SIGNED magazine #29

2023 / ISSUE 29 Cultural Heritage Innovation : ART HERITAGE 藝術文化的傳承與創新

EDITORIAL The spectrum of art is continuously broadening as a result of technological advances and evolution of the zeitgeist. Packed with diverse connotations, art is no longer merely created from the personal, sentimental perspectives of the artist. Instead, more elements, such as cultural features and technological applications are being embraced. As a magazine driven by design thinking, SIGNED is exploring the theme of “Conservation and Innovation of Art and Culture” in this issue. We have fused our inquiry with applied art that involves humanities, folk craft and computational thinking. This direction has shown us that new possibilities can always be highly relatable to our everyday life. Our theme articles begin with clothes, which come first in the Chinese definition of everyday life. Herman Lee is an architect who is passionate about traditional Chinese formal wear. Using his professional know-how and delving deep into the craftsmanship, he has rejuvenated the culture and techniques of traditional tailoring. On top of in-depth inquiries, crossover elements are also increasingly employed in creative endeavours. The music project spearheaded by veteran advertising creative Leonie Ki, for example, was inspired by the murals of Dunhuang grottoes. Her ensemble is enlivening the ancient music depicted on the murals and presenting them with a modernised sound profile. The reinterpretation has transformed the two-dimensional world to the three-dimensional space with extraordinary imagination. The endless possibilities of reinterpretation may be most suitably manifested in the Scan the World website. Aiming to conserve art and culture through scanning and 3D printing, the archive now houses the printable files of more than 25,000 artefacts, which can be permanently preserved through replication. Besides, technological advancements in computing have opened up an infinite space for origin tracing, renewal and further creation. While some users are decorating their homes with tangible replicates, others are integrating these artefacts into video games or virtual realities. Creations and re-creations are taking place in various forms and dimensions. As a carrier for cultural conservation and innovation, art is offering unlimited space for interpretation, nurturing successive generations with cultural connotations, and regenerating itself with the support of new technologies. With strong relevance to intangible cultural heritage items, our theme stories are not short of authenticity, emotions and power – the three important elements of art. Their authenticity is unquestionable. The emotions of our interviewees are intimately felt through the pages. The power of their innovative creations is vivacious and reinvigorating. Their stories illustrate that cultural innovation is not empty talk – it is an inspirational and energetic transformation that is becoming part of our everyday life. 隨著科技的發展和時代精神的蛻變,藝術的光譜是愈來愈寬闊, 充滿豐富而多元的內涵。藝術再不像以前般只從藝術家的個人 感性視野出發進行創作,而是引入更多不同元素如文化特質及 科技應用等。《SIGNED》作為一本以設計思維主導的雜誌,當 要探索今期主題「藝術文化的傳承與創新」時,也摻入了人民文 化、手工藝和運算思維等的應用藝術,然後發現,可供探索的 可能性是更具體更貼近我們的生活。 像生活四大基本之首的服裝,我們便專訪了一位建築師Herman Lee,透過自身的專業知識,投入他熱愛的傳統中華禮服,而且 一門深入,把傳統裁縫的文化和技藝做熟做透,並賦予嶄新的 展現。除了深耕,跨界多元也是現今創作重要的元素,像由廣 告界前輩紀文鳳牽頭的一個音樂項目,便從敦煌壁畫吸取靈感, 試圖讓壁畫描繪的不同音樂段落在千年後的今天得以重生,並 譜以現代的聲樂韻律重新演繹,從二維平面世界跨越至三維空 間,滿載過人的想像力。 不過說到擁有無限可能性的例子,則以掃瞄和3D打印傳承藝術 文化的Scan the World網站為濫觴。其所收藏超過25,000件文 物的打印檔案,不但可以通過複製而永久保留,更藉着電腦科 技的發達, 從溯源更新到開拓了近乎無限的應用和創作空間, 由實際的家居飾物至融入電子遊戲或開發虛擬實境等虛擬世界, 啟迪不同類型和維度的再創作。 藝術作為一種文化的傳承與創新,以不同文化內涵為養分、各 種新科技為骨幹,推陳出新,賦予後來者無限的演繹空間。而 藝術作品最重要的三大元素:真實、情感和能量,我們都能從 今期主題內容介紹的例子一一感受到,可能它們大多是非物質 文化遺產的緣故吧,真實性是毋庸置疑,而接受訪問的各位幕 後始作俑者的情感是漫溢紙上,所有因而問世的嶄新創作都確 實充滿活潑甚至叫人振奮的能量,令人感受到今期藝術的文化 創新絕非空談,而是鮮活跳脫的融入千家萬戶的生活。 REINTERPRETING AND REINVIGORATING ART AND CULTURE WITH BOUNDLESS POSSIBILITIES 鮮活的藝術文化、無限的演繹空間



HKDI graduates sparkled in DFA Hong Kong Young Design Talent Award 6 HKDI畢業生囊括DFA 香港青年設計才俊獎多項榮譽 Conserving and Innovating Art and Cultural Heritage 12 藝術文化的 傳承與創新 Reinvigorating The Soul Of 14 Traditional Chinese Formal Wear 喚醒禮服靈魂 Revives Chinoiserie with Guangcai 20 復興廣彩中國風 Heritage, Protection, Innovation 26 傳承、保護、創新 Scan The World: To Live, Cultural Heritage Needs to be Shared 30 掃瞄全世界:活現文化 共享傳承 When arts meet technology at Hylozoism 36 萬物有靈:藝術與科技共生展 Beyond 100 : Transforming Design & 40 Imagining Futures with Lab4Living 超越100:與Lab4Living一同改造設計,展望未來 "Waste Age" shows greener ways to break the "take, 42 make and waste" cycle 《廢棄時代》展現惜物創意 善用資源促進永續發展 HKDI staff shined in local and international awards 48 香港知專設計學院教職員獲海內外獎項嘉許 Emerging Design Talents 2023 : EMBRACE 50 2023年度設計展:容.納 5 CONTENTS Copyright@2023 by Hong Kong Design Institute All rights reserved. No part of this book may be reproduced without the written permission of Hong Kong Design Institute. REPORT EXHIBITION THEME SPECIAL ONES TO WATCH EXHIBITION EXHIBITION HKDI Editorial Board: Lay Lian Ong, Elita Lam, Michael Chan, Daniel Chan, Keith Tam, Xaven Mak, Terence Wong, Ronald Wong, Irene Tang Creative: Ching Siu Wai Editor: Peter Wong Writers: Steve Jarvis, Aulina Chan Designer: Teddy Ng Printed by Dragon Gold Magnum Limited Cover:"Inner-Beauty" by Kylan Luginbuhl Hong Kong Design Institute is a member institution of the Vocational Training Council. For more information about HKDI, please check our website on, or email us at SIGNED is produced on behalf of the Hong Kong Design Institute by Associates & P Limited

6 Report Report HKDI graduates sparkled in DFA Hong Kong Young Design Talent Award Eight HKDI alumni and recent graduates clinched half of the 16 accolades of the DFA Hong Kong Young Designer Award 2022. Their distinguished and ground-breaking accomplishments are certainly the pride of the leading provider of design education in the region. 香港知專設計學院(HKDI)一直專注設計教育、領先亞太, 8名校友勇奪DFA 香港青年設計才俊獎 2022一半獎項,成績亮麗耀眼,令HKDI 引以為傲。 HKDI 畢業生囊括DFA 香港青年設計才俊獎多項榮譽 Theo Chan Kwun Hop 陳冠合 Fashion Designer 時裝設計師 Design Graduates Awardee - CreateSmart Young Design Talent Special Award 2022 設計畢業生得獎人 - 創意智優青年設計才俊特別獎2022 "I have always used fashion design as a channel to express my inner thoughts that are otherwise impossible for me to explain verbally - whether about social issues, ideas about philosophy, psychology or more." 「時裝設計一直是我抒發內心 的渠道、讓我表達平常難以 言喻的想法,包括社會議題、 哲學或心理學意念等。」 Theo Chan Kwun Hop

7 Lorraine graduated from HKDI with a Higher Diploma in Fashion Design this year. During her teenage years, she was intrigued by painting. The therapeutic activity kept her focused. She found a great sense of achievement in completing her fashion design project. Lorraine believes techniques like pattern-making and traditional handicrafts are the utmost importance in fashion design. She plans to continue her studies overseas and develop a solid foundation and expertise. 張凱甯今年在HKDI 畢業,獲得時裝設計 高級文憑。她自小已很喜歡繪畫的療癒 感覺,創作的過程亦能令她專心一致。 她認為紙樣製作與傳統手藝對時裝設計 仍然非常重要,計劃到外地繼續進修, 為自己的專業設計技術奠定穩固基礎。 Website Lorraine Cheung Hoi Ning 張凱甯 Fashion Designer 時裝設計師 Design Graduates Awardee - CreateSmart Young Design Talent Special Award 2022 設計畢業生得獎人 - 創意智優青年設計才俊特別獎2022 "Slave Liberation" by Theo Chan. This graduation collection expresses social injustice under capitalism. The rich and poor are represented by luxurious craftsmanship and minimal tailoring - subdued colours and bulky silhouettes symbolise the poor, while beading and intricate embellishments show the affluent upper classes. The beading alone took more than 400 hours to complete. 畢業作品「Slave Liberation」,表達了資本主 義社會的不公義。暗淡色調與 臃腫線條象徵貧窮,而精緻珠 飾則代表上流階級的糜爛。 Theo is a recent HKDI graduate who earned his Higher Diploma in Fashion Design and received the HKDI & IVE Student's Union Outstanding Leadership Scholarship. He is particularly fascinated by handicrafts such as beading, embroidery, and hand knits. His handknitted collection "Mysterious Soul" was shortlisted in the 2021 Hong Kong Young Fashion Designers' Contest organised by Hong Kong Trade Development Council. He plans to work in fashion companies in France and Britain to study their surreal aesthetics, exaggerated artistic formats, and innovation in fashion handicrafts. 陳冠合(Theo)剛獲得HKDI 時裝設計高 級文憑,並在2021年贏得HKDI 及香港 專業教育學院(李惠利)學生會傑出領袖 獎學金。他對串珠、刺繡和人手編織等 手工藝特別興趣濃厚,並以全人手針織 系列「Mysterious Soul」入選香港貿易發 展局舉辦的青年時裝設計家創作表演賽 2021,躋身十強。Theo計劃到法國與英 國從事時裝設計,進一步研究外地時裝 潮流的超現實美學、誇張前衛的藝術格 式,以及創新的服飾手藝。 Lorraine Cheung Hoi Ning "Shout with a Whisper" by Lorraine Cheung. Intangible emotions of feeling trapped and panicked are expressed through Shibori - distress and burnout techniques for creating inventive fabric textures. 「Shout with a Whisper」 系列以雪花染加工技術製作 出獨特的布料質感,加上柯 根紗、網布和緞布營造出無 法觸碰的壓抑情緒。 "White Project – Natural Melody" by Lorraine Cheung. The all-white fabrics used were inspired by waves and wind. The beauty of nature is presented in relaxed, wrinkled outfits with a comfortable, soft texture. 「White Project – Natural Melody」是純白色布料系 列,創作靈感來自浪花與海 風,以輕鬆舒適而又質地柔 軟的皺摺衣服呈現大自然的 美感。 Website

8 "Clothing is more than a commodity, it is more about the attitude, and the voice of individuals. I embrace the power of fashion." 「服裝不僅僅是商品,更是態 度和個人聲音。我擁抱時尚 的力量。」 Cowon earned her HKDI Higher Diploma in Fashion Design in 2022. Her inspiration comes from everyday life and art. She dreams of establishing her own design studio one day but plans to work for fashion companies in Tokyo and Paris first, where their avant-garde style and particular design aesthetics appeal to her most. 楊詠婷是香港知專設計學院2022年時裝 設計高級文憑畢業生。她的創作靈感源 自日常生活和藝術,夢想是成立自己的 設計工作室,現計劃先到東京與巴黎累 積工作經驗,希望效力風格前衛和具特 殊設計美學的時裝品牌。 Contact: Cowon Yeung Wing Ting 楊詠婷 Fashion Designer 時裝設計師 Design Graduates Awardee - CreateSmart Young Design Talent Special Award 2022 設計畢業生得獎人 - 創意智優青年設計才俊特別獎2022 Cherry Ng Tsz Kwan 吳芷君 Fashion Designer 時裝設計師 Design Graduates Awardee - CreateSmart Young Design Talent Special Award 2022 設計畢業生得獎人 - 創意智優青年設計才俊特別獎2022 "Unrestrained" by Cowon Yeung. The graduation project pays tribute to the punk spirit of the 1970s. Songs by the Sex Pistols challenged authority, and Great Britain's youth rebelled against oppression and unemployment. A different treatment with sleeves is applied to the entire collection, as they are randomly placed to create a deconstructed drape sleeve dress with irregular details. A three-dimensional effect is achieved by cotton balls inserted in the sleeves, and a wrinkle effect with subtraction cutting creates an irregular streamline for another deconstructed layered sleeve skirt. The metal zippers on the bleached plaid neckline and cuffs suggest rebellion and destructiveness. 畢業專題系列「Unrestrained」是向1970年 代龐克精神致敬之作,當時Sex Pistols 以歌 聲挑戰權威,英國年輕一輩反抗壓迫和失業狀 況。整個系列以不一樣的衫袖處理為特式,衫 袖隨機置入製作出不規則製飾的解構褶襉衫袖 裙、棉球放入衫袖製造立體效果,再以皺摺效 果配合減法剪裁營造出不規則線條,製作出另 一條解構多層衫袖裙。經漂白的格仔領口和袖 口都加上了金屬拉鍊,顯露作品的反叛與破壞 風格。 Cowon Yeung Wing Ting Cherry Ng Tsz Kwan "Hermaphrodite" by Cherry Ng. This final year project is a unisex collection designed with the LGBTQ+ community in mind: androgynous designs are applied on sheer, light materials, with less focus on the silhouette. 畢業作品「Hermaphrodite」系列 的設計主題圍繞LGBTQ+社群,在透 明輕柔的布料上刻意運用不分性別的 剪裁,不標榜身體線條。

9 "Fashion shouldn't be unattainable or out of reach, but accessible and downto-earth. It should be wearable, about everyday life, about you and me. And being serious in every design means designing for sustainability." 「時裝不應高高在上或遙不可 及,而是平易近人和親切貼地, 可以平常穿搭、屬於日常生活, 屬於你和我。每次認真創作, 就是實踐可持續發展設計。」 Toki graduated with HKDI's Higher Diploma in Knitwear Design and Development in 2013 before obtaining his BA (Honours) in Fashion (Knitwear Design & Technology) from the Hong Kong Polytechnic University in 2015. He launched "Kowloon City Boy" in 2021 after working in a fashion sourcing company. Versatility, bold colours and knitwear are Toki's signature. His designs display creativity, humour and ingenuity. One could identify current social issues, and a Hong Kong male image that is whimsical, honest and down-to-earth through his works. Toki wants to craft an influential local brand that is casual, droll, and fun. The brand will tap into the global market as he develops solid marketing and retail experience. 王韜棋於2013年在香港知專設計學院獲 得針織設計及發展高級文憑,並於2015 年於香港理工大學取得時裝( 針織設計 及技術)( 榮譽) 文學士學位。他在時裝採 購公司工作數年後,於2021年創辦了 「Kowloon City Boy」。 王韜棋以用色設計破格而靈活的針織製 品為特徵,作品集創意、幽默感和巧思 於一身,而且反映社會議題,展現調皮、 真摯與活在當下的香港都市男孩形象。 王韜棋希望建立風格隨性好玩,而且具 影響力的本地品牌,並銳意在累積市場 推廣及銷售經驗後,將品牌引入國際市 場。 Cherry received her HKDI Higher Diploma in Fashion Design in 2019 before pursuing and recently completing the BA (Hons) in Fashion Design at Nottingham Trent University (VTC SHAPE). 吳芷君於2019年在香港知專設計學院取 得時裝設計高級文憑,再於Nottingham Trent University(才晉高等教育學院銜接課 程) 進修,剛獲時裝設計( 榮譽) 文學士學 位。 Toki Wong To Ki 王韜棋 Fashion Designer 時裝設計師 Design Graduates Awardee - CreateSmart Young Design Talent Special Award 2022 設計畢業生得獎人 - 創意智優青年設計才俊特別獎2022 "Geometry and Lines" by Cherry Ng. Another collection with a bold, flamboyant three-dimensional design for the sleeves and pants, inspired by Picasso's paintings. Ng's goal is to establish her own ecofriendly design label that supports the LGBTQ+ community. 「Geometry and Lines」的設計靈感 來自畢卡索畫作,在衫袖與褲管加入 大膽華麗的立體設計。她期望日後成 立自己的環境友善品牌,以創作支持 LGBTQ+社群。 About DFA Hong Kong Young Design Talent Award Established in 2005, DFA Hong Kong Young Design Talent Award aims to nurture aspiring design practitioners and design graduates aged 18-35 and recognises promising Hong Kong young design talent, serving to maintain the city's competitiveness and fortify its role as a design hub in Asia. Some YDTA awardees will receive a total grant of up to HK$500,000 to work or study abroad. The practical experiences and global vision acquired will be a strong booster for their careers, through which awardees will better contribute to the future of Hong Kong's creative industries. 關於DFA 香港青年設計才俊獎 「DFA香港青年設計才俊 」於2005年設立, 旨在嘉許及栽培18至35歲的香港設計師及 設計畢業生,藉以保持香港的競爭力,加強其 亞洲設計樞紐的地位。得獎者有機會獲得高達 50萬港元的財政贊助到海外工作或進修,為 發展事業汲取實戰經驗及開拓環球視野,並於 回港後貢獻本地設計及創意產業。 Toki Wong To Ki "SS22 – Sun of the Beach" by Toki Wong. This summer collection is a fusion of beachwear and homewear, inspired by people wanting to get out in the sun but are stuck at home because of quarantine. 「SS22 – Sun of the Beach」夏季 系列結合了沙灘服裝與家居服的概 念,設計靈感來自渴望到戶外享受日 光浴卻因疫情被困家中的無奈。 Website Website

10 "Commercial design has a great influence on our daily life. Good design comes from understanding its relationship with the user and striking a balance between aesthetics and practicality." 「商業設計對日常生活影響重 大。能夠明白設計與用家的 關係,在美感與實用之間取 得平衡,就是好設計。」 "Life is art, and art is life. Art is not without purpose or merely a thing of luxury. I want to inspire people to rethink life with my art." 「生命就是藝術,藝術就是生 命。藝術並非無用也非單純 的奢華。我希望能夠透過藝 術,啟發更多人重新思考生 命。」 Yan, a graduate of HKDI's Higher Diploma in Graphic Information Design is passionate about eastern culture and is particularly inspired by designs from Japan. She hopes to open her own studio and focus on branding and cultural artwork. She is planning to work in Japan to seek inspiration, get updated on the latest design technology and to develop her personal style. 張可欣畢業於香港知專設計學院,獲得 平面資訊設計高級文憑,酷愛東方文化, 設計靈感深受日本設計所啟發。她希望 能夠開設自己的設計工作室,專注於品 牌建立及文化藝術工作。她計劃先到日 本工作以尋找創作靈感、學習最先進的 設計技術,同時建立個人風格。 Cheung Ho Yan 張可欣 Freelancer 自由工作者 Design Practitioners Awardee - CreateSmart Young Design Talent Award 2022 現職設計師得獎人- 創意智優青年設計才俊獎2022 Rolland Cheung Wui Hei 張滙希 Founder, AGAPE Design AGAPE Design – 創辦人 Design Practitioners Awardee - CreateSmart Young Design Talent Award 2022 現職設計師得獎人- 創意智優青年設計才俊獎2022 Cheung Ho Yan Fashion is not the only strength of HKDI students. As illustrated by other YDTA awardees, the only limit is the sky when it comes to excelling in the diverse specialisms in design. HKDI 不只是時裝精英的搖籃,從青年設計才俊獎的得獎人可見,於學院畢業的設計專才在其他領域同樣 成就驕人。 Lasting impact in various design fronts 耀目設計照亮不同領域 學院培育功不可沒 "Pause for Life" by Cheung Ho Yan. A premium stationery set made of wood and cement, containing gadgets which showcase the beauty of oriental art in a modern abstract way. 「暫亭」是一套高級文房四寶套裝, 由木和水泥製成的兩層小盒內藏各種 小工具,以富現代感的抽象風格呈現 東方藝術之美。 Rolland Cheung Wui Hei Website

11 After receiving a Foundation Diploma in Design Studies at IVE in 2011 and a Higher Diploma in Interior Design from HKDI in 2014, Rolland worked in interior design and architecture before completing his BA (Honours) in Interior Architecture at Middlesex University London (HKU SPACE) in 2018. Also, in 2018, Cheung founded AGAPE Design, the first resin art design studio and brand in Hong Kong. He hopes to work on large-scale projects and to further develop his skills in resin art, applying his imaginative techniques to interior, product, and spatial design. 張滙希在2011年於香港專業教育學院獲 得設計基礎課程文憑,並於2014年在香 港知專設計學院取得室內設計高級文憑。 投身於室內設計及建築行業兩年後,他 再入讀英國倫敦密德薩斯大學( 香港大學 專業進修學院),並在2018年取得室內建 築( 榮譽) 文學士。 張滙希在2018年創立了香港首家樹脂畫 藝術設計室及品牌AGAPE Design。他希 望將來能夠創作更多大型項目,進一步 發展樹脂藝術的技巧,在室內、產品與 空間設計中運用充滿想像力的創意技術。 After earning her Higher Diploma in Fashion Design from Hong Kong Design Institute and BA (Honours) in Fashion Design at Nottingham Trent University (VTC SHAPE) in 2009, Alize has been working in the fashion industry, first as a designer, and later in marketing. The change initiator teamed up with St. James' Settlement in 2016 and began running DIY musical instrument workshops. In 2020, she founded the upcycling studio In Wonderland Co. to design self-assembly kits to connect customers with products and show how to integrate sustainability into daily life. Alize wants to learn more about the mechanics behind kinetic toys and musical instruments, which will be invaluable for her product designs. 林若曦在HKDI 取得時裝設計高級文憑 後,再修讀才晉高等教育學院銜接課 程,於2009年獲得Nottingham Trent University頒授時裝設計( 榮譽) 學士學 位。畢業後投身時裝界,曾任時裝設計 師及市場推廣。她積極推動改變,自 2016年起與聖雅各福群會合作舉辦DIY 樂器工作坊。 林若曦在2020年創立了升級再造設計工 作室In Wonderland Co.,專門設計DIY 自組裝,希望透過親手製造的過程讓消 費者與產品建立連繫,把可持續發展融 入日常生活。她希望繼續學習更多有關 復古機械玩具與樂器的操作原理,對未 來產品設計會有莫大裨益。 Alize Lam Yeuk Hei 林若曦 Founder, In Wonderland Co. In Wonderland Co. – 創辦人 Design Practitioners Awardee - CreateSmart Young Design Talent Award 2022 現職設計師得獎人- 創意智優青年設計才俊獎2022 "360 Bar" by Rolland Cheung. Commissioned by the Hong Kong Jockey Club for a new clubhouse bar in Happy Valley, this translucent resin bar counter is entirely hand-made and features a unique pattern that resembles jade and sapphires. 「360 Bar」是由香港賽馬會委託, 位於新落成的跑馬地會所酒吧,是全 人手製作的半透明樹脂藝術酒吧檯, 圖案仿照玉石與藍寶石,色彩獨特。 "Silver Tree - World Psoriasis Day" by Rolland Cheung. Commissioned by the Hong Kong Psoriasis Patients Association for World Psoriasis Day 2019. Soft resin wraps recycled parts of a tree to become white and silver liquid leaves, imitating a typical skin condition. 「Silver Tree - World Psoriasis Day」是香港銀屑病友會委託的公 共裝置藝術,紀念世界銀屑病日 2019。以軟樹脂包裹回收再造的樹 木,形成一層銀白色的液態樹葉,猶 如銀屑病的皮屑病徵。 Alize Lam Yeuk Hei "Mood Piano" by Alize Lam. Developed for the IFVA Everywhere Carnival 2020, this is a gigantic hand-cranked wooden music box with a roller made of discarded bicycle wheels and a recycled piano. The installation plays two melodies and is reminiscent of the silent film era, when live music was played as the soundtrack. 「Mood Piano」是IFVA影像嘉年 華2020的藝術裝置,以廢棄單車輪 胎結合回收鋼琴製作巨型手動木製音 樂盒,可演奏兩段樂曲,紀念默片時 代的現場配樂。 Congratulations to all awardees. Their open, inclusive, and imaginative vision will provide fresh blood to the creative industries and contribute to an even brighter future for Hong Kong as an international hub of design. 衷心祝賀各位得獎者,為創意工業帶來開明共融、富想像力的視野和新鮮感,為香港繼續發揮國際設計 都會力量作出貢獻。 Website Website

Art is much more than the essence of culture. With spiritual values embodied in a tangible form, art is an integrated whole of creativity, techniques, as well as the creator's unique ideas and philosophies. Art is a mirror of the zeitgeist and the fruition of traditional culture; it sets trends for the future. In this issue of SIGNED, we begin with applied art and explore how certain traditional art and culture can be conserved and innovated through an angle that is more relevant to everyday life. The design studio "L'impression du temps" is founded by Herman Lee, an architect passionate about the millennia-old tradition of Chinese formal wear. He has conducted in-depth research and applied his superior skills in coding and algorithms. Collaborating with "Handmade by Royce", he has recreated a series of renewed ancient formal wear. Unquestionably, Lee has a one-of-a-kind perspective on the conservation and innovation of culture. Founded by cultural entrepreneur Adrian Cheng, the K11 Craft & Guild Foundation (KCG) strives to conserve and revive traditional Chinese craftsmanship that may soon be lost. It is committed to establishing a cultural ecosystem for crafts and creating social value that the public can share. KCG sponsors a series of traditional crafts that comprise both Chinese elements and western interpretations. Traditional crafts are enlivened by becoming part of contemporary living. Guangcai is a project sponsored by KCG. Through various novel creative, operation and promotion channels, a strong case for bringing traditional Chinese crafts to the world and into the future is established. Veteran advertising creative Leonie Ki founded the Hong Kong Gaudeamus Dunhuang Ensemble. The music of the ensemble is inspired by the murals of Dunhuang grottoes, which takes the mural art and music culture to the next level. By performing Dunhuang music and putting forward a comprehensive education programme, the ensemble strives to promote the art and culture of Dunhuang, nurture talents, and popularise Chinese music in a creative and effective way. This would in turn cultivate an interest in Chinese culture among the public, in particular the youth, such that the message to educate and conserve the world cultural heritage of China can be spread throughout the city. CONSERVING AND INNOVATING ART AND CULTURAL HERITAGE THEME 藝術文化的 傳承與創新 12 Text by Patrick Chiu

Jon Beck of the cultural scanning and printing initiative Scan the World (STW) is dedicated to foster the democratisation of art across museums and cultural institutions. By making its scanning and 3D printing technology available to the public, the online platform of STW has attracted a huge following and has become a sizeable 3D printing archive that extends the creative life of cultural heritage. STW is now an archive with more than 25,000 scanned artefacts uploaded as 3D printable files, and an average of 10,000 downloads a day. While some people are happy just to have a realistic reproduction of a famous artefact in their home, many others use the material as a canvas to build upon. Experimental printing and modifying of artefacts, or rendering objects into video games and virtual environments, are just some of the possible artistic endeavours. The work of STW is a glimpse into what a possible future for culture creation, preservation and recreation could look like. Beck reckons that attaching artefacts to stories gives them provenance, connection, and greater meaning than simply who possesses an artefact at a specific point in time. To conserve and innovate, culture must be integrated with the elements of the new era, through which traditions are given contemporary significance. In turn, such modern interpretation would propel cultural innovation, creating more room for cultural development and providing the foundation and momentum for evolving into a new culture for the new times. 作為文化精髓所在,不同形式的藝術集物質和精神價值於一身,凝聚了創意和技藝,以及創作者 獨特的理念和哲思,既反映了當下時代精神,也是源自傳統文化的產物,開啟未來的風尚。這期 我們特別以更貼近生活的應用藝術作切入點,看看一些傳統藝術文化如何得到傳承與創新。 建築師李漢樑(Herman Lee) 是"L'impression du temps"「時間的印記」工作室創辦人,他 對中國數千年禮服文化傳統情有獨鍾,在深入研究後,以其精通的電腦編程及演算法技術,與傳 統服裝藝匠樂思手工製 Handmade by Royce合作,重新創造了一系列推陳出新的古代禮服; 在文化的承傳與創新上, Herman Lee 無疑是有着個人鮮明的見解。 由文化企業家鄭志剛創立的 K11 Craft & Guild Foundation(KCG)致力傳承與復興即將失傳的 中國傳統工藝,建立工藝文化生態圈,為社會創造共享價值。KCG贊助一系列傳統工藝,既有中 式元素亦包容西方演繹,讓傳統工藝融入當代的生活而擁有新的生命。作為KCG贊助項目之一 的廣彩,亦通過各種嶄新的創作、營運和推廣方式,為大家展現了中國傳統工藝走向世界和走向 未來的一個鮮活案例。 由廣告界前輩紀文鳳創辦的香港天籟敦煌樂團,其音樂創作是以敦煌壁畫為主題,進一步演繹壁 畫藝術和音樂文化。樂團致力通過敦煌古樂演繹及全方位教育課程,弘揚敦煌文化和藝術、培育 人才,普及中樂,以創新方式發揮立竿見影的作用,吸引香港市民尤其年青一代對中華文化的興 趣及深入理解,將教育和保護中國世界文化遺產的訊息在香港開花結果。 Scan the World ( STW ) 的負責人Jon Beck銳意推動文博機構還藝於民,以掃瞄和3D打印為 文化傳承延續新生。STW網站平台公開分享有關掃瞄器和3D打印模型技術,吸引廣大同好參與, 成為頗具規模的3D打印檔案庫。STW現在已收藏了逾25,000件文物的3D打印檔案,每天平均 有1萬次下載。除了把仿真度高的名物複製品造成家居飾物,更多使用者以資料進行實驗性打印, 又或融入電子遊戲和虛擬環境。STW揭示了未來創造、保存和再創造文化的可能性,Beck認為 文物不應只是某個時間、某個人擁有的東西,其生命與故事應該與其他事物聯繫起來。 文化的承傳與創新必須結合當前新時代的元素,讓傳統文化賦予當代的意義、推動文化創新發展; 對傳統文化賦予現代表述,為文化發展開辟出更廣闊的空間,令其成為新時代新文化的基石和動 力。 13

喚醒禮服靈魂 Art of Dress Text by Patrick Chiu Photos courtesy of L'impression du temps L'impression du temps REINVIGORATING THE SOUL OF TRADITIONAL CHINESE FORMAL WEAR THEME 14

In Chinese traditions, the clothing system under Confucian rites and etiquettes is a symbol of civilisation, which is best represented by the formal attires of the royals and dignitaries. However, such tradition has faded with the succession of dynasties and the evolution of history. Very often, any residual legacy is only retained verbally by folk artisans. Chinese people do have a few more national costumes. The "Zhongshan suit" (or Mao suit) came from a Japanese imitation of European military uniforms. The more popular derivative known as "Tang suit" (or Zhong suit) is somehow restricted to a certain format and rather lacking in depth. Herman Lee is doing what very few people would in this area. He is adopting a scientific approach and applying modern technology to uncover the origins and standards of the clothing civilisation that Chinese people are proud of. 在中國傳統文化中,衣冠制度就是文明的象徵。今天,此種以統治階級和上 層社會正式著裝為代表的文化傳統已日漸式微,其流風餘緒也只限於民間口 耳相傳。有國服之稱的中山裝,其實只是源自日本的著裝,現在流行的唐裝 或中裝,亦都限於款式和表面,而鮮少有人會以理性態度和現代技術為其正 本清源,直至李漢樑( Herman Lee ) 的出現。 To revive the aesthetics of the shenyi style, ancient proportions were strictly adhered to in the Sui and Tang dynasties. Tight collars, tight fitting upper garments and rectangular sleeves are the characteristics of their clothes. By the time of late Tang, the chest width was doubled. The change was related to weakened national power and the return to the more conservative social norms of Confucianism. 《第九章「神闕、關元」經 穴 vs. "navel" 古典美學》 左圖: 清代后妃吉服,乾隆 (1736-1795) ,《國采朝章: 清代宮廷服飾》頁149 中圖: L'uomo vitruviano by Leonardo da Vinci 右圖: 明代朝服上衣,山東博 物館,《衣冠大成》 15

16 1 2 3 1.To revive the aesthetics of the shenyi style, ancient proportions were strictly adhered to in the Sui and Tang dynasties. Tight collars, tight fitting upper garments and rectangular sleeves are the characteristics of their clothes. By the time of late Tang, the chest width was doubled. The change was related to weakened national power and the return to the more conservative social norms of Confucianism. 隋唐為復興深衣美學,跟從 遠古比例、「規、矩」要求, 窄緊領子、貼身上衣、袖以矩 形。但到了晚唐,則雙倍了胸 闊。跟國力漸弱,重回儒家保 守封閉的社會風氣有關。 2.Left: Fuxi and Nüwa, excavated from the Astana-Karakhoja ancient tombs in Turpan, Xinjiang Uygur Autonomous Region Museum Right: Curved-front robe of Western Han dynasty 左圖:《伏羲女媧圖》出於吐 魯番,阿斯塔那哈拉和卓古墓 群,新疆維吾爾自治區博物館 右圖: 西漢曲裾袍

Lee had received training in architecture and art from the New York Academy of Art and the Columbia University. He has also been an architect in Japan, the U.S. and the U.K. A few years ago, Lee set his architecture career aside and founded his studio "L'impression du temps". Using his distinguished coding and algorithm skills, he began venturing into creative artistic patterns. His creations later extended to fashion, jewellery and fabric design. His unique insight, indepth research and recreation of Chinese formal wear is most remarkable. Lee has also published the series The soul of formal wear online, sharing every detail of his meticulous research. Chinese formal wear has undergone millennia of evolution, but a historical rift was torn by the end of the Qing dynasty. Young intellectuals resisted traditions in the Republic era. They thought the country's backward development was dragged by the shackles of traditions, rather than a result of people's vague knowledge about the world. After more than a hundred years of colonisation, Hong Kong only has half-baked knowledge about Western classics or modern civilisation. The so-called conservation of cultural heritage is dressed up with local "creativity" to ensure it lives up to buzzwords such as "revitalised heritage", "innovative heritage", "tradition with a twist", etc. The century-long history of the evolution of formal wear has turned into an extended period of confusion. Five hundred years ago during Renaissance, art was normalised and institutionalised in Europe. Art academies and museums were established to collect important documents and artefacts. Similarly, the legacy of Western clothing that has advanced with time has benefited from the extensive support of fashion brands, scholars and experts, and art-related institutes. Lee commented, "On the contrary, rich wives in ancient China preferred to have their clothes custom made by seamstresses. As a result, quality is dependent on the wearer's aesthetics and taste. Sadly, transmission of know-how was difficult as seamstresses were not usually highly educated. The situation is similar in architecture – the perpetuation of the culture cannot solely rely on renovators or bricklayers. The mission would be more suitably carried out by architects. I am trying to be an architect in passing down the culture of Chinese formal wear." To map out a clear path of progression for ancient Chinese formal wear, Lee studied a massive number of historic writings and numerous private and museum clothing collections from various dynasties. He said, "We must master the constants of Chinese formal wear as these are the dominating elements. They are here to stay no matter what." Speaking of the origins of Chinese formal wear, a passage from the Book of Rites, a Confucian classic, must not go unmentioned. It reads, "Anciently, shenyi was made with definite measurements, so as to satisfy the requirements of the compass and square, the line, the balance, and the steelyard." Shenyi is a form that had its earliest written records in the pre-Qin period. It traces back to the ancient period of Yu Shun and Xia Shang. Since Chinese formal wear originates from Confucian definitions, the same standards became the foundation for all theoretical texts written in subsequent dynasties. The rites and morals of the time were even ingrained into the details and finishings of clothing designs. The number of cloths, the lengths of the cuffs and front openings, for example, all carry symbolic significance in Confucian concepts. In fact, "guiju" (compass and square) was well explained in the Book of Rites. "Gui" is a compass for drawing circles; "ju" is the angle square. Together, they form the basis of what is known as geometry in the West. They used to be the standards of astrology. Consequently, moral values were added to these standards. In that sense, "guiju" sets out the subjective Confucian ideas that people must be taught to behave righteously. Subjective values, however, can be judged and defined in many ways by different people. Lee believes in observation. In fact, people's views on the world, on their life, and on values all stemmed from observing nature and the universe. As such, astrology is interwoven in everything. In ancient times, Confucian scholars unilaterally equate the definite measurements of the compass and square, the line, the balance, and the steelyard to the virtues of justice, selflessness, righteousness and loyalty. To inquire into the aesthetics of the shenyi of Chinese formal wear, one should holistically look at the concepts of the human body in traditional Chinese and Western cultures, including the philosophies and theories of humanities and science. "Gui" (compass) sets the normal, which is perpendicular to the ground. The centre is where one stands, and it is where the world converges. "Ju" (square) sets out the vector along the normal of "gui"; it projects influence to the world at an angle. "Sheng" (line) forms two17 3. Magua 馬掛 設計 design/ L'impression du Temps 時間的印記 縫製 made by/ 樂思手工 製 Handmade by Royce, Royce Chau 面料 fabrics/ 馬褂、馬 甲- Lanificio Luigi Ricceri, wool+silk, 長袍- 芝麻紗 silk leno 鈕扣buttons/ L'impression du temps 時間的印記 眼鏡eyewear/ Oliver Goldsmith 鞋shoes/ Dragon teeth by Angel Chen 4. Historians believe the mystic codes on this ancient jade turtle may shed light on the origins of culture, metaphysics and calendar systems. 歷史學家猜測凌家灘「玉版 玉龜」上的神秘八角星符圖 案和圓孔數字,也許展示了 遠古文化結構、術數、曆法 的來源。 4 *Herman Lee has also published the series The soul of formal wear online, sharing every detail of his meticulous research. 李漢樑以《禮服的靈魂》為 題寫下一系列文章,與大家 分享其研究心得。

dimensional geometry by connecting the centre point and the vector of the first dimension. It represents people's views and concepts about the universe, indicating the direction of a graph through the coordinates of the true north. "Quanheng" (balance and steelyard) refers to the size and layout of geometric shapes, which is akin to the musical arrangements of a symphony or the golden ratio of ancient art. Chinese formal attires of different dynasties reflect not only a strict adherence to their cultural connotations, but also the zeitgeist of their time. In his quest to identify the design intent, as well as the connections with historic evolution, Lee realised much is worth learning about the formal wear of the ancient imperial court. This inspired him to revive Chinese formal wear, and his main task was to find out the intent of our ancestors, and to actualise what they could not achieve with modern technologies and materials. Recently, Lee collaborated with Handmade by Royce and recreated a number of classic Chinese formal wear. The collection features cheongsam, magua and majia of Qing dynasty, as well as lanpao of Tang. Employing meticulous research, sophisticated and advanced computing technology, and exquisite tailoring techniques, he wishes to bring out the traditional cultural glamour of Chinese formal wear, which may have been forgotten. At the same time, conversion and improvement are also taking place. The lanpao of Tang, for example, was originally based on shenyi with very specific structural requirements. The form went out of shape because of the way it was passed down. Lee's recreation is not to casually modify the original, but to restore the looks that it was supposed to have. He noted, "Tang fabrics were originally weaved with a diamond pattern, but the same fabric can no longer be made today. I, therefore, switched to western fabrics. As for the cheongsam of Qing dynasty, traditional sesame yarn is used; the black cloth for magua and majia comes from abroad. Quality is my only selection criteria. Besides, I am pursuing changes in designs, as well as structural improvement. Take the collar of our Tang lanpao as an example. The data of its shape is entered into and calculated by the computer to confirm its position and to ensure that it fits snuggly around the neck. The requisite is that you must know the intent of the design and the proportion of the cutting. Further support from computer coding and algorithms will lift it up to another level." Similar to professional mountaineers pursuing to challenge the many peaks around the world, Lee is keen on recreating the base forms of traditional Chinese formal wear. In particular, he would like to recreate those that were never attempted by his predecessors. To prevent tangling with various unreasonable requirements or restraints, Lee has never been open to any cultural sponsorship since they are not easy to conform to. He felt fortunate that he is working at the right time, the right place and with the right people. Time wise, the current internet age has allowed him to conduct adequate research. Geographically, Hong Kong is an Eastmeets-West metropolitan close to the provenance of Chinese formal wear. As for people, he has been in close contact with many scholars and experts who are willing to share their knowledge and wisdom. These have empowered him to work solo, to shoulder on all difficulties, and to go on. Lee said, "At major international events, Japanese and Koreans would appear in full national formal costumes. On the contrary, many Chinese are still wearing western suits. A country's costume is always a symbol of its soft power. When you walk onto the global stage, others are most interested about your ethnic culture. I aspire to create a Chinese formal costume that could connect our past and our future." Herman 早年在美國哥倫比亞大學接受西方 建築和藝術訓練,曾分別在日本、美國和 英國執業建築師,他在數年前放下建築事 業,創立了自己的工作室L'impression du temps ( 時間的印記),以其精通的電腦編碼與運算技術, 從事藝術圖案創作,及後更延伸至服裝、首飾、 布料設計。他又執筆為文,以《禮服的靈魂》為題 寫下一系列文章(文章QR code在17頁),與大家 分享其研究心得。 傳統中華禮服自清末便出現歷史斷層。民國時期 年青知識分子將社會落後歸咎於傳統桎梏,今天 香港雖經歷百年殖民地文化洗禮,仍對西方古典 和現代文明一知半解。所謂文化承傳也要經本地 18 1 1. The Contemporary Lanpao was inspired by the "Circling a square" and "Squaring a circle" diagrams from Zhoubi Suanjing. 「當代襴袍」衍生自《周髀 算經》的「圓方圖」、「方 圓圖」。

「創意」洗禮、符合西方流行套話如「活化」、「傳 創」、「混搭」等。相比之下,五百年前文藝復興時 期的歐洲,已把藝術規範化和制度化。西方服飾 文化傳承至今,仍受惠於各大時裝品牌、學者專 家和有關藝術機構的支持而得以與時並進。 「反觀昔日中國富人太太們則偏愛找師傅訂造服 裝,質量如何端視乎主顧的審美和品味,而教育 程度普遍不高的師傅亦難以傳承箇中文化。正如 建築文化不能單靠裝修或砌磚師傅去傳承,而必 須要有建築師的角色。在中華禮服文化傳承上, 我現在便嘗試扮演建築師的角色。」Herman說。 Herman 梳爬整理了大量史料典籍,又參考大批私 人和博物館珍藏的歷代服裝,理清中華禮服傳承 發展的來龍去脈,他表示:「正如同數學中有些 是變項,有些是不變項,大家要掌握中華禮服背 後的那些不變項,那些永恆主宰、長存不墜的力 量。」 說到中華禮服源頭,便不得不提儒家經典《禮記》 所述: 「古者深衣,蓋有制度,以應規、矩、繩、 權、衡」。中華禮服既始於儒家定義,之後歷代有 關著論立說,便不免以儒家教條為尊,以至服裝 設計製作的細節處理,都帶着儒家象徵意義和文 化符號。其實《禮記》早已解釋了什麼是「規矩」。 「規」是圓規,「矩」是角尺,就形同西方的「圓規 幾何」,都是當時天文學的標準,惟後人又為它添 加了許多道德價值,展示了儒家思想主觀的價值 判斷。 古人以「規、矩、繩、權、衡」對應「公正、無私、 正直、公平、忠直」等美德,只是儒家學者一廂情 願的主觀價值判斷。要探究中華禮服的深衣美學, 應綜合東西方傳統文化對人體的觀念,包括人文 和科學的思維和理論。當中「規」所定之中軸跟地 面水平成90度,以立身之點為中心,滙聚世界; 「矩」所定之方向是沿着「規」的中軸,投射於世界 的角度和影響力;「繩」從一維的中心點和方向連 結成線,把人的宇宙觀、概念建構成二維的幾何 圖,以北斗星坐標顯示圖的方向;「權衡」的大小 和幾何圖案的佈局,便有如交嚮樂的編曲和古典 藝術的黃金比例。 不同朝代的中華禮服固然有其奉行不輟的文化底 蘊,卻也同時折射了所處時代精神。Herman發現 過去皇室貴族專享的中華禮服有很多值得學習的 地方,於是便興起了復興中華禮服的念頭。主要 是找出古人的原意,再將尚未完成處,用現代先 進技術和材料實現出來。最近他便與樂思手工製 Handmade by Royce 合作,重造出多件經典中華 禮服,包括清代長衫、馬掛和馬甲,以及唐代襴 袍,希望通過理性嚴謹的研究、精密先進的電腦 科技和精湛地道的縫紉工藝,帶出中華禮服文明 被遺忘的傳統風範。 就像攀山專家追求克服世上眾多高峯那樣, Herman也想逐一克服傳統中華禮服的基本範式, 尤其想將那些前人沒碰過的項目全部再造出來。 為免受制各種不合理要求和約束,Herman謝絕一 概文化資助計劃,笑稱它們都是難以穿著的「金鐘 罩」。他表示自己勝在有「天時,地利與人和」。 「天時」是當前網絡時代容許在網上作充分調研, 「地利」是香港既為中西文化交流都會,又接近中 華禮服發源地,至於「人和」則在於他所接觸的許 多學者專家,其實都樂於分享相關知識和智慧, 所以才敢於單槍匹馬,勇以一人之力迎難以上。 19 2. The centre seam indicates the absolute normal of an ancient sundial, i.e. staying perpendicular to the ground, 90 degrees towards the sky. 中縫代表遠古圭表的法向: 「跟地平線保持垂直90度向 天」。 2

20 Applied Art THEME 20

21 復興廣彩中國風 Text by Patrick Chiu Photos courtesy of K11 Craft & Guild Foundation K11 Craft & Guild Foundation REVIVES CHINOISERIE WITH GUANGCAI Traditional Chinese culture is profoundly influential. As the society attaches more and more importance to cultural identity, projects themed with cultural revival are emerging. Yet, people have almost always only focused on formal art categories. Traditional craftsmanship that does not belong to the mainstream rarely receives much attention. Things have changed because of the increasing prominence of the creative economy in recent years, the renewal of the market and population structure, and the rise of social consciousness. Traditional folk crafts are now hot items in the cultural and creative industry, thanks to their unique cultural character, the distinguished technical skills applied and their relevance to everyday life. "Chinese is Cool" is a new theme advocated by cultural entrepreneur Adrian Cheng – the founder of K11 Craft & Guild Foundation (KCG). Under this theme, KCG has redefined its work to conserve and rejuvenate traditional Chinese craftsmanship with a more relevant zeitgeist. Guangcai is a project sponsored by KCG. Through various novel creative, operation and promotion channels, a strong case for bringing traditional Chinese crafts to the world and into the future is established. 中國傳統文化浩瀚如煙海,而隨著社會大眾日益重視文化身份認同,各種文化復興項目亦相繼湧 現。惟長期以來,人們焦點都往往放在廣為人知的正統文藝類門上。至近年,由於創意經濟崛興、 市場和人口結構更生換代,加上社會意識抬頭,民間傳統工藝以其獨特人文色彩、技術造詣和貼 近生活之特質,才成為文化創新的熱門對象。「Chinese is Cool」是文化企業家鄭志剛為 K11 Craft & Guild Foundation(KCG)最新提出的主題。作為KCG關注工藝項目之一的廣彩,亦 通過各種嶄新的創作、營運和推廣方式為大家展現了,中國傳統工藝走向世界和走向未來的一個 鮮明案例。 21