯然需要從質易港口轉型為製造業基地。後來，一群商人於 1956 年成立了香港地氈製造有限公司，他們認為地氈製造業能夠為殖民地迅速增長的人口提供就業機會。

Directors of Tai Ping in 1978 (left to right): Y. C. Wang*, Horace Kadoorie*, David Marchington (company secretary), K. K. Tse*, W. T. Grimsdale, David Loo, Lawrence Kadoorie*, Tony Yeh, H.C. Yung*, Linden Johnson*. 太平在 1978 年的董事（左至右）：YC Wang*、賀理士嘉道理爵士 *、David Marchington（公司秘書）、KK Tse*、 WT Grimsdale、David Loo、羅蘭士嘉道理勳爵、葉元璋先生、 HC Yung* 及 Linden Johnson* * Founders 創辦人

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Production started on a very small scale in a villa in Hong Kong's New Territories. With little knowledge of the carpet production, but a deep commitment to ensure the success of the project, the young company used simple wooden looms and wool to set about making Tianjin-style hand-knotted carpets. Tai Ping had achieved the founders' goal of being recognised for the quality of its products, and was a significant local employer. From a small workshop employing a few dozen workers, by 1960 the company's new purpose-built factory in Tai Po employed over 500 people. Excelling in their craft and skills, Tai Ping's designers and artisan carpet makers were able to interpret complex designs and creations such as the legendary carpet for Grauman's Chinese Theatre in Hollywood.

公司成立初期規模非常小，在新界區一個別墅裡開設廠房。雖然對地氈製作工序的認識很少，但基於對工作專案的承諾，這家初創公司購入了一些木頭來造紡織機，並訂購羊毛以著手製作天津風格的手工地氈。太平一直以其品質及作為本地重要僱主而昭著，早已將創辦人的心願達成。公司從十人的小車間開始營運，到 1960 年大埔新設廠房的員工人數超過 500 人。太平的設計團隊以及地氈工匠都是巧手與技藝兼備，足以挑戰任何形式的設計，面對客戶層出不窮的要求，都能愈戰愈勇，遇強愈強。

1 2 1

Cheung Yuen Villa, the first make shift workshop of Tai Ping. 張園 — 太平首個臨時工作坊。 Tai Ping's break-through carpet order for Grauman's Chinese Theatre in Hollywood, featuring a special phoenix design. 太平為好萊塢格萊曼中國大劇院製作巨型地氈，呈現別具一格的鳳凰設計。

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Exhibition Floorplan 展覽平面圖

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Exhibition Floorplan 展覽平面圖

Lower Ground

Ground Floor

Location 地點

m Fro

Haw Par Music , 15A Tai Hang Road, Tai Hang, Hong Kong 香港大坑大坑道 15 號 A 虎豹別墅

ad Ro ng Ha Tai

About DTFS 2019 關於「未．共研社」 2019

1 2A

t Lif

8 Entrance

DTFS 2019 Intro

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Functional Sculptural Object 功能性雕塑 Terra Mobile Julie Progin & Jesse Mc Lin

Feature Carpet Design 特式地氈設計 Dancing Phoenix 鳳凰舞動 Elaine Yan Ling Ng 吳燕玲

Multi-sensory Design 多感官設計 10 Scents 十種香氣 Xavier Tsang 曾首彥

Multi-sensory Design 多感官設計 Sensory Fragments 感覺片段 Xavier Tsang 曾首彥 199

First Floor

Exhibition Floorplan 展覽平面圖

Roof Floor 7P 4.3

8P About Tai Ping 關於太平

4.1 4.2

5.2

5.1

Feature Carpet Design 特式地氈設計 Prototype 原型設計 Elaine Yan Ling Ng 吳燕玲

4.3 Souvenirs 紀念品設計 Haw Par Vases 虎豹花瓶 Ire Tsui & Rony Chan 徐巧詩與陳凱納

Re-staging Heritage Artefacts 重置遺產文物 The Evolving Tiger 演化中的老虎 Sharon Tsang-de Lyster 曾思朗

5.1 Haw Par in Graphics 虎豹別墅視覺設計 Lobby Mural 大堂壁畫 Adonian Chan 陳濬人

Souvenirs 紀念品設計 House of Haw Par Hanging Mobiles 虎豹家族紙掛飾系列 Ire Tsui & Rony Chan 徐巧詩與陳凱納

7P Acoustic Textural Panel 聲學吸音面板設計 Prototype 原型設計 Polly Ho and Andy Wong 何善恒與黄漢邦

4.1

4.2 Souvenirs 紀念品設計 Hexagon Candle Holder 六角燭台 Ire Tsui & Rony Chan 徐巧詩與陳凱納

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8P Functional Sculptural Object 功能性雕塑 Prototype 原型設計 Julie Progin & Jesse Mc Lin

Lighting Installation 燈光裝置設計 Totem Tile Lights 瓦片圖騰燈飾 Florian Wegenast & Christine Lew

5.2 Graphics 視覺設計 Haw Par Music Visual Identity Design Research Study 虎豹樂圃視覺設計研究 Adonian Chan 陳濬人 7

Acoustic Textural Panel 聲學吸音面板設計 Uphill Downhill Tiger 上山虎及下山虎 Polly Ho and Andy Wong 何善恒與黄漢邦

Functional Sculptural Object 功能性雕塑 Terra Mobile Julie Progin & Jesse Mc Lin

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About Design Trust 關於「信言設計大使」

Grants 資助計劃

Mission 宗旨 Design Trust creates active long-term, intelligent and meaningful platforms to fund and advocate for the positive value of the process of design, debate and creative sharing. We support innovative, thoughtprovoking investigations in various design disciplines from graphics, media, wearable technologies, architecture to the built environment to actively accelerate creative research, design and development of meaningful projects that advocate for the positive role of design.

信言設計大使倡議積極、長遠、知性及有意義的發展平台，旨於推動及資助具創意和新思維的設計研究方案。我們鼓勵嶄新、具前瞻性的設計研究計劃，範圍觸及各大設計領域，包括平面視覺、媒體、穿戴產品科技、建築及生活空間，從而推動創意研究、設計和任何有助拓展設計議題的項目，藉此提倡設計的正面價值。

信言設計大使為成立於 2014 年的專案資助平台，由 2007 年所創立的本地註冊、非牟利慈善團體「香港設計大使」創辦。信言設計大使旨於支持香港及大灣區的設計專案，推動專業知識、設計研究議題和創意項目，工作涉及多個設計領域，包括平面設計、媒體、以及建築生活空間。信言設計大使積極鼓勵創意研究、設計及別具意義的計劃發展，藉此提倡設計的正面價值。

Curated events with visionary participants examining critical contemporary topics of relevance that have positive change to the design of our environment. These include invitation only dialogues with stakeholders, influencers and panel of advisors. These intimate settings foster a community of exchange relating to the most advanced debates and trends of design. 本會邀請具前瞻性的講者，探討當代議題與設計環境之間的關係和正面影響。這些活動包括與業界人士、重要人物和顧問進行對話。透過親切的對話模式，為設計業界和社區帶來更多交流，討論設計議題和最新的發展機會。

Engaging the Community & Public Events 社區及公眾活動 These community events are formatted as a series of public lectures, design installations, and interactive symposium formats to present Design Trust grant recipients on their research and findings that our funding enabled. The events, including flagship programme Design Trust Futures Studio, aim to encourage interaction, exchange and discussions on a public outreach level.

Core Activities 主要活動 • Grants 資助計劃 • Design assembly & dialogues 設計講座和對談 • Engaging the community & public events 社區及公眾活動 designtrust.hk designtrust 202

本會鼓勵嶄新和具前瞻性的設計研究計劃，資助的項目觸及各大設計領域，包括平面視覺、媒體、穿戴產品科技、建築及生活空間，從而推動創意研究、設計和任何有助拓展設計議題的項目，藉此提倡創意設計和研究，發展深具意義的計劃。

Design Assembly & Dialogues 設計講座和對談

About Us 本會簡介 Design Trust was established in 2014 by Hong Kong Ambassadors of Design, a registered charity in Hong Kong since 2007, as a grant funding platform. Design Trust supports creative projects that develop expertise, build research initiatives and content related to Hong Kong and the Greater Bay Area. Working across a multiplicity of design disciplines from graphics, media, architecture to the built environment, Design Trust aims to actively accelerate creative research, design and development of meaningful projects that advocate for the positive role of design.

Support thought-provoking investigations in various design disciplines from graphics, media, wearable technologies, architecture to the environment; and actively aim to accelerate creative design and research development of meaningful projects.

社區活動以公開講座、公共設計裝置、互動研討會形式進行，讓信言設計基金資助計劃的得主可以分享其研究成果，體現資助計劃的成效。這些活動，包括旗艦計劃「未．共研社」，鼓勵對話、交流、對談和公眾接觸。

BOARD OF DIRECTORS 董事會成員 Chairman - Alan Lo 羅揚傑 Denise Lau 劉思蔚 Gabriela Kennedy Ivan Pun 潘艾文 Joyce Tam 譚載怡 Kamsen Lau 劉今晨

CO-FOUNDER / EXECUTIVE DIRECTOR 聯合創辦人及執行總監 Marisa Yiu 姚嘉珊

DESIGN TRUSTEES 信言設計大使贊助人 Victor Lo 羅仲榮 Jennifer Liu 廖偉芬 Daryl Ng 黃永光 Amanda Loke 陸桂蓮 Akarin Gaw 繼淦 Yama Chan 陳雅文 Adrian Cheng 鄭志剛 Joanne Chow 周凱瑜 Jo Black Ming Wai Lau 劉鳴煒 Donald Choi 蔡宏興 Yvette Ho 何馬美域 Jimmy K.W. Chan 陳光華 Vanessa Cheung 張添琳 Kristine Li 李敬恩 Janice Chan-Choy 蔡陳若詩 Angelina Kwan 關蕙 Charmaine Li 李志妍 Lumen Kinoshita 萬亮人 Desiree Au 歐詠詩

INTERNATIONAL ADVISORY COUNCIL 海外顧問團

Beatrice Leanza 畢月 David Gianotten Eva Franch Lars Nittve 李立偉 Liu Xiaodu 劉曉都

Lyndon Neri 郭錫恩 Rodman Primack Thomas Heatherwick Tom Dixon Zoë Ryan

GREATER BAY AREA DESIGN COUNCIL 大灣區設計顧問 Aric Chen 陳伯康 Andrew Au 歐子健 Arnault Castel Cole Roskam Eric Schuldenfrei Giovanni Alessi Anghini Irene Lam 林雅蘭 Jean T Miao 繆永珍 Kate Jones

Keith Tam 譚智恒 Leslie Lu 盧林 Marc Cansier Ole Bouman 奥雷．伯曼 Stephanie Poon 潘芷慇 Suzy Annetta Tat Lam 林達 William To 陶威廉 Winnie So 蘇詠寧

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Acknowledgements 鳴謝

Lead Organiser 主辦單位

Programme Partner 計劃夥伴

Hotel Partner 酒店合作夥伴

Partner Foundation 核心夥伴

Airline Partner 航空夥伴

Special thanks to Tai Ping and Haw Par Music. 特別鳴謝太平以及虎豹樂圃的慷慨支持。 Tai Ping - Mark Worgan, Shawn Hiltz, Celia Yeung, Michelle Chu, Enoch To, Vinchi Wong Haw Par Music - Roger Wu, Sheryl Lee, Silvie Wong Event & Workshop Collaborators 活動及工作坊合作夥伴 William Lane, Sarah Xiao, Patrick Yim, Vicky Shin, Mark Blackshaw, Yasmeen Ashraf, Samantha Mcdaid, Tim Parker Exhibition, Event Management & Curatorial Team 展覽、活動統籌及策展團隊 Lead Curator 主策展人 - Marisa Yiu Assistant Director (Programmes & Grants) 助理總監（計劃及研究資助）- Joyce Li Event and coordination team 活動及統籌團隊 - Wendy Ng, Cindy Tai, Rocky Chan, Benjamin Li Past coordinators and interns 過往統籌團隊及實習生 - May Yeung, Merve Bedir, Kimberley Hui, Denny Chan Communications 公關顧問 - Plug PR; Film & Photography 記錄短片拍攝 - Ralph Renouf, Trio, KaChick Book Editors 計劃實錄書編輯 - Marisa Yiu, Joyce Li Chinese Translation 中文翻譯 - Alice Leung Programme Book Graphic Designer 計劃實錄書平面設計 - Jason Lee

http://designtrust.hk http://designtrust.hk/design-trust-futures-studio

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