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exhibition

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Preface

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目錄C O N T E N T S

SAP at CeBIT 2005, Hannover Totems Communication & Architecture

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Telecom Italia Pavilion at ITU Telecom World 2003, Geneva Park Associati

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Hewlett Packard Pavilion at ITU Telecom World 2003, Geneva H Studio

062

Rockstar Games at Electronic Entertainment Expo, Los Angeles Freddie Georges Production Group

056

068 074 082

Audi A4 Launch, Seoul Karim Rashid Inc

Teknion at IIDEX NeoCon Canada, Toronto burdifilek

POSH at China International Furniture Fair 2004, Guangzhou In-house Marketing Dept. of POSH Office Systems (HK) Ltd

Dragonair at Hong Kong International Travel Expo 2005, Hong Kong Conceptual Hong Kong Ltd

088

Ciot Marble & Granite at Interior Design Show 2004, Toronto II BY IV Design Associates Inc

094

Payot Libraire at Geneva Book Fair 2005, Geneva MBD Design

098 102

Moet Hennessy at Tax Free World Exhibition, Cannes depack environnement

108 116

Zoellner at Fair “Kind & Jugend” 2004, Cologne Totems Communication & Architecture

Crystal World, Hong Kong Marc & Chantal Design

Hong Kong Pavilion, London Oval Design Ltd


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Hong Kong Pavilion at 2004 China High-Tech Fair, Shenzhen Joey Ho Design Ltd

128 138

China Pavilion at 2005 World Exposition, Japan 廣東省集美設計工程公司SD藝術設計中心

British Council Pavilion at Glastonbury Festival, Glastonbury thomas.matthews, Structure Workshop, André Klauser

146

Lantern Wonderland, Hong Kong CL3 Architects Ltd

152

Microwave Festival: Installation & Net Art Exhibition, Hong Kong ADO Design & Public Art Consultants (HK) Ltd

160 168 174

Waist Down - Miuccia Prada: Art and Creativity, Shanghai AMO Dove “Beyond Compare” 3rd UNCLE design inc

A Vision of Hong Kong Cultural Harbour, Hong Kong Marc & Chantal Design

182 190 198

Karim Rashid - I Want to Change the World, Munich Albrecht Bangert

Sister of Dreams: People & Myths of the Orinoco, Goteborg Schmidt Hammer Lassen K/S The Bug House at World Museum Liverpool, Liverpool Reich+ Petch Design International

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Ghost Show, Orléans Philippe Rahm Architectes

212 216

Orange Imaginarium, Bristol Imagination Ltd

設計師檔案D E S I G N E R S ’ PROFILES


序PREFACE

法國著名繪本畫家Jean-Jacques Sempe有一幅漫畫是這樣的:兩個 原始人在山洞裡,野火照亮了洞穴的壁畫,其中一個對另一個說:「 朋友,你這幅畫畫得真好,不過,你這個畫廊就遜色了一點啊!」 曾幾何時,展品都是以最原始的方式陳列在玻璃櫥櫃內或掛在水平視 線處,一切直接了當;今天,富有品味的參觀者再不滿足於這種簡 單,甚至被認為是簡陋的展覽形式。去看展覽,不論是在博物館還 是會議中心,目的是要去看展品(藝術品或者商品),但當到達會 場的一瞬,震撼心靈的,絕對不僅是展品,還有展覽場地的佈置、 燈光及陳列設施的設計。 展品需要一個恰當的背幕來加以烘托,而優秀的展覽設計其實也可 以成為展品本身。香港設計師 ADO利用紗幔將展廳分隔出不同區 域,同時創造了一個如迷宮般、撲朔迷離的展覽空間,成為國際多 媒體展覽上其中一件卓越的裝置作品。 多元化的場地選擇豐富了展覽的可塑 ,由以往藝術品只陳列在藝術 館和畫廊裡,而帶商業 的產品展銷就只有在規規矩矩的貿易展中舉 行,到今天,商場、行人路邊都成為臨時的展覽場地,這種轉變啟 發了更加創新的設計,以迎合各種展覽空間,好像多倫多設計師事 務所3rd UNCLE design inc就為一個巡迴攝影展設計了一套極富彈 的展覽模式,包含了畫架及燈具,適用於 物商場、會議中心以至公 共街道;本地設計師Mar & Chantal Design為高級品牌Swarovski在 大型商場中搭建出一座獨特的小型藝廊,將商品的藝術 充分發揮, 體現了在展覽設計中,藝術與商業領域相互滲透及重疊這個新趨勢。 今期《空間》搜羅了廿七個非常出色的展覽設計,包括貿易展、半 商業/半藝術的推廣展覽,以及純藝術 的藝術館展覽項目,覆蓋城 市眾多,諸如漢諾威、科隆、慕尼黑、日內瓦、康城、倫敦、洛杉 磯、多倫多、首爾、香港與上海等等。


In a scene in the comic created by Jean-Jacques Sempe, the famous French illustrator, two primitive men are staying in a cave in which there is a mural illuminated by fire. One man says to the other: “Hey buddy, your picture is really nice, but the gallery is rather outshone.� Traditionally, exhibits are directly displayed in showcases or hung at eye level in a straightforward way; however, visitors with discerning taste nowadays are not content with this simple and seemingly awkward form. An exhibition provides a collection of exhibits (artwork or commodities) at a museum or a convention centre. Yet, the exhibits are not the only visually striking elements - venue arrangement, lighting design and display settings also play a role. An appropriate backdrop is crucial for exhibits. Indeed, excellent design could be an exhibit itself: HK designer ADO has utilized gauze to demarcate different areas of the exhibition hall and created a fancy labyrinth-like space, which has turned out to be one of the most prominent installations in an international multimedia exhibition. Diverse venue options have also enriched the flexibility of exhibitions. In the past, artwork only appeared in art museums or galleries, and commercial products were showcased in trade fairs. However, places such as malls and sidewalks have now developed into temporary exhibition venues. More creative design has been inspired by this trend toward varied exhibition spaces. For example, 3rd UNCLE design inc in Toronto has established a highly flexible design for a traveling photograph exhibition including easels and lamps that would be suitable for shopping malls, convention centres and public arcades. Local designer Marc & Chantal Design has designed a unique mini art gallery in a large shopping mall for the luxurious brand Swarovski, revealing the new trend of fusing the realm of art and commerce by fully expressing the artistry in commodities. This issue of SPACE offers a wide selection of 27 extraordinary exhibition designs including that of trade expos, semi-commercial/semi-artistic promotion road shows, as well as fine art museum exhibitions, that were held in cities around the world such as Hannover, Cologne, Munich, Geneva, Cannes, London, Los Angeles, Toronto, Seoul, Hong Kong and Shanghai etc.


ĺą• Exhibition


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Totems Communication & Architecture

SAP at CeBIT 2005 德國漢諾威Hannover, Germany 37,700平方呎/sq ft

SAP at CeBIT 2005, Hannover

SAP at CeBIT 2005

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Totems Communication & Architecture


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佈局圖Layout plan

SAP在2005資訊及通信技術博覽會(CeBIT)的攤位以開揚為設計特色,4,000多平方米的展區內, 牆體和圍合空間並不多。地面作為建築元素,形成了洽談的平台及生產的媒介,令空間的安排和序 列──開敞、圍合、聯繫──更臻完善。 平台表面採用了一種與可麗耐相似、名為Elements的材料,無論在用法或是數量上都是前所未有 的,這種物料為整體設計注入中  白色的理想氣息,並帶一種深度感。平台底部鋪上大塊的Alcantara 軟墊,而每個側室至少有一面玻璃牆,清晰通透。除此之外,在合適之處還採用了啞光拉絲鋼。 巨大的形狀傳遞了一股  感,置於其中的包括演示區、舒適的洽商區和休閒區。 諮詢區複雜的綜合   由偌大的多功能島組成,多功能島從精密的建造測試中演變而來。與以往不 同,是次展覽撤掉了私密的小房間,所有洽談都在開放的空間中進行,展示了時尚而隨意的人際 互  形式。

Totems Communication & Architecture

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SAP at CeBIT 2005


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SAP at CeBIT 2005

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Totems Communication & Architecture


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SAP在2005資訊及通信技術博覽會的攤位以開揚為設計特色,4,000多平方米的展區內,牆體和圍合空間並不多,所有洽談都在開放的空 間中進行,展示了時尚而隨意的人際互 形式。 The accent of the SAP trade fair stand at CeBIT 2005 is openness. Walls and enclosed spaces are used only sparingly in the 4,000-sq-m exhibition space. Everyone meets in an open space in a demonstration of a more contemporary and informal form of personal interaction.

The walls are gone. The accent of the new architecture of the SAP trade fair stand at CeBIT 2005 is openness. Walls and enclosed spaces are used only sparingly in the exhibition space, which sprawls over an area of 4,000 sq m. The floor itself is made an architectural subject as a platform for encounters and as the means for production. The floor facilitates spatial organisation. It opens up, encloses, and joins. A material known as “Elements” which is similar to Corian was chosen for the platform surface. This selection was a world first in terms of the purpose and the quantity of the material used. It lends the design an ideal aura of neutral white but with added depth. Large swathes of upholstered Alcantara cover the undersides of the platform while glass facades render at least one side of each side room transparent. In addition, matt-brushed steel is applied where necessary.

Totems Communication & Architecture

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SAP at CeBIT 2005


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SAP at CeBIT 2005

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Totems Communication & Architecture


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巨大的形狀傳遞了一股 感,置於其中的包括演示區、舒適的洽商區和休閒區。 A dynamic force is communicated architecturally through the presence of large shapes. Embedded in there are presentation zones, intimate discussion areas and lounges.

A dynamic force is communicated architecturally through the presence of large shapes. Embedded in there are presentation zones, intimate discussion areas and lounges.

客戶Client SAP 總承辦商Main Contractor Totems Communication & Architecture 燈光顧問Lighting Consultant Totems Communication & Architecture 燈具Lighting Fixtures & Fittings MAC

The increased complexity within the consulting field has been re-defined: large multi-functional islands were developed from detailed test constructions. There are no private booths, unlike before. Instead, everyone meets in an open space in a demonstration of a more contemporary and informal form of personal interaction.

Totems Communication & Architecture

傢具及織物Furniture & Upholstery Designed by Totems, made by MAC 鋪地Flooring Elements by MAC 藝術品Artwork Presentation tables / bar shelf / paper walls by Yokiko Nezu of Totems 窗簾Curtains Expomobil k 55 by MAC 擴音系統PA System Miro Medientechnik 攝影Photography Oliver Schuster

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SAP at CeBIT 2005


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Park Associati

Telecom Italia Pavilion at ITU Telecom World 2003 瑞士日內瓦Geneva Palexpo, Switzerland 7,265平方呎/sq ft

Telecom Italia Pavilion, Geneva

Telecom Italia Pavilion at ITU 2003

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Park Associati


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日內瓦ITU 2003世界電信展上,意大利電 信的展位以露天商展場地為設計意念。從 19世紀舉辦第一屆博覽會以來,露天展 場的設計便帶來強烈的視覺衝擊效果。 意大利的Park Associati設計了一個可供 穿梭的地面層,那是展示區所在。通往 上層辦公室的樓梯部分用絲印玻璃圍合。 辦公室的玻璃牆上貼有與門同高的著色薄 片。白櫸木階梯前方設置了一張由釉面玻 璃製成的長接待桌。 懸浮在離地2.2米高的展示館由一塊延續 的立面環繞著。紅色的立面牆印有白色 的公司標誌,而每隔40公分就點綴了寬 30公分的聚碳酸酯葉片,重疊成雙層立 面,營造出瞬息萬變的效果。這個裝置有 助控制燈光,方便操作投影系統。

上層佈局圖Upper floor plan

展示空間分為三個無論在概念上或是功能 上均截然不同的區域。「感受區」實際上 是一個大型的互 電影院,設有18個螢幕 和放映機,分成三組,既可分別播放不 同影片,也可組合成一個畫面以傳遞某 個資訊。「記述區」是一個舒適怡人的 空間,通過電腦演示展現了企業所提供 的服務和產品。上層的「代表區」內有 一個可容納30人的會議室,還包括會客 間、酒吧和辦公室。上層的圍牆用黑色 石膏板造,透過牆上的透明紅色塑膠玻 璃窗可俯瞰地面,並且為樓下昏暗的空 間投射出深紅色的亮光。

地面層佈局圖G/F plan

Park assocIaTI

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Telecom ITalIa PavIlIon aT ITU 2003


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Telecom Italia Pavilion at ITU 2003

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Park Associati


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懸浮在離地2.2米高的展示館由一塊延續的立面環繞著。 The hovering pavilion suspended at over 2.2 meters is encompassed by an uninterrupted front.

縱立面圖longitudinal elevation

Park assocIaTI

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Telecom ITalIa PavIlIon aT ITU 2003


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Telecom Italia Pavilion at ITU 2003

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Park Associati


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紅色的立面牆印有白色的公司標誌,而每隔40公分就點綴了寬30公分的聚碳酸酯葉片,重 疊成雙層立面,營造出瞬息萬變的效果。 The superimposition of a surface composed of 30cm wide polycarbonate blades interspersed at 40cm intervals over a red wall with the firm’s logo printed on it in white creates an everchanging facade.

立面剖面圖section of the facade

The design for the Telecom Italia Pavilion at ITU 2003 in Geneva is based on the concept of fairground pavilions that, since the first 19th century expositions, were designed for maximum visual impact. Italy-based Park Associati created a stand that is wholly permeable at ground level, where the display environments are located. The offices whose walls are made of transparent glass with glazed film applied to door height - are on the upper floor, with access via a staircase partially enclosed by silk-screened glass. A long reception desk in enameled glass is placed in front of the bleached beech staircase. The hovering pavilion is encompassed by an uninterrupted front - an ample belt suspended at over 2.2 metres above ground that facilitates the control of light to optimise the projection system. The superimposition of a surface composed of 30cm wide polycarbonate blades interspersed Park assocIaTI

立面圖elevation

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Telecom ITalIa PavIlIon aT ITU 2003


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at 40cm intervals over a red wall with the firm’s logo printed on it in white creates an ever-changing facade. The exhibition space is divided into three conceptually and functionally distinct areas. The emotive area is a large interactive cinema made up of 18 screens and projectors, divided into groups of three, that can broadcast videos separately or be used to convey a single message over the whole area. The descriptive area is a more intimate space that displays the services and products offered by the firm through computer demos. The representative area on the upper floor consists of a conference hall with seating for 30 people, in addition to meeting rooms, a bar and offices. The perimeter walls on the upper floor are fabricated from black plasterboard with transparent red plexiglass windows overlooking the ground floor, casting a crimson glow on the dark space below.

「感受區」實際上是一個大型的互 電影院,設有 18個螢幕和放映機,分成三組,既可分別播放不 同影片,也可組合成一個畫面以傳遞某個資訊。 「記述區」是一個舒適怡人的空間,通過電腦演 示展現了企業所提供的服務和產品。 The emotive area is made up of 18 screens and projectors, divided into groups of three, that can broadcast videos separately or be used to convey a single message over the whole area. The descriptive area displays the services and products offered by the firm through computer demos. Telecom Italia Pavilion at ITU 2003

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Park Associati


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Park Associati

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Telecom Italia Pavilion at ITU 2003


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立面圖elevation

上層的圍牆用黑色石膏板造,透過牆上的透明紅色塑膠玻璃窗可俯瞰地面,並且為樓下昏暗的空間 投射出深紅色的亮光。 The perimeter walls on the upper floor are fabricated from black plasterboard with transparent red plexiglass windows overlooking the ground floor, casting a crimson glow on the dark space below. Telecom ITalIa PavIlIon aT ITU 2003

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Park assocIaTI


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客戶Client Telecom Italia spa

剖面圖section

總承辦商Main Contractor mostrefiere spa 燈光顧問Lighting Consultant metis 燈具Lighting Fixtures & Fittings Guzzini, modular 傢具Furniture alias, vitra, kartell, saporiti, moroso, molteni 牆飾Wall Covering Back-painted glass, plasterboard, red plexiglass 鋪地Flooring Black and dark grey carpet, white laminated wooden boards 視聽系統AV System Giochi di luce 攝影Photography andrea martiradonna

白櫸木階梯前方設置了一張由釉面玻 璃製成的長接待桌。 a long reception desk in enameled glass is placed in front of the bleached beech staircase. Park assocIaTI

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Telecom ITalIa PavIlIon aT ITU 2003


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H Studio

HP Pavilion at ITU Telecom World 2003 瑞士日內瓦Geneva Palexpo, Switzerland 17,000平方呎/sq ft

Hewlett Packard Pavilion, Geneva

Hewlett Packard Pavilion at itu 2003

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H Studio


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2003年,「惠普」藉著在日內瓦電 信村──一個在電信博覽會中以促進 聯網和商務為目的的新展區──的展 位鞏固其地位。「惠普」佔據了新展 區的顯眼位置,而倫敦的H工作室便 透過利用展位的優勢,賦予品牌舉 足輕重的份量,給參觀者留下深刻 的印象。 設計以客戶的品牌價值為基礎,並以 三維環境重新進行詮釋。兩層的建築 內包含了地面層的綜合陳列/展示區 與擁有75個座位的演示廳,上層設有 可容納80人的會客空間及一個連款客 區的「商務會所」。整個展區空間寬 敞,可供350人同時使用。 L形佈局是建築的特色,中央圍出一 個充當登記處的正方形廣場。現代典 雅的設計風格突現了「惠普」的優異 品質和良好信譽。展位的外觀揮灑自 如,並不浮誇賣弄。

一樓佈局圖1/F plan

格局開放的地面層空間向前伸展,承 載著一列展示區,以圖像和數碼媒體 帶出品牌故事的不同層面。整體空間 照明令人聯想到科學展覽:鹵素和鎢 絲聚光燈發出藍色光線,烘托出各式 展示和圖片。 一樓的設計鮮明,呈現品牌善於創造 和充滿活力的特質。自然和人造物料 以有趣而富刺激感的方式糅合在一 起,勾勒出極佳的行人路線。時尚的

地面層佈局圖G/F plan H Studio

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Hewlett Packard Pavilion at itu 2003


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Hewlett Packard Pavilion at itu 2003

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H Studio


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H Studio

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L形佈局是建築的特色,烘托出空域的感 覺,減緩了毗鄰結構帶來的衝擊。中央圍 出一個充當登記處的正方形廣場。 The building features an L-shaped plan which gives its airspace presence, minimising the impact from neighbouring structures. The “L-Wing” encompasses a square piazza which is a registration area Hewlett Packard Pavilion at itu 2003for the pavilion.


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Hewlett Packard Pavilion at itu 2003

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H Studio


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整體空間照明令人聯想到科學展覽:鹵素和鎢絲聚光燈發出藍光,烘托出各式展示和圖片。 The whole space was lit in a manner suggestive of a science expo: a blue glow with halogen and tungsten spotlights set off the demonstrations and graphics.

In 2003, Hewlett Packard (HP) consolidated its presence at Geneva in the Telecom Village, a new exhibition feature designed to encourage a dedicated networking and business area within the whole event. HP had a prime location within a new exhibit space and London-based designer H Studio has exploited the advantages of this space to give the brand great prominence and gravitas.

會客室結合了背光玻璃、纖維板、灰 泥粉飾、溫暖的木質桌面和Vitra傢 具。每個房間均備有等離子螢幕及演 示音響系統等設備。 演示廳的空間相當舒適,仿如小型的 試映廳,並配備了先進的音響系統和 兩個投影屏。 款客區的色彩和物料溫暖而時尚。從 架高的平台上可以一覽廣場和展館的 景致,內裡設有低矮的椅子和定造的 桌子,而酒吧的客人則可使用中央附 近的高檯。

The design built on the implied values of the brand and recreated them tonally in a three-dimensional environment. The two-storey building housed a comprehensive showcase / demonstration area, a 75-seated presentation theatre on the ground and meeting space for 80 people together with a “club class” hospitality area on the upper floor. Overall some 350 people could operate comfortably within the building at any one time.

經過精挑細選的物料加強了品牌形 像:粉末塗裝不鋼加上在時尚的會 客室所使用的材質,結合石材的粉飾 及建築玻璃,令展位儼如永久  建築, 醒目而生  。

The building features an L-shaped plan, encompassing a square piazza which is a registration area for the pavilion. A classic modernist design was conceived to represent the high quality and trustworthiness of the brand. Free from gratuitous forms, it has a very self-confident air without being ostentatious or overtly showy. H Studio

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Hewlett Packard Pavilion at itu 2003


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演示廳的空間相當舒適,仿如小型的試映廳,並配備了先進的音響系統和兩個投影屏。 The main presentation theatre was designed as a very comfortable space akin to a small preview cinema. It was equipped with twin projection screens and a state-of-the-art sound system.

Hewlett Packard Pavilion at itu 2003

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H Studio


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一樓的設計鮮明,呈現品牌善於創造和充 滿活力的特質。 On the first floor a striking design language was used to allude to the more inventive and dynamic qualities of HP.

The open plan ground floor area stretched out ahead of the visitors, populated with a series of demo areas with supporting graphic and digital media covering various aspects of the brand story. The whole space was lit in a manner suggestive of a science expo: a blue glow with halogen and tungsten spotlights set off the demonstrations and graphics. On the first floor a striking design language was used to allude to the more inventive and dynamic qualities of HP. Natural and manmade materials coexisted in an interesting and stimulating way, creating a stunning circulation route. The contemporary meeting rooms combined back-lit glass, fabric panels, and stucco finishes with warm timber table tops and Vitra meeting room furniture. Each room featured a plasma screen and a presentation sound system. The main presentation theatre was designed as a very comfortable space akin to a small preview cinema. It was equipped with twin projection screens and a state-of-the-art sound system.

H Studio

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Hewlett Packard Pavilion at itu 2003


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The colour and materials palette of the hospitality space had a warm and stylish feel. A raised platform with views over the piazza and exhibition hall was furnished with low chairs and custom-made tables. Other bar users could use the standing tables more central to the space. The palette of materials was carefully selected to reinforce the brand image. Stainless and powder coated steel in addition to materials such as those found in the contemporary meeting rooms were all used in conjunction with stone render and architectural glazing to make the building look permanent, smart and dynamic.

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款客區的色彩和物料溫暖而時尚。從架高的 平台上可以一覽廣場和展館的景致,內裡設 有低矮的椅子和定造的桌子,而酒吧的客人 則可使用高檯。 The colour and materials palette of the hospitality space had a warm and stylish feel. A raised platform with views over the piazza and exhibition hall was furnished with low chairs and custom-made tables. Other bar users could use the standing tables.


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客戶Client Hewlett Packard 製作公司Production Company kaleidoscope Productions 總承辦商Main Contractor expomobilia 音效創作Sound Design richard Sinclair 燈光顧問Lighting Consultant Paul o’ Brien 燈具Lighting Fixtures & Fittings Zumtobel 傢具Furniture Prouve, Morrison, vis a soft, van Severen.03 by vitra; Stitz by wilkahn; knoll 369 by twenty twentyone 牆飾Wall Covering kavadrat 鋪地Flooring Black stained and lacquered MdF, carpet 藝術品Artwork lambda prints mounted to powder coated steel and offset mounted to sandblasted glass by rHM graphics / expomobilia 織物Upholstery Black leather Grey leather white ply 視聽系統AV System the Projection Partnership 攝影Photography Jamie Padgett Photography

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Karim Rashid Inc

Audi A4 Launch 韓國首爾海逸酒店Hyatt Hotel, Seoul, Korea 2,370平方呎/sq ft

Audi A4 Launch, Seoul

Audi A4 Launch

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「奧迪」新款A4發佈會在首爾海逸酒店舉行,會場由四個區域組成, 連貫而有序,每個區域突出A4體驗的不同方面,參觀者彷彿完全離開 了酒店,進入全新「奧迪」A4的時尚新世界。 參觀者從酒店大堂進入宴會廳,即踏入充滿光澤的黑色空間,令人忘卻 之前的視覺印象,準備迎接新事物。牆體使用彈  黑膠物料,高度不一, 此起彼伏,電鍍冷光條燈飾使之更為矚目。透過低矮的隔牆及洞口,訪 客得以窺見後面的風光。門廳的形狀將參觀者引往中心點,在那裡,人 們可選擇向左或向右走。 印有圖案的地毯將展場劃分為四個區域,每區都有其獨特的代表圖案。 在各個區域之間設置了休閒及交流站,供銷售人員與客人洽談。

佈局圖Layout plan

(左頁)充滿光澤的黑色膠質地板和牆體營造出高科技感,一直延伸至「奧迪」的彩色世 界。 (Left page) Glossy black vinyl floors and walls create a high-tech segue into the colourful world of the Audi experience. (本頁)由電鍍冷光燈粉飾的牆體和發光的品牌標誌突顯了入口處流線的形態。 (This page) Electro luminescent light trimmed walls and a glowing brand logo accent the soft flow of the entrance.

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展場內的四個區域以印有圖案的地毯劃分,每個區域都有其獨特的代表圖案。 Four zones are defined by printed carpet - each with a unique pattern.

展場的周邊是一面飾以銀色彈 Barrisol物料的流線形牆體。 The perimeter of the booth is a flowing wall by stretched silver Barrisol.

Audi A4 LAunch

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中央展示台是一個綜合區,重點展示A4的「內 部」與「外部」。展示台形如一個無限大的符 號,表現了兩者共生的關係。每輛車都標印了 其原創記號及個   特色:「外部」車身上蓋有塑 膠圖案,而「內部」車裡則重新裝上具圖案的織 物椅墊,仿如高級品牌。鋪蓋了地膠的展示台僅 高一個台階,方便客人上前親身感受A4的特  。 「科技區」 內,車子展示在微傾的鏡面台上, 上方還懸掛了一面角鏡,讓客人可清晰觀察車 的每個部件,另外還附上關於A4規格和技術含 量的詳細資料。 「駕駛體驗區」的展示台使用了格子狀的LED 燈光來突顯A4,上方懸掛著的板塊同樣採用了 LED燈照亮。色彩變換的LED賦予白色A4不同 的格調,表現出它能迎合不同  格的駕駛需求。 展場以銀色彈   織物圍起,從而將展示區與宴會 廳分隔開來,營造別有洞天的世界。展示台一概 在下方使用上射燈,邊緣是由透過薄膜滲出的燈 光所界定,使車子恍如懸空漂浮。整體燈光柔和 以凸現展示台及休閒區。

Held in Hyatt Hotel Seoul, the Audi New A4 launching event has been reenvisioned as a cohesive organic environment composed of four zones, each highlighting different aspects of the A4 experience. Visitors would feel as if they have completely left the hotel, entering the new contemporary world of the Audi A4. When you first approach the display from the hotel lobby into the ballroom, you enter a technical glossy black environment that strips away all previous visual elements and prepares you for the new experience. The walls are stretch black vinyl, undulating in height and highlighted by electro luminescent strip lighting. The walls drop down to allow views and have cutouts to get a sneak peak at what lies beyond. The form ushers the visitors into a central point where they can chose to go either left or right. Inside the booth, four zones are defined by printed carpet - each with a unique pattern. Relaxation areas and stations for the representatives to interact with the guests are located between zones. The central platform is the combination section highlighting the “Interior” and “Exterior” of the A4. Shaped like an infinity symbol, the platform shows the symbiosis of the two components. Each car has been branded to show its originality and personalization: the Exterior car is covered in vinyl icons while the Interior car is reupholstered in icon fabric like a luxury brand. The vinyl tiled clad platform is only one step up, encouraging the customers

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「科技區」 內的A4展示在微傾的鏡面台上,上方懸掛了一面角鏡,讓客人可清晰觀察車 的每個部件。 The“Technology”zone is dedicated to reveal the technology of the car, which is placed on a tilted mirrored platform with a suspended angled mirror panel overhead, allowing viewers to see every component of the vehicle.

「駕駛體驗區」內,展示台和上方懸掛的板塊以LED照射,隨著駕駛者的心情轉換色彩。 In the zone of “Driving Experience” a platform and overhead form lit by colour-changing LED lights change with the mood of the driver.

休閒及交流站供銷售人員與客人洽談。 Relaxation areas are facilitated with stations for the sales team to communicate with guests.

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to get up on stage and experience the vehicles. In the “Technology” zone, the car is placed on a tilted mirrored platform with a suspended angled mirror panel overhead, allowing the guest to see every component of the vehicle. This is accompanied by detailed information on the specs and technology of the car. The “Driving Experience” is a zone presenting the A4 on a platform highlighted by a grid of LED lights. A form hanging above the car is also lit with LED. The colour-changing LED lights wash the White A4 in different moods that represent the various driving performance personalities of the car. The enclosure of the booth is made of a silver stretch fabric to separate the presentation from the ballroom, creating a world within a world. The platforms are all lit from underneath, rimmed with a glow of light from the EL film, allowing the cars to float off the floor. The overall lighting was soft while accenting the platforms and the relaxation areas.

客戶Client Audi 項目經理Project Manager Yoon Chung, Dennis Askins 總承辦商Main Contractor Model Plus 燈光顧問Lighting Consultant Model Plus 燈具及傢具Lighting Fixtures & Furniture Model Plus 牆飾及鋪地Wall Covering & Flooring Model Plus 藝術品Artwork Karim Rashid Inc 攝影Photography Karim Rashid Inc Karim Rashid Inc

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Freddie Georges Production Group

Rockstar Games at Electronic Entertainment Expo 2005 美國洛杉磯Los Angeles, United States 10,000平方呎/sq ft

(Padgett and Company, © 2005)

Rockstar Games at E3, LA

Rockstar Games at E3

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應邀者可在巴士前方私密的「Rockstar休閒廊」小憩 片刻,那兒擺放了高級精緻的黑色皮革傢具。 Invitees can hang out at the private“Rockstar Lounge”positioned in front of the buses. The lounge showcases designer furniture upholstered in highgrade black leather.

Take Two Interactive旗下的Rockstar Games展位設計極具創意,在2005電子 娛樂展的電腦遊戲館中脫穎而出。洛杉 磯的Freddie Georges Production Group 的設計包含了八呎高的鍍鋅金屬網和十呎 寬的入口,選擇  地過濾了大部分客商。 (FGPG, © 2005)

九輛Rockstar旅遊巴士停放在面積為 10,000平方呎的展覽區,每輛巴士都展示 了Take Two推出的新遊戲。深灰色的雙層 地毯令人聯想到停車場的柏油地面。巧妙 的佈局令外面的人僅僅可以透過金屬網一 瞥巴士,而兩個壯實的門衛更強化了「非 請勿進」的意味。 定製的Rockstar旅遊巴的特色包括車內安 裝了不透光窗戶、隔音設施、主題圖案以 及播放最新遊戲的等離子螢幕;牆上掛有 黑色發泡膠板,上面是印有各遊戲中主要 人物的高解析度圖像,而軟皮革座椅更為 整體環境增添了幾分豪華感。應邀者也可 在巴士前方私密的「Rockstar休閒廊」 小憩片刻,那兒擺放了高級精緻的黑色 皮革傢具。

佈局圖Layout plan

九輛Rockstar旅遊巴士停放在面積為10,000平方呎的展覽區,每輛巴士都展示了Take Two推出的新 遊戲。 Nine Rockstar Tour Buses parked on the 10,000-sq-ft exhibition space each showcase one of the new games featured by Take Two.

天花上的木方體飾以立體膠字塊及經層壓 處理,用來標誌展覽空間。白色的燈光溢 滿整個展場,突顯了巴士車身上的圖像的 鮮明色彩。 有別於傳統容易進出的展位設計,這個排 外式的獨特方案隔絕了擁擠的人群,加強 了公司「壞男孩/搖滾」的品牌定位。 (FGPG, © 2005) Freddie Georges Production Group

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(Photo by Martin Elbogen, © 2005)

八呎高的鍍鋅金屬網和一個十呎寬的入口強化了 「非請勿進」的意味。 Invite-only access to the exhibition space was enforced with the assistance of an eight-foot high-galvanized metal chain link fence and single ten-foot wide entrance. 天花上一個木方體飾以立體膠字塊及經層壓處 理,用來標誌展覽空間。白色的燈光溢滿整個 展場,突顯了巴士車身上的圖像的鮮明色彩。 At the ceiling level, a wooden cube marks the exhibition space using 3D foam letters with laminate finish as white lights flood the area to ensure the full saturation of colours in the exterior bus graphics.

(Photo by Martin Elbogen, © 2005) Rockstar Games at E3

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(Photo by Martin Elbogen, © 2005)

(Photo by Martin Elbogen, © 2005)

The innovative installation for the Rockstar Games division of Take Two Interactive was unlike any exhibition space at the 2005 global Electronic Entertainment Expo video game convention. Los Angeles-based Freddie Georges Production Group designed a booth that selectively keeps most attendees out with an eight-foot-high galvanized metal chain link fence and single ten-foot wide entrance. Nine Rockstar Tour Buses parked on the 10,000-sq-ft exhibition space each showcase one of the new games featured by Take Two. Doublepadded charcoal grey carpet evoke a bus yard tarmac while a clever layout allow outsiders only a glimpse of the buses through the chain link fence. Two beefy bouncers at the entrance enforce the invite-only access. The custom Rockstar Tour Bus interiors feature blacked-out windows, soundproofing, themed graphics and plasmas screens playing the latest video games. Interior walls highlight the primary characters of each game title with high-resolution digital prints mounted on black foam board while soft leather seating add a touch of luxury to the environment. Invitees can also hang out at the private “Rockstar Lounge” positioned in front of the buses. The lounge showcases designer furniture upholstered in high-grade black leather. At the ceiling level, a wooden cube marks the exhibition space using 3D foam letters with laminate finish as white lights flood the area to ensure the full saturation of colours in the exterior bus graphics. In place of conventional easy-to-access tradeshow booths, this exclusive retreat forces out the crowds to reinforce the client’s “bad boy/rock and roll” brand positioning.

Freddie Georges Production Group

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(Padgett and Company, © 2005) 定製的Rockstar旅遊巴的特色包括車內安裝了不透光窗戶、隔音設施、主題圖案以及播放最 新遊戲的等離子螢幕;牆上掛有黑色發泡膠板,上面是印有各遊戲中主要人物的高解析度圖 像,而軟皮革座椅更為整體環境增添了幾分豪華感。 The custom Rockstar Tour Bus interiors feature blacked-out windows, soundproofing, themed graphics and plasmas screens playing the latest video games. Interior walls highlight the primary characters of each game title with high-resolution digital prints mounted on black foam board while soft leather seating add a touch of luxury to the environment.

Rockstar Games at E3

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(FGPG, © 2005)

(FGPG, © 2005) 客戶Client Rockstar Games / 總承辦商Main Contractor Turnkey Design & Production by Freddie Georges Production Group / 燈光顧問Lighting Consultant Turnkey Lighting Design & Production by Exhibit Lighting Group / 傢具Furniture Rental furniture by FormDecor Inc / 牆飾Wall Covering Chain link fence by Freddie Georges Production Group / 鋪地Flooring Carpet by Show Carpet Specialties / 藝術品Artwork Digital prints by Photographix / 視聽系統AV System AV Dimensions Inc

Freddie Georges Production Group

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burdifilek

Teknion Tradeshow Booth at IIDEX NeoCon Canada 加拿大多倫多National Trade Centre, Toronto, Canada 2,400平方呎/sq ft

Teknion Tradeshow Booth, Toronto Teknion Tradeshow Booth

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在展位設計上,令人震攝是一切創作概念的目標。在法國黑色絲 綢的包裝下,展位緊緊攫住了來往客商的注意力,吸引他們走近 細看,還有比「神秘」更具力量的嗎?

(左頁)展位設計的總體概念極具代表 地反映了Teknion對創意的追求,並且 成為別樹一幟的臨時建築物。 (Left page) The overall concept represents Teknion’ s dedication to creativity and becomes a signature example of temporary architecture.

在加拿大舉辦的2003國際室內設計展中,多倫多的burdifilek設 計師事務所為Teknion設計了一個榮獲展覽設計獎的展位,這個 設計為一成不變的貿易展銷攤位注入新潮的時尚氣息,同時突 出了別具歐洲風格的辦公室傢具產品。

(本頁)展位設計採用了經典的現代主 義風格,以及新奇的物料和塗飾,營造 出戲劇 效果。透光的淡紫色天花突顯出 富光澤的黑色亮漆和肉色玻璃,並烘托 出與別不同的肉色羊毛地毯。 (This page) The booth design highlights classic modernist forms with unexpected materials and finishes to dramatic effect. Glossy black lacquer combined with flesh-toned glass all play out under a backlit, glowing lilac ceiling and set off the unconventional flesh-toned wool carpet.

此專案在位於Design Exchange舉辦的2004「加拿大之最」開 幕典禮上獲得表彰,其經典的現代主義風格,以及新奇的物料 和塗飾,營造出戲劇  效果。透光的淡紫色天花突顯出富光澤的 黑色亮漆和肉色玻璃,並且烘托出與別不同的肉色羊毛地毯。

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Shock value is the name of the game when it comes to exhibition booth design. What better to catch the attention of passers-by at a trade show than an exhibit shrouded in black silk fringe - imported directly from France - inviting the eye for a closer look?

整體展位結構被設計成私密的陳列 室,以呈現產品在辦公環境內的靈 活  。絲綢帷幔提供了私密  ,卻不阻 擋訪客進入陳列室。設計組創造了可 在生產及加工後運送到會場組裝的模 件,並以明顯的接縫來掩飾接口。鑒 於貿易展通常須於三天內建造完成, 因此為減省安裝時間,設計師採用了 不依附於牆體的單體浮  式天花系統及 劇場照明。透明合成樹脂牆板和外圍 紗簾配有槽式系統,以便調節高度。

The aw ard-w i nni ng exhi bi ti on design by Toronto-based burdifilek for the Teknion Corporation at the 2003 International Interior Design Exhibition in Canada incorporates a sense of high fashion into the typically staid booth concept while

展位設計的總體概念極具代表  地反映 了Teknion對創意的追求,並且成為別 樹一幟的臨時建築物。

鑒於貿易展通常須於三天內建造完成,為減省安裝時間,設計師採用了不依附於牆體的單體浮 式天 花系統及劇場照明。透明合成樹脂牆板和外圍紗簾配有槽式系統,以便調節高度。 The ceiling system and theatrical lighting are a single free-floating component independent of walls to minimize the installation period, as trade show booths are typically set up in three days. Lucite wall panels and fringe curtains also fit in a slot system to allow for height adjustments.

Teknion Tradeshow Booth

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burdifilek

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整體展位結構被設計成私密的陳列室,以呈現產品在辦公環境內的靈活 。絲綢帷幔提供了 私密 ,卻不阻擋訪客進入陳列室。 The booth structure was designed as a private showroom to promote the product line’ s flexibility within the office environment. The silk fringe offers a bit of privacy without impeding access to the showroom.

highlighting the client’s European themed office furniture.

showroom. The team designed modular components with intentionally visible seams to disguise joints, enabling off-site manufacturing and finishing and on-site installation. The ceiling system and theatrical lighting are a single free-floating component independent of walls to minimize the installation period, as trade show booths are typically set up in three days. Lucite wall panels and fringe curtains also fit in a slot system to allow for height adjustments.

Recognised at the 2004 “Best of Canada” ceremony at the Design Exchange, the booth design highlights classic modernist forms with unexpected materials and finishes to dramatic effect. Glossy black lacquer combined with flesh-toned glass all play out under a backlit, glowing lilac ceiling and set off the unconventional flesh-toned wool carpet.

The overall concept represents Teknion’s dedication to creativity and this unique exhibition booth becomes a signature example of temporary architecture.

The booth structure was designed as a private showroom on the exhibit floor to promote the product line’s flexibility within the office environment. The silk fringe offers a bit of privacy without impeding access to the

Teknion Tradeshow Booth

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客戶Client Teknion furniture systems 總承辦商Main Contractor Taylor Group 燈具Lighting Fixtures & Fittings Taylor Group 傢具Furniture Teknion 鋪地Flooring wood by Taylor Group; carpet by sullivan source 天花板Ceiling CGC Ceiling systems 藝術品Artwork Teatro Verde 攝影Photography richard Johnson layout plan佈局圖

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科譽(香港)有限公司市場部 In-house Marketing Dept. of POSH Office Systems (HK) Ltd POSH’s Tradeshow Booth at China International Furniture Fair 中國廣州國際會議展覽中心 Guangzhou International Convention & Exhibition Centre, China 5,380平方呎/sq ft

POSH’s Tradeshow Booth, Guangzhou

POSH’ s tradeshow booth

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由於毗連自 樓梯,上落會場各層的參 觀者都可從較高位置俯瞰整個攤位, 故設計師把攤位頂棚局部變成廣告板, 並且發展出一套簡單的格子系統,將 空間劃分為主展示區、會議室及「時 光隧道」。 Adjacent to the escalator, visitors traveling between different floors can observe the entire booth from above. Thus, part of the roof of the booth was transformed into an advertising board and a simple grid system was applied to demarcate the space into the Main Display Area, Conference Room and“The Time Tunnel”.

在全亞洲最大的展覽館──廣州國 際會議展覽中心──舉行的「中國 廣州國際傢具博覽會」是傢具公司 展銷商品、宣傳品牌形像的好機 會。科譽(香港)有限公司便藉是 次博覽會展示其嶄新形像──攤位 以一身綠衣示人,綠意盎然的佈置 表明了公司的立場:所有產品物料 都符合國際環保標準,而企業標識 亦因此由原來的紅色變成綠色,以 反映這個品牌特點。 由於毗連自動樓梯,上落會場各層 的參觀者都可從較高位置俯瞰整個 攤位,有別於一般從水平視線出發 的方案,設計師的創作概念是從頂 部開始,想像人們從上而下看到的 展位是如何,再將攤位頂棚局部變 成廣告板。另一方面,此設想亦發 展出一套簡單的格子系統,將空間 劃分為主展示區、會議室及「時光 隧道」。設計師又以格子為基本元 素,建構出會議室的外牆及「隧 道」,格子形狀同時把整個空間 規劃貫徹、統一。 在展示策略上,設計師希望只突 出重點推介產品Contessa,所以 特別創造了一條「時光隧道」來

POSH Office Systems (HK) Ltd

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Held in Asia’s largest exhibition hall, Guangzhou International Convention & Exhibition Centre, China International Furniture Fair provides an opportunity for furniture companies to showcase products and promote brand images. POSH Office Systems (HK) Ltd took advantage of this Expo to unveil their brand-new image. The lush green decoration of the booth embodies POSH’s position: all product materials reach international environmental protection standards. The corporate colour has been revamped from red to green to reflect this particularity of the brand.

陳列此椅子系列,而其餘的商品都放置在寬敞的主展示區。「隧道」 的三面是燈箱,均飾以帶負片及X光效果的椅子相片,再加上播放中的 「歌聲魅影」音樂,一種有別於貿易展的氣氛將參觀者包圍著,使身 處其中的人能更投入地欣賞這套椅子的獨特演繹。 「隧道」光亮的燈箱牆極為矚目,相對地,安裝在框架橫樑底的環境光 燈具就顯得柔和。除了「隧道」外,會議室也是一個以光彩作號召的地 方,它有一面特色燈箱牆,由綠色玻璃夾著圓形燈管造成,再配合會議 室上方那標籤了品牌名字的巨型綠色正方體,即使會場偌大,參觀者亦 可清晰望見。五米高的會議室是用自家的屏風系統建成,原來用於將辦 公桌分開的隔板,在這裡當作牆體,突顯了品牌產品的靈活  。

POSH’ s tradeshow booth

Adjacent to the escalator, visitors traveling between different floors can observe the entire booth from above. Breaking away from the conventional design approach that emphasizes the horizontal plane at eye-level, the designer started from the top and visualized what people

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綠意盎然的佈置表明了「科譽」的立場:所 有產品物料都符合國際環保標準,而企業標 識亦因此由原來的紅色變成綠色,以反映這 個品牌特點。 The lush green decoration of the booth embodies POSH’ s position: all product materials reach international environmental protection standards. The corporate colour has been revamped from red to green to reflect this particularity of the brand.

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would see from upper levels. Thus, part of the roof of the booth was transformed into an advertising board. Moreover, this concept led to a simple grid system that demarcates the space into the Main Display Area, Conference Room and “The Time Tunnel”. Lattice is also deployed as a fundamental element that serves to form the exterior wall of the Conference Room as well as “The Time Tunnel”. Consistent use of the grid system makes the whole space coherent and united.

a finishing touch to the creation of an atmosphere distinct from the average trade fair, allowing visitors to be immersed in the unique interpretation of the chair. The brilliance of the light box wall in the tunnel contrasts sharply to the soft ambience lighting under the joists of the framework. The Conference Room was also brightened by a feature light box wall made of circular lamp tubes clamped by green glass. Together with a gigantic green cube marked with the brand name on the rooftop, the stand attracts visitors from every corner in the grand hall. The 5m high Conference Room is built with POSH’s screen system, which is originally used as a partition to divide workstations in an office. The new application of the screen system in the tradeshow reveals the flexibility of the brand’s products.

Contessa is the focal product that the designer wanted to highlight. As a display strategy, “The Time Tunnel” is specially created to showcase this chair series, while other products are placed in the spacious Main Display Area. Light boxes are set at three sides of the tunnel and are decorated by photographs of chairs processed with negative and X ray effects. Music from the musical “Phantom of the Opera” provides

POSH’ s tradeshow booth

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(左頁)會議室的外牆及「隧道」上的格子形狀統一了整個空間的規劃。 (Left page) Consistent use of the grid system as on the exterior wall of the Conference Room and “The Time Tunnel”makes the whole space coherent and united. (上)「隧道」的三面是燈箱,均飾以帶負片及X光效果的椅子相片,再加上播 放中的「歌聲魅影」音樂,一種有別於貿易展的氣氛將參觀者包圍著。 (Top) Light boxes are set at three sides of the tunnel and are decorated by photographs of chairs processed with negative and X ray effects. Music from “Phantom of the Opera”provides a finishing touch to the creation of an atmosphere distinct from the average trade fair. (下)「時光隧道」突出重點推介產品Contessa。 (Bottom) Contessa, the focal product, is highlighted in“The Time Tunnel”.

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POSH’ s tradeshow booth


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POSH’ s tradeshow booth

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會議室有一面特色燈箱牆,由綠色玻璃夾著 圓形燈管造成,再配合會議室上方那標籤了 品牌名字的巨型綠色正方體,即使會場偌 大,參觀者亦可清晰望見。 The Conference Room was brightened by a feature light box wall made of circular lamp tubes clamped by green glass. Together with a gigantic green cube marked with the brand name on the rooftop, the stand attracts visitors from every corner in the grand hall. 五米高的會議室是用POSH的屏風系統建 成,原來用於將辦公桌分開的隔板,在這裡 當作牆體,突顯了品牌產品的靈活 。 The 5m high Conference Room is built with POSH’s screen system, which is originally used as a partition to divide workstations in an office. The new application of the screen system in the tradeshow reveals the flexibility of the brand’ s products.

總承辦商Main Contractor Tong Da Advertising & Decoration Co Ltd 燈光顧問Lighting Consultant In-house production team of POSH Office Systems (HK) Ltd 燈具Lighting Fixtures & Fittings In-house production team of POSH Office Systems (HK) Ltd 視聽系統AV System POSH Office Systems (HK) Ltd 攝影Photography Lam Lam & Camille Lee of POSH Office Systems (HK) Ltd

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時代創建香港有限公司Conceptual Hong Kong Ltd

Dragonair at Hong Kong International Travel Expo 2005 香港會議展覽中心Hong Kong Convention & Exhibition Centre 2,560平方呎/sq ft

Dragonair’s Booth, Hong Kong

Dragonair’ s Booth

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「香港國際旅遊展」每年吸引超過 500個來自50個國家的參展商,是 海內外旅遊業一個營運與溝通的重 要平台。港龍航空為慶祝成立二十 周年,以歷來最大的規模參與「第 十九屆香港國際旅遊展」,租用了 較歷年多三倍面積的攤位,以256 平方米的攤位成為全場最大、最矚 目的參展商。 為突顯港龍航空的企業形像及加強 參觀者的親切感,展位的設計以「 港龍大廈」為主題──中央接待區 及重點展示區的外形參考了港龍總 部大樓的建築,塑造成高6.5米的 長方形結構,上部由半透明磨砂 膠片包圍,而頂部是一個微曲的 框架,看起來非常輕巧。 此外,整個展覽在用色與圖案設計 方面都配合了企業為二十周年誌慶 而定立的新形像,以企業標誌的紅 色及白色相互配搭,加上簡約、富 現代感及獨特  的元素,營造出優 雅而舒適的效果。 佈局方面,為宣傳航空公司最新型 號的飛機將增設Pacific Coffee, 設計師在最有利的位置設了「太 平洋咖啡區」,讓參觀者認識公 司航機的最新設施,同時亦可品 嚐美味的咖啡。 展位三邊排列了十三個開放式的獨 立展位,既使攤位內的通道更為寬 闊和通達,也方便了其他參展的合 作夥伴如旅行社、酒店等向市民推 介最新優惠及服務。每個獨立展位 上均飾有飛機機尾的模型板,設計 師James Lam表示:「獨立展區 就如停機坪上的飛機停泊在『港 龍大廈』的周圍,這樣更能突出 中央的接待區。」

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Dragonair’ s Booth


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Dragonair’ s Booth

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整個展覽以企業標誌的紅色及白色為主,配合了企業為二十周年誌慶而定立的新形像。 Red and white as corporate colours are adapted to match the new image specially set for the 20th anniversary. 中央接待區及重點展示區的外形參考了港龍總部大樓的建築,塑造成高6.5米的長方形結構,上部由半透明磨砂膠片包 圍,而頂部是一個微曲的框架,看起來非常輕巧。 The Central Reception and Main Display Area draw from the architecture of the corporate headquarters. The result is a rectangular structure with a height of 6.5m whose upper section is enclosed by translucent sandblasted film and topped with a curvy framework that gives rise to a sense of lightness.

Attracting over 500 exhibitors from 50 countries annually, Hong Kong International Travel Expo serves as a significant platform of operation and communication for domestic and oversea tourism markets. To celebrate its 20th anniversary, Dragonair has expanded its presence in the 19th International Travel Expo Hong Kong by renting an exhibition stand three times the size of its previous booth. The 256-sq-m area made Dragonair the most prominent exhibitor at the Expo. The theme “Dragonair Mansion” highlights the corporate image while welcoming visitors. The theme is realized at the Central Reception and Main Display Area, which draw from the architecture of the corporate headquarters. The result is a rectangular structure with a height of 6.5m whose upper section is enclosed by translucent sandblasted film and topped with a curvy framework that gives rise to a sense of lightness.

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展區兩邊裝置了飛機的「機尾」,凸現出參展商為航空公司的特 。 The plane’s tail is fixed at both sides of the exhibition area to highlight the nature of the exhibitor as an airline company.

佈局圖Layout plan

展位三邊排列了十三個開放式的獨立展位,既使攤位內的通道更為寬闊和通達,也方便其他參展的合作夥伴如旅行社、酒店等向市民推介最新優惠及服務。 Thirteen open individual booths are arranged on three sides to create more spacious passages while also making it more convenient for other business partners such as travel agencies and hotels to promote their latest offers and services.

Dragonair’ s Booth

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In addition, the colour scheme and graphic design of the entire exhibition are adapted to the new image specially set for the 20th anniversary. The red and white corporate colours and simple, modern and unique elements create a graceful and comfortable environment. As part of the promotion campaign focusing on the addition of Pacific Coffee in the latest model of Dragonair’s planes, “Pacific Coffee Area” is situated in the most advantageous position in the exhibition booth to enable visitors to learn about the new facilities while tasting delicious coffee at the same time. Thirteen open individual booths are arranged on three sides to create more spacious passages w h i l e a l s o m a k i n g i t m o re convenient for other business partners such as travel agencies and hotels to promote their latest offers and services. Model boards of the plane’s tail decorate each individual booth. Designer James Lam explains: “The individual exhibition areas are symbolic of planes on a landing strip surrounding ‘Dragonair Mansion’, further emphasizing the Central Reception Area.”

為宣傳航空公司最新型號的飛機將增設Pacific Coffee,設計師在最有利的位置設了「太平洋咖啡區」,讓參觀者認識公司的最新設施,同 時亦可品嚐美味的咖啡。 As part of the promotion campaign focusing on the addition of Pacific Coffee in the latest model of Dragonair’s planes, Pacific Coffee Area is situated in the most advantageous position in the exhibition booth to enable visitors to learn about the new facilities while tasting delicious coffee at the same time.

咖啡區旁陳列了最新型號飛機裡的新式座椅配套。 New seating sets found in the latest plane model are displayed adjacent to the coffee area.

客戶Client Hong Kong Dragon Airlines Ltd 總承辦商Main Contractor Conceptual Hong Kong Ltd Conceptual Hong Kong Ltd

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II BY IV Design Associates Inc

Ciot Marble & Granite at Interior Design Show 2004 加拿大多倫多Toronto, Canada 250平方呎/sq ft

Ciot at IDS, Toronto Ciot’ s Tradeshow Booth at IDS

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佈局圖Layout plan

多年以來,Ciot大理石及花崗岩公司都會委託多倫多的II BY IV為其設 計展位。II BY IV在2002及2003年的展示設計中屢獲殊榮,而今次設 計師再以簡潔而有力的「筆觸」,為石材和瓷磚勾勒出豐富的色彩和 流暢的線條。

雪白的矩形天花板兩端掛有寬闊的金屬簾 幕,熠熠發光,上面印有大型商標。 at opposite ends of a white, rectangular ceiling panel, glittering expanses of metallic daisy chain drapery are hung, incorporating giant logos.

雪白的矩形天花板兩端掛有寬闊的金屬簾幕,熠熠發光,上面印有大型 商標。展位內,簡約的平台由不銹鋼 包邊的白色橢圓形瓷磚造。平台上 是一個巨大而延續的曲形結構,採用了中密度纖維板製成,劃分了若干 個起居及工作空間,包括會議區和演示間。每個表面都鋪上青綠色或番 茄紅等色彩明快的馬賽克,反照出樸素的上射燈和下射燈的明亮光線。 設計師選取了Ciot幾種新款式的瓷磚進行展示。首先是彩虹色的玻璃馬 賽克,運用最先進的金屬氧化技術來處理玻璃,帶出變幻的色彩效果。 另一款瓷磚充分利用了珍貴的金屬硒和鎘的揮發 ,當在極高溫下融化 時,產生炫目的紅色和黃色色澤;而細小的、人工切割的透明玻璃系 列,更展現了Ciot產品盡善盡美的特質。 光滑的掛牆式水龍頭置於藝術玻璃臉盆上方;圓鼓鼓的軟墊用柔軟順 滑的布料織製,而光亮的垂直鏡面和掛牆式儲物組件更為美輪美奐的 展位憑添幾分高雅。

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Ciot’ s Tradeshow Booth at IDS

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展位內,簡約的平台由 不銹鋼包邊的白色橢圓 形瓷磚造。平台上是一 個巨大而延續的曲形結 構,採用了中密度纖維 板製成,用來劃分出若 干個起居及工作空間。 On a simple platform of white oval tile edged in stainless steel, a huge, continuous bent form made of MDF delineates several living and working spaces.

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青綠色或番茄紅等色彩明快的馬賽克反照出 樸素的上射燈和下射燈的明亮光線。 Mosaic tile in vibrant colours, ranging from lime green to tomato red, reflect the glow of discreet downlights and uplights.

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Year after year, Ciot Marble & Granite have turned to Toronto-based II BY IV Design for booth design - and for a good reason too. Topping the awardwinning displays created in 2002 and 2003, the designers again bring colour and curves to stones and tiles in one simple stroke. At opposite ends of a white, rectangular ceiling panel, glittering expanses of metallic daisy chain drapery are hung, incorporating giant logos. Within, on a simple platform of white oval tile edged in stainless steel, a huge, continuous bent form made of medium density fiberboard delineates several living and working spaces including a meeting space and presentation theatre. Each face is surfaced with mosaic tile in vibrant colours ranging from lime green to tomato red, reflecting the glow of discreet downlights and uplights. The designers chose several new tile patterns from Ciot for display. The first is an iridescent glass mosaic with colour-changing effects obtained by treating glass with premium metal oxides. The second takes advantage of the volatility of the precious metals selenium and cadmium, which produce a brilliant range of red and yellow tones when melted at very high temperatures. The product showcase is complete with a selection of small hand cut pieces of transparent glass. A sleek wall-mounted faucet above an art glass basin, plump round cushions in luscious persimmon fabric, a vertical slab of mirror and wall-mounted storage units in a matching high gloss finish add an elegant touch to the dramatic exhibit.

客戶Client Ciot Marble & Granite 總承辦商Main Contractor Von Construction 燈具Lighting Fixtures & Fittings Eurolite 瓷磚Tile Murano Smalto, Sicis Glass 3 Collection, Sicis Water Glass 金屬簾幕Chain Curtain Daisycake 攝影Photography David Whittaker II BY IV Design Associates Inc

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MBD Design

Payot Libraire at Geneva Book Fair 2005 瑞士日內瓦Geneva, Switzerland 3,240平方呎/sq ft

Payot’s Book Fair Stand, Geneva

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佈局圖Layout plan

(左頁)Payot經營多樣化的書籍,而是次展覽則特別為年輕人設置專場,因此設計師採用 了跳脫的筆觸、鮮明的色彩以加添幾分活力與新鮮感。 (Left page) Payot, a non-specialised bookshop, has opted for an exclusive presentation of what it has to offer to young people. Therefore, a play on striking and vivid colours is employed to add dynamism and freshness.

作為瑞士數一數二的法語書店,Payot Libraire決定首次參加2005日內瓦 書展,藉此吸引公眾的關注。MBD Design以其在書展設計方面的豐富 經驗和專業知識,受Payot委託為其展位提供設計及承建服務。

(本頁)中央的團隊接待區由高佻的圖騰柱環繞,柱的上部飾有指示個別主題的圖案,而 書籍則放置在底部的書架及陳列桌上。 (This page) The central part, a dedicated group-welcoming area, is surrounded by tall totems with visuals on the upper part indicating the topics while books are displayed on lower shelves and on the presentation tables.

Payot經營多樣化的書籍,而是次展覽則特別為年輕人設置專場。設計 強調古典風格的商業建築,以跳脫的筆觸、鮮明的色彩添加幾分活力 與新鮮感。 設計師憑藉色彩凸現出時尚感、多元���和趣味  ,同時以多種顏色把各 類諸如科幻、記實小說、自然、藝術等的青年讀物劃分成不同區域。 展位安排在會議室、討論與比賽會場的附近,昭示了Payot在業界的地 位。偌大的空間無論在垂直或水平上均得到充分利用。 中央的團隊接待區由高佻的圖騰柱環繞,支撐並構成展示的一部分,令 展位更為突出。每個圖騰的上部飾有指示個別主題的圖案,而書籍則放 置在底部的書架及陳列桌上。 展位周圍的公共帶是一些與書籍有關的活  區,上面皆標示了「閱讀」 二字,從戲劇閱讀、興趣閱讀到在閱讀中學習和提升自我,都證明了 書籍是無所不在以及其重要  。

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設計師憑藉色彩凸現出時尚感、多元化和趣味 ,同時以多種顏色把各類青年讀物劃分到不同區域。 Colour expresses modernity, diversity and pleasure but also plays a functional role by differentiating between the various types of publications for youth.

Payot’ s Book Fair Stand

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展位周圍的公共帶是舉行一些與書籍相關的活 場所。 Various activities associated with books are held on the surrounding publicity strip.

Payot Libraire, Switzerland’s top French-language bookshop, decided to draw the attention of the public by exhibiting at the Geneva Book Fair 2005 for the first time. With experience and solid references in the world of books, MDB Design was entrusted with the stand’s design and execution.

The central part, a dedicated groupwelcoming area, is surrounded by tall totems that underpin, structure and present Payot’s offerings. A visual that indicates the topic is placed on the upper part of each totem while books are displayed on lower shelves and on the presentation table.

This non-specialised bookshop has opted for an exclusive presentation of what it has to offer to young people. The emphasis was on the classicism of the brand’s commercial architecture, adding dynamism and freshness by a play on striking, vivid colours.

On the surrounding publicity strip, Payot places the verb “to read” alongside the various activities with which books are associated. Examples ranging from play reading and loving reading to growing and progressing through reading show that the ubiquity and importance of books cannot be underestimated.

Colour expresses modernity, diversity and pleasure but also plays a functional role by differentiating between the various types of publications for youth, such as fiction, documentaries, nature, fine arts. Organised around distractions comprising conferences, debates and contests, the area affirms Payot’s position in the market. The stand’s large floor area is used to the full not only horizontally, but also vertically.

MBD Design

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Payot’ s Book Fair Stand

客戶Client Payot Libraire 總承辦商Main Contractor Carpentry by 3.14 傢具Furniture Chairs and tables by GL Events


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Zoellner at Fair“Kind & Jugend”2004 德國科隆Cologne, Germany 3,660平方呎/sq ft

Zoellner’s Trade Fair Stand, Cologne

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(左頁)展示空間的設計鼓勵參觀者與銷售 人員相互交流,並令人沈浸在這個特為兒童 而創製的世界之中。 (Left page) The exhibition space design encourages interaction with salespeople while immersing visitors in a world created for children. (本頁)燈光效果包括在五米高的紙雕表 面緩緩遊移的色環,而紙雕是構成整個展 位的框架。 (This page) Lighting effects include colour loops that move slowly across the surface of the five metre high paper silhouette, which serves as the framework for the exhibition stand.

佈局圖Layout plan

Yura Yura在日文意為一種搖擺 的   作,Julius Zoellner以此為口 號,在Kind & Jugend 2004博覽 會上,將來賓帶進一個柔和的嬰 孩及兒童用品世界,那是嬰兒及小 孩用品製造公司Zoellner的展位。 展位由Totems Communication & Architecture設計,完全採用公司 產品的物料建成。 在窩巢的護蔭下,搖擺的  作既有 保護意味,亦容易使人進入甜密夢 鄉,二者直接相聯。以這個概念為 基礎,近五米高的展位框架由紙雕 製成,提供保障之餘,又不妨礙進 出的流暢  。即使它會發出颯颯的 聲響,它亦同時散發一份平靜的氣 息。燈光效果包括在紙雕表面緩緩 遊移的色環,突顯了剪紙的圖案效 果。地板全面鋪上椰棕蓆子。木製 的陳列桌帶有多隻活  檯腳,觸碰 時會輕輕擺  。 洋溢著休閒氣息的商務區內放置了 數張小桌,旁邊圍繞著深紅色天鵝 絨覆蓋的立方形座椅。一股較為嚴 肅的氛圍滲入商務區的裝飾和功能 元素的色調之中,緩和了玩樂的氣 氛,營造更適合商務洽談的環境。 展示空間的設計鼓勵參觀者與銷售 人員相互交流,並令人沈浸在這 個特為兒童而創製的世界之中。 Totems Communication & Architecture

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木製的陳列桌帶有多隻活 檯腳,觸碰時會輕輕擺 。Zoellner’ s Trade Fair Stand . Totems Communication & Architecture The presentation tables made of timber stand on numerous flexible legs that sway gently when touched.


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洋溢著休閒氣息的商務區內放置了數張小桌,旁邊圍繞著深紅色天鵝絨覆蓋的立方形座椅。 The lounge-like business area is composed of small tables surrounded by cubical seats covered in dark crimson velvet. 客戶Client Julius Zoellner 總承辦商Main Contractor Totems Communication & Architecture

With the motto “Yura Yura” - which is interpreted as a rocking motion in Japanese - Julius Zoellner takes the visitor into the soft and gentle world of the baby’s and children’s article manufacturer in the Fair “Kind & Jugend” 2004. Zoellner’s trade fair stand - design by Totems Communication & Architecture - is completely constructed of materials used in the company’s products. Within the confines of a nest, being protected and being lulled to sleep by rocking motion can be directly associated with each other. Based on this concept, the almost five metre high framework of the exhibition stand consists of a paper silhouette that provides security without unduly restricting access. It rustles but still radiates serenity. Lighting effects include colour loops that move slowly across the surface of the paper, which features patterns cut from paper shears. The floor covering consists entirely of coconut matting. The presentation tables which are constructed of timber stand on numerous flexible legs that sway gently when touched. The lounge-like business area is composed of small tables surrounded by cubical seats covered in dark crimson velvet. A more reserved air seeps into the colour scheme of the decorative and functional elements in this area, giving rise to a less playful atmosphere that facilitates business discussions. The exhibition space design encourages interaction with salespeople while immersing visitors in a world created for children.

燈光設計Lighting Design MLC Veranstaltungstechnik 燈具Lighting Fixtures & Fittings Moving lights, etc by MLC Veranstaltungstechnik 傢具Furniture Presentation tables, bar shelf, paper walls by Yokiko Nezu of Totems; bar shelf, conference taller by Artec Messebau 牆飾Wall Covering Drop Paper by Procedes chevel 鋪地Flooring Coco-mats by Gleichmann 織物Upholstery Chairs / lounge furniture by Totems Communication & Architecture 窗簾Curtains Taft Curtain by Proceder chevel 音響系統Sound System MLC Veranstaltungstechnik 攝影Photography Victor Brigola Fotography

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depack environnement

Moet Hennessy at Tax Free World Exhibition 法國康城節慶宮Palais des Festivals, Cannes, France 1,830平方呎/sq ft (室內Interior) 1,400平方呎/sq ft (陽台Terrace)

Moet Hennessy’s Booth, Cannes

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展位入口有六台等離子螢幕,分屬六個不同品牌,既突出了各式產品,同時也為攤位本身 增添活力和時尚感。 The booth entrance features six plasma screens - one for each brand - that highlight products while adding a dynamic and contemporary touch to the structure.

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展位內,精緻的旋轉式設計為每個品牌劃分 出專屬的角落,而且更為專業客商提供了會 面和品酒區。 A sleek carousel design allows each brand its own personalised corner while also making space for a meeting and tasting area for professional clients.

佈局圖Layout plan

展位外,磨砂玻璃與清玻璃上是印有圖像 的透明膠貼;圖像有助塑造開放而具凝聚 力的展覽空間。 A cohesive and open exhibition space is created with the use of visuals printed on transparent adhesives on the clear and frosted glass exterior of the booth.

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波爾多的depack environnement在國 際免稅展上把「酩悅軒尼詩」旗下的 六個豪華品牌集合在同一個展位上。 設計組充分考慮了參展品牌的獨特 個   ,在康城節慶宮內營造了極富吸 引力的特色空間。 展位外,磨砂玻璃與清玻璃上是印有 圖像的透明膠貼;圖像有助塑造開放 而具凝聚力的展覽空間。鋁材固定玻 璃結構,並巧妙地令展覽環境充滿現 代氣息。展位入口有六台等離子螢 幕,分屬六個不同品牌,既突出了各 式產品,同時也為攤位本身增添活力 和時尚感。 展位內,精緻的旋轉式設計為每個品 牌劃分出專屬的角落,而且更為專業 客商提供了會面和品酒區。每個品牌 展區前各設有一個豪華的私密區。設 置在攤位後、節慶宮外的陽台可容納 80人,並陳設了來自婆羅洲及巴里島 的深色塗漆天然柚木傢具,完全體現 了「酩悅軒尼詩」的崇高品位。 depack environnement

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Uniting the six luxury brands of Moet Hennessy under one roof was the aim of Bordeaux-based depack environnement at the Tax Free World Exhibition. At the Palais des Festivals in Cannes, the French company sought to create distinct spaces that would attract visitors while respecting the individuality of each exhibitor. A cohesive and open exhibition space is created with the use of visuals printed on transparent adhesives on the clear and frosted glass exterior of the booth. Aluminium holds the glass structure in place while modernising the exhibition environment in a subtle stroke. The booth entrance features six plasma screens - one for each brand - that highlight products while adding a dynamic and contemporary touch to the structure. Inside the booth, a sleek carousel design allows each brand its own personalised corner while also making space for a meeting and tasting area for professional clients. Luxurious private areas are also created in front of each brand’s corner. The terrace behind the booth outside the Palais des Festivals can accommodate 80 guests. It is decorated with natural, dark varnished teak wood furniture from Borneo and Bali, representing the company’s authentic values.

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客戶Client Moet Hennessy 總承辦商Main Contractor depack environnement 燈具Lighting Fixtures & Fittings Spot and neon light by LUM 33 傢具Furniture Teak and various by depack environnement, Kastel 牆飾Wall Covering Glass, steel, teak from Borneo by Glaverbell, Formica, Polyrey 鋪地Flooring Carpet by CTN 藝術品Artwork Adhesive, printed fabric, relief by Prieur Publicite, Formica, Tauzin 視聽系統AV System Plasma screens and DVD by Utram

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Marc & Chantal Design

Crystal World - Swarovski 2004 Promotional Campaign in Asia 香港中環國際金融中心商場IFC Mall, Central, Hong Kong

Crystal World, Hong Kong

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名為「水晶世界」的展覽是施華洛 世奇2004年的亞洲促銷活  ,巡迴 了上海和香港,令廣大公眾為之 目眩和著迷。在一個物質環境中 塑造如魔幻般的水晶世界需要無 比的想像力,而Marc & Chantal Design就被委託接受這項挑戰。 成功的展覽應能表述複雜而又富感 情的故事。設計師運用水的不同化 學狀態──雲、水和冰,來構造一 個框架,在框架上展示施華洛世奇 種類繁多的產品,既表現了品牌的 傳奇,又創造出令人振奮的場面。 上海和香港的展覽均選址於高級的 商場裡,以吸引高消費的群眾。香 港國際金融中心商場的橢圓形中庭 提供了充滿劇場感的場地,四個 不同卻又連繫的部分組成了一系 列建築空間,突顯出中庭裡的鋼 和玻璃材質。

平面圖Floor plan

為了給觀眾帶來持久的吸引力,四 個區域都各自提供了非常不同的體 驗,就像在劇院裡演出的那些充滿 張力的戲碼,這不單需要多元化的 物料和塗飾,還有不同的燈光系 統、陳列設施、聲效和多媒體。

四個不同卻又連繫的部分組成了一系列建築空間, 各區提供非常不同的體驗,這不單需要多元化的物 料和塗飾,還有不同的燈光系統、陳列設施、聲效 和多媒體程式。 Four distinctive but connecting segments are articulated to form a sequence of architectural spaces. Each of the four zones presented very different experiences, requiring a diversified palette of materials and finishes, various lighting systems, display infrastructures, sound effects and multi-media programmes.

由於展品的反射  ,對光和顏色極 端敏感,故展現珠寶及水晶首飾 到最佳效果是極具挑戰  的。為了

形如品牌天鵝標誌的巨雲,成為展覽的廣告標識,並 與即場搭建的12米長「如翻騰般的雲」聯繫在一起。 A giant cloud drawn in an outline of the Swarovski’s swan logo functioned as the show’ s advertising banner. This struck an immediate association with the 12m long billowing cloud that was built on site.

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捕捉水變化的特  ,設計師轉而向天空尋求靈感,創造了變幻的天氣,通過 雲、雨、雷的快照,達到生  的視覺效果。 12米長「如翻騰般的雲」是由吹氣格紋降落   織物所造,像被子一樣把參 觀者從堅硬的環境中包圍,使人感覺有如走進藍色的天空一樣。這裡的焦 點在12個以傾斜角度穿過「雲層」的矩形櫃上。發光的盒子結合了穿孔透 光旋轉台上的展品;光與水晶的編排充滿了詩意和魅力。

(左頁)12個傾斜的矩形櫃上,發光的盒子結合了穿孔透光旋轉台上的展品。 (Left page) Twelve tilted rectangular blocks are topped with glowing boxes with displays mounted on perforated, revolving, under-lit turntables. (下)12米長的「雲」是由吹氣格紋降落 織物所造,像被子一樣把參觀者從堅硬的環境 中包圍,使人感覺有如走進藍色的天空一樣。 (Bottom) The 12m long billowing cloud is constructed from waffle-effect inflated parachute fabric. The quilt-like enclosure instantly cushions visitors from the hard-edged surroundings as they enter a blue sky.

在寧謐的「天際薄膜」以外,天氣逐漸變壞。訪客來到一個門廳,兩邊是 切割成大小、形狀不一的鏡面,有些是雙面分割,有些用來烘托陳列品。 閃光燈與隆隆的雷聲同時由遠漸近、由細變大地傳送過來。 儘管每一個空間形成了迥然不同的小宇宙,卻不把人從周圍的環境中完全隔 離。雷鳴和閃電被掩蓋在一個印有凸飾的藍色聚碳酸脂及穿孔金屬牆所製成 的頂篷內。最後的空間序列是由一個金屬���子棚圍成,回應了商場的建築結 構,而鑲嵌在傾斜的鋁架之間,是一列磨砂鏡面箱,裡面陳列了各式產品。

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“Crystal World,” the title of Swarovski’s 2004 promotional campaign in Asia, is an exhibit that dazzled and enthralled the public as it toured Shanghai then Hong Kong. Capturing the magic of crystal in a physical environment requires extra imagination. Marc & Chantal Design is committed to taking on this challenge.

這個門廳的兩邊是切割成大小、形狀不一的鏡面。閃光燈與隆隆的雷聲同時由遠漸近、由 細變大地傳送過來。 This hall is composed of two-way mirrored structures cut in numerous shapes and sizes. Strobe lighting is programmed to synchronize with the sound of rolling thunder, distant and threatening then loudly amplified.

The best shows are about intricate and sensitive story telling. The designers drew on the analogy of water in its various chemical states - clouds, water and ice. These elements gave them a framework on which a vast spectrum of Swarovski products is showcased, conveying the brand’s legend whilst setting up an awe-inspiring theatre.

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Both the Shanghai and Hong Kong sites occupied high-profile retail venues, chosen to target high-spending consumers with maximum impact. The floor of the elliptical, skylit atrium in Hong Kong’s IFC Mall provided a dramatic setting. A sequence of architectural spaces articulated in four distinctive but connecting segments is devised, creating a composition that offset the steel and glass of the atrium. To keep audiences continually hooked, each of the four zones presented very different experiences, like the contrasting acts of a theatrical performance. This not only required more than one palette of materials and finishes, but the design of different lighting systems, display infrastructures, sound effects and multi-media programmes.

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最後的空間序列是由金屬格子棚所圍成,一列磨砂鏡面產品陳列箱被鑲嵌在傾斜的鋁架之間。 The final space is enclosed by a metal trellis. Product displays were perched in frosted mirror boxes mounted between the tilted aluminium struts.

Displaying jewellery and crystal accessories to optimal effect is challenging when the product is reflective and therefore ultra-sensitive to light and colour. To capture the changing nature of water the designers turned to the sky for inspiration, creating snapshots of changing weather patterns - cloud, rain and thunder, directed by dramatic visual effects. The 12m long billowing メcloudモ is constructed from waffle-effect inflated parachute fabric. The quilt-like enclosure instantly cushions visitors from the hard-edged surroundings as they enter a blue sky. Attention is focused on 12 rectangular blocks that pierce the cloud at a tilted angle. The glowing boxes incorporate displays mounted on perforated, revolving, under-lit turntables. The light and crystal choreography is both poetic and mesmerizing. Beyond the calm of the dimpled celestial membrane, the weather takes a turn for the worse. Visitors are greeted by a hall of two-way mirrored structures cut in numerous shapes and sizes, some two-way, others supporting mirror-backed product displays. Strobe lighting is programmed to synchronize with the sound of rolling thunder, distant and threatening then loudly amplified. Although each of the woven enclosures formed distinct microcosms, none of the structures completely isolated visitors from their surroundings. The thunder and lightning was cloaked in a canopy of graphic-embossed blue polycarbonate and perforated metal walls. In the final sequence, there is a metal trellis that mirrors the much vaster architectural frame. Product displays were perched in frosted mirror boxes mounted between the tilted aluminium struts.

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客戶Client Swarovski HK Ltd 總承辦商Main Contractor Professional Production 設計組Design Team Sandra Fay, Marc Brulhart 攝影Photography Marc Brulhart

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Oval Design Ltd

Hong Kong Pavilion 英國倫敦皇家園藝會堂Horticulture Exhibition Hall, London, UK 1,200平方呎/sq ft

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如紙張般掀起一角的曲面結構巧妙地構成一張接待桌;天藍色隧道的不規則形狀使其更自然、 更富吸引力。 A curved surface evoking the curled corner of a piece of paper doubles up as a reception table while the irregular form of the sky-painted tunnel enhances its natural appeal.

平面圖Floor plan

實在難以想像這個如紙張般掀起一角的曲面結構,竟巧妙地構 成一張接待桌。這是香港設計師Oval Design Ltd為展示香港印 刷業所設計的展位的一部分。 中密度纖維包覆著鋼製框架,屈曲而成位於倫敦皇家園藝會堂內 的一條天藍色隧道。人工與機械相互配合,創造出極佳效果:藝 術家即場使用噴漆將隧道內部漆成天藍色,而預設了程式的燈 光則在這個預製的模件結構中,營造出由清晨到黃昏的氣氛。 訪客在地面層的隧道外便可看見滿載資訊的表面,這樣的飾面對 於一樓的觀者同樣吸引。隧道內的玻璃展示櫃以及外部的等離子 屏幕所播映的錄像,更為設計增添了幾分教育意味。 隧道一側稍高,不規則的形狀使其更自然、更富魅力。這項設計 別具挑戰  :設計師運用塗有特殊顏料的地膠令表面更易清潔; 另一方面,要使弧形表面上的資訊不產生視覺上的扭曲,精確的 計算帶來一定的難度。 設計師王玉沛在設計專案時並沒有繪畫任何草圖或設計圖,而是 製造了微縮模型,便於令概念更形象化地展現人前。他解釋:「 每個人都可在書中尋找到自己的天堂,這是設計的總體意念,因 此便出現了天空這個構想。」 oval design ltd

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預設了程式的燈光在這個預製的模件結構中,營造出由清晨到黃昏的效果。 Programmed lights create a dawn-to-dusk effect inside the pre-fabricated modular structure.

隧道內的玻璃展示櫃及外部的等離子屏幕播映著的錄影,為設計增添了幾分教育意味。 Glass showcases, which line the interior walls, and videos from plasma screens that grace the exterior of the tunnel add to the educational aspect of the design.

Who would have thought that a curved surface evoking the curled corner of a piece of paper would double up as a reception table? But that is exactly what the Hong Kong-based Oval Design Ltd created as part of a pavilion that showcased Hong Kong’s printing industry. Medium-density fibers wrapped around a steel frame flex to form a sky-painted tunnel inside London’s Royal Horticultural Halls. Man and machine cooperate to stunning effect: on-site artists spray-painted the interior while programmed lights create a dawn-to-dusk effect inside the pre-fabricated modular structure. Visitors walking on the ground floor exterior space can examine the information-laden surface, which is equally intriguing to visitors looking down from the second level. Glass showcases, which line the interior walls, and videos from plasma screens that grace the exterior of the tunnel add to the educational aspect of the design. The irregular form of the tunnel, with one end slightly taller than the other, enhances its natural appeal. Taking a risk with design, however, is not without its challenges. Vinyl mats treated with a special pigment are used to ensure that walked-on surfaces would be easy to keep clean while accurate calculations prevent information from being visually distorted on the curved surface. Designer Dennis Wong jumped into the project without renderings or drawings, choosing instead to construct scaled-down models, which makes it easier for others to visualize his design. “The entire idea is that you can find your own paradise in each book, hence the sky,” he said.

客戶Client Information Services Department HKSAR, HK Designers Associations / 總承辦商Main Contractor MDF with concealed metal frame by Oval Design Ltd / 燈具Lighting Fixtures & Fittings Martin studio spot 2000 by AV Promotions / 牆飾及鋪地Wall Covering & Flooring Digital output on vinyl mat by Acumen Productions / 藝術品Artwork Stanley Wong, Candy Tam / 視聽系統AV System AV Promotions oval design ltd

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何宗憲設計有限公司Joey Ho Design Ltd

2004中國高交會香港館 Hong Kong Pavilion at 2004 China High-Tech Fair 中國深圳Shenzhen Convention & Exhibition Center, China 3,875平方呎/sq ft

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這個獲獎設計的基本概念,是把構成數碼 資訊的二進位數字──1和0──之間的無 限空間,轉換為真實的生活體驗,簡單而 成本不高。 The underlying concept behind the awardwinning design seeks to transform the infinite space between the two binary digits that make up all digital information - one and zero - into a real life experience, inexpensive and simple.

香港的何宗憲設計有限公司在 2004深圳中國國際高新技術成 果交易會(高交會)上,以低技 術含量的設計方案展示了高科技 的概念,充分展現其創新與靈 活   。由486支直條和環形燈管 組成的「數碼雲層」懸掛在香港 館上空,照亮下方的23個獨立 展位,並突出了香港在科技方面 的無限創意。 這個獲獎設計的基本概念,是 把構成數碼資訊的二進位數字 ──1和0──之間的無限空間, 轉換為真實的生活體驗,簡單而 成本低。光亮的頂棚成為展位 的獨有特色,並將下方360平方 米的展館中的不同空間元素連 接起來。 Joey Ho Design Ltd

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「設計殿堂——通往未來的天橋」和「通訊 牆」:一具樓梯通向殿堂,那其實是一座架 高天橋,一方面讓參觀者更近距離地感受「 數碼雲層」,另一方面,訪客可欣賞到香港 設計師的作品。 “Hall of Fame - The Bridge to the Future” is a staircase leading to the hall - essentially an elevated bridge - bringing visitors closer to the“digital cloud”and offering them a glimpse of the creations by local designers.

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「你必須視之為一個整體。」站在辦公室的青綠色天花下,設計師何宗憲一邊做著手勢,一邊解釋。他的設 計以上方的「數碼雲層」和下方敦實的平台為特色,既突顯出獨立的展位,同時也表現了科技與人之間愈加 緊密的關係。 展館的其他元素包括「設計殿堂——通往未來的天橋」和「通訊牆」。一具樓梯通向殿堂,那其實是一座架 高天橋,一方面讓參觀者更近距離地感受「數碼雲層」,另一方面,訪客可欣賞到沿展示牆上的塑膠展櫃直 線陳列的、由香港設計師所創造的26個得獎作品。 「通訊牆」上飾有放大的人形剪影,是將色彩和長度不一的塑膠片插入牆上的隙縫拼湊而成。圖案牆以簡單 的字句裝飾,而剪影則產生富   感的幻象。原設計預定用投影機來投射   態影像,但後來由於成本問題而放 棄,最終便運用了簡單的惑人技巧,達致強而有力的高科技意象效果。 Joey Ho Design Ltd

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沿展示牆上的塑膠展櫃直線陳列的,是由香港設計師所創造的26個得獎作品。 Showcased in the acrylic display cases mounted on a linear graphical wall are 26 award-winning inventions by local designers.

A low-tech solution for a high-tech concept showcased the ingenuity of Hong Kong-based Joey Ho Design Ltd at the 2004 China High-Tech Fair in Shenzhen. A “digital cloud” consisting of 486 straight and circular fluorescent tubes hovered over the Hong Kong Pavilion, which featured 23 individual booths highlighting the technological creativity of Hong Kong. The underlying concept behind the award-winning design seeks to transform the infinite space between the two binary digits that make up all digital information - one and zero - into a real life experience. Inexpensive and simple, the glowing canopy carves a unique identity for the pavilion while connecting the different spatial components of the 360-sq-m exhibition space below. “You have to look at it as a whole,” said architect Joey Ho, gesturing with his expressive hands beneath the grass-green ceiling of his office. He noted that his design - marked by a “digital cloud” above and

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a solid platform below - emphasized the individual booths while serving as a symbol of the increasingly intimate linkage between technology and people. Other elements of the exhibition space include a “Hall of Fame - The Bridge to the Future” and a “Communication Wall”. A staircase leading to the hall essentially an elevated bridge - brings visitors closer to the “digital cloud” while offering them a glimpse of 26 awardwinning inventions by local designers through acrylic display cases mounted on a linear graphical wall. The “Communication Wall” consists of enlarged human silhouettes created by inser ting rectangular acr ylic sheets of varying lengths and colours into the horizontal wall slits. Simple messages adorn the graphic wall while silhouettes create an illusion of movement. The original design called for dynamic images using a projector, an idea that was scrapped as budget realities surfaced. The result is a powerful message of high-tech imagery delivered through deceptively simple means. Hong Kong Pavilion in Shenzhen

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由486支直條和環形燈管組成的「數碼雲層」懸掛在香港館上空,照亮下方的23個獨立展 位,並突出了香港在科技方面的無限創意。 A “digital cloud”consisting of 486 straight and circular fluorescent tubes hovered over the Hong Kong Pavilion, which featured 23 individual booths highlighting the technological creativity of Hong Kong.

光亮的頂棚成為展位的獨有特色,並將下方360平方米的展館中的不同空間元素連接起來。 The glowing canopy carves a unique identity for the pavilion while connecting the different spatial components of the 360-sq-m exhibition space below.

客戶Client Hong Kong Productivity Council 總承辦商Main Contractor Crosswind Exhibition Contractors Ltd Joey Ho Design Ltd

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廣東省集美設計工程公司SD藝術設計中心

2005日本愛知世博會中國館 China Pavilion at 2005 World Exposition, Aichi, Japan 日本名古屋Nagoya, Japan 17,440平方呎/sq ft

China Pavilion at EXPO 2005, Nagoya China Pavilion at 2005 EXPO

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展館的外立面下部是「九龍壁」浮雕牆,由設計師及雕塑家蔡東先生設計,全長68米,高 3.05米,以亞麻布代替了常用的石棉,以回應環保的主題。 A“Nine-Dragon Screen”relievo wall 68m in length and 3.05m in height perches on the lower part of the facade. Designer and sculptor Cai Dong has substituted linen for conventional asbestos in response to the theme of environmental protection. 在距離地面3米至9米的高度上,立面劃分為內、外兩層,內層是米黃色的仿活字印刷的「 家姓」字模,外層是飾有「十二生肖」民族剪紙圖案的紅色金屬屏。 The facade is composed of two layers: on the inner layer there is a beige printing matrix of “hundred family surnames”mimicking movable type; starting 3m above the ground, the 6m tall outer layer is a red metal screen engraved with folk paper-cut patterns of the Chinese Zodiac. 利用機械轉 可將屏風調節到不同角度,造出或傾斜或波浪的形態,在展示傳統民間文化的 趣味 的同時,亦表現出 感和活力。 The screen can be adjusted to different angles with a mechanical system, creating a slanted or wavy pattern to highlight traditional folk culture as well as its vitality and vigor.

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2005世博會的主題是「自然的睿智」。在空間處理上,中國展館的設計師大膽地使用綠色──一種帶著青銅色調的綠色,映襯出歷史的深度和層次感。 “Nature’ s Wisdom”is the theme of EXPO 2005. The designers of the China Pavilion boldly used green - a bronzed green to reflect the depth of history - in manipulating space. 雙螺旋彎曲形樓面結構將9米高的空間一分為二。中央的「生命之樹」模仿了自然界水珠悠然濺起的瞬間形態和植物葉脈舒展生長時的姿態,並加以抽象的藝術化處理。 A double spiral structure divides the 9m high Pavilion into two levels. “Tree of life” which is set in the middle, explores the abstract aesthetics of the instant beads of water spatter and the moment of leaves stretch.

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2005年世界博覽會中國館的設計運用了象徵及藝術化的手法,將藝 術的內容與形式、設計的功能與形式、展示的技術與設計,結合在 一起,並融入到整體空間之中。 此次世博會的主題是「自然的睿智」。在空間處理上,設計師大膽地 使用綠色──一種帶青銅色調的綠色,映襯出歷史的深度和層次感。 展館的外立面下部是「九龍壁」浮雕牆,由設計師及雕塑家蔡東先生 設計,全長68米,高3.05米。蔡先生以亞麻布代替了常用的石棉, 以回應環保的主題,並在鑄模時加入一些彩陶片,以增添牆面肌理 的質感。在距離地面3米至9米的高度上,立面劃分為內、外兩層, 內層是米黃色的仿活字印刷的「  家姓」字模,外層是飾有「十二生 肖」民族剪紙圖案的紅色金屬屏,利用機械轉  可將屏風調節到不同 角度,造出或傾斜或波浪的形態,在展示傳統民間文化的趣味  的同 時,亦表現出  感和活力。 展館內,雙螺旋彎曲形樓面結構將9米高的空間一分為二,中心是

「生命之樹」,模仿了自然界水珠悠然濺起的瞬間形態和植物葉脈舒展生 長時的姿態,並加以抽象的藝術化處理。設計師在創造「生命樹」時,部 分使用了宣紙,這既代表了中國書法藝術的重要   ,亦令「生命樹」的紋 理更豐富。「生命樹」下的中央舞台上,以特效燈光映照著虛擬的水滴光 柱,塑造出日夜交替的夢幻景觀。 展覽中只有10件具傳統意義的展品,除了青銅器文物,設計師還增加了「 神州五號」模型,以增強時代感。這些展品設置在7個波浪形的玻璃展櫃 內,排列於文物夾道上。環繞館內的「華夏文明之旅」浮雕牆上,開設有 12個視窗,裝有等離子電視,陳述著中國文明的歷史與故事;這些視窗是 可以開合的,當節目播放完後,下面的浮雕牆會升起,並將空洞的窗口遮 掩起來,一面完整的浮雕牆復現眼前。 在技術層面上,設計師一方面運用聲、光、電等高科技營造出聲色變幻、幽 深神秘的氣氛,另一方面,透過傳統的裝置技術,增加人與展品的互  ,比 如浮雕牆上的「  家姓」就利用簡單的彈簧裝置,令每個字都可以推  ,突 顯出活字印刷術的發明。

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中央舞台上以特效燈光映照著虛擬的水滴光柱,塑造出日夜交替的夢幻景觀。 Special lighting illuminating the virtual light poles, which resemble dripping water, brings out dreamy scenery in a dawn-to-dusk sequence on the central stage.

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部分「生命樹」採用了宣紙製造,這既代表了中國書法藝術的重要 ,亦豐富了「生命樹」 的紋理。 Rice paper is partially utilized in this creation, hinting at the importance of Chinese calligraphy art while enriching the structure’ s texture.

設計師運用聲、光、電等高科技營造出聲色變幻、幽深神秘的氣氛。 The designers use advanced technology such as sound, light and electricity to create changing visual and audio effects and a mysterious atmosphere.

Using symbolism as the prime design approach, the China Pavilion in 2005 World Exposition fuses artistic form, design function, and exhibition technology into an integrated space. “Nature’s Wisdom” is the theme of EXPO 2005. The designers boldly used green - a bronzed green to reflect the depth of history - in manipulating space. A “Nine-Dragon Screen” relievo wall 68m in length and 3.05m in height perches on the lower part of the facade. Designer and sculptor Cai Dong has substituted linen for conventional asbestos in response to the theme of environmental protection, and added some ancient painted pottery during the molding process to enrich the texture of the wall surface. The facade is composed of two layers: on the inner layer there is a beige printing matrix of “hundred family surnames” mimicking movable type; starting 3m above the ground, the 6m tall outer layer is a red metal screen engraved with folk paper-cut patterns of the Chinese Zodiac, which can be adjusted to different angles with a mechanical system, creating a slanted or wavy pattern to highlight traditional folk culture as well as its vitality and vigor. 廣東省集美設計工程公司SD藝術設計中心

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Inside, a double spiral structure divides the 9m high Pavilion into two levels. “Tree of life,” which is set in the middle, explores the abstract aesthetics of the instant beads of water spatter and the moment of leaves stretch. Rice paper is partially utilized in this creation, hinting at the importance of Chinese calligraphy art while enriching the structure’s texture. Special lighting illuminating the virtual light poles, which resemble dripping water, brings out dreamy scenery in a dawnto-dusk sequence on the central stage below. There are ten items of traditional

展品設置在7個波浪形的玻璃展櫃內,排列 於文物夾道上。 Exhibits are displayed in seven wavy glass showcases on the relic passageway. China Pavilion at 2005 EXPO

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(右)環繞館內的「華夏文明之旅」浮雕牆 上,開設有12個視窗,裝有等離子電視,陳 述著中國文明的歷史與故事;這些視窗是可 以開合的,當節目播放完後,下面的浮雕牆 會升起,並將空洞的窗口遮掩起來,一面完 整的浮雕牆復現眼前。 (Right) On the relievo walls along the “Journey of Sino-Civilization”surrounding the Pavilion, there are 12 operable windows equipped with plasma screens telling stories of ancient Chinese culture and history; when the programme is over, the relievo wall rises and covers the empty windows to restore the appearance of an entire wall. (下)設計師透過傳統的裝置技術,增加人 與展品的互 ,比如浮雕牆上的「 家姓」就 利用簡單的彈簧裝置,令每個字都可以推 , 突顯出活字印刷術的發明。 (Bottom) Traditional fittings enhance interaction between people and exhibits. For instance, a simple spring device on the“hundred family surnames”on the relievo wall pushes each character, thereby highlighting the invention of movable type.

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significance on display. Apart from cultural relics such as bronze ware, the Shenzhou V Spaceship is also exhibited for contemporary relevance. These items are displayed in seven wavy glass showcases on the relic passageway. On the relievo walls along the “Journey of SinoCivilization” surrounding the Pavilion, there are 12 operable windows equipped with plasma screens telling stories of ancient Chinese culture and history; when the programme is over, the relievo wall rises and covers the empty windows to restore the appearance of an entire wall. Te c h n i c a l l y, o n o n e h a n d , the designers use advanced technology such as sound, light and electricity to create changing visual and audio effects and a mysterious atmosphere; on the other hand, traditional fittings enhance interaction between people and exhibits. For instance, a simple spring device on the “hundred family surnames” on the relievo wall pushes each character, thereby highlighting the invention of movable type.

(上)在水晶影視廳裡,設計師採用正反兩 面都可觀看的三組螢幕,同時播放影片, 並運用投影技術,令同一個影像在三個螢 幕上可以互 。 (Top) In the Crystal Theatre, three sets of screens which can be viewed from both sides play programmes at the same time. The projecting technology enables the same image to move on these three screens. China Pavilion at 2005 EXPO

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(下)作為貴賓接待室的「紫檀書齋」內, 佈置了由中國紫檀博物館借來的紫檀傢具及 收藏品,為這個散發著濃厚書生氣的接待室 增添尊貴的氣派。 (Bottom) As the VIP room,“Rosewood Study” is furnished with rosewood furniture and collections borrowed from the Chinese Rosewood Museum, accentuating nobility in this scholarly room.

客戶Client 中國國際貿易促進會 設計組Design Team 黃建成、杜顏龍、蔡東、沈磊、王鵬、 鄧小力 總承辦商Main Contractor 廣東省集美設計工程公司 廣東省集美設計工程公司SD藝術設計中心

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thomas.matthews, Structure Workshop, André Klauser

British Council Pavilion at Glastonbury Festival 英國格拉斯頓柏立Glastonbury, United Kingdom 193.75平方呎/sq ft

British Council Pavilion, Glastonbury British Council Pavilion

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英國文化協會在2005格拉斯 頓柏立音樂節上首次展現人 前。thomas.matthews與Structure Workshop和André Klauser 聯手合作,為英國文化協會打造 了一個用於推廣其獲獎電台節目 Selector Radio的臨時展位。設計 旨在通過使用當地的物料與技術、 環保而富有創意的方法,塑造極具 吸引力的攤位。 攤位兩側織布上的印花圖案帶出 夢幻般的效果。燈光令織物變得 透明,使內外的圖案重疊,營造 出不同效果。 展位由甜栗木框架構建而成。甜 栗木是一種生於南方的可持續  木 材。織布懸掛在框架內側,在兩 邊嵌板上以雙曲率拉展,從而產 生雙向應力。

佈局圖Layout plan

「設計以嶄新手法呈現物料,並結 合隨意拼湊的外骨架,突顯了相交 的面塊。」Structure Workshop的 Peter Laidler介紹說。 一系列定製傢具包括休閒椅、靠牆 桌、高腳凳和「收聽廣播」長椅的 設計靈感均來自展位風格;甜栗木 椅子由織帶綑成不規則的圖案,映 照出展位框架本身的結構。 展位的建造可持續使用五年,客戶 或可將織物回收再造成宣傳袋,這 樣一個全新的攤位又可再度設計, 留待下屆音樂節時使用。

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設計以嶄新手法呈現物料,並結合隨意拼湊的外骨架,突顯了相交的面塊。 The design expresses the material in a new way by incorporating a random exoskeleton describing intersecting planes.

展位由甜栗木框架構建而成。甜栗是一種生於南方的可持續 木材。織布懸掛在框架內側, 在兩邊嵌板上以雙曲率拉展,從而產生雙向應力。 The structure consists of a frame constructed in coppiced sweet chestnut, a sustainable managed timber grown in the Southern counties. The fabric skin is suspended inside the frame with double curvature in the side panels that encourages bi-axial stress.

The British Council had a visual presence for the first time at the Glastonbury Festival 2005. thomas.matthews, working in collaboration with Structure Workshop and Andr Klauser, won a pitch to design a temporary space to promote the British Council’s award-winning radio show, “Selector Radio’. The objective was to create an eye-catching pavilion design in a sustainable and innovative way using indigenous materials and skills. A dramatic effect was achieved by printing graphics on both sides of the fabric skin. Illumination causes the skin to become translucent, allowing the inner and outer graphics to combine to create different effects. The structure consists of a frame constructed in coppiced sweet chestnut, a sustainable managed timber grown in the Southern counties. The fabric skin is suspended inside the frame with double curvature in the side panels that encourages bi-axial stress.

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攤位兩側織布上的印花圖案帶出夢幻般的效果。燈光令織物變得透明,使內外的圖案重疊,營造出不同效果。 A dramatic effect was achieved by printing graphics on both sides of the fabric skin. Illumination causes the skin to become translucent, allowing the inner and outer graphics to combine to create different effects.

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客戶Client British Council 總承辦商Main Contractor Coppiced sweet chestnut wooden frame by Structure Workshop 燈光顧問Lighting Consultant dha lighting 燈具Lighting Fixtures & Fittings Fluorescent luminaries by dha lighting 傢具Furniture Lounge chairs, side tables, stools + listening bench by André Klauser 牆飾Wall Covering Canvas skin manufacture by Timberintent 鋪地Flooring Wooden flooring by Modernarc 木材供應Timber Supply Inwood Developments 面層布料Fabric Skin Timber Intent 藝術品Artwork Graphics for canvas skin by thomas.matthews

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一系列定製的傢具包括休閒椅和「收聽廣播」長椅的設計靈感均來自展位風格;甜栗木椅 子由織帶綑成不規則的圖案,映照出展位框架本身的結構。 A range of bespoke furniture including lounge chairs and a listening bench were inspired by the pavilion design. Chair frames of sweet chestnut are wrapped with a seemingly random pattern of woven tape, mirroring the structure of the pavilion frame.

“The design expresses the material in a new way by incorporating a random exoskeleton describing intersecting planes,” explains Peter Laidler of Structure Workshop. A range of bespoke furniture, including lounge chairs, side tables, high stools, and a listening bench were inspired by the pavilion design. Chair frames of sweet chestnut are wrapped with a seemingly random pattern of woven tape, mirroring the structure of the pavilion frame. The pavilion is built to last for more than five years with the option to recycle the fabric skin into promotional bags. A new pavilion can then be designed, ready for the next festival.

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  思聯建築設計有限公司CL3 Architects Ltd

綵燈大觀園Lantern Wonderland 香港維多利亞公園Victoria Park, Hong Kong 32,800平方呎/sq ft

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靈感源自香港的竹棚搭建藝術,「綵燈大觀園」是一座高15米的拱形建築,由長��� 柔韌的茅竹結紮而成。 inspired by hong Kong’ s scaffolding industry, the Lantern Wonderland was a 15m high dome structure mainly composed of long and resilient bamboo poles. 設計集多種中國文化藝術及園林元素,融入荷花池、花園、小橋、玄關等景致,加 上360度環迴多媒體視覺效果,完美結合了東方傳統與現代建築以及空間藝術設計。 showcasing Chinese arts and landscaping, the design includes a lotus pond, garden, bridges and entrance gates. supported by a 360-degree multi-media show, the project was a masterpiece that blended traditional and contemporary architecture and artistic spatial design.

世上或許沒有愛麗斯,但於2003年 中秋節晚上,香港維多利亞公園就出 現了由CL3設計、以燈籠為主題的「 仙境」。 「綵燈大觀園」在香港旅遊發展局 舉辦的公開比賽中脫穎而出。設計 糅合了中國傳統與現代的概念和物 料,恰切地反映了香港不斷求變的地 道特色。 建築材料包括了五行元素:金、木、 水、火、土。靈感源自本地的竹棚搭 建藝術,長而柔韌的茅竹結紮成15米 高的半球體;35米寬的內部空間隱藏 著360度環迴投影屏,並且配有先進 的視聽系統及燈光設施。 竹製斜坡入口通往一個多層的空間, 中央的許願池旁邊帶有兩個小池,映 射出向天花層遞而上的小燈籠。佈局 CL3 arChiteCts Ltd

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Lantern WonderLand

以中式的規劃原則主導,因而設 計包含了荷花池、小橋、竹籬和 設有12生肖燈籠的後院。富氣氛 的燈光形成一條閃爍的界線,凸 現出內裡的喜慶氣氛。 就結構而言,「綵燈大觀園」採 用了100個R形的零件,是特色之 一。雖然這些支柱大部分由竹子 所造,但其中有十根是鋼材製的, 而燈籠內外的四個鋼環更進一步起 了加固作用。在建造期間,工程師 額外在內部增添一個鋼環,另於頂 部加設一個90毫米大的鋼環,以 平衡R形支架那高於預算的張力。 整個「燈籠」雖然只用了12天來 建造,但在開放前五天,颱風「杜 鵑」襲港,正好見證了這個防風雨 結構無可比擬的穩定 。


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There may have been no Alice, but Hong Kong Victoria Park played host to its own Wonderland with CL3’s glowing lantern display during the 2003 Mid-Autumn Festival. Selected by the Hong Kong Tourism Board in an open competition, the design of Lantern Wonderland draws on both traditional and contemporary Chinese concepts and materials to reflect the ever-evolving nature of Hong Kong. The construction materials incorporate the five Chinese elements of metal, wood, water, fire and earth. Inspired by Hong Kong’s scaffolding industry, long and flexible bamboo is the principle element in the 15m high hemisphere. Inside, the 35m

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(左頁)富氣氛的燈光形成一條閃爍的 界線,凸現出內裡的喜慶氣氛。 (Left page) atmospheric lighting forms a shimmering boundary that emphasizes the celebratory atmosphere within. (本頁)佈局以中式的規劃原則主導, 因而設計包含了荷花池、小橋、竹籬和 設有12生肖燈籠的後院。 (this page) Based on Chinese planning principles, the design includes a lotus pond, bridges, bamboo balustrades and a 12-lantern Chinese Zodiac back court.

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wide structure hides a 360o projection screen with state-of-the-art AV and lighting displays. A bamboo ramp entrance leads through to a multi-level space where a central wishing pool - flanked by two smaller pools - reflects a dynamic cascade of smaller lanterns rising to the ceiling. Based on Chinese planning principles, the design includes a lotus pond, bridges, bamboo balustrades and a 12-lantern Chinese Zodiac back court. Atmospheric lighting forms a shimmering boundary that emphasizes the celebratory atmosphere within. Structurally, Lantern Wonderland features 100 vertical R-shaped components. Although these supporting poles are mostly made from bamboo, ten of them are steel. Further reinforcements come in the form of four iron rings placed both inside and outside the lantern. During the construction process, engineers neutralized higher-thanexpected tension in the R-shaped supports by adding an extra interior steel ring as well as a 90mm steel ring at the top. Completed in merely 12 days, the stability of the weatherproof structure was evident in its proud defiance in the face of Typhoon Dujuan five days before its opening.

客戶Client Hong Kong Tourism Board 攝影Photography Wu Kin Yat Lantern Wonderland

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35米寬的內部空間隱藏著360度環迴投影屏,並且配有先進的視聽系統及燈光設施。 inside, the 35m wide structure hides a 360° projection screen with state-of-the-art aV and lighting displays.

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日匡設計及公共藝術顧問(香港)有限公司 ADO Design & Public Art Consultants (HK) Ltd Microwave Festival: Installation & Net Art Exhibition 中國香港大會堂Hong Kong City Hall, China 5,860平方呎/sq ft

Microwave Festival: Installation& Net Art Exhibition, Hong Kong

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(上)入口處的黑色木箱充當資訊亭的角色。 (Top) At the entrance, a black wooden box serves as an informative pavilion. (左頁及下圖)多用途的黃色物料一直延伸,形成虛擬的通 道,繼而再將接待桌輕柔地環繞起來。 (Left page & bottom) Versatile yellow material extends to form a virtual tunnel before landing gently to envelope a reception table.

佈局圖Layout plan

長達二百碼的黃色薄紗在香港大會堂刻板的展 覽廳內或歪曲或張開地展現,為「香港微波國 際媒體藝術節」營造了透明的弧線。「觀察欣 賞藝術的人」是設計的概念,而昏暗的燈光則 增強了空間整體的效果。 展覽在三天內搭建完成,日匡設計及公共藝術顧 問(香港)有限公司的設計師葉小卡(Karr Yip) 在現場監督整個空間的構造。入口處的黑色木 箱充當資訊亭的角色,而多用途的黃色物料一 直延伸,形成虛擬的通道,繼而再將接待桌輕 柔地環繞起來。 相同的彈性織物先固定於天花板上的不同位 置,Karr利用尼龍繩塑造出自由流動的形態,再 以兩排厚重的水泥磚來穩固。拉緊的織物柔化了 展廳內的結構柱,同時清晰地劃分出通道,並為 參展藝術家創製獨立的小空間。 靈活的設計可滿足任何倉促提出的改動,但仍忠 於核心概念:電腦螢幕和投射映像的奇異光線照 亮層層扭曲的織物,且在其後形成搖曳的光影。 光滑的定製木座椅沿通道排開,為疲累的客人 提供實在而不突兀的休憩站,不過,在這個互 動空間內,探索者似乎都不會選擇休息,而寧 願遊走在眾多奇妙品之中。

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長達二百碼的黃色薄紗或歪曲或張開地展現,為國際多媒體藝術節營造了一個透明的展覽 空間。此藝術節每年都在香港舉行,展出約15位藝術家的作品,而日匡設計及公共藝術顧 問(香港)有限公司創作的這個展覽設計其實亦是展品之一。 Some 200 yards of sheer yellow fabric twist and stretch to create a translucent exhibition space for the premier international multi-media art festival held in Hong Kong each year that features the work of approximately 15 artists. The design of the exhibition space, by Hong Kong-based ADO Design & Public Art, was actually one of the art pieces on display.

在五米高的天花板的不同位置上,設計師先將彈 織物固定,再利用尼龍繩塑造出自由流 的 形態,並以兩排厚重的水泥磚來穩固。展覽會所用過的物料皆可以循環再用。 With the elastic fabric pre-affixed to various points on the nearly 5m high ceiling, the final contortion of the free-flow forms are held in place with nylon ties attached to two rows of heavy concrete bricks. All the materials used in this exhibition space can be reused.

Some 200 yards of sheer yellow fabric twist and stretch around the rigid space of the Exhibition Hall in City Hall to create translucent curves for the Hong Kong Microwave International Media Art Festival. “Watching people watching art” is the concept of this project and the dim lighting only serves to enhance the spatial effect. Completed in less than three days, designer Karr Yip of the Hong Kong-based ADO Design & Public Art directed the formation of the space on-site. At the entrance, a black wooden box serves as an informative pavilion while the versatile yellow material extends to form a virtual tunnel before landing gently to envelope a reception table. With the same elastic fabric pre-affixed to various points on the ceiling, Yip molded the free-flow forms with nylon ties held in place by two rows of heavy concrete bricks. Marking out a distinct path in

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「觀察欣賞藝術的人」是設計的概念,而昏暗的燈光則增強了空間整體的效果。電腦螢幕和 投射映像的奇異光線照亮層層扭曲的織物,且在其後形成搖曳的光影。 “Watching people watching art”is the concept of this project and the dim lighting only serves to enhance the spatial effect. Flickering shadows move behind layers and layers of contorted fabric illuminated by the eerie glow of computer screens and projected images.

the exhibition ground, the taut fabric softens the structural columns in the hall while carving out individual niches for exhibitors. Flexibility allowed the design to incorporate any last-minute changes demanded by the exhibits while remaining true to its core concept: flickering shadows move behind layers and layers of contorted fabric illuminated by the eerie glow of computer screens and projected images. Sleek, custom-made seating stationed along the path provide an unobtrusive wooden sanctuary for weary feet. But rest is an unlikely choice for those navigating the wonders of this interactive space.

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靈活的設計可滿足任何倉促提出的改 ,並 且容許展覽於三天內快速建成。 Flexibility allowed the design to incorporate any last-minute changes demanded by the exhibits and enabled a quick set-up in less than three days.

拉緊的織物柔化了展廳內的結構柱,同時 清晰地劃分出通道,並為參展藝術家創製 獨立的小空間。 Marking out a distinct path in the exhibition ground, the taut fabric softens the structural columns in the hall while carving out individual niches for exhibitors. ADO Design & Public Art Consultants (HK) Ltd

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光滑的定製木座椅沿通道排開,為疲累的客人提供實在而不突兀的休憩站。 Sleek, custom-made seating stationed along the path provide an unobtrusive wooden sanctuary for weary feet.

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客戶Client Videotage 總承辦商Main Contractor ADO 燈光顧問Lighting Consultant ADO 傢具Furniture Wooden chair, desk, cabinet, entrance room 隔牆Partitions Net cloth + light brick 攝影Photography ADO

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繆科雅.普拉達:藝術和創作展 Waist Down - Miuccia Prada: Art and Creativity 中國上海和平飯店Peace Hotel, Shanghai, China

Waist Down - Miuccia Prada: Art & Creativity, Shanghai Waist Down - Miuccia Prada: Art & Creativity

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展覽從地面層開始,那裡巨大的鏤刻人體模型板按裙裝設計的先後沿狹長的走廊順序陳列。 Starting on the ground floor, giant cutout panel mannequins displayed the skirts in the chronology of their design along the elongated corridor.

在八樓的大型宴會廳中,設計師再次使用人體模型板,其正面的鏡子反射出相互交織的影 像,營造了有趣的幻象。 In the grand ballroom on the eighth floor, the two-dimensional cutouts were employed again with the facing side made of mirrors, causing the reflection of the images to interweave and create an interesting illusion.

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Prada一直以來努力將其優質的高級 產品融合到藝術的魅力之中,繼由著 名建築師Herzog & de Meuron設計 位於東   以及Rem Koolhaas設計位 於洛杉磯的Prada Epicenter建築項 目後,Prada籌辦了一個名為「繆科 雅.普拉達:藝術和創作展」的國 際巡迴展,展出品牌自1988年以來 逾  件經典作品,以突顯裙裝在推  品 牌掌舵人繆科雅.普拉達的藝術與創 意蓬勃發展中的重要   。該展覽透過 多種創新的陳列方式,充分凸現裙裝 的可塑  ,而作為一種重要的資產,卻 往往因它的普及  而受到忽視。 該展覽由鹿特丹大都會建築設計事 務所的創意智囊團AMO設計和策 劃,2004年於東  Prada Epicenter揭 開序幕,及至2005年春季在上海外 灘著名的歷史地標──和平飯店裡舉 行。在這個遠離常規藝術展覽場地的 獨特環境之中,展品為中國的參觀者 提供了全新的溝通方式。 展覽從地面層開始,那裡巨大的鏤刻 人體模型板按照裙裝設計的先後沿狹 長的走廊順序陳列。展覽在酒店的數 個樓層上進行,而在八樓的大型宴會 廳中,設計師再次使用人體模型板, 其正面的鏡子反射出相互交織的影 像,營造了有趣的幻象。 七樓的三個套房——美式套房,英式 套房及中式套房──以不同形式展示 裙裝的美感:由坐在椅上閱讀或沈浸 在泡泡浴中的半透明人體模型穿在身 上;攤開並包裝在真空塑膠袋中,貼 在玻璃窗上,在城市美景的襯托下更 形突出;展開鋪放在床上或牆上。一 部分薄紡織裙裝在聚光燈的照射下, 投射出夢幻般的光影,而某些裙裝的 燈光從內向外照射,以顯示裙裝的各 種透明度。

套房外的走廊上,裙裝以不同的速度緩緩旋轉,在地面上形狀不規則的鏡子反射下,映襯出裙 裝優雅飄逸的 人美態。 Outside the suites on the hallway, skirts were hung from the ceiling and spinned at different speeds and were reflected by irregular-shaped mirrors on the floor, showcasing the beauty of the skirt in graceful motion.

站在套房外的走廊上,參觀者會被懸 掛在天花板上的裙裝所深深吸引,它 們以不同的速度緩緩旋轉,在地面上 形狀不規則的鏡子反射下,映襯出裙 裝優雅飄逸的  人美態。 展覽繼在上海舉行後,將會移師到歐 洲和美國等主要城市巡迴展出。

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沈浸在泡泡浴中的半透明人體模型。 The translucent mannequin“bathing ­­in the bubble-filled tub.

Prada endeavours to blend the luxurious quality of its products with the splendour of art. Beyond architectural projects - such as the Prada Epicenter in Tokyo and Los Angeles designed by renowned architects Herzog & de Meuron and Rem Koolhaas respectively - it has organised an international touring exhibition entitled “Waist Down - Miuccia Prada: Art and Creativity”. By using Prada’s vast collection of creations dating back to 1988, this exhibition highlights the skirt as a vehicle of movement where the art and creativity of president Miuccia Prada has flourished. Through a variety of amusing installations, the exhibition shows the skirt as a profound asset that is often overlooked due to its familiarity. The exhibition is curated and designed by AMO, the creative thinktank of Rotterdam-based architectural design firm OMA (Office for

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Metropolitan Architecture). It kicked off in Prada Epicenter Tokyo in 2004 and, in spring 2005, the Shanghai Peace Hotel, a famous historical landmark on the Bund, became the setting in which to convey the profound joy of the skirt. Presented within this unique environment, away from conventional art venues, the exhibit explored new possibilities of communicating with the Chinese viewer. Starting on the ground floor, giant cutout panel mannequins displayed the skirts in the chronology of their design along the elongated corridor. The exhibition ran through several floors of the hotel and in the grand ballroom on the eighth floor, the two-dimensional cutouts were employed again with the facing side made of mirrors this time, causing the reflection of the images to interweave and create an interesting illusion. 裙裝給攤開並包裝在真空塑膠袋中,貼在玻璃窗上,在城市美景的襯托下更形突出。 Skirts were unfolded and vacuum-packed in plastics sheets which were then placed on the window, set off by the spectacular skyline of the city.

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七樓的三個套房——美式套房,英式套房及中式套房──以不同形式展示裙裝的美感。 Three suites - the American Suite, British Suite and Chinese Suite - on the seventh floor became galleries to show the actual skirts in various forms.

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一部分薄紡織裙裝在聚光燈的照射下,投射出夢幻般的光影,而某些裙裝的燈光從內向外照射,以顯示裙裝的各種透明度。 A few sheer pieces were highlighted by spotlights to project dramatic shadows while some were lit from within to show the skirt’ s various degrees of transparency.

Three suites - the American Suite, British Suite and Chinese Suite - on the seventh floor became galleries to show the actual skirts in various forms: on the translucent mannequins that were “reading” on the chairs or “bathing” in the bubble-filled tub; unfolded and vacuum-packed in plastics sheets which were then placed on the window, set off by the spectacular skyline of the city; and stretched and laid out on surfaces such as beds and walls. A few sheer pieces were highlighted by spotlights to project dramatic shadows while some were lit from within to show the skirt’s various degrees of transparency. Outside the suites on the hallway, one would be impressed by the skirts hung from the ceiling that spinned at different speeds and were reflected by irregular-shaped mirrors on the floor, showcasing the beauty of the skirt in graceful motion. After its stop in Shanghai, the exhibition will travel to major cities in Europe and the United States.

客戶Client Prada 設計組Project Team Kayoko Ota, Shohei Shigematsu, Michael Smith, Eriko Watanbe, Nicolas Firket, Jorgen Skogomo, Michelle Liu AMO

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3rd UNCLE design inc

Dove“Beyond Compare” Traveling exhibition (across Canada, Amsterdam, Lisbon)

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經過挑選、來自世界各地的女攝影師透過其作 品挑戰時下對美的定義,同時為National Eating Disorder Information Centre籌集基金。 International women photographers were selected to challenge current definitions of beauty by including their work in the exhibition, which sought to raise funds for the National Eating Disorder Information Centre.

模組化的規劃。尺寸隨著不同的場地而變更。 Modular plans. The size changes according to various venues.

多倫多的3rd UNCLE design inc為Dove設計了名為「無與倫比」的巡迴攝影作品展。經過挑選、來 自世界各地的女攝影師透過其作品挑戰時下對美的定義,同時為National Eating Disorder Information Centre籌集基金。 展覽的設計為每張攝影作品的個  和美感提供背景,並支承相片巡迴展出於加拿大的六個城市,包含不 同的展覽環境如公共拱廊,會議中心和  物商場,而接下來將移師阿姆斯特丹。 展位由數個平台模塊組成,每個模件均設有落地燈或者畫架,用於照亮及承托攝影作品。展覽周圍懸 掛了透明紗幕,內裡的燈具仿如明亮的燈塔。落地燈有如一個標誌,烘托出舒適親密的氛圍,而部件 間的細微差別皆受人體比例和活   所影響。美麗是無既有或預定的程式,然而,精心設計的元素在這 裡組合成適當的場景,讓美態在當中展露無遺。 落地燈具有兩種亮度和燈罩。外罩是白色的,保護著四盞可調節的塗層鹵素燈泡,可從兩個方向旋轉 以將焦點集中到藝術品上。淺藍色的內罩下藏著白熱燈泡,為空間帶來環境光,同時令燈罩散發出幽 幽的光芒;藍色的內罩與外罩間籠罩著幻影般的光環。落地燈的底部嵌入發光的平台,而所有電線均 隱藏在磨砂玻璃及白色塑膠地板下。 靈活的設計配合變化多樣的展覽場地,一一克服低矮的天花、不理想的燈光和有限的流通彈  等挑戰。 3rd UNCLE design inc

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展覽周圍懸掛了透明紗幕,使內裡的燈具仿如明亮的燈塔。 A translucent scrim is suspended above the perimeter of the installation, the lamps perceived as glowing beacons within.

Toronto-based 3rd UNCLE design inc designed a traveling photograph exhibition entitled “Beyond Compare” for Dove. International women photographers were selected to challenge current definitions of beauty by including their work in the exhibition, which sought to raise funds for the National Eating Disorder Information Centre. The exhibition design serves as a backdrop to the personality and beauty of each photograph, supporting them as they traveled to six cities across Canada - through environments as diverse as public arcades, convention centres and shopping malls - followed by venues in Amsterdam. The installation is comprised of modular platforms, each bearing a floor lamp or easel that supports the work and illuminates it. A translucent scrim is suspended above the perimeter of the installation, the lamps perceived as glowing beacons within. As an icon, the floor lamp evokes a sense of comfort and intimacy while the nuances of its components are influenced by human scale and interaction. There is no prescribed or assumed formula for beauty; instead, the assemblage of designed components nurtures conditions that allow for the expression of beauty among them.

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落地燈具有兩種亮度和燈罩。外罩是白色的,保 護著四盞可調節的塗層鹵素燈泡,可從兩個方向 旋轉以將焦點集中到藝術品上。淺藍色的內罩下 藏著白熱燈泡,為空間帶來環境光,同時令燈罩 散發出幽幽的光芒。 The floor lamps contain two types of illumination and shades. The outer shade is white, shielding four adjustable coated halogen bulbs that can swivel in two directions to focus on the artwork. A light blue inner shade conceals incandescent bulbs that lend ambient light to the space while causing the shades to glow. 所有電線均隱藏在磨砂玻璃及白色塑膠地板下。 All wiring is concealed below a flooring of sandblasted glass and white vinyl.

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落地燈/畫架是攝影作品的獨立光源。畫架可靈活調節至合適的觀賞高度、角度和藝術品 的尺寸。卡片匣上放置了每幅作品的介紹。 The lamps/easels are independent sources of light to display artwork. The easel hardware is fully adjustable to allow different viewing heights, angles and sizes of displayed artwork. Card trays hold information about each piece.

展覽設計適合於各種各樣的燈光和環境。模組結構可以根據不同地點的面積和特徵有效地 收拾、運送及重新裝配。 The exhibition has the ability to adapt to a wide range of lighting conditions and environments. Modules can be packed up, transported and reconfigured efficiently according to the sizes and unique attributes of the different locations.

The floor lamps contain two types of illumination and shades. The outer shade is white, shielding four adjustable coated halogen bulbs that can swivel in two directions to focus on the artwork. A light blue inner shade conceals incandescent bulbs that lend ambient light to the space while causing the shades to glow; the blue shade a ghosted volume within the outer shade. The lamp stems disappear into illuminated platforms. All wiring is concealed below a flooring of sandblasted glass and white vinyl.

客戶Client Unilever Canada 設計組Design Team John Tong, Jenny Francis 總承辦商Main Contractor Taylor Group 燈光顧問Lighting Consultant Taylor Group, Eureka 燈具Lighting Fixtures & Fittings Taylor Group, Eureka

This flexible design complements dramatic venues and can enhance those challenged by low ceilings, poor lighting and limited circulation flexibility.

牆飾Wall Covering Printed scrim by Taylor Group 鋪地Flooring Lonseal, tempered glass, lighting 藝術品Artwork Photographers including Annie Leibovitz, Ellen Von Unwerth, Pamela Hanson, Peggy Sirota and Tierney Gearon 攝影Photography Andrej Kopac

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A Vision of Hong Kong Cultural Harbour 巡迴展於香港太古廣場、又一城、太古城中心 Traveling exhibition across Pacific Place, Festival Walk, City Plaza, Hong Kong 1,900平方呎/sq ft

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展覽並無設定固定方向,故參觀者無須依循特定路線進行參觀。 The exhibition is purposefully non-directional so that visitors are not shunted through a pre-determined route.

展覽設有兩個出入口,而圓形的形狀讓參觀者可以隨意在展場遊走。 There are two entry / exit points and the circular format allows viewers to randomly jump from one side to another.

為了讓公眾更瞭解香港重要資產——維多利亞港──的潛力,太古地產 與多才設計師Marc & Chantal Design合作,從多個層面以不同形式包 括品牌形像、企業傳播、廣告、多媒體和展覽來傳遞策略方面的資訊。

為此設計師特地設計了兩個不同的場景,一個設於陳列廳,另一個在  物 商場,各有獨特的風格。在陳列廳裡,獲邀請的訪客會在員工帶領下瞭 解計劃詳情;而在開放的  物商場上,設計師採用了完全不同的形式以令 公眾自然地投入在概念的表達之中,不費氣力地接收訊息。

海港發展的全貌是太古地產對城市可持續  所抱持的原則之關鍵。維多 利亞港的三個主要節點,分別是中環、尖沙咀和東南九龍(原啟德機 場)成為資訊策略的基礎,並設計成圓滑的三角形標誌,包圍著這三個 節點。蛋狀的軌道相互接合,其形狀接近大自然。作為主視覺元素的卵 形在所有媒體上均有出現。這個符號同時連接地圖上的不同地點,並描 繪出展覽的建築造型——表面和流通路線的有機曲線。

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該公共展覽在三個本地的高級  物商場內舉行,因此人流量是一個重要考 慮。展覽並無設定固定方向,故參觀者無須依循特定路線進行參觀。展 覽設有兩個出入口,而圓形的形狀讓參觀者可以隨意在展場遊走。相關 的背景資料和數據通過多媒體發放,從小冊子到網站媒體及視像  畫, 所有設計無不起到加強整體資訊的作用。

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在購物商場的環境中,最容易瞥見展覽的位置可能是上 層的走廊,因而佈局必須開放、吸引,且沒有頂棚。 In the context of a shopping mall, the first glimpse of the exhibition might be from the galleries above, so the enclosure has to be open, inviting and roofless.

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設計總   Marc Brulhart曾到洛杉磯Frank Gehry的工作室參觀,因此找 到了設計本次公開展覽建築的靈感。弧形牆的傾斜度介於15至45度之 間,這不單只為了美觀,同時亦解決了部分難題。在   物商場的環境 中,最容易瞥見展覽的位置可能是上層的走廊,因而佈局必須開放、 吸引,且沒有頂棚。 鑒於空間和高度方面的限制,如何增大展示面積尤為重要。設計師並沒 有使用懸空的吊燈,而是將其固定在包圍空間並支撐宣傳架的柱子上。 弧形牆上裝置了地圖、圖像和視像螢幕。然而,整體的建造並不簡單, 因為沒有一塊平面是重複的,所以全部圖像均須因應每個弧度和傾斜度 而設定特定的尺寸。 為了貫徹可持續  的概念,設計師選取人  化、令人如置身戶外的建材, 甚至宣傳小冊子都採用了環保、不含化學成分的再造紙。

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In its mission to help the community understand the potential of Hong Kong’s primary asset - the harbour - Swire Properties sought the expertise of multi-disciplined creative studio Marc & Chantal Design to communicate a strategic message at several levels and in various formats including brand identity, corporate communication, advertising, multimedia and exhibitions. A holistic view of harbour development is key to Swire’s principles of urban sustainability. The three major nodal points at Victoria Harbour Central, Tsim Sha Tsui, and Southeast Kowloon (formerly Kai Tak Airport) - became the foundation of communication strategy, creating the graphic icon of a gently rounded triangle that envelops these three sites. The egg-like trajectory creates synergy, and its shape connects with nature. The ovular form is adopted as the key visual language and used across all media. The symbol also links the various locations on the map and delineates the architecture of the exhibition - the organic curves of the surfaces and the circulation route. Shaping this all-encompassing communication effort entailed two different scenarios - one at a showsuite, the other at shopping mall. Each necessitated a unique approach. At the showsuite, visitors are privately invited to learn about the proposal and are individually guided by staff. In the open forum of the mall, a completely different formula is applied so that the general public could instinctively immerse themselves in the concept and be effortlessly informed. For the public exhibitions at the three local high-class shopping malls, a prime consideration was the volume of traffic passing through the show. The exhibition is purposefully non-directional so that visitors are not shunted through a pre-determined route. There are two entry / exit points

弧形牆的傾斜度介於15至45度之間,這不單只為了美觀,同時亦解決了部分難題。 The angled, circular walls that tilt between 15 degrees and 45 degrees are not purely of aesthetic value as they also resolve several critical issues.

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and the circular format allows viewers to randomly jump from one side to another. Supporting background literature and data is channeled via multiple media - from give-away brochures to web-based media and video animation - all designed to reinforce the overall message. The inspiration for the architecture of the public exhibition followed a visit by director Marc Brulhart to the offices of Frank Gehry in Los Angeles. However, the angled, circular walls that tilt between 15 degrees and 45 degrees are not purely of aesthetic value as they also resolve several critical issues. In the context of a shopping mall, the first glimpse of the exhibition might be from the galleries above, so the enclosure has to be open, inviting and roofless. With spatial constraints and height restrictions, maximising the surface area of the exhibition was crucial. Instead of suspending the lighting overhead, it is fixed onto tilted poles that encircle the enclosure and also support the leaflet holders. Maps, video screens and graphics are carved into the tilted walls. However, the logistics of building it weren’t simple - no surface is repeated, so all the graphics had to be specially sized to compensate for every curve and tilt. In keeping with the concept of sustainability, the designers selected construction materials that are humanly friendly and inspire the outdoors, even opting for ecologically friendly, recycled and chemical-free paper for public information literature.

弧形牆讓設計師得以使用較大的圖像,連模型亦設計成一定角度以獲得更大的空間。 The tilted walls allowed the designers to use bigger graphics, even the models are angled in order to gain more space.

客戶Client Swire Properties Ltd 總承辦商Main Contractor Professional Production 總體策略及藝術指導Overall Strategy & Art Direction Marc Brulhart, Marc Cansier, Chantal Rechaussat 室內、陳列室及公共展覽Interior, Showroom & Public Exhibition Carol Li, Sandra Fay, Jasmine Kong, Robert Luxton 平面及多媒體設計Graphic & Multimedia Ivan Chiu, Esther Ho, Sukie Tsang 項目經理Project Management Lawrence But, Karmen Kar 攝影Photography C K Wong, Marc Brulhart A Vision of Hong Kong Cultural Harbour

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標準的灰色建築模型以木材重建,而基座亦造成卵形,與整體圖像相呼應。 The standard grey-block architectural models are re-made in timber. Even the bases they sit on are cut to an ovular form, echoing the overall graphics.

設計師並沒有使用懸空的吊燈,而是將其固定在包圍空間並支撐宣傳架的柱子上。 Instead of suspending the lighting overhead, it is fixed onto tilted poles that encircle the enclosure and also support the leaflet holders.

弧形牆上裝置了地圖、圖像和視像螢幕。 Maps, video screens and graphics are carved into the tilted walls.

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Karim Rashid - I Want to Change the World 德國慕尼黑Pinakothek der Moderne, Munich, Germany 7,200平方呎/sq ft

Karim Rashid - I Want to Change the World, Munich

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紐約當代國際設計師Karim Rashid首次 在歐洲博物館舉行個人展覽會,向觀眾展 現他所模擬的夢想和現實。是次展覽對 Rashid的設計世界作出了全面的剖析,其 中囊括了他在音樂、藝術、服裝和平面設 計等方面的作品。 虛擬空間與展品之間表現出的驚人張力, 與Karim Rashid的設計手法和概念是一致 的。Karim Rashid 是一位在我們感知的 數位和模擬世界間不斷探索當中關係的大 師,他堅持不渝地將「數碼大眾化」應用 到不同的藝術形式中,諸如傢具、包裝、 模仿藝術品和酒店建築等。Rashid力求突 顯模擬物品和虛擬演示之間的對話,令所 有藝術、設計及建築均成為外觀數碼化的 載體。此短期展覽的構思就融入了這個振 奮人心的概念。

展覽的概念是力求在參觀者流連的展品和空間之中創造一個介面。憑藉巨大的數碼化裝飾, 迎接客人的影像不斷演變出新圖案,意味著跟展覽名稱相關的變化質素。 The exhibition concept endeavours to create an interface between the exhibits and space that visitors can wander around. Thanks to the large, digitally-generated ornaments, the images that greet visitors continually form new combinations, embodying the quality of change from which the exhibition takes its name.

展覽的概念是力求在參觀者流連的展品和 空間之中創造一個介面。憑藉巨大的數碼 化裝飾,迎接客人的影像不斷演變出新圖 案,意味著跟展覽名稱相關的變化質素。 空間因著這些裝飾品而不斷變更,故觀眾 會被更新而多變的景象所深深吸引。 Karim Rashid的作品需要一種嶄新的展覽 形式來配合,因此設計師Albrecht Bangert 在博物館著名的設計收藏品永久展的基礎 上,創製了仿若第二個現代資訊層的展覽 形式。符合Karim設計語言的典型裝飾被放 大至30米,散佈在整個展示區裡。這位紐 約藝術家充滿  感的作品則展示在兩個如機 械運  體的滾  架上,在緩緩轉  的機器上, 展品和向量圖遊移在觀者的眼前,而運  和 相反引  的結合不斷製造出新成形的圖像。 即使Rashid的作品在較為嚴肅的「設計 收藏區」中展示,設計師仍採用了洋紅色 為主色調來突顯展品。彩色閃光照射在由 金屬薄片或彩色平面切割而成的展品基座 上,上面陳列著放大了的裝飾品,如此一 來,在空間的既有次序中便融入了摩登的 指引層次。

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捨棄單調的靜態形式, 感成為這個短期展覽 的重要元素。即使作品在較為嚴肅的「設計 收藏區」中展示,設計師仍採用了洋紅色為 主色調來突顯展品。 Instead of a monotonously static system, movement plays the key role in this temporary installation. Wherever exhibits are presented in the otherwise sober Design Collection, they are emphasized using magenta as the colour code.

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符合Karim設計語言的典型裝飾被放大至30米,散佈在整個展示區裡。 s design idiom were blown up to over 30 metres in size and spread Ornaments typical of Karim’ across the display zones.

This first solo exhibition of New York-based contemporary international designer Karim Rashid in an European museum is dedicated to his simulations of dream and reality. This presentation is a cross-section of Rashid’s design world that explores music, art, fashion and graphic design. The exciting tension between an experience of virtual space and showcased exhibits is in keeping with the approach and intentions of Karim Rashid, a master in exploring the relationship between the digital and analog worlds we perceive. He is uncompromising in applying his “digital pop” to various forms of art ranging from furniture, packaging, simulated artworks to hotel architecture. Rashid has so thoroughly committed to highlighting the dialogue between analogue objects and virtual presentation that art, design and architecture are all subjected to a digitally generated look. This exciting idea has been injected in the conception of this temporary exhibition.

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The exhibition concept endeavours to create an interface between the exhibits and space that visitors can wander around. Thanks to the large, digitally-generated ornaments, the images that greet visitors continually form new combinations, embodying the quality of change from which the exhibition takes its name. Since the room itself is constantly altered by the ornaments that permeate it, visitors are captured in its web and a tour thus offers a forever new set of perspectives. The realization of a Karim Rashid exhibition involved devising a new exhibition format that befits his oeuvre. Therefore, designer Albrecht Bangert developed an exhibition form that was superimposed like a second modern information layer over the permanent exhibition of the museum’s renowned Design Collection. To this end, ornaments typical of Karim’s design idiom were blown up to over 30 metres in size and spread across the display zones. The dynamic efforts by the New York artist were also installed in the moving paternosters that function like two mechanical mobiles. In these slowly moving machines, the exhibits and the vector graphics drift past visitors, and the mixture of movement and countermovement creates constantly newly-configured images. Wherever Rashid exhibits are presented in the otherwise sober Design Collection, they are emphasized using magenta as the colour code. The illuminated colour gleams on the respective exhibit bases underneath the blow-up ornaments cut from foil or the colour surfaces. In this way, the existing sequence of rooms is instilled with a modern meta-guidance level. Karim Rashid - I Want to Change the World

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Karim充滿 感的作品展示在兩個如機械運 體 的滾 架上,在緩緩轉 的機器上,展品和向 量圖遊移在觀者的眼前,而運 和相反引 的 結合不斷製造出新成形的圖像。 The dynamic efforts by Karim were also installed in the moving paternosters that function like two mechanical mobiles. In these slowly moving machines, the exhibits and the vector graphics drift past visitors, and the mixture of movement and counter-movement creates constantly newly-configured images.

客戶Client Die Neue Sammlung State Museum for Design Munich / Lancaster Group, Germany 總承辦商Main Contractor Bangert International Munich 燈光顧問Lighting Consultant Zumtobel 藝術品Artworks Karim Rashid 攝影Photography Rainer Viertlboeck, Germany

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Schmidt Hammer Lassen K/S

Sister of Dreams: People and Myths of the Orinoco 瑞典哥特堡Goteborg, Sweden 8,000平方呎/sq ft

Sister of Dreams: People and Myths of the Orinoco, Goteborg

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(Photo by Ake Fredriksson)

(Photo by Ake Fredriksson)

Sister of Dreams展示了聚居在委內瑞拉奧利諾科河沿岸的12個印第安部族的生活,其目標 觀眾是6至12歲的兒童,因此設計採用了鮮明的色彩和豐富的構圖以喚起參觀者的興趣。 “Sister of Dreams” centres on the lives of twelve Indian tribes living along the Orinoco River in Venezuela. The target audience is children aged 6 to 12. Therefore, vivid colours and rich graphics are employed to arouse the audience’ s interests.

Dream Sister是奧利諾科河岸的印第安人用以形容死亡的詩意表達:處於清醒與沈睡之間 的時空和地方。 “Dream Sister”is also the poetic term that the Orinoco Indians use to describe death: a time and a place where one is neither awake nor asleep.

位於哥特堡新落成的世界文化博物館從21所設計公司中,選擇了丹麥的Schmidt, Hammer & Lassen設計名為Sister of Dreams的大型短期展覽, 以展示聚居在委內瑞拉奧利諾科河沿岸的12個印第安部族的生活。展覽的目標觀眾是6至12歲的兒童,因此設計採用了鮮明的色彩和豐富的構圖 以喚起參觀者的興趣。 八千平方呎大的展覽空間以抽象化的森林、河流和山脈等委內瑞拉景觀為設計概念,構建成立體的迷宮,內裡有無數可供探索的路線,讓參觀者 憑著感覺自由體驗。迷宮由多個透光的立方體組成,其垂直平面上印刷了圖像或投射出電影短片,揭示了奧利諾科河地區豐富的面貌。立方體的 上方、內部和下方共陳列了約700件相關的物品;這些物品看來平凡,卻滲透出祭禮般的神話氣息,並且充滿了華美壯麗的特質。 展廳的中央以大自然為主題,一幅巨大的互   式瀑布映入眼簾;「村莊」帶出日夜不同的節奏感:參觀者可以閒適地安躺著,一邊聆聽著當地的 神話傳說和劈啪的火焰聲,一邊凝視著漆黑的天幕。

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八千平方呎大的展覽空間以抽象化的森林、河流和山脈等委內瑞拉景觀為設計概念,構建成 立體的迷宮,內裡有無數可供探索的路線,讓參觀者憑著感覺自由體驗。 The 8,000-sq-ft exhibition space is designed as an abstraction of the Venezuelan landscape with its forests, rivers and mountains. Constructed as a three-dimensional labyrinth for visitors to experience through all their senses, there are an infinite number of paths to explore. 迷宮由多個透光的立方體組成,其垂直平面上印刷了圖像或投射出電影短片,揭示了奧利 諾科河地區豐富的面貌。 The labyrinth is made with a number of backlit cubes showing images and movies of the Orinoco region, printed or projected onto all vertical surfaces.

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(Photo by Ake Fredriksson)

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展覽融合了圖片、多媒體演示和活 ,並展示了約700件來自印第安部族難得一見的日常物品。 The exhibition blends photographs, multimedia presentations and activities with about 700 unique everyday objects from the tribes.

From a field of 21 entries, the new Museum of World Cultures in Goteborg selected Danish architect firm Schmidt, Hammer & Lassen to be the designer of a large-scale temporary exhibition named ‘Sister of Dreams’, which centres on the lives of twelve Indian tribes living along the Orinoco River in Venezuela. The target audience is children aged 6 to 12. Therefore, vivid colours and rich graphics are employed to arouse the audience’s interests. The 8,000-sq-ft exhibition space is designed as an abstraction of the Venezuelan landscape with its forests, rivers and mountains. Constructed as a three-dimensional labyrinth for visitors to experience through all their senses, there are an infinite number of paths to explore. The labyrinth is made with a number of backlit cubes showing

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展廳的中央以大自然為主題,一幅巨大的互 式瀑布映入眼簾。 At the core of the exhibition where nature is the theme, visitors would encounter a large interactive waterfall.

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「村莊」帶出日夜不同的節奏感:參觀者可以閒適地安躺著,一邊聆聽著當地的神話傳說和劈啪的火焰聲,一邊凝視著漆黑的天幕。 “Village”offers a sense of the rhythm of the day and night: visitors lie on their backs, listen to the native myths and the crackling of sparkling flames as they gaze up at the night sky.

images and movies of the Orinoco region, printed or projected onto all vertical surfaces. Some 700 objects are placed on, inside and beneath the cubes in the landscape. Everyday objects have a ritual and mythological significance and they are presented in all their splendour. At the core of the exhibition where nature is the theme, visitors would encounter a large interactive waterfall, while the “village” offers a sense of the rhythm of the day and night: visitors lie on their backs, listen to the native myths and the crackling of sparkling flames as they gaze up at the night sky.

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客戶Client Museum of World Cultures Goteborg 總承辦商Main Contractor Heijmerink & Wagemakers, Netherlands 燈光顧問Lighting Consultant Ramboll 燈具Lighting Fixtures & Fittings Primetec AB Goteborg 牆飾及鋪地Wall Covering & Flooring Heijmerink & Wagemakers, Netherlands 視聽製作AV Production CAT Productions 攝影Photography Fundacion Cisneros (unless specified)

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衛殊+貝卓國際設計事務所 Reich+ Petch Design International The Bug House at World Museum Liverpool 英國利物浦Liverpool, United Kingdom 2,690平方呎/sq ft

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佈局圖Layout plan

昆蟲對大部分人而言都是模樣噁心 的小生物,只有極少數人敢去接 近,更遑論呆在一個滿是昆蟲的 「昆蟲屋」了。然而,「衛殊+貝 卓」與Jasper Jacob Associates 聯手合作,以通俗親切的設計手 法創製了獨特的展廊體驗,幫助 參觀者克服進入昆蟲世界的恐懼。

當參觀者甫入展廳時,立刻被宏偉的入口所震懾。龐大的入口使參觀者顯 得相對細小,好讓人們預備進入昆蟲的世界。此外,在入口處,一隻兩米 高的電子活 蒼蠅緩緩蠕 ,歡迎著參觀者進入展館。 When a visitor first approaches, he / she would be struck by the“superscaled”gallery entry, which was designed to effectively reduce visitors in size and transport them into the world of insects. A two-metre animatronic fly moves gently at the entry and welcomes visitors into the gallery.

「昆蟲屋」是利物浦世界博物館 裡的一個新昆蟲館,也是「衛殊 +貝卓」為博物館設計的多個展 廳之一,其他還包括世界文化廊 (以亞洲、非洲、大洋洲和美洲 的珍貴收藏品為特色)以及一所 新水族館。 博物館收集了豐富的昆蟲藏品和 研究標本,這些資料通常只有學 者才有機會看到,現在卻向大眾 公開展出,因此設計師必須營造 友善而舒適的環境,讓參觀者可 以充分享受徘徊在一萬八千件昆 蟲標本間的樂趣。 當參觀者甫入展廳時,立刻被宏偉 的入口所震懾。龐大的入口使參觀 者顯得相對細小,好讓人們預備進 入昆蟲的世界。在這裡,一隻巨型 電子活  昆蟲緩緩蠕  ,歡迎著參觀 者進入展館。 Reich+ Petch Design International

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為清晰準確地傳遞訊息,設計師使用簡易的說明圖像來闡釋展廊的主題。 To make the messages clear and easy to understand, illustrative graphics are used to present the themes and the topics of the gallery in a visitor-friendly manner.

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Insects, to many of us, are tiny creatures that have a frightening appearance. Few people dare to near them, not to mention to enter a ‘bug house’ full of insects. However, with a friendly and popular design vocabulary, designers Reich + Petch, in association with Jasper Jacob Associates, help visitors overcome any fears in discovering the world of insects through a unique gallery experience.

為清晰準確地傳遞訊息,設計師使用簡易的說明圖像來闡釋展廊的主 題。另一方面,巨型的昆蟲模型劃分出不同的區域。 除此以外,數個精巧的互  裝置有助表達複雜的題材。例如特大的「收 音機」讓參觀者可以選擇不同的昆蟲叫聲,並從中學習不同品種的昆 蟲如何發出這些聲音。巨型模型——包括了兩米高的電子活  蒼蠅及蟄 伏在天花板上的蜘蛛網內以迎接客人的巨型蜘蛛——令展品陳列更加 豐富,並為展廊注入愉悅的氣氛。

The Bug House, a new entomology gallery, is one of the projects Reich + Petch has completed at World Museum Liverpool, including World Cultures Gallery (featuring remarkable collections from Asia, Africa, Oceania and the Americas) as well as a new aquarium.

展廳還設有一系列特別為博物館而培養的活昆蟲,儲存在標本箱裡, 好奇的參觀者可透過與導賞員溝通互  ,探索有關活昆蟲的奧秘,這亦 是本展覽的一大特色。

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(上)展廳還設有一系列特別為博物館而培養 的活昆蟲,儲存在標本箱裡,好奇的參觀者可 透過與導賞員溝通互 ,探索有關活昆蟲的奧秘。 (Top) For the truly inquisitive visitors, the gallery also houses a series of live specimen cases where they can interact with museum demonstrators and explore the secrets of living specimens that are specifically cultivated for the gallery. (下)互 的昆蟲「收音機」讓參觀者可以選擇不 同的昆蟲叫聲,並從中學習不同品種的昆蟲如何 發出這些聲音。 (Bottom) An interactive insect“radio”allows visitors to select different“bug sounds”and to learn how they are made by the different insect species.

The museum possesses a significant collection of insects and research specimens that was basically only available to scholars. Now, this worthy collection is open to the public. Therefore, a welcoming and cozy environment is created to make the visitors feel comfortable in the midst of 18,000 insect specimens. When a visitor first approaches, he/ she would be struck by the ‘super-scaled’ gallery entry, which was designed to effectively reduce visitors in size and transport them into the world of insects. Here, a giant animatronics insect moves gently and welcomes visitors into the gallery. To make the messages clear and easy to understand, illustrative graphics are used to present the themes and the topics of the gallery in a visitor-friendly manner while large-sized insect models define the different zones of the gallery.

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巨型蜘蛛Avril在天花板上的蜘蛛網內迎接參觀者。 Avril, the giant animatronic spider, welcomes visitors from her web on the ceiling.

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In addition, several impressive interactive devices help to communicate complex topics. For example, an oversize ‘radio’ is set up to allow visitors to select different ‘bug sounds’ and to learn how they are made by the different insect species. Larger-than-life models including a two-metre animatronic fly and Avril the giant spider, who welcomes visitors from her web on the ceiling - enrich the display of the exhibits and instill the gallery with a delightful atmosphere. Finally, for the truly inquisitive visitors, the gallery also houses a series of live specimen cases where they can interact with museum demonstrators and explore the secrets of living specimens that are specifically cultivated for the gallery.

客戶Client World Museum Liverpool 設計組Project Team Anthony Reich, Stephen Petri, Heather Chiao, Andrew Gibbs, Edmund Li, Michael Peters, Leonard Wyma, Sharon Ohno, Amanda Ramos, Carolina Chen, Lesley Carleton of Reich+ Petch Design International

昆蟲屋在英國是獨一無二的,展示了來自博物館多個研究收藏品中的數千個標本以及 物飼養場 裡活生生的節肢昆蟲。 The Bug House is unique in the UK in combining thousands of specimens from the museum’s vast research collection with real live colonies of arthropods in vivariums.

總承辦商Main Contractor MICE / Sliver Knight 燈光顧問Lighting Consultant Sutton Vane Associates 燈具Lighting Fixtures & Fittings Track lighting by Erco 傢具Furniture MICE / Sliver Knight 鋪地Flooring Carpet by Interface 藝術品Artwork Animatronics / scientific sculptures by EDM 攝影Photography Kerun Ip

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Philippe Rahm Architectes

Ghost Show 法國奧爾良Frac Centre, Orléans, France

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從最基本的角度來看,建築的本質是一個三維的結構。 然而,Ghost Spaces這個項目探討的是在未知的空間 中的生活,透過擴大現存的感官領域至嶄新的範疇,並 掩飾在時間和空間的折痕之中。建築師Philippe Rahm 探索「二地同時出現」、「無所不在」和「導向」等 題材,在同時出現的、大小不同的空間中,構思一個 空間重疊的建築,像不同靈異的空間相互交錯,幻影 在其中穿梭往來。 Philippe Rahm於Frac Centre──一幢集合眾多當代建 築作品的中心──舉辦的個人展名為Ghost Show。展 覽根據三個不同的時間,營造了三個不同空間用來展示 多個建築項目。每個空間由大小不一的虛擬六面體( 體積分別為27立方米、36立方米和60立方米)的十二 條邊界定,當中的一塊平面是完整並印有圖案的。這 些幾何體由地面、牆體或天花交替承托著。每個幾何 體均擁有特定的顏色(青色、洋紅或黃色),而且連 接投影器,在指定時段發出特定色彩的光芒(青色、 洋紅或黃色)。一  支三種顏色的熒光燈管輪流照明三 十分鐘。隨著不同的時間和色彩,某個空間將成為主要 焦點,而其他空間則隱沒在展覽中心的灰色背景中。

展覽根據三個不同的時間,營造了三個不同空間 用來展示多個建築項目。每個空間由大小不一的 虛擬六面體(體積分別為27立方米、36立方米和 60立方米)的十二條邊界定,當中的一塊平面是 完整並印有圖案的。這些幾何體由地面、牆體或 天花交替承托著。 The exhibition presents projects of architecture in three spaces according to three times. Each space is defined volumetrically by the 12 edges of a virtual parallelepiped of variable size (27 cubic metres, 36 cubic metres and 60 cubic metres respectively). One of the faces is full and printed. These volumes are alternately supported from the ground, the wall or the ceiling.

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At its most basic level, architecture is basically a universe in three dimensions. However, ‘Ghost Spaces’ is a project of living in unknown dimensions by amplifying the current spectrum of the senses to new extents, dissimulated in the folds of time and space. Exploring themes of bilocation, ubiquity and channeling, architect Philippe Rahm seeks to draw an architecture - through the synchronic presence of various spatial dimensions - that intersect spectrums of spaces: one room haunted by another room, where a phantom of a program can appear in another program.

一  支三種顏色的熒光燈管輪流照明三十分鐘。隨著不同的時間和色彩,某個空間將成為主 要焦點,而其他空間則隱沒在展覽中心的灰色背景中。 100 fluorescent tubes of three colours alternately light up over 30 minutes. According to the time and colour, a space may become visibly dominant while other volumes fade in the general grey of the Frac Centre.

每個幾何體均擁有特定的顏色(青色、洋紅或黃色),而且連接投影器,在指定時段發出 特定色彩的光芒。 Each volume is associated a particular colour (cyan, magenta or yellow) and each time is defined by the emission of a light of particular colour connecting with a video projection during one definite duration.

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‘Ghost Show’ is an exhibition design for a solo exhibition of Philippe Rahm held in Frac Centre, a collection venue for contemporary architecture. It presents projects of architecture in three spaces according to three times. Each space is defined volumetrically by the 12 edges of a virtual parallelepiped of variable size (27 cubic metres, 36 cubic metres and 60 cubic metres respectively). One of the faces is full and printed. These volumes are alternately supported from the ground, the wall or the ceiling. Each volume is associated a particular colour (cyan, magenta or yellow) and each time is defined by the emission of a light of particular colour (cyan, magenta or yellow) connecting with a video projection during one definite duration. 100 fluorescent tubes of three colours alternately light up over 30 minutes. According to the time and colour, a space may become visibly dominant while other volumes fade in the general grey of the Frac Centre.

攝影Photography Courtesy of FRAC Centre

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Imagination Ltd

Orange Imaginarium at Explore @ Bristol 英國布里斯特耳Bristol, United Kingdom 915平方呎/sq ft

Orange Imaginarium, Bristol

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Explore @ Bristol是一個實用的二十一世紀科學 中心,擁有超過170種結合最新多媒體科技的 互  活  。作為該展場的主要贊助商,Orange委 託了Imagination創製充滿刺激感的時尚展覽,同 時帶給年輕的參觀者有關無線科技的資訊。設計 師將參觀者引入「追逐彩虹」的世界,其互  學 習環境鼓勵訪客進行探索和研究,在多重感官 層次上引發孩子的想像力,並糅合了Orange的 品牌體驗。 Orange Imaginarium由懸掛在天花板上的無數觸 控式光纖燈組成。大簇光亮的橙色燈光掃射過整 個區域,仿如此起彼落的波浪。色彩過後散發出 純白色的光芒,而橙色的光線依然以不同強度散 發出來。地板光亮的黑色塗漆營造深邃感,反映 出光纖電纜的大束光線。 展覽區同時採用了聲控科技。「說出你的名字」 展示了機器也能像人一般作出反應;導向擴音器 可將孩子的聲音以不同的音速和音調重新播放, 十分有趣;「講個笑話」區通過按孩子們要求講 笑話的互  遊戲,辨認出各人不同的聲音。 Orange Imaginarium是一個包羅萬有、令人著迷 的環境,讓參觀者本身也成為展覽的一部分。我 們通常囑咐孩子眼看手勿  ,然而這個獨特的環 境卻可以達到寓教於樂的目的。

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天花板上懸掛著無數觸控式光纖燈。大簇光亮的橙色燈光掃射過整個區域,色彩過後散發出純白色的光芒,而橙色的光線依然以不同強度散發出來。 A forest of touch-sensitive fibre optic lights is suspended from the ceiling. Triggered by floor panels, the cluster of intense orange lights sweeps across the area. Once the colour has passed, the lights emit a pure white glow whilst the orange light continues through its various degrees of intensity.

The Explore @ Bristol exhibition is a hands-on, 21st century science centre featuring over 170 interactive activities with the very latest multimedia technologies. As a main sponsor of the area, Orange asked Imagination to create a stimulating and modern exhibit to help explain wirefree technology to young visitors. Inviting visitors to メChase the Rainbow,モ Imaginationユs interactive learning environment engages a childユs imagination on a multi-sensory level by encouraging exploration and investigation while incorporating an unobtrusive Orange brand experience. The Orange Imaginarium is composed of a forest of touch-sensitive fibre optic lights suspended from the ceiling. Resembling a Mexican wave of sorts, the cluster of intense orange lights sweep across the area when triggered by floor panels. Once the colour has passed, the lights emit a pure white glow whilst the orange light continues through its various degrees of intensity. The floorユs mirrored black finish provides a sense of depth, allowing the fibre optic cables to reflect large columns of light. The area also experiments with voice activation technology. メSay Your Nameモ illustrates that machines can respond like people. Directional speakers play back the childrenユs voices at different speeds and pitches making this an amusing demonstration. The メTell Me A Jokeモ zone Orange Imaginarium

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Imagination將參觀者引入「追逐彩虹」的世界,其互 學習環 境鼓勵訪客進行探索和研究,在多重感官層次上引發孩子的想 像力,並糅合了Orange的品牌體驗。 Inviting visitors to “Chase the Rainbow,”Imagination’ s interactive learning environment engages a child’s imagination on a multi-sensory level by encouraging exploration and investigation while incorporating an unobtrusive Orange brand experience.

also recognises childrenユs individual voices and interacts with them by telling them jokes at their request.

客戶Client Orange

The Orange Imaginarium is an allencompassing, immersive environment, allowing guests to become part of the exhibit. Children are often told to look and not to touch, but this unique environment gives children the opportunity to have fun whilst learning.

燈具Lighting Fixtures & Fittings Lighting system was linked by DMX to an Alcorn McBride unit supplied by Electrosonics; wall washers, downlights and spotlights to the graphic illustrations by IGuzzini

燈光顧問Lighting Consultant Tony Rimmer of Imagination Ltd

藝術品Artwork Imagination Ltd 視聽系統AV System Imagination Ltd 天花及裝置Ceiling & Fixtures Howard Eaton Lighting Ltd 攝影Photography Paul Box of Paulbox.com Imagination Ltd

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設計師D E S I G N E R S’ P R O F I L E S 檔案 Name Projects Awards

Contact

II BY IV Design Associates Inc Saks Fifth Avenue Crystal Cruises Royal Ontario Museum Ann Taylor Loft Virgin Mobile www.iibyiv.com / design@iibyiv.com

3rd UNCLE design inc Drake Hotel Lileo Lululemon Blue Mountain House Edgehill House Designers of the Year - Interior Design Show Best of Canada 2005 - Canadian Interiors - Blue Mountain House National Post Design Exchange Awards 2004 - Drake Hotel, Dove “Beyond Compare”, Lileo Light Fountain Best of Canada 2004 - Canadian Interiors - Drake Hotel, Dove “Beyond Compare” Arc 2003 Award - Cadillac Fairview - Best Retail Concept

www.3rduncle.com / studio@3rduncle.com

ADO Design & Public Art Consultants (HK) Ltd Ling Wan Monestary Ma On Shan Children’s Public Library Lam Tai Fai College Peninsula Knitters Ltd’s Office Butani’s Apartment JCD Design Award 2005 (Japan) Winner of Public Art Scheme Project 2003/04, LCSD for Mapping Ma On Shan at Ma On Shan Children’s Public Library Winner of Public Art Scheme Project 2003/04, LCSD for Ripple at Yat Tung Est, Tung Chung Finalist of Sovereign Art Foundation Contemporary Asian Art Competition 2004 Winning Commission of Public Art Competition by Government’s Ship Street Redevelopment Committee

www.ado-hk.com

Albrecht Bangert Pinakothek der Moderne Munich / Germany Permanent Design Collection Aidas fairstands Ispo Munich Exhibition Design: Design Museums of the World Nuremberg / Germany Exhibition Design: Colani Back in Japan, Kyoto, Japan Exhibition Design: Computer Culture Die Neue Sammlung Munich 5 Art Directors Club Awards, Germany 2 Red Dot Award 4 iF Design Award Lighting Innovation Award Light and Building

www.bangertverlag.com


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burdifilek Joop! Germany Holtrenfrew, Canada Neiman Marcus, US Canadian Interiors “Best of Canada 2004” NASFM “Store of the Year 2005” NASFM “Store of the Year 2004”

info@burdifilek.com

CL3 Architects Ltd Nadaman Restaurant, Island & Kowloon Shangri-la Hotel 上海九間 ÛShanghai Mandarin Palace 上海依雲水療Evian Spa 長沙白沙源茶館Baishayuan Tea House 深圳市萬科房地產有限公司Shenzhen Vanke Real Estate Co Ltd The American Institute of Architects, Hong Kong Chapter - Firm Award 2004 Hong Kong Design Centre Design for Asia Award 2004 for Lantern Wonderland Hong Kong Tourism Board, Lantern Wonderland Design Competition The Hong Kong Institute of Architects Annual Awards 2003 - President’s Prize for Lantern Wonderland The Northwest & Pacific Region of the American Institute of Architects 2004 - Award of Merit for Lantern Wonderland

www.cl3.com

Conceptual Hong Kong Hong Kong Disneyland - Ground Breaking Event LG - Mobile Customer Care Center The Walt Disney Company (Asia Pacific) Ltd - Shop Renovation of Kids Wonderland in Ocean Terminal CMA - Official Venue Decorator for the 39th Hong Kong Product Expo www.conceptual.com.hk / info@concept.com.hk

depack environnement Jacomo Parfums Parlux Parfums (Guess etc) Baron Philippe de Rothschild (wines) Constellation Brands (wines & spirits) Porche Nid d’Or of Design Elected most beautiful booths in several shows

lkruis@depack.com


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Freddie Georges Production Group Rainbow Media - NCTA ’01-’05 Lucas Arts - E3 ’04 ZK Games - E3 ’05 Majesco Inc - E3 ’04 Exhibitor Magazine 2001 Gold Award Exhibitor Magazine 2003 Special Merit Award

freddieg@freddiegeorges.com

H Studio Millennium Dome - Home Planet zone London UK Reuters - Reuters Refresh - Juice and breaking news bar London UK British Airways World cargo - International Touring Exhibition Science Museum London - restaurant Winner Best Film and TV Graphics - Design Week (UK) Finalist - Best Showroom / Retail Concept FX (UK) Silver Award - Stand Design Exhibitor Magazine (US) Best Stand Design Company - Marketing Event Magazine (UK)

jameshodges@hstudio.co.uk

Imagination Ltd Guinness Storehouse “Predators” Exhibition at The Natural History Museum Eureka! The Children’s Museum, “Our Global Garden” Olympic Rendezvous @ Samsung The Samsung Experience, New York Design Week Awards, 2004 - Best Permanent Exhibition Design, Orange Imaginarium, Winner FX Design Awards, 2003 - Best Exhibition Lighting Scheme, Orange Imaginarium, Winner FX Design Awards, 2003 - Best Exhibition Museum / Gallery, Orange Imaginarium, Shortlisted Events Awards, 2003 - Best Brand Experience, Orange Imaginarium, Finalist D&AD Awards, 2003 - Environmental Design, Orange Imaginarium, Silver Nomination

www.imagination.com / Geraldine.walsh@imagination.com

Joey Ho Design Ltd Architectural Competition - Absence of Tradition (Taiwan) - Finalist Mention (in associated with Bate) Asia Pacific Interior Design Award 2004 - Honourable Mention, Showflat Category Golden Oscar Jinjue Villa Asia Pacific Interior Design Award 2004 - Honourable Mention, Exhibition Category Future Home Exhibition Gallery China Hi-Tech Fair 2004 (CHIF) - Hong Kong Pavilion Design Competition - Grand Award Fighting SARS Memorial Architectural Scene Design Competition - Honourable Mention enjoy@joeyhodesign.com

Karim Rashid Inc office@karimrashid.com

Marc & Chantal Design Ltd 2003 Honourable Mention Award of the Exhibition Category - Designer of “Central Time - Hongkong Land by the organisation of Asia Pacific Interior Design Association 2003 Honourable Mention Award of the Exhibition Category - Project of “Central Time - Hongkong Land by the organisation of Asia Pacific Interior Design Association 2002 Showcase - Singapore Design Awards 2002 of Swarovski “Crytal Collection” by the organisation of Designers Association Singapore 2002 Showcase - Singapore Design Awards 2002 of Credit Suisse First Boston “Asia Tech Conference 2002” by the organisation of Designers Association Singapore Excellent Award - HKDA Design 02 Show of “Marc & Chantal Design Website” by the Hong Kong Designers Association

www.marc-chantal.com / info@marc-chantal.com


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MBD Design Peugeot - Eurocopter - Siemens - Mattel - EADS

Office for Metropolitan Architecture OMA-AMO Prada Epicenter Store, Los Angeles, US Seattle Central Library, US Netherlands Embassy, Berlin, Germany Illinois Institute of Technology Campus Center, Chicago, US Guggenheim Museum, Las Vegas, US 2004 RIBA Gold Medal 2000 Pritzker Prize

WWW.OMA.NL / OFFICE@OMA.NL

Oval Design Ltd Canon Expo, The Chinese New Year Night Parade, KCR West Rail Inauguration Ceremony, MTR Tseung Kwan O Extension Launching Ceremony, World Bank Conference Singapore Design Award Interactive Media Design, Best Design Award Singapore Informatics Expo, Gold Award Watch & Clock Fair, Hong Kong Designers Association Excellence Award

www.oval-design.com

Park Associati Credit Suisse Financial Centres - Milano (Italy), Frankfurt, Munich, Berlin, Stuttgart (Germany) Acer Computers Headquarters, Lainate, Milano, Italy Lehman Brothers Headquarters, Milano, Italy Entrance at the Contemporary Art Museum, Rome, Italy Telecom Italia Shop System, Italy Luigi Cosenza Young European Architects Award 2000 Jury Commendation at the new Modern Art Museum Competition 2001, Rome, Italy Exhibit Design Awards 2005 for Telecom Italia Pavilion ITU, Geneva First Price at the International Competition for Entrance at the Contemporary Art Museum 2003, Rome, Italy Jury Commandation at the new Art Museum Competition 2005, Munster, Germany

www.parkassociati.it

Philippe Rahm Architectes Ghost Flat Reverse Invisible architecture www.philipperahm.com

POSH Office Systems (HK) Ltd (In-house marketing Dept.) POSH various Showrooms in WanChai, Nathan Road, ShengWan, Central (Hong Kong) 1st Prize in Display Presentation (Office Furniture Category) in China International Furniture Fair 2003 Best Presentation Award in Malaysia International Furniture Fair 2003 Display Design Award in China International Furniture Fair 2001

lam_lam@posh.com.hk


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Reich + Petch Design International 史密森尼國立自然歷史博物館Smithsonian Institution Museum of Natural History 蘇必利爾湖省立公園遊客中心Lake Superior Provincial Park Visitor Centre 香港文化博物館Hong Kong Heritage Museum 維珍尼亞州州立自然歷史博物館Virginia Museum of Natural History Art Gallery of Windsor HOW Magazine Environmental Design for Smithsonian Museum of Natural History Wood Council Design Award for Lake Superior Provincial Park Visitor Centre Ontario Association of Architects Design Award for the Art Gallery of Windsor Volkswagen Design Award for the South Asian Gallery Royal Ontario Museum

www.reich-petch.com / reich@reich-petch.com

Schmidt Hammer Lassen K/S ARoS - Aarhus Kunstmuseum, Aarhus, Denmark Växjö City Library, Växjö, Sweden Nykredit Head Office, Copenhagen, Denmark The Royal Library, Copenhagen, Denmark Nuuk Arts and Community Centre, Nuuk, Greenland FX Award for Best Museum Design for ARoS - Aarhus Kunstmuseum, 2004 In-Situ Prize for ARoS - Aarhus Kunstmuseum, 2004 Växjö Municipality’s Architecture Prize, 2004 The Du Pont Benedictus Award for the Royal Library, 2003 The Nykredit Architecture Prize for the Royal Library, 2001

www.shl.dk

thomas.matthews Battersea Arts Centre, London, UK Museum of, London, UK No shop, London, UK Hong Kong Wetland Park, Hong Kong Your Ocean Exhibition @ National Maritime Museum, UK www.thomasmatthews.com / studio@thomasmatthews.com

Totems Communication & Architecture Pavilon of the Netherlands, Expo 2005 Fair Trade SAP at Cebit 2004 Fair Trade TUI, 2005 Exhibition “My Mercedes”, Daimler Chrysler 2004 Active Driving Experiences, Daimler Chrysler 2004 Zoellner, If Design Award 2005 My Mercedes, Art Directors Club Award 2005 Audi Technology Film, Gold Medal at New York Festival 2004 Audi, Communication Design, Red Dot Design Award, 2003 Gasunie World Gas Conference, EDGE Award, Exhibitor Magazine

www.totems.com / stefanie.larson@totems.com

廣東省集美設計工程公司SD藝術設計中心 首都博物館 淮海戰役紀念館湖 湖南省博物館 人民大會堂廣東廳 shenlei@ccpit.org or huangjiancheng@ccpit.org


Space 62 Exhibition