The final stop of this year's Golden Pin Salon Asia tour returns to Taipei, held on June 1st afternoon at "Not Just Library" in the Songshan Cultural and Creative Park. 

This session features a stellar lineup of speakers including Yoshiaki Irobe, a renowned Japanese designer serving once again as a final selection juror this year; Javin Mo, a prolific graphic designer active in both Hong Kong and Taiwan; and Henry Lin from Atelier.63, who clinched the 2023 Best Design Award for the Hualien Art Museum's brand identity. Hosted by the celebrated designer Feng Yu, the event is set in an award-winning cultural space formerly an old tobacco factory's bathhouse. The salon focuses on "Urban Culture and Design Aesthetics," promising an engaging exchange of ideas.

　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

Javin Mo: Designing for Culture

　　　　　　　　　　　　　　　　　　　　　　　　　

"Cultural visual identity is an indispensable part of constructing urban aesthetics," began Javin Mo, the first speaker at the event. Born and raised in Hong Kong, Mo’s development as a designer was steeped in the local visual and design culture of the 70s and 80s, which also opened his eyes to a global perspective. He highlighted the profound impact on his career from the groundbreaking visual layout of the handbook designed by graphic designer Henry Steiner for the "Progress Hong Kong" exhibition in 1975. Mo's opening remarks set the stage for a deep dive into how design shapes the cultural and aesthetic contours of a city.

　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

In 2006, Javin Mo founded Milkxhake, a design studio that began as a small-scale operation and has grown to offer distinctive visual design services to local and international brands. His innovative approach earned him membership in the prestigious Alliance Graphique Internationale (AGI). At the event, Mo shared insights from his recent collaborations with well-known art, academic, and museum institutions in Hong Kong and Taiwan. He discussed how designers can support these organizations by not only redefining their visual identity but also by expanding their reach and enhancing their services through branding strategy.

In collaboration with Hong Kong's M+ Museum, they launched the "M+ Rover" traveling creative classroom project, which involved partnerships with various artists to bring visual culture into communities and schools over four years, showcasing its diversity and potential. The project of the ADD+ All Day Dining restaurant inside M+ echoed the architectural theme "Way of Seeing" by offering panoramic views and an innovative approach to engagement. The unique dining experience was highlighted through playful guidebooks and menus without food photos, providing a novel experience to visitors.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

In the collaboration with Hong Kong’s Environmental Protection Department (EPD), the T·PARK project started with a strategic rebranding of a sludge treatment facility into an environment-themed museum. This project uses design to engage the public more deeply on environmental issues and extends the "waste-to-energy" concept into its brand identity and visual communications. Another noteworthy collaboration was with MoCA Taipei for the "Hello, Human!" exhibition key visual, where clever textual and graphical variations highlight the amusing contrasts between humans and artificial intelligence. The design also ingeniously utilized the opening and closing of the museum's elevator doors to create dynamic visual effects. This project offered a simple yet visually powerful experience.

In his presentation, Javin Mo explored several interdisciplinary collaborations, illustrating how he and his team integrate design into everyday life, enhancing public engagement and appreciation for visual culture. Drawing from his extensive experience in cross-cultural and cross-disciplinary projects, Mo poignantly noted that a free and open society is a critical foundation in cultivating urban culture and design aesthetics.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

Henry Lin: Design is A Gentle Force that Creates Change

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

Henry Lin, the second speaker to take the stage, showcased an array of Atelier.63’s remarkable design projects within the realms of pop culture and commerce. His highlight was their first-ever public sector project, the award-winning brand identity for the Hualien Art Museum. He explained that designing for public spaces poses unique challenges compared to commercial projects, requiring consideration for a broader audience.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

In response to contemporary needs, the Hualien County Cultural Affairs Bureau initiated a renovation project in 2020 aimed at enhancing the aesthetics and functionality of its venues. The project also aims to develop a new CIS to redefine its public image.

"It’s a museum by the sea," this simple introduction deeply impressed the Atelier.63 team, prompting them to think about how design could highlight the unique positioning of the Hualien Art Museum, blessed with natural resources. Aiming to revamp the image of this local art museum, they began with an analysis of the environment and strategic strengths and weaknesses. They outlined the profiles of their visitors and set out to accentuate qualities such as accessibility, diversity, local culture, and contemporary relevance for their design strategy.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

The team employed minimalist and elegant lines to create a design based on the initials "H," "A," and "M." Each letter embodies a distinct meaning, including “Artistic Exchange,” "Harmony with Nature,” and "Driving Contemporary Trends.” They used gradient shades of light sea blue and ocean green to evoke the image of waves crashing on the shore, capturing the majestic beauty of Hualien’s mountains and sea. Additionally, they designed a custom English typeface and public icons for the museum to use in promotional materials and throughout the venue.

After presenting the Hualien Art Museum project, Henry Lin returned to his topic. Reflecting on nearly a decade of his career in design, he shared how he and his team at Atelier.63 have continually contemplated the role of designers. Following the challenges of various design projects, they arrived at the concept of "The Gentle Push" as their current answer. They believe design is an invisible force for change, capable of helping both public and private sectors amplify their brand identity. Through gentle, yet effective design, they aim to drive or realize transformations, creating a more diverse and enriched cultural landscape.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

Yoshiaki Irobe: Design is About Connecting Relationships

　　　　　　　　　　　　　　　　

The final speaker, Yoshiaki Irobe, captivated the audience by posing a thought-provoking question: "What is visual design?" He referenced American designer Paul Rand's perspective: "All art is relationships, all art. Design is relationships. Design is a relationship between form and content." This insight profoundly influenced Irobe's approach to design. For him, the utility of visual design is bringing people, things, and events together. In this salon, under the theme "Urban Culture and Design Aesthetics," he shared two case studies from his work for the public sector.

　　　　　　　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

In his work for the Osaka Metro, Irobe aimed to not only rebrand the public transit system as it transitioned from a public to a private entity but also to let people understand and experience the essence of design in their daily lives. He creatively transformed the letter "M" for Metro into an "O" for Osaka, using a clean and innovative motion design to strengthen the connection between the metro and the city brand for both residents and visitors. Irobe emphasized that the design's focus was not on extravagant displays but on making crucial information clearer and more accessible.

Following the design process discussion, Irobe emphasized that every design decision must be meticulously researched and considered, especially in public design. Changes to an identification system are time-consuming and resource-intensive, placing significant responsibility on designers. Before starting the design, his team conducted in-depth research on metro identification systems in major cities worldwide and planned their approach based on the specific needs of Osaka.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

Firstly, he emphasized that "the metro logo is part of the urban landscape," and thus, it must blend naturally into the cityscape without being obtrusive. At the same time, the logo needs to be clear and prominent on various types of maps. In the identification system, they used contrasting colors and a vibrant color scheme to highlight the hierarchy between the main logo and different route information. This approach ensured that the Osaka Metro stood out among other railway systems, making it easy for even unfamiliar foreign travelers to navigate.

Irobe's second case study explored how visual design can reflect and enhance the characteristics of a space. A few years ago, a commercial building under SONY planned for redevelopment was transformed into "SONY PARK," an open public space, during a five-year interim period before reconstruction. Irobe was responsible for the visual design of the final exhibition at SONY PARK. He discussed the challenges faced during the design process, such as introducing new visual elements within SONY's brand framework, integrating six different themed exhibitions, and blending the design seamlessly with the existing site and surrounding landscape while maintaining functional information displays. Each issue challenged the creativity and execution of the design team.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

The exhibition then moved to the basement of an old newspaper printing plant in Kyoto, presenting a completely new design challenge. Given Kyoto's stringent regulations on signage, creating an eye-catching design within these constraints was a primary task. Additionally, the unique industrial space required the use of vibrant colors and creative solutions to provide a distinct visitor experience. These challenges tested the designer's ability to adapt to different cultural and spatial contexts. Irobe emphasized that it is more important to highlight the uniqueness of the brand and location rather than the designer's own style. His insights and innovative design solutions captivated the audience, who eagerly took notes throughout the presentation.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

Q&A Highlights

After the three speakers delivered their captivating presentations, host Feng Yu and the audience engaged in a lively Q&A session. Here are the highlights from their insightful exchange.

　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　

Part 1

Host Feng Yu: This question might touch on a designer's greatest fear. Have any of you faced criticism or challenges from clients, industry peers, or the public after completing a design? How did you handle it?

Javin Mo: The projects I shared today have also undergone numerous revisions. I believe effective communication is key. It's crucial to convey your ideas and objectives clearly, but also to consider the perspective of the client or target audience. For example, T.PARK was designed for the public, so we had to think about whether people of all ages, including children and seniors, could easily understand it. Ensuring proper positioning and using design language to communicate effectively with the public is essential.

Henry Lin: With the Hualien Art Museum project, we were fortunate that our initial proposal was almost immediately approved, thanks to the Hualien Cultural Affairs Bureau’s trust. However, we've also had experiences where clients criticized our designs as too odd, despite initially being hired for that very boldness. This taught us the importance of refining our communication skills, ensuring clients can clearly articulate their goals and expectations. Effective communication and thorough discussions upfront lead to smoother execution later on. Additionally, having direct access to key decision-makers can sometimes make all the difference.

Yoshiaki Irobe: When faced with this question, I always emphasize two points. First, while designers and clients may seem to be on opposing sides, it is crucial that they align on the same goals. For example, in a design project for a library, I presented an idea that the client found difficult to understand. Realizing that verbal explanations were limited, I invited them to visit the site. This hands-on approach helped resolve their concerns and opened up better communication. Second, I maintain a positive and proactive attitude. Even when clients offer criticism, I see it as an opportunity for improvement. Although reworking can be challenging, I view it as a chance to make the design even better.

　　　　　　　　　　　　　　

　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

Part 2

Audience's Question: How do the three of you view the unique characteristics of Taiwanese design and culture?

Javin Mo: In recent years, Taiwan's cultural industry and museum sector have developed rapidly. From architecture to brand identity, there is a strong desire to create unique positions, which, despite the competition, provides many opportunities for designers. I believe this is due to Taiwan's increasingly open and inclusive society, which fosters creativity. Over the years, I've seen many impressive works from young Taiwanese designers at the Golden Pin Design Award, showcasing a flourishing diversity of talent. I encourage everyone to engage with designers from different regions to further enrich their perspectives.

Henry Lin: In 2015-2016, I attended a language school in the United States. One of my teachers asked us, "What is American culture?" He explained that American culture is actually a sum of diverse cultures, which left a lasting impression on me. I think Taiwan is similar, embracing and integrating various cultures, and gradually developing its unique cultural identity on this diverse foundation. If I had to define Taiwanese culture with one keyword, it would be "inclusiveness." I am confident that, based on this foundation, Taiwan's design and “soft power” will continue to grow stronger in the future.

Yoshiaki Irobe: On a previous visit to Taiwan, I was amazed to see people casually sitting on the floor reading at Eslite Bookstore. This relaxed and approachable atmosphere left a deep impression on me, and I really appreciate the sense of closeness Taiwan offers. I've also been asked similar questions about how I view book design in Taiwan compared to Japan. During a discussion with designers Aaron Nieh and Ho Chia-Hsing, I mentioned that Taiwanese design has a rich and diverse foundation. Additionally, the public's understanding and appreciation of design seem quite high, which reminds me of the mature book design scene in the Netherlands. Despite the fact that Taiwan is a relatively small island, its creativity and innovation are densely concentrated and rapidly developing.

　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

Part 3

Audience’s Question: How do you view the trend of AI tools and their impact on designers?

Yoshiaki Irobe: Personally, I'm not worried about this. When e-books first came out, there was a lot of concern that physical books would disappear. However, over time, we realized that physical books and e-books each have their own functions, roles, and developments. I think AI is similar. It's a useful tool for processing large amounts of data, but AI lacks a physical body and cannot perceive the nuances of comfortable reading, the smell and texture of paper, or the optimal layout for exhibitions and spaces. These are our strengths as humans. I think designers should focus on what humans can uniquely do.

Javin Mo: AI can be a useful tool, but it cannot fully replace human creativity in design. Just last week, I encountered a client who specified in our contract that no AI-generated designs be used. This forward-thinking approach reassured me that there’s little to worry about.

Henry Lin: No matter how advanced AI tools become, they still require human instructions. Human thoughts and feelings are unique and irreplaceable by AI. As designers, we need to understand this trend, but the key remains in our ideas. We shouldn't stop thinking just because of AI's rapid development and convenience.

　　　　　　　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

Taipei Session Concludes Successfully! And Here is the Final Call for Submissions

　　　　　　　　　　　　　　　　　　

The 2024 Golden Pin Design Award is seeking submissions across four categories: Product, Communication, Spatial, and Integrated Design. The award features four major categories: Product Design, Communication Design, Spatial Design, and Integration Design. The vendor applicant must be a business entity or design team. The final deadline for submissions is 5:00 PM on June 26th (GMT+8 Taipei Time). Don’t miss your chance!