SHIFTING OBJECTIVES形流意動DESIGN FROM THE M+ COLLECTIONM+ 設計藏品

最後更新日期 The Last updated date: 26/1/2017

This learning booklet illustrates a selection of nine objects from the exhibition Shifting Objectives: Design from the M+ Collection. Some of the objects look familiar while others may look strange. Some are produced in a provocative way or use unexpected materials. Some have made a big impact on society. Taken as a group, the objects illustrate the unlimited possibilities of design.

這本學習小冊子簡單介紹「形流意動：M+ 設計

藏品」展覽的其中九件展品，有的為人熟識，

有的則外型奇特，有的設計過程嶄新，有的則

運用意想不到的物料，而有的更為社會帶來

巨變。這些物件展示了設計的無限可能。

最後更新日期 The Last updated date: 26/1/2017

In the past, cooking rice took a long time and required constant supervision. This all changed in 1955, when Toshiba released the world’s first electric rice cooker in Japan, allowing housewives to spend less time in the kitchen. A key feature of the appliance is that it stops automatically when the rice is cooked. As well, the handles make it easy to be carried while still hot. These seemingly small design features continue to make a huge impact on people’s lives.

A designer puts thought into every detail of an object during the design process. Look at an object. Consider every detail, especially the minor ones, and think about how it affects the way you use this object.

過去烹煮米飯需時，期間更要時刻守在爐邊，以防燒焦。

一九五五年，電器品牌東芝在日本推出全球首個電飯煲

後，主婦便無需長時間待在廚房。電飯煲能在米飯煮熟後

自動熄火，而兩旁的把手則讓人輕易提起發熱的飯煲。

這些毫不起眼的設計特色依然為人們的日常生活模式帶來

重大影響。

每一物件的細節背後都包含了設計的心思。觀察物件中最

細微的部份，試想想它怎樣改變你使用這件物件的方法。

最後更新日期 The Last updated date: 26/1/2017

About ten years ago, the Swedish design group Front experimented with 3D printing to make the Materialised Sketch series. Their use of this technology at that time was a ground-breaking example of exploring digitally-aided design and production. For the series, they used a digital pen to make sketches of a chair, a table, and a chandelier in the air. Their pen strokes were recorded by motion capture technology on a computer. They then produced the furniture with a 3D printer, which used a laser to harden liquid plastic.

Quite often, the story behind a design object is one of technical innovation. Choose an object and explore the technical advances that led to the final design.

瑞典設計組合 Front 約於十年前以三維列印技術創作

《立體草繪》系列，成為探索數碼化設計及生產過程的

開創性例子。創作此系列時，她們運用特製的電子筆，

直接凌空勾畫椅子、桌子及吊燈。電腦即時以動態捕捉

科技記錄她們的筆觸，然後透過三維打印機以激光把液態

塑膠凝固，打印出家具。

每件製成品通常都代表着一種技術的革新。選擇一件物件，

並探索技術的進步如何造就了它的誕生。

最後更新日期 The Last updated date: 26/1/2017

Hong Kong-based design duo Julie Progin and Jesse Mc Lin worked for many years in Jingdezhen, the porcelain capital of China, which has over a thousand years of history in ceramics production. During their time there, the pair were intrigued by the mountains of broken moulds discarded by local factories. They made new vases with these cracked moulds, emphasising deterioration and imbuing their designs with character. Their creations capture the poetic beauty of imperfection.

The designers used moulds discarded from a mass production process to create one-of-a-kind objects. The new works explore the fine line between art and design. What are the similarities and differences between art and design? How does this relate to function and production?

香港設計二人組合 Julie Progin 及 Jesse Mc Lin

在有「中國千年瓷都」之稱的景德鎮工作多年。設計師

被由當地工廠棄於街角、堆積如山的殘破瓷模所吸引。

從這些帶有裂紋的模具製造而成的花瓶，製成品顯露

的殘破感，為設計注入個性，捕捉了如詩般的缺陷美。

兩位設計師利用了從大量生產工序之中被棄置的瓷模，

製作出獨一無二的設計作品，探索藝術和設計之間的微細

界線。到底藝術和設計之間有甚麼異同？它們與功能及

生產過程有甚麼關係？

最後更新日期 The Last updated date: 26/1/2017

In 2008, Japanese fashion designer Miyake Issey challenged Tokyo-based design studio nendo to create new works using the pleated paper left over from the fabric production of Miyake’s Pleats Please label. nendo devised a solution that anyone could replicate at home. They produced a chair in bloom by simply slicing the rolls of textured paper.

在二零零八年，日本時裝設計師三宅一生向東京設計工作

室 nendo 提出挑戰：利用他 Pleats Please 品牌中布料製作

過程中剩下來的褶紙，創作出全新作品。nendo 構想了

一個簡單得任何人在家都能模仿的方法，就是把筒狀褶紙

卷鎅開，椅子隨即綻放而出。

有些設計需要繁複工序及昂貴物料，但有些則以簡單方法

製作。使用一把剪刀或鎅刀，你會怎樣把一種廢料轉化為一件

有用的物件呢？

Some designs require complicated technical processes and

expensive materials, while others can be achieved through simpler means. How would you transform waste into a useful object using a pair of scissors or a box cutter?

「捲心菜椅」設計草圖 Design sketch, Cabbage Chair, 2008.

© nendo

最後更新日期 The Last updated date: 26/1/2017

Jung Boyoung of designer duo WOLFS + JUNG used a traditional Korean patchwork quilting technique known as jogakbo to recreate six common floor plans found in high-rise apartment buildings in Seoul. She also applied the five traditional Korean colours to the designs. For example blue, which is associated with wood and renewal, was used to indicate bedrooms, while yellow, which represents the earth and the centre of the universe, marks the living room. Employing a time-honoured craft, the work reflects on how modern life still incorporates tradition.

Assign meaning to specific colours to make your own legend. Colour in the columns of a newspaper using this system to comment on the headlines.

設計組合 WOLFS + JUNG 的鄭普榮以韓國傳統拼布技藝

「jogakbo」，重現韓國首爾六種常見的大廈住宅的

平面圖。另外，她加入了韓國傳統五色，如在睡房加入

代表樹木和再生的藍色，在客廳加入代表大地和宇宙中心

的黃色。作品利用了歷史悠久的技藝，反映傳統的生活文

化仍然存在於現代生活之中。

創作你的顏色圖表，再為每種顏色添上意義，然後在報章欄目

上填上顏色，以顏色表達你對各標題的感想。

最後更新日期 The Last updated date: 26/1/2017

In 1999, Sony introduced the AIBO, a robotic pet designed to react to external stimuli and grow intellectually through learning just like a living creature. This electronic dog offered companionship; many AIBO owners considered them as family members. After Sony discontinued the series in 2006 and ended official repair services in 2014, AIBO owners held a group funeral for their beloved pets at a temple in Japan.

Think about an object in your life that provides you with companionship. How does it make you feel?

由索尼於一九九九年推出的機械寵物《AIBO》， 可以

對外界刺激作出反應，以及透過學習培養智能。由於

《AIBO》能與主人建立友誼，陪伴左右，不少主人均

視之為家中的一份子。自索尼在二零零六年宣佈停產

《AIBO》，並於二零一四年停止提供售後維修服務後，

日本一所寺廟受一些《AIBO》主人所托，為其心愛的寵物

舉行集體喪禮。

回想一件你曾經視作同伴的物件。它讓你有甚麼感受？

最後更新日期 The Last updated date: 26/1/2017

Many people associate shanzhai production in Shenzhen with the negative aspects of copying. This industrial production, however, can also be characterised by rapid adaptations to existing technologies that cater to differing consumer needs. For example, the inexpensive card phone may appeal to users such as migrant workers who keep two contact numbers but do not have a dual-SIM phone. The card phone looks like a pocket calculator and is the size of a credit card, making it easy to store in a wallet. There are also phones with larger buttons and a radio antenna designed for elderly consumers.

Pick an everyday object and imagine how you could modify it to better meet the needs of your different family members.

對很多人來說，深圳的「山寨」生產模式都與複製拉上負

面關係。可是，這種生產模式的特色正正在於它能迅速改

良現有的科技，以切合消費者的不同需要。例如這款廉價

的卡片手機方便了那些沒有雙電話卡的用戶，如外省民工

等使用。此手機貌似口袋計算機，大小與信用卡相若，

其超薄機身更是易於放進錢包內。另一款手機則為長者

加入了特大按鍵和收音機天線。

挑選一件日常物件，試想像你會如何改裝它，使它迎合各家庭

成員的需要？

最後更新日期 The Last updated date: 26/1/2017

Hangzhou-based design studio PINWU takes a keen interest in reinterpreting traditional materials and production methods. For their Tié chair, they took inspiration from local paper-umbrella making techniques in Yuhang, Zhejiang, and created the chair by gluing pizhi (bast-fibre paper) layer by layer. This process reinforces the paper, allowing the chair to hold up without a supporting frame. PINWU’s deep understanding of the material allows them to reinterpret a traditional technique for a contemporary design.

Think about the characteristics of a common material and brainstorm ways to create a contrasting quality. If paper is two-dimensional, how can you create volume?If metal is cold, how can you create warmth?If _____ is _______, how can you create ______?

杭州設計工作室品物流形專注於如何重新演繹傳統物料及

製作方法。在他們的《蝶》椅，他們從浙江餘杭的油紙傘

製作技術獲得了靈感，透過層層黏合皮紙（韌皮纖維紙），

製作了《蝶》椅。這工序增強了紙張的韌性，甚至可以

免卻椅身支架。品物流形深入了解物料，令他們能夠重新

演繹傳統技術，創作出當代設計。

想像一種常見物料的特性，並以此創造出相反的特性。

以平坦的紙張，要怎樣去創造出體積?

以冰冷的金屬，要怎樣去營造出溫暖?

以___的___，要怎樣去創造出____?

最後更新日期 The Last updated date: 26/1/2017

In China, factories and stores became state-owned beginning in the 1950s, giving the government greater control over consumer options for the people. In 1966, Sunflower became one of the country’s major household brands. Its logo, a sunflower tilted in the direction of the sun, served as a reminder of Chairman Mao Zedong, who was known as ‘the Sun of the People’. A simple daily object like the Sunflower vacuum flask was found in almost all homes, helping shape a shared collective identity in China.

Look for visual clues in familiar logos and imagine their symbolic meanings.

於五十年代，中國的工廠和商店變成國有化，政府進一步

限制人民的消費選擇。在一九六六年，向陽牌成為了國內

主要的家居品牌之一，它的向日葵商標，總是抬頭朝著太

陽，讓人想起被稱為「人民心中的紅太陽」的國家主席毛

澤東。以向陽牌保溫瓶為例，這種幾乎家家戶戶都擁有的

日常用品，是構成中國的集體身分認同的一個因素。

觀察你熟識商標的視覺提示，

想像其中附帶的象徵意義。

最後更新日期 The Last updated date: 26/1/2017

www.westkowloon.hk/shiftingobjectives

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1 東芝電飯煲，RC-10K型

Toshiba Rice Cooker, model RC-10K

向陽牌保溫瓶

Sunflower vacuum flask

立體草繪——桌子

Materialised Sketch of a Table

蝶

Tié

「碎片」花瓶BFRAGMENT(S) Vase B

捲心菜椅

Cabbage Chair

韓式構圖：18_22_34_43_56_80 Korean Composition: 18_22_34_43_56_80

AIEK mini-V8型卡片手機

AIEK card phone, model mini-V8

AIBO ERS-110型機械犬

AIBO entertainment robot, model ERS-110

About M+

A cornerstone of the ambitious West Kowloon Cultural District, M+ is Hong Kong’s new museum of visual culture, encompassing twentieth and twenty-first century art, design and architecture, and moving image from Hong Kong, China, Asia, and beyond.

Since 2012, M+ has been presenting diverse public programmes and exhibitions, and is amassing a permanent collection, in the run-up to the scheduled 2019 public opening of the museum building designed by Herzog & de Meuron with TFP Farrells and Ove Arup & Partners HK.

About West Kowloon Cultural District

Located on Hong Kong’s Victoria Harbour, the West Kowloon Cultural District is one of the largest cultural projects in the world. Its vision is to create a vibrant new cultural quarter for Hong Kong. With a complex of theatres, performance spaces, and M+, the District will produce and host world-class exhibitions, performances, and cultural events, as well as provide 23 hectares of public open space, including a two kilometre waterfront promenade.

關於M+

M+是香港嶄新的視覺文化博物館，同時是西九

文化區項目中一塊重要基石，囊括二十及二十一

世紀來自香港、中國內地、亞洲以至全世界的

視覺藝術、設計與建築及流動影像。

M+博物館大樓由Herzog & de Meuron，聯同香

港TFP Farrells和香港奧雅納工程顧問公司共同

設計，預計於2019年對外開放。M+ 自2012年

起，即推動各類型的公眾項目和展覽及建立

永久館藏。

關於西九文化區

濱臨香港維多利亞港的西九文化區是全球規模

最大的文化項目之一，願景是為香港創造一個

多姿多彩的文化地帶。區內有佔地正二十三公頃

的公共空間，包括長達兩公里的海濱長廊；並設

有多個劇場、表演空間和M+ 博物館，籌辦及

上演世界級展覽、表演節目和文化藝術活動。

設計

Hato

插畫

麥應平

編輯校對

Michael Lacoy林嘉敏

版權所有 翻印必究

©2016 M+

DesignHato

IllustratorMak Ying Ping

CopyeditorsMichael LacoyCarmi Lam

All rights reserved.©2016 M+

入口(從電梯) Entrance

(from elevator)

入口(從戶外) Entrance

(from outside)

展覽平面圖

Exhibition Floor Plan

最後更新日期 The Last updated date: 26/1/2017

www.westkowloon.hk/shiftingobjectives

最後更新日期 The Last updated date: 26/1/2017