Lead Curator's Message

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


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


Executive Director of Design Trust


2020 2

: 70


The Learning House

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


The Collective Brief

Paper Travels on Virus Days

Designed by Ming Shan Connie Yuen







Design and create a homemade prototype object

You are encouraged to make and fabricate the object in

collaboration with other creatives

The object should be functional and be able to address

and offer solutions to current social, educational and/or

environmental needs

Rethinking the target audience to be intergenerational,

i.e. kids, family, elderly

The functional object should fit on the palm of your

hands (20H x 20W x 20D cm)

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.


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






20 x 20 x 20




I Love You but I Need to Keep a Safe Distance

Joel Austin and Kwan Q Li


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.

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.


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.

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.

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.



Critically Homemade

Prototype Exhibtion

Curatorial Themes


Culturally Hong Kong and Beyond

Everyday Challenge of COVID-19


Sensory & Wellness

Environment & Upcycling Futures

Educational & Intergenerational Play


Exhibition Floorplan

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.










Design Trust

Milestone Portfolio

Milestone portfolio review

of Design Trust’s core

activities, fellowships and

grants from 2014-2020

Dancing Phoenix

Design Trust Futures

Studio 2019

Elaine Yan Ling Ng with

Tai Ping

OMA Pattern

OMA Pedestals

Design Trust Gala 2018


Rem Koolhas and David

Gianotten, OMA

Archigram City


Design Trust Gala 2019


Sir Peter Cook and Dennis

Crompton, Archigram















Culturally Hong Kong

and Beyond

Florian Wegenast and

Christine Lew, Studio Florian

and Christine

Adonian Chan, Trilingua

Elaine Yan Ling Ng

Xavier Tsang, BeCandle with

Groundrule Studio

Rony Chan and Ire Tsui,


Andrea Palmioli

Kevin Mak and Ken Fung,

@streetsignhk with Lee

Kin Ming, China Bright


Charles Lai, aona architects

Hugh Davies with Yoko

Nakazawa, Joyce Cheng and

Nikki Lam

Peter Yuill and Thierry Chow

Polly Ho, Loom Loop

Movana Chen

Toby Crispy




















Everyday Challenge

of COVID-19

Michael Young, Michael

Young Studio

Joel Austin and Kwan Q Li

Ole Bouman, Design Society

Aurelien Barbry with

Constant HK

Douglas Young, G.O.D.

Jing Liu, Emma Silverblatt,

Yuanjun Summer Liu and

Astrid Steegmans, SO-IL

Kaliz Lee

Donn Holohan and Elspeth

Lee, Superposition

Frank Chou, Frank Chou

Design Studio

Li Fu, UV Architecture

Savinee Buranasilapin,


Fung Ming Chip

Kacey Wong

Nikolas Ettel, Lidia Ratoi,

and Annie Lye

Troy Conrad Therrien,

Violette Van Parys and Julio


Ming Shan Connie Yuen

Betty Ng, Chi Yan Chan, Jay

Lee, Juan Minguez and Katja


Sensory & Wellness

Environment &

3 4

Upcycling Futures


















Clara Brito and Margarida

Jardim, with Burel Factory

Soilworm Lai, Stickyline with

Vanissa Law

Yelta Köm and Elif Çak Köm

Diego Caro

Adam Hudec

Alfred Lam, Studio 1618

Evelyn Teploff-Mugii, Claude

Frédéric Gooris and Paulina


Nelson Chow, NCDA

Otto Ng and Yip Chun Hang,


Michael Leung, STUDIO AA

Derek Lee and Geeio Yuen,


Jonathan Mak

Ron Wan and Mildred

Cheung, dtby_

Sarah Lee and Yutaka Yano,


Stanley Wong,

















Manuel Corriea da Silva and

Luanha Tavares de Almeidae

Natasza Minasiewicz

Cyril Lee

Yanki Lee, Enable

Foundation with Pascal

Anson, Pascal Anson Studio

JJ Acuna, JJ Acuna /

Bespoke Studio with Francis


Alyina Ahmed

Evelyn Ting and Paul Tse,

New Office Works

Joshua Ng, Twins Kitchen

UUendy Lau

Kristof Crolla, Yip Fai

Martin Lau and Ling Sum

Evangeline So, L-E-A-D

Raphaël Monnier

Deborah Lam, Une Szeto and

Kay Chan, Good Day Studio

Zoe Siu, ZOEE

Ida Kwei, IDoArtism

Henry Chu, Pill and Pillow
















Educational &



James Shen, Zang Feng,

He Zhe, Anouchka van Driel

and Olivia Chen, People’s

Architecture Office

Julie Progin and Jesse

Mc Lin, Julie & Jesse

Stephen Zimmerer and

Medora Ebersole

Maria Roszkowska, Nicolas

Maigret, disnovation.org

with Pauline Briand, Julien

Maudet, Clémence Seurat

Aron Tsang and Hera Lui,

NAPP Studio

Christopher Choi with Keith

Hui, Esther Fung and Ian

Tam, ioii Studio

Johanna Ho, PHVLO

Kevin Siu, Shuyan Chan and

Bob Pang, AaaM Architects

Lijun Guo, [Guo+Jinwu]

Alan Chan, Alan Chan Design

Fiona Lau, FFIXXED Studio


Maggie Ma, Mark Kingsley,

Kelvin Chan, Luka Ng and

Elsie Kan, DOMAT

Sam Jacob

Kay Chan


001 002


James Shen, Zang Feng, He Zhe,

Anouchka van Driel and Olivia Chen,

People's Architecture Office

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



Michael Young, Michael Young Studio

DTFS 2019 Mentor

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.

Michael Young


003 004


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.

Florian Wegenast Christine

Lew Hong Kong Brick



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 for "peace", and for "energy", pictured are

cookies cut out in the shape of the Chinese character

("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.


005 006



Elaine Yan Ling Ng, The Frabrick Lab

Design Trust Feature Grantee, DTFS 2019 Mentee

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.

sin3 sin3

sin3 sin3 pankha

· 2019

Elaine :

Julie Progin and Jesse Mc Lin,

Julie & Jesse

DTFS 2019 Mentees

‘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


Pocket Garden · 2019 Julie

Jesse Terra Mobiles

Pocket Garden



007 008


Clara Brito and Margarida Jardim, in

collaboration with Burel Factory

Clara Brito, 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.

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



Soilworm Lai, Stickyline in collaboration

with Vanissa Law

Soilworm Lai, Design Trust Seed Grantee

"Isolation” refers to the severance of contact and

communication. It is impossible to achieve isolation

entirely between people in today’s society.

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 Margarida Jardim Tufa Tao

Tufa Tao Tufa




009 010


Xavier Tsang, BeCandle in collaboration

with Groundrule Studio

Xavier Tsang, DTFS 2017-2019 Mentee

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.

2019 9

Xavier 10


Groundrule Studio




Stephen Zimmerer and Medora Ebersole

Stephen Zimmerer, Design Trust Seed Grantee

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.

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

Stephen Medora Ebersole





011 012


Manuel Corriea da Silva and

Luanha Tavares de Almeidae

Manuel Corriea da Silva, Design Trust Seed Grantee


Natasza Minasiewicz

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


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.


Manuel Correia da Silva Luanha Tavares de Almeida


'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 useswhether as a household tile,

bookend or decorative element, for exampletheir

intent will be complete, inanimately reminding us of the

material effects we leave behind.

Future Fossils


013 014


Cyril Lee

Design Trust Seed Grantee


Yelta Köm and Elif Çak Köm

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.

‘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.



‘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.


Yelta Kom

Elif Cak Kom




015 016


Yanki Lee, Enable Foundation in

collaboration with Pascal Anson,

Pascal Anson Studio

Yanki Lee, Design Trust Feature Grantee

‘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.

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 Sellotape

Enable Foundation Pascal Anson

Pascal Anson



Maria Roszkowska and Nicolas Maigret,

disnovation.org with Pauline Briand,

Julien Maudet, Clémence Seurat

Nicolas Maigret, Maria Roszkowska, Design Trust Seed Grantees

‘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.

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


017 018



Joel Austin and Kwan Q Li

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


‘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.

Joel Austin

I Love You but I Need to Keep a Safe Distance

100150180 200


Diego Caro

Design Trust Seed Grantee

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.

Diego Caro




019 020


Rony Chan and Ire Tsui, design*lab

Design Trust Feature Grantees, DTFS 2019 Mentees

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.

design * lab Colours of Hope


2019 Rony

Chan Ire Tsui



Andrea Palmioli

Design Trust Seed Grantee

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 homein this context

conceived as the supreme habitat and ultimate

existential ambition.

Andrea Palmioli The Domestic

Monument of Human Renaissance


021 022


JJ Acuna, JJ Acuna / Bespoke Studio in

collaboration with Francis Kirstein

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



Ole Bouman, Design Society

Design Trust GBA Advisor

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.

JJ Acuna

Ole Bouman

Design Society



023 024


Adam Hudec

Design Trust Seed Grantee


Alfred Lam, Studio 1618

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.

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.

Adam Hudec Dusts Catcher

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.

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

Alfred Lam

Distance Candle Holder


025 026


Alyina Ahmed

Friend of Design Trust


Aron Tsang and Hera Lui, NAPP Studio

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


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.

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.

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.


Alyina Ahmed /

Aron Tsang Hera Lui TACTILE



027 028


Aurelien Barbry in collaboration with

Constant HK

Friends of Design Trust

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.


Christopher Choi with Keith Hui, in

collaboration with Esther Fung and

Ian Tam, ioii Studio

Christopher Choi, DTFS 2018 Mentee

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


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.

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.

Constant HK

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.



029 030



Douglas Young, G.O.D.

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."



Evelyn Ting and Paul Tse, New Office Works

Design Trust Seed Grantees

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


New Office Works


031 032


Evelyn Teploff-Mugii

Friend 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.

"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."


“ ” Evelyn Teploff




Frédéric Gooris and Paulina Chu

Friends of Design Trust

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.

‘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.

Frederic Gooris



033 034


Jing Liu, Emma Silverblatt, Yuanjun

Summer Liu and Astrid Steegmans, SO-IL

Friends of Design Trust

"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



SO-AP: Rinse and Repeat



Johanna Ho, PHVLO

Design Trust Seed Grantee

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.

Johanna Ho


035 036


Joshua Ng, Twins Kitchen

Friend of Design Trust


Kaliz Lee

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


Kintsugi Kintsukuroi

Joshua Ng

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.

Kaliz Lee



037 038


Kevin Mak and Ken Fung, @streetsignhk

in collaboration with Lee Kin Ming, China

Bright Production

Friends of Design Trust

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.

@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.


Kevin Siu, Shuyan Chan and Bob Pang,

AaaM Architects

Bob Pang, Design Trust Seed Grantee

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.

'"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.



"CAN" play

AaaM Architects


039 040


Guo Lijun, [Guo+Jinwu]

Friend of Design Trust


Nelson Chow, NC Design & Architecture

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.

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.

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


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.

Nelson Chow 4


041 042


Otto Ng and Yip Chun Hang, LAAB

Friends 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".

Null & Infinity



UUendy Lau

Friend of Design Trust

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.


043 044


Michael Leung, STUDIO AA

Design Trust Feature Grantee, DTFS 2019 Mentee

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.

Michael Leung



Kristof Crolla, Yip Fai Martin Lau and

Ling Sum Evangeline So, L-E-A-D

Friends of Design Trust

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.





045 046



Alan Chan, Alan Chan Design

Friend of Design Trust, 2009 HKAoD Event Creative Director

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.

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




Andrew Kayla




Charles Lai, aona architects

Friend of Design Trust

‘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 ( ) of the Kowloon Walled


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



047 048



Derek Lee and Geeio Yuen, MOM AND POP

Friends of Design Trust

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


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



Derek Lee

Donn Holohan and Elspeth Lee,


Donn Holohan, Design Trust Seed Grantee

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.




049 050



Fiona Lau, FFIXXED 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



Fiona Lau


Frank Chou, Frank Chou Design Studio

Friend of Design Trust

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.



Sterilising Lamp




051 052


Li Fu, UV Architecture

Friend of Design Trust

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.


Hugh Davies in collaboration with Yoko

Nakazawa, Joyce Cheng, and Nikki Lam

Hugh Davies, M+ / Design Trust Research Fellow

‘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


Hugh Davies


053 054



Friend of Design Trust


Thierry Chow and Peter Yuill

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.

Duality Indivisible Peter Yuill

Thierry Chow Peter



055 056


Jonathan Mak

DTFS 2018 Mentee


Savinee Buranasilapin, thingsmatter

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.

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.

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!

Flip & Roll

thingsmatter's polychrome facemasks register time,

by marking the day of the week, and by connecting

generations. Sunday is red, Monday is yellow, Tuesday

is pink, Wednesday is green, Thursday is orange, Friday

is blue, and Saturday is purple.



057 058


Maggie Ma, Mark Kingsley, Kelvin Chan,

Luka Ng and Elsie Kan, DOMAT

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


Useless Corner

- 8


Fung Ming Chip

Friend of Design Trust

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.



2 3 4


059 060



Raphaël Monnier

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.


Kacey Wong

DTFS 2018 Advisor

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.

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.

Raphaël Monnier


061 062



Ron Wan and Mildred Cheng, dtby_ in

collaboration with past dtby_ designers

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



dtby_ Yeah, But It’ll

Be Fine

Sarah Lee and Yutaka Yano, SKY YUTAKA

Design Trust Seed Grantees

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.

Sarah Lee

Yutaka Yano IOT


063 064


Deborah Lam, Une Szeto and Kay Chan,

Good Day Society

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



Nikolas Ettel, Lidia Ratoi, and Annie Lye

Nikolas Ettel, Design Trust Seed Grantee

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


COVID-19 24

We Can Jump This High


065 066



Troy Conrad Therrien, Violette Van Parys

and Julio Cavallucci

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?


Julio Cavallucci

Cosmic Telephone


Polly Ho, Loom Loop

Design Trust Seed Grantee, DTFS 2019 Mentee

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 400



067 068


Zoe Siu, ZOEE

Friend of Design Trust


Ming Shan Connie Yuen

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.

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.

Connie Yuen



069 070


Ida Kwei, IDoArtism

Friend 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.

ArchiCeramic iPhone StandIda Kwei2018



Betty Ng, Chi Yan Chan, Jay Lee, Juan

Minguez and Katja Lam, COLLECTIVE

Friends of Design Trust

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

and viruses.

From a "Found" porcelain hand mould, a "Daily" rubber

glove; and a "New" silicone mould of their own hand,

this series recreates each object as a new piece of hand


COLLECTIVE Rub me for 20 seconds

Rub me for 20 seconds


071 072


Henry Chu, Pill and Pillow

Friend of Design Trust

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.

Henry Chu




Stanley Wong, anothermountainman

DTFS 2017-2018 Mentor

'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." -



073 074


Sam Jacob

DTFS 2017-2018 Mentor


Movana Chen

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



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.

Movana Chen



075 076


Toby Crispy

Design Trust Seed Grantee

"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


Toby Crispy




Kay Chan

DTFS 2018 Mentee

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.

Kay Chan




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



Wong, William To, Zoë Ryan, Bastian Wong, Aaron Lau



DESIGNERS James Shen, Zang Feng, He Zhe, Anouchka

Kong); Florian Wegenast, Christine Lew (Hong Kong);

g); Jesse Mc Lin, Julie Progin (Hong Kong); Clara Brito,

i, Vanissa Law (Hong Kong); Xavier Tsang (Hong Kong);

Silva, Luanha Tavares de Almeidae (Macau); Natasza

Köm, Elif Çak Köm (Berlin, Istanbul); Yanki Lee (Hong

las Maigret, Pauline Briand, Julien Maudet, Clemence

go Caro (Hong Kong); Rony Chan, Ire Tsui (Hong Kong);

Bouman (Shenzhen, Amsterdam); Adam Hudec (Vienna,

ai, London); Aron Tsang, Hera Lui (Hong Kong); Aurelien

Ian Tam, Keith Hui (Hong Kong); Douglas Young (Hong

-Mugii (Kanazawa); Frédéric Gooris, Paulina Chu (Hong

, Astrid Steegmans (New York City); Johanna Ho (Hong

Kevin Mak, Ken Fung, Lee Kin Ming (Hong Kong); Kevin

ing); Nelson Chow (Hong Kong); Otto Ng, Yip Chun Hang

ong Kong); Kristof Crolla, Yip Fai Martin Lau, Ling Sum

harles Lai (Hong Kong); Derek Lee, Geeio Yuen (Hong

u (Shanghai); Frank Chou (Shanghai); Li Fu (Shenzhen,

yce Cheng , Nikki Lam (Melbourne); Jason Chan (Hong

n Mak (Hong Kong); Savinee Buranasilapin (Bangkok);

an (Hong Kong); Fung Ming Chip (Hong Kong); Raphaël

dred Cheung (Hong Kong); Sarah Lee, Yutaka Yano (Hong

Nikolas Ettel, Lidia Ratoi, Annie Lye (Hong Kong); Troy

(New York City), Julio Cavallucci (Mexico City); Polly Ho

n (Hong Kong); Ida Kwei (Hong Kong); Betty Ng, Chi Yan

enry Chu (Hong Kong); Stanley Wong (Hong Kong); Sam


hinachem Group, ZS Hospitality Group, WOMANBOSS,

va Franch, Keith Tam, Lars Nittve, Marc Cansier, Shin

, Arthur Kuipers, Adnan Abbasi, Winnie Hu, Catherine



Lead Organiser

Exhibition Venue Partner

Design Trust Champions 2020

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.

Design Trust Leaders 2020

Design Trust Influencers 2020

International Media Partner

Joyce Tam, Stephen Cheng,

David Au, Tai Ping, Kamsen Lau,

William Lim, Michael Ling,

Jennifer C. Liu, Merlin Swire,

Selina Kong

Evan Chow, Stefan Rihs,

Inna Highfield, Geoffrey Chuang,

Ivan Pun, Yenn Wong, Angela Chow,

Justin Ng, Aron Harilela,

Jackson Chow, Jo Soo Tang

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

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


Social Enterprise Collaborator

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#designtrusthk #designtrust #designtrust2020

#designtrustcriticallyhomemade #criticallyhomemade

#givetogivemore #maketogivemore #creativityinthetimeofcovid

Design Trust Mission Statement

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.

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.



Design Trust 2020 Benefit Committee


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

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

Board of Directors

Kamsen Lau (Chairman 2020-)

Alan Lo (Chairman 2008-2020)

Joyce Tam

Ivan Pun

Gabriela Kennedy

Denise Lau

Co-Founder/Executive Director

Marisa Yiu

Design Trustees

Victor Lo

Jennifer Liu

Daryl Ng

Amanda Loke

Yama Chan

Adrian Cheng

Joanne Chow

Yvette Ho

Jimmy K.W. Chan

Vanessa Cheung

Janice Chan-Choy

Angelina Kwan

Charmaine Li

Lumen Kinoshita

Desiree Au

Elizabeth Chu

Ariel Shtarkman

Bosco Law

Jonathan Cheung

Chinachem Group

International Advisory Council

Eva Franch

Beatrice Leanza

Liu Xiaodu

Rodman Primack

Thomas Heatherwick


Greater Bay Area Design Council

Arnault Castel

William To

Eric Schuldenfrei

Giovanni Alessi Anghini

Aric Chen

Stephanie Poon

Tat Lam

Leslie Lu

Winnie So

Lyndon Neri

Lars Nittve

Zoë Ryan

Tom Dixon

David Gianotten

Jean T Miao

Andrew Au

Ole Bouman ·

Cole Roskam

Suzy Annetta

Keith Tam

Irene Lam

Kate Jones

Marc Cansier