Design Trust Futures Studio "Play is for the People"

1

2

Design Trust Futures Studio 2018/2019

「未 . 共研社」

眾．樂樂園 What is the future of micro-parks in hong kong? 香港「微型公園」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

4 5

Programme Highlights 活動回顧 Programme Timeline

8

Introductory Workshop

10 12

International Mentor Workshop

22

Landscape & Horticulture Workshop

24

園林與園藝工作坊

實地考察及公眾參與活動

Internal Mentor Mentee Workshop

18

國際導師工作坊

簡介工作坊

Site Analysis & Public Engagement

Concept Presentation 設計概念簡介會

計劃進程

13

New York Research Study Tour

26

紐約研究之旅

導師學員工作坊

Public Lecture 公眾講座 : Richard Hassell

14

Fabrication Workshop

16

Sketch Diary

A brief history of playgrounds in Hong Kong 淺談香港遊樂場 90 年

35

Shades of Banyan

The city in the eye of the beholder

40

Urban play spaces for young children

Exhibition

30

展覽

研製工作坊

素描筆記

32

Perspectives 觀點

- Fan Lok Yi 樊樂怡

42

共融玩樂空間 : 為香港未來遊樂場樹立榜樣 - Chris Yuen 袁漢昌 (Playright 智樂兒童遊樂協會 )

How to turn a place around: The case of Bryant Park, New York

52

城市中給年幼孩子玩樂的空間 - Selva Gürdogan

我們眼中的城市 - Yaşar Adanali

Inclusive play space: Setting a model for future playgrounds in Hong Kong

50

榕樹蔭下 - Mark Blackwell

New kids "in" the block

54

活在社區當中的新兒童 - Elger Blitz

46

如何令一個地方起死回生:以紐約布萊恩特公園為例

- Project for Public Spaces

Design Process 設計過程 DTFS 2018/2019 Micro-parks 2018/2019「未．共研社」微型公園

Current Park Design Guidelines and Practice

60

現有公園設計指南

62

64

Mimi Hoang and Team Mimi Hoang 及團隊

Sam Jacob and Team Sam Jacob 及團隊

Stanley Wong and Team 黃炳培及團隊

People 成員 About Design Trust 關於信言設計大使 Acknowledgements 鳴謝

2

66

張智強及團隊

現有公園設計指南

Languages and Cultures in Hong Kong

Gary Chang and Team

98 130 156 184 210 212

3

Lead Curator’s Message 主策展人的話

“In bringing various communities together, both in the public and private sector, educational arena and across borders, I hope we can advance a spirit of generosity and dialogue within our region and internationally. We advocate for the positive values of design in the role for shaping a better city and region we live in.

Our programme DESIGN TRUST FUTURES STUDIO is a pilot programme to explore and experiment with new ideas, exchanges and ultimately transform the individual and collective notion of how we participate in the production of a city”. 「我們希望能透過連結公、私營機構、教育界別及地 域社群，促進慷慨互助的精神，建立地區之間以及國 際的對話。我們提倡正面的設計能建立更美好的城市 及居住地。信言設計大使的旗艦項目『未．共研社』 是一個促進交流、探索和實踐新意念的平台，期望最 終能改變個人和大眾參與城市創造的方式。」 Marisa Yiu 姚嘉珊 Co-founder, Executive Director of Design Trust 信言設計大使聯合創辦人及執行總監 4

Design Trust Futures Studio 未．共研社

Design Trust Futures Studio 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. Experts from different fields have been contributing to the mentor-mentee teams in the exploration of materials and production, putting forth the positive value of design of public spaces in Hong Kong, the Greater Bay Area and internationally.

The 2018/2019 theme for Futures Studio is "PLAY IS FOR THE PEOPLE" which continues to promote the ideas of innovation, leisure and play, creating meaning from the people, for the people with a focus on human factors, ergonomics and physical designs in play. Working with international and Hong Kong-based mentors, together with nine senior mentees continuing from last year, along with eight new mentees, four design teams each with emerging designers of various disciplines have been brought together to examine four sites in Hong Kong.

The four pilot sites include: Portland Street Rest Garden, Hamilton Street Rest Garden, Sitting-Out Area under Hill Road Flyover, and Yi Pei Square Playground.

With an aim to foster practical and innovative designs for different communities in Hong Kong, the four teams have been working closely with members of the public, district councils, and other stakeholders in both public and private sectors. This project exhibition illustrates the conceptual underpinnings of the teams' work, at times reflecting the voice of the community to the perspectives of the designers' process, demonstrating the complex processes of public design making, yet the exciting potentials of public imagination and the creative will power of the members involved.

DTFS has had the opportunity to interface with the newly formed Policy Innovation and Coordination Office.

The client of the programme is the Leisure and Cultural Services Department who is in charge of leading the parks revitalisation, and the Architectural Services Department is the works agent, (the architects of record in charge of translating the concepts into reality).

With the aim to redefine the design process of creating micro-parks, and how we as citizens, can design together to re-imagine our city and how we play. This pilot programme we hope, can catalyse an even more positive energy to benefit the community, and as such inject a continuing lifelong learning process, where we can take iterative testing and an open mindset to impact our everyday living space here in Hong Kong.

I take this opportunity to also express deep gratitude to all team members, partners, sponsors and new friends created along this journey, to allow us to build trust and put design at the forefront of our everyday practice.

「未．共研社」旨在顯現現代設計和生產過程，集中討論前瞻思 維，並展示設計如何能為社會和公共空間帶來貢獻。該計劃源 於項目工作室的概念，使導師與學員能透過互相學習而實踐終 身合作。「未．共研社」由信言設計大使聯合創辦人及執行總 監姚嘉珊推動及構思。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，進行製作，展示設計能如何改 善香港的公共空間，繼而進一步推廣香港、大灣區以至國際的 正面公共空間設計。 「未．共研社」2018/2019 年的主題為《眾．樂樂園》，針對推 廣創新、閒暇、娛樂的創意思路，以人為本，結合人體工學和 實物設計的概念。從人當中找到意義，亦為人創造意義。四個 實用而且具趣味性的微型公園，將會在香港四個地方活現出來。 公共空間包括：砵蘭街休憇花園、咸美頓街休憩花園、二陂坊 遊樂場和山道天橋底休憩處。 「未．共研社」計劃強調跨領域合作，以促進香港社區的實用 和創新設計為目標。四組設計師團隊將與公眾、區議會、及各 公、私營設計機構進行分享及協作。 是次展覽將展示設計團 隊的概念，而當地社區對設計的迴響亦反映在其中。展覽呈現 的公共空間設計過程並不簡單，但蘊含豐富的公眾想像以及參 與人士的創意。 「未．共研社」獲機會與眾多夥伴一同推動設計，並從中學習、 挑戰難題、取得啟發。我們有幸與以下機構組織合作：政府的 政策創新與統籌辦事處；康樂及文化事務署；以及建築署，使 各個以社區為本的精彩設計得以實現。 此先導計劃旨在重新定義微型公園的設計過程，以及其在未來 發展的可能性，並探討我們作為市民可如何透過共同參與設計， 從而重新想像「眾樂」的概念。我們希望此計劃能為社區衍生更 多正能量，鼓勵大眾終身學習，透過反復試驗和抱持開放的思 考態度，進一步改善香港的生活空間。 在此，我深深感謝所有設計成員、合作夥伴與贊助者的支持， 讓我們在過程中得以建立彼此信任，實踐設計並將其融於日常 生活之中。

Marisa Yiu 姚嘉珊 Co-founder, Executive Director of Design Trust 信言設計大使聯合創辦人及執行總監 5

play is for the people

2018/2019 Theme 2018/2019 年主題

眾．樂樂園 What is the future of micro-parks for hong kong? 香港「微型公園」的未來？ The 2018/2019 theme is "Play is for the people" on the role of play for our community and re-envisioning the future of micro-parks. Looking into the context of different neighbourhoods in Hong Kong, Design Trust Futures Studio 2018 will culminate into a series of multi-functional public rest gardens, playground and sitting-out areas that supports the people’s needs.

2018/2019 年的主題為《眾．樂樂園》探索「眾樂」對我們社區的作用 以及重新思考微型公園的未來。在香港不同社區的背景下，「未．共 研社」將會建造一系列多功能的公共休憩花園、遊樂場和休憩處，以 滿足市民的需求。

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

6

• 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

Programme Highlights 活動回顧

7

1

Phase 1 第一階段 Conceptual Scheme 概念設計 February 2 月 - April 4 月

2

月

FEBRUARY

3

月

MARCH

Phase 2 第二階段 Critical Design Phase 重點設計階段 April 4 月 - September 9 月

4

月

APRIL

5

MAY

6

月

2

月

JUNE

7

月

JULY

Site Analysis & Research / Ideas Generation 資料搜集，構想意念 Introductory Workshop 簡介工作坊 Initial Stakeholder Engagement Sessions 設計師團隊與不同持份者會面及研究 Internal Mentor Mentee Workshop 導師學員工作坊 Public Lecture: Richard Hassell 公眾講座：Richard Hassell

Fabrication Workshop 研制工作坊 Concept Presentation 設計概念簡介會 Micro-parks Concept Design Submission 設計師團隊提交微型公園概念設計

International Mentor Workshop 國際導師工作坊 Landscape & Horticulture Workshop 園林與園藝工作坊 Design Teams Technical Meetings 設計師團隊技術會議 Stakeholder Engagement Sessions 設計師團隊與不同持份者會面及研究 Exhibition Strategy Workshop 展覽討論工作坊

Legend 圖例 DFMC 區議會會議 DC Meeting 會議 Public Engagment 公眾參與活動 Technical Meeting 技術會議

8

DFMC DC PE TM

PORTLAND

PE

DC

DC

HAMILTON

PE

DC

DC

HILL ROAD

PE

YI PEI SQUARE

PE

TM PE TM DC

5/7

DFMC DC

DC

PE DC

PE TM

Phase 3 第三階段 International Event & Public Presentation 國際活動與研究成果分享 Sep 9 月 - Jan 1 月

8

月

AUGUST

9

月

SEPTEMBER

3

4

Phase 4 第四階段 Build & Construction 興建微型公園 2019 Onwards 2019 起

10

月

OCTOBER

11

月

NOVEMBER

12

月

DECEMBER

1

月

JANUARY

Critical Design Phase 重點設計階段

Public Engagement Sessions 初始公眾參與活動

International Event & Public Presentation 國際活動與研究成果分享 New York Study Tour 紐約遊學團 Stakeholder Engagement Sessions 設計師團隊與不同持份者研究 Production of Prototypes 製作新原型設計 Public Presentation & Exhibition of Prototypes 公眾分享會及原型設計展覽 Technical Design Development and Construction preparation for micro-parks by ArchSD 建築署興建微型公園 DC

DC

PE TM DC TM TM DC

DC

DC

DC

MILESTONE

TM DC

MILESTONE

DFMC DFMC

DC

MILESTONE

DFMC

9

Introductory Workshop 簡介工作坊 The Introductory Workshop was held on 6 February 2018, and kicked off the exciting year-long programme. Moderated by Marisa Yiu, Co-founder and Executive Director of Design Trust, the workshop brought together the designer-mentees, the two Hong Kongbased mentors, Gary Chang (EDGE), Stanley Wong (anothermountainman), and advisors from the public and private sectors. Our two international mentors, Sam Jacob and Mimi Hoang also joined in via Skype. All participants shared their unique views and experiences about the design of parks and public spaces, in preparation for the design of four future micro-parks for Hong Kong.

10

Date 日期

2018.2.6 Location 地點

Campfire Collaborative Spaces

「未．共研社」首個簡介工作坊於 2 月 6 日舉行， 展開全年計劃。是次工作坊由信言設計大使聯合 創辦人及執行總監姚嘉珊主持，匯集了設計師學 員、香港導師張智強 (EDGE) 和黃炳培 ( 又一山 人 )、以及不同公、私營部門的顧問。兩位國際導 師 Sam Jacob 和 Mimi Hoang 也通過 Skype 參 與是次活動。參與者分享對公園和公共空間設計的 獨特見解和經驗，對未來香港微型公園的設計帶來 啟發。

11

Site Analysis & Public Engagement 實地考察及公眾 參與活動 This is an ongoing process where the designer mentee teams have been conducting site analysis and public engagement sessions since February 2018. These include site surveys, research and analysis, as well as engagement with the local residents, families and different public and private agencies, including local NGOS, LCSD, ArchSD, District Council members, in order to gain a deeper understanding of the local communities’ needs. The initial research enable the teams to create more humancentric design proposals.

12

Date 日期

2018.2 - ongoing

這是持續設計過程的一部分。設計師學員團隊從

2 月開始，在各自的選址進行多次實地考察和研究， 邀請當地居民、家庭、及公、私營機構 ( 包括非政 府組織、康文署、建築署、區議會成員等 ) 接受訪 問，加深了解當地的民情和區情，以便日後可創建 以人為本和適合當地社區的設計方案。

Internal Mentor Mentee Workshop 導師學員工作坊 The designer mentee teams had a thoughtprovoking afternoon at Kafnu, Kerry Hotel, Hong Kong, with our mentors, advisors and experts from different related fields. The four teams shared with us their concepts of play, and presented their site analysis and initial design ideas for the future micro-parks of Hong Kong.

Date 日期

2018.3.17 Location 地點

Kafnu, Kerry Hotel

在香港嘉里酒店 Kafnu 的一個下午，設計師團隊 與導師、顧問和不同相關領域的專家，進行了發人 深省的工作坊。四組設計師團隊分享對「眾樂」的 詮釋、實地考察結果、及未來香港微型公園的初步 設計理念。隨後，更與我們的香港導師張智強、顧 問黃志恆、連君婷、及相關的公共和私人機構的專 家進行深入討論。

The sharing of each team was followed by an in-depth discussion with our Hong Kongbased mentor, Gary Chang, our advisors, Sara Wong, Maggie Lin, Andrew Tsui, and experts from different public and private agencies.

13

Public Lecture 「未．共研社」公眾講座

Richard Hassell International Workshop Mentor, Richard Hassell (Co-founder, WOHA), shared with us his vision on environmentally-conscious and sustainable designs during a public lecture on 19 March 2018. Raising the importance of inclusivity, community, and the diversity of "living and growing architectures", the evening ended with a thought-provoking panel discussion with Christopher Law (Founding Director, Oval Partnership); Andrew Tsui (Cofounder of Rooftop Republic Urban Farming); Ada Wong (Convenor of The Good Lab & Make A Difference) and Marisa Yiu (Co-founder and Executive Director of Design Trust).

14

Date 日期

2018.3.19 Location 地點

Kafnu, Kerry Hotel

工作坊國際導師 Richard Hassell (WOHA 聯合 創辦人 ) 為我們舉行了一場公眾講座。Hassell 與 我們分享了他在環保和可持續發展設計方面的理 想，其中強調了包容性、社區主義和多樣性能的重 要，以達致「活生生和成長的建築」。其後，信言 設計大使聯合創辦人及執行總監姚嘉珊，與討論嘉 賓羅健中 ( 歐華爾顧問有限公司創始董事 )；徐伽

( 雲耕一族聯合創辦人 )；及黃英琦 ( 好單位召集 人、MaD 創不同召集人 ) 進行了一場具啟發性的 討論。

"We have Green Plot Ratio, which is the ratio of garden to the site area, Community Plot Ratio, and Civic Generosity Index, something that measures how nice a citizen your building is. Ultimately if every project produced its own food, energy and water, then our cities wouldn't be such a blight on the surface of the Earth." 「我們有綠色容積率，即綠色空間面積和選址面積的 比例、社區地積比率、和公民慷慨指數，這可以衡量 你的建築裡的公民質素有多好。最終，如果每個項目 都能產生自己的食物、能源和水，那麼我們的城市就 不會成為導致地球生病的源頭。」 - Richard Hassell, International Workshop Mentor 工作坊國際導師 15

Fabrication Workshop 研製工作坊 What makes a playground inclusive?

Design Trust Futures Studio mentees spent the afternoon at a children’s playground in Ap Lei Chau, reliving their younger days as they brainstormed ways to design an inclusive park. "What we call inclusive play is not just about the physical environment," said Advisor Chris Yuen, of Playright Children’s Play Association.

Following an afternoon exploring the idea of play and inclusiveness, Design Trust Futures Studio mentees visited Advisor and local contemporary visual artist Kacey Wong’s studio, where he shared his thoughts on design, and Advisor Maggie Lin prepared the teams for public engagement through a mindfulness practice which cultivated openness and creativity.

16

Date 日期

2018.4.14 Location 地點

Ap Lei Chau Children’s Playground, Object’s Factory 怎樣才是共融的遊樂場 ?「未 · 共研社」成員在鴨 脷洲遊樂場重覓少年時光，探討如何設計有共享 元素的公園。顧問 Playright 智樂兒童遊樂協會

Chris Yuen：「原來，遊樂場的包容性不單由場景 塑造出來，亦由社交成份構成。」 以一個下午探索香港共融遊樂場後，「未 · 共研社」 的成員拜訪了顧問、香港當代視覺藝術家黃國才的 工作室，聆聽他的設計心得。顧問連君婷亦透過培 育開放思想和創造力的正念練習，訓練成員準備進 行公眾參與活動。

17

Concept Presentation 設計概念簡介會

Date 日期

2018.4.21 Location 地點

The Hive Spring

The designer mentee teams presented their design concepts at The Hive Spring, Hong Kong, and received feedback from guest critics representing different industries from the public and private sectors.

「未．共研社」的設計師團隊於 The Hive Spring

Following the four teams’ presentations, Marisa Yiu moderated a wide-ranging open discussion involving all guest critics, who commented specifically on each of the four designs and highlighted overarching questions for all mentees to consider as they continue to fine-tune their concepts.

How can we design a space for different user groups? How do you retain existing users while bringing in new groups?

How can design enhance and improve, rather than impose? The event ended with constructive feedback and ideas for the teams’ future park designs in the context of its neighbouring parks around the districts.

見。他們強調設計師團隊微調設計概念時須考慮的

18

簡介設計概念，並收到不同公、私營部門評論家的 意見。 四組設計師團隊的簡介結束後，主策展人姚嘉珊主 持了別具意義的討論，並邀請各評論嘉賓發表意 問題，包括：如何為不同的用戶群設計空間？如何 引入新用戶群，同時保留現有的用戶群？他們的設 計如何能增強和改善現有環境，而不是強加於選址 上？活動為設計師團隊的遊樂場設計提供建議和 新想法，使他們的設計能與區內附近的其他遊樂場 連接起來。

Guest Critics 評論嘉賓

Other Guests 其他嘉賓

Michael Young

Sean Affleck

Donald Chen 陳羿

Founder 創辦人 , Michael Young Studio

Director 總監 , Make Architects

Deputy Director, PICO 政策創新與統籌辦事處，副總監

Marvin Chen 陳沐文 President, HKIA 香港建築師學會會長

Frank Leung 梁以立 and Irene Lai 黎蘊琪 Co-founders, Via Architecture

Kacey Wong 黃國才 Visual Artist, Founding Member of Art Citizens 視覺藝術家及藝術公民創始成員

Elita Lam 林綺妮 Head, Department of Fashion and Image Design, HKDI 港知專設計學院時裝及形象設計 學系主任

Kathy Wong 王見好 Executive Director, Playright 智樂兒童遊樂協會總幹事

Chris Yuen 袁漢昌 Play Environment Consultant, Playright 智樂兒童遊樂協會遊樂及環境顧問

James Acuna Founder and Creative Director, 創辦人兼創意總監 , JJA / Bespoke Architecture

Mark Blackwell Partner, Morphis 創辦人兼創意總監

Willie San 辛偉賢 Senior Property Services Manager, ArchSD 建築署高級物業服務經理

Doris Fok 霍李湘玲 Assistant Director, LCSD 康樂及文化事務署助理署長，康樂事務

Amy Chan 陳曉嵐 Curator, Learning and Engagement, M+ M+ 教學及參與策展人

David Tong 唐錫波 Former Senior Project Manager, PICO 前政策創新與統籌辦事處高級項目經理

Eric Schuldenfrei 邵達輝

Benjamin Choi 蔡少峰

Head, Faculty of Architecture, The University of Hong Kong 香港大學建築學院院長

Yau Tsim Mong District Council Elected member 油尖旺區議會民選議員

Thomas Lau 劉志剛

Lai-king Cheng 鄭麗琼

General Manager, Landscape Architecture and Sustainability, Sino 信和集團發展部園境設計總經理

Central & Western District Council Elected member 中西區區議會民選議員

Paul Zimmerman

Chris Cheng 鄭國權

Co-Founder and CEO, Designing Hong Kong 創意香港聯合創始人兼執行總監

DLM(TW) 荃灣區康樂事務經理

Benjamin Cha 查耀中 Chief Executive, Grosvenor Asia Pacific 高富諾有限公司亞太區行政總裁

Arthur Au-Yeung 歐陽偉明 DDLM(TW) 荃灣區副康樂事務經理

Miu-ling Chan 陳妙玲

Donald Choi 蔡宏興

DDLM(CW) 中西區副康樂事務經理

Chief Executive Officer, Chinachem Group 華懋集團執行董事兼行政總裁

Hon-wa Fung 封翰華

Tony Tse 謝偉銓 LegCo Member, Architectural, Surveying, Planning & Landscape, BBS 立法會議員 ( 建築、測量、都市規劃及園 境界 ), BBS

DDLM(YTM) 油尖旺區副康樂事務經理

Marc Cansier Founding Partner 創始合夥人 Marc & Chantal

Sara Wong 黃志恆 Landscape Designer/ Artist, HKDI; Founding member, Para Site 香港知專設計學院景觀設計師 / 藝術家； Para Site 創始成員

Helen Fan 樊樂怡 M+/ Design Trust Research Fellows M+/ Design Trust 研究學人

Horman Chan 陳明昌 Chief Leisure Manager, LCSD 康樂及文化事務署康樂事務經理 19

20

21

International Mentor Workshop 國際導師工作坊 A thought-provoking workshop with Mentor Mimi Hoang empowered the designer mentee teams to challenge the notion of rules and regulations, as well as the materiality of their designs. It raised the importance of individuality and identity of space while benefiting the local community at the same time. The teams were prompted to explore the journey of experience inside a park, to design creative, innovative and inclusive parks and playable open spaces that are fun and socially engaging.

The evening ended with our advisors and guest critics sharing their knowledge and expertise through focused consultations to the teams, and highlighting the potential of appropriate foliage and textures for the sites. The discussions focused specific design features of each team and how they would proceed to tackle the existing challenges and how to embrace and turn these constraints into opportunities.

22

Date 日期

2018.5.23 Location 地點

Strokes

透過一次深入的工作坊，導師 Mimi Hoang 鼓勵 設計師團隊以設計挑戰規限，並強調設計物質的重 要。顧問與導師均提出個人化及空間認同的重要 性，著重設計如何使當地社區受益。他們與設計師 團隊一同進行公園體驗之旅，促使團隊設計出創 新、具社交參與感和共融的公園和開放空間。 隨後，顧問和評論嘉賓分享專業知識，以助設計師 團隊設計社區活動空間和修飾合宜的公園。討論由 姚嘉珊主持，針對各團隊的具體設計特點，討論如 何著手解決當前的挑戰及將限制轉化為機遇。

Image Credit: Iwan Baan, courtesy of nARCHITECTS. 資料來源 nARCHITECTS，圖片由 Iwan Baan 提供。

23

Landscape & Horticulture Workshop 園林與園藝工作坊 DTFS Advisor Mark Blackwell (Partner, Morphis Landscape Architects) advised the four teams on landscape planning, horticulture, and its sustainable and environmental applications for their micro-park designs. Representatives from each team shared their designs and ideas and with his expertise, Mark discussed with the teams practical solutions to their questions, designs, materials and plantation that work from a design and maintenance point of view, engaging the community, inclusivity and what play means in each design context. During the process, Mark also utilised different case studies, helping the teams better visualise what can be implemented and highlighting the importance of experimentation with scales and materials.

24

Date 日期

2018.6.22 Location 地點

Morphis Landscape Architects

「未． 共 研 社 」顧 問 Mark Blackwell ( 莫 爾 菲 斯 合夥人 ) 在園景規劃、園藝及微型公園設計的可持 續性和環境應用方面，為四個設計師團隊提供建 議。各團隊代表均分享他們的設計和想法。Mark 則憑藉專業知識，與團隊討論設計、材料和種植方 面的解決方案，更從設計和保養的角度，討論社區 參與、共融和眾樂在各種設計環境的重要性。過程 中，Mark 還使用不同的案例研究，幫助團隊進一 步理解如何實踐設計，並突出嘗試採用不同比例和 材料的重要。

25

New York Research Study Tour

Date 日期

2018.9.5 – 2018.9.8 Location 地點

New York

The research and study tour consists of a range of site visits, studio tours and workshops, during which the four design teams also shared and presented their micro-parks projects under this year’s theme of "Play is for the people" at The Architectural League of New York.

The designer mentees visited Bryant Park and other public spaces with non-profit organisation Project for Public Spaces (PPS).

Through research studies and analyses, Manhattan public spaces have transformed from being crime-infested in the 1980s to cross-generational, multi-functional, and dynamic spaces that facilitate social life for all walks of life. Bryant Park, a privately managed public space, is now known as Manhattan’s Town Square. A number of other public spaces, parks and playgrounds were visited, including Imagination Playground by David Rockwell, Water Lab at Pier 6, Brooklyn Bridge Park, Paley Park by landscape architectural firm Zion Breen Richardson Associates, and Domino Park

by James Corner Field Operations. One of the highlights was the High Line, by Diller Scofidio + Renfro, James Corner Field Operations, and Piet Oudolf. Leading the tour, Matthew Johnson (Principal, Diller Scofidio + Renfro, and Lead Designer of the High Line) traced the transformation of the High Line in relation to its surrounding neighbourhood of subcultures, its night scene and meatpackers of the district.

As a co-creator of the citywide public engagement project The Mile Long Opera, Matthew also shared with us the experience 26

of bringing together 1,000 singers for free performances on the High Line, reflecting the rapid changes in urban theatre and the crisscrossing between public and private life. The team made several other key visits to studios and institutions of architecture and graphic design. Amongst these were Pentagram, the world’s largest independent design studio, where they met co-founding partner Michael Bierut. The mentees also visited Storefront for Art and Architecture, which was founded in 1982 by Kyong Park as a space to exhibit innovative ideas by architects, artists and curators alike.

The space’s façade – designed by architect Steven Holl and artist Vito Acconci – has blurred the division between public and private spaces, and challenged the current built environment and urban design of the city. The DTFS crew also visited A /D/O design space and nARCHITECTS, where Mimi Hoang (Co-founding Principal of nARCHITECTS, and an Adjunct Assistant Professor at the Graduate School of Architecture, Planning and Preservation at Columbia University) shared her most recent projects, and explored with the team the latest innovations in design.

On Friday, 7th September 2018, the team presented their micro-parks projects at The Architectural League of New York (ALNY).

Under this year’s theme of "Play is for the people", conceptual designs by the four teams were presented to the designer, architect and placemaking community of New York including Paul Lewis (President, ALNY; Co-founding Principal, LTL Architects),

Rosalie Genevro (Executive Director, ALNY), Anne Rieselbach (Program Director, ALNY), Calvin Tsao (Board Member, ALNY; Co-founder, Tsao & McKown Architects), Benjamin Prosky (Executive Director, AIA NYC), and Rosamund Fletcher (Deputy Director, Design Trust NYC).

The research tour ended on an inspiring note, with visits to the Guggenheim Museum designed by Frank Lloyd Wright, MoMA and its collection of modern and contemporary art, architecture, and design, as well as the Whitney Museum of American Art and its 20th- and 21st- century collection.

27

紐約研究之旅

Date 日期

2018.9.5 – 2018.9.8 Location 地點

New York

信言設計大使「未．共研社」團隊，於 9 月 5

創 辦 的 Storefront for Art and Architecture。

至 8 日前往紐約，進行爲期四日的學習研究之

空間旨在展現建築師、藝術家和策展人的創意，當

旅。設計團隊不但探訪多個工作室，亦參與 一系列的工作坊，期間更於紐約建築聯盟以 《眾．樂樂園》為本年度主題，分享和展示他 們的微型公園項目。 在非牟利組織 Project for Public Spaces (PPS) 的帶領下，「未．共研社」設計團隊參觀了無數公 共空間、公園及遊樂場。曼克頓的公共空間 1980 年代為犯罪率甚高的地點，經過一連串研究和分析 後，竟蛻變成今時今日男女老幼都能享用的多用途 社交空間；由私人機構管理的 Bryant Park 亦成 曼克頓的中央廣場。設計團隊也參觀了其他設施， 包 括 由 David Rockwell 設 計 的 Imagination

Playground、Pier 6 的 Water Lab、布魯克林大 橋公園、景觀建築公司（Zion Breen Richardson Associates）設計的 Paley Park、以及 James Corner Field Operations 設計的 Domino Park。 最令人印象深刻的公共空間是由 Diller Scofidio

+ Renfro、James Corner Field Operations 及 Piet Oudolf 聯合設計的高線公園 (High Line)。 參 觀 活 動 負 責 人 Matthew Johnson (Diller Scofidio + Renfro 負責人及 High Line 主設計師 ) 特別提到高線公園與周邊的次文化、夜生活、肉類 加工廠工人的互動產生的轉變。 Matthew 還協助建立名為「The Mile Long Opera: a biography of 7 o’clock」的項目，邀請約一千名 歌手於高線公園作免費表演，反映都市劇場的急劇 轉變，以及公衆與私人生活之間交錯的關係。 「未．共研社」團隊亦到訪其他平面設計與建築有 關的工作室及學院，包括全球最大的獨立設計工作 室 Pentagram， 並 與 其 創 辦 人 Michael Beirut 會面。另一個目的地是於 1982 年由 Kyong Park 28

中由建築師 Steven Holl 及藝術家 Vito Acconci 設計的建築外牆，不但展示公共與私人空間的分界 如何越趨模糊，更挑戰當前建築環境與城市設計 的想法。團隊亦參觀了 A/D/O design space 及

nArchitects，而身為 nArchitects 創辦人之一、 哥倫比亞大學建築、規劃及保育院兼職助理教授的 Mimi Hoang，亦分享她近期的項目及最新的設 計理念。 姚嘉珊、Mimi Hoang 與「未．共研社」團隊於 9 月 7 日在紐約建築聯盟 (ALNY) 與紐約設計師、 建築師、社區營造界人士進行分享會，旨在介紹 本年度「未．共研社」以《眾 ˙ 樂樂園》為主題的微 型公園項目。在座人士包括：Paul Lewis (ALNY 董事長；LTL Architects 創辦人之一 )、Rosalie

Genevro (ALNY 執行總監 )、Anne Rieselbach (ALNY 項 目 總 監 )、Calvin Tsao(ALNY 董 事 會 成 員；Tsao & McKown Architects 聯 合 創 辦 人 )、Benjamin Prosky (AIA NYC 執 行 總 監 )、 Rosamund Fletcher (Design Trust NYC 副總監 ) 等等。 這次學習研究之旅以一系列的博物館參觀作為總 結。 團 隊 除 了 參 觀 由 Frank Lloyd Wright 設 計 的 Guggenheim Museum， 更 到 訪 集 現 代 藝 術、 建 築 及 設 計 展 覽 品 於 一 身 的 MoMA， 和 擁 有 20 及 21 世 紀 展 覽 品 的 Whitney Museum of

American Art。

29

Design Trust Futures Studio “PLAY IS FOR THE PEOPLE” Exhibition 「未．共研社」之《眾．樂樂園》展覽

Free Admission 免費入場 Date 日期

2019.1.17-29 Opening Hours 開放時間

12-8pm, weekdays 平日 10am-8pm, weekends 週末 Location 地點

Warehouses on West Shop B, G/F, Samtoh Building, No. 384A Queen's Road West, Sai Ying Pun, Hong Kong 香港 西營盤皇后大道西 384A 號 三多大樓地下 B 鋪

SOA under Hill Road Flyover

Portland Street Rest Garden

Design Dialogue 設計對話

2019.1.19 4-6pm

Guided Tours 展覽導賞

2:30-3:30pm (weekdays 平日 ) 11am-12pm (weekends 週末 ) Public Workshops 工作坊

2019.1.19 2:30-3:30pm 2019.1.20 2:30-3:30pm 2019.1.26 2:30-3:30pm 2019.1.27 2:30-3:30pm

Hamilton Street Rest Garden

Yi Pei Square Playground

DTFS Introduction

Site Models

ENTRANCE

30

Design Trust is pleased to present "PLAY IS FOR THE PEOPLE", an exhibition reflecting on the creative processes and collective design for four distinct locations across Hong Kong. Working closely with the local communities and other stakeholders from both private and public sectors, the design teams translated their findings from site research and analysis, as well as various public engagement sessions into unique concepts for four micro-parks. Going beyond conceptual ideation, the aim is to transform the micro-park designs into reality after the exhibition.

Exhibiting at Warehouses on West in Sai Ying Pun from 17th to 29th January 2019, "PLAY IS FOR THE PEOPLE" will showcase the outcomes of the critical design phase, as well as 1:1 prototypes and scaled models for the

public to envision the future micro-parks and design concepts. A series of programmes, talks and workshops will be open to public during the exhibition period. 信言設計大使於本年度隆重呈獻旗艦計劃「未．共 研社」之《眾．樂樂園》展覽，展出為香港四個不同 地點所設計的創新公共空間方案及其設計過程。在 過去的一年，四個項目的設計團隊與當地社區和公 私營機構的持份者緊密合作，成功將實地研究成果 以及與公眾之討論轉化為四個獨特微型公園的設 計概念。是次展覽將跨越構思的階段，所展出的微 型公園設計概念將於審批後實現。 展覽將於 2019 年 1 月 17 日至 29 日期間於西營盤

Warehouses on West 舉行，展示四個微型公園 的關鍵設計成果，並以 1:1 原形及比例模型向公眾 展示未來公園的設計理念。同時，展覽期間亦會舉 行一系列的講座及研討會開放予公眾參與。

31

Sketch Diary Sharing Concept 素描筆記 – 分享概念 Mentors and designer mentees have been documenting their design process through Sketch Diaries, making visible the invisible process of design. Their research, sketches and final concepts are documented throughout the project and shared on the Design Trust Futures Studio 2018 website as an open source material for the public.

導師與設計師學員以素描筆記把設計過程記錄下 來，讓大家一瞥不為人知的設計過程。 他們的研 究、素描和最終概念將被記錄，並透過「未．共研 社」2018 的網站，以公開資源與大眾分享。

designtrust.hk/design-trust-futures-studio

Stephen Ip 葉希芃

Christopher Choi 蔡旻諾

Jonathan Mak 麥朗

Kay Chan 陳韻淇

32

Andy Cheng 鄭雋

Aron Tsang 曾偉俊

Zoey Chan 陳芷瑤

Hung Kam Fai 洪錦輝

Xavier Tsang 曾首彥

Owen Chim 詹皓雲 33

34

Perspectives 觀點

35

A brief history of playgrounds in Hong Kong Fan Lok Yi

It was not until the end of 1920s that Hong Kong started to build its own children’s playgrounds, to provide a safe place for children to play, and to reduce juvenile crimes. Street children were a common sight in the early 20th century Hong Kong, when the city was plagued by widespread poverty. In 1928, Kowloon Residents’ Association met Ts'o Seen Wan, a member of the Sanitary Board of Hong Kong Government, and proposed the construction of playgrounds for children. In the following year, the Government constructed the earliest playgrounds in Tsim Sha Tsui and Hong Kong Island. Built using donations and managed by charities, these venues were the result of collaboration between the Government and the civil society.

36

The Shek Kip Mei Fire in 1953 prompted the Government to take the housing problem seriously. A large number of resettlement estates and low cost rental housing estates began to spring up all over the city. These public housing estates did not only provide a place to live, but also playgrounds for children to develop their minds and bodies.

Together with parks, public housing estates have always been an important source of children’s playgrounds in Hong Kong.

Unfortunately, whether in parks or housing estates, playgrounds in Hong Kong are mostly just an assemblage of safety-matted floors and off-the-shelf equipment. Most of the equipment, often imported from Europe or North America, is designed to be played in a certain way. Loose parts like building blocks, as well as natural elements like sand and water, are missing from our

1 2 1,2 Shek Lei Playground, designed by Paul Selinger, 1969.

Photographs by Paul Selinger.

Courtesy of Matthew Che Selinger.

playgrounds. Despite the dissatisfactory situation today, there had been a number of more remarkable designs in the 90 years of Hong Kong’s playground history.

In the 1960s, Paul Selinger, a North American artist working in Hong Kong, approached the Government with a plan to design a sculpture playground for children to nurture their imagination. The proposal was accepted, and the playground was built next to Shek Lei Estate with a donation from the Jockey Club. Other parks built afterwards, such as Sheung Shing Street Park (opened in late 1979), King’s Park Children’s Playground (1989), Mouse Island Children’s Playground (2004) are all unique designs made possible by cross-sector collaborations between the government and the civil society.

The new inclusive playground in Tuen Mun Park represents another breakthrough — the

playground is a concerted effort by NGOs, professional organizations, government departments, and the district council, following open competitions and community engagement workshops.

These moments of innovation in the history of Hong Kong playgrounds are undoubtedly inspiring, but how do we sustain this spirit of innovation, create playgrounds for all ages and abilities, and elevate them to meaningful social spaces? How to create favourable conditions for good design by innovating policies and planning processes?

Can older designs with considerable merits be respectfully conserved and revitalized?

These, are the areas that all stakeholders related to playground design and building need to explore for future playgrounds.

37

淺談香港 遊樂場 90 年 樊樂怡

香港在 1920 年代末才開始建造兒童遊樂場， 為兒童提供安全的遊戲場所，減少青少年罪 行。20 世紀初，社會整體較貧困，兒童經常 在街頭流連。1928 年，九龍居民協會向香港 潔淨局代表曹善允提出建設兒童遊樂場的請 求，翌年政府在尖沙咀和港島建成最早的遊樂 場。這些早期的場地倚靠慈善機構捐款興建及 管理，可說是官民合作的成果。 1953 年石硤尾大火促使政府正視房屋問題，開始 大量興建徙置區和廉租屋。這些公共屋邨不但為市 民提供容身之所，還配置有兒童遊樂場，照顧兒童 身心需要。除了公園之外，公共屋邨一直是本港主 要的兒童遊樂場地來源。

4

5 6

4

‘Saddle Mates’, manufactured by GameTime Inc., used to be some of the most popular playground equipment in Hong Kong. 由美國公司 GameTime Inc. 生產的「Saddle Mates」， 在香港曾經隨處可見。 5,6 King’s Park Children’s Playground (1989) was jointly redeveloped by Playright and the Urban Council. 京士柏兒童遊樂場由智樂兒童遊樂協會和市政局合作建成。

1960 年代，一位名為 Paul Selinger、當時在香 港生活的美國藝術家，自告奮勇要求政府讓他設計 一個雕塑遊樂場，讓兒童有一個可培養想像力的地 方。政府接納提議。遊樂場在賽馬會捐助下得以在 石籬邨附近落成，並於 1969 年開幕。常盛街公園 遊樂場 (1979 年 )、京士柏兒童遊樂場 (1989 年 )、 老鼠洲兒童遊樂場 (2004 年 )，均是創新的佳作， 而且往往是由不同機構或界別合作所促成。即將開 幕的屯門公園共融遊樂場，更是由多個慈善機構、 專業組織、政府部門、區議會通力合作，經過公開 比賽及社區工作坊等過程，才得以實現。 回顧過去，會發現本港遊樂場歷史上不乏振奮人心 的創新時刻。如何承繼這種創新精神，創造出不同 年齡和能力的人都樂於使用的遊樂場，令其昇華成

可惜的是，不論在公園還是屋邨，大多數遊樂場只

具社會意義的地方？遊樂場史上雖然偶有佳作，但

是一片鋪有安全地墊、擺放著標準遊戲設備的空

在制度及規劃層面怎樣持續為好設計製造條件？

地。遊樂場設備多從歐美進口，有預設玩法，既沒

同時，對於出色的舊設計，我們能否以尊重的態度

有積木等散件，也缺乏沙和水等自然元素。雖然如

加以保育活化？以上幾點，將是遊樂場持份者未來

此，在香港近 90 年的遊樂場歷史之中，還是出現

的思考方向。

過一些較獨特的設計。

38

39

The city in the eye of the beholder 我們眼中的城市 Yaşar Adanali

We will only start to make our cities more socially just when we shift our perspectives on them radically. The hegemonic way of looking at cities assumes a uniform urban experience, and defines norms of urban planning and design, dominating the city this way.

Despite the fact that there is a growing critique on this exclusive and reductionist view on cities from the perspectives of feminism, environmentalism, human rights, and so on, still we rebuild our cities according to this ideal of norm and uniformity.

The aim of creating an exclusive norm goes back to ancient history; take for instance the search for the perfect body in art or highly formalized characteristics in the architecture of Ancient Greece. The Athenian City State was not only spatially exclusive; citizenship was defined excluding women, minors, slaves, immigrants. In the city and the body, an unattainable perfection was demanded.

This hegemonic perspective on the body and the city has continued to shape the modern urban planning and architecture, informed by the "ideal human proportions," depicted repeatedly in history, from the Renaissance period by Leonardo’s Vitruvian Man, to the 20th century modernism by Neufert’s Modular Man. Once an ideal is defined for human beings, by standardizing and normalizing a particular perspective, lack of fulfilment 40

of that ideal becomes a deviation from the norm, hence "special case", such as disability, requiring "special measures" in design to deal with. This perspective is not only illusionary since body and space / humans and cities are much more complex than what they are assumed as, but also exclusionary as a practice; thus ethically and functionally problematic.

A new documentary by the Center for Spatial Justice in Istanbul adjusts this perspective to a height of 95cm, and considers this Mega City’s Mini Citizens. By shifting the perspective to 95cm, the approximate height of a 3 years old child, we already start looking at the city beyond and above the perspective of uniformity. The shift of gaze obviously is a search for, and an act of empathy. Yet, it is not aimed towards the formulation of actor-specific spaces such as playgrounds or kindergartens, but emphasises a multiplicity of perspectives and beings, and calls for more diverse and democratic design practice. Because, the shift is followed by the acknowledgement of the agency of "the other". It challenges planners and designers to be more open in their practice and calls the city officials to take responsibility.

In cities of multi-lane highways, high-rise towers, unaffordable houses, constant constructions, and mega projects, this is a humble way to start asking, for whom are our cities for?

Credits to images: Courtesy of Center for Spatial Justice 感謝空間公義中心提供圖片

我們必須以截然不同的目光審視都市，才能令

成 「特殊情況」。以殘障為例，設計時須以「特殊

都市社會更公平。現有對城市的刻板看法假設

措施」來應對。這種觀點會構成假象，因為身體與

城市體驗為劃一的，其透過界定都市規劃和設 計的常態，主宰都市發展。儘管近年越來越多 人從女權主義、環保主義及人權等角度批評這

空間 / 人類與城市的關係遠比理想假設複雜。除此 以外，其更是一種排外的做法。換句話說，這種觀 點在道德和功能成效上皆構成問題。

種排外和過度簡化的建設眼光，但我們在重建

伊斯坦堡空間公義中心的一部新紀錄片以 95 厘米

都市時，仍舊依據常態和統一標準。

身高的小市民角度，探索這個巨大都市。透過把

創造排外常態這個目標可追溯至遠古；例如古希臘藝 術以尋找完美的身體為目標，其建築特色亦高度形式 化。雅典不但在空間上排外；在界定公民時亦排除女 性、未成年者、奴隸、外來移民。無論在城市還是身 體方面，都追求著觸不可及的完美。以完美的人體比 例為根基，引伸出對身體和城市的刻板看法，仍然影 響著現代都市規劃和建築。縱觀歷史， 例子比比皆是。 從文藝復興時期達文西筆下的維特魯威人，以致體現 二十世紀現代主義、諾伊費爾德 (Ernst Neufert) 的 模塊人 (Modular Man) 皆是如此。 一旦把某個特定觀點規範化和常化，定立為理想標 準，任何不符合理想標準的東西都變得偏離常態，

眼界調整至 95 厘米，即約 3 歲小孩的身高，我們 已能跳出規範，以另類眼光凝視都市。這種眼界 改變，顯然代表著尋求同理心，並且是將心比己 的表現。然而，其目標並非為創造如遊樂場或幼 稚園等特殊使用者空間，而是要突顯觀點和人類 的多元性，從而提倡更多樣化和民主的設計方式。 這種觀點上的改變，將使人承認他者的存在和需 要，驅使規劃師和設計師採取更開放的設計做法， 並要求城市官員承擔責任。 在充斥多車道高速公路、高樓大廈、昂貴房屋、漫 無止境的建築工程、大型建設項目的都市，我們或 許可以此一問為引玉之磚：我們的都市為誰而建？

41

Inclusive play space: Setting a model for future playgrounds in Hong Kong Chris Yuen, Playright

Whats is Play and Playground?

Play is an essential component of child development. Children’s play takes place whenever and wherever opportunities arise.

Playground is a site such as park, reserve, small block of land or land adjoining other recreational or community-based facilities, specially designated for play and including playground equipment. Playgrounds in Hong Kong can be found in public open spaces managed by the Leisure and Cultural Services Department (LCSD), as well as non-LCSD venues that are mainly outdoor facilities in public housing estates provided by the Hong Kong Housing Authority.

At the end of April 2017, the authority managed 179 housing estates, of which only 30 (17 percent) included swings. LCSD currently manages 640 leisure venues with outdoor children’s playgrounds. In December 2017, the Research Office of the Legislative Council of Hong Kong issued a publication on "Public Playgrounds in Hong Kong" that revealed that the public playgrounds compared unfavorably with those in other places in the region like Singapore or Taiwan.

The publication further included critiques by children’s rights groups and suggested elements of successful playground designs.

42

Why are Inclusive Play and Playground Important?

Inclusive play means that all children and youth can play with each other or alone as they wish, in a rich environment that supports their play needs. Inclusive playgrounds are places where children with and without disabilities or impairments can play together. Playright recognized the need to raise public awareness about inclusive play in public playgrounds. This stemmed from a 2009 research study that indicated a low awareness of inclusive play. Additionally, a mother publicly expressed the difficulties she faced when accompanying her child with special needs to a playground.

Government Officials Accepted “Inclusive Play” after Participation and Participation Helped Designers Make Children’s Viewpoints a Priority Playright organized "Playright UNICEF Inclusive Play Project" (The Project) between 2012-2016, which concluded in 2018 with the opening of the first inclusive playground in Tuen Mun Park. Advocacy began in 2012 and after two years of work with the community through inclusive playground education, a playground users’ needs survey, universally designed outdoor play environments training, and the UNICEF Inclusive Play Space Design Ideas Competition, the Project to create inclusive play environments for all children in Hong Kong was established. The Leisure and Cultural Services Department and Architectural Services Department reviewed the entries from professional designers and design students and selected a design to be implemented for a pilot playground project in the Tuen Mun district.

The Project was successful in raising public awareness of the importance of providing adequately stimulating playgrounds in general, as well as inclusive playgrounds in particular. This four-year project exceeded

the original goal of raising community awareness, resulting in a sustainable impact on the development of inclusive play space in Hong Kong. This was timely as the design of public playgrounds in Hong Kong has been increasingly discussed in the community as well as reported by the media. Consequently, the Project generated attention and curiosity among different stakeholders in its early phases, gave opportunities for learning at many levels and finally succeeded in its aim to create an inclusive play space created by multiple parties, thereby setting an example for similar spaces throughout Hong Kong in the future. Through the work of the project, the group of play advocates and long-term partners has not only grown, increasing the chance to create more inclusive playgrounds in the community, but future play space designs are more likely to make children’s needs and viewpoints a priority. 2018 saw the opening of the first inclusive play space with children’s participation in Hong Kong.

The 2018 DTFS Programme signifies a step forward from micro-park design concept to implementation, bringing about real change for local communities. It has been a real challenge, but an invaluable nurturing process for every social designer.

43

共融玩樂空間： 為香港未來遊樂場 樹立榜樣 袁漢昌 ( 智樂兒童遊樂協會 )

玩樂和遊樂場是什麼 ?

參與官員接納共融玩樂概念，計劃幫助設計師

玩樂對兒童發展非常重要。只要有機會，兒童在何

以兒童角度出發

時何地都會玩樂。遊樂場是專門用於遊玩和建有遊

智 樂 兒 童 遊 樂 協 會 在 2012-2016 年 間， 推 行 樂場設備的場地，如公園、自然保護區、小塊空地、 「PLAYRIGHT UNICEF 遊樂共融計劃」(「計劃」)， 毗鄰其他娛樂或社區設施的土地。香港的遊樂場包 並於 2018 年在屯門開設首個共融遊樂場。倡導計 括康樂及文化事務署（康文署）轄下的公眾休憩用 地，以及非康文署場地，主要為香港房屋委員會提 供的公共屋邨戶外設施。截至 2017 年 4 月底，房 委會管理的 179 個屋苑中只有 30 個 (17%) 建有 鞦韆。康文署目前管理著 640 個設有戶外兒童遊 樂場的休閒場所。2017 年 12 月，香港立法會資料 研究組發表了一份關於「香港公共遊樂場」的刊物， 顯示本地公共遊樂場遜色於新加坡及臺灣等地區。 該刊物亦包含兒童權益團體的批評，以及對成功的 遊樂場設計作出的建議。

共融玩樂和遊樂場為何如此重要 ? 共融玩樂意指兒童和青少年能在一個符合他們玩樂 需要的豐富環境中，依隨自己意願，一起或獨自玩 樂。共融遊樂場讓兒童不論是否殘疾都能一起玩 樂。2009 年一份研究報告指出，公眾對共融玩樂 的認識不足；加上一位母親公開表示帶著有特殊需 要的孩子到遊樂場時遇到的困難，令智樂兒童遊樂

劃始於 2012 年，經過兩年與社區的合作，包括共 融玩樂教育、遊樂場使用者需求調查、戶外遊樂 設施標準訓練、及 UNICEF 共融遊樂場設計比賽， 計劃正式開展，旨在為全港兒童建立共融遊樂場。 康樂及文化事務署及建築署評審了專業設計師及 設計學生的參賽作品，選定其中一設計在屯門區展 開試驗計劃。 計劃成功令公眾了解能充分刺激孩子的遊樂場和 共融玩樂的重要性。這項為期四年的計劃超越了原 定為提高公眾意識的目標，對香港共融遊樂場的發 展帶來長遠貢獻。適逢香港公共遊樂場設計越受社 會討論和傳媒報導，本計劃在初期已引起不同持份 者關注，在多個層面提供學習機會，最終達成多方 共同創建共融玩樂空間的目標，為香港將來建設更 多類似空間樹立榜樣。在推展計劃期間，計劃倡議 者和長期合作夥伴有增無減，提升了在社區創建更 多共融遊樂場的機會，更鼓勵未來的玩樂空間設計 以兒童的需要和觀點為先。香港首個兒童有份參與

協會認為有必要提高大眾對公共遊樂場中共融玩樂

設計的共融遊樂場，在 2018 年開幕。

的關注。

2018 年「未．共研社」計劃標誌着從微型公園設計 理念向實踐邁出了一步，為當地社區帶來了真正的 變革。這挑戰對每位社會設計師來說都是一個寶貴 的培育過程。

Credits to images: Courtesy of Playright 感謝智樂兒童遊樂協會提供圖片 44

45

How to turn a place around: The case of Bryant Park, New York

This text is an excerpt from the book, "How to Turn a Place Around by Project for Public Spaces."

Project for Public Spaces

The story of Bryant Park’s turnaround doesn’t begin and end with its 1988 redesign. That was just one step in a longer story of great management.

Even though this iconic park in midtown Manhattan has been widely recognized as one of the best public space renewal projects of the last three decades, the park’s programming and management are constantly being reviewed and refined.

The story of Bryant Park offers key lessons about how to turn a place around, and how to make sure it remains vital over time. The celebrated 1980s restoration project was guided by close observation of how the space was being used and misused, inspiring multiple mid-course corrections. For example, the original horticultural specifications for the park’s great lawn required a level of expertise and materials that made it impossible for the park’s managers to execute. After considerable experimentation, a soil-and-seed mix and maintenance regime were developed that would accommodate the park’s intense use and keep the lawn dry enough for users to sit on.

While public space managers are generally inclined to keep tight control of their properties — tending to say "no" more than "yes" to potential outside users — the revival of Bryant Park arose from the management’s flexibility in allowing outside programmers 46

access to the park. This resulted not only in a range of interesting events at the park, but also a major source of earned income.

The park’s management has become very involved in helping third-party presenters solve problems that threaten their events.

Today, it is difficult for people to imagine what Bryant Park was once like. In the early 1980s, it was overrun with drug dealers and other frightening activity. Its dingy appearance, unkempt hedges concealing activity within the park, and lack of activities inviting visitors gave the place a decidedly "unsafe" feel. Few of the many office employees and tourists who walked by each day ever ventured inside the park.

In 1980, PPS was brought in to help understand the problems of the space, to study how it was used, and to distinguish the reality from perceptions of Bryant Park while developing design and activity recommendations. To do this, we "mapped" the location of all activities — both positive and negative — and interviewed people using the park. Most revealing was the fact that negative activities like drug dealing occurred primarily near the park entrances, which were close to high levels of foot traffic but also shielded from view.

There was little for people to do except sit in the shade on benches beside the small number of other park visitors. While actual

crime statistics for the park were, in fact, very low, the perception of crime was high.

Interviews showed that people working in nearby office buildings felt threatened by the drug dealers and were afraid to use the park.

perennial beds, scores of elaborately planted containers, and a signature two-acre lawn.

New lighting, both in the park and from a nearby rooftop, heightens the sense of security at night.

Our recommendations for the park included opening up entrances, improving access, developing new uses for the space to displace negative activities, and removing shrubbery that prevented people from seeing into the park. Two food kiosks were installed at the main entrance, and hundreds of movable bistro chairs were scattered throughout the park, enabling people to sit wherever they wanted and adapt the seating arrangements, depending upon weather conditions and the number of people they are with.

A restaurant and outdoor café were built at the rear of the New York Public Library, an area that had been generally empty prior to the restoration. These facilities, financed by the Corporation and operated by a private restaurateur, now provide substantial income for the park’s operations and maintenance.

Under an arrangement with the New York City Parks Department, BPC retains all of the income generated by concessions and other activities in the park. Additional revenuegenerating activity includes a sponsored free skating rink and a holiday market, both of which attract activity at night during the winter — a time when, in the past, no one would be found in the park.

The Bryant Park Corporation (BPC), a management entity supported in part by a business improvement district, began early on to put on a wide range of events, like daily lunchtime performances. An outdoor movie series attracted thousands of users to the park at night — something previously unthinkable.

The Corporation also organised a number of new activities, beginning with chess and pétanque, then adding ping pong, an outdoor reading room, and a small carousel. Essential to the park’s success were ambitious flower plantings, including two beautifully designed and well-maintained

The park is now embraced as New York City’s town square. The key to success for Bryant Park was not a redesign of the physical infrastructure alone. The park’s revival was the product of a creative lineup of events and high-profile, high-quality management of the space, which reassures people that it is safe and fun around the clock and in all seasons.

47

如何令一個地方 起死回生：以紐約 布萊恩特公園為例

本文摘自 Project for Public Spaces 所撰的 《How to Turn a Place Around》一書。

Project for Public Spaces 布萊恩特公園能絕處逢生並非只因 1988 年一

除了跟其他遊客一同坐在樹蔭下的長椅上，人們

次重新設計，那只是其優秀管理的一個事例。

在公園裡幾乎沒什麼可做的。雖然公園的實際犯

這個位於曼哈頓市中心的標誌性公園雖已廣被 認定為過去三十年來最出色的公共空間翻新項 目 之 一， 但 其 活 動 規 劃 和 管 理 仍 然 不 斷 得 到 審 視和完善。 布萊恩特公園的故事教會我們如何令某處起死回 生，並確保其人氣歷久不衰。其 80 年代享負盛名 的翻新計劃，細心觀察空間的利用和濫用，途中經 過多次修正。例如，公園大草坪原本的園藝設計需 要一定程度的專業知識和工具方能進行修剪，令公

罪率很低，但人們對公園的印象卻正正相反。採 訪顯示，在附近辦公室工作的人因害怕遇到毒販 而不敢使用公園。 我們對公園的建議包括開敞入口空間、改善通道、 為空間開發新用途以杜絕不良行為，及移除阻礙 行人望進公園的灌木叢。入口處增設了兩個小食 亭，園內各處佈置了數百張可移動的餐椅，讓人 們在園內隨意安坐，並可因應天氣和聚會人數調 整座位安排。

園的管理人員力不從心。經過大量實驗後，公園開

布萊恩特公園公司 (BPC) 是一管理公司，受商業

發出混合種子的泥土和新的保養方案，迎合公園的

改善區的部分贊助，早期就開始舉辦各種活動，如

大量人流，並保持草坪乾燥方便人們坐下。

每日舉行午餐時間表演，還有一系列晚間戶外電影

公共空間的管理人員一般傾向嚴格管理物業，對外 來使用者的要求大多不會接納，但布萊恩特公園的

放映活動吸引成千上萬人來到公園。這些都是人們 在過往難以想像的事情。

復興，正是因為管理人員彈性地允許外來活動規劃

該公司還舉辦了連串新活動，先是國際象棋和法式

者使用公園。此舉令公園內長期舉辦各種有趣的活

滾球，後來再加入乒乓球，戶外閱讀室和小型旋轉

動，也為公園提供主要收入來源。公園管理層亦非

木馬。公園其中一個成功關鍵是其雄心勃勃的花卉

常積極為第三方活動主辦者排解困難。

裝飾，包括兩個設計優美，保養良好的常年花圃，

時至今日，人們大多難以想像布萊恩特公園的舊 貌。在 80 年代初，公園內毒販和罪犯猖獗。昏暗

無數精心擺放的花盆和標誌性的兩英畝草坪。公園 和附近屋頂的新照明系統，亦增添夜間的安全感。

的外表和凌亂的樹籬遮蔽著園內的動靜，缺乏吸引

公園公司在紐約公共圖書館後方開設了一間餐廳和

人群的活動，令這個地方感覺不安全。每天路過的

露天咖啡館，這個區域在翻新前一直是空地。這些

辦公室員工和遊客中，只有少數人走進公園冒險。

設施由公園公司資助並由餐廳東主私營，為公園的

1980年，Project for Public Spaces (PPS) 被委託調 查該空間的問題，研究人們如何使用它，釐清布萊 恩特公園給人的印象和其實際情況的差別，並提 出設計和活動建議。為此，我們記錄了園內所有 不論是正面還是負面的事件其發生位置，並採訪 使用公園的人。最大的發現是，毒品交易等負面 行為主要發生在公園入口附近，該處人流高但同 時也很隱蔽。

營運和保養提供了可觀的收入。根據其與紐約市公 園管理局的協議，BPC 能持有公園內特許使用權和 其他活動產生的所有收入。額外的創收活動包括受 贊助的免費溜冰場和假日市場，兩者皆在冬季晚上 吸引許多人流。不然，過往的冬季公園內空無一人。 該公園現已一躍成為紐約市的都市廣場。布萊恩特 公園成功的關鍵不僅在於重新設計了硬件設施。其 復興是一系列創新活動，以及高調、高質量空間管 理的結果，讓人們可放心使用，並相信它在四季和 全天候都是安全和有趣的地方。

48

49

Shades of Banyan 榕樹蔭下 Mark Blackwell

Colour is an integral element in Hong Kong’s urban and natural landscape while its perception is subjective, it is key to orchestrating spatial experiences and directly influences the soul.

It’s the inner beauty of invisible design, turning the ordinary into the extraordinary, the past into the present, and the present into possibilities to create inclusive public life which grows continuously in time and space.

Along with physical form, spatial articulation, and the expression of materiality, colour is an essential medium through which our landscapes are experienced as a sensory perception – its effects are symbolic and emotional.

So, what makes a great vibrant public space? The Danish urbanist, Jan Gehl* neatly summarises his approach as, ‘First life, then spaces, then buildings.’ In other words, as designers, our responsibility is for people and how we live and celebrate life, before developing the spaces and places, and ultimately designing the buildings.

When we put people first, we design to reflect the extraordinary melting pot of Hong Kong’s culture towards a new lifestyle as a living system, with healthy living through connections with nature to explore and discover beyond boundaries, where rich and happy memories will be created. The role of colour can contribute to enhanced wellbeing, creating a sense of engagement and enhanced pride in our city.

50

Hong Kong’s cityscape teaches us how to look and see - the mixture of colour and textures, which reinforces spatial relations with contrasting light, where journeys and destinations come together. The time and angle that the sun touches a space during the day can have a perceived influence on the landscape.

Colour influences us psychologically and physiologically, and scientific studies have proven that that human interaction in the urban environment is largely based on the sensory perception of colour.

Our landscape weaves sinuous connections through the city and beyond, a series of transitional spaces and destinations framed by buildings where all lines of movement flow together, connected by nature. Together, they culminate in a poetic framework in the urban environment, as a narrative of ever-changing landscape experiences during different times of the day, and across the seasons.

We would like people to remember what they have experienced and their emotions in a particular space. It is still a comforting and special thing to know that people can sit with family, friends, or even strangers and that the design enhanced and contributed to that experience.

Our responsibility demands integrated responses to transform lifestyle experiences to enhance Hong Kong’s unique DNA, visually and emotionally, where rich and happy memories will be created. As designers, we need to collaborate on the curation of

Credits to images: Courtesy of Morphis Landscape Architects 感謝莫爾菲斯提供圖片

experiences, without boundaries between disciplines to ensure what we holistically contribute to the urban experience.

We see Hong Kong becoming a vibrant living sensorium, sub-tropical inspired, symbolic of the native jungle growing coherently in time and space, celebrating local heritage and spirit, influencing the soul for a new generation for whom life, work and pleasure intertwine. What we observe with our eyes is the start of people orientated public space design in Hong Kong and how it defines the soul.

式作為生活系統，通過與自然的聯繫締造健康的生 活，探索並超越界限，創造豐富和美好的回憶。色 彩能令生活更愉快，創造一種參與感，並增強城市 的自豪感。 香港的城市景觀教會我們如何觀察─顏色和紋理 的混合，進一步加強與對比光的空間關係，旅程和 目的地混然一體。太陽在白天照射某空間的時間和 角度，亦可能會影響人對景觀的感知。 顏色在心理和生理上影響我們。科學研究證明， 城市環境中的人類互動，主要受感官對顏色的感 知影響。 我們的景觀由城市和更遠處多個連接點迂迴交織

色彩是香港城市和自然景觀中不可或缺的元

而成，一系列過渡空間和目的地由建築物裱襯，生

素。雖然對顏色的感知是主觀的，但色彩卻

動的線條匯集在一起，與自然相連。它們一起建構

是營造空間體驗的關鍵，並直接撼動我們的 靈魂。 顏色是無形設計的內在美，將平凡變為非凡，過去 變為現在，並為現在添上創造共融公共生活、超脫 時間空間局限的可能性。 與物理形態、空間分節和物質性的表達一樣，顏色 是我們以感官體驗景觀的必要媒介，其效果具象徵 性，且能激發情緒。

了城市環境，在不同時間和季節提供了變幻不斷的 景觀體驗。 我們希望人們能夠記住他們在某個特定空間所經 歷的事情和感覺。人們可與家人、朋友或甚至陌生 人坐在一起，是令人欣慰和特別的事，而設計能提 升這種體驗。 我們的責任是全面地應對，改變生活中無論是在視 覺還是情感上的體驗，並增強香港的獨特個性，創 造豐富和快樂回憶。作為設計師，我們需要在經驗

那麼如何才能讓一個公共空間充滿活力？丹麥城

管理方面進行跨專業合作，以確保我們全面地對城

市規劃師揚 · 蓋爾 (Jan Gehl)* 巧妙地總結了他

市體驗作出貢獻。

的做法，即「生命第一，空間其次，建築物第三。」 換言之，作為設計師，我們最應關心的是人，以及 我們如何生活、如何活得精彩，然後是如何開發空 間和地方，最後才思考如何設計建築物。 當我們把人放在第一位時，我們的設計便是為了反

我們遇見香港成為一個充滿活力的生活感受中樞， 瀰漫亞熱帶風情，象徵著恆古不變的本土叢林，盡 顯當地傳統和精神，影響著生活、工作、娛樂交織 在一起的新一代。我們看見香港以人為本的公共空 間設計的開端，以及它如何影響人的本質。

映香港這個非凡的文化大熔爐，以一種新的生活方 * J. Gehl (2011) Life Between Buildings: Using Public Space. Washington DC: Island Press * 揚．蓋爾 (2011)《Life Between Buildings: Using Public Space》. Washington DC: Island Press 51

Urban play spaces for young children 城市中給年幼孩子 玩樂的空間 Selva Gürdogan

Early childhood is the period when humans grow up and learn the fastest.

Current research shows that 85% of human brain develops within the first 1000 days. In fact, it has been observed that the brains of babies who have been neglected, who have not been talked to or played with enough do not grow to their full potential.

While cities can be wonderful places to grow up, they can also pose serious challenges for children. The Bernard van Leer Foundation’s Urban95 initiative seeks to make lasting change in the city landscapes and in the opportunities that shape the crucial first five years of children’s lives. Urban95 works with urban leaders, planners, designers and managers to ask: ‘If you could experience the city from an elevation of 95 cm – the height of a 3-year-old – what would you do differently?’

Play is an important function of public space.

However, most urban play spaces are designed without considering the youngest, instead they are designed for children that have already developed their motor skills. Since 2017, Superpool in coordination with the Bernard van Leer Foundation is researching and designing urban play with babies in mind.

For designers knowing the ‘user group’ is an important step in starting any design process. What is fascinating with designing 52

Project team 項目團隊 : Superpool Selva Gürdo an, Gregers Tang Thomsen, Zehra Nur Eliaçık, Beyza Gürdo an, Kaan Hiçyılmaz, Nicola Iavorene, Derya Yikul, Matthias Simon Wechsler Prepared within Istanbul95 initiative supported by Bernard van Leer Foundation. 項目為 Bernard van Leer 基金會贊助的 「Istanbul95 計劃」的一部分。

for young children is that their body and skills are constantly changing - arguably no other user group is as ready for new challenges! But the seeming modesty of their challenges, such as learning to stand and keep balance or to take a step, should not cause us to underestimate the potential play value of these new skills.

Alongside the changes in babies’ bodies, their games also evolve. At first, babies play alone or with the help of their caregivers.

As they grow up, they start watching the children around them and playing independently next to them. Later, children start to socialise, they play together games with simple rules and, over time, they move to games with more complex, sometimes self-invented, rules based on competition or co-operation.

What is needed then to accommodate younger children and their caregivers in urban play spaces? How can playground design support babies to learn by observation, to challenge their skills, have joyful interactions with their caregivers and even to start early friendships? The research Superpool has done in looking for answers to these questions culminated into a publication: Ideas Guide for Playgrounds for Young Children. Instead of giving definitive answers, the guide provides principles and suggestions that hopes to inspire a multitude of creative ideas.

Everything is a game!

Everything a child is learning can turn into a game. Skills such as crawling, standing, and walking learned in the first three years, can inspire many designs in playgrounds for young children.

CRAWLING

STANDING

WALKING

CLIMBING

WATER

SOUND

BLOCKS

JUMPING

BALANCE

Discoveries with...

SAND

SPACE

Credits to illustration: Tan Cemal Genç 插圖 : Tan Cemal Genç

幼兒期是人類成長和學習最迅速的時期。目

的重要一步。為幼兒設計的有趣之處在於他們的身

前 的 研 究 顯 示， 人 腦 的 85% 發 育 在 最 初 的

體和技能在不斷變化；綜觀所有用戶群，幼兒可以

1000 天。事實上，過往的觀察發現，一些被 忽視的、沒有人與其充分說話或玩耍的嬰兒， 其大腦未能充分發揮潛力。

說是最適合接受新挑戰的！即使他們面臨的挑戰，

雖然城市可以是成長的好地方，但它們也可能令 兒童面對嚴峻挑戰。Bernard van Leer 基金會的

Urban95 計劃旨在於城市景觀方面，以及對塑造 兒童生命首五年這段關鍵時刻的機遇，帶來恆久變 化。Urban95 與城市領導者、規劃師、設計師和 管理人員合作，探討一個問題：「若你能以 95 厘 米身高，即約一個 3 歲小孩的高度，來體驗這個 城市，你會改變些什麼？」 玩樂是公共空間的重要功能。然而，大多數城市遊 樂場所的設計都沒有考慮最年輕的使用者，而是專 為已發展動作技能的兒童而設計。自 2017 年起，

Superpool 與 Bernard van Leer 基 金 會 展 開 合 作，研究和設計以嬰兒為對象的城市遊樂設施。 對設計師來說，了解「用戶群」是開始任何設計過程

如學會站立、保持平衡或邁出一步，看來並不艱鉅， 但我們不應低估這些新技能潛在可遊玩的價值。 隨著嬰兒身體變化，他們的遊戲也不斷發展。起初， 嬰兒會獨自玩耍或在照顧者的幫助下玩耍。隨著 成長，他們會開始觀察身邊的孩子，並在其他孩 子身旁獨立玩耍。後來，孩子開始有社交活動， 一起玩規則簡單的遊戲，隨著時間發展，他們就 轉向規則更複雜、有時是自我發明的、基於競爭 或合作的遊戲。 那麼城市遊樂場該如何迎合年幼孩子以及照顧者 的需要呢？遊樂場設計如何才能鼓勵嬰兒通過觀 察學習，挑戰嬰兒的技能，與照顧者進行愉快互 動， 甚 至 與 他 人 建 立 友 誼？ Superpool 一 直 研 究這些問題的答案，最終出版了 《幼兒遊樂場的 創 意 指 南 (Ideas Guide for Playgrounds for

Young Children) 》。指南提供一些原則和建議 而非明確的答案，希望激發多元創意。

53

New kids "in" the block

Project BLOX Copenhagen "Vertical play-structure" designed by Carve. NL, 2016 Realised 2017.

Elger Blitz

For the first time in history, the majority of people live in urban agglomerations, and this percentage is expected to rise up to 70% by 2050.

The city is already our natural habitat, and we cannot deny any longer that our kids, and their kids, are more likely to grow up between buildings than between trees in future. This makes playgrounds more important than ever.

Less than a century ago, playing was a self-organised outdoor activity.

With the increasing urbanisation, welfare, and free-time, playing has become more an age-defined and regulated activity – to be planned, designed, and organised by experts and/or government.

Any type of play, in any type of surrounding, can be natural. "Natural play", is unconditioned play, i.e. non-restrictive and non-directed. A play-space is a secure place where kids can play with light spirits.

It is a place to explore and discover, a space that encourages children to practice social, motor and cognitive skills, without preconceived rules.

Cities are increasingly focused on transport and infrastructure, which dominate public space by parking spaces in historic towns, highways in new towns connecting offices and shopping malls. Our priorities are formed 54

purely by commercial values rather than by cultural, social, and educational values.

Public space is increasingly being exploited by different parties as an important source of income; the limited available space is developed for more housing, hotels and offices. This is an ongoing chain reaction, leaving only little space for the unplanned and the unconventional. How could a different definition of "natural" play be conceived with more cultural, social, and educational values; unconventional, free, and non-directive?

Natural play-spaces can be designed, in a safe way with benefits where calculable risks can be learned by toddlers and youngsters, in preparing for a grown-up life in the challenging modern city jungle. Even when it is known that there is no better way of doing so through unsupervised playing in the modern city, children can get in touch with their peers on their own conditions without interference of parents or caretakers. Children's well-being is the true indicator for a liveable and prosperous city life for all. The community will benefit from healthier and smarter kids, and this should be a priority, preparing for the future.

Finding new ways of weaving natural play-spaces within its vertical structured living spaces, and making this a policy would make Hong Kong a model for the condensed cities of future.

Credits to Photographer: Jasper van der Schaaf 攝影 : Jasper van der Schaaf

55

活在社區當中 的新兒童

項目 BLOX Copenhagen 「向上發展的遊樂結構 (Vertical play-structure)」； 由 Carve.NL 於 2016 年設計，並於 2017 年落成。

Elger Blitz

歷史首見大多數人生活在城市群中，而這一比

辨識機會，或甚至創造機會顯然並不容易。隨著城

例預計將在 2050 年左右上升至 70%。毫無

市越來越注重交通，基礎建設主宰著公共空間，如

疑問，這會影響我們孩子的成長方式。我們並 非想討論城市是否會很快、或經已成為我們的 自然棲息地。但我們不能否認，相比起在樹木 間長大，我們的孩子和他們的孩子更有可能在 建築物間長大。 因此，遊樂場變得日益重要；它是我們失去自然 遊樂場所後的非自然代替品。在不到一個世紀前， 遊樂這種行為仍然是沒有成年人參與的，因為遊 樂是一種自發組織的戶外活動。然而，隨著城市 化加劇，以及福利和空閒時間的概念產生，逐漸

古老小鎮的停車場，以及新城市裡連接辦公室和購 物中心的高速公路。此外，公共空間漸漸被各方支 配和利用作重要的收入來源；有限的可用空間被開 發為更多的房屋、酒店和辦公室。這是持續的連鎖 效應，繼而只留下少許空間用作規劃以外和非傳統 的用途。總括而言，我們大概是光從商業價值，而 非文化、社會、教育價值觀等考量進行建設決定。 簡單來說，在我們不斷增長、越趨密集的城市景觀 中，沒有太多多餘空間可用作遊樂場，因為興建遊 樂場意味著投資於不能用經濟效益計算的價值。

把遊樂變成一種受年齡所限和受管制活動，以致

這與我們的浪漫想法相矛盾。我們希望創造讓孩子

大多數人認為這種活動需要規劃、設計和組織。

們通過自發探索、自由活動成長的遊樂空間；一個

由於遊樂基本上已經融入我們的生活中，在任何 環境中，任何類型的遊樂都是自然而生的。因此， 「自然遊樂」可以被理解為無條件、非限制性和無 主導的遊戲。遊樂場是一個安全的地方，讓孩子 們可以輕鬆玩耍，忘卻他們所居住的城市的煩囂 喧鬧。遊樂場是一個探索和發現的地方，一個鼓

孩子能獨自到達、避開危險交通的公共遊樂環境； 一個讓幼兒和青少年可安全地學習應對可計算風 險的好處地方，使他們可為在充滿挑戰的現代城市 生活中當個成人做好準備。可是，最好的方法，其 實是讓孩子不受監管地玩耍，並在不受家長或監護 人干涉下聯絡朋友。

勵孩子練習社交、運動和認知技能的空間，沒有

若此舉最終能讓社會受益於更健康、聰明的孩子，

任何預設規則。因此，我們想提出一種另類的「自

並減低老齡化社會的醫療保健成本，那麼我們便應

然」遊戲定義，以及一種不同的都市遊樂場概念；

以此目標為先，為未來做好準備。若人煙稠密的城

其跟現有的遊樂場同樣有價值。

市紛紛探索如何以新的方法，在其向高空發展的生

上述的特質：非常規，自由和無主導性，正是現今 大多數遊樂場所欠缺的，尤其是大城市的遊樂場。 我們因此想到開發「適合自然遊戲」的遊樂場策略，

活空間中編織遊戲空間，並訂立政策，那將很有意 思。兒童的幸福無疑是一個城市是否宜居和繁榮的 真正指標。香港有潛力引領潮流。

融入當今的城市生活和城市兒童的生活中。我們認 為關鍵是在於抓緊機會，擴展傳統的邊界。 Credits to Photographer: Jasper van der Schaaf 攝影 : Jasper van der Schaaf 56

57

58

Design Process 設計過程

59

Yi Pei Square Playground 二陂坊遊樂場

Communal Living Room 社區客廳

MIMI AND TEAM

NEW TERRITORIES

Yi Pei Square is located in Tsuen Wan. It is one out of four of the residential squares in the district. It is approximately 930m² in size, being the biggest site among the four. It is surrounded by mid-rise residential buildings, with several alleyways leading onto Sha Tsui Road and Chuen Lung Street.

Within the park perimeter are a few fitness equipment for the elderly along with some benches and trees. Despite the lack of children's play equipment, the playground serves not only the elderly, but also children and families living nearby. 二陂坊遊樂場位於荃灣。它是該區四個住宅廣場之一。面積約 930 平方米，是四 個公共遊樂場中最大的一個。被四周的中層住宅樓宇圍成一個廣場，其中只有幾 條小巷通往沙咀道和春龍街。公園內有數張長椅及幾個供長者用的健身設備，雖 然這裏並沒有兒童玩樂設施，但是遊樂場供予鄰近的家庭及小孩玩樂。

Sitting-Out Area under Hill Road Flyover 山道天橋底休憩處

Park Under the Flyover 山道有山

GARY AND TEAM

The Sitting-Out Area (SOA) under Hill Road Flyover is located in Shek Tong Tsui. It is approximately 314m² in size and has easy access from Queen’s Road West, the Lower Hill Road and the HKU MTR station.

The area is sloped and vertically stretched, with a few benches and Chinese chess tables within the perimeter. The support columns of the Hill Road Flyover are currently painted with graffiti and drawings, and the sitting out area mainly serves the local community. 山道天橋底休憩處位於石塘咀山道天橋下方。它的面積約為 314 平方米，方便從 皇后大道西和下山道進入，並接近香港大學港鐵站。該處有坡度並偏長，當中附 有數張長椅和中國象棋棋盤的桌子。山道天橋的支柱上更塗有不同塗鴉和繪畫。 此休憩處主要給當地居民使用。

60

Hamilton Street Rest Garden

STANLEY AND TEAM

咸美頓街休憩花園

aDapTable 搭檯

Hamilton Street Rest Garden is located in Yau Tsim Mong District, around the corner of Portland Street and Hamilton Street junction.

It is approximately 243m² in size, the smallest site among the four.

The main feature of the rest garden is a large lush tree. The garden is popular and usually fully seated, serving all walks of life. Hamilton Street Rest Garden is in close proximity to the Portland Street Rest Garden. 咸美頓街休憩花園位於旺角，在砵蘭街和咸美頓街街交界的一個角落上。它的面 積約為 243 平方米，是四個中最小的一個。花園的主要特徵是一棵青蔥的大樹。 這花園非常受歡迎，供不同人使用。 咸美頓街休憩花園跟砵蘭街休憩花園大十 分接近。

KOWLOON Portland Street Rest Garden 砵蘭街休憩花園

Portland 砵蘭

SAM AND TEAM

Portland Street Rest Garden is located in Yau Tsim Mong, sandwiched between two high-rise residential buildings next to the Portland Street.

It is approximately 376m² in size with one side facing Portland Street.

The rest garden is fenced off with exits on two sides. Currently there are four tall trees, a few benches and a Chinese chess table. The rest garden serves all walks of life. It is frequently fully seated despite the poor hygiene of the garden. 砵蘭街休憩花園位於油尖旺，被夾在砵蘭街旁邊的兩棟高層住宅大樓之間。面積約為

376 平方米，只有一面朝向馬路。休憩花園的出口在兩側 , 中間有四棵高樹，數張長

HK ISLAND

椅和一張附有中國象棋棋盤的桌子。休憩花園供不同人使用，而且經常滿座，但是衛 生環境欠佳。雖然休憩花園衛生環境欠佳，但是花園供不同人使用，而且經常滿座。

61

Current Park Design Guidelines and Practice 現有公園設計指南

1 3 2 1

2

3

62

Reference from Design Considerations for Fitness Corners in Outdoor Leisure Venues. Courtesy of the Leisure and Cultural Services Department, Hong Kong. 參考自室外康樂場所健身角的設計 考慮因素。由香港康樂及文化事務 署提供。 Reference materials on playground guidelines and practice.

Source: "Public Playground Safety Handbook" by the U.S. Consumer Product Safety Commission. 關於遊樂場的參考資料。 資料來源 : 美國消費品安全委員會 「公共遊樂場安全手冊」。 Sample set of pictograms for park signage. Courtesy of the Leisure and Cultural Services Department, Hong Kong. 公園標牌的象形圖樣本。 由香港康樂及文化事務署提供。

63

Languages and Cultures in Hong Kong 現有公園設計指南 English was the sole official language of Hong 直到 1974 年，英語是香港唯一的法 定 語 文官， Kong until 1974, and currently Chinese and 目前中文和英文都 是 香 港 的 法 定 語 文。由於 English are the two official languages. As the 大部分居住香港的人都是廣東省的移民後裔，絕大 majority of the people living in Hong Kong are 多數人會說標準的廣東話或粵語，以及客家話、福 descendants of migrants from the Canton 建話及潮州話。來自中國大陸的語言包括普通話， Province, the vast majority speaks standard 台山話和上海話。此外，來自其他亞洲國家和歐洲 Cantonese or other Yue Chinese varieties as a 的移民者構成了香港語言和文化多樣性。其他語言 first language, and other speakers of Hakka 包括菲律賓文，印尼文，泰文，越南文，印地語和 Language or the Teochew dialect of Southern 阿拉伯文，以及日語和韓語，法語和德語。 Min. Languages from Mainland China include Mandarin, Taishanese, and Shanghainese. In 在 2016 年香港的少數族裔人數高達 584 383 人， addition, immigrants from the other Asian 約佔香港人口的 8 ％，與 2006 年相比大幅增加約 countries and Europe have contributed much 70％。香港的大部分少數族裔都是菲律賓人，佔香港 to Hong Kong's linguistic and demographic 所有少數族裔人口的 31.5％，其次是印尼人（26.2％） ， diversity. Filipino, Indonesian, Thai, Vietnamese, 其中大多數是在香港從事外籍家庭傭工。 其他主要 Hindi, and Arabic, as well as Japanese and 族羣包括南亞裔人（14.5％） ，混血兒（11.2％） 和白人 Korean, and French and German constitute （10.0％） 。 在南亞人中，印度人口人口最多（佔香港 this complex diversity of culture. 所有少數民族的 6.2％） ，其次是尼泊爾人（4.4％） 和 巴基斯坦人 （ 3.1 ％） 。 與較年長一輩相比，較多年輕的 The number of ethnic minorities in Hong 少數族裔人士（不包括外籍家庭傭工）在香港出生。年 Kong reached 584 383 in 2016, accounting 齡介乎 5 至 14 歲的少數族裔（不包括外籍家庭傭工） for around 8% of the Hong Kong population 超過 60％，可以讀寫中文。 and representing a significant increase of about 70% when compared to 2006. The majority of ethnic minorities in Hong Kong are Filipinos (accounting for 31.5% of all ethnic minorities in Hong Kong), followed Who do we build our parks for?

by Indonesians (26.2%), with most of them 我們為誰建造公園 ? working as foreign domestic helpers in Hong Kong. Other major ethnic groups are South Who are our communities?

Asians (14.5%), Mixed (11.2%) and Whites 誰是我們的社區 ?

(10.0%). Among South Asians, Indians has the largest population size (accounting for How does language and 6.2% of all ethnic minorities in Hong Kong), followed by Nepalese (4.4%) and Pakistanis cultures interweave during (3.1%). Compared to the older generation, the design of parks? more young ethnic minorities (excluding 在公園設計中，語言和文化如何 foreign domestic helpers) are born in Hong Kong with over 60% of ethnic minorities 交織在一起 ? (excluding foreign domestic helpers) aged 5-14 are able to read or write Chinese.

64

584,383

=

Number of Ethnic Minorities in Hong Kong 香港少數族裔人數 (2016)

~8%

of the Hong Kong Population 香港人口

+70%

compared to 2006 and 2016 與 2006 和 2017 年相比

+60% Aged 5-14 ethnic minorities are able to read or write Chinese 5 至 14 歲的少數族裔 可以讀寫中文

10%

6.6%

Whites

白人

11.2% Mixed

Others 其他

31.5％ Filipinos 菲律賓人

混血兒

6.2% Indians 印度人

4.4% Nepalese 尼泊爾人

14.5% Other South Asians 其他南亞裔人

26.2% Indonesians 印尼人

3.1%

Pakistanis 巴基斯坦人

Percentage of Ethnic Minorities in Hong Kong 香港少數族裔百分比 (2016)

Source: "Snapshot of Hong Kong population" Hong Kong SAR Census and Statistics Department 2016 資料來源 : 特別行政區政府統計處 2016「香港人口概況」 65

Gary Chang and Team 張智強及團隊 SOA under Hill Road Flyover 山道天橋底休憩處

Gary Chang 張智強 Hong Kong-based Mentor 香港導師

Zoey Chan (HK) 陳芷瑤 ( 香港 ) Architecture and Landscape 建築與景觀

Jose Fu (GBA)

傅李程 ( 大灣區 ) New Media and Technologies 新媒體與科技

Aron Tsang (HK) 曾偉俊 ( 香港 ) Architecture and Landscape 建築與景觀

Andy Cheng (HK) 鄭雋 ( 香港 ) Architecture and Landscape 建築與景觀

66

Park Under the Flyover 山道有山

67

Gary Chang and Team 張智強及團隊

Park Under the Flyover 山道有山 Exploring ideas to utilise the vertical height of the flyover, the team hopes to intensify the site through a series of installation and facilities inspired by the site's context and history. Offering residents and park users new perspectives and experiences, encouraging the local community to explore the verticality of the residual space under the flyover. 設計團隊希望能善用天橋底的高度，設計一系列靈感 來自山道選址環境和歷史的裝置和設施。提升休憩處 的可用性，為居民和公園使用者提供新的觀點和體 驗，探索天橋底的空間。

Conceptual design by Zoey Chan, Jose Fu, Aron Tsang, Andy Cheng, and mentor Gary Chang 設計師學員陳芷瑤，傅李程，曾偉俊，鄭雋與 導師張智強的設計概念 68

69

Gary Chang and Team 張智強及團隊

Site Analysis & Research 選址研究

Sitting-Out Area under Hill Road Flyover 山道天橋底休憩處 The Sitting-Out Area (SOA) under Hill Road Flyover is located in Shek Tong Tsui. It is approximately 314m² in size and has easy access from Queen’s Road West, the Lower Hill Road and the HKU MTR station. The area is sloped and vertically stretched, with a few benches and Chinese chess tables within the perimeter. The support columns of the Hill Road Flyover are currently painted with graffiti and drawings, and the sitting out area mainly serves the local community.

山道天橋底休憩處位於石塘咀山道天橋下方。面

The Sitting-Out Area (SOA) under Hill Road Flyover is situated under a flyover, with close proximity to a residential building, and creates a narrow, dark space within the built environment. The flyover connects the mountainous side of Hong Kong and the harbour front with the SOA located in-between.

有更多兒童和家長使用。設計團隊的初步意向希望能

The demographic shift of the area means the sitting-out area is likely to be occupied by more children and parents in addition to the current elderly users. The team’s initial intention is to attract a wider audience, through careful integration as well as necessary segregation of different equipment and zones for various target groups, as well as retaining existing users through the provision of more sitting and chess-playing area.

積約為 314 平方米，公眾可輕易地從皇后大道西、 下山道或香港大學港鐵站進入。該處為斜坡並向坡 上發展，附有數張長椅和中國象棋棋盤桌子。山道 天橋的支柱更有塗鴉和繪畫。此休憩處主要給當地 居民使用。 休憩處位於山道天橋底，鄰近住宅大廈，與周遭建 築形成窄長、陰暗的空間。天橋連結山上一帶與海 旁地區，休憩處則處於兩者中央。 該區的人口變遷，使休憩處現在除有老人使用外，亦 吸引更多人使用休憩處，因而對為不同人士而設的設 施和地帶作細心的融合和必要的區間，並同時提供更 多座位設施及下棋空間，以保留現有使用者。

Site Area 選址面積

~314m² Population density of Central and Western District 中西區人口密度 ¹

19,490

Person 人數 / km² Source 資料來源 ¹: "Land area, mid-year population and population density by District Council district, 2017" by Census Planning Section, Census and Statistics Department, Hong Kong SAR. 香港特別行政區政府統計處普查策劃組「2017 年按區議會分區 劃分的陸地面積，年中人口及人口密度」。

70

1 2 1

2

3D rendering of the existing Sitting-Out Area under Hill Road Flyover site. 現有休息區的效果圖。 3D rendering, aerial view of the existing Sitting-Out Area under Hill Road Flyover site. 現有休息的鳥瞰效果圖。

71

Gary Chang and Team 張智強及團隊

Site Analysis & Research 選址研究

Site History 選址歷史 Situated between Sai Ying Pun and Kennedy Town, Shek Tong Tsui was once an area with a small population of granite miners working in the local stone quarry, whom immigrated from Huizhou, a Hakka-speaking province.

In 1903, the former British Hong Kong Government relocated the red light district from Sheung Wan to Shek Tong Tsui, the unknown area transformed into epicenter of nightlife and entertainment overnight.

In fact the site of this project, the SittingOut Area under Hill Road Flyover, was the epicentre of the buzzing neighbourhood.

石塘咀位於堅尼地城和西營盤之間，本來是擁有細

After a decade of urbanisation, the quiet and modest area is quickly gentrifying into new and expensive apartments as upscale bars and restaurants. As told by the story from Rouge written by Lilian Lee, "golden age" of the area has a fascinating history of the brothels culture, as well as the unfortunate fire accident of the gasholders that were demolished in the 1960s.

已被遺忘的歷史融入設計，讓故事延續下去。

小人口的區域，大部分居民都是在區內石礦場工 作、從惠州移居至香港的客家人。然而，自港英政 府於 1903 年將中上環的紅燈區搬遷至石塘咀後， 這塊荒涼之地瞬間演變成為五光十色的煙花之地。 本項目山道休憩區的位置，正是當時發展的核心。 社會的時代巨輪不斷轉動，經過多次清拆和重建 後，目前在石塘咀再也找不到半點歷史痕跡。如 作家李碧華的《胭脂扣》中盛極一時的塘西風月， 以及六十年代清拆的煤氣鼓，這些歷史對年輕人 來說已相當陌生。 設計團隊希望透過這次機會，在山道天橋休憩區把

The team would like to take this opportunity to preserve the local history and heritage, and unfold the forgotten stories through the design of the sitting-out area in various ways.

Photo source: Internet image

Photo source: Internet image

72

1 3 2 4 1,2 Images from the design team's site history research. 圖片來自設計團隊選址歷史的研究。 3 Design team's site analysis of neighbouring parks and recreational areas. 設計團隊對鄰近公園和休閒和康樂空間的分析。 4 Images from the design team's site analysis and background research showing various gatherings and festivities under the Hill Road Flyover. 圖片來自設計團隊的選址分析和背景研究，顯示山道天橋 下的各種聚會和活動。

Photo source: Internet image

73

Gary Chang and Team 張智強及團隊

What is "Play"? 「眾樂」的意思？

For the team, “play” bears different conceptual and literal meanings. First, it is a voluntary temporary activity. It can be a detour from the usual routine; it can mean "surreal"; it can also be defined as a mirage.

Play can also be a process of familiarisation; as well as a way to transform the surroundings. Play should include different parts of the body and the mind, and involve different senses, as well as an alternative way of thinking and perceiving. 設計團隊認為，「眾樂」的意思具多個層面。首先，它 屬短暫和自願活動，讓人可從日常的例行活動中稍作 休息 ;「眾樂」也可以是超現實的幻想 ; 另一方面，它 可以是認識新事物的過程，亦可以是改變四周環境的 方法。「眾樂」應包含身心不同部分，使人運用不同感 官知覺，並以另類的方式思考和感應事物。

74

75

Gary Chang and Team 張智強及團隊

Design Process 設計過程

The project began with site visits and informal interviews with the community.

While acknowledging the existing site constraints, the team transformed these constraints into possibilities and produced sketches, digital models, and worked with various media to facilitate design thinking and collaboration during the conceptual stage. 在起首階段，團隊先進行實地考察，及與社區面談。 團隊了解選址當前的限制後，把限制轉化為可能，繼 而開始繪畫草圖和數碼模型。構思過程中，採用了多 種媒體以助設計思考和合作。

1 2 1

2

76

Designer mentees meeting with mentor Gary Chang. 香港導師張智強及團隊的設計過程。 Gary's team site analysis. 設計團隊的選址分析。

77

Gary Chang and Team 張智強及團隊

Design Process 設計過程

Play Equipment Research 遊樂設施研究 The team was interested in inclusive play equipment and carried out studies of swings, trampolines, and slides, which challenge users' movement and balance. The team was also interested in other forms of play, such as the use of sand, strings and ropes, which enable the participant to transform their surroundings. Though not necessarily play ‘equipment’ the designers find them equally crucial to the notion of play, which is a way to familiarize, to understand and to connect with the environment.

Exploring the verticality of the residual space under the flyover, the design team challenges the idea of height, and explored various climbing installations and play equipment.

78

設計團隊對具包容性的遊樂設施特別感興趣，因而 研究鞦韆、彈網、滑梯這些挑戰使用者的動作與平 衡的設施。除此以外，團隊亦對能改變環境的遊玩 形式有興趣，例如沙、繩索的運用等。雖然這些不 一定屬「設施」的一種，但設計團隊認為其對遊玩 的概念非常重要，屬認識新事物的方法，讓使用者 理解四周環境並建立連結。 探索天橋下剩餘空間的垂直性，設計團隊挑戰高度 的概念，並探索各種攀爬設施和遊樂設備。

"If you ask children in Hong Kong what play equipment they prefer, they would draw a tree house - and these are children who have never seen a real tree house." 「如果你問香港的孩子他們喜歡什麼類型的遊樂設 施，他們會畫樹屋 - 但這些孩子是從未見過真正樹屋 的。」 - Chris Yuen 袁漢昌 , Advisor 顧問

1 2 1

2

Design team's play equipment research and comparison. 設計團隊的遊樂設備研究和比較。 Design team studying different materials for play equipment. 設計團隊研究遊樂設備的不同材料。 Credits to image : Courtesy of Berliner Seilfabrik

79

Gary Chang and Team 張智強及團隊

Design Process 設計過程

Public Engagement 公眾參與 Process is an important aspect for the team, and the designers would like to build the park with the community. Weaving is a technique easy to learn and handle for different age groups. With reference to past weaving workshops led by local social service teams, the team would like to invite the public to be part of the design and build process, together to knit and weave various furniture such as seats, mats, and ropes, as building can also be a form playing. The team hopes that through participative play, they can elevate the self-identity and a sense of belonging of the neighbours.

Is your design instagram-able?

If not then count me out!

There are way too many people in the area nowadays.

I would rather go to other parks in the area!

設計團隊著重過程體驗，希望能與社區一同創建新 公園。有見編織是對各年齡層都較為容易學習的創 作方法，團隊便向該區社會服務組織過往舉辦的編 織工作坊取經，希望邀請公眾一起編織各種家具， 如座椅、地墊、繩索等，從而讓公眾參與設計和建 立的過程。創造的過程亦是遊玩的一種。團隊希望 公眾可透過參與遊玩，提升自我認同及作為居民的 歸屬感。

SOA under Hill Road Flyover?

Where?

Oh! Is that actually a park?

Oh... We have never been to SOA under Hill Road Flyover?

Hate the steps and too inconvenient!

Why would I bring my kids there?

Too many old man gambling and feels unsafe.

God! It's so boring sitting here!

I am here to wait for my friends.

Leave me alone!

Comments received from the public at the SOA under Hill Road Flyover. 在山道天橋底休憩處收到的公眾意見。 80

We moved here from China for 2 years now.

It is such a cool area.

Is mom done yet?

I just wanna go home.

81

Gary Chang and Team 張智強及團隊

Design Process 設計過程

Early Sketches 早期素描筆記

Early sketches to express different possibilities under the flyover. What if the new designs are created above the existing SOA with minimum footprint? Working upwards to increase capacity. 早期草圖表現天橋下的不同可能性。如果新設計是在現有裝置 之上創建，佔用最小的空間可以嗎？向上發展以增加容量。

82

83

Gary Chang and Team 張智強及團隊

Design Process 設計過程

Concept Stage 設計概念

1 Climbing Net 爬網

A mountainous climbing net connecting the long site through play. 通過一個山形的攀爬網裝置通過玩樂連接場地。

84

Concept Stage

2 Vertical Playground 直立式遊樂場

A dedicated, elongated playscape to provide a safe environment for various activities. 專用的游樂區，為各種活動提供安全的環境。

85

Concept Stage

3 Climb to Play 爬到玩

An installation inspired by tree house for users to climb and play within the urban jungle. 靈感來自樹屋裝置，供用戶在城市叢林中攀爬和 玩耍。

86

Concept Stage

4 The Third Gas Holder 第三個煤氣鼓

An installation inspired by the gas holder history of Shek Tong Tsui. Transforming the "gas holder" into a series of play equipment. 裝置靈感來自石塘咀的氣油鼓歷史。將「氣油鼓」 轉變為一系列的遊樂設施。

87

Concept Stage

5 The Third Gas Holder (II) 第三個煤氣鼓 ( 二 )

Design developed from the gas holder concept, connected with a mountainous climbing net. 設計概念包括石塘咀的氣油鼓和山形的攀爬網裝置。

88

Concept Stage

6 Vertical Playground (II) 直立式遊樂場 ( 二 ) Design developed from the vertical playground, and mountainous climbing net. 直立式遊樂場包括山形的攀爬網裝置。

89

Concept Stage

7 Climbing Net (II) 爬網 ( 二 )

Design development of the climbing net. 山形攀爬網裝置的深化設計。

90

Concept Stage

8 Park Under the Flyover 山道有山

Design development of the gas holder concept, connected by a mountainous walking trail. 氣油鼓概念的深化設計加入山形的步行徑。

91

Concept Stage

9

Park Under the Flyover (II) 山道有山 ( 二 )

Incorporating comments from different public agencies, the design of the gas holder concept with further developed with the addition of sitting area, chess playing area, and information display, respecting the existing users. 結合來自不同公共機構的評論，氣油鼓概念的設計進一步發展，增 加了休息區，象棋遊戲區和教育性的歷史顯示區。

92

Option 1

Option 2

Various zoning strategies proposed. Option 1 to integrate play area throughout the park, to increase interaction of children and elderly users.

Option 2 to create separate zones for play equipment and leisure area. 設計團隊提出了各種分區策略。選項 1 整合整個公園的遊樂區，以增加兒童和老年用 戶的互動。選項 2 為遊樂設施和休閒區域創建單獨的區域。

93

Detailed design drawings of floor tiles, and overall park layout. 整體公園佈局和設計的詳細設計圖紙。

94

Proposed plant species based on their origin, characteristics, tolerance, life span, and ecological value. 植物種類建議，基於起源，特徵，耐受性，壽命和 生態價值。

95

Detailed design drawings of play equipment. 遊樂設備的詳細設計圖紙。

96

Concept Stage

10

Park Under the Flyover (III) 山道有山 ( 三 )

Incorporating the idea of play into existing elements of the SOA, this design caters for the existing users and reinterprets the concept of play through new and exciting designs for the SOA's lighting, seats, shelters and chess tables, amongst others. 設設計將「眾樂」理念融入休憩處的現有元素，設計迎合現有使用者 的需求，並通過新的照明系統，座椅，和象棋桌等重新詮釋「眾樂」 的概念。

97

Mimi Hoang and Team Mimi Hoang 及團隊

Mimi Hoang International Mentor 國際導師

Stephen Ip (HK) 葉希芃 ( 香港 ) Architecture and Landscape 建築與景觀

Kay Chan (HK) 陳韻淇 ( 香港 )

Industrial and Product Design 工業及產品設計

Christopher Choi (HK) 蔡旻諾 ( 香港 ) Architecture and Landscape 建築與景觀

Jonathan Mak (HK) 麥朗 ( 香港 ) Graphics and Branding 平面設計與品牌設計

98

Yi Pei Square Playground 二陂坊遊樂場

Communal Living Room 社區客廳

99

Mimi Hoang and Team Mimi Hoang 及團隊

Communal Living Room 社區客廳 Due to the densely populated buildings of the surrounding area, Yi Pei Square Playground naturally becomes a gathering space. The activities of the people show a unique sense and feeling of community.

For example, the local elderly gathers here every day to talk and to chat; while children and parents pass through after school and often play for a while before going back home.

When the design team went to observe the site, it was discovered that most children could only use the elderly facilities to play. According to the survey conducted by the community centers in the district, the number of children at the grassroots level has also increased due to the rising number of "squatters" in the district. This shows that the demand for children's play facilities is urgently needed. The sizes of the "homes" are small and make it impossible to have a living room. Thus, the residents in this area are more eager to have a shared space nearby that acts as a "communal living room", for neighbours to have has the opportunity to interact.

二陂坊因為受到樓宇密集 包圍，中間的空地成了聚 眾空間，各種人進行的活 動形成那裡獨特的社區氣 氛。例如，區內外的長者 每天都會聚集於此談天說 地，小孩和家長在放學後 途經此地，也會遊玩一番 再回家。 現時二坡坊並沒有兒童遊樂設 施。設計團隊到現場觀察時，甚 至發現大部分兒童只能借老人設 施作玩耍之用。根據服務當區的 社區中心調查顯示，因該區「劏 房」數目增加，基層兒童數目上 升，由此可見兒童遊樂設施的需 求甚殷。由於劏房面積細小，不 可能有客廳，此區居民便更加渴 求在居所附近能有共用的連結空 間作「社區客廳」的功能，讓鄰 里有機會在其中交流。

1 2 1

An article on the 800 subdivided flats of Yi Pei Square, Tsuen Wan. Apple Daily, 6 February 2015.

2015 年 2 月 6 日蘋果日報關於荃灣 二陂坊逾八百劏房戶，屬於區內最 密集之地的報導。

2

100

Local community at Yi Pei Square Playground. 當地社區在二陂坊遊樂場。

101

Mimi Hoang and Team Mimi Hoang 及團隊

Site Analysis & Research 選址研究

Yi Pei Square Playground 二陂坊遊樂場 Yi Pei Square is located in Tsuen Wan. It is one out of four of the residential squares in the district. It is approximately 930m² in size, being the biggest site among the four. It is surrounded by mid-rise residential buildings, with several alleyways leading onto Sha Tsui Road and Chuen Lung Street. Within the park perimeter are a few fitness equipment for the elderly along with some benches and trees. Despite the lack of children's play equipment, the playground serves not only the elderly, but also children and families living nearby.

Yi Pei Square Playground is divided into three sections starting from the footpath entrance in-between Chuen Lung Street and Chung On Street: 1

The middle section is the longest and most commonly used. Children typically gather at two existing elderly fitness equipment, and elderly usually uses the benches more. Future seating areas, made by two patches of land that are separated and surrounded by an S-shaped Emergency Vehicle Access (EVA) fire exit will continue to retain the two elderly facilities. The proposed design and pattern on the ground offers the possibility of providing games for children.

2 The south side area is mainly used for resting. The stepped-seating area next to the trees can make good use of shade for the users, it can also double act as additional protection for the roots.

102

3 The pedestrian flow in the north area is frequent and therefore more free space remains for different activities. At the end of the north area is a wall that can be used for different activities. Different species of climbing plants can also be included to grow around the wall. 二陂坊遊樂場位於荃灣，面積約 930 平方米，是 該區四個公共遊樂場中最大的一個，由四周的中層 住宅樓宇圍成一個廣場，其中有幾條小巷通往沙咀 道和春龍街。公園內有數張長椅及幾個供長者用的 健身設備。雖然這裏並沒有兒童玩樂設施，但是遊 樂場仍供鄰近的家庭及小孩玩樂。 二陂坊由川龍街及眾安街進入的小徑分成三部分 :

1

中間部分最長，亦最常用：現有的兩個長者健 身設施連安全墊是小童聚集點；長者則多使用 兩旁長椅。將來的座椅區域（兩個被「S」形消 防通道分隔及包圍的遊樂設施），將保留及重 置兩個長者健身設施，並輔以地面圖案，為小童 提供遊戲可能。

2 南側區域現為休憩區，建議在樹旁設置層遞式 座椅，善用樹蔭，同時保護樹根。 3 北側區域行人流量大，日後將留下更多空間。 末端設有一幅攀附植物的透孔矮牆，供不同活 動用作佈景或掛架。 Population density of Tsuen Wan District 荃灣區人口密度 ¹

5,120

Person 人數 / km²

Site Area 選址面積

D

Activities

~930m²

B

Play

C

Seating

Source 資料來源 ¹: "Land area, mid-year population and population density by District Council district, 2017" by Census Planning Section, Census and Statistics Department, Hong Kong SAR. 香港特別行政區政府統計處普查策劃組 「2017 年按區議會分區劃分的陸地面積， 年中人口及人口密度」。

A

Leisure

103

Mimi Hoang and Team Mimi Hoang 及團隊

Site Analysis & Research 選址研究

Site History 選址歷史 In the past, Tsuen Wan was initially called 荃灣的古稱為「淺灣」。自清朝康熙初年，已有客 Tsin Wan, meaning "shallow bay". Since the 家移民到淺灣定居，在海灘築圍壆造田。沿海村落 early Qing Dynasty, Hakka immigrants have 名字多與堤壩、水道等有關，正如二陂坊的名字： settled in Tsin Wan and in nearby beaches. 「陂」指山溪小水庫； 「坊」為鎮內的小空地或窄道。 The names of coastal villages are mostly 及至 1950 年代，荃灣漸成香港紡織業中心，全港 related to dykes, waterways, etc. Just like 最大的紗廠和染廠也座落於荃灣。此時，二陂坊已 the name of the Yi Pei Square suggests, 建在新填地上。其後，一代又一代移民遷出，單位 "Pei" ( 陂 ) refers to the small reservoir of river 便陸續改成板間房出租。因租金便宜，引來很多福 streams whereas "square" is a small open 建新移民入住。2015 年曾有統計指，二陂坊有逾 space or narrow road in a town. In the 1950s, 八百劏房戶，屬於區內最密集之地。 Tsuen Wan was a flourishing textile industry centre in Hong Kong. The city’s largest yarn mill and dyeing factory was also located in the district. As the area quickly developed, Yi Pei Square was built on new landfill. After immigrants from generation to generation moved out, the industrial units were gradually converted into squatter homes. The low cost of rent soon attracted many new immigrants from Fujian. In 2015, statistics showed that there were more than 800 households in Yi Pei Square, becoming one of the district’s most densely populated areas.

104

105

Mimi Hoang and Team Mimi Hoang 及團隊

Site Analysis & Research 選址研究

Sub-divided flats and the use of public space in Hong Kong 分間單位和公共空間的使用 The inequality in Hong Kong's housing provision is the most visible in subdivided flats, also known as the cubicle, cage, or coffin houses. In 2016, more than 200,000 people were living in flats obtained by dividing a flat to two up to ten units, each of average 15m². According to the 2016 Census, 92,700 subdivided flats, each on average that cost between HKD 4,500 and HKD 5,116 and sized 1/3 of a flat, accommodated 35% of Hong Kong's population. The demographics of these one person households, are aged between 25 and 44, with an average income of HKD 13,500.

The lack of public housing for low income household vs the rapidly increasing private housing prices, and the lack of building laws enforcement has led to this housing condition. While building owners are required to adhere to the Hong Kong Building Ordinance by hiring licensed professionals to perform necessary construction, many of the renovations are carried out without legal building or fire safety standards. This kind of housing transformation leads to safety issues on building use, especially related to electricity, fire escape, and sewage infrastructure; health and comfort issues related to the lack of ventilation and indoor air quality, as well as clean water supply.

A recent case study by Grassroots’ Housing Rights Alliance and the University of Hong Kong’s Ronald Coase Centre for Property Rights (2018) on subdivided flats in Kowloon 106

document the issues concerning the health and well-being of occupants, as well as those related to building safety. The research focuses on the 285 of 324 buildings in Kowloon. The output of the research points out that the average building is 55 years old, 1,700 flats were divided to 5,500 units (3.3 on average, but in one case to 10 units), only 20% of the 285 buildings had fire alarm systems, under 25% were equipped with fire extinguishers or fire hoses. In addition, significant issues were reported on the added structural weight on the building based on high occupancy, extremely narrow corridors, lack of clean air due to increased ventilation need based on the limited capacity of the building.

The issue of subdivided flats is embedded in the neighborhoods around Kowloon. Many of the buildings surrounding the DTFS 2018/ 2019 micro-parks are composed of subdivided flats, increasing the density of use, and resulting in lack of public space. This makes it more important to provide play spaces for children in the public parks, as well as the reorganization of the parks into multi-functional spaces.

15m²

35%

香港房屋供應不平等，其衍生的問題以「劏房」現

九龍區劏房問題已根深蒂固，「未．共研社」倡議

象最為顯著。「劏房」即分間單位，又稱板間房、

在該區興建的微型公園，附近大廈滿佈劏房，估計

籠屋或棺材房。2016 年，香港有逾 20 萬人居於

將加重公園負荷，致公共空間短缺。因此，為兒童

劏房，這些劏房由一個單位劃分成二至十間房，每

在公共公園提供玩樂空間，將公園重整為多用途地

間平均面積為 15 平方米。根據 2016 年人口普查

點，便顯得更為重要。

Average size of subdivided flat 分間單位平均面積

Hong Kong's population reside in subdivided flats 香港人口居於分間單位

數據，香港共有 92,700 個分間單位，住戶佔全港 人口 35%，每月平均租金為 4,500 港元至 5,116 港元，面積佔一個單位的三分之一。居於這些分間 單位的一人住戶，年齡介乎 25 至 44 歲，平均每 月收入為 13,500 港元。 低收入住戶面對公營房屋短缺、私樓房價急劇飆 升，加上政府立法監管不足，導致住屋問題嚴峻。 儘管香港的 《建築物條例》規定業主須聘請合專業 資格人士，進行所需的建造工程，許多樓宇翻新工 作並不符合法定建築或消防安全條例。這種將單位 改建成劏房的做法，屬不當使用建築物，引起連串 安全隱憂，尤其是與供電、走火通道、排污設備相 關的問題。此外，通風不足、室內空氣惡劣，以及 用水供應等問題，使住戶未能有舒適的居住環境， 更影響健康。 關注基層住屋聯席與香港大學科斯產權研究中心 近日合作進行研究，記錄九龍區劏房戶的健康和 生活狀況，以及與樓宇安全相關的問題。研究員 到訪了九龍區 324 棟樓宇，聚焦當中 285 棟的情 況。調查結果指出，這些大廈平均樓齡達 55 年， 共 5,500 間劏房劃分自 1,700 個樓宇單位，即平 均每個單位間隔出 3.3 間劏房，唯當中有一個單位 被分成十間房之多。285 棟劏房大廈中，僅 20% 有火警警報系統；少於 25% 配備滅火筒或消防喉。 此外，調查發現，由於劏房大廈居住人數眾多，加 重樓宇負荷，影響結構安全；還有其他因單位空間 有限而衍生的問題，包括走廊極其狹窄、通風設備 不足致空氣混濁等，情況值得關注。

"Subdivision of a flat (Subdivided units)" - Buildings Department, The Government of the Hong Kong Special Administrative Region 「分間單位 ( 劏房 )」常見問題 - 香港特別行政區政府屋宇署 www.bd.gov.hk/english/services/index_faqJ.html (09 December 2018) 2016 Hong Kong Census by Census / Hong Kong Government 2016 年中期人口統計常用統計結果的主要統計表 www.bycensus2016.gov.hk/en/bc-mt.html (09 December 2018) Ramshackle subdivided flats in Hong Kong’s old buildings are an ‘urban ticking time bomb’, researchers warn - SCMP. Shirley Zhao (15 July 2018) 香港劏房舊樓搖搖欲墜，研究員警告如「都市計時炸彈」南華早報。Shirley Zhao (2018 年 7 月 15 日 ) www.scmp.com/news/hong-kong/healthenvironment/article/2155358/ramshackle-subdividedflats-hong-kongs-old (09 December 2018) 107

Mimi Hoang and Team Mimi Hoang 及團隊

What is "Play"? 「眾樂」的意思 ?

"Play" is very important, and every age needs to "play time" throughout life.

In this park, not only do both young and old have the necessary facilities to enjoy the different activities, but also the opportunity for community integration through sharing such facilities. 「眾樂」十分重要。不同年齡層都需有遊玩的生活與時 間。在這個公園中，老幼皆有各自所需的遊玩設施， 使他們一方面能感受不同的活動樂趣，另一方面可透 過共用設施而共處。公園便提供了社區共融的平台。

108

109

Mimi Hoang and Team Mimi Hoang 及團隊

Design Process 設計過程

One of the biggest limitations faced by the design team is the entire Yi Pei Square site runs through an Emergency Vehicle Access (EVA) fire exit, meaning there is not much room left for other facilities.

Therefore, when re-planning the EVA and play facilities, we had to take note of these challenges and strike a balance between various zoning restructure and regulations.

The design process also focuses on public participation.

Children actively proposed various park design concepts and the team collected feedback and opinions from the local community. In doing so, the local community became an important resource for the team's design with their invaluable input, from play equipment to furniture and other facilities.

設計團隊面對的最大限制 與挑戰，是整個二陂坊 都屬於消防通道，可以放 置設施的空間並不多。因 此，他們在重新規劃消防 車通道路線及遊樂設施的 時候，得注意兩者之間的 平衡。 設計過程著重市民一起參與，由 兒童提出一些公園的設計概念。 團隊亦收集街坊意見，了解怎樣 的座椅和設施才是最合適，以作 為公園設計的重要參考。

"Because it is a built project, the practicality consideration will be a great challenge but it doesn't mean that you cannot work with the challenge or constraints. This is usually where potentials come in, and constraints can become opportunities." 「因為這是一個將會建造的項目，實用性的考慮將是 一個巨大的挑戰，但它並是無法應對的挑戰或限制。 這通常是潛力的來源，約束也可成為機會。」 - Sara Wong 黃志恆 , Advisor 顧問

The design team has explored various emergency vehicle access routes in order to maximise space to incorporate more facilities for Yi Pei Square Playground. 設計團隊探索了各種消防通道方案， 為二陂坊遊樂場爭取更多設施的空間。

110

111

112

1

2 4 3 5

1

Design team meeting with Caritas Tusen Wan on public engagement planning. 設計團隊與荃灣明愛會面討論公眾參與計劃。 2,3 Discussion on design concept and EVA issue with district council members at the Legislative Council. 在立法會與區議會議員討論設計概念及消防通道問題。 4 Design team meeting with Caritas Tusen Wan on public engagement planning. 設計團隊與荃灣明愛會面討論公眾參與計劃。 5 Design team site visit and meeting with LCSD. 設計團隊實地考察及與康樂及文化事務署會面。 113

Mimi Hoang and Team Mimi Hoang 及團隊

Design Process 設計過程

Play Equipment Design 遊樂設施設計 When looking at playgrounds around the world, the most important thing is to ensure children can play and explore safely. Colours should be attractive, facilities should be stimulating, so that children can grow up with adventures and stimulating challenges.

As such, the actual play equipment does not have to be so complex, but rather leaves more room for children to explore.

環顧世界各地的遊樂場，設計團隊發現遊樂場最重 要是能確保兒童可安全地遊玩和探索。在設計方 面，顏色應要吸引，設施要具啟發性，讓有冒險的 樂趣，在自我挑戰中成長。實際的遊樂設施其實並 不用太花巧，有空間讓兒童探索才是最重要。

Design team working with the local community on play equipment design. 設計團隊與當地社區合作進行遊樂設施 設計。

114

115

Mimi Hoang and Team Mimi Hoang 及團隊

Design Process 設計過程

Public Engagement 公眾參與 The design team collected opinions through three public engagement sessions, and have established connections with neighbours and the local community. The team also distributed questionnaires at Yi Pei Square in order to understand specific needs of the residents. Community workshops were held to allow children to participate in park designs; they drew out the parks they had in mind; designed collective games on the playground floor with simple tapes; and came up with their ideal parks with clay, demonstrating their love of games as well as informing the designers of the public’s own ideas.

With some of the park facilities collectively designed as part of an onsite exhibition, the 1:1 prototype as part of the exhibition will also be available for future users to test out.

116

團隊分三次活動收集意見，建立鄰舍關係。既在二 陂坊派發問卷，了解居民所需，又舉辦社區工作坊， 讓兒童畫出心目中的公園，用膠帶在地上設計集體 遊戲，或用泥膠示範在公園愛玩的遊戲，使團隊能 具體了解公眾用家的想法，取得設計靈感，投放入 公園設計中。最後，部分公園設施將以 1:1 原型模 式放在場內展覽，給用家試玩。

117

Mimi Hoang and Team Mimi Hoang 及團隊

Design Process 設計過程

Early Sketches 早期素描筆記

Caption?

118

119

Mimi Hoang and Team Mimi Hoang 及團隊

Design Process 設計過程

Concept Stage 設計概念

120

1 Graphic signage design and playable flooring patterns that creates a cohesive visual identity for the site. 為選址創作的視覺識別，包括圖形標牌設計和可玩 的地板圖案。

121

Concept Stage

2 Sitting Area Design 休息區設計

Sitting area to be created under the existing trees of Yi Pei Square Playground.

Incorporating new design to also maximise use of planter as seats. Other seating with shelter is also added to the park perimeters. 採用新設計，座椅坐落在遊樂場現有的樹下，圍繞 新的花盆設計。其他帶遮蔭的座位也被添加到公園。

122

123

Concept Stage

3 Play Equipment Design 遊樂設施設計

Through research and public engagement, a series of play equipment was designed that is safe and suits the community's needs. 通過研究和公眾參與，團隊設計了一系列安全且適 合社區需求的遊樂設施。

124

125

Mimi Hoang and Team Mimi Hoang 及團隊

Design Process 設計過程

Final Design 設計作品 The design aims to use colour to connect the ground of the two squares into a "carpet" for play and to provide fun and challenging children's play facilities. The design also intends to utilise nearby trees for shades and to provide ample seating. The park will be more spacious, open and transparent; vibrant and at the same time natural and comfortable. Children will no longer be limited by space and can play in the "living room" of this community, while other residents simultaneously connect and interact with each other.

The process of redesigning the park involves public participation and community engagement. It will also be an extension of service to the community in hopes of connecting it even further.

126

設計建議運用色彩，將二陂坊的地面連貫並變成一 塊可供玩樂的「地氈」；在場內提供好玩、富挑戰 性的兒童遊樂設施，並在樹蔭及蔭棚下，劃出空間 提供充足的座椅，令公園內外的空間更開揚通透， 使二陂坊變得更繽紛和更有活力，同時亦是自然舒 適的空間。自此，兒童不用再躲在細小的劏房，而 是可以到這個社區客廳玩耍；其他居民亦能在此連 結交流。 公眾參與了公園重新設計的過程，提高了公園的社 區參與度。公園日後亦會是社區組織服務的延伸活 動地點，達致連結社區的目的。

127

Activities Zone 活動區域

Existing Elderly Equipment 現有的老人健身設施

Play Zone 遊樂設施

Leisure Zone 休憩區

128

129

Sam Jacob and Team Sam Jacob 及團隊

Portland Street Rest Garden 砵蘭街休憩花園

Sam Jacob International Mentor 國際導師

Ricky Lai (HK) 黎偉傑 ( 香港 ) Graphics and Branding 平面與品牌設計

Xavier Tsang (HK) 曾首彥 ( 香港 ) Industrial and Product Design 工業及產品設計

Wendy Wu (GBA) 吳然 ( 大灣區 ) Architecture and Landscape 建築與景觀

Kam Fai Hung (HK) 洪錦輝 ( 香港 ) Architecture and Landscape 建築與景觀

130

Portland 砵蘭

131

Sam Jacob and Team Sam Jacob 及團隊

Portland 砵蘭

Yau Tsim Mong District has the highest population density in Hong Kong. The new design hopes to inject new energy to the neighbourhood, and to create positive impact in the local community.

Population density of Yau Tsim Mong District 油尖旺區人口密度 ¹

The major users at Portland Street Rest Garden are mainly adults and elderly, including many longtime residents of the area.

Typical routines at the park include resting, smoking, waiting for transport, or reading horse racing newspaper on racing days.

The team’s new design aims at making minimal changes, and at the same time, injecting new energy and improving the environment.

Current changes in the demography and development of the area,includes the construction of a new hotel opposite the park, scheduled for completion in early 2019, which may bring new changes to the surrounding area. The team’s design aims to create a familiar yet innovative space for the community, while enhancing the experience for the current users.

Despite the relatively small size of Portland Street Rest Garden, it is an important public space and leisure spot for the community within its high density surrounding. However, due to certain improper user behaviour, especially garbage and debris, as well as defecation and odour within the park perimeter. During peak hours, there are also insufficient seating for park users.

132

48,230 Person 人數 / km²

The design will be "partly new", and "partly original", where part of the park's existing structures will remain unchanged, with minimal intervention apart from the restoration of certain furniture and facilities.

Thus, keeping part of the garden's original design for longtime users. The other part of the garden will have a playful and modern look,with new paving, furniture, facilities, as well as plant species. The new part will also focus on one single vibrant colour, providing a fresh and energetic touch to the environment, and facilitate positive psychology in the neighbourhood.

A series of new, movable, modular table and chairs will also be installed, enabling users to create their own seating and activity arrangements freely. While encouraging different social activities, the new furniture will also provide more freedom and possibilities of usage, such as forums, performances, areas to rest, dine, or play.

油尖旺區是香港是人口密度最高的地 區。設計概念為該區注入新能量，使繁 忙和緊張的生活氛圍帶來積極正面的 影響。

新的設計概念旨在以最小幅度的改動，改善花園環 境，為花園注入新能量。 花園將會以「半新半舊」的設計呈現。一部分的外 貌會大致保留不變，只作部分設施翻新，為老用家 保留一點情意結。另一部分的設計，則帶玩味和現

砵蘭街休憩花園的主要用戶是成人和老人，其中包

代感。整個範圍包括地面、休憩設施和植物等都會

括一些是該區的長期居民和長期使用者。公園裡常

以單色調呈現。該顏色會成為社區的活力點綴，亦

見的例行活動包括單獨消磨時間、在賽馬日閱讀馬

可對使用者產生正面心理影響。檯櫈設計讓使用者

經、抽煙、等車等。

可自由移動，並按需要改變位置排列。這樣可鼓勵

目前該地區的人口變化和發展可能會為周圍的氣 氛帶來新變化。團隊的設計旨在為社區創造一個既 熟悉又創新的環境，同時增強現有使用者的體驗。 砵蘭街休憩花園面積雖然不大，但對於附近稠密的 居住環境卻是重要的公共空間。由於某些不當的使 用習慣，以及一些花園設施未能配合所需，使例如 在賽馬日和繁忙時間座位不足，草叢有大小便異味 和垃圾，以致該處未能為大眾提供舒適環境。

不同的社交氣氛之餘，亦為花園帶來更多可能性， 讓花園可以變成社區論壇空間、表演場地、用餐地 和靜態玩樂場所。

Source 資料來源 ¹: "Land area, mid-year population and population density by District Council district, 2017" by Census Planning Section, Census and Statistics Department, Hong Kong SAR. 香港特別行政區政府統計處普查策劃組「2017 年按區議會分區 劃分的陸地面積，年中人口及人口密度」。

133

Sam Jacob and Team Sam Jacob 及團隊

Site Analysis & Research 選址研究

Portland Street Rest Garden 砵蘭街休憩花園 Description of the site 選址概述 : Site Area 選址面積

Seats 座位

Chess Tables 棋桌

Greenery 綠化面積

Smoking allowed 允許吸煙

Non-relocatable Trees 不可移植的樹

~376m² ~30%

16

The main users of the garden are adult male.

By observation, around 90% are male with the majority over 50 years of age.

The garden is often crowded, especially on horse racing days, where most seats are occupied, with many users sitting on the curbs, smoking, drinking and gambling. The hygiene condition is also poor with strong odour.

Located at a busy location near an MTR exit, a Jockey Club betting station, hotels, and other local shops, restaurants, and bakeries.

There is also a cross border shuttle bus station outside of the garden.

One of the main concerns for the neighbourhood is the negative image projected by prostitutes around the area.

Although Portland Street is well known by locals and tourists as the red light district, this is an everyday issue faced by the local residence.

134

3 3

公園主要使用者為成年男性。根據觀察，約 90% 訪客為男性，大多數年逾 50。公園時常擠滿人群， 尤其在賽馬日，椅子幾乎全部坐滿。不少訪客坐在 路邊抽煙、喝酒及賭博。公園衛生情況惡劣，傳出 強烈異味。 公園附近人流繁多，有地鐵站、馬會投注站、酒店 、以及本地商店、餐廳、麵包店。公園外還有一個 跨境穿梭巴士站。 該處一帶充斥性工作者，導致該區形象負面，為區 內一大問題。雖然砵蘭街是本地著名的「紅燈區」， 亦為遊客熟知的景點，但當地居民一直受該區色情 行業困擾。

Location 選址

Seating 座位

Surroundings 環境

Barriers 圍欄

Greenery 園景

135

Sam Jacob and Team Sam Jacob 及團隊

Site Analysis & Research 選址研究

Site History 選址背景 Portland Street is one of the most popular street in Kowloon. You can find a wide range of trades and businesses, including renovation materials shops, hardware stores, various retailers, food stores, fruit market, local restaurants, hourly hotels, and in recent years, large shopping malls, boutique hotels, galleries and cafés.

砵蘭街是九龍區其中一條人流最暢旺的街道，商店 業務林林總總，有維修店、五金行、各種零售店、 食店、果欄、本地食肆、時鐘酒店；近年，該區還 建有大型商場、精品酒店、畫廊和咖啡店。 在八、九十年代，砵蘭街是個紙醉金迷之地，夜總 會、卡拉 OK、按摩院、情趣酒店及商店等霓虹招 牌琳瑯滿目。該區亦經常成為電影拍攝的場景，是 香港一重要地標。不同團體及機構近年推動該區重

It was a site of glamour during the 80s and 90s, decked with layers of neon signs of clubs, karaoke, massage parlours, love hotels and shops. The area is also well-featured in Hong Kong movies, and is a prominent sign of local Hong Kong. Portland Street is also a popular red light district for locals despite the gentrification of the area led by community groups and local and public agencies.

建，使這個原本聚集勞動階層的舊區，出現士紳化

A lot of the users of the Portland Street Rest Garden has been frequently visiting the garden for many years, and the glamorous history of the area and older park users’ daily habits has inspired the team to design their new concept.

道之間互相依存的關係，是團隊構思設計時討論

Gambling, wandering around, drinking, chilling, chatting and people-watching are what contributes to the idea of "play". And the co-dependent relationship between the old and new, black and white has been the core discussion during the team’s idea development process.

136

現象。儘管如此，砵蘭街仍是本地熱鬧的紅燈區。 砵蘭街休憩花園的使用者，不少為常客，多年來經 常到花園活動。砵蘭街奢華璀璨的往昔，以及今日 年長一群天天到訪公園的習慣，使團隊深受啟發， 構思出此嶄新概念。 對公園訪客而言，「玩樂」是賭博、閒逛、喝酒、 散心、閒聊和觀察旁人。這種新舊兩代、黑白兩 的中心。

137

Photo source: Internet image

Photo source: Internet image

Photo source: Internet image

Sam Jacob and Team Sam Jacob 及團隊

What is "Play"? 「眾樂」的意思 ?

“Play” is more than the mere visual and physical elements it's generally associated with. “Play” can also be static; it can be expressed with subtlety. “Play” can be generated through the act of creation, the processes of discovery, invention, and imagination. “Play” is also associated with a sense of anticipation and hope. 「眾樂」的定義不僅關乎視覺和物理元素而已。 「眾樂」也可以是靜態的 ; 它可以更細微地表達出來。 「眾樂」可通過創作，勘探，和想像的過程產生。 「眾樂」並副有希望和期待感。

Design team's early inspiration and concept on play. 設計團隊的早期靈感和「眾樂」的理念。 138

Park

Play

Social Gathering + Stimulation of New Possibilities

139

Sam Jacob and Team Sam Jacob 及團隊

Design Process 設計過程

Over the past few months the team has been visiting the site, observing and getting to know the existing park users.

During the exhibition, 1:1 prototypes and a scaled model is presented to share with the community and inspire them to create different functional settings.

過去數月，團隊到上址觀

The engagement process will be documented and the results will be used as inspiration for other visual details and signage design in the next stage.

他視覺細節和告示牌的

察，以了解使用公園的人 士。 展 覽 將 展 示 設 計 的

1:1 原型和比例模型，鼓 勵社區大眾構思公園的 不同用途。團隊將記錄展 覽過程，用作後期設計其 靈感。

Objectives of the new design 新設計的目標 To provide more sitting area 增設座位

To provide drinking water dispensers 設置飲水機

To provide more facilities for social engagement 增設社交活動設施

To create an interactive landscape 創造互動景觀

To provide more areas for shade and rain shelters 增設遮陽避雨空間 To provide more sustainable and pleasant greenery 增設可持續發展、舒適宜人的綠化環境

140

To incorporate a new energy for the park users 為公園訪客注入新動力

141

Sam Jacob and Team Sam Jacob 及團隊

Design Process 設計過程

Public Engagement 公眾參與

142

Throughout the design process the team has engaged with various stakeholders and public agencies including ArchSD, LCSD, district councils, as well as the general public. Developing their ideas from site analysis, to concept design, and technical development. 在設計過程中，團隊與各持份者和公共機構，包括建築署，康 樂及文化事務署，區議會以及公眾進行了接觸和會面。 從選址 分析，概念設計，到技術研製中發展他們的想法。

Sam Jacob and Team Sam Jacob 及團隊

Design Process 設計過程

Early Sketches 早期素描筆記

Early sketches showing different design concepts including stepped seating to maximise number of seats, Guan Yu statue to affect behavioural change, and different activities zone and furniture arrangements. 早期的草圖展示了不同的設計概念，包括階梯式座椅，以最大 限度地增加座位數，關羽雕像，以影響行為的變化，以及不同 的活動區和設備安排。

143

Sam Jacob and Team Sam Jacob 及團隊

Design Process 設計過程

Concept Stage 設計概念

144

1 Initial design with stepped seating, new greenery, as well as horse-inspired play equipment. 初步設計，包括階梯式座椅，新綠化區以及馬形遊 樂設施。

Concept Stage

2 Design revision the addition of bathrooms, stepped seating, as well as a Guan Yu statue to facilitate existing park user behavioural change. 設計修改，加添洗手間、階梯式座位，以及關羽雕 像來促進用者行為改變。

145

Concept Stage

3 Design connecting day and night through "play". Incorporating the idea of social involvement and energy generation, this design creates light energy to be used to light up the park through the rocking horses charged by motion energy. 設計通過「眾樂」連接日夜。 結合社會參與和能量生成的理念，設計 通過搖馬作動能充電，點亮夜間的公園。

146

Concept Stage

4 Modular system based on community desires and needs, incorporating a co-design strategy. 基於社區需求的模塊化系統，結 合了共同設計策略。

147

Concept Stage

5 Design focusing on fun and playful experiences for adults and elderly users, including acoustic speaker/ shelters inspired by "tin can telephones", pedalling fitness equipment with fan system, as well as a peaking wall, etc. 設計專注於為成人和老年用戶提供有趣的體驗，包括靈感來自「傳音 筒」，帶風扇系統的健身器材，以及偷窺牆等。

148

Concept Stage

6 Design team's initial greening strategy to create higher greenery density for the park. 設計團隊最初的綠化策略，為公 園創造更高的綠化密度。

"Do not think first about the species of the tree you are using; rather, think about your design parameters and from there, determine the type of tree you would like to use." 「樹的種類不是考慮的先要條件;而是你的 設計參數，然後從那裡確定想要使用的樹 木類型。」 - Mark Blackwell, Advisor 顧問

149

Concept Stage

7 Half Park design inspired by experiences from New York Research Study Tour, such as The Highline and how existing features of the railway line was kept and upgraded with new elements. 「半公園」設計靈感來自紐約研究考察團的經驗，例如高線公園以 保留鐵路線特徵和新增元素。

150

Concept Stage

8 Design development with colour options, reflecting the challenges and opportunities working with multiple stakeholders. 設計團隊的顏色選項，反映着與不同持份者合作的 挑戰和機遇。

151

Sam Jacob and Team Sam Jacob 及團隊

Design Process 設計過程

Final Design 設計作品 Noting that the majority of park users are elderly, the team has envisioned a thoughtful approach to incorporate existing elements from the site, while injecting new energy and ideas. The future Portland Street Rest Garden will be a multi-functional space for the users, one third of the park area will keep its original layout and structure while restoring and renewing some furniture and equipment, the other part will have a totally new layout with movable furniture system on an open space.

團隊注意到公園訪客大多為長者。為顧及年長一

Besides, the number of seats will also be increased from 20 to a maximum of 60 with the new side benches and movable furniture system, which will provide flexibility for different functions for the space. By arranging the furniture, people can make the space into forum, performance stage, dining area, meeting room, and different social settings.

倍添生機，使其有鮮明的視覺形象。

The new part of the park will also include plant selections in a vibrant pink tone, creating a positive energy, and a sharp visual identity.

152

群，團隊希望為公園注入新動力和意念的同時，在 設計中納入現有元素。新的砵蘭街休憩花園將會成 為個多用途空間，園內有三分之一面積將保留原有 佈局，當中部分設施及配備將修復和翻新；公園的 另一部分則會是全新的佈局，該開放空間將配有可 移動的設備。 此外，公園的座位數量將由 20 個增至最多 60 個， 新的長椅連同移動式檯櫈設計，令空間靈活多變， 提供不同功能。公眾可移動檯櫈，將空間變成論壇 場地、表演舞台、用餐區、會議室和不同社交場所。 新設計的部分將以鮮粉紅色系的植物佈置，為公園

153

Portland Street Rest Garden 砵蘭街休憩花園

154

155

Stanley Wong and Team 黃炳培及團隊

Stanley Wong 黃炳培 Hong Kong-based Mentor 香港導師

Vivian Ng (HK) 吳泳雯 ( 香港 ) Industrial and Product Design 工業及產品設計

Samuel Wong (HK) 王守賢 ( 香港 ) Architecture and Landscape 建築與景觀

Sylvia Chan (HK) 陳曼霞 ( 香港 ) Writing and Criticism 寫作和評論

Elaine Tsui (HK) 崔亦伶 ( 香港 ) Architecture and Landscape 建築與景觀

Owen Chim (HK) 詹皓雲 ( 香港 ) Architecture and Landscape 建築與景觀

156

Hamilton Street Rest Garden 咸美頓街休憩花園

aDapTable 搭檯

157

Stanley Wong and Team 黃炳培及團隊

aDapTable 搭檯

Table sharing, typical in Chinese restaurants in Hong Kong, was the inspiration for the design conceived with the community in mind. "aDapTable" is a communal space for sharing, featuring a large table with a sculptural surface in the center. The surface of the table is essentially a miniature of the neighbourhood, which indicates locations of unique shops that have inspired the use of materials in the park. The table also accommodates a range of activities. It is a place for dining, reading, chatting, and potentially programmed activities such as round-table discussions and exhibitions. The table’s large continuous surface automatically engages visitors in an experience of sharing, allow visitors to engage in conversations naturally, and cultivates a sense of community.

Visitors who stroll in the neighborhood are often impressed by its rich variety of shops that house techniques of making and production unique to the area. Some of these include steel ware, copperware, handmade chopping boards, and signage shops. aDapTable uses local materials produced in the Yau Tsim Mong area, such as steel ware, copperware, and chopping boards. It celebrates this culture of making as a social adhesive that ties the community’s artisans together. aDapTable is a park where one gets to know the neighbours and the neighborhood. It is a shared space for interaction and collaborative creation. Everyone plays a part in aDapTable.

158

本設計意念來自香港盛行 的「搭檯」傳統，旨在為 區內居民和其他使用人士 提供高質素的公共休憩空 間。大檯檯面設有高低起 伏的方塊，組成社區的地 圖。地圖上標示鄰近社區 展現獨特手作文化的商 鋪。另外為進一步彰顯社 區的手作文化，「搭檯」的 不同角落也會運用鋼、銅、 鉆板等物料。圍繞大檯， 大家吃東西、讀報、聊 天，而大檯偶爾也可以成 為舉行討論會的地方。 「搭檯」特地使用油尖旺地區生 產的本地材料，如鋼製品、銅器 和砧板，藉以頌揚地區文化，將 社區的工匠聯繫起來。 花園將提供不同款式的座位，有 些圍繞大檯，有些散落其他位置， 鼓勵使用者互相交流。大家有緣 搭檯，分享生活中閒適的一刻。

159

Stanley Wong and Team 黃炳培及團隊

Site Analysis & Research 選址研究

Hamilton Street Rest Garden 咸美頓街休憩花園 Hamilton Street Rest Garden is located in Yau Tsim Mong District, around the corner of Portland Street and Hamilton Street junction.

It is approximately 243m² in size, the smallest site among the four. The main feature of the rest garden is a large lush tree. The garden is popular and usually fully seated, serving all walks of life.

Hamilton Street Rest Garden is in close proximity to the Portland Street Rest Garden.

Site Area 選址面積

~243m² A Large Lush Tree 一棵青蔥大樹

咸美頓街休憩花園位於旺角，在砵蘭街和咸美頓街交界的角落。它 的面積約為 243 平方米，是四個花園中最小的。花園的主要特徵是 一棵青蔥大樹。這花園非常受歡迎，供不同人使用。咸美頓街休憩 花園跟砵蘭街休憩花園十分接近。

160

Hamilton Street Rest Garden close to Portland Street Rest Garden 咸美頓街休憩花園接近 砵蘭街休憩花園

161

Existing Facilities 現有設施 The existing Hamilton Street is irregular in shape with two main entrances. A large Chinese Banyan tree is a main feature of the park. A white popinac, a tall bottlebrush, and two royal palm trees also offer shelter for users. Benches are arranged on the periphery of the park. Users sit facing the interior of the park but there are limited facilities to encourage communication between users.

現有的咸美頓街形狀不規則，並有兩個主要入口。 公園的主要特色為一棵大型的中國榕樹。此外， 白色的銀合歡、高大的紅千層和兩棵皇家棕櫚樹， 也為用戶提供護蔭。公園周邊設有長椅。用戶坐 在公園裡面向內部。可是，公園內並沒有設備來 鼓勵用戶之間的互動。

Current Users 當前用戶 Currently, main users of the existing park include the elderly and ethnic minorities that are mostly male. These users tend to see the park merely as a resting space. As such, interaction between users is limited, and there is a sense of isolation despite close proximities between seats.

目前，公園的主要使用者為老年人和少數民族， 主要是男性。這些用戶傾向將公園視為休息空間。 因此，用戶之間的互動罕見。儘管他們坐得很近， 卻仍然存在距離感。

Neighbourhood 鄰里 The park’s neighbourhood boasts a number of shops that house techniques of making and production unique to the area. These include shops that manufacture steel ware, copperware, handmade chopping boards, and signage.

162

公園的鄰近社區有許多商店，當中牽涉該區獨特 的製作和生產技術，包括鋼製品商店、銅製商店、 手工製砧板商店和招牌商店等。

163

Stanley Wong and Team 黃炳培及團隊

Site Analysis & Research 選址研究

Site History 選址背景 Yau Tsim Mong is the third densest area in Hong Kong. With a population surpassing 330,000, its density is 48,230 / kilometre square. Although Hong Kong Planning Standards and Guidelines prescribe two meters squared as the per capita standard for open space, the per capita open space in the area is only less than one-meter square per person. Yau Tsim Mong is thus in need of a quality park that will offer residents and visitors a space for leisure and activities.

油 尖 旺 是 香 港 第 三 個 最 密 集 的 地 區。 人 口 超 過

33 萬，密度為 48,230/ 平方公里。「香港規劃標 準與準則」規定以兩平方米作為人均開放空間標 準。然而，該地區的人均開放空間不足每人一平 方米。因此，油尖旺需要一個優質的公園，為居 民和遊客提供休閒和活動空間。 咸美頓街休憩花園位於咸美頓街和砵蘭街交界， 是鄰近地區較大的開放空間，為該地區的居民和 工人使用。公園靠近彌敦道及油麻地地鐵站，有 可能吸引有興趣前往鄰近地區的遊客。

Located at the junction of Hamilton Street and Portland Street, the 246 square meter Hamilton Street Rest Garden is one of the larger open spaces in the neighbourhood. It is used by the area’s residents and workers. With proximity to Nathan Road and the Yau Ma Tei MTR Station, the park also has the potential to draw other visitors who are interested in the neighbourhood.

Mid-year Population of Yau Tsim Mong 油尖旺區年中人口

~337,200

Source 資料來源 ¹: "Land area, mid-year population and population density by District Council district, 2017" by Census Planning Section, Census and Statistics Department, Hong Kong SAR. 香港特別行政區政府統計處普查策劃組「2017 年按區議會分區 劃分的陸地面積，年中人口及人口密度」。 164

Population density of Yau Tsim Mong District 油尖旺區人口密度 ¹

48,230 Person 人數 / km²

The design team is also particularly interested in the history of various local copper ware, steel ware, and wooden chopping board stores in the neighbourhood, as well as their craftsmanship. 設計團隊對附近的銅器，鋼製品和木製砧板商店的歷史以及他 們的工藝特別感興趣。

165

Stanley Wong and Team 黃炳培及團隊

What is "Play"? 「眾樂」的意思 ?

To play is to play a part and be involved in the community. At "aDaptable", users do not only consume the space for personal enjoyment, but also play a part in creating a community. They engage with each other.

They share with each other. Together, they create a sense of community. 成為社區的一分子。在「搭檯」，使用者不僅享受空 間，同時參與創建社區。他們彼此互動、分享，建 立歸屬感。

Inspiration board and collage by the design team, inspired by the local community and artwork by Dai Dudu, Li Tiezi, and Zhang An. 設計團隊的靈感拼貼畫。靈感來自當地社區和藝術家戴都都， 李鐵子，張安君。 166

167

Stanley Wong and Team 黃炳培及團隊

Design Process 設計過程 The design aims to address the needs of existing users, while also drawing in new users to the park. In order to do so, the design:

我們的設計旨在滿足公園現有用戶的需 求，同時吸引新使用者。為了做到這一 點，我們的設計： • 提供一張大家一同使用的大檯，消除目前使用 者之間的隔閡

• Offers a large table for sharing and for natural interaction between existing users

• 提供一個舉行公眾活動的空間，如討論會、展

that will better connect them and remove

覽等，將不同年齡和性別的使用者帶進公園

the sense of isolation.

• Offers a space for planned activities such as roundtable discussions and exhibitions that can bring in new users of different ages and genders.

The design team aims to make the park a focal point in the community that celebrates the neighbourhood’s culture of making. The park reinforces and highlights the neighbourhood’s identity. In order to do so, the design: • Utilises materials and techniques of

我們的目標是令公園成為社區的焦點， 彰顯社區的手藝製作文化。公園將強化 並社區的特色。為了做到這一點，我們 的設計： • 利用附近商店的工藝材料和製作技術，將這些 商店與公園訪客連繫起來。

• 為區內這些商店提供舉行工作坊空間，向更大 眾展示他們的製作技藝。

making also used by the neighbourhood’s

1 2

shops to connect them together.

• Offers a space for workshops directed by

1

these shops to showcase their techniques of making to a broader audience.

2

168

Design team testing on scale and size of aDapTable with Mentor Stanley Wong. 設計團隊與香港導師黃炳培 ( 又一 山人 ) 測試公園設計的尺寸和尺度 , 把它實際大小展示出來。 Design team's technical meeting with ArchSD, LCSD, and contractor. 設計團隊與建築署，康樂及文化事 務署及承建商的技術會議

169

Stanley Wong and Team 黃炳培及團隊

Design Process 設計過程

Local Materials and Craftsmanship 工藝物料和技術 There is a copperware shop and a number of steel ware shops in the neighbourhood.

Handmade chopping board shops and signage shops are also special features in the area.

Bing Kee Copperware is one of the most well-known shops that produces copperware for daily use including kettles and basins.

Established in the 1940s, it is the last copperware shop in Hong Kong. Kam Hing Signage produces signage for a variety of shops and institutions with zinc stencils.

The neighbourhood is also characterized by a large number of steel ware shops, which sell containers and kitchenware. Close to Yau Ma Tei are shops that sell handmade chopping boards of different sizes for home use as well as at markets.

170

這裡附近有一家銅製品商店，以及一些鋼製品商 店。手工製砧板商店和招牌商店亦是該區的特色。 炳記銅器是最有名的商店之一，生產日常使用的 銅器如水壺和盤子。它成立於 1940 年代，是香 港最後一家銅器店；金興招牌為各種商店和機構 製作招牌，常用鐵來製 s 作模板。此外，該區還 有大量鋼製品商店，出售收納箱和廚具。靠近油 麻地 a 附近的商店，也出售不同大小的手工製砧 板，供家庭及街市小販使用。

171

Stanley Wong and Team 黃炳培及團隊

Design Process 設計過程

Public Engagement 公眾參與 In order to understand the unique techniques of making in the neighbourhood, the team has carried out workshops and collaborated with makers from local shops to design elements of the park. Key shops that participated include Man Kee Chopping Board, Bing Kee Copperware, and Kam Hing Signage. They worked with Man Kee Chopping Board to make a chopping board chair prototype, Bing Kee Copperware to make a lamppost prototype, and Kam Hing Signage to make a park signage prototype.

These prototypes are displayed at an exhibition as a way of introducing the public to the neighbourhood’s culture of making.

Visitors are invited to touch the materials of the furniture and to understand the process of making, thereby allowing them to learn about the history of making in the neighbourhood.

172

為了解區內商店獨特的製作技術，我們舉辦了工 作坊，與該區商店的工匠合作，一起設計公園的 元素。主要參與的商店有萬記砧板、炳記銅器和 金興招牌。我們與萬記砧板合作，製作一塊砧板 型座椅的原型；與炳記銅器製作燈柱原型；又與 金興招牌製作公園告示牌原型。這些原型在展覽 展出，向公眾介紹該區的工藝文化。參觀者可觸 摸展出原型的物料，了解製作過程，從而認識該 區的工藝歷史。

173

Stanley Wong and Team 黃炳培及團隊

Design Process 設計過程

Early Sketches 早期素描筆記

174

1 1

2

3

2 3

Seats with movable backs inspired by the Star Ferry. 座椅設計靈感來自天星小輪的可移 動椅背。 Design incorporate low walls to create an enclosed and cosy environment for park users to facilitate social exchange. 設計採用低矮的牆壁，為公園使用 者營造一個舒適的環境，促進他們 之間的交流。 Movable seat backs to allow flexibility in seating arrangement. 可移動的座椅靠背，使用者可靈活 使用。 175

Stanley Wong and Team 黃炳培及團隊

Design Process 設計過程

Concept Stage 設計概念

176

1 The initial concept features a large table with a reflective pool, which encourages users to slow down and observe the neighbouring environment. Seats at the park have movable backs to allow different seating configurations. 根據早期設計概念，公園有一張大檯，上面是一個水池，讓使用者靜 下來，觀看周邊環境的倒影。公園可調校的座椅靠背，讓使用者得以 按需要彼此互動。

Concept Stage

2 Design development incorporating local materials and craftsmanship. 深化設計採用區內工藝商店的材料和製作技巧。

177

Concept Stage

3 Based on comments from different stakeholders and the general public, the design has been revised to feature lower enclosure walls, and a reflective but solid table surface to enhance safety and ensure easy maintenance. 得到持份者和大眾對設計的意見後，團隊將圍牆高度降低，並將檯面設計由水池，改 成反射的平面，從而改善公園的安全，並方便保養。以及由於保養問題對反射池的不 同解釋。

178

Concept Stage

4 Signage typography design development. 標牌字型設計概念。

179

Concept Stage

5 As the design further developed, the walls are replaced by fences to make the park more porous. The table features a sculptural surface inspired by the neighbourhood's map, which indicates locations of craftsmen's shops in the neighbourhood. Lighting has been designed to light up not only the park but also its surrounding streets. 在最新的設計，牆壁換成圍欄，令公園更為通透。大檯平面是高低起伏、以該區地圖 為藍本的雕塑，顯示區內特色商店的位置。公園的照明也讓周邊街道更光更安全。

180

Stanley Wong and Team 黃炳培及團隊

Design Process 設計過程

Final Design 設計作品 aDapTable features a large table at the 「搭檯」設置一張大檯，檯面設有高低起伏的方塊， park for users’ casual and serendipitous 組成社區的地圖。地圖上標示鄰近社區展現獨特 gatherings, as well as planned activities. The 手作文化的商鋪，如鋼、銅、鉆板木材的商鋪等。 large table, which accommodates multiple 另外為進一步彰顯社區的手作文化，「搭檯」的不 functions, is shared by existing users, new 同角落也會運用鋼、銅、鉆板等物料。圍繞大檯， users, and makers of neighbourhood. 大家吃東西、讀報、聊天，而大檯偶爾也可以成 The surface of the table also includes a 為舉行討論會的地方。花園將提供不同款式的座 community map showing local shops and 位，有些圍繞大檯，有些散落其他位置，鼓勵使 craftsmen, including copperware, steel 用者互相交流。大家有緣搭檯，分享生活中閒適 ware, and wooden chopping board makers in 的一刻。 the neighbourhood. Seating will be provided around the table and on the sides, organised 翻新的休憩處將有更多座位，服務更多市民。休 in a way that will encourage users to interact 憩處亦將提供展覽設施，如有需要，可作為舉辦 with each other. 活動的場所。 The new design also includes more seating as well as the addition of exhibition facilities, therefore can accommodate different activities for the community.

181

182

"Since our private space is so expensive, our public space and parks can be a breathing space if we make it well. I think a good space is where people can connect with each other, where they can have a healthy life mentally and physically." 「如果我們做得好，我們的公共空間和公園就可以成 為一個喘息的空間。我認為一個良好的空間是人們可 以相互聯繫的地方，在那裡他們可以在心理和生理上 擁有健康的生活。」 - Maggie Lin 連君婷 , Advisor 顧問

183

People 成員

184

185

「未． 共 研 社 」由 知 名 的 Design Trust Futures Studio 2018 brings together international and Hong Kong國際及香港設計師擔任導 based mentors to work together with 師， 與 來 自 不 同 設 計 領 diverse and multidisciplinary designer 域的設計師學員緊密合 mentees. There are nine senior mentees who 作。本年有九位去年曾參 are continuing their participation along 與「未．共研社」的設計 with nine new mentees. In total, we have 師學員以及九位新成員參 sixteen Hong Kong-based designer-mentees 加，當中有十六名是本地 and two from the Greater Bay Area. 設計師，兩名是大灣區的

Each mentor works with a group of designer-mentees with the teams exploring the theme "Play is for the People", a series of micro-parks conceptual designs are developed for the future of Hong Kong. Each team will transform their design concepts in various districts around Hong Kong and the designed micro-parks will be realised and built as pilot parks.

International and Hong Kong-based advisors from the public and private sectors work alongside the mentors and designer-mentees, offering guidance and practical solutions to help instigate the micro-parks concept designs.

設計師。 每位導師都與四至五位設計師學 員合作，一同探索《眾．樂樂園》 這個主題。他們將會為香港設計 一系列微型公園的概念。各每個 團隊都將會把他們的設計理念轉 化成現實，在香港不同地區的選 址上，實現他們的微型公園概念 將會在未來實現建成。 來自不同公、私營部門的國際及 香港顧問亦會從旁指導，協助導 師和設計師學員，就為微型公園 的設計概念提供指導和實用的解 決方案。

186

Lead Curator 主策展人

Marisa Yiu 姚嘉珊 Marisa Yiu is an architect and Founding Partner of ESKYIU, a 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 also curated Studio-X Shenzhen at the Value Factory. Along with her partner Eric Schuldenfrei, they were awarded the ‘Architectural League Prize’ for their installations featured in the Venice Biennale and New York’s Lower Manhattan Cultural Council; received Architectural Record’s 2014 Design Vanguard recognition and Design for Asia Award for Ephemera, commissioned

by Swire Art Basel and Movement culture: installation for Ido Portal. They edited, INSTANT CULTURE: Architecture and Urbanism as a Collective Process and co-authored "Unitary Urbanism" in the book, High-Rise – Idea and Reality .

Yiu’s work and writings have been published in A/D, Domus China, MIT’s Thresholds, and Architectural Record among others. She has 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, Cooper Hewitt National Design Museum, School of Architecture at CUHK among others. Yiu is an AIA member, HKIA associate, served on the Board of Advisors for RTHK (seven years term), and Board member of the Hong Kong Ambassadors of Design for the past eight years, and is the Co-founder and Executive Director of its new initiative called DESIGN TRUST, that supports creative and research content related to Hong Kong and the Greater Bay Area.

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，積極從事整合 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 二 人 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。 姚嘉珊的作品和文章曾發表於《A/D》 、 《Domus 國際中文版》、 《MIT's thresholds》以及《Architectural Record》等出版物。 她亦於 TEDxCUHK、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，並於過去八年間曾受任 於香港電台顧問委員會 ( 七年任期 ) 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，旨於支 持香港及大灣區的創意研究。

187

International Workshop Mentor 工作坊國際導師

Elizabeth Diller Elizabeth Diller is a Founding Partner of Diller Scofidio + Renfro (DS+R), an interdisciplinary design studio that works at the intersection of architecture, the visual arts, and the performing arts. The studio's international body of work includes the adaptive reuse of historic infrastructure to create the High Line, and the renovation of Lincoln Center for the Performing Arts. Most recently, the studio completed the Vagelos Education Center at Columbia University in New York and The Broad museum in Los Angeles. The studio is currently completing The Shed and the renovation and expansion of the Museum of Modern Art, both in New York; the Tianjin Juilliard School in China; the Museum of Image & Sound in Rio de Janeiro; and Zaryadye Park in Moscow. Diller is a recipient of the MacArthur Foundation's “genius” award, the first awarded in the field of architecture. She is a Professor of Architecture at Princeton University.

High Line, Aerial view at Little W. 12th Street.

Photo by Iwan Baan, courtesy of Diller Scofidio + Renfro

188

Elizabeth Diller 為 Diller Scofidio + Renfro (DS+R) 合夥創 辦人。DS+R 為一間跨界設計工作室，遊走於建築、視覺藝 術和表演藝術之間，國際項目包括由舊基建活化改造的高線 公園及林肯表演藝術中心重建計劃等。工作室近年的項目包 括紐約哥倫比亞大學 Vagelos Education Center 及洛杉磯 博物館 The Broad ，正在進行的項目包括即將完工的紐約項 目 The Shed、紐約現代藝術博物館的擴建翻新工作、中國天 津茱莉亞學院、里約熱內盧 Museum of Image & Sound， 以及莫斯科 Zaryadye Park。Elizabeth 為麥克阿瑟基金會 「天才獎」得主，是建築界首位獲頒此殊榮的人士。她是普林 斯頓大學建築系教授。

“Protecting public space is one of the most important things that architects should and could be involved in, because space is being progressively privatized and it’s very important to have these spaces of release where there is a public interest at stake. We need to be vigilant about this. I’m really glad you’re doing what you’re doing, because maybe if we can’t make another central park, we can make a hundred micro-parks.” 「保護公共空間，是建築師應該做的其中一件最 重要的事情，也是建築師所應該參與其中的事。 空間變得越來越私有化，釋放那些關乎公眾利 益的空間，是非常重要的。我們對此事要非常 小心。我很高興能有這個項目，因為如果我們不 能建造另一個中央公園，或許我們能做一百個 微型公園。」

International Workshop Mentor 工作坊國際導師

Richard Hassell Richard Hassell is the Co-founding Director of WOHA, a design practice based in Singapore. He graduated from the University of Western Australia in 1989 and was awarded a Master of Architecture degree from RMIT University, Melbourne, in 2002. He has lectured at universities around the world and served as an Adjunct Professor at the University of Technology Sydney and the University of Western Australia.

Architectural awards received by WOHA include the 2007 Aga Khan Award for Architecture, the 2010 International Highrise Award, 2011 RIBA Lubetkin Prize and World Architecture Festival awards in 5 different categories in 2009, 2010 and 2016.

Richard Hassell 為新加坡建築及設計公司 WOHA 的共同創

Four monographs have been published on WOHA’s projects to date. "Garden City Mega City", a summation of their template for rethinking architecture and cities for the 21st century was published in 2016. "Breathing Architecture", an exhibition devoted exclusively to their works opened at the Deutsches Architekturmuseum, Germany in December 2011 and Taiwan in 2012-2013. WOHA also curated the "Garden City Mega City" exhibition at The Skyscraper Museum in New York in March – September 2016, which thereafter traveled to Mexico for the Mextropoli Festival from March – April 2017. The show returned to the United States in February – April 2018 where it is currently on show at the Austin Central Library in Texas.

WOHA 的作品專題展覽《會呼吸的建築》，在 2011 年 12 月於

辦董事。他在 1989 年於西澳大學畢業，並於 2002 年獲墨爾 本皇家理工大學頒授建築碩士學位。他曾在世界各地的大學 講學，並在悉尼科技大學和西澳大學擔任兼職教授。WOHA 獲頒的建築獎項包括 2007 年度「阿迦汗建築獎」、2010 年 度「 國際高層建築獎」、2011 年度「RIBA 路貝金獎」，及於

2009、2010、2016 年度世界建築節獎中五個不同類別的 獎項。 目前，有關 WOHA 的項目共推出了四本建築專題刊物。2016 年出版的 《Garden City Mega City》，總括了 WOHA 的設計 如何成為了重新思考二十一世紀建築與都市的參考模式。 德國建築博物館及 2012 至 2013 於臺灣進行。 2016 年 3 至 9 月，WOHA 於紐約摩天大廈博物館策展《Garden City Mega

City》展覽。該展覽其後分別在 2017 年 3 至 4 月的墨西哥國 際建築節及 2018 年 2 至 4 月的美國德克薩斯州奧斯汀中央圖 書館展出。

Skyville @ Dawson, Singapore Photo by Patrick Binghamhall, courtesy of WOHA

189

Gary Chang and Team 張智強與團隊

Gary Chang 張智強 Hong Kong-based Mentor 香港導師

Gary Chang is one of the most influential figures within the architectural, interior and product design world today. With a passion for transformational designs that exemplify ultimate adaptability and sensibility, Chang’s work has focused on spatial flexibility and the interplay between art and practicality. The tiny apartment in Hong Kong in which he grew up sparked a lasting curiosity in maximizing compact space. Chang founded EDGE Design Institute Ltd. in 1994 and has since created such notable works as the Suitcase House in Beijing, his Kung-fu tea-set for ALESSI, and the transformation of his childhood and current 32m² apartment.

張智強是當今建築、室內及產品設計領域裡最具影響力的人 物之一。他鍾情於能體現極致的適應性和敏感性的轉變式設 計，作品著重空間的靈活性以及藝術與實用性之間的相互 作用。在香港狹小的公寓環境中成長，激發他思考如何改 造並善用擠迫空間。自 1994 年他創辦 EDGE 公司以來，創 作了無數著名作品，包括長城腳下的公社「箱宅」 、獲意大 利 ALESSI 邀 請 參 與 Tea-set & Coffee Tower 設 計 元 素 之 「功夫」茶具，以及經他改造的童年居所，亦即他現在居住的 「Domestic Transformer 」 。

“Instead of creating a whole new way of living styles for the community, you should integrate their lifestyles into your design proposal.” 「與其為社區創造一種全 新的生活方式，不如將他 Domestic Transformer Photo courtesy: EDGE Design Institute Ltd.

190

們的生活方式融入到你的 設計方案中。」

Designer Mentee 設計師學員

Zoey Chan (HK) 陳芷瑤 ( 香港 )

Jose Fu (GBA)

Architecture and Landscape 建築與景觀

New Media and Technologies 新媒體與科技

Zoey Chan is a graduate of Master of Architecture from the University of Hong Kong in 2015. In her research she explores the influence of building regulations and developers on Hong Kong’s domestic and public spaces and examines how small changes in code and design can benefit living space. Her design works have been published and exhibited internationally. Chan was a Design Teaching Assistant at the University of Hong Kong and is currently an Architectural Assistant at P&T Architects and Engineers Ltd. Current works include the design and construction of institutional projects in Hong Kong.

She is also active in the implementation of BIM in the industry. (Zoey Chan is a participant of the inaugural Design Trust Futures Studio 2017).

Jose Fu explores the use of VR in education and entertainment. He is an MA graduate from Shenzhen University in Environmental Art in 2014. His work focuses on the use of IT in public welfare. In 2013 he founded Wing-wheel Angel Network Technology Co., where he has been developing and operating the EasyGo Barrier-free Travel App for disabled and elderly access. In 2014 he was awarded the HK Cyberport Creative Micro Fund, and the HK Cyberport Incubation Programme. (Jose Fu is a participant of the inaugural Design Trust Futures Studio 2017).

陳芷瑤於 2015 年剛畢業於香港大學建築系碩士課程系。她的 研究專注探索建築規章，及發展商對香港住宅和公共空間的 影響；同時，也研究法規及設計中的小改變可如何改善對生 活空間產生的積極作用。她的設計作品曾於國際上發表和展 出。陳芷瑤目前為香港大學的設計助教，及 P&T Architects

傅李程 ( 大灣區 )

傅李程 2014 年畢業於深圳大學環境藝術系碩士課程，專門 探討了虛擬實境在教育和娛樂方面的應用。他是深圳大學環 境藝術碩士畢業生。他的研究工作主要負責在於資訊科技 在社會公益事業的運用。他於 2013 年創立了 Wing-Wheel

Angel Network Technology Co，致力開發方便殘疾人士 和長者使用的 EasyGo 無障礙旅遊應用程式，並於 2014 年， 獲頒發數碼港培育計劃的「香港數碼港創意微型基金」 。 傅李 程是首屆「未．共研社」首屆的參與者 。

and Engineers Ltd 的建築助理。她現時的工作品包括為香 港的公共機構項目的進行設計和建設，同時她也在業界亦活 躍於建築資訊模型 (BIM) 應用。陳芷瑤是首屆「未．共研社」 的首屆參與者 。

191

Designer Mentee 設計師學員

Aron Tsang (HK) 曾偉俊 ( 香港 )

Andy Cheng (HK) 鄭雋 ( 香港 )

Architecture and Landscape 建築與景觀

Architecture and Landscape 建築與景觀

Aron Tsang is a registered architect in Hong Kong.

Upon receiving his Master of Architecture in 2013 and Bachelor of Arts in Architectural Studies from University of Hong Kong with Distinction, he has worked in a number of renowned offices in Hong Kong, Seoul and Stockholm. His works have been awarded and featured at multiple competitions and publications. Aron was also awarded as one of the Hong Kong Young Design Talents in 2014.

Andy Cheng is a graduate of Master of Architecture from the University of Hong Kong in 2013 and Bachelor of Architecture from Manchester School of Architecture with First Class Honour. Throughout his career he has examined the tension between temporal and permanent nature of architecture and its contextual relationship. He is a member of ACTEBITE, a research and design group focused on heritage revitalization in Hong Kong. His recent work was exhibited at the 2018 UABBHK Bi-City Biennale of Urbanism\Architecture, exploring the future use of State Theatre, a Grade I listed historic building in North Point.

曾偉俊，香港註冊建築師，現為納研作室設計總監。他畢 業於香港大學建築學士學位及碩士學位課程，亦曾於香港、 首爾及斯德哥爾摩的知名建築事務所工作。他的作品獲得 多個獎項，並發表於多個設計比賽及刊物，其中包括 2014 年度「香港青年設計才俊獎」。

鄭雋於英國曼徹斯特建築學院取得建築學士學位，並獲得一 級榮譽；其後於 2013 年畢業於香港大學建築系碩士課程。 他熱衷於研究建築的時間和永恆性與不斷變化的環境之間的 關係。他是「一針」的成員。該研究和設計團隊專注研究香 港的文化古蹟復修。鄭雋的近期作品於 2018 年深港城市 \ 建築雙城雙年展中展出。作品探討北角一級歷史建築文物皇 都戲院未來可如何發展。

192

Mimi Hoang and Team Mimi Hoang與團隊

Mimi Hoang International Mentor 國際導師

Mimi Hoang, AIA, is a principal of nARCHITECTS and an Adjunct Assistant Professor at Columbia University’s GSAPP (Graduate School of Architecture, Planning and Preservation). Along with partner Eric Bunge, she co-founded nARCHITECTS with the goal of addressing contemporary issues in architecture through conceptually driven, socially engaging and technologically innovative work.

Mimi Hoang(AIA) 為 nARCHITECTS 主設計師，並於哥倫

nARCHITECTS has been honoured with an American Academy of Arts and Letters Award in Architecture, the AIANY’s Andrew J. Thomson Award for Pioneering in Housing, several AIA Design Honour Awards, the Architectural League’s Emerging Voices and the Canadian Professional Rome Prize. Hoang received a Master of Architecture from the Harvard Graduate School of Design, and a B.Sc. in Architecture from M.I.T.

Thomson Award for Pioneering in Housing、多項美國建

比亞大學建築、規劃及保育研究院擔任兼任助理教授。她與 合夥人 Eric Bunge 共同創立 nARCHITECTS，致力通過以概 念推動、涉及社區參與並應用創新科技的作品，解決建築的 當代問題。

nARCHITECTS 歷年獲頒的獎項包括：美國藝術暨文學學 會 建 築 類 別 獎、 美 國 建 築 師 學 會 紐 約 分 會 的 Andrew J. 築師學會榮譽獎項、聯合紐約建築聯盟 Emerging Voices、 以及 Canadian Professional Rome Prize。Mimi 分別於麻 省理工學院及哈佛大學設計學院取得建築理學學士及建築學 碩士。

“Small moves can lead up to big things.” 「每一小步，都是邁向成 功的一大步。」

Nay Pier Chicago NA 8190 Photo by Iwan Baan, courtesy of nARCHITECTS

193

Designer Mentee 設計師學員

Stephen Ip (HK) 葉希芃 ( 香港 )

Kay Chan (HK)

Architecture and Landscape 建築與景觀

Industrial and Product Design 工業及產品設計

Stephen Ip graduated from the University of Hong Kong in 2008 with Distinction in Master of Architecture. While working in an architectural firm as an Associate Director, he also actively engages in competitions and community services to explore the synergistic interaction between architecture, community and environment. He has been the Cochairman of the Young Members Committee of the Hong Kong Institute of Architects in 2015-2017 and organized numerous activities for young architects to reach out to the community, promoting architecture as a tool of intervention in Hong Kong. Ip is a member of the ArchiVision group, which has an interest in city planning related issues, and the Hong Kong Architecture Centre, where he helped to organize the ‘My Most Liked Architecture in HK’ event and led an architectural tour to Japan. (Stephen Ip is a participant of the inaugural Design Trust Futures Studio 2017).

Kay Chan graduated from the Hong Kong Polytechnic University in 2009. She is the Founder of Good Day Society, KaCaMa design Lab. The team excels in sustainable social design and exploration of new design strategies and art projects that foster positive community and environmental values. They carry out novel product and service design through community driven interventions, brand building, event curation and projects to facilitate cultural development. In recent years, they established certain numbers of community co-operation programmes and projects for the enhancement of local public space in which meaningful connections between diversified communities were made and environmental issues were addressed.

葉希芃在 2008 年於香港大學以傑出成績畢業並取得建築碩 士學位。他堅信建築可用於探索和解決社會問題。他於建築 公司任職副總監，同時，積極參與各類建築比賽和社區活 動，以探索建築、社區和環境之間的協同作用關係。他曾於

2015 至 2017 年間，擔任香港建築師協會青年成員委員會的 聯席主席，並為年輕的建築師組織了眾多活動，讓他們與社 區建立聯繫，亦將「建築」推廣為改變香港的工具。葉希芃乃

ArchiVision 的一員，該組織專注於建築及城市規劃相關議 題。他曾協助香港建築中心籌辦 「我最喜歡的香港建築」 活動， 並率領建築遊學團遠赴日本參觀。葉希芃是「未．共研社」首 屆參與者 。

194

陳韻淇 ( 香港 )

陳韻淇於 2009 年畢業於香港理工大學。她是社區好日子、

KaCaMa Design Lab 的創辦人。團隊擅長於永續社區設計， 以及探索能孕育正面社區與環境價值觀的嶄新設計方案與藝 術項目。他們的工作範疇包括產品設計及開發、品牌包裝、 活動策劃等多元化項目。近年亦積極參與更多社區合作及改 善公共空間的計劃，希望透過藝術及設計，帶動社區互動及 倡議環境保護議題。

Christopher Choi (HK) 蔡旻諾 ( 香港 )

Jonathan Mak (HK) 麥朗 ( 香港 )

Architecture and Landscape 建築與景觀

Graphics and Branding 平面設計與品牌設計

Christopher Choi graduated from the University of Hong Kong with Distinction in Master of Architecture in 2015, his research and design emphasise the local features of Hong Kong. Since graduation, he had worked in an architectural firm in Hong Kong, focusing on complex commercial projects in Hong Kong and Macau. Choi is a Registered Architect since 2017. He is currently looking into alternative vertical greening and developing designs for miniature green walls.

Jonathan Mak graduated from the Hong Kong Polytechnic University in 2013. He is a graphic and digital designer from Hong Kong. Having worked with brands such as Coca-Cola, Airbnb, and Amnesty International, his designs have been awarded at the Cannes Lions (Grand Prix), London International Awards, Spikes Asia Festival, and more. He has also been featured in Creative Review, AdAge, and The New Yorker, among other publications. Mak also explores print and motion graphics and hopes to create things that people remember.

蔡旻諾於 2015 年畢業於香港大學，獲得建築碩士學位，其研 究和設計強調香港的地區特色。畢業後，曾在香港的建築公

麥朗於 2013 年畢業於香港理工大學，是香港的平面設計師。

司工作，負責香港和澳門的商業大廈項目。2017 年成為註冊

曾與可口可樂、Airbnb 和國際特赦組織等品牌合作，並獲

建築師。目前正在研究垂直綠化作為替代方案，以及微型綠

頒多個設計獎項，包括法國康城國際廣告節雄獅獎、英國倫

化牆壁的設計開發。

敦國際獎、及亞洲創意節獎項。他曾在 Creative Review、

AdAge 和 The New Yorker 等刊物發表文章。除以數碼設計 為日常工作，麥朗於工餘時更會探索印刷和動態圖像，創造 讓人們記下的東西。

195

Sam Jacob and Team Sam Jacob與團隊

Sam Jacob

International Mentor 國際導師 Sam Jacob is Principal of Sam Jacob Studio for architecture and design. Previously, Sam was a Founding Director of FAT Architecture where he was involved in many internationally acclaimed projects including the BBC Drama Production Village in Cardiff, the Heerlijkheid Hoogvliet park and cultural centre in Rotterdam and the curation of the British Pavilion at the 2014 Venice Biennale.

Sam Jacob 為建築設計事務所 Sam Jacob Studio 的主設

He has exhibited at leading galleries and museums including the Victoria & Albert Museum in London, the MAK in Vienna and the Biennale. Jacob is a contributing editor for Icon magazine and columnist for both Art Review and Dezeen. He is a regular participant in talks and events for institutions such as MoMA, the Southbank Centre and the Soane Museum.

Jacob is Professor of Architecture at the University of Illinois at Chicago, visiting Professor at Yale School of Architecture and Director of Night School at the Architectural Association.

國維多利亞和阿爾伯特博物館 (V&A)、維也納 MAK 博物

計師。成立 Sam Jacob Studio 前，Sam 為 FAT Architecture 的 創 辦 總 監， 處 理 多 項 國 際 知 名 的 項 目， 包 括 卡 迪 夫

BBC Drama Production Village、 鹿 特 丹 Heerlijkheid Hoogvliet 公園及文化中心，以及於 2014 年威尼斯雙年展 中為英國館策展。

Sam 曾於多家首屈一指的藝廊和博物館展出作品，包括英 館及雙年展。他是 《Icon》雜誌的特約編輯，亦於 《藝術觀 察》及 Dezeen 撰寫專欄。他時常參與各大機構的講座和活 動，如現代藝術博物館 (MoMA)、南岸中心和索恩博物館。

Sam 現於芝加哥伊利諾大學擔任建築系教授，亦是耶魯大 學建築學院客席教授及建築聯盟學院夜校總監。

“The challenge of this year is how to translate the ideas into reality and to be embedded within the city to keep the practicality, persistence and open-mindedness.” 「今年最大的挑戰是如何將這些設計概 念轉化成現實並且融入到城市，從而看 DKUK Hair Salon Photo courtesy of Sam Jacob

196

到設計如何保持實用性，堅持性和開放 性。」

Designer Mentee 設計師學員

Ricky Lai (HK) 黎偉傑 ( 香港 )

Xavier Tsang (HK) 曾首彥 ( 香港 )

Graphics and Branding 平面與品牌設計

Industrial and Product Design 工業及產品設計

Ricky Lai is a multi-media designer, artist, and curator. He is a graduate of Central Saint Martins, London in 2012, and is currently Creative Director of Open Quote Concept Store. He is an awardee of DFA Hong Kong Young Design Talent Award. His work ‘69°N 51°W’ was created in extreme environments in Greenland, integrating the imagination of words, visual stimulation of graphics, and emotional affection of music, it is an exemplary multidisciplinary work. With the mission to develop an appreciation for art in society, Lai also founded Open Quote, a hub where artists can showcase their work to the public. (Ricky Lai is a participant of the inaugural Design Trust Futures Studio 2017).

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. (Xavier Tsang is a participant of the inaugural Design Trust Futures Studio 2017).

黎偉傑是一位多媒體設計師、藝術家和策展人。他畢業於 倫敦的中央聖馬丁藝術與設計學院，目前在 Open Quote

Concept Store 擔任創意總監。他曾榮獲「DFA 香港青年設 計才俊獎」 。他的作品「69°N 51°W」在格陵蘭極端的氣候中 誕生，結合了對詞彙的想象、來自圖像的視覺刺激和音樂的 感性體驗，為跨界作品的典範。黎偉傑以增進社會對藝術的 欣賞為使命，創辦了 Open Quote，讓藝術家可向公眾展示 作品。黎偉傑是「未．共研社」首屆參與者 。

曾首彥畢業於香港中文大學，主修設計工程，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 的蠟工藝品和蠟燭。 BeCandle 在全球銷售，亦於主要設 計 展 覽 如 意 大 利 的 Salone del Mobile 和 巴 黎 的 Maison

et Objet 展出。受意大利的家族企業理念啟發，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」首屆參與者 。

197

Designer Mentee 設計師學員

Wendy Wu (GBA) 吳然 ( 大灣區 )

Kam Fai Hung (HK) 洪錦輝 ( 香港 )

Architecture and Landscape 建築與景觀

Architecture and Landscape 建築與景觀

Wendy Ran Wu is an urbanist, designer and curator.

She is currently the Head of UPRD (URBANUS Program Research Design) in URBANUS and was Assistant Curator of the 2017 Shenzhen & Hong Kong Bi-City Biennale of Urbanism\Architecture. Wu has an Advanced Master of Architecture from Berlage Institute since 2010 and is Assistant Tutor at Hong Kong University for MArch program. She has worked as an architect and urban designer in several offices in Rotterdam, Amsterdam, Chengdu and Shenzhen, and has also worked as a researcher for Shenzhen Centre for Design. From 2011 to 2015, she has been involved in UABB Shenzhen as Opening Week Coordinator and Curator of both affiliate and thematic exhibitions.

In 2016, she was the Project Manager for the China Pavilion in the inaugural London Design Biennale.

(Wendy Wu is a participant of the inaugural Design Trust Futures Studio 2017).

Kam Fai Hung is a registered architect and the Founder of Minds Archgroup in Hong Kong.

He graduated from Master of Architecture of the University of Hong Kong in 2007. Carrying out architecture, public furniture and signage, interior and exhibition design, Fai is passionate about making creative and inspirational design solution into reality.

He likes to also keen on integrate traditional and contemporary design elements and to create mindrefreshing designs.

吳然是一位城市規劃師、設計師和策展人。她目前為URBANUS 內 的 UPRD (URBANUS Program Research Design) 主要 負責人，以及深港城市 \ 建築雙城雙年展的助理策展人。吳 然擁有 Berlage Institute 建築學進修碩士學位，現為香港 大學建築碩士課程的助教。她曾以建築師和城市規劃師的身 份在鹿特丹、阿姆斯特丹、成都和深圳工作，也曾在深圳城 市設計促進中心擔任研究工作。2011 至 2015 年間，她為深 港城市 \ 建築雙城雙年展的聯繫和專題展覽擔任開幕週的協 調工作，並身兼策展人。2016 年，她擔任 London Design

Biennale 中國展館的項目經理。吳然是「未．共研社」首屆 參與者 。

198

洪錦輝是香港註冊建築師，也是 Minds Archgroup 的創始 人。2007 年於香港大學建築學院畢業，取得碩士學位。工 作範疇包括建築、公共家具和招牌構思、室內設計和展覽設 計。洪錦輝熱衷於實踐創意和靈感，以設計解決現實問題。 他喜歡融合傳統和現代的設計元素，創造出耳目一新的設計。

Stanley Wong and Team 黃炳培與團隊

Stanley Wong 黃炳培 Hong Kong-based Mentor 香港導師

Stanley Wong (anothermountainman) is the recipient of more than 600 local, Asian and international awards for his art, design, photography and advertising works, including 2 One Show gold awards from the U.S., D&AD yellow pencil from the UK and Tokyo TDC award.

黃炳培 ( 又一山人 ) 之藝術、設計、攝影及廣告作品，所獲

He came to international attention with his "red white blue" series, which he presented at the 51st Venice Biennale in 2005 representing Hong Kong.

及倫敦 V&A museum。曾獲 2011 年香港藝術發展獎之「年

Many of his artworks have been exhibited at local and overseas galleries and museums for more than 100 shows including a solo exhibition in Tokyo ggg in 2015, and are now part of their permanent collection.

Wong’s work has also been collected by M+ Museum in Hong Kong, and the V&A Museum in London. In May 2012, Wong was also awarded the Artist of the Year 2011 (Visual Arts) by the Hong Kong Arts Development Awards, and the Hong Kong Contemporary Art Awards 2012 by the Hong Kong Museum of Art.

的國際獎項達六百多項，其藝術及設計作品過百次於香港及 海外展出。他以「紅白藍」系列作品積極推動「正面香港」的 精神，並於 2005 年代表香港參加威尼斯藝術雙年展。 作品獲多間國際藝術館永久收藏，包括香港西九文化區 M+ 度最佳藝術家獎 ( 視覺藝術 )」 ，及香港藝術館頒發之「香港 當代藝術獎 2012」 。

"red white blue" series「紅白藍」系列 Photo courtesy of Stanley Wong

“Design should be specific to people's needs. What should be prioritised is to improve life.” 「設計應該針對人們的需 求。 最應該優先考慮的 是改善生活。」

199

Designer Mentee 設計師學員

Vivian Ng (HK) 吳泳雯 ( 香港 )

Samuel Wong (HK) 王守賢 ( 香港 )

Industrial and Product Design 工業及產品設計

Architecture and Landscape 建築與景觀

Vivian Ng is a product design graduate from Hong Kong Polytechnic University in 2016. In her work she strives to use design opportunities to challenge assumptions about the conventions of an object.

Ng sees design not only as a way to solve problems, but also as a key to open new modes of thinking and discussion. In her past projects she has designed installations, furniture, lighting, houseware and fashion accessories. She is currently a product designer at THINKTHING Studio, and was a finalist in the 2014-2015 My Toy Design Competition. She was also awarded Merit in the 2014-2015 Hong Kong Smart Gift award. (Vivian Ng is a participant of the inaugural Design Trust Futures Studio 2017).

Samuel Wong is an MArch graduate from the Chinese University of Hong Kong in 2015, where he won the Best Studio Project Award. He graduated with a BSSc in Architectural Studies and minored in Integrated Business Administration. During his degree programme, he received two scholarships; The DLN Awards 2012 and L&O Travel Scholarship for Design Innovation 2011. In 2014, his proposal“ Sometimes” won the Times Square Living Room Museum Design Competition which was later built in January 2015.

With a degree in Civil and Structural Engineering, Wong continues to carry his engineering knowledge into his practice. (Samuel Wong is a participant of the inaugural Design Trust Futures Studio 2017).

吳泳雯畢業於香港理工大學產品設計系，經常利用設計挑戰

王守賢為香港中文大學建築碩士，曾榮獲「最佳工作室項

大家對物件的一貫假設。在吳泳雯眼中，設計不僅是解決問

目獎」。他擁有建築學學士學位並副修綜合工商管理，其

題的一種方式，也是開拓新思維和展開討論的關鍵。她對人

參與項目均被選入展覽。王守賢在讀書期間曾兩度獲得獎

與物之間的互動相當有興趣；亦曾設計裝置、家具、照明燈

學 金， 分 別 為「The DLN Awards 2012」和「L&O Travel

飾、家居用品和時尚配飾。目前為 THINKTHING 工作室的

Scholarship for Design Innovation 2011」。 他 於 2014

產 品 設 計 師。 她 於 2014-2015 年 度 入 圍「My Toy Design

年在香港時代廣場 Living Room Museum 設計大賽中，以

Competition」決賽，並在同年的香港智營禮品設計大獎中

「Sometimes」計劃建議書勝出，作品於 2015 年 1 月建成。

獲獎。吳泳雯是「未．共研社」首屆參與者。

持有土木與結構工程學位的他，一直將工程知識運用到設計 中。王守賢是「未．共研社」首屆參與者。

200

Sylvia Chan (HK) 陳曼霞 ( 香港 )

Elaine Tsui (HK) 崔亦伶 ( 香港 )

Writing and Criticism 寫作和評論

Architecture and Landscape 建築與景觀

Sylvia Chan is lecturer and PhD candidate at the University of Hong Kong, and her research interests include architectural representations, translations in architecture, and the concept of Chineseness.

Her dissertation working title is "Construction of Chineseness in Architecture through Translation from the Late Nineteenth Century to 1959." Sylvia is the author of Writing In(to) Architecture: China’s Architectural Design and Construction Since 1949 (East Slope Publishing, 2012) and Style: In Defence Of… Chinese Architecture (Machine Books, 2017).

She has published in Singapore Architect and Indesign Australia, and she writes for Indesignlive. (Sylvia Chan is a participant of the inaugural Design Trust Futures Studio 2017).

Elaine Tsui is a UK Chartered Architect and currently practicing in Hong Kong. She received her Diploma in Architectural Association School of Architecture in 2014 and her Master of Engineering from the University of Nottingham. She has co-founded Project Entangled Landscapes, which is an independent architectural research group. It explores the perceptions of contemporary spatial operations and expands the potential of living environment towards a more integrated and sustainable development.

Her work has been exhibited in 2013“ The Divan”, in 2015“ Urban Scene: Through the eyes of knowledge infrastructure” and“ Urban Portrait of China” in 2017 at the Bi-City Biennale of Urbanism\Architecture.

陳曼霞是香港大學的博士生，研究興趣包括建築學意義、

年 獲 得 英 國 Architectural Association School of

建築翻譯和中國古典概念。她的論文題目是「十九世紀末

Architecture 文憑，並獲得諾丁漢大學工程碩士學位。她

到 1959 年通過翻譯構建中國特式的建築」 。陳曼霞的著作 包括 《速寫建築：1949 年以來的中國建築寫作與創建》

(East Slope Publishing, 2012) 和《Style: In Defence Of… Chinese Architecture》(Machine Books, 2017)。她亦參與 《Singapore Architect》 和 《Indesign Australia》 的出版工作， 同時為 《Indesignlive》撰稿。陳曼霞是「未．共研社」首屆

崔亦伶是英國註冊建築師，目前在香港執業。她於 2014

聯合創辦了獨立建築研究小組 Entangle Landscapes，探 索當代空間活動的觀念，並探索與拓展生活環境的共融與 可 持 續 發 展 潛 力。 她 的 作 品 曾 於 2013 年「The Divan」、

2015 年「Urban Scene: Through the eyes of knowledge infrastructure」及 2017 年都市主義 \ 建築雙城雙年展的 「Urban Portrait of China」展出。

參與者。

201

Design Trust Team 信言設計大使團隊

Marisa Yiu 姚嘉珊 Owen Chim (HK) 詹皓雲 ( 香港 )

Co-founder, Executive Director 聯合創辦人 / 執行總監

Architecture and Landscape 建築與景觀

Upon completion of his BA Degree majoring in Environment and Interior Design from the Hong Kong Polytechnic University in 2016, Owen Chim was awarded the Best of Show in the School of Design Annual Show 2016. Chim is currently an interior and graphic designer based in Hong Kong. Working in different multi-awarded international studios, his project involvement includes initial designs to the documentation of numerous projects across China, Southeast Asia and the Middle East. With a passion for delivering projects from master-planning and mixed-use developments, to commercial and retail complex projects. Chim reflects his professionalism, solution-based and problem-solving strategies. 於 2016 年獲得香港理工大學環境與室內設計專業學士學

Joyce Li 李雯諭 Senior Project Manager 高級項目經理

位，並獲頒 2016 年設計學院年度最佳展示獎。詹皓雲是香 港的室內和平面設計師，曾在多個獲獎無數的國際建築師樓 工作。他的工作涉及眾多中國、東南亞以及中東的項目，主 要包括初始設計到研究的階段。他熱愛參與總體規劃和混合 用途開發項目，以及商業和零售的複雜項目設計，展示專業 與強大的解決策略思考。

Denny Chan 陳啟樂 Project Manager 項目經理

202

Advisors / Workshop Collaborators & Partners 顧問和合作夥伴 Christopher Law studied Architecture at the Bartlett School of Architecture UCL. He is a Founding Director of the Oval Partnership Ltd, working from offices in Hong Kong, Beijing, Shanghai, Cape Town and London.

He is a director of the sustainable and smart city action research organization INTEGER Intelligent and Green Ltd. Chris is member of a number of public committees in Hong Kong including the Antiquities Advisory Board, the Energy Advisory Committee of the HKSAR Government and the Development Committee of the West Kowloon Cultural District.

羅健中先生於倫敦大學巴特列特建築學 院修讀建築。他是歐華爾顧問有限公司 的董事和創始人，於香港、北京、上海、 開普敦及倫敦工作。他是可持續發展研 究機構 INTEGER 智慧和綠色有限公司 的董事長。羅先生是香港若干社區機構 的主席和眾多委員會的成員，包括古物 諮詢委員會、香港政府能源諮詢委員會 及西九文化區管理局發展委員會。

Christopher Law 羅健中 Advisor 顧問

Law is Chairman of the heritage conservation and community participatory Viva Blue House Project, Chairman of the Community Development Committee of the St James' Settlement, and the chief curator and founder of the public space action research organization Very Hong Kong. He was made an honorary member of the American Institute of Architects for his contribution to Architecture and is a Justice of the Peace of the Hong Kong SAR.

Dr. Kacey Wong studied architecture in Cornell University and received his Master of Fine Arts degree from Chelsea College of Art and Doctor of Fine Arts from Royal Melbourne Institute of Technology. He is the founding member of Art Citizens and former curator & member of Para/Site Art Space. Previously an Assistant Professor at The Hong Kong Polytechnic University, School of Design’s Environment and Interior Kacey Wong 黃國才 Design Discipline, he is currently an Advisor 顧問 Examiner of the Hong Kong Arts Development Council. His research investigates the role of artists and designers in social political causes.

Wong’s experimental art project, which has a social intention, investigates the space between men and their living environment with a social intention. He thinks that being an artist is similar to being a detective — the case on hand is to investigate the self. His mobile tricycle project“ Wandering Homes” was featured at the 2008 Venice Architectural Biennale in Italy. He performed on“ Paddling Home”, his floating house on Hong Kong Victoria Harbour and during the 2010 and 2012’s Hong Kong & Shenzhen Bi-City Biennale of Urbanism \ Architecture exhibition, his mobile bunk bed“ Sleepwalker” was the star features.

他現為藍屋城市保育和公眾參與項目籌 委會主席，以及聖雅各福群會社區發展 委員會主席。羅健中先生創辦並策劃社 區主導的文化機構，為「非常香港基金 會」的策劃人和創始人，並因其在建築 領域的貢獻於 2013 年成為美國建築師 學會榮譽會員。他授勳為香港特別行政 區的太平紳士。

黃國才博士在康奈爾大學學習建築，並 獲得切爾西藝術與設計學院的藝術碩士 學位，和皇家墨爾本理工學院的美術博 士學位。他是藝術公民的創始成員，藝 術空間 Para Site 的前策展人兼成員。 他曾是香港理工大學環境與室內設計學 院的助理教授。目前為香港藝術發展局 的評審員。他主要研究藝術家和設計師 對社會政治議題產生的作用。 黃國才博士的實驗藝術項目，以社交角 度研究人與其生活環境的關係。他認為 成為一名藝術家就像是當偵探，現在的 研究亦等如調查自我。他的移動三輪車 項 目「Wandering Homes」 在 2008 年意大利威尼斯建築雙年展中展出。他 也在香港維多利亞港展示他的浮動房屋 「Paddling Home」 。另外，他的移動 雙層床「Sleepwalker」亦是 2010 年和

2012 年港深城市 \ 建築雙城雙年展的 重點作品。

203

Maggie’s family name Lin ( 連 ) means "to connect", same as the Sanskrit word for yoga, yuj. For her, well-being comes from better connecting with the body and mind, with other people, and with the world around us.

連君婷的家族姓氏「連」的意思是「連

To deepen such connections, she leads creative and sensory experiences.

Inspired by Hong Kong’s history as an incense producer, she cofounded city perfumery nose hk, on smell Maggie Lin 連君婷 and emotions. Previously she cofounded The Pocket Parks Collective, Advisor 顧問 humanizing urbanscape through interventions. She teaches yoga, is the mindfulness teacher-in-resident at HKICC School of Creativity, and is featured in documentary "Creativity Is".

以 外， 也 創 造 感 官 體 驗， 並 透 過 故

接」 ，跟 Yuj 瑜伽梵語同義。對她來說， 健康是源於與身心靈、他人、以及我們 周圍的世界連接。 受到正念修習的啟發，她在教授瑜伽 事 連 結 身 心 靈。 她 參 與 共 同 創 辦 的 「nose hk，香。港 ─ 感官漫步」及

Courage Piece 項目，鼓勵大家開放 感官，重新感受內在和外在環境。較早 前，她共同創辦的 The Pocket Parks

Collective，以藝術方式呈現以人為本 的城市。她現職為香港兆基創意書院駐 校身心靈瑜伽導師，亦獲 《原來我》創 意短篇紀錄片訪問。

Mark Blackwell, Founding Partner of Morphis is an international awardwinning Chartered Landscape Architect and Fellow of the Royal Society of Arts. He has a passion for creating urban transformations and memorable destinations where healthy living and positive living are promoted.

Mark Blackwell 是 Morphis 創始合夥

Mark’s persistent pursuit for excellence to achieve visionary, innovative and sustainable landscape design Mark Blackwell solutions has been recognised Advisor 顧問 by a number of accolades across Asia, Europe and the Middle East, being featured in magazines, books and exhibitions internationally.

景觀設計在亞洲、歐洲和中東地區獲得

人，是屢獲國際殊榮的註冊景觀設計師 和皇家藝術學會會員。他熱衷於把城市 轉型，創造令人難忘的目的地，把地點 轉化成為健康與積極生活的場所。

Mark 追求卓越，實現了富有遠見、創 新和可持續的景觀設計解決方案。他的 多項殊榮，並屢次出現於國際雜誌、書 籍和展覽。 他的著名作品遍布全球各地，從倫敦的 公園到中東的混合用途開發區，以至亞 洲的街景和文化景觀均可找到。

His acclaimed works can be found across the globe — from parks in London, to mixed-use developments in the Middle East, so as streetscapes and cultural landscapes across Asia.

Elita Lam has over 20 years of teaching experience in fashion and textile design, with experience in planning and developing new academic and short specialist programmes for industrial and commercial purposes.

林綺妮具有超過 20 年的時裝及紡織設

Lam developed and leads the HKDI Centre of Innovative Material and Technology (CIMT), whereby interdisciplinary design activities and exchange in multi-material Elita Lam 林綺妮 applications are conducted. Her recent Advisor 顧問 project involves developing the HKDI Multidisciplinary Knowledge Centers, including the HKDI Retail Lab and HKDI Fashion Archive.

為跨領域設計活動和知識交流提供平

204

計教學經驗，專門規劃和開發全新學術 課程，以及工商業短期課程。 林綺妮帶領成立香港知專設計學院「知 專設創源」 資料庫，通過多重物料應用， 台。林綺妮近期的工作項目，為開發香 港知專設計學院多學科知識中心，當中 包括「零售體驗廊」和「時裝資料庫」 。

Sara Wong is the co-founder of Para Site, Hong Kong’s leading independent contemporary arts space. She is a visual artist, designer and educator.

Trained in both visual art and landscape architecture, her practice combines her artistic interest and architectural practice, blurring the distinction between the two platforms.

黃志恆是香港首屈一指的獨立當代藝術 空間 Para Site 的創辦人之一，亦是視覺 藝術家、設計師及教育家。她修讀視覺 藝術及景觀建築，作品揉合其藝術興趣， 模糊視覺藝術及景觀建築之間的分野。 黃志恆曾多次於本地及國際博物館 及 雙 年 展 展 出 其 作 品， 包 括 威 尼 斯

Sara has exhibited her works both locally and internationally in museums Sara Wong 黃志恆 and biennales including Venice Biennale, Gwangju Biennale and Advisor 顧問 Shanghai Biennale. She was resident artist at PS1 Contemporary Art Center and the Bronx Museum of the Arts in New York; Ecole Cantonale d’Art du Valais (ECAV) in Switzerland, and the Nordisk Kunstnarsenter Dalssesen in Norway. She has developed the Landscape Architecture programmes in the Hong Kong Design Institute and is actively involved in educating future designers, landscape architects and architects.

Andrew, Tsui Ka is a social entrepreneur and is passionate about innovation and urban solutions. He co-founded Rooftop Republic 3 years ago and has transformed over 40 underutilised urban spaces (40,000 square feet) ranging from urban farms, integrating edible landscapes, indoor farming and AgTech developments.

雙年展、光州雙年展及上海雙年展。 她曾是紐約 PS1 當代藝術中心、紐約

Bronx Museum of the Arts、瑞士 Ecole Cantonale d’Art du Valais (ECAV) 及 挪威 Nordisk Kunstnarsenter Dalssesen 的駐場藝術家。她為香港知專設計學院 策劃了景觀建築課程，並積極教育未來 設計師、景觀建築師及建築師。

徐伽是一位社會創業者，熱衷於社會創 新和城市規劃方案。他在 3 年前共同 創立雲耕一族 (Rooftop Republic) ， 該團隊已經改造了 40 個城市閒置空間

( 共約 40,000 平方英尺 )，包括城市 農場、綜合可食用景觀、室內園圃和農 業科技項目等。

Andrew also serves as consultant, speaker and mentor for initiatives Andrew Tsui 徐伽 on innovation, design thinking Advisor 顧問 and sustainability since 2011. For the past 20 years, he has served in various leadership and professional capacities within the Military and Security sectors, the Supply Chain, Business Development and Asset Management in Singapore, Hong Kong and China.

自 2011 年來，徐伽也為各本地及海外 機構在革新、設計思維和可持續發展等 項目議題上擔任顧問、講師及導師。在 展開創業之旅前，徐伽在中國、香港及 新加坡累積了近 20 年的專業經驗，範 疇包括軍事和保衛、供應鏈、業務發展 和資產管理等。

Ada Wong has led a varied career as solicitor, educator and social entrepreneur. She is a staunch advocate of social innovation, creative education and cultural development.

黃英琦擔任香港當代文化中心總監、

She is also Convenor & Director of The Good Lab, Chairperson of Make A Difference Institute, Director of Hong Kong Institute of Contemporary Culture and supervisor of HKICC Lee Shau Kee School of Creativity.

作為社會創新、創意教育和文化發展的

Make A Difference 創 不 同 主 席、 Good Lab 創辦人、香港兆基創意書院 校監。

倡議者，黃英琦曾擔任多種職位，其中 包括律師、教育家和社會企業家。

Ada Wong 黃英琦 Advisor 顧問 205

Chris Yuen has a great passion for the social dimensions of design and is particularly keen on working for different children’s playground projects which carry social values.

He is currently serving Playright Children’s Play Association (Playright), educating the value of child-friendly environments, universally designed inclusive playgrounds and playground safety in Hong Kong. He has extensive experience in playground research, Chris Yuen 袁漢昌 playable space design, playground Advisor 顧問 assessment, safety inspections and professional training. Since 2012, Chris has been focusing on leading the team in implementing inclusive play space development projects, including the Quality and Quantity Researches on Inclusive Playground, Play for All Training Programme, Inclusive Play Space Design Ideas Competition/Exhibition and Junior Playground Commissioner Incubation Programme @ Tuen Mun. In 2016, he completed the publishing works for“ Inclusive Play Space Guide’ which supported by UNICEF HK.

袁漢昌現職於推動兒童遊戲權利的非

Dr Lesley Lau is an art museum curator and is currently the Head of Art Promotion Office (APO). Lau is the founding curator of APO and Oi! (Oil Street Art Space). She has also worked for the Hong Kong Museum of Art, Hong Kong Heritage Museum and Hong Kong Visual Arts Centre (vA!).

劉鳳霞的專業為美術館館長，現為香港

協會，特別關注本地兒童遊樂場發展， 並積極倡議公眾和專業人士了解對兒 童友善的環境、共融遊樂場設計、以 及遊樂場安全及通達性。他過往的工 作涉及遊樂場研究、設計、評估、安 全 檢 查 及 專 業 培 訓。 自 2012 年 起， 他專注策劃執行一系列推動共融遊樂 空間發展的項目，包括定質及定量調 查、遊樂大同培訓教育、共融遊樂空 間概念設計比賽、展覽、及屯門智樂 小小遊樂場專員培育計劃；並於 2016 年完成由聯合國兒童基金會香港委員 會支持出版的 《共融遊樂空間指引》 撰寫工作。

藝術推廣辦事處總監，曾任職於香港藝 術館、香港文化博物館及香港視覺藝術 中心等，為藝術推廣辦事處及油街實現 藝術空間的創館館長。 她曾策劃多項公共藝術項目，包括「樂

She has been the project manager for a number of public art projects at parks, historic buildings and government Lesley Lau 劉鳳霞 buildings, including Seats．Together, Advisor 顧問 Park Déco, ArtAlive@Park and Hi! Houses, etc. Lau obtained her PhD degree from the Chinese University of Hong Kong, specialising in Chinese export art and public and community art development of Hong Kong.

Lau has been a research fellow in the British Museum and the Philips Library of the Peabody Essex Museum.

Willie San is a Registered Architect under the Hong Kong Institute of Architects (HKIA). He joined the Architectural Services Department in 2009 and is currently the Senior Property Services Manager in the Architectural Services Department.

坐其中」、「潮裝公園」、「藝綻公園」及 「邂逅！老房子」等。劉鳳霞畢業於香 港中文大學，獲頒哲學博士學位，研 究中國外銷藝術，以及香港的公共及 社群藝術；亦曾於大英博物館及美國 皮博迪艾塞克斯博物館 Philips 圖書館 作研究員。

辛偉賢是香港建築師學會的註冊建築 師。他於 2009 年加入建築署，現任建 築署高級物業服務經理。

Willie San 辛偉賢 Advisor 顧問 206

牟 利 組 織：Playright 智 樂 兒 童 遊 樂

Francis Ngai is the Founder and Chief Executive Officer of Social Ventures Hong Kong (SVhk). SVhk is a philanthropic organization that inspires a culture of social innovation in Hong Kong. They focus on inventing, incubating and investing in social start-ups that address urban challenges through sustainable and innovative business solutions.

魏華星為香港社會創投基金的創辦人及 行政總裁。香港社會創投基金為一家專 注於社會企業的創業、孕育和投資的創 投慈善機構，致力透過可持續發展的創 新商業方案解決社會問題，並啟發香港 的社會創意文化。 在成立香港社會創投基金前，魏華星曾 任香港一家上市科技公司的策略主管。

Prior to establishing SVhk, Ngai Francis Ngai 魏華星 was the Head of Strategy in a listed Advisor 顧問 technology conglomerate in Hong Kong. He graduated from the City University of Hong Kong and in 2013 he was conferred as an Honorary Fellow by the University. He was selected as one of the 100 Asia Pioneers by The Purpose Economy in 2014, a Young Global Leader of the World Economic Forum in 2012 and one of Hong Kong’s Ten Outstanding Young Persons in 2011.

Horman Chan is the Chief Leisure Manager at Hong Kong Leisure and Cultural Service Department, Tsuen Wan, responsible for reviewing and formulating policies and guidelines on the operation and management of land-based recreational facilities including parks and playgrounds.

He recently assisted the display of artistic furniture in several public parks and gardens under the Seats．Together project.

他畢業於香港城市大學，並於 2013 年 獲香港城市大學頒發榮譽院士。其他獎 項包括 2014 年度「亞洲首 100 名目標 性經濟先驅」 、2012 年度世界經濟論壇 「全球青年領袖」 ，以及 2011 年度「香 港十大傑出青年」 。

陳明昌是康樂及文化事務署荃灣區康樂 事務經理，負責審查和制訂包括公園和 遊樂場在內的娛樂設施的營運和管理政 策及方針。 他最近為《城市藝裳計劃：樂坐其中》 項目，協助展示美化公園及花園的座 椅。

Horman Chan 陳明昌 Advisor 顧問

William Lane performs as a soloist, orchestral and chamber musician in Australia, Asia, Europe and North America. He studied under Jan Sedivka, Bruno Giuranna and Garth Knox, as well as in Germany at the International Ensemble Modern Academy, and in Switzerland at the Lucerne Festival Academy under Pierre Boulez. He was a prize winner of Valentino Bucchi Competition in Rome in 2005.

凌藝廉經常穿梭澳洲、亞洲、歐洲及北

William Lane 凌藝廉 Lane was Principal Viola of Ensemble Advisor 顧問 Resonanz and a member of the Hong Kong Philharmonic; and has appeared as guest violist at Ensemble Modern and the Lucerne Festival Strings. Based in Hong Kong since 2008, he is Founder, Artistic Director and Violist of Hong Kong New Music Ensemble, Asia’s most active professional chamber ensemble dedicated to new music. In 2013, he was awarded the Award for Young Artist (Music) from the Hong Kong Arts Development Council.

出。他自 2008 年起於香港發展，是香

美作獨奏、樂團及室內樂演出。他曾隨 薛迪夫卡、朱拉納及諾斯學習，於德國 國際現代合奏學院進修，並於瑞士琉森 音樂節學院隨布萊茲學藝，亦是 2005 年羅馬布基音樂大賽得獎者。 凌藝廉曾是香港管弦樂團樂師及德國鳴 聲弦樂團的首席中提琴，亦曾於德國現 代合奏團及琉森節日弦樂團作客席演 港創樂團的創辦人、藝術總監及中提琴 手。他於 2013 年獲香港藝術發展局頒 發「藝術新秀獎 ( 音樂 )」 。

207

Contributors 撰稿人 A brief history of playgrounds in Hong Kong 淺談香港遊樂場 90 年 Fan Lok Yi 樊樂怡

The team of Fan Lok Yi and Sampson Wong is the recipient of 2018 M+ / Design Trust Research Fellowship. They have been studying the international trends and local factors that shaped 20th-century Hong Kong playscapes. 樊 樂 怡 與 Sampson Wong 的 團 隊 為 2018 年 度 M+ /

Design Trust 研究資助計劃獲選得主。他們一直研究形塑 二十世紀香港遊玩設施景觀的國際趨勢與本地因素。

Inclusive play space at tuen mun park with children’s participation sets a model for future playgrounds in Hong Kong 共融玩樂空間：為香港未來遊樂場樹立榜樣 Chris Yuen 袁漢昌 (Playright 智樂兒童遊樂協會 )

Chris Yuen is a play environment consultant at Playright Children’s Play Association. Playright Children’s Play Association (Playright) established in Hong Kong in 1987, is a charity which advocates children’s play for 30 years, as we "Value Children.

Value Play." Our vision is building a society that respects, protects and fulfills a Child’s Right to Play, where children can enjoy their childhood. We have the mission to promote the value of play and seek societal commitment to meet the play needs of every child at policy, planning and provision. The three values that we carry out throughout the initiatives, projects and services are Professional, Passionate and Empowering. 袁漢昌現為 Playright 智樂兒童遊樂協會的遊樂環境顧 問。該協會於 1987 年在香港成立，為推動兒童遊玩設施 發展的慈善團體，宗旨為「看重孩子，看得起遊戲」。協會 旨在建立一個尊重孩子、保護孩子、以及能滿足兒童遊樂 權益的社會，使兒童能享受童年。協會的目標為推廣遊樂 的價值，提倡社會在政策方面、規劃和建設時，應要滿足 所有兒童的遊樂需要。協會在倡議項目和服務中，均貫徹 「專業、熱情、賦權」的理念。

The city in the eye of the beholder 我們眼中的城市 Yaşar Adanali

Yaşar Adanali is one of the founding members of Center for Spatial Justice. The Center was established with the intention of living in fairer, more democratic, ecological urban and rural spaces; to produce crossdisciplinary work; to gather, accumulate and share knowledge that is innovative, qualified and public.

Center for Spatial Justice brings together expertise with local communities, to help to (re-)produce spaces and practices of hope.

Yaşar Adanali 為空間公義中心的創辦成員。該中心旨在讓 人可活在一個更公平、 民主和富生態平衝的都市與郊野空 間，並進行跨專業的項目，以及對於創新、專業和公開的知 識，作收集、凝聚和分享。空間公義中心聯繫專業人士與本 土社區，協助空間的生產與再生產，提倡在生活中抱懷希望。

208

How to turn a place around: The case of Bryant Park, New York 如何令一個地方起死回生 : 以紐約布萊恩特公園為例 Project for Public Spaces

Project for Public Spaces (PPS) is a nonprofit organisation dedicated to helping people create and sustain public spaces that build strong communities.

We are the central hub of the global place making movement, connecting people to ideas, resources, expertise, and partners who see place as the key to addressing our greatest challenges.

Project for Public Spaces (PPS) 為非牟利機構，志在創 造能建立緊密社群的公共空間，並加以維繫。本機構為全 球場所營造運動的中心，把人與想法、資源、專業知識連 接。地方為應對人類最大困難之關鍵。本機構期望把認同 此理念的夥伴聯繫起來。

Shades of Banyan 榕樹蔭下

New kids "in" the block 淺談香港遊樂場 90 年

Mark Blackwell

Elger Blitz

Mark Blackwell is the Creative Director of Morphis.

Morphis are specialists in creating landscapes which celebrate context, experience and memory. We create connections between people and cities to implement sustainable and socially responsive design across Asia, the Middle East and Europe.

Elger Blitz is founder, principal, and lead designer at Carve. He accidentally got involved into designing playgrounds in the early nineties. He has more than 15 years of experience in relevant projects in public space. His cross disciplinary and renewing approach on designing for children and youngsters has proved to anticipate to actual demands and trends.

Mark Blackwell 為莫爾菲斯的創意總監。莫爾菲斯專門創 造突出環境、體驗和記憶的景觀，把人和城市連結起來，在

Elger Blitz 為 Carve 的 創 辦 人、 校 長 和 主 設 計 師。 他 於

亞洲、中東以及歐洲地區，實踐可持續發展以及能回應社會

九十年代初，意外地參與了遊樂場設計。至今，在相關的公

需要的設計。

共空間項目有超過 15 年經驗。他為兒童及青少年創作的設

www.morphisdesign.com

計跨領域，使地方重獲生機，其工作能滿足實際需求和市場 趨勢。

Urban play spaces for young children 城市中給年幼孩子玩樂的空間 Selva Gürdogan

Selva Gürdogan is the founding partner of Superpool, a research-based architecture practice founded in 2006 operating out of Istanbul and Copenhagen.

Superpool pays particular attention to understanding the urban contexts that architecture is located in, as well as the construction processes that shape buildings.

Selva Gürdogan 為 Superpool 的聯合創辦人。Superpool 是以研究為本的建築組織，2006 年成立，工作範圍於伊 斯坦堡和哥本哈根。該組織專注於了解建築所在的都市環 境，以及塑造建築的建設過程。

209

About Design Trust 關於「信言設計大使」 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, thought-provoking investigations in various design disciplines from graphics, media, wearable technologies, architecture to the 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。

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.

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。

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 210

Grants 資助計劃 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. 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 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。

BOARD OF DIRECTORS 董事會成員 Alan Lo (Chairman) 羅揚傑 ( 主席 ) Desiree Au 歐詠詩 Jay Parmanand Jehan Chu 朱沛宗 Joyce Tam 譚載怡

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 Adrian Cheng 鄭志剛 Akarin Gaw 吴繼淦 Amanda Loke 陸桂蓮 Angelina Kwan 關蕙 Charmaine Li 李志妍 Daryl Ng 黃永光 Denise Lau 劉思蔚 Donald Choi 蔡宏興 Janice Chan-Choy 蔡陳若詩 Jennifer Liu 廖偉芬 Jimmy K.W. Chan 陳光華 Jo Black Joanne Chow 周凱瑜 Kristine Li 李敬恩 Lumen Kinoshita 萬亮人 Ming Wai Lau 劉鳴煒 Vanessa Cheung 張添琳 Yama Chan 陳雅文 Yvette Ho 何馬美域

INTERNATIONAL ADVISORY COUNCIL

透過親切的對話模式，為設計業界和社區帶來更多

海外顧問團

交流，討論設計議題和最新的發展機會。

Beatrice Leanza 畢月 Eva Franch Lars Nittve 李立偉 Lyndon Neri 郭錫恩 Rodman Primack Thomas Heatherwick 托馬斯．赫斯維克 Tom Dixon Zoë Ryan

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. Both to encourage interaction, exchange and discussions on a public outreach level. 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。本會期望能透過這 些社區活動，鼓勵對話、交流、對談和公眾接觸。

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 Jean T Miao 繆永珍

Keith Tam 譚智恒 Leslie Lu 盧林 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

211

Acknowledgements 鳴謝 Lead Organiser 主辦單位

Major Sponsor 主要贊助單位

Education & Community Outreach Partner 教育及社區外展夥伴

Exhibition Venue Co-Sponsor 展覽場地合作夥伴

Community Event Partner 社區活動夥伴

International Event Collaborator 國際活動合作夥伴

Hotel Partner 酒店合作夥伴

Workshop Venue Partners 工作坊場地合作夥伴

Disclaimer: The Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise take part in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) are those of the project organizers only and do not reflect the views of the Government of the Hong Kong Special Administrative Region, the Communications and Creative Industries Branch of the Commerce and Economic Development Bureau, Create Hong Kong, the CreateSmart Initiative Secretariat or the CreateSmart Initiative Vetting Committee.

免責聲明 : 香港特別行政區政府僅為本項目提供資助，除此之外並無參與項目。在本刊物/活動內（或由項目小組成員） 表達的任何意見、 研究成果、結論或建議，均不代表香港特別行政區政府、商務及經濟發展局通訊及創意產業科、創意香港、創意智優計劃秘書 處或創意智優計劃審核委員會的觀點。 Design Trust Futures Studio Team 團隊 : Lead Curator 主策展人 - Marisa Yiu Exhibition, Design, Event Management & Coordination 展覽、設計、活動統籌及協調 - Joyce Li, Denny Chan, (with Calvin Ho) Interns 實習生 Marco Lung, Isabella Chon, Crystal Cheung, and Helena Halim PR Advisor 公關顧問 - CatchOn Documentary Film 記錄短片拍攝 - Ralph Renouf Photography 攝影 - Trio Website Programming 計劃網站編寫 - Steve Mok Documentary Book Editors 計劃實錄書編輯 - Marisa Yiu, Joyce Li, Merve Bedir Chinese Translation 中文翻譯 - Jessie Ng, Alex Chan, Flora Chung Documentary Book Graphic Designer 計劃實錄書平面設計 - Jason Lee

designtrust.hk/design-trust-futures-studio 212

designtrust #DTFS #playisforthepeople #parkyourideas #designtrusthk #futuresstudio

214