Design Trust: Critically Homemade Programme Portfolio

DESIGN TRUST CRITICALLY HOMEMADE

CONTENTS 目錄

LEAD CURATOR'S MESSAGE 主策展人的話

2

THE COLLECTIVE BRIEF 項目簡介

4

CURATORIAL THEMES 策展主題

6

EXHIBITION FLOORPLAN 展覽平面圖

8

PROTOTYPE OBJECTS 原型作品

10

ACKNOWLEDGEMENTS 鳴謝

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Lead Curator's Message 主策展人的話

There is a drive with each and everyone of us to be human again, to help each other, restore social connection, have a shared meal and most importantly, to collaborate. The last months have been challenging, with Hong Kong going through its third-wave lockdown, and especially distressing to witness small studios face challenges, grantees outreach be put on hold and the countless cancellations of projects, exhibitions and events, all of which is hurting not just the design community but everyone and all industries. More than ever, we hope our community platform can do more by critically reflecting on the past months in the context of Hong Kong and beyond, and to rebuild our positive momentum for the future. Since February 2020, with so many uncertainties, along with my board members and colleagues of DESIGN TRUST, we have been organically preparing this community platform to reduce our social distancing "distance", check in to say hello, and inspire ourselves on the role of critical making within the home or domestic landscape. Making things with our hands has become more relevant than ever, and echoes a basic human desire to be creative and open. Through making - we can build dialogue and immerse ourselves in our craft, all while provoking and probing for more.

The "DESIGN TRUST: Critically Homemade” prototype exhibition launch brings over 70 designer teams and collectives who have been part of our Hong Kong and international community for years. This show expresses innovation, reflection, lightness and hope; hence our DESIGN TRUST "D" has transformed from its typical dark blue hue to a multi-coloured rainbow of hope.

This rainbow is a message of optimism and resilience that parallels the intention of this micro-initiative, where small acts of making, and gestures of generosity expand to more support within and around communities, whether in our neighbourhood, our city Hong Kong or its broader region. As the prototypes are being crafted by these brilliant designers- each object has been placed under overarching themes, with some prototypes defying categorisation. The crafted ideas respond directly to our urban environment, COVID-19 hygiene challenges, home and play innovations, and emotional cultural objects to intergenerational collaborations.

The role of our NGO is, in a small way, to activate positivity, add levity, and be creative under constraints, for our collective wellbeing has been inspiring to be a part of. These homemade objects add so much emotion and inspiration, and I invite you to revel in them, to participate actively. Circular making and circular giving is the core of this initiative. We hope the spheres and scales of circularity go beyond its form, value and meaning in constructive ways to shape our future here in Hong Kong and beyond, in diverse and culturally inspirational ways.

Marisa Yiu

Co-founder, Executive Director of Design Trust

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我們每個人身而為人都有驅動力，互相幫助彼此，恢復社會聯繫，分 享食物，最重要的是保持緊密合作。過去幾個月充滿挑戰，香港經歷 了第三波疫情，很多小型工作室面臨極大挑戰，資助計劃成功申請人 的項目、外展活動展覽和活動被擱置或取消，不僅對設計社群，每個 人甚至各行各對都深受影響。我們比以往任何時候都希望，信言設計 大使作為聯繫社區的平台能帶批判性地反思過去幾個月在香港及其地 區的情況，並積極地為重塑及展望未來。自 2020 年 2 月來，社會存 在種種不確定因素，信信設計大使、董事會成員和我一直攜手準備一 個社區平台，在減少我們與社會的距離下，與社群保持聯繫，並激發 個人在群體中的力量，在家裏或以家庭為背景進行批判性創作。用雙 手創造出獨一無二的事物，呼應了人類對創造力和自我表達的本能。 我們通過製作，展開對話，專注地沉浸在手藝中，同時激發並探索更 多可能性。

姚嘉珊 信言設計大使聯合創辦人 及執行總監

「信言設計大使 : 因時『製』宜」原型展覽開幕禮集結超過 70 個活躍 於香港及國際間的設計師團隊和成員。展覽充份表達創新、反思、光 明和希望。因此，信言設計大使的「D」圖騰已從一貫典型的深藍色變 為帶來希望的繽紛彩虹。彩虹喻意樂觀和堅韌，與今次微型計劃的使 命互相呼應，社群間的微小舉動和慷慨支持能擴展至香港各大社區、 城市甚至更遠的地區。當這些傑出的設計師在製作原型時，每件作品 會分類各個主題下，其中一些原型未有歸類，精心構思的想法直接響 應城市環境、面對新型冠狀病毒的衛生挑戰、家庭及娛樂遊戲創新、 文化情感和代際合作等等。我們作為慈善機構在微小的範圍內發揮最 大作用，超越目前的狀況，增加積極力量。雖然我們要有限的情況下 保持創造力，我們仍為集體福祉努力，一直為彼此鼓舞。這些手工製 作的設計充滿情感和靈感，我邀請您們陶醉其中並積極參與。 社群中 的互助互傳是這項倡議的核心，我們希望以建設性的方式超越常規， 從文化上激發靈感，塑造我們在香港及其地區的未來。

The Learning House Designed by James Shen, Zang Feng, He Zhe, Anouchka van Driel and Olivia Chen, People’s Architecture Office

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The Collective Brief 項目簡介

1. Design and create a homemade prototype object 2. You are encouraged to make and fabricate the object in collaboration with other creatives 3. The object should be functional and be able to address and offer solutions to current social, educational and/or environmental needs

Paper Travels on Virus Days Designed by Ming Shan Connie Yuen

4. Rethinking the target audience to be intergenerational, i.e. kids, family, elderly 5. The functional object should fit on the palm of your hands (20H x 20W x 20D cm) 6. How does your object foster play and social wellbeing of our community?

DESIGN TRUST: Critically Homemade is a three-week self challenge for each designer or team, from start to finish.

The delivered outcome is an object “prototype”, supplemented with work-in-progress photos and final object photos, a 150-word description, and a quick 1 minute video of designers discussing their work.

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Marisa Yiu, Lead Curator’s sketches and brainstorm notes, April 2020

1. 設計並自製原型作品 2. 鼓勵您與其他創作單位合作 3. 該作品應具有功能性，並就當前社會、教育或環境需求提 供解決方案 4. 反思目標受眾應為代際，即包括孩子、家庭、長者 5. 作品大小應在手掌範圍 （20 x 20 x 20 厘米） 6. 您的作品如何促進社群娛樂和社會福祉？ 「信言設計大使: 因時『製』宜」是一個為期三週的自我挑 戰，由每個設計師或團隊從頭到尾自製一件原創物件。最終 的成果是一件原型、製作過程和成品的照片、150 字的描述 以及一分鐘的簡短影片分享其設計。

I Love You but I Need to Keep a Safe Distance Joel Austin and Kwan Q Li

5

Associated with warmth and life, denoting good fortune and happiness, red is a colour strongly tied to the culture and tradition on which Hong Kong had been built. As previously explored in Design Trust’s Future Studio flagship programme, heritage is not a static subject, but a source of inspiration and also an opportunity for the continuation of a longstanding narrative. Design plays a significant role in the shaping of visual and cultural stories, and engineers the chance for the revival of fading stories perhaps more relevant to today than one could even imagine.

紅色與溫暖和活力相聯繫，代表著 好運和快樂。紅色也跟香港文化和 傳統緊密聯繫。如先前在「未•共 研社」的旗艦計劃中，文化遺產並 不止是一成不變的主題，反卻是靈 感的來源，也開展了長遠的敘述。 設計在視覺和文化故事中擔當重要 的角色，而且重塑機會復興傳統， 並超越想像去連繫現今社會。

From thoughtful critiques to pioneering creations, most have voiced an opinion and formulated a response to the ongoing COVID-19 pandemic, individuals themselves adjusting to new regulations around social distancing and responsible public health practices. Amidst the ambiguity and uncertainty surrounding current challenges, unifying expressions may be a useful tool in helping people find solid ground, and the disposition for creative problemsolving essential in initiating the shift in collective perspectives necessary to overcome this shared burden with renewed optimism and innovation.

從深思熟慮的批判到開創性的 創作，大多數人都對持續的 COVID-19疫情發表了意見及回 應，每人都開始適應了社交距離及 實踐對公共衛生的責任。在滿佈不 確定性的環境及當前的挑戰下，集 合表達可能是一項穩固工具，而集 體提出創新的解決問題方法，尤其 必要友於重拾樂觀及克服困難。

The sudden slow-down of the external world in recent months has been met with a buildup of internal frenzy, once familiar spaces now tainted with the weight of unfavorable news. With a moment’s peace, perhaps it is the act of turning inwards and centering oneself that can bring the world to a temporary still and spark sensory comfort or a simple act of a hug. Promoting positive habits for active reflection and physical attunement, focus from the burden of prolonged isolation may be shifted to a radiating hopefulness.

近幾個月來，外在世界突然放緩節 奏導致自身內在更熾熱。曾經熟悉 的空間，現在被太多今人不安的消 息所覆蓋。為了享受片刻的平靜， 也許轉向內在探討和檢視能使世界 暫時遏一會，並令自我感官得以調 適及獲得安慰。提倡積極思考和鍛 煉身體的習慣，嘗試轉換長期被孤 立的注意力，並注入一點希望。

Instinctively associated with the environment, green is a universally uniting color rooted in nature. Glimpses of the natural world have become a welcomed sight for those currently confined within concrete walls, deep inside the urban jungles of our city. Yet, emerging from these times is the dichotomy between the revived fascination with the natural world and an increasing dependency on man-made comforts. A growing awareness of irreversible environmental impacts probes deeper thoughts on the future of making, where design plays an essential part in shaping our future.

綠色這顏色原本就與環境息息相 關，並植根於自然界最普遍的統一 色彩。對於那些目前被限制隔離於 城市叢林深處的人來說，觀賞大自 然景色已經成為一個奢侈活動。然 而，在這時代開始出現極端式的分 歧，部分重新對自然世界著迷，另 一方卻對人造舒適感日益依賴。人 們對不可逆轉的環境影響的意識日 益提高，使更深思熟慮於生產上， 而設計於塑造我們未來中起著至關 重要的作用。

Where daily routines are disrupted, norms are drastically shifted, not only for individuals but within collective units of immediate families, and especially within Hong Kong living conditions. As dynamics in relationships evolve, boundaries are blurred, perhaps most significantly for parents who are now tasked with the role of being educators at home. Designed to spark conversation and inspire imagination, opportunities for learning are increasingly infused into play, whether to occupy little ones for a time being or engineer an occasion to strengthen bonds across generations.

在眾多規範下，除了日常工作受到 干擾，人們也在家庭關係中產生了 巨大變化，尤其像香港這狹窄的居 住條件下。由於關係的互動變化， 家中的角色身份開始變得模糊， 最其明顯的是父母需在家中負責 教育學習部分。遊戲設計若能幫助 學習，除了能激發對話和想像力， 也能有效地營造機會增強各代人之 間的聯繫。

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DESIGN TRUST: Critically Homemade Prototype Exhibtion Curatorial Themes 「信言設計大使 : 因時『製』宜」 原型作品展覽 策展主題

Culturally Hong Kong and Beyond 文化香港及其他地區 Everyday Challenge of COVID-19 COVID-19 的日常挑戰 Sensory & Wellness 感官及身心調節 Environment & Upcycling Futures 環境與循環再生未來 Educational & Intergenerational Play 教育與跨代遊戲 7

Exhibition Floorplan 展覽平面圖

Despite challenges in 2020, this special year has also come to represent a great milestone for Design Trust. With the launch of our Design Trust Milestone Portfolio, the Critically Homemade micro-initiative is a natural extension of our achievements to date. The Prototype Exhibition manifests as a dynamic live archive of Design Trust’s robust past, as works from the last few years since 2014 appear in functional use, embedded within the exhibition design. 儘管在2020年面臨挑戰，這特殊的一年也 代表著信言設計大使的一個重要里程碑。 隨著我們製作的回顧紀念特集，「信言設 計大使:因時『製』宜」計劃至今成為我們 延伸的發展。原型展覽作為信言設計大使 自2014年以來的紀錄資料庫，作品並經過 多年來的發展，顯現出功能性並展示在展 覽設計。

A Design Trust

Milestone Portfolio Milestone portfolio review of Design Trust’s core activities, fellowships and grants from 2014-2020

B

Dancing Phoenix Design Trust Futures Studio 2019 Elaine Yan Ling Ng with Tai Ping

C D

E

OMA Pattern OMA Pedestals Design Trust Gala 2018 ARCHIVE Rem Koolhas and David Gianotten, OMA

Archigram City Pedestals Design Trust Gala 2019 ARCHIVE Sir Peter Cook and Dennis Crompton, Archigram

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Culturally Hong Kong and Beyond

003 Florian Wegenast and Christine Lew, Studio Florian and Christine 004 Adonian Chan, Trilingua 005 Elaine Yan Ling Ng 009 Xavier Tsang, BeCandle with Groundrule Studio 019 Rony Chan and Ire Tsui, design*lab 020 Andrea Palmioli 037 Kevin Mak and Ken Fung, @streetsignhk with Lee Kin Ming, China Bright Production 046 Charles Lai, aona architects 052 Hugh Davies with Yoko Nakazawa, Joyce Cheng and Nikki Lam 054 Peter Yuill and Thierry Chow 066 Polly Ho, Loom Loop 074 Movana Chen 075 Toby Crispy

2A Everyday Challenge 2B

of COVID-19

002 Michael Young, Michael Young Studio 017 Joel Austin and Kwan Q Li 022 Ole Bouman, Design Society 029 Aurelien Barbry with Constant HK 029 Douglas Young, G.O.D. 033 Jing Liu, Emma Silverblatt, Yuanjun Summer Liu and Astrid Steegmans, SO-IL 036 Kaliz Lee 048 Donn Holohan and Elspeth Lee, Superposition 050 Frank Chou, Frank Chou Design Studio 051 Li Fu, UV Architecture 056 Savinee Buranasilapin, thingsmatter 058 Fung Ming Chip 060 Kacey Wong 064 Nikolas Ettel, Lidia Ratoi, and Annie Lye 065 Troy Conrad Therrien, Violette Van Parys and Julio Cavallucci 068 Ming Shan Connie Yuen 070 Betty Ng, Chi Yan Chan, Jay Lee, Juan Minguez and Katja Lam, COLLECTIVE

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Sensory & Wellness

007 Clara Brito and Margarida Jardim, with Burel Factory 008 Soilworm Lai, Stickyline with Vanissa Law 014 Yelta Köm and Elif Çak Köm 018 Diego Caro 023 Adam Hudec 024 Alfred Lam, Studio 1618 031 Evelyn Teploff-Mugii, Claude 032 Frédéric Gooris and Paulina Chu 040 Nelson Chow, NCDA 041 Otto Ng and Yip Chun Hang, LAAB 043 Michael Leung, STUDIO AA 047 Derek Lee and Geeio Yuen, MOM AND POP 055 Jonathan Mak 061 Ron Wan and Mildred Cheung, dtby_ 062 Sarah Lee and Yutaka Yano, SKY YUTAKA 072 Stanley Wong, anothermountainman

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Environment & Upcycling Futures

011 Manuel Corriea da Silva and Luanha Tavares de Almeidae 012 Natasza Minasiewicz 013 Cyril Lee 015 Yanki Lee, Enable Foundation with Pascal Anson, Pascal Anson Studio 021 JJ Acuna, JJ Acuna / Bespoke Studio with Francis Kirstein 025 Alyina Ahmed 030 Evelyn Ting and Paul Tse, New Office Works 035 Joshua Ng, Twins Kitchen 042 UUendy Lau 044 Kristof Crolla, Yip Fai Martin Lau and Ling Sum Evangeline So, L-E-A-D 059 Raphaël Monnier 063 Deborah Lam, Une Szeto and Kay Chan, Good Day Studio 067 Zoe Siu, ZOEE 069 Ida Kwei, IDoArtism 071 Henry Chu, Pill and Pillow

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Educational & Intergenerational Play

001 James Shen, Zang Feng, He Zhe, Anouchka van Driel and Olivia Chen, People’s Architecture Office 006 Julie Progin and Jesse Mc Lin, Julie & Jesse 010 Stephen Zimmerer and Medora Ebersole 016 Maria Roszkowska, Nicolas Maigret, disnovation.org with Pauline Briand, Julien Maudet, Clémence Seurat 026 Aron Tsang and Hera Lui, NAPP Studio 028 Christopher Choi with Keith Hui, Esther Fung and Ian Tam, ioii Studio 034 Johanna Ho, PHVLO 038 Kevin Siu, Shuyan Chan and Bob Pang, AaaM Architects 039 Lijun Guo, [Guo+Jinwu] 045 Alan Chan, Alan Chan Design 049 Fiona Lau, FFIXXED Studio 053 Jason Chan, COMING-SOON 057 Maggie Ma, Mark Kingsley, Kelvin Chan, Luka Ng and Elsie Kan, DOMAT 073 Sam Jacob 076 Kay Chan

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001

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THE LEARNING HOUSE

ANTIBACTERIAL DOOR HANDLES

James Shen, Zang Feng, He Zhe, Anouchka van Driel and Olivia Chen, People's Architecture Office

Michael Young, Michael Young Studio DTFS 2019 Mentor

James Shen, Zang Feng, He Zhe, Design Trust Feature Grantees

'The Learning House' serves as a metaphor and point of inspiration within the reality of life during the COVID-19 pandemic. As people remain indoors for their own safety and that of others, the home becomes the pivot of life, it becomes the school, the city and the world all in one.

In response to the heightened concerns around hygiene, health and wellness during the ongoing pandemic, Michael Young has designed door handles out of a metal which utilises lasers and photonics technology to develop fluid-repellent, antibacterial surfaces, taking us a step closer to self-cleaning appliances and more.

Inspired by their award-winning Plugin House design, the People's Architecture Office has designed a simple activity kit for kids to construct at home to stimulate creativity and exercise fine motor skills. Folded up, The Learning House serves as a little house-shaped protective box. Unfolded, it reveals a whole world from the small space of this home, a whole world that one can colour and make better – something much needed at this time.

An innovative example of incorporating biomimicry into design, the unique surface qualities of the 'Antibacterial Door Handle' mimics the hydrophobic surface of lotus leaves. Specifically tailored laser processing of metal surfaces creates a roughened surface, whereby miniature pockets of air are created to minimize the contact area between the surface and a liquid. In this way, surfaces keep themselves clean without the need for cleaning products or chemicals, and by repelling liquids such as water, surfaces are no longer suitable for bacteria to grow.

透過於疫情期間在現實生活中的隱喻和啟發點，當人們為了 自己和他人的安全而留在室內時，家成為生活的重心，它成 為學校、城市和整個世界的一體。

為了應對持續的疫情，人們對衛生、健康和保健日益關注， Michael Young 用金屬設計門把，該門把的原料以光子學技 術來形成防液，形成抗菌表面，製作出能自我清潔的產品。

受到其屢獲殊榮的插件屋設計的啟發，PAO 設計了一個簡單 的活動套件，供孩子們在家製作，以激發創造力並鍛煉精細 的活動技能。折疊起來的學習屋就像一個小房子形的保護盒， 作為將生物學融入設計的創新示例，抗菌門把的獨特表面模 仿了荷葉的疏水系統，在金屬表面進行專門定制的激光加工 展開後卻能著色並改進，啟發出從狹小的空間中揭示整個世 從而形成粗糙的表面，形成微型的空氣囊，達到減少表面與 界，亦是當前所需要的。 液體之間的接觸。這設計的表面無需以清潔產品或化學品並 可保持清潔，有效排斥液體使表面不再適合細菌生長。

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HONG KONG BRICK

HONG KONG BEIWEI ZANSYU COOKIE CUTTERS

Florian Wegenast and Christine Lew, Studio Florian and Christine Design Trust Seed Grantees, DTFS 2019 Mentees

Reflecting on the current situation in Hong Kong, Florian Wegenast and Christine Lew have come up with the 'Hong Kong Brick', a design artifact created from the construction waste of shops that were taken down during the COVID-19 crisis. In the process, small gravel, cement, and glass pieces were collected from different shops around Hong Kong, broken down into smaller fragments, then utilized in a terrazzo casting to create a new brick.

Thinking beyond the immediate crisis, the designers decided to cast a brick form to also feature the duality of bricks as the foundation of rebuilding something new, representing how the past can propel us to create a positive impact for the future. 考慮到香港目前的情況，Florian Wegenast 和 Christine Lew 的《Hong Kong Brick》作品是於疫情期間以搜集被拆 除的商店建築廢料而製成。 從香港各地的不同商店收集的 碎石、水泥和玻璃碎片，將其分解成較小的碎片，然後在鑄 造出新磚塊。 考慮到眼前的危機，設計師決定鑄造磚塊，同時以磚塊的雙 重性為特徵代表著重建新事物為基礎，也代表過去如何推 動我們為未來創造積極影響。

Adonian Chan, Trilingua Design Trust Seed Grantee, DTFS 2019 Mentee, 2017 Gala Co-Creative Director

Type designer Adonian Chan has designed and made cookie cutters in the style of the uniquely-Hong Kong Beiwei Zansyu, a font that had defined the city’s visual culture for decades and he had researched with the support of Design Trust.

Among designs in the form of Chinese characters, such as 平安 for "peace", and 精神 for "energy", pictured are cookies cut out in the shape of the Chinese character 惡 ("evil"). The former DTFS Mentee and Seed Grant recipient explains that the concept behind this design is“ to create something more positive, ‘digestible’ and light-hearted out of something that is conceived as unfavourable,” putting forth an optimistic perspective amidst the challenging landscape of the ongoing pandemic in Hong Kong and beyond. 字體設計師陳濬人以獨特的香港北魏真書設計和製作了曲奇 模，該字體定義了城市數十年來的視覺文化，該項目亦受到 信言設計大使的支持，並參與「未．共研社」為學員及信言設 計大使種籽資助計劃成功申請人。 圖為以漢字「惡」為形狀切出的曲奇。 陳濬人解釋這設計的 概念是「從被認為不討好的事物中創造出更積極、更易理解 及更輕鬆的想法」 ，在香港持續的疫情和充滿挑戰的環境中 提出了樂觀的看法。

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線扇 SIN3 SIN3

POCKET GARDEN

Elaine Yan Ling Ng, The Frabrick Lab

Julie Progin and Jesse Mc Lin, Julie & Jesse

Design Trust Feature Grantee, DTFS 2019 Mentee

DTFS 2019 Mentees

Having transformed and developed from a small hand held device to a mechanical invention, the fan continues to play an integral role in keeping people cool. 'sin3 sin3' is an alternative handheld fan, creating a new personal experience between wellness, luxury and craft, yet provokes how luxury can be a mindful experience with material rather than just paying for instant cool air. 'sin3 sin3' is inspired by the word pankha originated from pankh, the wings of a bird which produce a draft when flapped. The fan material composition and texture reflects qualities of wings. It is hand tufted with smart yarn that reflects its surrounding condition, such as change of UV and temperature, a textile innovation inherited from Dancing Phoenix carpet from DTFS 2019, made in collaboration with Tai Ping Carpet.

‘Pocket Garden’ play set is a miniature re-interpretation of Julie & Jesse’s Terra Mobiles from DTFS 2019.

The palm-sized whimsical porcelain sculptures are underpinned with the historical context of Tiger Balm Gardens with its elements of fantasy and expressions of classical Chinese gardens.

Identifying a shared longing for nature and travel in the time of a pandemic, Pocket Garden reflects on the power of scholar’s rocks to inspire imaginary journeys into worlds reminiscent of Chinese landscape paintings. The sculptures foster the spirit of curiosity, creativity and participation, offering children and adults alike opportunities of communal play and collective wandering. With pieces that can be snapped onto Lego® bricks and wheels, carted around to create gardens and fantastical sceneries, the set is a catalyst to build narratives.

風扇從小型設備發展成為機械發明，一直為保持人們涼快感 發揮著不可或缺的作《線扇 sin3 sin3 》是一種新設計的手 持風扇，可在健康、奢侈和手工藝上創造一種新的個人體驗， 《Pocket Garden》的玩具組合是「未 · 共研社 2019」中 Julie 及 Jesse 的 Terra Mobiles 的重新詮釋迷你作品。手掌大小 激發起奢侈是一種物質體驗，而不僅僅是購買即時涼快的空 異想天開的陶瓷雕塑以虎豹別墅的歷史背景為基礎，體現了 氣。 其幻想和古典中國園林的元素。

《線扇 sin3 sin3》的靈感源於「pankha」這個詞，意思是鳥 拍打翅膀時會產生的動力。風扇的材料成分和質地影響了翼 《Pocket Garden》道出疫情時期對自然和旅行的共同渴 的質量。源自 「未 · 共研社 2019」與太平合作的地毯作品，由 望，石的形態激發了到風景尤如中國畫般的旅行想像，這些 雕塑啟發了人們的好奇心，創造力和參與精神，為兒童和成 於它是由手工簇絨製成的，能反映周圍環境的變化，例如紫 人提供了共同遊戲和集體漫遊的機會。 這些裝置可以卡在 外線和溫度的變化。 Lego® 和車輪上，並隨車運送創建的花園和夢幻般的風景， 促進創作及敘事體驗。 Elaine 說 :「這是一種『手工的精神』 ，意味著無法複製的物 品，並帶有製作者獨特的『痕跡』 。 這個原型探索了我們如 何通過工藝來鼓勵家人，及透過功能性提醒愛與價值。」

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TUFA TAO SLIPPERS

ESCAPISM

Clara Brito and Margarida Jardim, in collaboration with Burel Factory

Soilworm Lai, Stickyline in collaboration with Vanissa Law

Clara Brito, Design Trust Seed Grantee

Soilworm Lai, Design Trust Seed Grantee

Clara Brito and Margarida Jardim’s original Tufa slippers were initially created from the connection between the Macau-based designer and the Portuguese based artist, merging their living and working experiences and heritage between China and Portugal.

"Isolation” refers to the severance of contact and communication. It is impossible to achieve isolation entirely between people in today’s society.

Conceived at home during the COVID-19 pandemic lockdown, the ‘Tufa Tao Slippers’ are an extension of the 'Tufa Slippers', and made in collaboration with Portuguese Burel factory. A rethinking of the original design led to the addition of stress and anxiety reducing elements, now giving the users the sensory experience of walking over clouds while having their feet subtly massaged.

However, during the COVID-19 pandemic, the public was forced to be isolated completely. Everyone spent time alone in their own way.

As an active critique of the quarantine protocols enforced during COVID-19, Stickyline presents ‘Escapism’ in collaboration with sound designer Vanissa Law. Using paper and geometry as the media to create this interactive sound device, it allows one to take a short break and to experience true solitude.

Clara Brito 和 Margarida Jardim 的原創《Tufa Tao 拖鞋》 「隔離」指斷絕接觸，斷絕往來。要做到完完全全的隔離，在 最初由澳門設計師和葡萄牙藝術家之間的聯繫而創作，將他 現今社會的人與人之間是一種不可能。 們在中國和葡萄牙的生活和工作經驗與葡萄牙傳統相融合。 但一次突然爆發的疫情，大眾也被迫隔離著，每人以自己的 《Tufa Tao 拖鞋》是在疫情期間停擺時構思，是《Tufa 拖鞋》 方式，度過獨處的時光。 「我」寧可以跳進大海，享受當下一 的延伸，是與葡萄牙 Burel 工廠合作製造。 於原先設計上 片寧靜，聆聽自己的呼吸聲，與自身進行一場對話。 的加上減壓和焦慮的元素，現為用家提供了在雲層上行走和 按摩腳部的感官體驗。 Stickyline 以紙張及幾何作載體，與聲音設計師羅穎綸共同 創作出這互動聲音裝置， 讓您我靜下來， 進行一場難得的獨處。

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SENSORY FRAGMENT 2

PERFORMING ARTS SELF-CARE KITS

Xavier Tsang, BeCandle in collaboration with Groundrule Studio

Stephen Zimmerer and Medora Ebersole

Xavier Tsang, DTFS 2017-2019 Mentee

Stephen Zimmerer, Design Trust Seed Grantee

Created for Design Trust’s "Heritage is Innovation” exhibition in 2019, Xavier Tsang created a dried plant scent diffusing wall composed of 10 plants symbolising the 10 courts of hell. It has since been well regarded by visitors and acted as a source of inspiration behind many of Tsang’s creations. Now, it has been reused and transformed into a new medium to share a fragrance collection. In collaboration with Groundrule Studio, the dried plants had been collected, ground, and pressed into 50 limited edition candle containers, with specifically formulated heat-resistant bioplastic. They will be filled with a candle with a scent alluding to the “11th court of hell” of our time.

Stephen Zimmerer’s ‘Performing Arts Self-Care Kits’ are a micro-curriculum that is designed in collaboration with Stephen’s mother and arts educator, Medora Ebersole. The curriculum contains eight performing arts exercises, ranging from creating stick, finger, and marionette puppets using construction paper, to creating special effects with ingredients from the kitchen. The project culminates in the creation of a miniature puppet theatre built from recycled and found materials and the design of a theatrical production.

在 2019 年 9 月的信言設計大使「傳承就是創新」展覽中， Xavier 創建了由 10 種乾燥植物組成的氣味擴散牆，象徵著 十殿閻羅。展覽結束後，它一直保存在我們的工作室中，除 了得到了參觀者的欣賞。並為我們的創作帶來靈感。 今次，Xavier 將其製成另一種形式的媒體來分享我們的香水 創作，並與 Groundrule Studio 合作，將乾燥植物壓榨，配 製的特殊耐熱天然塑料製成 50 個限量版蠟燭容器，完成能 於這個時代啟發自我的「閻羅第十一殿」香味蠟燭。

The design process is two-fold - first art education and graphic design (designed by Stephen and his mother), and then finally theatrical and scenic design (designed by the students). During the COVID-19 pandemic, the Kits were distributed to public schools in Central Pennsylvania, USA through free lunch programmes that benefited over 2000 students.

Stephen Zimmerer 的《表演藝術自理套件》是一個迷你課 程，並與 Stephen 的母親和藝術教育家 Medora Ebersole 合作設計。 該課程包含八種表演藝術練習，從製作木棍，手 指和紙製木偶到使用廚房材料創造特殊效果，不一而足。 該 項目的最終目的是創建一個迷你木偶劇院，該裝置使回收材 料建造，並以此製作戲劇。 設計過程分為兩個階段：首先是美術教育和圖形設計（由 Stephen 和他的母親設計） ，然後是戲劇和場景設計（由學 生設計） 。 在 COVID-19 大流行期間，通過免費午餐計劃將 工具包分發給美國賓夕法尼亞州中部的公立學校，該計劃使 2000 多名學生受益。

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TWO O’S

FUTURE FOSSILS

Manuel Corriea da Silva and Luanha Tavares de Almeidae

Natasza Minasiewicz Design Trust Seed Grantee

Manuel Corriea da Silva, Design Trust Seed Grantee

‘TWO O’s' is the result of a design exercise born during the lockdown imposed by COVID-19 and explores the extreme scenario where individuals are forced to survive with what they have at home. To Manuel Correia da Silva and Luanha Tavares de Almeida, these circumstances highlight the wasteful use of basic resources in our society, who aim to raise awareness of water conservation and encourage a joint effort from all citizens.

Noting that most of Hong Kong’s daily domestic freshwater consumption per capita is consumed for bathing, the solution designed is a device that allows for the use of a 5L water bottle to be reused as a water collector container in the shower, allowing for the collected water to be reused in other situations such as watering plants, floor cleaning, etc. 《TWO O’s 》是在疫情封鎖期間進行的一次設計練習的結果， 探討在極端情況下，人們被迫以家中遺留的物品生存。 對於 Manuel Correia da Silva 和 Luanha Tavares de Almeida 來說，這些情況突顯了我們社會對基礎資源的浪費，也希望 提高人們對節水的意識，並鼓勵所有人共同努力。

'Future Fossils' seeks to capture the moment of discovery when pieces of concrete, old tiles or bricks emerge from among pebbles and shells as if they were artefacts of our built environment returning in a new form, amalgamating with nature.

The project highlights the global problem of construction waste, as well as building methods and materials that are neither reusable nor degradable.

With some articles suspended in clear resin, viewers confront construction waste as it might be discovered

by Antarctic expeditions years ahead, solidified in icebergs. Though a building is demolished as a sum, its parts live on, becoming Future Fossils.

Clear resin, here, acts as a material device, expressing waste congealed in time and space for all perpetuity and posterity. Should these artefacts cast in resin find their way to new uses— whether as a household tile, bookend or decorative element, for example—their intent will be complete, inanimately reminding us of the material effects we leave behind.

《Future Fossils》試圖捕捉發現的混凝土、舊瓷磚或磚塊的 瞬間，以往由卵石和貝殼製成，這些建築材料就像以新形式 由於香港人每天消耗大部分淡水用於沐浴，因此設計出裝置 回歸自然，與自然融為一體。這項目突出全球廢置建築材料 解決這項問題種，該裝置的容器每次只允許使用 5 公升的 問題，以及既不可重用，亦不可分解的建築方式和材料。設 水作淋浴，並回收使用過的水，用於在其他情況，例如澆水、 計由一些建築廢料懸浮在透明樹脂中， 觀眾面對著建築廢料， 清潔地板等。 這可以是幾年前南極探險隊發現的，就像在冰山中凝固的垃 圾。儘管建築物被全部拆除，但其部分仍然存在，並成為未 來的化石。透明樹脂充當一種材料裝置，表示永久性和延續 性，並在時間和空間上凝結的廢物。如果用樹脂澆鑄的製成 品可找到了新的用途，例如：用作家用瓷磚、書擋或裝飾元素， 它們的意圖將更完整，更能無意中提醒我們所遣留下的物質 對環境的影響。 15

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A3 WALLET

HOLD

Cyril Lee

Yelta Köm and Elif Çak Köm

Design Trust Seed Grantee

Yelta Kom, Design Trust Seed Grantee

Cyril Lee’s prototype attempts to explore an ideal upcycling design methodology, identifying that high carbon footprint is often generated from wastetransportation, and the mixing of different materials rendering them no longer down-cyclable.

‘HOLD’ is a multi-sensorial object designed to provide the feeling of community through its physical and social nature. During the pandemic, individuals have lost the opportunity to hug, or simply touch with one another.

Yelta Kom and Elif Cak Kom sought to create an object that could help one feel the sense of a warm touch of another, landing on a design based on the negative volume of a hand. The design and production process can take two routes; the first relies on individuals to produce their own negatives using material that take imprints from their own hands; the second is a product made from porcelain, inserted with a microchip with the ability to communicate with other HOLDs through radio signals. One’s ‘HOLD’ will become warmer when there are other HOLDers.

‘A3 Wallet’ is a full-size, functional DIY wallet constructed with just a single upcycled plastic folder and origami techniques. Using one material with no adhesive of any kind, the wallet remains down-cyclable at the end of its life cycle. As ‘A3 Wallet’ can be made at home, it decentralises the recycling and manufacturing process, reducing the transportation-related carbon emission to minimum. A full tutorial is available online and a hard-copy tutorial comes with a pre-cut template which is also upcycled from local exhibitions. 李翊呈的原型試圖探索一種理想的升重用的設計方法，確定 高碳足跡通常是由廢料運輸所產生的， 並且混合不同材料後， 反而令它們不可再循環使用。 《A3 錢包》是一款真實尺寸及可使用的 DIY 錢包，僅使用一 個循環再用的塑料文件夾和摺紙技術製成，並 沒有使用任 何粘合劑，錢包在其週期結束前仍可再循環使用。 由於《A3 錢包》可以在家中製作，因此減少了回收和製造的流程，將 運輸途中的碳排放量降至最低。 完整的製作教學已上載網 絡，附帶有已剪裁的模版於展覽中展出。

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《HOLD》 是一種多感官物體，以其物理和社會性提供社群感。 人們在疫情期間失去了擁抱或彼此接觸的機會，Yelta Kom 和 Elif Cak Kom 試圖創造一種可以讓人感覺到另一種溫暖 的物品。設計並採用手負體積的形態，生產過程可以採取兩 條路線：第一種方法是以自己的手中留下烙印的材料製作底 片。 第二種是由瓷器製成的產品，插入了微芯片，該微芯片 能夠通過無線電信號與其他《HOLD》通訊。 當有其他人也 手持 HOLD 時，附近的《HOLD》會變暖。

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OPEN LIGHT

POST-GROWTH TOOL KIT

Yanki Lee, Design Trust Feature Grantee

Nicolas Maigret, Maria Roszkowska, Design Trust Seed Grantees

‘Open Light’ is a crystal chandelier replica made from Sellotape, designed by Enable Foundation in collaboration with Pascal Anson. "There is something ridiculous about replicating a crystal chandelier with a cheap material like Sellotape, which is part of the project’s appeal,” said Pascal Anson, London-based designer whose work has been developing ways to teach non-designers to make objects in a DIY manner through video tutorials and published books.

‘Post-Growth Toolkit: Card Game’ is part of a toolkit for eco-political orientation grounded in the context of current ecological crises and their multiple geopolitical and social implications. It is designed to increase awareness of the multiple root causes of these crises — rather than their mere consequences — as a basis to stimulate and provide a foundation for post-growth imaginaries, models and practices.

Yanki Lee, Enable Foundation in collaboration with Pascal Anson, Pascal Anson Studio

This project aims to offer inspiration to individuals to construct their own chandelier with an accessible material during pandemic lockdowns. Whilst the use of Sellotape is not sustainable in the usual sense, the project addresses an important question in sustainability by asking us how to re-examine what we see as discarded, every day, or valueless objects. 《Open Light》是由透明膠紙 Sellotape 製造的水晶吊燈複 製品，由 Enable Foundation 與 Pascal Anson 合作設計。 倫敦設計師 Pascal Anson 將水晶吊燈用透明膠紙之類的廉 價材料複製，滑稽亦具吸引力。設計師鼓勵非設計師們通過 影片教程和書籍進行 DIY 製作。 該項目旨在為人們提供靈感，以在疫情期間使用可觸及的材 料建造自己的吊燈。 雖然意義上透明膠紙通常不可持續使 用，但提出我們如何重新檢視我們每天看到的廢棄或無價值 的物品來解決可持續發展中的一個重要問題。

Maria Roszkowska and Nicolas Maigret, disnovation.org with Pauline Briand, Julien Maudet, Clémence Seurat

The card game creates a contributory platform to initiate dialogue, debate, simulation, and even art generation across various domains from critical theory to art, hard science, and grassroots activism. The cards can also be assembled and accessed linearly, as an illustrated booklet structured in chapters, or showcased as large posters within exhibition settings. 《Post-Growth Took Kit: Card Game》是一種「生態政治導 向工具包」 ，其背景是關於生態危機及其多重地緣政治和社 會影響。 它旨在提高人們對多種根本原因帶來危機的認識， 而不僅是其帶出後果，更以此作為刺激成長的想像，重塑和 練習提供基礎。 紙牌遊戲創建了一個共享平台，可在從批判理論到藝術丶科 學和基層行動主義等各個領域發起對話丶辯論丶模擬甚至藝 術創作。 這些紙牌還可以線性組裝和使用，如按章節構造 的插圖小冊子，以大型海報在展覽中展示。

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I LOVE YOU BUT I NEED TO KEEP A SAFE DISTANCE

MEBITATION

Joel Austin and Kwan Q Li

Design Trust Seed Grantee

Diego Caro

Design Trust Seed Grantees

A lack of international consensus and evidence surrounding healthcare advice can cause fear, insecurity and mistrust. In response, Joel Austin and Kwan Q Li have designed a device to ask whether living within a spectrum can be a new way of embracing uncertainty.

‘I Love You but I Need to Keep a Safe Distance’ is a compact measuring device offering four social distancing metrics that allow users to conform to ambiguous global hygiene standards. Upcycled from scrap materials, the all-in-one measuring tape features extendable lengths of 100, 150, 180 and 200 cm, helping users to distance themselves according to the health advice of different governments and organisations. 在缺乏達成國際對醫療保健建議和證據下，帶來恐懼丶不安 全感和不信任感。Joel Austin 和李君設計了一種裝置，來反 思在特定距離下生活，能否成為擁抱不確定性的新方法。

In Diego Caro’s experience, and like many others, the current health crisis has brought anxiety, fear of the future, and turned a home into a place of confinement.

"Sometimes, during this confinement, I wish I had found some part of that small ecosystem of tranquility and naive anguish,” says Diego, "When I was a kid, I used to lock myself up in my room under a blue umbrella and listened to radio programs in foreign languages. That umbrella provided me a little space of discovery and escape, an extra layer of synthetic protection.”

This design is the reinterpretation of a childhood impression of safety and security. Made during the strictest confinement, this prototype is an attempt to propose an instant ME+HABITATION within our homes, even a space for MEDITATION. 根據 Diego Caro 以及其他許多人的經驗，當前的健康危機 帶來了焦慮及對未來的恐懼，已將房屋變成了禁閉之所。 Diego 希望他能找到一個小小的生態系統，其中包括寧靜和 幼稚的痛苦。他小時候曾經把自己鎖在藍傘下的房間裡，聽 著播放外語廣播節目。 那把雨傘為他提供了一些發現和逃生 的空間，是一層額外的合成保護。

《I Love You but I Need to Keep a Safe Distance》是一種測 量設備，提供四個社交距離標準度量度，使用戶能夠符合仍 未明確的全球衛生標準。 多用途捲尺由廢料製成，可擴展長 度分別為 100、150、180 和 200 厘米，可幫助用戶根據不 同地方政府和組織所提出的健康建議，定立自己的社交距離。 這種設計重新詮釋了童年時期對安全的印象。 該原型是在 最嚴格的限制條件下製造的，旨在在我們的家中甚至是進行 冥想的空間中提議即時 ME + HABITATION。

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COLOURS OF HOPE

THE DOMESTIC MONUMENT OF HUMAN RENAISSANCE

Rony Chan and Ire Tsui, design*lab Design Trust Feature Grantees, DTFS 2019 Mentees

Andrea Palmioli Design Trust Seed Grantee

Can we connect our home with hopes through characters created by decorative shapes?

From design*lab, ‘Colours of Hope’ is a collection of creative mobile-hanging objects, inspired by colourful geometrical shapes from interior space, be it patterns, creatures or any imaginative shapes. Based on the design system initially developed for the DTFS 2019 House of Haw Par mobile set, Rony Chan and Ire Tsui have chosen to focus on the 2D geometrical shapes to explore the project further, as geometrical shapes allow for a creative combination of forms, colours and light-weight materials. The prototype is made from diecutting paper shapes, to demonstrate the diversity of 2D shapes combinations. 我們能否通過不同形狀創造的不同物件，使令我們家居更增 添色彩？由 design * lab 創作的《Colours of Hope》是一組 創意的互動懸掛裝置。作品的靈感來自室內空間的彩色幾何 圖形，包括花紋圖案、生物或任想像物品，經過於「未 · 共研 社」2019 為於虎豹別墅展覽設計的移動紙掛飾裝置，Rony Chan 和 Ire Tsui 選擇專注於平面幾何形狀的探索該，項目 研究以不同的幾何形形狀、顏色和輕質材料創造不同組合。 今次的原型模版也由不同形狀的模切紙製成，展示平面形狀 組合的多樣性。

In the time of a pandemic, Andrea Palmioli’s ‘The Domestic Monument of Human Renaissance’ affirms the ceremonial and behavioural role of design, configuring the significance of the relations between man, space, and objects at a micro-urbanistic level.

From a functional perspective, it performs the role of a facial-mask holder, aiming to postulate the indissociable bond between the user and its objects.

The symbolic narrative of the monument is enacted by three elements: the face mask as a referential interface between the outdoor and indoor, the human as an absent presence, and the home —in this context conceived as the supreme habitat and ultimate existential ambition. 在疫情期間，Andrea Palmioli 的《The Domestic Monument of Human Renaissance》肯定了設計的儀式性 和行為性，並在微觀城市層面上構築了人，空間和物體之間 關係的重要性。 從功能的角度來看，它扮演著面罩持有人的角色，旨在假定 用家與其對象之間不可分割的聯繫。 紀念碑的象徵性敘事 由三個要素制定：面罩是室外和室內之間的參考接口，人是 不存在的存在，以及房屋 – 在這種情況下，被認為是最高的 棲息地和最終的生存野心。

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TAKE-AWAY SHRINE

SOCIAL (DI)STANCE TAPE

JJ Acuna, JJ Acuna / Bespoke Studio in collaboration with Francis Kirstein

Ole Bouman, Design Society Design Trust GBA Advisor

JJ Acuna, DTFS 2017 Advisor

In these challenging times, being at home creates the opportunity to actively centre oneself internally. For JJ Acuna, this opportunity has realised itself in the collecting of rocks and crystals from all over, amassing a robust selection of objects to be brought out and celebrated with his 'Take-Away Shrine'.

A play on the idea of "Take-Away" meals, this project creates the possibility of taking one’s collections anywhere when allowed to leave their homes, and still actively centre themselves - perhaps necessary to survive this new reality, where social distancing measures turn going out into a bizarrely solitary experience inside and out. The 'Take-Away Shrine' allows users to celebrate objects collected, and provides an immediate platform on which they can display these objects and centre themselves with a moment's peace at home alone or on a sociallydistanced hike.

Design is a verb, and not much is needed to make it work. In this age of partial lockdowns and social distancing, people are relying more heavily on civic intelligence to open and reorganize public spaces for moments of sharing, exchange and co-creation.

"The core of design is that it can inspire inspiration into any object and give them new meaning," says Ole Bouman. In this project by Design Society, tape has been given a new meaning – to create a social distance space called for during COVID-19. Leveraging the ability for tape to connect or attach to any object, social distance space made by tape could be used to separate people from people, while also helping the public maintain order and create common topics. 「設計」是一個動詞，不需要形容太多就能激起作用。 在這 個封鎖和遠離社會的時代，人們越來越依賴公民情報來開放 和重組公共空間，以達成共享、交流和共同創作。

在這充滿挑戰的時刻，居家的時間創造了發掘內在自我的機 Ole Bouman 表示： 「設計的核心是能激發靈感到任何物體上， 會。對於 JJ Acuna 來說，從各地收集的岩石和晶體，以及 並賦予它們新的含義。」在 Design Society 這個作品中，膠 大量精選出來的物品所實現的《外帶神廟》 ，達到了這項目的。 帶被賦予了新的含義—創建在 COVID-19 期間需要的社交距 離空間。 利用膠帶連接或附著到任何物體的特性，所產生的 該項目靈感來自餐點外賣，使人們允許把收藏品離家帶到任 社交距離空間可用分隔人群，同時還可以幫助公眾維護秩序， 何地方，但仍能發揮發掘內在自我的功能。由社區隔離措施 並建立共同的方向。 帶來的不尋常孤獨經歷，這可能成為生活在這個新的現實世 界中所必需的。《外帶神廟》提供一個平台讓用戶展示不同 收藏品，並嘗試在社交距離下享受獨處的寧靜。

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DUSTS CATCHER

DISTANCE CANDLE HOLDER

Adam Hudec

Alfred Lam, Studio 1618

Design Trust Seed Grantee

Friend of Design Trust

The COVID-19 pandemic has revealed that urban areas suffering from high levels of air pollution are most affected by the spread of the virus, as airborne dusts are known to carry chemical and biological contaminants, including viruses that can float in the air for hours, days or even weeks. Yet, the toxicity of the air we breathe is virtually invisible to our senses.

Light in weight, smooth in texture and bold in form, the ‘Distance Candle Holder’ features a set of two hexagonal ceramic bases, divided with a translucent onyx separator, the illuminated veins in the material rendering each candle holder unique.

Adam Hudec addresses this with ‘Dusts Catcher’, which collects airborne dust on nanomembrane when inserted into the opening of a fully recyclable folded paper contraption. Placed outdoors, the buildup of particulate matter materializes and transforms otherwise invisible airborne dusts into visible and tangible artistic objects. Wanting to encourage participation in the further understanding of human impact on the environment, the device can be delivered via post to local communities. 疫情表明空氣污染嚴重的城市地區受病毒傳播的影響最大， 因為已知空氣中的塵埃會攜帶化學和生物污染物，包括可在 空氣中漂浮數小時、數天或數星期的病毒。 然而，在我們呼 吸的空氣中，其毒性實際上是看不見的。

Adam Hudec 用《Dusts Catcher》解決了這個問題，當它插 入完全可回收的折疊紙裝置的開口中，它會在納米膜上收集 空氣中的灰塵。 室外的顆粒物積聚後，把原本不可見的懸浮 塵埃轉化為可見的有形藝術作品。 為了鼓勵人們進一步了解 人類對環境的影響，可以通過這裝置推廣至不同社區的居民 使用。

Alfred Lam’s prototype echoes the social conditions normalised by COVID-19, representing the ‘social distancing’ that many are experiencing, but in particular emphasises the emotions evoked by these experiences.

The flicker of the candlelight on the translucent divider resembles hope, energy and glow, a touch of poetic feeling to soften the hostility in our way of life today. The 'Distance Candle Holder' is a reminder that everyone should cherish their loved ones. 《Distance Candle Holder》的燭台設計輕巧、表面光滑且外 形突出，以一組兩個六角形陶瓷為底座，並由一個半透明的 瑪瑙分隔，材料中的發光紋理使每個燭台都具有獨特性。

Alfred Lam 的原型呼應了疫情的社會條件，當許多人正在 經歷的社交隔離，反強調了這些經歷所引起的情感。 燭光閃 爍著希望、活力和光芒，當中的詩意減輕了我們當今生活方 式的敵意。 《Distance Candle Holder》提醒每個人都應該 珍惜自己的至親。

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RAMEL

TACTILE FAMILY

Alyina Ahmed

Aron Tsang and Hera Lui, NAPP Studio

Friend of Design Trust

Aron Tsang, DTFS 2018 Mentee

Ramel, a material made out of desert sand, clay and natural binders is currently being developed as a sustainable material substitute. Desert sand is a natural resource that is abundant, but commonly not used in construction due to its fine and rounded grains. Natural binders and homemade systems are being tested to create a strong material comparable to concrete.

The COVID-19 pandemic has unveiled certain underlying discomforts, from family confrontations to stress issues. Aron Tsang and Hera Lui aspire to alleviate these emotional tensions with ‘TACTILE FAMILY’, promoting the importance of textural tactility in emotional perception.

With the intention of showing the versatility of the material and its ability to be used to create functional everyday objects entirely at home, Alyina Ahmed has constructed an incense burner, coaster/paper weight, chopstick holder, and multifunctional piece, all created using moulds that are commonly found in households such as container lids, foam blocks and wooden pieces. 《Ramel》是一種由沙漠沙土、粘土和天然粘合劑製成的材 料，目前正被開發為一種可持續的材料替代品。沙漠沙土是 一種可大量供應的自然資源，但由於其細而圓的顆粒，通常 不用於建築。為了生產可與混凝土媲美的堅固材料，天然粘 合劑和自製技術正在努力測試中。 為了展示這種材料的多功能性，以及將其用於完全在家中創 建日常功能的能力，Alyina Ahmed 建造了香爐、杯墊 / 紙震， 筷子架和其他多功能部件，所有部件均使用模具製作而成， 並來自家中例如容器蓋、發泡物料和木塊上發現。

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Inspired by sensory toys used for children’s therapy, this design features a series of gadgets with varying textures, such as silicone rubber, wood, stone, and steel. Designed to trigger feelings and shift our focus back to our bodies and tactility, the objects can also be used as aids for meditation. The appearance of the figures is designed based on habits which generate satisfaction, creating a visual stimulation that links with its given textures. 從家庭對抗到壓力問題，疫情期間給某些人帶來了一些潛 在的不適。 Aron Tsang 和 Hera Lui 希望以《TACTILE FAMILY》減輕家庭的情緒緊張，提倡以觸覺在情感知覺中 起著重要作用。 於兒童療法的感官玩具的啟發，該設計採用了一系列質地不 同的小工具，包括矽橡膠、木材、石材和鋼。 它們旨在觸發 感覺並將我們的注意力重新轉移到我們的身體和觸覺上，這 可以用作冥想了治療。 作品的外觀會根據習慣而改變，並造 出不同紋理，因而產生滿足感及帶來視覺刺激。

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MEGAPHONE

HOXY

Aurelien Barbry in collaboration with Constant HK

Christopher Choi with Keith Hui, in collaboration with Esther Fung and Ian Tam, ioii Studio

Friends of Design Trust

Christopher Choi, DTFS 2018 Mentee

An iconic, simple and domestic tool, the megaphone allows anyone to magnify their voice when calling someone at a distance, joining in group songs or getting kids home for dinner from the height of a balcony. It is as much a practical tool as it is an interactive object that allows for intergenerational play.

In today’s technologically advanced society, tablets are replacing quality family time at gatherings and meals.

In Hong Kong, even the excitement of using origami to transform chopstick wrappers into chopstick holders during dim sum is being replaced with a fight for screen time.

Constant HK presents a cardboard megaphone, featuring a custom, dynamic "hybrid” pattern inspired by wood structure and sound waves — an abstract expression with a nudge to the playful purpose of the megaphone itself.

Made out of off-cut wood from timber shops, ‘HOXY’ is a meal time-friendly 4-module building block set to bring back pre-meal family time: table space can be customised by interlocking different modular combinations to enable children and parents to build their own chopstick holders, trees, animals or imaginary towers, bringing back tangible play experiences to family mealtimes.

A counterpart to the cardboard megaphone is one made in birch wood as an iconic "home" object that fits the rest of an interior’s warm expression.

在當今先進社會中，平板電腦正在取代人們在聚會和用餐時 這款擴音器是一種標誌性、簡單而實用的工具，可讓任何人 的相處時光。香港人以往在茶樓飲茶，會用筷子包裝紙摺筷 在遠處擴大聲音，並給遠處的人打招呼，也能加入集體歌曲， 子托，也漸漸因沉迷於屏幕而消逝。 或用作叫喚在陽台玩耍的孩子們回家吃飯。它既是代際遊戲， 又是一種實用工具。 《HOXY》積木希望能重塑以前的飯枱家庭樂：四個形狀的積 木互相扣上，並可砌成專屬的筷子托、小樹、動物模型或建 Constant HK 推出了一種紙板擴音器，其特點自定，動態的 築傑作等，重塑親子互動的相處時光。 「混合」模式，其靈感來自木質結構和聲波，這是對擴音器本 身有趣目的的一種抽象表達。 另一種擴音器是由樺木製成的，它是對「家」標誌性的形象， 適合家居室內的溫暖形象。

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THE 3D PRINTED (SUPERMAN) FACE MASK

THE THINGS WE TOUCH

Douglas Young, G.O.D.

Design Trust Seed Grantees

Evelyn Ting and Paul Tse, New Office Works

DTFS 2019 Mentor

As face masks essentially cover half of the user’s face, individuals become less recognisable than they normally would be. Douglas Young presents a prototype concept for printed face masks. Through 3D scanning and printing, the user can create a copy of their actual face as face mask. Not only does the plastic face mask blocks viruses, upon wearing it, you could still distinguish the user’s face and features. "I think design is a coordinated response to a set of problems," says Douglas, "The COVID-19 situation has brought about a new set of problems for humankind. As a designer, it offers me immense design possibilities and creative ideas so this is the positive side that I am seeing from this human catastrophe." 由於口罩覆蓋了面部的一半，個人特徵變得比正常情況下難 以區分。楊志超提出了一種印刷口罩的概念。用家可以進行 3D 掃描及打印技術，來打印面部輪廓的口罩，除了以塑料口 罩阻止病毒傳播，戴上後仍能辯認容貌，楊志超： 「設計是對 一系列問題的協調和響應。疫情下給人類帶來了一系列新的 問題。 作為設計師，於這情況提供了無限的可能性和創意， 並帶來積極面向。」

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The ongoing pandemic has fundamentally altered how people associate with their surroundings, particularly the things we touch. Small bottles of hand sanitizers have become a staple handing off every bag and in every pocket. With individuals going through several bottles a month, the proposed design by New Office Works is a playful documentation of one’s hand sanitizer usage the transformation of empty bottles of various shapes and sizes into functional objects. The traces of its use has been rendered into the repurposed bottles, creases and ridges left by each squeeze highlighted in the matte white finishing of what is now a miniature vase for flowers. 疫情持續從根本上改變了人們與周圍環境的聯繫方式，特 別是我們會接觸的事物。 小瓶的洗手液已經成為分發每個 袋子和每個口袋中的必備品，而且個人每月都要使用幾瓶。 New Office Works 紀錄了一個人使用的洗手液習慣的有趣 記錄，將各種形狀大小的空瓶轉換功能性的物品。它的使用 痕跡已經被轉化成重新使用的瓶子、摺痕和擠壓留下的痕 跡，並以啞光白色飾表面突出顯示，成為了一個微型花瓶。

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MIND-TRIP

SWEAT [SIMPLE WORKOUT EXERCISES AND TRAINING]

Evelyn Teploff-Mugii Friend of Design Trust

Frédéric Gooris and Paulina Chu Friends of Design Trust

‘Mind-Trip’ is constructed from a wooden box unit with interior configurations reminiscent of the "shoji" lattice-formed window frames in traditional Japanese architecture. Designed as a vehicle of happiness, Evelyn Teploff offers an alternative experience for our desire to travel in the ongoing pandemic.

The pandemic has disrupted billions of lives, placing over a third of the world’s population under some form of lockdown. With leaving home being outlawed, closed gyms and no equipment at home, Frederic Gooris and his family has designed a set of eco gym equipment made by family, for family.

"Dreaming about or planning for a journey is a therapeutic act. Studies claim travel is linked to enhanced empathy, energy, focus and creativity.

Anticipating a trip in the future also is shown to reap similar benefits and bring us happiness," says Evelyn, "This is a window into what I see in Kanazawa — a dreamy city I call home steeped in history and beauty.

Lose yourself in thought and envision a visit to Japan."

‘SWEAT [Simple Workout Exercises And Training]’ is primarily made of bamboo, inspired by its symbol of longevity and due to its durability, strength, flexibility, and resilience. It survives in the harshest conditions, is flexible in stormy weather, and stands tall against fierce winds – a wonderful reminder nothing lasts forever, including this pandemic.

《Mind-Trip》由木箱構成，其內部構造讓人聯想到日本傳統 建築中的“ 障子” 格子窗框，這是 Evelyn Teploff 的作品， 為所有正在經歷疫情中旅人們提供幸福的工具。

疫情已經破壞了數十億人的生活，使世界三分之一的人口處 於某種形式的封鎖下。 由於被禁止出門，關閉體育館並且在 家中沒有任何設備，Frederic Gooris 為家庭設計了一套由 家庭生產的健身設備。

計劃旅行是一種治療行為。 研究稱，旅行與同理心、活力、 專注力和創造力有關。Evelyn 表示 ： 「計劃將來的旅行也將 獲得類似的好處，並帶給我們幸福。」這作品是進入金澤市 — 一個充滿歷史和美麗的夢幻之城 — 的一扇窗口。

《SWEAT》主要由竹子製成，其靈感來自其長壽的象徵以及 其耐用性、強度和柔韌性。 它可以在最惡劣的條件下生存， 並在暴風雨中可以靈活使用，當猛烈的風平息之後再次高高 聳立，這提醒了沒有東西會永遠持續，就像這場疫情。

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SO-AP: RINSE AND REPEAT

THE HAPPY HUG BRACELET WATCH

Jing Liu, Emma Silverblatt, Yuanjun Summer Liu and Astrid Steegmans, SO-IL

Johanna Ho, PHVLO

Friends of Design Trust

Design Trust Seed Grantee

"Because the world has slowed down, we also had the luxury to reorganise our office archive, to learn about and reflect upon what we have done," says SO-IL. From SO-IL is a collection of soaps, created from their archive of model moulds. Thinking of the small gestures like hand washing called for at this time, ‘SO-AP: Rinse and Repeat’ demonstrates the designers’ desire to repurpose their visions for the current needs of society – to protect individuals themselves, protect people they love, and also protect strangers that are loved by others. These soaps explore the experience of what it feels to hold a building in our hands, to use it every day intimately.

Collaborating with her daughters, Johanna Ho presents the concept of a bracelet making kit that family members of all ages can take part in, designed to remind the wearer to reach out to other family members and friends through a simple text or call in these trying and lonely times. With the goal of bringing loved ones together even under the restrictions of the ongoing pandemic, the completed bracelet is embedded with a flower shaped alarm that lights up during certain times of the day, making one think of close ones who may not be nearby. Through technology, love and care is felt through the sporadic reminder of this bracelet, instilling strong hope among all.

「正因為世界的節奏慢了，我們終於有時間系統的整理事務所 的檔案，學習和反思過去的項目。」SO-IL. 親述。由設計師 製造的一系列香皂，由已有存檔的模具製成，思考著洗手這 個小小的舉動《SO-AP: Rinse and Repeat》展示了設計師 渴望回應社會當前的需求— 保護個人、愛人及被其他人所愛 護著的陌生人。這些香皂探索了想要感受用手握住「建築」 ， 並以更親密的尺度和頻率與它共存。

Johanna Ho 與女兒合作， 提出了一個手鐲製作工具包的概念， 適合任何年齡的家庭成員參加，旨在提醒佩戴者通過簡單的 文字，或嘗試於這寂寞的時代與其他家庭成員和朋友聯繫。 使令縱使在持續疫情的限制下，也能將親人連繫在一起。已 完成的手鐲內嵌了花朵形的警報器，該裝置在一天中的特定 時間發亮，提醒人們仍能心繫於不在身邊的親人。 通過科技， 稍稍地透過這個手鐲，令人感到愛與關懷，並帶來了無限希 望。

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GREEN KINTSUGI

SECONDHAND

Joshua Ng, Twins Kitchen

Kaliz Lee

Friend of Design Trust

Friend of Design Trust

Kintsugi, also known as Kintsukuroi, refers to golden repair in Japanese - it is the traditional Japanese art of repairing or upcycling broken pottery. In the practice of this ancient technique, broken pieces of pottery are reassembled with lacquer and dusted with gold, resulting in beautifully unique pieces enhanced by its metallic scars. Instead of using gold, Joshua Ng uses green fungus to fill in the cracks of broken pottery.

Inspired by the green fungus emerging from the cracks and gaps on hiking trails, the metaphor extends to the idea that nature is the best concoction to fix our broken humanity.

Masks, goggles, face shields, gloves, air purifier necklace... from the beginning of the COVID pandemic, there has not been much that the people of Hong Kong would not be willing to wear in order to protect themselves from the virus. Upon these observations, Kaliz Lee has designed another accessory to add to the list of gear for individuals to use to avoid having direct contact with the outside world. With adhesives, ‘SecondHand’ can be stuck to any grocery item, and users will then have an instant “shopping bag” to wear over their shoulders.

口罩、護目鏡、面罩、手套、空氣淨化器項鍊等等……由 「金繼 Kintsugi」也稱為「Kintsukuroi」 ，在日語中指以黃 疫情開始，香港人不情願地佩戴，為了保護自己免受病毒 金作修補的手藝，這是日本傳統修復陶器的藝術。在實踐 感染。 基於這些觀察，Kaliz Lee 設計了另一個飾物配件， 這項古老技術中，將破碎的陶器重新組裝成漆，並撒上金 在個人裝備清單上再添一個項目，避免與外界直接接觸。 色的粉末，從而通過其金屬色裂縫點綴成精美絕倫的陶器。 《SecondHand》在使用粘合劑可以粘在任何雜物上，用戶即 Joshua Ng 使用 真菌取替了黃金，用來填補陶器的裂縫。 可把「購物袋」配戴在肩膀上。 這種製作技術靈感來看見自遠足小道的裂縫生長綠真菌，這 概念延伸至另一觀念，隱喻大自然是修復人類間破碎關係的 最佳黏合劑。

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STREETSIGN-FASHIONED

"CAN" PLAY

Kevin Mak and Ken Fung, @streetsignhk in collaboration with Lee Kin Ming, China Bright Production

Kevin Siu, Shuyan Chan and Bob Pang, AaaM Architects

Friends of Design Trust

Bob Pang, Design Trust Seed Grantee

A sad truth is that traditional Hong Kong signboards are disappearing beauties, and despite the efforts by @streetsignhk to preserve, promote, and educate around the cultural, historic, and aesthetic value of signboards, certain signboards inevitably face demolition under the current signboard control system.

Families and children have occasionally been put in lockdown during COVID-19, where stress and anxiety can easily build up. While the introduction of digital devices for children could be an easy solution, they are proven to be unhealthy to their long-term development, calling for an alternative, universally accessible, low cost and tactile-based solution.

@streetsignhk has created an ice mold for homemade cocktails, with characters provided by Mr. Lee Kinming, a digitised font based on handwritten characters by signboard calligrapher Mr. Lee Hon. The melting of the ice acts as an analogy to the disappearing of the signboard streetscape in Hong Kong, in the hopes of raising attention and initiating discussion around their cause – especially when many are confined to their homes and with shops facing threats of closure during the COVID-19 period.

'"CAN" play' is an open-end adaptive toy system in which sustainability and play are combined to unleash children’s unlimited creativity. AaaM Architects’ concept provides a means for the reuse of aluminium cans, which become basic building "blocks" for kids while a system of joints is developed to allow flexible adaption and multi-directional connection. The design encourages the idea of learning by failing, while also facilitating collaboration and creative expression.

看見傳統的香港招牌正在消失實在可惜，除了 @streetsignhk 正努力維護 「街招」 、 傳承招牌文化， 並試圖教育大欣賞其美學、 文化及歷史價值。但是在當前的招牌監管制度下，使眾多現 有的招牌面臨拆卸。

在疫情期間，家庭和兒童偶爾會被關於家中，從而容易產生 壓力和焦慮。 雖然為兒童引入數字機制可能看來簡單，但事 實證明，這不利於他們的長期發，因此需要通用的，低成本 且基於觸感的方案解決壓力問題。

@streetsignhk 的設計是為家中調制雞尾酒用的冰模，配上 《"CAN" play》是一種開放式自我適應的玩具系統，該系統 由李健明先生提供，按招牌書法家李漢先生的手寫字稿，這 將可持續性與遊戲性結合在一起，釋放了孩子們無限的創造 溶化中的冰塊設計比喻為香港消失中的招牌街景希望尤其是 力。 AaaM Architects 的概念是提供了一種可重複使用的鋁 在疫情期間，當我們被困在家中，眼白白讓街上眾多店舖面 罐配件，鋁罐成為孩子們的基本建築「磚塊」 ，它既能同時 臨結業之際，能盡早引起公眾注視，並就其保育進行討論。 開發了關節系統以實現靈活的適應性和多向連接。 該設計 鼓勵從失敗中學習的想法，同時也促進協作和創造性表達。

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WOODEN LOCK

INCENSE HOLDER

Guo Lijun, [Guo+Jinwu]

Nelson Chow, NC Design & Architecture

Friend of Design Trust

Friend of Design Trust

Both a furniture designer and a father, Guo Lijun has been prompted to think about how to design products that meet the needs of children. Observant in the time spent with his son, Guo has found games and toys to be very useful in training children’s different abilities, also noting how the effective participation of parents plays an important role in driving children’s learning.

The ongoing pandemic has kept many in their homes, giving many an opportunity to slow down and reflect. As the burning of incense has long been used as a method to promote relaxation and create a sense of calmness, Nelson Chow has designed an incense holder, available in 4 different colours, each emblematic of different emotions.

Emerging from these reflections are a collection of children's furniture and toy products that can be assembled easily like puzzles, such as the wooden lock prototype. This series of objects is designed to inspire the collaboration of both children and adults in the active building of the final product.

Charcoal black represents strength, power, and resolution; to keep one grounded and empower them to navigate through troubled times. Cream white represents light, purity and goodness; to cleanse one’s mind and to let go. Moss green is balance, harmony and renewal; to renew and restore depleted energy.

Soft yellow is happiness, clarity and joy; to strengthen positive energy and encourage optimism.

身兼傢俱設計師和父親的郭立軍考慮如何能設計滿足兒童 需求的產品。 在觀察在與兒子共處的時間，他發現遊戲和玩 具對於訓練孩子的不同能力非常有效，指出了父母的有效參 與，對推動孩子學習方面的重要作用。 他從這些發現結果中湧現出了結合了兒童傢俱和玩具產品的 設計，這一系列設計可以像拼圖一樣容易地組裝，就像木製 鎖的原型一樣。 該產品旨在激發兒童和成人在積極參與中合 作製造出最終製成品。

持續的疫情使許多人濟留家中，卻帶給我們機會放慢腳步 和反思。 香薰一直被用作促進放鬆和營造鎮定感的產品， Nelson Chow 設計了一種香薰架，並有 4 種顏色可供選擇， 每種顏色都代表著不同的情感。 炭黑代表持強度、力量和決心；保持紮根。並提供力量渡過 困難時期。 乳白色代表清淡、純正和善良；洗淨心靈，放下 執著。 苔蘚綠代表平衡、和諧與更新；更新和恢復耗盡的能 量。柔和的黃色代表幸福、清晰和喜悅；增強正能量並鼓勵 樂觀。

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NULL & INFINITY

DANCING WITH NATURE – A HEALING METRONOME

Otto Ng and Yip Chun Hang, LAAB Friends of Design Trust

UUendy Lau Friend of Design Trust

The new norm of social distancing during COVID-19 has compelled everyone to rethink the meaning of human connections. 'Null and Infinity' explores different scales of social distancing - individuals, communities, and the city - by producing infinite loops of the viewer and the viewed through masks made by one-way-mirror-films.

By subtracting facial features, individuals interact with others without being filtered by our prejudices; alternatively, the visual surprise created by the masks encourages social interactions by producing a fun and exploratory experience without compromising physical distance. As the world experiences social isolation, this homemade prototype prompts reflection about social connection, while also acting as a critical reminder of every individual as an "inter-being" - the interconstitution of "the" and "the other".

In times of crisis and massive change, people may find themselves overwhelmed with growing fear and anxiety, hindering attention and productivity as negative thoughts dominate and routines become disrupted.

Designed to serve as a therapeutic object, ‘Dancing with Nature’ is a healing metronome that demonstrates an alternative pace of thinking and performs as an empowering probe that encourages users to reconsider their existing relationships with the natural environment, exploring new contexts for users to reexperience or reconnect with nature. Through an engaging process of observation, imagination and immersion, this prototype initiates a speculative dialogue between humans and the environment that inquires the curious juxtaposition of dynamic motions and rhythms choreographed by the respective subjects.

於疫情期間新的社會隔離措施使每個人都重新考慮人際關 係的定義。 《Null & Infinity》透過產生觀眾的無限循環以及 在這危機和巨大變化時期，人們可能會發現自己變得越來越 通過單鏡片製作的面具，來探索不同規模的社會距離—包括 恐懼和憂慮，隨著消極思想侵佔主導地位和常規被打亂，妨 個人、社區及城市。通過減去面部特徵， 個人可以與他人互動， 礙了注意力和生產力。 而不會受到我們的偏見的過濾；另外，口罩產生的視覺驚喜 可通過在不影響身體距離的前提下產生有趣和探索性的體 《與自然共舞》旨在治療，是一種康復的節拍器，它展現出另 驗來鼓勵社交互動。 當世界經歷社會隔離時，這作品促使 類節奏，並具有激勵作用，可鼓勵用家重思考與自然環境的 人們對社會聯繫進行反思，同時也提醒每個人一個「相互之 現有關係， 探索新環境以使用家與自然重新聯繫。 通過觀察， 間」—「我」和「他者」的相互構成。 想像和沈浸的互動過程，作品啟動了人類與環境之間，動態 與節奏的思辨。

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IN DUST

BAMBUSA

Michael Leung, STUDIO AA

Kristof Crolla, Yip Fai Martin Lau and Ling Sum Evangeline So, L-E-A-D

Design Trust Feature Grantee, DTFS 2019 Mentee

Friends of Design Trust

A lot of change has come about in everyone’s lives this year, as has reflection around staying safe, connecting with others, and seeing the world without going outside.

Despite a lot more alone-time, there is not a feeling of being at ease. "While I was lighting an incense, looking at the ash fall, I wanted to make a container, collecting the weight of time," says Michael Leung.

‘IN DUST’ is an incense burner inspired by wooden boxes used as sake carriers in Japan. Users can decide whether they want to see the incense burn, or simply look at its smoke rising. The ashes from burnt incense are collected in the box over time, allowing one to feel its weight over time. 每個人的生活在這一年都發生了許多變化，包括圍繞著保 持安全意識、與他人聯繫以及無需出門就能看到世界的思 考。 雖然人們擁有更多的獨處時間，但卻沒有放鬆的感覺。 Michael Leung 的靈感來自點燃香火時飄落的煙灰，設計出 一個容器收集時間的重量。 《IN DUST》是一款香薰香爐，來自日本用作盛載清酒容器的 木箱。 用家可以決定用作看香火，還是只看著煙冒出來。 隨 著時間的流逝，燒香的灰燼被收集在盒子中，讓人們感受時 間流逝的重量。

Confined from their beloved prototyping playgrounds, L-E-A-D dreams up future architecture opportunities, experimenting with the materials they have lying around in the studio.

‘BAMBUSA’ is a small vase; a conceptual, architectural, tectonic scale model that demonstrates the soft, tactile qualities of its materiality and the graceful nature of its enclosed space. Its conception and fabrication strike a balance between mathematical precision, geometric purity, poetic curvature, and craftsmanship. The model uses a bundle of straight bamboo sticks, dynamically twisted into an elegant form, to embrace a fragile glass test tube holding a leafy green bamboo twig.

Pure and simple, ‘BAMBUSA’ heralds a near future in which full-scale bamboo experimentation will again push the boundaries of a built environment that capitalises on opportunities from ecologically sustainable natural construction materials.

L-E-A-D 從他們喜愛的原型操場設計，夢想著未來的建築 機會，並以他們工作室內的材料作實驗。 《BAMBUSA》是一個小花瓶；在概念、建築、構造上的比例 模型，展示了其柔軟性、觸覺質感和封閉空間的優美性質。 它的概念和製造在數學精度、幾何純度、詩意曲率和工藝之 間取得了平衡。 該模型使用一束直竹棍，動態地扭成優雅的 形狀，以包裹著裝有綠葉竹枝的易碎玻璃試管。 《BAMBUSA》純淨而簡單，預示著不久的將來，充分的竹子 試驗將再次突破建築環境的邊界，該環境利用了生態可持續 的天然建築材料帶來的機遇。 31

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WHAT GOES DOWN MUST COME UP

AS TIME GOES BY, HISTORY IS FANTASISED

Alan Chan, Alan Chan Design

Charles Lai, aona architects

Friend of Design Trust, 2009 HKAoD Event Creative Director

Friend of Design Trust

In the face of a world turned upside down, there is a hope that all are brave enough to take the first step out of our comfort zone rather than standing still.

Sometimes, what is known is a pitfall but what is not seen is the road uphill, just a few steps ahead.

‘As Time Goes By, History Is Fantasised’ is a snow globe depicting the first colonial building in Kowloon.

Its castle-like facade was a loud proclamation of its European identity, one that matched its role as one of the first colonial foot-holds in Hong Kong, contrasting the Chinese style yamen ( 衙門 ) of the Kowloon Walled City.

From Alan Chan, this pair of shoes in black and white signifies the binaries in life that go toe to toe. Not everything one loses is at a loss, sometimes there is an upside in the end. When force is exerted in the opposite direction, the same force pushes us forward. When there is no backing down, the only way up is forward.

‘WHAT GOES DOWN MUST COME UP’ is a reminder of strength in all the directions life takes you. This is a special collaboration between Alan Chan and Andrew Kayla created uniqely for "Design Trust: Critically Homemade". 面對一個黑白顛倒的世界，存在一點希望所有人都能勇敢地 邁出第一步，而不是停滯不前。 有時，往往看不到的是上坡 的路，雖僅幾步之遙，卻似是一個陷阱。 從陳幼堅看來，這雙黑白相間的鞋子像徵著生活，當腳趾 頂頭時，就像正面交鋒，縱使茫然不知所措，但並未完全 失去；當以相反的方向施力時，相同的力將我們向前推動提 升。既然沒有退縮空間，那麼唯一的前進就是前進。《WHAT GOES DOWN MUST COME UP》提醒人們生命的全方位力 量將帶領你。這是陳幼堅和 Andrew Kayla 特別合作為「信 言設計大使 : 因時『製』宜」展覽而設計的作品。

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Little is known about the story behind what was likely a police station during the late 1800s. The snow globe explores the duality between history and fantasy – as the viewer gazes at the falling glitter, the passage of time is materialised and compressed within the snow globe, while the building’s lost history is being fantasised in the viewer’s mind. 《As Time Goes By, History Is Fantisised》是描繪了九龍第 一座殖民地建築的雪景球。 它城堡般的外牆高調地宣示了它 的歐洲特色，與它作為香港最早的殖民地之一的角色相稱， 並與九龍寨城的中國衙門風格形成了鮮明對比。 在 1800 年代後期，這可能是警察局的故事鮮為人知。 雪球 探索了歷史與幻想之間的二元性—當觀眾凝視著落下的閃光 時，時間的流逝在雪球中得以實現和壓縮，而建築物的失落 歷史卻在幻想中被幻想。

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INCOMPLETE INCENSE PLATE

UNDER/EXPOSED

Derek Lee and Geeio Yuen, MOM AND POP

Donn Holohan and Elspeth Lee, Superposition

Friends of Design Trust

Donn Holohan, Design Trust Seed Grantee

Creating a silent universe.

Through all the chaos and uncertainty in the past year, it can be assumed that many are in need of an escape from all the emotional strain endured; everyone is in need of a sanctuary to escape to, a space to calm oneself.

Proposed by MOM &POP is the ‘Incomplete Incense Plate’, designed to appeal to both the user’s senses and mind, ideally to be crafted with brass to achieve the best finish. "Scent is an important part of life, a sense that ignites different feelings and meanings," says Derek Lee, "Let's light up the incense, and let us observe the world outside through the crack of this three-quartered circle." 創造一個寂靜的宇宙 在過去一年半的混沌，我們都需要逃離現繃緊的情緒，讓自 己靜止一下。香味是生活的重要一環，承載着不同的感覺與 意義。

MOM ＆ POP 製作出《不圓滿線香盤》，旨在吸引用戶的 感官和思，並有理想情況下用黃銅精製以達到最佳效果。 Derek Lee 說： 「氣味是生活的重要組成部分，一種點燃不 同感覺和意義的觸覺；讓我們點亮香薰，從這四分三的圓中， 觀察窗外的世界。」

The pandemic has resulted in a dramatic shrinkage of our lifestyles and environments, leading most to spend more time at home than ever before. Underexposed seeks to find a way of slowing down and viewing our everyday surroundings in a more mindful and considered way. Designed by Superposition, the making of a pinhole camera came from a desire to step away from their screens, and to reframe the idea of both camera and image as objects in and of themselves. In contrast to digital and smartphone photography, the process of pinhole photography is not instantaneous; a degree of patience is required - both in the length of the exposure and in the development processes, and the results are not always successful or predictable. 疫情導致我們的生活方式和環境急劇萎縮，使大多數人在家 裡渡過更多的時間。 《Under/Exposed》的設計目的是尋找 一種可以放慢腳步，以更周全和關聯的方式觀察我們的日常 環境。由加 Superposition 設計，以針孔相機的製造源自於 遠離屏幕的渴望，並重新構築了相機和圖像作為物體本身的 想法。 與數碼和智能手機攝影相比，針孔攝影的過程不是瞬 間的。 需要一定的耐心—在曝光的時間和顯影過程中，結果 都不總是成功或可預測的。

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HAND BRAIDED SANITIZER POUCH

STERILISING LAMP

Fiona Lau, FFIXXED Studio

Friend of Design Trust

Frank Chou, Frank Chou Design Studio

Friend of Design Trust

Since the beginning of the pandemic, there has been a spike in awareness surrounding good public health practice, and a new norm is to be armed with sanitizing supplies when venturing out. At FFIXXED Studios, Fiona Lau has explored D.I.Y., handmade techniques to develop a hand braided pouch from wax cotton, designed to carry hand sanitizers and hand cream.

Adapted from a water bottle pouch they had released for their new season collection, this pouch resembles a smaller iteration of its predecessor and features tassel braiding, to assist in a more creative and 'hands on' way of combating the current situation surrounding COVID-19. 自疫情開始以來，人們對良好公共衛生習慣的意識提高，並 且養成在出門前帶備消毒用品的習慣。FFIXXED Studios 的 Fiona Lau 研發以蠟棉編織小手袋的手造技術，用於攜帶洗 手液和護手霜。這項設計更新自他們新季度推出的水瓶袋系 列，設計師以創造性和手作的方式回應疫情的現況，創作出 比原本設計為較小的版本，並加上流蘇裝飾點綴。

Observing that existing household disinfection methods all require habit formation and personal initiative, Frank Chou has realised a need for the "unconscious design" of products for daily disinfecting necessities whereby users need not be "trained". Based on these considerations, the ‘Sterilising Lamp’ combines a tray with an ultraviolet lamp in an elegant design.

Users can place daily articles carrying large amounts of external pollutants, from mobile phones to keys, onto the tray at the end of the day, and then press the cover body to activate the ultraviolet lamp. With the ultraviolet light source placed on the bottom surface of the tray, the reflective coating inside the cover ensures 360-degree blind-spot-free disinfection of its contents.

After 60 seconds, the cover automatically bounces up to reveal its now disinfected necessities, convenient for users to find and use. 透過觀察現有跟據習慣和個人偏好的家居消毒方式，Frank Chou 察覺到「無意識的設計」的需要，基於無需對用戶進行 「培訓」這個考慮。 《Sterilising Lamp》使用了底盤和紫外線 燈結合成優雅的設計。 基於以上的思考，我們將玄關日用托盤與消毒燈結合到了一 起。使用者回家時，可以下意識地將手機、鑰匙、錢包等攜 帶大量外部污染物的日常物品放於托盤中，按下罩體即可激 活內部的紫外線光源，持續 60 秒後罩體將自動彈開，而日 用品將會再次呈現在人們的視野範圍內，方便尋找及取用。 此外，紫外線光源設置於托盤底面，並通過罩體內部的反光 塗層，令消毒光線可以做到 360 度完全覆蓋，以實現日用品 的無死角消毒。的免於照射危害的前提下，便捷且高效地完 成日用品消毒目的。

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SAMURAI CHOPSTICKS

INK AND ARCHITECTURE

Li Fu, UV Architecture

Hugh Davies in collaboration with Yoko Nakazawa, Joyce Cheng, and Nikki Lam

Friend of Design Trust

Hugh Davies, M+ / Design Trust Research Fellow

Prior to COVID-19, the use of serving chopsticks in Chinese cuisine already proved to be a hassle to many; guests at the same table make little effort to use them, and if used, the chopsticks were often placed messily back on the table. The ongoing pandemic simply emphasises the necessity of a solution to promote public hygiene in shared spaces.

Li Fu proposes ‘Samurai Chopsticks’, a prototype to encourage the proper etiquette around the use of serving chopsticks. In this design, magnets are implanted into serving chopsticks and wrapped in an iron sheet. Carefully balanced, the rotation of a turntable would cause the chopsticks to vibrate slightly like Samurai’s swords , reminding all to use it, and put it back after use. It will be a brave Samurai to guard people from the virus.

‘Ink and Architecture’ combines the aesthetics of historic Chinese seal stamps with the architecture of contemporary Hong Kong. The series of works features architectural miniatures of renowned Hong Kong buildings that serve as decorative handles for traditional seal stamps.

In collaboration with Melbourne-based artists and researchers from Chinese, British, Japanese and Hong Kong backgrounds, Hugh Davies has co-designed stamp impressions that appear beneath each of the model buildings. The decorative seal stamps reflect the customs of seal stamp designs but are abstracted and ambiguous, provoking multiple interpretations and meanings. Created in Melbourne, Australia during a period of restrictive lockdown, and with awareness of the dramatic change occurring in Hong Kong, this series of works is created in a spirit of collaborative craft that is both playful and irreverent beneath difficult conditions.

疫情之前，中國傳統用餐時使用筷子已成為許多人的煩惱。 同一桌的客人幾乎不費力地使用，用完的筷子通常會將其亂 放到桌上。 持續的疫情強調了必須採取解決在共享空間中的 《水墨與建築》結合了中國歷史印章郵票的美學與當代香港 維持公共衛生的方案。 的建築。 該系列作品以香港著名建築的微型建築模型為特 色，可作為傳統印章的裝飾手柄。 李傅以《公筷武士》，鼓勵使用筷子時採取適當的禮節。 設 計中筷子被植入磁鐵並以鐵片包裹，平衡轉盤的輕微振動令 筷子像武士刀一樣，提醒所有人在使用後放回原位，成為了 防止人們感染病毒的勇敢武士。

Hugh Davies 與來自墨爾本，與中英日和香港背景的藝術家 和研究人員合作，共同設計了印模圖案，這些印模出現在每 個模型建築的下方。 裝飾性的特色符合了印章傳統設計，但 抽象及簡化並帶出多種解釋和含義。 該系列作品是在疫情 隔離期間在墨爾本創作，從意識到香港正在發展的巨大變化， 這一系列作品是在惡劣條件下創作出既好玩又頑皮的協作手 藝創作。

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ALRIGHT

DUALITY INDIVISIBLE

Jason Chan, COMING-SOON

Thierry Chow and Peter Yuill

Friend of Design Trust

Friends of Design Trust

Through their project ‘Alright’, COMING-SOON hopes to activate an imagination that extends beyond the constraints of physical space, especially when space is limited. Alright is a three-dimensional puzzle, within which each component is designed in the form of simple shapes and constructed from simple materials.

By design, these components can be put together in limitless constructions, allowing users to exercise their creative freedom to the broadest extent. Combined with elements of light, shadow, and reflection, this prototype allows participants of all ages to piece together their own installations and realize the space, color, or even painting of their imaginations.

‘Duality Indivisible’ is a collaborative idea that emerged from the similarities in Peter and Thierry’s work - Peter’s artwork focuses on the questioning and discovery of the meaning of life, and Thierry’s expertise in Feng Shui design heavily focuses on helping one find meaning in life through their environment. The two find duality through concepts geometry, numerology, and symbols, all essentials for one to find the meaning of life. Resulting is the creation of an art piece symbolising the importance of balance, achieved through the use of circles, and specifically the interwovenness of the circles, which is unified with a metallic colour. Wanting to bring each artists’ ideas into physical reality, this is an auspicious object that can be placed in an environment to create good energy - the energy of duality indivisible.

透過《Alright》項目，設計師團隊 COMING-SOON 希望激 發一種超越物理空間限制的想像力，尤其是在空間限制下， 這是一個立體拼圖，其中每個組件均以簡單的圖形及物料， 期望在有限的空間裏創造出超越空間的想像。通過設計，這 些組件可以在沒有結構限制下組合在一起，玩家可以最大創 作自由，結合光、影子及鏡射等元素。此原型使各個年齡層 的參與者都能建立自己的裝置，並拼湊出對空間、色彩、甚 至繪畫等的想像。

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《Duality Indivisible》是一種協作思想，源於 Peter Yuill 和 Thierry Chow 創作的作品 — Peter 的藝術作品著重於發現 和反思生命的意義，Thierry 作品擅長於有關風水創作，幫 助人們通過生活環境來尋找生活中的意義。 兩者創作都根 據於幾何概念、命理學和符號學，所有要素都是尋找出生命 的意義。 創作一件藝術品象徵著平衡的重要性，以圓圈的交 織感表現，並以金屬色統一，為了將每個藝術家的想法實現， 成為可以放置於環境中的吉祥物品，創造二元性不可分割的 正面能量。

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056

DO NOT CROSS

BREATHE COLOR

Jonathan Mak

Savinee Buranasilapin, thingsmatter

DTFS 2018 Mentee

Friend of Design Trust

Following social distancing precautions during the COVID-19 pandemic, many have had to adjust to working from home. Having formed a leg-crossing habit during earlier periods of working from home, Jonathan Mak has designed a device that prevents one from crossing their legs when sitting for a prolonged period of time.

Pandemic shutdowns have accelerated life trajectories by erasing calendars. Young professionals have lived like retirees: house-bound and listless, eyes glued to the screen where actuarial tables are updated in real time. Fashion is forgotten, rendered as irrelevant as whatever day this is. In Thailand, where extended families often live together, the young are incarcerated with elderly relatives. Improbable traditions are transmitted in confinement, like dressing in bright colours corresponding to each weekday. Rooted in Hindu Astrology, this quaint custom turns out to be a weapon against dementia: it forces us to interact with time, acknowledging that while nothing seems to change, today is Wednesday. Green!

Very much a homemade concept, the prototype involves the adaptation of simple at-home materials, including two rubber bands and a pair of slippers. In developing the prototype into a more "designed" and distributable final object, instructional graphics have been printed on thick cardboard, produced with the help of Flip & Roll press, a print studio based in Hong Kong.

在疫情期間採取了社區隔離的預防措施後，許多人不得不適 thingsmatter's polychrome facemasks register time, 應在家工作。設計師麥朗在在家工作早期就養成翹腳的習慣， by marking the day of the week, and by connecting generations. Sunday is red, Monday is yellow, Tuesday 因此設計了一種裝置，可以防止長時間坐著時翹腳。 is pink, Wednesday is green, Thursday is orange, Friday is blue, and Saturday is purple. 自家製的作品以簡單的居家材料的改造，包括兩個橡皮筋和 一雙拖鞋。 在將原型開發為更具「設計」性和可分發的最終 疫情期間通過撕除日曆來加速生活軌跡，年輕的專業人員活 成品時，指導性圖形已在厚紙板上印刷，該紙板是在香港印 像退休：住家無家可歸，眼睛粘在屏幕上，實時更新精算表。 刷廠 Flip & Roll 的幫助下生產的。 時尚已被遺忘，與今天的日子切割。 在大家庭經常在一起生 活的泰國，年輕人被關押在老年親戚中。 不可能的傳統只能 在有限的時間內傳播，就像每個工作日都穿著鮮豔的衣服一 樣。 這個古樸的習俗根植於印度占星術，事實證明它是對抗 癡呆症的武器：它迫使我們與時間互動，並承認雖然似乎沒 有什麼改變，但今天是星期三 — 綠色！

thingsmatter 的彩色面罩通過標記星期幾並與各代人聯繫 來記錄時間。星期日是紅色、星期一是黃色、星期二是粉紅 色、星期三是綠色、星期四是橙色，星期五是藍色、星期六 是紫色。 37

057

058

USELESS CORNER

MOOD INDICATOR

Maggie Ma, Mark Kingsley, Kelvin Chan, Luka Ng and Elsie Kan, DOMAT

Fung Ming Chip Friend of Design Trust

Friends of Design Trust

The ‘Useless Corner’ questions the shift from face to face education to online learning experience, through which DOMAT hopes to emphasize that there is life beyond the screen.

During this time of social distancing, education online has omitted the sense of touch and smell. By not assigning the design with a specified use, the 'Useless Corner' has the potential to be interpreted in unlimited ways - it could be a book stand, a book end, paper weight… The combination of these 8 pieces forms a "Useless Frame", and can even serve as an indoor climbing frame for young children unable to go out during the lockdown as a means to continue their physical development. 《Useless Corner》質疑從面對面教育到線上學習體驗的轉 變，DOMAT 希望通過這種轉變來強調屏幕之外的生活。 在這段遠離社會的時代，線上學習已經忽略了觸覺和嗅覺。 通過不將設計分配給特定用途， 《Useless Corner》以無限 的方式進行解釋 - 它可以是書架，書擋，紙鎮……這 8 件作 品的組合形成了無用的框架，可作為室內攀爬架，以供幼兒 在社區封鎖期間繼續成長。

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The uncertainty and unpredictability of the ongoing COVID pandemic has injected great amounts of stress in the daily life of many individuals, and has confined most to small spaces, in close proximity to the same people for long periods of time. While all are in the process of adjusting to this new norm, Fung Ming Chip has designed a "thermometer for engaging," a visual indicator of the user’s different states of mental health across time. The ‘Mood Indicator’ is designed for people stuck at home during the COVID-19 period to express their mood everyday at four levels: 1) I’m fine, welcome; 2) I’m not so good; 3) Give me space; 4) Back off. 持續的不確定性和不可預測性。疫情流行使許多人的日常生 活中造成了巨大的壓力，並且大部分時間一直局限於與同一 些人在非常狹小的空間內。 在所有人都在適應這種新的形 式規範中，馮明秋設計了一個顯示交流狀況的測量計，這個 視覺裝置能反映用家在某段時間內的心理健康狀況，這個心 情顯示器是為在 COVID-19 期間困在家裡的人們設計的，每 天可以通過四個層次來表達他們的心情：1） 我很好， 很受歡迎； 2） 我不太好；3） 給我空間；4） 滾蛋。

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060

LOW-TECH TOPOLOGY OPTIMISED BAMBOO FRAME FOR MYANMAR

COVID-19 SCULPTURE SERIES

Raphaël Monnier

DTFS 2018 Advisor

Kacey Wong

Design Trust Feature Grantee

While computational design tools are made globally accessible, real-world applications are limited by their complexity. Topology optimisation generates optimum shapes in response to specific sets of conditions and parameters, though often requiring technology that is unaffordable in emerging countries. During the isolation period confined in his office in Yangon, Raphaël Monnier developed a proposal that explores how computational design and vernacular architecture, when combined, can have a higher social impact.

Resolving the discrepancy between the complexity of design and affordability of construction by using locally found materials and low-cost simple construction techniques to better integrate digital fabrication into ordinary real-world workflows. The output of this project is a booklet that will present new ideas for bamboo affordable housing units in Myanmar.

At the beginning of the COVID-19 pandemic, people around the world rushed to supermarkets to grab everyday essential items upon the news of an imminent lockdown. Ordinary household items such as hand sanitizer, food, and even toilet paper became highly sought-after treasure; the price of surgical masks suddenly skyrocketed beyond imagination.

儘管電腦設計工具已全球通用，但現實中的應用程序因其複 雜性而受到限制。 拓撲優化可根據特定的條件和參數生成 最佳形狀，儘管這是新興國家無法負擔的技術。 在隔離時 期內，Raphaël Monnier 在仰光的工作室裡提出了一項提案， 探討將計算設計與本土建築結合起來如何對社會產生更大 的影響。 使用在地發現的材料和低成本的簡單構造技術， 來解決設計的複雜性和可負擔性的問題，將數碼化製造集成 到普通的實際工作流程中。該項目的研究結果是一本小冊子， 將為緬甸的竹製經濟適用房提出新的概念。

在疫情的初期，全球人們在宣告隔離後，瘋狂搶購超級市場 的日用品。普通的家用物品，例如洗手液、食物、甚至廁紙等， 都成了搶手貨。口罩的價格更突然暴漲，超乎了想像。

The idea behind Kacey Wong’s sculpture series is to create a jewelry-like time capsule, achieved by casting essential household items into resin. Each sculpture is casted in multiple layers, with virus-looking coloured dots meticulously drawn in between each layer. The rough resin is then cut into a diamond shape and highly polished to reveal its content, "encapsulating" the shopping absurdity during the pandemic, reminding all not to take ordinary household items for granted.

黃國才的雕塑系列的概念，是把日用品像時間廊般凝固在寶 石形狀之中。作品透過模具把超市日用品重複多次倒在多層 水晶膠中，並在每一層之間畫上像病毒的顏色點，再細心切 割成鑽石形狀並打磨弄至晶凝通透。這雕塑作品把在全球 疫情下發生的超市「奪寶奇兵」荒誕劇凝固下來，提醒大家 能擁有這些普通的日常用品，並不是理所當然。

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061

062

YEAH, BUT IT’LL BE FINE

LIGHT MOTIONS

Ron Wan and Mildred Cheng, dtby_ in collaboration with past dtby_ designers

Sarah Lee and Yutaka Yano, SKY YUTAKA Design Trust Seed Grantees

Ron Wan, Mildred Cheng, Design Trust Seed Grantees

The future is inner space. dtby_ has curated and created a sonic experience to uplift and promote positive change, having found it important to look forward and inwards, and to stay strong mentally and physically during these difficult and unpredictable times. Together with their creative partners, dtby_ has produced ‘Yeah, But It’ll Be Fine’, a compilation of music and sounds to soothe and complement daily tasks, and also a sonic gateway to new hobbies, actions, and creative solutions.

Devotees to positive change can scan and stream or download and supplement as much as desired; the user experience becomes more intense as the compilation progresses. Participants are encouraged to begin chronologically, paired first with tasks that are low in energy, then advised to broaden by selecting chapters best matching their daily routines or desired new hobbies.

In times of reduced social interaction and social separation there are benefits for spatial devices that promote interaction and makes the user feel connected with their loved ones. Sarah Lee and Yutaka Yano propose a conceptual IOT lighting device that allows family members and friends to send smiles and messages to each other in the forms of lighting signals and patterns, in effect allowing loved ones who are physically separated to remain interconnected. In this installation, a pair of lighting devices are connected via digital network, each with a Computer Vision sensor that detects the smiles – and potentially other emotions – of users and sends them to its counterpart device in the form of lighting signals and patterns.

在社交互動和社交分離減少的時期，空間設備會促進互動， 並使用戶感覺與親人有聯繫，這是有益的。 Sarah Lee 和 Yutaka Yano 提出了一種概念性的 IOT 照明設備，該設備可 未來就是室內。dtby_ 策劃並創造了一種聲音體驗，以提升 讓家人和朋友以照明信號和圖案的形式相互發送微笑和消 和促進積極的變化，發現在這些困難和不可預測的時期內， 息， 實際上是使親身分離的親人保持相互聯繫。 在此裝置中， 需向前和向內看的重要性，並保持堅強的心理和健康的身體。 一對照明設備通過數字網絡連接，每個照明設備都帶有一個 計算機視覺傳感器，該傳感器可以檢測用戶的微笑，以及潛 dtby_ 與他們的創意合作夥伴一起製作了《Yeah, But It’ll 在的其他情緒並將其以照明信號和圖案的形式發送到其對 Be Fine 》，音樂和聲音的彙編可以撫慰和滿足日常生活， 應的設備。 並且是通往新興趣、行動和創意解決方案的門戶。 參與者可 以經過掃描、傳輸資資或下載及補充，得到越多的正面的改 變。隨著編譯的進行，用家體驗變得更加強烈，作品鼓勵參 與者在開始時，與較低能量的任務配對，進而建議減少劑量， 並通過選擇與他們的日常工作或所想要的愛好，找出最匹配 的章節。

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063

064

CHOCOLATE BAR SOAP

WE CAN JUMP THIS HIGH

Deborah Lam, Une Szeto and Kay Chan, Good Day Society

Nikolas Ettel, Lidia Ratoi, and Annie Lye Nikolas Ettel, Design Trust Seed Grantee

Kay Chan, DTFS 2018 Mentee

Soap waste has become a worldwide environmental problem, the amount sent to the landfill every year is measured in tons. The designers at good day society understand that convenience is essential to promote environmental protection, and their solution is the ‘Chocolate Bar Soap’. The chocolate bar shaped handmade soap allows individuals to take only their required cubes of soap to avoid excessive consumption of soap, avoiding unnecessary wastage. Only one cube is required for each use, thus the volume is small and easy to carry, and people need not worry about how to handle any remaining unused soap. Considering the destructive properties that chemicals impose on nature, these handmade soaps are made primarily from vegetable oil, so no harm will come to the environment.

Within 24 hours of announcing precautionary measures around COVID-19, the Leisure & Cultural Services Department (LCSD) barricaded all public parks and sporting equipment in public spaces with red-and-white plastic bands throughout Hong Kong; a visual manifestation of safety measures for engineered pandemic restrictions.

‘We Can Jump This High’ takes inspiration from these restrictions by questioning the form and function of barricade tapes and translating it into a tangible object of play. The final product is a jumping rope, cast out of coloured-concrete. Its deliberate weight and impracticality highlights the multi-layered dimensions of the original tape, which is lightweight, malleable, and socially-significant. In comparison, our casted object is heavy, dense, and an object of "play" that encourages social-cohesion. The jumping rope object intends to spark a playful discourse about our current challenging times.

肥皂浪費成為世界性環保問題。旅行、戶外活動及到健身中 心做運動後，肥皂往往成為了一次性棄置的「垃圾」 ，每年送 往堆填區的數量以噸作單位。設計團隊明白到便利是推動環 保的重要一環，我們從手工皂的形狀出發，以牌狀朱古力製 在康文署在宣布有關 COVID-19 的預防措施後的 24 小時內， 作手工皂減少肥皂浪費問題，每次外出時取出所需格數，並 在全香港範圍內所有公共公園和運動器材上，都以紅白塑料 只使用一格的手工皂便可完成洗滌步驟，由於體積細小方便 帶封鎖，使公共設施隔離的情況頓時可以視覺體現。 攜帶，同時不需找尋額外容器去盛載沾濕後的餘皂。團隊同 時考慮到傳統化學肥皂對大自然的破壞，因此，手工皂選用 《We Can Jump This High》通過反思路障膠帶的形式和功 植物油為主要材料，肥皂泡進入渠道或海洋後，既不會傷害 能，從這些限制中獲得了啟發，並將其轉化為實質的遊戲。 海洋生物，也可同時減低肥皂對海洋帶來的負擔。 設計品的最終形態是一條跳繩，由彩色混凝土鑄成。 其故意 的重量和不切實際的特點突出了膠帶本身的多用性，重量輕、 具有延展性並且具有社會意義。相比之下，我們鑄造的物體 很重、密度高，是一種鼓勵社會凝聚力的玩物。這跳繩設計 品旨在激發人們對我們當前充滿挑戰的時代的有趣討論。

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066

COSMIC TELEPHONE

"D" EMBROIDERED CANTON SILK

Troy Conrad Therrien, Violette Van Parys and Julio Cavallucci

Polly Ho, Loom Loop Design Trust Seed Grantee, DTFS 2019 Mentee

Troy Conrad Therrien, Design Trust Feature Grantee

Caves, circles, pyramids, temples, basilicas, cathedrals, mosques... the architecture that seems to have always gotten our attention is all about getting their attention.

Spirits, gods, God, angels, demons, djinn... whatever you call them, they are The Dead, possibly our dead.

The oldest cultures know the necessity of tending to ancestors. Strangers wearing hazmat suits dumping our kin into the ground without family, without funerals, without rites isn’t right. For the 2020 Architectural Association Summer School, Troy Conrad Therrien and Violette Van Parys approached it through the seed of sacred space: the altar. Student, Julio Cavallucci fashioned his out of old magazines and mirrored cardboard. Synthesising modernist form with Mexican syncretism in an altar for a recently rebuilt taxi stand, he later discovered it was calling his name all along.

After installing, he found the altar originally displaced by the polished steel architecture of the stand: a spitting image of the one he designed from scratch. Collage with Christmas lights or cosmic telephone? 洞穴、圓圈、金字塔、寺廟、教堂、天主教大教堂、清真寺…… 建築似乎一直在引起我們的注意。精神、神靈、上帝、天使、 惡魔、神靈……… 無論您怎麼稱呼他們，他們都只是一個死 後遇見的個體，應該存在於我們死後的世界。遠古文化知道 尊敬祖先的必要性，身穿頭盔及保護套裝的陌生人把我們的 祖先在沒有任何儀式下埋於地下。我們現在需要面對有關鬼 的或建築的問題。在 2020 年建築協會暑期教學活動中，我 們嘗試從祭壇去接近這些空間，Julio Cavallucci 是其中一 個參與學生，利用用舊雜誌和鏡面紙板塑造了一個模版，將 現代主義加上墨西哥的「混合主義」重建一個有關以的士站 製作祭壇的作品，後來發現這個裝置不同叫喚他的名字，組 裝後，他發現祭壇最初被打磨過的鋼結構所取代：拼貼自照 片、聖誕燈飾或 Cosmic Telephone ？ 42

Polly Ho has long been exploring the 400-year-old traditions of Canton silk practices with the support of Design Trust, continually impressed with the ecofriendly, artisan dying techniques of plant-based dye, river mud and solar power. Once hugely popular, the fabric is rarely seen today except in traditional Chinese costumes, often only worn during special occasions.

In her efforts of rejuvenating and conserving a fabric considered to be representative of traditional culture and craftsmanship, Polly has produced a sample of canton silk, embroidered with Design Trust’s "D" Logo.

Polly Ho 一直在信言設計大使的支持下探索 400 年前的傳 統廣東絲綢，她被這種利用河中的土壤和太陽能的植物性染 料技術所打動，並持續研究對配合環境並無害的傳統工藝 技藝。這種布料曾一度大受歡迎，但在如今中國的傳統服裝 中已甚少見，這種服裝通常只在特殊場合中穿著。在努力重 振及保護傳統文化和手工藝技術的同時，Polly 嘗試重新生 產廣州絲綢模版，並刺繡印有信言設計大使的「D」標記於布 料上。

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068

"BACK TO BASIC" FOOD BASKET

PAPER TRAVELS ON VIRUS DAYS

Zoe Siu, ZOEE

Ming Shan Connie Yuen

Friend of Design Trust

Friend of Design Trust

Over recent months, the ban on dining-in at restaurants has generated a lot of waste of disposable takeaway containers, contributing greatly to the problem of plastic-waste pollution. To address this issue, Zoe Siu takes inspiration from traditional wabi-sabi style food packaging, often made of natural materials, which is grounded in the principle of accepting impermanence and the incomplete. Wanting to explore the practicality, elegance, and simplicity of this traditional Japanese aesthetic approach, a bamboo and grass-made container is being developed as an alternative to singleuse plastics. In the meantime, Zoe has designed a bamboo food container that can be woven at home - an encouraged act during the COVID-19 outbreak.

The world of mapping has changed a lot in recent decades with digitalisation, but many of these maps only prioritise practical information. Maps are powerful tools, but the process of making a map can almost be meditative in sorting out what one thinks, feels, sees, hears, and even desires in a place.

由於禁制令引致餐廳外賣服務急增，這製造了很多塑膠外賣 垃圾。回歸原始，這傳統的天然編織包裝形式中汲取靈感， 使用竹 / 草製成的容器，可以減輕塑料廢物污染。我們藉此 探索這種傳統的包裝文化實用性，優雅性和簡單性。同時， 在 COVID-19 爆發期間，我們鼓勵人們在家中編織自己的竹 製食物容器，就像母親在冬天編織毛衣給他們的孩子。

One thing many people miss during COVID-19 is travelling, but these circumstances shouldn’t suppress wanderlust or curiosity. Connie Yuen suggests mapmaking to help fill the void left by travel restrictions and social distancing, to reconnect with the community, and to keep everyone’s creativity activated. Conventional cartography skills are not required here. Instead of focusing on how to get from point A to B, this can be a poetic, personal storytelling of the place the creator is most familiar with, told through their unique lens. 近幾十年來，隨著數碼化令世界地圖發生了巨大的變化，但 其中許多地圖僅優先考慮實用資訊。 地圖是功能強大的工 具，但是製作地圖的過程幾乎可以使人們思考對一個地方的 想法、感覺、觀感、聲音到甚至慾望。 疫症肆虐，許多人最渴望的一件事就是旅行，在這些情況不 應該抑制旅行癖或好奇心。Connie Yuen 製作地圖，以填補 旅行限制和社交距離所造成的空白，與社區重新建立聯繫， 並激發每個人的創造力。 這裡不需要常規的製圖技能。 與 其專注於如何從 A 點到達 B 點，不如通過創作者的獨特視 角講述創作者最熟悉的地方，這是富有詩意的個人故事。

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ARCHICERAMIC IPHONE STAND

RUB ME FOR 20 SECONDS

Ida Kwei, IDoArtism

Betty Ng, Chi Yan Chan, Jay Lee, Juan Minguez and Katja Lam, COLLECTIVE

Friend of Design Trust

Friends of Design Trust

Designed and developed by Ida Kwei in 2018, the ‘ArchiCeramic iPhone Stand’ is intended to exemplify the interjection of architectural design into ceramic art in the form of a functional prototype. Small enough to fit into the palm of a hand, the phone stand not only has the capability to hold any iPhone model in both portrait and landscape orientations, but has been designed to ensure comfortable viewing of the phone screen with its slightly tilted back support. Elevated and fitted with an opening for the phone’s charging cable, the stand, newly upgraded with nature, also features a small storage space for carrying the user’s favorite items, such as a mini plant.

Combining the desire to be touched and maintaining the utmost care for hygiene, COLLECTIVE’s ‘Rub me for 20 seconds’ is the antidote for those suffering from "skin hunger". The piece addresses the touch deprivation millions are suffering from due to the pandemic lockdown, together with the symptoms of touch paranoia, while at the same time fulfilling the ultimate public health effort of hand washing.

'Rub me for 20 seconds' contrives to substitute a fragment of human touch to the current critical act and excessive need of hand-washing. It encompasses the dichotomy of soap as gentle and soothing, particularly in the form of a hand, yet destructive for microorganism 《ArchiCeramic iPhone Stand》由 Ida Kwei 在 2018 年設計， and viruses. 旨在以功能性原型的形式，例證如何把建築設計注入陶瓷藝 From a "Found" porcelain hand mould, a "Daily" rubber 術。 這手機座架設計小巧得可以放在手掌中，它不僅能夠以 glove; and a "New" silicone mould of their own hand, 縱向和橫向方向固定任何型號的 iPhone，而且還能向後傾 this series recreates each object as a new piece of hand 斜，讓使用者能舒適地觀看手機屏幕。 座架設有用於電話充 soap. 電線的開口，還設計了一個小型的儲物空間，可用來存放喜 歡的物品，例如迷你植物。 COLLECTIVE 的《Rub me for 20 seconds》結合了被觸碰 的渴望及對衛生的最大關注，是那些因「皮膚飢餓」而遭受 苦難的人的解藥，解決了數百萬人因疫情而被剝奪觸摸的機 會，以及出現觸覺妄想症的症狀，卻同時滿足了洗手的公共 衛生要求。 《Rub me for 20 seconds》試圖將人類的觸摸動作替換為當 前的自我約束行為和過多的洗手需求。 它包括肥皂的兩個特 性，既溫和又舒緩，特別是以手的型態展示，對微生物和病 毒具有破壞性。用現成瓷器手模製成「日常」的橡膠手套；以 及自己的手工製作「新」的矽膠模具，該系列將每個物體重新 製成一塊新的洗手皂。 44

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BLOW-WATER

WHEN I SEE MOUNTAINS, THEY ARE MOUNTAINS

Henry Chu, Pill and Pillow Friend of Design Trust

Stanley Wong, anothermountainman DTFS 2017-2018 Mentor

With an aim to upcycle materials found at home, Henry Chu has come up with the idea of creating musical instruments from used plastic bottles. 'blow-water' is his new instrument prototype, constructed from a standard clarinet mouthpiece and reed, taken from his own clarinet. Attached to a used water bottle with the bottom removed, the two parts are fixed together using bandage tape.

During the COVID-19 pandemic, with social distancing many are spending more time at home with their loved ones. The creation of homemade musical instruments allows people at home to exercise their creativity collectively, spreading a message of hope through these newly formed unique family-orchestras.

'when i see mountains, they are mountains’ is a hand bound photo book by Stanley Wong. In the transition to the new normal of COVID-19, people have had to adjust to a different pace of living. Rather than going out, individuals have to attain peace-of-mind in their hearts, to enjoy the world, no matter the constraints and hurdles faced. This photo art book on ‘mountains’ are not real mountains, but a collection of 20 photos of the city, capturing water marks on walls, a wire fence, a wood bench, a plastic water hose... "when i see mountains, they are mountains." anothermountainman

《我看山，便是山》是又一山人親手製作一本以「山」為題的 線裝藝術攝影書，在疫情下的新常態，人們持續適應和調節 日常生活節奏，寧願留在家中，足不出戶，此時我們更應保 為了升級在家中發現的材料，Henry Chu 提出了用舊塑料瓶 持心安自在，享受生活，方可面對各種約束和難題。書中的 製作樂器的想法。瓶式電話是他新樂器的原型，由取自他自 「山」非指真實的山岳高峰，而是透過二十幅在城市拍攝的照 己的標準單簧管的吹嘴及簧片製成。將這兩部分固定在用過 片，它們來自牆壁上水跡、鐵絲圍欄、長木椅、膠水喉、電線、 的水瓶上，底部取下，然後用繃帶將其固定在一起。 生鏽鐵板…又一山人： 「我看山，便是山。」 在 COVID-19 疫情期間，由於社交距離遙遠，許多人與親人 在一起的時間更多。自製樂器使家人們可以集體行使創造力， 並成立獨特的家庭樂團。

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WORLD OF INTERIORS

IMAGINED GEOGRAPHIES

Sam Jacob

Movana Chen

DTFS 2017-2018 Mentor

Friend of Design Trust

A world that no longer has an exterior: A continuous planetary surface of interiority. From sheltering in our domestic spaces this year, to the extremities of the wildernesses that were once beyond that are now so close - the peak of Everest, with its adventure-tourist queues, 4G and litter, to the depth of the Mariana Trench full of cosmetic microbeads. Is our current reality the full realisation, the final flip, in the great reversal of human habit from an exterior to endless worlds of interiors.

In Hong-Kong based artist Movana Chen's ongoing series ‘Imagined Geographies’, roads, languages, music and stories are interwoven, allowing for the idea of national borders, rules and language to be reconfigured and presented as free-floating and intertwined.

Through the action of shredding and then knitting diverse maps, dictionaries and sheet music from places Movana has visited, an alternative way of exploring and understanding the world is formed. These personal works represent new movement, deep connections and enriched melodies. ’Imagined Geographies #3’ is currently represented by Flowers Gallery.

一個不再具有外部的世界：運轉的行星的內層。從今年在我 們家中隔離，到曾經如此遙遠的荒野，現在如此接近 — 珠 香港藝術 Movana Chen 正在進行的持續的創作系列《想像 穆朗瑪峰的頂峰，其無數的冒險旅遊者，到被化妝品微塑膠 中的地理》，當中道路、語言、音樂和故事交織在一起，使 污染的馬里亞納海溝，加上 4G 和廢料充斥。我們當前的現 實狀況是人類習慣，從外在世界轉化到無窮無盡的內在世界。 國界、規則和語言重新配置，並以自由浮動和相互交織的方 式呈現。通過切碎然後重新編製的地圖，詞典和樂譜的動作， 紀錄了 Movana 探索世界的經歷。這些個人作品代表著一項 新運動、深厚的聯繫和豐富的旋律。

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HELLO Y

BAKE YOUR CUTLERY: EDIBLE FORK AND SPOON

Toby Crispy Design Trust Seed Grantee

Kay Chan DTFS 2018 Mentee

"Walking silently down the street with my mask on, the tufts of wild grass I encounter on street corners have been a reminder that Earth’s great and mighty human beings, at times, are incomparable to the unrelenting will of the small exhibits of life often overlooked," reflects Toby Crispy, "more joyful and lively times lie ahead, but right now is a precious period for rest and reflection, to recentre ourselves."

During the COVID-19 pandemic, Toby Crispy has been embellishing old clothes with glimpses of embroidered greenery. A simple Y-shape stitch embodies an everrepeating form in nature, almost as if permeating the fragrance of fresh leaves upon application.

Toby Crispy 說： 「默然戴上口罩走在街上，偶遇站在街角的 小野草向我示意鼓勵，告訴我地球上偉大的人類有時還不及 這不起眼的小生命堅強；五光十色的喧嘩歡騰離我們很遠， 卻迎來歇息反思的寶貴時光，回歸原點，簡單一個 Y 字形的 針步，重叠排列出無限的生命形態，彷佛飄來陣陣綠葉的香 氣。」 在疫症期間，Toby Crispy 以在舊衣物刺繡記錄生活的點滴， 簡單的 Y 形針在自然界中體現出一種不斷重複的形式，幾乎 像是會滲透到新鮮葉子芬芳。

During this global pandemic, restaurant takeaway has become a safe option for many who are stuck at home or at the office, and restaurants often provide plastic cutlery for their customers. However, convenience comes at a cost; Like many disposed plastic items, non-biodegradable utensils negatively impact the environment. Kay Chan has realised how important it is to be able to provide environmentally sustainable cutlery as an alternative to traditional ones, taking into account the impossibility of fast-food restaurants to replace the cheap option of single-use plastics.

Her mission is to create compostable utensils made from edible ingredients, flour and water, which will be yummy, easy to make, affordable, and sustainable. 經過全球疫情，對於許多困在家中或辦公室中的人，外賣成 為最安全的一種餐飲選擇，餐廳因這情況下，需供應大量塑 料餐具。可是這種便利需要付出代價，過多丟棄不可分解的 塑料物品，對環境造成重大的負面影響。Kay Chan 觀察到 快餐店使用廉價的一次性塑料餐具的浪費習性，發現了設計 可持續替代餐具的重要性，她的目標是改革傳統餐具的既有 習慣，嘗試開發由可食用成分如麵粉和水等製成的這種餐具 可食用、易於製作、可負擔且可持續的可分解餐具設計。

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ACKNOWLEDGING OUR DESIGN TRUST CRITICALL

LEAD CURATOR Marisa Yiu (Hong Kong) PARTICIPATING van Driel, Olivia Chen (Beijing); Michael Young (Hong Adonian Chan (Hong Kong); Elaine Yan Ling Ng (Hong Kon Margarida Jardim (Zhuhai, Macau, Lisbon); Soilworm La Stephen Zimmerer (Pennsylvania); Manuel Corriea da Minasiewicz (Hong Kong); Cyril Lee (Hong Kong); Yelta Kong), Pascal Anson (London); Maria Roszkowska, Nico Seurat (Paris); Joel Austin, Kwan Q Li (Hong Kong); Die Andrea Palmioli (Hong Kong); JJ Acuna (Hong Kong); Ole Hong Kong); Alfred Lam (Hong Kong); Alyina Ahmed (Dub Barbry (New York City); Christopher Choi, Esther Fung, Kong); Evelyn Ting, Paul Tse (Hong Kong); Evelyn Teploff Kong); Jing Liu, Emma Silverblatt, Yuanjun Summer Liu Kong); Joshua Ng (Hong Kong); Kaliz Lee (Hong Kong); Siu, Shuyan Chan, Bob Pang (Hong Kong); Lijun Guo (Beij (Hong Kong); UUendy Lau (Hong Kong); Michael Leung (H Evangeline So (Hong Kong); Alan Chan (Hong Kong); C Kong); Donn Holohan, Elspeth Lee (Hong Kong); Fiona La Beijing, Los Angeles); Hugh Davies, Yoko Nakazawa, Jo Kong); Peter Yuill, Thierry Chow (Hong Kong); Jonatha Maggie Ma, Mark Kingsley, Kelvin Chan, Luka Ng, Elsie K Monnier (Yangon); Kacey Wong (Hong Kong); Ron Wan, Mil Kong); Deborah Lam, Une Szeto, Kay Chan (Hong Kong); Conrad Therrien (New York City, Paris), Violette Van Pary (Hong Kong); Zoe Siu (Hong Kong); Ming Shan Connie Yue Chan, Jay Lee, Juan Minguez, Katja Lam (Hong Kong); H Jacob (London, Chicago); Movana Chen (Hong Kong); Tob House Hong Kong DESIGN TRUST CHAMPIONS kapok, C VSFG, COLOURLIVING PROJECT ADVISORS Aric Chen, E Wong, William To, Zoë Ryan, Bastian Wong, Aaron Lau Feliciano-Chon INTERNATIONAL MEDIA PARTNER Deze

LY HOMEMADE DESIGNERS AND COLLABORATORS

G DESIGNERS James Shen, Zang Feng, He Zhe, Anouchka Kong); Florian Wegenast, Christine Lew (Hong Kong); ng); Jesse Mc Lin, Julie Progin (Hong Kong); Clara Brito, ai, Vanissa Law (Hong Kong); Xavier Tsang (Hong Kong); a Silva, Luanha Tavares de Almeidae (Macau); Natasza a Köm, Elif Çak Köm (Berlin, Istanbul); Yanki Lee (Hong olas Maigret, Pauline Briand, Julien Maudet, Clemence ego Caro (Hong Kong); Rony Chan, Ire Tsui (Hong Kong); e Bouman (Shenzhen, Amsterdam); Adam Hudec (Vienna, bai, London); Aron Tsang, Hera Lui (Hong Kong); Aurelien , Ian Tam, Keith Hui (Hong Kong); Douglas Young (Hong f-Mugii (Kanazawa); Frédéric Gooris, Paulina Chu (Hong u, Astrid Steegmans (New York City); Johanna Ho (Hong Kevin Mak, Ken Fung, Lee Kin Ming (Hong Kong); Kevin jing); Nelson Chow (Hong Kong); Otto Ng, Yip Chun Hang Hong Kong); Kristof Crolla, Yip Fai Martin Lau, Ling Sum Charles Lai (Hong Kong); Derek Lee, Geeio Yuen (Hong au (Shanghai); Frank Chou (Shanghai); Li Fu (Shenzhen, oyce Cheng , Nikki Lam (Melbourne); Jason Chan (Hong an Mak (Hong Kong); Savinee Buranasilapin (Bangkok); Kan (Hong Kong); Fung Ming Chip (Hong Kong); Raphaël ldred Cheung (Hong Kong); Sarah Lee, Yutaka Yano (Hong ; Nikolas Ettel, Lidia Ratoi, Annie Lye (Hong Kong); Troy y (New York City), Julio Cavallucci (Mexico City); Polly Ho en (Hong Kong); Ida Kwei (Hong Kong); Betty Ng, Chi Yan Henry Chu (Hong Kong); Stanley Wong (Hong Kong); Sam

by Law (Hong Kong) EXHIBITION VENUE PARTNER Soho Chinachem Group, ZS Hospitality Group, WOMANBOSS, Eva Franch, Keith Tam, Lars Nittve, Marc Cansier, Shin u, Arthur Kuipers, Adnan Abbasi, Winnie Hu, Catherine een SOCIAL ENTERPRISE COLLABORATOR Cookie Smiles

Acknowledgements 鳴謝

Lead Organiser 主辦單位

Exhibition Venue Partner 展覽場地

Design Trust Champions 2020 信言設計大使誠善之友

Design Trust brand ambassador, manufacturing and retail partner in support of future prototype development. All proceeds will go towards the ongoing funding of Design Trust seed grants in relation to the COVID-19 challenges and provide immediate support to social/design programmes that will benefit the wider community. 信言設計大使的品牌大使兼未來展覽原型設計開發製造及零售合作夥伴。所有收益將全數撥入信言設計大使在新型冠狀病毒疫情下特設的 種籽資助計劃，以應付與疫情相關的挑戰及讓廣泛社區受益的社會／設計項目提供即時支援。

Design Trust Leaders 2020 信言設計大使領航之友

Design Trust Influencers 2020 信言設計大使進念之友

International Media Partner 國際媒體合作夥伴

Joyce Tam, Stephen Cheng, David Au, Tai Ping, Kamsen Lau, William Lim

Evan Chow, Stefan Rihs, Inna Highfield, Geoffrey Chuang, Ivan Pun, Yenn Wong

Dezeen

For more information, please visit http://designtrust.hk/give-to-give-more/

Social Enterprise Collaborator 社會企業

年度贊助人持續於 2020-2021 年支持信言設計大使資助計劃。

Cookie Smiles

Annual patron pledge 2020-2021 continues to support Design Trust's granting programmes

designtrust.hk/ http://designtrust.hk/design-trust-critically-homemade

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designtrust

#designtrusthk #designtrust #designtrust2020 #designtrustcriticallyhomemade #criticallyhomemade #givetogivemore #maketogivemore #creativityinthetimeofcovid

Design Trust Mission Statement 信言設計大使宗旨

Board of Directors 董事會成員

In 2007, Hong Kong Ambassadors of Design (HKAoD) was founded with the aim to encourage, promote, support and advance the study and development of all areas of design. In 2014, Ambassadors of Design founded DESIGN TRUST, a grant funding platform with related educational programmes to promote, encourage, support and advance design competency for the benefit of the public. DESIGN TRUST supports creative projects regionally and internationally that develop expertise, build research initiatives and content related to Hong Kong and the Greater Bay Area.

Kamsen Lau 劉今晨 (Chairman 主席 2020-) Alan Lo 羅揚傑 (Chairman 主席 2008-2020) Joyce Tam 譚載怡 Ivan Pun 潘嗣檉 Gabriela Kennedy 甘乃迪 Denise Lau 劉思蔚

The mission statement of Ambassadors of Design and DESIGN TRUST is to provide an active longterm, intelligent and meaningful platform to fund and advocate the process of design, debate and creative sharing. Ambassadors of Design and DESIGN TRUST support innovative, thought-provoking projects in various design disciplines including, but not limited to, graphics, media, wearable technologies, architecture and the urban environment. 香港設計大使創立於 2007 年，旨在鼓勵、推廣、支持和促進 各個設計領域的研究和發展。香港設計大使於 2014 年成立信 言設計大使，作為專案資助平台，我們致力提供相關的教育計 劃以提高設計的價值，惠及大眾。信言設計大使提供資助並協 助成功申請人在香港、大灣區乃至國際間發展設計專業和研究 內容。 香港設計大使及信言設計大使的宗旨為倡議積極、長遠、知性 及有意義的發展平台，旨於推動及資助具創意和新思維的設計 研究方案。我們鼓勵嶄新、具前瞻性的設計研究計劃，範圍觸 及各大設計領域，包括但不限於平面視覺、媒體、穿戴產品科技、 建築及城市空間。

Co-Founder/Executive Director 聯合創辦人及執行總監 Marisa Yiu 姚嘉珊

Design Trustees 信言設計大使贊助人 Victor Lo 羅仲榮 Jennifer Liu 廖偉芬 Daryl Ng 黃永光 Amanda Loke 陸桂蓮 Yama Chan 陳雅文 Adrian Cheng 鄭志剛 Joanne Chow 周凱瑜 Yvette Ho 何馬美域 Jimmy K.W. Chan 陳光華 Vanessa Cheung 張添琳 Janice Chan-Choy 蔡陳若詩 Angelina Kwan 關蕙 Charmaine Li 李志妍 Lumen Kinoshita 萬亮人 Desiree Au 歐詠詩 Elizabeth Chu 朱悅嫻 Ariel Shtarkman Bosco Law 羅正杰 Jonathan Cheung 張宇成 Chinachem Group 華懋集團

International Advisory Council 海外顧問團 Design Trust 2020 Benefit Committee 2020 信言設計籌委會 Alan Lo, Marisa Yiu, Ivan Pun, Alfred Lam, David Au, Desiree Au, Geoffrey Chuang, Inna Rodchenko-Highfield, Jason Basmajian, Jonathan Cheung, Joyce Tam, Nathan Clements-Gillespie, Sean Fitzpatrick, Shera Law, Stefan Rihs

DESIGN TRUST: Critically Homemade Prototype Exhibition, Event Management & Curatorial Team 展覽，活動管理與策展團隊 DESIGN TRUST: Marisa Yiu (Lead Curator / Creative Direction), Joyce Li (Assistant Director, Programmes, Media & Events), Cindy Tai (Manager, Production); Naomi Altman (Curatorial support, Editorial); Melissa Kong (Event support), Rosalia Leung (Exhibition design); Former coordinators / Interns: Gabriella Lai, Kate Lok; Communications / PR Support: PLUG PR; Exhibition Venue Partner SOHO HOUSE Hong Kong. Special thanks to Laurent Sola, Alice Lam, Alex Zenovic, Eleanor Dench

Eva Franch Beatrice Leanza 畢月 Liu Xiaodu 劉曉都 Rodman Primack Thomas Heatherwick 托馬斯 · 赫斯維克

Lyndon Neri 郭錫恩 Lars Nittve 李立偉 Zoë Ryan Tom Dixon David Gianotten

Greater Bay Area Design Council 大灣區設計顧問團 Arnault Castel William To 陶威廉 Eric Schuldenfrei 邵達輝 Giovanni Alessi Anghini Aric Chen 陳伯康 Stephanie Poon 潘芷慇 Tat Lam 林達 Leslie Lu 盧林 Winnie So 蘇詠寧

Jean T Miao 繆永珍 Andrew Au 歐子健 Ole Bouman 奥雷 · 伯曼 Cole Roskam Suzy Annetta Keith Tam 譚智恒 Irene Lam 林雅蘭 Kate Jones Marc Cansier 53

designtrust.hk/