1 2024/ISSUE 31 NURTURING 孕育設計未來
TEXT / BRANDO MAK PHOTOGRAPHY / HONG KONG DESIGN INSTITUTE 孕育香港設計與創新的未來 NURTURING THE FUTURE OF HONG KONG DESIGN AND INNOVATION WITH TECHNOLOGY
/ FOREWORD / 前瞻未來，相信香港設計將與人工智能（AI）、 物聯網（IoT）、虛擬及擴增實境 (VR/AR) 等新 興科技進一步融合，為設計帶來完全嶄新的面 貌，過去的不可能將演進成無邊際的可能。同時， 設計師必須要掌握相關的技術才能駕馭未來的發 展。可幸是香港設計界的精英們，正努力不懈學 習新的知識，積極拓展新的發展方向，力求突破 界限，把香港設計帶到國際舞台上。 與此同時，科技與電子媒介的進步，令我們的生 活、文化及意識形態等跟過去產生了戲劇性的轉 變。當中人工智能（AI）以及虛擬製作（virtual production）已成為設計未來的大方向，例如香 港知專設計學院（HKDI）便全力投入 AI 及數碼 設計在教育領域上，其中又與邵氏影城（Shaw Studios）合作，在錄影廠內建立設備完善的虛擬 製作技術教學及拍攝場地，好讓學生們有足夠完 善的現代化配套，學習如何運用先進科技於影視 製作，提升本地虛擬製作水平。 至於可持續發展導向，同樣是未來的大勢所趨， 香港設計界正逐步向環保、節能、升級改造、循 環經濟等可持續發展的方向轉型。成功典範例如 杭州市的青山村積極把新鮮活力注入原生態村 落，在關注公益可持續、藝術設計、傳統手工 藝的傳承與發展外，又建設融設計圖書館 (Rong Design Library)，為來至世界各地的設計師提供 一個最優良完善的資料庫。 設計除講求美觀外，實用性也非常重要。今年 的奧運熱潮，讓各運動項目成為討論焦點。同 時由於運動的普及，時尚跟運動的關係可謂密 不可分。那麼如何營造物料、實用性的完美配 合？近年各大品牌均積極研發專利技術及物料， 至今物料發展又到了甚麼樣的階段？ 我們將從 運動服的時尚外觀及功能，探討運動服飾古今 中外之沿革。 無論是設計界的前輩精英或後起之秀，我們不斷 努力面對不同的挑戰和機遇，一代又一代地為未 來撒下優良的種子，同時又莫忘香港這塊福地所 賦予我們的文化薰陶。前瞻香港設計的未來，相 信必然是滿載活力和希望的。 Transforming yesterday's impossibilities into tomorrow's reality — that is what the future holds for Hong Kong's design. Of course, to do that, the field of design will have to further integrate with emerging technologies such as artificial intelligence (AI), the Internet of Things (IoT) and virtual / augmented reality (VR / AR). To master these technologies, designers must navigate all future developments efficiently. Fortunately, Hong Kong's design elites have diligently been acquiring new knowledge and pushing boundaries to bring Hong Kong's design to the international stage. At the same time, advancements in technology and electronic media have dramatically transformed our way of life, culture and ideology, with AI and virtual production paving the way for the future of design. The Hong Kong Design Institute (HKDI) is striding ahead in this respect. The institute is fully engaged in AI and digital design education and has collaborated with local film production corporate Shaw Studios to establish a well-equipped virtual production teaching and filming site. This environment provides students with cutting-edge facilities to learn how to apply AI advanced technology in film production. Sustainable development is another major trend for the future. The Hong Kong design community is gradually transitioning towards eco-friendly practices. Mainland China's achievements, such as the Qingshan Village in Hangzhou, offer valuable lessons on how one can blend traditional wisdom with modern innovation to come up with sustainable solutions. This village has infused fresh vitality into the original community while focusing on public welfare, sustainability, art and traditional craftsmanship. The Rong Design Library was also established in this village, offering an excellent resource database for designers worldwide. In design, aesthetics and practicality are equally essential. With the Olympics being held this year, various sports are also on our minds collectively. Modern sports' ubiquity with mainstream design trends makes the relationship between fashion and sports inseparable. How can you create the perfect combination of materials that offer both sleekness and practicality? In recent years, major brands have answered this question by actively developing patented technologies and materials. What stage has material development reached today? Let us explore the evolution of sportswear's fashion and functionality across time and cultures. Both seasoned veterans and emerging design talents constantly face diverse challenges and fresh opportunities. As a result, we must draw on the city's rich cultural heritage, technical advancement and sustainability, which are key to driving innovation. Looking ahead to the future of Hong Kong's design, we believe it is imbued with boundless vitality and hope.
HKDI EDITORIAL BOARD Lay Lian Ong, Elita Lam, Keith Tam, Michael Chan, Terence Wong, Kaman Hui, Daniel Chan, Ronald Wong, Irene Tang CREATIVE CONTENT TEAM Koomen International Company Limited Editor：Brando Mak, Yeung Tsui Yi, Lucas Ng, Cherry Lo, Such Mukhopadhyay Art Director：Dave Tsui Designer：Wo Wing Nam PRINTING Apex Print Limited COVER Hong Kong Design Institute
/ CONTENTS / 06 A Wave of Virtual Products is Sweeping the Globe How It Could Redefine the Future of the Film and Television Industry 虛擬製作席捲全球 改寫傳統影視產業未來 18 Sustainability, Contemporary Design and Chinese Heritage The Future of Global Design 可持續、當代設計及中國傳統建築 —— 環球設計的未來 30 Michele De Lucchi Building the Future 米凱萊·德·盧奇 築夢未來 12 Crossing the Online and Offline Worlds In the Future of Integrated Virtual and Real Worlds, Can Humans Lead Design? 穿越線上線下 虛實整合未來 人類能主導設計嗎？ 24 Fashion Meets Athletics Innovative Functional Materials Leads New Era of Sportswear 運動與休閒並存 革新機能材質引領運動時尚新紀元 36 Hallyu IITERNITI A Vision of Tomorrow 虛擬偶像 遇見未來 38 Hong Kong Design Institute Emerging Design Talents 2024 Leading Social Change through "Transformative" Design 2024香港知專設計學院年度設計展 以「變換轉化」設計引領社會變革 / THEME STORY / / INTERVIEW / / EXHIBITION / / EVENT REPORT / The Hong Kong Design Institute is a member institution of the Vocational Training Council. For more information about the HKDI, please check our website on www.hkdi.edu.hk, or email us at hkdi@vtc.edu.hk SIGNED is produced on behalf of the Hong Kong Design Institute by Koomen International Company Limited. Copyright@2024 by Hong Kong Design Institute. All rights reserved. No part of this book may be reproduced without the written permission of the Hong Kong Design Institute.
06 / THEME STORY / HOW IT COULD REDEFINE THE FUTURE OF THE FILM AND TELEVISION INDUSTRY TEXT / YEUNG TSUI YI PHOTOGRAPHY / SHAW STUDIOS A Wave of Virtual Products is Sweeping the Globe 虛擬製作席捲全球 改寫傳統影視產業未來
Since its inception, the film and television media has existed squarely at the juncture of art and technology. Media forms like music videos, streaming services and even blockbuster Hollywood films have exemplified this inextricable link. In the past three to four years, though, virtual productions have swept through the world and have been described by insiders in the United States and Europe as marking a "point of no return" for the overall industry due to their real-time ability to produce special effects content. Such technology is gaining momentum in Hong Kong too. In March 2024, an international-level professional virtual production studio officially opened in the city, ensuring that local production is keeping pace with the rest of the world. 融合藝術與科技是全球創意 產業新趨勢，以影視製作為 例，不論荷里活電影、串流 劇集，以至音樂視頻等，與 科技經已密不可分。近三至 四年，能高效製作出實時特 效內容的虛擬製作 (virtual production)，更被歐美影視 界形容為「一條不歸路」， 應用與日俱增。在香港，隨 著國際級虛擬製作錄影廠於 2024 年 3 月正式啟用，意味 本地製作的發展里程，正與 世界各地亦步亦趨。 07
Hong Kong’s largest virtual production studio: Training talent with the latest in technology After nearly four years of preparation, the Hong Kong Design Institute (HKDI), the new studio is currently the largest virtual production studio providing international-level professional virtual production education and shooting facilities in Hong Kong. Housed at Shaw Studios, this 9,000-square foot facility is equipped with comprehensive professional software and hardware, plus basic facilities like control rooms and workspaces. Some highlights include a sophisticated Samsung "The Wall" microLED display with ultimate ultra-high resolution (8K) and pixel pitch of 1.68mm fineness; an ARRI camera and lighting system acclaimed by the film industry and the disguise advanced computer software solution that supports extended reality (XR). Users can instantly integrate virtual and real scenes in the studio, handling up to six scenes simultaneously. "To excel in filmmaking and its latest techniques, students must be provided with high-standard tools that enable them to enhance their competitiveness and match international professional standards," says Terence Wong, Head of Academic Development at the HKDI. He expects that the new studio will offer students an international learning experience, preparing them for a future beyond Hong Kong. "Virtual production has been a global focal point since around 2020. It has become increasingly widespread in the United States and Europe; producers have joked that it represents a ‘point of no return’ and have been incorporating it into their production lists," says Wong. Virtual technology now accounts for 70% of the visuals across numerous streaming series. Wong believes this will soon become a norm, leading to an increase in demand for relevant talent. "Recent data from the United Kingdom indicates that less than 50% of film professionals have six months or more experience in virtual production. It is a similar situation in other major film industries worldwide." The HKDI empowers students studying these skills to seek internship opportunities further afield — including in mainland China, where significant advances have been made in high-tech film technology and local productions. Forging ahead: Fostering a community of film and television professionals In response to this growing trend, the HKDI Media Lab has been actively improving student training opportunities to align with global mainstream standards since 2021. The virtual production studio was a logical next step in that direction. "Technically, Hong Kong is still in the exploration stage, and it might lag behind more mature regions. However, we are on par in terms of creativity and production capabilities," says Wong. He believes that the facility will inspire future creative talent and elevate their production quality. "We are discussing how the film industry, the HKDI faculty and the students can all collaborate through virtual production. Two former students who are currently working in the film industry are spearheading these efforts, with preliminary conclusions expected shortly." He hopes these technological advancements will play a crucial role in nurturing talent. Future graduates will be taught to combine creativity with the latest technology to come up with more distinctive, high-quality productions.
09 Head of Academic Development at the HKDI 香港知專設計學院學術發展主管 TERENCE WONG 黃培達 How virtual filming can help the industry achieve Environmental, Social and Governance (ESG) goals Shaw Studios, which has joined forces with the HKDI on building this virtual production studio, hopes that pioneering this top-notch virtual production technology and systems will benefit the local film industry and connect with the world. Helena Young, Director of Production Services and Marketing of Shaw Studios, says that everyone is eagerly anticipating the day Hong Kong can produce more advanced films. "Using virtual technology in film production is imperative," Young says. "Compared to traditional filming methods, virtual production not only consumes less time and actual costs but also facilitates the implementation of Environmental, Social and Governance(ESG) principles." For instance, the virtual effects created through virtual backgrounds can mimic the look of real-world locations. This means that films that would have previously required on-location shooting can now be completed without the cast and crew having to travel to the actual sites. Additionally, art and props teams no longer need to construct large physical sets—instead, a scene change can be virtually created with new technology. It saves significant time, manpower and resources, which in turn reduces waste and improves sustainability. "The filming process is often hindered by external conditions like weather or timing, a sunrise or sunset moment in the script. Virtual shooting eliminates these constraints, allowing outdoor scenes that normally take weeks to be completed in just days. The real-time integration of virtual elements such as instant colour grading and setting changes reduces time and effort spent on post-production as well, increasing production flexibility," Young says.
Developing diverse skillsets to create high-quality productions Young predicts that the widespread use of virtual production tools will drastically change industry workflow. For instance, a sizeable percentage of post-production work will move to preproduction, resulting in changes to long-standing post-production roles. "The industry is highly enthusiastic about using this new technology in film production," Young says. "As many studios worldwide are embracing this trend by setting up virtual production facilities, in Hong Kong too there is a strong desire to soon produce its first virtual film." She hopes that young people with virtual production skills will embrace the rich experience of industry veterans to create new masterpieces. Together, they can maintain the continued brilliance of Hong Kong’s local film and television industries, bringing art and technology to a beautiful fruition. 全港最大虛擬製作錄影廠 「軟硬兼施｣培育人才 由香港知專設計學院 (HKDI) 耗時接 近四年籌劃的虛擬製作錄影廠，是目 前全港最大型的虛擬攝製技術教室及 拍攝場地，這個位於邵氏影城的影棚， 佔地 9,000 平方呎，內裡專業軟、硬 件設備一應俱全，包括：控制室及工 作間等基本設施、像素細緻度達 1.68 亳米的 Samsung 巨型 microLED 屏 幕牆、被電影業界譽為「頂級神器」 的 ARRI 攝影及燈光系統、以及可支援 延展實境 (XR) 的 disguise 先進電腦 軟件解決方案，令大家可在錄影廠內， 瞬間結合虛擬場景與實景，並可一邊 拍攝，一邊處理多達六個場景，方便 整合不同製作內容。 「工欲善其事，必先利其器，想培育 精於影視新科技的人才，製作出優 質作品，就要向學生提供高水準工 具，以便他日與世界各地專業標準看 齊，提升競爭實力。」香港知專設計 學院學術發展主管黃培達（Terence Wong）預期，嶄新的錄影廠可為學生 帶來國際級學習體驗，為日後衝出香 港，作好準備。 「虛擬製作在 2020 年左右於全球熱 議至今，歐美等地的應用已愈來愈廣 泛，各大小監製並笑稱，這已是一條 不歸路，創作影片時，都會將虛擬技 術列入製作清單之中。」以他所見， 早在兩、三年前，不少於大型串流平 台上架的劇集，有七成畫面也由虛擬 技術生成，他認為，在不久將來，此 製作模式將成為恆常化的工作流程， 與此同時，業界對相關人才之需求， 只會有增無減。 「英國近期公布的數據顯示，擁有六 個月或以上虛擬製作經驗的電影從業 員，人數比例不足 50%，求才若渴之 10 Director of Production Services and Marketing of Shaw Studios 邵氏影城製作服務及市場推廣總監 HELENA YOUNG 楊勉恒
11 程度，可想而知；類似情況，在各大 影視產業國亦然。」因此，他鼓勵正 努力拿捏該項技能的同學，放眼世界 不同國度，包括在高科技電影技術上 破繭而出的中國大陸，爭取實習機會， 拓闊視野，才可進一步推己及人，優 化本土創作。 以前瞻視角 打造影視專才搖籃 藝術科技既是大勢所趨，為了讓學生與 時俱進，鏈接高水平影視製作，學院媒 體研究所早於 2021 年，積極探索如何 在新技術層面，加強對同學的培訓，以 回應世界主流。經過與電影業界的連串 商討及多番測試，最終認定成立虛擬製 作錄影廠，是一個可行方向。 「論技術，尚處於摸索階段的香港， 可能會略遜於其他發展較成熟的地區， 然而，在創作及製作能力方面，彼此 其實不相伯仲。」Terence 相信，隨 著虛擬製作錄影廠塵埃落定，對培育 創意人才、提升攝製水平，將帶來鼓 舞作用。 「目前我們正就電影業界與 HKDI 師 生如何攜手實踐虛擬製作，展開探討， 兩名現職電影工作的學院舊生，對於 相關合作及支援細節，已進行得如火 如荼，預期即將有初步定案。」他期 待在可見未來，設備先進的錄影廠能 發揮培訓人才基地角色，畢業生可學 以致用，將創新思維與高科技結合， 製作出更多別具特色的水準之作。 虛擬拍攝 有助業界實踐ESG目標 為 HKDI 提供空間，玉成虛擬製作錄 影廠美事的邵氏影城，期望這個先行 先試的教學場地，可為業界注入新血， 進一步推動本地電影創作，與世界接 軌。影城製作服務及市場推廣總監楊 勉恒（Helena Young）表示，由於香 港至今仍未有電影這類製作，所以大 家都引頸以待。「在攝製影片流程中 使用虛擬技術，已是勢在必行之事。」 她前瞻：「因與傳統拍攝方式比較，虛 擬製作所花的時間及實質成本，不單 止相對較低，並且有助實踐環境、社 會和企業管治 (ESG)。」 例如，由虛擬背景製造出來視覺效果， 如臨實景，這令本來需要在外地取景 的影片，不用演員及製作團隊親赴現 場，也可順利完成。另外，有了虛擬 製作後，美術及道具組人員再也毋須 大費周章，在錄影廠搭建大型實體布 景，任何千變萬化的場景也可透過新 技術打造，不僅省卻了不少搭建實景 的時間和人力物力，亦可避免製造廢 料，無形中為環保出一分力。 「電影的拍攝進度很多時會因天氣而 受阻，又或工作團隊為了捕捉日出、 日落等「魔幻時刻」而苦苦等待，採 用虛擬方式拍攝後，便不用受時間所 限，可以令一些原本需時數星期的外 景拍攝，在數天內大功告成。加上真 實與虛擬元素合成的特殊效果，能實 時呈現出來，還可即時調色、變換場 景氛圍及作其他修改，大家便不用花 大量時間與心力，在後期製作工序上， 換句話說，不論攝製效率及靈活度， 亦大為提升。」 多元人才共融 推動行業高質發展 Helena 預料，當虛擬工具被廣泛使用 後，整個工作流程將出現翻天覆地改 變，最大的轉變是，由於不少影像是 於正式拍攝前創建，換言之，大部分 後期製作將變為前期工夫，連帶一些 原屬後製的崗位，亦可能會有調動。 「目前業界對使用這種新科技製作影 片的意欲高漲。」她稱：「當大家得 悉世界各地不少傳統片廠也加設了虛 擬製作影棚，蓄勢待發迎接今次的大 趨勢時，均殷切盼望香港可盡快有第 一部虛擬拍攝的作品出現。」 她希望兼收並蓄虛擬製作技術的年青 人，在不久將來，可將他們的技能，跟 業界一眾前輩的豐厚資歷融合在一起， 攜手創作出一部又一部叫好叫座的殿堂 作品，令本地影視創作持續閃亮。
/ THEME STORY / TEXT / LUCAS NG PHOTOGRAPHY / HONG KONG DESIGN INSTITUTE, MIN CHAN 穿越線上線下 虛實整合未來 人類能主導設計嗎？ Crossing the Online and Offline Worlds IN THE FUTURE OF INTEGRATED VIRTUAL AND REAL WORLDS, CAN HUMANS LEAD DESIGN?
13 The film and entertainment industries are undergoing epochal transformations. Online streaming, high-definition imagery and artificial intelligence (AI) are not just changing business models, these technologies are also radically altering the design thinking that guides media productions. The Hong Kong Design Institute (HKDI) graduates, Min Chan and Chak Yun Hei, have been playing crucial roles in this transformation. Chan, an Image Director, designs immersive costumes that help in the element of worldbuilding in productions. Chak, a Director of Innovation and Product Development, develops TV hardware and software tailored to future consumer entertainment modes and broadcasting technologies. Their experiences demonstrate how, despite the flurry of technological changes, their respective roles maintain fundamental continuity, with Chan creating beautiful designs and Chak driving industry development. 影視娛樂產業龐大，除了實體或線上平台、營運 團隊或台前幕後工作人員之外，原來設計思維 亦很大程度上左右著影視娛樂作品質素，甚至能 夠改變整個行業生態體系。香港知專設計學院 （HKDI）畢業生陳巧倩（Min）和翟潤熙（Hei） 分別任職服裝指導和創新產品規劃運營部總監， 前者負責設計戲服造型，通過精心的服裝設計， 讓演員和觀眾投入戲劇世界；後者則專責研發電 視機硬件和軟件，針對未來消費者娛樂模式及播 放技術轉變而開發商機。隨著互聯網、串流播放 平台、高清影像及人工智能（AI）技術的普及， 如何靈活運用設計思維順應影視娛樂產業轉型， 是二人無法避免的共同挑戰。兩人的經驗證明， 設計不僅是美化表象，更是推動產業發展的重要 動力。 Min Chan is a Film Costume Designer and a graduate of the Fashion and Image Design Department at the HKDI. She has worked on numerous films, television series and advertisements, including "In Broad Daylight", "Warriors of Future" and "Shock Wave 2", as well as the series "I SWIM". She was nominated for the "Best Costume Design" award at the 60th Golden Horse Awards for her work on "In Broad Daylight". 現職電影服裝指導，HKDI 時裝 及形象設計學系畢業生，曾參與 電影《白日之下》、《明日戰 記》、《拆彈專家2 》、劇集《I SWIM》等多部電影、劇集及廣告 製作，並憑《白日之下》獲第 60 屆金馬奬提名「最佳造型設計」。 MIN CHAN 陳巧倩 Currently the Director of Innovation and Product Development at TCL Corporate Research (Hong Kong) Company Limited, Chak Yun Hei is a graduate of Architecture, Interior and Product Design Department at the HKDI. He previously worked as a Product Designer at Canon, where he won the Red Dot: Best of the Best Award in 2013 for the "X Mark II Calculator". 現職TCL 工業研究院（香港）有 限公司創新產品規劃運營部總監， HKDI 建築、室內及產品設計學 系畢業生，曾於 Canon 佳能集團 任職產品設計師，在任期間憑 X Mark II計數機贏獲2013年度紅點 最佳設計獎（Red Dot：Best of the Best）。 CHAK YUN HEI 翟潤熙
14 Conscious transformation Drawing on their experiences of technological disruption, Chan and Chak outline their immediate impact and how they proactively changed their design approaches to align with the new normal, even altering their career paths to better position themselves for the industry's future. Chan recalls, "In the past, we had to go to libraries or specific websites with accounts to access fashion show information. Seasonal fashion information was minimal, unlike now, where you can access real-time information on Instagram. For some senior practitioners, they struggled with going online and had to rely on clipping magazines and other printed materials for work. Previously, we actively searched for information, but now there's an overload of free information with inadequate filtering, often causing one to feel overwhelmed by AI systems and algorithms and leading to aesthetic fatigue and a sense of conflict." Today's online image resources provide designers with endless free and convenient images. However, Chan ponders the possibility of this technology replacing current art and design jobs. Chan said, "I experimented with AI to generate works in the style of the movie 'Dune' and American designer Rick Owens. It could generate an entire fashion series beautifully, which felt intimidating. But with increased iterations, the AI output became repetitive." Based on her experience, Chan believes AI can assist film and art design departments by directly generating atmospheric visuals and colour palettes. However, AI has its limitations regarding the actual production of costumes. "Current AI technology cannot weave a sweater like humans, which is why I believe I still have a few more years of job security before AI fully replaces designers. Moreover, AI-generated character designs lack the 'human touch' and sense of life, which is evident through the lens and human actors' performances." Reflecting on the media's online transition from the mid-2010s onwards, Chan recalls that many media outlets drastically changed their presentation methods. "Print media declined, becoming network media dominant, with significant differences in reading methods and speeds... Previously, we mainly read A4-sized printed media, where clothes could be adjusted with pins and clips during photoshoots or retouched later. But now, with a focus on film and TV, the process is like moving from 2D to 3D, where tiny details are magnified on giant screens, making even the smallest thread stand out, which is very concerning." Silent elimination While Chan is a film and entertainment producer, Chak is the one who brings these works to the audience. As a Director of Innovation and Product Development at TCL Corporate Research (Hong Kong) Company Limited, his products, such as mobile phones, personal computers, digital media and smart TVs, deliver movies and entertainment programmes to consumers today. He has a different perspective on the relationship between technology, design thinking and industry transformation. Chak says, "I graduated with a Product Design and Technology major. My early work focused on craftsmanship. We were among the first batch of academically trained newcomers familiar with Photoshop 4.0, AutoCAD and 3D technology. At that time, many software programmes were still imperfect, with numerous programme flaws. Simply avoiding these pitfalls to complete the work was considered excellent performance in those days." Chak later managed the design team at Canon, winning the Red Dot: Best of the Best Award in 2013 for the "X Mark II Calculator". However, this experience, which represented the pinnacle of his career at that point, also alerted him to its coming demise. Quite a lot of electronic products were quietly disappearing from daily life, underscoring the urgency of his transformation. Chak said, "Apps have replaced radios and alarm clocks; numerous products have shifted from hardware to software. In traditional industrial design and production lines, software was often seen as a mere accessory to hardware earlier. However, from today's perspective, it is clear that software has become a far more crucial component." Chak predicted that the outdated hardware-centric models, which were slow to adapt to user experience (UX) expectations, would eventually be phased out for the more responsive app economy. Chak says, "Now the industry emphasises interactive design and UX, which were areas I feared in the past. As a designer, the world is changing, and I need to understand changing user needs and focus on problem-solving. The product forms of the past cannot address future issues." As the product design industry changed and single-purpose gadgets like point-and-shoot cameras and electronic dictionaries disappeared, Chak proactively sought to thrive in the new environment. "The current situation is similar to the past. Today, many people still do not fully comprehend the capabilities of AI, just as individuals in the past were sceptical about the decline of 'dumb phones' with the rise of smartphones," Chak says. He described how in the past, product designers primarily focused on craftsmanship and product specifications. However, upon joining TCL Group, he found that the scope
15 of product design had expanded significantly. Chak had to consider UX, system design, interactive design, software engineering, interface design and product and service pricing models. This reflects a crucial trend in technological development — a shift from simple product design to intertwined product and service development schedules. Embracing the virtual world Both Chan and Chak note that the rise of the Internet has disrupted traditional pricing, media consumption models and consumer lifestyles, prompting changes on the production end. "On one hand, some people specialise in improving audio-visual data compression technology. For example, YouTube previously used Flash as the default player, but now advanced HTML5 compression technology allows users to access large amounts of high-definition media content more efficiently. On the other hand, some people develop broadband technologies, with the advent of 5G and 6G technology, enabling users to access data-intensive media anytime, anywhere, leading to new changes and shifts in demand," says Chak. While software supplanted many electronics, it also radically changed many surviving products. TVs no longer broadcast one-way, they support user interfaces and software installations, which in turn has spawned a new ecosystem in the industry. As a Director of Innovation and Product Development, Chak constantly monitors international film and entertainment industry trends to seek out business opportunities amid technological changes. "Current film and media operation models are mainly divided into several types, such as YouTube's AVOD (Note 1), Netflix's SVOD (Note 2) and the continuation of traditional TV's FAST (Note 3), each with different operation models. Many institutions and apps in the US operate local TV stations through FAST, offering users customised media platforms with hundreds or thousands of channels. These economic activities are estimated to generate up to US$200 billions in revenue annually on TV alone." He explains, adding that TCL has not yet benefited from these changes and is contemplating how to enter this new industry. Chan also felt the change in product functionality. Chan said, "Tasks previously done on computers could later be done on tablets and then on smartphones as users got used to the new forms of devices." Chak added that the key to whether technological changes will impact at ask lies in the transferability of product demand. "TV screens are so large, yet users cannot perform image editing tasks via remote control, meaning the demand cannot be transferred. Now, with the advent of AI generation technology and the introduction of intent interaction technology, AI-trained systems can interpret human intentions through subtle movements and fulfil complex commands. This will drive large-scale industry transformation. When the entire ecosystem forces you to change, you will change, won't you?" Who leads whom? Chak believes AI will revolutionise many industries' operational models, standards and regulations and extend far beyond its current applications. Drawing on his experience with AIgenerated video technology and AI assistant software development, he points out that AI's rapid evolution and decline in costs signal its widespread adoption in the coming future, which can potentially overturn traditional production models and businesses. "If industry practitioners fail to adapt proactively, they will be left behind, passively waiting to be overwhelmed by the disruption," Chak predicts. Still from the "Best Costume Design" nominee at the 60th Golden Horse Awards, movie "In Broad Daylight". 第60屆金馬獎「最佳造型設計」提名電影《白日之下》的劇照。
天覆地的變化。「紙媒沒落，變成網絡 媒體主導，閱讀方式和速度有明顯分別。 以前多數閱讀 A4 尺寸紙張印刷媒介，拍 硬照時衣服可以利用針扣和夾子補救， 或用後期技術修飾。可是現在以影視為 主，過程如同 2D 躍升到 3D，巨型屏幕 上微小細節一覽無遺，突出來的線頭也 一清二楚，令我十分在意。」 靜寂淘汰 假如 Min 是影視娛樂作品的生產者， Hei 則是把影視娛樂作品帶入生活的中 間人。他是 TCL 科技集團創意及產品總 監，旗下產品如手提電話、個人電腦、 數字媒體、智能電視等等都是現代大眾 收看電影和娛樂節目的常用設備，對科 技、設計思維和產業轉型之間的關係體 會更深。Hei 回顧往日：「我是主修產品 設計及科技。早年工作偏向工藝，畢業 時仍在Photoshop 4.0，我們算是首批 懂得用 AutoCAD 和 3D 技術的學院派新 人。當時很多軟件仍未完善，還有很多 程式缺陷，只要懂得避開這些漏洞完成 工作，已屬表現出色。」 Hei 後來於佳能集團（Canon）負責設 計管理，期間憑 X Mark II 計算機奪得 2013 年度紅點最佳設計獎（Red Dot： Best of the Best）。在這段工作經歷中， 他逐漸感受到產業正在發生翻天覆地的 變化。許多過去常見的電子產品靜靜消 失於生活之中，令人感受到轉型的逼切。 他說：「收音機、鬧鐘已被應用程式取 Regarding how to adapt to technological advancements, Chak says, "All technology is moving towards automation. Designers should not consider themselves as 'craftsmen' in the traditional sense but rather as 'tool users', with management and decision-making capabilities becoming increasingly important. This is similar to Hong Kong's past development, no longer 'factory workers' wielding soldering irons, but production managers." Indeed, AI generation technology is reshaping industries and elevating the importance of improving management, decision-making and innovation capabilities over simple manual operations. This transformation presents an opportunity for those willing to adapt to new realities. Perhaps these changes will give humans an unexpected chance to continue leading in design. 自覺轉型 回顧過往的科技演變，他們切身感受其 中衝擊，主動改變設計方式，甚至扭轉 了自己的事業方向。Min 回憶說：「從 前要到圖書館或指定網站開立帳戶，才 能閱覧時裝發佈會資訊。當季時尚資訊 非常有限，不像現在打開 Instagram 就 能閱覽即時資訊。一些前輩連上網都有 困難，只能通過剪貼雜誌與其他印刷素 材工作。以前多數需要自己主動搜尋資 訊，反觀現時接受免費資訊太多，缺乏 適當的篩選，如被 AI 系統和演算法牽著 走，反而感到有些審美疲勞，有時甚至 覺得有與其角力的感覺。」 現今網上圖像資源豐富，無疑為設計師 提供無限免費資源，帶來方便，但 AI 圖 像生成技術隨時生成海量設計圖，不禁 令 Min 聯想到科技將會取代現有工種的 可能性。她說：「我試過運用 AI，以電 影《沙丘瀚戰》和Rick Owens的風格 生成作品。它不但能夠生成整個時裝系 列，而且還非常美麗，當下感到此技術 可怕之處。但隨著生成次數越多，作品 越來越重覆，我反而稍感安慰，因自己 還有多幾年的工作空間。」 根據 Min 的工作經驗，她認為AI對電影 美術設計部門確有幫助，能直接生成氣 氛圖樣和調色版，但對製作戲服貢獻不 大 。「單憑現時 AI 技術，它們還無法 如人手般編織出一件冷衫。這是我認為 工作仍不會被 AI 取代的主要原因。AI 生 成角色造型的做法題，但卻會失去『人 味』和生活感，這通過鏡頭和演員的表 現都能清楚看到。」 回顧 2010 年代中期的變遷，Min 對此有 深刻的體會。她回想起那段時期，許多 媒體同時走向線上，呈現方式發生了翻 Chan believes she still has a few more years of job security. AI-generated character designs lack the 'human touch' and sense of life, evident through the lens and actors' performances. 陳巧倩認為工作仍不會被 AI 取代。AI 生成角色造型會失去『人味』和生活感，這通過鏡頭和演員的表現都能清楚看到。 16
6 代，大量產品從硬件變成軟件。傳統工 業設計和生產線，都把軟件視為硬件的 附屬功能，設計和製作馬虎，隨便外判 請人完成。但從今日角度看，自會明白 軟件是更重要的一環。」 按照既定計劃生產傳統電子器材，同時 觀察用家需求轉變，他預料長此下去這 種模式終被淘汰。他說：「現在業界強 調互動設計、使用者體驗（UX），都是 我當年懼怕的範疇。世界正在改變，作 為設計師，我得了解用戶的需求轉變， 著眼如何解決問題。當時的產品形態無 法解決以後的問題。」傻瓜機（全自動 數碼相機）和電子辭典等產品線陸續消 失，驅使他主動求變，應對產品設計之 本質變化。 Hei 說：「現在情況跟當時相似，許多 人仍未認識到 AI 可以做甚麼，正如當時 的人不信傻瓜機會隨手機興起而沒落一 樣。」他形容過去產品設計師著重工藝， 主力著眼於產品規格。隨後他到 TCL 集 團工作，產品設計的視野已大大拓寬， 需要考慮 UX、系統設計、互動設計、軟 件工程、介面設計、產品和服務收費模 式等多個層面。這反映了技術發展的一 個重要趨勢——從單純的產品設計，逐 步轉向更加全面和系統性的產品及服務 開發。 投身虛擬層面 綜觀過去二十年，二人不約而同表示互 聯網的迅速發展，的確徹底改變了人們 的生活方式和產業格局，傳統營運模式 和服務收費規則都要適應時代更替。Hei 進一步解釋說：「一方面有人專門改良 影音數據壓縮技術，如 YouTube 以前用 Flash作為預設播放器，現在HTML5 壓 縮技術已非常卓越，用戶能以更高效獲 取大量高清媒體內容；另一方面有人研 發網絡寬頻技術，5G 和 6G 技術的問 世，用戶能隨時隨地收看數據用量極大 的媒體，由此衍生出全新的需求變化和 轉移。」 科技發展讓各種電子產品的本質有別從 前，電視不再單向播放劇集和廣告，更 支援使用介面和安裝軟件的多功能，催 生出全新的產業鏈。Hei 身為創新產品 規劃運營部總監，時刻留意國際影視娛 樂產業動態，自覺要從轉變之中發掘商 機。他續說：「時下影視媒體營運模式 主要分為以下幾種，例如 YouTube 的 AVOD（註一）、Netflix的SVOD（註二）， 還有延續傳統電視的 FAST（註三）， 營運模式各有不同。美國就有不少機構 和應用程式以 FAST 營運地方電視台， 為用戶搜羅過百、千條頻道內容，定製 影視平台。這些經濟活動單在電視機 上，一年估計創造高達二千億美金的收 益。」Hei 表示，TCL 過去未能在此領 域獲得收益，現在正構思如何進軍這個 產業。 Min 對產品功能轉變亦有體會。她說： 「以前用電腦進行的工序，後來平板電 腦也能做到；習慣使用平板電腦後 ，智 能電話又開始能做到相同的任務 。」 Hei 進一步補充，指出能否轉移需求才 是關鍵。「電視顯示屏這麼大，用戶卻 無法遙控進行圖像編輯工作，需求無法 轉移。現在生成 AI 技術面世，甚至引 入意圖互動技術，經 AI 學習之系統能 憑細微動作判斷人的意圖，並完成複雜 指令。這將會促發大規模產業轉型。當 整個生態逼著你改變時，你會不會去改 變？」可以看出，技術的發展是一個持 續演化的過程，設計師和企業必須時刻 關注變化，並主動適應，才能在這個瞬 息萬變的環境中把握住機遇，創造新的 價值。 是誰主導誰？ AI 生成技術近年不斷普及和快速發展， 除了能夠生成服裝樣式、電影氣氛圖、 調色板、影片和文字內容，Hei 還相信它 會革新許多產業營運模式、作業標準和 規則。他根據 AI 生成影片技術、人工智 能助理軟體開發經驗，指出 AI 技術急速 演化，應用成本大幅下降，進一步普及 是大勢所趨，甚至有機會推翻固有生產 模式和企業。「從業者一日不轉變，就 只能站著等待被淹沒。」 至於如何順應科技發展？他說：「任何 技術都朝著自動化的方向發展。我們要 明白自己不再是傳統意義上的『工藝 人』，而是『運用工具的人』；管理和 決策能力將變得更加重要。這跟香港過 往的發展一樣，不再是『工廠妹』拿著 辣雞（烙鐵）動手焊接東西，而是要管 理生產。」 AI 生成技術正在重塑各個 行業。這需要我們更多關注管理、決策 及創新能力的提升，而非簡單的手工操 作。只有緊跟技術進步，設計師和企業 時刻關注變化並主動適應，才能在瞬息 萬變的環境中把握住機遇，創造新的價 值。也許這就是人能繼續主導設計的另 一契機。 Note 1: AVOD (Advertising Video on Demand) This model relies on advertising revenue for profit. Users can watch video content for free but must watch a designated advertisement first. Note 2: SVOD (Subscription Video on Demand) This model relies on membership fees for profit. Users agree to a subscription agreement and pay a specified monthly or annual fee to watch all videos on the platform. Note 3: FAST (Free Ad-Supported Streaming Television) This is a new form of streaming in the audiovisual field, based on advertising revenue, but does not require any monthly fees or even registration. 註一：AVOD (Advertising Video on Demand) 靠廣告收入來賺取利潤，用戶可以免 費觀看影片內容，但觀看前必須先強 制觀看一段指定廣告。 註二：SVOD (Subscription Video on Demand) 此模式是依靠收取會員會費來賺取盈 利，用戶只要同意訂閱的協議，繳付 指定月費或年費，便可以隨意觀賞平 台提供的所有影片。 註三：FAST (Free Ad-Supported Streaming Television) 是影音串流領域的新興型態，以廣告 營收為營利基礎， 但不需收任何月費 甚至註冊。 17
18 / THEME STORY / TEXT / BRANDO MAK PHOTOGRAPHY / MULI MUWAI, JIANGNANBUYI+, UGAN CONCEPT Sustainability, Contemporary Design and Chinese Heritage 可持續、當代設計及中國傳統建築—— 環球設計的未來 THE FUTURE OF GLOBAL DESIGN
2 Sustainability, technology and contemporary design have become some of key trends shaping the future of global design. One outstanding example of this is Qingshan Village in Hangzhou, which has blended environmental conservation, modern design, Chinese culture and traditions into its urban planning. This initiative not only exemplifies China's innovative capabilities in sustainable development but also its leading position in the design industry, offering both inspiration and valuable reference point for Hong Kong and the rest of the world. 展望全球設計方向的未來，除電子 媒介與人工智能外，可持續發展無 疑是最受關注的焦點主題。當中位 於杭州的「青山村文創孵化園」， 便是其中一個非常優秀的例子，見 證了中國如何以前瞻的眼光，把保 育環境、當代設計、中國文化，及 生活風俗巧妙的融匯成優良的現代 建設規劃，從中可賦予我們中國香 港，以至世界各地作為最佳的借鏡 和參考。它不僅展現了中國在可持 續發展領域的創新能力，也充分彰 顯了中國在設計界的領先地位。 19
20 The origin story of Qingshan Village Qingshan Village is located in Huanghu Town in the northwest corner of Yuhang District, Hangzhou, approximately an hour's drive from Hangzhou city. Surrounded by lush green mountains and clear waterways, almost 80% of this area is covered by forests. When global environmental organisation The Nature Conservancy was managing the Longwu Reservoir in 2015 — a drinking water source for Qingshan Village—they discovered fertilisers and herbicides had contaminated the water. After this discovery, China's first rural water source protection project was implemented here, resulting in the reservoir's water quality reaching the national Grade I standard within three years. With a new source of clean and local water, the villagers of Qingshan now have easy access to high-quality drinking water. In the wake of this success, The Nature Conservancy ambitiously pursued more rural small water source protection projects. With the assistance of village cadres, they used over ¥300,000 from the Free Foundation to lease more than 500 acres of bamboo forest from 43 farmers, allowing the natural environment to self-recover and turn into a lush forest. The remarkable results of Qingshan Village's water source protection project gained widespread attention, leading more people to rediscover the village's almost forgotten natural beauty. Individuals or groups focused on public welfare, sustainability, art design and traditional craftsmanship have been drawn to Qingshan Village's verdant environment and have come to dive in further. They have successively settled here, using their own expertise to build one vibrant space after another in the village. Qingshan Village officially began its renewal journey through the opportunity provided by the water source protection, gradually developing a rural revitalisation path supported by nature conservation, ecological tourism and traditional craftsmanship. Its development has been active and purpose-driven, enriching local cultures by perfectly integrating and promoting sustainable development through contemporary design. This transformation has allowed people worldwide to be inspired by its ambiance and natural wonder. A design landmark: The construction of the Rong Design Library In 2010, three renowned designers, Zhang Lei, Jovana Zhang and Christoph John, who founded the PINWU Design Studio, met in Milan and later came to Hangzhou to study local traditions and craftwork. In 2014, The Nature Conservancy invited them to Qingshan Village. Alongside their design team, PINWU, they taught craftsmanship to the villagers, laying the foundation for
4 the Rong Design Library completed a nationwide craft survey and continues to attract global designers and environmentalists. More than 30 domestic and international designers now reside in Qingshan Village. The library's operations are strategic and enduring. Since its inception, the three curators initiated an annual Rong-resident Designer Plan, which invites international designers to mainland China for a month-long residency. During this residency, they can conduct research and craft designs based on traditional Chinese crafts and materials. This programme connects designers and craftsmen from different cultures and fields through on-site crafts exploration, design creation, prototyping and production. They complete a piece or a set of work during their residency. Since 2015, more than 50 designers from diferent countries and regions have participated in the programme, including Belgium, Switzerland, the Czech Republic, Japan, Germany, Italy, Thailand, the United States, Portugal, Spain and Hong Kong. In 2023, the library relaunched the Rong-resident Designer Plan and, along with the SaloneSatellite, initiated the Rong Design Award 2023. This relaunch helped spread the design philosophy of Rong globally. future collaborations. By 2015, the team established China's first traditional materials library, the Rong Design Library, which was dedicated to cataloguing and preserving traditional Chinese materials for global artists and designers. Originally an abandoned and dilapidated building called Dongwu Hall, the site transformed into Rong Design Library under the vision of designer Zhang Lei and his team, who spent a year revamping it meticulously. They seamlessly integrated the preservation of nature and the spirit of Chinese folk tradition into contemporary design spaces. In 2018, the PINWU designers began practising craftsmanship in Qingshan Village, teaching practical skills like gold net weaving and carving. This initiative not only replaced bamboo forest cultivation, purifying water sources, but also provided villagers with eco-friendly income. The artworks gained recognition and were featured in art exhibitions. "Based on the deconstruction research of traditional Chinese craftsmanship and materials, we subvert traditional design language, promote the regeneration of traditional crafts and create contemporary design works, which we call Future Tradition." After more than a decade of efforts, 21 Jovana Zhang Christoph John Zhang Lei
22 In recent years, with an increasing interest in rural lifestyles, Qingshan Village has become a popular destination for young people. Alongside the contemporary design atmosphere created by the Rong Design Library and its projects, the village presents an intriguing contrast to hectic city life. Amid today's bustling urban pace, this serene land has become a utopia for many city dwellers and an oasis for young people, designers and artists. Qingshan Village serves as a blueprint for rural revitalisation that can inspire community-centric, sustainable development projects globally. 故事的源起 青山村位於杭州市余杭區西北角的黃湖 鎮，距杭州區大概一小時的車程。這 裡青山環抱，綠水如茵，森林覆蓋率達 80%。在 2015年，大自然保護協會治理 青山村的飲用水源龍塢水庫時，發現周 邊水質被肥料和除草劑等污染。透過實 施中國首個鄉村水源地保護項目，水庫 的水質在 3 年內便達到了國家的一級標 準，為青山村村民帶來優質的生活水源。 由於計劃的成功，令大自然保護協會滿 載雄心再下一城，探索並展開更具規模 的鄉村小水源地保護計劃。先從村幹部 的協助下，運用自如公益基金資助的 30 餘萬人民幣，從 43 戶農民手中承包下匯 水處的 500 多畝毛竹林，等待自然環境 的自我修復。青山村保護水源計劃的成 功，令它聲名大噪，也令更多人認識到 這個幾乎已被遺忘、甚至不曾知道它存 在的天然美景。關注公益永續、藝術設 計、傳統手工藝的個人或團體相繼被青 山村的新氛圍所吸引，前來一探究竟， 並紛紛落地於此，利用自身的專長在村 裡建造了一個又一個充滿活力的空間和 組織。 青山村從水源保護的契機下正式開展了 更新之旅，逐漸走出一條以自然保護、 生態旅遊度假和文創傳統手工藝為支柱 的鄉村振興道路。其發展明顯是積極且 具鮮明目標，不單為當地帶來豐富的生 活文化色彩，更積極地把可持續發展理 念和當代藝術和設計完美結合、發揚光 大，讓世界各地的人們也有機會被這片 樂土的氛圍所薰陶。
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