Arch@Hearst Tower by Foster

Spacious common areas encourage staff and company heads to interact, allowing for productive and healthy interchange. This space houses the building’s Café 57, which is also used for a variety of events, such as movie premiers and conferences on sustainability. Menus are organic and an in-house farmers’ market for staff comes once a week.

Employees feel that the building fosters a collaborative spirit. Casual meeting spaces are distributed throughout the workspaces, and many private offices were swapped out for more workstations.

On the east side of the building, circulation spaces are pushed out to the perimeter, and private offices are moved inward for more democratic access to natural light and views of Central Park.

The overall office-to-workstation ration was reduced from 50:50 to 20:80, and workstation walls are lowered to foster interaction and openness.


New York City, New York
Foster + Partners/Gensler

Citation for Excellence

By Christopher Kieran

Foster + Partners’ design for a stainless-steel-clad, diagrid structure has given the Hearst Corporation an iconic presence on the New York City skyline [record, August 2006, page 75]. The Hearst Tower’s environmental agenda and unique aesthetic have dominated conversation about the building, but its occupants like to talk about how it enhances their work experience.

The new 46-story structure rises from a six-story pedestal built in 1928 and designed by Joseph Urban as the base for a future tower. But the Great Depression stalled the plans, and the short building served as the Hearst headquarters until Foster used it as the springboard for his design. Moving from 12 offices around the city back to its original home has given the company a more cohesive identity, and fewer private offices encourages more interaction among employees. The overall office-to-workstation ratio has been reduced from 50:50 to 20:80. Shorter workstation walls and casual meeting areas in desirable corner areas also encourage collaboration. Synergy among the leaders of Hearst’s many publications is greater now due to the seamless flow of space in the building.

As interior architect, Gensler designed many of the tower’s amenities. A fitness center, media lab, data center, and digital photo and broadcast studios make Hearst’s media operations run efficiently. Gensler also helped Hearst develop a “tower transition process” to aid employees in moving smoothly to the new workplace.

Increased productivity, an improved corporate image, and a healthy, attractive work environment have made Hearst a more desirable employer and a better company overall. Cosmopolitan publisher Donna Kalajian Lagani says the building has changed her perception of the company. “There is much more camaraderie companywide,” she observes. “I used to say I work at Cosmopolitan. Now I say I work at Hearst first.”

@Source: http://archrecord.construction.com/ Photo: © Nigel Young

Arch@InterActiveCorp Headquarters

InterActiveCorp’s new headquarters, with its iconic, curvaceous form designed by Frank Gehry, serves as a powerful branding tool for its client, declaring this electronic and new-media conglomerate as a cutting-edge and ambitious company. The building also is a key player in the ongoing revitalization of the west Chelsea neighborhood in New York.

The interior, designed by STUDIOS Architecture, is punctuated by incidents of bold color, developing an eclectic aesthetic to suit the client.

The building’s lobby, or “living room” space, boasts one of the world’s largest HD-quality, rear-projection screens and frequently hosts events for galleries and nonprofit organizations.

The building’s fluctuating envelope creates powerfully dynamic interior spaces that liven the workplace and reflect the creativity and diversity of the many brands working under one roof.

Customized, 120-degree workstations are designed to fit into the unique floor plans resulting from the building’s shape.

New York City, New York
Gehry Partners/STUDIOS Architecture

Award of Excellence

By Christopher Kieran

Frank Gehry’s first New York building, the highly anticipated InterActiveCorp (IAC) Headquarters, has been likened to the flowing pleats of a skirt, or the billowing sails of a ship floating along the Hudson River. The 10-story building near the Chelsea Piers Sports Center has fans and critics wondering what it says about the direction of the architect’s work. Meanwhile, the client is thriving and finds its own creative enterprises stimulated by the unique plan of its new facility.

IAC is an electronic and new-media conglomerate that includes the Home Shopping Network and more than 60 Web-oriented brands, such as Ticketmaster, Expedia, Lending Tree, Citysearch, and Match.com. The new IAC Building’s dynamic form reflects the aggregation of these diversified brands under one roof. STUDIOS Architecture’s interior design makes clever use of customized, 120-degree workstations that stretch out across the irregular floor plates, folding into the unusual spaces created by the building’s fluctuating envelope. Contrasting the ethereal palette of the curtain wall, STUDIOS punctuated the muted interior spaces with incidents of color, developing an eclectic aesthetic to suit the client.

IAC is among a number of forces stoking the revitalization of the West Chelsea neighborhood. Opening up to its new neighbors, the ground floor of the IAC is a “living room” space for the community. Galleries and nonprofit organizations host events in the lobby, which boasts one of the world’s largest HD-quality rear projection screens.

Gehry may not have stamped his long-awaited signature onto the New York skyline, yet with IAC he has created a building that brings identity to a neighborhood in flux and to a corporation whose distinct entities can now function as a more effective conglomerate.

@Source: http://archrecord.construction.com/ Photo: © Albert Vecerka / Esto

Arch@Gardiner Museum

Canada's only museum devoted entirely to ceramics, the Gardiner Museum reopened in June, 2006 after a 30-month renovation and expansion

By Henry Ng

The renovation of Canada's only ceramics museum, the Gardiner Museum in Toronto, solved infrastructural problems that had plagued the institution. The new design by Kuwabara Payne McKenna Blumberg Architects also created a facility capable of supporting the museum's anticipated growth. In all, the redesign added three new galleries, larger education and research facilities, and a critically acclaimed restaurant run by local celebrity chef Jamie Kennedy. The restructuring prompted major increases in membership and revenues for the museum.

Eduard Hueber / Arch Photo

The museum's new facade features bold forms in polished buff limestone and glass. It creates an enticing image for pedestrians and a powerful architectural identity for the museum.

Eduard Hueber / Arch Photo

The sleek, modernist design contrasts with the neoclassical surroundings of the neighborhood, highlighting the museum as a go-to cultural destination in the city's high-end retail district.

Eduard Hueber / Arch Photo

Since the museum's reopening, the gift shop has almost doubled its revenues. Large red ottomans enliven spaces throughout the building, including the shop, galleries, and restaurant.

Eduard Hueber / Arch Photo

The museum's acclaimed restaurant combines textures from throughout the building-the gray stone of the exterior, the white ceilings, the wood floors from the galleries-to create a beautiful space. The restaurant attracts a broader clientele to the museum and is another way in which it has established itself as an important cultural destination.

Toronto, Ontario
Kuwabara Payne McKenna Blumberg Architects

Citation for Excellence

By Christopher Kieran

Canada’s only museum devoted entirely to ceramics, the Gardiner Museum reopened in June 2006 after a 30-month renovation and expansion. Located in Toronto, just south of the city’s high-end retail district, the museum’s original 1984 building proved deficient in various respects. Kuwabara Payne McKenna Blumberg Architects (KPMB), whose Young Centre for the Performing Arts is a winner in this year’s awards, designed a 14,000-square-foot addition and worked with the museum to make a facility capable of supporting the institution’s anticipated growth.

Set back from the street to protect sight lines of neighboring historic buildings, the former Gardiner Museum suffered from limited visibility. Floor-to-ceiling windows on the new facade, however, make the building more inviting. The large glass walls frame and reflect nearby Neoclassical buildings, juxtaposing them with the Gardiner’s polished buff limestone surfaces, creating a dynamic visual experience. KPMB also designed a series of terraced platforms that use landscaping to bring the museum to the street.

In addition to expanding curatorial and exhibition space, the Gardiner aimed to be more of a cultural destination by enlarging its retail shop and opening a restaurant managed by local celebrity chef Jamie Kennedy. In the new shop, white floors, walls, and ceilings draw attention to brightly colored merchandise arranged on spacious white shelves, appearing to float between panes of glass.

All the elements of the building come together in the restaurant, where the gray stone found on the building’s exterior, and the wood floors and white ceilings from the galleries are assembled and contrast with one another. Large red ottomans, which enliven the galleries and shop, also punctuate the dining room’s muted earth tones and textures. Having met with critical acclaim from Food & Wine and Bon Appetit magazines, the restaurant has succeeded in attracting a broader audience to the museum.

Prior to this project, the Gardiner found itself lacking the infrastructure to augment an active schedule of exhibitions and programs and to accommodate its growing collections. Three new galleries and larger education and research facilities, including some tucked into a former underground parking garage, give the museum space to showcase additions to its permanent collection. New Chinese, Japanese, and contemporary porcelain collections have been well received. A new special exhibition gallery enables the Gardiner to enter negotiations to house the Victoria and Albert Museum’s ceramic collection while the London museum is renovated in 2009.

Featured in Vogue as the place to shop in Toronto, the Gardiner is reaping the benefits of good planning and design. Since reopening, the museum has seen a 20 percent increase in members and a 34 percent increase in membership revenue from the year before it closed for renovations. Attracting more visitors overall, the museum also saw a 95 percent increase in revenues from its shop and enjoyed the additional contribution of the restaurant. With its increased profile, the Gardiner has become a more important cultural resource for Canada, and its expanded facilities will enable it to continue growing.

@Source: http://archrecord.construction.com/

Design@Folding Chair Ladder

An incredibly clever little side chair that turns into a step ladder, what could be more convenient?

Said to have been designed originally by Benjamin Franklin, master inventor, this easy to convert piece is a wonder. It flips over to instantly make a handy stepladder perfect for the kitchen, library, and garage or storage areas. Made from hardwood and finished in white, it will look great in you home and last through years of use. Chair is 16"W x 15.25"D x 34"H. Internet exclusive

Country of Origin Thailand

Trend@京都學 引領日本企業再造的新顯學

京都式企業強化單一技術，不局限於品牌與完成品思惟，更不只顧日本國內客戶，一定要玩全球市場。他們最大的特色，就是「擁有絕對的全球市占率」，做就要做到全世界第一名，不想成為第一名以外的。

藝伎、櫻楓、古寺的千年京都古城，聚積了大和民族最精緻的藝匠精神，如今在如此深厚的人文底蘊下，激發出先進的科技產業！當求快、求大的東京式企業隨著日本經濟泡沫沉淪時，京都式企業卻以四倍以上的營利率、六倍以上的資產報酬率，屹立不搖。京都式變革，憑什麼成為全日本企業再造的依循方向？這也同樣是以零組件為核心競爭力的台灣企業，應該回答的新課題。

深秋，烈焰般的楓紅，惹火京都！這千年古都，不僅是日本第一的賞楓勝地，衹園玉面藝伎來來往往、鴨川流火明明滅滅、金閣寺榮光輝輝煌煌，一切加總起來，京都，無疑是東瀛最華美的時令色調。

迷人的景致下，京都聚積的深厚人文底蘊，更令人驚豔！窄巷百年老店裡，一個小漆碗，就是日本藝匠精神的展現，可以開價超過十萬日圓；一只小瓷盤，背後也代表了對品質無止境的追求，至今仍是日本政府致贈外賓的伴手禮；甚至是一張貼著金箔的皇室壁紙，傳人也到了第十四代，是五百年歲月的結晶。

除了古老，京都更用鮮活的創意，成功行銷自己，成為國際城市再造的典範！玻璃帷幕外觀、巨型鋼骨架構的新京都車站，正是這座城市最新的驕傲代表。京都市民雖曾一度爭論：這突兀建築如何融入優雅的市容？但如今，璀璨聖誕樹裝飾的站前露天廣場，已經成為年輕人流連的最佳約會去處。

老寺廟、新車站，在在讓世人對京都亮了眼，但更令外人訝異的是，這座千年老城竟然還活力四射地孕育出領先全球的高科技！

重裡子 京都組以逾四倍營利率勝出

京都人口僅一四七萬人，是東京的九分之一，比台南縣市一八○萬人還要少，但卻在半導體、通訊、電信、軟體、精密零件等多元領域，擁有世界級競爭力。除了最近因Wii聲名大譟的老牌遊戲天王任天堂外，包括羅姆、京瓷、日本電產、東星、村田製作所、堀場製作所，這一票極低調、極保守的高科技巨頭，在盈餘上的穩健表現，甚至遠遠超越東京的大企業。

「集團神話、完成品神話、綜合企業神話，統統不是京都式企業的特徵！」京都大學教授末松千尋指出，失落十年造成諸多日本神話瀕臨崩潰，京都式企業此時卻持續出現高成長動能，顛覆了管理學教材。

末松千尋著有《京都式經營策略》一書，是最早關注這群標竿企業的學者，他在接受《今周刊》專訪時強調，「京都式變革，已經是全日本企業再造的依循方向！」

因為，相較於京都式企業，東京式企業如新力、日立、東芝、三菱電機、NEC、富士通、松下，個個都是全球知名的大品牌，然而，在一九九一年至二○○一年日本陷入泡沫經濟時，小而美的京都式企業，卻以四倍以上的營利率、六倍以上的資產報酬率，把東京式企業遠遠拋在腦後。

甚至，在二○○一年高科技泡沫股災後，京都式企業的獲利，依然比載浮載沉的東京式企業穩定。當新力頻換執行長、日立與東芝皆大幅裁員的同時，專注研發關鍵零組件，隱身在終端商品幕後的京都式企業，仍然穩穩地握著全球高市占率。

「這是日本企業典範的轉移！」《東洋經濟》指出，知名度如同公司的面子，獲利率則是裡子，「東京愛面子，京都重裡子！」

重技術 強化單一技術力求第一

京都式企業憑什麼能夠創造眾所矚目的優越績效？

首先，京都式企業強化單一技術，不局限於品牌與完成品思惟，更不只顧日本國內客戶，一定要玩全球市場。他們最大的特色，就是「擁有絕對的全球市占率」，做就要做到全世界第一名，不想成為第一名以外的。

其次，京都式企業不強調集團化路線，自主性高，他們不喜歡借貸、財務體質好，自有資金遠比東京式企業來得高，還特別重視營利率，得以安全越過泡沫經濟。事實上，東京的資金環境，比京都好得多，但他們都仍決定留在京都，以過去的利潤，養未來的研發。另外，京都離東京遠，對中央政府的依賴度低，可以保持相當的獨立地位。

最後，京都式企業的經營者，都有留洋背景，不喜歡組織內的高同質性，更揚棄年功序列（薪資依年資調整，意即做愈久領愈多）神話，極度厭惡模仿、內部創新文化相對開放。

一九七三年創立的日本電產，是馬達驅動裝置的先驅，他們集中所有資源投入硬碟主軸馬達的研發，目前全世界每十台電腦出貨，就有七台內建的硬碟，是由日本電產出品。成功關鍵是，僅數十公釐見方的微型馬達，轉速可以逼近一萬RPM（每分鐘一萬轉），而這就是極精密、高品質的京都式代表。

「我們就像是半導體產業的英特爾，沒有我們的零件，整台硬碟就不能運轉，整個產業就要停滯！」日本電產社長永守重信強調，去年硬碟主軸全球市占率高達七七％，創下歷史新高，形成了無人能及的壓倒性競爭力。

「你家印表機的噴頭，用眼睛看看，夠小吧！」羅姆取締役研發本部部長高須秀視說，羅姆擁有高達四成、世界第一的印表機噴頭晶片市占率，這晶片操控著速度與顏色，印表機一分鐘要印上七、八頁全彩，奈米級晶片控制著一切。

「縮小化、效率化，是日本人的天性！」資深京都迷、政大科技管理所教授李仁芳觀察京都的創新之道是：小零件的深技術。

重精緻 千年聚積的藝匠經濟

環環相扣的三大勝出關鍵外，高科技的核心是智慧資本，京都小民們，成功轉化了傳統藝匠經濟。

京都城的南北地理位置，中世紀起即分為天皇居住的「上京」、武士居住的「中京」、庶民居住的「下京」。下京是工匠們的聚集地，他們精心生產的一碗一筷，都是供貴族階級使用。

「京都的精緻，無人能出其右，」法藍瓷總裁陳立恆觀察，藝匠學，向來是京都傳統產業的核心價值，直到一群外來創業家入駐，這長存的厚實聚積，一下子在高科技圈大放光彩。不論是電產的永守重信、京瓷的稻盛和夫、羅姆的佐藤研一郎、堀場製作所的堀場雅夫、村田製作所的村田昭，個個都是外地人，卻不約而同看上京都。

事實上，東京與京都，好比是中國上海與北京，上演著互相對立、甚至瞧不起的雙城記。現今的中國上海，如同東京，是掌控全國市場的巨型商業中心，但首都北京，則是中國企業與外商群聚的研發重鎮。

中經合創投董事長劉宇環觀察，台商的經營模式都是代工製造，所以群聚於長三角、珠三角，但包括微軟、Google等一大票看上中國本地人才的美國企業，一定選擇北京落腳。如同北京聚積了厚底子研發人才，京都亦是。

日本經濟新聞社出版的《京阪谷》，書中則把關西這一帶，比喻為美國矽谷，擁有日本其他地方少見的科研活力。

重創新 矽谷創新精神的變形

「日本向來是一個同質性很高的社會！」末松千尋認為，京都人卻非常有個性、有想法，極具差異化的創新精神。事實上，京都式企業的核心內涵，乃是矽谷創新精神的變形。

一九八○年代前，同質化帶來的好處，包括容易管理與維持秩序，是日本自二次世界大戰後復甦、大企業躍上世界舞台的關鍵；但在變動莫測的二十一世紀，這已不再適用。

日本的諾貝爾獎得主中，與自然科學相關的有七人，其中六人是從京都大學畢業或任教職的。在京都大學，每位教授進行獨立的研究，沒有人限制、干涉。這股自由風氣，一般循規蹈矩的人，可能無所適從。

「抱持批判精神」是京都不少高中的校訓！對東京人來說，這幾乎是難以想像的。「日本過去不注重員工個人績效，但京都式企業恰好相反！」京瓷發言人片山武美，一語道破。

有趣的是，連日本人自己都不知道，京都有這一群高科技模範生。因為大家都知道清水燒、西陣織，卻不知道半導體與精密陶瓷，也能與京都畫上等號，京都人引以為傲的藝匠精神，更在高科技找到新出路。

重深度 擺脫「me too」模式

京都典範，又能給台灣什麼樣的啟示呢？

「台灣企業很快，可是很淺，」李仁芳認為，只要有人一開始賺錢，大家都跟，所以大家必須要跑得更快，「京都是慢，但是他們真的很深。」

李仁芳強調，台灣企業一定要有特色，不出手則已，一出手就要讓大家知道是你的東西，因為「me too」已經走不下去了！他舉例說，包括華碩的Eee PC、宏達電的阿福機，都符合京都藝匠精神。

末松千尋則說，京都式製造企業的核心精神之一，是模組化策略，這在鴻海身上也看得到。

末松所謂的高品質模組化，初期研發成本雖然高，甚至是兩到三倍以上，但是拉長時間來看，絕對比一次次從頭再來，划算得多。以汽車產業作為例子，底盤是模組A、引擎動力是模組B、是模組C、內裝配備是模組D，在面對不同客戶的要求時，ABCD可以自由調配，像是日本客戶強調內裝，可以在D上面另外下點工夫，或者美國客戶強調動力輸出，則可以再加強B的表現。通用的部分愈多，效率愈高。

「不做模組，成本會一直向上跳！」末松觀察，台灣很多製造業都已經慢慢跟進。目前台灣陷入「毛三到四」、「保五保六」的獲利危機，京都式企業基業長青的作法，該是台灣企業的升級典範。

重特色 老企業寫下新傳奇

一直以來，廣為日本人認知的「企業三十年論」，指的是幾乎所有企業，擁有卓越表現的時間頂多三十年，之後一定會出現衰退。但是，京都式企業卻創造了新傳奇。

羅姆明年要過五十歲生日，京瓷也創立了四十八年、任天堂更是有兩甲子歷史，這一票歷久彌堅的科技企業，從A到A的歷史，已經博得全世界注目。

「商業組織是最容易犯錯、生命週期最短的人類組織！」這是美國管理大師杜拉克的名言，看來，京都式企業聽進去了。台灣，也該好好豎起耳朵！（節錄自《今周刊》574期：夢想預算書）

@Source: 今周刊 / 撰文／楊方儒

Arch@Mi Casa VolB in Sao Paulo

We have an unashamed soft spot for raw concrete, and Marcio Kogan's Vitra showroom in Sao Paulo proves our point; the material here seems as contemporary and versatile as ever.
The space opened in May this year, as an extension to the existing modernist emporium Mi Casa and to showcase Vitra products. The concrete is visible throughout, free of detailing, with even the construction workers' chalk markings left intact inside.

Outside, one facade is an exposed steel frame, normally used to reinforce concrete. Rough-textured surfaces lit from above and via the low shop window, make the space, as Kogan says, 'almost an X-ray of the materials'.

INFORMATION

City
Sao Paulo

Contact
Rua Estados Unidos 2109Jardim AmericaSao PauloTel: 55.11 3088 1238

Photographer: Nelson Kon

@Source: http://www.wallpaper.com/

Arch@ILORI in New York

Sunglasses super group Luxottica have proved their mettle as market leaders with a spanking new concept store, ILORI, on New York's Spring Street. With the evolution of sunglasses from summer holiday accessory to wardrobe staple, it's extraordinary they haven't previously been granted a luxury retail outlet, separate from that of their prescriptive siblings.

But ILORI more than makes up for it with a gallery approach to displaying their wares. Designed by architect Craig Nealy, the large space has been subdivided by a clever apportioning of piers into more intimate areas, delineated by different styles of frame, with the all-important mirrors never too far out of glance.

INFORMATION

City
New York

Contact
138 Spring Street
NY 10012
Tel: 1.212 226 8276

@Source: http://www.wallpaper.com

Arch@Bottega Veneta in Tokyo

In a building specially designed and constructed for the company, the new Bottega Veneta Ginza flagship is the brand's largest to date. The space allowing a good representation of furniture, homewares and fine jewellery, in addition to the core ready-to-wear, luggage and leather goods.

Vertical louvers in palm wood divide space and emphasise the high ceilings, whilst mohair velvet upholstery, custom dyed wool carpeting, African walnut ceilings and leather bound door handles emphasise the brands luxury allure and provide a subtle and subdued backdrop for the precious wares on display.

INFORMATION

City
Tokyo

Website
http://www.bottegaveneta.com


@Source: http://www.wallpaper.com/

Arch@Hermes in Seoul

When Hermes opens a new store, one might well expect to see something traditional and wood-panelled. However, the company's new Seoul outlet in Dosan Park bucks these assumptions. Architect Rena Dumas, who designs all the Hermes stores worldwide, created a bold, detached, double glass-membraned block. The exterior is coated with gold stripes - not far from the Hermes house shade of orange - that reflect the surroundings, acting as a screen to those looking in, but allow a view out to the bustling capital.

Any notion that this sculptural exploration in light is coldly unwelcoming is also dismissed once inside the building, which has been cut into to provide walkways, patios and gardens, with a curved staircase that flares up between levels. On the upper levels of the new ten-storey building, above the sales floor, are Hermes offices, workshops and an art exhibition space (pictured below during the inaugural show by French artist Daniel Buren), while in the basement is a cafe and a library.

There's also a museum, designed by long-time Hermes collaborator Hilton McConnico, with luminous white flooring, a mirrored ceiling and leather-clad tree-like columns; inside each of these is either an interactive screen explaining Hermes' historical legacy or a rare item from its archives.

Taking a stroll through this sci-fi forest is one of the highlights of a visit to this 7,745 sq m monster of a concept store. It's also a place to catch your breath after blowing a tidy sum on one of Hermes' highly desirable leather goods.


Contact
630-26 Shinsa-DongKangnam-gu, Seoul Tel: 82.2 542 6622

@Source: http://www.wallpaper.com/

People@Donna Karan interview

International fashion designer extraordinaire and founder of the DKNY label, Donna Karan has been dressing people all her working life, but now, she says, it’s time to address people.

Her Urban Zen initiative was born out of frustration that so much was missing from traditional Western practices of medicine. While powerful science and pharmaceuticals are of course vital in curing disease, she noticed there was a distinct lack of healing of the heart and the spirit. ‘We must treat the patient with the same passions with which we fight the disease,’ Karan insists.

Her vigour in spreading this message has included not only setting up seminars and training staff but she has converted her husband’s studio into a well-being centre and retail outlet with personally selected products including clothing, jewellery, home furnishings, CDs, books, perfumes and art where a percentage of the proceeds all go towards the project. We caught up with her in New York to find out more.

Where did the name ‘Urban Zen’ come from to describe your initiative?
'Urban Zen' seemed to sum up the two things that I believe this project is about. One is finding the calm amidst the chaos of our daily city lives: we always leave the city to try to find peace, but I’m proposing that maybe to find true calm you need to look inside and change what’s there rather than what’s on the outside. Secondly, this initiative is about harmonizing Eastern philosophy with Western medical practice and bringing the two opposites together.

What are the intentions of the initiative?
It is all to do with mind, body and spirit. Along with our three divisions: wellness, helping children in need and the preservation of culture, we are looking to shift the paradigm of the healthcare system today. Our aim with the Urban Zen philosophy is to raise awareness, inspire change and bring people together.

How do you intend to bring about change?
On a philosophical level it is about teaching and building communities but we are also validating the initiative by putting it into practice. We are building healing centres in hospitals, training doctors and nurses and recently employed 70 yoga teachers educated in Urban Zen to work in hospitals across the country.

How is the project financed?
A lot of the money comes from sponsorship and private donations but the other artery is the retail formula. A percentage of all the objects sold in the store goes to the project.

What do you sell in the Urban Zen store?
We have an exclusive line of cosy, comfortable and what I call 24-hour clothes. But the store is not only about clothes it also about the preservation of culture. There are lots of objects from other designers and artists as well as a vast selection of things that I have personally chosen from around the globe including jewellery, home furnishings, CDs, books, oils and perfumes.

How have you designed and decorated the space to reflect the principles of the initiative?
As soon as you enter the space you are taken away. The smells and the aromas that first greet inspire instant calm. No money has been put into the architecture of the space so it’s very raw but it is beautiful. There’s a simple little café with juices, soups and cookies, and there’s a wonderful outdoor space. We’re always holding cultural events and benefits there so the atmosphere is fantastic.

What was the inspiration for the initiative?
I have never been one to sit back, I have always been driven to solve problems. With Urban Zen it was after talking to so many of my friends about their treatment in hospital that it occurred to me that our culture was so focused on dealing with the disease, the patient was almost forgotten. As much as we talk about globalization, we’ve got a long way to go. There’s a soul in our culture that needs to be preserved.

How do you reconcile the polar opposite mindsets that run one of the world's most successful fashion labels with an initiative that springs from ancient philosophical values?
I’ve always been involved in both worlds. I’ve been doing yoga since I was 18 and been fascinated by the East. I also think that with success comes a responsibility to give back. I know it’s a huge undertaking but I love it.

@Source: http://www.wallpaper.com/fashion/ 10 December 2007

Design@大師的店》在街上遇見深澤直人…

有人說，東京是個最容易尋訪親近設計大師作品的地方，除了各種具時尚設計與創意的建築空間、大樓、商場等，一不經意，在百貨公司或大街小巷，就可能碰到知名設計師的專櫃或專賣店。

位於東京北青山的「 0」（plusminuszero，正負零、不多不少剛剛好的意思；http://www.plusminuszero.jp ），就是日本最具代表性的設計師深澤直人（Naoto Fukasawa）親手打造的新創品牌生活雜貨及小家電專賣店。

「 0」約僅十來坪，整家店的設計，也是由深澤直人操刀，店面簡潔單純，以四座白色櫃子展示所有設計產品，穿過中間的小庭院，後方有「 0 cafe」。

店裡陳設的重點商品，是獲得2005年日本「Good Design 」金獎的加溼器，它的外型溫潤可愛、色彩亮麗，有如貝果般的外形，中間陷處是水氣出口。

深澤直人在此門市的作品風格，多為圓弧造型，沒有多餘的線條或裝飾，雖然他為無印良品設計的產品多為白色或木質原色，但在 0，他大膽運用鮮豔色彩，讓作品簡單而不失活潑。

難得的是，即使身為備受推崇的當代設計大師，但任何人進了這家店，面對通透開放的陳列，完全感受不到設計師的盛名壓力，小家電的價格，也多在一、二萬日圓之間，十分平實，讓人充分體會到深澤直人強調的寂靜簡單的日本美學精神，這種精神也落實在無印良品的產品概念中，進而跨越國界和文化，打動許多人的心，影響可謂深遠。

@2007/12/22 經濟日報 http://udn.com/ ╱王家英

Arch@無印之家 自由編輯的生活空間

無印之家目前有木之家與窗之家，圖為位在永樂町的窗之家，屋內強調採光與高挑的設計，較具現代感。記者李至和／攝影
記者李至和／攝影
記者李至和／攝影
記者李至和／攝影

逛賣場，也可以順便看樣品屋、買房子；這就是無印良品日本東京有樂町門市的特別服務，更特別的是，這兒賣的不是一般的房子，而是十分「無印」的自然健康之屋。三年來，已有2,000組人申請參觀。

不論是之前推出的「木之家」，或今年4月登場的「窗之家」，無印之家室內延續無印良品一貫的簡潔低調，卻動線流暢，採光良好。以木之家為例，外表平凡無奇，結構卻有玄機，挑高屋頂的原木樑柱中，隱藏足以承受7級地震的鋼板。

木樑隱藏鋼板

無印之家由於堅持環保、堅固等設計興建要求，造價比一般房子略貴，30建坪的窗之屋，含家具價格約1,800萬日圓。即使如此，在日本推出三年來，已經有100棟「木之家」售出交屋。剛推出的「窗之家」，反應也很好。為什麼一個強調無意識設計的生活用品通路品牌，可以把產品線，成功地延伸到住宅？

有日本一級建築師執照的無印良品住空間事業部部長高野一義指出，除了強調堅固、耐用、環保、健康，無印之家最主要的概念是讓使用者，可以隨著生命階段不同、家庭結構變化，以及居住和環境改變，隨時調整、「編輯」空間，畢竟，單身、新婚、養兒育女和空巢期的居住需求，都不一樣，無印之家的變動，不用大動干戈即可完成。

至於內部空間規劃，不論是從客廳到餐廳、廚房，樓上臥室到樓下的公共空間，秉持既開放互動，又適度區隔的原則，好讓一個屋簷下的家庭成員沒有疏離感。加上內部陳設、家具、家電和用品，多半是自家的產品，整體的協調感，令人難以抗拒。

自然低調無壓力 「在這樣自然的裝潢『底妝』下，即使加上其他家具的『彩妝』，也不會覺得突兀。」高野說。

他指出，成立近30年，無印良品共有7,000多種產品，許多顧客也已年過30，他們有成家的需要，為了讓他們的生活更便利安適，無印良品結合專業建築、工程公司，跨出這一步。

在橫濱的無印之家樣品屋內，以赤松原木為主要建材的空間，舒適溫馨，每個空間的屋頂都一樣高，以方便家具的搬移。

無印良品產品設計時，非常重視所謂的基本寸法，即規格化，無印之家的設計也是如此，所以可以營造出物品各得其所、又方便收納、取用的住宅。

以廚房為例，充分利用柱子間的空間，貼切地嵌入無印規格化的金屬組合層架，每個層架上可視需求嵌入各種不同的收納產品，再以輕巧的拉門間隔流理台，不但開關方便、省空間，視覺上也清爽而一目了然。

一扇窗一幅畫

「窗之家」，名副其實就是以窗為設計特色的住家，高野指出，設計時可依屋主的喜好，開出「特別而沒有邊框」的窗，有樂町門市的樣品屋，就把窗子開在客廳牆面的下方，「從室內的窗看出去，多了許多風景，戶外看起來，每一扇窗，都是一幅不同的畫。」高野說。

窗之家的建築工法，運用更多自然素材，除了原木家具，牆面使用的是類似桂藻提煉的塗料，可以呼吸，隨外部環境調節室內的溫濕度、節省能源。家具是深澤直人為無印良品設計的「real furniture」系列，門把、掛勾、蓮蓬頭等五金配件，也是無印良品新成立的新事業部Muji infill的產品，似曾相識的平淡線條，延續深澤直人一貫super simple的設計概念，卻和整個空間十分協調地營造出無壓力的舒適感，這大概是過度科技化社會中最令人渴望的歸屬吧!

@2007/12/22 經濟日報 http://udn.com/ 文／王家英

Design@大師秀巧思 無印良品展新貌

無印良品今年新發展結合餐飲與咖啡的Cafe&Meal MUJI，位在高級商業區日比古，吸引許多白領女性入內用餐。中的大吊燈乍看下相當奢華，實際上卻是採用無印良品果汁瓶所做的吊燈。記者李至和／攝影
日本無印良品有樂町店內的收銀區，背後是由紙箱堆疊而成的牆面，也是很代表無印精神的設計。記者李至和／攝影
記者李至和／攝影
記者李至和／攝影
記者李至和／攝影

將邁入第28個年頭的日本無印良品，正悄悄地展開一場蛻變革命，它的改變和創新，從東京時尚設計中心六本木Midtown的MUJI新概念店，到有樂町剛改裝的無印良品、無印之家樣品屋、新成立的Cafe&Meal MUJI，處處可見，雖然低調依舊，但在杉本貴志、深澤直人、隈研吾等大師的巧思下，卻適度的呈現細緻的美學生活品味，展現一番新意。實驗創意
跳脫無色彩限制

今年3月新落成的的六本木Midtown，是日本向世界展示設計力的新作。日本無印良品躋身其中，並在地下一樓取得最佳的位置，占地200坪，展現它最新的設計與生活概念，它的店招不是漢字的無印良品，而是英文MUJI，反映出它國際化的企圖心。

在這家概念店的入口處，可以看到磚紅色的毛衣、紅綠交錯的圍巾、帥氣的小羊皮外套，這些嶄新的服裝面貌都整合在實驗性的「MUJI LABO」的新品牌中。實木素材、線條簡潔、強調舒適性的無垢材家具，是無印良品新推出的real furniture系列產品，在這家店中，以大面積的空間陳列，並且提供訂做服務。

日本無印良品社長松井忠三解釋，「Midtown門市有點實驗性質，用來思考未來五年無印良品該走向哪個方向，每半年都會有新火花」。LABO是「實驗、測試」的意思，因此這個新發展的服裝支線，活用素材的優點，納入更多流行元素，跳脫無印良品一貫無色彩的限制。

「無印良品已經是快要30歲的品牌，成長也到一定規模，在產品設計上要更有突破，但商品開發又要更精確，MUJI LABO就是兼具革新與測試的作法」，無印良品主導商品開發與宣傳的金井政明專務更進一步解釋。

MUJI Midtown位在這棟商場大樓的一角，都會時尚感的挑高空間，分成服飾、家具家電、生活雜貨三大區塊，三面落地玻璃面對大塊綠地及花木，白天陽光自然灑落進來，和簡約、高質感的木質家具、衣飾等商品陳設，以及現代感的空間設計自然融合。

這一家店由無印良品的外部設計諮詢委員會成員、知名空間設計師杉本貴志一手操刀，除此之外，他所領軍的的Super Potato設計團隊，也讓位於日比谷商業區寶塚劇場附近的Cafe & Meal MUJI，充滿文化時尚創意。綠色創意
商品開發重環保

這家餐廳11月7日才開幕，以發揮食材美味的健康餐飲為經營宗旨。店中最特別的是，餐廳屋頂懸掛的一盞大吊燈，耀眼地讓人以為是一般的水晶燈，近看才發現，原來是用無印的空玻璃飲料瓶當燈罩，焊接廢棄鐵材製作而成。這種回收產品，結合設計巧思的創意，既符合環保概念，也貼切傳達無印良品2008年商品開發的三大重點：善待地球、廢料再利用及自由組合。

無獨有偶地，11月才改裝好的有樂町無印良品旗艦門市中，也有類似的創意；三樓生活雜貨區的結帳櫃檯背後，一整面波浪狀的土黃色立體壁飾，是用無印良品回收的包裝紙箱製作而成，這也是杉本貴志工作團隊的點子。

這一家店原是寶塚劇場舊址，賣場約950坪，除了服飾、文具、生活雜貨家具，還有餐廳、麵包店、花店及無印窗之家樣品屋，不但是東京地區最大的門市，業績也最好，每年有200萬人光顧，其中126萬人消費，平均客單價3,800日圓，居各店之冠。台灣無印良品總經理王文欣指出，這家店不但經營績效好，「不論是商品陳列、門市管理和銷售服務，也最有看頭」，是她每次到日本考察必訪的一站。

在這家店的窗之家樣品屋內，陳列著深澤直人設計的無垢材餐桌椅、白蠟木床組及簡潔俐落的方形浴缸，窗景的規劃則有日本知名建築師隈研吾的專業建議。

這些知名設計師，都是無印良品的設計活水，也是支持品牌核心價值以及創新的動力。目前無印良品的企劃設計部門共有15個人，外部設計諮詢委員會有八位設計師，另外還有四位海外設計師採專案合作模式。

無印良品生活雜貨部企劃設計室室長安井敏指出，「未來無印良品的設計有兩個主要區塊『World MUJI』與『Found MUJI』，前者透過外國設計師的眼光看無印良品，開發出兼具世界觀與無印精神的商品。後者則是從日本設計師的角度，尋找符合無印理念的世界設計」。檢驗創意
名家設計不具名

例如，來自法國塔斯馬尼亞的海藻保養品系列、從捷克傳統手工藝發想而來的直角襪，就是Found MUJI的商品。單價較高的包包配件、訂製家具等，則來自World MUJI的設計。

讓人好奇的是，為什麼這些名家與專業設計人才，都願意不具名的與無印良品長期合作？

金井政明指出，主要是他們都認同無印良品化繁為簡、凸顯商品原形及No Brand的概念，「設計師出名之後，也會反思究竟消費者是為了真心喜歡，還是為了設計師的名氣，才購買商品的？」掛上了名字，反而無從檢驗。

誠如設計產品時盡可能降低個人專業色彩的深澤直人所說，「我喜歡當個平均數，所以在設計無印良品的產品時，希望不要放上我的名字，否則不但危險，更會混淆產品的焦點。」回歸產品和生活本質，無印良品就是以這個精神，拉近了設計人才與消費者。

@2007/12/22 經濟日報 http://udn.com/ 文／李至和、王家英

Food@珍珠奶茶鍋／玥飲軒

珍珠奶茶火鍋：葷素皆有，重點是「鹹的」。珍珠超大粒，其它配料吸飽奶茶香，也變得甘甜有味，唯一缺點是茶香淡了些！450元（含前菜、沙拉、甜品、飲料等）

猴頭菇擂茶火鍋：有葷有素，猴頭菇搭擂茶（其實鍋裡沒有茶），滋味還不錯，湯頭淡雅，重口味者可沾特製醬。500元

茶卡布奇諾：這道鋪滿奶泡的茶， 並沒有咖啡， 也是取其「形」；茶湯與奶泡的組合，是奶茶的變身款！200元

拚創意！有鮮奶的濃醇、茶香的芬芳，湯底更撈出碩大軟Q的「珍珠」，驚奇和口感百分百。


珍珠奶茶火鍋，聽了讓人害怕！到底是甜還是鹹？能吃嗎？在種種疑惑之下，走進玥飲軒。這是家別具氣質的茶館，水流、古箏、木香與優雅的美女現身，對珍奶鍋的印象，偷偷加了分。


店長說，會研發珍奶鍋，是因茶館賣茶，以茶入鍋太普遍，茶配牛奶最優，於是奶茶入選。珍珠又是奶茶的絕配，珍奶鍋就這樣出爐。


鍋底是乳白色，據說還加了自家研發的「白醬」，有點西式濃湯的味道，帶些甘甜味；珍珠個兒大、咬勁足，有點蜜香，搭配奶茶，不像吃鍋，倒像喝熱珍奶！


除了珍奶，茶館還賣起擂茶鍋，取客家擂茶的「 形」，鍋裡有松子、栗子、花生、蓮子等擂茶所用的各種堅果，但沒有茶，走的是「養生」路線。除了鍋，也有餐，主角當然是茶。採訪當天，見識到了「啡茶」（咖啡＋茶）、「茶卡布奇諾」與「茶拿鐵」，還有西藏的酥油茶、台灣客家擂茶，光是茶單，也有數十款，創意不下於珍奶鍋！


怎麼吃？店長洪橧鋌：珍珠與奶茶是絕配，先配著嘗湯頭； 珍珠不要一次吃完，留些最後收口，口感全然不同！

DATA

地址：台北市溫州街80號

電話：02-8369-3963

營業時間：10:00~凌晨2:00，供餐12:00~16:00、18:00~21:00

@ Source: 2007/12/08 聯合報 http://udn.com/ ／記者羅建怡、吳雨潔

A Few of Renzo Piano's Favorite Things@Arch

An appreciation for ancient and modern is readily apparent in the list of 10 buildings beloved by the famed architect

By Paula Lehman

Renzo Piano believes buildings should reflect their environments. He's not simply talking metaphorically: While he's well known for the attention he pays to a building's context, he has also become known for designs that include large transparent surfaces. This is visible in designs such as the three-building addition he built for the High Museum of Art in Atlanta, completed in 2005. Atop each building is a grid of 1,000 skylights allowing natural light to pour into the exhibition space.

Recently, Piano, who is currently finishing work on The New York Times Building in midtown Manhattan and also the High Museum of Art (seen here), spoke to BusinessWeek about his 10 favorite buildings of all time. Many were built prior to the 20th century. Piano says the reason he's partial to older structures is that to him, architecture is about memory. Having grown up in Genoa, Italy, where his office is headquartered, he was surrounded and inspired by historic architecture. "Memory is a constant part of what I'm doing," he says. "All my work is in some way connected to memory." This shows in the details of his projects, which act as a tribute to the family of builders he grew up in and to the following classic works of architecture.

The Acropolis
Athens
Architect: various
Sixth century BC

The Acropolis is a collection of ancient ruins atop a 150-meter-high flat rock in the center of Athens. To Piano, the use of stone on such a monumental scale is an example of lightness in design. "This is the living example of how light you can be with stone," he says. "It's almost like you're fighting against gravity."

Viking Ships
Northern Europe
Architect: various
Viking Age (800-1100)

For Piano, Viking ships present a perfect marriage between functionality and architecture. For instance, the keels of Norse ships, built in the ninth century, not only serve to steady the boat but are often intricate in aesthetic detail. Piano himself both builds and sails boats in his minimal free time, and as such these boats present an inspiration — and a challenge.

Brunelleschi's Cupola
Florence
Architect: Filippo Brunelleschi
1434

Standing 91 meters high, the cupola atop Santa Maria del Fiore in Florence has been one of Piano's favorite structures since childhood. The cupola is self-supporting, with an octagonal base and stone ribs. Piano admires Brunelleschi's approach — acting not only as an architect but also as builder and artist on the project. "He didn't just design the cupola," explains Piano. "He even designed the tools to make the cupola."

The Crystal Palace
London
Architect: Joseph Paxton
1851

The Crystal Palace was originally built for the Great Exhibition of 1851, where exhibits ranged from traditional art to a precursor to the modern fax machine. After the exhibition the palace was moved to the south part of London that still bears its name though it burned down in 1936. Designed by celebrated architect Joseph Paxton, this wrought iron and glass structure looked like a gigantic greenhouse — appropriate, given that Paxton began his career as a gardener. Piano calls the Crystal Palace "the reinvention of the dream of lightness."


The Palm House
London
Architect: Decimus Burton and Richard Turner
1848

Piano often plays with light in his designs. Perhaps it is this fascination that caused him to pick not one but two greenhouse structures for his top 10 buildings of all time. The Palm House in London's Kew Gardens is a Victorian greenhouse made out of glass and wrought iron. Piano acclaims it as "a masterpiece of steel. [It] feels immaterial."



La Maison de Verre
Paris
Architect: Pierre Chareau
1931

La Maison de Verre means "house of glass." The Paris residence was designed by Pierre Chareau for Dr. Jean Dalsace. The house, which was built over a period of five years, has a facade of glass blocks. Inside, the house is divided by movable panels and screen doors, allowing light to flood the interior. Piano later used this building as the inspiration to design the headquarters of Hermès Japan in Tokyo, which opened in 2001.




The Kimbell Art Museum
Fort Worth
Architect: Louis Kahn
1972

Piano is currently working on an addition for the Kimbell Art Museum, due for completion in 2011. During his time at the museum, he says he has come to admire the original building designed by legendary architect Louis Kahn, with whom Piano worked as a young architect. The museum is a series of five stone vaults, with skylights that flood the exhibition space with natural light.



Castelvecchio Museum
Verona, Italy
Architect: Carlo Scarpa
1973

When Carlo Scarpa restored the Castelvecchio Museum, an art museum in Verona, Italy, he created a contrast between ancient and modern. The medieval castle now includes ornate metal lattice doors leading to modern-style platforms that hold various pieces of artwork, such as a statue of Cangrande della Scala that sits atop a cantilever, one story above the ground floor level. Piano says he appreciates the subtle integration of old with new.



Centre Georges Pompidou
Paris
Architects: Renzo Piano and Richard and Sue Rogers
1977

The Centre Georges Pompidou, also known as Beaubourg, was built in 1977 when Renzo Piano was still fairly unknown and working for legendary British architect Richard Rogers. The building is a skeleton of color-coded mechanical systems. Piano, who now lives in Paris, picked this building as one of his favorites because it's become a regular hangout for him. He says that the building "exudes a feeling of freedom."



Renzo Piano Building Workshop
Punta Nave, Italy
Architect: Renzo Piano
1991

Piano's own architectural studio headquarters in Genoa, Italy, is inspired by the surrounding environment and location. Sitting on a hill, the office is composed of a series of glass terraces that slope down towards the sea. Piano says the building is modeled after greenhouses typical of the Ligurian coastline. The office was built in 1991 and houses 130 employees.

@Source: By Paula Lehman http://www.businessweek.com/ November 7, 2007

Arch@Renzo Piano's Light Touch

The architect may be 70 years old, but he's having a good year. His firm is currently working on 20 high profile, global projects

Architect Renzo Piano paces the streets of New York City's Meatpacking District. He is preparing to design an expansion to the Whitney Museum of American Art. Once seen as an extension to the museum's existing uptown space, residents' objections moved the project downtown, and in November last year, property was purchased at the entrance to the city's planned High Line park. Piano walks slowly, his hands in his pockets, looking at the scenery around him.

"Mentally I go fishing," he says. "I fish for emotion and inspiration from the place, from the people."

Piano's buildings also come out of contemporary culture and historical architecture. His list of "wonders of the world" includes few modern buildings. But while he is stimulated by the old, his attention to space and context keeps his own work modern and fresh. "Being an architect," he says, "is about memory and invention." Drawing on this sentiment, Piano blends tradition and innovation in his designs. For his Maison Hermès in Tokyo, a shop for the upscale fashion brand with offices above, Piano took inspiration from traditional glass structures such as the 1851 Crystal Palace in London, but used glass bricks for the facade to lend it a modern look. The lantern-like building helps the store stand out in a highly competitive, high-end shopping district.

The Inside-Out Building
Piano grew up in a family of builders. At age seven, he would tag along with his father and visit building sites in and around his home town of Genoa in Italy, and he became intrigued by the anatomy of buildings, the way they are built around a skeleton to form a complete structure. In the late 1950s, Piano moved to Florence to study architecture at university, and the city helped him consolidate his love of blending ancient with modern. Framing and structure are ideas that have stayed with him throughout his career, and many of his designs emphasize the skeletal interior of a building.

This is perhaps most apparent in the building that established him as a major player in the world of architecture. In 1971, after graduating and then working for renowned architect Louis Kahn for five years, Piano joined British architect Richard Rogers to create the Piano and Rogers Studio. The partnership resulted in the Centre Georges Pompidou—known in Paris as Beaubourg—finished in 1977.

It's a building turned inside-out. All the building's functions, including walkways and plumbing, are positioned on the outside, leaving the inside light and airy. Each function is designated by color: yellow for electricity; red for transport (elevators and walkways); blue for water; and green for air. The result is a colorful spiderweb of piping, with an open floor-plan inside.

"Reinventing the Campus"
Post-Pompidou, and after a partnership with Peter Rice, Piano established his own firm, the Renzo Piano Building Workshop, in the late 1980s. The firm currently employs 130 people and is working on about 20 projects. Its two main offices are in Paris and Genoa, and the practice recently opened a small office in New York. Piano himself, now 70, focuses on four projects at a time and still regularly travels among all three offices. This week he's working on the Whitney Museum and an expansion at Columbia University.

The project at Columbia includes a $1 billion-plus scheme to add 1.2 million square feet to the university. The proposed new buildings, which extend north along eight blocks starting at 125th Street and Broadway, will include a medical research center for neurology, a school of art, a business school building, and a meeting center. These academic facilities will be located above and below an open lobby that can be used as a gathering area.

Piano says the project "is about reinventing the campus of the 21st century" and includes public spaces such as a theater, a public library, and art galleries, so it's integrated with the surrounding community. It's a controversial project: Some members of the West Harlem neighborhood are unhappy that it proposes to take up 17 acres of space now occupied by small retailers. Other residents remain cautious. For now, construction is set to start as early as fall, 2008.

Changing Times
It's not the first time that Piano has attempted to reinvent a traditionally staid environment. The new New York Times Building in midtown Manhattan is covered with a curtain wall of white ceramic rods that are intended to reflect the color of the sky as it changes. The luminous building is a stark counterpoint to the old New York Times HQ, which operated out of a converted factory made of concrete and steel. Such use of light is central to all of Piano's designs, and many of them include floor-to-ceiling glass and open plans.

"In New York, all the buildings become red in the evening, blue after it rains. This building will be even more metamorphic," he says of the Times design. "The feeling of the building keeps changing. It takes on the color and the spirit of the moment."

Piano's fascination with light and lightness inform his chosen wonders of the world and his own designs. He says it's "instinct" to make light and transparency a moving force in all good architecture. From the "house of glass" (La Maison de Verre) in Paris to the Palm House in Kew Gardens in London to his very own Maison Hermés in Tokyo, light plays a central role in the elegance and ingenuity of his design. As he paces the street, looking at a brand new building site, it's what captures and inspires him.

Lehman is a reporter for BusinessWeek in New York .

@Source: by Paula Lehman http://www.businessweek.com/ November 7, 2007

Fashion@LV：為之犧牲也在所不惜

「 LV 就像麻疹，」Baccarat水晶總裁小川博（Hiroshi Ogawa）說，「每個人終將得到。」駐足日本街頭觀察，你會看見這種麻疹正在街上移動；如果你停留得夠久，你也會被傳染。

在日本，最令人困惑的現象之一就是隨處可見的 LV 。產業專家認為這根本就是包包魔法的成功案例，並且指出一長串原因解釋 LV 的成功。「控制」向來是奢華品行銷的關鍵字：藉由限制品牌商品的供應量與呈現方式，以維持活力無窮的尊貴形象。如 Prada沒有善加控制，導致品牌資產受損；愛馬仕控制的程度之深，連預約等候包包的名單都暫不開放受理。但是，LV 怎麼能達成如此大規模的「大眾化」？讓人百思不解的是，現在幾乎人手一個的 LV ，未來該如何面對無可避免的傷害？ LV 的成功令人讚嘆，以致於自從 LV 到日本展店第一天起即主導一切的總裁秦郷次郎都認為該寫著述剖析這個現象〔本書已於2004年出版，書名為《日本的 LV ：打造奢華的推手》（Louis Vuitton Japan：The Building of Luxury）〕。

自從打入日本市場依始，LV 便思索如何創造成長。它首先與本地通路合作了一段很短的時間，1981年即成立日本分公司。 LV 首先進行鋪路的工作：建立並擁有本身的店面通路，完全跳過本地通路商。這項做法比其他奢華品牌早得多，十多年之後，其他的奢華品牌才紛紛主導本身的通路與品牌。此外，LV 不讓百貨公司擔任大盤商，而是在百貨公司裡設立店中店，全權控制自家商品，以確保商品的銷售。九○年代晚期，當其他奢華品牌才開始關心通路商與授權商，LV 的品牌早已在集團母公司的悉心照料下成長茁壯。

從「控制」的角度觀之，LV 到底做了什麼，成功地在日本打造出這個讓眾人追隨膜拜的品牌聖教？它的神祕方程式是什麼？我們詢問前 LV 全球總經理布魯斯威這些問題。「絕對沒有什麼天方夜譚，」布魯斯威指出，LV 的成功得自於「多年來持續做著正確的事」。我們同意，努力不懈絕對是主要的成功因素之一，但我們也相信，這家公司成功的祕訣，還在於擁有一種神祕的能力，能揉合兩種互斥的元素，一舉發揮魔法般的作用。 LV 讓十九世紀的傳統與二十一世紀的靈活共舞，並且讓自視甚高的上流階級願意與辦公室的平凡女孩開懷並肩同坐。儘管帆布包上掛著昂貴的1000美元標價，大家就是覺得它值得這個價錢。而緊密揉合讓所有元素的三個字，就是：品質，品質，品質。

且讓我們仔細檢視 LV 運用的方程式。 LV 了解日本消費者講究傳統與歷史，於是，自設立伊始，就著手宣傳它的傳統與歷史：1811年，木匠之子 LV 本人出生。1854年，他在巴黎設立第一家店。1986年，推出 LV 字母組合圖案，迅速廣為貴族與皇室接受，自此揚名於世。至今，富含歷史意義的皮包是 LV 店內的重要展覽品。在不斷宣揚之下，這個象徵奢華旅行的品牌，逐漸被日本社會視為權貴的象徵。

LV 在固守傳統與歷史之際，仍然不斷創新，讓現代消費者覺得它的商品有趣、充滿生命力。一方面，LV 小幅改變現有商品，卻不至於偏離經典款太多，以吸引忠實顧客再度上門。另一方面，它將創新的光譜推得更快、更廣，比如在2001年推出塗鴉包、或是2003年與日本藝術家村上龍合作推出可愛又多采多姿的「眼球移動字母組合圖案」（Eye Move Monogram）。如果 LV 是奢華品牌之母，那麼字母組合圖案就是 LV 的商品之母。由於字母組合圖案令消費者趨之若鶩，所以 LV 也投注了相當精力以維持這個年逾百歲的字母組合圖案，企圖讓它時時重現年輕活力。布魯斯威解釋：

我們在字母組合圖案上運用許多創意、許多新設計與新元素。 Marc Jacobs也同樣運用很多創意，讓它看起來既有活力、還能同時提醒大家別忘記它是來自十九世紀的產物。

@Source: 天下雜誌出版 .2007.09.03

藝術大師村上隆來台演講精華@People

國際知名的日籍藝術大師村上隆，在台北小巨蛋的演講吸引上萬人參與，聆聽他將一國文化推向世界舞台的秘方。

即便在國際拍賣會上，作品「727」拍賣價超過一億日圓（約合新台幣三千七百萬元），創下日本現代畫作紀錄的藝術大師村上隆，歷經無數國際場合，也從未經歷過萬人聽講的場面。

十一月三十日晚上，在台北小巨蛋吸引了上萬名的聽眾，不瞭解他藝術地位的人，蜂擁而至想要認識這位，設計LV櫻桃包圖案的設計師；知道他藝術地位的人更想一睹廬山真面目。包括摩托羅拉台灣區行動通訊終端部總經理陳勝裕、年代數位董事長邱復生、前台積電法務長陳國慈等人，現場冠蓋雲集。

「村上隆可能是目前繼美國普普藝術大師安迪‧渥荷（Andy Warhol）之後，唯一能跨越藝術與商業而被人肯定的藝術家了。」胡氏藝術有限公司執行長胡朝聖表示。藝術創作者李儒杰則表示，許多以藝術為生的人，其實最想要知道的是，村上隆成功結合商業與藝術的模式是什麼。

在緊張與興奮中，晚上十點多，來台主講「藝術開國，商周論壇」的村上隆結束台北小巨蛋的萬人演講會場。夜深之際，他夜訪華西街觀光夜市，村上隆好奇的張望著華西街周邊的攤商，臉上的神情掩不住剛剛經歷過如雷掌聲後的高昂。

「你覺得什麼是台灣文化的『醬油味』呢？」席間，《商業周刊》社長俞國定問道。「一種難以形容的『甜味』！就像是這碗湯一樣。」村上隆喝了一口剛剛上桌的擔仔麵湯後說道。

結合商業與藝術　讓文化躍上國際的三部曲

村上隆曾經提過，有著身為日本人的欲望或記憶的人，所想像出的美，無可避免的會有「醬油味」。而有本事讓不瞭解醬油美味的歐美藝壇，能夠對「日本的醬油味」埋單，正是村上隆今日能夠立足世界，成為國際級藝術大師的成功之道。所謂的醬油味，指的是一個國家、一個群體的文化本質。

究竟，村上隆向世界推銷日本醬油味的成功方程式是什麼？

時間倒轉兩個小時，回到台北小巨蛋的會場。巡弋穿梭中的燈光聚焦，會場下的竊竊私語忽然轉為沉靜，掌聲如雷。

「過去日本人認為藝術就是自我表現，事實上，在西方，藝術是有遊戲規則可循的！」村上隆第一次來到台灣，站在台北小巨蛋的舞台上，面對著逾萬名的觀眾，闡述他邁向世界舞台的成功之道，經歷三個階段：

一、正視自己，不以自身的文化特色為恥。
二、自我定位，取得在西方的發言權。
三、溝通，取得最大商業價值。

首部曲：正視自己　以被鄙視的動、漫畫當起點

「過去日本人認為動畫、卡通不登大雅之堂，甚至是可恥的。」村上隆表示，但他認為，如果這不能夠稱為文化，那他不知道為什麼在日本的便利商店貨架上會有這麼多的漫畫，又有這麼多人把它們買回家。

「那其實就是日本的文化。」他決定以日本主流文化鄙視的卡通與漫畫文化，做為藝術創作的起點，向世界舞台邁進，「因為越是沒有人走過的路，越有可能成功」。

在高達三層樓的演講舞台雲朵上，一張張的幻燈片，放映著村上隆的作品。

有的作品像是從日本情色漫畫走出來的卡通人物，化身為有著巨乳細腰的人型公仔，放在國際知名的美術館展場，成為挑戰人類對性的渴望與羞恥心的象徵；張著大眼的磨菇，外型雖然可愛，象徵的卻是日本在第二次大戰，被美國原子彈轟炸之後，產生的蕈狀雲。對於性的禁忌，或是戰爭的省思，其實是歐美藝術界非常熟悉的脈絡，但利用卡通與漫畫所呈現的藝術手法卻非常日本。

二部曲：自我定位　化身日本戰後文化代言人

村上隆解釋，他將自己推上世界舞台的第一步，就是正視過去被日本主流社會引以為恥的卡通與漫畫的文化元素。

他發掘卡通與漫畫這個蓬勃次文化的能量，再加上他個人的闡述，找到了他心目中「日本文化的醬油味」，將這樣的味道轉為具象的藝術作品，接著他用歐美藝壇可以理解的語言，開始訴說他心目中的，代表日本文化的醬油滋味。

亞洲文化協會台北分會秘書長張元茜表示，表面上看起來，村上隆的作品是可愛的，但村上隆之所以在國際揚名，關鍵是他對於自己的定位，是自「一九四五年日本戰敗之後，歷史與文化的詮釋者。」像這樣定位自己的企圖心，卻是許多台灣年輕的藝術創作者所缺乏的。

一九九○年後期到二十一世紀初，村上隆累積了大量利用卡通漫畫手法呈現的作品，然後再大量辦展，藉由像是「Super Flat超級扁平」、「 Little Boy」等大型展覽，展出作品、闡述他的藝術理念。逐漸的，他成為日本戰後文化代言人，開始在西方藝術界打開知名度。

這樣的定位，是村上隆觀察歐美藝壇遊戲規則之後，決定採取的戰略。因為沒有定位，對於日本文化陌生的歐美藝術界，無從瞭解他的作品意義。

「別人認為羞恥的，只要詮釋意義，就能站上世界舞台！」「卡通與漫畫，如今已是日本人引以為傲的文化。」村上隆表示，文化的意涵能夠轉化，但前提是能不能找到遊戲規則。

三部曲：溝通行銷　以瞭解做基礎創造商業價值

他能夠將日本的醬油味推上世界舞台的關鍵，就是結合商業遊戲規則，銷售自己的定位。例如，「將日本文化中引以為恥的部分（卡通與漫畫的文化），與世界第一的時尚品牌路易‧威登（LV）合作」。

「就像是音樂產業一樣，藝術要成為產業，要瞭解（商業的）遊戲規則。」而從二○○三年起，他與LV展開一系列的合作，他所設計的櫻桃包、櫻花包圖案在全球熱賣，讓他搭著時尚通路，走上國際舞台，甚至讓對藝術不熟悉的人，也知道了村上隆這一號人物。

從知名時尚品牌身上學得品牌經營之道，村上隆以經營品牌的方式，經營自己藝術事業。他說，「村上隆就是品牌。」

村上隆不諱言，他的成功關鍵，不光是找到了日本文化的醬油味，更重要的是找到了賣醬油的方法。

「每個國家都有不同的國情，整個社會都各自有規範。」村上隆表示，就像台灣的菜有自己的味道一樣，而「台灣的甜味嘗起來，層次更為複雜，跟日本的味道很不一樣。」

他認為，台灣的年輕藝術家，或台灣的藝術要站上國際舞台，一定要能夠面對自己，找到自己的位置，甚至要找到「你自己試圖隱瞞自己的是什麼。」然後要能夠清楚的向他人解釋什麼是「你」。因為，「如果你無法讓別人瞭解你，你就不可能揚名世界舞台，也不可能擁有經濟自立。」而相反的，「如果能夠將溝通做到最成功，就有機會創造商業價值。」他接著說道。

「好喝！」離開演講會場，村上隆坐在華西街的知名餐廳，開心的喝下第二碗的擔仔麵湯。

＊村上隆小檔案

出生：1962年
學歷：日本東京藝術大學博士
現職：國際級藝術家、藝術經紀公司 KaiKai KiKi負責人
經歷：1.作品「727」拍賣價超過1億日圓，創下日本現代畫作紀錄 　　　
　　　2.與LV合作櫻花包、櫻桃包

@Source: 商業周刊 2007.12.13 （文）李郁怡

在荷蘭，看見未來的機場城市@Innovative

2004年暑假，《航站情緣》（The Terminal）創下上億美元的票房。劇中男主角湯姆漢克斯因為東歐祖國發生政變，護照失效，成為人球被迫留置美國紐約甘迺迪機場（JFK）第四航站。住在機場的四個月，「你會不會覺得你住在機場？」電影裡一位旅客問湯姆漢克斯，他想了一會回答，「不，就像居住在都市裡面。」看過這一部電影的人很多，但很少人知道，甘迺迪機場第四航站其實是由來自歐洲荷蘭最大都市阿姆斯特丹的史基浦（Schiphol）機場管理集團在經營的。

史基浦機場：不氣派，卻更像商場、車站、遊樂場
　　
清晨走進這個代表荷蘭門面的機場內，早已人聲鼎沸。早餐店、咖啡館、書報攤、速食店已坐滿吃早餐看報紙的人潮。跟其他國家代表性機場比起來，史基浦機場讓人一點也感覺不到氣派。沒有挑高的大廳、奢華的布置，反倒讓人感覺像是熱鬧的商場。

這個機場除了像商場外，還像個火車站因為從這裡不僅有各列火車通往荷蘭其他城市，還可以跨國到兩小時遠的德國、比利時或四小時到法國巴黎。 史基浦機場還更像遊樂休閒區。在荷蘭航空專屬出境大廳的樓上，有一個可以容納數千人的屋頂平台，是荷蘭人想要看飛機起降最好的瞭望台，不用隔著玻璃，可以一覽無遺所有飛機起降。

這個機場甚至還是企業辦公大樓、商務中心的聚集地。國貿大樓（World Trade Center）離出境大廳走路只要十分鐘，可以直飛往全世界260個城市，愈來愈多企業在這裡設辦公室。

來自台灣的聯電就在國貿大樓內設歐洲辦公室。 早在21世紀全球飆機場的建設風潮前，天生貿易性格的荷蘭人，就開始重新定位史基浦機場。 儘管荷蘭人口只有1600多萬，仍希望把史基浦機場定位為歐洲的門戶，另一方面，從1990年代初期，史基浦機場就開始用「機場城市」（Airport City）的概念來定位自己。 　　

1.做商場：連不搭機民眾都可前來購物
　　
史基浦機場成立至今91年，是目前全世界仍留在最初建設地點的最老國際機場。那麼，這十多年來，史基浦機場如何一步步把機場變現代都市的呢？

過去只有要登機的旅客，進入候機區後，可以在免稅店購物，但是史基浦機場堪稱是全世界第一個在機場內設商場，讓不搭飛機的民眾，也可以到機場購物、吃飯、休閒，而且全年無休。 除了商場給未搭機旅客使用，入關後的機場免稅商店區，史基浦機場也是用「你認為都市內該有什麼，我這裡就有什麼」的觀念來經營。

1957年領先歐洲各機場，第一個成立免稅商店的就是史基浦。至今已有79家免稅店，1998年起附設兩家賭場，近來還有水療按摩機、嬰兒休息室與兒童遊戲區，甚至還有國家博物館分館設在裡面。

「絕對會讓你感覺到很快樂，保證讓你一路玩到上飛機，」史基浦管理集團企業溝通與公共事務部專員Kathlijne Vermeulen笑著說。 　

2.開發房地產：吸引企業與飯店進駐
　　
「你的辦公室有機場嗎（Does your office have an airport）？」今天走在史基浦機場到處可見到這樣一個廣告。史基浦機場從1999年成立房地產開發部門，主管航廈大廳與跑道之外的一半機場土地，興建辦公大樓，並且努力招商。

近來最令機場房地產部門振奮的一件事情，就是微軟選擇到史基浦機場內，成立歐洲訓練總部。「我們對國際級的大公司非常有興趣，希望他們把機場當成國際運籌的總部，」不動產部門計畫師沙福瑪（Mauritis Schaafsma）回顧，當初一聽到微軟正在尋找一個歐洲訓練中心，史基浦機場就積極爭取。至今史基浦機場內企業，已經從2000年的503家成長到去年的578家，提供達6萬3000個工作機會。

打造機場城市，除了機場所屬範圍內的土地外，鄰近地區的開發，也關係著大機場城市的發展。1980年代末期，史基浦機場管理集團與鄰近的阿姆斯特丹市政府、機場所在地海倫馬密爾（Haarlemmermeer）等，合資成立「史基浦區域發展公司」（SADC，Schipoh Area Development Company）負責統籌規劃機場周遭的物流園區、辦公園區，地方政府至少已經撥出300公頃土地讓SADC規劃。

商場獲利高，乘客變顧客是新經營方向
　　
而當史基浦機場持續往機場城市發展時，也逐漸發展出現代機場的新經營模式。「我們把乘客變消費者，所以發展商場，再把消費者變房客，所以發展房地產，」史基浦機場管理集團文宣上這樣寫著。

最近十年，史基浦管理集團全力增加非航空的營收，目前飛機起降、地勤等飛行服務營收已經降到總營收的61％，旅客消費、不動產與策略聯盟的營收已經攀升到占總營收39％。

機場要蓋跑道與航站要花很多錢與時間，而且根本很難回收，但是蓋免稅店、購物中心與經營不動產，「卻是可以立即賺錢，」史基浦機場管理集團財務部投資人關係經理馬丁（Martijn L.D. Schuttevaer）分析。 去年史基浦機場投資在飛航設備高達67％，帶來61％營收，卻只貢獻了23％總獲利，但是旅客消費的營收只占總營收22％，卻帶來43％利潤。

機場城市概念，從荷蘭散布到全世界
　　
近幾年來全球先進國家的機場間逐漸流行策略聯盟、甚至開放民營與上市，史基浦機場也已經把觸角延伸到海外去。而無論史基浦機場走到哪裡，也就把機場城市的實踐帶到哪裡。例如美國甘迺迪機場第四航廈，而澳洲布里斯本機場的執行長甚至還由史基浦派任。

史基浦機場真的把過去認為冰冷的大型基礎建設，變有趣了。專業的機場服務評鑑SKYTRAX也給史基浦機場的商店方便性五顆星評價。成立至今91年的史基浦機場，在全球飆機場建設的氛圍下，一點也不顯老態。他用創新持續進步，提升整個荷蘭的競爭力。

@Source: 遠見雜誌 2007.11.15 文∕楊瑪利、江逸之，攝影∕陳之俊