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Hong Kong Design Centre – HKDC Awards

Design Leadership Award

World’s Outstanding Chinese Designer

Design for Asia Award

Hong Kong Young Design Talent Awards

2010

The Hong Kong Design Centre is a non-profit organisation dedicated to helping local designers and businesses to realise their full potential. Our mission is to use design and innovation to drive value creation and improve the well-being of society. Our vision is to establish Hong Kong as a centre of design excellence in Asia. HKDC has conferred annual awards since 2003 to promote excellence in design and design application, and to recognise notable achievements in the field. HKDC Awards have been a reliable indicator of outstanding quality in design and design applications. HKDC Awards 2010, supported by Create Hong Kong, Commerce and Economic Development Bureau, HKSAR, comprises five independent award schemes. We believe recognition and peer acknowledgement of success is an important tool in building a stronger design community. 香港設計中心乃非牟利機構，致力協助本地設計師和企業充份發揮潛能。我們的宗旨是利用設計和革新來推動價值創造及改善人類生活。而願景是希望將香港打造成為亞洲的設計之都。自2003年，香港設計中心設有多個大獎，以推廣卓越的設計與設計應用，並表揚業內顯著的成就。香港設計中心大獎是優質設計及設計應用的指標。2010年，香港設計中心大獎包括五項獎項，並得到香港特別行政區商務及經濟發展局轄下的創意香港辦公室鼎力支持。我們深信要建立一個強勢的設計社區，嘉獎和同儕鼓勵十分重要。

The five awards are: 五項獎項包括：

Design For Asia Awards 亞洲最具影響力設計大獎 uniquely recognise outstanding designs that have been most influential across Asia. 嘉許對亞洲最具影響力的出色設計。

Design Leadership Award 設計領袖大獎

World's Outstanding Chinese Designer Award 世界傑出華人設計師大獎

celebrates strong corporate leaders who have applied design to achieve exceptional business success.

recognises the achievement of Chinese designers from across the globe.

表揚那些善用設計獲取商業成就的企業領袖翹楚。

肯定華人設計師在全球的貢獻。

Design For Asia Student Awards 亞洲最具影響力設計學生大獎

Hong Kong Young Design Talent Awards 香港青年設計才俊大獎

recognise students who understand creative collaboration that cross disciplinary boundaries are essential to innovation.

acknowledge the latent potential of our young design talents. 嘉許有潛質成為優秀設計師的香港青年。

表揚能善用跨設計範疇合作，以達致創新理念的學生。

Message from Rita Lau Design adds character to the fashion we wear, flavour to the cuisine we consume, sparks to the products and services we procure and, in a word, life to the otherwise less colourful consumer world. Design drives innovation, adds value, creates markets and supports economic growth. I am most pleased that the hard work of the Hong Kong Design Centre and all distinguished stakeholders has borne fruit, as witnessed by the increasing world recognition accorded the annual Business of Design Week. The Hong Kong SAR Government has been working very closely with our strategic partner, the Hong Kong Design Centre, to promote the development of the design industry and nurture design talent. Noting the fact that the Awards has seen participation from designers and companies from more than 50 countries since its inception in 2003, I am excited to see that the Hong Kong Design Centre Awards have become an international platform to celebrate good design and recognise good designers. The Awards, as well as the whole Business of Design Week, has become an excellent platform for design talent from all over the world to meet in Hong Kong annually to share their valuable experience, make exchange and access most up-to-date information on the latest design trends. My heartfelt gratitude to the Hong Kong Design Centre for the efforts it has made in organising the Awards. I wish the event every success, and congratulate all the winners of the Awards for their outstanding achievements made in the design business.

設計令服飾提升格調，令菜餚增添風味，令不同產品與服務更具特色。簡而言之，設計使世界更添姿采。設計能推動創新，提升產值，創造市場和支援經濟增長。香港每年一度舉辦的「設計營商周」已逐漸取得國際認同，反映香港設計中心與一眾卓越的持分者的努力已見成果。取得如此佳績，實在可喜可賀。香港特區政府一直以香港設計中心為策略伙伴，共同緊密合作，攜手推動設計業發展和栽培業界人才。「香港設計中心設計大獎」自2003年創立以來，已吸引了超過50個國家的設計師和設計機構參賽，獎項逐漸成為表揚優秀設計師及其作品的國際平台，實在令人欣喜。設計大獎頒獎禮與「設計營商周」現已是每年一度的業界矚目盛事，讓來自世界各地的頂尖設計師雲集香港，分享寶貴的經驗和心得，並就設計的新趨勢交流資訊。頒獎禮得以順利舉行，香港設計中心貢獻良多，我在此致以衷心謝意。設計大獎各項得主成績斐然，我謹此衷心恭賀，並祝頒獎禮圓滿舉行。

Mrs Rita LAU NG Wai-lan, JP Secretary for Commerce and Economic Development of the Government of the Hong Kong Special Administrative Region

香港特別行政區商務及經濟發展局局長劉吳惠蘭

Message from Victor Lo Despite fears that design priorities have been relegated for the sake of business prudence, design across Asia continues to expand its influence. With much verve and progressiveness, businesses and designers with perspectives based on local, regional and global frameworks are today challenging the landscape by forwarding solutions that are sustainable, innovative and creative – whilst tackling age-old problems and emergent new ones. Given the broad application of design across sectors, the Hong Kong Design Centre Annual Awards – comprising Design For Asia (DFA) Award, Design Leadership Award (DLA), World’s Outstanding Chinese Designer (WOCD) Award and Hong Kong Young Design Talent Award (HKYDTA) – allow us to better appreciate the how and why behind contemporary design excellence. By way of pinpointing the trajectory of Asian design, our awards help steer designers, industry practitioners and others onto a more pertinent and meaningful direction. This year’s DFA Awards, being an influential design competition platform, have drawn about 650 entries from countries across Asia, Europe and America. Our winners invariably heighten the verity that being sustainable and eco-friendly is no longer just fashionable, but rather a fundamental part of good business and design practice. Our search for this year’s World’s Outstanding Chinese Designer (WOCD) Award celebrates the legacy of a modest, no-nonsense designer whose zeal for scientific methodology, with regards to user-oriented research and design, has yielded some truly distinguished projects for multinational companies. With his hand of influence reaching from the simple to the sophisticated – single products to entire systems – Eric Chan is a fitting choice for 2010’s WOCD. This year, our Design Leadership Award (DLA) goes to Sir James Dyson, who is widely revered for his pioneering vision built around engineering know-how, design and innovation. In defining himself as the quintessential archetype of the design-led entrepreneur, Dyson has, through enterprising courage and determination, endlessly designed and re-designed his way into business success. Locally, our commitment to nurture Hong Kong’s brightest young designers remains the core mission behind HKYDTA. With generous sponsorship from key partners, four outstanding winners have been selected to receive the award. The Hong Kong Design Centre Awards provide a good platform to celebrate design excellence and to nurture design talents. It also provides the much needed inspirations for design professions, educators and students, business and society to embrace new ideas and design as part of our daily life. I would like to express my heartfelt appreciation to Create Hong Kong, the Commerce and Economic Development Bureau, our sponsors and all our judges, advisers and those who participated in this programme.

縱然害怕企業謹慎行事會捨棄了設計的精闢之處，亞洲設計的影響勢頭卻仍不斷擴展。今時今日的企業和設計師別具活力幹勁、敢於大膽創新，已打破了本地、區域甚至國際框架，以可持續和具創意的前瞻性方案挑戰現況，同時敢於解決經年累月、甚至全新發現的問題。一年一度的設計獎項琳琅滿目，包括亞洲最具影響力設計大獎、設計領袖大獎、世界傑出華人設計師以及香港青年設計才俊大獎，讓彼此欣賞當代卓越設計的背後理念和手法。各大獎項道出亞洲設計的發展軌跡，鼓勵設計師、業界和相關參與者向具意義的方向邁進。本年度的亞洲最具影響力設計大獎共收集了亞洲、歐洲和美洲共650件參賽作品，為一個具影響性的設計比賽平台。云云得獎者不約而同地道出一個事實：持續發展和環保不再是一種潮流，而是優質商業營運和設計的基本元素。本年度的世界傑出華人設計師承襲謙遜、不花巧的優良傳統，並熱衷以科學方式運用於用者研究和設計中，至今已為多間跨國企業出謀獻策，推出多個別樹一幟的知名項目。從簡約及至精深的設計，包括概念、單一產品及至全套系統，陳秉鵬無疑是2010年度世界傑出華人設計師之最佳人選。今年的設計領袖大獎得獎者為Sir James Dyson，其在工程知識、設計和創意方面的遠見領先同儕，地位廣受認同。 Sir James自稱是典型設計先行者和企業家，他有膽量、果斷，不斷自我改良，在商業上取得傑出成就。在香港，我們堅持培育出色的青年設計才俊，這成為香港青年設計才俊大獎的核心理念。在多個主要伙伴的支持下，今年選了四位出色的設計才俊領授獎項。香港設計中心的各個獎項成為宏揚卓越設計、培育設計才俊的絕佳平台，為設計專才、教育家、學生、商界和社會提供所需的創意靈感，在我們日常生活中融入新思維、新設計。我謹在此感謝商務及經濟發展局和創意香港辦公室、各贊助機構、評審員、顧問，以及參與計劃的每一個人，感謝你們的貢獻和付出，謝謝！

Victor Lo, GBS, JP Chairman, Board of Directors, Hong Kong Design Centre 香港設計中心董事局主席羅仲榮

Design Leadership Award (DL Award) 設計領袖大獎

Design Leadership Award

2010

Recognising Global Business Leaders Who Have Used Design as a Strategy For Success

表揚世界傑出企業領袖

Globalization has led to an unforeseen level of intensity in international competition between businesses. Commercial success can no longer be measured on cost competitiveness; design has emerged as a key differentiator for businesses around the world. When combined with strong corporate leadership, design can play a key part in producing sustainable results. As a result, we must develop a more modern definition of what best practice means within design and business communities, adopting a commitment to excellence that balances both economic and social values. Sustainable growth through design is not a new concept, but the important relationship between strong corporate leadership and design excellence is often underestimated. The Design Leadership Award commends the dedication and achievement of those who have successfully combined the two into a single concept.

全球化正將國際商業競爭推向前所未有般激烈，營商的成敗關鍵已不再取決於成本效益，而是在於設計；設計亦成為力克競爭對手的重要工具。而設計配合卓越的企業領導，便能協助公司達至持續的優勢。因此，我們必須重新詮譯商界及設計界所謂的最佳實踐，尋求一套可平衡經濟與社會價值的現代定義，協助企業邁向卓越。設計協助企業持續增長並非新鮮事；然而，卓越領導與優秀設計之間的關係卻經常被忽略。「設計領袖大獎」的宗旨在表揚能將這兩者結合為一整全概念的企業家。

The Design Leadership Award aims to: • Acknowledge the excellent achievements and contributions made by an outstanding world business leader • Establish role models within the international business community • Inspire the public to shape a better future for society 「設計領袖大獎」的宗旨為： • 表揚世界傑出商業領袖的卓越成就和貢獻 • 為全球的商業群體樹立典範 • 激發各界為社會建設更美好將來

DL Award 2010

Sir James Dyson Dyson Ltd.

Thank You 致謝辭

I’d like to thank the Hong Kong Design Centre for honoring me with a prestigious Design Leadership Award. Unfortunate enough the Dyson discovered design in engineering but it didn’t have it by accident, a mentor showed me how fascinating and exciting design and engineering could be. Unfortunately many do not understand how rewarding it is to experiment and create something new. To encourage this, my foundation has been doing workshops to the young people encouraging them to solve problems and to build prototype themselves. In 2011, we will be starting workshops in Japan, Singapore and Malaysia. In this way, we hope to nurture the design leaders of the future. And a double thank you for so generously giving us an award for a new Air Multiplier fan. Thank you very much! 非常感謝香港設計中心頒授這個備受尊崇的「設計領袖大獎」予我，榮獲此殊榮，實在深感榮幸。雖然Dyson在工程中發現設計，但此項設計並非偶然，這顯示了設計和工程無窮無盡的發揮，還有其耐人尋味之處。然而，沒有多少人明白實驗和發掘新事物的樂趣，還有當中帶來的益處不勝其數。為了鼓勵人們進行研發，我轄下的基金會經常舉辦工作坊，鼓勵年青人自行尋找方法解決問題。在2011年，我們將在日本、新加坡和馬來西亞開辦工作坊，希望藉此培育未來的設計領袖。我再次為著全新的Air Multiplier 風扇獲獎致以深切謝意！

"I wanted to give up almost every day. But one of the things I did when I was young was long distance running, from a mile up to ten miles. They wouldn't let me run more than ten miles at school – in those days they thought you'd drop down dead or something. And I was quite good at it, not because I was physically good, but because I had more determination. I learned determination from it," comments Dyson. Dyson說：「我每天都想放棄。但我年青時喜愛長跑，由一哩及至十哩。他們不讓我每天跑多於十哩，在那個年代可能害怕我會累死吧！我的表現不錯，這不是因為我體能好，而是我有決心。我就是從當年長跑的日子學會了凡事要有決心。」

Sir James Dyson Design Led Innovation 設計主導的發明事業

Born in 1947, Sir James Dyson is an industrial designer popularly known as the founder of Dyson Ltd, an international multi-billion dollar business selling industry-leading vacuum cleaners, fans and hand dryers. Revered as the quintessential archetype of the design-led businessman, Dyson’s visionary approach continues to remain driven by invention, ingenuity, design and perseverance. Fascinated by design and engineering at an early age, the young Dyson designed his first product, the Sea Truck, in 1970 while still studying at the Royal College of Art. Infected by this passion for engineering, design and practical problem solving, he continued to pursue his passion by developing a new kind of wheelbarrow – one with a conspicuously large ball that does not sink into mud. There's a common misconception about invention being an automatic consequence of genius, requiring very little effort. Hardly ever the case, for Dyson it is a far longer and iterative process – endlessly attempting to refine, and changing one small variable at a time. Design of Dyson’s first commercial success, the Dyson (Dual Cyclone) DC01 vacuum, would transpire across years of development with over 5000 prototypes.

Sir James Dyson 於1947年出生，是一名工業設計師。他創辦的 Dyson Ltd 製造多款領先業界的吸塵機、風扇和乾手機，業務以數十億元計，因而聞名於世。Dyson是典型以設計為本的大商家，他的遠景和策略也以發明、精妙、設計和堅忍為大前提。 Dyson在年青時已迷上了設計和工程，當他還在Royal College of Art 讀書時，已設計了畢生首個產品 Sea Truck。他對工程、設計和解決實際問題深具熱誠，因此繼續發明新一種手推車 — 當中裝設了大型球狀物，不會令手推車深陷泥濘中。一般人都誤以為發明這回事是天賦的本能，根本不費吹灰之力。這錯得很，Dyson的發明過程漫長，每次都改變微小的元素，不斷修正。Dyson 首個在商業上成功的產品就是 Dyson (Dual Cyclone) DC01 吸塵機，設有超過5000個模型，都是經多年研究改良的佳作。

Building on the foundational achievement earned by the Dual Cyclone01, the world’s first bagless vacuum (achieving notable success in the UK), Dyson would later establish his eponymous company as a purveyor of real engineering innovation, and audaciously expanded the business from the UK into Europe, and eventually the US, Asia and the rest of the world. Inside every Dyson vacuum cleaner is a unique cyclonic separation system that removes dust and other particles from the air stream. Dirty air enters a conical container called a cyclone, where it is made to flow in a tight spiral. Centrifugal force throws the particles out of the airflow onto the wall of the container, from which they fall into a bin. A distinct focus on new breakthroughs has served to help Dyson introduce new and better solutions to its vacuum lineup, developing about 35 different models of vacuum cleaners (25 of which are still currently marketed) throughout the company’s history. Categorized under three types of usage for heavy duty, handheld, and the more compact editions, Dyson vacuums, whilst versatile and powerful, are specifically designed to address even the most particular of needs. The DC31 Animal, for instance, is a handheld vacuum cleaner designed for homes with pets. An extremely nimble, lightweight design renders the product ideal for quick pick-ups and spot cleaning. The larger upright DC24 Multifloor, on the other end, carries forward a series of engineering and design refinements that resourcefully make this heavy-use vacuum functionally attractive and less cumbersome. A large yellow ball allows the vacuum to ride with great maneuverability even during use for a variety of surfaces.

全球首個無袋吸塵機Dual Cyclone01 為 Dyson 建立了穩固的成就基礎，在英國取得卓越的成績。Dyson 其後以其名成立企業，提供真正的工程創意發明，大膽將業務由英國擴展至歐洲，最後美國、亞洲及世界各地。在每一個 Dyson 吸塵機中都設有獨特的旋風式分隔系統，可從氣流中移除塵埃和其他雜質。骯髒的空氣進入圓錐形的器皿，稱為旋風器，並以緊密的方式旋轉。離心力將雜質從氣流中剔除至器皿壁，然後落入收集箱中。這種全新突破性發明讓 Dyson 可推出更多表現更理想的吸塵機產品，至今共推出35種不同款式的吸塵機 (當中25種仍在市場發售)。 Dyson吸塵機分成三個類別，包括用以處理大量塵埃的款式、手提式及輕巧型，各種款式的設計各具用途、功能一流，專為不同需要而設。例如 DC31 Animal 是一種手提式吸塵機，方便家中飼養寵物的人士使用。這種吸塵機尤其靈巧、輕身，可迅速進行清理和重點清潔。大型直立式 DC24 Multifloor 吸塵機則相反，透過精密的工程和設計改良進行大規模清潔，外型美觀而不笨重。一個大型黃色球狀物設於吸塵機內，機動性能極佳，可在不同表面進行吸塵的工作。

Consumer innovation in other areas includes the Contrarotator washing machine, Airblade hand dryer and the Air Multiplier fans. Designed as a series of models, the Contrarotator was the world's first washing machine to operate with two counter-rotating drums (spinning in opposite directions). Considered the world’s first hygienic commercial hand dryer, the Airblade uses Dyson's Digital Motor to produce an extremely powerful stream of air which can dry hands in no more than 12 seconds. Most recently, the Dyson Air Multiplier, designed to replace the desktop or window fan, provides smoother airflow and safe operation under a simple but popular premise: the fan is bladeless. Based out of Wiltshire, England, the company’s headquarters, better known as the Dyson Research, Design and Development Centre is home to 350 engineers. Selling a succinct collection of home appliance products, Dyson and its innovative brand of products are cherished by consumers across Europe, America, Asia, and other regions. Today, Dyson’s products can be found in over 45 different countries. For Dyson, the commitment to inspire a new generation of designers and engineers serves a crucial priority. The annual James Dyson Award was founded as a means for cultivation by asking students from around the world to engineer solutions to everyday problems. Past contenders have included such designs as fold-up scales, a new kind of hammer, and an iron you can wear like a glove.

至於其他範疇的發明包括Contrarotator洗衣機、Airblade 乾手機和 Air Multiplier 風扇。Contrarotator設有一系列款式，是全球第一台使用兩個雙逆向滾筒的洗衣機 (以相反方向進行)。Airblade 是全球第一個商用乾手機，使用了Dyson的Digital Motor製造強氣流，可於12秒內弄乾雙手。在最近推出的Dyson Air Multiplier則用以取代桌上風扇或安裝於窗戶上的風扇，不但氣流順暢、操作安全，更是簡單而又受歡迎的產品：風扇是沒有扇葉的。 Dyson的公司稱為Dyson Research, Design and Development Centre，總部設於英國威爾特郡外，共有350名工程師。公司出售簡單不過的家庭電器用品，其創意品牌在歐洲、美國、亞洲和其他地區都廣受歡迎。時至今日，Dyson的產品可超過45個不同國家出售。對於Dyson來說，發掘和培養新一代設計師和工程師是其首要任務。一年一度的James Dyson Award 邀請全球學生發明新事物，針對我們每天面對的問題，藉此培育下一代。過往參賽者的設計包括fold-up scales、新式鎚子及一個可套在手上的熨斗。

World’s Outstanding Chinese Designer Award 世界傑出華人設計師大獎 (WOCD Award)

World’s Outstanding Chinese Designer

2010

Honours designers of Chinese heritage, who display great achievements within their own discipline and devote themselves to the furthering of design, through education, professional organisations and social commitment.

表揚具有傑出成就的大中華設計師，其必需在個人專業範疇屢創佳績，透過投身教育、專業機構和社會服務，在設計上創立非凡成就。 The fusion of east and west is nowhere more evident than in Hong Kong, Asia’s gateway city. Due in part to its colonial heritage, Hong Kong has long been a melting pot for a broad variety of activities, making mutual understanding and interaction between its different cultures a normal part of everyday life. As the modern day world continues to look for inspiration in ancient Chinese traditions, multicultural Hong Kong is the ideal forum for the World’s Outstanding Chinese Designer award. The Award aims to reach out to Chinese designers across the globe, creating a pool of shared knowledge and experience based on common origins. The organisers’ vision is that a ripple started in Hong Kong will form a tide reaching every corner of the world where Chinese people are designing. This process will help identify role models who can inspire young Chinese designers wherever they may be. WOCD judging criteria was based upon three levels: Personal The winner should be an established figure in his discipline with a high quality of work, service and notable achievements. He must also demonstrate his long-term efforts and total commitment in the design field. Industry The winner should contribute to the design industry either through academic exploration or in-the-field applications, educational involvement or research studies. The winner must have demonstrated his commitment to design training at a national or an international level.

Social The winner’s design should have a positive impact on everyday living and environmental concerns. He must demonstrate a social consciousness and responsibility; be human-oriented and possess a positive mindset for creating designs that enhance the welfare of people and society.

香港作為亞洲樞紐，充份體現中西薈萃的精神。基於過往殖民地的背景，讓香港成為不同文化體系與活動的熔爐，而對於不同文化的理解、互動，更已成為香港人日常生活中一個理所當然的部份。現今世界不斷從傳統中國文化中獲取靈感泉源，所以香港這個展現中西視野的城市設立「世界傑出華人設計師」大獎便顯得順理成章。獎項向全球華人設計師開放，希望成立一個平台，讓同一根源的設計師分享經驗和交流知識。主辦者的抱負是要以香港為開始，泛起華人設計的浪潮，可觸及以至影響全世界。獎項亦希望為下一代的華人設計師樹立典範，啟發他們努力求進，打造璀璨的未來。獎項頒發予一位傳承中國傳統文化的傑出華人設計師，他的設計才華已為世賞識，並在同業中獲得傑出成就。評審根據以下三方面準則：個人設計成就獲選者會是在同業中廣受認同的設計師，作品水準高、服務優良，而且成就顯赫，他並在推動設計工業發展方面有長期的承擔及參與。對設計業貢獻獲選者需要在學術領域、實際工作、教育或研究等領域為設計工業帶來貢獻。他必須投身其所屬專業，推動設計工業的發展。獲選者亦需在本土及國際間積極參與設計教育。對社會貢獻獲選者必須對社會環境以及普羅大眾的生活帶來正面、積極的貢獻。他應具備社會意識以及使命感；要以人的立場出發，創造出可以提昇人們及社會生活素質的設計。

WOCD Award 2010

Eric Chan ECCO Design

Thank You 致謝辭

I am deeply honored to accept the HKDC’s annual award for World Outstanding Chinese Designer. Born and raised in China, educated in Hong Kong and the U.S. and being an active design practitioner for the last 30 years, have made me a truly global citizen. As the world continues to face critical challenges to environmental and social conditions, designers have a responsibility to balance technology with sensitivity, nature with society, culture and commerce. Receiving the prestigious WOCD Award affirms this commitment for me personally, and provides further motivation in design. As designers, we must look to the proper tools and knowledge to keep pace with the rapidly changing world we inhabit. Only after successfully navigating the crosscurrents of culture, technology and human emotion, and using our knowledge to create empathetic products, can we be able to build intrinsic meaning for users and producers. Tomorrow’s successes will depend on our ability to tolerate ambiguity and, as always, upon our powers of imagination, creativity and intuition. I am confident that, as a collective community, we can come together and bring forth a brighter future through design. Thank you for this generous and thoughtful award. 我能獲取香港設計中心頒授的「世界傑出華人設計師大獎」，實在感到萬分榮幸。我在中國出生和成長，在香港和美國接受教育，過去三十年一直活躍於設計界，這種跨文化背景令我成為真真正正的國際公民。全球的環境和社會狀況正面對史無前例的挑戰，作為設計師，我們有責任平衡科技和敏感度、平衡大自然和社會、平衡文化和商業。榮獲備受尊崇的「世界傑出華人設計師大獎」肯定了我的成就，也給予我在設計方面的無限動力。設計師任重而道遠，我們需要尋找合適的工具和知識，緊隨這個世界的急促步伐。在成功經過文化、科技和人類情感的歷練後，再運用我們的知識製造合乎使用的產品，就可為用者和製造者建立箇中價值。明天的成就取決於對不肯定性的忍耐，還有想像力、創意和洞察力。深信我們能各展所長，營造團結的社會，透過設計建立更燦爛光輝的未來。感謝授予此發人深省的獎項。

Eric Chan Finding Balance in Design 在設計中尋找中庸之道

For more than 30 years, Eric Chan has been asking many tough questions. Forever considered the consummate designer, Chan spends much of his time pondering about humans and their behavior, trends, materials, and how these can be balanced to attain better design. His priority in thinking transcends fashion and aesthetics and rather examines how functions can be implemented to better compliment and enhance usage for a given product, service, or even an entire system (like public transport). Steadfast to his role as an industrial designer, Chan remains determined to know, with great certainty, how different individuals would use and react to a design. As a designer, he is constantly thinking about how we can ensure that the tools and knowledge we use adequately keeps pace with constant, rapid change. Through his own New York-based practise ECCO Design, established in 1989, Chan has helped a growing list of international clients improve what they do through principles of user-centric design. Fundamental to his tenet is the idea that designers should be intelligently responsible with mediating balance between people and products, business and community, technology and nature – and ultimately bring transformation to society. 在過去30年，陳秉鵬一直在問很多難以解答的問題。他立志成為完美的設計師，大部份時間也在反覆思量人類和他們的行為、趨勢、材料，如何取其中庸之道來做出最佳的設計？他的前瞻性思維遠遠超越時尚和美學，反之檢討如何實踐功能，補足和加強產品、服務，甚至整個系統(如公共交通)的用途。作為一名工業設計師，陳秉鵬是堅定不移的。他決心要知道、肯定不同的人會怎樣使用設計、怎樣回應設計。他不斷思考如何確保工具和知識，可迎合現今社會的急劇轉變。陳秉鵬於1989年在紐約成立了 ECCO Design，多年來透過用者為本的設計，為多個國際客戶出謀獻策、改善計劃。這個主義的背後理念，就是設計師必需有智慧地表現中庸之道，包括人類與產品、商業與社會、科技與自然等，最終改變社會。

Born in Guangzhou, China, Chan was raised and educated in Hong Kong, where he graduated from Hong Kong Polytechnic University in 1976 with a degree in Industrial design. He then traveled to the US to study at Cranbrook Academy of Art, a school at the forefront of American design. Through the scholastic experience Chan was able to learn from and work with pioneers in the fields of product and ergonomic design, which has significantly influenced his professional practise and methodology. A practising inventor, Chan’s obsessions with life-enriching innovation has manifested in many contemplative efforts, earning him a number of patents. His consultancy, ECCO, is an established and widely revered firm best known for success in addressing the needs of multinational companies in every major consumer segment including Herman Miller, Virgin, Toyota, KEF, LG Electronics and Lenovo. With creations bounded only by the limits of his own imagination, Chan, who often incorporates groundbreaking – in one form or another – new ideas to his subjects, has designed more than a dozen bestselling chairs, mobile phones, CD players, washing machines a stapler, office furniture, in-vehicle interactive voicecommand systems, refrigerators, headphones and numerous others. Of particular note has been his holistic work to re-imagine public transportation for New Jersey Transport’s multi-level railcar. 陳秉鵬在中國廣州出生，在香港接受教育。1976年，他在香港理工大學畢業，主修工業設計；然後前往一間以引領美國設計潮流見稱的Cranbrook Academy of Art 進修。在進修期間，他有機會與產品和人體工學設計的先驅合作，從中獲益不少，也對他的專業實踐和設計方式產生重大的影響。作為一個發明家，陳秉鵬迷上了各種各樣豐富人生的創意理念，使其製造多個現代作品，獲取了多個專利。陳秉鵬成立的顧問公司ECCO，是一間廣為人知的、備受尊崇的公司，專門針對不同界別跨國企業的需要，包括Herman Miller、Virgin、Toyota、KEF、 LG Electronics及Lenovo，享負盛名。他創意無限，經常採納突破性的全新意念，形形式式不盡相同，並設計出多個最佳暢銷產品，如椅子、手提電話、CD播放機、洗衣機、釘書機、辦公室傢具、車內互動聲控系統、雪櫃、耳筒等。其中的代表作可謂重訂美國新澤西州公共交通系統中的多層軌道車。

The design philosophy behind ECCO looks beyond being style driven and iconic, to pursue opportunities that incorporate elements of social responsibility, ecological sensitivity, and cultural connectivity. It synergizes usability needs, innovation, insightful creativity, break-through engineering, and poetic interpretation in order to design meaningful products and experiences. ECCO 的設計理念超越風格和圖像，尋找機會融入社會責任、環保意識和文化聯繫的元素；其設計的產品別具意義，融合用途、創新、深度反思的創意、突破性工程和詩意的演繹。

Although pragmatic in his demeanor – upholding design as a tool of business and society – Chan’s work has nonetheless been featured in numerous international publications, as well as in the permanent collections of museums worldwide. These include: the London Design Museum, Musee des Arts Decoratifs de Montreal, The Israel Museum, the Museum Die Neue Sammlung in Germany, The Cooper-Hewitt, and The Museum of Modern Art in New York. ID Magazine named Chan as one of the 40 most influential designers in the US, while Business Week hailed him “One of the new breed of ingenious American designers that is making the world take note”. Contract Magazine conferred similar commendation in 2007 when he was listed amongst the ten most influential designers in the United States. In 2009, he was recognised for his achievement in designing the groundbreaking a Modular Hardware/Software Mobile Device for Bug Labs with a 2009 World Technology Award in Entertainment, edging out some world-renowned finalists from video-gaming, academia, and television. An active member of IDSA, Chan’s commitment to the design community includes serving as juror for Industrial Design Excellence Awards and CES Awards for Industrial Design. In recent years, he has focused his concerns on expanding the contemporary vocabulary of Chinese design. In 2007, Chan teamed up with Herman Miller to research and design a modern, ergonomically-sound armchair made from bamboo. Combining traditional craft with computerised techniques, the groundbreaking chair stirred Chan’s desire to probe further the means to heighten design from his native heritage, which now forms a crucial part of Chan’s strategies.

雖然他手法務實，以設計作為商業和社會的工具，他的作品卻在多個國際雜誌報導和介紹，以及在全球多個博物館中列入永久收藏之列。這包括 London Design Museum、Musee des Arts Decoratifs de Montreal、 The Israel Museum、德國的 Museum Die Neue Sammlung 、The Cooper-Hewitt 以及紐約的 The Museum of Modern Art。 ID Magazine 稱陳秉鵬為美國四十位最具影響力設計師之一，而 Business Week 亦讚揚他：「新一代心靈手巧的美國設計師之一，廣受全球矚目」。 2 0 0 7 年，陳秉鵬獲選為美國十大最具影響力設計師時， Contract Magazine 亦有類似的讚賞。在2009年，他為Bug Labs設計了突破性的模組硬件／軟件流動工具，成績有目共睹，並獲取了World Technology Award in Entertainment，擊敗當時在電子遊戲、學術和電視舞台上世界知名的對手。陳秉鵬是IDSA的活躍會員，在設計範疇上貢獻良多，包括為Industrial Design Excellence Awards 和CES Awards 擔任工業設計評審。近年來，他專注拓展現代中國設計的範疇。在2007年，他與Herman Miller 合作研發和設計一個以竹製成的人體工學扶手椅。這全新產品綜合了傳統工藝和電腦技術，引發陳秉鵬在傳統中尋找強化設計的方式，如今成為設計策略不可或缺的一部份。

Design For Asia Award (DFA Award) 亞洲最具影響力設計大獎

The Hong Kong Design Centre recognises good design a key element in invigorating living quality and making the world a livelier and more sustainable place. And Asia where hosts half of the world’s population now sees its market potential recognised is demanding more and more outstanding designs. 香港設計中心清楚明白優秀設計是令生活更充滿動力令世界更活潑更能持續發展的一項重要元素。而佔世界半數人口的亞洲, 市場潛力正不斷發揮, 需求越來越多傑出設計。

Since its official launch in 2003, DESIGN FOR ASIA AWARD (DFAA) has created increasing opportunities for promising designers across Asia, with the introduction of Gold, Silver and Bronze accolades in 2008 to the Award that boasts 18 individual design categories now. The DFA Special Award is also established to accredit design projects for their outstanding contribution to the domains of culture, sustainability and technology. Today designers all over the world have more and more to do with Asia whereby innovative designs in Apparel, Communication, Product and Environment keep burgeoning in Asia. DFAA sets to acclaim companies and designers from all over the world whose designs sparkle and invigorate Asian lifestyles, being environmentally sustainable, and bring about commercial and societal successes.

亞洲最具影響力設計大獎(DFA Award)自2003年推出以來，給亞洲各地具潛質設計家締造了成就機會。而2008年在18個設計組別內均增設金、銀及銅獎更使機會日見增多。而「亞洲最具影響力特別獎」則頒予文化、可持續發展及科技三個範疇的優異設計，特別表彰其設計之貢獻。現今世界各地設計師與亞洲聯繫均見日趨頻繁，促進了亞洲的服飾、訊息交流、產品、以及環境設計不斷創新。獲頒授亞洲最具影響力設計大獎的設計，可以是來自世界任何各地的設計公司與設計家，而其設計成功令亞洲增添光彩、激活了亞洲生活藝術、保障了可持續發展環境、促進社會發展並帶為企業帶來商業成就。

DFA Grand Awardâ&#x20AC;Ś

601 Artbook Project 2008 601bisang

GREEN SCHOOL

Dyson Air MultiplierTM fan

(DFA Special Award for Technology) Dyson Ltd (c/o Jebsen & Co Ltd)

(DFA Special Award for Sustainablity) PT Bamboo Pure

iPad

NEW Krewrap

nine hours

KUREHA CORPORATION

Apple, Inc.

(DFA Special Award for Culture) Cubic Corporation Design Studio S

eneloop Universe SANYO Electric Co., Ltd.

MOKUZAI KAIKAN Wood Wholesalers Association of Tokyo Nikken Sekkei Ltd.

The PuLi Hotel and Spa Layan Design Group Pty Ltd

DFA Grand Award

601 Artbook Project 2008 601bisang

The 601 Artbook Project is an artbook competition organised annually by 601bisang, a Seoul-based private design firm. The competition follows the organiser’s own passions at exploring a liberated articulation of book design, inviting participants from across Korea and other countries to design genre redefining examples that pull at the limits of what constitutes an artbook.

每年一度的 601 Artbook Project 藝術書籍比賽是由首爾一間名為 601bisang的私人設計公司主辦。賽會跟隨主辦者的喜好，熱切追求無拘無束的書籍設計，要求韓國及海外參賽者構思出嶄新的典範，開拓藝術書籍的新疆界。

Park Kum-jun

As tribute to the experimental creative spirit, this Grand Award winner comprises a series of posters and a winners catalogue which promote the event, before and after the fact. Designed by the organiser, the set of three posters were initially created to publicise the competition. Thematically, the posters revolve around graphics based on “Nature and Humanity”, with each featuring a striking motif of silhouettes: of man and forest. Inspired by the separate but intriguing ideas of “Imagine!”, Breathe…”, and “Fly!” each poster works to convey a message that “Artbook is Conversation” – the theme of the competition. Adhering to the theme first delivered through poster form, the 601 Artbook Project Catalogue was designed around the beautiful silhouettes of a Korean forest. The soft exposed spine brings together in unique narrative style, combining texture and playful visuals, the means for publishing the full breadth of exuberant creativity uncovered via the competition. Documenting 29 winning examples, the catalogue encompasses books designed out of teabags, a belt, milk cartons, and even a time-clock.

是次獲獎的包括該比賽前後一系列宣傳海報及得獎者目錄，我們認為它們富實驗性的創意值得嘉許。一組三張海報由主辦者設計，原本用於推廣比賽，圖像題材環繞「自然與人類」，各自載有一幅惹人注目的剪影：人與森林。每張海報意念獨立而又引人興趣，分別是「幻想！」、「呼吸…」和「飛翔！」，帶出「藝術書籍就是對話」的賽事主題。 601 Artbook Project目錄與之前面世的海報同出一轍，採用韓國森林的美麗剪影作為設計。柔光下的枝椏營造出獨一無二的敘述風格，結合質感和有趣的視覺元素，全面披露比賽所發掘的豐富創意。目錄刊載29個得獎作品，這些書籍的設計材料包括茶包、皮帶、牛奶盒，甚至時鐘。

Three additional posters were designed to promote an exhibition of winning entries. In keeping to the adopted “Artbook is Conversation” approach, this subsequent series of posters was created as an overlay atop the initial expression. The reaction carries also a similar handling by focusing on a series of motifs pairing animals drawn from popular Korean folktale. Evocative of dialogue and interplay, this visual overlay cleverly communicates the trident harmony existing between man, animal and nature.

另外三張海報旨在宣傳得獎作品展。沿用「藝術書籍就是對話」的方向，此系列海報是覆蓋在原有海報之上再進行創作，主題處理亦有類似的地方，將韓國民間傳說中家喻戶曉的動物配對起來。覆蓋層上的圖像試圖喚起對話和互動，巧妙地表達了人類、動物及自然三方的和諧關係。

DFA Grand Award

Dyson Air Multiplier™ fan Dyson Air Multiplier™ 風扇

Dyson Ltd. (c/o Jebsen & Co. Ltd.) Without reference to its true utility, very few amongst us could deduce that this most recent breakthrough from Dyson actually garners usefulness as a fan. Aptly named the Dyson Air Multiplier Fan, this unorthodox-looking product both surprises and perplexes the imagination for one simple reason: it is designed without blades.

James Dyson

Following the stream of innovations perfected by Dyson over its much lauded history, the Dyson Air Multiplier Fan combines sound engineering with superlative quality and styling. By being constructed of a tough thermoplastic, the fan achieves an ideal balance between rigidity and lightness. Instead of blades, the Air Multiplier manages its function – the result of meticulous R&D by the 350-person engineering team – via a very simple looking ring that is hollow on the interior. Drawing on techniques akin to those employed by jet engines, each unit works by first drawing air (at 20 liters per second) from the base. This airflow then travels upwards into the hollow ring, where the engineering breakthrough happens. The interior is shaped deliberately shaped so as to channel and accelerate air through a tiny slit. Momentum generated by this escaped air, simultaneously pulls air (due to physics) from behind and around – scientifically described as inducement and entrainment respectively – the fan to create a continuous breeze. Through this ingenious method, the original airflow is multiplied by about a factor 15 to 18 times.

看到 Dyson 最近的代表作，如不知其真正用途，相信無人想到它就是一個風扇。此產品稱為 Dyson Air Multiplier 風扇，外型獨特，既令人驚嘆，也令人大惑不解，原因是：這個風扇沒有扇葉。 Dyson的創新設計幾近完美，一直備受讚賞，這個無扇葉風扇集合聲音工程科技，質素和外型都是絕佳之作。產品極具熱塑性，達致堅固和輕巧的理想平衡。這個風扇並沒有扇葉，在350名工程人員的精心研發下，在內裡裝置一個尤如大指環的簡單配件，發揮其「風扇」的功能。這採用類似噴射機引擎的技術，首先從底部吸入空氣 (每秒20公升)，然後空氣向上輸送至大指環，科技工程的突破就在這裡出現。空氣透過細小裂縫吹出和增強，吹出的空氣引發動力，旁邊和後面的空氣因物理原理同時捲入，在科學上稱為「牽引」和「夾帶」，因而帶來陣陣連綿不斷的涼風。透過這種精巧的方法，吹出的空氣流動比一般高出15至18倍。

Already hailed as a worldwide commercial success, the Air Multiplier serves as an ideal product for the Asian household. A lightweight, compact construction affords exceptional versatility, enabling the unit to be conveniently repositioned in even the most confined spaces. In addition, the bladeless design minimises age-old safety risks, especially for children, and renders cleaning quick and effortless. 空氣倍增器已是全球的一項商業成就，更是亞洲家庭的理想家品。這個產品輕巧，性能極佳，在局促狹小的空間仍可方便使用。此外，這種無扇葉設計減低傳統風扇帶來的安全問題，尤其不會對兒童構成危險，清洗更方便快捷。

DFA Grand Award

eneloop Universe SANYO Electric Co., Ltd.

Sanyo’s Eneloop battery is an earth-conscious product that has long garnered veneration for being the world’s first low self-discharge nickel-metal hydride battery, better known as LSD NiMH. Relative to conventional batteries, LSD NiMH derives import for the low-percentage of self-discharge they produce. Rechargeable up to 1500 times, the highly efficient Eneloop has since the initial launch in 2005 achieved formidable market leadership, helping in turn to promote the idea of reusing over disposing. When we consider that approximately 40 billion dry-cell batteries are fed into landfills annually, Eneloop’s triumphs (commanding sales volumes upward of 120 million cells and 60-70% of market share in Japan) are rendered even more significant. 22

三洋Eneloop電池是全球第一種低自然放電鎳氫電池 (LSD NiMH)，這種環保產品早已贏得各界敬重。與傳統電池相比，LSD NiMH所產生的自然放電百分比較低。 Eneloop最多可充電1500次，效能優秀，自2005年推出以來已取得市場領導地位，有助宣揚再用電池而非棄置的概念。鑑於每年約有400億枚乾電池被送入堆填區， Eneloop的成就顯得更為重要。 Eneloop的成就(銷量高達1.2億枚以上，佔日本市場60-70%)顯得更為重要。

Instead of saluting Eneloop’s triumphs as merely consequence of a singular battery product, this Grand Award acknowledges excellence across Eneloop’s strategic campaign, which holistically capitalises on the eco-friendly lifestyle – that values reusing and recycling – by intelligently expanding into a broad range of Eneloop-branded products. Created as the perfect branding solution to tackle emergent needs, Sanyo’s Eneloop presently consist of products that, in one way or another, enhance the ideals of eco-consciousness onto a variety of functions. Thoughtfully designed with consistent aesthetic coherency, products that are available include: crayon-inspired color coded rechargeable Eneloop batteries, an Eneloop air purifier, an Eneloop rechargeable LED lantern, an Eneloop portable solar power charger for mobile devices, the Eneloop Music Booster (rechargeable power source for music amplification), an Eneloop power assisted folding bicycle, an Eneloop rechargeable Lamp, the Eneloop Stick Booster (a NiMH device for on-the-go recharging), an Eneloop carbon-fiber power assisted performance bicycle, and an Eneloop power assisted stylish sport bicycle. By adhering to the core idea of rechargeable power, each design earns distinction by introducing a new functional objective for which Eneloop aims to achieve. For example, consistent to Eneloop’s motor assisted bicycles is a regenerative energy system that charges power when riding downhill or during braking. In similar fashion, Sanyo developed a portable charger equipped with solar panels to enable boundless and mobile charging of devices.

Eneloop的成績不僅止於單一電池產品，賽會稱許Eneloop出類拔萃的策略方針，透過巧妙地開拓各種Eneloop品牌產品，全面涵蓋環保生活方式，重視再用和循環再造。三洋Eneloop是應對新興需求的完美品牌方案，目前包括多種以不同方式貫徹綠色理念的產品，提供各項功能。產品經過細心設計，美感上務求一致：以蠟筆為藍本的Eneloop色標充電池、Eneloop 空氣清新機、Eneloop充電式LED 燈、Eneloop可攜式太陽能流動裝置充電器、Eneloop Music Booster (充電式電源供播放音樂之用)、備有輔助電源的Eneloop摺疊式單車、 Eneloop充電式照明燈、 Eneloop Stick Booster(用於流動充電的NiMH裝置)、以及備有輔助電源的Eneloop碳纖維高性能單車和時尚運動單車。

Eneloop各種設計忠於可充電的核心概念，卻又切合不同的嶄新功能。舉例說，備有輔助電源的 Eneloop單車設置了再生能源系統，可於落斜或剎車時進行充電。三洋亦開發了類似的可攜式充電器，其太陽能板可作不同裝置的流動充電用途。三洋堅持不懈，致力建立和擴展 Eneloop品牌板圖，全面豐富人類生活，其產品發展的範圍及功用具無限的可能性。

The persistence by Sanyo to build and expand wonderfully asserts Eneloop’s brand-correlation as a comprehensive lifestyle companion, where the possibilities in scope and utility appear boundless and never-ending.

DFA Grand Award

GREEN SCHOOL PT Bamboo Pure

Situated in an undeveloped and natural area of gentle growth jungle, and bisected by the Ayung River, the Green School in Bali was opened for one very simple yet admirable reason: protection of the environment. Distinguished in its spirit, its architecture and its curriculum, the ever-evolving Green School was founded by famed jewellery designer John Hardy and his wife Cynthia, who both wanted to tackle the global environmental challenge in the most sensible means possible â&#x20AC;&#x201C; through education of children.

Ambitiously designed to be the foremost model of sustainability in education, the schoolâ&#x20AC;&#x2122;s complex comprises a number of six open-air classrooms, a massive building known as the Heart of School and the Kul Kul Bridge. Seen as a profound departure from Baliâ&#x20AC;&#x2122;s celebrated chic resort flair, everything within the eight hectare campus, from the architecture and desks to the chairs and flooring, is built from locally sourced bamboo and mud bricks. Visitors and students cannot help but feel enthused, appreciating both the ingenuity of design and the incredible beauty of nature as they take refuge underneath the bending boat-inspired bamboo structures. Individual elements, such as structural columns, each comprise of a multitude of bamboo sections that are pieced together in innovative form. The Green School affirms further merit by featuring a number of venerable solutions in sustainability. Compost, for example, is regularly made out of waste collected from on-site toilets. Similarly, methane gas gathered from animal manure serves to power the stoves that are used for cooking. Electrical energy requirements for the complex are ingeniously met by a purposely designed vortex in the nearby riverbed. Energy is harnessed from the resultant centrifugal force.

The Green School cannot be successful without a progressive attitude towards the curriculum. In addition to teaching subjects like English, math and science, the school emphasizes a holistic programme consisting in the study of nature, ecology, environment, sustainability and others. As a response to its locality, the school also teaches students about local Balinese culture and tradition. And intriguingly, students are taught to grow and harvest their own food.

Green School 位於峇里島Ayung河兩岸未經發展的天然叢林，開辦理由十分簡單卻又令人欽佩：保護環境。該校正在不斷發展，以其精神、建築及課程聞名於世。創辦人為著名珠寶設計師John Hardy及其妻子Cynthia，其希望透過最明智的方法應對全球的環境挑戰 — 教育下一代。該校在設計上矢志成為可持續教育的先驅，包括六間開放式教室、名為 Heart of School的大型建築物及Kul Kul Bridge。校園佔地八英畝，風格與島上馳名的渡假村大相逕庭，其建築物、枱椅及地板都是以本地竹子及泥磚製造而成。訪客及學生來到受船隻啟發的竹製建築物時，都會不禁興緻勃勃，細意欣賞靈巧的設計及美不勝收的自然景觀。結構柱等個別建築元件包含多段以創新方式組合的竹枝。 Green School 另一值得讚賞的地方，就是採用多種古老的可持續發展措施。比方說，從學校廁所收集的廢物會定期製成堆肥。由動物糞便得來的沼氣則會用於煮食爐的燃料。校方別出心裁，在附近河床特別興建一個渦輪，透過由此而來的離心力，滿足學校的電力需求。 Green School 的成功有賴先進的課程。除英文、數學及科學等課目外，學校亦強調全人教育，包括研究大自然、生態、環境及可持續性等。為了配合本土特點，也有教授峇里文化及傳統。有趣的是，學生須要學習耕種和收割自己的食物。

DFA Grand Award

iPad Apple Inc.

For anyone keeping tabs on the evolution of pop-culture and technology, the iPad’s release will perhaps be remembered by posterity as a noteworthy episode. Before the introduction of Apple’s table computer, mobile computing was largely restricted to difficult to use and cumbersome devices.

The magnitude of the iPad derives from the fair number of breakthroughs it introduces. Instead of typing or navigating using a keyboard or mouse, users interface with their fingers, employing a more natural and organic experience based on touch. So whether it is surfing the internet, sending emails, viewing photos, listening to music, playing games or reading an e-book, every function is handled via easy-to-understand touch inputs or finger manipulations. Drawing on styling cues from Apple’s coveted iPhone, the iPad shares many of the aesthetic elements users have by now become accustomed to. The graceful half-inch thick iPad is sleek and sculpted at the back, and conveniently weighs in at less than 1.5lbs. Made of a highly recyclable aluminum enclosure, the product’s refined simplicity, absent of such conventional implements as keyboards and touch-pads, is afforded by an energy-efficient LED multi-touch sensitive display. Measuring 9.7-inches, the brilliant LED display delivers crisp clear images at a 178 degree viewing angle.

Being relatively lightweight and compact helps the iPad enter a new realm for computing where notebooks have consistently failed to do. Far more than being a larger version of its mobile phone brethren, the iPad’s most significant achievement revolves around the product’s astounding commercial success and how it has established a whole new market genre – a wave of new tablet computers eerily similar to the iPad are already planned for release – by focusing, above all, on ease of use and personalization for mobile on-the-go computing. An aspect of the device deserving of commendation is the robust Apps system. Equipped to run a near endless selection of applications, offered by Apple and other software developers, the iPad can be enabled to perform just about every function imaginable, lending it further attractiveness as a personal device.

對於走在潮流及科技尖端的人來說，iPad的出現可說是備受觸目的。在推出蘋果桌面電腦以前，所謂的「流動電腦」只是又笨重、又難於使用的工具，亳不吸引。 iPad獨特之處，在於其向外界展現多個突破。iPad不以鍵盤打字，也不以滑鼠瀏覽，用家只須用手指輕觸操控，是自然不過的感官體驗。無論上網瀏覽、發送電郵、觀看相片、聆聽音樂、玩遊戲或網上閱讀等，每一個動作都只須透過簡單的輕觸指令，一指就能做到。 iPad承襲iPhone的型格設計，當中的美學元素已廣為大眾認識。iPad外型優雅、線條流暢，只有半吋厚度和少於1.5磅的重量。外殼選用可高度循環再造的鋁材，簡約細緻，摒棄傳統鍵盤和觸控板的束縛，一個高能源效益的LED 多點觸控式屏板已是最佳方案。iPad 配備亮麗的9.7吋LED 背光顯示屏，具有178度超視角，為用戶帶來生動清晰的圖像。傳統手提電腦至今未能打破困局，iPad卻相對輕巧，帶領大家進入電腦科技的嶄新紀元。iPad不但只是同門iPhone的較大版本，其出色成就廣受全球觸目，為市場帶來一番新景象。現在，各大電話製造商爭相計劃推出與iPad相似的微型手提電腦，無疑以方便使用和隨身電腦個人化為主打。當然iPad的值得表揚之處，就是其無懈可擊的應用程式系統。該系統由蘋果和其他軟件發展商提供，當中包含無窮無盡的應用程式，幾乎聯想到的每一個功能都可做到，使其成為更具吸引力的個人工具。

DFA Grand Award

MOKUZAI KAIKAN 木材會館 Nikken Sekkei Ltd. There is probably no better way to express the achievement made by Mokuzai Kaikan in Tokyo than to describe this unorthodox commercial-use building as a triumph in both design and branding. After all, this large-scale building, which features rare-but-extensive usage of timber inside and outside was purposely designed to headquarter Japan’s Association of Wood Wholesalers.

From the exterior, the overall character impresses by way of a deliberately overt use of wood. Here, large panels of wood combine with existing structural concrete columns to form an intricate external façade, visually reminiscent of a bookshelf or the rectangular shapes often found in Japan’s ryokans (traditional inns). The striking illusion plays on the typology of the high-rise – intimating the multi-storey building’s own thematic utility – to propose a rich new imagining for wood.

Takeyuki Katsuya

On the inside, wood perceptibly prevails to dominate and endear the spatial experience. Natural timber are imaginatively stacked and aligned, functioning to inundate the stark minimalist interiors with an impression that is warm and convivial. All the visible elements are composed by 115 x 115 mm numerically-controlled computer cut sections of Japanese cypress – a standard off-the-shelf product – creatively form Mokuzai Kaikan’s multitude of staircases, flooring, ceilings, raised floor panels, structural elements and others. With each level a separate elaboration on wood’s diverse possibilities, the cumulative impression serves as a case model seeking to revive the material’s popularity in urban construction. Additionally, the building also adapts another of Japan’s architectural traditions via a modern enrichment of the engawa (again, through wood), a space in traditional homes that permits natural breezes to enter while shutting out strong sunlight. A Japanese tea room also features to reinvent traditional vernacular design under a contemporary reading.

Tomohiko Yamanashi

東京木材會館的出色之處實非筆墨所能形容，這個打破傳統框架的商廈可謂設計和品牌上的成功之作。大型商廈罕見地以大量木材為建築內外的主要材料，乃日本木材批發商協會的總部。商廈外牆刻意使用大量木材，大塊木材結合現存的混凝土結構，形成錯綜複雜的外觀，恰似懷舊書架或日本旅館的方形設計。這種惹人注目的視覺幻象恍如高樓大廈的象徵，仿傚多層建築的既有骨幹，引發人們對木材有更豐富的聯想。在商廈裡，木材顯然為主體，營造莫大的空間感。富聯想地大量堆放和排列木材，刻意使其充斥刻板但抽象的設計，並帶來溫暖和悠然自得的氣氛。所有元素都是由日本柏樹木材組成，並經由電腦切割為115 x 115 亳米。這種平實不過的方型木材，卻在創意的運用下組成了Mokuzai Kaikan 的樓梯、地板、天花板、地台、結構元素等。每一層幾乎個別發揮了木材的無限可能性，此楷模的確有助振興木材在現代建築的地位。此外，建築還沿用了另一個日本的建築傳統，透過現代手法加強傳統房屋的緣側 (同樣也透過木材) 效果，讓自然涼風滲入，但仍可阻擋室外猛烈的陽光。日本茶室改造傳統的本地設計，加入現代意念，來得不落俗套。

DFA Grand Award

NEW Krewrap Kureha Corporation

Our relationship with plastic cling wrap traces back to the 1950s, when a scientist invented the transparent film purely by accident. In the kitchen, this quotidian artifact is used throughout the world as an essential implement, serving a primary function to prolong the freshness of food.

Responding to the problems that have plagued conventional cling wrap design and packaging, the NEW Krewrap was attentively designed to facilitate effortless and accurate tearing of plastic film.

Given how omnipresent cling wrap is to contemporary civilisation, and in spite of their low-cost perception as ordinary disposable items, a consistent failure to address a number of design inadequacies heightens the significance of Kureha’s achievement, manufacturer of the NEW Krewrap. Prominent grievances that are associated with cling wrap certainly derive from problems of handling and usage. Tearing away a sheet of desired length is rarely achieved with a single attempt – underscoring the amount of waste this may entail.

Unlike the typical design, the NEW Krewrap is fitted with a bio-degradable plastic blade – easily detachable for safe disposal – that provides consistent sharpness while reducing risk to injury. Design of the package incorporates innovative elements that further improve upon the product’s reliability. These solutions include a graphic device that invokes the user to press as means to secure each plastic sheet. As a complement, the carton is oddly fitted with a hole whose window-like function reveals a cartoon picture of a whimsical smiling girl. Her full expression – revealed only when the upper flap is folded down – serves as a simple-to-use cue indicating the product is suitably ready for use. An additional reference about the pedantic attention observed is manifest through the external form factor, whose embossed elements afford greater grip and positioning.

In keeping to an eco-conscious approach, the packaging which come in sizes measuring 30 X 20cm, 22 X 20cm, 15 X 20cm, 30 X 50cm, 22 X 50cm, and 15 X 50cm, the carton has been designed to be easily collapsible, contributing to waste and volume reduction.

保鮮紙成為我們的日常生活用品可追溯至五十年代，當時一名科學家意外地發明了這種透明的薄膜。在全球，我們幾乎每天都使用這種廚房用具，保存食物新鮮。在現代文明發展進程中，保鮮紙可謂無處不在。保鮮紙成本低廉、用完即棄，一直以來人們都嚴重忽略了其設計不足之處，直至 NEW Krewrap 製造商 Kureha 的最新發明，才為這種工具帶來重大的貢獻。最常見的投訴包括保鮮紙的處理和使用，一般而言，我們難以一下子撕出一片合適長度的保鮮紙，引致浪費。

NEW Krewrap 針對傳統保鮮紙設計和包裝的問題，讓顧客不費吹灰之力，就可準確撕出一片大小理想的保鮮紙。NEW Krewrap 的包裝有別於一般設計，其使用了生物可降解的膠狀刀片，可隨意取出扔掉，不帶危險。這種刀片鋒利，但可減低受傷的機會。包裝設計融入創新元素，改善產品的可靠性。當中包括圖像工具，用者可按下固定每張保鮮紙。為補不足，紙盒異常地設有「窗口」，當中窺見一位微笑中的卡通女孩。女孩的整個表情只在上蓋翻下時才露出，這是簡單的提示方式，表示產品已可使用。另外產品賣弄技術之處，就是其突出的元素，讓用者方便拿著，位置更理想。 NEW Krewrap 包裝堅守環保原則，大小包括30X20厘米、22X20 厘米、15X20厘米、30X50厘米、 22X50厘米和15X50厘米。紙盒的設計方便拆掉，同時減少產生的廢物。

DFA Grand Award

nine hours Cubic Corporation Design Studio S In Japan, capsule hotels are generally considered obligatory offshoots in a space-deprived society. An Osaka invention first introduced in 1979, their functions as cheap alternatives to conventional hotels and inns make them the perfect retort for business traveling or extremely late-working salarymen and office ladies – referred to locally as “sa-la-limaan” and “OL”. Apart from being economical solutions, the widely known drawbacks of such establishments are, of course, the petite sleeping pods – often individually smartly equipped with their own TVs – and a not so ideal reputation for being both unhygienic and aesthetically boring.

The Nine Hours in Kyoto is a deliberate attempt by one company to re-propose the customer experience, systematically addressing the array of problems plagued the business. Turning to design, the result is a profoundly stark and minimalist environment that ingeniously uses smart, easy-to-understand wayfinding as a device – blending function with style – to improve every stay. Via intelligent icons and symbols, patrons are naturally guided towards gender-specific elevators – which like public-space lavatories sport icons to discern male and female – that take them to the segregated shower facilities and pod areas. Fumie Shibata

Masaaki Hiromura

Photography: Yasuo Kondo Takaaki Nakamura

Photography: Kozo Takayama

This simple yet organic approach hints at a distillation of the customer experience, where priority is given to coherency and improvement of bathing and sleeping. Overtly sterile by design, the uncluttered white spaces that run uniform throughout serve to highlight a special level of hygiene. Custom designed amenities and paraphernalia such as crisp white towels, Nine Hours-branded soap and shampoo packets, all follow familiar styling cues. Most visually impressive of all are the pristine white plastic capsules that line the sleeping facilities. Reminiscent of a scene from Stanley Kubrick’s 2001: A Space Odyssey, the futuristic capsules, fitted inside with white molded plastic and matching colourcoordinated linens, each emit their own intriguing glow of light. Demonstrating yet again the meticulous pains taken in order to achieve empathy with the patron, the Panasonic-designed pods include an alarm clock that uses an ingenious light-based solution, helping users to wake up without any noise.

在日本，膠囊式旅館已視為社會的必需副產品。在1979年，這個發明首見於大阪，膠囊式旅館是傳統酒店和旅館的另類平價選擇，專為商務旅客或經常超時工作的打工一族和辦公女郎而設，當地稱為“sa-la-li-maan”和“OL”。膠囊式旅館雖然是經濟的選擇，但其缺點也是廣為人知的，例如睡眠空間狹小，並且房內只有一部電視。還有一些較差的印象，如衞生欠佳、設計欠獨特等。位於京都的nine hours針對一連串的業務問題，重新關切客戶的體驗和需要。設計方面，外觀無疑是刻板但抽象的，智慧地使用易於理解的設計，揉合功能和風格，令居住者倍感舒適。旅館採用智能標記，帶領顧客乘搭區分性別的升降機到浴室和房間當中，就如區分男性和女性的公共洗手間一樣。

這自然簡約的方式可加深顧客的體驗，並以整齊清潔、改善淋浴和睡眠為大前提。旅館顯然著重設計風格，各個白色光猛的睡眠空間排列公整，突顯其理想的衞生水平。此外，還有度身設計的設備和隨身用品，如雪白毛巾、「九小時」肥皂和洗頭水套裝等，都是設計風格相近。在視覺上令人印象尤深的，必然是純潔白淨的睡眠空間 – 膠囊，恍如置身Stanley Kubrick的2001太空漫遊。這個邁向未來的膠囊，內裡為白色塑膠，舖上顏色相襯的床單，散發著一絲絲誘人的光芒。為更體貼顧客的需要，內裡設備也是一絲不苟的，例如樂聲牌設計的睡艙，設有智能光鬧鐘，在響鬧時不帶任何噪音。

DFA Grand Award

The PuLi Hotel and Spa Layan Design Group Pty Ltd The unrelenting quest for modernisation in China has generally reconfigured both the perception and function that is associated with design today. Gone are the days when design was merely regarded as a utilitarian, and perhaps, inconsequential means to an end. Mirroring the expansive array of changes that are presently shaping the Chinese landscape, design is also finding expression under a framework of evolvement.

Johannes Hartfuss

With Chinese design and its identity an intrepid work in progress, the PuLi Hotel and Spa in bustling Shanghai is helping to enlarge the boundaries of the status quo. PuLi succeeds not as an forceful application of the hackneyed resort-style, nor is it a construct built around a tired lexis of dragons and phoenixes. Instead, the hotel is most admired as an essay in tranquility that delicately combines the comforts of contemporary living with a disciplined articulation of Chinaâ&#x20AC;&#x2122;s old-world splendor.

Set in the heart of the city, adjacent the ever-lively NanJing West Road, PuLi provides a unique proposition, allowing visitors to unwind the moment they exit the thrum of a hectic Jingâ&#x20AC;&#x2122;an district and enter the hotel. Like being transported into a different fantasy-like realm, the serene interiors, distinguished by candle-lit corridors, ornate glowing lamps, shallow reflection ponds and towering bamboo, are intentionally designed with understated sophistication in mind.

PuLi Hotel and Spa設有229間客房及套房，以簡約的直線及沉粉色為主，各種豪華生活用品一應俱全，卻又不失典雅細緻，這有賴於酒店善用不同物料及豐富的歷史文化背景。酒店採用本地暗木、青銅、風乾的黏土磚瓦、灰色的上海磚頭及人手製作的石紋表面，空間的質感和無處不在的不反光飾面令人印象深刻。空間組件受到歷史元素啟發，貫徹於大堂、靜安餐廳以至各間套房之上。舉例說，每一房間均有漂亮的中國花瓶及舊式沐浴設備，務求做到細緻優雅。

Characterised by a minimalist undertone of clean straight lines and dark pastel tones, the PuLi’s 229 rooms and suites provide all the necessary trappings of luxury living with a nuanced approach to elegance – afforded from expert use of rich materials and historic and cultural references. Endeared by dark local timber, cast bronze, air dried clay tiles, grey shanghai brick and handmade stone finishes, each space is heightened by a profound impression of texture and matt surfaces everywhere. Integrity of each spatial component, extending uniformly from the main lobby, the Jing’An Restaurant and the suites, is fortified by PuLi’s array of historically-inspired elements. Pointing to a profound level of sophistication, each room, for instance, is decoratively fitted with beautiful Chinese vases and old-fashioned lavaboes.

中國現代化步伐堅定不移，從大體上重新界定了今日設計的觀念與功能。昔日設計純粹講求實用，或被視為完成目標之餘的瑣碎細節，今天已不復再。正當中國面貌經歷翻天覆地的變化，設計界在表達上亦同樣追求演進。中國設計及其身分發展如火如荼，位處上海鬧市的PuLi Hotel and Spa 則進一步擴闊現有邊界。它既不重彈度假村風格的陳腔濫調，也不是堆砌飛龍和鳳凰的隨俗建築，而是以安穩寧靜至受讚譽，精妙之處在於提供當代生活的種種舒適，亦能有節制地表現出舊中國的風采。

Other custom-designed touches, purposed to analogous effect, include: beautifully ornate stoneware headrests that are styled after Song dynasty Cizhou wares; brass incense burners; Timber Foo Dogs statues, originating from the Han dynasty, placed to ward off evil spirits; inimitable bronze mirrors modeled after those used during the Han dynasty; and others. 其他類似的度身打造特點包括：仿照宋代磁州瓷器、裝飾華麗的陶製頭枕；黃銅製香爐；源於漢代、用於辟邪的福犬木像；以及仿製漢代無與倫比的青銅鏡子等等。

PuLi Hotel and Spa坐落於市中心終日車水馬龍的南京西路旁，位置可謂獨一無二，讓旅客離開繁囂的靜安區，便能即時回到酒店舒展身心。酒店內部設計講究祥和，恍如世外桃源，以蠟燭照明的走廊、美輪美奐的燈飾、淺淺的倒影池及高聳的竹子，一切設計在在反映出低調而不落俗套的特質。

DFA Grand Award

nine hours Cubic Corporation Design Studio S

DFA

Special Award Culture 亞洲最具影響力文化特別獎

While most outsiders would cringe at the idea of staying in a capsule hotel, such establishments are generally considered obligatory offshoots of the cultural circumstances unique to Japan. For many, working late hours is very much endemic to the everyday routine, as it is also common for men to have downed one too many drinks at the bar. What’s also common is that by the time these individuals are set to return home, the trains have stopped running completely. Discouraged by the costs of hiring a taxi – the most expensive in the world – most are forced to consider a stay at a hotel. The combination of these circumstances illustrates how capsule hotels, being more financially-sensible alternatives, serve to address a valid market demand. However, apart from being practical solutions, capsule hotels are widely admonished for their diminutive sleeping pods and for being both unhygienic and aesthetically boring.

大部份日本的外來訪客對於下榻膠囊酒店會不其然卻步，然而，這種建設卻是現今日本獨有文化的衍生物。對於很多人來說，工作至深宵達旦幾乎已是生活習慣，而男性在酒吧飲酒言歡，喝醉而不自知，也是普遍不過的。就在這些人要返家時，所有地鐵都已停止服務。一般人都不願乘搭世上最昂貴的交通工具 – 計程車，因此只能考慮在酒店留宿一宵。膠囊酒店是價錢合宜的另類選擇，的確符合市場的需求。雖然膠囊酒店是實際不過的選擇，但其睡艙狹小、衞生欠佳和設計欠奉，往往備受批評。

Found nestled in historic Kyoto, the nine hours is a deliberate attempt by one operator to reverse this trend. Manifest as a profoundly stark, minimalist and intentionally sterile environment, the Nine Hours is best evaluated for the visual solution that has been adapted to wayfinding. Giving each floor an impression of openness and uniformity, simple clean lines and easy to understand signage permeate to guide movements toward genderspecific elevators – sporting icons to discern male and female – whose purpose transports each visitor to the segregated shower facilities and sleeping quarters. This simple yet organic approach hints at a distillation of the customer experience, where by focusing upon only the essentials the various elements are permitted to guide each patron, from the initial point of checking-in to eventually finding each assigned pod, as seamlessly as possible.

在視覺上令人印象尤深的，必然是純潔白淨的睡眠空間 – 膠囊，恍如置身Stanley Kubrick 的2001 太空漫遊。這個邁向未來的膠囊，內裡為白色塑膠，舖上顏色相襯的床單，散發著一絲絲誘人的光芒。

Most visually impressive of all are the pristine white plastic capsules that line the sleeping quarters. Reminiscent of a scene from Stanley Kubrick’s 2001: A Space Odyssey, the futuristic capsules, fitted inside with white molded plastic and matching colourcoordinated linens, each emit their own intriguing glow of light. Despite acknowledging that there is always a need for a comprehensive luxury hotel experience, the Nine Hours proves the intention remains to provide only the basic essentials, but in the most satisfying means possible. Most surprising of all has been the popularity of Nine Hours, even among foreign guests. According to the operator, foreign visitors account for about 80% of total occupancy during travel’s high season.

nine hours位於歷史文化氣息甚濃的京都，營運者刻意扭轉膠囊酒店的頹風。nine hours的設計乾淨利落，略帶抽象主義，環境清潔整齊。在視覺上，nine hours具極佳的視覺效果，讓顧客容易尋找方向。每一層均帶來開明和一致的觀感，指示清晰、容易理解，引領顧客走到區分性別的升降機。男女標誌顯然而見，帶顧客到公眾淋浴間和睡艙。這種簡單原始的方法令顧客有更深切的體驗，就是集中在這些基本功夫，已可讓顧客由登記住房，及至走進睡艙，都是簡單方便、絕無障礙的。

雖然一間豪華、設備齊全的酒店是必定有市場的，雖然nine hours只提供最基本的元素，但使用令人滿意。nine hours極受歡迎，尤其是外來旅客。據營運者所說，在旅遊高峰季節，酒店外來旅客的入住率達八成。

DFA Grand Award

GREEN SCHOOL PT Bamboo Pure

DFA

Special Award Sustainability

亞洲最具影響力可持續發展特別獎

Even whilst the world scrambles to pinpoint how best to rescue the environment, a pioneering school nestled in the verdant backcountry of Bali is quietly leading the charge. Chartered with a mandate to protect the environment, the Green School was established by jewellery designer John Hardy and his wife Cynthia. Core to its cutting-edge premise, of course, is that education should be central in mankind’s quest to mend the planet’s well-being.

Designed as a model of sustainability in both curriculum and design, the distinctive-looking Green School features extensive material usage of bamboo and mud bricks, all sourced locally. Setting the school apart are the idiosyncratically-designed massive bamboo structures – seemingly inspired by designs borrowed from boats – which encompass the campus as six large open-air classrooms, the central building amicably known as ‘Heart of School’, and the imaginative Kul Kul Bridge. To maintain singularity, virtually all furnishings, from desks and chairs to tables and structural columns, are made entirely from bamboo. By emphasising the idea of being at one with nature, the School enhances student appreciation, duty and respect for the earth, particularly throughout their learning and development process. Distinguished for its progressive stance, the curriculum advocates the Steiner system of education – which balances elements of the artistic, practical and the theoretical – with exposure to a vigorous array of eco-driven subjects and activities to train students into becoming the next generation stewards of the earth. Students are taught to live off the earth by growing and harvesting their own vegetables, which eventually become part of the school lunches. Additionally, a variety of animals on the grounds help acclimatise children to living in harmony with our earthly neighbors.

Billed as the most natural school in the world, the Green School affirms merit by featuring a number of venerable solutions in sustainability. Compost, for example, is regularly made out of waste collected from on-site bio-friendly toilets. Similarly, methane gas gathered from animal manure serves to power the stoves that are used for cooking. Electrical energy requirements for the eight hectare campus are ingeniously met by a purposely designed vortex in the nearby riverbed. Energy is harnessed from the resultant centrifugal force. Currently catering to students from close to 20 different countries, the Green School is providing versatile learning for boys and girls in kindergarten to grade 12.

正當全球爭先鑽研拯救環境的最理想方法，隱匿於峇里島綠林之中的一所學校卻默默地成為箇中先驅。Green School以保護環境為使命，由珠寶設計師 John Hardy 及其妻子Cynthia創立。學校站在時代尖端，並深信教育應是人類修復地球環境的首要法門。 Green School 的課程及設計均採取可持續性模式，校舍外貌甚有特色，廣泛應用本地竹子及泥磚。設計風格特異的巨型竹製結構看來是從船隻得到啟發，可謂別樹一幟。包括六間大型開放式教室、取名親切的中央大樓Heart of School，以及富於想像力的Kul Kul Bridge。為了保持獨一無二的特點，枱椅等室內陳設以至結構柱幾乎全是竹製。學校注重與大自然合而為一，培養學生對地球欣賞、負責任和尊重的心態，這一點在他們求學成長期間尤為重要。學校以先進的教育方針聞名，課程方面提倡Steiner教學法，藝術、實務及理論元素並重，更讓學生接觸大量與生態有關的學科和活動，訓練他們成為下一代的地球管家。學生耕種和收割蔬菜以作學校午飯的一部分，從而學習依賴土地為生。校園內亦有多種動物，讓學生習慣與這些人類的鄰居和諧共處。 Green School 獲稱譽為全球最貼近自然的學校，採用多種古老的可持續發展措施。比方說，從校內環保廁所收集的廢物會定期製成堆肥。由動物糞便得來的沼氣則會用於煮食爐的燃料。校方別出心裁，在附近河床特別興建一個渦輪，透過由此而來的離心力，為八英畝大的校園提供所需電力。目前Green School 的學生來自接近20個國家。該校現為幼稚園至第12級的男女學生提供多元化教育。

DFA Grand Award

Dyson Air Multiplier™ fan

DFA

Dyson Ltd. (c/o Jebsen & Co. Ltd.)

亞洲最具影響力科技特別獎

Dyson Air Multiplier™ 風扇

Special Award Technology

Ever since the electric fan was first invented circa 1890, little has changed, in terms of their design, over the past 100 years. While the fans of today are more energy efficient, less bulky, and are often constructed of plastic instead of steel, they have largely remained defined by the same basic technological features: an electric motor and large rotating blades. Following its esteemed tradition for groundbreaking products – invariably based on the sound interplay between engineering and design – Dyson has delivered a complete rethink of the fan. Dubbed the Dyson Air Multiplier Fan, this remarkable device is much quieter and smoother than the average model, but above all, it stands out for being the world’s first bladeless fan. Instead of relying upon blades, the Air Multiplier manages its function – the result of meticulous R&D by the 350-person engineering team – via a very simple looking ring that is hollow on the interior. Drawing on techniques akin to those employed by jet engines, each unit works by first drawing air (at 20 liters per second) from the base. This airflow then travels upwards into the hollow ring, where the engineering breakthrough happens. The interior is shaped deliberately shaped so as to channel and accelerate air through a tiny slit. Momentum generated by this escaped air, simultaneously pulls air (due to physics) from behind and around – scientifically described as inducement and entrainment respectively – the fan to create a continuous breeze. Through this ingenious method, the original airflow is multiplied by about a factor 15 to 18 times. This convergence of technological expertise and engineering know-how helps to leverage the Air Multiplier’s mass-market appeal. The bladeless design, which is likely to inspire some form of emulation from the competition – makes certain the device is both safe and light enough for easy placement even on tabletops and desks.

電風扇最早於1890年發明，在過去百年間，其設計轉變不大。雖然時至今日，風扇已更合乎能源效益、較輕便，以塑膠而非鋼鐵構成，但論到技術特點，還是沒大轉變：以電動摩打和大扇葉轉動。 Dyson以傳統基礎為本，以出色的工程和設計發明這創新產品，為風扇重新改造。這名為 Dyson Air Multiplier風扇的驕人之作，比一般風扇更寧靜及更流暢。但最無可媲美的，就是成為全球首個無扇葉的風扇。這個風扇並沒有扇葉，在350名工程人員的精心研發下，在內裡裝置一個尤如大指環的簡單配件，發揮其「風扇」的功能。這採用類似噴射機引擎的技術，首先從底部吸入空氣 (每秒20公升)，然後空氣向上輸送至大指環，科技工程的突破就在這裡出現。空氣透過細小裂縫吹出和增強，吹出的空氣引發動力，旁邊和後面的空氣因物理原理同時捲入，在科學上稱為「牽引」和「夾帶」，因而帶來陣陣連綿不斷的涼風。透過這種精巧的方法，吹出的空氣流動比一般高出15至18倍。精嶄的技術加上先進的工程科技，令這個空氣倍增器備受廣大市場推崇。無扇葉設計安全輕巧，可安心置於桌上，安全可靠，無疑令競爭者爭相仿傚。

DFA Gold, Silver & Bronze Awards…

Yamaha Design Synapses Yamaha Corporation

nine hours

Cubic Corporation Design Studio S

iPad

Apple, Inc.

Bblueskykids children's magazine Bbluesky Circle Design Ltd

Tenjin-Bayashi Specially Brewed Sake

Uonuma Sake Brewery Co.,LTD. Kuroyanagi Jun

Spanish Pavilion for Shanghai World Expo 2010 Miralles Tagliabue EMBT Benedetta Tagliabue

TITAN 2

Markus Temming GmbH

Nanjing Contemporary Art Annual Exhibition Hanqingtang Design co. ltd

Visual Circus

Nanyang Technological University I-Hsuan Cindy Wang

METAPHYS uqu

Fukui Koki Co. Ltd. hers experimental design laboratory inc.

Osage Group Osage Group Osage Design

Bblueskykids – posters Bbluesky Circle Design Ltd

MOKUZAI KAIKAN Wood Wholesalers Association of Tokyo Nikken Sekkei Ltd.

Moonbird

Yamagiwa Corporation Hashimoto Yukio Design Studio inc.

Zhuyeqing, Chengdu China

Sichuan Emei-shan Zhuyeqing Tea Co., Ltd Alan Chan Design Co.

Bartle Bogle Hegarty (Shanghai) Asylum

HOTO FUDO

Takeshi Hosaka Architects

Kenchikukagu Atelier OPA Co.

LED9000 3D TV

SAMSUNG ELECTRONICS Co, Ltd.

Zelo Bar & Restaurant Lilian Tang Design Limited

NOWHERE BUT SAJIMA

Nowhere resort YASUTAKA YOSHIMURA ARCHITECTS

WHIRLPOOL VENUS TOUCH Top loading Washing Machine WHIRLPOOL CORPORATION

ITO

SPREAD Ltd.

NewWebPick E-Magazine

United Elite Information Services Company Limited

The Upper House Andre Fu, AFSO

Leaf Tie

Lufdesign Tsunho Wang

Li-Ning Brand Identity Redsign Ziba Design

Save Our Earth

WILLMAX DESIGN STUDIO

BAMBOO FOREST & HUTS WITH WATER

Ryuichi Ashizawa Architects & associates

iPhone 4 Apple, Inc.

Shanghai Watch

Horizon Worldwide Limited Tommy Li Design Workshop Limited

F-WHITE

Takuro Yamamoto Architects

House in Wakabadai Satoshi Okada architects

BAYSIDE MARINA HOTEL

Yokohama Bayside Resort Ltd. YASUTAKA YOSHIMURA ARCHITECTS

TECHTILE #3 NOSIGNER

CARTESIA NOSIGNER

Bras Basah Mass Rapid Transit Station, Singapore Land Transport Authority

The Waterhouse at South Bund Neri & Hu Design and Research Office

Gradient Collection

Kian (Hong Kong) PTE limited Fang Studio Limited

ePure Digital Cordless Phone Swissvoice HK Limited Elium Studio

Tsujikura design project design studio REPUBLIQUE

Jiangsu Provincial Art Museum

Alila Villas Uluwatu, Bali Indonesia PT Bukit Uluwatu Villa

Jiangsu Provincial Art Museum (Jiangsu Province, represented by the Jiangsu Olympic Center) KSP Jürgen Engel Architekten

KPMG-CCTF community centre

Hammock

NEW Krewrap

CASE-REAL

B&W Group Asia Limited Native Design

China Children and Teenagers’ Fund (CCTF), KPMG China The Oval Partnership Ltd KUREHA CORPORATION

X-mini™ II Capsule Speaker™ & X-mini™ HAPPY Capsule Speaker™ Xmi Pte Ltd

DFA Gold Award

Interactive / Digital Media

Yamaha Design Synapses Yamaha Corporation Designed in-house, this visually pleasing website is like a photo album presenting an array of Yamaha products. Using the latest Web-based technology, they are shown dynamically in relation to the designs with which they are associated. At the same time, they are clustered around key words representing the Yamaha design philosophy of “total integrity”, and the key words also surround the products. A Flash-based title index presents these key words yet again in a pattern that evokes a myriad of neural connections in the viewer’s brain, thereby encouraging him or her to gain a deep and intuitive understanding of the design philosophy’s principles. The site exemplifies the increasing importance corporations are attaching to design. Yamaha Corporation began this project with the inference that the futuristic feel of function in harmony with emotion – as embodied in the Yamaha range of quality instruments – would resonate as a stimulus for users with an eye for design. Besides encouraging customers to purchase well-designed products, the site indirectly promotes a sophisticated and discerning lifestyle, as well as a heightened appreciation of functional aesthetics.

Yamaha 網頁由公司自行設計，尤如一本大型相簿，展示Yamaha的多樣產品。網頁設計採納最新的網頁技術，演繹富有動感和生氣。圖片圍繞著代表Yamaha 設計理念 — 「完美完全」的關鍵文字，同時關鍵文字亦圍繞著產品圖片。動感標題表達關鍵文字的模式，無疑刺激瀏覽者的神經，引發無限聯想，促使瀏覽者對其設計理念有更深切的體會。這網頁充份顯示了企業對設計的日益重視。Yamaha Corporation 推動此設計，皆因其認為網頁功能帶有和諧和情感，並融入於Yamaha的優質樂器中，就可刺激用者對設計大開眼界。網頁除了鼓勵顧客購買設計優良的產品外，更不經意地推廣一種高尚、獨一無二的生活模式，還提升了人們對功能美學的鑑賞。

Yoshitaka Aritomi Daizo Sato

Shintarou Tsuzuki Shigeki Terada

Shinya Yamamoto Keiji Ikeya

Sadao Muraki

Keiichi Sugimoto

DFA Gold Award

Packaging

Tenjin-BayashiSpecially Brewed Sake Uonuma Sake Brewery Co. Ltd. Jun Kuroyanagi

Named after an ancient song about bumper harvests and made by Uonuma Sake Brewery Co., Ltd., Tenjin-Bayashi; Specially Brewed Sake is a popular beverage at banquets in Japan. However, despite its long history and award-winning quality, the distinctively sweet-tasting sake previously failed to attract as much attention as it deserved, mainly due to its subdued packaging. This has now been redesigned in a creative and aesthetically pleasant way that reflects the product’s character, as well as the cultural heritage of the Echigo-Tsumari region where it is produced.

Jun Kuroyanagi 於1985年出生，是在東京工作的一名自由設計師。

The distinctive candy-striped bottle is based on the theme of “nature’s gift”, and it is adorned with mizuhiki tied in the shape of an ume blossom, a symbol of the god Tenjin after which the sake is named. A traditional art form, mizuhiki is a special type of cord made from tightly wound rice paper that has been starched and coloured.

狹長的酒瓶以「大自然的禮物」為主題，配以梅花狀的日本繩結藝術，是天神的象徵，即清酒的取名。繩結是一種傳統的藝術，由已變硬和變色的宣紙緊緊結成，極具特色。

The new packaging was successfully launched at a project for redesigned regional specialities that formed part of Echigo-Tsumari Art Triennial 2009. With its eye-catching new look and a smaller bottle that makes it more suitable for small family celebrations, Tenjinbayashi; Specially Brewed Sake is now much more popular, especially among younger consumers, even though Japan’s alcoholic beverages market is stagnant at present.

Tenjin-Bayashi取名自一首關於豐收的民謠，由 U o n u m a S a k e Brewery Co., Ltd 釀製而成。至今 Tenjin- Bayashi; Specially Brewed Sake在日本飲宴場合大受歡迎。雖其歷史源遠流長，優質無比，但這種味帶清甜的清酒卻未受應有的注視，相信與其包裝有莫大關係。現在，清酒的包裝已改頭換面，創新、具美感，不但反映產品的獨有個性，還充份流露出原產地越後妻有的文化氣息。

全新包裝在一個地區特色重整計劃中成功推出，成為「越後妻有藝術三年展2009」的一部份。TenjinBayashi Specially Brewed Sake 全新包裝引人注目，細小酒瓶更適合小型家庭慶祝活動；即使當前日本餐酒業停滯不前，還是廣受大眾歡迎，尤其是年青一代。

Born in 1985, Jun Kuroyanagi is a Tokyo-based freelance designer.

Jun Kuroyanagi

DFA Gold Award

Publication

Good illustration encourages the viewer to think and gain more from the text than first meets the eye. It marries brilliance in craft, skills and creative thinking; while the combination of strong ideas with excellent execution ensures that readers appreciate the illustrator’s work. Designed for Garden City Publishers in Taiwan, this book aims to achieve visual communication that invents a unique illustration or code of behaviour by rearranging visual illusions through a variety of communicative processes. Its innovative and creative design encourages browsers to pause and look more closely at the images. Furthermore, it strives to use illustrations and

Visual Circus 視覺馬戲團 Nanyang Technological University, Singapore 新加坡南洋理工大學

Cindy I-Hsuan Wang

printing techniques to create an intimate relationship with readers, and to bring the information it contains alive in a way that stimulates their imaginations. It is sure to exert an influence on the way other designers go about creating books in the future.

優質的插圖令讀者從文字中引發思考、領會更深。當然，這還須配合精到的工藝、技巧和創意思維。絕佳的意念配合極致的表達，可確保讀者欣賞插圖畫家的功架。這本書藉為台灣田園城市出版商而設計，盼望透過不同的溝通過程，重新整理視覺插圖，發明獨有的插圖樣式，達致視覺溝通的果效。其創新設計令讀者停下來，再仔細觀賞圖像。此外，還以插圖和印刷技術，與讀者建立親密的關係，將資訊活靈活現放在讀者眼前，引發他們無限聯想。這無疑對其他設計師在將來創作書藉時留下深遠的影響。

DFA Gold Award

Commercial

MOKUZAI KAIKAN

Wood Wholesalers Association of Tokyo Nikken Sekkei Ltd.

Takeyuki Katsuya

In every bustling metropolis, large concrete structures dominate the urban landscape, serving as a principal material fabric. For reasons of multiplicity, any exemplar that proposes a new imagining for large-scale commercial buildings will likely garner attention. Tomohiko Yamanashi

This striking building located in the heart of Tokyo’s industrial district of Shinkiba was purpose built as the gleaming new headquarters for Japan’s Association of Wood Wholesalers. The extraordinary design, which responds to a client directive to expound on wood’s viability in contemporary urban construction, features both a versatile and enriching material expression.

From the exterior, large panels of wood combine with existing structural concrete columns to form an intricate external façade. Visually reminiscent of a bookshelf or the rectangular shapes often found in Japan’s ryokans (traditional inns), the conspicuous illusion teases the typology of the high-rise – intimating the multi-storey building’s own thematic utility. On the inside, wood perceptibly prevails to dominate and endear the spatial experience. Natural timber are imaginatively stacked and aligned, functioning to inundate the stark minimalist interiors with an impression that is warm and convivial. All the visible elements are composed from 115 x 115 mm sections of Japanese cypress – a standard off-the-shelf product – creatively form Mokuzai Kaikan’s multitude of staircases, flooring, ceilings, raised floor panels, structural elements and others.

在任何一個繁忙的大都市，混凝土建築佔了絕大部份。要令大都市面貌更多元化，以創新思維建立大型商廈的佼佼者必定備受注目。這個突破傳統的商廈位於東京新木場的工業區核心，乃日本木材批發商協會的全新總部。這個非凡設計向外界解讀木材在現代建築的可行性，突顯其靈活多變及演繹豐富的特點。從外觀而言，大塊木材併合現存混凝土結構，形成錯綜複雜的外觀。其外型仿似舊式書架，或日本旅館常用的方形設計，惹人注目的視覺幻象仿如高樓大廈的象徵，仿傚多層建築的既有骨幹，引發人們對木材有更豐富的聯想。在商廈裡，木材顯然為主體，營造莫大的空間感。富聯想地大量堆放和排列木材，刻意使其充斥刻板但抽象的設計，並帶來溫暖和悠然自得的氣氛。所有元素都是由日本柏樹木材組成，並經由電腦切割為 115 x 115亳米。這種平實不過的方型木材，卻在創意的運用下組成了 Mokuzai Kaikan 的樓梯、地板、天花板、地台、結構元素等。

DFA Gold Award

Hospitality and Leisure

nine hours Cubic Corporation Design Studio S

Fumie Shibata

Affectionately known as the nine hours, this hotel, nestled amid the revered quietude of historic Kyoto, was intentionally designed to present a rethink of Japan’s popular but habitually disparaged capsule hotel.

Masaaki Hiromura

Photography: Yasuo Kondo Takaaki Nakamura

Photography: Kozo Takayama

Outstanding for its overt blending of style with function, the nine hours is essentially defined by a principle belief that, in their most basic form, what all capsule hotels should supply are 1 hour to shower, 7 hours to sleep and 1 hr to rest – hence the peculiar name. Building from this idea, the hotel distills the customer experience in order to provide an organic space that is both sensible and groundbreaking in its attitude. Inside the uncluttered black and white environments, the various elements have been carefully defined to guide each customer on their path, from the initial point of checking-in to eventually finding each assigned pod, as seamlessly as possible. Exemplifying this distinctive scheme is the conspicuous emphasis on clear, coherent wayfinding elements and signage, manifest as intelligent icons and symbols which inundate the hotel. Patrons are naturally guided towards gender-specific elevators – which like publicspace lavatories sport icons to discern male and female – that take them to the segregated shower facilities and pod areas.

這所名為 nine hours 的酒店坐落文化氣息濃厚、環境憩靜的京都市，其設計打破日本非常流行，但為人垢病的膠囊酒店傳統。nine hours 獨到之處，在於其型格揉合功能，堅守其最基本的理念：膠囊酒店應提供一小時淋浴服務、七小時睡眠時間和一小時休息時間，這就是 nine hours 的名字由來。酒店以此概念為本，希望這個基本的空間既合乎所用，也略帶風格，令顧客體驗尤深。在這個黑白分明的酒店裡，每一個元素都經小心鋪排，可清晰帶領顧客每一步：由登記入住及至進入睡艙，盡量減少障礙。清楚一致的沿路標誌以別具智慧的圖像表達，客人跟隨標誌自然走到區分性別的升降機，標誌就如公共洗手間的男女樣式，引領他們到淋浴間和睡艙。

DFA Gold Award

Cultural, Public and Exhibition

Spanish Pavilion for the Shanghai World Expo 2010 上海世博2010西班牙館 Miralles Tagliabue EMBT

Inspired by the Spanish climate, this imaginative and environmentally friendly steel-framed pavilion used the traditional craft of wickerwork as an innovative construction and decorative technique. The 8,524 wickerwork panels that adorned its façade were arranged in a mosaic-like way, so that the natural staining on them formed a number of Chinese characters for natural elements, such as the sun and moon. These symbolised friendship and cultural exchange between East and West in general, and between China and Spain in particular.

While the translucent quality of the superimposed wickerwork and tubular steel beams allowed daylight to enter the interior, it also filtered it to create calm and wonderful lighting effects. This gave the many small courtyards inside an atmospheric light that was reminiscent of HispanoArabic architecture. Most of these courtyards were connected to the building’s exterior, thereby welcoming the public and creating a sociable, relaxed vibe that was further enhanced by the ambiguous inside-outside ambiance of its numerous patios. In some of the rooms, Spanish film-makers were invited to create special scenery to show how the way of life in large Spanish cities has changed during recent years. Performances of Spanish music and dance were staged there too.

上海世博西班牙館的靈感源自西班牙的氣候，這個富有幻想和環保的展館以鋼為主，採用傳統的「藤條」編織技術，是一個創新和帶有裝飾意味的建築。展館外層由 8,524個「藤條」板縱橫交錯而成，極具馬賽克韻味，並抽象地拼搭出「日」、「月」等漢字。這確是中西友好和文化交流的象徵，尤其是指中國和西班牙。半透光的「藤條」和管狀鋼樑圍繞著展館，讓日光自然透進室內，而且可過濾光線，令其變得更柔和及帶來特殊光效。大自然光線照亮了室內多個細小庭院，這就是古代西班牙和阿拉伯建築。大部份庭院都與建築外界相連，向大眾以示歡迎，同時建立了融和輕鬆的氣氛，那些天井位置讓人不知置身室內還是室外，悠然自得之感更濃烈。在一些房間中，西班牙電影製作人更獲邀建立特別場景，顯示近年西班牙的生活變化。當然，還有西班牙音樂和舞蹈表演呢!

Benedetta Tagliabue

DFA Gold Award

Home ware

METAPHYS uqu Fukui Koki Co. Ltd. hers Experimental Design Laboratory Inc.

These super-light and environmentally friendly titanium chopsticks were designed for Fukui Koki Co., Ltd., an eyeglass manufacturer. That was no coincidence: the comfort of wearing eyeglasses and holding chopsticks both depend on a fine balance in their centre of gravity. Harnessing the optical industry’s sophisticated technology and paying attention to the delicate balance between the hand and the centre of gravity in the chopsticks, the result is a product so light you can barely feel it when you hold it. METAPHYS uqu also illustrates the potential for titanium’s use as a sustainable and durable tableware material. It is non-corrosive, harbours no odour, does not affect the taste of food, and has an antibacterial effect that prevents allergies. Moreover, it can tolerate repeated boiling and dishwasher cycles, and it is recyclable. The designer was inspired by the principle that “things you use every day should be GOOD”. Although the use of titanium makes them relatively expensive, these chopsticks are unique, and with proper care they can be used for a lifetime. So the price is quite reasonable. In fact, Fukui Koki Co., Ltd. has succeeded in cultivating a new market and acquiring a new customer base for them.

Chiaki Murata

這雙超輕且環保的鈦製筷子是為眼鏡製造商Fukui Koki Co., Ltd.而設計的。這可說是不謀而合：配戴眼鏡和使用筷子的舒適度，完全視乎中心的平衡。創作人利用視光業的技術，加上留意手部和筷子中心的微妙平衡，創作了這雙筷子。重量之輕，拿著也尤如無物。 METAPHYS uqu同時發揮了鈦作為環保和耐用餐具的功效。這筷子不會被侵蝕、不帶異味、不影響食物的味道，還有抗菌功能預防過敏！此外，這可抵受重覆煮食和清洗的磨損，還可循環再造。設計師的靈感源自一個概念，就是：每天使用的東西必定是好的。雖然使用鈦材料令成本相對高昂，但這雙筷子與別不同，只要恰當保存定可終身使用。因此，價錢還是合理的。Fukui Koki Co., Ltd. 已成功打入新市場，吸引新的客戶群。

DFA Gold Award

Professional and Commercial

Moonbird Yamagiwa Corporation Hashimoto Yukio Design Studio Inc.

Yukio Hashimoto

This artistic lamp depicts a bird perched silently beneath the moon. Its wooden base is individually hand-carved, while the slim, ultra-thin illuminated panel uses state-of-the-art light-source technology. Designed for the Japanese market, its sculptural form combines warm, natural materials and advanced technology, as well as a harmonious colour palette of walnut, wenge and red, coated with Japanese urushi lacquer.

這帶有藝術氣息的座枱燈尤如雀鳥在月下棲息林間，木製底部以人手雕刻，而幼長的照明系統則使用了先進的光源科技。座枱燈專為日本市場而設，其雕塑外型集合天然材料和先進科技，多種柔和顏色可供選擇，如胡桃色、黑檀木色和紅色，再塗上日本漆。

DFA Gold Award

iPad Apple Inc.

Computer and Communication

The popular saturation of the iPad has invariably demonstrated the shift in lifestyles now transpiring across the globe. Catering to those consumers who are demanding a more personalised alternative, the iPad’s design fundamentally addresses the array of drawbacks – from cumbersome size and weight to difficult to use interface – so often associated with notebook computers. Drawing on styling cues from Apple’s coveted iPhone, the iPad shares many of the aesthetic elements users have become accustomed to. The graceful half-inch thick iPad is both sleek and stylish, and conveniently weighs in at less than 1.5lbs. Made of a highly recyclable aluminium enclosure, the product’s refined simplicity, absent of such orthodox input implements as keyboards and touch-pads, is afforded by an energy-efficient LED multi-touch sensitive display.

iPad風靡全球，世界各地的生活方式也因iPad的出現而起了變化。消費者總希望有更個人化的選擇， iPad正好迎合他們的需求，在設計上為傳統手提電腦的弱點進行大革新，笨重的外型、重量及至難以使用的界面，都一一摒棄。 iPad承襲iPhone的型格設計，當中的美學元素已廣為大眾認識。iPad 外型優雅、線條流暢，只有半吋厚度和少於1.5磅的重量。外殼選用可高度循環再造的鋁材，簡約細緻，摒棄傳統鍵盤和觸控板的束縛，一個高能源效益的LED多點觸控式屏板已是最佳方案。

Like all Apple products, a clear focus on smart, sensible user interface functions to distinguish the design. Propagated by an incredibly responsive system, the iPad’s appeal owes largely to how simple the device truly is to operate, even for non-tech savvy users. Instead of scrolling a mouse and clicking upon icons, users are simply required to use their fingers to manipulate their actions. So whether it is surfing the internet, blasting emails, viewing photos, listening to music, playing games or reading an e-book, using the tablet every function is handled via the tablet’s intuitive touch input. 就如其他蘋果產品一樣，iPad專注靈巧智慧的用戶界面功能，令其於市場上站穩陣腳。iPad壓倒性的優勢可歸功於其簡易的操控方式，即使你對科技一竅不通，你仍可操控自如。你毋須使用滑鼠或按任何按鍵，以手指就可進行所有動作。無論上網瀏覽、發送電郵、觀看相片、聆聽音樂、玩遊戲或在網上閱讀，一指就能做到。

DFA Silver Award

Fashion Accessories

TITAN 2 Markus Temming GmbH

The products in the TITAN 2 spectacle frame collection are innovative and practical, as well as visually appealing. They incorporate a host of technical innovations, such as cogged temples made from strong material and with special toothing that means they are easy to bend. The temples are clearly visible beneath their transparent silicon temple tips, and they have been distracted to the first recess and turned to about 90 degrees to simplify their anatomical adaptation. In addition, the recesses between the centre of the eyeglasses and the temples not only look good, they are also easy to adjust.

The special finish of the titanium material gives it an unusual matt appearance and intensifies the TITAN 2 effect: full of character and expressive, and incomparably comfortable and easy to handle too. The collection has proved very popular since its launch in Hong Kong, Japan, Korea and Malaysia.

TITAN 2 鏡架系列創新實用，外型吸引。鏡架採納先進技術，如使用強化物料製成的齒狀鏡腳和特設邊齒，容易屈曲。鋸齒狀的內骨隱藏在矽膠外套下，可以90度彎曲，按面形調節角度。眼鏡中央與鏡腳之間不但外型美觀，而且容易調節。鏡架由鈦物料特別加工，形象硬朗，強化了TITAN 2 的效果：充滿個性、表現豐富、方便使用、無可比擬的舒適度。自此系列在香港、日本、韓國和馬來西亞推出後，廣受大眾歡迎。

Mark Temming

DFA Silver Award

Identity and Branding

Osage Group Osage Group/Osage Design

The Osage Group is an ongoing project that contributes to the development of the arts by nurturing dialogues and exchanges between artists, audiences and art communities in Asia. It also seeks to build commercial platforms for emerging and mid-career artists. The Group consists of Osage Art Foundation (OAF), Osage Gallery, Osage Merchandising, Osage Art and Ideas, Osage Art Consultancy and Osage Design, which undertook this project. Osage Design believes that consistent brand identity is important. More than just a logo, it should be all-encompassing and it should visually communicate the concepts behind the brand. It has therefore created an original and consistent brand image for the Osage Group companies. Its strategy for doing this has been to keep the logo clean and simple, and to make it possible for people to recognise the Group through its layouts, materials and images, rather than just its logo.

Joseph Yiu

Max Tsoi

Osage Group的使命持續不斷，致力促進亞洲藝術家、觀眾和藝術社團的對話和交流，亦為新晉和事業如日方中的藝術家建立商業平台。集團旗下包括 Osage Art Foundation、Osage Gallery、 Osage Merchandising、Osage Art and Ideas、Osage Art Consultancy 和 Osage Design，都是努力執行這使命的一份子。 Osage Design相信一致的品牌形象是很重要的。品牌不單是一個標誌，更須涵蓋廣泛，以視像帶來品牌背後的理念。Osage Design為Osage Group創立了最初和一致的品牌形象，保持標誌簡潔為主要策略，令人不用看見標誌，也可從其外型、物料和圖像，就已能辨認出 Osage Group 。

DFA Silver Award

Identity and Branding

Zhuyeqing, Chengdu, China 中國成都竹葉青 Sichuan Emei - shan Zhuyeqing Tea Co. Ltd. 四川省峨眉山竹葉青茶葉有限公司

Alan Chan Design Co. 陳幼堅設計公司

Zhuyeqing is a variety of tea. Its glossy green, flat and straight leaves float vertically when they are steeped in hot water. This unique characteristic inspired the Alan Chan Design Co. when it was commissioned to develop a new brand identity that would impress customers with a modern image of tea drinking and provide them with a more enjoyable shopping experience. In the product’s new logo, vertical tealeaves form the Chinese character for bamboo, thus revealing its name and its attributes of grace and purity. The icon is surrounded by a circle, suggesting the feeling of completeness and harmony that tea tasting brings. A “sense of balance” also forms the creative platform for visualising the brand’s core value.

Zhuyeqing’s unconventional new branding is aesthetically and conceptually rich, and it displays a distinctly Asian style. It is also geared to serving the public’s needs. The branding can be applied to the product’s packaging, collaterals and retail premises. Cohesive design system guidelines have been drawn up for this purpose. Most teahouses in Chengdu are functional and decorated in a traditional style. Zhuyeqing’s redesigned retail premises introduce tea aficionados to a new shopping experience that embodies the essence of tea culture, thereby setting new standards for China’s tea industry.

竹葉青是指一系列茶類，其葉翠綠、扁平和幼直，浸於熱水中會垂直浮於水面。就是這種特點，引發陳幼堅設計公司發展全新品牌的靈感，希望以現代的飲茶方式令顧客留下深刻印象，同時讓他們享受愉快的購物體驗。品牌的全新標誌以垂直的茶葉代表「竹」，顯露其名稱，以及其優雅純淨的特質。標誌以圓圈圍繞，代表品茶帶來的完整及和諧之感。「平衡」成為品牌核心價值的創意平台。

Alan Chan Photography: Alvin Chan

竹葉青打破傳統局限，全新品牌富有美感和概念，充份顯示獨有的亞洲品味，同時顧及大眾的需要。品牌可運用於產品的包裝、宣傳品和零售店舖，因此已釐訂相關的設計指引以作此用途。成都大部份的茶館都是以功能為主，裝修陳設甚為傳統。竹葉青全新裝潢的店舖向「茶癡」推出嶄新的購物體驗，融合茶源遠流長的文化，為中國茶業翻起新浪潮。

DFA Silver Award

Publication

Bblueskykids is a visually expressive and refreshingly original monthly magazine for children aged 6 to 12 and their parents. It currently has a circulation of 3,000, and it is distributed to all Hong Kong primary schools. In addition, it is available by subscription, and sold through major newsstands and convenience stores in the city. The magazine aims to redefine the creativity and design standards of magazines and other publications for youngsters, who are actually very discerning and sophisticated readers.

藍藍的天—兒童雜誌是一本專為6 至12歲小童及其家長而設的月刊，當中圖像表達豐富，倍有新鮮感。現時藍藍的天—兒童雜誌的發行量為3,000，廣發至全港小學。此外，月刊亦可供訂購，也可在報攤和便利店購買。現今青少年別具洞察力，是一群資深的讀者，因此藍藍的天—兒童雜誌特意為一般青少年雜誌重新釐訂創意和設計的標準。

Clement Yick

Bblueskykids – children’s magazine 藍藍的天 – 兒童雜誌 Bbluesky 藍藍的天 Circle Design Ltd. 易達華設計有限公司

The team believes in the natural potential of children to excel as individuals, if they have access to the beauty of nature and diversity of our world. Understanding that the younger generation uses both visual language and mixed media to communicate, bblueskykids artfully blends text and images with a diversity of visual and editorial themes to achieve optimum visual readability and offer an inspiring communication experience to the young. The magazine has revived the subtle elements of traditional children’s publishing – such as the choice of paper, texture, hand-drawn colours and rhythm of pagination – and elevated them to world-class standards. Its content is nature-biased, creatively uncompromising and positive in spirit. This is particularly important in Asia, where conformity is often encouraged and self-expression discouraged, especially among youngsters.

藍藍的天團隊深信如兒童有機會接觸大自然的奧妙，窺見世界的變化多樣，自然發揮其過人之處。我們需要透過視像和多媒體與新一代溝通，因此bblueskykids將文字和圖像整合，配合多元化的編輯主題，可讀性大大提高，讓年青一代有激發思維的體驗。雜誌將傳統的兒童書藉改革翻新，例如紙張的選取、紙質、手繪風格和頁數等，並將此提升至世界級水平。雜誌內容以大自然為主體，充份體現創意和正能量。在亞洲，這是最為重要的元素，皆因社會只追求一致性，抗衡形形式式的自我表達，當中青少年可謂感受尤深。

DFA Silver Award

Publication

Nanjing Contemporary Art Annual Exhibition 南京當代藝術年度展 Hanqingtang Design Co. Ltd 瀚清堂設計有限公司

This entry consists of a series of trend-setting posters and books featuring traditional Chinese red couplets that were produced to promote the Nanjing Contemporary Art Exhibition 2010, a major annual showcase of contemporary art held in one of the birthplaces of Chinese avant garde art. They mirror the subtle yet influential role that is being played by the artistic community of this major Chinese city in reinvigorating Asian aesthetics and lifestyles

是次展覽包含一系列引領潮流的海報和書藉，當中突顯中國傳統揮春，用以推廣2010年南京當代藝術年度展。這展覽是每年一度於中國藝術誕生地舉行的現代藝術展。這展示了中國主要城市的藝術團體在振興亞洲美學和生活型態方面的角色。

DFA Silver Award

Poster

Clement Yick

Bblueskykids – posters 藍藍的天 – 海報 Bbluesky 藍藍的天 Circle Design Ltd. 易達華設計有限公司

These three highly creative posters reflect the style and tone of bblueskykids, a uniquely beautiful monthly magazine produced by an experienced creative and editorial team who have previously been involved with many educational and programmes. bblueskykids recognises that children are far more discerning and sophisticated than is generally believed. Besides redefining the design standards of children’s magazines in Hong Kong, the publication promotes cultural sensibility, respect for diversity, and enchantment with the world we live in among its young readers. It is also visually strong and diversified, artfully blending text and images to achieve optimum visual readability. In this way, it offers children an inspiring communication experience that helps to nurture their holistic development as individuals who are capable of thinking and acting for themselves and developing their innate potential.

這三款極具創意的海報，充份反映藍藍的天的風格和基調。藍藍的天是一本非常美觀的月刊，由一群資歷豐富、並曾參與多項教育和計劃的創意編輯團隊創作。藍藍的天認為兒童比一般人想像中更具洞察力、思想細密。雜誌除了重新釐訂本港兒童雜誌的設計水平外，更可促進兒童的文化觸覺、加強文化共融以及道出世界的多元文化。雜誌的視覺效果強烈多樣，以藝術方式整合文字和圖像，達致絕佳的可讀性。這無疑加深兒童的溝通體驗，有助全人發展，培養獨立思考和行動，充份發揮內在潛能。

DFA Silver Award

Commercial

Bartle Bogle Hegarty (Shanghai) Bartle Bogle Hegarty (上海) Asylum

Chris Lee

Cherin Tan

Cara Ang

Ng Chee Yong

Inspired by Shanghai’s rapid development, Asylum Creative combined unfinished wood and industrial elements, such as raw concrete, exposed beams and fluorescent lights for the newly constructed 12,000-sq-ft Bartle Bogle Hegarty (BBH) office building in the heart of Shanghai. The result is a highly creative space with a rawness and always-under-construction design language that simultaneously echoes the city's mood and serves as a platform for social commentary and a creative incubator. In stark contrast to the austere backdrop, light-hearted elements and variations between different rooms bring the interior’s working areas to life and give it a touch of freshness. The meeting rooms resemble semi-demolished houses. Each is individually designed to simulate an actual residence, including the kitchen, children’s room and even the bathroom!

全新建成的Bartle Bogle Hegarty (BBH) 辦公大樓位於上海市中心，佔地12,000平方呎，可謂現代廣告公司的楷模。辦公大樓的內部設計以前衞和實用為主，但同時滲入富趣味的元素。Asylum Creative 的靈感源自發展一日千里的上海，其將未經加工的木材和工業元素，如混凝土、外露木樑和光管等一起使用，建成極具創意的空間，充滿著尚待建成的味道，迎合促勢待發的上海城市，也成為社會評論和創意培育的絕佳平台。雖然外框簡樸，但內裡不經意的一面卻令人煥然一新，如色彩強烈的圖像、在書櫃上展示BBH 各國分部的大地圖，還有不同房間的設計，令整個工作環境倍添生氣，更具新鮮感。會議室尤如半拆毀的房子，房間的設計模擬居所，如廚房、孩子的房間，甚至浴室！

DFA Silver Award

Hospitality and Leisure

HOTO FUDO Takeshi Hosaka Architects

Takeshi Hosaka

A cafe serving traditional Yamanashi-style noodle dishes, HOTO FUDO is set against the dramatic backdrop of Mt. Fuji. The building’s design is highly original and aesthetically pleasing, and it has a distinctive Asian flavour. It is based on natural elements, such as mountains and clouds, which are reflected in the soft geometrical figures, such as quadrangles and circles, and the innumerable polygonal mesh points that form its shape. The café has no air conditioning. Instead, 60mm-thick urethane insulation on the exterior of its reinforced concrete shell keeps the temperature inside stable, and reduces temperature-related deformation, so as to preserve the building. In fact, the curved acrylic sliding door is only closed when strong winds blow and during the coldest season. So, the interior remains open to the elements most of the time, even if it rains or snows or the weather becomes misty.

As a result, diners feel like they are eating outdoors. The sense of being midway between nature and art is heightened further when birds and wild animals wander inside, as they often do. However, subtle lighting is used to deter insects from congregating around the lights in the evenings. Hoto Fudo’s design takes issues such as local climatic conditions and the possibility of seismic activity into account by means of a “Sandwich RC Shell”, an innovative type of structure that integrates the building’s unique architectural form and ensures high standards of structural, environmental, and lighting performance.

HOTO FUDO坐擁富士山，是一間山梨縣傳統麵食「烏冬」餐廳。其設計極具創意，及富美感，具有獨特的亞洲風味。這建築取材自山巒和雲端等大自然景物，以柔和的幾何圖案演繹，如四邊形、圓形，還有多邊形互相協調配合，形成獨有的形狀。餐廳不設空調，但其加固的混凝土外層設有60亳米厚的聚氨酯保溫層，可保持室內溫度穩定平均，減低溫度變化引致的建築變形，保存建築內外面貌。事實上，弧形的亞加力滑動門只在強風侵襲或極度寒冷的季節關上。因此，不論下雨、降雪或潮濕，餐廳還是中門大開，向外界開放。於是，顧客尤如置身室外進膳。雀鳥和動物經常悠閒地走進餐廳，顧客恍如置身大自然和藝術境界之間，體驗實在難以言喻。然而，餐廳會在黃昏時採用隱若的光線，以免昆蟲在燈光四周聚集。 HOTO FUDO的設計考慮到當地氣候和地震等因素，採納「Sandwich RC Shell」為結構。這是一種綜合獨有建築風格的創新結構，確保在結構、環境和光線三方面都達致極高的水平。

DFA Silver Award

Hospitality and Leisure

Besides offering spaces to live in, homes have always served many different purposes in Asia. They have also been used as workplaces, and for a variety of commercial and ceremonial activities. This thought inspired the architect to design a home in innovative ways that would help to revive this rich tradition of versatility.

在亞洲，居所除了可讓人們安居外，還有多個不同用途，例如可作為工作間，或進行不同的商業和慶典活動。就是這簡單的概念引發建築師的靈感，以創新的方式設計居所，復興這種多樣化的居住傳統。

NOWHERE BUT SAJIMA Nowhere resort Yasutaka Yoshimura Architects

Yasutaka Yoshimura

Located about an hour from Tokyo, Nowhere but Sajima is a vacation home in a prime seaside site with clear views of Mt. Fuji and Enoshima. It is rented out on a weekly basis, a short period compared to a permanent home, but longer than a usual hotel stay. The arrangement opens up possibilities for creating a new form of home: a space can be used as a classroom, for exhibitions, wedding parties, and other more public activities.

One side of Nowhere but Sajima faces the sea. It also has a clear vista of the adjacent beach, as well as a road and other condominiums along the bay. While incorporating large windows would have enhanced the view, it might also have attracted unwanted attention. The architect’s practical and aesthetically pleasing solution has been to build 12 tubular spaces facing the ocean, and combine them into one home with a distinctive Asian style. This design obstructs the line of sight from surrounding areas while maintaining the ocean view. Residents can choose the degree of privacy or scenery they wish to enjoy by changing their position along the length of the tube. Each tube features different materials that reflect the seascape in a multitude of ways, allowing users almost infinite variety.

Nowhere but Sajima 距離東京約一小時車程，是位於寧靜海旁的渡假勝地，毗鄰為富士山和江之島。這小屋子以每週形式出租，租住時間比房子為短，但比留宿於酒店要長。這種安排使居所帶來新的用途：可作為課室、展覽、婚宴及其他公開活動。 Nowhere but Sajima 一邊向海，可遠眺毗鄰海灘、沿海公路和其他公寓。大窗戶當然可有助觀賞無敵景緻，同時亦惹來不必要的目光。建築師揉合實用性和美感，建成12個臨海管狀空間，併合成一個別具亞洲風格的住所。此設計阻擋了周圍的目光，但仍可保留海景。住客可隨意調節管狀長度，自由選擇私隱度和景緻。每個管狀都具有獨特物料，以不同角度和方式反映海面四周環境，幾乎給予住客無限選擇。

DFA Silver Award

Hospitality and Leisure

The Upper House 奕居

AFSO / Andre Fu

Andre Fu

Located above Pacific Place in Admiralty, The Upper House is a small hotel that is full of character. It caters for a growing number of discerning travellers who are seeking luxury that is different from what they have become used to at other five-star establishments. All its 117 rooms and suites have scenic Harbour or Island views and an exceptionally large floor space of at least 730 square feet. They also boast spacious bathrooms with limestone floors and walls, freestanding deep baths, walk-in rain showers, dressing areas, and panoramic windows. The hotel’s contemporary Oriental interior design makes lavish use of natural materials, distinctive sculptures and original artwork to emphasise its understated ambience of residential tranquillity. Seven metres in diameter, the Umbrella Feature consists of suspended timber poles positioned to resemble the body of an Oriental paper umbrella. It denotes the summit of the aspirational journey to the top. The bamboo and limestone-lined L49 Lounge has a 4-metre-high ceiling and balanced geometry, with a linear fireplace as its backdrop. The beautifully crafted L6 Lawn is surrounded by sculpted topiary box-hedge that reflects the Upper House’s motif of simplicity and quiet tastefulness. Overall, the interior design of The Upper House displays a high degree of creativity and aesthetic style, and it is likely to become a trendsetter in shaping the future of Asian lifestyles. Moreover, it significantly enhances the hotel’s image, and positions it to gain a high profile in the market.

奕居位於金鐘太古廣場上方，是一間富有特色的小酒店。這專為眼光獨到、目光不再流於五星級標準酒店，並尋找另類奢華享受的旅客而設。酒店共有117間客房和套房，全都具有維港景緻，而且房間舒適，至少為730平方呎。房間浴室別具空間感，鋪設石灰岩地板和牆壁、浴缸、直立式淋浴間、衣帽間和觀賞維港景緻的窗戶。酒店採納現代東方的室內設計，大量使用天然材料、獨特雕塑和創意藝術作品，強調寧靜雅緻的居住享受。這個「傘子」直徑七米，懸掛多個樑木，尤如東方紙傘，代表前往夢寐以求的高處。49樓的Sky Lounge樓高四呎，由竹和石灰岩排列而成，內裡幾何均稱，並以壁爐為背景。6樓的室外花園園以細緻雕造的方型籬笆圍繞，突顯奕居簡約、寧靜雅緻的主題。整體而言，奕居的室內設計盡顯高度創意和美感，帶領未來亞洲的生活潮流。再者，設計加強了酒店的形象，促使其在市場上穩佔一席位。

DFA Silver Award

Culture, Public and Exhibitions

BAMBOO FOREST & HUTS WITH WATER Ryuichi Ashizawa Architects & Associates

Aqua Metropolis Osaka 2009 was a 52-day event showcasing Osaka’s charms as a water city. It was held on Nakanoshima Island on the Yodo River, which was temporarily transformed into the Waterfront Bunkaza Cultural Plaza, a place where the public had the chance to explore more than 100 different ways to enjoy the waterside.

Ryuichi Ashizawa

Mindful of the damage human activity is causing to the environment, the Bamboo Forest and Huts with Water were created to provide very artistic and unusual venues for workshops, daily art programmes, dance performances, lectures, etc. They also formed a setting where people could interact with the environment and architecture.

The seven huts were built using traditional construction methods and recycled natural materials of the kinds that have been used continuously in Asia since ancient times. Every effort was made to ensure the project caused no harm to nature. Moreover, local students and members of the public were invited to participate in the building process, thus transforming it into a community activity. This helped to increase their awareness of architecture’s potential to change and heal the environment. Aqua Metropolis was a spectacular success, attracting 5 million visitors, far more than expected, especially considering the venue is a place few people normally visit.

水都大阪2009是一項為期52日的活動，向外界展示大阪作為水都引人入勝之處。是次活動於大阪市澱川中之島舉行，中之島暫時改建為水都文化廣場，讓大眾可以多達 100個方式享受置身水邊的樂趣。人們的活動為環境帶來嚴重的影響。Bamboo Forest and Huts with Water 以獨一無二的藝術方式，用作舉行工作坊、藝術活動、舞蹈表演、演講等。當中更讓人們與大自然和建築互動溝通。七間小屋以傳統建築方式和循環再造的自然物料建成，自古以來已在亞洲廣泛使用。此項目經多番努力，確保對大自然不構成損害。此外，學生和社會大眾更有機會參與建築的過程，使其成為社區活動。這有助提高公眾對建築的認識，令他們明白建築可轉變及保護環境。水都出乎意料地吸引了500多萬名訪客，取得空前絕後的成功。而且，此地點一般較少人造訪，可見成績不俗。

DFA Silver Award

Household Appliance

Toshiko Suzuki

Kenchikukagu Atelier OPA Co.

Kenchikukagu is an ingenious and user-friendly multifunctional furnishing system that makes optimum use of living space and complements any interior. It has been designed to serve the practical needs of people who live in the world’s densely populated cities, by allowing them to conjure up an extra room in their small home whenever they need it. So, if they have no kitchen, office or guest bedroom, one can be created by simply opening a unit of Kenchikukagu, just like a suitcase. It can be folded back up again when it is no longer required. The units are mounted on casters, so they can be moved around at will and placed anywhere. When it is not in use, a Kenchikukagu unit also serves to segment domestic space.

The Kenchikukagu concept has attracted considerable interest since its creators posted a video about it online in late 2008. It has been reported in design magazines and on TV in Asia, Europe, the USA and Middle East. This indicates the worldwide appeal of foldaway technology that uses space more efficiently and flexibly. Two versions of the Kenchikukagu office unit, with a wooden or aluminium finish, have already been successfully launched in Asia and Europe. Production of kitchen and guest bedroom units and a miniature foldaway office for children are now in the pipeline. An automated foldaway guest room unit is also being developed to meet the special needs of the elderly.

Kenchikukagu 是一種精巧及方便使用的多用途組合家具。它有助充份利用居住空間，配合室內設計。在全球多個人煙稠密的城市中，Kenchikukagu 可在狹小的房子中，變出一個額外房子，符合人們的實際需要。如果房子裡沒有廚房、辦公室或客房，只須打開 Kenchikukagu，就像打開公事包一樣，變出法寶即可。使用後，又可收回存放。這個組合設有輪子，方便隨意推動和存放。即使毋須使用Kenchikukagu，你仍可以此進行家居間隔。 Kenchikukagu 的創始人在2008年尾上載家具組合影片後，旋即引起大眾的興趣。有關報導曾載於不同的設計雜誌，還有亞洲、歐洲、美國和中東各大電視台等。這顯示不論居住在世界任何地方，這種收藏摺疊式的技術都可靈活運用空間。在亞洲和歐洲，已成功推出兩個 Kenchikukagu辦公室組合，包括木製或鋁製。至於廚房、客房、兒童專用的小型工作室則仍在製作中。此外，還研製了自動摺疊式客房，特別符合長者的需求。

DFA Silver Award

Household Appliance

WHIRLPOOL VENUS TOUCH – Top loading Washing Machine 惠而浦維納斯感應式波輪洗衣機 Whirlpool Corporation 惠而浦(中國)投資有限公司

The Whirlpool Venus Touch is an innovative, hi-tech, top-loading washing machine with a modern clutter-free look and a smart touch control panel that facilitates hassle-free laundry. It also features Whirlpool 6th Sense Technology and the “Vari” impeller wash system for high-performance fabric care.

Hari Nair

Richard Sun

Whirlpool Venus Touch 是一部創新、高科技的頂揭式洗衣機，極富現代感，不帶噪音，並具有智能控制板面，洗衣乾衣簡單方便。這部洗衣機強調第六感科技和多重驅輪式清洗系統，有效保護衣物纖維。

Clear Liu

The machine’s design encompasses clean, straight lines, high-gloss plastic finish and a large flat top made of scratch-proof toughened glass. It is available in two popular colour combinations – black silver and grey blue. The Hi-tech Smart Touch Control panel provides a breakthrough consumer experience by incorporating a three-easy-step approach to washing (start, select, go). The user interface accommodates both simple and complex washing functions without compromising on ease of use. Furthermore, it offers optimal wash rhythms, an auto-sensitive water-level control to manage the use of water and energy effectively, and dynamic soak, extra rinse and antibacterial nanometre technology.

Varun Suri

The design of the Whirlpool Venus Touch has been based on extensive research into the needs, aspirations and busy lifestyles of the new and growing category of working-class Asian consumers. It gives them an easy way to do laundry, which had hitherto always been a major household chore. At the same time, it addresses increasing environmental concerns by using minimal energy and water.

Shruti Agarwal

這部洗衣機的設計以簡潔、直立線條為主，塑膠表層極具光澤，大型扁平上蓋以強化保護玻璃打造，還有銀黑色和灰藍色可供選擇。高科技智能觸控板面打破洗衣機的煩瑣傳統，只須三個簡單步驟 (開始、選項、啟動)，就可清洗衣物。用戶界面包含簡易和複雜的清洗程序，即使程序不同，使用時仍然很方便。此外，洗衣機提供絕佳的清洗頻率，而且具有自動水量控制，有效運用水和能源。還有動力浸洗、附加清洗和抗菌納米技術等功能。 Whirlpool Venus Touch 的設計基於對亞洲顧客的廣泛研究所得，現今亞洲顧客多為上班一族，生活忙碌，因此主要針對他們的需要而設。對於他們來說，這種洗衣方法無疑簡便快捷，令洗衣不再是煩瑣困擾的家務。同時，此產品使用較少能源和水，顧及環境的保育。

DFA Silver Award

Tsunho Wang

Leaf Tie Lufdesign

Home ware

Being surrounded by boring electrical cables can make people feel their environment is dark and cold. While the Leaf Tie bundles them up just like a cable tie, it has the extra benefit of adding life to a dull area by making them look just like wrapped twigs. This easy-touse device has been specially created for children and adults who live in the artificial surroundings of modern cities. Besides tidying up unsightly cables, its attractive small green leaves offer users a chance to experience a hint of nature. Thus, it serves both practical and artistic functions, it advances societal togetherness, and it inspires social interest.

Lufdesign plans to distribute the Leaf Tie worldwide, because if believes people who have grown tired of the synthetic nature of modern life will enjoy using it to make their surroundings more natural. The product attracted an enthusiastic response from passers-by when the company demonstrated it at bus stops, on trains and in other crowded areas around Times Square, New York, and Shinjuku, Tokyo. It has already been launched in many markets in Asia, North and South America, Europe and Australia.

周圍佈滿電線，的確令人感到四周深沉冰冷。Leaf Tie 將電線捆在一起，尤如捆扎的嫩枝，在沉悶的生活中添加生氣。這種簡單的工具專為現代「石屎森林」中的兒童和成年人而設。除了整理礙眼的電線外，翠綠的葉片更可讓用者感受大自然。事實上，這既有實用功能，也有藝術情調，同時可加強社會融和，引發公眾的興趣。 Lufdesign 計劃在全球推出 Leaf Tie，其深信已厭倦現代生活事事虛偽的都市人，應愛使用Leaf Tie 令環境變得更自然。公司在巴士、火車站、紐約時代廣場和東京新宿展示Leaf Tie 時，途人均反應熱烈。現時產品已在多個市場推出，包括亞洲、北美、南美、歐洲和澳洲。

DFA Silver Award

Computer and Communication

iPhone 4 Apple Inc.

At 9.3 millimetres, the iPhone 4 is the thinnest smartphone ever, and its all-new design and quality make it unlike any other mobile device. The front and back are made of aluminosilcate glass that has been chemically strengthened to make it 30 times harder than plastic, as well as more scratch resistant and durable. The front and back glass has an oil-resistant coating to help keep it clean, and the device is encircled by a highly finished stainless steel band made of a custom alloy that is five times stronger than ordinary steel.

The iPhone 4 also features FaceTime, which turns the dream of video calling into a reality, and the stunning new Retina display, which has the highest resolution ever built into a phone, resulting in super-crisp text, images and video. Moreover, the iPhone 4 features a 5 megapixel camera with LED flash, HD video recording, an Apple A4 processor, a 3-axis gyro and up to 40 percent more talking time. The iPhone 4 will be seen as an essential, lifestyle-enhancing accessory, especially in Asia. This will in turn enable Apple to broaden and expand its customer base, thereby increasing its sales and market share.

iPhone 4 只有9.3亳米薄，是史上最纖巧的智能手機，其嶄新設計和絕佳品質，是其他手機無可媲美的。iPhone 4 正反兩面由鋁矽酸鹽玻璃製成，經化學強化，比塑膠堅固30倍，既可防刮花，又耐用。手機正反面玻璃設有抗油汗表層，可保持手機清潔；邊框由鋁質合成的不鏽鋼製成，比原始鋼質堅固五倍。 iPhone 4 強調視像功能，可確切實行視像通話；最為震撼的還是高清顯示屏，是至今手提電話當中解像度最高的顯示屏，不論文字、圖像和影片，都極為清晰細緻。此外，iPhone 4 裝配了500萬像素的照相機，還有LED補光燈、高清攝錄、A4 處理器、三軸陀螺，以及多出40%的通話時間。 iPhone 4 可說是令生活更上一層樓的重要配件，尤其是在亞洲。這無疑擴闊蘋果公司的客源，從而增加銷售額和市場份額。

DFA Silver Award

Leisure and Entertainment

Launched in Asia in May 2010, the UN55C9000 is an attractive-looking new flat-screen premium 3D TV that incorporates advanced technology to provide a host of innovative and sophisticated features. Kyounghoon Kim

Yunje Kang

LED9000 3D TV LED9000 3D電視 SAMSUNG ELECTRONICS Co., Ltd. 三星電子

The world’s slimmest TV, it has a thickness of only 7.98mm. This is made possible by locating its LED light source on the edge of the panel. It is also ultra-light, meaning it can easily be mounted on the wall, just like a picture frame. Meanwhile, its detachable stand serves as both a wall mount and hidden speaker, a creative design idea that means the user does not have to worry about where to store the stand when the television is mounted on the wall. All these factors make the product ideal for Asia’s increasingly small homes, and they have established the LED9000 3D TV’s leadership status in the market, and its tremendous commercial success.

UN55C9000電視是一部外型吸引的全新平面3D電視，於2010年5 月在亞洲全面發行。其採納先進科技，提供一系列創新精嶄的功能。這部電視只有7.98亳米厚，是全球最纖薄的電視。其LED光源置於機身底部邊緣，因此特別纖巧。而且重量較輕，可以輕易掛上牆壁，就像掛畫一樣。電視機架可成為掛上牆壁的底板，也隱藏了揚聲器。換言之，電視掛上牆壁後，用戶毋須擔憂機架放在何處，確是創新和細心之作。亞洲房屋越見細小，這些特點無疑令這部電視成為亞洲的理想產品。三星電子在市場上建立了 LED9000 3D電視的領導地位，取得理想成績。

DFA Bronze Award

Fashion Accessories, Packaging

ITO SPREAD Ltd.

These unique stoles aim to help revive the traditional craft of weaving, which is almost on the verge of extinction in Asia, and to introduce it into contemporary daily life. Each of the three styles features intricate patterns and is available in five different modern colour schemes. Hirokazu Kobayashi

Haruna Yamada

Produced by the world’s first warp/weft winding weaving technique, “Wave” has a three-dimensional effect that conjures up an enchanting image of waves drifting on the ocean’s surface. Woven from threads of two different colours, “Contrast” is a beautiful reversible stole with contrasting and graduated colours on the front and back. “Flash” uses an original “leaning weave” method to express the concepts of “light”, “spark” and “impression” via geometrical patterns.

The packaging for the ITO stoles is itself a work of art. The black and white gift box incorporates a twisted thread pattern that was carefully engraved by a craftsman and produced by means of letterpress printing. Meanwhile, the four overlapping strips of paper resemble weaving, and they also reflect the traditional art of origami, thus presenting the delicate beauty of Japanese culture and technology in a new way. Many foreign customers have commented favourably on the packaging, which enhances the value of the stoles as a gift or souvenir, and also reflects and reinforces the concept of the ITO brand.

這系列披肩優雅獨特，以振興亞洲日漸式微的傳統編織手工為主，並將此融入現代生活中。三個款式的圖樣複雜細膩，具有五種現代色系可供選擇。披肩以全球首創的經緯紗編織技術製成，"Wave"具有立體感，令人聯想波浪在海面翻騰的模樣。 "Contrast"的織線共有兩種顏色，披肩前後顏色對比分明，不落俗套。"Flash"採用原始的斜織方法，以幾何圖案表達「光」、「亮」和「印象」。 ITO披肩的包裝本身已是一種藝術。黑白禮盒由工藝師小心扭出線狀圖案，以凸版印刷完成。四組重疊交錯的紙條模擬編織，同時反映摺紙的傳統藝術，以嶄新方法演繹日本細膩的文化和技術。很多外地顧客讚賞這個包裝，提升了以披肩作為手信或禮物的價值，同時反映和加強了ITO品牌的理念。

DFA Bronze Award

Identity and Branding

Ziba has worked together with local studios to create an updated brand identity to re-connect the established heritage of China’s largest and most respected sporting goods and apparel brand with a younger generation who grew up after its founder Li Ning’s legendary exploits during the 1980s. The brand’s redesigned logo retains its considerable existing equity while being further distinguished from other global sporting brands so that it can compete more boldly with them. The typography and photographic styles are active and optimistic, focusing on young Chinese athletes as everyday heroes, rather than lone celebrities. The new brand

Li-Ning Ziba Design

identity also highlights locally popular sports like badminton, and the social role that sport plays in modern Chinese life. The ring motif evokes traditional Chinese design as well as the brand’s gymnastic heritage. The net result is a cohesive and uniquely Chinese brand experience that resonates with Chinese youth more powerfully than before. It also helps to reposition Li Ning as a Chinese brand built on a Chinese approach to sport as social participation. The new graphic identity is already playing a crucial role in the new retail space strategy that Li Ning is rolling out in its 7,400 stores across China during 2010 and 2011. In view of the spotlight recently placed on Chinese design by events like the 2008 Beijing Olympics and Expo 2010 in Shanghai, Li Ning’s creative brand and retail evolution is both timely and provocative, and it leads the way for the further development of Chinese brands for Chinese and international consumers.

Ziba與中國本地設計公司攜手合作，為Li Ning Company Ltd.創立全新品牌形象。公司創辦人李寧在 80年代的國際體壇屢創佳績、創造傳奇，希望全新品牌可重新連繫這個中國最具規模、最備受尊崇的體育用品公司，以其源遠流長的動人歷史吸引年青一代。品牌的全新標誌保留現有本質，與其他國際運動品牌相比更與別不同，更能在這激烈的市場競爭。印刷和攝影風格積極和樂觀，視中國年青一代運動員為英雄，而不是孤寂的名人。全新品牌形象強調本土的出色運動項目，如羽毛球，以及顯示了運動在現今中國的社會角色。環形圖案喚起人們對中國設計的遐想，以及品牌在體操項目上的輝煌歷史。

全新面貌代表了獨特而具凝聚力的中國品牌，更能引發中國年青一代的共鳴；也有助李寧品牌重新定位，成為一個以運動來參與社會的品牌。2010年至2011年間，李寧在旗下全國7,400間分店推出的全新零售空間策略中，新形象擔當著舉足輕重的角色。近年中國設計備受矚目，如2008 年的北京奧運和2010年的上海世博均成為世界焦點。李寧的創意品牌和零售革新行動，正好切合時宜，並為中國和海外顧客引領中國品牌發展的嶄新方向。

DFA Bronze Award

Identity and Branding

Shanghai Watch has been a well-known Chinese watch brand since the 1950s, when its products were a status symbol among the country’s leaders. However, despite its remarkable craftsmanship, it became overshadowed by imported foreign luxury products from the 1980s onwards. The company therefore appointed Tommy Li to spearhead an ambitious rebranding campaign that would enable it to enter Asia’s thriving luxury watch market by positioning its timepieces as upmarket international products. On his advice, Shanghai Watch commissioned a renowned Swiss watchmaker, Eric Giroud, to design its first orbital tourbillon. Presented in an impressive wooden case, the limited-edition timepiece features a sophisticated mechanism and a stunning abstract dial design that is based on the historic buildings lining the Shanghai Bund, as well as a subtle star hinting at its maker’s Chinese heritage.

Shanghai Watch “上海牌”手錶 Horizon Worldwide Limited 豪昇發展(國際)有限公司

Tommy Li Design Workshop Limited 李永銓設計廔有限公司

自1950年，上海牌手錶已是中國家傳戶曉的手錶品牌，也是中國領導人的身份象徵。雖然手工精細，但80年代以後外國名牌紛紛湧入，令品牌前景蒙上陰影。公司於是聘請了Tommy Li 進行一系列品牌革新運動，將其重新定位為高尚的國際產品，打入亞洲如日方中的名貴手錶市場。

Tami Leung

Tommy Li

根據 Tommy Li 的建議，上海牌手錶聘請了知名的瑞士鐘錶匠 Eric Giroud 設計首個軌道式旋轉陀飛輪手錶。這限量手錶配襯優雅的木盒，採納精密機理、震撼心弦的刻度盤設計，當中以上海灘沿岸的歷史建築為題，還有若隱若現的星形圖案，顯示製造商對中國歷史文化的敬仰。

DFA Bronze Award

Identity and Branding

Zelo Bar & Restaurant Lilian Tang Design

The branding for this new tapas bar and restaurant in Hong Kong’s Pacific Place illustrates how design can simultaneously be eco and edgy. The entire identity – including menus, hoarding and other collaterals – reflect the restaurant’s “eco-chic” and “recycled-chic” concepts in a way that is sure to provide diners with food for thought and inspire other designers in this environmentally aware era.

For instance, the logo was created with “found” typefaces, and it has been deconstructed, recycled and mixed with “found” visuals of recycled objects, such as cartons, a rice sack and chocolate wrapping paper, to form supporting graphics. The four menu covers play with the letters – z, e, l and o – in the restaurant’s name, and they echo its “recycled-chic” theme. Plastic paper was chosen as their material, and they are decorated with foil stamping, using recycled patterns provided by the printer, as well as silk-screen printing that will gradually fade in time.

這間位於香港太古廣場的全新酒吧餐廳，顯示了如何同時以環保和潮流為設計理念。整個品牌形象包括餐單、貯藏和其他單張等，均反映餐廳的「生態時尚」和「循環時尚」，提供的美食讓顧客發人深省，也在這著重環保意識的年代，引發設計師的思維。餐廳的標誌以「現成物件」為鉛字，經拆毀、循環再造，混合「現成物件」的循環再造物件，例如紙盒、米袋和巧克力包裝紙等，形成圖像。四個餐牌的封面以餐廳名字 z、 e、l 和 o 為玩意，配合「循環時尚」的格調。餐廳以塑料紙為材料，配以燙金技術，由印刷商提供循環再用的圖案，還有採納跟隨時間而褪色的絲網印刷技術，以表現整體設計概念。

DFA Bronze Award

Interactive / Digital Media

NewWebPick is one of the design world’s most popular and reputable electronic platforms. Its readership has continuously increased, in terms of both numbers and geographical reach, ever since its launch. Each issue is now seen by an average of four million people in more than 10,000 cities in 155 countries. Over a million of them are in China, and a further

500,000 are in other Asian countries and regions, including Hong Kong. They include design fans, professional designers and artists. In fact, its reputation and coverage have led major brands to seek its help in organising international design competitions. As a design industry publication, NewWebPick E-Magazine magazine has a number of unique features, and it covers

many different art forms, such as digital publishing, Web design, Flash, 3D, illustration, UI, experimental art and digital photography. The magazine always has a fresh look and personality, because it invites at least 20 designers around the world to create the pages for each issue, which in turn helps to inspire and promote their creativity.

NewWebPick E-Magazine United Elite Information Services Company Limited 精英聯合

NewWebPick 是設計行業中最出色和最受歡迎的電子平台，自從推出後，讀者人數不斷攀升，涉及地域日廣。每一期的NewWebPick 平均有四百萬名讀者，來自155個國家中超過一萬個城市。當中超過一百萬來自中國，而超過五十萬來自其他亞洲國家和地區，包括香港。這些讀者中，包括設計愛好者、專業設計師和藝術家。事實上，其名望和覆蓋率出人意表，很多主要品牌邀請其協助舉辦多個國際設計大賽。

作為一本設計行業的書藉， NewWebPick E-Magazine具有多個特點，而且涵蓋多個藝術形式，如數碼印刷、網頁設計、動畫、 3D、插圖、UI、實驗性藝術和數碼相片等。雜誌在全球各地邀請了至少二十名設計師，協助創作每一期的頁面，從而引發靈感、加強創意。因此，雜誌經常推陳出新，形象新鮮，富有個性。

DFA Bronze Award

Poster and Promotion Materials

Save Our Earth 守護地球

WILLMAX DESIGN STUDIO 美學意志設計工作室

The designer of these visually creative posters – which recently went on sale in his native Taiwan as well as Hong Kong and Singapore – is concerned about the effects of climate change and greenhouse gas emissions on our world, as well as the need to conserve energy. He believes every individual, business and nation should work together to address these issues. Moreover, design professionals involved in projects to enhance environmental awareness should consider how they can integrate ecological themes into their work, and how much value so-called green designs offer to the public. According to recent research, the effectiveness of such efforts depends on improving the social, cultural, and emotional integrity of the education provided to consumers about this topic, as well as the substance of its content.

The posters emphasise the application of humanistic affection and local cultural characteristics to the implementation of innovation, as means of loving the earth and sustaining life, thus providing the world with an abundance of technology while protecting its natural beauty.

這批海報由台灣設計師製作，最近在台灣、香港及新加坡發售，採用創新的視覺手法，點出氣候改變及溫室氣體排放對人類世界的影響，以及節約能源的需要。設計師相信，每一個人、企業及國家需要共同解決上述問題。另外，參與提高環保意識計劃中的專業設計人員也要研究如何將生態主題融入作品之中，同時留意這些所謂綠色設計對公眾有多少價值。根據近期研究，這類工作的效益視乎能否在社會、文化及情感上提升消費者教育，以及內容是否充實有份量。這批海報著重創新意味上的人本關懷和本土文化特質，提倡愛護地球、維持生物多樣性，這樣既能發展各種科技，亦能保護自然之美。

DFA Bronze Award

Home

F-WHITE Takuro Yamamoto Architects

The site of the house is quite large by Japanese standards, and it enjoys an unusually beautiful view of the sky that is unobstructed by overhead electrical cables and neighbouring buildings. So, the architect decided to design it around a rectangular central courtyard. However, the problem was that locating an outside space in its centre would tend to break up the interior spaces of the house, thus spoiling its unified feeling.

environmental terms. He has positioned the rectangular courtyard at an unusual oblique angle to the outer walls of the house, rather than at right angles. That means the corners of the rooms are joined together without the need for corridors, and the interior is more integrated and spacious. Furthermore, the courtyard is a thermally efficient feature. In summer, the overhead sun shines onto the courtyard, but not into the internal spaces. In winter, when the sun is at a lower angle, its rays enter and warm up the interior. As a result, less energy is required for air conditioning and heating, and consequently less CO 2 is generated.

The architect’s solution to this dilemma is creative, and successful in both aesthetic and

Known as F-White, the house is attracting considerable media interest in Japan and worldwide.

The private courtyard is a traditional feature of homes in many Asian countries. The architect of this family bungalow in Tokyo believes it can continue to play a valuable role in contemporary life.

私人庭院是很多亞洲國家傳統家居的特點。這間住宅平房位於東京，其建築師相信它可以成為當代生活的典範。以日本的標準而言，平房佔地甚大，景觀非常開揚，能夠眺望天際而不受架空電纜及附近建築物阻礙。故此，建築師決定將房子設計成環繞長方形的中央庭院。不過，在房子中央設置戶外空間，往往會破壞室內的完整性。建築師採用別具創意的解決方法，成功兼顧美感及環境元素。長方形的庭院與房屋外牆之間設計成與別不同的斜角，而不是慣常的直角。不同房間的角落連結起來而毋須走廊，房子內部顯得更諧和、更寬敞。另外，庭院有調節溫度的功能。夏天陽光直射而下，不會影響室溫；冬天陽光角度較低，可以進入房子，提高室內溫度，因此可以節省空調和暖氣方面的能源消耗，從而減少排放二氧化碳。房子取名F-White，在日本及海外引起了不少傳媒的興趣。

Takuro Yamamoto

DFA Bronze Award

Home

House in Wakabadai Satoshi Okada architects

Satoshi Okada

This visually attractive polyhedron-shaped wooden house in the Tokyo suburbs was designed for a young fashion design organiser and his wife. The client is very conscious of architectural design, and he wanted a cool, contemporary look. However, his limited budget meant it had to be a timber structure, which was the main obstacle to realising his dream. Moreover, he needed to incorporate two car-parking spaces on the tiny site. The architect’s innovative and practical solution was inspired by the way a huge jumbo jet aircraft is upheld by three tiny wheels. He designed the house around large pilotis (ground-level, weight-supporting columns) that leave room for the parking spaces. He also used

the innovative and cost-effective log-hinge-joint system (LHJS) to avoid the need for expensive pin-point ball joints, which are customarily used in polyhedrons. The method also increases design flexibility. The building’s design is based on the principles of sustainability. Since Asian countries tend to be rich in timber, it is still used to construct a lot of buildings in the region, especially in Japan. Its flexibility, versatility, and cost-effectiveness make LHJS equally applicable in small communities and metropolises. Many media around the world have featured the house, and the architect has been approached by a number of overseas property developers who are interested in adapting its construction techniques in their countries.

這間木造房子位於東京近郊，採用多面體設計，視覺效果懾人。客戶是一位年青時裝設計師及其妻子，他們非常注重建築設計，希望房子時尚富現代感。不過，由於預算所限，只能使用木製建材，成為達成夢想設計的主要障礙，另外更要在狹小的屋地上設置兩個車位。建築師的靈感源自三個細小機輪支撐的珍寶噴射機，構思嶄新而實際的解決方案。他以大型底層架空柱(地面層的承重支柱)撐起房子，騰出空間設置車位，同時使用創新而具成本效益的原木－鉸鏈－接頭系統(LHJS)，避免了多面體設計慣常採用的貴價尖頭球形接頭，而且使設計更具彈性。建築設計以可持續性為原則。由於亞洲國家木材資源比較豐富，木造建築物在區內仍然十分常見，特別是日本。LHJS具備彈性、多用途和成本效益等優勢，在小社區及大都會同樣適用。全球不少傳媒都有介紹這間房子，亦有不少海外地產發展商有意向建築師取經，將有關建造技術帶回本國。

DFA Bronze Award

Commercial

One of Singapore’s most eye-catching and creatively designed stations resolves the conflicting requirements of bringing daylight into a deep underground railway station while providing landscaping and open space at ground level. It does this by creating a water-covered glass roof that serves as a reflection pool at ground level, and as a huge skylight that brings light and views deep underground. The feature serves to turn a potentially oppressive and labyrinthine experience into a clear, direct and exciting journey between the earth and the surface. The visual connection is also important for avoiding panic in the event of an underground emergency, as commuters will be able to see their way out more clearly.

The station’s natural light avoids the need for artificial lighting during the day, while the mass of the water garden conducts heat out of the top of the void and disperses it through evaporative cooling. Sunlight entering through the water garden projects images of its surface ripples onto the canyon walls, creating an ever-changing graphic effect. Finally, the station forms a harmonious forecourt to the historic buildings that surround it. It adds value to the neighbourhood and the entire city, and it has been praised by residents and visitors alike.

Bras Basah Mass Rapid Transit Station, Singapore Land Transport Authority WOHA Design

這是新加坡其中一個最引人注目、最具創意的地鐵站，當中表達了矛盾的意念：將日光引進地底鐵路站，同時在地面營造優美景觀和開放空間。淙淙水流覆蓋的玻璃頂層，成為地面的倒影池，也是一個巨型天幕，在地底透進光和外來景緻。這個本來充滿壓迫感、縱橫交錯的地鐵站，轉眼成為穿梭地面和地下的刺激旅程。這種視覺效果對於地鐵意外來說是很重要的，乘客更能清楚看見出路。

在日間，自然光透進地鐵站，毋須使用任何燈光：流水花園將熱力向上送出，蒸發於無形。日光闖入流水花園，在牆上泛起陣陣漣漪，不知不覺構成千變萬化的圖像效果。此外，地鐵站為周邊歷史建築物形成一個和諧的前庭，為毗鄰和整個城市加添魅力，居民和旅客都大為讚賞。

DFA Bronze Award

Commercial

Tsujikura design project design studio REPUBLIQUE

This imaginative retail space has been specially created to showcase traditional handmade Japanese umbrellas and lanterns in a renowned Kyoto handicrafts shop that has a history dating back to 1690 and which is still owned and operated by the descendents of its founder. The focus has been to evoke a dignified atmosphere that is devoid of unnecessary ornamentation. The aim is to "convey" the products, as well as detailed and valuable knowledge about their superior design and craftsmanship. This will enable customers to appreciate the inherent qualities that distinguish them from the large number of inferior imitations that are currently on sale via the Internet and in mainstream retail stores.

這個富有想像力的零售空間其實是京都一間著名的手工藝店，當中展出各種日本傳統手製紙傘和燈籠。店舖的歷史可追溯至1690 年，現在由創辦人的後裔經營。此設計旨在營造高貴的味道，不加修飾，不落俗套。設計目的在於「演繹」產品，還有產品設計和手工藝方面的寶貴知識。顧客身在其中，可深切體會這種世代相傳的特質，與大部份網上銷售或主流零售店的俗不可耐大相逕庭，盡顯出色的一面。

DFA Bronze Award

Hospitality and Leisure

The novel design approach of this development in Bali, Indonesia, has been to combine the beauty of Bali’s traditional architecture and rural landscapes with the modern treatment of space and form. Inspired by the terraces of local farmers, the architects focused on preserving the qualities of the site. The buildings follow its contours to avoid cutting and filling. All the large trees have been maintained or transplanted. The vegetation has been surveyed and documented, and a site nursery

propagates native plants for landscaping. These require far less water, and support local animals and birds. The construction materials were sourced locally. The walls use stones from road cuttings on the site, whereas other materials come from Bali or Java. Only recycled Ulin timber and bamboo has been used. Balinese volcanic pumice rock, a natural insulating material, has been used for the terraced roofs. The furniture, lamps and accessories were handmade in Java and Bali.

broke with stereotyped notions of what a tropical villa hotel should be by working with the site to create unique and sustainable solutions. The result is a sense of luxury based more on delighting in nature’s beauty than excessive consumption. The resort’s environmental qualities have a beneficial effect on its financial success by helping to control key costs, such as energy, water and manpower. Furthermore, it has received tremendous acclaim from the media and its guests.

Realising the limitations of technology in Indonesia, the project made extensive use of traditional, time-tested and proven local techniques. It also

Alila Villas Uluwatu, Bali Indonesia PT Bukit Uluwatu Villa WOHA Design

這個在印尼巴里的新穎設計，綜合了巴里傳統建築和田園景緻的美態，以現代模式的空間和形式打造。建築師的靈感源自當地農夫的陽臺，希望保存當地的既有特質。建築依其外型輪廓建成，避免任何修剪和填補；所有林木均已保存或移植；大片田園經勘察記錄；繁殖場種植當地植物，美化景觀。當中所需的水量較少，同時可成為動物和雀鳥的棲息地。建築材料取自印尼當地，牆壁取自修路的石塊，而其他物料則來自巴里或爪哇。建築只採用循環再用的烏琳木和竹；並採用巴里火山浮石塊舖設屋頂，作為天然保溫物料；所有傢具、燈、裝飾都是在爪哇和巴里以人手製成的。有見印尼技術貧乏，建築廣泛採用傳統、經時間證明的當地技術。這更打破熱帶度假酒店的既有想法，以貼合當地情況，創立獨特和可持續發展的方案。全新建築的貴氣可謂源自大自然的美態，而非揮霍無度的奢華。度假酒店的環境特質別具經濟效益，有助控制主要成本，如能源、水、人力資源等，更廣受傳媒和顧客的認同和讚賞。

DFA Bronze Award

Hospitality and Leisure

This hotel overlooks a marina in Japan, and its individual cottages are made up of stacks of prefabricated units. Some of these units are separate, providing self-contained apartment-type rooms, while others are double stacked to create maisonettes. They have been placed randomly to give each of them a unique view and create a subtly shifting landscape.

The use of modular units has enabled the cottages to be separated to provide privacy and sound attenuation, without the need for a single monolithic hotel structure. The fact they have the same dimensions as a 40-foot (approximately 2.4 metres x 12 metres) shipping container and

BAYSIDE MARINA HOTEL Yokohama Bayside Resort Ltd. YASUTAKA YOSHIMURA ARCHITECTS

the same locking hardware on them has meant the units could be transported direct by sea from the factory where they were made in Thailand to the site. They were then easily bolted into place, and only a small amount of installation and finishing work was required.

The separation of the manufacturing process and use of Asia’s sea transport network to deliver the finished units enabled the project to be carried out more quickly and cost-effectively. The on-site foundations and non-welded joints of the units are not fixed, so they can be dismantled and recycled in the future.

這酒店眺望日本的一個小碼頭，每一個獨立小屋都是由不同組件併合而成。有些組件是分開的，成為自成一角的住宅，其他則由兩個組件併合，成為小屋。每一所屋子的位置十分隨意，因而帶來獨特的景觀、驟然不同的景緻。

每一個組件都是40呎大小 (約2.4 米 X 12米) 的集裝箱，使用相同的上鎖硬件，全部均由出產地泰國的廠房經海路運送到此地。組件可輕易併合成小屋，只須簡單的安裝和後期工序即可。

以組件併合，令小屋更具私人空間、遠離聲音，毋須建造獨立而龐大的酒店大樓。

Yasutaka Yoshimura

分開製造過程，以及利用亞洲海運網絡送完成組件的運送，令整項計劃更快速、更合乎成本效益。現場地基和毋須焊接的組件都不是固定的，因此可在將來拆卸，循環再用。

DFA Bronze Award

Hospitality and Leisure

Located by the new Cool Docks development in Shanghai’s South Bund District, the Waterhouse is a four-storey, 19-room boutique hotel fronting the Huangpu River and looking across it at the gleaming Pudong skyline. Built into an existing three-storey Japanese Army headquarters building dating from the 1930s, it is Shanghai’s ultimate design hotel, and a lifestyle destination with a difference.

The hotel’s trailblazing design blurs and inverts its interior and exterior, as well as its public and private realms. One can peek into the private rooms from the public spaces and vice versa. These visual connections not only surprise the guests, they also illustrate Shanghai’s urban condition, where visual corridors and adjacencies in tight “nongtangs” define the city’s unique spatial flavour.

The architectural concept for the project was to create a clear distinction between old and new. The original concrete building was restored, while the new additions were built over the existing structure using Cor-Ten steel to reflect the industrial past of this riverside working dock area. The new fourth floor resonates with the industrial nature of the ships passing along the river, providing an analogous contextual link to both history and local culture.

The Waterhouse at South Bund 水舍 — 南外灘精品酒店 Neri & Hu Design and Research Office 如恩設計研究室 Waterhouse 位於上海南外灘老碼頭的全新發展區，是一座樓高四層、共有十九個房間的精品酒店，面向黃浦江，眺望浦東天際線。酒店原址為三十年代的日軍總部大樓，現今成為上海的一間設計別緻的酒店，為顧客帶來非一般的生活享受。

酒店的大膽設計令室內和室外、公用和私用層次變得模糊不清，甚至倒轉過來。人們可由公眾地方窺視房間，相反亦言。這種視覺聯繫不但令顧客為之驚訝，同時表現了上海的城市狀況，狹窄走廊和尤如「弄堂」，突顯了這城市獨有的空間感。

此酒店以清晰區分新舊為建築理念。原有建築大樓經過翻新，在現有結構加入全新元素，使用耐候鋼反映這個曾經繁盛一時的臨海工業區。酒店樓高四層，與河畔船隻的工業意味不謀而合，緊緊聯繫著這個地方的歷史和文化色彩。

DFA Bronze Award

Culture, Public and Exhibition

Jiangsu Provincial Art Museum 江蘇省美術館 Jiangsu Provincial Art Museum (Jiangsu Province, represented by the Jiangsu Olympic Center) 江蘇省美術館 - 由南京奧林匹克中心代表 KSP Jürgen Engel Architekten

江蘇省美術館位於南京的文化都會，是華東最重要的美術館之一，按整體面積而言，也是全中國最大型的美術館。江蘇省美術館除了永久收藏傳統中國藝術作品外，亦舉辦短期展覽。美術館的設計以其歷史位置為參考：正門面向市中心，兩個互為緊扣的 U 型大樓坐落角度正朝向兩個對側的大街。 Located in Nanjing’s cultural hub, the new Jiangsu Provincial Art Museum is one of southeast China’s most important museums, as well as the largest in the country in terms of its total wall area. Besides a permanent collection of traditional Chinese art, it also houses temporary exhibitions.

The building’s design makes several references to its historical location. The main entrance faces the main city square, while its two interlocking u-shaped buildings stand at slight angles towards two flanking thoroughfares. The buildings are covered with 17-metre-high light glass roofs that narrow at their entrances, thereby linking the two building’s two halves and guiding visitors into the Museum. The travertine natural stone facing in the exterior has narrow window indentations that obscure the number of storeys within, thus increasing the impact of the building’s monolithic appearance. At the same time, the alternation between vertical stone panels and window slits with sheet metal jutting out at the sides creates a rhythm in the facade.

The building has been praised for the way its distinctively Asian identity and characteristics perfectly match the location and proportions of its site, as well as the manner in which it encourages visitors to enter by extending the public space of its surroundings into the Museum – something they have been doing in ever-increasing numbers since it opened in February 2010.

美術館頂部蓋以17米高的輕巧玻璃，緊緊聯繫兩座大樓，引領參觀者進入館中。石灰華天然石構成的外層排列著狹小的窗戶，令館內樓層數目不能顯然易見，增加大樓的整體觀感。此外，垂直的石塊與窗戶縫交錯出現，旁邊突出片片金屬，突顯建築外觀的層次感。美術館的設計備受讚賞，其獨有的亞洲個性和特點，正好配合當地位置和選址的比例；同時擴闊了美術館外的公共空間，鼓勵到訪者進入。自美術館於2010年2月開放以來，參觀人數不斷上升。

DFA Bronze Award

Culture, Public and Exhibition

Located in Cifeng Township in China’s Sichuan Province, the KPMG-CCTF Community Centre is used for local children’s extracurricular activities and vocational training for villagers. Its design highlights innovative green and intelligent features that reduce its environmental impact and improve sustainable rural community development. A passive system of environmental conditioning has been adopted to improve its IEQ and energy performance; and it has fully utilised locally sourced materials to make it people-oriented, energy saving, and environmentally sustainable.

KPMG-CCTF community centre China Children and Teenagers’ Fund (CCTF), KPMG China 中國少年兒童基金會, 畢馬威中國

The reconstituted bamboo structure was prefabricated at a local factory and sourced from a local sustainable forest, while pollution-free agricultural straw fibre panel was used for the wall and roof system, bamboo cladding and floor finish. The Centre also incorporates advanced communication connectivity and intelligent facilities for rural education. The potential of this design experiment is immense, and it will inspire R&D and generate economic opportunities in Asia, where bamboo resources and culture are rich but less developed in a contemporary way. Bamboo is the ultimate sustainable building material, because it grows fast and absorbs carbon dioxide throughout its lifetime. Its use in structures and associated cladding and finish material is an ecological, low-carbon, seismic-robust and affordable solution for urban and rural construction.

The Oval Partnership Ltd 歐華爾顧問有限公司

Lin Hao

KPMG-CCTF社區中心位於中國四川省磁峰鎮，為當地兒童提供課外活動，並為村民提供職業訓練。社區中心設計以環保智能為主，減少對環境的影響，改善農村社區發展的可持續性。主辦單位成立了環境狀況系統，改善室內環境質素和能源表現；並充份利用當地物料，以人為本、節約能源和持續保育環境。

用作重建的竹料來自當地一個可持續發展的森林，並在當地工廠打造；同時使用不帶污染的麥纖維作為牆壁、屋頂、竹包層和地板完工材料。中心設置先進的通訊設備和智能設施，為農村教育作出深遠的貢獻。

這項設計實驗潛力無限，更可為研發工作帶來靈感。在亞洲，竹資源和文化豐厚，唯欠缺現代的發展方式，因此相信此計劃可增進亞洲的經濟發展機會。竹生長迅速，又可吸入二氧化碳，是一種可持續使用的建築材料。對於城市和農村建築來說，以竹作為建築結構、相關包層及完工材料，的確符合生態環境，是低碳、防震和可負擔的選擇。

DFA Bronze Award

TECHTILE #3 NOSIGNER

NOSIGNER

Culture, Public and Exhibition

TECHTILE #3 is an exhibition space created by the participants in a workshop on advanced tactile technology held in Tokyo. Its participants produced this showcase of the diversity of textures that exist in the city by making aluminium foil copies of more than 200 of them, including various types of surfaces and materials. Although they followed elementary rules for its design, TECHTILE #3 was nonetheless a spontaneous and collective aesthetic work with a distinctive Asian character that was created by everyone involved.

TECHTILE supports research into advanced tactile technology in Asia. Although this has grown rapidly in recent years, it remains a rather esoteric subject. The TECHTILE exhibition was organised in conjunction with the University of Tokyo to give the general public an opportunity to increase its access and understanding of this technology. Besides researchers, engineering, media, art and design professionals were also invited to the exhibition, to bring it closer to the people. The event aimed to establish an ongoing series of exhibitions to announce the technology’s dramatic progress.

TECHTILE #3 是一個展覽場館，由東京先進觸覺技術工作坊的參加者建成。參加者以錫紙製成超過200 個不同質感，包括不同種類的表面和材料，展示城市裡不同結構的多樣化。雖然他們跟從基本的設計規則，TECHTILE #3 卻是一個自然不造作的集體美學工作，顯示每一位參加者的獨有亞洲特質。 TECHTILE 支持亞洲對先進觸覺技術的研究。雖然這種研究在近年迅速增長，但至今仍是難以理解的課題。主辦單位與東京大學合辦 TECHTILE 展覽，讓社會大眾有機會接觸這種技術，作進一步的了解。除了研究人員、工程界和傳媒外，藝術設計專業人士亦獲邀參加展覽，拉近這項技術與人們的距離。展覽旨在以持續推行的方式，向外界介紹這種技術的進程。

DFA Bronze Award

Household Appliance

The Gradient Collection is a set of all-weather wicker chairs that reinterpret and transform the age-old craft of hand-woven wickerwork in a contemporary way, and illustrate its unique qualities and possibilities by means of a visually stunning pattern weave. The gradation of their colours transforms this traditional material into a modern and sophisticated product, making wickerwork relevant to contemporary design.

Gradient Collection Kian (Hong Kong) PTE limited

Wicker craftsmen have hitherto been regarded as merely the manufacturers of functional objects. However, the Collection puts the spotlight on them by emphasising the beauty of exceptionally high-quality weaving. In this way, its creators hope to revitalise Asia’s wicker industry and enable its practitioners to develop their skills in new directions. At the same time, it creates a bridge that blends indoor and outdoor living, offering fresh inspiration to other interior and exterior designers. This would have a social as well as an artistic aspect, because Asia has a long tradition of wickerwork, and its huge population makes it an ideal place for such labour-intensive manufacturing industries. But although these attractive chairs were designed primarily as vehicles to display the craft to an optimal degree, they are also highly durable, functional and comfortable.

Fang Studio Limited 方設計有限公司

Danny Fang

Gradient Collection 是一系列全天候的枝條椅子，以現代方式重新演繹和改造舊式人手打造的枝織品，編織成具視覺效果的圖案，突顯其所能發揮的特質和可能性。漸變顏色將傳統物料轉化成現代、精緻的產品，令枝織品與現代設計構成不可或缺的關連。時至今日，枝織品工藝師往往被視為功能產品的製造者。然而，此系列產品盡顯一流的編織技術，廣受觸目。有見及此，設計師希望重振亞洲的枝織行業，讓從業者以新方向發展技術。同時間，此產品融合室內和戶外生活，為室內及戶外設計師提供嶄新的創作靈感。亞洲的枝織傳統深遠，以往廣泛人口以這種密集勞動式的製造業為生，可見這極具社會和藝術意味。這系列椅子的設計以極致手法表達工藝的超凡，同時也是一張耐用、具功能和舒適的椅子。

DFA Bronze Award

Household Appliance

Hammock CASE-REAL

Koichi Futatsumata

Like a hammock – a common symbol of relaxation – a large rattan tray hangs beneath the glass top of this low table. Looking at it through the glass focuses attention on the hammock’s image, just like admiring an exhibit in a museum showcase or shop window, and emphasises the concept and balance of its materials and shapes. The designer hopes this creative product will not only be used as a table. It should also

serve to relax the mood of those who place it in their living room, and encourage them to communicate. They may put some magazines or a remote control on the tray; or perhaps their pet cat might curl up on it. It will help every family to find its own way to relax. Since November 2009, the table’s design has been featured in more than 20 Japanese and foreign magazines, as well as 50 local and overseas websites, increasing its visibility in the world and drawing a number of inquiries from abroad. The designer is now exploring new business opportunities in North America as a result.

這張矮小桌子設有大型玻璃桌面，下置大幅藤墊，就像吊床一樣，象徵舒適、輕省。透過玻璃仔細觀看藤墊，就像在博物館或廚窗欣賞展品，同時強調物料和形狀的概念和平衡。設計師盼望這不單是一張桌子，而是將其置於客廳的每一個人都可以放鬆心情、多作溝通。他們可將雜誌或搖控放於藤墊上，小貓也可懶洋洋的蜷縮其上。這的確有助家庭尋找獨有悠然自得的方式。自2009年11月起，已有超過20本日本和外國雜誌、50多個本地和海外網站介紹此桌子的設計，增加其在世界設計舞台上的能見度，吸引海外人士或商家來查詢。設計師現正在北美發掘新商機。

DFA Bronze Award

Household Appliance

NEW Krewrap KUREHA CORPORATION

The packaging of this low-oxygen permeability food-wrapping film incorporates a unique V-shaped plastic cutter that makes it easy to cut exactly the right amount needed to wrap the food, without overlapping or clinging. This simple yet ingenious and practical idea is eco-friendly, because it encourages consumers to save food and reduce waste, thus contributing to the global battle against hunger. It has been successfully launched in Japan, Mainland China and Taiwan

The product was developed in-house by the designers of KUREHA Corporation, a Tokyo-based company that focuses on high-value-added speciality products, including a wide range of home products that support modern daily life and offer convenience and safety. The company has for many years been committed to the “Responsible Care” philosophy, which encompasses working on a number of issues related to environmental protection and health and safety, as well as the eco-friendliness of the designs of its products, the materials used to make them, and their manufacturing processes.

這種低透氧度的保鮮紙包裝採納獨特的V型塑膠齒狀，容易撕出大小合宜的保鮮紙來保存食物，保鮮紙不會重疊，亦不會在包裝上遺下盛餘物料。這種簡單、實用和具智慧的方法符合環保原則，鼓勵顧客保存食物、減少浪費，在全球對抗飢餓的工作上出一分力。此產品已在日本、中國和台灣成功推出。產品由KUREHA CORPORATION 的設計師設計。KUREHA CORPORATION是一間東京企業，專注高增值產品，包括多種支援現代生活的家居用品，確保便捷和安全。企業成立多年，致力作為一所負責任的企業，參與多項與保育環境、健康和安全相關的工作；還有著重產品設計、製造材料以及製造過程的環保意識。

DFA Bronze Award

Home ware

CARTESIA NOSIGNER

CARTESIA stands for the “Cartesian coordinate system”. It consists of an innovative and customisable structure of drawers which have the unusual quality that they can be opened from two directions, making them especially practical in room corners. Their distinctive and attractive shape is an inverted trapezium, which is related to a rationally based design that implies handles. On another level, CARTESIA is a design project that uses the skills of the Japanese woodworking industry and encourages its revitalisation. The brand was designed for Motobayashi Furniture Co., Ltd. It has gained worldwide publicity and recognition; and it is helping to promote the AWA furniture project, which the Ministry of Economy, Trade and Industry has designated as a “Product of Sensitivity Value Creation of Japan”.

NOSIGNER

CARTESIA 代表「Cartesian 綜合系統」，由創新、量身而設的抽屜架構組成，奇特之處在於可從兩方打開抽屜，方便存放於房間的一角。此組合是一個倒轉的不規則四邊形，外型奇特吸引，這種理性設計代替了手柄。在另一層面，CARTESIA沿用了日本木製行業的技術，旨在振興此工業。此品牌專為 Motobayashi Furniture Co., Ltd. 而設計，至今已廣為全球傳媒報導，廣受認同。這有助推廣以純手工製造AWA傢具系列，而日本產省更將AWA冠以「日本具重要價值的產品」。

DFA Bronze Award

Computer and Communication

ePure Digital Cordless Phone Swissvoice HK Limited Elium Studio

ePure is a digital cordless telephone that combines matchless design with quintessential technology. Manufactured by Swissvoice for home use, it creatively incorporates all the essential cordless telephone functions with a unique classic neo-retro design. The result is a perfect synthesis of design and function and a symbiosis of historic and technological development. Moreover, the ePure Cordless Phone encompasses the latest telephone technology features, such as a low-radiation eco-mode and high sound quality in order to offer maximum user comfort.

ePure是一種數碼無線電話，集合無與倫比的設計和精湛的技術。此家居產品由Swissvoice設計，採納了所有無線電話的重要功能，並以新復古為設計格調。產品是設計和功能的完美配合，也是歷史和科技發展的象徵。再者，ePure無線電話具有先進的電話技術特點，如低輻射環保制式、高音質等，令用者使用時更方便舒適。

DFA Bronze Award

Computer and Communication

Forty-five years of audio experience and research into true sound have gone into the P5, the first reference-quality headphone from Bowers & Wilkins (B&W) and one of its five top-selling products. Like all B&W products, it aims to bring the listener as close as possible to the sound that was intended by recording engineers.

P5 B&W Group Asia Limited 寶華音響有限公司 Native Design

The P5 has been designed and constructed to provide effective mechanical noise isolation; and its near-perfect clamping pressure mean that it is ideal for users on the move. The extensive use of real materials, mainly sealed leather and metal, make it stand apart from other headphones, both in terms of its appearance and the unrivalled comfort and life-long listening that it offers. The P5 has been fully approved by Apple, and it is completely compatible with iPhones and iPods in terms of its control and microphone capabilities. These factors have made the headphone especially suitable for the Asian market, where these two products are increasingly popular.

Bowers & Wilkins (B&W) 創立首個音質無與倫比的耳筒—P5，其綜合了45年的音響經驗和絕佳音質的研究，成為公司旗下五個最暢銷產品之一。就如其他B&W產品一樣，P5務求讓聆聽者享受貼近錄製的原創音效。 P5的設計和製造可有效隔絕噪音，其幾近完美的鎖模力可讓用者一邊走路，一邊享受妙韻。P5採用大量真材實料，主要為密封皮和金屬，因此外觀型格、舒適無比、音效保持完美，在同儕中遠勝一籌。 P5獲蘋果公司認可，在控制和擴音器方面可兼容 iPhone 和 iPod。這兩種產品在亞洲市場大受歡迎，因此P5也尤為適合這個市場。

DFA Bronze Award

Leisure and Entertainment

Featuring a 40-millimetre driver that can project bigger and fuller sound, more than 11 hours of playback time from just three hours of charging, a buddyjack design to make it modular and a built-in cable for hassle-free wire storage, the X-mini II Capsule Speaker is the secondgeneration capsule speaker from X-mini, which designed it in-house. This original capsule speaker exudes creativity by being the first to incorporate big sound into something so small. Its patented BXS (Bass Xpansion System) produces fuller-sounding audio from a product the size of a tennis ball, while a 3.5 millimetre jack means it can be paired up with a multitude of other devices.

X-mini II Capsule Speaker 是 X-mini 的第二代袖珍型揚聲器，由企業內部設計。揚聲器設有40亳米的驅動器，可發放更宏亮的聲音；充電三小時就可播放十一小時。這個微型設計尤如模組，內置電線可省卻儲存電線的煩惱。原有的袖珍型揚聲器是首個以微型體積播放極致音效的創意產品，其專利BXS系統可以小如網球的產品，營造透徹明亮的音效；而3.5 亳米的插座可方便配合多種不同儀器。

X-mini™ II Capsule Speaker™ X-mini™ HAPPY Capsule Speaker™ Xmi Pte Ltd

Ryan Lee

Armed with its signature X-mini Bass Xpansion System (BXS), the nifty Happy Capsule Speaker extends to amplify dynamic audio range without compromising on acoustic integrity. Engineered to be user-friendly, the one-button control manages all functions (power, volume, pause and track change), while a buddyjack system that is compatible with X-mini II Capsule Speakers allows them to be linked up to produce an enhanced aural performance.

這個俏皮靈巧的 Happy Capsule Speaker 採用獨一無二的 X-mini Bass Xpansion System，可擴大清脆悅耳的音響，而不影響原有音樂的完美無暇。此產品十分易用，只須一個按鈕就可控制所有功能，包括開關、聲音大小、暫緩和轉曲等。如系統兼容 X-mini II Capsule Speakers，兩者連繫更可發放無與倫比的音色。

DFA Merit Recognition

Autumn/ Winter 1011 Collection, Diana, Romance in the Forest PLOTZ 普之

By choosing to work with contrasting material of silk, cotton and spandex, combined with careful handling of complicated forms of ruffles and patterned with beads, A Plotz demonstrates a full-blown understanding of the materials through lines of detailed finishing. These ruffles, beads, detailed finishing, and texture are originally designed with a fine craftsmanship; more importantly, these garment features intimate how the natural things look like. As garments are something human wear in almost their whole lifetime, this collection manifests the moral about human and nature, implying that human and natural should always be critically and gently related aesthetically.

DETACHABLE NOTEBOOK CARRYING BAG (DNCB) 可拆式手提電腦袋 EARTH TREK (HONG KONG) LTD 地球環創(香港)有限公司 EARTH TREK DESIGN STUDIO 地球環創工作室

Nowadays, personal belongings are carried around to fit instant and personal needs from a simple writing pen to a computer notebook. The new Detachable Notebook Carrying Bag designed by Earth Trek is a great organiser for a wide range of users from business executives to secondary students. Based on personal needs or occasions, users can choose different function pouches for tailor-made combinations. These pouches vary in sizes and shapes and are easily attached to the main carrying bag or detached for individual use. The pouches can be identified by icons for accessories or user name stickers that can be changed flexibly. Earth Trek has innovatively designed a carry bag that is practical in use and interactive to play with.

時至今日，個人隨身物品由原子筆及至手提電腦等，均以符合個人即時需要為主。全新D e t a c h a b l e Notebook Carrying Bag 由 Earth Trek 設計，可說是日常生活大小事務的記事本，可作多個用途，切合商務行政人員及至中學生不等。用者可按個人需要或情況，自行選擇不同功能的小袋，成為度身訂造的組合。這些小袋大小不一、形狀不同，可容易加入手提包，或從手提包中移除，適合個人使用。小袋可以飾物標記或用者標籤辨認，更換極具靈活性。 Earth Trek 全新設計的創意手提包，既符合實際用途，也是絕佳的玩意。

此系列受充滿靈氣的大自然啟發，採用了對比強烈的物料，形成新鮮有趣的質感，模擬叢林的自然特質。設計師選取絲綢、棉和人造纖維三種截然不同的物料，配合細緻的皺褶和珠飾，以細膩手法完工，突顯創作者對不同物料的充份理解。這些皺褶、珠飾、細膩修飾和獨特質感，均以極致的手工藝完成；最為重要的是，這種衣物模擬大自然的一事一物。衣物可說是人們一生都穿戴的，此系列無疑演繹人類和大自然的品性，預表著兩者在美學上有著無可比擬的相連性。

DFA Merit Recognition

Hibarigaoka Gakuen Senior High School 雲雀丘學園高等學校 EIGHT BRANDING DESIGN Co., Ltd./ Yasui Architects & Engineers, Inc.

Hibarigaoka Gakuen High School in Osaka has introduced a new environmentally friendly interior theme. The styled theme is meant to reflect the symbol of the school that was developed along with the old building: the idea of sun streaming through cedar trees, preserving its history. The theme expresses the kaleidoscopic pattern created by dappled sunshine. In addition to the theme, the school's furniture and other interior elements have been coordinated to produce a bright ambiance that is lush with greenery giving students a nice and fresh study surroundings and inspiring them to think environmentally.

日本大阪的雲雀丘學園高等學校向外界展示其全新的環保室內主題，此主題反映了與舊建築同時創立的學校象徵：陽光透進柏樹流露光芒，保存了學校的歷史文化。主題表達了燦爛陽光營造出的各種千變萬化圖案。除了此主題外，學校的傢具和其他室內元素都充斥著翠綠密茂的植物，帶出明亮的格調。學生就可在優美清新的環境中學習，同時啟發他們的環保思維。

Hong Kong: Creative Ecologies 香港: 創意生態 Hong Kong Design Centre 香港設計中心

84000 Communications 八萬四千溝通事務所

Design for the multi-faceted programme “Hong Kong: Creative Ecologies” this total solution design campaign including the visual identity system, spatial design and interactive design, has demonstrated the energy, style, innovation and branding power of Hong Kong designers to the Mainland China and global audiences. The exhibition is a part of the Hong Kong SAR programme for Expo 2010 Shanghai and will cover genres from fashion and luxury goods to product and spatial design.

為「香港：創意生態」展覽而製作的視覺識別系統、空間設計及互動設計，從多角度向中國內地以至全球人士展示香港設計師的幹勁、風格、創新和品牌力量。這個展覽是香港特區參與2010年上海世博會的項目之一，內容涵蓋時裝、奢侈品以至產品及空間設計。展覽為期六個月，主題在於闡述香港如何利用各項元素，從一個製造業基地蛻變成一個服務中心，進而踏上創意城市發展之路，同時亦是推介本港設計師及設計行業的大好良機，盼望能為新一代的設計師帶來啟發。

The theme of the six month long exhibition is to illustrate the assets that have powered Hong Kong from a manufacturing power to a services hub to a creative city in progress and is a great opportunity to showcase Hong Kong designers and design businesses in hope of inspiring the next generation designers.

DFA Merit Recognition

NLGX borrow elements from traditional Chinese heritage colors, materials, patterns, and stories to create new, original styles which inspire the next generation of designers and design trends. They use t-shirts to make meaningful statements that reflect the modern lifestyle and spirit of a constantly evolving and developing New Beijing. Season by season, their collections tell the stories of Beijing’s ever-changing history and heritage. Each NLGX Graphic T tells a relevant story, revealing a snapshot of an evolving city and culture. Stories help us to create an identity, an identity that is easily lost amongst modern China’s race for bigger and for richer. NLGX translate these stories into graphics, a universal language suitable for a multicultural city. Traditional colors are mixed with youthful, vibrant tones that reflect the awkward beautiful accents of Old and the New of Beijing.

Unique Business Card Wiseman International Digitech Limited 華冕國際數碼技術有限公司

NLGX融合傳統中國歷史和文化的色彩、物料、圖案和故事，創立全新原創的型格T-shirt，給予新一代設計師無限靈感，也帶領當今設計潮流。NLGX透過設計這系列 T-shirt傳達極深的含意，反映現今不斷革新、發展迅速的北京在生活潮流上的進程。每一季度的全新系列，均仔細描述了北京不斷轉變的文化歷史和傳統。每一款NLGX圖案T-shirt都道出了故事，成為現今城市和文化的剪影。故事讓我們建立一種身份，而這種身份卻往往在追求富裕、追求燦爛的現今中國中容易迷失。NLGX將故事化身圖案，成為這個文化豐盛的城市中的一種共通語言。傳統色彩揉合年青、充滿生機的格調，道出新舊北京的奇特瑰麗。

NLGX Design selected original design graphic t-shirt collection 原創設計T恤系列 NLGX Design Comapny Ltd. 北京南鑼妙得服裝設計有限公司

As its name implies, Unique Business Card is a business card with unique identity. Nowadays in the business world, name cards are the simplest way to keep a company’s core image. With this in mind, Wiseman International Digitech Limited creatively designs their cards differently by tearing the edges giving each card a unique human touch. While accomplishing its aesthetic appearance, Unique Business Card are practical in use as it minimises wastage and can be recycled during company staff turnovers simply by replacing the ‘stick-on’ name tag. This design makes a balance between mass production and hand-made customisation so as to arouse people to rethink about the integration and value of hand-made craftsmanship.

Unique Business Card 就如其名，是一款別出心裁的商務名片。在今時今日的商業世界中，名片是表達企業核心形象的最簡單方法。有見及此，Wiseman International Digitech Limited設計的名片截然不同，打破傳統，每一張名片都讓用者有獨特的體驗。 Unique Business Card 除了外表美觀外，更可循環使用，減少排廢：公司同事更替時，只須「貼上」姓名標籤即可，非常實用。此設計平衡了大量印製和人手工藝，讓人們重新思考人手工藝的使用和價值。

DFA Merit Recognition

The "Decent" Japanese Travelling Communicator "不失禮"遊日對話器

Hongyue Packaging KHT Brand Marketing & Consulting Due to its natural uniqueness, Hongyue Tea is different from the traditional black tea in terms of its unique production technology and the perception of the product itself, which gives it a true distinct Asian identity.

Enlighten & Fish Ltd. Hong Kong 亮光文化有限公司

The "Decent" Japanese Travelling Communicator is an innovative bi-directional and customisable mobile application for travelers to Japan. Normal traveling phrase book mobile apps usually contains a set of commonly used phrases divided into various categories. The shortcomings of this class of apps are that they only allow single direction of transmitting what the travelers want to say. Local Japanese are usually shy and can't communicate in foreign language. With this app, the phrases with the list of possible responses are displayed with illustrations and narrated in native Japanese voice for both party to point and tab for communication. This interactive tool designed by Hong Kong Polytechnic University is original in concept and symbolises the creative mind of Hong Kong designers.

The "Decent" Japanese Travelling Communicator是一種雙向、貼合人們需要的創新手提應用程式，專為前往日本的旅客而設。一般旅行短語手提應用程式包含一系列常用短語，分作不同類別，但這種方法的壞處是只容讓旅客單方傳送其所欲表達的言詞。日本人一般較害羞，亦難以使用外語溝通。此應用程式的短語同時提供可能的回應以供選擇，並以插圖和當地日本語配音，雙方只須按下選擇作為溝通即可。這個互動工具由香港理工大學原創設計，象徵著香港設計師的無限創意思維。

Focusing on simplicity, yet highlighting the Asian culture, KHT designs the outer container to resemble a bamboo symbolizing long lasting oriental elegance and a red color theme representing good fortune. Apart from its aesthetic appearance, its practical design comes from within the packaging by individually stacking smaller containers one on top of each other preserving the freshness of the tea leaves like its new identity.

Hongyue 茶別具天然特點，因此在製造技術和產品觀感方面，與傳統紅茶截然不同，並帶來地道的亞洲品味。

The first major swimwear manufacturer to eliminate plastic from its packaging, Speedo has developed an innovative range of eco-friendly packs for eye and headwear that does not compromise on style, design and comfort. Speedo ensures that visibility, product access and retailer merchandising flexibility were integral in the design process.

Speedo 創立了一系列太陽眼鏡和泳帽的環保包裝，款式、設計和舒適度不遑多讓，是首個減少使用塑膠包裝的游泳用品製造商。 Speedo 在設計過程中，確保考慮到產品的能見度、接觸率和零售採購的靈活性。

包裝以簡約為主，強調亞洲文化，外型尤如竹一樣，象徵恆久的東方韻味，以紅色作為主題顏色則喻意幸運。除了外觀優雅外，設計也有其實用之處：包裝內分為細小的容器，一層層疊上，保存茶葉新鮮，就如其嶄新形象一樣。

Speedo Eco-packaging Speedo International Ltd

The environmental benefits of the packaging were enhanced with the inclusion of a reusable goggle pouch produced using swimsuit fabric cut-offs. Speedo’s creative design has allowed them to cut down on PVCs and plastics in an attempt to inspire other swimwear designers to think green.

Speedo 以游泳用品纖維的剩餘部份，作為潛水鏡的可循環再用小袋，令其包裝上的環保效益大為提升。Speedo 的創新設計減少使用聚氯乙烯和塑膠，啟發其他游泳用品設計師多考慮環保的元素。

DFA Merit Recognition

Apart03 To live with Tokyo

Design 360° by Sandu Publishing Co. Ltd. is the first bilingual design magazine published in both Chinese and English within Mainland China, an original concept publication. Design360° is an all-round design magazine dedicated to introducing international advanced design concepts, original works and outstanding designers. It covers a wide range of design perspectives from graphic and digital designs to architecture and interior designs being an informative source for art and design enthusiasts. It has built up a bridge between the design circle in china and that of the rest of the world.

macla, inc.

由Sandu Publishing Co. Ltd. 創立的Design 360°是中國內地首本中英文設計雜誌，也是內地原創刊物。Design 360°是一本多元全面的雜誌，介紹世界各地出色的設計概念、原創作品和戰績標彪的設計師。其涵蓋多種不同的設計範疇，包括平面設計、數碼設計，甚至建築、室內設計等，可謂藝術設計愛好者的天書。 Design 360°無疑拉近中國和全球設計事業的距離。

Design 360° – Concept & Design Magazine No. 25-28 Design 360° – 觀念與設計雜誌 No.25-28 Sandu Publishing Co. Ltd.

三度出版有限公司 milkxhake

Apart03 is a Tokyo culture bilingual magazine aiming to design a better relationship between readers and the city of Tokyo. The magazine strives to stimulate and surprise readers through innovative experimental designs conveying the message "To live with Tokyo" and revolutionize the way people think about the city. The magazine features neverbefore-tried layouts and designs to create a new reading experience, aiming to highlight the essential value that design has for information. Apart03’s approach in spreading information is inspiring and can be replicated in other cities.

Apart03 是東京的一本雙語文化雜誌，旨在強化東京讀者和東京市之間的關係。雜誌透過創新的實驗性設計，傳達「活在東京」的訊息，並意圖改變人們對東京的觀感。雜誌採用史無前例的版面設計，為讀者帶來嶄新體驗，同時帶出設計在傳達訊息方面的重大價值。 Apart03在傳達訊息方面的手法富予啟發性，其他城市可加以參考。 Since 2010, Design 360° has launched four remarkable issues based on the new theme of "Country" focused on BRITIAN (No.25), GERMANY (No.26), SPAIN (No.27) and BRAZIL (No.28). The new issues explored new in-depth editorial contents and interviews with most talented designers inspiring public interest and readership aimed to promote the exchange between China and the world.

自2010年起，Design 360° 以「國家」為題，推出四期引人注目的雜誌，分別講述英國 (第25期)、德國 (第26期)、西班牙(第27期)以及巴西 (第28期)。全新安排深度探討不同內容，並訪問了最知名出色的設計師，引起大眾和讀者的興趣，促進中西的設計交流。

DFA Merit Recognition

Forever be True The Love & Heritage of Maryknoll Amazing Angle Design Consultants Limited

The book by Amazing Angle Design Consultants Limited is visually edited to walk the reader through Maryknoll Convent School, not following a linear timeline, but closes up to its different cherished characteristics in architecture, people and even the smallest detail, creating a dynamic experience of reading between space & time. The art direction aims to create a cozy feeling for its readers, which is especially dear to Maryknollers. Specific choices of colors, textures and images display a familiar, respectable, yet distinctive personality of Maryknoll. To illustrate and enhance the interest of the stories from different generations of Maryknollers, typography layout is matched with the flow of images, creating an intimate sharing of personal stories through the pages. Photo restoration of the archival images are carefully done to unify the tone and to create a coherent atmosphere of the portrayal of the people & history of Maryknoll.

Territory Magazine Bigbros Workshop Sdn. Bhd.

Territory Magazine was conceived with the intention to explore the peripheries of design. Today, it has evolved along with the design and illustration world in its own unique manner, remaining dedicated to investigating design and culture, opening up international and local spaces for discourse and connection.

Amazing Angle Design Consultants Limited負責此書的編輯，在視覺上務求令讀者恍如漫步於瑪利諾修院學校。內容不以時間順序鋪排，而是集中表現各項為人津津樂道的特點，包括建築、人物甚或種種看似微不足道的細節，創出穿越時空的閱讀體驗。美術方面旨在營造舒適親切的感覺，瑪利諾新舊學生尤其重視這一點。色彩、結構及圖片經過精挑細選，展示瑪利諾為人熟悉、尊敬卻又不失個性的特色。採用配合字體的設計，介紹不同年代瑪利諾學生饒富趣味的故事，讓她們的親身經歷躍然紙上。檔案照片經過細心復修，達到色調統一、氣氛連貫，從而描繪學校的人物及歷史。

For every Issue, different paper material and printing technique on the covers are used. The magazine looks more like a book than a magazine and with this uniqueness; it will always be called a bookazine. Usually, when people read magazines, they will probably throw it away or recycle. Therefore, by doing this type of distinctive quality magazine (bookazine), buyers will keep it as a collective magazine. First impression is very important to attract people's attention. With so many magazine covers on the shelves, the magazines attractive covers will inspire customers to grab and buy.

Territory Magazine 的構思，意圖發掘設計的連帶關係。今天，這本雜誌已有其獨特風格，在設計和插圖上不斷革新，旨在研究設計和文化，打開本地和國際的溝通之門。在每一期，封面都採用了不同的紙質和印刷技術。在這特質下，這本雜誌像一本書藉多於雜誌，因此被稱為「書誌」。一般而言，人們閱過雜誌後都會扔掉或循環再造。因此這種獨特的雜誌 (書誌)，買家將會集其大成。吸引買家的首個印象是非常重要的，在報攤上雜誌云云，雜誌封面必須吸引顧客拿取和購買。

DFA Merit Recognition

Imperial Feast 皇席宴 Escafe

Hong Kong based Escafe Studio designs a revolutionary poster with beautiful contemporary Chinese landscape as the backdrop for Tao Heung’s marketing theme “Taste the World” giving its restaurants a distinct Asian flavor. Escafe creatively designs the backdrop using ingredients from the King Banquet such as lotus root, winter melon, mushrooms, fish balls, broccoli, and garlic. While Tao Heung continues to strive to become one of the most esteemed and premier Chinese restaurant groups in Hong Kong and China, recognised for innovation and its capabilities to provide high quality food and service, allowing Escafe to re-market their corporate image is inspiring.

Edo Residence – Toward the next 100 years Design Eight Co. Ltd. Design Eight focuses on design renewal for residences, fusing traditional Japanese design and modern design. Japanese residences that have lasted for 400 years may be at risk to be in Japan, an earthquake country. Edo Residence, a Japanese residence dated back from Edo Era underwent innovative construction upgrades making it more resilient to earthquakes. The residence has been changed from residential usage to commercial use. Design Eight aesthetically re-designs the residence using its original materials faithfully and made space to display its ancestral treasures. The idea is not to destroy the Japanese traditional architecture and interior style but to inspire a new atmosphere for the next generation. Traditional space harmonized with modern furniture and material was reborn to another refined space.

Design Eight 專門進行住宅設計翻新，以傳統日式設計和現代設計為主。一些已有400多年歷史的日本住宅，很可能在這個地震頻繁的城市中存在危機。 Edo Residence 是一間早及江戶時代的日本住宅，進行了創意改造以抵抗地震，並已改建為商業用途。 Design Eight 以美學的角度重新設計，沿用既有材料，營造空間感，顯示先人留傳的瑰寶。設計概念並非要拆毀傳統的日本建築和室內風格，而是為新一代營造嶄新的感覺。傳統空間配合現代傢具和物料，令這所建築恍如重生。

設於香港的 Escafe 為大型飲食集團稻香設計了一款革新的海報，當中以皇宴的食材，如蓮藕、冬瓜、冬菇等描繪現代中國的瑰麗景緻，充份演繹稻香的市場推廣主題 — 嚐天下，顯示其獨一無二的亞洲品味。稻香致力成為本港和中國首屈一指的飲食集團，其創意備受認同，能提供優質食物和服務。Escafe為稻香重訂企業形象，推廣深入民心，富啟發性。

DFA Merit Recognition

MoHURD No.1 site: Post earthquake village re-construction and demonstration project in Ma'anqiao village 馬鞍橋村災後重建綜合示範專案

School of Architecture, The Chinese University of Hong Kong 香港中文大學建築學院

This project aims to demonstrate and convey an affordable, ecological, sustainable, healthy and humane way of post-quake village rebuild that local villagers could afford, own and pass on. This project is the No. 1 post-earthquake village re-construction and demonstration base under the Ministry of Housing and Urban-Rural Development of China.

This innovative construction method costs only a quarter of the conventional brick-concrete building and the operation cost is much lower. This is important for the villagers as their typical annual income is merely a few thousand Yuan per year. Tens of millions of Yuan will be saved if this method can be expanded to similar earthquake-stricken area.

Almost all materials from the seismic ruins such as timber, soil and stone are recycled to build new houses. Because the seismic ruins can be easily removed, almost all of the houses were rebuilt on their original site. This kind of in-suit reconstruction saved farmland during the rebuilding process.

THE NISEKO RETREAT - Living In Nature THE PANGS LI&Co. Design Limited – China Design Architect, HOP – Japan Project Architect

此計劃旨在示範一個可負擔、環保、持續、健康和人道的地震後鄉村重建方式，這是當地村民可承擔、擁有和繼續發展的計劃。此為第一號地震後鄉村重建和示範計劃，隸屬於中華人民共和國住房和城鄉建設部。地震遺址的頹垣敗瓦如木材、泥土和石塊，都用作建成新房子。由於大部份地震殘留物都可移走，幾乎所有房子都可在原址興建。這種原址重建可在過程中保育農田。此創新的建築方法，在成本上只是傳統泥磚建築的四份之一，營運成本更低。村民每年收入只有數千元人民幣，因此對於他們來說十分重要。如在其他受地震侵襲的地區採納此方法，相信可節省數百萬元人民幣。

Simplicity sets the tone for the design of this family retreat. Sited with maximum exposure of the beautiful southern river view, the design of the house is made out of several horizontal planes in the landscape. Working with the sun’s orientation, the east, west and south sides are fully double-glazed to maximise transparency of the space by bringing light and surrounding nature into the house. Solid timber and traditional Japanese screen facade mark the entrance on the north side.

這個家庭渡假勝地的設計以簡約為主。此房子的坐落點可飽覽南方河流的別緻景色，設計以多個水平板面砌成。配合陽光的方向，東、西、南面的窗戶全為雙層玻璃，將外來光線和自然景物引進房子裡，加強房子的空間感。位於北方的大門，則以堅固的木料和傳統日本屏幕配合而成。在迷人景緻和翠綠叢林圍繞下，置身大自然的感覺更強烈。這種創新的家庭渡假勝地無疑是亞洲生活型態的一個潮流體驗。

The notion of living in nature is reinforced by spaces surrounded with landscape and meditative gardens in between. This innovative family retreat is a trend-setting experience for Asian lifestyles.

DFA Merit Recognition

Villa Amanzi Original Vision Limited

Villa Amanzi is a luxurious villa located along the coast of Phuket with breathtaking views. Nestled in a cascading, west-facing ravine with a dramatic slab of rock defining the northern edge and a stunning outlook over the azure blue of the Andaman Sea to the south, Original Vision creatively fuses the villa with the spectacular surrounding site features. The villa has been built into the rock face along the North boundary and the granite rock formation provides a unique and spectacular natural wall to the villa. The mix of cutting edge technology, modern design and natural beauty results in a remarkable and unique property.

ZIG ZAG HOUSE Ministry of Design Returning to the romance of the single storey bungalow house, Ministry of Design creatively designs the Zig Zag house in a densely urbanised area in Singapore. The house acquires its characteristic trapezoidal form by responding to the challenging site constraints, a long triangulated sliver of land surrounded by Tembusu trees.

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And with the region’s tropical climate, the house is cleverly organised along a continuous series of single loaded spaces which allow for ample cross ventilation and natural light truly integrating it with nature. The roof scape provides the final touch with diagonally arranged planting greens echoing the uniquely twisted form of the Zig Zag house. Apart from its eye-catching zig zag shape, MOD also delivers a practical house by carefully considering its spatial arrangement providing three interconnected wings, an entertainment zone, a family zone and a private master zone all separated by beautifully designed internal courtyards providing spatial privacy.

Ministry of Design 回歸獨立平房的浪漫意味，在新加坡的一個繁囂城市建成了 Zig Zag 屋。這房子坐落位置是狹長的三角形土地，四周以登布樹圍繞，因此房子以不規則的四邊形打破地理的限制。在這熱帶地區，房子單一排列，以便充足的對流通風，也讓自然光透進房子，與大自然融為一體。屋頂斜斜舖上綠葉藤枝，正好回應Zig Zag 屋獨一無二的曲折外型。除了房子的曲折外型，MOD 亦小心安排空間，使其成為一間實用的房子。房子有三個互相連繫的部份：娛樂、家庭和私人空間，並由設計巧妙的室內庭院分隔，確保私隱度。

Villa Amanzi 是位於布吉沿岸的奢華別墅，旁為懾人景觀。別墅靜臥於朝向西面、隱藏瀑布的深谷中，北面為奇山異石，南方遠眺一片清澈蔚藍的安達曼海洋。Original Vision 將別墅的設計融入四周壯麗的景觀特點中。別墅坐落於朝向北面邊界的花崗岩石中，這些花崗岩石為別墅形成獨特壯麗的自然圍牆。Original Vision 採納先進科技、現代設計和自然美景，令建築物感覺更煥然一新。

DFA Merit Recognition

AGC Monozukuri Training Center Accommodation Asahi Glass Co., Ltd. Takenaka Corporation

Passing on culture from generation to generation is important to the Japanese so as to companies like Ashahi Glass Co. Ltd. which just celebrated its 100th anniversary. To cherish this significant milestone and allow the glass manufacturing skills be taught to new staff, a trainee lodging facility designed by Takenaka Corporation which also devotes its efforts to society was created. To commemorate the anniversary, Takenaka’s theme was to reinforce the 100th year by designing the new building with 100 shades of colour for 100 windows for 100 rooms. The impressive exterior was created with their own glass products, produced by the company’s cutting-edge technology. As a result, the innovative thinking of Takenaka allowed the trainee lodging facility to express the company’s identity shown as corporate advertisement.

世代承傳優良文化對於日本人來說是十分重要的，Ashahi Glass Co. Ltd.剛慶祝100周年，就是很好的例子。為慶祝這個重要的里程碑，並將玻璃製造技術存留予新一代員工，一向對社會工作不遺餘力的 Takenaka Corporation 於是為公司設計了習訓生寄宿設施。為慶祝周年紀念，Takenaka 特別為樓房100個房間的100個窗戶設立100種顏色，加強100周年的意味。樓房外牆為Ashahi Glass Co. Ltd. 以先進科技自製的玻璃產品。 Takenaka 令習訓生寄宿設施以廣告形式表達公司的獨有形象。

This new building in Sheung Wan is a typical Hong Kong “stick” tower by RAD Ltd.. Despite the building’s small size, the intent was to provide a positive impact on the local context through design sensitivity in planning, architecture and interior design and recognition of the changing nature of this neighbourhood, inspiring a new form of design in an old urban environment.

Blink K. Wah Real Estate 嘉華地產

RAD Ltd.

On typical floor, RAD’s strategy was to provide abundant natural light, and therefore specified the largest possible windows for each unit innovatively to reduce building energy consumption. The large scale of the window panels contrast effectively with the small scale of the building. The windows also provide an urban proportion with good comfort to the occupants. 這座位於上環的全新建築，是香港的典型「柴枝」大廈，由RAD Ltd. 設計。雖然大廈面積細小，但希望透過策劃、建築和室內設計的獨有觸覺，為地區帶來新鮮感。建築同時反映毗鄰人和物的變化，在舊區呈現嶄新的設計風格。在每一樓層，RAD旨在提供充足的自然光線，因此每一個單位都具有大型窗戶，節約能源。面積龐大的窗戶與狹小的大廈形成強烈對比，窗戶無疑讓市區景貌映入眼簾，令租客倍感舒適。

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DFA Merit Recognition

NAKAGAWA OFFICE Nakagawa Masashichi Shoten Co., Ltd. YASUTAKA YOSHIMURA ARCHITECTS

The Nakagawa Office building is designed to elegantly combine the activity of two separate office and warehouse facilities into one. Japan based architects Yasutaka Yoshimura envisioned the building to engage the street, so the overall form follows the curvature of the site, bounded by a local road.

Chikusenso Mt. Zao Onsen Resort & Spa Osbert International Limited Hashimoto Yukio Design Studio Inc.

By alternating the office and storage areas, the former with taller columns, the latter with shorter, the difference in heights allows for creative high side-lit spaces and variations in light level throughout. The edge of each roof is supported by a set of columns, with the individual column members unified to form an innovative Vierendeel truss. The facade appears as a collection of dancing houses, reflecting the different qualities of space within.

Nakagawa Office 大樓的設計旨在以優雅的方式，將辦公室和倉庫設施二合為一。日本建築師 Yasutaka Yoshimura 想像建築物融入街道，因此整體格局跟隨位址的地段曲線，以當地的一條街道為限。

Chikusenso is surrounded by great nature.

Chikusenso為美妙的大自然所圍繞。

Based in Japan, Hashimoto Yukio design studio’s overall goal was to make Chikusenso a one and only unique hospitality experience. A pleasant place with rich hot springs together with excellent cuisines using freshly harvested and caught food providing guests with a taste of asia.

Hashimoto Yukio 設計公司設於日本，目標令Chikusenso 成為與別不同的渡假體驗。這個優雅勝地設有溫泉，以及使用新鮮採摘和捕捉的食材，讓顧客一嚐亞洲風味。

Inspired by the fact that Onsen or hot springs comes from the blessing nature, Yukio creatively designed the interior space by bringing in the nature and using selected local natural materials as much as possible for flooring to furniture making. Also, the resort is decorated with many art collections related to the history of Miyagi. With all of the original concepts and ideas, Chikusenso appears to be an intimate, cozy and modern Ryokan, which is memorable for all visitors and allows them to invigorate traditional Japanese living.

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辦公室和儲存空間相互交替，前者柱子較高，後者較矮，兩者差異形成旁邊發光的創意空間，房子內裡燈光不一。每一個屋頂的邊緣均以一組柱子支撐，獨立柱子併合為別具創意的空腹桁架。建築物外觀尤如跳舞室，反映空間裡的不同特質。

溫泉既然源自美妙的大自然， Yukio 於是在室內設計構思中，引入大自然的元素，盡量採用特選的當地自然物料，打造地板、傢具等。此外，這個渡假勝地以多種藝術系列作為陳設，當中與宮城的歷史緊緊相連。就是基於這些原創概念，Chikusenso 成為親切、寫意的現代旅館，為旅客所紀念，同時為傳統日本生活加添不少色彩。

DFA Merit Recognition

East Hong Kong 東隅 CL3 Architects Limited 思聯建築設計有限公司 EAST is a business hotel located in a residential neighbourhood in Hong Kong and is designed by Hong Kong based architect and interior design studio CL3 Architects Limited. The name “East” resulted from the design concept which interprets the contemporary Asian travelling lifestyle as being world class, efficient, modern, playful and with a touch of culture.

EAST presents a new way of looking at hotel design and operation. From the paperless check-in process to the careful design of the open plan guest rooms, everything is planned for efficient contemporary travelling.

Hotel NUTS

Serving the needs of Asian markets, EAST combines the Asian lifestyle of fast paced, efficient, sophisticated, cultural, and fun into one project and advances the trend-setting Asian Business travelling experience.

Japanese architect, upsetters architects was invited by Hotel NUTSs to artistically refurnish the interior space of four hospitality rooms to uniquely express the Japanese culture. upsetters’ design theme was to create a special Japanese space that balances the Japan-ness, the element of Japan-style room design and its history and memory accumulated there.

Ken AND S Inc. upsetters architects

upsetters’ unique and creative design mainly focused on three aspects. Concrete walls that sensed natural light were left undecorated. “Sumi” markings, black ink normally used in Japanese writing and paintings, used for construction guidance were deliberately left behind to illustrate the walls natural appearance. Finally, upsetters inspiring Japanese styled elements included light wells and “tatami”, traditional type of Japanese flooring were used in the rooms and corridors allowing guests to sense the room’s unique stateliness and appreciate Japanese heritage.

東隅酒店是一家商務酒店，位於香港一住宅區內，由本港建築及室內設計公司思聯建築設計有限公司負責設計。「東隅」一詞源於詮釋當代亞洲旅客生活方式的設計概念，講究世界級質素、效率、時尚、玩味及文化氣息。

Hotel NUTS 誠邀日本建築商 upsetters architects 重新裝潢設計旗下四間酒店房間，突顯日本的獨特文化。upsetters 的設計旨在營造獨有的日本空間，平衡各種日本的特質、日式房間設計的元素以及其累積的歷史和回憶。

東隅酒店具備嶄新的設計及運作模式。無紙旅客登記，以至開放式客房的貼心設計，一切旨在提升現代旅運的效率。

upsetters 的創意設計主要分為三個部份：可透進自然光的牆壁將予以保存，不加修飾。Sumi — 一種日本人用以書寫和繪畫的墨用作建築指南，並刻意留下，顯示牆壁的自然外觀。最後，還採納了日式淺井和榻榻米，這種傳統日式地板材料用於房間和走廊中，讓客人感受和欣賞日本文化的莊嚴。

東隅酒店迎合亞洲市場的需要，集亞洲人生活節奏快速、有效率、深思細密、追求文化和享樂等元素於一身，實為亞洲商務旅運發展的一大步。

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DFA Merit Recognition

Suchengzhai, Guangzhou China 廣州素成齌 Guangdong Suchengzhai Foods Industry Co., Ltd 廣東素成齌食品產業股份有限公司 Alan Chan Design Co / K. Associates Architects. Kyoto Japan 陳幼堅設計公司 / K Associates Architects, Kyoto Japan

Suchengzhai is an innovative business concept promoting healthy living via a nation-wide franchising of vegetarian restaurants and tea houses in China. Ranging from brand identity, shop collaterals, packaging to flagship-store interior design, it is a total branding exercise creating the most premium and stylish vegetarian dining chain unprecedentedly in China. In China, vegetarianism is Buddhist cuisine which is followed by its believers. The design of most vegetarian restaurants in the market is traced to religious traditions but generally looks very practical and undecorated. Following the rapid economic development, nowadays people are more health conscious and vegetarian cuisine has become regarded for its nutritional qualities. The premium yet cultural design of Suchengzai created the first-ever healthy fine dining concept satisfying the desire of the Chinese affluences for business entertainment.

Forest of business cards

(design for 2016 tokyo olympic exhibition gallery) MORIYUKI OCHIAI + TWOPLUS-A ARCHITECTS

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This is a space of discovery where people from all over the world gather and meet. It features the works of 200 artists on the front face of business cards and their contact information written on the back for visitors to take freely. The architects aim was to create a meeting place where 200 different card designs meet, revealing a complex interaction between individual cards and the whole. They simply inserted the business cards into a Styrofoam board in order to confer the paper's fine and light properties onto its surroundings and reinforce the relationship between object, support and environment. Visitors remove cards of interest, thus changing the exhibit density which in turn shifts their own focus. This results in a complex and beautiful facade that change from one moment to the next as would the Japanese Sakura tree, truly an innovative and original concept design.

素成齋是一間推廣健康生活的創意企業，在中國內地特許經營素食餐廳和茶樓。其全效的品牌工作，包括品牌形象、店舖宣傳單張、包裝及至旗艦店的室內設計等，都體現了最優質型格的素食連鎖店風範，可謂在中國史無前例的。在中國，素食是一種佛教飲食，只有佛學追隨者才會奉行。大部份市場上的素食餐廳大多與宗教傳統有關，一般以實際為主，缺乏裝修陳設。隨著經濟迅速發展，今天人們更注重健康，而素食的營養特質更為吸引。素成齋的設計優雅中帶有文化氣息，是首個以健康為主的餐飲概念，滿足中國富裕人家的商業娛樂慾望。

是次展覽廊的設計以東京申辦 2016年奧運會為題，奧運可說是全球各地人們相聚的大好時機。展覽廊展出了200位藝術家的名片作品，他們的聯絡資料則載於背面，方便到訪者隨意拿取。建築師旨在於此匯聚200個名片設計，顯示個別名片與整體觀感的複雜構圖。他們將名片插入發泡膠板中，以示紙張在周遭環境下的輕巧細膩，加強物件、襯托物和環境之間的關聯。訪客可隨意拿走心頭好，於是展出的名片形狀旋即改變，重心偏移。這個縱橫交錯又帶微妙的建築物，每時每刻都千變萬化，正好與日本櫻花樹一樣，是真正創新和原創的設計概念。

DFA Merit Recognition

Materials of the Future: Documenting Contemporary Chinese Art from 1980 -1990 未來的材料：記錄1980-1990 中國當代藝術

National Library of China 中國國家圖書館 KSP Jürgen Engel Architekten

Asia Art Archive 亞洲藝術文獻庫

84000 Communications 八萬四千溝通事務所

Asia Art Archive is a young and dynamic organisation initiated in 2000 as a direct response to the increasing number of Asian contemporary art exhibitions and events worldwide. Based in Hong Kong, AAA, a non-profit organisation and registered charity, is dedicated to documenting the recent history of visual art from the region within an international context.

亞洲藝術文獻庫始創於2000年，是一間年青和富幹勁的企業，旨在回應與日俱增的亞洲當代藝術展覽和環球活動。亞洲藝術文獻庫是一間設於香港的註冊非牟利慈善團體，致力在這國際大都會中，匯集近年的本土視覺藝術歷史。亞洲藝術文獻庫的研究項目為「未來的材料：記錄1980-1990 中國當代藝術」，於香港藝術節和亞洲藝術文獻庫圖書館展出。這個文化展覽重新體現八十年代中國藝術家的創作空間，吸引觀眾，還表達了箇中的真正情感 — 獨有的亞洲形象。

The brief was to design a building that is both a domicile for the cultural treasures of the past but also is looking forward. Inspired by the classic division of public buildings in China, the building is divided into three sections: the pedestal, the column section and the roof. The pedestal forms the basis and houses the old books and written documents. It symbolises the rich tradition of Chinese culture and as such the past. The glass section in between the pedestal and the roof stands for the present day and houses the public section. The library is crowned by the steel roof complex that spans the large reading room without any columns and stores the media and digital sections of the library. In the various sections of the building old and new, face each other while at the same time forming a harmonious mood. KSP Jüergen Engel Architektent 所設計的建築，既可匯聚過往文化寶藏，又可前瞻未來。這座建築的靈感源自中國公共樓房的傳統劃分，建築分為三個部份：基座、柱子和屋頂。基座是地基，收藏古典書藉和手本，象徵中國文化的源遠流長。在基座和屋頂之間的玻璃部份預表當下，收藏對外開放的書藉。圖書館蓋以鋼製屋頂，涵蓋整個閱讀室，不設任何柱子，收藏了媒體和數碼物品。新舊建築的不同部份相得益彰，是和諧不過的組合。

The launch exhibition for Asia Art Archive's research project, "Materials of the Future: Documenting Contemporary Chinese Art From 1980-1990" at Hong Kong Art Fair and the Asia Art Archive's library. This cultural exhibition re-created China’s artist work space in the 80’s to capture the audience & the real emotion of the topic, a distinct Asian identity.

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DFA Merit Recognition

Route D CL3 Architects Limited 思聯建築設計有限公司

ROUTE-D 是專為香港一年一度的設計盛事 Detour 而設的。這座天橋由傳統的支架搭建專家建成，充份顯示了香港竹製方式的可持續性，以及其在兩個現存建築圍繞20米，亳不破壞建築外牆，也突顯了其建築上的靈活性。以竹為主的建築技術在亞洲不同地域廣泛使用，但多使用原始和低技術的方式。然而，此計劃證明了在恰當研究和工程下，這種建築可以環保的方法，解決現今的問題。 ROUTE-D was a center piece created for Detour, an annual design event in HK. Built by traditional scaffolding specialist, this footbridge demonstrates sustainable nature of Hong Kong bamboo construction method, and its flexibility in spanning 20m across 2 existing buildings, without any damage to the building surfaces. Bamboo construction technology has been widely used in various parts of Asia, more in a primitive and low-tech way. However, this project demonstrates that with proper research and engineering, bamboo construction can be advanced to solve modern day issues in an environmentally responsive way.

Space Lab, The University of Tokyo Kohki Hiranuma Architect & Associates Co,.Ltd.

Located in the campus of Tokyo University, this is an exhibition facility for wood, a growing demand natural resource. This is also a place for research publications and for students to use daily, as well as a place open to the community and surrounding areas. This architecture is constructed by a new construction system (wood block accumulation method), consist of minimum required function and experimental space, shows the active and effective usage of the wasted thinned materials in forests that they are regarded as unsustainable materials for building because they are thin or bended. This new industrial technology of building houses allow them to be built in high density urban areas without the use of heavy equipment but human strength.

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這是一所位於東京大學校園的現代展館，也是以需求日增的木材製成的。此外，這是一個研究刊物的地方，既可供學生每天使用，也可開放予社區和周圍地區。這個現代建築以全新的木塊堆積建築方式建成，由最少的功能和實驗空間組成，以最有效的方式使用這種森林中已被摒棄的幼小材料。這種材料就是太幼小或可屈曲，往往被認為是建築的非持續物料。這個採用全新科技的建築可容納於人口密度極高的市區中，毋須使用重型儀器，只須智慧便可。

DFA Merit Recognition

The Forbidden City 大紫禁城 Zuni Icosahedron 進念二十面體

84000 Communications 八萬四千溝通事務所

A contemporary and educational exhibition of China’s Forbidden City held at Hong Kong’s Cultural Centre. The cultural exhibition was designed to enhance the public's interest and knowledge to Chinese design culture on the topic of the Forbidden City. The use of motion graphics re-created space in scale and video experience, engaging the audience, surprise and enlightens them by combining multimedia technologies and tradition culture.

一個富現代和教育意味的大紫禁城展覽於香港文化中心舉行，展覽旨在加強社會大眾對紫禁城設計文化的興趣和知識。當中採納的動態圖像營造了大量空間和影片體驗，讓訪客參與其中。在這個揉合多媒體技術和傳統文化的展覽中，為訪客帶來驚喜和啟廸。展覽吸引了來自世界各地的訪客，無疑是突顯亞洲風格和生活的絕佳渠道。

Geppetto chair Fang Studio Ltd. 方設計有限公司

Geppetto is a polycarbonate chair inspired by the ingenuity of China's Ming dynasty furniture. The chair perfectly fuses the elegant form of a classic Ming chair and the pragmatic sensibilities of contemporary design. The result is a lightweight, well stackable and weather resistant armchair that pays homage to traditional Chinese aesthetics.

Geppetto 是一張聚碳酸酯椅子，靈感源自中國明朝的傳統傢具。這張椅子融合了明朝古典椅子的高貴脫俗，以及現代設計的實用靈巧。Geppetto輕巧、容易擺放，而且可抵禦天氣的變幻無常，實在要向中國傳統美學致敬！明朝傢具只使用單一物料製成，毋須使用其他黏劑或釘子。 Geppetto使用一整塊的聚碳酸酯，卻出乎意外地達致平衡效果。現代科技令明朝椅子的完美弧度分成兩份，這種美學風格如以人手打造，可能需時數天；但如今我們可以大量製造，一同享用。

Ming furniture is made from a single type of material without the need for any adhesives or nails. The Geppetto, being made in one piece of polycarbonate, draws an ironic parallel. The modern technology also allows the perfect curves of a Ming chair to be rendered in a split second, such that an elitist aesthetic style that used to take many days to create by hand can now be mass-produced and enjoyed by all.

The exhibition has attracted audiences from all over world which creatively showcases the distinct Asian character and lifestyles.

New Nail Nippers SUWADA Blacksmith Works, Inc.

Suwada Blacksmith Works, Inc. has manufactured edged tools of the highest quality in Japan since 1926. Their third generation president, Tomoyuki Kobayashi, innovatively introduced new nail nippers with beautiful curve lines based on Suwada’s traditional nipper design.

Beauty instruments should be aesthetically perfect themselves and bring enjoyment and satisfaction throughout their lifetime. This philosophy stands behind the Suwada professional nippers. Every aspect of their unique design and durable performance supports their primary function, cutting. The unique nail-fitting curve of the Suwada nippers maximises safety and ease of use, even for tough toenails and ingrown nails. Every nipper follows the Suwada trademark and is fully hand finished with meticulous care by skilled craftsmen, a true identity in beauty instruments.

Suwada Blacksmith Works, Inc. 自1926年起已在日本研製多個嶄新的優質工具。第三代總裁 Tomoyuki Kobayashi 以 Suwada 的傳統指甲鉗設計為基礎，設計了全新線條優美的指甲鉗。美容工具應本身具有美感，為用者帶來喜悅和滿足，因此成為 Suwada專業指甲鉗的背後理念。 Suwada指甲鉗符合指甲的弧度，加強了安全性，更容易使用，即使堅硬無比的指甲或倒甲也可應付。每一個指甲鉗都設有Suwada 商標，由專業工藝師以人手完工，十分謹慎。這的確是美容工具的佼佼者。

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DFA Merit Recognition

WALLMUG TOWER

Stokke® Sleepi™

RIVERS CO., LTD

Stokke Hong Kong Limited

SAKAI DESIGN ASSOCIATE

Wallmug Tower designed by Rivers Co. Ltd. is a beautifully shaped drink server for water, tea and coffee. The mugs innovative double-wall structure allows drinks to be cooler or hotter for longer period of time than a single walled mug.

Grønlund & Hviid Design

Wallmug Tower 外型優雅，可盛載水、茶和咖啡。瓶身的雙層設計可令飲料的保存時間更長，比單層設計更理想。

Chair Qin-Jian Dragonfly Gallery

Starting from the social and ecological responsibility of design, this chair reminds us of the beauty of bamboo and keeps the unique bamboo craftsmanship from fading.The Qin-Jian chair combines the making and forming of a traditional asian material with an interesting organic design. It is fully made of the natural material bamboo and is crafted with traditional techniques developed from Chinese predecessors’ wisdom. The leg of the chair is ready-made solid bamboo sword, which is compressed by recycled waste bamboo strips. Bamboo sword, which is used for practicing or competition of Kendo sword-fighting, is manufactured under strict requirements in terms of strength, balance of weight and flexibility, and therefore becomes the best material for the legs of the chair. The back support and the seat are composed of straight bamboo slats, which would show the delicate flexibility like strings.

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Stokke Sleepi Mini is the perfect first bed for a baby. Comfortable, secure and easy to move from room to room, the smooth action of its lockable wheels can be used to rock a baby gently to sleep. Its narrow form gives a sense of security whilst allowing to wheel baby around the house. It's easily turned into the adaptable cot that grows in length as child does. The height is adjustable, to accommodate baby’s changing development. Once baby reaches the curious climbing stage, the protective guard bed can be removed on one side for easy access and to boost feelings of freedom and independence. Stokke Sleepi Junior is a comfortable bed for and it doubles-up as a practical mini-sofa. It can even turn into two chairs. Despite its innovative design, the bed design also focuses on using environmental sustaining materials such as wood.

這張椅子的設計著重對社會和環境的責任感，提醒我們竹的美態，讓這種獨一無二的竹工藝免於式微。椅琴椅子以傳統亞洲材料融合有趣的設計，完全以天然竹料打造，並按照前人的智慧，以精湛的傳統技術製作。椅腳是堅固的竹劍，以循環再造的棄置竹條壓成。竹劍用以進行劍道練習和比賽，因此在製造時必需嚴守韌度、重量和靈活性的標準，可見是椅腳的最佳選材。椅背和坐位是由挺直的竹板條製成，形成有如弦線的靈活度。

Stokke Sleepi Mini 是初生嬰兒的完美睡床，舒適、安全、容易在房間中移動，其設有上鎖輪子，可在嬰兒甜睡時鎖定位置。睡床外型狹小，可確保安全，同時可在家中隨意推動。此外，睡床可隨著孩童長大而調整長度，高度亦可調整，符合孩童的成長和發展。嬰兒到達好奇心日增的爬行階段，就可移除一邊睡床的防衞儀，加強自由度和獨立感。 Stokke Sleepi Junior 是一張舒適的睡床，也可變成小型沙發，甚至變成兩張椅子。睡床雖然採用嶄新設計，但仍使用了環保物料，如木材。

DFA Merit Recognition

Wing INNOVO DESIGN

The traditional bench has been the simplest form for sitting. The idea is almost forgotten in modern days. Based in Hangzhou/China, Innovo Design kept the benches original shape but improved it with a twist of modern design. "Wing" originates from the roof ridges of traditional Chinese architecture, symbolically pointing to the sky. Curving the ends of the bench to form the wings ergonomically allows people to sit more comfortably. Shape of the "Wing" is traditional design. Innovo Design uses Chinese architecture as inspiration to redesign the bench which Asians were using it for hundreds of years. Asian people can feel this connection between traditional and modern. This bench has inspired them realise to use this kind of furniture again in modern day lifestyle.

“Wu” a poetic and aesthetically pleasing lamp shade designed by Hangzhou China based Innovo Design. Come with DIY pack, the design is simplistic in appearance but uses the cultural Chinese approach of lamp making by using bamboo as the skeleton frame and rice paper as the outer covering. This design originates from ancient Asian material and lifestyle. Rice paper reminds people to remember there was once a peaceful life. In general, people have the feeling that traditional things belong in the past; however, the designer creatively rejuvenates the tradition with modern lifestyle.

“Wu”由設於中國杭州的Innovo Design 設計，是一款別具詩意和美感的燈罩。燈罩外型簡約，沿用了中國傳統的燈籠技術，以竹為骨幹，再配以宣紙為外層，包裝是自製的。

傳統長凳是供人就座的最簡單工具，在現今世代已幾乎被遺忘。設於中國杭州 Innovo Design 保留了長凳的原狀，同時加入了現代設計的味道。"Wing" 源自中國傳統建築的屋脊，尖端意味著直指天際。長凳兩邊設有弧度，形成翼狀，符合人體工學，令人們坐得更舒適。 "Wing" 的形狀屬一種傳統設計， Innovo Design 以中國建築為靈感，重新設計這種亞洲人沿用數百年的長凳。亞洲人可感受到傳統和現代之間的聯繫，驅使他們在現代生活中使用這種獨特的傢具。

Wu INNOVO DESIGN

設計源自古代亞洲物料和生活模式，宣紙則提醒我們曾幾何時的平靜生活。一般來說，人們認為傳統事物屬於過去，但設計師卻以現代生活振興傳統。

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DFA Merit Recognition

Designed by Optiled Lighting International Limited, ARRAY is a LED replacement luminary substituting conventional Halogen AR111 luminaries. Its innovative design has surpassed the conventional in heat emission, energy consumption and life span without the loss of lighting performance and uses environmental sustaining materials.

ARRAY 射燈 Optiled Lighting International Limited 奧的亮照明國際有限公司

This innovative luminary which provides better consistency, minimising glare and light obscuration is widely used by hair salons, restaurants, fashion stores, jewellery and watch shops. ARRAY 由奧的亮照明國際有限公司設計，是一種LED發光儀，取代傳統 Halogen AR111 石英燈。其新穎設計遠勝傳統散發熱力、消耗能源和壽命的發光儀，同時不會影響光度，並使用環保和可持續發展的物料。這種創新的發光儀性能穩定，減少刺眼的強光和背光，因此廣為髮型屋、餐廳、時裝店、珠寶鐘錶店使用。

Orio: LED Streetlight Wipro Limited

Shilpa Marathe

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SANYO Projector (PLC-XM150) SANYO Electric Co., Ltd. Corporate Marketing H.Q. Advanced Design Center 三洋電子

三洋電子有限公司製造一系列創新的投影機，可於學校講堂或大型企業會議室使用。這部可攜式投影機具有兩種解像度和絕佳光度，即使在光線充足的房間中，仍可在大螢幕中觀賞顏色豐富、質素極佳的影片。設計師經深思熟慮決定機身表面物料和形式，外層為不塗層樹脂，然而外觀與塗層物料無疑，盡顯其環保和全面的一面。

Sanyo Electric Co. Ltd. has developed a series of innovative projectors ideal for school auditoriums or large company conference rooms. With two kinds of resolution and the highest brightness for a portable projector, rich-color high-quality video viewing can be enjoyed in a large screen even in a well-lit room. By carefully deciding the surface finish and form, even with uncoated resin surfaces, a high-grade appearance as elegant as one with coating was realised creating a design featuring eco-consciousness and integrity.

Orio, LED Streetlight designed by Wipro Limited, is a futuristic product harnessing the advantages of LEDs. It is an Energy efficient, long service life solution for secondary streets and urban landscape. The compact new-age streetlight stands out with its remarkable aerodynamic form and harmoniously gel with urban landscape. Orio offers all advantages it inherits from its revolutionary light source - compactness, low maintenance and better efficacy. Dynamically sculpted form of Orio is highly function-driven. The LED Streetlight uses 35% recycled material and are 90% recyclable, reduces energy consumption by 50% and provides timeless aesthetics. Orio offers innovative sustainable lighting solution for the future.

Orio 是一款Wipro Limited 設計的 LED街燈，是充份利用LED好處的未來產品。此產品合乎能源效益、壽命較長，專為街邊小路和城市景觀而設。這個新一代的精緻街燈採用空氣動力模式，在繁囂的城市中帶來一絲和諧，在平凡中顯得出眾。Orio 承襲既有燈飾的所有好處：靈巧、維修保養較少、性能較佳。這種別出心裁的設計以功能為主：LED街燈使用35%的可循環物料；90%可循環再用；減少能源消耗達50%，而且具歷久常新的美感。Orio 為未來打造創新、可持續發展的燈飾。

DFA Merit Recognition

A300 all-in-one computer A300 一體機

MacBook

Lenovo Group 聯想集團

The new MacBook by Apple Inc. features a beautifully designed durable unibody polycarbonate enclosure, a brilliant LED-backlit display, a glass Multi-Touch track pad and Apple's innovative built-in battery for up to 7 hours of battery life. MacBook includes a unique non-skid bottom surface and weighs just 4.7lbs.

The Ideacentre A300 All-in-One Computer designed by Lenovo has its host/processor installed within its elegantly designed base requiring only one power cable which differentiates it from all other integrated units in the industry. The operation and storage devices are cleverly and aesthetically hidden behind the back panel. Lenovo has innovatively designed the A300’s elegant all-in-one display monitor by linking it to its host base through the side hinge. Some other obvious attributes include a representation of uniqueness, ultrathin for delicacy, suitable for display in households, better radiation effect, elegant outlook design, delicate elements, pure white and bright casing for marketing and advancement in technology.

A300一體機電腦由聯想設計，主機體和處理器裝設在設計精美的機體內，只須一個電源，傲視同儕。操作和儲存工具隱藏於背板，既有智慧又富美感。聯想全新設計的A300一體機顯示屏，以邊鉸鏈連接主機。其他特質包括其獨一無二的外型、機身纖薄、方便家居使用、放射效果更佳、外型優雅、元件細緻，其純白光鮮的外殼更是市場推廣和科技的傑作。

Apple, Inc.

蘋果公司設計的全新MacBook突顯設計精細、耐用的聚碳酸酯一體機身，還有LED背光顯示屏、玻璃表層多觸感板，以及內置電源可供使用多達七小時。MacBook的特殊底部表面可防滑，只有4.7磅。 MacBook響應同業推出的環保手提電腦，採納環保物料、不含砷的玻璃及不含聚氯乙烯的內置元件。

MacBook joins the industry's greenest line-up of notebooks using environmentally friendly materials, arsenic-free glass and PVC-free internal components.

Magic Trackpad Apple, Inc.

The innovative Magic Trackpad by Apple Inc. brings the intuitive Multi-Touch gestures of Mac notebook trackpads to the desktop. With its glass surface, the wireless Magic Trackpad enables users to scroll smoothly up and down a page with inertial scrolling, pinch to zoom in and out, rotate an image with their fingertips and swipe three fingers to flip through a collection of web pages or photos. The Magic Trackpad can be configured to support single button or two button commands and supports tap-to-click as well as a physical click. Magic Trackpad connects to your Mac via Bluetooth wireless technology. Use it in place of a mouse or in conjunction with one.

蘋果公司推出的全新Magic Trackpad 將Mac手提電腦的多觸感板面帶至桌面。無線的Magic Trackpad 具玻璃表層，只須向上向下捲動，即可輕易瀏覽頁面；兩指開合來放大縮小；用手指旋轉圖像；還可以三指翻動多個網頁或相片。Magic Trackpad 的裝設可支援單一或兩個按鈕指令，可輕敲或按來進行指令。Magic Trackpad 可透過藍芽無線技術連接你的Mac 手提電腦，並可選擇使用滑鼠與否。

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DFA Merit Recognition

ATLAS Windsurfing Sail

ATLAS windsurfing sail is a power wave sail designed for windsurfing in all wave conditions. Its power allows the rider to plane early or jump high. New printing technology developed this year by NeilPryde allowed for a high-performance sail construction with exciting graphics printed sandwiched within the clear film material.

Neil Pryde Ltd.

Every single superfluous seam and panel was removed and frames trimmed while retaining the signature silhouettes. The result of this innovative approach was a dramatic reduction in weight (between 7 and 15%) and construction featuring much larger, clear regions within the sail frames.

S8000

Zeppelin

Nikon Corporation

B&W Group Asia Limited

The Nikon S8000 is a stylish compact digital camera for those who enjoy taking pictures of a wide variety of scenes from macro to super telephoto.

Native Design

The refined style and gentle upward curve of the lens housing emphasise the camera’s slim, streamlined body. With the slimmest body in its class, the COOLPIX S8000 more than satisfies the desire for a camera that is small enough to be taken anywhere, yet its innovative design still supports super telephoto shooting, allowing users to capture a wide variety of scenes. Rubber paint on the grip enables a more secure hold on the camera and contrasts nicely with the shiny surface around the lens for an elegant look and feel. The S8000 features a Creative Slider function for adjusting image hue, brightness and vividness with shooting, enabling user’s greater freedom of expression with their photography and simply making it more fun.

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Nikon S8000 是一款型格、靈巧的數碼相機，為一些愛好以廣角及至超遠拍攝多種景觀的愛好者而設。相機外型精緻，鏡筒稍微上弧，突顯機身的纖巧。COOLPIX S8000 是系列裡最纖巧的機種，除了滿足作為相機的要求外，其纖巧外型更方便隨身攜帶。創新的設計支援超遠拍攝，讓用者捕捉多元景緻。相機手握位置設有橡膠塗層防滑，與鏡頭周邊的光澤表面形成對比，感覺更優雅。S8000 的創意型滑桿設計可修飾影像色彩、亮度和對比，讓用者更能自由表達相片的觸覺，令拍攝更具樂趣。

Designed for the Apple iPod series by B&W Group Asia Limited, Zeppelin has successfully brought the world-class studios sound quality to the listener’s own places. Zeppelin is a hi-fidelity iPod speaker which offers room filling sounds from an acoustically optimised five speaker design. The striking shape of the Zeppelin with its distinctive chrome dock design is both acoustically and ergonomically considered. The shape tapers in parallel with the drive unit size, so the critical tweeter section is the minimal width it needs to be, and allows optimum original sound dispersion.

ATLAS 風帆是一種極具權威的風帆產品，專為不同海浪強度而設，可讓用者提早降下或跳高。 NeilPryde 於今年創立全新的積層打印技術，在膠片物料中加入有趣的圖案，提升風帆的性能。風帆每一個多餘的接縫和板面都移除，外框亦已修整，當然絕不影響其獨有的輪廓。這種創新技術令風帆重量大為減少(約7%至15%)，建造專注風帆外框更大型、清晰的部份。

Zeppelin 是 B&W Group Asia Limited 專為蘋果公司 iPod 而設的，成功將世界一流的音質帶給聆聽者。Zeppelin 是具有Hi Fi 素質的iPod 揚聲器，以其具有絕佳音效的五個揚聲器設計，讓您的室內縈繞意猶未盡的樂章。 Zeppelin 的獨特外型和鉻式底座，既是音響上的佳作，亦考慮到人體工學的需要。機身兩端平衡地逐漸縮小，揚聲器部份的大小使用了最小的濶度，發出優質極致的原質音效。

Design For Asia Student Award (DFA Student Award) 亞洲最具影響力設計學生大獎 Design for Asia Student Award

2010

The DFA Student Award is intended to recognise students (and their projects) who understand creative collaboration that cross disciplinary boundaries are essential to innovation. Outstanding students’ projects are those reflect teammates’ ability to learn and understand each other’s perspective; explore the impact of design on commercial and societal success; and integrate knowledge through motivation, creativity and interaction. Participants are individual tertiary students of recent graduates of undergraduate course at any education institute in Asia between the age of 18 to 30. We look for projects that have created links between design and industry, and widen the horizons of design (and design management) students. In general, the projects should: 1. 2. 3. 4. 5.

Communicate and demonstrate the potential value of design Show expertise in the chosen field Critically evaluate the relationship between design, creativity, innovation and enabling technologies Show personal initiative in addressing challenging issues relevant to other organisations and/or the design profession Encourage experimental and long-term thinking

This year, we have received 150 nominations from 40 universities and design institutes across Asia. 亞洲最具影響力設計學生大獎表揚能善用跨設計範疇合作，以達致創新理念的學生(和其作品)。優秀的學生作品應反映出參賽隊員互相學習和理解的能力，探索優質和獨特的設計對商業和社會發展的影響，並且在目標制定、創新、互動的過程中應用相關的知識。所有參加者必須為亞洲區院校的大專生或剛畢業的本科生，年齡屆乎18至30歲。參加作品要把設計聯繫到相關行業，擴闊設計學生的視野、設計層面(及設計管理)。作品必須： 1. 2. 3. 4. 5.

展示設計的潛在價值表現出特定界別的專業水準鑑定設計、創造力、創新理念和應用技術的關係面對專業的考驗時，應能提出個人的見解勇於嘗試表達具遠見的思維

今年，亞洲最具影響力設計學生大獎由亞洲40所大學及設計院校提名，近150件作品。 Name of Applicant Chen Siu Wa Chan Wai Ki Suen Ka Hei Cheung Hon Him Chi Tai Yun Chi Tai Ying Lin Ping Yi Liao Lu Chen Yimai Guan Xiaoming Yang Ho Tsz Lam Sham Ching Man Masaaki Hoshi Jhang Hao Han Jiang Qian Alessandro Leonetti Luparini Lim Si Ping Ong Zhi Wei Baoyu Qin Light Lu Tsai Yi Chen Chang Lan Hsin, Fan Fengquan Ye

Name of School The Hong Kong Polytechnic University

Project Name LIVING PIXELS

Country Hong Kong

City University of Hong Kong Fu Jen Catholic University

You are not the fish Lost Memories

Hong Kong Taiwan

School of Design, Jiangnan University

Balance

China

The Hong Kong Polytechnic University

Alien-Duncan

Hong Kong

Tama Art University

Tokyo Next Design Project '08 & Graduation Works Slide on the Body T-BOX

Japan

Singapore Singapore China

Tatung University

I M Perfect Project 365 Transform the voice into strokes / Research of Chinese Segment-character Victoria in Supermarket

China Academy of Art

Emotional Book

China

Fu Jen Catholic University Jiangnan University LASALLE College of the Arts LASALLE College of the Arts China Academy of Art

Taiwan China

Taiwan

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DFA Student Award

Finalists

Chen Siu Wa, Chan Wai Ki, Suen Ka Hei The Hong Kong Polytechnic University, Hong Kong LIVING PIXELS

Taking recycled advertising banners as the project’s starting point; The designers focused their efforts by creating each light shade individually and specifically for each stand, selecting the right banners, sorting out matching colors and sewing each patch by hand to build the perfect irregular shape. As the banners are printed in one side only, the lamps appear to be white and pale when switched off, but the plain appearance radically changes once the lamps are lighted on and the colors emerge from the inside. Due to the properties of the material, the light is smoothly diffused through the fabric creating a balloon of multi-colored light, but at the same time, the small banner swatches sewed together create a surface filled with holes from where the light escapes and scatters the surrounding environment with a vivid luminous pattern.

Cheung Hon Him City University of Hong Kong, Hong Kong You are not the fish

The happiness of the fish is an “objective” world or visual soundscape that created by the fish. The installation is inspired by an old Chinese story “Zhuangzi – You are not the fish”. The story is talking about the objectivism and subjectivism of a human being. Like when the fish swim in a pond, we always project our feelings on it. We think the fish swim so freely and enjoy their life so much. But is that really true? How would be the fish swim inside a water tube and making art through their moment? The fish movement generates audio and visual parts. In every 8 seconds, the sensors will read the position of the fish. The data is controlling few different parameters for the work. Swimming inside the water tube, the fish will create a strange visual-soundscape. It is about the audio-visualization of the mind of fishes.

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Living Pixels 是由三位就讀香港理工大學的同學組成的團隊所設計，並利用香港婦女勞工協會的縫製技術造成的燈飾。他們回收被棄置街頭又不能再生的廣告橫額，然後把其剪成細小的方塊，依相近顏色分類再縫製成不規則的燈飾。而燈架則是團隊從中環摩羅街的破銅爛鐵中翻出。此燈亮著時五彩斑斕，但關掉後素色一片。原理是利用廣告橫額原料 PVC塑膠的透光特性而及單面印刷的慣例，使每將橫額的前面都色彩鮮豔，背後則雪白一片，形成亮關燈的反差，在黑暗中映出五彩的斑斕，給使用者不同的驚喜。Living Pixels為系列為限量產品，它不但重用了再生廢料而成，更加運用低能源消耗的燈泡，體現了環保照明的理念。

In the installation, the idea for the death of the author is represented. The fish act as an unconscious and objective element in the whole process. The core part of the work is how the visitors interact with their subjective views. 魚的快樂，是它建立的一個「客觀」世界，也是它營造的視覺聽覺景象。創造此裝置的靈感，源自一個古老的中國故事「莊子 - 子非魚」。這個故事講述人的客觀性和主觀性。好像魚在池塘遊泳，我們卻會投射自己的情感於魚兒身上。我們會認為，魚在自由自在的暢泳，它們在享受生活。可是，事實確是如此？魚在水管內是怎樣通過游泳時的種種時刻，創造藝術的呢？

DFA Student Award

Finalists

Chi Tai Yun, Chi Tai Ying, Lin Ping Yi, Liao Lu Chen Fu Jen Catholic University, Taiwan Lost Memories 失落的百工

Nowadays in Taiwan, almost manpower could be replaced by machines, people earn and spend money quickly, the manner of “Insist” no longer exists in everyone’s mind. But there are groups of people in Taiwan, most of them are elderly people, still holding patience of their jobs which they have chosen as their life time career while they were younger, and has been insisting on maintaining the best quality of works they produce till now, even time tendency doesn’t stand by their side. 我們經由實地的探訪，瞭解這些台灣即將沒落或式微的行業。就算時間變遷也不為所動，仍默默堅持自己道路的老師傅們象徵的是現代人最為缺乏的"堅持"，希望透過這樣的過程中挖掘並且用平面設計、攝影、文字以及ICON組合成一百份每個行業專屬的DM搭配上影片，創造一個歷史的橋樑，能夠連結過去與未來，為每一個關心台灣這塊土地的人做一件事，讓更多人看見，撐起台灣這塊土地的，不是檯面上的光鮮亮麗，而是這一群默默堅持的人們。

Yimai Guan, Xiaoming Yang

Ho Tsz Lam, Sham Ching Man

School of Design Jiangnan University

The Hong Kong Polytechnic University, Hong Kong

Balance

Alien-Ducan

'Balance' series contain 4 products; humidifiers, cd player, floor lamp, weight scales, based on the relationship among industrial design, art, psychology, anthropology, ergonomics, and mechanical engineering fields, our design tries to give a new user not only met function of the product, but also give people in order to soothing the soul.

Alien-Ducan is an educational animation in collaboration with Christian Family Service Centre under the Zero Toxin Teen Project. Duncan, the character in the film representing teenagers nowadays, always felt being misunderstood. With the help of others, the communication barriers were broken down and he was saved eventually. “I have been waiting for you to pull me back” Duncan expressed.

“BALANCE”系列設計包含四件產品，分別是加濕器、CD播放機、落地燈和體重秤。“BALANCE” 以工業設計為基礎，涉及到藝術、心理學、人類學、人機工學和機械工程等多個領域。我們試圖通過設計給人一種全新的使用體驗，讓人通過平緩的動作來使用產品，延長人對產品的瞬間作用，讓人在使用產品的過程中同時放鬆身體，進而葆有平和的心境，達到身心平衡，享受慢生活。我們本著情感化設計的宗旨對日常生活用品進行再設計，使熟悉的產品陌生化，希望人們重新去用心體會身邊的事物，不僅實現了產品的功能，同時也能給人以心靈的撫慰，滿足人的情感需求的細微之處。

We aim to Speak up for young drug addicts from their point of view. Let the general public to understand the situation of the young drug addicts. 與基督教家庭服務中心合作, 製作動畫勸導青少年不要濫藥. 為什麼時下少年會濫藥？其實只要我們嘗試與他們溝通，站在他們的立場想想，他們需要我們的關懷。要令他們知道，我們是關心他們，以及他們不是孤獨的。在這段動畫中，我們希望以少年的角度，替他們發聲。我們要令大眾明白濫藥少年的處境，只要做到“我會去瞭解及我會明白你” 便可以幫助他們。

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DFA Student Award

Finalists

Masaaki Hoshi Tama Art University, Japan Tokyo Next Design Project '08 & Graduation Works

In an industry - university joint project between the Onishi of Asakusa and Tama Art University of Product Laboratory. I explored new variations of the Screen using existing production technology. The inflow of cheap articles from foreign countries has dealt a blow to Japanese local industry. The tradition screen industry is no exception and has struggled with overseas product price competition year by year. I received a grant from Tokyo and Taito-ku and promoted this project in order to combat in local industry. I studied a function and effects of the screen as well as the material it is constructed from and pushed forward with design development. The resulting product is a structural cloth called "GRIDABLE.ad" which opens up many new usage opportunities beyond the traditional screen.

這是一個由Onishi of Asakusa 公司與多摩美術大學產品實驗室聯合製作的項目。我利用現有的生產技術，探索旗幟的不同呈現模式。國外廉價物品不斷打擊日本本土產業，而傳統廉製造行業亦不例外。本土產品與國外的產品價格競爭激烈。及後，我獲得了東京和台東區的資助，推廣這個項目，以強化本土產業。我研習廉的功能，其物料，以及它能創造的效果，從而推動設計發展。然後，我研發了一種結構性布料，稱為“GRIDABLE.ad”，它比傳統廉有更廣泛的用途。

Jhang Hao Han

Jiang Qian, Alessandro Leonetti Luparini

Fu Jen Catholic University, Taiwan

Jiangnan University, China T-Box

Slide on the Body 身體上滑動

I personally know many women who suffer from various physiological discomforts when they are in menopause. My research through questionnaires has found that the physiological discomforts that trouble most women in menopause include frigidness, headaches, excessive body weight, eye fatigue, and sore muscles in the shoulders and the back. Such discomforts disrupt their life, put them in a bad mood, and therefore have a negative influence on their interpersonal relationships. My project is intended to lessen the discomfort by designing a collection of functional accessories.

我知道許多婦女更年期間會經歷各種生理不適。我進行過問卷調查並作研究，發現更年期間，困繞著大多數婦女的生理不適包括有：寒意，頭痛，過重，眼睛疲勞和肩膀及背部肌肉酸痛。這些不適影響他們的生活，使他們心情低落，因而阻礙他們建立良好的人際關係。因此我希望透過我設計的功能手飾去減輕更年期的生理不適, 幫助每一位婦女。

This is a new generation wind power generator. T-BOX applies the same principle as those traditional ones, but not like them located against wind on the coast. T-box can be placed along the railway or subway. It is half-buried underground between the concrete sleepers, which does not disturb the normal train operating at all. On one hand it uses the underneath unused space efficiently, on the other hand it uses wind power from the train movement optimistically. While the train is running, it generates huge wind power. The higher the speed of the train, the more wind power can be generated. Theoretically, when the train speeds up to 200 km/hour, power of level eight wind can be generated. If this power is used effectively, the benefits will beyond your imagination and most importantly, its green energy. 這是一個新一代的風力發電機，它與傳統的風力發電機不同的是， T-BOX幾乎是半埋在地下的，利用火車鐵軌的枕木的間隙擺放，不影響火車的正常運行，一方面合理利用了空間，另一方面是最優化的利用風力。火車運行時產生的風力巨大。尤其是高速列車運行時產生的風力，據說當列車速度達到200公里的時候，火車周圍能產生8級左右的風力。如果將這些風力利用起來，轉化為電能，收集起來，那產生的效益將可想而知。

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鐵路的廣泛鋪設的同時，T-BOX 必定也將隨之應用，成為一種新的能源採集方式，也將帶來新的環境效益與經濟效益。

DFA Student Award

Finalists

Lim Si Ping

Ong Zhi Wei

LASALLE College of the Arts, Singapore

I M Perfect

Project 365

我是完美的

The modern-day societies are dominated by visual, the pursuit of aesthetic function for and individual is becoming more prevalent. With the comprehensive number of commercials and advertisements directing focus at a person's appearance, they play as a capital influence for people to objectify themselves as designed objects. This project explains the success of consumerist products and services that fuel the chase for perfection. The focus is no longer on the more intrinsic aspects of a person, but the outlook of one. It is about reducing oneself to an object rather than a human being.

Baoyu Qin, Light Lu China Academy of Art, China Transform the voice into strokes/Research of Chinese Segment-character 轉化聲音成筆劃 / 研究中文字分節

視覺上的美感主導了現代社會，普遍的人，也在追求身體上的美感。隨著大部份的商業廣告都歌頌美麗的外表，人們也因而變成了設計產品。該項目說明瞭消費主義下的產品與服務之所以成功，是因為人們不斷追尋完美。人們的重點，不再投放於人的內在層面，卻是人的外貌。人類的特性漫漫消失，他們也漸漸變為死物。

Project 365, a LIVE online website serve as an archiving vault where histories are recorded using design methods in chronological orders. It merges design and information, whilst striking a balance between aesthetics and facts. Project 365 aims to be the reminder and the bridge to the past, as well as the ultimate digital archive for the future, where design takes the role as the solution for culture, trends and events forgotten.

We designed new typeface to help the blind people and at the same time inject the knowledge of Chinese culture. As we all know the Braille was a French invention, which is not compatible to Chinese characters. Braille is formed by points which is easy for foreigners to write and read. But for Chinese, the Braille is only phonemic because Chinese has so many characters. We designed a new typeface which is based on strokes and we call it -Transform the voice into strokes-Research of Chinese Segment-character. So far about 1000 characters were designed for the translation of <Yijing>, afterwards we designed some new oracle to improve the typeface system. The typeface system was exhibited in two exhibitions in the form of books and scrolls.

Project 365，是一個與生活連結的網站。當中，設計讓歷史有序的記載於這個存檔庫上。它結合了設計與資訊，並企圖達致美學與事實間的平衡。Project 365 鼓勵人們憶舊，是人們回到過去的橋樑；它同時是未來的一個終極數碼資料庫。當中，設計擔當重要角色，它為文化，潮流與那些被遺忘的事件作出詮釋。

我們設計了一套專為中國盲人而設的新字體，協助他們瞭解中華文化。現在盲人所用的布拉耶點字法是由法國人創造的，中國用家於使用上會感到非常不便。布拉耶點字法乃由點組成，國外用家能易於讀寫。由於中國字庫龐大，對中國用家而言，布拉耶點字法只能達到語音上的效果。我們根據中國筆劃，設計了一套新字體，並稱之為「轉化聲音成筆劃／研究中文字分節」。現時，我們設計了大概一千個字，將來希望能擴大設計範圍，增加字庫。我們以這種字體把「易經」翻譯過來。期後，更設計了新的象形文字，以改善字體系統。我們創造的書和卷軸，以及參與的兩場展覽，也展示了這套字體。

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DFA Student Award

Finalists

Tsai Yi Chen, Chang Lan Hsin, Fan

Fengquan Ye Handong Ding

Tatung University, Taiwan

China Academy of Art, China

Victoria in Supermarket

Emotional Book

"Victoria in Supermarket" seems like traditional furniture of Victoria style. Actually, its form is made by common bottles that can be bought in supermarket.

Book is an important media to communicate of text and information. However, except the covers, inside pages, spines, some other part of the book is often ignored by book designers, This video showed the natural shapes changes of book’s side parts, with ridicule and fun way to remap text and information from books.

"Through silicon molding and concrete molding craft (with 25togo design), all of the details of the bottles could be kept." Every item from "Victoria in Supermarket" is popular for blue-collar, such as medicine wine, Kaoliang Liquor, energy drink, and coffee. These low-price and barbarous drink contrast sharply with the high class Victoria style. At the same time, it shows how Europe culture influent Taiwanese culture deeply. 台灣是一個多元文化的城市，人們相當容易接受新的文化並且學習快速，因此許多各國的文化早就已經深植於台灣人的觀念當中，而不自知。超市中的維多利亞乍看之下是一組普通的維多利亞式傢俱，細看就能發現，其實是由台灣本土品牌的瓶瓶罐罐所偽裝而成，運用翻模的技術，並保留瓶罐上的所有細節。超商裡的維多利亞造型上所使用的瓶罐包含了勞工階級常喝的藥酒、高粱酒、提神飲料，以及鄉下孩童最愛的乳酸飲料及彈珠汽水。其瓶身設計皆行之有年。我利用這些低價、被認為是較無品味的飲料罐製作出及大反差的高品味傢俱，也暗示了台灣文化受到歐美文化影響之深。

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書語

創作者需要尋找到合適的載體來進行“重新映射(Re-map)”的演繹與表達，經過各種媒介的比對和分析，終於將視角鎖定在“書”這一媒材上。書作為人類知識與成果的承載物，本身具有豐富的個性和內涵，但我們發現所有的書都有一個未被利用的環節，即除去書脊外的另外3個截面，這也許正是可以作為我們利用的“重新映射”的材料。結合該屆研究生的研究課題 —“字體設計脈絡與創新研究”，我們確定了以字體、書籍、映射為關鍵字，利用書籍的側邊進行創作演繹。首先，為了保證創作過程的完整和演示的需求，我們決定以影像拍攝並後期多級剪接的方式進行創作。基本拉丁字母語言A~Z，以及“映射”的中文字體是該整體創作的開篇，旨在讓觀者熟悉並習慣這一視覺語言。

Hong Kong Young Design Talent Awards (HKYDT Awards) 香港青年設計才俊大獎 Hong Kong Young Design Talent Awards

2010

Hong Kong Young Design Talent Awards (HKYDT Awards) aims to discover up-and-coming designers who are eager to explore the international design horizon, and offer them a sponsorship to undergo overseas education or work attachment in order for their talent to be fully realised.

There are 2 categories of the awards, which includes: practising designers and design graduates. For practising designers, there are 2 awards of DesignSmart Young Design Talent Awards, sponsored by Create Hong Kong, of the Government of the Hong Kong Special Administrative Region. Each winner is sponsored to undergo overseas work attachment for a minimum of six months. For design graduates, there are PolyU School of Design Young Design Talent Educational Award and HKDI Young Design Talent Educational Award sponsored by The Hong Kong Polytechnic University and VTC Design Education Fund. Winners are sponsored to undertake design or design-related overseas degree courses with sponsorship up to HK$250,000. HKYDT Awards was based on below criteria: • • • • • •

Personal aspiration, achievements & talent Potential for further career pursuit in the design profession Possible contribution to the development of design and innovation in Hong Kong in the future Plan for using the award Portfolio and design works submitted Presentation skills

香港青年設計才俊大獎旨在發掘具設計潛質，並有志到海外擴濶設計視野的年輕設計師。獲獎在職設計師和設計畢業生將獲頒與獎金到海外進行實習或進修。大會共設立兩個獎項，分別是在職設計師獎項及設計畢業生獎項。在職設計師獎項方面，設計智優青年設計才俊大獎共設兩名，由香港特別行政區政府設計智優計劃贊助。得獎者每人可最多獲得港幣五十萬元贊助，接受為期不少於六個月的海外實習。

評審根據以下準則： •

個人的設計才華、成就、及在所屬設計範疇的才能

•

在設計行業繼續發展的潛力

•

日後對香港設計和創新發展所作的貢獻

•

運用資助計劃

•

遞交的設計作品及作品集

•

表達技巧

在設計畢業生獎項，設有香港理工大學設計學院青年設計才俊教育大獎及香港知專設計學院設計才俊教育大獎，由香港理工大學及VTC設計教育基金贊助。得獎學生每人可最多獲得港幣二十五萬元贊助，到海外教育機構修讀設計或與設計相關的學位課程。

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Message from Jerry Liu Human capital is Hong Kong’s most important asset. In nurturing our pool of creative talents, the DesignSmart Initiative launched by the Government sets aside resources to sponsor each year two outstanding young practising designers to undergo overseas work attachment under the Hong Kong Young Design Talent Awards (HKYDTA). I am most delighted that our commitment is matched by the enthusiastic response from The Hong Kong Polytechnic University and the Vocational Training Council. With their generous support, two promising design graduates are also given the opportunity to further their studies overseas under the HKYDTA. These arrangements underline our belief that studying and working in reputable overseas institutions can provide the awardees with a broader perspective, and thereby deepen their professional skills as well as their creative capacity. HKYDTA has over the years supported over 20 young talents to go overseas for learning and exposure. Remarkable achievements by some of the past awardees have reaffirmed our belief that HKYDTA is a breeding ground and springboard for up-and-coming creative talents in Hong Kong. Being the Chairman of the Judging Panel of HKYDTA 2010, I must say that going through the selection process was not an easy task. I am deeply impressed by the entrants’ design talent, personal aspiration and passion for design and innovation. I would like to thank the Hong Kong Design Centre for organising the Awards, and the fellow judges for their invaluable input. I also wish all awardees every success in their future career, and look forward to seeing their contribution to the development of the design sector in Hong Kong.

人才是香港的最重要資產。為栽培本地創意人才，政府推出「設計智優計劃」，並預留資源，每年資助兩名獲得「香港青年設計才俊大獎」的傑出年輕在職設計師前往海外實習。我們的努力得到熱烈迴響，香港理工大學和職業訓練局也資助兩個大獎名額，讓兩名修讀設計的優秀畢業生前往海外進修。我們相信得獎者在著名的海外學院或機構進修或實習，將可擴闊視野，提升專業技能及創造力。多年來，「香港青年設計才俊大獎」已贊助二十多位年輕人到海外學習、汲取經驗。部分得獎者現已有卓越的成就，令我們更堅信這項大獎確能為本港栽培創意人才，讓具潛能者更上層樓。我身為是屆大獎評審團的主席，深感甄選工作絕不容易。候選人各具才華、各有抱負，對設計創新滿懷熱誠，令我留下非常深刻的印象。我在此衷心感謝香港設計中心籌辦是項頒獎活動，並感謝各評審委員撥冗參與甄選工作，在過程中提出寶貴的意見。最後，謹祝所有得獎者日後能盡展所長、開創美好事業，並為本港設計業的發展作出貢獻。

Mr Jerry Liu Wing-Leung Head, Create Hong Kong Hong Kong Special Administrative Region Government 香港特別行政區政府創意香港總監廖永亮

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Message from Dr. Edmund Lee Every new generation of individuals brings with them a different set of diverse perspectives. This natural mechanism ensures that new ideas and approaches are adopted, and that progress can be forwarded to supplant past foundations. Breakthroughs such as the Internet and social networking would likely not have happened without an audacious self-desire to alter the status quo. By logical extension, the effort to nurture and enhance talents from our youth plays a crucial determinant in society-wide improvement. Ever since 2005, the Hong Kong Young Design Talent Award (HKYDTA) has served a vital platform, in tune with the Hong Kong Design Centre’s core philosophy, to identify and provide financial support for young designers in their pursuit for creative and intellectual development. Upholding the idea that there will always be some aspects, regardless of how talented one may be, that can be improved, this award aims to broaden the perspective of Hong Kong’s new wave of designers. As part of our commitment to cultivate Hong Kong’s next generation design talents, we have secured working partnerships from a number of internationally-renowned design firms. This growing list of work-attachment companies, which include Hirano & Associates in Japan, Studio Dumbar in the Netherlands, Kontrapunkt in Denmark, Heatherwick Studio in the United Kingdom, and ECCO Design and Ziba Design from the US, will prove vital in providing our award winners unique exposure to a fresh work environment and culture, and even more importantly, new challenges by way of a diverse range of projects and disciplines. With much excitement, we have chosen four exceptional designers as our 2010 award winners. They have been selected from a pool of competitive entrants through a thorough and rewarding process. All the awardees have displayed great perseverance and ability in the assessment process. Moving forward, there will always be challenges awaiting our winners as they pursue further creative growth, but I am confident that they will overcome these challenges with their enhanced creative ability and professional skills. The HKYDTA is made possible by funding from the Government, as administered by Create Hong Kong of the Commerce and Economic Development Bureau. Sponsorships for the 2010 awards have been generously provided by The Hong Kong Polytechnic University and Hong Kong Design Institute. I wish to sincerely express my gratitude for their unwavering support. Last but not least, I must thank the judges for the time and effort devoted by them for making the event a success.

每一代或多或少賦予不同的價值觀，這種與生俱來的進程實現了新思維、新方式，進一步去舊迎新。如沒有膽色和意願去改變現況，現今世代的一些大突破，例如互聯網和社交網，也許從不出現。推而廣之，栽培年青一代是改善整體社會的重要因素。自2005年起，香港青年設計才俊大獎以設計中心的核心理念為本，在社會上擔當一個重要的平台，為青年設計師尋找和提供贊助，加深他們的創意思維和知識。我們深信無論一個人有多出色，必定還有進步的空間。在此大前提下，香港青年設計才俊大獎的目的就是擴闊香港新一代設計師的視野。為致力拓展香港新一代青年設計才俊的培育工作，香港設計中心已與多間國際知名設計公司建立伙伴關係。這些可供實習的國際公司與日俱增，包括日本的 H i r a n o & A s s o c i a t e s 、荷蘭的Studio Dumbar、丹麥的Kontrapunkt、英國的Heatherwick Studio、美國的ECCO Design及Ziba Design等，讓得獎者有機會體驗嶄新的工作環境和文化，更為重要的是，透過參與不同設計項目和範疇，學會迎接新挑戰。這對於新一代青年設計才俊的發展都是不可或缺的。我們十分高興選出了四位傑出的設計師成為2010年度的得獎者。甄選過程審慎、別具挑戰，但卻滿有收穫。在過程中，他們體現了堅毅不屈的精神，在云云出色的參賽者中表現出眾。在不久將來，得獎者在追求創意發展的路途上還要經歷種種的挑戰，但憑著他們日趨進步的專業技巧和創意潛能，我深信他們可輕鬆面對。香港青年設計才俊大獎獲政府商務及經濟發展局的創意香港贊助。在2010年，我們更額外獲得香港理工大學及香港知專設計學院的慷慨支持。我謹衷心感謝他們對此計劃的鼎力支持，最後，亦感謝評審員的寶貴時間和用心，令香港青年設計才俊大獎取得空前的成功。

Dr. Edmund Lee Executive Director Hong Kong Design Centre 香港設計中心行政總裁利德裕博士

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HKYDT Award

Practising Designer

DesignSmart Young Design Talent Award 設計智優青年設計才俊大獎

Michael Leung 梁志剛

“I am not only highly sensitive but also very curious about things around me,” Michael says. Whenever he finds something that interests Takeshi him, he would not hesitate to find time to study it. Hosaka

“I have discovered many interesting design ideas in Hong Kong's homegrown old markets. When I saw a big-sized lighter in Ladies' Market, I'd come up to the shop owner and ask him about the design. Then I spotted some hamburger-shaped telephones, I'd wonder about what it meant,” he says. Later he learned that the lighter is bigger so it wouldn't get lost easily, and the shape of the telephone adds to its appeal as a decorative accessory - such a revelation might suggest a declining demand for home phones, but it implies that the device would eventually be seen as more decorative than functional. Likewise, Michael has discovered many other products with a lot of history behind them in the quaint old streets. Thus, he founded a 24-hour online shopping website called “24 Hour Market” with other local vendors in a bid to help them sell their curios and trinkets. An old street vendor lady once told Michael, “I work long hours tending my stall, but I can't sell much.” While satisfying his personal curiosity, Michael hopes the website can improve the welfare of the people as well.

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「我對周邊事物非常敏感，亦非常好奇。」對於感興趣的事物，Michael 願意花時間研究。「從香港地道的舊市場中，我發現了很多有趣的設計意念。我走過女人街，看見人們出售巨型的火機，我便走上前問老闆，為何要這樣設計。然後我又看見一些漢堡包形的電話，又在想它的意義何在。」火機巨大，便不容易遺失；電話形狀是漢堡包，是要為電話加添多分擺設品的味道，以反映今天人們對家居電話的需求日漸減少，即使放置在家，最終也成為擺設。 Michael 在古老的街道上，發現了那些富有故事的產品。於是，他跟本地商販聯合起來，創立了一個24小時的購物網站，24 hour Market，協助商販售賣這些具意義的小玩意。有一次，檔口婆婆跟 Michael 說：「我每天守攤檔小時很長，可是賣出的貨品並不多。」開創 24 hour Market ，是基於好奇，其實，也是出於對人的關懷。

“The meaning of something is easily forgotten if it's realised in an insignificant way,” Michael says. 「意義，若以渺小的形象呈現，便會被人遺忘。」

His strong sense of conceptual design is well represented by his project HK Honey. His interest in bees was sparked by a chance encounter with a beehive. After bee-hunting in the countryside and visiting bee farms to learn how bees were kept, Michael was impressed by bees' many contributions to mankind. For instance, honey can not only act as a sterilising agent, and also relieve digestive system and discomfort caused by allergic rhinitis. Beeswax can be used to make candles, and needless to say, bees can pollinate. Therefore, Michael founded HK Honey to promote the benefits of bees. “I'll invest more in HK Honey in the future so we can breed more bees and make bee-related products. At the same time I'll let more apprentices take part in this project so they can amass more experience in design,” he says. Albeit a commercial city, Hong Kong is laden with bits and pieces of local culture that can be seen everywhere, and Michael is trying to arouse public awareness of it through his design. Once working as a product designer at Michael Young Design Studio, Michael graduated from Ravensbourne College of Design and Communication in England with a Bachelor of Arts in product and furniture design. He also completed a Masters in design practices at the Hong Kong Polytechnic University. Now serving as a guest tutor at the Hong Kong Polytechnic University, Michael has become actively involved in social cultural projects. Looking back on the days when he worked as an industrial designer at big corporations such as Motorola Design Studio in London, Michael felt he has never enjoyed more creative freedom. “I love Chinese culture, especially the Hong Kong era, which provides me endless inspiration that sustains my work,” he says. With support from Hong Kong Young Design Talent Awards, Michael will visit Shanghai to experience local culture for more inspiration. Upon his return, he hopes to keep touching people's hearts with his Hong Kong-influenced designs.

Michael 的設計意念性強，HK Honey 可見一班。一次的機遇，讓他接觸到蜜蜂巢。好奇心下，他對蜜蜂進行了研究。他親自走訪蜜蜂飼養場學習飼養蜜蜂，又走到山上捕捉蜜蜂。途中，他了解到蜜蜂為人類貢獻良多：蜜糖能消毒，能舒緩消化系統和鼻敏感帶來的不適；蜂巢又能製造蠟燭；蜜蜂自己又會傳播花粉。於是， Michael 便創立 HK Honey，讓更多人了解蜜蜂的功用。「在未來的日子，我會投資更多於 HK Honey上，飼養更多蜜蜂，出產更多跟蜜蜂有關的產品。同時，我會多讓本地實習生參與這項目，讓他們累積到豐富的設計經驗。」香港雖是一個商業城市，但本土文化的點點滴滴，又是隨處可見。 Michael 便以設計喚起人們的關注。曾於 Michael Young Design Studio 擔任產品設計師的 Michael ，畢業於英國Ravensbourne College of Design and Communication，成為了產品及傢俱設計學士並於香港理工大學完成了 MDes Design Practices 。 Michael 現任香港理工大學客席導師，同時亦致力參與社會文化項目。相比以往在倫敦大型公司，例如 Motorola Design Studio，當工業設計師，現在的他，更有創作自由。「我愛中國文化，尤其是香港的文化，它帶給我無窮無盡的靈感，讓我的設計能延續下去。」在香港青年設計才俊大獎的支持下，他便能走到上海，體驗文化，增強靈感。回港以後， Michael 會通過設計，繼續把香港的點滴，散播至更多的人心中。

123

HKYDT Award

Practising Designer

DesignSmart Young Design Talent Award 設計智優青年設計才俊大獎

Hui Yip Long, Matthew 許業朗

Matthew found himself fascinated by knitwear upon graduation from The Hong Kong Polytechnic University with a Bachelor of Arts (Honours) in Fashion and Textiles in 2008. As Johanna Ho’s assistant fashion designer at I Limited, Matthew specialises in knitwear design that allows him the freedom to apply his own design techniques.

“ The same yarn can be used to create fashion of various styles, I am captivated by the versatility of the knitted fabric,” he says. Matthew is particularly interested when things take on a new form of expression different from their current form. For that reason, the yarn featured in his fashion collection, though soft and tender by nature, can create a strikingly solid visual impact. His independent thinking runs counter to the traditional and conformist education received by most young people today. “The kind of education we have now sets rules for what’s right and wrong, and the analytical skills of young people suffer as a result,” he says. The bondage art by Australian contemporary artist Garth Knight has profoundly inspired Matthew’s work. “While everyone thinks bondage art is just about sex and violence, I see it as a pure aesthetic pleasure,” he says. Incorporating the aesthetics of bondage, Matthew’s fashion collection is imbued with a mysterious elegance. Apart from his all-encompassing fashion philosophy, Matthew is an exponent of the expression of love. The “Show Me Your Love” collection at the Bauhaus X PolyU exhibition featured pieces that show different forms of romantic behavior, such as a lace made up of heart shapes. Special cutting was used to illustrate poses like cuddling and piggybacking to encourage people to express their love through actions. Inspired by the Antwerp Six, Matthew hopes to set up an organisation that gathers designers from every discipline and create interesting and unique art by way of collective talent and ideas. Sponsored by Create HK, Matthew is planning on going to London for apprenticeships in sophisticated workshops where he can hone his skills and expand his thinking. He also plans to study experimental design from some of the budding design brands and learn from their ideas about knitwear. Born and raised in Hong Kong, Matthew is passionate about the city. “I hope my work stimulates originality and creativity, and through my experience, the Hong Kong design industry can spread our original and creative ideas far and wide, so the city can shed the copycat image,” he says. Matthew knows that limitations only exist in a subjective frame of mind, not in objective reality. “The creative process is similar to observing a religion. Once you believe in it, you can do it,” he says. Matthew is determined to disseminate his anything-goes attitude. “When I return, I’ll share my journey and my success stories as a designer so they would believe that Hong Kong can produce hugely successful designers too,” he says.

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08 年畢業於香港理工大學的 Matthew，獲得了服裝及紡織（榮譽）文學學士的榮耀。大學二年級時，Matthew對針織服裝產生了突如奇來的鍾愛之情。現在，他是 I Limited, Johanna Ho 的助理時裝設計師，專門設計針織服飾，把所學的設計技巧發揮得淋漓盡致。

「同一種紗線，可以創造多姿多采的服裝。其多元化的表現，令人着迷。」對於事物異於平常的表現形式，Matthew 特別有感。所以，從他的服裝系列中，會看見柔軟的紗線，都變成堅挺的視覺效果。這種獨立思維跟傳統教育背道而馳：「現在的教育，為錯與對定下了標準，年輕人的分析力亦難免降低。」Garth Knight 設計的 Bondage Art，對他啟發尤其深遠：「當所有人都認為 Bondage Art 是色情與暴力的象徵時，我卻看見了一種純粹的美感。」Matthew 把 Bondage 的美學投放於其服裝系列之中，讓它們散發着優雅的神秘氣息。除了這樣的包容性思維，他也主張愛的表達。他於 Bauhaus X PolyU 展覽上的 Show Me Your Love 系列，着意把愛的行為表現於服裝之上，像一個一個心形組成的花邊，還有利用特別的剪裁，在服裝上描繪擁抱和「騎膊馬」的動作，都在鼓勵人們放膽表現愛意。

受到比利時六子的啟發，Matthew希望能成立一個組織，匯集各領域的設計師，綜合他們的才華和想法，合力創造獨特有趣的藝術。這次得到創意香港的資助，他打算到倫敦一些成熟的設計室進行實習，琢磨自己的設計技巧，體驗更廣的思考模式。他也打算從一些年輕設計品牌中，學習實驗性設計，也從他們的針織設計理念中尋找啟發，裝備自己。於香港土生土長的Matthew，對香港滿懷熱情：「我希望自己的創作能帶出原創性和創意，並通過我這個形象，把香港設計業富創意和原創理念的個性宣揚開去，讓這個城市擺脫『只懂抄襲』的形象。」他知道，限制，只生於主觀的心，不存在於客觀的事。「設計過程跟宗教信仰相若。只要相信，便能做到。」Matthew誓要把這種無拘無束的思維傳播開去。「學成歸來，我會跟他人分享我的設計歷程和成功經驗，從而讓他們相信，香港人做設計，可以是非常成功！」

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HKYDT Award

Practising Designer

YDT Special Mention Award 青年設計才俊優異獎

Chiu Chi Tat, Leo 邱志達

“My designs put a lot of emphasis on emotional happiness,” he says. A graduate of Birmingham City University with a major in product design, Leo stressed that he is a very ordinary man. And yet, the occasional ripples in his ordinary life have become inspiration for his designs. “Life is painfully dull sometimes. I hope my designs can make people happy, though the pleasure might only last one second,” he says. On “Bubble Calendar,” one of his clever designs, users can smash an inflated bubble as a day passes. In so doing, a miserable day can be easily ticked away like a crushed bubble, while a happy day would remind users of the fleetingness and preciousness of time. Leo considers bringing happiness into others' humdrum lives to be his greatest achievement. Leo also likes to express his work with a sense of humor because he believes a quality life is not complete without joy. Leo once visited Korea to practice design techniques as a product designer. He shared his hand-painting design ideas with experienced local designers as soon as he got there. “I felt very frustrated because Korean designers are not just very competent in artistic drawing, but also outstanding in their design techniques. Compared to their designs, my work looked like a mess and very unprofessional,” he recalled. Then he designed an air modem with other Korean designers. “I am very satisfied with this Internet USB device. We made the stick and its cap stick together so the cap won't get lost easily. Also, the part connecting the stick and the port is transparent and tiny electric wires are visible inside, and they would glow in different colors when data is transferred. It's practical and beautiful at the same time. “But Air Modem was harshly criticized by the chairman of a design consultancy, who said, 'Anything made by design students is better than this.'” But Leo was unfazed. He received his long-deserved recognition when Air Modem won an international honor.

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「我的設計重視情感上的滿足。」畢業於 Birmingham City University 產品設計系的Leo強調自己非常平凡。只是平凡人生中，總有幾番漣漪，而這些生活上的點滴，正是Leo的設計靈感。「生活有時會很苦悶，那時候，我希望自己的設計會為人們帶來幸福的感覺，那怕這只是一秒鐘的興。」像他設計的 “Bubble Calendar”，讓人們每過一天，便可壓破日歷上一個小小的充氣泡泡。這樣，不如意的一天，能像泡泡爆破般輕易過去。它亦借意提醒人們，快樂的時刻是迅間即逝的。Leo愛以幽默形式表達事情，有樂趣，才能構成優質生活。 Leo曾於韓國當地體驗及實踐設計的方法，任職產品設計師的他，剛到步便要跟當地經驗豐富的設計師分享自己手繪的設計概念：「當時我極受打擊，韓國設計師有很強的藝術畫功，設計技巧也非常出色，我的手繪設計跟他們相比起來，不堪入目，毫不專業。」有一次，他跟當地人一同設計了一個 “Air Modem”。「這個USB可用作上網。為了讓細小的USB 蓋子不易遺失，我們運用設計，把它與手指連接起來；而USB跟電腦插槽相連的位置又是透明的，當中可以看見幼小的電線，當資料在 USB和電腦之間互相傳送時，電線便會發出幻彩美麗的光芒，優美實用。」

The experience in Korea honed Leo's design techniques, and Leo became more competent in using design to improve everyday life. His passion for a quality life can be applied to the way bees lives. “The life of worker bees is under threat because wasps would attack them for their honey and eggs. Wasps can within three hours be able to kill 60,000 worker bees. Several Korean designers and I developed a project called “6.4mm” to protect worker bees. We created an easily assembled wood box for beekeeping, and worker bees can come in and out of a hole that is 6.4mm wide, so wasps, usually three times as big, cannot enter the box. That's how a small design can make for a quality life,” he says. Design, for Leo, is one of the tools to improve our living standards. “I love simple things. My designs let the products speak for themselves and then let their stories unfold. I always wonder, why do the financial sections in our newspapers use mind-boggling terminology? Can't it be more simple?” he says. “Digital Payment Device”, one of his designs, looks like a money tray shown to you when you pay the bill at a restaurant. But Leo's version is specially made for credit cards, with a high-tech handwritten board replacing the part where you usually sign an autograph. It allows for easy signature made with a touch-panel electronic pen. It's a simple setup but it satisfies the users' needs.

透過韓國的體驗，琢磨了Leo的設計技術，讓他更懂得運用設計，為人們改善生活細節。他對優質生活的熱誠，甚至應用於蜜蜂生活之上：「工蜂的生活經常受威脅，黃蜂會攻擊它們以奪取蜜糖和卵子，3小時，已足夠讓黃蜂殺掉60,000隻工蜂。為保護它們，我與幾位韓國設計師發展了一項名為6.4mm的項目，創造了易於裝嵌的木箱作工蜂的容身之所，工蜂能於6.4mm的洞口進出，而比它們大3倍的黃蜂便不能內進。實現了小設計也能夠造就優質生活。」對Leo來說設計亦是改善人類生活的其一工具。「我愛簡單的事物，我的產品會跟用家細訴自己背後的故事。我經常想，報紙的財經版為何要用那些難明的術語呢？難度不可以簡單一點？」像 Leo設計的 “Digital Payment Device”，外型像餐廳結帳時的用錢盆，這個錢盆是為了信用卡付款交易而設計，簽名位置是一個手寫板，用輕觸式的電子筆便能方便簽帳，裝置簡單又能貼合用家需要。「將來，我希望擁有自己的設計商店，讓人們從我不同的產品設計中，找到樂趣。」

“In the future, I hope to have my own design shop where people can find happiness in different products I designed,” he says.

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HKYDT Award

Practising Designer

YDT Special Mention Award 青年設計才俊優異獎

Yeung Chin 楊展

Inspired by his mentor Silvio while studying fashion design at Hong Kong University’s School of Professional And Continuing Education (SPACE) in 2006, Yeung started experimenting with special materials in his fashion for striking visual artistic effects. In the 2006 Alternatif Show, Yeung featured elements of solid raw wood and soft fabrics in his collection showing a raw wood armor that stuck out on the shoulders, posing a dramatic contrast to the simple blue and white short pantsuit. The effect was a stark contrast between toughness and tenderness, and yet co-existing in harmony. On the other hand, Yeung is fascinated by wood materials. He fits wooden collars on men's blazers and the result is surprisingly unobtrusive and stylish. “I was trying to defy the written rules in fashion design and instead mix and match different materials. I am looking for my own new aesthetics by experimenting with different extreme materials. I am not afraid of failure because many designers discover new esthetic values by learning from mistakes,” he says. Yeung has a taste for challenges, and he's not interested in streamlined designs that are part of the commonly accepted aesthetics. His fashion collection benefits from such freedom and shows infinite possibilities, as evidenced by the irregular shapes in his clothes. In the 2004 Fashion Week, Yeung created “The Crash”, a look that paired red-white-blue plastic bags with men's blazers for a layering effect that extends outward to illustrate how clothes on people were thrown into disarray after a car crash.

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自從楊展於香港大學專業進修學院修讀時裝設計，得到導師 Silvio 的啟發後，他便開始運用各類獨特的衣服物料自由創作，產生脫然不凡的視覺效果。在 06 年的 Alternatif Show上，楊展大擔撮合堅硬原木與充滿柔和感的衣服物料，於服裝肩膀位置加上突出的原木護甲，護甲與藍白色簡潔的連身短褲形成強烈對比，卻營造出鋼柔並重的和諧氣息。楊展鍾情木料，他甚至於西裝褸上配置硬朗的原木領口，效果帶出了出人意表的融合感，以及型格出眾的特色。「我試圖違背時裝設計的固定原則，並挑戰不同的物料組合，拉攏極端的物料，尋找新的時裝美學。我不怕面對失敗，因為很多設計師都是在自己失敗的作品中發現新美感。」楊展愛挑戰，摒棄選用流線形這種公認美學，而其時裝系列，也因而自由奔放起來。衣服不規則的形狀，代表着淵深的創作可能。04年的HK Fashion Week 中，楊展以紅白藍膠袋跟西裝褸配搭出“ The Crash” 的時裝造型，物料的接疊效果，從軀幹外延，藉此表現人們撞車後，身上衣物的混亂形態。

Yeung, whose designs have always been driven by the pursuit of aesthetics, was profoundly drawn to conceptual design when he studied fashion design at The University of Westminster in London in 2009. “The consistency of ideas is inherent in the British approach towards design. They are used to making the background setting correspond to the theme of a fashion collection. In one of the fashion design projects I made for the Fashion Art 2008 London, I used a hat, a jacket and a pair of shoes to imitate a person hung in mid-air in a tilted position at 160 degrees. I also made use of props and installations, by putting a TV set in front of the piece at the same degrees to intensify the tilted feeling. It's an interesting and consistent work and my professors liked it very much,” he says. Yeung's design experience in England has brought out the artistic dimension in his work. “Living things, taxidermy and anatomy are my inspirations,” he says. Yeung's unique vision, bold experimentation and perseverance in his design philosophy contribute to his one-of-a-kind fashion and style.

一直以純美學為設計重點的楊展，於 09 年 The University of Westminster London修讀時裝設計期間，發現了概念性設計的吸引力：「英國設計重視貫徹始終的意念，更習慣以背景裝置配合服裝主題。我在 Fashion Art 2008 London 的一個服裝設計項目中，以一頂帽子，一件外套，還有一對鞋，模仿一個人離地面160度的傾斜形態，並運用了配件裝置，例如以同一個角度放置一台電視機，讓傾斜這個主題更為強烈。作品有趣統一，深得教授歡迎。」英國設計的體驗，讓楊展的時裝系列，帶出了設計藝術的層次。「生物，標本，解剖是我的靈感來源。」他獨特的思考角度，大膽的嘗試，以及對設計意念的堅持，結合為獨樹一幟的設計風格。遊學期間，楊展更認識到剪片和電影美學，將來他亦會以不同的媒界表現時裝的美感，同時藉着參與更多的時裝表演與展覽，讓其作品，從香港，蔓延至中國，甚至世界更遠的角落。

During his university days, in England, Yeung learned about film editing and aesthetics, and he hopes to show the aesthetics of his work in different media in the future. With more fashion shows and exhibitions, he hopes his work can be seen in Hong Kong, China, and other corners of the world.

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HKYDT Award

Design Graduate

HKDI Young Design Talent Educational Award 香港知專設計學院青年設計才俊教育大獎

Ho Wing Yan, Clara 何穎欣

“There's no need for advertisements to be extravagant, just as a person need not to be naturally beautiful to have an amazing talent and a noble character. Because of this, I strive to create advertisements with a farreaching impact and a positive message for the well-being of the society,” she says.

A thoughtful thinker since childhood, Ho graduated from The Hong Kong Polytechnic University with a Bachelor of Arts in Design (Advertising) and earned a BA (Hons) in Graphic and Media Design at London College of Communication in University of Arts London. During her time in London, she interned at a British advertising agency called Creative Orchestra, and all these experiences have come to shape the diverse nature of her advertising work. In England, Ho and her friends took part in an advertising exhibition about consumerism by illustrating the public's voracious appetite for designer brands in words and pictures with the help of gospel stories. In the gospel pictures, the apple being consumed by Eve was replaced by an Apple Inc. logo; the star guiding the birth of Jesus Christ was the one from the Vivienne Westwood brand; the animals in the Noah's Ark gave way to logos from the likes of Lacoste, Penguin and Playboy, and the holy water used to anoint Christ's body was perfume from Chanel. These advertisements, tongue-in-cheek and richly conceptualised, symbolised people who worshiped designer brands the way they worshiped God. Believing that advertisements can enhance the well-being of the society, Ho made an effort to make her work humanitarian. Her university graduation work, “Homeless – Let it go and receive a bigger life”, attempted to improve social conditions through advertising. The advert, which simulated the promotion of a household products brand “Homeless”, broached the social problem of overcrowding in Hong Kong. “Hong Kongers like to pack their schedule to the hilt to maximise all resources they have. They let stress, anxieties and work take over the joy of living and the meaning of life. The advertisement “Homeless” encourages people to enjoy their space, which simply means, to paraphrase a Buddhist saying, 'you only gain when you learn to let go.' I'd like to encourage people to give up things and action that have no meaning so there's more room in their body and mind,” she says. Ho's work not only communicates the concepts of the brand, but also promotes her attitude towards life. Ho is a thinker who loves to take on social problems through whimsical ideas. “As Hong Kong is getting more prosperous, our distinctive culture such as the likes of Queen's Pier is getting blurred,” she says. To arouse awareness of Hong Kong's traditions and culture, Ho came up with a project in collaboration with G.O.D and Google Map called G.O.D. - Good Old Days. “Imagine the places that have long existed cannot be found on Google Map. For instance, you want to find Sogo, but Google Map tells you this place doesn't exist anymore. You might feel shocked and horribly sad. This way we can raise their interest in these old attractions. According to my plan, people are allowed to upload videos and photo on Google Map. They can also leave messages on parts of the map where they'd like to share the stories that happened in those places,” she says. “How can advertisements appear in an unobtrusive way? How can advertising be realised as an art form? How can advertising make a positive impact on the society?” These are questions that keep Ho thinking all the time. In the future, she is striving to spread her positive views onto different corners of the world to make the world a better place.

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「廣告作品沒有窮極奢麗的必要，就像人不需要天生麗質，也可以是才華洋溢，也能具備崇高品格。因此，我竭力創造意義深遠的廣告，藉此宣揚正面訊息，造福人群。」自幼愛思考的 Clara 於香港理工大學取得設計學文學學士學位，亦曾到英國倫敦藝術大學傳理學院就讀平面和媒體設計，期間，她亦在英國廣告公司 CREATIVE ORCHESTRA 進行實習，這些體驗，構成其多元化的廣告表現形式。在英國，Clara 參與了一場有關消費主義的廣告展覽。她與友人借助福音故事，圖文並茂的表現人們渴望名牌的程度。福音圖中，她轉化亞當夏蛙吃的蘋果為 APPLE INC. 的標誌；引導耶穌誕生的那顆星星為 VIVIENNE WESTWOOD 的那顆星；方舟上的動物為 LACOSTE，PENGUIN, PLAYBOY 的標記；還有把耶穌領聖體時的聖水轉化為 CHANEL 的香水，喻意人們以膜拜神的態度膜拜名牌。廣告概念豐富，趣味十足。

Clara 是一個思想家，愛以天馬行空的構思，帶出社會問題。「香港越見繁榮，像皇后碼頭這類香港特色文化卻越見模糊。」為喚起人們對香港傳統與香港文化的關注，Clara 構思了一項由 G.O.D. 與 GOOGLE MAP 一同參與的項目：G.O.D – GOOD OLD DAYS。「想像在 GOOGLE MAP上無法找到存在已久的地方，例如要找 SOGO ，GOOGLE MAP 卻表示這個地方已不再存在，你或會感到震驚或有莫明的哀傷。這樣，便可以引起人們對香港舊景物的關注。我構思在GOOGLE MAP上，讓人上載有趣片段和相片，並能在 GOOGLE MAP 上的不同地方留言，分享自己在該地發生過的故事。」「廣告怎樣在人們不以為然時出現？如何讓廣告以藝術形式呈現？廣告如何為社會帶來有效而正面的影響？」這些全是 Clara 不斷思考的問題。將來，她會致力以各樣的廣告，把更多的正面觀點發放至世界每個角落，充實社會，回饋社會。

Clara深信廣告能造福社會，其廣告亦因而滿有人文精神。她的大學畢業作品“Homeless – Let it go and receive a bigger life”，便企圖以廣告改善社會問題。廣告在模擬推廣家居用品品牌 HOMELESS 的同時，亦帶出香港一個社會問題 ﹣擁擠生活。「為了盡用有限資源，香港人愛填滿生活日程，狠心的讓壓力，憂慮，工作迫走生活樂趣和意義。廣告 “Homeless ” 鼓勵人們進行空間生活，引用佛家學說，就是『懂得捨棄，才有收獲。』鼓勵人們放棄那些沒有意義的活動和事物，讓身心騰出更多空間。」廣告帶出品牌理念，也推廣着生活態度。

131

HKYDT Award

Design Graduate

PolyU School of Design Young Design Talent Educational Award 香港理工大學設計學院青年設計才俊教育大獎

Cheung Yan Yu, Octo 張恩渝 “Be responsible for the future and history,” is how Octo sums up her philosophy. Her fashion design not just exudes a natural elegance and a classical ambiance, but also displays a humanitarian spirit. In her HKDI (Hong Kong Design Institute) Higher Diploma Graduation Collection, based on historical characters in Helen of Troy, Octo came up with a knitting technique fused with wool to create a soft armor. Her knitwear, when juxtaposed with chivalry of iron-clad historical figures, is a perfect blend of creativity and practicality. An apprenticeship at Crystal Group not just deepened Octo's knowledge of knitwear techniques, but also reaffirmed her passion for knitwear design. Equally fascinated by history and nature, she became drawn by the molds that dwell on shoes. The sense of beauty in the organism's life form is a testament to the never-ending cycles of life, which strikes a chord with Octo. With this as inspiration, she designed her graduation piece at Nottingham Trent University to show the myriad life forms of the molds: a wrinkled leather jacket featuring laces made with knitwear pieces smeared with a chemical solvent. Octo's work also pays equal attention to the sense of beauty and the use of concepts. The bright yellow pieces from her “LIGHT! NO!” collection used laces to disguise as leaf veins and light bulbs as accessories. Octo wanted to spread the message about saving energy and protecting the environment. “Design makes our lives better. I don't like superficiality, so my work is often embedded with a message to express how I feel about life,” she says. Her work is noted for its introspective and humanitarian tone.

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「為未來負責，為歷史負責。」這是Octo的理念。其服裝設計流露着大自然優雅美態和歷史中古典氣息，還有人文精神。她於香港知專設計學院的畢業作品，以木馬屠城記的歷史人物為藍圖，以羊毛溶入針織的技巧，創造了柔軟的裝甲。她創新地以針織衣物，對照歷史人物銅皮鐵骨的英姿，是創意與理念實際的結合。Octo於晶苑集團實習以後，加強對針織技術的認識，亦再一次肯定自己對設計針織時裝的熱誠。 Octo沉醉於歷史世界和愛大自然的奇妙境象。有一次，她偶然被鞋上的黴菌吸引着，發現其形態甚具美感，存在了自然生態中循環不息的價值，意義豐富。她藉此靈感，設計了 Nottingham Trent University 的畢業作品：她以皮褸上搭扣皺褶位置，與及針織物和化學物溶創的蕾絲花邊，表現黴菌的不同形態。Octo的時裝，美感與概念並重，她的「 LIGHT！NO！」鮮黃亮麗服裝以葉脈作蕾絲並以燈泡作配飾，鼓勵人們節約用電，保護環境。「設計是要讓生活更美好。因我不愛流於表面的事物，所以我的作品一般會附帶訊息，以表達我的一些人生體會。」她的設計，帶出了一種追求反思的人文精神。

幻想，是靈感的泉源，Octo也享受文字藝術的幻想空間。她打算讓文字結合時裝，成為一本免費雜誌，為大眾解讀時裝內深層次的意境，更廣泛讓大眾了解到時裝除了蔽體以外，也是一個情感表達的平台。身為香港時裝設計師協會一員的Octo，將來會與工會成員舉辦針織時裝展，帶動業界交流，並致力參與香港時裝設計界的發展。「我們看見的香港時裝只屬冰山一角，冰山下還蘊藏着設計師源源不絕的熱誠和潛能。」不久將來，Octo會赴英國和巴黎繼續研習針織技術，同時以文化交流，展覽參觀以及於當地的研究，展開其廣闊的思考旅程，目標仍是回饋香港的設計產業。

With fantasy as another source of her inspiration, Octo has an appetite for fantasy related to the art of writing. She is planning on putting together a free magazine that combines words and fashion to educate the public about the deeper meaning of fashion; that fashion is not just for body covering but also a platform for expressing yourself. As a member of Hong Kong Fashion Designers Association, Octo will organize knitwear exhibitions with other members, playing an active part in the development of Hong Kong fashion design industry. “What we're seeing now in Hong Kong fashion design is just a tip of the iceberg. There are many designers with boundless enthusiasm and potential beneath that are unseen,” she says. In the near future, Octo will spend time in England and Paris, where she will study knitwear techniques, visit exhibitions and take part in research projects. It will no doubt widen her horizons and help her make a better contribution to the Hong Kong design industry.

133

HKYDT Award

Design Graduate

YDT Special Mention Award 青年設計才俊優異獎

Fan Chun Pang, Stephen 范進鵬

“Fashion design is the process of creating a work of art,” Stephen says. Graduated from the department of fashion and textiles at the Hong Kong Polytechnic University (HKPolyU), Stephen has loved painting since childhood with an appreciation for sculpture and all kinds of artworks. His fashion, as a result, is imbued with a strong artistic flavor. In 2010, Stephen entered the finals at Hong Kong Young Fashion Designers Contest with his “Muse Walk” fashion collection, which deftly incorporated oil painting-like visual effects, silicon figurines and digital images into the clothes. Stephen not only realises the magic of fashion on the runway, but also bringing it to the level of a work of art. 「時裝設計是創造藝術品的一個過程。」畢業於香港理工大學服裝及紡織系的 Stephen 自小醉心畫畫，欣賞雕塑和一切藝術品，他筆下的時裝，也因而散發着強烈的藝術氣味。2010年，Stephen 憑其藝術風格入圍香港貿發局舉辦的香港青年時裝設計師創作表演賽決賽，他的“MUSE WALK” 時裝系列，讓油畫樣的視覺效果，硅倒模而成的立體人像雕塑，還有數碼圖像特寫，都巧妙地融合至服裝之中。 Stephen 在天橋展現出的，不單是時裝的魅力，還有藝術品的意境。

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Apart from combining different art forms, Stephen's fashion collection embodies the will to experiment. “I am very strange. I'd appreciate things others consider ordinary. I'd even conduct strange experiments. Once I came across a piece of chicken bone, I wondered if I could use it to conduct electroplating putting copper and other metal on it. This way I turned a lifeless piece of bone into an ancient fossil, which makes an interesting accessory,” he says. Likewise, Stephen assembled a thought-provoking fashion piece with hundreds of handmade electroplated chicken bones, which became one of the highlights at the HKPolyU's graduation show. Later, Stephen also discovered pouring silicon onto the clothes could create a sculptural effect. “Dripping silicon through the clothes drop by drop from the top will leave a slick surface when it's air-dried, so the clothes looks like a cross between porcelain and sculpture,” he says. Apart from silicon-themed fashion, Stephen also dyed fabric with tealeaves and used chemicals to stiffen the usually soft laces, all parts of an elegant and delicate fashion collection Stephen made for his graduation. “Fashion with a strong artistic flavor can be impractical. The reason I keep blending strange elements together, such as oversized sleeves, multi-lens glasses, and that silicon-coated five-piece blazer at the Bauhaus fashion show, is I'd like to test what people think of fashion wearability, so I can create more room for artistic exploration in fashion design,” he says. Believing that a fashion designer has to be naturally gifted with a sharp sense of style and unflinching courage, Stephen sets about widening his horizons by living abroad and participating in activities within the trade. He also hopes to become a professor who can share his experience and encourage the next generation to freely express their meaning of aesthetics. He will also co-organise fashion shows with local designers in the hope that Hong Kong designs can keep shining bright on the international stage.

除結合各樣藝術形式， Stephen 的時裝系列還表現出一種實驗精神。「我很奇怪的，會欣賞眾人不以為然的東西，我甚至會進行奇怪實驗。一次，我看見雞骨，想起可以利用電鍍，把銅和其它金屬依附於雞骨表面，讓死氣沉沉的雞骨，變成古典化石，變成有趣的裝飾品。」於是，他以數以百計的手製電鍍雞骨，組合成一件意念豐富的時裝，更於理工大學畢業表演上大放異彩。然後，Stephen 發現純白色的硅淋於衣物上，能營造出雕塑效果。「那些硅，一滴滴由上而下流過整件衣服，風乾以後，便形成了一個光滑表面，讓這件時裝像瓷器，也像雕塑。」除以硅設計時裝，他更以茶葉為衣服進行自然染色，並以化學物使柔軟的蕾思邊挺直起來，從而創造出清新，優雅，手工細緻的畢業時裝系列。「衣服帶有強烈藝術感，易讓人感到不設實際。我不斷糅合奇怪的原素，例如巨大的衣袖，和多重鏡片的眼鏡；又例如 BAUHAUS 時裝展上那五件相連的硅面西裝褸，都在測試人們對服裝可穿性的看法，從而在時裝設計上，開拓更大的藝術創造空間。」深信時裝設計需要個人天賦，敏銳觸覺，和毫無保留的勇氣， Stephen 將來會出國體驗生活，廣闊視野；更會參與更多行內活動，增廣見聞；亦希望日後能成為教授，跟學生分享經驗，鼓勵下一代自由表達獨特的美學定義。 Stephen 會不時與本地設計師合辦時裝展，讓香港設計繼續在國際舞臺上發光發亮。

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Hong Kong Young Design Talent Awards Sponsors 香港青年設計才俊大獎贊助機構 The Commerce and Economic Development Bureau of the Government of the Hong Kong Special Administrative Region is responsible for policy matters on Hong Kong's external commercial relations, inward investment promotion, intellectual property protection, industry and business support, tourism, consumer protection and competition as well as policy matters on broadcasting, development of telecommunications and creative industries, innovation and technology, and control of obscene and indecent articles. Moreover, it formulates policy and strategy relating to Hong Kong’s information technology, and executes the relevant programmes and initiatives. The Create Hong Kong is a dedicated agency set up under the Commerce and Economic Development Bureau in June 2009 to lead, champion and drive the development of the creative economy in Hong Kong. It co-ordinates Government policy and effort regarding creative industries, focuses Government’s resources catering for the promotion and speeding up of the development of creative industries in Hong Kong, and works closely with the trade to boost the development of creative industries. 香港特別行政區政府商務及經濟發展局負責的政策範疇，包括香港對外商貿關係、促進外來投資、保護知識產權、為工商業提供支援、旅遊、保障消費者權益及促進競爭，以及廣播、電訊業及創意產業發展、創新科技及淫褻和不雅物品管制。此外，局方亦負責制訂香港資訊科技的政策和策略，並推行相關的計劃和措施。創意香港是商務及經濟發展局轄下的一個專責辦公室，於二零零九年六月成立，重點工作是去牽頭、倡導和推動本港創意經濟的發展。創意香港統籌政府在創意產業方面的政策和工作，集中政府用作推動和加快香港創意產業發展的資源，並與業界緊密合作，推動創意產業的發展。 Established in 2007, HKDI is committed to nurturing creative talents with international perspectives and cultural sensitivity. It brings together the design departments of the Hong Kong Institute of Vocational Education (IVE) to encourage synergy and interdisciplinary thinking amongst its broad range of programmes, spanning visual communication, product design, interior design, fashion design, image design, film and TV, music and audio technology, printing and digital media. 香港知專設計學院銳意成為優越的設計專業教育學院，提供高質素的設計課程，以建構知識和發展專業為己任，為全球創業工業培育新人才。香港知專設計學院於2007年成立，致力培育具國際視野及文化觸覺的設計人才。學院匯聚香港專業教育學院多個設計相關學系，透過跨學科的融匯交流，啟發學生的創意思考。學院課程涵蓋視覺傳達、產品設計、室內設計、時裝設計、形象設計、電影及電視、音樂及聲效、印刷、以及數碼媒體等。畢業生可升讀海外伙伴大學所提供的銜接學位課程。

The School of Design has been providing tertiary design education in Hong Kong since 1964, and has since developed to be at the forefront of applying Asian innovation to global opportunities. PolyU Design is committed to sustain excellence in design education, practice, consulting and research; to harness the legacy and dynamism of Asian cultures in creating solutions for human needs; and to create strategic models for products, brands, and systems in local and global markets. The School has over 1,300 students and is the only institution offering design education at both undergraduate and postgraduate levels. The School was rated by BusinessWeek magazine as one of the top design schools in Asia and in the world. 香港理工大學設計學院自一九六四年開始為本地提供高等程度的設計教育。到了今天，學院在應用亞洲創意思維於全球機遇上已佔着舉足輕重的地位。理大設計學院致力提供優質的設計教育、設計專業、顧問服務及創新研究。透過傳统及多元的亞洲文化特質，創造不同的設計去滿足人類的需要，並為本地及國際市場設計產品、品牌及系統的策略模式。理大設計學院現有超過一千三百名學生，是香港唯一提供學士及研究生設計教育的大學，亦曾被國際知名雜誌<<商業周刊>>評為全球及全亞洲最優秀的設計學院之一。

The Vocational Training Council (VTC) was established in 1982 with persevering missions in vocational education. Today, VTC has already developed into the largest and most well-established professional training and education institution in Hong Kong, providing a steadfast source of human capital to the local industries. In the recent years, we aspire to develop into a professional training and education leader in the region. Under the VTC group, there are institutes of vocational education, training and development centres, senior secondary schools, skills centres and etc. covering nine major professional disciplines to meet the needs of various industries. We also offer trade tests, apprenticeships and other training schemes. We provide high quality pre-employment and in-service professional education to more than 160,000 youngsters and employees every year as valued choices for further study. 職業訓練局於1982年成立，任重而道遠，今日已發展成本港最具規模的專業教育與培訓機構，為本地人力資源紮下穩健的基礎，近年更朝向成為亞太區卓越的專業教育與培訓機構的目標進發。職訓局轄下設有多間學院、訓練及發展中心、高中學校、技能訓練中心等，課程分為九大學科，覆蓋本港工商各業﹔此外亦負責推行學徒訓練和其他訓練計劃，以及技能測試等，每年為超過十六萬名學生和學員提供各類高效益、優質的職前及在職培訓，是本地青年和在職人士一個具價值的升學及進修選擇。

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Awardees Appendix 得獎者附錄 601bisang 481-11 Seogyo-dong, Mapo-gu Seoul, Korea e. kj@601bisang.com w. www.601bisang.com 84000 Communications Rm 217 InnoCentre 72 Tat Chee Avenue Kowloon Tong, Hong Kong e. 0005@84000.com.hk AFSO Unit 2001 Fairmont House 8 Cotton Tree Drive, Hong Kong w. www.afso.net Alan Chan Design Co. Suite 1901, Harcourt House 39 Gloucester Road Wanchai, Hong Kong e. alan@alanchandesign.com w. www.alanchandesign.com Amazing Angle Design Consultants Limited Unit 2, 16/F, Sungib Industrial Centre 53 Wong Chuk Hang Road, Hong Kong e. benny@amazingangle.com w. www.amazingangle.com Apple, Inc. 1 Infinite Loop, Cupertino, CA 95014 e. amyo@apple.com w. www.apple.com Asia Art Archive 11/F Hollywood Centre 233 Hollywood Road Sheung Wan, Hong Kong e. phoebe@aaa.org.hk w. www.aaa.org.hk Asylum 69 Circular Road, #03-01 Singapore 049423 e. jobina@theasylum.com.sg w. www.theasylum.com.sg ATELIER OPA Co. 1-14-14 Tounkyo bld. 4F Uchikanda Chiyoda-ku Tokyo 101-0047, Japan e. info@atelier-opa.com w. www.atelier-opa.com B&W Group Asia Limited Room 2608, Miramar Tower 132 Nathan Road TsimShaTsui, Hong Kong e. sharon_chu@bwgroup.hk w. www.bowers-wilkins.com

Bbluesky 8/F Lok’s Industrial Building 204 Tsat Tsz Mui Road North Point, Hong Kong e. leslie@bbluesky.com w. www.bbluesky.com

Dragonfly Gallery 8-2Fl. No.376, Sec.1, Tun Hwa S. Road Taipei, Taiwan e. emily@dragonfly.com.tw w. www.dragonfly.com.tw

Hashimoto Yukio Design Studio Co Ltd 4-2-5 Sendagaya Sibuyaku Tokyo, Japan e. hydesign@din.or.jp w. www.hydesign.jp/

Bigbros Workshop Sdn. Bhd A12-2, Jln Danau Lumayan 1 Pusat Perniagaan Danau Lumayan Bandar Tun Razak Kuala Lumpur 56000, Malaysia e. juan@bigbrosworkshop.com w. www.bigbrosworkshop.com

Dyson Ltd (c/o Jebsen & Co Ltd) Jebsen & Co Ltd, Unit 1801, 18/F Tower 2 Grand Century Place, 193 Prince Edward Road West Mong Kok, Hong Kong e. terencechu@jebsen.com w. www.dyson.co.uk; www.dyson.hk

hers experimental design laboratory inc. 1-5-22, Mukogaoka, Toyonaka-shi Osaka 560-0053, Japan w. www.hers.co.jp/

CASE-REAL 1-9-8 Imagawa Chuoh-ku Fukuoka, Japan e. press@casereal.com w. www.casereal.com China Children and Teenagers’ Fund (CCTF), KPMG China No.15 Jiang Guo Men Nei Street Beijing 100730, China e. xuxiaoguang@cctf.org.cn w. en.cctf.org.cn Circle Design Ltd 513B InnoCentre 72 Tat Chee Avenue Kowloon Tong, Hong Kong e. clement@circledesign.com.hk w. www.circledesign.com.hk CL3 Architects Limited 7/F Hong Kong Arts Centre 2 Harbour Road Wanchai, Hong Kong e. info@cl3.com w. www.cl3.com Cubic Corporation 2-7-3 Hanakawato Taito-ku Tokyo 111-0033, Japan e. contact@9hours.jp w. 9hours.jp/ Design Eight Co. ltd. The 3rd simomura bldg.4F, 1-15-12 Shintomi Chuo-ku, Tokyo 1040041, Japan e. info@design8.jp w. www.design8.jp design studio REPUBLIQUE 17-26 Ichijojiharaitono-cho, Sakyo-ku Kyoto,606-8184, Japan w. www.studio-republique.com Design Studio S 4-2-35-301 Roppongi, Minato-ku Tokyo 106-0032, Japan w. www.design-ss.com

EARTH TREK (HONG KONG) LIMITED Unit 503, Silvercord Tower 2 30 Canton Road Tsimshatsui, Hong Kong e. info@earth-trek.com.hk w. www.earth-trek.com.hk

Hibarigaoka Gakuen Senior High School 4-2-1 Hibarigaoka, Takarazuka-shi, Hyogo Hyogo 665-0805, Japan w. www.hibari.jp/ Hiromura Design Office Mak Flat 6F 6-11-8 Minami-Aoyama Minato-ku Tokyo 107-0062, Japan w. www.hiromuradesign.com

EIGHT BRANDING DESIGN Co.,Ltd Matsumoto Building No.2 3F, 3-9-5 Irifune Chuo-ku Tokyo 104-0042, Japan e. info@8design.jp w. www.8design.jp/

Hong Kong Design Centre 1/F InnoCentre, 72 Tai Chee Avenue, Kowloon Tong, Hong Kong e. info@hkdesigncentre.org w. www.hkdesigncentre.org

Elium Studio 166, Boulevard du Montparnasse 75014 Paris, France e. info@eliumstudio.com

Horizon Worldwide Limited Unit 5D, Dragon Industrial Building, 93 King Lam Street Cheung Sha Wan, Hong Kong e. leonora@horizonww.com w. www.shw1955.com

Escafe Unit 315A, InnoCentre 72 Tat Chee Avenue Kowloon Tong, Hong Kong e. polly@escafe.com.hk Fang Studio Ltd. Veristrong Industrial Center Block B Floor 7, Unit 10, 34 Au Pui Wan St. Fo Tan, Hong Kong e. danny@fangstudio.com w. www.fangstudio.com FUKUI KOKI CO.,LTD 1-4-40, Sanrokucho, Sabae-shi Hukui 916-0021, Japan e. k-kimura@fkm.jp w. www.fkm.jp/ Green School Br. Saren, Jalan Raya Sibang Kaja, Abiansemal, Badung Bali 80352, Indonesia e. info@greenschool.org w. www.greenschool.org Hanqingtang Design co. ltd CFC A-5EF NO.300, Zhong Shan Road Nanjing 210002, China e.hanqingtang2005@vip.163.com w. www.hanqingtang.com

Housing Operation Project Group (HOP) Fujita Building, 21-2-1 Kita 4-jo Nishi, Chuo-ku, Sapporo-shi Hokkaido, Japan e. info@hophouse.co.jp INNOVO DESIGN Jingshancuigu 46-4,Liuxia Hangzhou 310023, China e. innovo.ray@gmail.com w. www.innovo-design.com Jiangsu Provincial Art Museum (Jiangsu Province, represented by the Jiangsu Olympic Center) Changjiang Road 330, 210018 Nanjing Jiangsu Province, China e. thai3355888@hotmail.com K. Associates Architects, Kyoto Japan 4F, Yutaka Bldg, 366 Karigane-cho, Takoyakushi Takakura - higashiiru, Nakagyo-ku, Kyoto 604-8115, Japan e. info@k-associates.com w. k-accociates.com

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K.WAH Real Estate 29/F, K. Wah Centre, 191 Java Road, North Point, Hong Kong e. info@kwah.com w. www.kwah.com

Lilian Tang Design Limited 9/F, 3-5 Old Bailey Street Central, Hong Kong e. vince@ltdhk.com w. www.ltdhk.com

Ken AND S Inc. 5-2-2 Shinjuku, Shinjuku-ku Tokyo 160, Japan e. h.m.c@hotel-nuts.com w. hotelnuts.com/english/index.html

Lufdesign 136-230, Jegi2-Dong, Dongdaemun- Gu Seoul, Korea e. tsunho.wang@gmail.com w. www.lufdesign.com

Kian (Hong Kong) PTE limited 76-1 Jalan Putra 50350 Kuala Lumpur Malaysia e. james@kian.com w. www.kian.com Kohki Hiranuma Architect & Associates 4F D&Department Bldg. 2-9-14 MinamiHorie Nishiku Osaka 550-0015, Japan e. muramatsu@khaa.jp w. khaa.jp KSP J端rgen Engel Architekten Unit 1301, Tower B, Landmark Towers, Nr. 8, Dongsanhuan North Rd Chaoyang District 100004 Beijing China w. www.ksp-architekten.de KUREHA CORPORATION 3-3-2, Nihonbashi-Hamacho, Chuo-ku Tokyo 103-8552, Japan e. maesho-@kureha.co.jp w. www.kureha.co.jp/ Kuroyanagi Jun 1-28-17-303, Nagasaki, Toshima-ku Tokyo, Japan Land Transport Authority 1 Hampshire Road, Singapore 219428 e. bok_ngam_lim@lta.gov.sg w. www.lta.gov.sg Layan Design Group Pty Ltd Level 5.1, 94 Elizabeth Street, Melbourne 3000 Victoria, Australia e. johannes@layan.net w. www.layan.net Lenovo Group/ Lenovo (Beijing) Ltd No.6 Shangdi west road Haidian district Beijing 100085, China e. zhouzl@lenovo.com LI&Co. Design Limited Room 409, Yu Yuet Lai Building 43-55 Wyndham Street Central, Hong Kong e. info@lincodl.com w. www.lincodl.com

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macla, inc. #505 TOC 2nd Bldg, 1-17-1 Shibuya Shibuya-ku Tokyo 150-0002, Japan e. s@macla.co.jp w. www.macla.co.jp

National Library of China Nr. 33, Zhongguancun Rd.S., Haidian District Beijing 100081, China e. changming@nlc.gov.cn w. www.nlc.gov.cn/ Native Design 5 Garden Walk, London, EC2A 3EQ, UK w. www.native.com Neil Pryde Ltd 20/F, YKK Building - Phase 2 2 San Lik Street, Tuen Mun, Hong Kong e. alexzenovic@pryde-group.com w. www.pryde-group.com

Original Vision Limited 22/F, 88 Gloucester Road Wanchai, Hong Kong e. fiona@original-vision.com w. www.original-vision.com Osage Group 4/F, Union Hing Yip Factory Bldg, 20 Hing Yip St Kwun Tong, Hong Kong e. florawong@osagegallery.com w. www.osagegallery.com Pill & Pillow Room 2105, Oceanic Industrial Centre, 2 Lee Lok Street Ap Lei Chau, Hong Kong e. henry@pillandpillow.com w. www.pillandpillow.com

Neri & Hu Design and Research Office 88 Yuqing Road, Shanghai, China, 200030 e. graceli@nhdro.com w. www.nhdro.com

PLOTZ Room511 JCCAC, 30 Pak Tin Street Shek Kip Mei, Hong Kong e. sing@xplotzx.com w. www.xplotzx.com

Milkxhake 3/F, B, Lam Shan Bldg.113-119 Belcher's Street Kennedy Town, Hong Kong e. javin@milkxhake.org w. www.milkxhake.org

Nikken Sekkei Ltd. 2-18-3-Iidabashi, Chiyoda-ku Tokyo 102-8117, Japan e. fukuyama.kumiko@nikken.co.jp w.www.nikken.co.jp/en

PT Bamboo Pure Br. Piakan, Sibang Kaja, Abainsemal Badung Bali 80352, Indonesia e. effan@ptbamboopure.com w. www.ibuku.com

MINISTRY OF DESIGN 20 Cross Street #03-01 Singapore 048422 e. joyseah@modonline.com w. www.modonline.com

Nikon Corporation 6-3,Nishi-ohi 1-chome, Shinagawa-ku Tokyo 140-8601, Japan e. matsuda.shunichi@nikonoa.net

PT Bukit Uluwatu Villa Jl. Darmawangsa VI / No 47, Kabayoran, Baru ,Jakarta 12160, Indonesia e. frankyt@centrin.net.id

Miralles Tagliabue EMBT Passatge de la Pau 10bis pral 08002 Barcelona Spain e. info@mirallestagliabue.com w. www.mirallestagliabue.com

NLGX Design Company Ltd. 33 Nanluoguxiang, Dongcheng District, Beijing 100009, China e. michel@nlgx.com w. www.nlgx.com

RAD Ltd 30-32 Wyhndham street, 4/F Wyndham Mansion Central, Hong Kong e. at@rad-dar.com w. www.rad-dar.com

NOSIGNER 2-36-10-301, Mukogaoka, Bunkyo Tokyo 113-0023 JAPAN e. info@nosigner.com w. www.nosigner.com

RIVERS CO.,LTD FAD20 3F, Akasaka 4-12-5, Minato Tokyo 107-0052, Japan e. shu@rivers.co.jp w. www.rivers.co.jp

Nowhere resort 2nd floor, 2-3-7 Sendagaya Shibuya Tokyo 151-0051, Japan e. nowhere_contact@nowhereresort. com w. www.nowhereresort.com/

Ryuichi Ashizawa Architects & associates Nakajima-BLD.3F 1-1-4 Nakazakinishi Kita-ku Osaka 530-0015#, Japan e. a-i@r-a-architects.com w. www.r-a-architects.com/

Markus Temming GmbH Isselhorster Str. 374, 33334 G端tersloh e. info@markus-t.com w. www.markus-t.com

MORIYUKI OCHIAI + TWOPLUS-A ARCHITECTS Colab 617 ,28-7 Sanbancho, Chiyoda-ku Tokyo 1020075 Japan e. moriyukiochiai@yahoo.co.jp w. www.twoplus-a.com Nakagawa Masashichi Shoten Co., Ltd. 1112-1 Toukujyo, Nara 630-8144, Japan e. jun_n@yu-nakagawa.co.jp w. www.yu-nakagawa.co.jp/ Nakamura Design Office 1112 Grand Palace Tamachi 4-9-18 Shibaura, Minato-ku Tokyo 108-0032 Japan Nanyang Technological University 81 Nanyang Drive, Level 3 Room 13 Singapore 637458 e. wcindy210@yahoo.com.tw w. www.cindy-wang.com

Optiled Lighting International Ltd 2302 One Landmark East, 100 How Ming Street Kwun Tong, Hong Kong e. coeycheng@optiled.com w. www.optiled.com

SAMSUNG ELECTRONICS Co, Ltd. Samsung Electronics Bldg, 1320-10, Seocho 2-dong, Seocho-gu Seoul 137-965, Korea e. mj1003.kim@samsung.com

Sandu Publishing Co., Ltd. 3F, West Tower, No.10 Ligang Road Guangzhou, China w. www.sandu360.com SANYO Electric Co., Ltd. 7F Sanyo Hdqrs.Blds 1, 2-5-5,Keihan-Hondori,Moriguchi-City Osaka 570-8677,Japan e. yayoi.ogata@sanyo.com w. sanyo.com/ Satoshi Okada architects 1-6-31-4F Higashi, Kunitachi Tokyo 186-0002, Japan e. satoshi@okada-archi.com w. www.okada-archi.com School of Architecture, The Chinese University of Hong Kong School of Architecture, 5/F Wong Foo Yuan Building The Chinese University of Hong Kong Shatin New Territories, Hong Kong e. wanli@cuhk.edu.hk KHT Brand Marketing & Consulting KHT Industry Garden No.888 Huaxu Road, Xujing Town Shanghai 201702, China e. lulu@cnkht.cn w. www.cnkht.cn Speedo International Ltd 13th Floor Harbour Crystal Centre 100 Granville Road, Tsim Sha Tsui East, Hong Kong e. jmen@speedo.com w. www.speedo.com SPREAD Ltd. Granmale Uehara #102, 3-32-6, Nishihara Shibuya-ku Tokyo 151-0066 Japan e. koba@spread-web.jp w. www.spread-web.jp Stokke Hong Kong Limited Suite 323, Block D, DB Plaza Discovery Bay, Hong Kong e. annia.tang@stokke.com w. www.stokke.com SUWADA Blacksmith Works, Inc. 1332 Koanji, Sanjo Niigata 959-1114, Japan e. matsumoto@suwada.co.jp w. www.suwada.co.jp

Swissvoice HK Limited Unit 1910, 19/F, Dominion Centre, 43-59 Queen’s Road East Wanchai, Hong Kong e. william.tao@swissvoice.net w. www.swissvoice.net/en/

upsetters architects Room 5A, Daini Tanizawa Bdg. 3-2-11 Nishiazabu Minato-ku Tokyo 106-0031, Japan e. info@upsetters.jp w. www.upsetters.jp/

Takenaka Corporation 1-1-1,Shinsuna,Koto-ku,Tokyo 136-0075, Japan e. miyashita.nobuaki@takenaka.co.jp w. www.takenaka.co.jp

WHIRLPOOL CORPORATION Global Consumer Design- Asia WHIRLPOOL ASIA, Building No. 8 No. 1888, New Jin Qiao Road, Jinqiao Export Processing District Pudong, Shanghai 201206 e. hari_nair@whirlpool.com

Takeshi Hoska Architects #503,2-25,Benten-st.,Nakaku,Yokohama city,Kanagawa 231-0007 , Japan e. info@hosakatakeshi.com w. www.hosakatakeshi.com Takuro Yamamoto Architects 2-17-34-28, Nishiwaseda, Shinjukuku Tokyo, Japan e. takuroyama@iris.ocn.ne.jp w.www3.ocn.ne.jp/~yamamotj/ homepage/ The Oval Partnernship Ltd 14/F Malaysia Building, 50 Gloucester Road Wanchai, Hong Kong w. www.ovalpartnership.com The PuLi Hotel and Spa 1 ChangDe Road JingAn District Shanghai 200040 China w. www.thepuli.com The Upper House Pacific Place, 88 Queensway, Hong Kong e. michellelau@swirehotels.com w. www.upperhouse.com Tommy Li Design Workshop Limited Rm2401, Honour Industrial Centre, 6 Sun Yip St. Chaiwan, Hong Kong w. www.tommylidesign.com United Elite Information Services Company Limited 4/F, Cheung’s Building, 1 Wing Lok Street, Sheung Wan, Hong Kong e. jimmychan.newwebpick@gmail.com w. www.newwebpick.com; ezine.newwebpick.com Uonuma Sake Brewery Co.,LTD. 1276, Nakajohei, Tokamachi-city, Niigata, Japan

WILLMAX DESIGN STUDIO 1F, No.20, Fenyang Rd., Sanmin Dist., Kaohsiung City 807, Taiwan e. axlchen.tw@yahoo.com.tw Wipro Limited Wipro Lighting, 5th floor, Godrej Eternia Bldg - C, Old Pune - Mumbai Road Shivajinagar, Pune 411005, India e. shilpa.marathe@wipro.com w. www.wiprolighting.com

YASUTAKA YOSHIMURA ARCHITECTS 2nd floor 2-3-7 Sendagaya Shibuya Tokyo 151-0051, Japan w. ysmr.com Yokohama Bayside Resort Ltd. Bayside Marina Hotel Yokohama 6-1 Shiraho Kanazawa-ku Yokohama-shi Kanagawa 236-0007, Japan e. nakaoka@BaysideResort.jp w. www.baysidemarinahotel.jp/ Ziba Design 1044 NW 9th Ave, Portland, OR 97209 e. niki_diamond@ziba.com w. www.ziba.com Zuni Icosahedron Rear Part 15 Hawthorn Road Happy Valley, Hong Kong e. info@zuni.org.hk w. www.zuni.org.hk

Wiseman International Digitech Limited Unit 14, 3/F, Shing Yip Ind. Bldg.,19-21 Shing Yip Street Kwun Tong, Hong Kong e.dannyw@wisemanhk.com w. www.wisemanhk.com WOHA 29 HongKong Street, Singapore 059668 e. pr@wohadesigns.com w. www.wohadesigns.com Xmi Pte Ltd 13 Neil Road Singapore 088810 e. Frederick@xm-i.com w. www.x-mini.com Yamagiwa Corporation 1-5-10 Soto-Kanda, Chiyoda-ku Tokyo 101-0021 Japan e. press@yamagiwa.co.jp w. www.yamagiwa-lighting.com Yamaha Corporation 10-1 Nakazawa-cho, Naka-ku, Hamamatsu-city Shizuoka, 430-8650, Japan e. daizo_sato@gmx.yamaha.com w. www.global.yamaha.com/design Yasui Architects & Engineers, Inc. 2-4-7, Shima-machi, Chuo-ku Osaka 540-0034, Japan e. m-kagebayashi@yasui-archi.co.jp w. www.yasui-archi.co.jp/

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Acknowledgements Support Overseas Work Attachment for Hong Kong Young Design Talent Awards ECCO Design Inc in United States Heatherwick Studio in United Kingdom Hirano & Associates, Inc in Japan Kontrapunkt in Denmark Studio Dumbar in The Netherlands Ziba Design in United States Co-organier of HKDC Public Forum Series Design Council of Hong Kong of the Federation of Hong Kong Industries Speakers of HKDC Public Forum Series David Chan Kevin Choi Ka Fai Bibi Ho Singgih Susilo Kartono Godfrey Kwan Wallace Kwan Michael Ngan Tin Lap Shinichiro Ogata Jamy Yang Supporting Organisations of DFA Awards AIGA China Designophy Design Publication French Chamber of Commerce of Hong Kong German Chamber of Commerce of Hong Kong Hong Kong Ambassadors of Design Hong Kong Fashion Designers Association Hong Kong General Chamber of Commerce Hong Kong Institute of Marketing Hong Kong Interior Design Association INDEX: Design to Improve Life Innocentre Japan Graphic Designers Association National Discovery Museum Institute Spark Design Awards Taiwan Culture Shop The British Chamber of Commerce in Hong Kong The French Chamber of Commerce and Industry The Hong Kong Institute of Architects The Hong Kong Polytechnic University School of Design The Singapore Chamber of Commerce (Hong Kong) 5只猫中國室內設計新聞網 Supporting Organisations of DFA Student Awards Academy of Arts & Design, Tsinghua University, China Central Academy of Art, China Cheung Kong School of Art & Design, Shantou University, China China Academy of Art, China City University of Hong Kong, Hong Kong College of Art & Design Beijing University of Technology, China FDGI - Indonesian Graphic Design Forum, Indonesia Fu Jen Catholic University, Taiwan Hanayng University, South Korea Hong-ik University, South Korea Hong Kong Design Institute, Hong Kong Indian Institute of Technology, India Korea Advanced Institute of Science and Technology, South Korea Kaywon School of Art & Design, South Korea Kookmin University, South Korea La Salle College of the Arts, Singapore MIT Institute of Design, India National Taiwan University of Arts, Taiwan National Taiwan University of Science and Technology, Taiwan National University of Singapore, School of Design and Environment, Singapore NTU School of Art, Design and Media, Singapore School of Design, Jiangnan University, China School of Design, Hong Kong Polytechnic University, Hong Kong Seoul National University, South Korea Tama Art University, Japan Tatung University, Taiwan Tokyo National University of Fine Art & Music, Japan

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Hong Kong Design Centre Awards Programme Book 2010 Published by Hong Kong Design Centre

Project Director: Amy Chow Project Team: Micky Lee, Elddie Yip; Edica Chan, Clara Fu, Calvin Leung, Peko Or, Kenix Wong Special Thanks To: Ron Baker Ashley Ng Ryo Yeung Mention PR Consultancy NewWebPick Pointolite Wallpaper* Hong Kong Design Centre all rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any way or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the Centre. Any unauthorised use of this publication will result in immediate legal proceedings.

Hong Kong Design Centre 1/F InnoCentre, 72 Tat Chee Avenue, Kowloon Tong, Hong Kong Tel (852) 2522 8688 Email info@hkdesigncentre.org Website www.hkdesigncentre.org

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Cover paper: Rives Dot, 350gsm Text paper: Novatech Ultimatt, 115gsm Insertion: Conqueror Iridescent Silica Blue, 100gsm