The Dots #6 - South China 2012

文章 · article

Annemiek van Grondel介绍 荷兰政府在到中国发展创意产 业上投资的原因

Annemiek van Grondel on why Dutch government invests in bringing creative industry to China 第页 · p. 14 文章 · article

倪裕伟讲述建筑师和设计师在 中国的收获和对中国的贡献

Yuwei Ni on what architects and designers can learn from and bring to China 第页 · p. 44

the dots 荷兰设计，智慧的、关爱社会的设计

Dutch Design, Smart and Social Design Connecting the Dots杂志呈现在香港营商周（12月3日到8日） 和广州设计周（12月7日到9日）上所有荷兰发面的活动

Connecting the Dots showcases all Dutch activities in South China at the Business of Design Week Hong Kong (3 – 8 December) and the Guangzhou Design Week (7 – 9 December)

#6 2012年12月 中国 南方 #6 December 2012 South China

文章 · article

Mark Hemel在广州建成一座六 百米高的建筑

Mark Hemel builds 600 meter building in Guangzhou 第页 · p. 54 人物 · portraits

十位设计师接受“在中国开展 业务”话题的专访

10 designers interviewed about doing business in China 第页 · p. 7 专栏 · column

Richard Hutten谈“中国复制”

Richard Hutten will Copy China 第页 · p. 49

收藏：阿姆斯特丹国立博物馆 · Collection: Rijksmuseum, Amsterdam

Dutch porcelain plate depicting a Chinese scene porcelain, 1784 – 1814, Porceleinfabriek aan den Amstel made in the Netherlands

荷兰瓷器 盘面描绘了一幅中国的场景 瓷器，1784 – 1814，阿姆斯特陶瓷厂 荷兰制造

Connecting the Dots · 南方 中国 2012 荷兰设计，智慧的、关爱社会的设计

Connecting the Dots · South China 2012 Dutch Design, Smart and Social Design

第6期Connecting the Dots杂志展示了中国南 方地区在香港设计商务周（12月3号到12月8 号）和广州设计周（12月7号到12月9号）上进 行的所有荷兰方面的活动。

Connecting the Dots #6 showcases all Dutch activities in South China during the Business of Design Week in Hong Kong (3 – 8 December) and the Guangzhou Design Week (7 – 9 December) 2012.

此出版物是荷兰设计Ÿ时尚Ÿ建筑(DutchDFA)项 目的一部分。 Connecting the Dots杂志在国际范围的重大设 计事件和展会中宣传和推广荷兰设计师和设计 文化。

Connecting the Dots杂志 地址：Koningsstraat 43c 邮编：1011ET · 城市：阿姆斯特丹 国家：荷兰 · t +31 (0)20 8932886 connecting@thedots.nl · www.thedots.nl www.twitter.com/thedots_mag 主编 David Heldt · david@thedots.nl 特约编辑 Annemiek van Grondel, Richard Hutten, Xu Jingxi (许靖烯), Gabrielle Kennedy, Marielle Lagers, Yuwei Ni (倪裕伟), Jeanne Tan 翻译 Xiyang Wang (王兮杨) · wangxiyang821220@gmail.com Bureau Kennedy · www.bureaukennedy.com 平面设计 Haller Brun · www.hallerbrun.eu

封面照片 卡罗拉·徐 · 网站www.carolazee.nl 图片故事 Sanne van der Goor (概念与编辑) · www.hakiili.nl 阿姆斯特丹国家博物馆 · www.rijksmuseum.nl 阿姆斯特丹国家海事博物馆 · www.hetscheepvaartmuseum.nl 特约摄影师 Ilco Kemmere · www.ilcokemmere.nl Carola Zee · www.carolazee.nl Peter Le · peterlephoto@gmail.com 印刷 广东林氏印业集团 578884569@qq.com · t +86 180 2717 01 26 印刷 Luc Deleau luc@thedots.nl · t +31 (0)65 247 29 90 宣传 David Heldt · t +31 (0)20 8932886

© Connecting the Dots 2012 版权所有。此出版物中的照片、图示、图画和 文字材料的版权分别属于提供这些材料的摄影 师、设计师和作者所有。本出版物中的任何一 个部分不能以任何电子、机械、影印的方式或 在未经出版人、设计师、摄影师和作者允许的 情况下进行复制和传播。

合作伙伴 · Partners Connecting the Dots 南方 中国 2012 · South China 2012

This publication is part of the Dutch Design Fashion Architecture (DutchDFA) program.

前言 · foreword 联系中国

文章 · article 创意融合在中国

文章 · article 荷兰设计在中国我眼中的荷兰设计

Connecting with China David Heldt

Creative Crossovers in China Annemiek van Grondel

Dutch Design in China Yuwei Ni

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人物 · portraits 荷兰设计师在中国

专栏 · column 纵观中国

专栏 · column 中国复制

Dutch Designers in China

Bird’s-eye view on China Marielle Lagers

Copy China Richard Hutten

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指南 · guide 2012荷兰设计在中国南方

文章 · article 卓越见证

Dutch Design in South China 2012

Towering Testimony Xu Jingxi

人物专访 · interviewed by Jeanne Tan 图片摄影 · photographed by

Connecting the Dots publishes and presents Dutch designers and designculture internationally during key design events and fairs.

Ilco Kemmere

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Connecting the Dots magazine Koningsstraat 43c · 1011 ET Amsterdam The Netherlands · t +31 (0)20 8932886 connecting@thedots.nl · www.thedots.nl

Yuwei Ni

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www.twitter.com/thedots_mag

Daan Roosegaarde

Editor in Chief David Heldt · david@thedots.nl

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Contributing editiors Annemiek van Grondel, Richard Hutten, Xu Jingxi, Gabrielle Kennedy, Marielle Lagers, Yuwei Ni, Jeanne Tan

John Kock

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Translation Xiyang Wang · wangxiyang821220@gmail.com Bureau Kennedy · www.bureaukennedy.com

Branimir Medic

24 Judith and Gunter Wehmeyer

Graphic design Haller Brun · www.hallerbrun.eu

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Cover photo Carola Zee · www.carolazee.nl

Leendert Tange

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Photo essay Sanne van de Goor (concept & editing) · www.hakiili.nl Collection Rijksmuseum, Amsterdam · www.rijksmuseum.nl Het Scheepvaartmuseum, The National Maritime Museum, Amsterdam · www.hetscheepvaartmuseum.nl

Herman Kossmann

50 Ashok Bhalotra

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Contributing photographers Ilco Kemmere · www.ilcokemmere.nl Carola Zee · www.carolazee.nl Peter Le · peterlephoto@gmail.com

Carola Zee

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Printed by Guangdong Linshi Printing Company 578884569@qq.com · t +86 180 2717 01 26

Henny van Nistelrooy

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Communication & Press Luc Deleau luc@thedots.nl · t +31 (0)6 52472990

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荷兰机构与活动介绍（香港地区）

Dutch presentations in Hong Kong Dutch Design Desk South China Dutch Design on the Move MVRDV Studio Mango Miffy visits Hong Kong

图片故事 · photo essay 一种文化的传承

A Cultural Heritage Sanne van de Goor

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28 – 31 香港／广州地图

Maps Hong Kong / Guangzhou

32 – 33 荷兰机构与活动介绍（广州地区）

Dutch presentations in Guangzhou Ask4Me, 3House-Producitons Graphic Happiness Spizes / studio PLOT inamsterdam Dutch Design Workspace

34 – 37 索引

Index

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Advertising David Heldt · t +31 (0)20 8932886

© Connecting the Dots 2012 All rights reserved. Copyrights on the photographs, illustrations, drawings, and written material in this publication are owned by the respective photographer(s), the designer(s) and the author(s).

No part of this publication may be repro­ duced or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without per­ mission of the publisher and designers, photographers and authors involved.

the dots #6

版权声明 · colophon

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目录 · content

the dots #6

联系中国

Connecting with China

早在两千五百年前，中国的智者孔子曾说过：“既来之，则安之”。Connecting the Dots杂志 本期的内容，例如Jeanne Tan对在中国开展业务方面有经验的荷兰设计师和建筑师的采访中， 就体现了这一思想。BoomWehmeyer工作室的Judith van den Boom说：“要让自己深入到中国 的文化中并好好的感受它，去观察，去参与，去相互沟通，脱离外籍人士的那种海外情结与中国 的创意人士去体验在大城市之中设计外表之外的成长中的创意景象。”（见第40页）

“Wherever you go, go with all your heart,” Confucius, the Chinese philosopher, said 2500 years ago. This is wisdom that surfaces in this edition of Connecting the Dots, for example in Jeanne Tan’s interviews with Dutch designers and architects who have experience doing business in China. Judith van den Boom of Studio BoomWehmeyer says: “Immerse yourself in its culture and breathe it in. Observe, engage, interact, and please work outside the expat scene with Chinese creatives to experience the growing creative scene beyond the facade of the design scene in the big cities.” (page 40)

在中国取得成功的设计师不能把自己与这个国家的联系限制在商业事务和社会交往方 面。StudioHvN工作室的Henny van Nistelrooy甚至已经开始学习中文，他说到：“我目前正在 学习中文（普通话），尽管这门语言掌握起来很难，但我认为这是必要的，因为中国文化和智慧 中有太多的东西是和语言交织在一起的。” （见第62页）

Designers who succeed in China cannot limit their association with the country to business transactions and a connection through a social network. Henny van Nistelrooy of StudioHvN has even started learning the language: “I’m currently learning Mandarin and it’s a hard one to get my head around. But I feel this is absolutely essential, because so much of Chinese culture and wisdom is interwoven with the language.” (page 62)

可以说所有在中国取得成功的荷兰设计师都把自己托付给了这个国家并乐于这样做。即使这并非 总是很容易：很多不同的风俗习惯使得两国的文化存在差异。但如果我们相信孔子的说法，那么 所有的人在本质上都是平等的。我们都想要通过做自己擅长的事情得到经济上的回报，我们都想 要从未知的领域获得启发。我坚信中国和荷兰之间可以取长补短。 什么是荷兰设计师擅长的呢？也许我应该重新描述一下这个问题：一个优秀的设计师和一个拙劣 的设计师的差别在哪呢？也许他人并没有注意到这些。荷兰设计师常会加入一些元素，这些元素 这就是常说的“幽默感”，但这并不能很充分地概括荷兰设计师的特点。荷兰设计师还会通过表 达关怀来凸显自己。因此与此相称的标题就是：荷兰设计，智慧的、关爱社会的设计。

You could say that all Dutch designers who do well in China commit themselves to the country and delight in doing so. Even if it’s not always easy: there are many customs that make the two cultures very different. But if we believe Confucius here as well, then all people are equal in nature. We all want to make money doing what we’re good at and we want to be inspired by the unknown. I am convinced that China and the Netherlands complement each other.

在过去，荷兰文化与中国文化就已经有很频繁的接触。中国人能够保守瓷器生产程序的秘密长 达一千多年，但在1708年1月15日，一个德国的考古学家发现了这个秘密。那之后，在欧洲就开 办了一些陶瓷工厂。荷兰代尔伏特市就是一个重要的陶瓷生产中心。那里的一些工厂开始模仿来 自中国的艺术并逐渐的发展出了他们自己的样式。这种风格使得代尔伏特青瓷如此著名。然而， 在那之前的一个多世纪，荷兰东印度公司(VOC)就将很多荷兰设计的中国瓷器运回荷兰。这就 产生了有荷兰设计感的但是由中国人制作的陶器。设计师Sanne van de Goor挑选出了一些这类 陶瓷品的例子，阿姆斯特丹国家博物馆(Amsterdam Rijksmuseum)和阿姆斯特丹的海事博物馆 (Maritime Museum)为我们提供了这些物品的图片。8件瓷盘被收录在这期的杂志中。

What are Dutch designers good at? Maybe I should rephrase the question: What distinguishes a good designer from a bad one? Maybe it’s seeing possibilities that others fail to notice. And Dutch designers often add something extra to that. This supplement is often called humor, but that doesn’t quite cover it. Dutch designers also distinguish themselves by showing empathy. Hence the fitting subtitle: Dutch Design, Smart and Social Design.

In the past, Dutch and Chinese cultures have met frequently. The Chinese were able to keep the process for making porcelain secret for over 1000 years. But on January 15, 1708, a German archaeologist uncovered the secret, after which several ceramics factories were opened in Europe. In the Netherlands, Delft was an important production center. Some factories there copied the art from the Chinese and then developed their own style, the style that has made Delft blue so famous. But more than a century before that, Dutch VOC ships were shipping Chinese porcelain, often of Dutch design, to the Netherlands. This gave rise to Dutch scenes on earthenware made by Chinese hands. Designer Sanne van de Goor selected examples of this type of ceramics; the Amsterdam Rijksmuseum and the Maritime Museum in Amsterdam provided us with the images. Eight porcelain plates have been included throughout the magazine.

很多荷兰设计师和建筑师将会出席香港的设计商务周和广州的设计周。他们中间很多公司得到了 中国南方荷兰设计服务处(Dutch Design Desk South China)和上海荷兰设计会(Dutch Design Workspace)的支持。这两个组织提供荷兰语、英语与中文的服务。它们都是由荷兰设计时尚Ÿ 建筑协会发起创办的。今年一整年，具备相应配套设施的工作空间已经在此投入使用。荷兰政府 承诺将创意产业放眼全球。记者Annemiek van Grondel已经了解到关于这一点荷兰是如何进行 的并如何向包括Victor van der Chijs（荷兰OMA设计事务所的管理合伙人，该事务所在国际合 作中处于领先地位，重点从事建筑设计，城市规划和文化分析）在内的各相关人士进行宣传的， 以及荷兰这样做的途经和理由。 关于本期的杂志和关于来到中国开展业务的公司的确有太多的东西可以讲述。我邀请您阅读本期 的杂志并邀请您到访和参与其中的某个活动（见第27页）来认识这些设计师和建筑师。

A great many Dutch designers and architects will be present during the Business of Design Week in Hong Kong and the Guangzhou Design Week. Many of their companies are supported by the Dutch Design Desk South China or the Dutch Design Workspace Shanghai, where Dutch, English, and Chinese are spoken. Both projects are initiatives of the Dutch Design Fashion Architecture (DutchDFA) organization.

Throughout the year, workplaces with assistance are made available here. The Dutch government has committed itself to putting the creative industry on the global map.

Journalist Annemiek van Grondel found out how the Netherlands is going about this and spoke to various people involved, including Victor van der Chijs (who’s activities include that of managing partner at OMA, a leading international partnership focused on architecture, urbanism, and cultural analysis) about how and why the Netherlands does what it does. (page 14)

在此我恭祝大家吉祥如意！ 主编： David Heldt

So much more can be said about this edition of Connecting the Dots and about the companies that have come to China to do business. I invite you to read the magazine and to come and meet the designers and architects at one of the many networking events (see page 27) that are being organized.

I wish everyone good luck!

David Heldt Editor-in-chief

the dots #6

前言

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foreword

the dots #6

收藏：阿姆斯特丹国立博物馆 · Collection: Rijksmuseum, Amsterdam

Jeanne Tan Ilco Kemmere

荷兰设计师在中国

人物专访： 图片摄影：

在 2010 年那期 Connecting the Dots 的杂志中，我们在题目为 “ 把荷兰当成家的外国设计师 ” 那篇文 年，我们尝试从另一个方面叙述了在国外生活的荷兰设计师的 章中探讨了不断变化的荷兰设计。 2011 故事。 在本期杂志中，我们把目光聚焦在中国，并通过 位 9 荷兰设计师对他们在中国的经历从职业角度和个 人角度上的看法来进一步地探讨这个话题。此外，我们也从一位身在荷兰的中国设计师身上了解到他 是如何利用两国文化优势的。 页。 前五位人物的专访接下页，其他五位人物的专访请见第 8 – 11, 23 – 25, 40 – 43, 52 – 55, 60 – 63

Dutch Designers in China Interviews by Jeanne Tan Photography by Ilco Kemmere In the 2010 edition of Connecting the Dots, we explored the changing face of Dutch design in an article titled ‘Foreign Designers who call Holland home.’ In 2011, we examined the other side of the story and spoke to Dutch designers living abroad.

In this edition, we go in-depth by focusing on China with nine Dutch designers who share professional and personal insights about their Chinese experiences. Plus we hear from a Chinese designer based in the Netherlands about how he has managed to capitalize on the best of both cultures.

The interviews can be found on the pages 8 – 11, 23 – 25, 40 – 43, 52 – 55, 60 – 63.

中国瓷器 盘面用蓝色描绘了河流与景观 瓷器，1560，匿名 中国制造

Chinese porcelain plate depicting a river and landscape in blue porcelain, 1560, anonymous made in China

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人物 · portraits

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图片 · Photo: Ilco Kemmere

倪裕伟

· Yuwei Ni

倪裕伟是一名工业设计师，也是荷兰华人设计 协会的创始人之一。

Yuwei Ni is an industrial designer and one of the co-initiators of The Foundation of Chinese Designers in the Netherlands.

我们荷兰华人设计协会的平台致力于在荷兰展 示中国设计师和推广中国创意，并促进荷兰和 中国在创意产业领域内的相互合作。该组织的 成立完全始于我热衷于关注具有中国背景的设 计师群体，他们不仅在自己的设计领域里才华 横溢，同时也了解荷中两国的文化以及荷兰的 设计方法。这些设计师是非常有价值的，特别 是在与两国文化有联系的设计项目上。 2008年11月，因为海牙大学的一个交流项目 我第一次来到荷兰，那之后一年，我开始在代 尔伏特理工大学整合产品设计专业攻读硕士课 程。我发现荷兰设计教育很适合自己；我喜欢 在理论与实践中来检验设计方法的教学方式和 在团队中与同学和公司共同工作。同时，我也 被这里的自然环境所吸引。有一次，我告诉一 个朋友：“我来到荷兰是因为这里的云彩变幻 莫测、让人兴奋。” 在生意上，中国人更倾向于先与合作伙伴建立 起个人关系，然后再开展业务，而荷兰人更 直接。这会使与来自不同文化背景的合作伙伴 沟通起来非常困难。我个人比较喜欢荷兰的 方式。然而，在事情做完后，我也愿意与合作 伙伴建立起个人关系。为了让生活更美好， 大多数中国人都非常努力地工作，而荷兰人将 工作视为生活的一部分，因此，他们会以一种 更轻松的方式工作。 在一个团队中，中国人往往扮演听众的角色， 他们有时不敢表达自己的意见或比较容易放 弃自己的观点。但荷兰人总是试图去说服其 他人，即使他们并非总是有很好的理由。总的 来说，相比荷兰设计师，中国设计师的工作 效率更高。此外，中国设计师更加的敏感和 感性，但荷兰设计师似乎更注重分析和功能。 荷兰的设计产业很成熟，市场实际上也非常 饱和。坦诚地说，对于设计师，特别是建筑师 来说，中国的机会更多。然而，对于设计师和 建筑师来讲，如果他们想要自身有更进一步的 发展，荷兰是一个很不错的去处。对于那些想 要来荷兰的人，对典型的“荷兰天气”可要有 所准备…

Our platform showcases Chinese designers and promotes Chinese creativity in the Netherlands and aims to foster mutual cooperation and collaboration between Dutch and Chinese creative industries. This organization started purely with my enthusiasm for focusing attention on a large group of designers with Chinese backgrounds, who not only have talent in their design fields, but also have understanding of both cultures and of the Dutch methods of design. These designers can be very valuable, especially to design projects that connect the two cultures.

One year after I first came to the Netherlands in November 2008 for an exchange program at the Hogeschool in Den Haag, I started the master’s program for Integrated Product Design at the Delft University of Technology (TU Delft). I found that Dutch design education suited me; I liked the approach of testing design methods in both theory and practice, and working in teams with both students and companies. I was also attracted by the natural environment. I once told a friend: “I came to the Netherlands because of the unpredictable but inspiring clouds.”

With regard to business, Chinese people prefer to build personal relationships with their partners first and then do business, while Dutch people are more direct. This makes communicating with different partners from different cultures very different. I prefer the Dutch way. However, after getting things done, I would also like to build personal relationship with my partners. Most Chinese people work very hard in order to make a better life, while Dutch people see work as part of their life, so they work in a more relaxed way.

Within a team, Chinese people take on the role of listeners and they are sometimes afraid to express their own opinions or they give up their point of view too easily. But Dutch people are always trying to convince other people, even when they don’t always have good reason. In general, Chinese designers can work more efficiently in comparison to Dutch designers.

In addition, Chinese designers are more sensitive and emotional, while Dutch designers seem more analytical and function-oriented.

The design industry in the Netherlands is very mature and the market is actually quite saturated. To be honest, there are more business opportunities for designers and architects (especially) in China. But the Netherlands is a wonderful place for designers and architects to go if they want to develop themselves more. And for those who want to come to the Netherlands, be prepared for the typical ‘Dutch weather’…

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人物专访 ：Jeanne Tan

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Interview Jeanne Tan

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人物

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图片 · Photo: Ilco Kemmere

达安·卢森格德

DaanRoosegaarde是 一 个 非 常 有 想 法 的 人。他追求的是让技术变得可以互动，让 城市变得更加智能。通过展现他所做的项 目，DaanRoosegaarde让人们看到设计领域 里的诸多希望。这些案例向人们证明了，即使 是那些看似最不切实际的和最具有创新性的高 科技想法，并非仅存在于科幻小说之中而是可 以或将会被实现的。 在过去的一年里，他让设计师与工程师一起加 入到他在荷兰的工作室并在上海开办了第二个 并以他名字命名的设计工作室。该工作室是由 荷兰设计时尚 建筑协会(DutchDFA)创办的 荷兰设计会(Dutch Design Workspace)的成员 之一。他选择中国是因为中国具备致力于学术 研究的氛围以及它所具有的对于改变、创新和 创意的迫切要求。 Roosegaarde说：“这个孵化项目（指由荷兰 设计时尚 建筑协会创办的致力于在中国推 广荷兰设计和荷兰设计师的荷兰设计会项目） 是有益处的，它提供了后勤上的帮助并使得在 中国开展业务更方便，它所发挥的“牵线搭 桥”作用最适合我的需要。” Roosegaarde现在与上海同济大学的罗教授建 立了特别好的关系并在这所大学开办讲座。他 甚至还聘请了这所大学的一些毕业生来为上海 一些公共空间设计交互式灯光。 Roosegaarde 说：“实际上，我认为荷兰设 计会这个孵化项目发挥了很好的作用，我还 以开玩笑的方式建议这个项目的总监在荷兰也 开设一个这样的设计会，设计师需要成为半个 传教士、半个商人，这种状态可以帮助他们 跨界。” 荷兰设计时尚 建筑协会(DutchDFA)的成功 之处在于他们在平衡“支持但不干涉”这个问 题上把握的很好。Roosegaarde 表示：“坦率 地说，我对政府拨款和倡议之类的事很过敏， 因为我经常看到这种做法最后以失败告终。但 荷兰设计时尚 建筑协会做得很好，他们知 道什么事是重要的，也知道如何创建一种动力 机制。” 此外，Roosegaarde自身的心态也帮助他在中 国取得成功。他说：“中国有很多的问题，但 你到中国来不是为了要改变它，相反，中国会 改变你。我的观点是用一种新的方式来重新解 释它自身的价值。” 美好的结合才是明智的。中国是一个很 活跃的国家，乐于改变并希望适应变 化。Roosegaarde说：“荷兰有几分超前意识 但缺乏动力，荷兰人不会如此承诺去改变。” 当我在中国做讲座时，在只能容纳一百人的礼 堂里会有两百人来听讲座，而且总是会有大量 的问题提出来。这让我很高兴，因为我的兴趣 不仅仅是做东西，更重要的是交换意见，以不 同于欧洲所预见的方式来做事情。 但这并非总是很容易，在中国做事情确实 需要一些时间来适应。没有什么是透明 的。Roosegaarde说：“想要知道中国人正在 想什么总是很困难的，他们做事情的方式与我 们不同。我会发现自己和客户在一个5个小时 的酒会中只用了5分钟的时间来谈公事，到后 来才发现原来那短暂的交谈就是会议。合作就 这么达成了。” 多年来，Roosegaarde一直认为第一条可持续 性的高速公路将会在中国建成，而不是在欧 洲。他说：“有一天我正在开车并在思考，每 个人都在考虑关于车的设计却没有人考虑公 路，于是我开始琢磨是否我们可以把公路修建 的更有互动性和可持续性。”

· Daan Roosegaarde the dots #6

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Daan Roosegaarde is all about ideas. His vision is for tech­ nology to become interactive and for cities to become smarter.

He has injected the design realm with a massive dose of hope by presenting projects that prove that even the most far-fetched and innovative high-tech ideas are not just science fiction, but can and will be realized.

In the past year, he added to his Dutch studio of designers and engineers and has opened a second Studio Daan Roosegaarde in Shanghai as part of the Dutch Design Work­ space initiative of the DutchDFA (Dutch Design Fashion Archi­tecture). He chose China because of its committed intel­ lectual climate and its hunger for change, innovation, and creativity. China also understands its own desperate need for social and sustainable design.

“The Incubator program has been helpful,” Roosegaarde says. “It helps with logistical things and makes the business side of China more accessible, but it is the match-making that has worked best for me.”

Roosegaarde now has a particularly good relationship with Mr. Lou, a university professor at Tongi University in Shanghai, and he now gives guest lectures at the university. He has even employed some of the graduates in his studio to work on his interactive light projects for public spaces in Shanghai.

“Actually, I think the Workspace functions so well that I jokingly suggested to the director that they set up a second one back in the Netherlands,” Roosegaarde says. “Designers need to be half priest, half entrepreneur, and this set-up helps them cross those boundaries.

Where the Dutch DutchDFA has gotten it so right is the balance they have managed to strike between support and non-interference. “To be honest, I’m a bit allergic to govern­ ment funding and initiatives as I have seen it fail so often,” Roosegaarde says, “but they are doing a great job – they know what is relevant and know how to create an engine.”

It is also Roosegaarde’s own mentality that has helped make his China chapter such a success. “China has a lot of prob­ lems,” he says, “but you shouldn’t come to China to change it, rather, China should change you. My angle is to reinterpret their own values in a new way.”

The happy marriage makes good sense. China is a pulsating nation in love with change and a desire to adapt. “I find that sort of forward thinking and energy lacking in the Netherlands,” Roosegaarde says. “The Dutch just don’t have that same com­ mitment to change. When I give lectures in China in auditoriums with one hundred seats, two hundred people show up and there is always an hour of questions. That makes me happy because my interest isn’t just in building stuff, but exchanging ideas and doing things differently to how it is predictably done in Europe.”

But it isn’t always easy. Doing business in China does take some getting used to. Nothing is transparent. “It’s often hard to work out what the Chinese are thinking,” Roosegaarde says, “and the way they do business is different. I’ll find myself in a five-hour drinking session with them, do five minutes of business talk and only later realize that that was the meeting.

The deal is done.”

For years, Roosegaarde has been saying that the first sus­ tainable highway will be in China, not Europe. “I was driving along one day thinking that everybody thinks about car design but nobody considers the road,” he says. “I started wondering if we could make roads more interactive and sustainable.”

Roosegaarde started researching the idea and making artist impressions. “You need to act,” he says. “not store the idea in a drawer. The time frame has to be now to ten years – not one hundred years. Otherwise you can’t really be held accountable.”

He was then commissioned by the city of Oss, in the Netherlands, and BMW to make a series of interactive designs.

portrait

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His goal was to work out a way for cars to control streetlights and for roads to become an active interface.

Then, a director at Heijmans, one of the largest Dutch construction firms, called him directly on his cell phone and said “How much?” “That is a compliment in China,” Roosegaarde laughs.

Heijmans wants an electronic smart highway and they want Roosegaarde, who has never built a road before, to do it. The road would use traffic as a source of electricity to power streetlights and even cars themselves via electric charging stations.

“We’ll start testing in about two years and in five years time we’ll build a road,” Roland de Waal, Executive Board Member at Heijmans told the Dutch media. “It is smart and sexy,” he added, “and we need a designer like Roosegaarde to push this.”

So it will be interesting to see who wins the race to build the first smart highway – Europe or China. Either way, Roosegaarde is excited to be a part of showing Europe how Chinese innovation can be copy-morphed back home to speed up the pace of change in design.

This captures everything Roosegaarde is about – designing ways for technology to escape from gadgets and to become part of the actual landscape. No more empty talk. He is irritated, even angry, at the never-ending production of more objects to fill more rooms. “We don’t need any more chairs,” he says.

“We need designers who can work out ways to shape the future.”

收藏：荷兰文化遗产研究所 · Collection: The Netherlands Institute for Cultural Heritage

于是Roosegaarde开始研究这个想法并绘制想 象图。他说：“你需要采取行动，不要把想法 封存起来。你要考虑的时间范围是从现在到未 来十年而非一百年，否则，你无法真正放手去 做。” 他之后接受荷兰奥斯市和宝马公司的委托做了 一系列的交互设计。他的目标是想出一种方式 通过车辆来控制路灯，并使公路成为一个活跃 的界面。 这之后，Heijmans 公司(荷兰最大的建造公司 之一)的一位总监直接打电话问他说：“这需 要多少钱？”Roosegaarde笑着回答说：“这 是中国关心的问题。” Heijmans 公司想要建设一条电子智能公路， 他们打算让Roosegaarde这样一个完全没有造 路经验的人去做这件事。这条公路会利用车流 作为电力来源来对路灯供电，甚至为电动车在 充电站充电。 Heijmans 公司执行委员会成员Roland de Waal 告诉荷兰媒体：“我们将在未来两年左右的时 间里进行测试，并将在未来五年的时间内修建 这条公路，”他补充说到：“这条公路会很智 能、很性感，我们需要一个像Roosegaarde这 样的设计师来推动这个项目。” 看看，到底是欧洲还是中国，谁会赢得这场 修建第一条智能高速公路的比赛将会是很有 意思的。无论谁胜，作为向欧洲展现中国创 新是如何被欧洲借鉴从而加快改变的一分 子，Roosegaarde感到很激动。 “用设计的手段让技术脱离工具的样式而成为 真实环境的组成部分”，这是对Roosegaarde 最好的概括。这不是空谈，他非常反对为了把 更多的物品填入更大的空间而进行的永无止境 的生产。他说：“我们不需要任何更多的椅 子，我们需要能够创造未来的设计师。”

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Text by Gabrielle Kennedy This article was previously published in Design.nl Magazine, a publication by Premsela, The Netherlands Institute for Design and Fashion.

Read more about Dutch design on www.china-design.nl

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文：Gabrielle Kennedy 这篇文章之前在Design.nl杂志发表。该杂志是Premsela （一个服务于设计和时尚的荷兰机构）的一部出版物。想 要更多的了解荷兰设计请登录：www.china-design.nl

中国出口瓷器 盘子上有多彩的珐琅和黄金 描绘了荷兰东印度公司的一艘船还有题词 瓷器，1756，匿名 中国制造

Chine de commande plate of polychrome enamel and gold depicting a V.O.C. ship and inscription porcelain, 1756, anonymous made in China

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人物

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Annemiek van Grondel

创意融合在中国

文：

中国欢迎荷兰创意人士到访并参与主题为 “ 荷 兰 设 计 ： 智 慧 的、 关 爱 社 会 的 设 计 的一系列活动。就一些新鲜的议题，在此给大家一个快速的了解。

Creative Crossovers in China Annemiek van Grondel Hans Lensvelt 和 Joep van Lieshout在中国开展业务

Hans Lensvelt and Joep van Lieshout doing business in China.

China welcomes Dutch creatives at a group of events by the name of Dutch Design: Smart and Social Design. A short insight into some refreshing initiatives.

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12月份，荷兰设计将再次走进中国。一系列 代表荷兰的丰富多彩的展览、公开讲座、商务 演讲和社交活动将以“荷兰设计：智慧的、 关爱社会的设计”为主题在中国南岸城市开 办。2012年香港设计商务周（12月3日到12月 8日）和广州设计周（12月7日到12月9日）将 面向广大兴趣对象，并证明荷兰设计越来越受 到中国的青睐。 对于荷兰从事创意行业的企业家来说，这两个 设计周的活动为他们提供了一次走进 一个及其令人关注的市场的良机。他们愿意尝 试、合作、相互学习，并力求发现中国文化与 其自身文化之间的联系和可以相互理解的地 方。荷兰人渴望遇见有不同但同样有意思的能 力背景的设计爱好者。而且，他们发现自己在 这里经常受到热烈的欢迎，并常常可以和来自 中国南部地区的企业家和设计师开展有意思的 交流。 Victor van der Chijs相信，对于在中国做生意 的荷兰企业家来说这里有着巨大的机会。他是 荷兰OMA设计事务所的管理合伙人，该事务 所在国际合作中处于领先地位，重点从事建筑 设计，城市规划和文化分析。他同时还领导 着荷兰一个名为创意产业精英团队(Top Team Creative Industries)的部门，致力于在荷兰探 索刺激创业和创新的途经。此外，他还是荷兰 创意产业委员会（D-CIC，荷兰政府的一个独 立咨询委员会)的主席 。该组织面向企业，政 府组织和科研机构发挥智囊团的作用。它的 任务是开拓、揭晓与保护和创意产业相关的知 识，并提出政策建议、项目和方案。 Van der Chijs 在强调荷兰设计在中国的重要性 时说：“中国市场繁荣，对设计日趋重视。要 做的事情还很多，就如同在其他新兴的亚洲市

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创意融合在中国

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A friendly Dutch invasion of design is something China can be expecting again in December. A colorful range of exhi­ bitions, public lectures, business presentations and network events with a proud Dutch trademark will reach the Southern Chinese shores, under the title of “Dutch Design: Smart and Social Design.” The 2012 editions of Hong Kong Business of Design Week (December 3 to 8) and Guangzhou Design Week (December 7 to 9) give way to a myriad of interested parties, confirming the growth of China’s captivation with Dutch design.

For Dutch creative entrepreneurs, these design weeks are an excellent opportunity to approach an extremely interesting market. They are willing to experiment and collaborate, are passionately trying to learn from each other and to find con­ nections and mutual points of understanding between the Chinese culture and their own. The Dutch are anxious to meet design lovers from different but no less interesting backgrounds of workmanship. And they usually find a warm welcome here and have interesting meetings with entrepreneurs and designers from Southern China.

Victor van der Chijs is convinced that there are huge opportunities for Dutch entrepreneurs who do business in China. He is managing partner at OMA, a leading international partnership focused on architecture, urbanism and cultural analysis. He also leads the “Top Team Creative Industries,” charged with exploring ways of stimulating entrepreneurship and innovation in the Netherlands. Furthermore, he is chair­ man of the Dutch Creative Industries Council (D-CIC), an independent advisory board to the Dutch government.

D-CIC functions as an oracle for businesses, government organizations and knowledge institutes. Its tasks are to develop, disclose and preserve knowledge about the creative industries, and to initiate policy proposals, projects and programs.

creative crossovers in china

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场中一样，如越南和印度尼西亚。在世界第二 大经济体中，对设计品质的要求比以往任何时 候都多。” 在创意领域，跨学科合作和知识共享是进行创 新强有力的催化剂。“我们想要促进学科间的 融合，这样，不同学科之间可以共同工作并同 时带动非创意产业领域的发展。只有这样，才 能加快荷兰的创新。与卫生保健组织的合作就 是一个例子。的确，在那些经济不景气的时 期，有些东西会比以往更具挑战性。对于创意 产业来说，这样的挑战在于一些新事物正在被 创造出来，但对其结果如何却无法准确描述。 对于那些一般需要马上看到投资回报的企业家 来说这很难解释。” 说起创造性的合作生产的例子有哪些，不 妨以智能高速公路为例。该项目在2012 年荷兰设计奖的评选上被评为最佳未来概 念。Roosegaarde工作室提出的设计和交互性 与Heijmans建造公司所拥有的技术相结合形 成了一个共同的目标：荷兰景观的创新。如何 做到呢？那就是为“未来66号公路”进行全 新的设计并研发相关的技术。例如“黑暗中发 光的道路”、“动态涂料”、“交互式灯光” 、“感应优先车道”和“风能灯光”。目的是 通过利用光、能源和可以自动适应交通情况的 路标来建设更多具有可持续性和互动性的公 路。最初一段智能高速公路将于2013年中期 在荷兰建成。 Van der Chijs自己的公司OMA，正在与包括 麦肯锡公司(McKinsey & Company)、克马 (KEMA)和欧洲气候基金会(European Climate Fo u n d at i o n ) 在 内 的 很 多 组 织 合 作 进 行 名 为“Roadmap 2050”的项目。这个庞大项目的 使命是对能够在欧洲实现低碳经济的各种方式 进行一种实用的、独立的和客观的分析，并符 合欧盟的能源安全、经济和环境规则。 崎岖之路 荷兰设计时尚Ÿ建筑(DutchDFA)是一个助推 器，具体服务于丰富荷兰和中国设计文化之间 的联系。它是由荷兰经济事务部、外事部和 文化部共同在四年前建立起来的一个政府组 织。这个项目将在2012年底结束。这个预算 为一千两百万欧元的项目为期四年，重点针对 中国、德国、印度和土耳其。与荷兰创意产业 委员会(D-CIC)不同，荷兰设计时尚Ÿ建筑 （DutchDFA)目前并不涉及整个创意产业，仅 代表设计、时尚和建筑行业。Van der Chijs 表示：“我们的创意产业精英团队(Top Team Creative Industries)部门需要重新启动，这次 的一个计划将运行在一个更大的综合体下：为 整个创意产业建立一个联系对象。” 荷兰设计时尚Ÿ建筑(DutchDFA)鼓励并支持 荷兰公司到像中国这样的国家去开展业务。 例如，通过设立中国南方荷兰设计服务处 (Dutch Design Desk South China)这样一个 平台，它帮助设计师组织活动或做市场研究。 Marie-Anne Souloumiac是荷兰设计时尚Ÿ建筑 (DutchDFA)项目针对中国地区的协调员，并驻 守上海。她介绍说：“对于设计师来说，中国拥 有巨大的机会，但走向成功的道路并不平坦，基 于在设计领域里不断增长的需求，荷兰设计时 尚Ÿ建筑(DutchDFA)设立了中国南方荷兰设计服 务处(Dutch Design Desk South China)和上海的 荷兰设计会(Dutch Design Workspace)。它们作 为第一个联络端口为想要在中国开拓业务的荷 兰设计师提供必要的建议。这些平台可以帮助 荷兰设计师实现“软着陆”。

the dots #6

“The Chinese market is prosperous, with growing attention for design.” Van der Chijs stresses the importance of Dutch design in China. “There is still plenty to do, as there is in other emerging Asian markets, such as Vietnam and Indonesia.

In the second economy in the world, there is more room for quality of design than ever before.”

In the creative sector, cross-disciplinary collaboration and knowledge sharing are powerful catalysts of innovation.

“We want to stimulate crossovers so that different disciplines can work together and also with leading non-creative sectors.

Only then can innovation in the Netherlands be accelerated.

Cooperation with health care organizations is one example.

Indeed, some things in these times of economic austerity are even more challenging than before. The challenge for the creative industries is that they are creating something new, with no precise description of what the outcome will be. That’s difficult to explain to the average entrepreneur who demands an immediate return on his investments.”

Examples of innovative co-production? Take The Smart Highway, awarded Best Future Concept at the Dutch Design Awards 2012. Design and interactivity from Studio Roosegaarde and the craftsmanship of Heijmans are fused into one common goal: innovation of the Dutch landscape.

How? By developing new designs and technologies for the “Route 66 of the future,” such as a “Glow-in-the-Dark Road,” “Dynamic Paint,” “Interactive Light,” “Induction Priority Lane” and “Wind Light.” The goal is to make more sustainable and interactive roads, by using light, energy and road signs that automatically adapt to the traffic situation. The first meters of the Smart Highway will be realized in the Netherlands in mid 2013.

Van der Chijs’s own company, OMA, is collaborating with many organizations, including McKinsey & Company, KEMA and the European Climate Foundation, on Roadmap 2050.

The mission of this huge project is to provide a practical, independent and objective analysis of ways to achieve a low-carbon economy in Europe, in line with the energy security, economic and environmental rules of the EU.

然而，荷兰设计师可以从在中国开展业务方面 学到很多。Souloumiac说：“他们需要关注 主旋律和找到自己的位置。此外，他们需要亲 自来到中国，花时间建立长期的联系。中国是 巨大的并呈现出大量各种各样的机遇与挑战。 对于任何一个想要在此开展业务的公司来说， 获取专家意见和建议是必须的。通过在中国的 现有平台得到合适的辅导，设计师就不会再去 做无用功了。” Hans Lensvelt是荷兰一位定制家俱制作人， 他是中国文化的超级“粉丝”。他说：“我很 欣赏中国人的心态和中国政府的行为，我曾在 上海居住多年，在那里我学会了去欣赏中国人 的智慧、动机和实际。” Lensvelt认为中国和荷兰的文化存在很多共同 点。他说：“因此，它们能够对彼此有更深的 了解。比如，我认为这两种文化都与金钱有 关，因为他们都想要做出或实现某些东西。它 们共享良好的价值，并且两国的人都很诚实， 工作努力，也都是很好的商人。” 说起为探索中国文化的荷兰设计师提供一些 建议，Lensvelt谈到：“我建议他们亲自去中 国，展现自己并接受挑战。我非常相信荷兰设 计师和他们的才华，看到他们的想法和设计 我感到很高兴。我认为荷兰设计时尚Ÿ建筑 (DutchDFA)也许可以用一种不同的、更具体 的方式在荷兰设计师身上进行投资，真的在一 些项目上运用荷兰设计的观念而不仅仅只是组 织活动。” 品质要紧 Souloumiac告诉我们，中国人是通过发展关 系和社交来做生意，这就是所说的“GuangXi （关系）”，这在共同赴宴和其他节日上尤为 凸显。她说：“这是荷兰人不太习惯的，我们 习惯更直接的沟通和线性思维。中国人会旁 敲侧击来达到某个目的，而我们是直接面对 目标。” 在中国开展业务的时候，拥有可靠的当地合作 伙伴和与当地政府和相关支持机构保持良好的 关系是很有必要的。她强调：“建立上海的荷 兰设计会(Dutch Design Workspace)和中国南 方荷兰设计服务处(Dutch Design Desk South China)就是为了提供这方面的支持，提供正确 的方式并帮助设计师在他们的中国之旅中取得 成功。” Van der Chijs认可的说：“中国人不象荷兰 人那么直接，通常你不会就你的问题得到准确 答案。但荷兰人善于适应。我们看到在下一代 的中国企业家中，绝大多数都接受过国外的教 育。他们是我们新的客户或竞争对手。市场正 变得更具竞争性和变得更务实。外国人的身份 不再有优势。品质是关键。由于对于荷兰人来 说很难在亚洲做低价竞争，我们需要变得更聪 明并提供更好的和更具创新性的产品。” 荷兰设计师Roderick Vos说：“关于制造和设 计，中国总是那么让我着迷。然而，我对生产 和把生产出的产品运回欧洲并不感兴趣。我对 为中国市场设计出在中国制造的产品感兴趣。 有时，中国人好像只青睐外国的产品，但是， 他们同样也应该接受由中国人自己制造和设计 的产品，并为此感到骄傲。” 谈到什么是当代荷兰设计吸引中国人的地 方，Souloumiac表示：“荷兰设计直接反映 了中国的迫切需求，并在中国快速发展的经济 环境中和不断增长的城市化进程里去改善生活 品质和可持续性。” 她发现，中国人是荷兰设计的“超级粉丝”，

Bumpy road DutchDFA is a motor for the specific purpose of enriching the bond between the Dutch and Chinese design cultures. It is a governmental body set up four years ago by the Ministry of Economic Affairs, Foreign Affairs and Culture. The program will run until late 2012. It has a budget of twelve million euros for four years in four focus countries: China, Germany, India and Turkey. Unlike D-CIC, DutchDFA does not yet include the entire creative industry, but represents the design, fashion and architecture sectors. Van der Chijs: “Our Top Team Creative Industries calls for a relaunch, this time of a program under a bigger umbrella: one contact for the entire creative industries.”

DutchDFA encourages and supports Dutch companies doing business in countries like China. It facilitates designers, for example by setting up a Dutch Design Desk South China, organizing events or doing market research.

Marie-Anne Souloumiac is the DutchDFA-project coor­ dinator for China, based in Shanghai. “China holds immense chances for designers but the road to successfully doing business remains a bumpy one,” she knows. “As a result of the growing demands in the design field, the Dutch Design Desk South China and the Dutch Design Workspace Shanghai have been created. They serve as the first ports of call and offer essential advice to Dutch designers looking to start doing business here. These platforms offer Dutch designers the chance for a soft landing.”

However, Dutch designers could learn a lot about doing business in China. Souloumiac: “They need to focus on themes and find their niche. And they need to be physically present

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in China and invest time building up long-term contacts. China is immense and presents an enormous variety of opportunities and challenges. Expert knowledge and advice is a must for any company looking to do business here. With proper coaching through the existent platforms in China, designers shouldn’t need to re-invent the wheel every time.”

Hans Lensvelt, a Dutch manufacturer of contract furniture, is a huge “fan” of Chinese culture. “I love the Chinese mentality and the action of China’s government,” he says. “For some years, I lived in Shanghai, where I learned to appreciate the intelligence and motivation of the Chinese and their ability to be concrete.’

Lensvelt thinks the Chinese and Dutch cultures have a lot in common. “And therefore, they can have a deep understanding of each other. For instance, I think these two cultures do everything for money because they want to build and to realize something. They also share good values, and both are an honest people, hard workers and excellent traders.”

Some words of advice for Dutch designers exploring the Chinese culture? Lensvelt: “I would suggest they to go to China, be themselves and take up the challenge. I believe in Dutch designers and in their big talent, I’m glad to see their ideas and designs. I think DutchDFA perhaps could invest in Dutch designers in a different, more concrete way, using Dutch design ideas in some projects, not only organizing events.”

Quality matters Souloumiac tells us that the Chinese do business by devel­ oping relationships and networking (“GuangXi”), which can blossom through sharing meals and other festive occasions.

“This is something the Dutch are less accustomed to,” she says. “We are used to more direct communication and linear thinking. The Chinese will take many side roads to get to an objective, while we aim directly for our goal.”

When doing business in China, it is essential to have reliable local Chinese partners and good relationships with both local government and support organizations, she emphasizes. “The Dutch Design Workspace Shanghai and the Dutch Design Desk South China have been created to support this process, offering the right tools and assisting designers to make their journey into China a successful one.”

“The Chinese are more indirect than the Dutch,” Van der Chijs agrees. “You usually don’t get precise answers to your questions. But adapting is something the Dutch are good at.

We now see the emergence of a second generation of Chinese entrepreneurs, mostly highly educated abroad. These are our new clients or competitors. The market is becoming more competitive and businesslike. It is no longer an advantage to come from a foreign country. Quality matters. Because it is difficult for the Dutch to compete with the low prices in Asia, we need to be smarter and deliver better and more innovative products.”

Dutch designer Roderick Vos: “China has always been a fascinating place for me personally, regarding manufacturing and design. However, I am not interested in production and sending these products back to Europe. I am interested in designing products for the Chinese market, manufactured in China. Sometimes it seems that the Chinese are only interested in foreign products, but they should embrace their own manufactured and designed products as well, and be proud of them.”

What part of contemporary Dutch design would be attractive to Chinese people?

Souloumiac: “Dutch design responds directly to the urgent demands of China, notably to improve the quality and sus­ tainability of daily life in a fast-growing economy and with increasing urbanization.”

She has seen that the Chinese are huge fans of Dutch design, particularly because of “its conceptual thinking, its functionality and proximity to people and of course its sense

creative crossovers in china

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茶具。中国瓷器／骨瓷，客户：荷兰茶进口商“First Tea”, 设计师：Roderick Vos（2013前，安排已满）

特别喜爱荷兰设计的“概念、功能性、宜人性 和幽默感。”此外，她说：“荷兰人很有耐心 而且很灵活，很随性而且乐于迎接挑战。这些 最基本的荷兰品质在中国很受欢迎并有助于联 系两国的文化。另外，能够了解中国人渴望在 本国发展设计行业并欢迎更多与荷兰的设计合 作是很重要的。

of humor.” Furthermore, she states: “The Dutch are patient and flexible, enjoy a joke or two with a drink and welcome a challenge. These fundamental Dutch qualities are very much appreciated in China and facilitate bridging the cultures. It is also important to know that the Chinese are eager to develop the design sector in China and welcome more design collab­ orations with the Netherlands.”

双喜 今年11月，反映中荷文化密切联系的主题 为“平面喜事在中国(Graphic Happiness in China)”的展览在南京艺术大学博物馆成功 举行，该展览同时也是这所学院一百周年庆典 活动的一部分。这个巡展源于之前在荷兰希佛 萨姆博物馆(Museum Hilversum)举办的一次 丰富多彩、充满活力的荷兰平面设计百年回顾 展“平面喜事，荷兰设计一百年”。 为了在中国的这个展览，希佛萨姆博物馆 (Museum Hilversum)提供了一个关于荷兰平 面设计全新的和更广阔的视野。展览的目的 在于把荷兰设计的灵感和趣味性带到中国， 用丰富多彩的和让人愉悦的作品来达到刺激 思维和想象的目的。展览上会展现40多位荷 兰设计师的作品，包括20幅荷兰平面设计的 代表作品，比如设计师Dick Bruna, Anthon Beeke, Wim Crouwel 和 Theo van Doesburg 的作品。此外，一批荷兰当代设计工作室 和设计师将会在独自的展览中介绍他们的 作品，例如，Studio Dumbar, Thonik and KesselsKramer, Niessen & De Vries, René Knip 和 Irma Boom。 这个展览联合了一个动态教育实验室，并与乌 特勒支艺术学院(HKU)平面设计系合作。在整 个实际的展览中，荷兰设计师和教师将与中国 设计师和学生一起工作。目的是为了达到“双 喜”：一种分享灵感的充满活力的交流。这之 后，这个展览将在广州、上海、北京和成都进 行巡展，为时14个月。 Fin Zhao（赵学亦）是策展人之一，他评价这 个展览时说：“这是两个文化的融合，可以说 成是“中荷风”，这是一种趋势。在过去十年 中，中国的创意产业发展非常迅速。荷兰设 计师表现出一种俏皮的、幽默的和探索性的看 待事物的方式，这很适合中国设计师借鉴。此 外，荷兰人与中国人都很自我而且都很有创造 性，这个相似性在两个文化相遇时能够使其相 互吸引。 荷兰和中国政府在推动两国文化联系上所做的 努力让他感到惊喜。他微笑着说：“我的确认 为他们在一个为期四年的项目中，很好的在 中国推广了荷兰设计。结果是很多中国人现在 更加了解荷兰设计，不仅仅只是了解荷兰设计 的外表还有设计背后的内容。这个项目以及在 中国的选址很明智，一些展览和活动让中国 人得到惊喜。他们成功地打开思想并破除常 规。我认为提供与工作坊（服务于设计师或由 设计师组织的）形式相结合的教育课程是增进 两国文化关系的最有效的方式。在东西方意义 上，促进阴阳交互可以建立两个世界之间更进 一步的交流。不仅仅只是欣赏彼此的作品和相 互交谈，更重要的是大家真的是在一起进行 合作。”

Double Happiness This November, the strong bond between the Dutch and Chinese cultures was demonstrated through the success of the “Graphic Happiness in China” exhibition at the Museum of Nanjing University of the Arts, which was launched in Novem­ ber as part of the school’s 100th anniversary celebrations.

This travelling show was taken from the previous colorful and vibrant “Graphic Happiness, 100 Years of Dutch Graphic Design” exhibition at the Museum Hilversum in Netherlands, with a retrospect of 100 years of Dutch graphic design.

For the show in China, Museum Hilversum has brought together a new and more extensive overview of Dutch Graphic Design. The exhibition aims to bring the inspiration and playfulness of Dutch Design to China, enticing the mind and the imagination with colorful and joyful works. More than 40 Dutch designers are represented, including iconic figures of Dutch Design such as Dick Bruna, Anthon Beeke, Wim Crouwel and Theo van Doesburg. A respectable number of Dutch contemporary design studios and designers will present their work in solo exhibitions, from Studio Dumbar, Thonik and KesselsKramer to Niessen & De Vries, René Knip and Irma Boom.

The exhibition is combined with a dynamic educational lab, in cooperation with the graphic design department of the HKU (Utrecht School of the Arts). During and within the actual exhibition, Dutch designers and teachers will work together with Chinese designers and students. The intention is to create “Double Happiness”: a dynamic exchange of shared inspiration. Afterwards, the exhibition will go on a 14-month tour to Guangzhou, Shanghai, Beijing and Chengdu.

One of the curators of the exhibition is Fin Zhao. Asked to comment on this exhibition, he says: “A mix of the two cul­ tures, let’s say the Dutch-China style, is a trend. The Chinese creative industry has been developing very fast in the last ten years. Dutch designers have shown to have a playful, humoristic and investigative way of looking at things, which could be very suitable for Chinese designers. Besides, the Dutch and Chinese have both proven to be individualists as well as being very creative; a similarity that can bring about an interesting chemistry in meetings.”

He is pleasantly surprised by the efforts of the Dutch and Chinese government to stimulate the connection between the two cultures. “I do think they did a good job in the four-year program, promoting Dutch Design in China. As a result, many Chinese people are more into Dutch design now, not only under­ standing form, but also the content behind it. The program and the locations that have been chosen were very clever. Some of the exhibitions and events that were organized very much surprised the Chinese people. They succeeded in really open­ ing their minds and thinking outside the box. I think the edu­ cation program, with different workshops by and for designers, would be the most efficient way to stimulate an improved relationship between the two cultures.” He smiles. “Ying and yang, in the sense of East and West, could be stimulated in order to create further communication. Not only in seeing each other’s work and talking with one another, but also, first and foremost, in really doing things together.”

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Tea ware. Chinese porcelain/ Bone China, commissioned by Dutch tea importer First Tea, designer: Roderick Vos (available in 2013)

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creative crossovers in china

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收藏：阿姆斯特丹国立博物馆 · Collection: Rijksmuseum, Amsterdam

Bird’s-eye view on China Marielle Lagers Director Dutch Design Desk South China

纵观中国 Marielle Lagers (赖和丝) 中国南方荷兰设计服务处总监 我们香港办事处的经理Venus（钟慧儿）在她走进办 公室的时候开玩笑地喊道: “Hoei! (早上好)”，她想 试着对我说几句荷兰语。 就在我想要对她的发音给出一些建议时，我们中国同 事Lisa(倪丹)的一个Skype电话打了进来，她驻守深 圳（中国大陆城市）。她刚与一个中国客户交谈过， 想从我们这边获取一些反馈。她打算在中午之前再联 系一下这个客户，否则，到了重要的午餐时间，就

“Hoei!”, says Venus, our HK office manager, by way of good morning, as she walks into the office. For fun, she is trying out some Dutch on me.

Just as I am about to give her some suggestions on pronunciation, an incoming Skype call draws my attention. It is our Chinese colleague Lisa, who is based in Shenzhen (mainland China). She just talked to a Chinese client and would like to have some feedback from us. She wants to get back to him before noon, otherwise the sacred lunchtime starts and he will be unavailable for at least 1.5 to 2 hours, lunch breaks having almost religious value on the mainland.

In our HK office, we care about our lunch, but I could manage with a sandwich or a simple noodle meal, either ordered as take-out from the restaurant in the basement or enjoyed outside. Lunch definitely takes less time than in China. Business-wise we also spend less time eating out in HK, something that is common practice with Chinese customers.

有至少一个半小时到两

We work in an over-air-conditioned office, making me die for a hot chocolate sometimes, even when it is over 30 degrees outside.

I am not complaining here.

小时无法和客户取得联 系，在中国大陆，午休 时间是很“神圣”的。 在我们香港的办事处， 我们也在乎午餐，但一 份三明治或一份简单的 面条就足够了，我们要 么在地下室的餐厅点好 餐后打包带走，要么就 在户外享用。午餐上花 费的时间绝对比在中国 大陆要少。在香港，我

Marielle Lagers在办公室

们也很少花时间在外面

Marielle Lagers at the office

吃饭，工作上这是明智的做法，但与中国（大陆）客 户一起，这是很平常的事。 我们在冷气条件过分充足的办公室工作，这让我有时

Mandarin, Cantonese, English, and Dutch are the languages we hear in our HK office.

Dutch, of course, because many of our clients are Dutch.

The view from out office on the 57th floor, right in the centre of HK, is the most spectacular you could imagine and the most spectacular I will ever have during my professional life, I think. Visiting guests and clients are given a chance to look at the city from a bird’s-eye view and see how it has grown over the last years.

非常需要一杯热巧克力，即使当户外超过30度，我在 这里也不会抱怨。 在我们的办公室常听到普通话、广东话、英语和荷兰 语。当然，说荷兰语是因为我们的客户中有很多是荷 兰人。 从我们位于57层的办公室看出去，视野正好位于香港 的中心，我想这是你能够想象的最为壮观的视野，而 且是在我职业生涯中今后都很难再拥有的最为壮观的 视野。到访的客人和客户都会有机会俯瞰这座城市， 并看着它在过去的几年中是如何成长的。 到中国来做生意的荷兰人需要有足够的耐心，因为需

Dutch people who come to China to do business need to bring a fair amount of patience, because it takes time to get to know your Chinese counter­part and to build up mutual trust. China can be very tempting for foreigners, because opportunities seem to be right at your fingertips and are presented that way. Chinese businessmen are good at presenting a colorful rainbow of opportunities and make you long for more. It is like the most beautiful girl in class.

Everybody would like to be close to her, but in the end she will not easily give in.

要时间去了解你中国的对象，并建立相互的信任。对 于外国人，中国有很大的吸引力，因为机会看似就在 你的指尖并以那样的方式展现在你的眼前。中国商人 中国瓷器 此盘子在荷兰东印度公司船只“白狮”号上被发现

很善于描绘彩虹般五彩斑斓的机会并使你渴望得到更 多。这就如同班级中最漂亮的女孩子，每个人都想接 近她，但最终，她不会轻易的让步。

瓷器，1613，匿名 中国制造

然而，交易一旦达成，事情会发展的很快。总的来 说，人们很投入，并努力地工作，为的是将项目实

Chinese porcelain plate found in V.O.C. ship the ‘Witte Leeuw’

现。过去4年在大陆的生活使我意识到工作和个人生

porcelain, 1613, anonymous made in China

的工作中的压力在这里要远远大于在西方国家，即使

However, once a deal has been made, things can go very fast. Generally speaking, people are dedicated and work hard to get the project realized. Living in mainland China for the past 4 years has made me realize that business and private life are easily intertwined, which makes doing business easier. You feel the stress that often accompanies doing business in the West far less here, even though you are just as busy.

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活很容易缠绕在一起，这更便于工作。你所能感受到

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你同样如此忙碌 。

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图片 · Photo: Ilco Kemmere

约翰·科克

· John Kock

John Kock是Springtime公司的首席执行官， 这是一家设立在阿姆斯特丹的设计顾问公司， 专门从事综合性的产品设计与沟通。

John Kock is CEO of Springtime, an Amsterdam-based design consultancy firm specializing in an integrated approach to product design and communication

我们已经与中国（包括台湾）合作了15年，但 很少以一种主顾关系来工作。我们在中国的联 系对象主要是我们欧洲客户的供应商。2011 年底，我参与了由Dutch Design Desk(负责 组织荷兰设计公司参加活动的非盈利性政府组 织)组织的广州项目。然而，广交会上的对口 交流并没有产生任何业务，10天的行程，对整 个活动的印象，与人接触和与当地机构的会面 给了我动力和很多启发。在此基础上，我能够 针对中国市场制定出“作战计划”。当时，我 们并没有一个真正战略计划，只是去那里，看 看我们在哪些方面能取得最好的反响，哪些方 面是我们的优势。 为什么选择中国？那是因为，荷兰的商业发展 有些缓慢，未来的情况似乎也并不繁荣。而眼 下，中国的景象却与欧洲完全不同。在中国， 公司真的很有动力去做事情，而且政府支持当 地公司和欧洲设计之间的联系。许多公司正 在经历一个变化的过程，从委托代工(OEM)转 变为设计加工(ODM)再发展到建立自主品牌 (OBM)，我们的整合途经非常适合这一变化。 中国人在做事前会花很多时间去建立关系。我 常与一些潜在的客户在巴黎的餐厅会面，谈论 我最喜欢的电影。这与我用来争取欧洲客户的 方式不同，欧洲的客户一般更关注工作本身。 在中国，一旦良好的关系建立起来，客户就可 以很快地作出决定。此外，我觉得客户在项目 中的反馈是非常敏感和务实的。建立这些关系 需要花费很长的时间，有些几乎要一年，但是 我能感受到一种很强的信赖感。我们起初的一 些项目在完成之前，客户们就已经开始谈论接 下来的项目了。战略规划和了解工作进展在这 里似乎不太常见，然而，这些在荷兰设计中是 很普遍的认识，是非常注重的：发展产品概念 和故事能够帮助客户和消费者更好的了解和认 识产品。 任何一个新的经历都是好的，即使它不能直接 带来新的业务。与中国人做生意帮助我反思自 己在荷兰本土的业务。为什么我们现在要用我 们固有的做事方式来做事呢？那还是最好的方 式吗？通过翻译与对方进行沟通，无论是对字 面意思还是对话外音那种无法真正理解的感觉 有时的确会让自己感到很费力，但我不是那种 在遇到困难时就轻言放弃的人。设计如同游 戏，我们乐此不疲！

We have been working with China (and Taiwan) for 15 years but rarely in an agency-client relationship. Our Chinese contacts were mainly suppliers for our European clients.

By the end of 2011, I participated in the Guangzhou mission organized by Dutch Design Desk. While the matchmaking event during the Canton Fair didn’t generate any business, the overall 10-day trip with all its impressions and meetings with people and local agencies provided me with lots of energy and insights, based on which I was able formulate my ‘battle plan’ for the Chinese market. We didn’t really have a strategy but just went out there to see what would resonate best and were confident in our expertise.

Why China? Business was kind of slow in the Netherlands and forecasts didn’t seem to be prosperous. At the moment, the vibe in China is completely different vibe from that in Europe. In China, companies are really motivated to get things done and the government supports the connection between local companies and European design. Many companies are undergoing a process of change from OEM to ODM to OBM (original brand manufacturer), and our integrated approach fits into that perfectly.

The Chinese can take a lot of time building a relationship before taking action. I’ve been meeting prospective Chinese clients in restaurants in Paris, talking about my favorite movies.

This is not typically the kind of courtship I’m used to with my European clients, who generally have a more task-focused approach. But once the Guanxi is good, decisions can be made very fast. Also, I feel that the feedback during projects is very responsive and pragmatic. It’s taken a long time to build these relationships – some almost a year – but I feel a great sense of loyalty. Before finishing our first projects, clients are already talking about the next project. The concept of strategic planning and the understanding of work in progress seems less common, however, as is the idea of story-telling, which is strong in Dutch design: developing concepts and stories for products that will help both the client and consumer to better understand and appreciate the product.

Any new experience is good, even if it doesn’t create new business directly. Doing business with China helps me to rethink my local business. Why are we doing things the way we do them? And is that still the best way? The feeling of being totally lost in translation, both literally and metaphorically, is of course something that can be exhausting at times, but I’m not the kind of person who quits when the going gets tough. Design is our game and we love to play!

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人物专访 ：Jeanne Tan

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Interview Jeanne Tan

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图片 · Photo: Ilco Kemmere

布拉尼米尔·梅迪奇

Branimir Medić是de Architekten Cie公司的 一名合伙人。该公司在阿姆斯特丹、上海和萨 格勒布都设有办事处。 2005年，我们开始在中国工作并与DHV机构 合作进行一些大规模的城市规划和建筑设计项 目。这些项目包括DSM公司在上海的总部和 天津市滨海新区天津经济技术开发区的大型填 土工程。目前我们在那里还并不活跃。我们认 为中国设计师可以从荷兰设计师身上学到的 是：做设计的时候我们具有纪律性和灵活性， 这是荷兰文化的一部分。

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Branimir Medić is a partner in de Architekten Cie. which has offices in Amsterdam, Shanghai and Zagreb.

We started working in China in 2005 by collaborating with DHV on several big scale urban planning and architecture projects. These included the headquarters for DSM in Shanghai and a large land reclamation project TEDA waterfront in Tianjin. We’re not active there at the moment.

What do we think Chinese designers could learn from Dutch designers? We are disciplined and flexible at same time with design; it is part of Dutch culture.

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Interview Jeanne Tan 人物专访 ：Jeanne Tan

· Branimir Medic the dots #6

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代尔夫特瓷器 盘面上描绘了捕鲸的场面 精锡釉陶，1765 – 1770，匿名 荷兰制造

中国南方荷兰设计服务处

Dutch Design Desk South China 02 荷兰设计行

Dutch Design on the Move 03 设计事务所

MVRDV 04 Studio Mango 05 媒体事件&米菲兔访问香港

Miffy visits Hong Kong 06 Ask4Me, 3House-Productions 07 平面喜事，荷兰平面设计一百年

Graphic Happiness 08 Spizes / studio PLOT 09 inamsterdam 10 荷兰设计会

Dutch Design Workspace

Dutch Design South China 2012

收藏：阿姆斯特丹国家海事博物馆 · Collection: Het Scheepvaartmuseum, The National Maritime Museum, Amsterdam

faience, 1765 – 1770, anonymous made in the Netherlands

荷兰设计在中国南方 2012

Delftware plate depicting whaling

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月 12

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中国南方荷兰设计服务处(Dutch Design Desk South China)

Dutch Design Desk South China

地址 中国南方荷兰设计服务处 (Dutch Design Desk South China) 长江集团中心, 57 层 / 5702 皇后大道中2号 香港

Location Dutch Design Desk South China Cheung Kong Center, 57th Floor/suite 5702 n. 2 Queen’s Road Central Hong Kong, China

荷兰设计行(Dutch Design on the Move) 上海荷兰设计会(Dutch Design Workspace Shanghai), 中国南方荷兰设计服务处(Dutch Design Desk South China), 荷兰设计－时尚－建筑(DutchDFA)

Dutch Design on the Move Dutch Design Workspace Shanghai, Dutch Design Desk South China, DutchDFA

地址 设计营商周 香港贸发局设计及创新科 技博览 湾仔博览道一号 香港

Location Business of Design Week HKTDC Inno Design Tech Expo 1 Expo Drive Wanchai Hong Kong, China

日 6－ 日 8

联系方式 中国南方荷兰设计服务处 (Dutch Design Desk South China) 长江集团中心, 57 层 / 5702 室 皇后大道中2号 香港 电话 +852 2180 90 40 contact@ dutchdesigndesk.com www.dutchdesigndesk.com 媒体联系 Marielle Lagers t +85 2 2180 90 40 marielle@ dutchdesigndesk.com

简介 想要在中国开展业务的荷兰创意企业家可以联系中国南方荷兰设 计服务处(Dutch Design Desk South China)寻求咨询、战略建 议、对口交流、市场研究、品牌注册、计划活动和生产制造方面 的帮助和支持。在开设新的办事处、采购、财务及法律咨询方 面，该服务处提供与外界联系的途经和建议。中国南方荷兰设 计服务处同样也服务于那些希望把产品和商业活动拓展到荷兰 的中国企业家。荷兰设计服务处属于国际荷兰设计－时尚－建筑 (DutchDFA)公司网络的一部分，支持创意企业。 活动 伊斯坦布尔、孟买、马斯特里赫特、上海和香港都有设立了荷兰 设计服务处和。它们为在中国有项目的或开始在中国开展业务的 创意公司提供特殊的销售和营销支持。 周期 长期设立

Contact Dutch Design Desk South China Cheung Kong Center, 57th Floor/suite 5702 n. 2 Queen’s Road Central Hong Kong, China t +85 2 2180 90 40 contact@ dutchdesigndesk.com www.dutchdesigndesk.com Press Marielle Lagers t +85 2 2180 90 40 marielle@ dutchdesigndesk.com

About Dutch creative entrepreneurs seeking to do business in China can call on the Dutch Design Desk South China for representation, strategic advice, matchmaking, market research, brand registration, programming and event production. The Desk can provide access to and advice about external parties regarding setting up a new office, sourcing, and financial and legal advice. The Dutch Design Desk South China is also available for Chinese enterprises wishing to expand their products and business activities to the Netherlands. Dutch Design Desk is part of the international DutchDFA-network of com­ panies that support creative businesses. Dutch creative entrepreneurs seeking to do business in China can call on the Dutch Design Desk South China for represen­ tation, strategic advice, matchmaking, market research, brand registration, programming and event production.

The Desk can provide access to and advice about external parties regarding setting up a new office, sourcing, and financial and legal advice. The Dutch Design Desk South China is also available for Chinese enterprises wishing to expand their products and business activities to the Netherlands. Dutch Design Desk is part of the international DutchDFA-network of companies that support creative businesses.

Presentation Dutch Design Desks and Workspaces are based in Istanbul, Mumbai, Maastricht, Shanghai and Hong Kong. Special sales and marketing support to creative companies with projects in China or starting to do business in China is provided by Dutch Design Desk.

Period Permanent

设计师（机构） De Architekten CIE., Kossmann Dejong, ZUS [Zones Urbaines Sensibles], Three Dogs / Retail Design, Link Design, KCAP Architects&Planners 联系人 Marielle Lagers 中国南方荷兰设计服务处 (Dutch Design Desk South China) 长江集团中心, 57 层 / 5702 室 皇后大道中2号 香港 电话 +852 2180 90 40 contact@dutchdesigndesk.com www.cie.nl, www.kossmanndejong.nl, www.zus.cc, www.kcap.eu, www.linkdesign.nl, www.threedogs.hk 媒体联系 Marielle Lagers +852 6802 42 49 marielle@ dutchdesigndesk.com

简介 “荷兰设计行(DDOTM)”是一个展现荷兰创意专家在蓬勃发展的 中国设计市场中的表现的巡展。该展览运用一种可重复使用的标 准展示模式，在接下来的三年中会至少在五个第一和第二线城市 的一些最为重要的设计活动上进行展示。这个展览的特点是呈现 最好的荷兰设计并展现用来塑造未来中国社会智慧的、可持续性 的和创造性的解决办法。 时间 2012年12月6日-7日 上午9:30到晚上19:00 2012年12月8日 上午9:30到晚上18:30

Designers De Architekten CIE., Kossmann Dejong, ZUS [Zones Urbaines Sensibles], Three Dogs / Retail Design, Link Design, KCAP Architects&Planners

Presentation DDOTM is a traveling pop-up exhibition experience that shows what Dutch creative experts can bring to the booming Chinese design market. A re-usable standard exhibition format travels to the most important design events in at least five 1st and 2nd tier cities over the course of the next three years. The programme features the best of Dutch design and presents smart, sustainable, and innovative solutions that shape the future of Chinese society.

Period Thursday – Friday, 6 – 7 December 2012, 09:30 – 19:00 Saturday, 8 December 2012, 09:30 – 18:30

Contact Marielle Lagers 57F/Suite 5702, No.2 Queen’s Road Central, Hong Kong, China t +85 2 6802 42 49 contact@ dutchdesigndesk.com www.cie.nl, www.kossmanndejong.nl, www.zus.cc, www.kcap.eu, www.linkdesign.nl, www.threedogs.hk Press Marielle Lagers t +85 2 2180 90 40 marielle@ dutchdesigndesk.com

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机构与活动介绍

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Hong Kong 6 – 8 December 2012

年 2012

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图片 · Photo: INathaniel McMahon

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MVRDV设计事务所 展览 多孔城市(PorousCity); 开发乐高(LEGO)塔 讲座 Winy Maas（MVRDV主要合伙人） 工作坊 多孔城市(PorousCity); 开发乐高(LEGO)塔）

MVRDV Exhibition PorousCity; opening up the tower Lecture Winy Maas Workshop PorousCity; opening up the tower

Studio Mango Studio Mango 有限公司

Studio Mango Studio Mango BV Studio Mango Limited

地址 设计营商周 香港贸发局设计及创新科技 博览 湾仔博览道一号 香港 展览: 3D – E 厅 讲座: 3D – E 厅 工作坊: 创新中心， 达之路72号, 九龙塘

活动 展览：2012设计营商周上的展览“（多空城市）PorousCity，开 发乐高塔”将展示由来自The Why Factory（与MVRDV和代尔夫 特理工大学合作的一个城市智库）的理科硕士研究生搭建的9座 高大的乐高塔。搭建成的乐高塔是工作坊活动的成果（亚洲地区 的工作坊活动名为开发乐高塔）

Location Business of Design Week HKTDC Inno Design Tech Expo 1 Expo Drive Wanchai Hong Kong Exhibition: Hall: 3D – E Lecture: Hall: 3D – E Workshop: InnoCentre 72 Tat Chee Avenue, Kowloon Tong Kowloon

Presentation Exhibition at Business of Design Week Hong Kong 2012: PorousCity; opening up the tower; Showing: 9 large LEGO towers created by MSC students from The Why Factory (an urban think tank in collaboration with MVRDV and the Technical University Delft). LEGO towers as outcome of the workshop (Asian version of workshop opening up the tower).

设计师 展览: “？工厂”(T?F – The Why Factory) / MVRDV设计 事务所设计师 Tihamer Salij， Ania Molenda，Martine Vledder与 香港设计中心 (设 计营商周主办方) 和 Project A 有限公司 (艺术+文化+设计 +教育)联合举办 讲座: MVRDV主要合伙人 Winy Maas 工作坊: 20名香港理工大学与 香港城市大学的学生和10位 香港知专设计学院的执业建 筑师将参与“The Why Factory”工作坊活动。出席活 动的还有：Tihamer Salij 和 Ania Molenda (主要教师)， 来自香港中文大学、香港知 专设计学院、香港理工大学 和香港城市大学的访问评论 家。搭建模型用的“乐高 砖”由乐高公司提供。

工作坊 多孔城市(PorousCity)，开发乐高塔。20名来自香港部分大 学的学生和10位来自香港的执业建筑师将参与“The Why Factory” （与MVRDV和代尔夫特理工大学合作的一个城市智库）工作坊 活动来搭建乐高塔。

Designers Exhibition: T?F (The Why Factory)/ MVRDV Tihamer Salij, Ania Molenda and Martine Vledder in collaboration with Hong Kong Design Center (organizers BODW) and Project A limited (Art + Culture + Design + Education) Lecture: Winy Maas principal partner MVRDV Workshop: 20 students of School of Design Poly U, City University Hong Kong and 10 practicing architects from Hong Kong Design Institute under guidance of The Why Factory, Tihamer Salij and Ania Molenda (main teachers), with visiting critics from CUHK, HKDI, Poly U, City University HK. LEGO contributed the LEGO bricks for the workshop.

Workshop PorousCity; opening up the tower. Workshop of LEGO bricks with 20 students from Hong Kong universities and 10 practicing architects from Hong Kong under guidance of MVRDV / The Why Factory (an urban think tank in collaboration with MVRDV and the Technical University Delft)

讲座 MVRDV主要合伙人Winy Maas将在2012设计营商周论坛上进行 演讲。

时间 展览: 2012年12月6日-8日 讲座: 2012年12月7日中午11:30到12:10设计营商周论坛 (BODW Forum)期间 工作坊: 2012年11月30日-12月3日

联系人 Martine Vledder, MVRDV 亚洲区总监 MVRDV 中国 陕西北路 600号， 3号大楼，3层 上海, 中国 +86 021 6075 1010-117 MartineVledder@mvrdv.nl www.mvrdv.nl www.thewhyfactory.com

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Lecture Winy Maas principal partner MVRDV at BODW 2012

设计师 Frank Hanssen, Paul Hendrikx, Erick Sze, Man Fai Wong 联系人 Erick Sze 创新中心 210-2 达之路 72号 九龙塘, 香港 电话 +852 9536 00 30 erick@studiomango.nl www.studiomango.nl

简介 Studio Mango是一家针对各种市场在产品设计和产品开发上拥有多 年经验的工业产品设计公司。提供的服务有：专业的产品设计，全 新理念、产品和市场的发展，针对产品工作原理提出创造性的解决 办法，产品的重新设计或重新设计装配线从而降低成本。 活动 在Studio Mango的展位，该公司的产品作品将会被展出。这些产 品主要是为客户所设计的家用产品和灯具产品。

Location 210-2 InnoCentre 72 Tat Chee Avenue Kowloon Tong, Hong Kong Designers Frank Hanssen, Paul Hendrikx, Erick Sze, Man Fai Wong Contact Erick Sze 210-2 InnoCentre 72 Tat Chee Avenue Kowloon Tong, Hong Kong t +852 9536 00 30 erick@studiomango.nl www.studiomango.nl/

时间 2012年12月6日-8日

About Studio Mango is an industrial design company with many years of experience in the design and development of products for a wide variety of markets. We offer the following services: – Professional design of products – Development of totally new concepts, products and markets – Finding innovative solutions for working principles of products.

– Re-design of products or assembly lines to cut down costs Presentation Studio Mango’s product portfolio will be displayed in our booth. These products are mainly houseware products and lighting products that are designed for our clients.

Period Thursday – Friday, 6 – 7 December 2012, 09:30 – 19:00 Saturday, 8 December 2012, 09:30 – 18:30

Period Exhibition: 6, 7, 8 December 2012 Lecture: 7 December 2012 11:30 – 12:10 during BODW Forum Workshop: 30 Nov – 3 December 2012

Contact Martine Vledder, Director MVRDV Asia MVRDV China 3F Block 3 No. 600 Shaan Xi Bei Lu Shanghai, China t +86 021 6075 1010-117 MartineVledder@mvrdv.nl www.mvrdv.nl www.thewhyfactory.com

机构与活动介绍

地址 创新中心 210-2 达之路 72号 九龙塘, 香港

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媒体事件&米菲兔访问香港Media Event & Miffy visits Hong Kong 中国南方荷兰设计服务处Dutch Design Desk South China, 香港子熙有限公司Zixi

Media Event & Miffy visits Hong Kong Dutch Design Desk South China, Zixi

地址 湾仔警察局 告士打道123号 湾仔,香港

Location Wan Chai Police Station 123 Gloucester Road Wan Chai, Hong Kong China

联系人 Marielle Lagers 皇后大道中2号 香港, 中国 电话 +852 2180 90 40 contact@d utchdesigndesk.com www.zixi.hk, www.dutchdesigndesk.com

活动 12月1日将有一场由驻香港荷兰总领事馆参与共同组织的重要媒 体活动，这个活动将在老湾仔警察局举行，这里也是组织本次观 光活动的场所。在媒体活动后，米菲兔将开始它在这里的观光旅 游，并在BodW/IDTC设计与品牌论坛上推广荷兰和荷兰设计。 米菲兔的观光游览（广东道-卡通明星街-明星街-渡轮穿越维多利 亚港-港岛电车-时代广场）免费对参观者开放（暂定），米菲兔 将会派送赠品和小卡片，这些物品上都有为本次活动而特别设计 的米菲兔的具体联系信息和网站地址。在以上提到的每个地点 中，米菲兔会与大家进行充分的交流。 时间 香港设计营商周 Business of Design Week Hong Kong 12月1日

Contact Marielle Lagers n. 2 Queen’s Road Central Hong Kong, China t +85 2 2180 90 40 contact@dutchdesigndesk. com www.zixi.hk, www.dutchdesigndesk.com

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Presentation On 1 December there will be a VIP-media event, jointly hosted with the Dutch Consulate General in HK at the old Wanchai Police Station, which will be the venue for hosting the Detour. After the media event, Miffy will make her sightseeing tour, to promote The Netherlands and Dutch Design at BodW/IDTC. Visits will be paid to (tentatively): Canton Road – Avenue of Cartoon Stars – Avenue of Stars – Ferry across Victoria Harbour – Island Tram – Times Square. Throughout the sightseeing tour, Miffy will hand out giveaways and small cards containing the contact details of Miffy and the web addresses of the sites that have been created especially for this event.

At each of the above mentioned locations, Miffy will take time to mingle with the people.

Period Business of Design Week Hong Kong 1 december 2012

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Hong Kong 6 – 8 December 2012

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图片 · Photo: Frans Parthesius

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图片 · Photo: Frans Parthesius

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Business of Design Week Hong Kong 01 中国南方荷兰设计服务处 Dutch Design Desk South China

长江集团中心, 57 层 / 5702 皇后大道中2号 香港

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Cheung Kong Center, 57th Floor/suite 5702 n. 2 Queen’s Road Central Hong Kong 02 荷兰设计行

Dutch Design on the Move 03 设计事务所 MVRDV 设计营商周 香港贸发局设计及创新科 技博览 湾仔博览道一号 香港

HKTDC Inno Design Tech Expo 1 Expo Drive Wanchai Hong Kong 04 Studio Mango 创新中心 210-2 达之路 72号 九龙塘, 香港

210-2 InnoCentre 72 Tat Chee Avenue Kowloon Tong, Hong Kong

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Miffy visits Hong Kong

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湾仔警察局 告士打道123号 湾仔,香港

Wan Chai Police Station 123 Gloucester Road Wan Chai, Hong Kong

广州国际设计周

Guangzhou Design Week 06 Ask4Me, 3House-Productions 07 平面喜事，荷兰平面设计一百年 Graphic Happiness

08 Spizes / studio PLOT 09 inamsterdam 广州设计周, 1601号展位 保利世界贸易中心 新港东路 1000号, 琶洲地铁站, 地铁8号线, 出口 D 广州, 510335

Poly World Trade Center 1000 XinGang East Road, PaZhou Subway Station, Metro Line 8, Exit D Guangzhou, 510335 上海

Shanghai 06 – 09

10 荷兰设计会 Dutch Design Workspace

陕西北路 600 号, 3 号大楼 , 3层 上海, 中国 200041

600 Shanxi North Road, Block 3, Floor 3 Shanghai, China 200041

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年 2012 月 12 日 7－

06

07

07

Ask4Me Group, 3House-Productions 像素艺术（广州）PixelArt Guangzhou

Ask4Me Group, 3House-Productions PixelArt Guangzhou

“平面喜事，荷兰平面设计一百年”Graphic Happiness, 100 Years of Dutch Graphic Design 希佛萨姆博物馆(Museum Hilversum), 乌特勒支艺术学院 (Utrecht School of the Arts)

Graphic Happiness, 100 Years of Dutch Graphic Design Museum Hilversum, Utrecht School of the Arts

地址 广州设计周, 1601号展位 保利世界贸易中心 新港东路 1000号, 琶洲地铁站, 地铁8号线, 出 口D 广州, 510335, 中国

Location Guangzhou Design Week, Booth 1601 Poly World Trade Center 1000 XinGang East Road, PaZhou Subway Station, Metro Line 8, Exit D Guangzhou, 510335, China

地址 广州设计周, 1612 号展位 保利世界贸易中心 新港东路 1000号, 琶洲地铁站, 地铁8号线, 出口 D 广州, 510335, 中国 设计师 Boukje Koch, AJ Schep, Mariet Schreurs, Maarten Boer, Morgan Jiang, Rundy Huang, Nerissa Pan, Donald Merks, Ricky Franzs

日 9

联系人 Mariet Schreurs 天兴大厦，中山一路，24-05室 510600, 广州, 中国 电话 +86 (0) 20 83 64 12 31 mariet@ask4me-group.com www.ask4me-group.com, www.orangecreatives.com

简介 Ask4Me Group是在广州最大的一家境外产品设计公司。他们 在中国开发产品并专门为中国制造商提供概念设计和为西方国 家的客户提供实现生产的解决办法。他们的设计包括：家用电 器、电动工具、灯具、太阳能技术、玩具和园林设备。3House Productions公司提供亚洲趋势预测并专门从事趋势表现，室内 风格造型、家庭装饰设计、家用纺织品设计、花卉产品设计和平 面与图案设计。他们拥有丰富的与中国制造商合作的经验，并与 中国的生产商、进口商和零售商有合作。

Location Guangzhou Design Week, Booth 1612 Poly World Trade Center 1000 XinGang East Road, PaZhou Subway Station, Metro Line 8, Exit D Guangzhou, 510335, China

活动 2012广州设计周上，Ask4Me Group和3House Productions公司 将举行一次名为“像素艺术”的公共艺术品的展示，并希望各位 观众可以参与进来。活动的目的是将超过十万个30毫米的像素 填入一个18米乘5米的平面。这些像素被做成贴纸并分为10种颜 色。用这些贴纸，观众们和设计师们将被要求做出他们自己的以 圣诞为主题的艺术品。我们一起来试着用圣诞图案和五颜六色不 同形状的物体营造一个美丽的和富有创造性的景观。

Designers Boukje Koch, AJ Schep, Mariet Schreurs, Maarten Boer, Morgan Jiang, Rundy Huang, Nerissa Pan, Donald Merks, Ricky Franzs

时间 对专业人士开放时间 12月7日，周五，上午10点到晚上18点 12月8日，周六，上午9点到晚上18点 对公众开放时间 12月9日，周日，上午9点到晚上18点

Contact Mariet Schreurs TianXing Mansion, Zhongshan 1 Road, Room 24-05 510600, Guangzhou, China t +86 (0) 20 83 64 12 31 mariet@ask4me-group. com www.ask4me-group.com, www.orangecreatives.com Press Sabien Stols museumhilversumpr@ gmail.com t +31 (0)35 629 28 26

About Ask4Me Group is the biggest foreign product design company in Guangzhou. They develop products in China and are specialized in concept design for Chinese manufacturers and production realization for western clients. They make design for: Household appliances, power tools, lights, solar technology, toys, and garden equipment. 3House Productions provides trend fore­ casts in Asia and are specialized in trend books, interior styling, home décor design, home textile, floral products, graphics and patterns. They have rich experience in working with Chinese manufacturers. And collaborate with producers, importers and retailers from China, Europe, and America.

Presentation Visitors of the Guangzhou Design Week 2012 are asked for their help! Ask4Me Group, Dutch Design Desk South China and 3House Productions organized a public pixel artwork. The aim is to fill a surface of 18 by 5 meters with 30 millimeter pixels. This comes down to more than 100,000 pixels that have to be stuck to the ground. The pixels are stickers and come in ten colors. With these stickers visitors and professional designers are asked to create their own artwork. The theme of the artwork is Christmas. Together we try to build a beautiful creative landscape, filled with Christmas patterns and colorful shapes! This project is sponsored by the Consulate of the Kingdom of the Netherlands.

Period For Professional Visitors Friday, 7 December 2012, 10:00 – 18:00 Saturday, 8 December 2012, 09:00 – 18:00 For Public Sunday, 9 December 2012, 09:00 – 18:00

设计师 总共将展出40多位荷兰设计 师的作品，包括20幅荷兰平 面设计的代表作品。此 外，24家荷兰当代设计工作 室还有荷兰的设计师将会在 独自的展览中介绍他们的作 品，他们是：Anthon Beeke, Dick Bruna, Wim Crouwel, Theo van Doesburg, (以及其他 16 位设计师)。 当代平面设计师（和工作 室）包括：Autobahn, Irma Boom, Catalogtree, Studio Dumbar, Edhv, Hans Gremmen, Hansje van Halem, Johann Kauth, KesselsKramer, René Knip, Harmen Liemburg, Loulou & Tummie, LUST, Metahaven, Studio Moniker, Niessen & de Vries, Pinar & Viola, RAW COLOR, Michiel Schuurman, Thonik, Trapped in Suburbia, Underware, Job Wouters, Zeloot 联系人 赵学亦(Fin Zhao) 南京, 中国 电话 +86 1377 031 27 62 finzhao@gmail.com www.museumhilversum.nl 媒体联系 Sabien Stols +31 (0)35 629 28 26 museumhilversumpr@ gmail.com

简介 希佛萨姆博物馆(Museum Hilversum)位于荷兰中心城市希佛萨 姆(Hilversum)。每年，这里都会举办三场展览，主题多样，从 现代艺术、设计和建筑到传播相关话题或当地事件。在2011年和 2012年，主题为“Grafisch Geluk”的展览取得了很大的成功。与 乌特勒支艺术学院这个在教育项目上的合作伙伴共同举办的这个 展览将在中国作为该项目的延续而继续进行，其主题为：“平面 喜事(Graphic Happiness)”。 活动 荷兰设计对于中国是一种启示。对于这次的展览，希佛萨姆博 物馆(Museum Hilversum)提供了一个关于荷兰平面设计全新的 和更广阔的视野。在中国举办这次主题为“平面喜事(Graphic Happiness)”的展览将全方位展现40多位荷兰设计师的作品，包 括20幅荷兰平面设计的代表作品。此外，24家荷兰当代设计工作 室还有荷兰的设计师将会在独自的展览中介绍他们的作品。 时间 对专业人士开放时间 12月7日，周五，上午10点到晚上6点 12月8日，周六，上午9点到晚上6点 对公众开放时间 12月9日，周日，上午9点到晚上6点

Designers Overview of more than 40 Dutch designers, which includes 20 iconic figures of Dutch Design.

Next to this, 24 Dutch contemporary design studios and designers will present their work in solo exhibitions: Anthon Beeke, Dick Bruna, Wim Crouwel, Theo van Doesburg, (and 16 others). Contemporary Graphic Designers: Autobahn, Irma Boom, Catalogtree, Studio Dumbar, Edhv, Hans Gremmen, Hansje van Halem, Johann Kauth, KesselsKramer, René Knip, Harmen Liemburg, Loulou & Tummie, LUST, Metahaven, Studio Moniker, Niessen & de Vries, Pinar & Viola, RAW COLOR, Michiel Schuurman, Thonik, Trapped in Suburbia, Underware, Job Wouters, Zeloot

About Museum Hilversum is located in the City of Hilversum, central in the Netherlands. Yearly, three exhibitions are taking place. Subjects vary from modern art, design and architecture to broadcasting related topics or local issues. In 2011 and 2012 the exhibition ‘Grafisch Geluk’ was a great success. The collaboration with the Utrecht School of the Arts, partner in the educational program, will be continued in this project in China as ‘Graphic Happiness’.

Presentation Dutch Design as an inspiration to China. For this exhi­ bition Museum Hilversum has made a new, and more extensive overview of Dutch Graphic Design. Graphic Happiness in China brings together an overview of more than 40 Dutch designers, which includes 20 iconic fig­ ures of Dutch Design. Next to this, 24 Dutch contem­ porary design studios and designers will present their work in solo exhibitions.

Period For Professional Visitors Friday, 7 December 2012, 10:00 – 18:00 Saturday, 8 December 2012, 09:00 – 18:00 For Public Sunday, 9 December 2012, 09:00 – 18:00

Contact Fin Zhao Nanjing, China t +86 1377 031 27 62 finzhao@gmail.com www.museumhilversum.nl Press Sabien Stols museumhilversumpr@ gmail.com t +31 (0)35 629 28 26

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机构与活动介绍

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35

presentations

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Guangzhou 7 – 9 December 2012

广州

06

月 12

09

09

时尚，超越品牌Fashion beyond the Brand Spizes, studio PLOT

Fashion beyond the Brand Spizes, studio PLOT

inamsterdam 2013 inamsterdam 世界室内装饰活动

inamsterdam inamsterdam World Interiors Event 2013

地址 广州设计周 保利世界贸易中心 新港东路 1000号, 琶洲地铁站, 地铁8号线, 出口 D 广州, 510335, 中国

Location Guangzhou Design Week Poly World Trade Center 1000 XinGang East Road, PaZhou Subway Station, Metro Line 8, Exit D Guangzhou, 510335, China

地址 广州设计周, 1601号展位 保利世界贸易中心 新港东路 1000号, 琶洲地铁站, 地铁8号线, 出口 D 广州, 510335, 中国

日 7－

设计师 Leontine Wagenaar, Sinette Hesselink

日 9

联系人 Leontine Wagenaar 地址：Snijerplein 4 邮编：2042 KL, 城市：赞德福特Zantvoort 电话 NL +31 (0)61 650 30 13 CN +86 137 0173 83 79 leontine@spizes.nl www.spizes.nl Sinette Hesselink 地址：Jan Olphert Vaillantlaan 75 邮编：1086 XZ， 城市:阿姆斯特丹Amsterdam 国家：荷兰 +31 (0)650207212 sinette@studioplot.nl www.studioplot.nl

简介 设计师Leontine Wagenaar 和 Sinette Hesselink两人在趋势预 测、品牌推广和为生活与时尚产业设计上具有超过20多年的经 验。我们拥有国际化视野，很高兴能够为您的业务更上一层楼并 取得更丰厚的经济回报而服务。特别是对于我们的中国顾客，我 们会全力以赴为客户进行完整的和专业的服务，并提供整体上针 对客户产品系列和品牌的创新战略。我们非常愿意与客户建立长 期关系并从事综合性的项目。 活动 广州设计周主办方邀请我们开办一个以“时尚，超越品牌 (Fashion beyond the Brand)”为主题的高级讲习班。我们将探 讨以下五点：1，品牌与定位、如何定义个性；2，市场与时尚趋 势、如何研究和为何研究；3，执行、如何在公司中执行研究成 果；4，设计、如何管理设计程序；5，营销、如何进行本土化和 全球化的沟通。 时间 12月8日，周六，上午9点到中午12点

Location Guangzhou Design Week, Booth 1601 Poly World Trade Center 1000 XinGang East Road, PaZhou Subway Station, Metro Line 8, Exit D Guangzhou, 510335, China Designers Leontine Wagenaar, Sinette Hesselink Contact Leontine Wagenaar Snijerplein 4 2042 KL Zantvoort Netherlands t NL +31 (0)61 650 30 13 t CN +86 1370 173 83 79 leontine@spizes.nl www.spizes.nl Sinette Hesselink Jan Olphert Vaillantlaan 75 1086 XZ Amsterdam Netherlands t +31 (0)65 020 72 12 sinette@studioplot.nl www.studioplot.nl

About Leontine Wagenaar and Sinette Hesselink both have over 20 years of experience in trend forecast, branding and design for the fashion and lifestyle industry.

With our international view we are very pleased to bring your business to a higher level with a better financial result. Especially for our Chinese customers we decided to join forces to offer a very complete, professional service; creative an innovative strategies for your product range and brand in general. We prefer long time relationship and fully integrated projects.

Presentation Guangzhou Design Week organization invited us to give a master class with topic ‘Fashion beyond the Brand’.

We’ll discuss the following 5 key points: 1. Branding and positioning. How to define your identity. 2. Market and fashion trends. How to do research. Why do we need research. 3. Implementation. How to implement this research in to your company. 4. Design. How to manage your design process. 5. Marketing. How to communicate, local & global

联系人 Kees Spanjer 地址：Oudezijds Voorburgwal 306 邮编：1012 GL, 城市：阿姆斯特丹Amsterdam 电话 +31 (0)62 155 54 40 kees.spanjers@ inamsterdam.org www.museumhilversum.nl

Period For Professional Visitors Friday, 7 December 2012, 10:00 – 18:00 Saturday, 8 December 2012, 09:00 – 18:00 For Public Sunday, 9 December 2012, 09:00 – 18:00

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上海

10

10

荷兰设计会(Dutch Design Workspace) 荷兰设计会(Dutch Design Workspace)

Dutch Design Workspace Dutch Design Workspace

地址 陕西北路 600 号, 3 号大楼 , 3层 上海, 中国 200041

Location 600 Shanxi North Road, Block 3, Floor 3 Shanghai, China 200041

媒体联系 Clifford Champion clifford@ dutchdesignworkspace.com +86 186 0163 77 81

机构与活动介绍

时间 对专业人士开放时间 12月7日，周五，上午10点到晚上18点 12月8日，周六，上午9点到晚上18点 对公众开放时间 12月9日，周六，上午9点到晚上18点

Contact Kees Spanjer Oudezijds Voorburgwal 306 1012 GL Amsterdam t +31 (0)62 155 54 40 kees.spanjers@ inamsterdam.org www.museumhilversum.nl

Presentation The inamsterdam World Interiors Event 2013 will present an attractive and varied event program aimed at professionals, students as well as the public at large. The inamsterdam World Interiors Event 2013 offers unique networking opportunities and reaches a wide audience.

From March till November Amsterdam will be buzzing.

The program includes expositions, fairs, events, projects, congresses, lectures, seminars, presentations and much more! All around the theme interiors.

The inamsterdam World Interiors Event 2013 offers unique networking opportunities and reaches a wide audience.

Main attractions are the World Interiors Meeting 2013, from 5 – 7 September 2013, and the World Interiors Salon, from 20 July – 21 September 2013.

Period Saturday, 8 December 2012, 9:00 – 12:00

联系方式 荷兰设计会(Dutch Design Workspace) 陕西北路 600 号, 3 号大楼 , 3 层 上海, 中国 200041 +86 21 6075 10 10 info@ dutchdesignworkspace.com www.dutchdesign workspace.com

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活动 2013 inamsterdam 世界室内装饰活动将为专业人士、学生和广 大公众呈现一次精彩丰富的活动。本次活动将提供独特的交流机 会并且吸引最广泛的受众。 从3月到11月，阿姆斯特丹将会很热闹。整个活动由博览会、交 易会、项目、会议、讲座、研讨会、报告会和其他更多的内容组 成，所有的活动都围绕室内的话题。 2013 inamsterdam 世界室内装饰活动提供独特的交流机会并且 吸引最广泛的受众。 主要看点是2013年9月5日到7日举行的世界室内装饰大会和2013 年7月20日到9月21日期间举行的世界室内装饰沙龙活动。

Guangzhou 7 – 9 December 2012

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简介 荷兰设计会是由荷兰设计－时尚－建筑(DutchDFA)、上海荷兰 总领事馆、远中和上海创意产业中心共同发起的一个孵化项目。 荷兰设计会为设立在中国的荷兰设计公司重点提供两方面的支 持。一方面，提供一个“即插即用”的共享办公空间，另一方 面，提供特别的帮助。荷兰设计会的目的是通过让来自不同领 域的设计师共同合作、交流专业知识而创造出一种更大的商业 动力，并给在此刚起步的或为进一步拓展业务的公司提供许多 必要的指导。 周期 长期设立

Contact Dutch Design Workspace 600 Shanxi North Road, Block 3, Floor 3 Shanghai, China 200041 t +86 21 6075 10 10 info@ dutchdesignworkspace.com www.dutchdesign workspace.com

About Dutch Design Workspace is an incubator program initiated by the DutchDFA, the Dutch Consulate-General in Shanghai, FAR-China and the Shanghai Creative Industry Centre. Dutch Design Workspace provides support to Dutch design firms setting up in China with two important elements; a plug and play shared office space and a special support program. The aim of Dutch Design Workspace is to create a bigger business momentum by having designers from different disciplines work together for an exchange of knowledge/expertise and to provide the much needed guidance for beginning or expanding companies or designers in China.

Period Permanent

Press Clifford Champion clifford@ dutchdesignworkspace.com +86 18 60163 77 81

presentations

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Shanghai

广州

08

AJ Schep · 06 p. 34 Ania Molenda · 03 p. 30 Anthon Beeke · 07 p. 35 Ask4Me · 06 p. 34 Autobahn · 07 p. 35

B

Beeke, Anthon · 07 p. 35 Boer, Maarten · 06 p. 34 Boom, Irma · 07 p. 35 Boukje Koch · 06 p. 34 Bruna, Dick · 07 p. 35

C

Catalogtree · 07 p. 35 Crouwel, Wim · 07 p. 35

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Kauth, Johann · 07 p. 35 KCAP Architects&Planners · 02 p. 29 KesselsKramer · 07 p. 35 Knip, René · 07 p. 35 Koch, Boukje · 06 p. 34 Kossmann Dejong · 02 p. 29

L

Leontine Wagenaar · 08 p. 36 Liemburg, Harmen · 07 p. 35 Link Design · 02 p. 29 Loulou & Tummie · 07 p. 35 LUST · 07 p. 35

M

De Architekten CIE. · 02 p. 29 Dick Bruna · 07 p. 35 van Doesburg, Theo · 07 p. 35 Donald Merks · 06 p. 34 Dutch Design Desk South China · 01 p. 28 Dutch Design on the Move · 02 p. 29 Dutch Design Workspace · 02/10 p. 29, p. 37 DutchDFA · 02 p. 29

Maarten Boer · 06 p. 34 Maas, Winy · 03 p. 30 Man Fai Wong · 04 p. 31 Mariet Schreurs · 06 p. 34 Martine Vledder · 03 p. 30 Merks, Donald · 06 p. 34 Metahaven · 07 p. 35 Michiel Schuurman · 07 p. 35 Miffy · 05 p. 31 Molenda, Ania · 03 p. 30 Morgan Jiang · 06 p. 34 Museum Hilversum · 07 p. 35 MVRDV · 03 p. 30

E

N

D

Edhv · 07 p. 35 Erick Sze · 04 p. 31

F

Frank Hanssen · 04 p. 31 Franzs, Ricky · 06 p. 34

G

Graphic Happiness · 07 p. 35 Gremmen, Hans · 07 p. 35

H

van Halem, Hansje · 07 p. 35 Hans Gremmen · 07 p. 35 Hansje van Halem · 07 p. 35 Hanssen, Frank · 04 p. 31 Harmen Liemburg · 07 p. 35 Hendrikx, Paul · 04 p. 31 Hesselink, Sinette · 08 p. 36 3House-Productions · 06 p. 36 Huang, Rundy · 06 p. 34

I

inamsterdam · 09 p. 37 Irma Boom · 07 p. 35

J

Jiang, Morgan · 06 p. 34 Job Wouters · 07 p. 35 Johann Kauth · 07 p. 35

U

网店 · Webshop: www.hollandsouvenirshop.nl

A

Underware · 07 p. 35 Utrecht School of the Arts · 07 p. 35

V

Vledder, Martine · 03 p. 30

W

Wagenaar, Leontine · 08 p. 36 Wim Crouwel · 07 p. 35 Winy Maas · 03 p. 30 Wong, Man Fai · 04 p. 31 Wouters, Job · 07 p. 35

Z

Zeloot · 07 p. 35 ZUS [Zones Urbaines Sensibles] · 02 p. 29

Nerissa Pan · 06 p. 34 Niessen & de Vries · 07 p. 35

P

Pan, Nerissa · 06 p. 34 Paul Hendrikx · 04 p. 31 Pinar & Viola · 07 p. 35 PixelArt · 06 p. 36 Project A limited · 03 p. 30

R

RAW COLOR · 07 p. 35 René Knip · 07 p. 35 Ricky Franzs · 06 p. 34 Rundy Huang · 06 p. 34

S

Salij, Tihamer · 03 p. 30 Schep, AJ · 06 p. 34 Schreurs, Mariet · 06 p. 34 Schuurman, Michiel · 07 p. 35 Sinette Hesselink · 08 p. 36 Spizes · 08 p. 36 Studio Dumbar · 07 p. 35 Studio Mango · 04 p. 31 Studio Moniker · 07 p. 35 studio PLOT · 08 p. 36 Sze, Erick · 04 p. 31

T

Theo van Doesburg · 07 p. 35 The Why Factory · 03 p. 30 Thonik · 07 p. 35 Three Dogs / Retail Design · 02 p. 29 Tihamer Salij · 03 p. 30 Trapped in Suburbia · 07 p. 35

中国精锡釉陶 盘面描绘荷兰风车景观 精锡釉陶，2012，匿名 中国制造

Chinese faience plate depicting a Dutch landscape with windmill faience, 2012, anonymous made in China

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索引 · index

38

图片 · Photo: Ilco Kemmere

朱迪思与冈特·维梅尔

· Judith and Gunter Wehmeyer

Judith和Gunter Wehmeyer一起创立了BoomWehmeyer工作室。该工作室经常活跃在英 国，中国（景德镇和上海），和荷兰（阿纳 姆）之间。

Judith and Gunter Wehmeyer are co-founders of Studio BoomWehmeyer. The studio regularly moves between the UK, China (Jingdezhen and Shanghai), and now the Netherlands (Arnhem).

2004年，城市设计和研究项目把我们带到了 中国。自那以后，我们与中国的设计师以及在 中国的国际设计师们一起，围绕着不断变化的 景观设计在中国的意义与角色这个共同关心的 问题，逐渐建立起了一个关系网络并发起对这 一问题的讨论。在陶瓷行业，我们开始了大尺 度的城市研究和小尺度的工艺研究；在某种程 度上，对于我们开始将人的尺度带入到我们的 对话中来说，这似乎是正确的方法。 在国家成长和社会，商业，基础设施以及身份 的快速转换方面，中国备受关注已经10年多 了。设计也经历了巨大的发展。设计最终需要 解决人的需求并把人的体验作为这整个过程的 核心。当然，随着中国正处于转型之中，对于 我们工作室来说这里是一个非常合适的地方来 将设计中的转换，话语的表达与中国的根基与 身份相结合。在中国，我们一直都很紧张、投 入地在重新思考这种需求与转换的联系上进行 工作，因为在这方面目前还没有明确的指导。 回报是我们看到了这个变化的发生，通过看到 中国人自己适应这种快速的变化并作为一个社 会整体共同生活，我们学到了很多东西。这种 变化引发了很多问题，也产生了许多对策。 如果你真的对中国感兴趣，到那里首先要深入 到它的文化中去，并感受那里的文化。去观 察，去参与，去相互沟通，脱离外籍人士的那 种海外情结与中国的创意人士去体验在大城市 之中设计外表之外的成长中的创意景象。中国 是一个大国，正在应对许多的问题。根据你所 从事行业和长远利益，你要确保与真正设计那 些建筑和创造中国未来的设计师和创意人士们 联系起来。当你将自己置身于所有关于中国的 宣传和渲染之外时，你就会开始从一个不同的 角度来看问题。这与“他们”，“我们”没有 真正的关系，更多的却是在于理解我们是如何 相互联系的。 在中国文化中非常有现实意义的物品是烟花， 每一个庆典，无论是欢迎还是道别，开始都要 放烟花。当我们成功烧好一个窑或当一栋建筑 开张，我们在中国的联系人就会带来响亮的鞭 炮。去年一月，当我们完成了为时5个月的瓷 件制作时，为了表达能够将这些物品安全送达 目的地的意愿，我们自发地在卡车边摊开几卷 鞭炮来放。当你遵照习俗在家中放起鞭炮时， 你就可以说自己真的入乡随俗了。

Urban design and research projects brought us to China in 2004. Since then, we’ve been evolving a network and initiating discourse with Chinese and international designers in China around a common concern for the meaning and role of the changing design landscape in China. We started working on large-scale urban research, but also on small-scale craftsmanship in the porcelain industry; somehow this seemed to be the right approach for us to start to bring the human scale into our conversations.

China has been in the news for more than a decade regarding its growth and speedy transitions of society, business, infrastructure, and identity. Design has also undergone huge developments. Design should ultimately address human needs and put the human experience at the core of the process. Of course, with China being in transition, this was the right place for our studio to mix transition and discourse in design with the roots and identity of China. We have been working intensively in China on rethinking this needs-transition connection, as it’s an area with no clear instruction manual. The reward is in seeing this change happen and we learned so much through seeing the Chinese themselves adapt to this fast change and its consequences for living together as a society. It has raised a lot of questions and also answers.

If you’re really interested in China, go there to first immerse yourself in its culture and to breathe it in. Observe, engage, interact, and please work outside the expat scene with Chinese creatives to experience the growing creative scene beyond the facade of the design scene in the big cities. China is a big country dealing with so many issues. Depending on your line of work and long-term interests, you should make sure to connect with the designers and creatives who actually do the building and make this new future happen in China.

You start seeing things in a different perspective when you distance yourself from all the hype about China. It’s not really about them and us but more about understanding how we are interconnected.

Something that is very present in Chinese culture is fireworks. Every celebration, welcome or goodbye begins with fireworks. Our Chinese contacts brought along loud firecrackers when we had a good kiln firing or when a building opened.

Last January when we finished a five-month porcelain process, we took the initiative and laid out big rolls of firecrackers near the truck that transported the finished pieces to wish it a safe journey. When you start lighting fireworks at your house on a regular basis, you could say you’re truly living like a local.

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人物专访 ：Jeanne Tan

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Interview Jeanne Tan

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图片 · Photo: Ilco Kemmere

林德·唐

· Leendert Tange

Leendert Tange是一家设立在阿姆斯特丹名为 Storeage的零售设计与策略公司的合伙创始 人，这家公司最近在上海开设了办事处。

Leendert Tange is co-founder of Amsterdam-based retail design and strategy agency Storeage, which has recently opened an office in Shanghai.

自2000年Storeage创立之时起，我就一直很 想去中国工作，不仅仅是出于明显的商业目 的，更为重要的是因为我相信中国的文化传统 对我有益。我对如何将这样的传统用一种现代 的方式来诠释很感兴趣。因此，针对中国市场 中的变化来探索视觉空间，同时营造品牌体验 使其能够参与全球性的竞争，是我与中国客户 合作的使命。 在准备阶段，我们聘请了一位中国策略师，他 曾经在欧洲留学，并帮助我们认识Storeage’s 的目标市场和进一步的了解特定市场中中国消 费者的观念。我们利用这些见解尝试着以一种 现代的方式把中国的传统文化呈现给中国的消 费者。 2009年，我们开始为惠普工作，设计他们的 创新中心。设计上我们把中国医药的元素运用 到对惠普创新产品的体验中。在那之后不久， 我们就开设了在北京的办事处，为运动品牌 “李宁”做设计。最近， 一些时尚品牌客户 委托我们对他们的品牌体验进行重新设计，尤 为让我激动的是一个潜在的餐厅设计项目，这 个项目会涉及到对中国艺术和工艺的一种现代 表达。 就在今年十月，Storeage加入了位于上海的荷 兰设计会(Dutch Design Workspace)，在很 多设计项目仍然来自北京的情况下，我们有意 这样做。我相信这种“杂交”（与不同的创意 人士在同一个屋檐下工作）是有好处的。事实 上，距离杭州我们只有一个小时的路程，这个 城市是我们大多数时尚品牌客户的家乡。 我们在中国工作的主要挑战是在设计程序方 面。与提交一个设计方案相反，这里倾向于有 多重选择，最终选择只在最后一分钟。这完全 推翻了我们的预算模式和我们的设计方式！幸 运的是，我们在欧洲的业务也开始受益于这样 的设计方式。 从中国我学到，顺流而行产生能量和产生让思 维成长与充分发展的空间。具体就Storeage而 言，这涉及到要接纳一个事实，即针对同一个 问题的多个答案都是很重要的，而过去我们倾 向于把一个想法做完美。 此外，中国的脚步正在放缓，显然市场正在变 化。然而无论商机如何，我只建议在你有一种 想要了解中国历史与文化的激情的情况下去中 国。只有从这个角度出发，你才能做出成功的 设计并触动“中国的心”。当你这样做时，你 将发现它是何等的慷慨大方。

Since Storeage started in 2000, I’ve always wanted to work in China, not only for the obvious business reasons, but more importantly because I believe in the cultural heritage of China.

I am fascinated by how this heritage can be translated in a contemporary way. Hence we made it our mission to collaborate with Chinese clients, exploring the visual room for change within the Chinese market, alongside creating brand experi­ ences that will allow them to compete globally.

In preparation, we hired a Chinese strategist who studied in Europe and helped us define Storeage’s target market as well as further understand Chinese consumer beliefs for specific market segments. We used these insights to try to bring Chinese heritage to the Chinese consumer in a contemporary way.

We started out working for Hewlett Packard in 2009, designing their innovation center that paired the experience of HP’s innovations with Chinese medicine. Shortly after that, we opened our office in Beijing, serving the sport brand LiNing. Most recently, we were commissioned by several fashion clients to redesign their brand experience and I’m par­ ticularly excited about a potential restaurant commission that will involve a contemporary take on Chinese arts and crafts.

It was only this October that Storeage joined the Dutch Design Workspace, a conscious choice with quite some busi­ ness still coming through Beijing. I believe though, that the cross pollination, working with different creatives under one roof, will pay off. Not to mention, we’re only one hour away from Hangzhou, the hometown of most of our fashion clients.

Our main challenge to working in China is the design pro­ cess, which leans toward multiple deliverables – as opposed to one deliverable – from which a final choice is only made at the last minute. It has overturned our budgeting model and definitely our way of designing! Luckily, this way of designing is starting to benefit our European business too.

From China, I learned that going with the flow creates energy and room for ideas to grow and to flourish. Specifically with regard to Storeage, it involved the acceptance that mul­ tiple answers to the same question are all important, where traditionally we tended to work out one idea to perfection.

Also, China is slowing down and the market is changing noticeably. Regardless of the business though, I would only recommend going to China if you have a passion for its cul­ ture and history. Only from that perspective will you be able to design for success and will you touch China’s heart. When you do, you will discover it is a very generous one.

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荷兰设计在中国

文：倪裕伟

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我眼中的荷兰设计 “荷兰设计”以其简洁实际、实践探索、敢于 创新以及幽默风趣的特性在国际上享有盛誉， 而仅以此概括荷兰设计也许有些片面。 “荷 兰设计”是多元的，既有“朴实实用” 实实 在在服务于大众的设计，也有设计师自我个性 张扬的设计。“荷兰设计”最让我以及诸多在 荷兰学习设计的中国留学生深受启发之处，是 其将“设计”作为媒介，去关心、思考、解决 人所处的环境和社会中的问题，并在此过程中 重视与其他相关产业的合作。 在知名的荷兰设计品牌中，从引领设计潮 流的先锋设计“Droog”，到坚持为大众设计 来证明“廉价产品并非都是丑陋的”信念 的“Hema”，设计理念与表现跨度虽大，却无 不有各自清晰的市场定位与品牌价值。荷兰的 设计教育也能从另一个侧面反射出荷兰设计的 多元性，其中不乏有以“代尔夫特理工大学” 为代表的强调科学逻辑的设计方法流程的工程 类设计院校，也不乏以“埃因霍温设计学院” 为代表的注重培养设计师自己风格与表达的艺 术类设计院校。尊重传统和技术，并对之进行 反思和创新，是荷兰设计教育的一大特点。 荷兰设计师也在各个领域为世界所知，例如著 名的产品设计师Marcel Wanders，BMW设计 总监Adrian Van Hooydonk, 年轻的交互设计 师Daan Roosegaarde，开创情感设计领域的 Pieter Desmet等。

Dutch Design in China Yuwei Ni

荷兰设计在中国

荷兰设计与中国市场 荷兰设计与中国原本如空间的两条直线，隔空 相望，并无交错。荷兰设计市场的饱和与日渐 增多的优秀设计人才促使荷兰设计师到海外 寻找新的机会。而中国快速并稳定的经济发展 孕育出了大量的设计需求，各方面条件（如经 济、文化、政策等条件）日益成熟的中国市场 正吸引着许多设计产业发达的国家到中国寻找 更多的发展。中国已成为设计市场的兵家必 争之地。相较英国、美国、意大利、法国、日 本、韩国等国的设计，荷兰设计以其务实的功 能性、旺盛的创新力与严谨的科技逻辑整合能 力在中国设计市场独树一帜。 与荷兰“代尔伏特理工大学”工业设计学院有 过多次交流的广州美术学院工业设计学院院长 童慧明教授这样评价荷兰设计“既具有大胆的 实验探索精神，又具备严谨的科技逻辑整合能 力”，他觉得“旺盛的创新力、持久的韧性与 务实肯干的态度”是荷兰设计在中国市场上最 具有竞争力的价值。这两点都非常值得中国设 计师学习。 现任荷兰Lava创意策略和品牌设计公司北京办 公室创意总监的李冠儒先生透露Lava Beijing 目前中国和国际（以荷兰为主）的客户比例为 7:3，Lava在中国市场的成功主要是在运作过 程中突出了Lava品牌特性的同时，融入了对 本土市场的洞察和中国文化的理解。凭借他与 荷兰设计师的合作经验，他觉得“老一代的荷 兰设计直接有力，抓住核心概念后有狂放的表 达，不纠结于细节，当然也有时也缺失了精致 感。现代的荷兰设计师们都很国际化，但更概 念和情感化”。而荷兰设计的“纯粹”及其“ 先进的工作方法和工作模式”也是中国设计师 可以借鉴和思考的。 来自台湾的房地产管理科系硕士生陈玮珊在与 诸多中国建筑师和地产商（包括万科地产、凯 德置地和招商地产等）的访谈中发现，在地产 商眼里国外建筑师的整体职业素质高，这一点 不仅体现在设计能力上，还体现在其交流能力

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Dutch Design in My Eyes Dutch design gets its reputation in the design world from its simple practicality, exploration, innovation, and Dutch sense of humor, but this generalization is far from being complete.

Dutch design is diverse, from simple and practical design for the general public to the personal and emotional expressions of designers. What inspired me, as well as most other Chinese design students in the Netherlands, is the way that Dutch design uses “design” as a medium through which to care about people in an environment and society and to find and solve problems for people in a certain context by cooperating with other related industries.

Of the numerous established Dutch design brands, each has its own clear market orientation and particular value, though their design methods and expressions differ enormously. For instance, ‘Droog’ is an avant-garde design brand, while ‘Hema’ is a brand that sticks to designing for the public to prove that “low prices do not necessarily mean ugly objects.”

Dutch design education is another good example of diversity. There are schools that highlight scientific and logical design processes and methodology, like the Delft University of Technology, as well as schools that focus on developing designers’ unique styles and philosophies, like Design Academy Eindhoven. With respect to both tradition and new technol­ ogy, Dutch design education stimulates students to redefine tradition and technology for innovation.

Dutch designers are also known around the world in various fields, such as product designer Marcel Wanders, BMW design director Adrian Van Hooydonk, young interaction designer Daan Roosegaarde, and Pieter Desmet, a pioneer in Design for Emotions.

Dutch Design and the Chinese Market Dutch design and China used to be like two lines in space, observing each other without intersecting. However, the gradually saturated Dutch design market with its growing number of outstanding designers has prompted Dutch design to look for new opportunities overseas, while in China the need for design is growing rapidly in line with the country’s soaring development. The growing maturity of the Chinese market has led many Dutch heavyweights from various design industries to look for more business in China. China is becoming a battle­ field of design export. Compared with designs from countries like the UK, the USA, Italy, France, Japan, and South Korea, Dutch design is building its own unique reputation with its pragmatic functionality, exuberant creativity, and rigorous integration of technology and design.

After having experienced many exchange projects with Dutch designers, Professor Huiming Tong, Dean of the School of Innovation Design at GAFA (Guangzhou Academy of Fine Arts), commented on Dutch design as “having bold and experimental exploration, as well as rigorous scientific and tech­ nological logic integration capabilities.” In his opinion, “the strong force of innovation, lasting toughness, and the pragmatic working attitude” are the most competitive value of Dutch designs in the Chinese market. He thinks all these qualities are worthwhile for Chinese designers to learn.

Mr. Guanru Li is the creative director and co-founder of the Beijing branch of Lava Design. According to Mr. Li, the ratio of Lava Beijing’s Chinese to international customers (mostly in the Netherlands) is 7:3. Lava’s success in the Chinese market mainly depends on the right balance between maintaining Lava’s brand identity and integrating local market insights and Chinese culture into its projects during the design process. Through his practical experience coop­ erating with Dutch designers, he feels that “the older gen­eration of Dutch designers are very direct and powerful in their expression as soon as they grasp core concepts;

dutch design in china

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是荷兰设计产业的一大强项，因此这也可能成 为荷兰设计在中国的一个机会。中国设计的 “学习曲线”蕴藏着巨大的市场的机会，而投 资者将树立起在中国设计领域的权威性。 值得引起注意的是，一方面，许多荷兰设计公 司纠结于在中国市场找到有共同信念的本土设 计师与合作伙伴；另一方面，近年来也有越 来越多的中国年轻设计师来荷兰深造学习。这 部分对两国文化和设计市场都有所了解，能理 解荷兰设计方法并有自己想法的年轻人，也将 会在荷兰设计在中国的发展起到至关重要的 作用。

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2009年我从浙江大学工业设计系毕业后，在荷兰代尔夫 特理工大学工业设计系学习，并于2011年取得产品整合 设计硕士工程师学位，现于荷兰从事设计工作。在学习工 作之余，我与几位设计师朋友一起创办了“求是设计会” 与“荷兰华人设计师协会”。 我是一位信仰“设计”的年 轻人，我对设计的理解包含三个方面：设，假设与想象； 计，计划与策略；设计，将设想通过计策在现实中实现的 过程。

在海牙市政厅举行的荷兰华人设计协会推介会

The event of promoting the foundation of chinese designers in the netherlands at the den haag city hall

和人格魅力，在项目初始接触阶段能让客户对 其业务能力产生信服。但在合作过程中，也不 见得是一帆风顺的。外国建筑师由于对中国市 场概念的模糊，往往会有许多不切实际的设计 （如造价高、工时长、不懂法规尺度控制等状 况）。而相较于其他国外建筑设计在中国市场 的迅速商业化和本土化（如许多美国、英国等 建筑公司在中国的设计团队规模巨大且已经几 乎全部是中国本土设计师），荷兰建筑在中国 依然保留着自身的有限的规模以及对设计项目 的控制。这一点虽然限制了荷兰建筑公司在中 国商业扩张的速度，然而对于每个设计项目本 身所带来的设计价值和长远的利益却是巨大 的。这也可以算作荷兰设计务实的一种表现。 荷兰设计在中国发展的挑战和机会 对于许多想要进入中国市场的荷兰设计公司， 特别是小规模、新兴的、或国际声誉并不响亮 的设计公司，“中国之行”是会有难度的。首 先，荷兰公司要谨慎表露自己的“专家心态”， 虽然中国人的确看重专家，但很多情况是与 “看中”的专家合作。其次，境外设计公司强 调自身设计优势和差异对于中国客户已经不足 够了，需要寻求新的商业模式和地区发展伙伴 的合作与支持。另外，对于中国设计市场的眼 界也不应局限与一线城市以及高端市场，在包 括农业在内的各行业，以人为本的好用设计也 有很大的潜在市场。 中国设计产业目前尚处初步阶段，设计行业的 基础设施建设并不完善，如不健全的知识产权 保护法律法规，市场研究数据的匮乏，设计教 育理论方法的空洞，设计市场秩序的混乱等， 都让在荷兰习惯于十分成熟设计产业环境的设 计师和设计公司面临新的挑战。而从另一个角 度看，对于行业基础设施的设计与建设恰巧又

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however, sometimes they are not tangled in details, which leads to a lack of refinement in some designs. The new gen­ eration of Dutch designers has a strong inter­national style in their work, but is more conceptual and emotional compared with designers from other cultures.” It is invaluable for Chinese designers to reflect and learn from the ‘purity’ of Dutch design and its “advanced design method­ology and working model.”

Weishan Chen from Taiwan is currently doing research on Western architects and architecture companies in China.

By interviewing many Chinese architects and real estate developers (e.g. VANKE Real Estate, Capital Land and China merchants property development, etc.) in China, she found that in their eyes Western architects overall have a high level of professional qualities, which is not only reflected in their design skills, but also in their communication skills and personal charm. This can help them convince customers of their operational capability at the initial contact phase of a project. But during the cooperation process that follows, it becomes less easy. Due to their fuzzy knowledge of Chinese market, Western architects often come up with many unrealistic designs (such as high-cost and long-term designs, or designs restricted by local standards and regu­lations). Compared with the rapid commercialization and localization of other Western architecture companies in China (e.g. lots of com­panies from the USA and the UK have established large and strong design teams in China, almost exclusively with local designers), Dutch architecture companies are still retaining the limited scale of the design team and maintaining control of design projects by Dutch architects. This limits the expansion of Dutch architecture companies’ business in China. On the other hand, it ensures the design value and the long-term interest of each design project. This also can be regarded as a manifestation of Dutch design pragmatism.

荷兰设计在中国

Challenges and Opportunities of Dutch Design in China For the many Dutch design companies that aspire to enter the Chinese market, in particular small-scale, emerging design companies with less of an international reputation, their ‘China trip’ won’t be as easy as they might have imagined.

Firstly, Dutch design companies have to be cautious about unconsciously or subconsciously bringing an ‘expert men­ tality’ to China. Although the Chinese greatly admire experts, in many cases they long to be in collaboration with experts instead of just accepting every suggestion from them. Secondly, the advantages of Western designers over local designers are getting smaller; therefore, only stressing the quality of Dutch design in China is not enough. Dutch design companies need to seek out new business models and better cooperation with local partners. In addition, Dutch design companies should be aware that the Chinese design market is not just limited to first-tier cities or high-end markets. In various industries including agriculture, the potential market for peopleoriented, practical design is getting bigger and bigger.

The design industry in China is very immature compared with its huge design market. The infrastructure of the design industry is not perfect. The weakness of intellectual property protection laws and regulations, the lack of market research data, the impractical design education, and the chaotic design market order are just a few examples. In contrast to the healthy and mature design environment in the Netherlands, this can confuse Dutch designers when they first enter the Chinese market. Nevertheless, from another perspective this can be a great opportunity for Dutch design to develop infrastructure for industries. ‘The learning curve’ of Chinese design offers huge market potential for investment. As a reward, investors can establish authority in the design field in China.

It is also worth noting that, on the one hand, Dutch design companies are struggling to find proper local designers and partners with common beliefs to develop their business in China. On the other hand, however, in recent years there have been more and more young Chinese designers coming to the Netherlands for further design education. These young people not only have great talent for design, but also are familiar with both Dutch and Chinese culture and have a deep understanding of Dutch design methods and processes. They may play a crucial role for the development of Dutch design in China.

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After graduated as a bachelor of Industrial Designer from Zhejiang University in China in 2009, I started my master program of Integrated Product Design in Delft University of Technology until 2011. I am currently engaged in design work in the Netherlands. During my spare time, I initiated ‘Qiushi Design Society’ (with 460,000+ follower on Weibo) and ‘the Foundation of Chinese Designers in the Netherlands’. I am a young designer with belief in the word ‘design’. My understanding of design consists of three aspects: using imagination to make assumptions, making plans and strategies for realizing the assumptions and the process of turning the assumptions into reality.

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dutch design in china

the dots #6

收藏：弗里斯海事博物馆 · Collection: Fries Scheepvaart Museum

Copy China Richard Hutten It is always a great pleasure to visit China. The number one super power in the world is a very exciting place, full of opportunities and risks. During my trips to Shanghai, Guangzhou and Shenzhen I really could feel the wish to grow and move on, and at the same time I felt the struggle in which direction to go.

Currently China has positioned itself as the cheapest, best and one of the most high tech factory for the world.

For example all iPhones and iPads are made in China. This is also a good example of both the strength and a weak point of China’s economy.

It is a strength because it shows the super high quality of products it is capable of making and the efficiency of their production processes. On the other hand it shows the weakness: in the whole chain of a product, from design to production to distribution, China is only responsible for the production. This stands for only 10 – 20 % of it’s final price and only a fraction of it’s profit.

中国复制 Richard Hutten 访问中国总让人感到荣幸。这个世界第一的超级大国 是一个让人兴奋的地方，充满了各种机遇与风险。在 我的上海、广州和深圳之旅中，我真的能感觉到自己 渴望成长和进步，与此同时，我却不知该何去何从。 中国目前把自己定位为服务于全世界的、最廉价、最 好的、并同时拥有最高端科技的加工厂。例如，所有 的苹果手机(iPhone)和平板电脑(iPad)都是 中国制造的。这也是一个反映中国经济优势 与弱点的很好例子。 说是优势，那时因为这表明中国有能力制造 出超高品质的产品，这也证明了它的生产效 率。而另一方面，这又体现出一种缺陷：在 一个产品的整个价值链中，从设计到生产再 到物流，中国主要负责生产。这部分的价值 仅占一个产品最终价格的10%到20%，而且 仅占利润的一小部分。 在某种程度上，这个问题的产生是由于中国 对原创性重视的不够，这种情况有时也发生 在我身上。我设计的一些产品，在中国正被 生产的仿制品要比在荷兰生产的原产品多。 有人说，我不应该把这看成是一个问题，反

Richard Hutten

而应该把我的产品正在被模仿这样的事实视 为对我设计的欣赏。就我个人而言，我宁愿出售使用 权。但事实上，相比较对我而言，对中国来说这是一 个更大的问题。我可以设计一个全新的、原创的、很

A part of this problem is caused by the fact that originality has for long been undervalued in China, as it is in my part of the world. For some of my products more copies are being made in China, then there are originals made in The Netherlands. Some people say I should not see it as a problem, but as a compliment that my products are being copied. Personally I prefer the royalties. But in fact it’s a bigger problem for China, than it is for me. I can design a new original product, hard to copy, with a lot of added value. But the companies who copy my work, copy other companies who copy. In the end it leads to companies within China who compete with each other too much on price, and too little on added value.

难被模仿的而且具有许多附加值的产品。公司之间会 相互模仿。最终，这导致中国境内公司之间存在较多 价格上的对抗而较少在附加值上的竞争。 在我的中国之旅中，作为宾客或演讲嘉宾出席展览 会或会议时，我总会得到很多机会进行小到LED灯 泡，大到购物中心，以及介于这之间项目的设计。我 常常会谢绝这些要求， 因为中国目前成熟的品 牌还不多。我通常会与 那些在所属行业中身 为佼佼者的品牌合作。 在我的工作领域，中 国目前还比较缺少强有 力的品牌。最近情况有 所 改 变 。 我 应 D ROO G China（一个由DROOG 设计和一个中国当地的 合作伙伴共同创建的合 Delftware plate as sailing price of the ‘Kaagweek 1921’

资公司）的邀请来开创

Richard Hutten在广州开办讲座

Richard Hutten lecturing in Guangzhou

第一个“中国研发”

During my trips to China, as guest of honor or key note speaker at a fair or conference, I always got offered many jobs, varying from LED light bulbs to complete shopping malls and everything in between. I never said yes because of a simple reason: there are no brands in China. I am used to collaborating with strong brands, which are leaders in their field. In my field of work there are no strong brands yet in China. Until recently. I got asked By DROOG China, a joint venture by DROOG Design and a local Chinese partner, to initiate a first Chinese developed line. DROOG is a very strong and leading brand in the world of design. Besides that, they were one of my first clients almost 20 years ago, in the beginning of my career. As a theme for the collection we choose ‘COPY CHINA’. Not simply copying as a goal by itself, but in a more intelligent and playful way. We’ll get back to you!

的产品系列。DROOG是设计领域里一个很著名的品

faience, 1921, De Porceleyne Fles made in the Netherlands

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牌。大约在20年前，我职业生涯之初，他们是我的首 批客户之一。作为“荷兰设计师在中国”这个系列的 一个主题，我选则了 “COPY CHINA（中国复制）”

代尔夫特瓷器 带有“Kaagweek 1921”字样的盘子

这个题目。不能简单地认为复制本身是一种目的，复

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制也可以是一种更智慧、更有趣的方式。“我们会给

精锡釉陶，1921，De Porceleyne Fles 荷兰制造

你答案！”

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专栏 · column

the dots #6

图片 · Photo: Ilco Kemmere

赫尔曼·考斯曼

· Herman Kossmann

Herman Kossmann是一家设立在阿姆斯特丹名为 Kossmann.dejong的展览建筑设计工作室的创始 合伙人之一。

Herman Kossmann is one of the founding partners of Kossmann.dejong, an Amsterdam-based design studio for exhibition architecture

2007年，Kossmann.dejong设计工作室赢得 了“城市人馆”的设计竞标，“城市人馆” 是2010年上海世博会上5个中国主题展馆中的 一个。自完成该项目后，我们一直在努力发展 在中国的业务。例如，我们与荷兰建筑设计事 务所MVRDV合作赢得了杭州中国动漫博物馆 的设计竞标。我们也应邀参与了杭州现代建筑 博物馆的设计竞标。为了提高公司的知名度， 我们目前正在参与“荷兰设计行”这样一个在 上海和香港设计展上展示荷兰设计在中国的 巡展。 我们办展的方式在中国并不常见。我们的多学 科方式结合了多种学科和媒体来表达空间的故 事或旅程。这种工作方法常常是一种挑战，因 为在中国还有在世界的其他地方举办展会很 传统，多注重实体的设计。然而，我们的做法 不同，因为我们的工作方式始终是以内容为导 向而不是以形式为导向。这样做时，我们喜欢 挑战观众的想象力和参与性。 我们常被问到在中国工作最有特点的是什么。 首先，我们了解到符号的丰富历史根植于中国 的文化。相比在我们欧洲文化中，符号在中国 文化中通常具有更深的而且往往是不同的意 义。发现这些符号的含义并将它们整合到我们 的设计中是一个令人兴奋的过程。我们也认识 到个人关系，人际关系和自我表现在中国非常 重要。饮食社交是很重要的日常社会活动。 此外，我们经历了在尺度和时间上非欧洲式的 思维方式：“城市人馆”面积1万5千平方米， 高度20米，总共6百万人参观了这个展馆，展 览的设计耗时仅5个月左右。在中国我们学会 了“做大、做快”。 如果要为那些正在考虑去中国的人提供建议， 归根结底，我们相信不要低估了整个过程和经 历。试图在中国工作，需要花费大量的时间和 精力。语言，沟通，工作速度；你完完全全是 在一个不同的文化环境中工作，似易实难。你 不是去中国做一个欧洲人；这取决于与大家一 起工作，投入时间深入到文化中去，还有相互 的信任。

In 2007, Kossmann.dejong won the competition to design the ‘Urbanian Pavilion’, one of the five Chinese-themed pavilions for the World Expo 2010 in Shanghai. Since completing the project, we have been working on developing our business in China. For example, we were part of the winning competition team of the Dutch architect firm MVRDV for the China Comic & Animation Museum (CCAM) in Hangzhou. We were also invited to submit for the competition to design the Museum of Modern Architecture in Hangzhou. To create more namerecognition for our company, we are currently participating in Dutch Design on The Move, a traveling pop-up exhibition showcasing Dutch Design in China at design fairs in Shanghai and Hong Kong.

Our way of exhibition-making is not very common in China.

Our multidisciplinary approach combines a range of disciplines and media to tell spatial stories or journeys. This method of working is often a challenge since exhibitions in China – and elsewhere around the world – can be quite traditional with an emphasis on the physical design. Our approach, however, differs because our way of working is always content-driven as opposed to form-driven. In doing so, we like to challenge the visitors’ imagination and participation.

We are often asked what we think is most characteristic of working in China. For one, we’ve learned that a rich history of symbols is embedded in the Chinese culture. Symbols that often have a deeper and often different signification than in our European culture. It was an exciting process to discover the meaning of these symbols and integrate them in our design.

We also learned that personal relationships, personal contact, and personal presentation are very important in China. And food and eating are the most important social events during the day.

Also, we experienced the un-European way of thinking in scale and time: the ‘Urbanian Pavilion’ measured 15.000 m2, with a height of 20 meters. In total, six million people visited the Pavilion and the exhibition was designed in about 5 months.

In China we learned to work big and to work fast!

If asked for advice for those who are thinking of going to China, we believe it comes down to not underestimating the whole experience. Trying to work in China takes a lot of time and energy. The language, the communication, the working speed; you are really working in a different culture. It seems easier than it actually is. You don’t go to China ‘being’ a European; it is a matter of working together with everybody and it takes time to dive into the culture. It is not something you can do in a hurry. It is a matter of mutual trust.

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人物专访 ：Jeanne Tan

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Interview Jeanne Tan

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图片 · Photo: Ilco Kemmere

阿肖克·巴哈托拉

为建筑师和城市规划师的Ashok Bhalotra是高 柏伙伴（KuiperCompagnons，城市规划与城 市设计公司）的前任董事会主席。他现为 FEWSformore组织的总监。该组织的宗旨是 让更多的人能够享用食物，能源，水资源和 住所。

· Ashok Bhalotra

我出生在印度，曾在新德里学习建筑，之后去 了科威特、巴黎，1970年定居荷兰。 对中国文化的好奇心以及真正想要学习和分 享经验的迫切需要最初激发了我在中国开展 业务的兴趣。1998年，我为公司高柏伙伴 (KuiperCompagnons)起草了一份政策文件， 这份文件强调了中印往来的可能性。1999 年，第一个委托项目是为北京中心城区进行总 体规划设计。与此同时，我们被委托设计了位 于海牙的中国驻荷兰大使馆。自那时起，我们 在中国已经参与了三十多个各类规模的项目， 从建筑设计到景观设计和新城市的设计。 中国是一个非同寻常的创新平台。它让人意识 到挑战，巨大的人口数量（超过十亿）也让人 觉得不可思议。中国带给你的是食物，能源， 水资源和住所这样的社会和环境问题。 由于紧迫感以及在快速转型语境中所面临的巨 大挑战，中国不能再犯西方国家犯过的同样的 错误，尤其是在我所从事的建筑与城市规划 领域。国际合作和探讨可以提供必要的知识和 智慧，通过这种方式我们不仅可以分享成功的 经验，也可以分享失败的教训。 人类、植物、动物，还有这个星球的生存是最 大的挑战。可持续发展是关键。世界70%的人 口将生活在城市中。农业用地、农业生产、水 资源以及能源问题正处于紧要关头。 城市不是一天建成的，需要一年甚至几十年的 时间，尽管如此，城市的基本框架和结构必须 从现在开始塑造。遗憾的是，在中国，城市被 视为“金矿”。 城市不是商品，而是由生活在其中的人所构成 的社区。 荷兰和中国文化之间相似之处比差异要多。中国 人非常“实际”和“务实”，这与荷兰人很像。 中文中的“JIANCHI（坚持）” ，即执著、坚 定、锲而不舍，联系着两国的处事方式。 在中国，人们对待时间的概念是完全不 同的。计划，决策和执行同时进行。的 确，我们必须承认横向思维并接受复杂 性，然而却几乎没有线性思维的空间。 我的中国同事让我学会了一个几乎不可 能的概念，那就是既要耐心又要迅速。 他们让我在未知领域大开眼界。在荷兰，我们 太专注于历史，常常忽视了当下和未来的可能 性。在中国的经历帮助我打破陈规，摆脱顾 虑，去除偏见。 对于我来说是“东方遭遇西方，西方遇见东 方，东方面对东方。”

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人物专访 ：Jeanne Tan

Architect and City Planner Ashok Bhalotra, is former Chairman of the Board of directors of KuiperCompagnons.

He is currently director of FEWSformore – Food Water Energy and Shelter accessible for more people on the planet.

I am an Indian by origin. I studied architecture in New Delhi, moved to Kuwait, then Paris and landed up in 1970 in the Netherlands.

It was the curiosity towards the Chinese culture and genuine urge to learn and share experiences that first triggered my interest in doing business in China. In 1998, I wrote a policy document for my office KuiperCompagnons which emphasized the possibilities of exchange with India and China.

In 1999 the first commission was awarded for the Master Plan design for downtown Beijing. Simultaneously we were commissioned to design the Chinese Embassy in The Hague.

Since then, we’ve been involved in more than thirty projects of every scale in China from the design of buildings to landscape and new cities.

China is an extraordinary forum for innovation. China makes one aware of the challenge and magic of great numbers – more than one billion people. China puts your nose on the social and environmental facts about food, energy, water, and shelter.

Because of the sense of urgency and enormous challenge within the context of rapid transition, China cannot afford to make the same mistakes like in the West especially in my field of architecture and urbanism. International cooperation and deliberations can provide the necessary knowledge and wisdom through which we not only share our successes but also our failures.

The biggest challenge is the survival of the people, flora, fauna, and of course the planet. Sustainable development is the key word. Seventy percent of the world’s population will be living in big cities. Issues of agricultural land and production, water and energy are at stake.

Cities are not built in a day, year or even decennia but still, basic framework and structure of the cities have to be sculpted now. Unfortunately in China, cities are seen as ‘gold mines’.

Cities are not commodities: Cities are communities.

There are more similarities than differences between Dutch and Chinese culture. The Chinese like the Dutch are very ‘matter of fact’ and ‘down to earth’. ‘JIANCHI’ the Chinese word meaning persist, insist and persevere connects the Dutch and the Chinese approach.

In China time has a very different dimension. Planning, decision making and implementation run simultaneously.

Yes, we have to recognize lateral thinking and embrace complexity however there is little room for linearity. My Chinese colleagues taught me the almost impossible notion to have patience and hurry up at the same time.

They opened my eyes to the unknown. We in Holland are too preoccupied with history and often lose sight of the potentials of the present and future. China has helped me to think out of the box without pre-inhibitions and prejudices.

For me it was East meeting West, West meeting East and East meeting East.

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Interview Jeanne Tan

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图片 · Photo: Information Based Architecture, www.iba-bv.com

卓越见证

文： 许靖烯

广州电视观光塔的设计师马克·海默尔决定把广州作为他安家立业之处，海默尔在广州接受 中国日报记者许靖烯采访时这样表示。 套公寓后最终选定了这所现在他与夫人和三个孩子居住的公寓。原因是这 他在看过超过 50 套公寓有供他欣赏这座城市中他最杰出作品的视野。当海默尔站在新家花园中时，这位荷兰 建筑师感叹到： 从 “这个角度看，广州电视塔美极了。 ”

the dots #6

Towering Testimony Xu Jingxi Designer of the Canton Tower Mark Hemel has decided Guangzhou is the place to move forward with family and career. He talks to Xu Jingxi in Guangzhou.

He had looked at more than 50 apartments before settling for the one he now lives in with his wife and three children. That’s because this one has a great view of his best work in the city.

“Canton Tower looks beautiful from this angle,” Dutch architect Mark Hemel says, as he stands in the garden of his new home.

卓越见证

马克·海默尔设计的广州电视观光塔

Canton Tower by Mark Hemel in Guangzhou.

2004年，海默尔与夫人芭芭拉·库伊特一同 完成了600米高的广州电视观光塔的设计。 “它是我职业生涯的里程碑,” 海默尔接 着说。“我过去从未参与过如此大型和复杂的 项目。几乎每一个建筑师都梦想着设计一座城 市地标性建筑。” 2011年8月，这位46岁的建筑师因十分留念广 州这座城市和这座标志性建筑作出了一个决 定，将全家从荷兰阿姆斯特丹搬到了广东省省 会城市广州。这位以标新立异设计著称的、以 广州电视塔设计为其最佳代表作的建筑 师说：“这个项目对我的职业生涯和我的生活 都有重要意义。我在此项目上倾注了八年的 心血，” 这座建筑宛如一位身段流畅优雅的女子守护着 珠江，这座城市的母亲河，江畔的夜色。 如今，海默尔已经实现了设计一座城市地标的 梦想。接下来他打算进行其他的项目，并有机 会去设计有文化意义的建筑，如博物馆和剧 院。他深信中国是他能够得到最好机会的地 方。 在经济快速增长的推动下，中国这个国家已经 成为世界各地建筑师的“乐土”。新的标志性 建筑如雨后春笋般在各大城市兴起，这其中有 很多是出自外国建筑师之手。 除了海默尔设计的总投资约29.5亿元人民币 （约4.6亿美金）的广州电视塔外，瑞士建筑 师雅克·赫尔佐格和皮埃尔·德梅隆帮助设计 了2008年北京夏季奥运会的核心建筑——北 京国家体育馆（又名鸟巢）。 美国建筑师斯蒂芬.霍尔设计的广东深圳万科 中心中心已于2009年完工。日本建筑师安藤 忠雄的最新作品，上海首座湖畔剧院，将于 2013年完成建设。

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“It is the landmark of my career,” continues Hemel, who completed the design of the 600-meter-high Guangzhou TV & Sightseeing Tower in 2004, together with Barbara Kuit.

“I had never participated in such a big and complex project before. Almost every architect dreams about designing a city landmark.”

In August 2011, the 46-year old architect, who has grown attached to the Guangzhou landmark and the city, made a decision. He moved his family from Amsterdam to Guangdong’s provincial capital. “The project is meaningful not only to my career but also my life. I have devoted eight years of my life to it,” says the architect, who’s known for his unconventional designs, best exemplified by the Canton Tower.

It has the smooth elegant silhouette of a woman keeping vigil by the Pearl River, the city’s mother river.

Now that Hemel has achieved his dream of designing a city icon, he wants to move on to other projects and a chance to design culturally significant buildings like museums and theaters. He is convinced China is where he will get the best opportunities.

Propelled by rapid economic growth, the country has become the promised land for architects around the world.

New landmarks are mushrooming in major cities, and many bear the signatures of foreign architects.

Besides Hemel’s 2.95 billion yuan ($460 million) Canton Tower, Swiss architects Jacques Herzog and Pierre de Meuron helped design the Beijing National Stadium, or Bird’s Nest, the centerpiece of the 2008 Beijing Summer Olympics.

American architect Steven Holl’s Vanke Center in Guangdong’s Shenzhen was completed in 2009, and Japanese architect Tadao Ando’s latest creation, Shanghai’s first lakeside theater, is set to finish construction in 2013.

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图片 · Photo: Information Based Architecture, www.iba-bv.com

英国奥雅纳(Arup)集团有限公司（与海默尔一 同参与广州电视塔项目的工程顾问公司）项目 经理林少羽（文森特）说：“快速发展国家中 的民众愿意接受最先进的建筑设计。”“在中 国，建筑师可以充分的发挥他们的创造力。” 海默尔第一次到广州是在他1995年的亚洲蜜 月之旅中。即使在当时，这座城市的活力就给 他留下了深刻印象。他说：“广州是一个动态 的、不断变化的城市。这个城市不断地改变和 重塑自己，”“当看到这座在迅猛建设中的城 市时，我确信自己在这里能够找到很多的 机会。” 2004年，当海默尔获悉广州市正准备启动一 项针对高层地标建筑设计的国际招标时，他立 即提交了自己的方案。竣工之后三年，广州电 视塔依然在海默尔日常生活中起着重要作用。 这座建筑是对他设计才能的坚实见证。他仍然 会在电视塔那里介绍这座建筑，一些潜在的客 户总会要求一观其貌。 对于海默尔来说，举家搬到广州如同“一 场赌博”，但却是值得的。他说：“我不 知道是否可以如自己希望的那样得到很多 机会，” 他在设计广州电视塔上取得的成功变成了这位 建筑师职业生涯中的一把“双刃剑”。据海默 尔在广州的助理沈斌所说，设计项目接踵而 至，海默尔一个月内至少能够接到一个项目。 但是，据奥雅纳(Arup)集团有限公司项目经理 林少羽介绍，海默尔也正在努力寻找新的方 向。林少羽解释说：“很多客户要求他做出与 广州电视塔相似的设计，”“但建筑师们往往 拒绝重复，渴望创新，很少有客户能够支持这 样的理想。” 此外，还有其他的障碍。海默尔承认他在结识 中国其他建筑师方面遇到了麻烦。他说：“在 阿姆斯特丹，基本上所有的建筑师在一个艺术 社区中的同一栋楼里面工作，”“而在中国， 建筑师和工程师都是分散的，所以我觉得有点 孤立。” 然而，他在尽自己最大的努力去适应“中国 式”的社交。他说：“我在中国参加的社交宴 会比在荷兰时要多。”“有趣的是，中国人喜 欢轮流来与你敬酒。”他曾经在一顿晚餐中喝 了40杯酒，那是因为席上每一个人都想要与 他喝酒。 海默尔的助理沈斌说，一个月内他至少要参加 5场社交活动。沈斌说：“这是必要的，特别 是当我们想要胜过当地的设计公司，”“在中 国，有时客户选择一个设计是因为他很熟悉这 个建筑师。” 对海默尔而言，可能需要一段时间来了解中国 文化的复杂性，但他乐在其中。 他与家人去 过很多地方，常常惊叹于中国形形色色的乡土 建筑。 海默尔表示，他与跟他一同设计广州电视塔的 建筑师夫人芭芭拉·库伊特都对福建土楼，这 种由福建省客家人兴建的圆形公共建筑，印象 最为深刻。海默尔说：“当地人设计并建造这 些土楼，它们不仅美观而且环保，” 海默尔说，这些乡土建筑中所反应出的智慧不 仅启发了他，同时能够让他更好的了解中国的 文化。他希望这些收获能够使他在中国开展新 的设计项目时成为一种优势。 海默尔在进行广州电视塔项目期间的助理呂婉 曼（帕蒂）认为，这是一个重要的因素。海默 尔设计的广州电视塔赢得了客户的青睐，这是 因为广州电视塔的设计概念旨在表现一位窈窕 淑女俯瞰珠江。由于广州市民对他们的母亲河

马克·海默尔设计的广州电视观光塔

Canton Tower by Mark Hemel in Guangzhou.

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“People in fast developing countries are open to state-ofthe-art architectural designs,” says Vincent Lam Siu-yu, project manager at Arup Group Limited, an engineering consulting firm that worked with Hemel during the Canton Tower project.

“Architects can give full play to their creativity here in China.”

Hemel first went to Guangzhou on his honeymoon tour of Asia in 1995. Even then, he was already impressed with the city’s vitality. “Guangzhou is dynamic. It’s constantly changing and re­inventing itself,” he says. “Seeing construction springing up across the city made me believe that I could find plenty of opportunities here.”

When he heard in 2004 that Guangzhou was launching an international search to design its landmark high-rise, Hemel immediately submitted his pitch. Three years after its completion, the Canton Tower still plays an important role in Hemel’s daily life. It’s a solid testimony to his talents. He still gives presentations at the tower, and prospective clients always ask to see it.

For Hemel, moving his family to Guangzhou was ‘a gamble’, but it was a calculated risk. “I don’t know whether I will have as many opportunities as I hope,” he says.

His success with the Canton Tower has become a doublesided sword to the architect’s career. Job offers come in, and Hemel gets at least one a month, according to Shen Bin, his assistant in Guangzhou. But, according to Lam from Arup, Hemel is also struggling to find new directions. “Many clients ask him for designs similar to the Canton Tower’s,” Lam explains. “But while architects sometimes refuse repe­ tition and long to innovate, few clients are able to support this ideal.”

There are also other hurdles. He admits he has had trouble networking with other architects in China. “In Amsterdam, basically all the architects work in the same building in an artistic community,” he says. “In China, architects and engineers are scattered, so I felt a bit isolated.”

But he is trying his best to adapt to the Chinese style of networking. “I attend networking banquets in China more often than I did in the Netherlands,” he says. “It’s interesting that Chinese love to take turns toasting you.” He once had to drink 40 shots of liquor during one dinner because everyone wanted to drink with him.

Shen, Hemel’s assistant, says the architect goes to at least five networking events a month. “It is necessary, especially if we want an edge over local companies,” Shen says. “In China, the client sometimes chooses a design because he knows the architect well.”

It may take time for Hemel to understand the intricacies of Chinese culture, but he’s enjoying the journey. He and his family travel a lot, often to marvel at China’s diverse vernacular architecture.

Hemel says he and his wife Barbara Kuit, who’s also an architect and worked with him on the Canton Tower project, are most impressed by the tulou, or the circular communal buildings built by the Hakka people of Fujian province. “The local people designed and built these, which are not only beautiful but also environmentally intelligent,” Hemel says.

Hemel says such wisdom from vernacular architecture not only inspires him but also gives him a better understanding of Chinese culture, which he hopes will give him an advantage when it comes to pitching new projects in China.

According to Patty Lui Yuen Man, Hemel’s assistant during the Canton Tower project, this is an important factor. Hemel’s design of the Canton Tower won over the client because of its concept of a fair lady overlooking the Pearl River. The presentation struck a chord because Guangzhou’s citizens have great affection for their mother river.

After nearly a year, Hemel and his family are slowly getting used to life in China. Zoe, an outgoing 9-year-old who’s the

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family’s eldest child, has been quick to learn Chinese and was recognized by her school for her progress. Nina, his 7-yearold daughter, also tries to teach her parents a little Chinese.

Their little brother Liam, 6, enjoys skating in the city’s open square a lot.

Hemel himself has a long list of what he loves about China: Chinese people are friendly to newcomers. People give seats to the elderly on the bus. And, above all, Chinese food pampers his palate. “I don’t know the result of my gamble in moving my whole family to China, but I’m sure at least that my children will earn some useful luggage for their future journeys,” the father says.

His wife, who supported her husband’s decision to move, hopes her kids can learn from their time in Guangzhou. “The children are being exposed to a different culture and lifestyle, and will become more open-minded and better able to handle new environments in the future,” she says.

Hemel says that, if anything, the move has made his family closer. “Living in China has made us conscious about the importance of family,” he says. “It is difficult to adapt to all the differences in a new city, but as a family we handled it. We stay together and support each other.”

收藏：阿姆斯特丹国立博物馆 · Collection: Rijksmuseum, Amsterdam

有着深厚的感情，因此这种表达引起了共鸣。 经过近一年的时间，海默尔和他的家人慢慢习 惯了在中国的生活。佐伊，一个外向、开朗的9 岁女孩，在家中孩子们当中她年龄最大，已经 在快速的学习中文，在学校，她所取得的进步 也是公认的。妮娜，海默尔7岁的女儿，也试着 教她的父母一点点中文。她们的弟弟利亚姆， 今年6岁，非常喜欢在城市的露天广场溜冰。 有很多原因让海默尔喜爱中国：中国人对新客 人很友好。人们在公共汽车上给老人让座。而 且，最重要的是，他对中国美食青睐有加。 这位父亲谈到：“举家搬到中国就像是我生命 中的一场赌博，我并不知道结果会如何，但是 我敢肯定，至少我的孩子们将会收获对他们未 来人生旅程有用的东西。”海默尔的夫人支持 丈夫搬到中国的决定，并希望她的孩子们可以 从生活在广州的日子中进行学习。 她说：“孩子们正接触着不同的文化和生活方 式，他们的思想会变得更开放，在未来能够更 好的应对各种新的环境。” 海默尔说，总之，举家搬到广州让他的家人更 亲密。他说：“生活在中国让我们意识到家庭 的重要性，”“要适应一个新城市中各方面的 差异是不容易的，但作为一个家庭我们能够应 对。我们生活在一起并相互支持。”

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This article was previously published in the newspaper China Daily July 3, 2012. www.europe.chinadaily.com.cn

这篇文章曾在2012年7月3日的中国日报上发表。 www.europe.chinadaily.com.cn 马克・海默尔和芭芭拉・库伊特关于“信息化建筑：超级 模型-建设世界最高塔楼之一”的新书将于2012年12月出版 ISBN 978 90 6450 738 0, 010 Publishers.

In December 2012 a new book will be published about Information Based Architecture: Supermodel – Making one of the world’s tallest towers Mark Hemel, Barbara Kuit ISBN 978 90 6450 738 0, 010 Publishers.

Chinese faience plate depicting a Chinese landscape faience, 1650, Willem Janszoon Verstraeten made in the Netherlands

中国精锡釉陶 盘面描绘一幅中国景色 精锡釉陶，1650，Willem Janszoon Verstraeten 中国制造

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图片 · Photo: Carola Zee

卡罗拉·徐

· Carola Zee

荷兰设计师Carola Zee是品牌 Label Aleph 的 创始人。她把自己的时间分别用在她鹿特丹和 景德镇的工作室上。

Carola Zee is the founder of Label Aleph. She divides her time between her design studios in Rotterdam and Jingdezhen.

我第一次到中国工作是在2007年，当时是为 了给品牌Pol’s Potten制作一个花瓶。那次的 经历让我对这里瓷器生产的各种可能性产生了 好奇。了解到中国瓷器的辉煌历史，我想亲 眼目睹一下中国的瓷器。于是，我参观了景德 镇，一个因有着1700年以上瓷器生产历史而 闻名的城市。我当时用了7周的时间来研究传 统技术与工艺，其成果是名为“中国制造”的 项目。一年后，我在景德镇创立了个人工作室 并定期来到这里。 在荷兰，我总是苦于自己生产上的管理。我尝 试在生产足够产品用来销售和有时间作出新设 计之间寻求好的平衡，最后，我认为自己需要 将生产部分外包出去。 我在景德镇自己的工作室里主要专注于创作和 研究。在生产方面，我现在与当地的几家工厂 在合作。 起初，我会把所有作品运回荷兰。但我很快就 发现自己的作品在中国也有市场。除了在欧洲 和美国，我现在也在上海和北京销售自己的作 品。我还为位于上海和香港的半岛酒店设计过 一些作品。 在欧洲，作为一名陶瓷艺术家，从摔泥坯到烧 制的整个过程都要亲力亲为。在中国，你可以 和很多专家一起为一个设计而工作。 有专人 负责摔制泥坯、修坯、注浆、上釉和烧窑。关 注整个工序中的一个环节造就了他们精湛的技 艺。由于拥有这样丰富的专业知识，不到十天 就可以完成从想法到样品的过程。在荷兰，这 可能需要两倍、甚至三倍的时间。在大多数情 况下，很难运用生态可持续的生产方式来进行 制作，这会和我就如何去生产制作自己作品的 想法产生摩擦。 我认为中国人没有把模仿视为一件坏事，反而 把这更视为是对他们技能的证明和对所模仿之 物的欣赏。这种情况始于教育体系中，技术是 通过模仿历史作品和导师作品而被学生所掌 握。从作品中获取灵感和抄袭作品之间是有区 别的，因此，对这种区别在认识上的提高可能 会有助于减少当下的侵权问题。 最大的挑战是管理所有的项目和做到保质保 量。这是我每年花许多个月在中国的原因之 一。幸运的是，为我工作了5年的助手，在我 的培养下已经可以独立做事情了。这意味着， 即使当我不在这里的时候，生产依然能够顺利 进行。 中国了不起，这里的人很出色。至于你在这里 可以做什么是没有限制的：这里简直就是生产 的天堂。

My first experience of working in China in 2007, for the production of a vase for Pol’s Potten, made me curious about the production possibilities here. Knowing the famous history of Chinese porcelain, I wanted to see it for myself. So I visited Jingdezhen, a city that has been known for its porcelain production for over 1700 years. For seven weeks, I researched traditional techniques and craftsmanship, which resulted in the project “made in china”. One year later, I founded my own studio here and have been returning regularly ever since.

In the Netherlands, I was struggling to manage my own production. Trying to find the right balance between producing enough works for sales and having time to create new designs, I came to the conclusion that I needed to outsource the production part.

In my studio in Jingdezhen, I mainly focus on creating new work, prototypes, and research. For production, I now work together with several local factories.

Initially, my approach was to ship all my work back to the Netherlands. But soon I noticed that there was also a market for my work in China. Alongside Europe and the United States, I now sell my work in Shanghai and Beijing and I have also designed pieces for the Peninsula Hotels in Shanghai and Hong Kong.

As a ceramicist in Europe, you execute the whole process from throwing to firing the work. In China, you work with many specialists on one design. You have a thrower, a trimmer, a slip caster, a glaze man, and a kiln man. Focusing on just one part of the process means they have great skill and craftsmanship.

This immense expertise means that the whole process from idea to prototype can be realized in less than 10 days. In the Netherlands, it would take twice, if not three times, as long.

Ecologically sustainable production methods are mostly hard to come by, which creates friction with my own ideas about how I want my work to be produced.

I think the Chinese don’t view copying as a bad thing but more as proof of their skill and appreciation for the work they are copying. This begins in the education system where techniques are mastered through the copying of historical works and the work of teachers. So increased awareness about the differentiation between being inspired by work and copying it may help to reduce current issues with copyright infringement.

The biggest challenge is managing all the projects and maintaining consistency in quantity and quality. That is one of the reasons that I spend many months in China every year.

Luckily, I have trained my assistant, who has worked for me for five years, to a level where she can do things for me independently. This means production continues even when I am not there.

China is great. The people are great. There are no limits as to what you can do here: it is production heaven.

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人物专访 ：Jeanne Tan

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图片 · Photo: Peter Le

亨尼·范·尼斯特尔罗伊

从荷兰阿纳姆到英国伦敦从事设计后，Henny van Nistelrooy现在把北京当成了他的家。 在 这里，他创立了以他的名字命名的设计工作室 StudioHvN，并从事产品和室内设计。

· Henny van Nistelrooy

在我的中国之行中，我更多的是认识到了在这 里的工作机会。中国目前正处于一个蓬勃发展 的阶段，在这里，无论在经济上还是在社会地 位方面，中产阶级还在不断地发展和成长。这 就意味着，作为一个设计师，你成为这一变化 和塑造“品味”的一份子。我感觉到这里的人 们很开放，在各个方面，他们都渴望接受新思 想和新知识，渴望形成自己的个人品味和生活 方式。国家的经济发展加速了这一趋势。毫无 疑问，这是一个国家快速的进步，快的有时让 人觉得是急速的。追求更高、更快、更亮丽仍 然是主流，但是人们对于一种更“自觉”的生 活方式的反应同样存在。我认为这正是设计在 一个更广阔的语境下可以有所作为的时候，设 计不仅仅是做一个椅子或桌子， 设计是提供 一种生活方式。 中国有如此丰富的历史，如此美丽的自然风 光，建筑和文物。它强有力地感染了我，我开 始将我的发现转变成新的作品。例如，参观古 老的寺庙和宫殿使我在其丰富的用色，复杂精 细的漆饰和木刻，门窗上的几何构件以及建筑 结构方面受到了影响。这些灵感反映在我的作 品 ““Extract” 和 “Shelter” 系列之中， 这两个系列的作品都经过了复杂精细的纱线处 理，颜色选择，几何设计和木材加工。我的做 法是在传统工艺（手工制作或工艺）和现代工 业（和高科技材料）之间进行协调。我希望自 己的做法可以作为生活方式的一种选择。除了 为客户设计产品和室内空间，我也正在开发自 己的产品，明年会开始推出一组灯具产品。我 的第一个尝试是参加北京设计周。这被证明是 一个好的开始并给我带来了很多有价值的新的 接触。 我目前正在学习中文（普通话），尽管这门语 言掌握起来很难，但我认为这是必要的，因为 中国文化和智慧中有太多的东西是和语言交织 在一起的。中国是否是一个理想的工作地完全 取决于作为一个设计师你正在寻找什么，但总 的来说，我非常建议来这里以更好的了解这里 的情况。身处这个地方真的改变了我的观点； 从内在去了解一个国家与你作为一个旁观者去 看它是不同的。在中国，你马上会想到政治和 它那大到几乎无法把握的规模。当我开始遇见 当地的人并开始用他们的眼光来看中国时，我 的看法转变了。这真的是非常令人兴奋，因为 如此一来使我更容易适应中国。

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After moving from Arnhem to London, Henny van Nistelrooy now calls Beijing home. Here he designs products and interiors under his eponymous practice StudioHvN. During my travels to China I learned more about the potential for working here. China is at an exciting point right now where economically and socially the middle class is still forming and maturing. This means as a designer here, you become part of the change and the shaping of “taste.” I feel that people are open and they crave new ideas and knowledge on every front, eager to form their individual tastes and lifestyle. This movement is expedited along with the country’s economic development. It is definitely a country of progress – rapid, sometimes extreme progress. The desire for taller, faster, and shinier is still mainstream, but the reaction that could be interpreted as a more “conscious” way of life is here as well. This, I feel, is exactly the time when design can make a difference in a larger context – it doesn’t only offer a chair or a table, it offers a way of life.

China has such a rich history, such beautiful nature, architecture and artifacts. It appealed to me strongly and I started translating my findings into new works. For example, visits to ancient temples and palaces exposed me to the rich use of color, intricate paintworks and woodcarving, geometric compositions in windows and doors, and the structures themselves.

This inspiration can be seen in my ‘Extract’ and ‘Shelter’ collections through the intricate treatment of the yarns, choice of color, geometric designs, and finishing of the wood. My practice negotiates the field between the traditional (handmade/craft) and industrial (and high-tech materials), and I hope my approach will contribute to an alternative way of life.

Alongside interior and product commissions for clients, I’m also developing my own products, starting with a collection of lights due to launch next year. One of my first endeavors was participating in Beijing Design Week. This proved to be a good starting point and brought many valuable new contacts.

I’m currently learning Mandarin and it’s a hard one to get my head around, but I feel this is absolutely essential because so much of Chinese culture and wisdom is interwoven with the language. Whether China is the right place to work really depends on what you’re looking for as a designer, although in general I do recommend traveling here to gain better insight.

Being here really changed my perspective; getting to know a country from the inside is different than when you view it from a distance. In the case of China, you immediately think of politics and a scale so huge it’s almost impossible to grasp.

My perspective shifted when I began to meet local people and started to see China through their eyes. This was really exciting because it made China much easier to relate to.

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Interview Jeanne Tan 人物专访 ：Jeanne Tan

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Guangzhou Design Week welcomes

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