16,00
ASIA NEWS
ASIA NEWS
最好動的日本時裝天后
萬中選三難忘北京夜 奧運前夕時尚飯店百花齊放
川久保玲在東京開設 3 個月的 LV 店中店
大家都形容，奧運前夕的北京，就像是
之處，是它身處胡同弄巷間，能感受北
當 世 界 頂 級 時 尚 品 牌 COMME DES
LV 經典圖案 MONOGRAM 的一次性
個工地，CCTV 大樓快平頂了、地鐵十
京庶民的生活情調之餘，同時舉目就能
（ ONE-OFF ）包包，LV 總裁伊夫．卡塞
號線快將通車、奧運倒數 7 天整個北京
盡覽紫禁城的景觀。
GARÇONS 遇上法國奢華經典 LOUIS VUITTON，會有什麼火花？今天九月
爾（ YVES CARCELLE ）及創意總監賈
彷彿進入高度亢奮的狀態，為了迎接
瑜舍是由香港太古集團於北京三里
在日本東京，答案便會揭曉。這次合作
考柏也將親自投入此項大型企劃，為頂
北京數以萬計的旅客，大量全新五星
屯所建的巨型商圈中的其中一個項目，
是 LV 為慶祝在東京開設分店 30 週年，
級時尚界創造新潮流。相信這是 CDG
飯店都趕在奧運前落成開業，而最具
也是太古首次踏足飯店業的建設，請來 日本設計師隈研吾（ 曾設計東京的路易
HOTELS（ 設計旅館 ）——皇家驛棧 （ THE EMPEROR ） 。座落於紫禁城外
威登集團——LVMH 日本總部 ）打造流
LV 的創意總監馬克．賈考柏（ MARC JACOBS ）親自邀請川久保玲於東京 DOVER STREET MARKET 的店內，
繼與今年與 H&M 合作推出平價時裝
話題性的，莫過於中國首家 DESIGN
麗簡約的風格，翠綠的方正建築，靈感
打造一間結合兩大品牌的限定三個月
的皇家驛棧，已在今年三月正式開幕，
來自中國傳統四合院正房相對的概念，
的店。川久保玲將會為 LV 設計六款以
飯 店 55 間 套 房， 分 別 以 55 個 中 國 歷
中間庭園佈滿綠意盎然的植物，營造宛
代皇帝如漢武帝、武則天等命名，一天
如綠洲的恬靜空間，飯店內更到處放有
24 小時每位住客均有專屬管家貼身伺
來自香港、中國、澳洲以至倫敦新生代
候，室內設計以簡單素雅的色調打造出
藝術家作品，充滿當代藝術氣息。
後，今年另一個最教人引頸以待的時尚 合作。 www.doverstreetmarket.com
房間的舒適氣氛，皇家驛棧最獨一無二 瑜舍 www.theoppositehouse.com
剛於六月全新開幕的時尚設計精品 飯店 HOTE-G，主要鎖定講究設計品味 及優質生活的年輕企業家、創意人及社 交名人為住客，由英籍建築師兼設計師 林馬克（ MARK LINTOTT，曾替台北 設計 PLUSH、香檳多家夜店 ）操刀設 計的建築與 110 間客房，以動感、時尚 及舒適為概念，帶著濃濃的六十年代好 萊塢的璀璨韻味，房客可自由選擇其房 間窗戶的燈光顏色，讓你在京城也能度
G8 高峰用殘雪當冷氣
環保不只是號召，以身作則節能愛地球
過最時尚華麗的夜晚。 今次於日本北海道舉行的 G8 峰會高舉
G8 峰會結束後拆除，這樣難得的環保建
「 綠色 」旗幟，不單有日本汽車製造商
築，其實更值得保留再生，甚至轉化成
提供了多款燃料電池車及電動汽車等環
博物館，讓它獨一無二的環保精神，繼
保車，給各國代表團使用，其供媒體專
續發揚光大下去。
用的國際媒體中心，為節能減碳，設置 了一堆太陽能板和風力發電機，更預先 儲藏了 7 千噸的積雪，置於地下室內， 然後將天然冷氣往上送至寬闊的媒體中 心內，讓來自世界各地的 600 名記者， 能在舒適清涼的環境下工作，據統計這 套完全運用當地剩餘物資，取諸大自然 的的空調系統，能減少超過 150 頓的 皇家驛棧 www.theemperor.com.cn
北京極棧 Hotel G www.hotel-G.com
二氧化碳排出，然而這個環保建築將於
www.g8summit.go.jp/eng/index.html
17,00
16,00
ASIA NEWS
ASIA NEWS
最好動的日本時裝天后
萬中選三難忘北京夜 奧運前夕時尚飯店百花齊放
川久保玲在東京開設 3 個月的 LV 店中店
大家都形容，奧運前夕的北京，就像是
之處，是它身處胡同弄巷間，能感受北
當 世 界 頂 級 時 尚 品 牌 COMME DES
LV 經典圖案 MONOGRAM 的一次性
個工地，CCTV 大樓快平頂了、地鐵十
京庶民的生活情調之餘，同時舉目就能
（ ONE-OFF ）包包，LV 總裁伊夫．卡塞
號線快將通車、奧運倒數 7 天整個北京
盡覽紫禁城的景觀。
GARÇONS 遇上法國奢華經典 LOUIS VUITTON，會有什麼火花？今天九月
爾（ YVES CARCELLE ）及創意總監賈
彷彿進入高度亢奮的狀態，為了迎接
瑜舍是由香港太古集團於北京三里
在日本東京，答案便會揭曉。這次合作
考柏也將親自投入此項大型企劃，為頂
北京數以萬計的旅客，大量全新五星
屯所建的巨型商圈中的其中一個項目，
是 LV 為慶祝在東京開設分店 30 週年，
級時尚界創造新潮流。相信這是 CDG
飯店都趕在奧運前落成開業，而最具
也是太古首次踏足飯店業的建設，請來 日本設計師隈研吾（ 曾設計東京的路易
HOTELS（ 設計旅館 ）——皇家驛棧 （ THE EMPEROR ） 。座落於紫禁城外
威登集團——LVMH 日本總部 ）打造流
LV 的創意總監馬克．賈考柏（ MARC JACOBS ）親自邀請川久保玲於東京 DOVER STREET MARKET 的店內，
繼與今年與 H&M 合作推出平價時裝
話題性的，莫過於中國首家 DESIGN
麗簡約的風格，翠綠的方正建築，靈感
打造一間結合兩大品牌的限定三個月
的皇家驛棧，已在今年三月正式開幕，
來自中國傳統四合院正房相對的概念，
的店。川久保玲將會為 LV 設計六款以
飯 店 55 間 套 房， 分 別 以 55 個 中 國 歷
中間庭園佈滿綠意盎然的植物，營造宛
代皇帝如漢武帝、武則天等命名，一天
如綠洲的恬靜空間，飯店內更到處放有
24 小時每位住客均有專屬管家貼身伺
來自香港、中國、澳洲以至倫敦新生代
候，室內設計以簡單素雅的色調打造出
藝術家作品，充滿當代藝術氣息。
後，今年另一個最教人引頸以待的時尚 合作。 www.doverstreetmarket.com
房間的舒適氣氛，皇家驛棧最獨一無二 瑜舍 www.theoppositehouse.com
剛於六月全新開幕的時尚設計精品 飯店 HOTE-G，主要鎖定講究設計品味 及優質生活的年輕企業家、創意人及社 交名人為住客，由英籍建築師兼設計師 林馬克（ MARK LINTOTT，曾替台北 設計 PLUSH、香檳多家夜店 ）操刀設 計的建築與 110 間客房，以動感、時尚 及舒適為概念，帶著濃濃的六十年代好 萊塢的璀璨韻味，房客可自由選擇其房 間窗戶的燈光顏色，讓你在京城也能度
G8 高峰用殘雪當冷氣
環保不只是號召，以身作則節能愛地球
過最時尚華麗的夜晚。 今次於日本北海道舉行的 G8 峰會高舉
G8 峰會結束後拆除，這樣難得的環保建
「 綠色 」旗幟，不單有日本汽車製造商
築，其實更值得保留再生，甚至轉化成
提供了多款燃料電池車及電動汽車等環
博物館，讓它獨一無二的環保精神，繼
保車，給各國代表團使用，其供媒體專
續發揚光大下去。
用的國際媒體中心，為節能減碳，設置 了一堆太陽能板和風力發電機，更預先 儲藏了 7 千噸的積雪，置於地下室內， 然後將天然冷氣往上送至寬闊的媒體中 心內，讓來自世界各地的 600 名記者， 能在舒適清涼的環境下工作，據統計這 套完全運用當地剩餘物資，取諸大自然 的的空調系統，能減少超過 150 頓的 皇家驛棧 www.theemperor.com.cn
北京極棧 Hotel G www.hotel-G.com
二氧化碳排出，然而這個環保建築將於
www.g8summit.go.jp/eng/index.html
17,00
18,00
EUROPE NEWS
EUROPE NEWS
可以吃的設計師限量款
英國 KONDITOR & COOK 推出期間限定的設計師蛋糕
省電 60% 的風力發電機
用庶民價收藏菲力普．史塔克
誰說蛋糕只能夠是大大圓柱形、塗滿奶
「設計頑童」菲力普．史塔克（ PHILIPPE
可以為一般的家庭提供百分之二十到百
油或巧克力、內餡鬆軟的麵包呢？英
STARCK ）又出新招。這位法國設計師在
分之六十的用電量，而且高貴不貴，預
國 KONDITOR & COOK 烘焙坊顯然
橫跨產品包裝、建築、傢具、生活用品、
估售價為 600 美元，收藏大師作品同時
就不這麼認為，因為他們有一系列造型
交通工具、室內設計等不同領域後，又
也省電省錢又做環保，何樂不為？
出色、模樣別緻、賣得嚇嚇叫的小蛋
將設計玩心延伸到當前全球關注的環保
糕，來自英國各路頂尖設計師的概念
議題新領域。
巧思，而且只在門市賣 2 個月。現在這
這台家庭式的風力發電機（ DEMO-
曾經宣稱設計已死並萌生退休之 意的史塔克，又突如其來地來了這麼一 著，實在令人無法不佩服他頑童般的創
個時候（ 8 月到 9 月 ） ，正好可以品嚐
CRATIC ECOLOGY WIND TURBINE ）
意，比起那些令人不願面對的真相，這
到傢具設計師蘇西．伍德列斯（ SUZY
採用聚碳酸酯的材質，輕巧好看，並繼
個超值的大師作品真是令人欣悅不已。
HOODLESS ）的作品，體驗舌尖搭坐在 她的椅子上面的感覺。冬天的時候（ 12 月到明年 1 月 ） ，輪到建築師傑米．佛 比特（ JAMIE FOBERT ）登場，宛若建
承了史塔克以往作品的流線外型。但它
材碎片與雕塑作品般的不規則造型，光 看就足以讓味蕾上的每個細胞都興奮了 起來。讓人在滿足口腹之餘，也打破對 蛋糕的既定想像。
不是只拿來看的，這台精緻的機器預計
www.philippe-starck.com
在美術館跑步可以賺錢 參加彪馬與蘇富比共同投資的行動藝術
www.konditorandcook.com
好建築讓城市保鮮
以新鮮為主題的倫敦建築節，30 天 600 項活動 建築構成了城市，建築影響環境，環
倫敦奧運會之前，英國政府計畫以文化
境也同樣影響建築。為期 1 個月、剛剛
創意產業，來加速倫敦新興東區的發展
落幕的倫敦建築節，以超過 600 項活
與建設。
動，開放的藝術空間及表演，提供新鮮 的角度重新發現這座城市。例如大英博 物館後方老是被人遺忘的 MONTAGUE
www.lfa2008.org
美術館內不得奔跑，是基本常識與禮
就能獲得每小時 9.35 英鎊（ 約合台幣
儀。但現在，倫敦的泰德藝術館（TATE
568 元 ）的報酬，也就是一星期可獲 得 56.1 英鎊（ 約合台幣 3,428 元 ）。
BRITAIN ）每 2 分鐘就會有跑者把美 術 館 當 體 育 場 拔 足 狂 奔。2008 年 7 月 1 日 開 始 一 直 到 11 月 16 號 為 止，
這是馬丁．克里德的新作，概念是
PLACE 街，便因建築師卡莫迪．葛洛 克（ CARMODY GROARKE ）以布簾 迅速打造的長 160 公尺的空中走廊而
泰德藝術館展出藝術家馬丁．克里德
那麼移動才是生命的最明顯的狀態，
（ MARTIN CREED ）的作品──《 850
進而以奔跑的急速移動傳達出生命最
展現了生氣；還有全世界最小的電影放
號 》行動藝術裝置。館方為此大動作
大的象徵。而且與知名運動品牌彪馬
映廳、用樂高砌成的鐘塔等。並藉由這
的 淨 空 了 86 米 的 新 古 典 主 義 雕 塑 藝
（ PUMA ）合作，讓每位跑者穿著如美洲
些活動發現每一區域的特色之處。以世
廊，原因是該場地每 2 分鐘將有一位跑
獅迅猛的運動鞋成為藝術品的一部份。
界創意樞紐自許的倫敦，自 2004 年起
者 在 15 秒 內 跑 完 86 米， 半 小 時 內 要
馬丁．克里德作品向來受爭議，譬如把
每兩年舉辦一次建築節，凝聚國際間、
跑完 15 次，每天跑 4 趟，一星期內要
藍色泥膠黏在牆壁上的作品，以及每隔
專業人士與青年學生的活力，在 2012
跑 3 次。 如 果 你 的 恆 心 可 以 持 續， 你
30 秒燈泡開關一次的作品《 227 號 》。
為了凸顯如果死亡是完全靜止不動的，
www.running-project.co.uk www.tate.org.uk/britain/exhibitions/ duveenscommission/about.shtm
19,00
18,00
EUROPE NEWS
EUROPE NEWS
可以吃的設計師限量款
英國 KONDITOR & COOK 推出期間限定的設計師蛋糕
省電 60% 的風力發電機
用庶民價收藏菲力普．史塔克
誰說蛋糕只能夠是大大圓柱形、塗滿奶
「設計頑童」菲力普．史塔克（ PHILIPPE
可以為一般的家庭提供百分之二十到百
油或巧克力、內餡鬆軟的麵包呢？英
STARCK ）又出新招。這位法國設計師在
分之六十的用電量，而且高貴不貴，預
國 KONDITOR & COOK 烘焙坊顯然
橫跨產品包裝、建築、傢具、生活用品、
估售價為 600 美元，收藏大師作品同時
就不這麼認為，因為他們有一系列造型
交通工具、室內設計等不同領域後，又
也省電省錢又做環保，何樂不為？
出色、模樣別緻、賣得嚇嚇叫的小蛋
將設計玩心延伸到當前全球關注的環保
糕，來自英國各路頂尖設計師的概念
議題新領域。
巧思，而且只在門市賣 2 個月。現在這
這台家庭式的風力發電機（ DEMO-
曾經宣稱設計已死並萌生退休之 意的史塔克，又突如其來地來了這麼一 著，實在令人無法不佩服他頑童般的創
個時候（ 8 月到 9 月 ） ，正好可以品嚐
CRATIC ECOLOGY WIND TURBINE ）
意，比起那些令人不願面對的真相，這
到傢具設計師蘇西．伍德列斯（ SUZY
採用聚碳酸酯的材質，輕巧好看，並繼
個超值的大師作品真是令人欣悅不已。
HOODLESS ）的作品，體驗舌尖搭坐在 她的椅子上面的感覺。冬天的時候（ 12 月到明年 1 月 ） ，輪到建築師傑米．佛 比特（ JAMIE FOBERT ）登場，宛若建
承了史塔克以往作品的流線外型。但它
材碎片與雕塑作品般的不規則造型，光 看就足以讓味蕾上的每個細胞都興奮了 起來。讓人在滿足口腹之餘，也打破對 蛋糕的既定想像。
不是只拿來看的，這台精緻的機器預計
www.philippe-starck.com
在美術館跑步可以賺錢 參加彪馬與蘇富比共同投資的行動藝術
www.konditorandcook.com
好建築讓城市保鮮
以新鮮為主題的倫敦建築節，30 天 600 項活動 建築構成了城市，建築影響環境，環
倫敦奧運會之前，英國政府計畫以文化
境也同樣影響建築。為期 1 個月、剛剛
創意產業，來加速倫敦新興東區的發展
落幕的倫敦建築節，以超過 600 項活
與建設。
動，開放的藝術空間及表演，提供新鮮 的角度重新發現這座城市。例如大英博 物館後方老是被人遺忘的 MONTAGUE
www.lfa2008.org
美術館內不得奔跑，是基本常識與禮
就能獲得每小時 9.35 英鎊（ 約合台幣
儀。但現在，倫敦的泰德藝術館（TATE
568 元 ）的報酬，也就是一星期可獲 得 56.1 英鎊（ 約合台幣 3,428 元 ）。
BRITAIN ）每 2 分鐘就會有跑者把美 術 館 當 體 育 場 拔 足 狂 奔。2008 年 7 月 1 日 開 始 一 直 到 11 月 16 號 為 止，
這是馬丁．克里德的新作，概念是
PLACE 街，便因建築師卡莫迪．葛洛 克（ CARMODY GROARKE ）以布簾 迅速打造的長 160 公尺的空中走廊而
泰德藝術館展出藝術家馬丁．克里德
那麼移動才是生命的最明顯的狀態，
（ MARTIN CREED ）的作品──《 850
進而以奔跑的急速移動傳達出生命最
展現了生氣；還有全世界最小的電影放
號 》行動藝術裝置。館方為此大動作
大的象徵。而且與知名運動品牌彪馬
映廳、用樂高砌成的鐘塔等。並藉由這
的 淨 空 了 86 米 的 新 古 典 主 義 雕 塑 藝
（ PUMA ）合作，讓每位跑者穿著如美洲
些活動發現每一區域的特色之處。以世
廊，原因是該場地每 2 分鐘將有一位跑
獅迅猛的運動鞋成為藝術品的一部份。
界創意樞紐自許的倫敦，自 2004 年起
者 在 15 秒 內 跑 完 86 米， 半 小 時 內 要
馬丁．克里德作品向來受爭議，譬如把
每兩年舉辦一次建築節，凝聚國際間、
跑完 15 次，每天跑 4 趟，一星期內要
藍色泥膠黏在牆壁上的作品，以及每隔
專業人士與青年學生的活力，在 2012
跑 3 次。 如 果 你 的 恆 心 可 以 持 續， 你
30 秒燈泡開關一次的作品《 227 號 》。
為了凸顯如果死亡是完全靜止不動的，
www.running-project.co.uk www.tate.org.uk/britain/exhibitions/ duveenscommission/about.shtm
19,00
20,00
AMERICA NEWS
AMERICA NEWS
21,00
山本耀司街角聚焦時尚目光
牛打嗝導致氣候變遷？
小據點力量大，畸零地小店話題性 可比超大旗艦店
溫室效應的主凶，甲烷主宰恐龍與人類的命運 身形巨大的恐龍曾經主宰過地球，就拿
打出來的嗝。因為動物打的嗝和放的
對 時 尚 圈 熟 悉 的 人， 再 聽 到 紐 約 的
的爆點，那塊街頭交會，銳角極尖的畸
電影裡面經常看到的肉食性暴龍來說
屁，都含有溫室效應元兇氣體甲烷──
蘇 活 開 什 麼 新 店， 似 乎 都 不 會 有 新
零地，在台灣往往不是任其荒蕪，就是
吧，隨便一隻也有 3 層樓那麼高。關於
其增溫能力大約是二氧化碳的 25 倍。
鮮感，但時尚大師山本耀司（ YOHJI
豎立看板，連當停車場都是問題，在建
牠們滅亡的原因，科學家們眾說紛紜，
如果聰明的人類不想重蹈恐龍的覆轍的
YAMAMOTO ）的全新紐約路面店，讓
商和房仲業者眼中毫無價值可言，但大
其中有一種說法是，恐龍是被自己的屁
話，不妨考慮加入吃素減少牛羊豬飼養
自認品味甚高的紐約客，也拜倒在他詩
師把雕琢服裝的巧思，應用在實際行銷
所導致的溫室效應所害死的。就跟現在
的愛地球行列。
意的時尚哲學裡。繼去年在比利時安特
上，在前衛銳利如刀的三角切面，包覆
人類所面臨的情況很像，地球溫度上
衛普 MOMU 時尚美術館的超大旗艦店
古老斑駁的外觀，讓經過的人都駐足窺
升，導致南北極的冰層融化，於是所有
後，今年紐約蘇活區不起眼的畸零地，
看店裡黑白布料構築的最新時尚，不得
陸地生物都慘遭滅頂。繼紐西蘭政府打
開起北美首家獨立路面店，大師行銷
不佩服大師的創意始終哲理無限。
算開徵「 動物放屁稅 」之後，阿根廷也
手法雖低調，卻很瞭解曼哈頓所需要
www.yohjiyamamoto.co.jp
有一群科學家，致力於收集並研究牛所
news.bbc.co.uk/2/hi/americas/7499067.stm en.wikipedia.org/wiki/Methane
舊金山車站劃破地震帶天際線
上網路 別開車上路
制震技術躍進，次貸風暴下與天爭高的美西第一樓
少開車的連帶好處 讓車禍發生率下降 哈佛大學推廣教育線上課程
耶魯大學開放線上課程計畫
油價高漲肥了伊斯蘭世界的富翁，卻瘦 了眾多開車通勤族的荷包。其實最省油 省錢的作法，莫過於乾脆別開車了。所 幸拜網路之賜，現在越來越多人選擇不 必踏進學校教室，而是在家透過網路來 輕鬆上課學習。德州維多利亞學院的一 項非正式網路調查便顯示，42% 的學 生因為高油價而打算選修網路課程，因 此該校準備積極擴大其網路課程教學。 油價飛漲讓足不出戶、成天上網、缺乏
德州的石油政客，為 20 世紀最偉大的
曙光。結合商業、住宅、娛樂、文化等
建築師們終於敢向這座如埋著搖動炸彈
國家，埋下 21 世紀最危險的經濟危機
多功能用途外，越灣車站大樓，也是美
的城市挑戰，新的巴士站預計 2014 年
帶來了意想不到的好處──最近一份由
──次級房貸風暴，多家跨國銀行、信
西最重要的交通轉運站，有效結合舊金
啟用，2018 年越灣高鐵車站也將投入
「 羅柏伍德詹森基金會 」資助的統計研
貸應聲而倒，然而卻震不垮文明的技術
山灣區的交通網絡，未來更是舊金山到
營運。
與發展。日前由美國 PCP 建築事務所
洛杉磯間，美西高速鐵路的起點。
與義大利建築師倫佐．皮亞諾共規劃的
主體標高 366 公尺的大樓，將再創
競圖，贏得舊金山越灣車站興建計畫，
美西天際線的紀錄，地處環太平洋地震
總投資金額超過 40 億美金的綜合開發
帶，幾次大地震都差點把舊金山夷為平
案，是這片次貸烏雲中令人興奮的一道
地，但近年來建築制震技術不斷進步，
社交的現象越來越多，不過少開車卻也
究就發現，高油價會使美國年車禍死亡 人數減少大約三分之一。
www.transbaycenter.org www.pcparch.com
麻省理工學院開放線上課程計畫
www.extension.harvard.edu oyc.yale.edu ocw.mit.edu/OcwWeb/web/home/home/ index.htm
20,00
AMERICA NEWS
AMERICA NEWS
山本耀司街角聚焦時尚目光
牛打嗝導致氣候變遷？
小據點力量大，畸零地小店話題性 可比超大旗艦店
溫室效應的主凶，甲烷主宰恐龍與人類的命運 身形巨大的恐龍曾經主宰過地球，就拿
打出來的嗝。因為動物打的嗝和放的
對 時 尚 圈 熟 悉 的 人， 再 聽 到 紐 約 的
的爆點，那塊街頭交會，銳角極尖的畸
電影裡面經常看到的肉食性暴龍來說
屁，都含有溫室效應元兇氣體甲烷──
蘇 活 開 什 麼 新 店， 似 乎 都 不 會 有 新
零地，在台灣往往不是任其荒蕪，就是
吧，隨便一隻也有 3 層樓那麼高。關於
其增溫能力大約是二氧化碳的 25 倍。
鮮感，但時尚大師山本耀司（ YOHJI YAMAMOTO ）的全新紐約路面店，讓
豎立看板，連當停車場都是問題，在建
牠們滅亡的原因，科學家們眾說紛紜，
如果聰明的人類不想重蹈恐龍的覆轍的
商和房仲業者眼中毫無價值可言，但大
其中有一種說法是，恐龍是被自己的屁
話，不妨考慮加入吃素減少牛羊豬飼養 的愛地球行列。
自認品味甚高的紐約客，也拜倒在他詩
師把雕琢服裝的巧思，應用在實際行銷
所導致的溫室效應所害死的。就跟現在
意的時尚哲學裡。繼去年在比利時安特
上，在前衛銳利如刀的三角切面，包覆
人類所面臨的情況很像，地球溫度上
衛普 MOMU 時尚美術館的超大旗艦店
古老斑駁的外觀，讓經過的人都駐足窺
升，導致南北極的冰層融化，於是所有
後，今年紐約蘇活區不起眼的畸零地，
看店裡黑白布料構築的最新時尚，不得
陸地生物都慘遭滅頂。繼紐西蘭政府打
開起北美首家獨立路面店，大師行銷
不佩服大師的創意始終哲理無限。
算開徵「 動物放屁稅 」之後，阿根廷也
手法雖低調，卻很瞭解曼哈頓所需要
www.yohjiyamamoto.co.jp
有一群科學家，致力於收集並研究牛所
news.bbc.co.uk/2/hi/americas/7499067.stm en.wikipedia.org/wiki/Methane
舊金山車站劃破地震帶天際線
上網路 別開車上路
制震技術躍進，次貸風暴下與天爭高的美西第一樓
少開車的連帶好處 讓車禍發生率下降 哈佛大學推廣教育線上課程
耶魯大學開放線上課程計畫
油價高漲肥了伊斯蘭世界的富翁，卻瘦 了眾多開車通勤族的荷包。其實最省油 省錢的作法，莫過於乾脆別開車了。所 幸拜網路之賜，現在越來越多人選擇不 必踏進學校教室，而是在家透過網路來 輕鬆上課學習。德州維多利亞學院的一 項非正式網路調查便顯示，42% 的學 生因為高油價而打算選修網路課程，因 此該校準備積極擴大其網路課程教學。 油價飛漲讓足不出戶、成天上網、缺乏
德州的石油政客，為 20 世紀最偉大的
曙光。結合商業、住宅、娛樂、文化等
建築師們終於敢向這座如埋著搖動炸彈
社交的現象越來越多，不過少開車卻也
國家，埋下 21 世紀最危險的經濟危機
多功能用途外，越灣車站大樓，也是美
的城市挑戰，新的巴士站預計 2014 年
帶來了意想不到的好處──最近一份由
──次級房貸風暴，多家跨國銀行、信
西最重要的交通轉運站，有效結合舊金
啟用，2018 年越灣高鐵車站也將投入
「 羅柏伍德詹森基金會 」資助的統計研
貸應聲而倒，然而卻震不垮文明的技術
山灣區的交通網絡，未來更是舊金山到
營運。
與發展。日前由美國 PCP 建築事務所
洛杉磯間，美西高速鐵路的起點。
與義大利建築師倫佐．皮亞諾共規劃的
主體標高 366 公尺的大樓，將再創
競圖，贏得舊金山越灣車站興建計畫，
美西天際線的紀錄，地處環太平洋地震
總投資金額超過 40 億美金的綜合開發
帶，幾次大地震都差點把舊金山夷為平
案，是這片次貸烏雲中令人興奮的一道
地，但近年來建築制震技術不斷進步，
究就發現，高油價會使美國年車禍死亡 人數減少大約三分之一。
www.transbaycenter.org www.pcparch.com
麻省理工學院開放線上課程計畫
www.extension.harvard.edu oyc.yale.edu ocw.mit.edu/OcwWeb/web/home/home/ index.htm
21,00
32,00
CLOSER LOOK
33,00
在此揭露看待產品行銷、消費購物的全新眼光。
購物成本動源
產品品牌 vs. 零售商店品牌（上 ）
可能增加購買 原本沒計劃或 當期促銷產品
時間成本增長
NT
零售商店的品牌經營經常被混淆，雖然與產品品牌的概念類似，但建立架構卻是大不相同。
產品 購買率
¥ ＄
D E A B C
貨幣成本
1L
999
B
交通成本
購物者對該零 售商店品牌愈 信任愈偏好
機會成本增高
心理成本
B
品牌 信任度
B
購物成本 B
A B C
BY Jj & Co.
購物者，確立識別以區別於其它競爭
值得注意的是，若心理預期與實
店，不僅如此，零售商店品牌也影響了
際經驗不一致則產生期望落差 17，影響
品牌是企業的無形資產，已廣為市場所
購物者在選購過程中傾向到哪裡尋找心
品牌權益。往往負面落差所帶來的負面
重視。對於產品來說，品牌是一個整體
中理想的產品─不論理想產品可能會
影響程度遠大於正面落差所帶來的正面
形象，用以代表使用特性 01 及功能 02，
是任何品牌。
影響。意思是說，品牌所提出的承諾 18
賦予個性引人認同與偏好，確立識別 03 以區別於其他競爭產品，不僅如此，品 牌也背負了消費者對其產品公司整體的
時間成本
零售商店的品牌管理
驚喜可逐步提昇品牌權益。 產品的品牌權益如上述，那麼零
期望，並且讓消費者相較於原始產品
04
消費者的產品使用需求 ，零售商的則
願意付出額外差價取得該品牌產品。這
為：購物者的來客人潮。相對於產品的
額外差價 05，可被用來衡量部份的品牌
品牌管理 11 目標為：創造需求、並且使
權益 06。若願意額外付出的差價為零或
消費者的心理預期與實際「 產品使用經
關於零售商店品牌的討論常被集中在自
購，則可稱該零售商店具有品牌權益。
趨近於零，品牌不能稱之為品牌，充其
驗 」一致，零售商店的則為：創造來客
有品牌產品 19 的溢價。自有品牌意指大
所謂的購物成本包括：
量只能算是一廂情願地被印在產品上的
人潮 、並且使購物者的心理預期與實
型連鎖零售商與製造商簽約大量進貨、
所購買產品的貨幣成本：產品可能會是
標籤罷了。
際「 選購經驗 」一致。
或委託生產、或合作開發產品，再印上
任何品牌或是自有品牌產品
零售商店品牌管理的最大挑戰，也
零售商的自有品牌或商標，為該商店的
交通成本：例如油價、車資、停車費等
而言品牌究竟代表什麼？
售商店的品牌權益又如何衡量？
以購物成本為零售商店 品牌權益的衡量基礎
不同於產品公司的核心營運動源 09 為：
產品品牌如是，那麼對於零售商店
新品牌 進入障礙
心理成本增多
不能過度也不能太少，設計適時適度的
設計研發、製造、原料、品管、服務等
07
機會成本
購物者愈不願 意嘗試認識其 他店新零售商 店品牌進入障 礙也愈高
既然自有品牌產品的溢價不足以判斷，
10
12
零售商店的品牌權益
於是筆者大膽原創假設：若購物者願 意付出額外購物成本 21 在某零售商店選
就在於：消費者與購物者不同，消費者
若購物者願意付 出額外購物成本 在某零售商店選 購，則可稱該零 售商店具有品牌 權益。
是最具優勢的機會點，即是必須在一個
專用和獨家商品。筆者認為，自有品
時間成本：來店次數頻率、店內停留時
零售商店品牌是一個整體店形象 08，
空間內同時呈現出所有有形 13、無形 14、
牌只是零售商用以豐富商品選項、區別
間、路程往返時間
示購物者對該零售商店品牌愈信任愈偏
用以代表零售業種、一種商品組合以及
多感官 、動態 的特性，塑造一個品
於其他競爭店、提高毛利、增加與供應
機會成本：放棄可能在其他商店找到更
好。若投入的心理成本愈多，購物者愈
購物環境，賦予商店個性以聚集類似的
牌經驗。
商議價能力的手法之一，該溢價只能當
理想產品的機會
不願意嘗試認識其他店，新零售商店品
作驗證參考，而不能以此判斷零售商店
心理成本：對該商店的記憶力、熟悉度等
牌進入障礙也愈高。
的品牌權益。畢竟大多數自有品牌是採
此廣義的購物成本可以解釋為何
模仿包裝與低價策略 20、隸屬於店內某
購物者在知名連鎖店、相較於街邊獨立
品類且深受該品類策略所牽制、不具有
店、會期望因為規模經濟而買到較便宜
獨立產品品牌個性、並且無法獨立於該
的商品。也可以解釋為何願意舟車勞頓
零售商店之外競爭生存。事實上，用自
到郊區大型量販店購買較低單價商品。
零售商店是產品行銷通路的其中之一
有品牌產品的溢價來衡量商店的品牌權
若願意在店內停留的時間愈長，則愈
種，可是，零售商店的品牌經營卻經常
益，這樣的討論也算是產品品牌混淆零
可能增加購買原本沒計劃或正在促銷的
被混淆，雖然與產品品牌的概念類似，
售商店品牌的證據之一。
產品。若願意放棄的機會成本愈大，表
但建立架構卻是大不相同，根本的原因
15
16
零售商店品牌管理的最大挑戰，也是最 具優勢的機會點，即是必須在一個空間 內同時呈現出所有有形、無形、多感官、 動態的特性，塑造一個品牌經驗。
零售商店的品牌經營 經常被混淆
對產品公司的期望、與購物者對零售商 的期望也不同。
原文之中英文對照 01 使用特性 FEATURE 02 功能 BENEFIT 03 識別 INDENTITY 04 原始產品 GENERIC UNBRANDED PRODUCT 05 差價 PRICE PREMIUM 06 品牌權益 BRAND EQUITY 07 零售商店 RETAILER 08 商店形象 STORE IMAGE 09 營運動源 BUSINESS DRIVER 10 使用需求 DEMAND 11 品牌管理 BRAND MANAGEMENT 12 來客人潮 TRAFFIC 13 有形 TANGIBLE 14 無形 INTANGIBLE 15 多感官 MULTI-SENSORY 16 動態 DYNAMIC 17 期望落差 EXPECTATION DISCONFIRMATION 18 品牌承諾 BRAND COMMITMENT 19 自有品牌 PRIVATE LABEL PRIVATE BRAND 20 模仿包裝與低價策略 COPYCAT PRICING 21 購物成本 SHOPPING COST
筆者將於下期繼續撰文比較兩者的品牌建立架構， 以及一個被信賴的零售商店品牌究竟背負了哪些購 物者期望。
32,00
CLOSER LOOK
33,00
在此揭露看待產品行銷、消費購物的全新眼光。
購物成本動源
產品品牌 vs. 零售商店品牌（上 ）
可能增加購買 原本沒計劃或 當期促銷產品
時間成本增長
NT
零售商店的品牌經營經常被混淆，雖然與產品品牌的概念類似，但建立架構卻是大不相同。
產品 購買率
¥ ＄
D E A B C
貨幣成本
1L
999
B
交通成本
購物者對該零 售商店品牌愈 信任愈偏好
機會成本增高
心理成本
B
品牌 信任度
B
購物成本 B
A B C
BY Jj & Co.
購物者，確立識別以區別於其它競爭
值得注意的是，若心理預期與實
店，不僅如此，零售商店品牌也影響了
際經驗不一致則產生期望落差 17，影響
品牌是企業的無形資產，已廣為市場所
購物者在選購過程中傾向到哪裡尋找心
品牌權益。往往負面落差所帶來的負面
重視。對於產品來說，品牌是一個整體
中理想的產品─不論理想產品可能會
影響程度遠大於正面落差所帶來的正面
形象，用以代表使用特性 01 及功能 02，
是任何品牌。
影響。意思是說，品牌所提出的承諾 18
賦予個性引人認同與偏好，確立識別 03 以區別於其他競爭產品，不僅如此，品 牌也背負了消費者對其產品公司整體的
時間成本
零售商店的品牌管理
驚喜可逐步提昇品牌權益。 產品的品牌權益如上述，那麼零
期望，並且讓消費者相較於原始產品
04
消費者的產品使用需求 ，零售商的則
願意付出額外差價取得該品牌產品。這
為：購物者的來客人潮。相對於產品的
額外差價 05，可被用來衡量部份的品牌
品牌管理 11 目標為：創造需求、並且使
權益 06。若願意額外付出的差價為零或
消費者的心理預期與實際「 產品使用經
關於零售商店品牌的討論常被集中在自
購，則可稱該零售商店具有品牌權益。
趨近於零，品牌不能稱之為品牌，充其
驗 」一致，零售商店的則為：創造來客
有品牌產品 19 的溢價。自有品牌意指大
所謂的購物成本包括：
量只能算是一廂情願地被印在產品上的
人潮 、並且使購物者的心理預期與實
型連鎖零售商與製造商簽約大量進貨、
所購買產品的貨幣成本：產品可能會是
標籤罷了。
際「 選購經驗 」一致。
或委託生產、或合作開發產品，再印上
任何品牌或是自有品牌產品
零售商店品牌管理的最大挑戰，也
零售商的自有品牌或商標，為該商店的
交通成本：例如油價、車資、停車費等
而言品牌究竟代表什麼？
售商店的品牌權益又如何衡量？
以購物成本為零售商店 品牌權益的衡量基礎
不同於產品公司的核心營運動源 09 為：
產品品牌如是，那麼對於零售商店
新品牌 進入障礙
心理成本增多
不能過度也不能太少，設計適時適度的
設計研發、製造、原料、品管、服務等
07
機會成本
購物者愈不願 意嘗試認識其 他店新零售商 店品牌進入障 礙也愈高
既然自有品牌產品的溢價不足以判斷，
10
12
零售商店的品牌權益
於是筆者大膽原創假設：若購物者願 意付出額外購物成本 21 在某零售商店選
就在於：消費者與購物者不同，消費者
若購物者願意付 出額外購物成本 在某零售商店選 購，則可稱該零 售商店具有品牌 權益。
是最具優勢的機會點，即是必須在一個
專用和獨家商品。筆者認為，自有品
時間成本：來店次數頻率、店內停留時
零售商店品牌是一個整體店形象 08，
空間內同時呈現出所有有形 13、無形 14、
牌只是零售商用以豐富商品選項、區別
間、路程往返時間
示購物者對該零售商店品牌愈信任愈偏
用以代表零售業種、一種商品組合以及
多感官 、動態 的特性，塑造一個品
於其他競爭店、提高毛利、增加與供應
機會成本：放棄可能在其他商店找到更
好。若投入的心理成本愈多，購物者愈
購物環境，賦予商店個性以聚集類似的
牌經驗。
商議價能力的手法之一，該溢價只能當
理想產品的機會
不願意嘗試認識其他店，新零售商店品
作驗證參考，而不能以此判斷零售商店
心理成本：對該商店的記憶力、熟悉度等
牌進入障礙也愈高。
的品牌權益。畢竟大多數自有品牌是採
此廣義的購物成本可以解釋為何
模仿包裝與低價策略 20、隸屬於店內某
購物者在知名連鎖店、相較於街邊獨立
品類且深受該品類策略所牽制、不具有
店、會期望因為規模經濟而買到較便宜
獨立產品品牌個性、並且無法獨立於該
的商品。也可以解釋為何願意舟車勞頓
零售商店之外競爭生存。事實上，用自
到郊區大型量販店購買較低單價商品。
零售商店是產品行銷通路的其中之一
有品牌產品的溢價來衡量商店的品牌權
若願意在店內停留的時間愈長，則愈
種，可是，零售商店的品牌經營卻經常
益，這樣的討論也算是產品品牌混淆零
可能增加購買原本沒計劃或正在促銷的
被混淆，雖然與產品品牌的概念類似，
售商店品牌的證據之一。
產品。若願意放棄的機會成本愈大，表
但建立架構卻是大不相同，根本的原因
15
16
零售商店品牌管理的最大挑戰，也是最 具優勢的機會點，即是必須在一個空間 內同時呈現出所有有形、無形、多感官、 動態的特性，塑造一個品牌經驗。
零售商店的品牌經營 經常被混淆
對產品公司的期望、與購物者對零售商 的期望也不同。
原文之中英文對照 01 使用特性 FEATURE 02 功能 BENEFIT 03 識別 INDENTITY 04 原始產品 GENERIC UNBRANDED PRODUCT 05 差價 PRICE PREMIUM 06 品牌權益 BRAND EQUITY 07 零售商店 RETAILER 08 商店形象 STORE IMAGE 09 營運動源 BUSINESS DRIVER 10 使用需求 DEMAND 11 品牌管理 BRAND MANAGEMENT 12 來客人潮 TRAFFIC 13 有形 TANGIBLE 14 無形 INTANGIBLE 15 多感官 MULTI-SENSORY 16 動態 DYNAMIC 17 期望落差 EXPECTATION DISCONFIRMATION 18 品牌承諾 BRAND COMMITMENT 19 自有品牌 PRIVATE LABEL PRIVATE BRAND 20 模仿包裝與低價策略 COPYCAT PRICING 21 購物成本 SHOPPING COST
筆者將於下期繼續撰文比較兩者的品牌建立架構， 以及一個被信賴的零售商店品牌究竟背負了哪些購 物者期望。
44,00
BUSINESS PLUS
45,00
每期我們提出將台灣的產業外銷到國外市場，或是走向全球化的創意建議。
設計師玩具一覽
童心是創造獲利的最佳元素。
玩具博物館 = 中國都會新景點
國 現 代 藝 術 家 岳 敏 君 的「 1000%
是為什麼我們相信設計師玩具博物館是 行得通的，也會吸引大批人潮。
家、插畫家或設計師所創造的玩具，
BE@RBRICK 」拍得一百萬元人民幣； 在 EBAY 上，市價一千元至九千元台
限量生產五十到三千件。這個運動是
幣的十五公分高設計師玩具可以標達原
由 香 港 創 意 人 麥 可 · 劉（ MICHAEL
價兩倍。一百五十公分的玩具售價則從
每個產業都該把路易威登當成它的頭號
LAU ）和他那一百個超酷的城市軟膠人
五萬元到三十萬元不等；更別提賣出的
競爭和商業模範。如果我們在周末只有
物發起的，其他知名的軟膠玩具創造
幾百萬個百元以下、高三點五到五公分
兩小時自由時間，大可以拿來造訪美妙
者有村上隆（ TAKASHI MURAKAMI ）
的鑰匙圈或盒裝玩具等小玩意兒。
的 LV 世界時，誰還需要去無聊的博物
「 設計師玩具 」一詞是用來描述由藝術
15 座玩具博物館在中國
最 近 在 北 京 藝 術 拍 賣 會 上， 中
設計師玩具的新衣
和 大 名 鼎 鼎「 B E @ R B R I C K 」 及
街頭充斥的仿冒提包可以被解釋成
館呢？無論你到中國哪個城市，LV 店
「KUBRICK」系列的創造者梅狄康
一個品牌成功與否，畢竟人們通常只仿
面總是擠滿了人，博物館則不然。這一
（ MEDICOM ）。梅狄康以邀請名藝術
冒炙手可熱的商品。路易威登（ LOUIS
定是某種徵兆。
家彩繪 BE@RBRICK 開創先鋒，從發
師、建築師、律師和銀行家，他們可以
通，每一個都是收藏品。設計師玩具有
VUITTON ）痛恨仿冒的 LV 包包，但是 他們也非常清楚對仿冒 LV 的需求消失 的那一天，就是 LV 過氣的時候。走上
著許多藝術、設計、文化和創意的靈魂
台灣和中國大陸的街頭，你也可以看到
部分的設計師玩具不是在「 地下 」非主
在其中，它們任重道遠，現在終於步入
幾百萬個和 BE@RBRICK 長得很像的
流年輕人開的小店裡賣就是在網路上
了香奈兒（CHANEL ）和芬迪（FENDI ）
仿冒品，足以證明設計師玩具產業正蓬
賣，這些地方既不新潮又不時尚。如
的殿堂。
勃發展，也充分融入日常購物中。這也
果要讓設計師玩具博物館吸引大眾，我
起到現在已有上千個版本在市場上流
會買玩具的人通常是青少年、設計 用白金信用卡輕鬆消費一萬元。不過大
藝術家與品牌合作的設計師玩具產業
A. 一個新的玩具博物館因為其玩具收藏作品，而成為都會裡深具風格的新景點
BY 包益民
來，成人也會驚訝於裡面的作品以及其
商品。但是中國文化通常貶低童真在一
帶來的利潤。我們現在要談的是一個新
個人內心裡的力量，中國文化鼓勵合宜
我們每個人都有一體三面：父母、成人
的玩具博物館，具體來說，一個有著軟
的行為，而打破常規和犯難冒險都被認
和小孩。無論我們如何成熟和老化，
膠「 設計師玩具 」的博物館。
為是不成熟和愚蠢的。我們忘了不滿足
我們一生中將不斷地運用轉換這三種人
我們永遠不會老到不再玩玩具。
社會期望原來這麼有趣，也忽略美國人
格。我們永遠不可能逃脫其一並只是
男 人 的 玩 具 是 車 子 和 動 作 英 雄，
光靠創造夢想和歡樂開創了多大的利
當一個父母、成人或小孩。維京集團
女人的玩具則是芭比娃娃或凱蒂貓
潤。世界的進步日新月異，大家靠著幻
（ VIRGIN GROUP ）的老闆理查 · 布蘭
（ HELLO KITTY ）；連成年人都排隊買
想世界得到立即的救贖，商店、戲院、
森（ RICHARD BRANSON ）面對冒險
麥當勞最新的歡樂兒童餐。施華洛奇
餐廳、主題樂園和戶外活動則成為城市
時非常像個小孩，但是處理起生意來又
（ SWAROVSKI ）的水晶動物是賣得最
裡的五大娛樂。我們相信一個新的玩具
相當成熟，也是員工和自己家庭的衣食
好的長紅商品；〈 玩具總動員 〉、〈 史瑞
博物館會因為帶來很棒的玩具收藏作
父母。現在就讓我們來探索一個未開發
克 〉或〈 功夫貓熊 〉等電影吸引各年齡
品、耀眼的室內空間和有創意的禮品店
的商機，它不僅吸引我們每個人心裡的
層的人心中的孩子；米老鼠、米妮和史
而成為都會裡的新景點。
孩童，父母將會滿心歡喜地帶著孩子前
努比等人物為了大人們換裝成不同的
B. MICHAEL LAU 和 NIKE 合作的 NIKE PRO 玩偶
C. 飛雅特汽車和 QEE 合作推出獨一無二
D. 村上隆與路易．威登合作的動漫風格玩偶
的足球遊戲
E. 義大利設計師 FELICELIMOSANI 和 ROBERTO CAVALLI, ALESSANDRA D'AQUA, MISSONI, BALLANTYNE 以及 LANVIN 在 TOY FASHION TOUR ITALY 展覽的 QEE
F. COACH 與 CHANEL BE@RBRICK 共同為香港 血癌基金募款而製作的 LOVE IS BE@RBRICK
44,00
BUSINESS PLUS
45,00
每期我們提出將台灣的產業外銷到國外市場，或是走向全球化的創意建議。
設計師玩具一覽
童心是創造獲利的最佳元素。
玩具博物館 = 中國都會新景點
國 現 代 藝 術 家 岳 敏 君 的「 1000%
是為什麼我們相信設計師玩具博物館是 行得通的，也會吸引大批人潮。
家、插畫家或設計師所創造的玩具，
BE@RBRICK 」拍得一百萬元人民幣； 在 EBAY 上，市價一千元至九千元台
限量生產五十到三千件。這個運動是
幣的十五公分高設計師玩具可以標達原
由 香 港 創 意 人 麥 可 · 劉（ MICHAEL
價兩倍。一百五十公分的玩具售價則從
每個產業都該把路易威登當成它的頭號
LAU ）和他那一百個超酷的城市軟膠人
五萬元到三十萬元不等；更別提賣出的
競爭和商業模範。如果我們在周末只有
物發起的，其他知名的軟膠玩具創造
幾百萬個百元以下、高三點五到五公分
兩小時自由時間，大可以拿來造訪美妙
者有村上隆（ TAKASHI MURAKAMI ）
的鑰匙圈或盒裝玩具等小玩意兒。
的 LV 世界時，誰還需要去無聊的博物
「 設計師玩具 」一詞是用來描述由藝術
15 座玩具博物館在中國
最 近 在 北 京 藝 術 拍 賣 會 上， 中
設計師玩具的新衣
和 大 名 鼎 鼎「 B E @ R B R I C K 」 及
街頭充斥的仿冒提包可以被解釋成
館呢？無論你到中國哪個城市，LV 店
「KUBRICK」系列的創造者梅狄康
一個品牌成功與否，畢竟人們通常只仿
面總是擠滿了人，博物館則不然。這一
（ MEDICOM ）。梅狄康以邀請名藝術
冒炙手可熱的商品。路易威登（ LOUIS
定是某種徵兆。
家彩繪 BE@RBRICK 開創先鋒，從發
師、建築師、律師和銀行家，他們可以
通，每一個都是收藏品。設計師玩具有
VUITTON ）痛恨仿冒的 LV 包包，但是 他們也非常清楚對仿冒 LV 的需求消失 的那一天，就是 LV 過氣的時候。走上
著許多藝術、設計、文化和創意的靈魂
台灣和中國大陸的街頭，你也可以看到
部分的設計師玩具不是在「 地下 」非主
在其中，它們任重道遠，現在終於步入
幾百萬個和 BE@RBRICK 長得很像的
流年輕人開的小店裡賣就是在網路上
了香奈兒（CHANEL ）和芬迪（FENDI ）
仿冒品，足以證明設計師玩具產業正蓬
賣，這些地方既不新潮又不時尚。如
的殿堂。
勃發展，也充分融入日常購物中。這也
果要讓設計師玩具博物館吸引大眾，我
起到現在已有上千個版本在市場上流
會買玩具的人通常是青少年、設計 用白金信用卡輕鬆消費一萬元。不過大
藝術家與品牌合作的設計師玩具產業
A. 一個新的玩具博物館因為其玩具收藏作品，而成為都會裡深具風格的新景點
BY 包益民
來，成人也會驚訝於裡面的作品以及其
商品。但是中國文化通常貶低童真在一
帶來的利潤。我們現在要談的是一個新
個人內心裡的力量，中國文化鼓勵合宜
我們每個人都有一體三面：父母、成人
的玩具博物館，具體來說，一個有著軟
的行為，而打破常規和犯難冒險都被認
和小孩。無論我們如何成熟和老化，
膠「 設計師玩具 」的博物館。
為是不成熟和愚蠢的。我們忘了不滿足
我們一生中將不斷地運用轉換這三種人
我們永遠不會老到不再玩玩具。
社會期望原來這麼有趣，也忽略美國人
格。我們永遠不可能逃脫其一並只是
男 人 的 玩 具 是 車 子 和 動 作 英 雄，
光靠創造夢想和歡樂開創了多大的利
當一個父母、成人或小孩。維京集團
女人的玩具則是芭比娃娃或凱蒂貓
潤。世界的進步日新月異，大家靠著幻
（ VIRGIN GROUP ）的老闆理查 · 布蘭
（ HELLO KITTY ）；連成年人都排隊買
想世界得到立即的救贖，商店、戲院、
森（ RICHARD BRANSON ）面對冒險
麥當勞最新的歡樂兒童餐。施華洛奇
餐廳、主題樂園和戶外活動則成為城市
時非常像個小孩，但是處理起生意來又
（ SWAROVSKI ）的水晶動物是賣得最
裡的五大娛樂。我們相信一個新的玩具
相當成熟，也是員工和自己家庭的衣食
好的長紅商品；〈 玩具總動員 〉、〈 史瑞
博物館會因為帶來很棒的玩具收藏作
父母。現在就讓我們來探索一個未開發
克 〉或〈 功夫貓熊 〉等電影吸引各年齡
品、耀眼的室內空間和有創意的禮品店
的商機，它不僅吸引我們每個人心裡的
層的人心中的孩子；米老鼠、米妮和史
而成為都會裡的新景點。
孩童，父母將會滿心歡喜地帶著孩子前
努比等人物為了大人們換裝成不同的
B. MICHAEL LAU 和 NIKE 合作的 NIKE PRO 玩偶
C. 飛雅特汽車和 QEE 合作推出獨一無二
D. 村上隆與路易．威登合作的動漫風格玩偶
的足球遊戲
E. 義大利設計師 FELICELIMOSANI 和 ROBERTO CAVALLI, ALESSANDRA D'AQUA, MISSONI, BALLANTYNE 以及 LANVIN 在 TOY FASHION TOUR ITALY 展覽的 QEE
F. COACH 與 CHANEL BE@RBRICK 共同為香港 血癌基金募款而製作的 LOVE IS BE@RBRICK
46,00
47,00
ICB 十大設計師玩具
設計師玩具博物館與異業結盟，創造全新消費體驗
以下是我們的最愛，你可以上網欣賞它們的迷人之處以及市場價值。
I.
1.
2.
3.
4.
5.
G.
J.
6.
H.
K.
G ∼ H. 世界級的設計師將博物館裝潢得像精品店一樣夢幻而華麗 I ∼ K. 可以吃的巧克力，可以用的隨身碟，可以住的精品旅館，都是設計師玩具的異業延伸
們一定得植入 LV 的時髦消費體驗。我
至於博物館的外面，我們會放幾個
的故事，設計師玩具也是賞心悅目的，
們需要注入如馬梭．萬德（ MARCEL
巨型玩具來當作地標或景點。就算什麼
要買也不貴。更棒的是，訪客應該很
WANDER ） 這 樣 的 世 界 級 室 內 設 計
都不買，訪客也可以拍照留念。
欣慰許多設計師玩具都有很好的轉賣
師心血，讓我們的玩具博物館和古馳 （ GUCCI ）商店一樣富麗堂皇；所有玩 具展示櫃都該像卡地亞（ CARTIER ）
報酬。我們鎖定會去設計師玩具博物館
設計師玩具可不是小生意
的目標族群是十四到四十五歲的男性和 女性，也大約是一個中國城市 67.5%
和巴卡拉（ BACCARAT ）的一樣；每
經營玩具博物館有好幾百萬種方
的人口。在台灣，這相等於一年 1 千 6
個人看完展覽都應該開心的不得了並繼
法，而我們想專注於設計師玩具，因
百 20 萬個訪客。假設我們收取可在禮
續享受逛逛美妙禮品店的樂趣；無論他
為如先前所提，它是一個混合時尚、
品店抵用的台幣一百元門票，代表博物
們花十元還是十萬元買設計師玩具，都
文化、藝術、創意和設計並極有潛力的
館可以有 16 億 2 千萬元的營收。所以
會很驕傲地提著如第凡內（ TIFFANY ）
類別。當中國正填鴨式地建造文化中心
如果你的年齡是十四到四十五歲，相信
和愛馬仕（ HERMÈS ）等象徵品牌顏色
或本地博物館，我們相信在每個城市蓋
你心中仍有一個小孩，並崇尚時尚、藝
的購物袋。虛榮既然在時尚和商業領域
一座設計師玩具博物館可以是非常激勵
術、設計和創意帶來的樂趣，那麼這座
暢行無阻，在我們的設計師玩具博物館
人、高娛樂和高獲利的。它真的適合每
設計師玩具博物館是獻給你的，世界上
裡應該也是行得通的。
一個人，即使一位訪客並不熟悉其背後
再沒有一個地方和它一樣。
7.
8.
9.
10.
1. JAMES JARVIS KING KEN
6. KUBRUCKS 400% EAMES KUBRICK
2. MICHAEL LAU CSBOOTH15 GARDENER STILL: 23
7. KIDROBOT MUNNY
3. KAWS DISSECTED COMPANION THE FIRST
8. GORILLAZ GORILLAZ WHITE: RUSSEL
4. PEECOL NUKE
9. GARY BASEMAN DUNCES
5. QEE CUSTOM ADIDAS QEE
10. BE@RBRICK 400% JWYED
為群眾而生的藝術 我們近期和 MOT ARTS 限量推出一百套藝術玩具 （ ART FOR THE MASSES ） 。PPONE 和中國藝術策 展人彬彬取材於備受推崇的中國現代藝術家共同設計而 成，素材由畫布延伸到雕塑。其中一件展示品則是街頭 藝術大師考斯（ KAWS ）和岳敏君的跨界合作。上市的 幾小時以內，網路即發布消息認定其為軟膠玩具世界的 頭號盛事，甚至超越〈 星際大戰 〉 （ STAR WARS ） 。 如今這件作品估計有 60 萬元台幣以上的價值。 www.motstyle.com.tw www.ppgroups.net
46,00
47,00
ICB 十大設計師玩具
設計師玩具博物館與異業結盟，創造全新消費體驗
以下是我們的最愛，你可以上網欣賞它們的迷人之處以及市場價值。
I.
1.
2.
3.
4.
5.
G.
J.
6.
H.
K.
G ∼ H. 世界級的設計師將博物館裝潢得像精品店一樣夢幻而華麗 I ∼ K. 可以吃的巧克力，可以用的隨身碟，可以住的精品旅館，都是設計師玩具的異業延伸
們一定得植入 LV 的時髦消費體驗。我
至於博物館的外面，我們會放幾個
的故事，設計師玩具也是賞心悅目的，
們需要注入如馬梭．萬德（ MARCEL
巨型玩具來當作地標或景點。就算什麼
要買也不貴。更棒的是，訪客應該很
WANDER ） 這 樣 的 世 界 級 室 內 設 計
都不買，訪客也可以拍照留念。
欣慰許多設計師玩具都有很好的轉賣
師心血，讓我們的玩具博物館和古馳 （ GUCCI ）商店一樣富麗堂皇；所有玩 具展示櫃都該像卡地亞（ CARTIER ）
報酬。我們鎖定會去設計師玩具博物館
設計師玩具可不是小生意
的目標族群是十四到四十五歲的男性和 女性，也大約是一個中國城市 67.5%
和巴卡拉（ BACCARAT ）的一樣；每
經營玩具博物館有好幾百萬種方
的人口。在台灣，這相等於一年 1 千 6
個人看完展覽都應該開心的不得了並繼
法，而我們想專注於設計師玩具，因
百 20 萬個訪客。假設我們收取可在禮
續享受逛逛美妙禮品店的樂趣；無論他
為如先前所提，它是一個混合時尚、
品店抵用的台幣一百元門票，代表博物
們花十元還是十萬元買設計師玩具，都
文化、藝術、創意和設計並極有潛力的
館可以有 16 億 2 千萬元的營收。所以
會很驕傲地提著如第凡內（ TIFFANY ）
類別。當中國正填鴨式地建造文化中心
如果你的年齡是十四到四十五歲，相信
和愛馬仕（ HERMÈS ）等象徵品牌顏色
或本地博物館，我們相信在每個城市蓋
你心中仍有一個小孩，並崇尚時尚、藝
的購物袋。虛榮既然在時尚和商業領域
一座設計師玩具博物館可以是非常激勵
術、設計和創意帶來的樂趣，那麼這座
暢行無阻，在我們的設計師玩具博物館
人、高娛樂和高獲利的。它真的適合每
設計師玩具博物館是獻給你的，世界上
裡應該也是行得通的。
一個人，即使一位訪客並不熟悉其背後
再沒有一個地方和它一樣。
7.
8.
9.
10.
1. JAMES JARVIS KING KEN
6. KUBRUCKS 400% EAMES KUBRICK
2. MICHAEL LAU CSBOOTH15 GARDENER STILL: 23
7. KIDROBOT MUNNY
3. KAWS DISSECTED COMPANION THE FIRST
8. GORILLAZ GORILLAZ WHITE: RUSSEL
4. PEECOL NUKE
9. GARY BASEMAN DUNCES
5. QEE CUSTOM ADIDAS QEE
10. BE@RBRICK 400% JWYED
為群眾而生的藝術 我們近期和 MOT ARTS 限量推出一百套藝術玩具 （ ART FOR THE MASSES ） 。PPONE 和中國藝術策 展人彬彬取材於備受推崇的中國現代藝術家共同設計而 成，素材由畫布延伸到雕塑。其中一件展示品則是街頭 藝術大師考斯（ KAWS ）和岳敏君的跨界合作。上市的 幾小時以內，網路即發布消息認定其為軟膠玩具世界的 頭號盛事，甚至超越〈 星際大戰 〉 （ STAR WARS ） 。 如今這件作品估計有 60 萬元台幣以上的價值。 www.motstyle.com.tw www.ppgroups.net
72,00
73,00
and accorded rock star status. In the introduction of his book he explains where his concepts came from; finally seeing his first born after difficult years struggling with infertility, he wanted to make the world a more safe and nurturing place. Friedman is not only a visionary idealist but has the zeal and can do attitude of an entrepreneur. Life is not a zero sum game but requires a leader to see from a higher perspective, balancing private and public life, community and work so that they enhance each other rather than negate.
ENGLISH TEXT
EDITOR'S LETTER FROM P. 8
THE WILL OF SHANGHAI Some cities are just born with more mystique and charm than others: Paris is known for sleepless, romantic nightlife; Milan is the fashion capital of the world; New York is known for its diverse cultural scene and Tokyo for its original creativity. It is true that the future belongs to the East, and we believe the future lies with China and the heart of its cities, Shanghai. Shanghai could be in the same league as Paris, London, Milan, New York and Tokyo, and still stand uniquely on its own. We love Shanghai for its pioneering spirits and the many creative aspects of city life it provides. It will be to no surprise that Shanghai will one day take the world of fashion, art, design, food and business by storm; we are just counting how long it will take. By the looks of it, it’ll happen soon, very soon. ICB EDITORIAL TEAM
CREATIVE DOCTOR BY SARAH CHEN FROM P. 14~15
HOW DO TO BE A BETTER LEADER Every time I return to Taiwan I ransack the legendary bookstore Eslite and I am surprised at the quantity of books in the leadership development category. I read things by Harvard Publishing on business and I have come to realize that leadership and management has become a school of thought that everyone wants to learn. The majority of these styles of books are written by renowned CEO’s, for example Morris Chang of Taiwan Semiconductor and Jack Welch of GE, otherwise known as “Neutron Jack”. Their level of experience is utmost and rare and perhaps never realized by middle managers, so the application to this target group may be difficult to grasp. I recently read a book called Total Leadership: Be a Better Leader, Have a Richer Life. The author, Stewart Friedman, is a management professor at the Wharton School at the University of Pennsylvania, with a visionary perspective on leadership, presented in a revolutionary and refreshing manner. Lee Dung Fan wrote a historical treatise on the cyclical nature of China’s political structures, from cohesion to fragmentation and back again. One can find similar characteristics in corporate culture, the rise and fall of economies resulting in profit driven business at the expense of employees versus one more inclusive and solicitous. The popularity of Friedman’s book indicates that we are at that time where the corporate world is embracing a more holistic and integrated leadership. According to the NY Times, unlike your typical highbrowed businessman and professor, he is revered by his students
FOUR DOMAINS OF LIFE Stewart Friedman divides life into four domains: work, family, community and self, which are interconnected. There is a story of Da Yu, a flood engineer who for three years bypassed his house doing his duty, so devoted was he to his job. Celebrated as an example of selfsacrifice to the community, it seems in fact to be a limited way priority setting. Any leader with depth must invest time with himself, be concerned with the community, stay connected with his family all the while making significant contributions to his career. They are not only interested in accomplishing things but also invested in bettering themselves while pursuing a meaningful life. BE AUTHENTIC, BE WHOLE, BE INNOVATIVE The Bible says believing in God is the beginning of wisdom. While I never fully understood this, it indicates that having spiritual belief leads to looking inward and self-examination. Likewise, to achieve the success of the four domains requires engagement of both the body and mind. BE AUTHENTIC Compile an honest list of your true expectations in each of the four domains that match your core values. Do so with the same level of commitment as making a contract. It is not enough that you believe it, you must also express it in your circle. BE WHOLE Respect yourself and others as a whole person BE INNOVATIVE Learn how to fully leverage your resources and strengths, increase your efficiency by knowing when to delegate and seek help in new ways. Act with creativity by experimenting to find new solutions. In the end it is more important to work smart than to work hard.
THE CONCEPT OF STAKEHOLDER
DESIGN APPRECIATION BY ALICE RAWSTHORN
Stakeholder is a 16th century English term originating from gambling. The Oxford Law dictionary defines it as the keeper of the bet. It can also be viewed as a group of people who have a common interest in something. Before reading this book, I was never conscious of their existence or importance. Friedman wants you to carefully examine and identify all the important stakeholders in each domain of your life, as well as write down your expectations of them and what you think they expect from you. Once identified, you can begin a conversation with them and determine if there is a gap between expectation and reality. If a gap exists, negotiate until a consensus is reached and ask for resources and assistance in the spirit of a partnership. Having this conversation will solidify and consolidate trust between you and your stakeholders. I am not sure how open Taiwanese would be to engage in this type of conversation between colleagues, family and friends but it was an eye opening experience for me.
FROM P.22~P.23
INTERCONNECTIVITY In psychology there is a concept known as compartmentalization, used to describe the tendency to split concepts into arbitrary parts without allowing them to mix together, for convenience or efficiency. Modern society tends to impose this inhibiting behavior to the point of denial of human nature. While we do need to separate private life from work life, there is an undeniable and subtle connectivity between them. For example, a person who does not have a good relationship with their father tends to face more challenges dealing with an authority figure at work, while having difficulty in maternal relations leads to marital difficulties. If a person can improve their private relationships they will conversely better their work relationships too. Thus spending more time on our private life will automatically and with little added effort ameliorate the work environment. One need not fear that focusing on one will take time away from the other for a synergy is created that works across the spectrum.
LIFETIME COMMITMENT This is a lifelong task. It is a continual process that through repetition and persistence grows fruit.
AIPORT SIGNAGE
Passing through Zurich Airport recently was an unexpectedly soothing experience. The terminals felt calm and orderly, just as an airport is supposed to, but rarely do, and I wondered why. It wasn’t the architecture, because the glass and steel sheds look exactly like those of hundreds of other international airports. Nor was it the location, which was equally unremarkable, but then I realized, it was the signs. That’s right, the signs – the assortments of words and symbols telling you where to go and what to do. The signs at Zurich Airport aren’t especially stylish, but they are very easy to read. The letters and numbers are depicted in a crisp, no-frills font without any of those squiggly serifs at the ends of letters. The illustrated symbols have been cutout from plain white squares in simple, instantly recognizable shapes – a knife fork and spoon for the café, and so on. All of them are in white, which stands out clearly against the dark red terminal walls and soft black overhead signs. Unlike the blizzard of signage that greets you at the various London and New York airports, there aren’t many signs at Zurich, but whenever I needed to check where I was going, one seemed to appear. They guided me through the airport so deftly, that I never worried about getting lost – and that’s why it felt soothing to be there. Sadly, most airport signage isn’t like that, but Zurich’s is different, because all of its signs have been the work of one man – the veteran Swiss graphic designer, Ruedi Rüegg – for more than 35 years. He’s done other design schemes, including ones for Zurich Opera House and the Swiss
72,00
73,00
and accorded rock star status. In the introduction of his book he explains where his concepts came from; finally seeing his first born after difficult years struggling with infertility, he wanted to make the world a more safe and nurturing place. Friedman is not only a visionary idealist but has the zeal and can do attitude of an entrepreneur. Life is not a zero sum game but requires a leader to see from a higher perspective, balancing private and public life, community and work so that they enhance each other rather than negate.
ENGLISH TEXT
EDITOR'S LETTER FROM P. 8
THE WILL OF SHANGHAI Some cities are just born with more mystique and charm than others: Paris is known for sleepless, romantic nightlife; Milan is the fashion capital of the world; New York is known for its diverse cultural scene and Tokyo for its original creativity. It is true that the future belongs to the East, and we believe the future lies with China and the heart of its cities, Shanghai. Shanghai could be in the same league as Paris, London, Milan, New York and Tokyo, and still stand uniquely on its own. We love Shanghai for its pioneering spirits and the many creative aspects of city life it provides. It will be to no surprise that Shanghai will one day take the world of fashion, art, design, food and business by storm; we are just counting how long it will take. By the looks of it, it’ll happen soon, very soon. ICB EDITORIAL TEAM
CREATIVE DOCTOR BY SARAH CHEN FROM P. 14~15
HOW DO TO BE A BETTER LEADER Every time I return to Taiwan I ransack the legendary bookstore Eslite and I am surprised at the quantity of books in the leadership development category. I read things by Harvard Publishing on business and I have come to realize that leadership and management has become a school of thought that everyone wants to learn. The majority of these styles of books are written by renowned CEO’s, for example Morris Chang of Taiwan Semiconductor and Jack Welch of GE, otherwise known as “Neutron Jack”. Their level of experience is utmost and rare and perhaps never realized by middle managers, so the application to this target group may be difficult to grasp. I recently read a book called Total Leadership: Be a Better Leader, Have a Richer Life. The author, Stewart Friedman, is a management professor at the Wharton School at the University of Pennsylvania, with a visionary perspective on leadership, presented in a revolutionary and refreshing manner. Lee Dung Fan wrote a historical treatise on the cyclical nature of China’s political structures, from cohesion to fragmentation and back again. One can find similar characteristics in corporate culture, the rise and fall of economies resulting in profit driven business at the expense of employees versus one more inclusive and solicitous. The popularity of Friedman’s book indicates that we are at that time where the corporate world is embracing a more holistic and integrated leadership. According to the NY Times, unlike your typical highbrowed businessman and professor, he is revered by his students
FOUR DOMAINS OF LIFE Stewart Friedman divides life into four domains: work, family, community and self, which are interconnected. There is a story of Da Yu, a flood engineer who for three years bypassed his house doing his duty, so devoted was he to his job. Celebrated as an example of selfsacrifice to the community, it seems in fact to be a limited way priority setting. Any leader with depth must invest time with himself, be concerned with the community, stay connected with his family all the while making significant contributions to his career. They are not only interested in accomplishing things but also invested in bettering themselves while pursuing a meaningful life. BE AUTHENTIC, BE WHOLE, BE INNOVATIVE The Bible says believing in God is the beginning of wisdom. While I never fully understood this, it indicates that having spiritual belief leads to looking inward and self-examination. Likewise, to achieve the success of the four domains requires engagement of both the body and mind. BE AUTHENTIC Compile an honest list of your true expectations in each of the four domains that match your core values. Do so with the same level of commitment as making a contract. It is not enough that you believe it, you must also express it in your circle. BE WHOLE Respect yourself and others as a whole person BE INNOVATIVE Learn how to fully leverage your resources and strengths, increase your efficiency by knowing when to delegate and seek help in new ways. Act with creativity by experimenting to find new solutions. In the end it is more important to work smart than to work hard.
THE CONCEPT OF STAKEHOLDER
DESIGN APPRECIATION BY ALICE RAWSTHORN
Stakeholder is a 16th century English term originating from gambling. The Oxford Law dictionary defines it as the keeper of the bet. It can also be viewed as a group of people who have a common interest in something. Before reading this book, I was never conscious of their existence or importance. Friedman wants you to carefully examine and identify all the important stakeholders in each domain of your life, as well as write down your expectations of them and what you think they expect from you. Once identified, you can begin a conversation with them and determine if there is a gap between expectation and reality. If a gap exists, negotiate until a consensus is reached and ask for resources and assistance in the spirit of a partnership. Having this conversation will solidify and consolidate trust between you and your stakeholders. I am not sure how open Taiwanese would be to engage in this type of conversation between colleagues, family and friends but it was an eye opening experience for me.
FROM P.22~P.23
INTERCONNECTIVITY In psychology there is a concept known as compartmentalization, used to describe the tendency to split concepts into arbitrary parts without allowing them to mix together, for convenience or efficiency. Modern society tends to impose this inhibiting behavior to the point of denial of human nature. While we do need to separate private life from work life, there is an undeniable and subtle connectivity between them. For example, a person who does not have a good relationship with their father tends to face more challenges dealing with an authority figure at work, while having difficulty in maternal relations leads to marital difficulties. If a person can improve their private relationships they will conversely better their work relationships too. Thus spending more time on our private life will automatically and with little added effort ameliorate the work environment. One need not fear that focusing on one will take time away from the other for a synergy is created that works across the spectrum.
LIFETIME COMMITMENT This is a lifelong task. It is a continual process that through repetition and persistence grows fruit.
AIPORT SIGNAGE
Passing through Zurich Airport recently was an unexpectedly soothing experience. The terminals felt calm and orderly, just as an airport is supposed to, but rarely do, and I wondered why. It wasn’t the architecture, because the glass and steel sheds look exactly like those of hundreds of other international airports. Nor was it the location, which was equally unremarkable, but then I realized, it was the signs. That’s right, the signs – the assortments of words and symbols telling you where to go and what to do. The signs at Zurich Airport aren’t especially stylish, but they are very easy to read. The letters and numbers are depicted in a crisp, no-frills font without any of those squiggly serifs at the ends of letters. The illustrated symbols have been cutout from plain white squares in simple, instantly recognizable shapes – a knife fork and spoon for the café, and so on. All of them are in white, which stands out clearly against the dark red terminal walls and soft black overhead signs. Unlike the blizzard of signage that greets you at the various London and New York airports, there aren’t many signs at Zurich, but whenever I needed to check where I was going, one seemed to appear. They guided me through the airport so deftly, that I never worried about getting lost – and that’s why it felt soothing to be there. Sadly, most airport signage isn’t like that, but Zurich’s is different, because all of its signs have been the work of one man – the veteran Swiss graphic designer, Ruedi Rüegg – for more than 35 years. He’s done other design schemes, including ones for Zurich Opera House and the Swiss
74,00
postal service – but Zurich Airport is his masterpiece. Rüegg updates the signs there regularly to accommodate advances in technology and changes to the airport’s layout, but the colors, symbols and typeface have stayed the same since the start. His original signs were designed so thoughtfully back in 1972, that there’s been no need to alter them. We tend to think of “good design” as something that thrills us: gorgeous digital devices, seductive cars, or great clothes. But it can also be reassuring, often unassumingly so. Well-designed airport signage falls into that category by giving us the information we require, when and where we need it. It’s one of those everyday design feats that we generally take for granted. And that’s because they do their jobs so well, that there’s no reason for us to notice them, it’s only when they don’t work that we realize quite how well designed they are. Designing a signage system is challenging for any designer, but especially so if it is for so complex a place as an airport. It’s tough enough to find a way of guiding thousands of people to the right place at the right time in any location, but tougher still when they speak different languages, and have dramatically different degrees of flightreadiness. Some will be veteran business travellers who could glide through the terminals with their eyes closed. Others may never have flown before, and won’t have a clue what to do. Somehow the designer has to find a way of communicating clearly with all of those people, while ensuring that their designs conform to a minefield of safety regulations, such as the precise positioning of emergency exit signs. To produce really good airport signage, they must also negotiate the minefield of internal politics that bedevil most corporate design schemes, and lumber them with the lifeless air of having been designed by committee. Yet Rüegg’s quietly efficient signage system at Zurich isn’t the only one to have succeeded. The first to do so was Benno Wissig’s 1967 scheme for Schiphol Airport in Amsterdam.
Combining super-legible lettering with scrupulous color coding, it was a clear, coherent information system for the jumbo jet era. To minimize confusion, Wissig banned any other signs in his chosen colors of yellow and green from Schiphol. Even Hertz had to ditch its customary corporate yellow at its car rental desks. Equally impressive was the signage scheme devised by the Swiss designer, Adrian Frutiger, for the newly opened Charles de Gaulle Airport in Paris in 1976. He created a new typeface (named Frutiger) for especially the project. The letters are finer than those in Akzidenz Grotesk (the font that Ruedi Rüegg uses at Zurich) but just as clear. Frutiger was so determined to make it easy to read for distracted passengers – even when they’re rushing to their gates – that he designed all of the letters to be equally legible from different angles. In other words the letters are easily recognizable regardless of whether you are looking directly at the sign, or reading it from an angle. Neither system has survived intact. Frutiger’s has been chopped and changed by different designers, although there are still parts of Charles de Gaulle where you can spot flashes of his brilliance. Wissig’s scheme has fared better, largely because Schiphol has worked with the same designer, Paul Mijkensaar, for 20 years. He has retained some elements of the original 1967 design scheme, and updated others, including changing the typeface to Frutiger. Most other international airports sport uninspired, often sloppy, imitations of the meticulously planned signage at Schiphol, Zurich and Charles de Gaulle. An exception is the scheme created by (yet another Swiss designer) Ruedi Baur for Cologne-Bonn Airport in 2004. It consists of a series of pictograms, sketched in a naïve, hand-drawn style, which is so distinctive – and so unexpected in the context of an airport – that the place seems instantly familiar, even if you’ve never been there before. Baur’s signs at Cologne-Bonn Airport are just as legible as Rüegg’s in Zurich, Frutiger’s for Charles de Gaulle and Mijkensaar’s for Schiphol. Yet they have so much more character that – in a dramatic break from airport design tradition – you’ve actually got a chance of guessing which airport you’re in. Alice Rawsthorn is the design critic of the International Herald Tribune.
BUSINESS PLUS BY PAO FROM P.44~P.47
CHINA TO OPEN 15 TOY MUSEUMS "The kidult mindset" is the best element for harvesting profit. There are three sides to the cycle of life: parenthood, adulthood, and childhood. No matter how much we have matured and aged, we will go through life using the personality of these three distinctive stages. It is not possible to outgrow any of these stages and become solely a parent, adult or child. Richard Branson, Chairman of the British mega-conglomerate Virgin Group, has a child-like charisma when it comes to adventures, but he is also a very serious businessman, and capable parent to his employees and families all at the same time. Now let us explore a new untapped business opportunity, a place to appeal to the child in all of us; it is a perfect place for the family and the profit will amaze the adult in all of us. We are talking about a new museum for toys, specifically, a museum of vinyl toy collections. It is difficult to outgrow toys in this day and age. The latest actions figures and Barbie dolls are made with such innovation that even the most straight edged parents cannot help but to be amazed by the newest toys they are lining up to buy during the holiday seasons. As technology is changing, so is the subculture of collecting toys; it has grown drastically, whether it is the little figurine that comes with each Happy Meal at McDonalds or the newest line of crystal animals at Swarovski, you can bet there will be adults excited about it. The CGI films of Pixar and DreamWorks are successful not only because they appeal to children; they appeal just as much to the parents who brings their children and young adults in general. These films manages to capture a piece of everyone’s childhood, whether it be the still infinite outlook towards life, or the unadulterated idealisms, it is nice for us to be reminded of it whenever we can be in the daily grind of adulthood. Yet there seems to be this underlying tendency in Chinese society to restrict the inner child within
a person. We demand proper behaviors strictly to a point where breaking rules and taking risks are considered juvenile and silly. Somewhere along the line we forgot how it is ok to relax and have fun, as social expectations can stress out the toughest of minds. We also neglected the facts that, as quickly the Americans are making huge businesses by serving up the right dosage of childhood dreams, adults everywhere are buying it up at the same pace. Shops, theaters, restaurants, theme parks and outdoor sports venue are the top five city destinations; we believe a new toy museum can become the new attraction in town, offering kid and adults alike the right fantasy realm to escape fast-paced urban life.
WHY DESIGNER TOYS? Designer toy is a term used to describe toys produced in limited numbers, usually from 50 to 3000 pieces. They are mostly created by famous artists, illustrators or even designers of industries not associated with toys. The movement started with Hong Kong artist Michael Lau, and his act of combining pop art and toys was soon followed by the likes of Takashi Murakami and Medicom of the popular Bearbrick/Kubrick collections. Medicom pioneered the trend by collaborating with famous artists for new designs of their Bearbrick brand, and thousands of variations are now on the market since its debut. Designer toys have become a canvas for creative minds everywhere and have come a long way since its inception to be featured in Chanel and Fendi showrooms. A recent auction of a 1000% Bearbrick figure (as in 1000% of its usual 5 cm stature) created by Chinese contemporary artist Yue Mingjun was auctioned in the Beijing Art Fair for 1 million RMB. The average designer toys of 15cm in height retailed from NTD 1000 to NTD 9000 are quickly sold out on ebay for double the price. Many of the 150cm figures sold for NTD 50,000 to as much as NTD 300,000 apiece. Millions of the smaller Bearbrick figures were sold in form of blind boxes or key chains for NTD 100 or less. The more fake bags there are in the streets, the more successful that particular brand is. People only bootleg the items they know for sure will sell. As much as Louis Vuitton publically resents knockoffs of their product, they are aware of the fact that once fake LV bags are no longer populating the streets of Chinatown everywhere, it is a sign that they are out of fashion.
The same applies to designer toys; take a walk through the many alleys of Taipei and Shanghai and you will spot thousands of Bearbrick lookalikes. This is a sign that the designer toy industry are flourishing and seeping into mainstream culture. Precisely why we believe a toy museum catering to designer collection will become the buzz around town.
DESIGNER TOY’S NEW CLOTH Every industry should take Louis Vuitton as both serious competition and business role model. If an average adult has only 2 hours to spare on weekends, why would they go to a boring museum if they can stroll into the fabulous world of LV, after all, every Chinese city you go to has a LV store, if not a couple, that packed with people. Today the average consumers for the toy industry are not just kids; they are usually teenagers, artists, designers, even lawyers and bankers. There are and will be people paying for $10,000 toys with their platinum credit cards. However, most designer toys are bought either online or in specialty shops run by teenage hipster owners, not exactly on the same level even to the most subtle LV display windows. In order to make the toy museum appealing to the masses, we need to emulate the Louis Vuitton shopping experience and make it sizzle. Bringing in world class interior designers such as Marcel Wander would be a good way to envisioning the museum in a setting similar to that of Gucci stores. And outside of the museum marks the place where we place the larger sized toys as landmarks and memorable photo opportunities. The environment is crucial to satisfy the expectation of museum goers and to encourage them to flex their shopping muscles in the museum gift shops. Whether it is NTD 10 or NTD 100,000, everyone should be proud of their purchase; branding has worked wonders in the fashion business, and it should work as well for the toy museum.
DESIGNER TOYS IS NO SMALL BUSINESS There are countless ways to do a toy museum, but we want to focus on designer toys, because it is an exciting market full of potentials in areas such as fashion, culture, art and design. While China is still at a stage of filling cities with cultural centers and local museums, we believe a toy museum in every city would prove to be inspiring, entertaining and most importantly, profitable. A toy museum is truly for ev-
eryone; it is fun for the children, and it can bring out the kid in the adults. And trust us, we all need that sometimes. The target group of museum goers will be of age 14 to 45, both male and female; they will account for about 67.5% of the average urban population in China. In Taiwan, that amounts to a potential of 16,200,000 visitors per year. If we charge NTD 100 as admission, a reasonable price I might add, we will be looking at an optimum case of NTD 1,620,000,000 in revenue for the museum. And why not, with such a big target group, anything is possible.
ICB TOP 10 DESIGNER TOYS Here are some of our favorites. You can see find then online and appreciate their market values. 1. MICHAEL LAU 2. JAMES JARVIS 3. BEARBRICK 4. KUBRICK 5. KAWS 6. KIDROBOT 7. GARY BASEMAN 8. GORILLAZ 9. PEECOL 10. DUNNY
ART FOR THE MASSES Recently we presented a new collection of 100 limited edition toys of MOT/ARTS. These five are exclusively designed for PPONE and BIN BIN by 5 of the most celebrated contemporary Chinese artists. One of the pieces is a cross over collaboration with known street artist Kaws and Yue Mingjun. Within hours of its release, news sources all over the internet dubbed the joint work the biggest thing happening in the vinyl toy industry, even bigger than Star Wars. This particular piece is now estimated to worth NTD 600,000.
75,00
74,00
postal service – but Zurich Airport is his masterpiece. Rüegg updates the signs there regularly to accommodate advances in technology and changes to the airport’s layout, but the colors, symbols and typeface have stayed the same since the start. His original signs were designed so thoughtfully back in 1972, that there’s been no need to alter them. We tend to think of “good design” as something that thrills us: gorgeous digital devices, seductive cars, or great clothes. But it can also be reassuring, often unassumingly so. Well-designed airport signage falls into that category by giving us the information we require, when and where we need it. It’s one of those everyday design feats that we generally take for granted. And that’s because they do their jobs so well, that there’s no reason for us to notice them, it’s only when they don’t work that we realize quite how well designed they are. Designing a signage system is challenging for any designer, but especially so if it is for so complex a place as an airport. It’s tough enough to find a way of guiding thousands of people to the right place at the right time in any location, but tougher still when they speak different languages, and have dramatically different degrees of flightreadiness. Some will be veteran business travellers who could glide through the terminals with their eyes closed. Others may never have flown before, and won’t have a clue what to do. Somehow the designer has to find a way of communicating clearly with all of those people, while ensuring that their designs conform to a minefield of safety regulations, such as the precise positioning of emergency exit signs. To produce really good airport signage, they must also negotiate the minefield of internal politics that bedevil most corporate design schemes, and lumber them with the lifeless air of having been designed by committee. Yet Rüegg’s quietly efficient signage system at Zurich isn’t the only one to have succeeded. The first to do so was Benno Wissig’s 1967 scheme for Schiphol Airport in Amsterdam.
Combining super-legible lettering with scrupulous color coding, it was a clear, coherent information system for the jumbo jet era. To minimize confusion, Wissig banned any other signs in his chosen colors of yellow and green from Schiphol. Even Hertz had to ditch its customary corporate yellow at its car rental desks. Equally impressive was the signage scheme devised by the Swiss designer, Adrian Frutiger, for the newly opened Charles de Gaulle Airport in Paris in 1976. He created a new typeface (named Frutiger) for especially the project. The letters are finer than those in Akzidenz Grotesk (the font that Ruedi Rüegg uses at Zurich) but just as clear. Frutiger was so determined to make it easy to read for distracted passengers – even when they’re rushing to their gates – that he designed all of the letters to be equally legible from different angles. In other words the letters are easily recognizable regardless of whether you are looking directly at the sign, or reading it from an angle. Neither system has survived intact. Frutiger’s has been chopped and changed by different designers, although there are still parts of Charles de Gaulle where you can spot flashes of his brilliance. Wissig’s scheme has fared better, largely because Schiphol has worked with the same designer, Paul Mijkensaar, for 20 years. He has retained some elements of the original 1967 design scheme, and updated others, including changing the typeface to Frutiger. Most other international airports sport uninspired, often sloppy, imitations of the meticulously planned signage at Schiphol, Zurich and Charles de Gaulle. An exception is the scheme created by (yet another Swiss designer) Ruedi Baur for Cologne-Bonn Airport in 2004. It consists of a series of pictograms, sketched in a naïve, hand-drawn style, which is so distinctive – and so unexpected in the context of an airport – that the place seems instantly familiar, even if you’ve never been there before. Baur’s signs at Cologne-Bonn Airport are just as legible as Rüegg’s in Zurich, Frutiger’s for Charles de Gaulle and Mijkensaar’s for Schiphol. Yet they have so much more character that – in a dramatic break from airport design tradition – you’ve actually got a chance of guessing which airport you’re in. Alice Rawsthorn is the design critic of the International Herald Tribune.
BUSINESS PLUS BY PAO FROM P.44~P.47
CHINA TO OPEN 15 TOY MUSEUMS "The kidult mindset" is the best element for harvesting profit. There are three sides to the cycle of life: parenthood, adulthood, and childhood. No matter how much we have matured and aged, we will go through life using the personality of these three distinctive stages. It is not possible to outgrow any of these stages and become solely a parent, adult or child. Richard Branson, Chairman of the British mega-conglomerate Virgin Group, has a child-like charisma when it comes to adventures, but he is also a very serious businessman, and capable parent to his employees and families all at the same time. Now let us explore a new untapped business opportunity, a place to appeal to the child in all of us; it is a perfect place for the family and the profit will amaze the adult in all of us. We are talking about a new museum for toys, specifically, a museum of vinyl toy collections. It is difficult to outgrow toys in this day and age. The latest actions figures and Barbie dolls are made with such innovation that even the most straight edged parents cannot help but to be amazed by the newest toys they are lining up to buy during the holiday seasons. As technology is changing, so is the subculture of collecting toys; it has grown drastically, whether it is the little figurine that comes with each Happy Meal at McDonalds or the newest line of crystal animals at Swarovski, you can bet there will be adults excited about it. The CGI films of Pixar and DreamWorks are successful not only because they appeal to children; they appeal just as much to the parents who brings their children and young adults in general. These films manages to capture a piece of everyone’s childhood, whether it be the still infinite outlook towards life, or the unadulterated idealisms, it is nice for us to be reminded of it whenever we can be in the daily grind of adulthood. Yet there seems to be this underlying tendency in Chinese society to restrict the inner child within
a person. We demand proper behaviors strictly to a point where breaking rules and taking risks are considered juvenile and silly. Somewhere along the line we forgot how it is ok to relax and have fun, as social expectations can stress out the toughest of minds. We also neglected the facts that, as quickly the Americans are making huge businesses by serving up the right dosage of childhood dreams, adults everywhere are buying it up at the same pace. Shops, theaters, restaurants, theme parks and outdoor sports venue are the top five city destinations; we believe a new toy museum can become the new attraction in town, offering kid and adults alike the right fantasy realm to escape fast-paced urban life.
WHY DESIGNER TOYS? Designer toy is a term used to describe toys produced in limited numbers, usually from 50 to 3000 pieces. They are mostly created by famous artists, illustrators or even designers of industries not associated with toys. The movement started with Hong Kong artist Michael Lau, and his act of combining pop art and toys was soon followed by the likes of Takashi Murakami and Medicom of the popular Bearbrick/Kubrick collections. Medicom pioneered the trend by collaborating with famous artists for new designs of their Bearbrick brand, and thousands of variations are now on the market since its debut. Designer toys have become a canvas for creative minds everywhere and have come a long way since its inception to be featured in Chanel and Fendi showrooms. A recent auction of a 1000% Bearbrick figure (as in 1000% of its usual 5 cm stature) created by Chinese contemporary artist Yue Mingjun was auctioned in the Beijing Art Fair for 1 million RMB. The average designer toys of 15cm in height retailed from NTD 1000 to NTD 9000 are quickly sold out on ebay for double the price. Many of the 150cm figures sold for NTD 50,000 to as much as NTD 300,000 apiece. Millions of the smaller Bearbrick figures were sold in form of blind boxes or key chains for NTD 100 or less. The more fake bags there are in the streets, the more successful that particular brand is. People only bootleg the items they know for sure will sell. As much as Louis Vuitton publically resents knockoffs of their product, they are aware of the fact that once fake LV bags are no longer populating the streets of Chinatown everywhere, it is a sign that they are out of fashion.
The same applies to designer toys; take a walk through the many alleys of Taipei and Shanghai and you will spot thousands of Bearbrick lookalikes. This is a sign that the designer toy industry are flourishing and seeping into mainstream culture. Precisely why we believe a toy museum catering to designer collection will become the buzz around town.
DESIGNER TOY’S NEW CLOTH Every industry should take Louis Vuitton as both serious competition and business role model. If an average adult has only 2 hours to spare on weekends, why would they go to a boring museum if they can stroll into the fabulous world of LV, after all, every Chinese city you go to has a LV store, if not a couple, that packed with people. Today the average consumers for the toy industry are not just kids; they are usually teenagers, artists, designers, even lawyers and bankers. There are and will be people paying for $10,000 toys with their platinum credit cards. However, most designer toys are bought either online or in specialty shops run by teenage hipster owners, not exactly on the same level even to the most subtle LV display windows. In order to make the toy museum appealing to the masses, we need to emulate the Louis Vuitton shopping experience and make it sizzle. Bringing in world class interior designers such as Marcel Wander would be a good way to envisioning the museum in a setting similar to that of Gucci stores. And outside of the museum marks the place where we place the larger sized toys as landmarks and memorable photo opportunities. The environment is crucial to satisfy the expectation of museum goers and to encourage them to flex their shopping muscles in the museum gift shops. Whether it is NTD 10 or NTD 100,000, everyone should be proud of their purchase; branding has worked wonders in the fashion business, and it should work as well for the toy museum.
DESIGNER TOYS IS NO SMALL BUSINESS There are countless ways to do a toy museum, but we want to focus on designer toys, because it is an exciting market full of potentials in areas such as fashion, culture, art and design. While China is still at a stage of filling cities with cultural centers and local museums, we believe a toy museum in every city would prove to be inspiring, entertaining and most importantly, profitable. A toy museum is truly for ev-
eryone; it is fun for the children, and it can bring out the kid in the adults. And trust us, we all need that sometimes. The target group of museum goers will be of age 14 to 45, both male and female; they will account for about 67.5% of the average urban population in China. In Taiwan, that amounts to a potential of 16,200,000 visitors per year. If we charge NTD 100 as admission, a reasonable price I might add, we will be looking at an optimum case of NTD 1,620,000,000 in revenue for the museum. And why not, with such a big target group, anything is possible.
ICB TOP 10 DESIGNER TOYS Here are some of our favorites. You can see find then online and appreciate their market values. 1. MICHAEL LAU 2. JAMES JARVIS 3. BEARBRICK 4. KUBRICK 5. KAWS 6. KIDROBOT 7. GARY BASEMAN 8. GORILLAZ 9. PEECOL 10. DUNNY
ART FOR THE MASSES Recently we presented a new collection of 100 limited edition toys of MOT/ARTS. These five are exclusively designed for PPONE and BIN BIN by 5 of the most celebrated contemporary Chinese artists. One of the pieces is a cross over collaboration with known street artist Kaws and Yue Mingjun. Within hours of its release, news sources all over the internet dubbed the joint work the biggest thing happening in the vinyl toy industry, even bigger than Star Wars. This particular piece is now estimated to worth NTD 600,000.
75,00
76,00
FEATURE FROM P.52~P.61
A CREATIVE CITY OF TOMORROW
SHANGHAI
With a population reaching 19 million by the year 2010, the average housing space per capital doubled to more than 15 sq meters since 1990, Shanghai is churning out 1.4 million travelers per day with its underground metro system (10 million by 2010), and raising 20 million sq meters worth of building up every years. These numbers just can’t be beaten by any city in the world at the moment. It feels like there are only 12 hours a day in Shanghai; its dynamic nature provides a great advantage for the city to transform beyond expectations. It can adopt and tolerate new challenges, and learn from the mistakes. It is fast becoming a melting pot of new ideas and experiments. The city is truly embracing and encouraging dialogues between the East and the West. The process is one of trying, failing, learning, adapting, and trying again. The city is committed to build new infrastructures, displaying its creative energy through any opportunity it can get.
London, Paris, New York and Tokyo are often described as the four most exciting metropolitan cities in the world. They are the trend setters in business, art, media, architecture, fashion, cuisine, and the living standard for the rest of the world to follow. But today, armed with two cannons of economical and creative drive, Shanghai is ready to become a new international city that is twice as energetic, twice as exciting, twice as creative and unique on its own. Shanghai is ready to write its own story and take on the world.
77,00
All metropolises have one thing in common: they are cities bursting out with creative energy, which is why people of all races and cultures are attracted to them. It is the perfect place to mixing in the old with the new and developing young talents. Yet, none can out shine the energy of Shanghai today.
Shanghai is a perfect up-and-coming metropolis where possibilities are endless, whether it is for business or creative minds. Take a look at the new airport, the new museums, the new development of the Bund district, the new trade fairs, and what is soon to be the world’s tallest building; everyday Shanghai is read to dazzle the world with its new projects. The Expo 2010 will finally extend China’s cultural influence outward across London, Paris, New York, and Tokyo. And there is still more to come; Shanghai will set the new bar for the world to follow.
CREATIVITY IN THE CITY Here are a few examples of what is happening in Shanghai: 1. Zendai Shimalaya Museum 2. New Airport 3. Bund 3, 5, 18 4. Jia Hotel SH 5. SH Contemporary Art Fair 6. SH Millionaire Fair 7. New Cultural Park - The Bridge 8 8. Design Republic 9. Sens & Bund, Bund 18 Restaurant 10. New tallest building in the world at Pudong by Miho 11. O&M SH and fast growing advertising industry 12. Xintiandi
ICB ╳ THE BRIDGE 8 Interview with Daker Cai - Executive Chairman of Lifestyle Centre Holdings Limited and co-director of The Bridge 8 ICB What was the motive behind a creative complex such as The Bridge 8? DAKER CAI There are a bunch of reason; in the beginning we were just looking for our own office space. Because a majority of our work is related to the design business, we have a clear understanding of the needs of those working in the design industry. Most of them prefer to work outside of the traditional office environment. Besides, as we were working with multiple creative companies, we realize that these companies were all scattered far
ICB ╳ DESIGN REPUBLIC Interview with Rossana Hu, Cofounder of Neri & Hu Design and Research Office (NHDRO)/Design Republic
across the city. We hoped to gather the companies in order to bring out the full potential of their abilities, thus the creative complex. It just happened that at the time Shanghai was making a push towards for its creative industry, and the government passed a few helpful legislations. Under these timely circumstances we were able to establish The Bridge 8 – Shanghai’s first creative complex.
ality, a place of comfort living and good eats, but in terms of marketing and fashion, it still cannot compare with Shanghai. Considering the development of the creative business, the size of the market is still the top priority, and Shanghai has the absolute advantage in that department.
What was the reason for choosing Shanghai and not the other cities in China?
Well, in order to create a platform for the creative industry, we needed to build a space specially designed for those working the in industry. They perform best in an office space with individuality and like to create under a free and open atmosphere. Therefore we used the unique trait of the old factory buildings, and build a personally customizable and separable loft office. At the same time, we took some sacrifices during the process of rebuilding the Bridge 8 area and maintained the large amount of communal spaces, in which we provided various leisurely services and facilities. In order to establish the effect of creative “gathering”, we invited many well known brands in the creative industry, both domestically and internationally, to our complex. Then we pushed for The Bridge 8’s name to be heard through holding a string of impactful cultural and financial events at the complex. Even till today we are trying our best to build the brand and to improve on the onsite facilities, compound and tenant management, and the creative energy that surrounds the space that is The Bridge 8.
First and foremost, Shanghai itself is a very fashionable and international city, and in terms of finance and economy, Shanghai is the center of China and attracts many different global brands into the domestic market. Most brands have their flagships stores set in Shanghai, so it is only logical that the creative industry is growing rapidly in the city. Secondly, Shanghai has become a city that has the most potent consumers, the one who have the ability and knowledge to buy quality products. This is a quality of Shanghai that is unmatched by any other cities in China. As of Beijing and Guangdong, they are more heavily rooted in traditional Chinese culture, especially Beijing, so in comparison Shanghai is much more adaptable to the rest of the world. Also, Beijing as a whole is more focused on the development of the arts, while Shanghai has more invested in creative design market. Guangdong on the other hand is a city of function-
So how did the establishment of The Bridge 8 come about?
ICB Why did you start Design Republic? ROSSANA HU In the beginning the intention was simply because we wanted to look for quality furniture, which was hard to come by in China, for the people here lack the space for displaying good designs; we just wanted to provide a fitting platform. First we started in the form of retail, which provided a good platform for a plethora of activities to follow, such like workshops and galleries. Why did you choose The Bund as the location for the flagship store? It took us a long time find the right location; I’d say about a year. We had a handful of spots picked in the beginning and never thought that we’d end up in The Bund. Everybody was shocked when we finalize the location. Of course, The Bund being one of Shanghai’s hot spots has helped us greatly, in terms of image, branding, and environment. What do you think of Shanghai’s creative energy? And how does it compare with Beijing? Well, I think Beijing is more important culturally for China, but Shanghai is closer connected to the world. Our goal is to take the level of design in China to compete with the rest of the world. In order to do so, it is more ideal for us to stay in a more international city, a city that is the center of focus around the world. That is why we think Shanghai is fitting for our work.
76,00
FEATURE FROM P.52~P.61
A CREATIVE CITY OF TOMORROW
SHANGHAI
With a population reaching 19 million by the year 2010, the average housing space per capital doubled to more than 15 sq meters since 1990, Shanghai is churning out 1.4 million travelers per day with its underground metro system (10 million by 2010), and raising 20 million sq meters worth of building up every years. These numbers just can’t be beaten by any city in the world at the moment. It feels like there are only 12 hours a day in Shanghai; its dynamic nature provides a great advantage for the city to transform beyond expectations. It can adopt and tolerate new challenges, and learn from the mistakes. It is fast becoming a melting pot of new ideas and experiments. The city is truly embracing and encouraging dialogues between the East and the West. The process is one of trying, failing, learning, adapting, and trying again. The city is committed to build new infrastructures, displaying its creative energy through any opportunity it can get.
London, Paris, New York and Tokyo are often described as the four most exciting metropolitan cities in the world. They are the trend setters in business, art, media, architecture, fashion, cuisine, and the living standard for the rest of the world to follow. But today, armed with two cannons of economical and creative drive, Shanghai is ready to become a new international city that is twice as energetic, twice as exciting, twice as creative and unique on its own. Shanghai is ready to write its own story and take on the world.
77,00
All metropolises have one thing in common: they are cities bursting out with creative energy, which is why people of all races and cultures are attracted to them. It is the perfect place to mixing in the old with the new and developing young talents. Yet, none can out shine the energy of Shanghai today.
Shanghai is a perfect up-and-coming metropolis where possibilities are endless, whether it is for business or creative minds. Take a look at the new airport, the new museums, the new development of the Bund district, the new trade fairs, and what is soon to be the world’s tallest building; everyday Shanghai is read to dazzle the world with its new projects. The Expo 2010 will finally extend China’s cultural influence outward across London, Paris, New York, and Tokyo. And there is still more to come; Shanghai will set the new bar for the world to follow.
CREATIVITY IN THE CITY Here are a few examples of what is happening in Shanghai: 1. Zendai Shimalaya Museum 2. New Airport 3. Bund 3, 5, 18 4. Jia Hotel SH 5. SH Contemporary Art Fair 6. SH Millionaire Fair 7. New Cultural Park - The Bridge 8 8. Design Republic 9. Sens & Bund, Bund 18 Restaurant 10. New tallest building in the world at Pudong by Miho 11. O&M SH and fast growing advertising industry 12. Xintiandi
ICB ╳ THE BRIDGE 8 Interview with Daker Cai - Executive Chairman of Lifestyle Centre Holdings Limited and co-director of The Bridge 8 ICB What was the motive behind a creative complex such as The Bridge 8? DAKER CAI There are a bunch of reason; in the beginning we were just looking for our own office space. Because a majority of our work is related to the design business, we have a clear understanding of the needs of those working in the design industry. Most of them prefer to work outside of the traditional office environment. Besides, as we were working with multiple creative companies, we realize that these companies were all scattered far
ICB ╳ DESIGN REPUBLIC Interview with Rossana Hu, Cofounder of Neri & Hu Design and Research Office (NHDRO)/Design Republic
across the city. We hoped to gather the companies in order to bring out the full potential of their abilities, thus the creative complex. It just happened that at the time Shanghai was making a push towards for its creative industry, and the government passed a few helpful legislations. Under these timely circumstances we were able to establish The Bridge 8 – Shanghai’s first creative complex.
ality, a place of comfort living and good eats, but in terms of marketing and fashion, it still cannot compare with Shanghai. Considering the development of the creative business, the size of the market is still the top priority, and Shanghai has the absolute advantage in that department.
What was the reason for choosing Shanghai and not the other cities in China?
Well, in order to create a platform for the creative industry, we needed to build a space specially designed for those working the in industry. They perform best in an office space with individuality and like to create under a free and open atmosphere. Therefore we used the unique trait of the old factory buildings, and build a personally customizable and separable loft office. At the same time, we took some sacrifices during the process of rebuilding the Bridge 8 area and maintained the large amount of communal spaces, in which we provided various leisurely services and facilities. In order to establish the effect of creative “gathering”, we invited many well known brands in the creative industry, both domestically and internationally, to our complex. Then we pushed for The Bridge 8’s name to be heard through holding a string of impactful cultural and financial events at the complex. Even till today we are trying our best to build the brand and to improve on the onsite facilities, compound and tenant management, and the creative energy that surrounds the space that is The Bridge 8.
First and foremost, Shanghai itself is a very fashionable and international city, and in terms of finance and economy, Shanghai is the center of China and attracts many different global brands into the domestic market. Most brands have their flagships stores set in Shanghai, so it is only logical that the creative industry is growing rapidly in the city. Secondly, Shanghai has become a city that has the most potent consumers, the one who have the ability and knowledge to buy quality products. This is a quality of Shanghai that is unmatched by any other cities in China. As of Beijing and Guangdong, they are more heavily rooted in traditional Chinese culture, especially Beijing, so in comparison Shanghai is much more adaptable to the rest of the world. Also, Beijing as a whole is more focused on the development of the arts, while Shanghai has more invested in creative design market. Guangdong on the other hand is a city of function-
So how did the establishment of The Bridge 8 come about?
ICB Why did you start Design Republic? ROSSANA HU In the beginning the intention was simply because we wanted to look for quality furniture, which was hard to come by in China, for the people here lack the space for displaying good designs; we just wanted to provide a fitting platform. First we started in the form of retail, which provided a good platform for a plethora of activities to follow, such like workshops and galleries. Why did you choose The Bund as the location for the flagship store? It took us a long time find the right location; I’d say about a year. We had a handful of spots picked in the beginning and never thought that we’d end up in The Bund. Everybody was shocked when we finalize the location. Of course, The Bund being one of Shanghai’s hot spots has helped us greatly, in terms of image, branding, and environment. What do you think of Shanghai’s creative energy? And how does it compare with Beijing? Well, I think Beijing is more important culturally for China, but Shanghai is closer connected to the world. Our goal is to take the level of design in China to compete with the rest of the world. In order to do so, it is more ideal for us to stay in a more international city, a city that is the center of focus around the world. That is why we think Shanghai is fitting for our work.
78,00
79,00
WORLD EXPO 2010 The World Expos are the third largest event globally in terms of economic and cultural impact it brings, after the FIFA World Cup and the Olympic Games. They have been organized for more than 150 years; the first Expo was held in The Crystal Palace, London in 1851. It was the first international exhibition for manufactured goods. The main attractions at these Fairs are the national pavilion, created by the participating nations, and they have major impact to the country’s economy. At the Hannover Expo 2000, the average sum a nation invests in their pavilion was around $13 million. The Dutch pavilion alone had an estimated cost of $35 million, but in term was expected to generate up to $350 million in revenue for the Dutch economy. We spoke with Shanghai Expo Communication and Promotion Director Xu Wei for a detailed view of the upcoming Expo 2010. WORLD EXPO 2010 NUMBERS • Hoping to attract 70 million visitors, fulfilling the goal of 6 billion in ticket revenue. • 18 billion in capital funding, 10 billion in business funding. • 211 nations and international orgs agreed to participate, the goal was 200 participants. • Shanghai city spans over 6340.5 km squared. The distance from the north border to the south border is around 120 km, 100 km from east to west.
• As of the end of 2007, the total population of the city is 18,580,800 people, which is about 2930 per km squared. • As of 2007, there are 9 metro lines, spanning over 262.83 km and transporting around 2.23 million people per day. By 2010 the metro is subjected to expand to 11 lines, spanning 400 km. • Expo 2010 start on May 1st, 2010, and ends on October 31st (total: 184 days). • The Shanghai Expo site is to be around 5.28 km squared in size.
ICB ╳ BUREAU OF SHANGHAI WORLD EXPO Interview with Wei Hsu – Expo 2010 Director of Public Relations ICB Why have Expo 2010 in Shanghai? HSU╱Speaking strictly as both a member of the Expo 2010 committee and a resident of Shanghai, holding the World’s Fair in Shanghai will provide a boost toward the economy of the city and our nation, but personally I don’t think those are the main reasons of doing the Expo 2010. Being a global metropolis, we believe that Shanghai is in special need of both cultural and economical exchange internationally; the Expo provides us a platform to do so. Of course, Shanghai itself is one big harbor to begin with, but that’s strictly from the city’s point of view. From China’s point of view, having developed till today, we
need an opportunity to understand the world and for the world to understand us, a cultural melting pot, so to speak, and the World’s Fair is a very good opportunity. Therefore, the more important duty of the Expo is to provide a chance for China and the world to come together culturally, and it is a unique trait of the Expo. Was it difficult to bid for the Expo 2010? This time it was more difficult than ever; the competitions of the bid was tough, since our bid for the Expo came right after the 2008 Olympics. All in all the results are great for the nation as a whole. What do you attribute to the success of Shanghai’s bid for the Expo? The reason of our success is quite simple, a lot simpler than the bid itself. First off is the influence of the nation, and then comes the influence of the city: whether your city intrigues others? How much interest can you generate? Thirdly, you ask what the theme of your World’s Fair will be. Ours was “better city, better life”; it doesn’t matter whether you praise or condemn the urban life style, half of the world’s population has to deal with it. As nations worldwide are facing the problems of urbanization, improving the quality of life in cities becomes ever more so important. These are just the main reason; of course there are others, like Shanghai unique qualities, the interaction between Eastern and Western cultures.
How much did the city of Shanghai and China invest in the Expo? Technically speaking, the nation does not provide direct funding. Let break it up into parts: the funding for transportation is provided by China, as all the property belongs to it. As the sponsor we have split the funding into two parts – one is the 18 billion worth of capital funding, the other is the 10 billion worth of business funding. The 18 billion will be mainly spent of the construction of the Expo site, and does not include the extra public works done to accompany the arrival of the Expo, such as expanding the Hongqiao Airport, the Pudong Airport, the subway and the harbor. The 10 billion worth of business funding will be spent on the logistics expenditure it will take to run the Expo for 6 months. How do you feel about Terry Gou’s push for Taipei to participate in the Expo? Personally I think Taipei will make a fine addition to the “Urban Best Practices Area”; it is a great way to display our charming Taipei to the world. And this marks the first year that a city can participate alone in the Expo, whereas before only countries and international organization were allowed to participate. Taipei has two very solid proposals: waste management and wireless internet. What kind of role do you expect the Expo to play in Shanghai? And what kind of impact does it have for the design industry in China and Shanghai itself? This is a crucial question for us; the development of the design industry is a
big challenge we are facing. Shanghai has experienced great economic development, and there is much cultural exchange, so many have high expectation of the design industry in our city. They expect that a city of Shanghai magnitude should take on the responsibility of China’s place in the world and the national design industry. And holding the Expo 2010 is a huge opportunity for the design industry, a big learning opportunity. The Expo is a stage for the world’s best innovations; nations are here to display their own cultural energy and innovations. Unlike the Olympics, there are no gold medals; we are competing with new designs and innovations. Within the same World’s Fair, within the same theme of “better city, better life”, each nation are here to display their best side, and there are no definitive winners or losers. To construct an expo center requires a single chain of talents, from the designers to the technicians, logistic personnel to managers; China currently lacks these “chain” of talents and through sponsoring the Expo, designing the Chinese pavilion, we are developing the talents we need and forming a chain for the industry. This way we can develop high level talents for the design industry to compete globally with the world’s elite. And as people all over China are visiting the World’s Fair, their perception of foreign cultures will have undergone beneficial breakthroughs. This kind of impact does not just belong to Shanghai; it belongs to China as a whole. How many visitors are you expecting? As of now, we are looking at a goal of 70 million. We have two goals: one is to have 200 different participants in
the Expo, nation or international orgs; the other is to reach 70 million visitors (as of July 10th, 2008, there are a total of 211 participating nations and international orgs for the Expo 2010). How much economic impact do you predict the Expo is going to bring to Shanghai, both short term and long term? This is really hard to estimate; there is no real definitive number here. Some experts expect an impact of 3 points of GDP, while others say 5. However, we don’t really look at this in terms of math; we’d like to understand that the Expo is going to have more meaning to Shanghai in terms of cultural exchange and raising the bar for education. Long term speaking, it can also greatly increase the potential of a nation. Look at it this way: 200 different nations and international organizations – there is no one who can travel that much. The only way to experience that much in the World’s Fair, and that isn’t something shown between the numbers of economic growth or that of GDP.
78,00
79,00
WORLD EXPO 2010 The World Expos are the third largest event globally in terms of economic and cultural impact it brings, after the FIFA World Cup and the Olympic Games. They have been organized for more than 150 years; the first Expo was held in The Crystal Palace, London in 1851. It was the first international exhibition for manufactured goods. The main attractions at these Fairs are the national pavilion, created by the participating nations, and they have major impact to the country’s economy. At the Hannover Expo 2000, the average sum a nation invests in their pavilion was around $13 million. The Dutch pavilion alone had an estimated cost of $35 million, but in term was expected to generate up to $350 million in revenue for the Dutch economy. We spoke with Shanghai Expo Communication and Promotion Director Xu Wei for a detailed view of the upcoming Expo 2010. WORLD EXPO 2010 NUMBERS • Hoping to attract 70 million visitors, fulfilling the goal of 6 billion in ticket revenue. • 18 billion in capital funding, 10 billion in business funding. • 211 nations and international orgs agreed to participate, the goal was 200 participants. • Shanghai city spans over 6340.5 km squared. The distance from the north border to the south border is around 120 km, 100 km from east to west.
• As of the end of 2007, the total population of the city is 18,580,800 people, which is about 2930 per km squared. • As of 2007, there are 9 metro lines, spanning over 262.83 km and transporting around 2.23 million people per day. By 2010 the metro is subjected to expand to 11 lines, spanning 400 km. • Expo 2010 start on May 1st, 2010, and ends on October 31st (total: 184 days). • The Shanghai Expo site is to be around 5.28 km squared in size.
ICB ╳ BUREAU OF SHANGHAI WORLD EXPO Interview with Wei Hsu – Expo 2010 Director of Public Relations ICB Why have Expo 2010 in Shanghai? HSU╱Speaking strictly as both a member of the Expo 2010 committee and a resident of Shanghai, holding the World’s Fair in Shanghai will provide a boost toward the economy of the city and our nation, but personally I don’t think those are the main reasons of doing the Expo 2010. Being a global metropolis, we believe that Shanghai is in special need of both cultural and economical exchange internationally; the Expo provides us a platform to do so. Of course, Shanghai itself is one big harbor to begin with, but that’s strictly from the city’s point of view. From China’s point of view, having developed till today, we
need an opportunity to understand the world and for the world to understand us, a cultural melting pot, so to speak, and the World’s Fair is a very good opportunity. Therefore, the more important duty of the Expo is to provide a chance for China and the world to come together culturally, and it is a unique trait of the Expo. Was it difficult to bid for the Expo 2010? This time it was more difficult than ever; the competitions of the bid was tough, since our bid for the Expo came right after the 2008 Olympics. All in all the results are great for the nation as a whole. What do you attribute to the success of Shanghai’s bid for the Expo? The reason of our success is quite simple, a lot simpler than the bid itself. First off is the influence of the nation, and then comes the influence of the city: whether your city intrigues others? How much interest can you generate? Thirdly, you ask what the theme of your World’s Fair will be. Ours was “better city, better life”; it doesn’t matter whether you praise or condemn the urban life style, half of the world’s population has to deal with it. As nations worldwide are facing the problems of urbanization, improving the quality of life in cities becomes ever more so important. These are just the main reason; of course there are others, like Shanghai unique qualities, the interaction between Eastern and Western cultures.
How much did the city of Shanghai and China invest in the Expo? Technically speaking, the nation does not provide direct funding. Let break it up into parts: the funding for transportation is provided by China, as all the property belongs to it. As the sponsor we have split the funding into two parts – one is the 18 billion worth of capital funding, the other is the 10 billion worth of business funding. The 18 billion will be mainly spent of the construction of the Expo site, and does not include the extra public works done to accompany the arrival of the Expo, such as expanding the Hongqiao Airport, the Pudong Airport, the subway and the harbor. The 10 billion worth of business funding will be spent on the logistics expenditure it will take to run the Expo for 6 months. How do you feel about Terry Gou’s push for Taipei to participate in the Expo? Personally I think Taipei will make a fine addition to the “Urban Best Practices Area”; it is a great way to display our charming Taipei to the world. And this marks the first year that a city can participate alone in the Expo, whereas before only countries and international organization were allowed to participate. Taipei has two very solid proposals: waste management and wireless internet. What kind of role do you expect the Expo to play in Shanghai? And what kind of impact does it have for the design industry in China and Shanghai itself? This is a crucial question for us; the development of the design industry is a
big challenge we are facing. Shanghai has experienced great economic development, and there is much cultural exchange, so many have high expectation of the design industry in our city. They expect that a city of Shanghai magnitude should take on the responsibility of China’s place in the world and the national design industry. And holding the Expo 2010 is a huge opportunity for the design industry, a big learning opportunity. The Expo is a stage for the world’s best innovations; nations are here to display their own cultural energy and innovations. Unlike the Olympics, there are no gold medals; we are competing with new designs and innovations. Within the same World’s Fair, within the same theme of “better city, better life”, each nation are here to display their best side, and there are no definitive winners or losers. To construct an expo center requires a single chain of talents, from the designers to the technicians, logistic personnel to managers; China currently lacks these “chain” of talents and through sponsoring the Expo, designing the Chinese pavilion, we are developing the talents we need and forming a chain for the industry. This way we can develop high level talents for the design industry to compete globally with the world’s elite. And as people all over China are visiting the World’s Fair, their perception of foreign cultures will have undergone beneficial breakthroughs. This kind of impact does not just belong to Shanghai; it belongs to China as a whole. How many visitors are you expecting? As of now, we are looking at a goal of 70 million. We have two goals: one is to have 200 different participants in
the Expo, nation or international orgs; the other is to reach 70 million visitors (as of July 10th, 2008, there are a total of 211 participating nations and international orgs for the Expo 2010). How much economic impact do you predict the Expo is going to bring to Shanghai, both short term and long term? This is really hard to estimate; there is no real definitive number here. Some experts expect an impact of 3 points of GDP, while others say 5. However, we don’t really look at this in terms of math; we’d like to understand that the Expo is going to have more meaning to Shanghai in terms of cultural exchange and raising the bar for education. Long term speaking, it can also greatly increase the potential of a nation. Look at it this way: 200 different nations and international organizations – there is no one who can travel that much. The only way to experience that much in the World’s Fair, and that isn’t something shown between the numbers of economic growth or that of GDP.