designing change
roundt able series
宼宗蚺伢䅮
DESIGN  ECONOMY

㑄ᐨ㙱᧻⴮ⴗѲ࿱

■䫍㢒㔷ひ宼宗䠓乍䫭㞾欨㾾宼宗ᾼㅒῊ嬐分帻Ҹ欨㾾宼宗ᾼㅒῒ㝋ĳııĳ〃

About Hong Kong

䛀㫼䛛㚾㒐ᾚ㎟䱚䠓棭䏮⎸㯮㭚蚸㙣䜅㛎〫䳥䛴₨⃃蚸⁴㔷⑤欨㾾㎟䉉‭㻁

Design Centre
www.hkdesigncentre.org

宼宗Ὶ抌䉉䡽㮨Ҹ⌅⋻⌀ℎ☌䉉虶
蚴Ĳ蚵㕟↰ひ㹪╙䳥䛴⢿㍘䚷宼宗䉉ₐ㫼☛䫍㢒␄憯⊈⇋蛇
蚴ĳ蚵㔷ひ╙姷㕩∠⎉䠓宼宗蛇⁴╙
蚴Ĵ蚵㛨剁▓䛛⶗㫼⁉⩺☛⋻䣍蚸崢⁥↠␯テ憞懝宼宗厖␄㜿䠓ㆬ似蚸⅒懁䫍㢒
ġ

▓榧⥮╾㒐倛䠋ⷤҸ

Design for Society is the major undertaking of Hong Kong Design Centre
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Since 2002, HKDC has been on a public mission to
(1) champion strategic and wider use of design for creating business value and
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(3) educate the professions and the community to be resourceful champions
for sustained developments through design and innovation.

2

宼宗比⑤㛈崙⢢㧛履⩖
designing change roundtable series

‫ⴒܘ‬

preamble

宼宗ʨ伢䅮
DESIGN ECONOMY

4
5

❅ᔁ◰

栂ㅦ㵔 $QWRQ\&+$1

6

discussants

栂➘幱ġ .DUHQ&+$1
栂䱚成 7RE\&+$1

7

㣀婤↺ Stanley CHU
攍ㅦ。ġ 5R\&+81*

8

寀䊾㲙 Desmond HUI
␘⶞うġ )UHHPDQ/$8

9

⎸ㅆ婤 Edmund LEE
㣝怜啾 Francis LEE

10

㣝䄳⦈ LEE Jark-pui

ⴚⶤጮⳂ

discussion
summary
ⱉ‫⺵ټ‬ᐎ

supplementary
information

⳺冏⋗ Bernard SUEN

11

宼宗ʨ伢䅮
DESIGN ECONOMY

13
24

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40

ⓐᾏ榔㜖⒥╙␄㊞䚱㫼⨭㔡▜姷╙㒘〃崙⑤䔖ĩ⁴⨭␯⊈⇋宗䴦Ī
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(based on value added)
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ⓐᾏ榔㜖⒥╙␄㊞䚱㫼㔡▜╙㒘〃崙⑤䔖ġĩ⁴ⷀ㫼⁉㜇宗䴦Ī
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(based on number of people engaged)
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Creative Industries in terms of value added

42

宼宗㫼厖㜃汣㜖⒥╙␄㊞䚱㫼俌ⷀ㫼⁉㜇Ὶ⶜㵣⢥
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Creative Industries in terms of no. of people engaged
伢䅮䠋ⷤ⭣♰㢒⭣♰▜✽
Member List of The Economic Development Commission

43
44

㳳⢢㧛履⩖㝋2013〃3㢗厘姛
This roundtable took place in March 2013
目錄 Contents 3

宼宗比⑤㛈崙⢢㧛履⩖
designing change roundtable series

⏜宏

宼宗蚺伢䅮
㟑⁲乍䫭㞾㒖㥟ᾏ㟑⁲䠓ㆬ䃽☛㜖⒥㶪⢜蚸⒔►戲↚㟑⁲䠓䓷䐈ᾥ䛛孏汣毦ҷ♐☂

宼宗㞾
įįį㎠↠䠓ㆬ㊂ҷ
įįį䚮㻊☛㜖⒥蛇

宇孉ҷ桕汣㊞峧☛䊰㊞峧Ҹⴒ↠╾㴇亜䉉㥟䫍㢒㥟ᾏ↚㟑⁲䠓䓷㢘㜖⒥Ҹ

䊰╾▵尜蚸䫍㢒ᾙᾏ⎖⁉槭㻊⑤蚸ᾜ履㞾ᾏ⢚ҷᾏ⥝ҷᾏ⢿䠓㛨剁ҷ伢䅮ҷ䘿⨒⁴
厂䫍㢒☛伢䅮䠋ⷤ㛎䳥䠓⏅宑蚸抌ⶠᾜ―㜖⒥䠓怺㄀Ҹ

įįį㎠↠䠓伢䅮ҷ
įįį⥝⾑☛㢹ℕҸ

宼宗䠓⊈⇋蚸⢷㝋厃␪憞懝ᾜ▛䠓宼宗䵓䜖蚸ℕ㔷⑤䫍㢒懁㳴Ҹⴒ⁴䂎彂䫍㢒梏嬐
䉉伢蚸⁴㢘㛗懚䚷幖䀟䉉佾Ҹ

⢷⵵徟Ὶ㟑蚸宼宗㢃㞾䫍㢒㜖⒥䠓ᾏ䮽捜嬐ⴲ䫉Ҹ宼宗⿅ℕ㢃儝⬌䠓䚮㻊蚸㞾㎠↠
䠓⦉⡯ҷ䚮㻊ҷ伢䅮☛㢹ℕ䠓ᾏ扷⎕Ҹ

⁙㝴▓↚⢚ⵅ☛⥝⾑抌⢷憌㷑㎟䉉␄㊞⤚伢䅮汣蚸欨㾾΅⁴␄㜿☛懁㳴䠓⥝⾑卹
ⷔ蚸䜅ᾼ宼宗䠓㜖⒥☛嬥捝厘彂悤捜Ҹ欨㾾䫍㢒嬐㷑懁ҷ嬐䚮㻊巟䡪ҷ嬐似㒐䲅䎼
␪蚸䭐䍮ҷ⋻䍮☛㛎〫㯮㭚ⷀㅔ榗⪩㕟↰᾵ひ亜宼宗䠓㜖⒥☛嬥捝蚸䠋㕽␄㊞蚸棗
㻊㍘崙蚸ㄭ军⿅ℕ㢃⪩㳲棱䠓㛈崙Ҹ

⃫䉉ᾏ↚㔷⑤欨㾾宼宗厖␄㜿ㆬ似䠓㯮㭚蚸欨㾾宼宗ᾼㅒ⛮⑤―Ӂ宼宗比⑤㛈崙
⢢㧛履⩖ӂ亊⎦蚸梁桕ᾏ儳厖㜖⒥ҷ伢䅮ҷ㸉䳥ҷ䳥䛴☛㛎䳥䢇杫䠓㫼䛛乍咀☛榧
娥蚸ⷀᾏ亊⎦乍㒠亿戇䠓宼宗䢇杫屁槛蚸䠋姷▓卹䠓㊞嬚☛嬚孲Ҹ

⢢㧛履⩖ᾼ㏏亾䯜䠓㊞嬚蚸ⶖ㢒宧撓⢷㧗蚸᾵Ⓘ佷㎟ᾏ₌⁴宼宗䉉Ὴ槛䠓㊞嬚
㢇蚸䠋仵⛕䛛ҷ㛎〫ҷ⶗㫼䛛⎴☛ⴇ䛛䠓Ὴ嬐㒐₌冔ҷ㸉䳥冔⁴╙⌆㄀榎␪䠓⁉
⩺蚸崢⁥↠―孲☛尜峧宼宗⢷㔷⑤欨㾾㎟䉉Ⓩ⋶ᾏ↚␄㊞伢䅮汣䠓懝䮚ᾼ蚸㏏㙣
䜅䠓捜嬐孡吁Ҹ

4 前言 preamble

PREAMBLE
DESIGN is about
...Our Thinking,
...Our Living,
...Our Culture,
...Our Economy,
...Our City,
...Our Future.

DESIGN蚺ECONOMY
The Spirit of the Times (Zeitgeist) denotes the intellectual and cultural climate
of a particular era, which can be linked to an experience of a certain worldview,
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the culture of a society of an era when boiled down.
Culture touches all aspects of human activities in society, from education,
economy, environment to the social and economic policy formulation of a
country, a city or a place.
Through different aspects of DESIGN, DESIGN value is illustrated as a commitment to make a change for the betterment of a society, for it is believed that
DESIGN is capable of meeting social needs and advocating effective use of
resources.
In practice, DESIGN is an important cultural manifestation of a society.
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and future.
While countries and cities around the world try to foster their own creative-based
economies, Hong Kong too claims itself to be a city of innovation and progression, of which DESIGN culture and vision are pivotal. Hong Kong needs to
maintain its progression, wealth, and competitiveness. To achieve that, both public and private sectors must join hands to advocate and incorporate design culture
and vision in their work, and remain resilient along the way.
In line with Hong Kong Design Centre’s mission to promulgate DESIGN
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Series aims to convene leaders whose work is dedicated to the development
of culture, economy, strategies and policies, and provide a platform through
which to share their views and insights on a series of carefully selected topics,
driven by DESIGN.
The views gathered from the roundtable discussion will be documented and
compiled into a DESIGN-focused opinion paper to be distributed to key
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professional and academic communities for advancing their appreciation and
understanding of the key role that DESIGN plays in the process of strategy
and policy-making and in propelling Hong Kong to become a creative and
progressive economy in the region.

前言 preamble 5

厖㢒冔
discussants
Antony CHAN

Karen CHAN

欨㾾ⴳ⋶宼宗ⓣ㢒Ὴ⾼

ㅆ⢚ⶅĩ欨㾾Ī㢘柟⋻▇⏾俌婐╙
ㅆ⢚ⶅ桕⢧㢘柟⋻▇⦆姛嗲‚ġ

Chairman,
Hong Kong Interior Design Association

Vice President (Marketing & Business Development),
German Pool (Hong Kong) Ltd. &
Executive Director of German Pool Group Co Ltd.

ńœņłŎ宼宗‚⑨㏏䛀栂ㅦ㵔⋗䚮㎟䱚”ĲĺĺĹ〃蚸栂⋗䚮䉉咀⢚╙㹤
⢚寊⌙ら䵘⾺蚸㢍╒厖㳟㻁凾䡮峿㢒⪶㮢䠓ら䵘宼宗蚸᾵⢷ㅆ⢚峿
㢒⪶㮢ら䵘宼宗㵣庌ᾼ庞䔁䲻‣▜ҸĳııĴ〃咀⢚łůťųŦŸġŎŢųŵŪůⶖ栂
ㅦ㵔⋗䚮⎦䉉⋷䖒㢏榑ⶥ䠓Ķı⃜ⴳ⋶宼宗⾺ῚᾏҸ
ńœņłŎ⁴␄㜿㬑ㆄ☛␄㊞ㆬ冒䉉宼宗⴦㝷蚸テ屎㟑ⶩ㶲ㇾҷ抌⾑劗
㖞ҷ坬姢☛䚮㻊⋒亯夜▗䠓樷㧋蚸᾵㹷捜桕▗佩㨬㭚⢥儝蚸䉉ⴱ㏅
ら䱚洽㞝䠓♐䏛ヱ巰Ҹ
ńœņłŎ䠓⃫♐ⷱ䔁㴙㬽蚸⌅ᾼ扷⎕Ὴ嬐⃫♐㢘蛆垼㧑⣙拡〦蚸ŉŰŵŦŭġ
ŅŦġņťŨŦ蚸ŚŰũŰġŎŪťŵŰŸů摆⚽䰉朢蚸⪶憲㟑⁲ひ⧃蚸ŎŪŦŭŦġōŢţ蚸欨
㾾宼宗す䳘Ҹ
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Design Ideas for the German parliamentary quarters. In 2003, He was
included in the list of the world’s Top 50 designers by the prestigious
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established in 1998, with Innovative concepts and thinking, advocates
combination of modern urban style, art and living elements, illustrating
geometric beauty in design, resulting in impressive brand images for
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projects, to cite a few, are: LKF, Hotel De Edge, Yoho Midtown sales
space, Dalian Times Square, Miele Lab, HK Design Gallery.

栂➘幱䖍䉉欨㾾梊⟷䥴▜♐䏛ㅆ⢚ⶅĩ欨㾾Ī㢘柟⋻▇⏾俌婐╙ㅆ⢚ⶅ
桕⢧㢘柟⋻▇⦆姛嗲‚蚸帯帻䷛␒⌅ⵅ㝞ₐ㫼䠓㜃汣䠋ⷤҷₐ㫼㕟
ⓖ榔䡽ҷ♐䏛䴰䖕☛⏅宑⾑⧃㔷ひ䳥䛴Ҹ
⬈↚⁉⢷⽴㫼䠋ⷤ䠓㎟ⷀ‵㾀ㄦ㫼䛛刾⴩蚸㝋ĳııĺ〃㬽䔁欨㾾⽴㫼
俌㢒榡䠋欨㾾棡〃⽴㫼ⵅ⫻Ҹ⢷⋻分㝈棱蚸⬈㞾欨㾾⽴㫼俌㢒欨㾾
棡〃⭣♰㢒⏾Ὴ⾼ҷ欨㾾⛕⑨╙伢䅮䠋ⷤ⷏蚹ŃŖŅₐ㫼㚾㖃宗␒╙
㯮㭚㚾㖃宗␒䴰䖕⭣♰㢒⭣♰ҷ欨㾾⛕⑨╙伢䅮䠋ⷤ⷏蚹伢䅮䠋ⷤ
⭣♰㢒蚹媌憯蚸汧㜿䭠㐏╙㜖⒥␄㊞䚱㫼⽴⃫⶞仓⭣♰ҷ欨㾾⛕⑨
╙伢䅮䠋ⷤ⷏蚹欨㾾⽴㫼幎㞢儁屽寱⭣♰㢒⭣♰╙欨㾾分㫼客侃⷏
䖕‚㢒䖕‚䳘Ҹ
栂㶞䛱㫼㝋嬎桔⢥啾䡪榢⪶ⴇ蚸㙐桨ⴇ⩺ⴇ⃜蚸Ὴⅽ⽴⛕䴰䖕☛伢
䅮蚸ㄛ⎕⎴䔁╥亟亓⪶ⴇ╙欨㾾ᾼ㜖⪶ⴇ桨䨸⩺ⴇ⃜蚸Ὴⅽₐ㫼╙
⽴⛕⦈客☛⾑⧃㔷ひҸ
.DUHQ&KDQLV9LFH3UHVLGHQW 0DUNHWLQJ %XVLQHVV'HYHORSPHQW RI
local electrical appliances brand German Pool (Hong Kong) Ltd, and
([HFXWLYH'LUHFWRURI*HUPDQ3RRO*URXS&R/WG5XQQLQJWKHIDPLO\
business, Chan is responsible for planning the company’s overall
business development and devising the group’s overall marketing and
branding strategy.
Chan’s dedication and achievements in industrial development are also
recognised by the industry for she was awarded the Young Industrialist
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On public service, she is Vice-Chairman of the Federation of Hong
Kong Industries Hong Kong Young Executive Council, Hong Kong
Commerce and Economic Development Bureau (CEDB) Dedicated
Fund on Branding, Upgrading and Domestic Sales (BUD Fund)
Enterprise Support and Organisation Support Programme Management
Committee Member, Hong Kong Commerce and Economic
Development Bureau Economic Development Commission - Member
of Working Group on Manufacturing, Innovative Technology and
Cultural and Creative Industries, Trade and Industry Department Trade
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Training Council (VTC) Member among other capacities.
Karen graduated from The University of Washington in Seattle with
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and later obtained a double master’s degree in Education and
Marketing from New York University and The Chinese University of
Hong Kong respectively.

陳
志
毅
6 與會者 discussants

陳
嘉
賢

Toby CHAN

Stanley CHU Yu-lun

‭㻁⶗⎸㔗㲙㫼ⓣ㢒␄㢒㢒朆

欨㾾ⷤ孌㢒峿㫼ⓣ㢒㷇懯▜崌㢒朆

Founding Chairman,
Asian Licensing Association

Honorary Life President,
Hong Kong Exhibition and Convention Industry Association

栂䱚成ⓩ⩺㞾㢻⢿␄㊞⽴㫼䠓姷姷冔蚸⁥㝋Ĳĺĺĵ〃㎟䱚䬽懚㢘柟⋻
▇蚸⶗㹷瀴➫瀴⋫䠓♐䏛㔗㲙ҷ⾑⧃㔷ひҷ⛕♐宼宗ҷ⢥㢇⎉䏗╙梊
㄀䠋姛䳘Ҹ栂ⓩ⩺⁴⶗㫼╙␄㜿乍䫭蚸␹␪ᾜ㍗⢿䍮憯瀴➫ҷ瀴⋫♐
䏛蚸⁳⌅弲侊䠓孡吁憯⤚╙巟ⵛ䠓㛔‚⋶ⵈ䠋㕽ㄦ㽚䂢䡰厃蚸樷姛欨
㾾ҷᾼ⢚⋶⢿ҷ╿䇲⁴厂㤀ⓦ‭▓⢿啾㜖䫍㢒Ҹ栂ⓩ⩺㢃厖欨㾾㝔懙
䠋ⷤ⷏▗⃫㐙瀴⋫㏢憯㎟欨㾾㝔懙⪶ℎҸ

㣀婤↺ㄭ‚ⷤ孌㢒峿㢜⑨⪩〃蚸㞾欨㾾ⷤ孌㢒峿㫼ⓣ㢒䠓㷇懯▜崌
㢒朆Ҹ⁥㝋ĲĺĸĹ〃⢷欨㾾␄䱚桔ゞⷤ孌㢜⑨㢘柟⋻▇蚸╙ㄛ䠋ⷤ䉉
桔ゞ桕⢧蚸⢷ᾼ⢚⢚⋶Ὴ嬐⥝⾑╙㼆⪥Ĵı⪩↚⢚ⵅ╙⢿Ⓩ⣖宼㢘愵
‚埤╙⁲䖕埤Ҹ㌠嗦⌅⢷ⷤ孌㫼䠓ら㯈☛巟ⵛ伢毦蚸㣀㶞⢷ĳııĲ╙
ĳııĴ〃娺戇䉉Ӂᾼ⢚㢒ⷤⓐ⪶㜿凭⁉䏸ӂҸ

⶜㝋㫼䛛蚸栂ⓩ⩺‵ᾜ戉檧␪蚸⎉₊⪩榔⋻分Ҹ⁥䖍䉉‭㻁⶗⎸㔗㲙
㫼ⓣ㢒␄㢒㢒朆蚸᾵⎉₊欨㾾䐈⎴姛㛎Ⓩ⛕⑨╙伢䅮䠋ⷤ⷏䥴峧䚱㲙
幎㞢⽴⃫⶞仓仓♰ҷ欨㾾⽴⛕♐䏛Ⅼ崆柲佩䠓⏾Ὴ⾼ҷ╙欨㾾宼宗ᾼ
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Hailed as one of the pioneers of Hong Kong’s creative industry, Dr
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brand licensing, marketing promotion, merchandise trade, children
publication, and animation production and distribution of the Hong
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product design, marketing and management, Dr Chan successfully
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Hong Kong, mainland China, Taiwan and the Chinese communities in
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Stanley Chu is the Honorary Life President of the Hong Kong
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dedication to the exhibition and convention industry over the decades.
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network covering over 30 countries and regions including major cities
in mainland China. Chu was named “The Top 10 People in China’s
Exhibition Industry” in 2001 and 2003, recognising his commitment
and extensive experience in the industry.

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also currently serving as a committee member of the Working Group
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Design Centre and Hong Kong Trade Development Council.

Chu received an Honorary University Fellowship from The University
of Hong Kong in 2011. He also obtained his Master of Business
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receiving his bachelor’s degree in Science from the University of
Hong Kong in 1973. For years, Chu has been dedicated to promoting
the exhibition industry. He is currently a Member of the Working
Group on Convention and Exhibition Industries and Tourism under the
Economic Development Commission, a Member of Tourism Strategy
Group of the Hong Kong Government, and the Chair of the Global
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與會者 discussants 7

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discussants
Roy CHUNG Chi-ping

Desmond HUI Cheuk-kuen

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㜖⒥╙䠋ⷤ槶⛞㢘柟⋻▇⦆姛嗲‚

Chairman,
Federation of Hong Kong Industries

Managing Director,
Culture and Development Consultancy Ltd

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␄䭠⵵㫼㢘柟⋻▇␄愵⁉Ὶᾏ蚸㐙⋻▇ㄭᾏ朢⶞⤚┮₅宼∨媌憯
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攍㶞䖍䉉⋻▇䠓棭⦆姛嗲‚Ҹ

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㢘柟⋻▇⦆姛嗲‚ҷ⾑Ⓩ捜ら⷏棭⦆姛嗲‚ҷう㮑╙㜖⒥‚⑨儁ⓩ
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⒥㛎䳥䦣䰅ᾼㅒ俌䡲Ҹ

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㜿╙䭠㐏䣲⶝⭣♰㢒☛欨㾾㍘䚷䭠㐏䦣䰅柱㰱宝⭣♰㢒䠓⭣♰ҷ欨
㾾宼宗ᾼㅒ⏾Ὴ⾼ҷ欨㾾幎㞢䠋ⷤ⷏䖕‚㢒㎟♰ҷ欨㾾幎㞢䠋ⷤ⷏
␄㜿䭠㐏屽寱⭣♰㢒Ὴ⾼ҷ欨㾾䖕⽴⪶ⴇ槶⛞⭣♰㢒Ὴ⾼ҷ分㫼客
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Federation of Hong Kong Industries. He is one of the Co-Founders of
Hong Kong listed company Techtronic Industries Company Limited,
building the company from an original equipment manufacturer (OEM)
into a global leader in home improvement products and construction
tools today. He is currently the Non-Executive Director of the company.
Dr Chung is dedicated to serving the community and the advancement
of the industry. Other than being the Chairman of the Federation of
Hong Kong Industries, he is also a Member of the Innovation and
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the Hong Kong Government. He is also the Vice-Chairman of Hong
Kong Design Centre, a Council Member of the Hong Kong Trade
Development Council, and the Chairman of Innovation and Technology
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is the Court Chairman of the Hong Kong Polytechnic University, the
Vice-Chairman of Vocational Training Council, and a Council Member
of University of Warwick, UK.

鍾
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8 與會者 discussants

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Professor Desmond Hui is an architect, and cultural and creative
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degree from Cornell University in the US and Master cum Doctor
of Philosophy from University of Cambridge in the UK. He is
currently the Managing Director of Culture and Development
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the Commerce and Economic Development Bureau and Honorary
Professor of Communication University of China. Formerly, he
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Chinese University of Hong Kong. He also founded the Bachelor of
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taught architecture at the University of Hong Kong and was Director of
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On public service, Professor Hui was formerly a Member of
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Edmund LEE Tak-yue㻚ⶤ୕ѻሽġŮŰťŦųŢŵŰųĪ

欨㾾宼宗俌㢒䭧㢇朆㠷欨㾾宼宗ᾼㅒ
嗲‚㢒⏾Ὴ⾼

欨㾾宼宗ᾼㅒ姛㛎俌婐

Secretary General of Hong Kong Federation of
Design Associations cum Vice Chairman of
Hong Kong Design Centre
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䡲ҸĲĺĹĵ〃厂⁙蚸⁥⢷⪩↚㼆⪥╙㢻⢿䠓坬姢╙宼宗㵣庌ᾼ䔁╥弔
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㲙军厘姛䠓㼆⧀宼宗㵣庌Ҹ⁥䠓宼宗㬽䔁⌯恜蚸᾵媌⃫㎟ⴧ㝈䠓ⴲ
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䱯蚸刾⴩⌅⢷⢚株厭厉ᾙ䉉㕟ⓖ欨㾾宼宗ヱ巰㏏⁧⎉䠓␹␪Ҹ
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currently the Secretary General of the Hong Kong Federation of
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overseas and local art and design competitions. In 2001, he was invited
to participate in the poster design competition of the Beijing’s bid for
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private collections and collections of various museums in Hong Kong
and around the world. In recent years, Mr Lau devoted himself to the
education and promotion of arts and culture, taking leadership positions
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of the Board of Directors of the Hong Kong Design Centre and the
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Bauhinia Star in 2006 for his contribution in enhancing Hong Kong’s
design image in the international arena.

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Executive Director,
Hong Kong Design Centre

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⭣♰蚸⁴╙䖕⪶庌欻㢒䫍㢒␄㜿宼宗柱⢚株槶⛞⭣♰㢒⭣♰Ҹ⎸㶞‵
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of arts, commerce and manufacturers. He currently serves as a Director
of PMQ, a Member of the Design Council of the Federation of Hong
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Committee on Design, Licensing and Marketing of Hong Kong Trade
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of The Jockey Club Design Institute for Social Innovation. He also
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Technological and Higher Education Institute of Hong Kong. Other
public duties include chairmanship or membership of a number of
professional management bodies and service organisations.

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與會者 discussants 9

厖㢒冔
discussants
Francis LEE

LEE Jark-pui

欨㾾宼宗⾺ⓣ㢒Ὴ⾼

⢚株⛕㢒ʞᾼ⢚欨㾾Ⓩ㢒Ὴ⾼

Chairman,
Hong Kong Designers Association

Chairman,
International Chamber of Commerce - Hong Kong, China

欨㾾䥴▜ⴳ⋶宼宗⾺㣝怜啾蚸㝋ĲĺĹĸ〃朚ⷤ⁥䠓宼宗☛ら䵘‚㫼蚸
㢍⢷⪩朢㢘▜䠓ら䵘☛ⴳ⋶宼宗⋻▇㏢䂍蚸㙐㢘巟ⵛ䠓⢚株伢毦Ҹ
㣝㶞⪩〃ℕ帯帻懝⪩↚⢚株ₐ㫼䠓⪶嬞㮰宼宗╙ら䵘榔䡽蚸䜅ᾼⴱ
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剁蚸⦈剁㢹ℕ宼宗乍咀Ҹ

㣝䄳⦈㞾䖍₊欨㾾ᾙ⾑⋻▇␪ⶅ㢘柟⋻▇嗲‚蚸㢍₊欨㾾ᾼ啾は⛕
凾▗㢒䭧㢇朆ҷ欨㾾䋨哘㫼ⓣ㢒⦆姛嗲‚䳘分⃜Ҹ㣝㶞╒厖⋻䣍㢜
⑨弔懝⡪ⓐ〃蚸帱䔊叾⪩蚸㴆₊欨㾾䚱♐㰱⴩ⓣ㢒ҷ欨㾾䐈⎴姛㛎
Ⓩ㛎〫␄㜿䭠㐏儁ⷻᾚᾏ去㚾㖃宗␒寤⵸⭣♰㢒Ὴ⾼䳘Ҹ䖍㟑⎉₊
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䠓Ὴ⾼Ҹ╵⪥蚸⁥‵␄愵―ŇœłġōŪŮŪŵŦťġĩ啾崌嬞␒宼宗㢘柟⋻▇Ī蚸
╙㜖⒥⌀☛♐䏛ġĩńŶŭŵŶųŦġœŦűŶţŭŪŤĪҸ
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⑨槶⛞⭣♰㢒㎟♰蚸‵䉉欨㾾ⴇ姢╙分㫼幖㴆寤⵸⷏ⴇ䭠㙣₊⶗ⵅҸ
Francis Lee started his design career by working for a number of
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gained a broad spectrum of international experience in both interiors
and architectural practice. Mr Lee has also led many large-scale
architectural and design projects, with clients coming from multinational corporate and brands from across the world. He is also
dedicated to promoting creative industry and design education of Hong
Kong, nurturing local design talents.

Lee Jark-pui is currently a Director of Hong Kong listed company
Lippo Limited. He previously served as the Secretary-General
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Executive Director of the Tobacco Institute of Hong Kong. Lee has
been committed to public service for more than forty years, making
numerous contributions to society. He was Chairman of the Hong
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Support Programme Vetting Committee, Innovation and Technology
Commission of the Hong Kong Government. He is currently the
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Trust, Hong Kong Council of Volunteering, and the International
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He graduated from The School of Design of The Hong Kong
Polytechnic University, obtaining his Master of Design degree. He
was awarded as Hong Kong Ten Outstanding Designers in 2009. He
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Committee of the Hong Kong Trade Development Council, and a
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李
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10 與會者 discussants

李
澤
培

Bernard SUEN 㻚ⶤ୕ѻሽġŮŰťŦųŢŵŰųĪ
欨㾾ᾼ㜖⪶ⴇ␄㫼䦣䰅ᾼㅒ榔䡽俌䡲ġ
Project Director, Center for Entrepreneurship,
The Chinese University of Hong Kong

⳺冏⋗㐤怺␄㊞䚱㫼ҷ幖宙厖憩宙䭠㐏☛㛨剁姛㫼弔懝ĳĶ〃Ҹ㌠坘
⁥⢷欨㾾ҷᾼ⢚☛㼆⪥⽴⃫亾䯜巟ⵛ䠓䴰䖕☛槶⛞伢毦蚸⳺㶞㢍㝋
䭐⁉╙ᾙ⾑⋻▇㙣䜅汧亩䍮懚╙䴰䖕ⷳ䠓分⃜Ҹ
⳺㶞䖍䉉欨㾾ᾼ㜖⪶ⴇ␄㫼䦣䰅ᾼㅒ䠓榔䡽俌䡲Ҹ⁥⢷ĳııĲ〃␄䱚
―㢘杫㜿Ⱑ汣ҷ宼宗ҷₐ㫼╙␄㊞䚱㫼䴰䖕䠓屁䮚蚸᾵⢷欨㾾ᾼ㜖
⪶ⴇҷ欨㾾䥴⶗宼宗ⴇ柱☛䅂㻁ŔŸŪůţŶųůŦġŖůŪŷŦųŴŪŵźġŰŧġŕŦŤũůŰŭŰŨź
⌋㛨㢘杫屁䮚Ҹ⁥‵䉉欨㾾⋻⌀☛䭐⁉㯮㭚厘愵厖宼宗ҷ䴰䖕☛䳥
䛴蚸⁴╙␄㜿☛ₐ㫼乍䫭䢇杫䠓⽴⃫⣙╙岪〶Ҹ卹ĳııĹ〃弆蚸⳺㶞
帯帻Ὴ㒐䛀欨㾾宼宗ᾼㅒ厖欨㾾ᾼ㜖⪶ⴇ␄㫼䦣䰅ᾼㅒ▗愵䠓Ӂㅦ
⢷␄㫼ġʞġ宼宗厖␄㊞⽴㫼ӂ屁䮚Ҹ⁥㝋ĳıĲĲ〃厖欨㾾ᾼ㜖⪶ⴇⓏ
䔘悬㛨㔗ⴛ㎟䛀⛕⑨╙伢䅮䠋ⷤ⷏ⷻᾚ␄㊞欨㾾⶗帻愵⋻ⴳ幖␸㢘
杫欨㾾宼宗ₐ㫼彾■䠓䦣䰅Ҹ
Bernard Suen has over 25 years of experience working in the creative,
information and communications technology, and education industries,
serving in various top management and operational positions for both
listed and private companies with his solid consulting and management
experiences gained in Hong Kong, mainland China and overseas.
Currently, he is the Project Director of the Center for Entrepreneurship
of the Chinese University of Hong Kong (CUHK). Since 2001,
Suen has developed and taught courses in new media, design,
entrepreneurship, and management for creative industries for CUHK,
Hong Kong Design Institute, and Swinburne University of Technology
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design, management and strategy, innovation and entrepreneurship
for private and public organisations in Hong Kong. He also leads the
annual Entrepreneurship for Design and Creative Business Programme
which has been jointly organised by Hong Kong Design Centre
and Center for Entrepreneurship of CUHK since 2008. In 2011, he
completed the study on the roadmaps of design entrepreneurs in Hong
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and Economic Development Bureau of the Hong Kong Government.

孫
耀
先

⁴咀㜖⭢㶞㔡〞
In alphabetical order of surname

與會者 discussants 11

宝履㗧嬐

Discussion Summary

履⩖Ὴ槛蛆⴮ⴗ㻠⒄ᬹ
利德裕：ĳıĲĳ〃䠓欨㾾宼宗〃㻊⑤⾁伢ⴛ仟蚸⌅ᾼᾏ↚ᾜ⇫䠋
㛍䠓宙ㇾ㞾蛆宼宗㞾㎠↠䫍㢒ҷ䚮㻊ҷ㜖⒥厖伢䅮䠓ᾏ扷⎕Ҹ
㎠⶜⪥俌㞾尹蚸ĳıĲĳ〃欨㾾宼宗〃ⴛ仟蚸㍘╾嬥䉉欨㾾╵ᾏ栝
㵄䠓朚⭚Ҹ㎠↠⢷ĳıĲĳ〃〃〤ⷤ朚▜䉉ġʥ宼宗比⑤㛈崙⢢㧛履
⩖ʦ䠓㻊⑤蚸⾛㢪憞懝㜖⒥ҷ伢䅮ҷ宼宗厖䫍㢒䳘ᾜ▛Ὴ槛蚸
厖彷䛛⎴䠓㢚╚″㻐㊞嬚蚸㙵⎉䇺呀蚸᾵㐙宝履仟㤫惘⒥䉉捬
⶜㫼䛛䠋ⷤ╙㛎〫宑⴩㛎䳥䠓⽴⌆Ҹ
崢㎠⋗⁚仈ℕ卹Ŝ欨㾾梊⟷♐䏛Şㅆ⢚ⶅ蚴ňŦųŮŢůġőŰŰŭ蚵䠓⏾俌婐ġ
栂➘幱蚴ŌŢųŦů蚵Ҹ戏屚⬈㞾⡯䉉⬈劌⁲姷〃悤ᾏ悸蚸イ弆⪩㝈
棱宝履Ҹ╵⪥蚸⬈΅㢘╒厖伢䅮䠋ⷤ⭣♰㢒䠓⽴⃫ҸŜ欨㾾⽴㫼
俌㢒Ὴ⾼Ş攍ㅦ。蚴œŰź蚵▛㮲怺券捜₊蚸‵㞾伢䅮䠋ⷤ⭣♰㢒
㎟♰ῚᾏҸ㣀婤↺蚴ŔŵŢůŭŦź蚵㝱㞾欨㾾ⷤ孌㢒峿㫼ⓣ㢒ĩ▜崌
㢒朆Ī蚸΅㞾őŎŒ蚴⋒␄㝈蚵䠓⌅ᾼᾏ⃜嗲‚㢒㎟♰Ҹ栂ㅦ㵔
蚴łůŵŰůź蚵㞾欨㾾ⴳ⋶宼宗ⓣ㢒㢒朆Ҹ㣝怜啾蚴ŇųŢůŤŪŴ蚵㞾欨㾾
宼宗⾺ⓣ㢒Ὴ⾼Ҹ栂䱚成蚴ŕŰţź蚵⏖㞾瀴⋫┮␄⁉Ҹ㎠⾛㢪劌憞
懝憨↚㢒峿蚸刌╥㫼䛛刁概蚸㔱宝⬑⃤⁴宼宗␸欨㾾伢䅮䠋ⷤҸ

␘⶞う㞾㳳履⩖剛ㄛ䠓捜嬐㚾㒐冔Ҹ宼宗ᾼㅒ懝ㄏ⇩懝ᾜⶠ
⽴⃫蚸⁙ㄛ封⬑⃤個倛ⓣ␸䫍㢒䠋ⷤ◱蛋憨ᾏ灭䠓宝履ⓐ
⎕捜嬐Ҹ㎠㝸⏜ㄭ㳟㻁伢↺㛵⡭㾾蚸╒孏懝咀⢚宼宗⭣♰㢒
ĩŅŦŴŪŨůġńŰŶůŤŪŭĪ蚸㊮⎿⁙ㄛ⶜㝋⿺␸䫍㢒⏜懁☛㫼䛛䠋ⷤ蚸梏
嬐⁧⎉㢃⪶␹␪Ҹ
寀䊾㲙⢷㜖⒥ҷ槶⛞䳘㝈棱ᾚ―ᾜⶠ⽴⪺蚸屚⃯⁚仈卹⾀╙⎕
›⃯䀥∨䠓幖㜨蚸崢㎠↠䢚䢚䖍㢘⋼榔⊹⑱䚱㫼ī蚴寊‛蚵䠓㜇㙩ҷ
宼宗㫼厖⌅⁥㚾㦀䠓㵣悒蚸⁴╙㜃汣伢䅮䘿⨒Ҹ

㙱᧻ܲკồᚬᏹᎋῈओ↗
許焯權：䖍㟑㎠Ὴ嬐ㄭ‚槶⛞䦣䰅⽴⃫Ҹ⳺冏⋗㕟⎿ĳııĴ〃
Ӂ欨㾾␄㊞䚱㫼⦉佩䦣䰅ӂҸ戲㟑↨㎠↠宼宗―ᾏ↚㔰桕㜇㙩
䠓㧕㥅蚸ㄛℕ䔁伀宗埤㔰亜Ҹ䖍⢷㵞〃⁜㢒㕟K䢇㍘㜇㙩蚸憌
徹ĲĲ榔㜖⒥╙␄㊞䚱㫼䠓伢䅮䚱捞蚸⒔㑻䚱⇋╙ⷀ㫼⁉㜇Ҹ

陳立邁：㎠↠㞾瀴⋫䠓┮␄⋻▇蚸΅⶗㹷㔗㲙蚴ŭŪŤŦůŴŪůŨ蚵
‚⑨Ҹㄗ⪩⁉⶜㳳ᾜㄗ―孲蚸㎠↠䖍㳲␹␪㔷ひҸ憨榔⽴⃫棭
⿇吀⽷ҸῬⓐ〃⁲⎬ҷ⋺ⓐ〃⁲㢺朚⭚⎉䖍ᾏ‪ŤũŢųŢŤŵŦų蚴⓰
憩⁉䏸蚵蚸⁴㵣悒ₐ㫼⒥䠓㝈ゞ伢䍮蚸ℚ⬑冐⪺ⳟ䳘䂺䛺蚸⃕
䜅㟑⁜㢹㢘⑤䛺ҷ⎉䏗㎥䚱♐拜▗Ҹ㎠䠓⽴⃫㵣悒⶗㹷䚱♐宼
宗蚸柳㳳⁴⪥蚸‵懁姛ㄗ⪩⾑⧃㔷ひ㻊⑤Ҹ

㎠⁙⪸彮⪶ⵅ⎕›䠓㞾㎹厂ĳıĲı〃杫㝋⋼榔⊹⑱䚱㫼䠓㢏㜿㜇
㙩蚸⒔㑻㜖⒥╙␄㊞䚱㫼ҷ挺䟑䚱㫼蚸㛨剁䚱㫼ҷ␄㜿䭠㐏䚱
㫼ҷ㰱㾻╙尜峘䚱㫼蚸⁴╙䘿Ⅼ䚱㫼Ҹᾙ慿䠓㔡▜㞾㧈㙩▓䚱
㫼䠓䚱⇋㔡⎦Ҹ㕪╴尀尹蚸㜖⒥╙␄㊞䚱㫼⃣䠓㵣ℚ㞾⋼榔⊹
⑱䚱㫼ᾼ㢏汧䠓蚸䉉俌汣㢻⢿䚮䚱俌⇋蚴ňŅő蚵䠓ĵįķĦ蚸悒⌅
檧‣榔䚱㫼汧⎉ㄗ⪩Ҹ⌅㲰㞾挺䟑ĲįĶĦ蚸㛨剁㞾ĲįıĦ蚸␄㜿䭠
㐏㞾ıįĸĦ蚸㰱㾻╙尜峘㞾ıįĴĦ蚸䘿Ⅼ΅㞾ıįĴĦҸ㢏汧厖㢏⃝䠓
⽽彬ㄗ懯Ҹ

利德裕：欨㾾⢷Ⅼ崆䥴峧䚱㲙䳘㝈棱⇩ㄦ⬌蚸⃕⎿〤⬑⃤㐙
ⴒ⛕㫼⒥蛋㔗㲙㞾㞝槾䠓㝈㹤☛憣ㄠҸᾏ㢒⋡㎠↠″㻐㟑╾⌜
⃫⎕›Ҹ

劉小康：⓿巰ᾼ宼宗厖㝔懙㫼䢇彬ᾜ懯蚸㝔懙㫼⃣⪩ⶠ䠍⎕
㵣蛋㧈㙩㢏⎬䠓俹⢥蚸㝔懙㫼⬌≞╹㢘⪶亓ĶĦҸ宼宗㫼䴦㞾㜖
⒥╙␄㊞䚱㫼ᾏ⶞扷⎕蚸ᾜ䥴⵵株⃣⪩ⶠ蛋

栂䱚成΅␄䱚―‭㻁⶗⎸㔗㲙㫼ⓣ㢒蚴łŴŪŢůġ ōŪŤŦůŴŪůŨġ łŴŴŰŤŪŢŵŪŰů蚵Ҹ㣝䄳⦈㝸⏜岨䯀⶜宼宗ᾜ⢷姛蚸⃕宼宗⌅⵵㧈㢻㞾䫍
㢒ᾏ扷⎕蚸厖䫍㢒㜃汣䍮⛕䘿⨒╙⌅⁥㝈棱蚸ㇾㇾ䢇杫Ҹ䢇ⅰ
⃯劌⁲姷⢚株⛕㫼䛛刁概蚸䉉㎠↠⿅ℕ欨㾾ҷ⪶ᾼ啾⁴厂⢚株
䠓嬥捝Ҹ䖍⢷屚⳺冏⋗蚴ŃŦųůŢųť蚵⁚仈卹⾀蛋

許焯權： ㎠ 䮜 ㄛ ⌜ ″ ㄔ 宼 宗 㫼 Ҹ ⋼ 榔 ⊹ ⑱ 䚱 㫼 䠓 ⨭ 朆 㝈
棱蚸ĳıĲı〃厖ĳııĺ〃䢇㵣蚸俌汣ᾙⓖ―ĲĶįķĦ蚸䜅ᾼ㜖⒥╙␄
㊞䚱㫼⨭朆ĳĳįĹĦ蚸⌅⁥⏖㞾ĸįĹĦҷķįĳĦҷĺįĹĦҷĲįĶĦ╙ĲĺįĴĦ
䳘Ҹ㜖⒥╙␄㊞䚱㫼䠓⨭朆⿔〵΅㞾ᾏ欻䜅⋗Ҹ

孫耀先：㎠⁲姷欨㾾ᾼ㜖⪶ⴇ␄㫼䦣䰅ᾼㅒ╒厖″㻐Ҹ槶▜
ㆬ儸蚸㎠↠䠓㯮㭚憞懝⦈客ҷ䦣䰅╙㔷ひ蚸㔷ひ␄㫼㻊⑤蚸慠
〃⁴␄㊞㜖⒥䚱㫼蚸䐈⎴㞾宼宗䉉Ὴ嬐䠋ⷤ䵓䜖Ҹ

㧈㙩ĳııĹҷĳııĺ☛ĳıĲı〃䠓㉔㹐蚸㏏㢘䚱㫼䠓俌☛⃣㢻㾾ňŅőġ
ĹįĵĦҸĳıĲı〃䠓ⷀ㫼⁉㜇㜇⳦槾䫉蚸㜖⒥╙␄㊞䚱㫼懣ĶįĵĦ蚸
挺䟑ĳįĲĦ蚸㛨剁ĲįĺĦ蚸␄㜿䭠㐏ıįĹĦ蚸㰱㾻╙尜峘ıįĵĦ蚸䘿Ⅼġ
䉉ĲįıĦҸ

ĳııĴ〃Ӂ欨㾾␄㊞䚱㫼⦉佩䦣䰅ӂī蚴寊ᾏ蚵蚸寀䊾㲙ⷔ␮厂⇘Ҹ⏪
㏜栂䱚成尹⎿杫㝋㔗㲙㫼⑨厖彷␄㊞䵓䜖䳘伢䅮⊈⇋蚸㎠䥴
懢寀䊾㲙䉉㳳䀥∨―ᾏ‪㜇⳦蚸ㄭᾼ╾䱉嬚␄㊞䚱㫼䠓ᾜ▛㉔
㹐Ҹ⁙⪸劌厖▓⃜厖㢒㢚╚╙は⛕ᾏ▛″㻐蚸䢇ⅰ㢒ㄗ乍ヸҸ
利德裕：⳺冏⋗桥尹╹㞾⇩䦣䰅蚸⃕㢍⿺㎠↠䷛␒懝欨㾾宼
宗ᾼㅒġĩᾚ䯀Ӂ宼宗ᾼㅒӂĪġ䠓屁䮚蚸‵㢍厖宼宗ᾼㅒ␄㫼冔懁
姛屎㥴╙棱寵蚸⡯㳳㔴宇棱ㄗひҸ

㎠΅㒘ᾜ▛䠓㜖⒥╙␄㊞䚱㫼㔡⎦―ĳıĲı〃䠓䚱⇋☛ⷀ㫼⁉
㜇Ҹ⁴䚱⇋㔡⎦蚸㢏⪶㞾恮₅ҷ梊勵懙㏁╙‡⑤Ⱑ汣蚸⃣俌
汣ĴĶĦҸ恮₅ҷ梊勵懙㏁╙‡⑤Ⱑ汣䚱㫼ᾼ蚸䜅䋅㢘扷⎕㞾宼
宗Ҹ⎉䏗㞾䲻‛⪶䚱㫼蚸⃣ĲĸįķĦҸ⋸冔䢇␯⾁⃣弔懝ĶıĦҸ⢷
寀⪩⌅⁥⥝⾑㎥⢚ⵅ蚸憨⋸扷⎕▛㮲⃣㢏⪶䠓₌槜Ҹ㔴嗦㞾ら
䵘蛇坬姢♐ҷ╳嗲╙⽴坬♐蛇ひ◙蛇梊嬥╙梊╿蚸䋅ㄛ㏜㞾宼
宗㫼Ҹ宼宗㫼⃣㜃汣䚱⇋ĴįĹĦҸ军㢏⶞䠓⏖㞾姷䂣坬姢蚸╹⃣
ĲįĲĦҸ呴⁴⁉㜇㔡⎦蚸▜㲰⏖㢘⽽䛿蚸⃕㵣捜㢏⪶䠓欥⋸▜⁜
㞾恮₅ҷ梊勵懙㏁╙‡⑤Ⱑ汣蛇⁴╙⎉䏗Ҹ

討論摘要 13

履⩖Ὴ槛蛆⴮ⴗ㻠⒄ᬹ
利德裕：呴䖕孲㳲䩉蚸憨㞾㧈㙩姛㫼⎕槭⃫伀宗Ҹ⡯㳳蚸桥
䋅扷₌姛㫼⬑ひ◙☛ら䵘蚸㢘杫㝋宼宗䠓扷₌蚸⃕封扷⎕⁜宗
䴦⢷⌅⁥⎕槭ᾙҸ

鍾志平：⃫䉉はⵅ蚸㎠↠⁴媌憯㫼䉉ῊҸ⢷ᾘⓐ⪩〃⏜蚸㎠
↠䠓⏜悸⾁⵮孉⎿宼宗䠓捜嬐ㆶ蚸ⶳ⌅⢷媌憯㫼蚸⡯㳳⁥↠戲
㟑⢷欨㾾⽴㫼俌㢒㎟䱚―宼宗⭣♰㢒Ҹ

許焯權：╾⁴憨㮲䖕孲Ҹ

䜅㟑䠓宼宗⭣♰㢒蚸㢏捜嬐䠓₊⑨ⷀ㞾榡䠋Ӂ俌䣲䓝ӂĩňŰŷŦųůŰųʣ
Ŵġ łŸŢųťġ ŇŰųġ ŊůťŶŴŵųźĪҸ封䓝榔⢷ᾒⓐ〃⁲⾁伢朚⭚蚸㔷⑤
はⵅ宗⎸䚷䚱♐宼宗蚸᾵⁴宼宗⃫⨭⇋Ҹ䢃厂ĺĸ〃ㄛ㛈䉉䖍㟑
䠓欨㾾⽴⛕㫼䓝ġĮġ㼗幊䚱♐宼宗䓝ġ蚴ŉŰůŨġŌŰůŨġłŸŢųťŴġŧŰųġŊůťŶŴŵųźĻġńŰůŴŶŮŦųġőųŰťŶŤŵġŅŦŴŪŨůġłŸŢųť蚵
Ҹ䜅㟑䠓Ӂ俌䣲䓝ӂ⢷
欨㾾俌䣲〫榡䠋蚸棭⿇唙捜蚸␘⶞う΅㢍㕟Kᾜⶠ㊞嬚Ҹ

劉小康：憨‪㜇⳦ㄗ㢘弲Ҹひ◙䛛΅㢘ㄗ⪩宼宗⾺蚸军宼宗
⾺䠓㜇⳦㞾ĲĳĭıĹı⁉蚸⃕㵞〃欨㾾宼宗䛱㫼䚮㢘ĳĭııı⁉蚸憨‪
⁉╊―♹婰蛋㎠↠ㄭ‚憨姛㫼‛ⓐ〃蚸卹ĲĺĺĶ〃朚⭚⾁㢘槭⃋
䦣䰅Ҹ㎠↠尜䉉憨‪䦣䰅䠓㜇⳦ᾜ㍘⬑㳳宗䴦Ҹ㧈㙩欨㾾䖕⽴
⪶ⴇ╙分㫼客侃⷏蚴ŗŕń蚵䛱㫼䚮⁉㜇蚸柳棭宼宗⾺╹檧ĲıĦ
蚸▵⏖憨↚㜇⳦ⅎ䛴ⱛ懝ⶠ蚸㢘灭⫖ㆹҸ╵⪥蚸宼宗㫼悒桲㔷
䴦䚱⇋蚸⡯䉉ㄗ⪩⁉ㄭ‚⋶扷宼宗蚴ŪůĮũŰŶŴŦ蚵Ҹ⌅ᾼ㞝槾ℚ
ⳟ⬑媌憯㫼蚸⽴はᾼ㢘⪶捞宼宗⾺蚸桥䋅᾵棭♐䏛蚸⃕ㄗ⪩΅
㞾┮宼宗媌憯⛕蚴ŐŅŎ蚵蚸⢷㏚擅ҷ䕯ⶅҷ梊ⳟ䚱♐ҷ⒔婬䳘
䵓䜖䓅⌅⿇嬚Ҹ䲻‛蚸ㄗ⪩㢜⑨姛㫼䠓⋶扷扷朏⬑Ⓘ巟搏姛蚸
㙐㢘焟⪶宼宗扷朏蚸㚾㖃⋷䖒㜇䠍ⵅ⋻▇Ҹ䦣䰅㯮㭚┊尜䉉ⴒ
↠᾵棭䡗⎸扷朏蚴űųŰŧŪŵġ ŴŦŤŵŰų蚵蚸⡯㳳ᾜ⃫䢇杫伀宗Ҹ㎠尜䉉
宼宗㫼䠓嗦䣋灭╾㢃ひ杙Ҹ
╵⪥蚸㛎〫ㄭℕᾜ憞棁ⷻᾚ扷朏㢘⪩ⶠ宼宗⾺蚸憨↚΅ᾜ⪹▗
䖕Ҹ㜃汣军宏蚸㜖⒥╙␄㊞䚱㫼⢷欨㾾䡽⏜⃣㢻㾾ňŅő亓ĵįķĦ蚸
军⋗懁⢚ⵅ㢏汧亓⃣ĲĲĦҸ
許焯權：⁥↠䠓䵓䜖⴩儸㎥寀ᾜ▛Ҹ尯䋅㎠↠ㄗ桲䀥䩉宗䴦
▓䚱㫼婰䠓㏏㢘宼宗⾺蚸憨⢷Ӂ欨㾾␄㊞䚱㫼⦉佩䦣䰅ӂᾼ⾁
⃫宝履Ҹ≔⁴㳳㜇⳦⁲姷宼宗⾺䠓㜇䡽᾵ᾜ⋷棱Ҹ䋅军蚸㎠㊂
姷懣䠓㞾蚸呴㵣悒ĲĲ榔㜖⒥╙␄㊞䚱㫼蚸宼宗㫼䠓䚱⇋⨭⿔㞾
㢏⪶䠓蚸懣ĳĵĦ蚸㵣捜桥ᾜ⪶蚸䃪␪┊㢏⪶蚸⨭朆厖⌅⁥姛㫼
䢇⽽ㄗ懯Ҹ⁉㜇΅⃜⎦欥⋸⃜蚸⃣ĵįĸĦ蚸⪶㝋⌅⁥䚱㫼蚸╜军
㢏⪶䚱㫼⬑⎉䏗䚩厂⎉䖍ᾚ彛彰巰Ҹ䊰履伢䅮䚱⇋戓㞾ⷀ㫼⁉
㜇蚸宼宗㫼⨭朆΅㞾㢏ㅺ䠓Ҹ
利德裕：㊮岬寀䊾㲙㕟K䠓㜇㙩Ҹ⁙⪸桥䋅㞾卹䛀宝履₊⃤
䢇杫䠓屁槛蚸⃕╾ㄭ⪶䘿⨒⋴㏚蚸⬑欨㾾㜃汣伢䅮㥅㭚㎥䍮⛕
䘿⨒ҷ⶜宼宗䠋ⷤ䠓䢚㹤䳘蚸䛀㳳ら䱚⪶㧕㥅Ҹ

╵ ⪥蚸㎠ 尜 䉉 ᾏ ‪ は ⵅ ㄗ 㹷 捜 宼 宗蚸⬑ ㎠ ↠ 憨 槭 ⤚ ╙
ŗĮŕŦŤũҷŐųŦŨŰůġ ŔŤŪŦůŵŪŧŪŤ䳘ₐ㫼蚸⢷宼宗ᾙ΅㐤㛍―ㄗ⪩幖䀟Ҹ
ᾜ懝蚸㎠尜䉉ㄗ⪩ㅔ榗䚷⎿宼宗䠓姛㫼蚸┊ᾜ⪹㹷捜宼宗㢻
怺Ҹℚ⬑䕯ⶅ㫼蚸宼宗㞾棭⿇捜嬐䠓蚸┊䉉⃤⇞⇞ᾜ䅮蛋㎠尜
䉉戲㞾⡯䉉ㄗ⪩欨㾾⋻▇㸡㢘卹ⵅ♐䏛Ҹ㫼䛛㎥寀⢷㊂蚸㝱䋅
㸡㢘♐䏛蚸΅ⷀ㸡㢘䠋宏㲙蚸΅ⷀ䊰岑䛺塖㾊彂Ҹ│ℎ㢘㜿宼
宗蚸΅㞾⎴⁉䠓蚸䡗⎸΅ⷻ㝋⎴⁉蚸⡯㳳戓ᾜ⬑Ⅼⴗ⢿⇩蚸彮
样⎴⁉䠓宼宗Ҹ╜Ὶ蚸㢘♐䏛ⅎ㢘宼宗蚸ℚ⬑㢻㾾㜇ⵅ㟑婬⋻
▇⣖㙐㢘卹ⵅ宼宗蚸⡯䉉ⴒ↠㙐㢘♐䏛☛䠋宏㲙蚸΅梏嬐↮␸
宼宗䠓␪捞䚮⳧ᾚ╊蚸⡯㳳宼宗⢷㟑婬䛛ⶳ⌅⪩Ҹ
㎠↠⋻▇ŕŕŊĩ␄䭠⵵㫼Ī㙐㢘♐䏛蚸ㅆ⢚ⶅ㢘♐䏛蚸冐㢚╚ĩ桔呂Ⰶ
桕⢧䠓␄愵⁉⌋Ὴ⾼Ī寀䱯㬽䠓桔呂Ⰶ΅㞾♐䏛蚸抌梏嬐宼宗Ҹ
㙐㢘♐䏛蚸ⅎ榗⢷宼宗ᾙ⪩㐤㛍幖䀟蛇㸡♐䏛䠓蚸ⶳ⌅㞾ᾼ⶞ₐ蚸
⶜㳳⏖ᾜ⪹㹷捜Ҹ⢚⋶⶜䥴峧䚱㲙ᾜ⪹余ツҸは⛕ㄏㄏ╹㢒䛀儝
姢䭠ㄭ⁥⁉䠓宼宗ᾙ䮜䮜㛈憯ⅎ―‚蚸ᾜㅔㄗ㢘␄㊞Ҹ
孫耀先：䋅军蚸␘⶞う㢘ᾜⶠ⢚⋶ⴱ㏅΅捜嬥宼宗蚸㢒凧䚷
欨㾾宼宗⾺ら䱚♐䏛Ҹ

⸺ວᚬダラ⴮ⴗ଼ֽ
įįįįįį㙱᧻བൃ҃ᆯӔ‫ב‬࿏ѡு㻞᠂ᑸਧᯔ⃛ῂ
ᇱ‫ڒ‬Ԓ㻞ൿ✶‫ܘ‬ᒟᜮ⏪̀፸ᔅࢮ᳖㻞գ㖤੎⴮
ⴗўஈᇱᏔ⺵ᨿ㻭ᣙࢮ᳖Ὲ㻞ඊ‫ڜ‬ᑸѲ඀Ӥ㻞ൾ
᠃‫ܓ‬ѡஐᤙ㈔̀......
-鍾志平
孫耀先：寀䊾㲙䠓㜇㙩蚸㕼䫉―卹ĳııĺ〃姜䚮⋼榔⊹⑱䚱㫼
㬑ㆄㄛ蚸欨㾾ᾏ↚朆㢮⛞槛蛆䚱㫼仟㭚╙惘⤚蚸│憨ℕŃŖŅġ
ī蚴寊ᾘ蚵
ₐ㫼㚾㖃宗␒蚴䠋ⷤ♐䏛ҷⓖ亩惘⤚╙㑢ⷤ⋶摆⾑⧃⶗
榔⦉捠蚵蚸⁴厂㎠⿇尹蚸㜇〃⏜䕯ᾘ孡䚱㫼ⓖ亩䠓⛞槛Ҹ⁙⪸
㢘〇ㄦ⎿はⵅ㢚╚⎦⾼蚸⾛㢪╾↮㳳㯮㢒宝履Ⓩ⥮伢䅮惘崙蚸
ⶳ⌅ĳııĹ〃捠夜㼆➾ㄛ蚸㳟儝宑✽㾪ⶠ蚸㎠↠⢷憨↚㏏岑ⓖ亩
惘㓸灭蚸封⬑⃤⎸䚷宼宗⨭⇋蛋ġ

14 討論摘要

㎠㊂⡭㍘⏪㏜䠓㜇㙩Ҹ欨㾾⢷懝╊ⓐ〃蚸㔷⑤宼宗╾岑ᾜ戉檧
␪Ҹ俀ℎ㘴⎉䠓伢幊悒ⶠ蚸⃕厖懝ㄏ㵣悒蚸΅䴦㞾槾嗦⁧⎉Ҹ䋅
军蚸はⵅㄗ桲宗䴦宼宗㝈棱䠓朚㚾蚸│ℎ宗䴦蚸΅⋷䴦⢷䦣䰅╙
䠋ⷤ榔䡽ᾙҸ⌅ᾼ䠋ⷤ╗⎕䉉㐏姢宼宗ҷ䚱♐宼宗蚸䚩厂愵⋻ⴳ
宼宗Ҹ⶜㝋はⵅ㚾⎉⎿〤㢘▵⨭␯蚸᾵╜㞯⢷⾑懢ᾙ蚸㎠↠㸡㢘
䢇杫㜇㙩Ҹ㎠↠⿇尹蚸⋻▇⏜㟾╥㸉㝋⌅䦣䠋㚾⎉㵣ℚҸ欨㾾は
ⵅῚ㏏⁴⇩ㄦᾜ⬌蚸㳲㞾⡯䉉䦣䠋㐤⋴⃝蚸⶝厃⏜㟾㮰乙Ҹ

鍾志平：㢘♐䏛䠓䜅䋅㢒憨㮲⇩蚸⃕呴♐䏛ᾜ䰐⎉蚸⁜⢷➦
寵栝㵄蚸ⅎ㢒⎉䖍㎠⏪㏜㕞慿䠓㉔㹐Ҹ憨ⷀ㞾㎠⢷⽴㫼䛛䢚⎿
䠓䖍巰Ҹ䜅䋅㢏䖕㊂䠓⇩㹤㞾憞懝懁姛屎㥴蚸捞⒥宼宗㝈棱䠓
㚾⎉蚸⁴䀥䩉䢚㾔強⑱蚸䋅军蚸䖍⢷䊰㹤⇩⎿Ҹ␘⶞う㢎㎠㙣
₊懝㜇㲰㼗幊䚱♐宼宗寤⎳蚸⁥䠓寤⊈㞾㵞㹐㊗ᾚҸ㎠΅⢷╜
ㆬ蚸䉉⃤㐤幖焟⪶蚸╜军廿ᾚ⣰蛋ġ
劉小康：攍ㅦ。㕟⎉―㜇灭Ҹ䲻ᾏ↚㬑ㆄ蚸欨㾾媌憯㫼⶜䦣
䠋䠓㬑ㆄ棭⿇㮰乙蚸΅ᾜ嬥䉉ㅔ嬐䠓㐤幖蚸╹䜅⃫撵ᾙ㾊呀Ҹ
㜇ⓐ〃⏜䠓䕯ⶅ䛛蚸柳◷䚮䚮䳘⇩梅⚽䠓ₐ㫼⪥蚸㢻㾾戓㢘㜇
ⵅ⇩⎉╲䠓䥴▜⋻▇Ҹ宧ㄦ䜅〃⎉䏗䠓䡽撓⌙蚸⋷ᾥ䛛䎼䢇㐓
嬁Ҹᾜ䥴封姛㫼䖍㟑䠋ⷤ⬑⃤蚸⃕攍ㅦ。懢⎉ᾏ↚捜灭蚸ⷀ㞾
䕯ⶅ㫼ᾜ䖕孲宼宗䠓捜嬐ㆶҸ䜅ᾼ㛨剁嬐帯ᾙㄗ⪶帻₊Ҹ㢘ᾏ
㵄㟑㢮蚸分㫼客侃⷏䚩厂㸡㢘朚愵䕯ⶅ宼宗䭠蚸欨㾾䖕⽴⪶ⴇ

䖍⢷΅㸡㢘Ҹ戲憨↚㏏岑Ӂ⋼榔⊹⑱䚱㫼ӂῚᾏ䠓㜖⒥╙␄㊞
䚱㫼蚸⌅⏜㟾ⶖ㢒⬑⃤◱蛋
鍾志平：䕯ⶅ宼宗⢷欨㾾㞾ᾏ⪶姛㫼蚸憨ㄭ⏪懝╊䠓䕯ⶅⷤ
╾嬚ᾏ㜠Ҹ

ġ įįįįįį⴮ⴗ❅ࢮ᳖〉ḏၧၧ―㑄̀⴮ⴗᯔࢮ᳖
଼ֽ㻞ெᕲᣙᔅࢮ᳖㻞գᔁ╒҆⴮ⴗῈ⵺ਧ̀㙱᧻
ҸӔ࿀㔯〉ḏࢄ⟭⵽⚎‫ݎ‬ຯ⚎ốഅ㻞Ԍӂ㔭ᑨ
ᡍ㻞‫ړ‬੕ㅵ㍯ӤᚬຯࠀⒽ㙱᧻བൃῈԑ╷̀㙱
᧻ⳂῂඪŐņŎ㻞࿲㖤ᇱ‫̀ⴗ⴮ڒ‬......
-朱裕倫
朱裕倫：㎠ㄭ‚ⷤ孌㫼ᾘⓐ⪩〃蚸䢚懝ᾜⶠ╒ⷤはⵅҸ䖍㟑
䕯㷮ᾘ孡㻁䠓ₐ㫼㳲⢷ⓖ亩惘⤚Ҹ㎠↠封⬑⃤䖕孲ⓖ亩惘⤚
◱蛋䶰✽军宏蚸╾憞懝Ӂㄽ䲠㢁佩ӂ䖕履孲崏Ҹ⌅ᾏ䱾䉉␄㜿
厖䭠㐏蚸╵ᾏ䱾⏖䉉宼宗╙♐䏛䴰䖕Ҹ媌憯㝈棱蚸⏖㞾㢁佩ᾼ
朢㔘ᾚ╊䠓扷₌Ҹ⢷⋺ⓐҷῬⓐ〃⁲蚸媌憯㫼䜅㟑⎸䚷䕯㷮ᾘ
孡㻁䠓じ⊈⑭⽴☛⢮⢿蚸⨭⇋汧⎉ㄗ⪩蚸ㄽ䲠㢁佩㵣悒㏐。Ҹ
䖍㟑媌憯㫼⫀╊⊹⑱蚸㢁佩崙ㄦⶥ摂Ҹ
宼宗厖♐䏛䴰䖕ㇾㇾ䢇杫Ҹ宼宗䉉♐䏛⨭⇋蚸⬑㤫㸡㢘♐䏛蚸
ⅎ㢒僉῞宼宗䠓尧⡯Ҹ懝ㄏᾜⶠはⵅ䠓⇩㹤㞾ŐņŎ蚴┮⭚宼
∨媌憯⛕蚵蚸ᾜ㙜㔶卹怺☌懚蚸亣么㧈㙩╵ᾏはⵅ宑✽嬐㷑䚮
䚱蚸㵚榗₊⃤宼宗Ҹ
㢘㢚╚⢷分㫼客侃⷏䠓岪〶⛞ⴇ䚮蛆Ӂ宼宗⾺厖坬姢ⵅ㢘⃤⎕
⎴蛋ӂ洽㢘ⴇ䚮劌⪯孲䳣Ҹ⁥䶰✽⡭䳣尹蚸⁴はⵅ䉉ℚ蚸坬姢
ⵅᾜ䚷槶╙ⴱ㏅㊮╦蚸ᾜ䚷槶╙⾑⧃梏嬐蛇宼宗欥嬐䛀ⴱ㏅䠓
╲☂☛嬐㷑⎉䠋蚸⌜宼宗䚱♐蚸拜▗⾑⧃梏㷑Ҹ憨㞾宼宗䠓䲻
ᾏ㳴蚸⬑㤫㸡㢘♐䏛蚸ⅎ㢒╹㧈㙩幆ⵅ㕟⎉䠓⊈撱☛宼宗⇩‚Ҹ
䋅军蚸䖍⁙ヱ⑱⎉䖍崙⒥蚸欨㾾ᾜⶠはⵅ䛀ŐņŎ惘⤚厂ŐŅŎġ
蚴┮⭚宼宗媌憯⛕蚵Ҹ⢷⋺ⓐҷῬⓐ〃⁲蚸⢚⋶㢘ㄗ⪩⪥䠋␯
⽴はҷ折攽ₐ㫼ҷ⶞はⵅ伢䍮蚸⃕憨‪⽴は☛ₐ㫼蚸⾁惘䉉凧
屚ᾼ⪶ҷㄸ㝵ҷ㾔啾䳘⪶ⴇ䛱㫼䚮Ҹ欨㾾⁉⁴ㄏ棯䴰䖕☛咀尭
劌␪⾁劌䚮⳧蚸⃕⁙棭㞣㵣蚸⋶⢿折攽ₐ㫼⾁╥佯欨㾾はⵅ䠓
⃜僽Ҹ欨㾾嬐䠋ⷤŐņŎ蚸ㅔ榗㐤⋴宼宗Ҹ䖍㟑ᾜⶠŐņŎ䚮㊞
⾁崙䉉ŐŅŎ蚸⃕宼宗┊⎕㜖ᾜ㛅蚸≔䉉⨭⇋Ҹ欨㾾ᾚᾏ㳴嬐⇩
䠓蚸㞾⎸䚷ᾼ⢚⾑⧃ら䱚卹ⵅ♐䏛Ҹ憨梏嬐廿㢃⪩䠓彾Ҹ
⁴憯椚㫼䉉ℚ蚸䀺⽭䠓はⵅ⾁⢷⃪儔↺㜾☛丂垼朚愵宼宗⋻
▇蚸⢷䜅⢿寊⌙᾵凧䚷㊞⪶⎸宼宗⾺Ҹ⢷䜅⢿ら䱚♐䏛ㄛ蚸ᾜ
䢃㔴㐓嬁蚸军憞懝㕲㗸⌅⁥♐䏛䠓䃽㻐ҷ槞吁ҷ拜㖼䳘蚸捜㜿
⒔婬蚸᾵慔憮ⶖ宼宗憐⎿䀺⽭蚸⁴⽴は䠓㜇喻⑭⑤␪蚸崢⌅宼
宗⢷䥼䥼㜇◷⋶ᾙ㥅蚸᾵⪥摆ㄏ儝⢚Ҹ⛕♐䜅䋅䊰㹤摆ㄏ㊞⪶
⎸蚸⃕䊰䪨⌅⁥⾑⧃Ҹ㊞⪶⎸㢻⢿▛㫼⶜㳳ⓐ⎕╜㊮☛㌳ㆡ蚸
㑡令⎿ᾼ⢚╒ⷤҸ⢷⋷䖒⒥ᾚ蚸宼宗⾁ᾜ⌜⷏柟⢷㊞⪶⎸蚸䜅
⢿宼宗䠓♐䏛蚸╾⁴⢷䀺⽭媌憯☛⪥摆Ҹᾼ⢚刁䯀㳲憟㳴劺桱
⃝䱾䚮䚱䠓懝䮚蚸惘⤚宼宗厖♐䏛Ҹᾼ⢚㵞〃䚮䚱Ĳĳı⊓桨椚
ⳟ蚸儝⢚⋺㎟䠓懁╲΅㞾ᾼ⢚媌憯Ҹᾼ⢚䖍⾁懝捞䚮䚱蚸‵䖕
孲⎿朆㳳ᾚ╊蚸΅㞾ㄡ⑭䊰␮蚸⚾㢘㾪ⶠ䚮䚱☛⎉╲蚸⨭␯⋶

梏蚸⃕⋶梏⢷ᾼ⢚⁜䋅⡿桲Ҹ⁴椚ⳟ䉉ℚ蚸儝⢚䠍帷⋻▇干椚
㸡㢘♐䏛蚸⃕ᾼ⢚䠍帷⋻▇帷㥅ᾙ蚸⎿埤抌㞾♐䏛▜⳦Ҹ憨‪
䠍帷⋻▇ᾜ⅒摆蚸╹⇩⢿Ὴ蚸⋷⁴〦ᾼ〦蚴ŴũŰűĮŪůĮŴũŰű蚵䠓ヱ
ゞ伢䍮ҸŜ⋶⢿椚槭梅⚽⋻▇Ş䠍瀦⢚株䖍㟑䠓〦厥㜇⁴喻宗蚸ġ
Ŝ椚槭♐䏛Ş懣吨⬽䳘⋷抌朚宼〦ᾼ〦Ҹ⢷憨䘿⨒ᾚ蚸⶞♐䏛䊰
㹤䚮⳧Ҹ⋶梏⾑⧃䖍㟑⁜㢹⬴✓䠋ⷤ蚸䠋ⷤ⁜⡿桲捜捜Ҹ嬐䠋
ⷤ欨㾾宼宗㫼蚸媌憯㢻㾾⾑⧃梏㷑㞾ㄗ捜嬐䠓Ҹⵈ㎠䮜ㄛ⌜専
␯杰慿Ҹ
孫耀先：䊰╾▵尜宼宗␄憯伢䅮⊈⇋☛♐䏛蚸⃕㞾▵ㅔ榗欨
㾾宼宗蛋
陳嘉賢：㎠↠㞾▜䲵⌅⵵䠓欨㾾♐䏛Ҹᾘⓐ〃⏜㎠↠╥▜ㅆ
⢚ⶅ蚸䛀ㅆ⢚懁╲䚱♐蚸⾁朚⭚伢䍮ŐŃŎ蚴┮⭚♐䏛䚮䚱蚵Ҹ
䜅㟑戓㸡㢘⁉尜峧ŐŃŎ蚸姛⋶⋻▇⪶扷⎕╹㞾⁲䖕♐䏛蚸⬑䉉
ŔŰůź╙őŢůŢŴŰůŪŤ䳘⃫摆⚽佁仰Ҹ䢇╜蚸㎠↠㏢憯♐䏛☛䚮䚱Ҹ
㎠⶜宼宗㑀㳲棱䢚㹤蚸ㅆ⢚ⶅ㏢⬌欨㾾䠓⦉䪝ㄛ蚸㏢懁ᾼ⢚⪶
标憨↚柛䚮⾑⧃Ҹ⃫䉉欨㾾♐䏛蚸ㅆ⢚ⶅ彮样欨㾾幎㞢䠋ⷤ⷏
蚴ᾚ䯀Ӂ幎䠋⷏ӂ蚵蚸懝╊ᾏ〃ⓙ╊懝⋶⢿‛ⓐ↚ᾏҷ‛佩⥝
⾑蚸⒔㑻㤀⒦䠓朆㞴ҷ⪶憲ҷ♗䏍䆀蚸╗憯容―㎟抌ҷⓦ⵶ҷ
嬎ⴘҷ㳵䂱Ҹ幎䠋⷏⢷⋷⢚㔷ひ欨㾾▓姛▓㫼䠓♐䏛蚸㎠↠彮
样ⴒ▛姛蚸㊮⎿䢇䜅毤≁Ҹ㎠↠䠓伢毦㞾蚸⢿Ⓩ㊗⇞懯蚸㎠↠
䠓♐䏛ⅎ㊗╦㳰慝Ҹ㊗㔴慠欨㾾䠓ひ㤀䢐⥝⾑蚸⬑ひ⽭蚸伢䍮
ⅎ㊗⡿桲Ҹ䜅⢿卹䛀姛㝈ⅎ蚸㼗幊冔㔴㛅⎿䠓幖宙‵厖欨㾾悒
㔴慠蚸欨㾾♐䏛⢷䜅⢿䠓䲅䎼⊹⑱䢇⶜㾪ⶠ蚸⃕⢷㤀⒦㎥‛佩
䀥∨惘䉉ᾏ佩䠓⥝⾑蚸䠋ⷤ⏖㬄⌆䃪␪Ҹ䜅⢿䚷ⵅ棡䣭欨㾾♐
䏛蚸‵㾀㞝欨㾾♐䏛桥棭㳟㻁♐䏛蚸⃕令⶜⑬懝ᾼ⢚宼宗㎥ᾼ
⢚⎉♐Ҹ♹ㆤ㎠↠䠓┮䚱⢿΅㞾ᾼ⢚蚸‵⁜䋅╦⎿⤑棡Ҹ欨㾾
㝋⁥↠军宏㞾♐幹Ⅼ峘蚸䓅⬑欨㾾⬅丘㞾ⅰㅒⅬ峘Ҹ
屖⎿宼宗蚸はⵅㅔ䋅余ツ⿂䡽ҸŕŕŊ䳘⪶ₐ㫼䠓䦣䠋ㅔ⴩弔懝
ĲıĦ蚸军≞㎠↠憨槭ᾼ⶞ₐ㫼蚸╹劌厖ŐŃŎ㎥ŐŅŎ▗⃫蚸㎥厖
⁥↠ら䱚▗⃫₨⃃杫⅑蚸⎸䚷⌅䦣䠋Ҹ⡯㳳⏪㏜㕟⎿䠓㜇㙩蚸
㍘䊰㹤⢷㎠↠䠓宼宗╜㞯⎉ℕҸ㎠尜䉉宼宗ᾜ㍘柟㝋䚱♐宼
宗蚸⢷⾑⧃摆⚽ⷳ棱蚸㔷ひ☛⒔婬䠓宼宗‵棭⿇⪩Ҹ㎠↠㏢憯
♐䏛厖伢䍮⽴は㞾⋸⡭‚蚸㎠↠㏢憯♐䏛蚸㢒㹷捜⒔婬ҷ⪥孏
宼宗蚸⒔婬⽴⃫ᾜ╾ⶠҸ㎠↠䜅䋅攍㉔㢃⊹䭏䠓宼宗蚸⃕⵵株
㉔㹐㞾蚸⢷ᾼ⢚⪶标⇩ⷤ孌蚸㝐戙╒ⷤ⛕䠓宼宗蚸⾁厖㎠↠⋻
▇ᾏ㮰ᾏ㮲Ҹ䉉䚩灋㢒憨㮲◱蛋⡯䉉㎠↠⢷ⓙ〃⏜㢍⌀▛╒
ⷤ蚸ⴒ㐙㎠↠䠓宼宗⋷䡳㐓嬁蚸⒔㑻㚳⃜ҷ▜䏖ҷ恙栙蚸䚩厂
⋻▇䶰⁚Ҹ䋅军蚸㎠䠓㊂㹤⁜䋅㳲棱Ҹ⡯䉉㎠↠⊹䭏蚸廿⢷㢏
⏜蚸㏏⁴㏜㢘㐓嬁⊈⇋Ҹ㝱䋅䊰㹤㛍㩓䚮㊞蚸㎠↠ㅔ榗㵣ⴒ↠
廿ㄦ㢃⏜Ҹ⁴㎠↠憨䮽ᾼ⶞ₐ䠓嬞㮰蚸㞾ᾜ╾劌卹姛䚮䚱㏏㢘
䚱♐䠓Ҹ㧇ㅒ㫼⑨䛀卹⾀䠋ⷤҸ宼宗厖⌅⁥⨭⇋扷⎕蚸⏖拜▗
䳥䛴⪴⃃㢏⊹䭏䠓䚱♐Ҹ㎠↠䠓䖕ㆄ㞾厖㢏⊹䭏䠓はⵅ▗⃫蚸
⌜憞懝⒔婬ҷヱ巰ҷ⎖▗ⴱ㏅梏嬐䠓宼宗⨭⇋Ҹ㎠↠ᾜ尜䉉㉔
㹐帯棱蚸ᾼ⢚⪶标⁜ⓐ⎕棡䣭欨㾾䠓♐䏛蚸⃕㎠↠ㅔ榗嬐㢘㾔
㟿⴩⃜Ҹ

討論摘要 15

履⩖Ὴ槛蛆⴮ⴗ㻠⒄ᬹ
ġ įįįįįįᆐ֛Ὲ⒄㜁ᑸ㻞੕ްდ‫׋‬ヸ㻞ᆐ֛Ὲࢮ᳖
գდࠁ᠀ゔ̀დኰゕ㙱᧻Ὲཙᕎ‛નຸ㻞ெཙ
ຢ㻞⒄᲎գდਰ㓛̀੎ᕎ‫ޖ‬ᆔҝⒷᩃ‫׽‬だᯔј
ⒷῈનຸ㻞ῂඪ‫ܓ‬ᚳ‫ڝ‬᫓‫̀ݎ‬Ἀ੕Ỗൃ㔦⁛㙱
᧻ࢮ᳖㻞ү᧙ᑢ㙱᧻ࢮ᳖㓏㔭៴᥏ࢮ᳖㻞Ԍ⑗
ൾ‫ݮ‬ラѲਾ⴮ⴗᆔѲਾ‫̀ࢮۥ‬ᆐ֛デ∾Ѳ඀Ӥ
ῈⳌᜮ㻞ᑸѡࠔ⚎✰⯥ốồᆯᔅồࢮῈ̀ᗘ࿱ᚬ‫ݬ‬
ở✰ຮῂඪ̀⴮ⴗ❅‫ڜ‬ӈ଼ֽㅘ۬㻞‫ܓ‬ㆰࠣ⋽ἁ஍
Ԁᓿ٧⇻Ὲồࢮ̀ᆐ֛Ὲḏတᑸ❅ᓿ٧⇻Ὲབൃ
ࠣԠ㻞‫ڦ‬ダラ‫ۭࠣ̿⹢ྪ̿ⱊވ‬വᆩ㓭ⳂῈ⴮ⴗ଼
ֽ̀......
-陳嘉賢
厂㝋ŃŖŅ㞾╵ᾏⷳ㲰Ҹ䛀㝋⽴⃫ㆶ幹杫⅑蚸㎠㢘〇㎟䉉ŃŖŅ宗
␒䴰䖕⭣♰㢒䠓寤⵸㎟♰蚸ㄭᾼ╾嬚㛎〫ⓣ␸ᾼ⶞ₐ䠋ⷤ⋶摆
䠓㝈捬Ҹ䠋ⷤ♐䏛ҷⓖ亩惘⤚╙㑢ⷤ⋶摆⾑⧃㞾Ӂ憲汣ⲿӂҸ
ᾜ㞾㏏㢘⋻▇΅劌ら䱚♐䏛蚸㎠↠㵣悒〇懚蚸ᾘⓐ〃⏜⾁伢㎟
␮ら䱚蚸ᾜ䚷愪呵⢿ㄭ梅朚⭚Ҹ㸡㢘憨槭㯮㢒䠓ᾼ⶞ₐ蚸╾坘
㛎〫憨↚⶗榔⦉捠蚸䛂屚₊⃤ᾏ↚䘿䵏蚸憲俺⎿ⓖ亩㎥䠋ⷤ♐
䏛蚸⁴䔁䠋㛍Ķı喻㘴㳍Ҹ憨‪⋻▇┮㢻ᾜ㢒㢘榟䴦蚸䖍㟑弆䩋
㢘㯮㢒䔁㛎〫㘴㳍Ķı喻蚸劌⪯憟㳴䠋ⷤ宼宗㎥♐䏛Ҹ
䐌㼘⎿♐䏛蚸⽴⃫卹䋅⪩蚸宼宗ҷ⒔婬ҷ㮨尛΅嬐ㄭ榼⇩
弆蚸憨⶜宼宗㫼㞾㳲棱䠓Ҹ㎠↠ᾙᾏ⁲㎥⌜ᾙᾏ⁲蚸㢹ㅔ䢇
ⅰ宼宗蚸⎿㎠↠〃棡ᾏ悸㢘㯮㢒㎟䉉はⵅ䠓蚸㎥䛀㝋㢍䛨ⴇ
⢚⪥蚸嬥捝悒ひ杙蚸䢚⎿儝⢚ҷ␯㒎⪶㎥㳟㻁䠓㉔㹐ㄛ蚸΅
尜▛宼宗䠓⊈⇋Ҹ䋅军蚸憨惘⒥懝䮚ᾜ劌ᾏ㳴䠊⪸蚸梏嬐ᾙ
ᾏ悸╙卹⾀尜▛Ҹ㎠↠憨ᾏ⁲蚸ⶳ⌅㞾欨㾾⽴㫼俌㢒㝦ᾚ棡
〃⭣♰㢒蚴Śņń蚵䠓〃悤ᾏ⁲蚸㎠↠䠓ŎņŅ㻊⑤蚸ⶖ媌憯㫼
蚴ŎŢůŶŧŢŤŵŶųŪůŨ蚵ҷ㛨剁蚴ņťŶŤŢŵŪŰů蚵╙宼宗蚴ŅŦŴŪŨů蚵ᾘ▗
ᾏҸ㎠↠⶜宼宗㢘ⅰㆄ蚸⃕⛞槛㞾⬑⃤ⶖ宼宗イ⋴ₐ㫼蚸懁姛
⛕㫼⒥Ҹᾙᾏ⁲憌㷑憮〵ҷ㛗䔖蚸⶜宼宗᾵ᾜ尜▛蚸⎉╲㫼΅
ㄗ桲╵␄㜿⢧栙蚸⃕㎠↠憨ᾏ⁲㾀ⅰ宼宗䠓蚸嬐帯帻■ᾙᾏ⁲
孲捚Ҹᾙᾏ⁲㢘叾⬌⦉䪝☛⵵㫼蚸䖍⢷㎠↠㔴䕼㎥䀥∨㔴䕼蚸
䢇ⅰ宼宗劌䉉㎠↠懣厂╵ᾏⷳ㲰Ҹ㎠↠憨䮽欨㾾ᾼ⶞⤚ₐ㫼蚸
槧㊞⵵徟☛➦寵蚸⏜㟾㍘㞾㞝㢦䠓Ҹ

ġ įįįįįį⴮ⴗ❅∆ᇟ㻞ඊ‫❅ڜ‬ᆐ֛Ὲồࢮ㻞ᑸ്
ѡࠔ۬Ὲ̀⴮ⴗѡᔁᶝ⊦ⴗ⌣㻞࿲ᰝᏵࠣ‫⃛܅‬
ῂ㻞ਧ᠃ᔅࢮ᳖Ὲ‫ࠛڗ‬㻞࿀࿀ࠣԳ⃛ῂ㻞࿆㓛
ᇩ⴮ⴗᶝ⊦ܽ۬‫ۥ‬Մ̀įįįįįį
-鍾志平
鍾志平：⵵株ᾙ欨㾾⽴㫼䠋ⷤ蚸宼宗㫼☛⋶摆⾑⧃㞾欨㾾㢏
⎬䠓⽴㫼Ҹ⎸⽴㶠ҷ渆泩婖䜅㟑Ὴ嬐䠋ⷤ宼宗Ҹ⋶摆⾑⧃㝈
棱蚸䉉䚩灋欨㾾ᾼ啾は⛕凾▗㢒蚴ńŎł蚵␄愵⽴ⷤ㢒蛋戲㞾䉉
⪥⢚⁉军宼䠓❝蛋ᾜ㞾蚸⶜巰㞾欨㾾⁉☛‭㻁⁉ҸńŎł☛⽴
ⷤ㢒⎕⎴㢘⋺ⓐ☛‣ⓐ⪩〃㴆▁蚸捠⎸ℕҷ五ł⧠匯䳘䳘蚸抌
㞾欨㾾宼宗Ҹ⎸⽴㶠ᾏ㳍ᾘ掤㏲儙㵪⋶姲蚸㞾⪥⢚㐍ᾜ⎿䠓㢻
⢮宼宗Ҹ憨‪宼宗ҷ♐䏛╙⾑⧃蚸抌㞾㢻⢮䉉Ὴ䠓蚸㢏懯╹劌

16 討論摘要

⎿㤀ⓦ‭蚸⢷⪥⢚ᾜ㢒㐍⎿蚸憨㞾㎠↠䠓弆灭Ҹ戓㢘橮♐⋻▇
⬑㣝撵宧ҷ䠍䕜䚫挚䳘΅㞾㢻⢮♐䏛Ҹㄛℕ⢷‣ⓐ〃⁲蚸⪶捞
⋶⢿⁉䮊㶠欨㾾蚸⢷咀⢚䠓㴥㶠亊伀䴰㹊ᾚ蚸⪥䛛⶜欨㾾ⓐ⎕
ⅰ₊Ҹ欨㾾㞾㝴㢻⁴⪥欥↚懁姛ŐņŎ䠓⢿㝈蚸儝⢚はⵅ΅ℕ㳳
宼はҸ䖍⢷㞾㴆▁⡭㻐厂‣ⓐ〃⁲蚸㎠㝸⏜⢷ҿⅰ⧀Ӏ⎙䠊䠓
㜖䱯‵㕟懝蚸㜃↚⏅〵嬐⡭榼廿Ҹ⁙⪸䠓嬐㷑㢃汧蚸宼宗厖䭠
㐏蚸ⶳ⌅厖㎠↠䠓䚱♐蚸㞾ⵕᾜ╾⎕䠓Ҹ宼宗ᾜ㢒䓷䱚宗䴦蚸
ㅔ䋅㜃▗⎿䦣䠋蚸⡯㳳㢘♐䏛䠓⋻▇蚸ㄏㄏ▗℄䦣䠋蚸ㄗ桲㐙
宼宗䓷䱚␒⎕⎉ℕҸ
劉小康： ᾜ履㞾䭠㐏戓㞾⽴䮚宼宗蚸⋷䖒΅㐙䦣䠋㛍⢷ᾏ
弆蚸♐䏛⏖╵⃫Ⓩ⎴Ҹ

㙱᧻❅அਾ⴮ⴗῈҡ‫ݨ‬
孫耀先：⢷⡭㴇┮灭䠓懝䮚ᾼ蚸梏嬐㬄汧䠓㜃▗㐏姢蚸䜅ᾼ
㢒▵梏嬐宼宗⾺蚸䐈⎴㞾㼆⪥宼宗⾺蛋⢷〶㢘ᾜⶠⓣ㢒䠓㢒
朆蚸⢷憨↚⨭⇋䘿⨒蚸㎠↠欨㾾䠓宼宗⾺蚸⢷㳳梏㷑ᾚ㞾▵⌆
㢘䲅䎼␪蛋
鍾志平：欨㾾⢉䋅㢘ㄗ⪩⎉槭㑣喒䠓宼宗⾺蚸⃕䚱♐宼宗㝈
棱蚸ㅔ榗䌮㈘䚱♐蚸㏜㢘⊹䭏宼宗蚸ᾜ╹㞾俹⢥去䶰✽Ҹ㢘⪥
⢚⪶⋻▇幆ⵅ㢍彮㎠尹蛆ӁœŰź蚸⃯↠㙐㢘⊹䭏宼宗⾺☛⽴䮚
⾺蚸⃕⁥↠┊ᾜ㍑ℎ䚷⃯↠䠓䚱♐Ҹӂ㎠↠⋻▇⁴梊⑤⽴⌆☛
◇⨄㯮䉉Ὴ蚸⃕ᾜⶠ⁉ㄭ㸡ℎ䚷懝梊⑤⽴⌆Ҹℚ⬑㎠↠䚮䚱ㄗ
⪩⏹哘㯮蚸⃕䛀㝋欨㾾宼宗⾺ㄭ㢹ℎ䚷懝蚸⡯㳳ᾜㄦᾜ凧䚷⪥
⢚宼宗⾺Ҹᾜ懝欨㾾宼宗⾺΅㢘⁥↠䌮㈘䠓䚱♐蚸⬑梊勵ҷ㏚
擅╙㟑婬䳘蚸‵␄憯―ᾜ撾䠓宼宗蚸⃕扷⎕姛㫼䡽⏜⁜ᾜ劌䛀
㢻⢮宼宗⾺䓷㚻Ҹ╵⪥蚸扷⎕はⵅ⶜㎠尹蚸欨㾾宼宗⾺㵣ᾜᾙ
㹤⢚宼宗⾺Ҹ厂㝋⁥↠㞾▵⋗⋴䉉Ὴ蚸戓ㄦ䛨ㄔ⶗ⵅ⎳㝆Ҹ

ġ įįįįįį㙱᧻Ԡᯔਾ㒤નຸ߻ਾ㒤⴮ⴗѲ࿱㻞ᆐ֛
ᑸѡᔁአஅῈ̀ᆐ֛㑄ᤙῈᑸᏵ㜮㙱᧻⴮ⴗデ
֖எẀଫࢄ⯥ᚬῈῂඪ㻞◴㔭֖ҸՄ✰ԙᐦ̀ġ
㙱᧻Ԡᯔਾ㒤નຸ㻞ᆐ֛ᅠሀ㐉Ꮤᄀ༦㻞Ҹᔺ
დஈൾ㙱᧻დு㻞დஈਾ㒤‫ࠛڗ‬Մ᧻㻞㙱᧻Ҹ
գდஈⴟⓌ᝗ᔁ̀......
-劉小康
利德裕：ᾜ懝䜅ᾼ΅㢘㎟␮ℚⳟ蚸ℚ⬑⌅⁥⽴䮽䠓欨㾾宼宗⾺Ҹ
鍾志平：䜅䋅㢘蚸⡯㳳㎠尜䉉⋗嬐䌮㈘䚱♐Ҹ
劉小康：欨㾾⃫䉉⢚株⥝⾑╙⢚株宼宗ᾼㅒ蚸㎠↠㞾ᾜ㢒㔡⪥
䠓Ҹ▛㮲㞾宼宗ᾼㅒ䠓亟亓☛↺㛵蚸㎟▜㢻⢮宼宗⾺΅ᾜ⪩ⶠ蚸
⃕⪥ℕ䠓‵ᾜⶠ蚸ℚ⬑↺㛵㢘▜䠓ら䵘⾺蚸ⅎᾜ⋷扷㞾亣⢮䚮
⢮朆䠓咀⢚⁉Ҹ㎠↠杫㹷䠓㞾㜃汣欨㾾宼宗憨↚⪶䘿⨒☛姛㫼
䠓䠋ⷤ蚸军棭↚⁉ℕ卹⃤㝈Ҹ㎠↠΅㳰慝ᾼ⢚⪶标⁉㣟蚸㎠㢘
⋸⃜ℕ卹⢚⋶䠓▛‚Ҹ㜿␯⣰㛎〫㞾憨㝈棱䠓劌㏚蚸ᾜ㝆◇亜⪥
⛕⎿䜅⢿朚宼⋻▇蚸ⓣ␸ⴒ↠惘埶䉉䡗蚸崢憨‪⪥⢚ₐ㫼客侃
䜅⢿⁉㣟Ҹ㎠↠㋚〵΅ᾏ㮲蚸Ŝ♐䏛䳥䛴槶⛞⋻▇Ş㢦䅳蚴ōŢůťŰųġ
łŴŴŰŤŪŢŵŦŴ蚵ℕ㾾蚸㎠↠䊰₊㳰慝Ҹ㎠↠㍘䎼╥Ⓘ凩㢃⪩欨㾾⁉

㣟Ҹ厂㝋攍ㅦ。㕟⎿欨㾾䠓䚱♐宼宗ᾜ㎟䌮蚸憨㞾Ӂ桭厖桭塚ӂ
䠓⛞槛蚸懝╊欨㾾ᾏ䢃㸡㢘⪹⪩♐䏛蚸㸡㢘。╿客侃䚱♐宼宗䠓
䛱㫼䚮Ҹ憨㉔㹐⢷⋺ⓐ〃⁲朢㔴炢⒄―ᾏ⶞㘽䚱♐宼宗⾺␄㫼蚸
⌅ᾼŜ欨㾾䕯ⶅ宼宗⾺Ş栂䗭瀮蚴ŅŦůůŪŴġ ńũŢů蚵ⅎ㞾⬑㳳Ҹ⢷㢘欨
㾾宼宗㛨䏅Ὶ䯀㝴䷜儝婣⺅⺝⇴㲰ĩŌŦůġ ŔũŪŮŢŻŢŬŪĪῚ宼宗槶⛞⋻
▇⽴⃫―ⓐ⪩〃ㄛ蚸䜅⁥孉ㄦ㸡㢘⌜⇋ㄦ␯⋴䠓宼宗⋻▇蚸ⅎ卹
姛␄㫼蚸仑㝋㵉⎉ᾏ㨬姏彾Ҹ
鍾志平：⢷宼宗☛䭠㐏⋸㝈棱蚸欨㾾⾛㢪䛀懝ㄏ⑭⽴ⵕ桕䠓
媌憯㫼蚸⨭⇋☛惘⤚厂宼宗☛䭠㐏᾵⳧Ҹ㎠↠⾛㢪◇イ㢃⪩⪥
⢚⋻▇ℕ㾾蚸⁴⊀䚷㢃⪩㢻⢮宼宗⾺Ҹᾼ⢚⁉㣟⎿⪥⢚⋻▇⽴
⃫蚸ⴇ㢘㏏㎟ㄛⅎ㍑ㄦ␄㫼Ҹ㎠⾛㢪㛎〫㔷⎉㛎䳥蚸◇イ㢃⪩
⪥⢚⋻▇ℕ㾾Ҹ
劉小康： ⃕嬐⶞ㅒ⩭埤蚸㜿␯⣰㢘ᾏ㵄㟑㢮╹◇亜⪥⢚⋻
▇蚸ㆌ䛴―㢻⢮⋻▇䠓䚮⳧䰉朢Ҹ
鍾志平：㎠↠憨ᾏ⁲蚸⪶扷⎕媌憯㫼ᾼ⶞ₐ伢䍮冔΅㸡㢘㔴
╦汧䳘㛨剁Ҹ⁥↠抌㞾⋗␯⋴⪶⋻▇蚸䋅ㄛ卹⾀␄㫼Ҹℚ⬑Ŝ㠅
朏䭠㐏㢘柟⋻▇桕⢧姛㛎俌婐Ş㨐ひ⇘蚴ŉŶŮűũųŦźġ ōŦŶůŨ蚵蚸
ⷀ㢍ⓣ␸㗸㏧儔㑘蚴ŎŰŵŰųŰŭŢ蚵朚㑢桕㎟梊彾蚴Ŋń蚵宼宗蚸ㄛ
␄䱚㠅朏䭠㐏㢘柟⋻▇蚸⢷欨㾾ᾙ⾑Ҹ⌅⁥媌憯㫼΅ᾏ㮲蚸⬑
䔸⌆㫼蚸ᾜⶠ⁉΅㢍⢷儝㹿蚴ŎŢŵŵŦŭ蚵䳘⋻▇⽴⃫Ҹ㎠䢇ⅰ宼
宗䠓㉔㹐‵槭⃋蚸⪥⢚⪶⋻▇ℕ㾾蚸梏嬐㢻⢮⁉␪Ҹ㎠↠㕟K
⁉㣟蚸⁥↠╦客ㄛⅎ╾㌠伢毦☛嬚峧蚸卹姛␄㫼Ҹ

ġ įįįįįįࠧკཽ‫ڒ‬அਾ‫ࠛڗ‬Մ᧻Ὲ᝗‫܊‬㔭໛㈔Ⳃ㻞
Ԍ㑼᠃Ӕஅ㻞⚎࠼੎Ꮵ♚ўჀみᤊ㻞ӓᔠ੕‫ڗ‬
ࠛҐ⚎‫ؽ‬ỖஅਾҸᔺ㻱ெ᠃јՄ㻞அਾῈ༅〸
⴮ⴗ໔㻞գ⚎൸அਾᐅ‫ޕ‬໙プ㙱᧻̀......
-陳志毅
陳志毅：欨㾾䠓䐈吁㞾ᾼ嬎▗⩐Ҹ䖍㟑㎟䉉⢚株宼宗ᾼㅒ䠓
㎟␮ℚⳟ蚸㢘㝴㢻ҷ㹤⢚䳘Ҹ嬐ㄦ⎿㎟␮蚸▓㝈棱΅梏␹␪蚸
⋻⌀扷朏ҷ⶗㫼☛㛨剁䛛΅ㄗ捜嬐Ҹ㎠▛㊞イ⋴⪥⢚⋻▇ℕ㾾
䠓㯮⏅棭⿇捜嬐蚸⃕柳㳳⁴⪥蚸劌▵⢷㛎䳥ᾙ㊂愵㹤蚸⁳㢻⢿
⋻▇΅劌⊀䚷⪥⢚⁉㣟蛋䖍㟑嬐⊀䚷⪥⢚宼宗⾺䢇䜅⡿桲蚸㢘
㸡㢘㯮⏅炢⒄⋻▇⊀䚷㼆⪥⁉㣟蚸厘ℚ㢘ĲıĦ⁉␪ℕ卹㼆⪥蛋ġ
⬑㳳ᾏℕ蚸⪥⢚䠓〃悤宼宗⾺蚸ⅎ劌ⶖ⪥⢚㜖⒥⿅懁欨㾾Ҹ

ኗៃ໙ՄῈऄ᝗
陳立邁：崢㎠⡭㍘␘⶞うҸ㎠↠㢍㢘ᾏ↚杫㝋㔗㲙䠓㢒峿Ҹ
␘⶞う㕟⎿梏㷑⛞槛蚸│㞾▵㢘宼宗⾺ҷ⑤䛺⾺厖佷悾䳘䠓⽴
⃫。╿ҷⷀ㫼㯮㢒䳘Ҹ⋺ⓐ〃⁲蚸䛀㝋欨㾾憨䏖⢮⢿╾⁴崢⁉
㠱㏏㳁宏蚸⎉䏗⢷䜅㟑䢇䜅厗㞉Ҹ䋅军蚸⌅ㄛ╿䇲朚㛍蚸ᾼ⢚
⋶⢿余样⌅ㄛ蚸欨㾾⊹⑱摂㾪Ҹ䖍㟑⾑棱ⅎ⋔㜴―䶰汣㢇㢻Ҹ
㎠⾛㢪憞懝㔷ひ㔗㲙⃫䉉⿺␸はⵅ孲㸉⡿⨒䠓㝈㹤Ҹ䖍㟑ᾼ⶞ₐ
㍑ㄦ⁴㳳䉉㏚㵄䠓᾵ᾜ⪩蚸╜军⪶⤚はⵅ⏖劌⪯⎸䚷㔗㲙Ҹ䐈⎴
㞾㟑婬⋻▇蚸ℚ⬑⎸巟蚸ⅎℎ䚷⌅⁥⋻▇䠓㔗㲙⿺␸䚮䚱ҷ朚宼
朏⾑蚸䚩厂庋幆⎴⁉䠓♐䏛蚸⬑Ŝ⋶⢿䛆婬⶗幆〦Ş⎸扝䳘Ҹ

ℚ⬑ᾼ⢚㢜檍蚸ⴒ㞾ᾏⵅĳıĲĳ〃⢷欨㾾″㞢㏏ᾙ⾑䠓⋻▇Ҹ
桥䋅ⴒᾜ⾛㢪⪥䛛䥴懢蚸䋅军⵵株ᾙ⌅㙐㢘䠓♐䏛抌㞾⌅⁥
⋻▇䠓㔗㲙Ҹⴒ⢷⋼ҷᾒ〃⏜弆ⵅ㟑蚸᾵棭⁴媌姲⎉怺蚸‵
棭はⵅ蚸╹㞾ᾏⵅᾼ⶞ₐҸ䋅军蚸憨ⵅ⋻▇嗦捜宼宗蚸㍑ㄦ
⃤岑♐䏛蚸≔⎸䚷⋸↚♐䏛蛆ŋņņő蚸ᾏ↚㸌恙♐䏛蛇⁴╙
ŔŢůŵŢġ ŃŢųţŢųŢġ ńŭŶţ蚸ᾏ↚őŰŭŰ♐䏛蚸ⅎ㎟␮ᾙ⾑Ҹ㙩ҿ㞝⧀Ӏ
⧀懢蚸ĳıĲĳ〃⌅㫼⑨⨭朆弔懝ĴıĦҸ憨ℚⳟ尹㞝⬑㤫㍑ㄦ⎸䚷
♐䏛蚸媌憯㫼䠓ⷀ㫼㯮㢒ⅎ㢒⨭␯Ҹ
⌅⵵蚸㔗㲙‵㢘␸㕟ⓖ宼宗幹亯Ҹℚ⬑Ὲⷋ㊪䐈蚴ŅŢůŪŦŭġ
ŉŦŤũŵŦų蚵蚸ⴒ㞾ᾏ↚㟑婬⪶♐䏛蚸⢷㹤⢚⾁㢘㜇ⓐ〃㴆▁Ҹ䖍
䛀欨㾾䠓ŊůŵŦųŢŴŪŢġŎŢųŬŦŵŪůŨġĩŉŌĪġńŰįġōŵť╥ㄦ⌅㔗㲙Ҹ封⋻▇
㵞宼宗ᾏ₅姲㢜蚸榗嬐⋗伢ŅŢůŪŦŭġ ŉŦŤũŵŦų䠓⶗㫼㟑婬⾺⵸㐈蚸
▗㧋㏜劌摆⚽Ҹ䜅欨㾾䠓宼宗⾺␹␪䎼╥▗㧋㟑蚸ⅎ劌ⶖ⌅宼
宗㕟ⓖ厂⢚株㷃。Ҹ
ㄗ⪩⢚株⪶♐䏛⢷欨㾾΅劌懚䚷㔗㲙㝈ゞҸ䖍⁙军宏蚸ᾜ㞾欨㾾
ᾜ㊂ら䱚♐䏛蚸军㞾㎟㢻☛樷根⪹汧蚸ㄗ⪩はⵅⵂㆤ⫀㛦蚸ᾜ槧
呀憨䳕幊䚷Ҹ㢘䔸⌆はⵅ尹懝蚸㢍㚾⎉‣ҷ⋼䠍喻⢷⋶⢿䉉卹ⵅ
♐䏛干ひ◙蚸┊ᾜ㎟␮Ҹ⁙㟑⁙㝴㎠↠伢䍮♐䏛蚸㝱ᾜ㍑ㄦ⾑⧃
䳥䛴蚸‵ᾜ槧呀⪹⪩榟䴦Ҹ㎠↚⁉尜䉉蚸ら䱚♐䏛蚸↡ᾜ⬑╥ㄦ㔗
㲙Ҹ㚾⁧幊䚷ᾜ⪩䠓ℎ䚷幊蚴ųŰźŢŭŵźġ ŧŦŦ蚵蚸╥ㄦ㔗㲙蚸ㄭᾼⴇ兡♐
䏛䠓伢䍮愵㹤蚸⌜␄憯卹ⵅ♐䏛蚸᾵厖㔗㲙䠓⪶♐䏛▗⃫蚸⨭␯
䥴▜〵Ҹℚ⬑ŊůŵŦųŢŴŪŢġ ŎŢųŬŦŵŪůŨ╾⁴朚宼ᾏ↚⶗㱒蚸㚉㛍ᾏ扷₌
ŅŢůŪŦŭġŉŦŤũŵŦų蚸ᾏ扷⎕ņŭǪŨŢůŤŦŜ㹤⢚㟑婬♐䏛Ş蚸ᾏ扷⎕⏖㞾卹ⵅ
♐䏛蚸ㄭ军㕟ⓖ卹ⵅ♐䏛䠓⊈⇋Ҹ憨↚懝䮚ᾼ‵␄憯―ⷀ㫼㯮㢒Ҹ
䜅はⵅ╥ㄦ㔗㲙蚸卹䋅⶜宼宗⾺㢘梏㷑Ҹ⢷憨↚厖⋷䖒䲅䎼䠓余
ツ㟑⏊蚸⬑宼宗⾺ⷀ㫼㯮㢒ᾜ彂蚸ⶖ⪶⪶⬷䪨欨㾾宼宗㫼䠋ⷤҸ㎠
尜䉉ㅔ榗➦寵╒冒ᾙ慿㝈㹤蚸孲㸉䜅⏜⛞槛Ҹġ
利德裕：⋸冔㸡㢘姬䰐蚸攍ㅦ。㒖⬑㤫㢘㯮⏅◇イ⪥⢿⋻▇
ℕ㾾蚸ⶖ╾㎟䉉㢃槾嗦䠓ⷀ㫼。╿Ҹ
陳立邁：憨㞾ⓐ⎕䖕㊂䠓蚸⃕䊰㹤䥼㢮⋶⵵䖍Ҹ⪶⋻▇梏嬐
ㄗ⪩宗䴦蚸㏜㢒ℕ㾾Ҹ

ġ įįįįįįᆐ֖Ҹ⵳ᯔ㻞ཪ⊦ࢮ᳖㻞֜ѡெࠀ࿏ኗៃ̀Ꮚ
ӊ⺪ỖѡஈῈԽỖ⺪㻚ųŰźŢŭŵźġŧŦŦ㻛㻞ࠀ࿏ኗៃ㻞࿔
Ѳങ◈ࢮ᳖Ὲ⒄᲎みᤊ㻞‫ܲڦ‬ノ✰ൃࢮ᳖㻞Ѯ❅ኗ
ៃῈஎࢮ᳖ࠣԠ㻞଼‫ࠨ₺ݐ‬༦̀࿔◴ዎ޵✰ൃࢮ
᳖Ὲ‫ֽ̀ق‬デ֖ラ∧ѲүܲノҚඐᚬ᝗ᔁ̀Ἀ
བൃࠀ࿏ኗៃ㻞✰ᰝൾ⴮ⴗ໔ᔅ㓭ᢝ̀......
-陳立邁
李澤培：㎠㊂⡭㍘寀䊾㲙⏪㏜㕟⎿䠓㢻⢿䚮䚱俌⇋⛞槛Ҹ⬑㤫
劌⪯䚷䚮䚱㽷⇋蚴ŏŅő蚵␯⁴㵣悒蚸ヱ⑱㢃㾔㫩蚸⾛㢪伀宗埤劌
㕟K封榔幖㜨蚸▵⏖㸡㢘⪹⪶杫⅑Ҹ╵⪥蚸㎠▛㊞宼宗厖␄㜿㎥
䭠㐏䠓杫⅑ⵕ⎖蚸⃕╹⢷㫼䛛宝履㞾ᾜ彂⪯䠓蚸ㅔ榗ヱ㎟䫍㢒⌀
峧Ҹ䔚㬽䕜⬂⩺蚴ŋŢůŦŵġŘŰůŨ蚵㙣₊␄㜿䭠㐏儁儁朆㟑蚸⾁厃␪
炢⒄⾑㶠☛ⴇ䚮⶜␄㜿䭠㐏憨㝈棱䠓尜峧☛⦈檙⁥↠䠓厗弲Ҹ㎠
⢷ĳıĲĳ〃┇₊␄㜿䭠㐏儁ⷻᾚᾏ去㚾㖃宗␒寤⵸⭣♰㢒Ὴ⾼㟑
΅岪懝蚸⭣♰㢒㍘䯜㬄憞懝㛎〫㘴㳍㚾㖃蚸炢⒄䠋ⷤ␄㜿Ҹ

討論摘要 17

履⩖Ὴ槛蛆⴮ⴗ㻠⒄ᬹ
╵⪥蚸⃯↠㕟K䠓㜖₅㕟⎿㢻⢮㜖⒥蚸㎠尜䉉㢻⢮㜖⒥䳘▛㢻
⢮⾑⧃蚸㼆⪥㜖⒥䳘▛㼆⪥⾑⧃Ҹ宝履㟑㍘冒㋽憨㞾⋸⡭‚Ҹ
ℚ⬑ら䵘⾺⢷欨㾾厗ら㏎ⷚ蚸厖⢷⪥⢚厗らⅎ㞾⋸⡭‚Ҹ㎠棭
⿇▛㊞⌅ᾼᾏ⃜⎉⾼冔㏏宏蚸宼宗╾⁴㞾䰉ᾼ㮢朲蚸㎠▛㊞宼
宗㍘㢘ㆬ㊂卹䛀蚸ㅔ榗㢘⪱㊂㎥《㊂蚸⃕▛㟑‵嬐尜㾔⾑⧃䖍
⵵蚸⌜ⶖ⋸冔␯⁴拜▗Ҹ

ġ įįįįįįᆐࠧკ⴮ⴗᅠᔅါჀ✰ở㻞࿲㖤ᔅ஋Ⴠᆔ
་Ⴠ㻞ԌࠧᒂүⳂ⵳᧧ຸ૴Ḉ൤㻞‫ڦ‬൸‫ݐ◰ڕ‬
Ӕㆰࠣ̀įįįįįį
-李澤培
孫耀先：欨㾾㞾ᾏ↚朚㛍⥝⾑蚸⢷◇イ⪥⢚☛⢚⋶宼宗⾺ℕ
㾾蚸夜⋴㢻⢮蚸⌜憞懝欨㾾廿⎉⢚株䠓懝䮚ᾼ蚸㢻⢮孡吁䢇䜅
捜嬐Ҹ㎠↠䖍㟑㢘őŎŒġ ĩ⋒␄㝈Īī蚴寊⡪蚵蚸⎸ㅆ婤‵㕟⎿㛎〫⢷㵞
Ⓩ㘴㳍ᾏ⊓㾾⋒蚸⁴㚾㒐▓ⓏⓏ峿㢒㔷姛䠓捜灭榔䡽Ҹ宼宗姛
㫼㍘⬑⃤⎸䚷憨↚㯮㢒蚸㔷⑤㢻⢿梏㷑蛋㎠⿅⎉憨ᾏ↚⛞槛蚸
⾛㢪⪶ⵅ⡭㍘Ҹ
利德裕： ╊〃㎠↠伢⿇㕟⎿蚸Ӂ␄㊞⥝⾑宼宗比⑤ӂ憨╲
埮蚸⢷␄㊞⥝⾑䠓㬑ㆄᾚ蚸宼宗柳―⢷⽴㫼㍘䚷⪥蚸㝋䫍Ⓩ‵
ㄗ捜嬐蚸ⴒ㐎㙣―㚾㒐㛈✓䫍㢒䘿⨒䠓₊⑨Ҹ

ġ įįįįįį㙱᧻Ꮥ༠ѡᅠࠏ㦜‫ⴗ⴮ݾ‬໔Մ᧻㻞ㄖᅠ
‫܍‬ᬢᔠ੊㓭ᢝ̀ᔠ੊㓭ᢝѻⳂᑸ፸ᔅĲĴًҸࠉ
Ὲਾ‫ړ‬㓭ᢝ̀ⳂᇩʁŅŦŴŪŨůŦťġ Ūůġ ŉŰůŨġ ŌŰůŨĭġ
ńųŦŢŵŦťġ Ūůġ ŉŰůŨġ ŌŰůŨʂ㻚͉㙱᧻⴮ⴗ㻞㙱᧻
Ⱡノ͊㻛Ὲკတ໙‫ڒ‬ѲਾⱠノᚬ㻞ཪ⊦㙱᧻
ࢮ᳖㻞‫ٿ‬㔱ࠬਾ‫ړ‬Ὲ㧸எຸ૴㻞ᰝ࿊プ、‫ڔ‬Ѩ
ự̀ཪ⊦ࢮ᳖࿲ᰝᑸ௸ᐨᔠ੊̀......
-朱裕倫
朱裕倫：厘ℚ尹蚸ᾏⵅ⎉╲⪶ₐ㫼⋶扷䎼峿䅏䉗蚸宼宗⢧栙
㍘宼䱚⢷儝⢚戓㞾欨㾾Ҹ⢷儝⢚䠓⬌埤㞾蚸䛀㝋⌅♐䏛Ὴ嬐
ℕ卹儝⢚蚸儝⢚宼宗⾺㢒㵣悒―孲㼗幊冔梏㷑蛇⃕僉灭⏖㞾宼
宗⢧栙ⶖ桱媌憯㫼俌扷⪹懯蚸㔴宇ᾜ⎿ℎ䚷䏸㜨☛⽴はҸ憨ℚ
ⳟ尹㞝⋸↚⢧栙夜▗䠓⫠㯮Ҹ欨㾾桥䋅㳰慝イ⋴⪥⢚宼宗⾺蚸
⃕⁥↠䉉⃤嬐ℕ㾾蛋㳲⡯䉉䜅ᾼ㢘⎸䡙㔷⑤Ҹ⋼ⓐ〃⁲㢘⽴ⷤ
㢒蚸㳲⡯䉉㢘㢻⢮⾑⧃梏㷑☛㢻⢮♐䏛Ҹ⎿ㄛℕ庉撱ⵈ㞢蚸㜇
⁴⊓宗帷䏸⎉╲蚸䉉⃤⁜嬐杫ㅒ㢻⢮♐䏛蚸䋶槶亿⶞䠓㢻⢮⾑
⧃蛋䖍㟑⎉╲䁠嗌蚸ᾼ⢚⾑⧃朚㛍ҷ炢⒄⋶梏蚸㎟ⷀ―欨㾾厖
⢚⋶凾㏚䠓⫠㯮蚸⁴ᾼ⢚⪶标䚱♐⃫♐䏛Ҹ
ℚ⬑慹⩺ⷋ⁙〃ⅎⶖイ⋴Ӂ✫儙儙ӂŜひ╦⋶⢿㳰慝䠓⑤䛺䵏
䡽Ş蚸⁳ᾼ⢚▛剭⎿慹⩺ⷋ㟑↜㊮嬹⎖Ҹ✫儙儙ⶖℕ‵ⶖ懁姛
㔗㲙Ὶ槭䠓㫼⑨Ҹ㎠㢍ら峿慹⩺ⷋ姛㛎俌婐捠㶠巹⋗䚮蚸㵞〃
厘愵慹⩺ⷋ⁉䏸㢻⢮宼宗㵣庌蚸⶚㷑欨㾾はⵅ㚾㒐蚸␄⃫欨㾾
宼宗䠓亏ㆄ♐蚸᾵␯⁴㔷摆Ҹ㵞〃㢘ĵĭııı⪩喻懙ⴱ⎿慹⩺ⷋ蚸
䜅ᾼ⪶扷⎕ℕ卹⋶⢿蚸䉉⃤欨㾾宼宗䠓⿌ⳟҷ姲㢜ҷ桷∧ҷ㜖
⌆ҷ䔸⌆蚸䚩厂汧䏍⪺䖒蚸ᾜ劌䛀慹⩺ⷋ╥ㄦ㔗㲙蚸⢷欨㾾摆
⚽蛋欨㾾㛎〫ᾜ㍘╹炢⒄宼宗⾺ℕ㾾蚸戓㍘⏉䅏㢻⢮梏㷑Ҹ㢻
⢮梏㷑Ὴ嬐㞾㙐㢘ĲĴ⊓⁉╲䠓⢚⋶梏㷑Ҹ欨㾾㞾♐幹㮨尛蚸㎠

18 討論摘要

↠嬐㐙ʥŅŦŴŪŨůŦťġŪůġŉŰůŨġŌŰůŨĭġńųŦŢŵŦťġŪůġŉŰůŨġŌŰůŨʦ蚴Ӂ
欨㾾宼宗蚸欨㾾媌憯ӂ蚵䠓㊞ㆄ⿅⋴ᾼ⢚媌憯㫼蚸ら䱚欨㾾♐
䏛蚸⋗棱■⢚⋶䠓焟⪶⾑⧃蚸䋅ㄛ懁恜⋷ᾥ䛛Ҹら䱚♐䏛ㅔ䋅
㞾⭚㝋㢻⢮䋅ㄛ䠋ⷤ厂⢿Ⓩҷ⢚株蚸ᾜ㢒憕姛Ҹ‚⵵ᾙ㎠↠΅
䊰㹤㏢⋴儝⢚⾑⧃ら䱚♐䏛蚸⏝戲⋘悬ᾜ⁲姷㷇㇕蚸ㅜ冔焫䳘
♐䏛ⴛ⋷䊰㹤厖ŎŢŵŵŦŭ䳘⪶♐䏛⶜㐦Ҹ欨㾾⁉㊂嬐⢷儝⢚ら䱚
♐䏛蚸樷根⪶ㄦ䊰㹤㊂≞蚸΅ᾜ劌㍘⁧㜖⒥⽽䛿☛䜅⢿佁仰Ҹ
ㄗ⪩⁉➦寵懝΅⫀㛦军⡭Ҹ㏏⁴㎠↠㍘㔛㕰Ὴ⶝㲙ҷ尀‚㲙蚸
⢷欨㾾ら䱚⾑⧃梏㷑蚸憨㞾欨㾾␄㊞⽴㫼☛宼宗⽴㫼捜㜿⎉䠋
䠓捜嬐⫠㯮Ҹ

ġ įįįįįįᆐῂḈວᚬự⒄໛அ‫⃛۾‬ῂ߻⴮ⴗ‫܅‬ਾ
அ̀ᆐ֛ᅠ࠼◮ᄝјᐦ㔱ῂඪᔠ੊Ҹᔺ㻞ࠌј
ᐦ㔱ࡌཽᓷஈஅਾҸᔺ㻱įįįįįį
-李澤培
李澤培：怺䉉⛕䛛⁉⩺蚸㎠䠋䖍⽴㫼䛛伢⿇⪥⎳䦣䠋╙宼宗
⎿⢚⪥Ҹ㎠↠㍘▵冒㋽ᾏ㝈棱䠋ⷤ㢻⢮⁉㣟蚸╵ᾏ㝈棱◇イ㢃
⪩⪥⢚⁉㣟蛋⏜冔ℚⳟ⬑㟑婬宼宗㝈棱蚸䛀幎䠋⷏Ὴ愵䠓Ӂ欨
㾾棡〃㟑婬宼宗ⵅ␄⃫姷䂣庌ӂī蚴寊‣蚵㢒仵‗ㄦ䓝冔䓝捠蚸⎿㊞
⪶⎸⵵⢿冒⵮ᾏ㞮㢮Ҹ憨㞾ᾜ撾䠓㬑ㆄҸ厂㝋ㄛ冔蚸㳟儝伢䅮
ᾜ㟾蚸ㄗ⪩⁉⾛㢪ℕ㾾⽴⃫蚸憨㞾㎠↠䠋ⷤ䠓㯮㢒Ҹイ⋴㢃⪩
⪥⢚宼宗⾺蚸⃫㢃⪩䫉䵓☛䂣岪蚸㛗㤫╾劌㢃ℂҸ
孫耀先：欨㾾㐤幖㔷ひ蚴ᾚ䯀Ӂ㐤幖㔷ひӂ蚵㞾▵懁姛㑪㚻
⪥⢚⁉㣟⎿㾾䠓⽴⃫蛋
朱裕倫： ᾜ㞾蚸㐤幖㔷ひ儁炢⒄⪥⢚⋻▇⢷欨㾾㎟䱚⎕⋻
▇ҷ⢿Ⓩ俌扷蚸⁴╙◇イ㐤幖Ҹ
鍾志平：㐤幖㔷ひ儁㍘封㢘懁姛㑪㚻⽴⃫蚸⃕欨㾾㢏⪶⛞槛㞾
ⴒ㸡㢘伫▗仓俣Ҹ欨㾾㝔懙䠋ⷤ⷏ġĩᾚ䯀Ӂ㝔䠋⷏ӂĪҷ㐤幖㔷ひ
儁ҷ幎䠋⷏䳘ᾏ䢃㔷⑤欨㾾䠋ⷤ蚸⃕▓㝈棱ⓣ屎㞾▵彂⪯蚸⇋
ㄦ⛕㭆Ҹ䛀尿宑䱚㛎䳥蚸◇イ⪥⢚⁉㣟ℕ㾾蛋尿劌⪩廿ᾏ㳴蛋
ℚ⬑㎠䥴懢㐤幖㔷ひ儁ⶖ㢘姛⑤蚸⋼㢗⎬厖幎䠋⷏⢷儝⢚亟亓
☛ᾘ坸⾑蚸厘愵ġʥŵũŪůŬġłŔŊłĭġŵũŪůŬġŉŐŏňġŌŐŏňʦġ㻊⑤Ҹ
利德裕：ㅔ榗㔷⑤佁仰蚸⁳▓㝈㢘㢃ℂ拜▗Ҹ

ġ įįįįįįゕ༎༅㙱᧻≳ᰝ଼‫ݐ‬Қѡං޾Ԡ≭㐑㻞ᔅ
⼢Ὲᑸ㻞ѡං޾Ԡ≭㐑੟ởஅਾҸプ㚕㻞ㅘ۬
ᑸ『Ӟວ∧໔㻞ㅘ۬ᑸ⴮ⴗ໔̀デҧ≭㐑㓂ࠣ
ѡࠧự‫ۿ‬Ҹ୮㻞ྪᆏј♏⒄ᬹ‫ݎ‬㈖̀......
-孫耀先
劉小康：⁙⪸䠓䡽㮨⌅⵵ᾜ㞾宝履欨㾾宼宗㫼㞾▵㎟␮蚸军
㞾欨㾾宼宗㫼⬑⃤⿺␸欨㾾伢䅮䠋ⷤ蚸㎠↠㍘㙣䜅䚩灋孡吁蚸
㢘⃤娺ㆌ䛴㎥⇩ㄦᾜ⪯䠓⢿㝈蚸䉉宼宗㫼ҷ㛎〫ҷ⛕䛛ҷ媌憯
㫼䳘㕟K╒冒Ҹ䜅䋅㔱宝䠓‚㉔ᾜ㢒⢷⁙⪸⋶ㄦ⎉㏏㢘䳣㧗Ҹ
⢷〶ᾜⶠ΅㞾伢䅮䠋ⷤ⭣♰㢒ⷻᾚ媌憯ҷ汧㜿䭠㐏╙㜖⒥␄㊞
䚱㫼⽴⃫⶞仓㎟♰Ҹ宼宗ᾼㅒ☛欨㾾宼宗俌㢒⾛㢪⶚㐍佩亱蚸

㔱宝宼宗☛␄㊞䚱㫼㔷⑤欨㾾伢䅮䠓孡吁Ҹ㣀婤↺㕟⎉―⾑⧃
⛞槛蚸攍ㅦ。㕟⎉―劺䵏⛞槛蚸䉉⃤䕯ⶅ䛛䠓䕯ⶅ宼宗⾺ᾜ
彂蚸㸡㢘㕟K屁䮚☛客侃蛋栂䱚成尜䉉欨㾾戓㢹劌⬌⬌⎸䚷㔗
㲙憨榔㯮⏅蚸᾵⁴㳳䉉⦉䪝㕟⎉ᾏ⫦㜿㝈㹤Ҹ憨㞾⌅ᾼᾏ㨬佩
亱蚸⃕戓㢘⌅⁥╾劌ㆶ❝蛋

利德裕：⴫ⵅ憨↚䗭⌇䥴▜♐䏛廿⵵䚷宼宗㬑ㆄ蚸㙩尹⒦㳟
ⶳ⌅䗭⌇蚸䖍㟑㳲⎸䚷⴫ⵅ⃫。╿蚸個倛㔷姛憨ᾏ㬑ㆄҸ

孫耀先：㎠↠⏪㏜宝履䠓⋷䖒㎥㢻⢮⾑⧃蚸⶜〃悤ᾏ⁲㞾㸡㊞
儸䠓Ҹ⁥↠⪶⪩⢷埪㙻ᾥ䛛ⴇ兡ҷ⮪㮑☛仟峧㢚╚Ҹ㢏慠欨㾾
ᾏ儳卹䯀ʥĺŨŢŨʦ䠓棡〃⁉蚸㎟␮⢷䦌巆╥ㄦ樷根幖㢻Ҹ⢷‡
凾佁ᾙᾏ䈽军五㎟䉉♐䏛Ҹ憨㞾╾劌䠓Ҹ▛㮲蚸㢏⎬尿㊂⎿ᾏ
↚▜䉉ʥłůŨųźġ ŃŪųťŴʦ䠓㍘䚷懙㏁䮚ゞ蚸劌㖥怺ᾏ崙㎟䉉⪶ₐ
㫼蚸䚩厂朚㑜梊㄀蛋憨㳲㞾攍ㅦ。㏏岪䠓䭠㐏Ҹ╵ᾏ䖍巰㞾蚸
慠」〃欨㾾䰐䋅⨭␯―ᾜⶠⓣ⃫䰉朢蚴ŤŰĮŸŰųŬŪůŨġ ŴűŢŤŦ蚵蚸ℚ
⬑ńŰńŰŰůҷŕũŦġ ŉŪŷŦҷŕũŦġ ňŰŰťōŢţ䳘Ҹ㢘弲䠓㞾蚸ᾜⶠⓣ⃫䰉
朢⣖䛀⪥⢚⁉懁歟蚸扷⎕㞾恮₅⽴䮚⾺蚸扷⎕㞾宼宗⾺Ҹ憨‪
䰉朢桕▗ᾜ▛䛛⎴⁉⩺蚸ヱ㎟ᾏ到伢䅮␪捞Ҹ

ᔁඪᚬᆏ‫ݏ‬Ὲओ↗

ᔠ੊⴮ⴗ❅ຸ૴Ὲҡ‫ݓ‬ҡ‫܂‬
朱裕倫：㎠㝸⏜厖㝔䠋⷏俌〈‚␘攽䂱蚴łůŵũŰůźġōŢŶ蚵凙⪸蚸
㎠尹őŎŒ㝋ĳıĲĴ〃〃〤㎥ĳıĲĵ〃⎬㳲ゞ朚㫼Ҹ㵞〃㢘ĵĭııı⪩
喻⁉ℕ㾾蚸䉉⃤ᾜ␄憯ᾏ‪欨㾾㢻⢮亏ㆄ♐蛋㝔䠋⷏䚩厂╾
⁴朚㑢ᾏ↚♐䏛蚸㵞〃厘愵宼宗㵣庌蚸䉉宼宗⾺☛媌憯㫼㕟
K⽴⃫䰉朢Ҹ摆⚽䠓䚱♐ⶖ䛨⢷⪥⢿㼗幊冔㏚ᾙ蚸䉉欨㾾弆
⎿㬄⪶㔷摆⃫䚷Ҹ㳲⬑欨㾾㼆㺚⋻⢡⃫䉉ᾏ↚Ὴ槛⋻⢡蚸‵
㎟␮宼宗⎉㮨尛蚸ⓣ␸㔷摆蚸杫攄㞾䛀欨㾾␄憯⾑⧃梏㷑Ҹ
㎠ᾜ㞾宼宗㎥坬姢⎉怺蚸⁜⾛㢪⿺␸欨㾾伢䅮惘⤚蚸廿■欨
㾾宼宗蚸᾵⢷ᾼ⢚朚㑢媌憯㫼蚸憨ⶖ㞾㢏⪶䠓⨭⇋Ҹ㎠↠
΅嬐㙐㢘卹⾀䠓♐䏛蚸瀴⋫㞾棭⿇㎟␮䠓ℚⳟҸᾏ‪ᾼ⶞ₐ
悒桲ら䱚卹ⵅ♐䏛蚸⃕㝔䠋⷏ҷ㼆㺚⋻⢡☛慹⩺ⷋ䳘⋻⌀。
╿蚸⾁伢劌檙㻊⪶捞媌憯㫼Ҹ
孫耀先： ⃯㕟挡―㎠蚸␄㊞䚱㫼ⶳ⌅⋶ⵈῊ⶝䠓䀱⎉㛗㍘
蚴ŴűŪŭŭŰŷŦų蚵╙ῧ㜇㛗㤫蚴ŮŶŭŵŪűŭŪŦųġŦŧŧŦŤŵ蚵Ҹ╿䇲慠〃䩉⵵懣⎿
㳳㛗㍘蚸梊㄀ҿ㼆孡ᾒ埮Ӏҷҿ戲‪〃蚸㎠↠ᾏ弆憌䠓⬂⳸Ӏ
崢⩍ᾐ☛Ῥ₌䠓㝔懙㫼䇺憮䠋ⷤ弆ℕ蚸懁军⿅⑤―媌憯㫼䠋
ⷤҸ⶜⋶摆䠓䀱⎉㛗㍘⿅⑤⌅⁥伢䅮⊈⇋蚸⃯↠㢘⃤䢚㹤蛋
利 德 裕 ： 咀 ⢚ ☛ 㜿 ␯ ⣰ 㢘 ‪ 姲 㢜 㮨 㞝 㞾 ʥ ŏ Ţ ŵ Ū Ű ů Ţ ŭġ
ňŦŰŨųŢűũŪŤʦ蚸㵞₅姲㢜▛㟑ⷤ䫉宼宗⾺▜䯀Ҹⴒ↠㳲ら䱚♐
䏛。╿蚸ⓣ␸宼宗⾺廿■ᾥ䛛Ҹ㛎〫ҷőŎŒ㎥⌅⁥蚸柳―㔗
㲙⪥蚸㍘戓㢘㢃⪶䰉朢Ҹ
朱裕倫：呴はⵅ⾛㢪䭮䚷őŎŒ䠓⽴⃫ⴳ蚸榗厖⌅Ὴ嬐宼宗⾺
ᾏ▛䛂屚Ҹ封宼宗⾺榗⢷⽴⃫ⴳ⋶⽴⃫ҸőŎŒ㞾宼宗⢿㮨蚸ᾜ
㞾◇イ懙ⴱ䠓䐈干⧃Ҹ
陳嘉賢：㎠↠ㅆ⢚ⶅ䠓㱴㱒΅㢘槭⃋㉔㹐Ҹ㢘ᾏ↚媌憯㱴㱒
棱㤎䕊䘒䠓ⓣ㢒ŅŦŵŰŭŧ蚸㢒戏屚⋷䖒䠓ら䵘⾺☛坬姢ⵅ宼宗⢥
㧗蚸僽㛍㝋㱴㱒棱㤎蚸ⴛ㎟ㄛ㢒㢘⁥↠䠓䷌▜Ҹ桥䋅╹㞾摆⚽
䕊䘒蚸⃕㢒テ屎宼宗⾺Ҹ⴫ⵅⵅⷔ΅㢒戏屚宼宗⾺╒厖媌⃫䚱
♐蚸ᾜ䴰ⴒ劌干⪩ⶠ撱Ҹ憨‪⌅⵵㞾♐䏛䠓姛摆ⴇ㏚㵄蚸劌䢃
㔴⛕㫼⒥蚸ᾜ䥴㎠↠劌▵‗⁴⵵徟Ҹ

劉小康：欨㾾⃫䉉ᾼ⢚䠓䰦╲蚸戓㢘㜇〃㟑朢蚸⾛㢪劌坘㳳
㯮㢒蚸⿺␸ᾚᾏ⁲ら䱚⌅剛㟾☛劌␪Ҹ

朱裕倫：㎠㙣₊欨㾾ⷤ孌㢒峿㫼ⓣ㢒㢒朆⾁伢⋺〃蚸䖍㟑㞾
ⓣ㢒㷇懯▜崌Ὴ⾼Ҹ㢒ⷤ㫼憨㜇〃䫍㢒⢿⃜崙⒥⽷⪶Ҹ
ⓣ㢒㢘」榔⴦㝷蚸䲻ᾏ蛆䰐⎉㢒ⷤ㫼⢷⢚㶠伢䅮ᾼ䠓捜嬐ㆶ蚸
ⴲ≂欨㾾䉉‭㻁㢒峿ⷤ孌Ὶ抌蚸憨㞾⢿Ⓩㆶҷᾥ䛛ㆶ蚸⁴╙㢻
⢮ㆶ䠓Ҹ㎠↠㵞〃懁姛伢䅮㄀榎⎕㤟蚸屎㥴㢒ⷤ㫼㵞〃䉉欨㾾
⿅ℕ⪩ⶠ⋷分ⷀ㫼ҷ伢䅮㛗䡙╙㢻⢿䚮䚱俌⇋Ҹ⎕㤟屚䛱欻⮐
㢒宗⾺‚⑨㏏蚴ŌőŎň蚵懁姛蚸⌆㲙⮐ㆶҸ䲻‛蚸朚宼㛨剁屁
䮚蚸㕟汧㢒ⷤ㫼ㄭ㫼♰⶗㫼㷃。Ҹ䲻ᾘ蚸朚㑢佁仰蚸仓俣⁲姷
⢧懁⎉欨㾾Ҹ䲻⡪΅㞾㢏捜嬐䠓蚸ⷀ㞾⁲姷㫼䛛刁概蚸厖㛎〫
╙Ⱑ汣⶜尀蚸■Ⱑ汣姷懣㜃↚姛㫼䠓寃㷑Ҹ
ⓣ㢒㎟俍槾嗦蚸帰㛎▇▇朆㘴㳍Ĳ⊓Ķĭııı喻㾾⋒蚸ĩ㝋ĳııĹ〃
ĲĲ㢗Ī㎟䱚Ӂ欨㾾㢒峿╙ⷤ孌㑢ⷤ扷ӂ蚴ŎņŉŌ蚵蚸ⷻ㝔䠋⷏㝦
ᾚ蚸㵞〃㘴⎉Ĵĭııı喻㾾⋒㔷ひ欨㾾㢒ⷤ㫼Ҹ⢷ĳıĲĴ〃Ĳ㢗宼䱚
䠓伢䅮䠋ⷤ⭣♰㢒㎟䱚―⡪↚⽴⃫⶞仓蚸⌅ᾼᾏ↚▜䉉Ӂ㢒ⷤ
╙㝔懙㫼ӂ蚸☌▜ᾙӁ㢒ⷤӂ䚩厂㛍⢷Ӂ㝔懙ӂῚ⏜Ҹ㎠尜䉉
ᾙ慿ℚⳟ╜㞯蚸宼宗㫼㎥梏嬐槭⃋⏅〵㚾㒐Ҹ㎠ᾏ䢃尜䉉㍘㔷
ひ憨╲埮蛆ʥŅŦŴŪŨůŦťġŪůġŉŰůŨġŌŰůŨĭġńųŦŢŵŦťġŪůġŉŰůŨġŌŰůŨʦ
Ҹġ⁴欨㾾⃫䉉♐䏛蚸ʥŅŦŴŪŨůŦťġŪůġŉŰůŨġŌŰůŨʦⷀ㞾⬌㤀嬎蚸
㞾㟑ⶩ☛♐幹Ⅼ峘Ҹ厂㝋媌憯⛕⢷♹婰蚸᾵䊰㏏岑蚸欨㾾宼宗
ⶖℕ䚩厂ᾜㅔ⢷ᾼ⢚媌憯蚸╾⁴㞾㥻⥣⵷ҷ弙ⓦҷ⓿ⷋ蚸䚩厂
佻䛇媌憯Ҹ憨㳲㞾欨㾾⨭⇋䠓扷⎕蚸嬐㞾Ӂ欨㾾宼宗蚸欨㾾媌
憯ӂ䠓⊈⇋汧㝋㢻⢿㞑幃厥䭮蚸⋷䖒宼宗⾺΅ⶖ㮑㊞⎿憨↚ᾼ
嬎▗䘶䠓⢿㝈朚〦蚸⁥↠ⶖ―孲Ӂ欨㾾宼宗ӂ䠓⊈⇋蚸╾ⱁ儝
Ӂ丂垼宼宗ӂҷӁ⾃灝宼宗ӂ蚸╗㎥弔弙Ӂ㵣⎸㟑宼宗ӂҸ嬐
懣⎿憨↚䡽㮨蚸㎠↠梏嬐㢃⪩㔷ひҸ

ġ įįįįįį㙱᧻Ԡᯔࢮ᳖㻞ʁŅŦŴŪŨůŦťġŪůġŉŰůŨġŌŰůŨʂ
ඐᑸுᕎⳁ㻞ᑸᒂආࢄࢮ⻏ռ⸅̀✵ᐨⱠノऄ੎
ࣇⱍ㻞Ѯᰑᆯⷈ㻞㙱᧻⴮ⴗ൸Մọ✵ѡ࿲੎Ѳਾ
Ⱡノ㻞デ᠂ᑸ㙱᧻଼ֽῈㅘ۬㻞Ⳃᑸ͉㙱᧻⴮ⴗ㻞
㙱᧻Ⱡノ͊Ὲ‫ֽق‬㜲ᐨᔠ੕ᑖ⺣❑∏㻞‫ڔ‬Ḍ⴮ⴗ
໔Ґ൸᜖კ‫܅‬デ֖ѲⳁࠣṹῈ੕ᐦ㐉༝̀......
-朱裕倫
⃫䉉⌆汣ら峿蚸䲻ᾏ蛆欨㾾╾懁姛㢻㾾宼宗㫼伢䅮㄀榎⎕㤟蚸
伀宗埤㢘㢒ⷤ㫼䠓伀宗㜇㙩蚸㎠↠⏖㐍ℕŌőŎňら䱚㮰⤚蚸⁴
╒ⷤ⛕⋴⃞拡〦䳘▓榔幖㜨蚸宗䴦䀱⎉㛗㍘䠓㭢㨎蚸▛㟑⢷㢒
ⷤ㫼♰⽴⪥蚸亜⋴㾔䃣⽴ҷ拡〦♰⽴䳘蚸ㄦ⎉⋷分⁉㜇Ҹ㎠↠
䥴懢蚸㢒ⷤ㫼⃣㢻㾾ňŅő䠓ĲįĶ蚱ҷ㵞〃㕟Kķĺĭııı↚⋷分分
⃜ҷĴıı⪩⊓㾾⋒䠓伢䅮㄀榎ҸŌőŎň䠓㜇㙩蚸╾厖咀⢚☛ㅆ⢚
㵣悒蚸Ὴ⶝㲙⢷㎠↠㏚ᾙ蚸ᾜ㞾⢷㛎〫扷朏㏚ᾙҸ㎠㞾⢚株ⷤ
孌㫼ⓣ㢒‭㻁╙㹪⪹。㺚⎕扷Ὴ⾼蚸⌆㢘㲙⮐ㆶ蚸ⓣ㢒俌扷⢷

討論摘要 19

履⩖Ὴ槛蛆⴮ⴗ㻠⒄ᬹ
⾃灝⾁㢘Ĺı⪩〃Ҹ㎠䌮䥴㹤⢚ҷ咀⢚☛䅂㻁䠓⇩㹤Ҹ㎠↠㵣㛎
〫㢃䌮㈘䢇杫姛㫼蚸㛎〫΅䢇ⅰ㎠↠䠓㜇㙩Ҹ
䲻‛蛆欨㾾㍘㎟䉉‭㻁宼宗Ὶ抌Ҹ㎠↠䠓ⷤ孌㢒峿㫼ⓣ㢒䓷␪
ⶖ欨㾾㏢憯㎟‭㻁ⷤ孌Ὶ抌蚸᾵⁴欨㾾䖍巰☛⽴㫼峘㞝㢻⢿⪩
ⶠⷤ孌蚸㞾⋷䖒䲻ᾏҸ憨▜崌㞾㸡㢘峘㢇蚸⃕⶜欨㾾䠓⢿⃜蚸
⋷䖒㸡㢘⁉㛱幹䜠Ҹⴒ⁳⪥⢚⋻▇亪亪ℕ㾾愵ⷤ孌蚸䚩厂朚宼
愵⋻ⴳ蚸惘军懁⋴叾ㆶㄹ䘿Ҹ欨㾾ᾜ㞾㸡㢘⦉䪝蚸㎠↠㢘ㄗ⪩
㝈㹤峘㞝卹⾀ᾜ㞾ㄡ⌆埪▜Ҹ
⡯㳳㎠↠΅ᾜㅔ㛎〫䛂屚㎟䉉宼宗Ὶ抌蚸╹嬐㎟䱚䢇杫ⓣ㢒ⅎ
╾卹姛ⴛ㎟Ҹ╵⪥懁姛伢䅮㄀榎⎕㤟‵ㄗ捜嬐蚸宼宗㫼㚾㖃媌
憯㫼蚸嬐宗䴦䀱⎉㛗㍘☛⶜伢䅮㄀榎蚸╾嬐㷑ŌőŎň㎥⌅⁥⶗
㫼㯮㭚ら䱚㮰⤚Ҹ呴凧䚷⢚株ㆶ㲙⮐㯮㭚蚸㸡⁉劌幹䜠封伢䅮
㄀榎⎕㤟Ҹ
劉小康：㎠↠令ᾜ╾悤嬥䦣䰅䠓捜嬐ㆶҸ欨㾾㛎〫ĲĺĺĶ〃㔷
⑤㢜⑨㫼㟑蚸㸡㢘⒔㑻宼宗㫼蚸╹㢘ひ◙㫼Ҹ䜅㟑㎠↠ⓣ㢒卹
姛ⴛ㎟屎㥴ㄛ蚸ⶖ宼宗㫼⁉㜇ҷ㢮㢪ҷ⢷ᾼ⢚⪶标䠓䚮㊞槜䳘
幖㜨⋷扷″仵㛎〫Ҹ坘憨‪㜇㙩蚸宼宗㫼㏜ㄦ⁴捜㜿亜⋴㢜⑨
㫼蚸▵⏖幎䠋⷏㝴ㄛ΅ᾜ㢒⪶␪ⓣ␸㎠↠Ҹ
帰㛎▇▇朆㘴㳍Ĳ⊓Ķĭııı喻㾾⋒㚾㒐㢒ⷤ㫼蚸榗伢䱚㹤㢒⵸
㐈Ҹ⡯㳳㫼䛛㜇㙩棭⿇杫攄Ҹ姛㫼卹怺㢏―孲封㜇⳦蚸㍘封卹
⾀宗䴦Ҹ憨㞾䜅榼㩡✬蚸宼宗㫼΅封懁姛䢇杫䦣䰅Ҹ

ġ įįįįįįᆐ֛⑗ѡࠔ〸Ⳑ⃛≪Ὲ㈔Ⳃဳ̀įįįįįį
-劉小康
朱裕倫：憨㞾⡯䉉憨‪⶗㫼㯮㭚㵚榗䋸㊀㜇㙩ℕ䀟Ҹⷤ孌㢒
棱䯜ҷ╒ⷤ⁉㜇☛容ⴱ⁉㜇䳘㜇㙩䛀㎠↠㕟K蚸ⴒ↠╹帯帻ら
䱚ᾏ↚㮰⤚蚸⽴⃫䢇⶜䶰✽Ҹ

ġ įįįįįįἈ㙱᧻ᆏᯔ⴮ⴗ҃ㅩ㻞‫ڔ‬Ѩự⴮ⴗ໔‫᧻܅‬
࿊㻞൸ѡ‫❅؛‬ᔠ੊⴮ⴗ໔ῂố㑄զ㻞үᔁ❅㙱
᧻ࢮ᳖ῂố㑄զ̀įįįįįį
-劉小康
劉小康：㣀婤↺䠓㊞嬚捜嬐Ὶ埤蚸ⷀ㞾㜃▗欨㾾幖䀟Ҹ㢒ⷤ
㫼䠓ℚⳟ⇋ㄦ╒冒Ҹ㳲⬑㣝䄳⦈㕟⎿䠓⨭⇋蚸䜅欨㾾㎟䉉宼宗
Ὶ抌蚸⋷ᾥ䛛宼宗⾺⎿㾾ㄛ蚸ⶖᾜ≔厖㢻⢮宼宗⾺䠋䚮杫⅑蚸
‵㢒厖欨㾾♐䏛䠋䚮杫⅑Ҹ

㙱᧻ࢮ᳖߻❅‫ړ‬੕Ὲ㑄զ
劉小康： 䢃㔴㏢⋴ᾼ⢚⪶标⾑⧃蚸⶜⪥⢚宼宗⾺军宏蚸㞾棭
⿇◇イҸ㎠‵厖ᾜⶠ㢚╚▗⃫蚸⃕ㅒ㋚悒≞䔸懙㏁⪩㝋伢䍮
䚮㊞Ҹ䋅军蚸厖ㅆ⢚ⶅ▗⃫╗㞾╵ᾏ⡭‚蚸ㅆ⢚ⶅ䢚⎿䜅ᾼ⊈
⇋Ҹㅆ⢚ⶅ㞾䐈⎴ℚⳟ蚸⢷ㅆ⢚䳘㳟㻁⢿Ⓩ㎟␮寊⌙⛕㮨蚸䢇
䜅╁ⵂҸ㝴ㄛᾼ⢚䚮㻊㷃。ᾙⓖ蚸ㅆ⢚ⶅ♐䏛㢒▵⌜㏢懁ᾼ⢚蛋
鍾志平：㳲⢷懁姛蚸⃕ᾜ㢒ら䱚ᾏ↚ᾼ⢚♐䏛Ҹ⋶⢿㙐㢘焟
⪶⾑⧃蚸懝ㄏᾜⶠㄭ‚ŐņŎ䠓⁉⾛㢪⁴⪥⢚䚱♐蚸䢃㔴㏢懁⋶
⢿⾑⧃蚸䢐┊朚䠋䠓䮚〞蚸㎠尜䉉᾵ᾜ㎟␮Ҹ㎠↠ㅔ榗䛨㊞ᾼ
⢚⾑⧃䠓兡㋲蚸媌憯⎉䢇㍘䠓▗懸䚱♐Ҹ军欨㾾䠓⊹⑱蚸㳲㞾
劌厖⪥⢿宼宗⾺▗⃫蚸␄憯懸▗⋶⢿䠓宼宗Ҹℚ⬑ㅆ⢚ⶅ㢒䐈
⎴䉉啾⁉⾑⧃蚸㔷⎉噇䷯䳘䚱♐蚸呴✽⁴⪥⢚帷テ␯⎿⋶⢿蚸
ㄗ桲㔷摆㎟␮Ҹ欨㾾䌮㈘⋶⢿㜖⒥蚸劌⪯⶗㹷䠋ⷤ⋶⢿⾑⧃蚸
令⶜㙐㢘⊹⑱Ҹ

ġ įįįįįį࿲㖤ỷკѲਾຸ૴Ὲ◈ᄔ㻞Ⱡノ‫―ۥ‬ᅠῈ
ࠣヾồࢮ̀◴㙱᧻Ὲ٧‫ݳ‬㻞᠂ᑸ⚎❅அ੕⴮ⴗ
໔ࠣԠ㻞ܲノヾࠣ‫ړ‬੕Ὲ⴮ⴗ̀įįįįįį
-鍾志平

柳㳳⁴⪥蚸欨㾾㵣悒⢚株⒥蚸㎠↠╾⁴凾▗㜿␯⣰ҷ欻ℕ嬎
‭ҷ㹿⢚䳘‭㻁⢚ⵅ蚸㎟䱚‭㻁宼宗凾䡮Ҹ䜅▓⢚䲅憟凾䡮Ὴ
⾼厖⏾Ὴ⾼䳘分⃜㟑蚸欨㾾ⶖ⌆䢇䜅⊹⑱Ҹ㳲⬑⢚株ⷤ孌㫼ⓣ
㢒㎟␮䎼╥⢷欨㾾宼䱚䭧㢇埤蚸㎠΅䜅戇䉉Ὴ⾼蚸尀尭㲙⪶蚸
⶜⪥䠓㔷ひ␪捞卹䋅テҸ
陳立邁：憨㞾╾姛䠓Ҹ㎠↠㎟䱚―ᾏ↚‭㻁䓝榔蚸㤀ⓦ‭ҷ
㝴㢻ҷ楢⢚ҷ╿䇲☛ᾼ⢚⪶标΅㻍⎉⁲姷Ҹ㎠↠⢷ᾼ⢚⪶标
宼䱚―⎕㚾愵⋻ⴳ蚸䖍㳲䷛∨⢷㝴㢻☛楢⢚΅宼䱚蚸椞⢉⢷‭
㻁⢿Ⓩ䠓⦉䪝蚸㢹ℕ彾■厖㣀婤↺㏏岪ᾏ厃Ҹ㎠↠䠓㢒䱯㞾㔷
ひ欨㾾㎟䉉䥴峧䚱㲙″㞢ᾼㅒ蚸憨㞾⋻尜䠓Ҹᾼ⢚⪶标㹤⏅ⴛ
㜃蚸㢏⪶⛞槛㞾䮔㛅Ҹ㢘⋻▇⢷䜅⢿㎟䱚―⎕㚾蚸䀥∨喻⋷蚸
⃕㢏ㄛ䠋孉䮔䔖䱮弔懝ĳıĦ蚸䚩厂㢃汧蚸⚾㢘捜慣欨㾾Ҹ
朱裕倫：㸡㢘㔗㲙☛䏗㲙蚸嬐⢷⢚⋶䠋ⷤ╹㞾䰉屖Ҹ

孫耀先：㎠↠宝履―㢻⢮⾑⧃ҷ⢚⋶⋶摆⾑⧃蚸◇イ⪥⢚宼
宗⾺ℕ㾾䳘Ҹ⬑嬐嗌⵵蚸欨㾾☛⪥⢚宼宗⾺ㅔ榗―孲ᾼ㾾⋸⢿
⾑⧃梏㷑Ҹ欨㾾㜿䭏宼宗⾺⶜㝋廿懁⋶⢿ҷ―孲⌅㼗幊㊞㳁☛
㊂㹤㞾㆝㮲䢚䠓蛋劌▵⁴⏜㼆ī蚴寊⋼蚵⃫䉉弆灭㔱宝蛋
朱裕倫：㎠↠厖㝔䠋⷏䦣䰅蚸ⶖℕ㢒厘愵㔷ひ㻊⑤蚸⿅懙ⴱ
⎿őŎŒ庋䏸蚸ᾜ䋅ĵĭııı喻⁉╹㍑庋幆▜䏛蚸㢻⢮媌憯䠓䚱♐⬑
㏚擅ⶖ㸡㢘⾑⧃Ҹⶳ⌅䜅憨‪㢻⢮䚱♐䊰㹤㐎㙣㞑幃䭮捠蚸⢷
⢚株捠夜ᾼㅒ䳘⢿㝈摆⚽䠓㟑↨蚸ᾜⶠ姛ⵅ䦣䰅懝蚸⬑㤫欨㾾
㛎〫槧㊞ⶖ⽴は⪶し仵‗幎䠋⷏䳘㯮㭚䴰䖕蚸⚽干欨㾾宼宗䠓
䚱♐蚸᾵⵵㝌♐幹䡲䴰蚸㣫令⇖帷蚸戲令⶜㢘ㄗ⪶⛕㫼⊈⇋Ҹ
懙ⴱㄭ㳳΅ᾜ䚷庋幆ᾏゞᾏ㮲䠓▜䏛㏚擅Ҹ欨㾾戁戁ᾜ嗌⵵㳳
宗␒蚸╾劌㞾⡯䉉ㆤ娺㒖ⴧ⛕⒍仟ҷ⎸䡙惇憐蚸⃕㢏仑╹㢒崢
⪥⢚▜䏛ㄦ䡙Ҹㄭ㵞〃ĵĭııı⪩喻⁉ℕ㾾庋䏸蚸⽴ⷤ㢒΅㢘ĳıı
⪩喻⁉╒␯蚸╾嬚欨㾾戓㢘⪶捞⽴⃫╾⇩蚸⃕ㅔ榗㏢䧃⢉㢘㧕
㥅蚸㏜劌⇩ㄦ⬌Ҹ
鍾志平：䅂朏㏚ⅰ姦⁉榼㿶㿶蚸欨㾾劌▵㛗㹤蛋欨㾾㏚ⅰᾜ
㞾䶰✽橮♐蚸军㞾伢懝宼宗䠓㏚ⅰҸőŎŒ㳲㞾䉉㳳军宼▶Ҹ

20 討論摘要

劉小康：㎠↠㍘封ら憯欨㾾♐䏛⢿⃜蚸⃕╹⇩⎿憨ᾏ灭⁜ᾜ
彂⪯Ҹ⦈檙宼宗⾺㎟▜蚸厖⌅⁥♐䏛▗⃫蚸⌜㏢懁⋶⢿╙⋷䖒
⾑⧃蚸㏜㞾㢏捜嬐䠓䡽㮨Ҹ↚⁉尜䉉幎䠋⷏䖍㟑⇩㹤ᾜ㿙㛗蚸
㎠↠㍘㰱宝厖欨㾾⌅⁥㯮㭚▗⃫蚸䡰㝸ⶖ欨㾾⃫䉉♐䏛⶜⪥㔷
ひ蚸⌅ㄛ懁姛⛕幎拜⶜Ҹ幎䠋⷏䍮懚⪩〃蚸╹㞾懁姛ₐ㫼厖ₐ
㫼Ὶ朢䠓⽴⃫蚸ㄭ㸡ⓣ␸㔷⑤欨㾾㎟䉉♐䏛Ҹ㣀婤↺⏪㏜㕟⎉
䠓ʥŅŦŴŪŨůŦťġŪůġŉŰůŨġŌŰůŨʦ⇋ㄦ㔱宝蚸㎠㊂屚⛞㣝䄳⦈蚸⌅
⁥⛕㢒╾⁴⇩䚩灋蛋

ġ įįįįįįᆐ֛ᅠⵞཪノ㙱᧻ࢮ᳖੕ԑ㻞Ԍࠏ‫܅ב‬デ
ј㥸ӄѡ⼮ஊ̀ે㘪⴮ⴗ໔ᆏࠨ㻞❅‫ڜ‬ӈࢮ᳖
ࠣԠ㻞‫ڦ‬ᆾプ‫ړ‬੕߻‫ڔ‬Ḍຸ૴㻞ᆹᑸᓿ㈔ⳂῈ
‌ᜨ̀įįįįįį
-劉小康
李澤培： 槶▜ㆬ儸蚸㎠↠㞾⢚株ㆶ䠓蚸⢷⋷䖒Ĳĵı↚⢿㝈⣖
㢘宼䱚Ҹ呴欨㾾宼宗䠓䚱♐⾛㢪㔷ひ厂ᾥ䛛▓⢿蚸⢚株⛕㢒ⶖ
㞾⌅ᾼᾏ↚㾯懢Ҹ幎䠋⷏㝸〃‵㢍厖㎠↠㻌屖蚸⾛㢪⛕㢒㔷ひ
⌅宙ㇾҸ⢚株⛕㢒㙐㢘ㄚ⾺ҷ媌憯㫼䳘ℕ卹▓姛▓㫼䠓㎟♰Ҹ
桥䋅媌憯㫼᾵棭⛕㢒⦉䪝蚸⃕⁜╾⢷⢚株朢㙣₊ᾼ朢㾯懢䠓孡
吁Ҹ㎠↠㳰慝宼宗⾺㎟䉉㢒♰蚸‵㚾㒐宼宗ᾼㅒ䠓⽴⃫Ҹ

ġ įįįįįįѡࠧ᝗ᛳプ⯥ѡࠧວԠ㻞Ԍᣙᔅ‫ࠧښ‬ѻ㗒
൸ࠠ᝗ᛳパ┧⼅Մ̀‫׃‬ெᑃ࿊⟣ᔅј㖡㙱᧻⴮
ⴗ␌۸㻞൸ᐯῂකࢄ⺮ῂක⋲᝗ᛳ‫ڔ‬ㅘパ┧⼅
Մ㻞ㄬശ‫؍‬Ꮪᕲ൸㗭⣣࿏ஈ̀įįįįįį
-陳嘉賢
陳嘉賢： 婫 ⋔ ᾏ ᾚ 蚸 幎 䠋 ⷏ 桥 䋅 ⿅ 榼 ⶖ 欨 㾾 ♐ 䏛 ⿅ 懁 ⢚
⋶蚸⃕䢮䠓⇩ㄦᾜ⬌Ҹ㎠↠㞾㢏㝸ᾏ㐈䛀⎉╲ⷤ孌惘䉉
ŃĳŃ蚴ŃŶŴŪůŦŴŴġŵŰġŃŶŴŪůŦŴŴ蚸⛕㫼⶜⛕㫼蚵蚸军幎䠋⷏䩉⵵䊰㹤
㒎㓞㳲䩉⇩㹤蚸憨‪㡖呀ᾏ䖍䠓⽴⃫䊰㹤㕟K䢮㳲ⓣ␸Ҹ
厂慠ᾏҷ⋸〃㎠↠⌜〵㼘彂憨䵓䜖蚸幎䠋⷏㏜㵣悒ᾚ␮⪺蚸柳
―ŃĳŃ蚸㢏㎟␮䠓㞾㏢⬌厖䜅⢿㛎〫杫⅑蚸⁴欨㾾怺₌懁⋴⢚
⋶蚸䔁䜅⢿㛎〫汧ⷳ厖≂Ⱑ㚾㒐Ҹ幎䠋⷏䖍㟑㍘⋗愵⬴≂Ⱑ⽴
⃫蚸ⓣ␸欨㾾ₐ㫼懁恜⢚⋶蚸▵⏖欨㾾ₐ㫼Ӂ✽㏢䓷沴ӂ㞾ㄗ
桲㎟␮䠓Ҹ㳳⪥蚸幎䠋⷏΅㢒戏屚宼宗⾺蚸㢘ᾏ㲰⢷ひ⽭戏屚
―ʥńũŰŤŰŭŢŵŦġ œŢŪůʦ☛宼宗桭塚⁣䚱♐䠓欨㾾宼宗⾺蚸⃕⽴
⃫⁜ᾜ䴦ㄗ⋷棱Ҹᾜ▛㯮㭚懁姛ᾜ▛⽴⃫蚸⃕㸡㢘⌀▛Ὴ槛ⶖ
▓㯮㭚憲俺弆ℕҸ⇖⬑㝴ㄛ呴㢘ᾏ榔欨㾾宼宗亊⎦蚸ⶖ㝔䠋⷏
☛幎䠋⷏䳘㯮㭚⋷扷憲俺弆ℕ蚸戲ⴲ≂㛗㤫ⶖ槾嗦ㄦ⪩Ҹ⬑⁙
憨‪㯮㭚朚⭚㎟䌮蚸㞝䠌⁥↠梏嬐⢷ᾜ▛䵓䜖㕟Kⓣ␸蛇‵㢘
懁姛佁仰⽴⃫蚸⬑㜿ᾥ䛛䠍帷䠓佁庋蚸厖╙ⓣ␸ᾏ‪㯮㭚懁⋴
宼宗すҸ↚⎴㯮㭚⬑ᾼ⶞ₐ懁⋴宼宗す㞾ㄗ⡿桲䠓蚸⦉㢻䍮懚
幖捠梏嬐Ĵı喻⋒蚸军ᾣㅔ榗㞾䜅⢿寊⌙♐䏛蚸⵸㥴⡃㧋☛䂺
朆Ҹ㎠孉ㄦ幎䠋⷏㞾⾛㢪ⓣ␸宼宗㫼蚸⃕宼宗㫼⶜⌅⽴⃫㝈■
᾵ᾜ㾔㫩Ҹ桨㝈㎥寀㍘⃫㢃⪩䀬憩Ҹ
陳立邁：呴嬐ら䱚欨㾾♐䏛蚸ㅔ榗㕟⎉✽ᾏῊ槛蚸厖▓⛕㢒ҷ
幎䠋⷏ҷ㐤幖㔷ひ儁䳘㛎〫㯮㭚⌀▛宝履蚸㏜劌㐍⎿㔷ひ欨㾾
♐䏛䠓捜ㅒҸ懝ㄏ㢘⁉㐈寤㝴㢻㐓嬁㳟㻁蚸䚱♐ᾜ⦹ᾏ㙙蚸⃕

⁙⪸㸡⁉㢒⌜憨㮲尹蚸⋶⢿䚱♐㏜㞾ᾜ⦹ᾏ㙙Ҹ䖍㟑欨㾾䠓⴩
⃜㞾ⷆⶻ䠓蚸♐幹㞾▵ㄗ⬌蛋宼宗㞾▵ㄗ⬌蛋⌅⵵㧈㢻屖ᾜᾙҸ

ġ įįįįįį⟣Ⳃཪ⊦㙱᧻ࢮ᳖㻞࿲㖤ዎ‫ۥ‬ॎјѻ㗒㻞
❅ࠠऄᔁ̿⺮ῂක̿ᇱ⺵ኲཙ╺⋲Ꮥ༠᝗ᛳ‫ښ‬
ࠧⴚⶤ㻞ᆹ⚎ᇝ‫܅‬ኲཙ㙱᧻ࢮ᳖Ὲ㈔࿱̀įįįįįį
-陳立邁
劉小康： ㎠↠ㅔ榗㜃▗欨㾾宼宗䠓⊈⇋Ҹ䖍㟑▓㢘▓䠓尹
㹤蚸梏⶚㷑⌀峧Ҹ杫㝋⏪㏜⳺冏⋗尹䠓⏜㼆⛞槛蚸欨㾾宼宗俌
㢒☛宼宗ᾼㅒ⾛㢪⢷⏜㼆ら䱚欨㾾宼宗䚱㫼。╿蚸厖㾀⣂▗
⃫蚸凾▗⋸⢿␪捞㢜⑨䕯ᾘ孡蚸᾵䉉⋷⢚㕟K宼宗㢜⑨幖宙Ҹ
㎠↠⾛㢪劌◇イ䕯ᾘ孡媌憯㫼蚸⌀▛䦣䠋䚱♐☛♐䏛Ҹ呴。╿
㎟␮ら䱚蚸㛗㤫ⶖ㢒棭⿇槾嗦蚸䚩厂劌◇イ⪥⢚⋻▇Ҹ⪥⢚⋻
▇䖍㟑䢃㔴⢷⢚⋶朚宼⎕㚾⋻▇㵣悒▒␪蚸΅悒✫⬌欨㾾䚮
㻊Ҹᾙ㼆΅ᾜ撾蚸⃕欨㾾戓㞾悒⬌䠓戇㙖Ҹ
朱裕倫：㎠尜䉉⏜㼆䠓㢏⪶⊹⑱⁜㞾ⷻ㝋捠夜㯮㭚Ҹ㛎〫㛎
䳥☛嬞䴰⢷䜅⢿悒⵻沕蚸␯ᾙ⁉㶠⿲⢚株⒥蚸呴宗䴦㎟㢻⡯
亯蚸欨㾾⎿䜅⢿㞾ᾜ㠉䠓Ҹ✽✽㞾䭮捠悒ⅎ⴫憨ᾏ灭蚸㸡㢘ㄗ
⪶⿺␸蚸㾀⣂⇞懯⢿Ⓩҷ⾒▘䳘⢿΅ㄗⅎ⴫蚸⎿⏜㼆╹㢒㻹
幊Ҹ欨㾾㙐㢘ⴛ✓K㍘敗ҷはⵅҷ䏸㜨蚸΅㢘懙ⴱ⎿容蚸㎠孉
ㄦ╜军㍘封宝履⬑⃤⢷欨㾾䠋ⷤ蚸䎼╥㎟䉉‭㻁宼宗Ὶ抌Ҹ㎠
↠㍘䡰㝸㜃▗䖍㟑㎟㤫ҷ幖㜨蚸䱨䯸柲匂ㄛ␯⁴ⴲ≂蚸⢷⪶䣍
ᾼ䛨ᾚ㾀⏊⓿巰Ҹ
䖍㟑欨㾾㢘ᾒ↚ⷤ孌㢒蚸㞾ᾥ䛛䲻ᾏ蚸㒘╒ⷤ⛕军棭棱䯜宗
䴦Ҹ㎠↠䠓ⷤ檷棱䯜␯弆ℕ╹㢘ĲĶ喻。㝈丂蚸ひ⽭䠓ⷤ檷⏖㢘
Ĵĵ喻。㝈丂Ҹ䋅军蚸履╒ⷤ⛕⁉㜇蚸㎠↠㞾⋷䖒Ὶ⌯Ҹ㎠↠䠓
欨㾾䬽♐╙店♐ⷤ⃣⢿Ĺ喻ĵⓒ。㝈丂蚸䋅军蚸⋷䖒㢏⪶䠓ㅆ⢚
㹤垼⋚䬞䬽♐ⷤ蚸㢘Ĵĳ喻。㝈丂Ҹ⋷䖒㢏⪶䬽♐ⷤῚ㏏⁴⢷㹤
垼⋚䬞厘愵蚸᾵ᾜ㞾⡯䉉ⴒ㞾䚱⢿㎥㙐㢘⾑⧃梏㷑蚸⋷⡯㴆▁
⡯亯蚸⎴䊰⌅⁥┮⡯蚸憨‵㞾欨㾾╦⏅䠓⢿㝈Ҹ

ġ įįįįįį⴮ⴗồᚬѲ㻞ዎՔᔉ‫ݬ‬ᑸѡࠔ៑╒Ὲј
Ẁ̀㙱᧻੎デᐦ㔱ㄖѡ‫ב‬࿏നब̀⴮ⴗ໔ῈⳐ
㈕࿲㖤ཙ㐷㻞ѡ⚎ᆏᯔҤ༛҃⪽㻞⟣㙱᧻џј
Ӓ⴮ⴗ໔‫ڔ‬ㅘࠏ㓂Ѳ੎ᔠ੊㻞◴ᔠ੊ᣙᔅ⼮ஊ
ࢮ᳖ᏊሽᆯᔅҸῈⵝ㻞ᡉ༅ĳĭıııࠨ⴮ⴗỾᚬ
ốῈ‫ܘ‬ᒟգӓҸᎆᄭ̀įįįįįį
-劉小康
劉小康：宼宗䚱㫼ᾼ蚸㕟K㢜⑨㞾ᾜ╾㲯僉䠓ᾏ䘿Ҹ欨㾾⢷
憨㝈棱戓ᾜ⇩ㄦⴛ✓Ҹ宼宗⾺䠓嬥捝ㅔ榗ひ杙蚸ᾜ劌㎟䉉․〤
Ὶ塨蚸呴欨㾾ᾚᾏ⁲宼宗⾺⋷扷╹桕ᾼ⢷㢻⢮蚸军㢻⢮㸡㢘彂
⪯♐䏛㚾㒐㏏㢘⁉䠓尀蚸㵞〃ĳĭııı▜宼宗䛱㫼䚮䠓⏜㟾ⅎ⁳
⁉㙣㌑Ҹ㾀⣂㞾㝈ⅎῚ戇蚸仵‗〃棡⁉⪩ᾏ↚戇㙖蚸ᾜㅔ㏏㢘
⁉⡿⢷欨㾾Ҹ㎠↠⾁䦣䰅―ᾘ〃蚸〃棡⁉䠓ㆷ㶲ℕ卹䢚ᾜ⎿⎉
彾蚸╾劌㞾䖍⵵ℎ䋅蚸⃕‵╾劌⡯䉉⁥↠㢹㢘■⏜從⎉ᾏ㳴Ҹ
陳立邁：ㅔ榗␯テ㛨剁蚸崢⁥↠㛱㝋来⋴⋶⢿䠋ⷤҸ⁥↠䊰
㹤⢷⢚⋶⽴はㄔ㜃↚㞮㢮蚸⃕㝴㢻宼宗⾺ᾜ▛蚸⁥↠劌⪯憦䛨

討論摘要 21

履⩖Ὴ槛蛆⴮ⴗ㻠⒄ᬹ
㜃↚㢗蚸孏⵮⽴⁉媌㮰Ҹ䜅䋅⁥↠ᾜ㞾䐈⎴✫㳰ᾼ⢚蚸╹㞾槧
㊞䉉䚱♐幹亯蚸朆㟑朢憦䛨䡲䴰⽴䮚Ҹ

捝Ҹ欨㾾㢘⢚株嬥捝蚸⃕〃悤ᾏ悸⁜㢹懣㮨蚸㑡令ᾼ⢚⪶标䠓
ㅒ㋚΅ᾜ⎸欨㾾蚸⾛㢪⏜㼆䠓宗␒劌ⓣ␸⁥↠Ҹ

ġ įįįįįį⴮ⴗᐦ㔱㻞⟣Ӕ㙱᧻ᯔૈ੕㻞ࠔ੎ਾ‫ړ‬
எ໢ῂඪ̀ᆏᔠѡᑸ◮ᄝਧ␯㻞ਧᯔ᧙੖ѡ
ᔁᡍ㙱᧻գള࿆ஈ㻞ԌⳂ‫ړ܅ב‬੕੅㒗ਾ㒤
‫ޕ‬㻞㙱᧻੅㒗Ѳਾ‫ޕ‬㻞᧙੖ᑸј֖ᓿԱῈ⭆
ࠣ㥸̀......

朱裕倫： ㎠䠓䚮㊞ĺĶĦℕ卹ᾼ⢚⋶⢿蚸⃕㧈⦉⢷欨㾾蚸桥尹
捜嬥䫥⢚ҷ㛍䣋ᾥ䛛蚸⃕呴ᾜ⁴欨㾾䉉Ὴ蚸㎠↠ⶖ⫀╊䚮⳧
⊈⇋Ҹ㎠↠ㅔ榗⁳欨㾾㎟䉉宼宗Ὶ抌蚸ᾜ劌╹㎟䉉⢚⋶⌅ᾼ
ᾏ扷⎕Ҹ

-朱裕倫
朱裕倫：宼宗㝈棱蚸呴⁴欨㾾䉉⦉⢿蚸╾⢷⢚⋶⪶⿔䠋ⷤҸġ⁴
㎠↠⋻▇䉉ℚ蚸ĳķı⁉㐤怺ⷤ孌㫼蚸欨㾾⃣Ĳıı⁉蚸⢚⋶Ĳķı⁉蚸
⃕Ĳķı⁉ᾼ╹㢘⋸▜欨㾾⁉Ҹ欨㾾䠓Ĳıı⁉⏖彂⁴䴰䖕⢚⋶♰⽴Ҹ
㎠↠⢷㾀⣂䠓⋻▇㢘ĸı⁉蚸䜅⢿伢䖕㵞◷ℕ㾾⋸ᾘ㲰蚸⁴㟽憩
尀朚㢒蛇欨㾾伢䖕㵞◷⋸ᾘ⪸⢷㾀⣂ᾙ䕼蚸⡯㳳⋸⢿⢧栙⦉㢻ᾙ
ᾏ㮲Ҹ㎟㢻ᾜ㞾冒㋽⡯亯蚸⡯䉉㾀⣂ᾜ㢒㵣欨㾾ⅎ⴫ㄗ⪩蚸⃕嬐
⇩⎿⋶⢿⢧栙⢚株⒥蚸欨㾾⢧栙ᾼ⢚⒥蚸㾀⣂㞾ᾏ↚㢏ℂ䠓夜▗
灭Ҹ䜅⢿⢧栙ℕ卹⢚⋶ᾜ▛䢐⾑蚸㢘⢚株嬥捝蚸―孲ᾼ⢚Ҹ㾀⣂
↮␸欨㾾蚸懁恜ᾥ䛛蚸欨㾾‵劌↮␸㾀⣂懁恜⋶⢿⾑⧃Ҹ㎠⁜䋅
尜䉉ᾜㅔℬ棯⏜㼆蚸⏜㼆㝴ㄛⶖ娺捠夜䛛䈡汧㎟㢻Ҹ

劉小康：呴ᾜ厖⋶⢿▗⃫蚸欨㾾ⶖ䊰㹤厖⒦※ҷᾙ㼆䲅䎼蛇
呴厖㾀⣂▗⃫蚸⒦※ҷᾙ㼆㵣ᾜᾙ欨㾾Ҹ

㙱᧻ᅠ࠼ỡ⶜ᆏᯔ͉⴮ⴗ҃ㅩ͊
ġ įįįįįįࠌј֖ӓ㙱᧻ᆏࠨῈᐦᤊ㻞ᑸ❅᧙੖ࠣ
Ԡ㻞ᆏᯔ͉⴮ⴗ㓒ન͊ġĩŅŦŴŪŨůġŕŸŪůġńŪŵŪŦŴĪ̀
᧙੖፸ᔅ㧸எҸ‫ݎ‬㻞‫ژ‬⣀ࠨ⴮ⴗ໔̀◴㙱᧻‫ܓ‬
፸ᔅਾ㒤Ⳑ㈕㻞ᑸܲᐠ◰̀٧⇻ῈᏥ♚̿⒚①
ࢄਾ㒤Ҹᆹ㻞ㅩᑸ᧙੖╒҆Ὲ̀᧙੖㓭Ⳃ㙱᧻
ᆏᯔਾ㒤⴮ⴗનຸ̀įįįįįį
-劉小康

劉小康：㎠↠╹㞾⎸䚷⏜㼆憨↚。╿蚸厖䜅⢿㛎〫☛䚱㫼▗
⃫Ҹ捜灭ᾜ≔㞾䭮捠☛䮔⏅Ὶⅎ蚸㢏⪶尧⡯㞾㵚榗⢷⢚⋶㎟䱚
⋻▇‵劌㝋䜅⢿⽴⃫Ҹ㣀婤↺㕟⎿⋶⢿⢧栙⢚株⒥蚸欨㾾⢧栙
ᾼ⢚⒥蚸憨灭棭⿇㢘弲Ҹ
朱裕倫：㎠↠ⓐ㜇〃ℕᾏ䢃⁴㳳㮰ゞ懚⃫Ҹ
劉小康：㎠↠΅㢘䢇▛伢㴆Ҹ㢻⁉⢷欨㾾䠓⋻▇嬞㮰⶞㝋⢚
⋶⋻▇蚸⢚⋶㙐㢘Ķı⁉蚸欨㾾╹㢘亓ĳı⁉Ҹ令⪶扷⎕ⴱ㏅ℕ卹
⢚⋶Ҹ呴㎠↠㸡㢘朚宼㾀⣂⋻▇蚸⁴欨㾾䉉⦉⢿䲅䎼㢒棭⿇吀
呵Ҹ伢毦㏏ㄦ蚸⢚⋶⁜攍㉔㢻㾾宼宗蚸欨㾾宼宗⾺⢷ᾼ⢚䔖榧
⋶⢿♰⽴蚸⶜欨㾾伢䅮΅㢘ㄗ⪶⿺␸Ҹ
朱裕倫：⢚⋶㳲䠋ⷤ㢜⑨㫼蚸欨㾾⏖╾惇⎉㢜⑨㫼蚸军䚱♐
惇⎉⾁伢嗌ㄛҸ
李躍華：㎠䛀㵞◷ᾘ⪸蚸⨭␯⎿䖍㟑㵞⪸ㄏ慣㾀⣂☛欨㾾Ҹ
㢘㟑戓梏ᾏ⪸ㄏ慣⋸㲰Ҹ
孫耀先：⃯⢷㾀⣂☛欨㾾䠓♰⽴㵣ℚ㞾⪩ⶠ蛋
李躍華：㎠㳲憟㳴⏙㾪欨㾾⁉㏚蚸⢷⢚⋶⨭凧⁉㏚蚸⢚⋶厖
欨㾾♰⽴㵣ℚ⪶亓㞾ᾘ㵣ᾏҸ╵⪥蚸欨㾾⁉令⶜ᾜ槧㊞⎿⋶
⢿蚸㵞◷⋸⪸⾁㞾㬄柟Ҹ
陳立邁：ᾜ䛨⢷⽴は䢚䚮䚱懝䮚蚸䊰㹤仟▗䚮䚱厖宼宗Ҹ
劉小康：憨㞾╵ᾏ榔峿槛蚸欨㾾〃棡⁉䚮㻊悒厡懸Ҹ⏜㼆ⅎ
㞾㵣悒厡懸䠓⢿㝈Ҹ╵⪥蚸⁥↠䠓㒋⑐΅㵣ᾜᾙ㎠↠䜅〃Ҹ⢚
⋶宼宗⾺⋔䂎〈⑐蚸䡽㮨㞾㎟䉉⋷⢚䲻ᾏ蚸欨㾾〃悤宼宗⾺ㄗ
ⶠ㢘憨↚䖕㊂Ҹ夜▗⋸⢿⁉㣟蚸劌䅏弆欨㾾宼宗⾺䠓沴ㅒ☛嬥

22 討論摘要

許焯權： 㛎〫⋸〃⏜㢍宗␒䛂屚欨㾾䉉凾▗⢚㛨䭠㜖仓俣ġ
Ӂ宼宗Ὶ抌ӂ蚸⃕╾劌⡯㕪ⷕ⛞槛蚸㢏仑ᾜ――ῚҸ‭㻁Ὴ嬐
⥝⾑⬑㾀⣂ҷᾙ㼆ҷ▜╳ⷚ╙欥䏍䳘⾁䔁㔗‗Ӂ宼宗Ὶ抌ӂ䯀
埮蚸⚾䓷㲯僉欨㾾Ҹ䖍㟑㛎〫⁜榗嬐⪩㔰╥姛⑤蚸㐙欨㾾㛍⎿
⢚株。╿ᾙҸ
劉小康：㛎〫⾛㢪㶠朢Ὴ⶝姛⑤Ҹ⁥↠―孲⎿䛂屚㎟䉉Ӂ宼
宗Ὶ抌ӂ剛ㄛ榗嬐⪶捞⽴⃫蚸ℚ⬑䔁ㄦ䯀埮ㄛ㵞〃榗厖⋷䖒⌅
⁥ⓐ‛↚㢒♰⥝⾑㔴宇蚸⡯㳳ᾜ㛱姛⑤Ҹ
↚⁉尜䉉╵ᾏ↚⁳欨㾾㎟▜䠓㝈㹤蚸㞾厖㾀⣂▗⃫蚸㎟䉉Ӂ宼
宗桨⥝ӂĩŅŦŴŪŨůġ ŕŸŪůġ ńŪŵŪŦŴĪҸ㾀⣂㙐㢘焟⪶⁉␪蚸⋼喻▜宼
宗⾺Ҹ军欨㾾⏖㙐㢘⢚株嬥捝蚸㞾␄㜿冔Ҹ⊹䭏䠓㛨剁ҷ佁
仰☛⢚株⁉㏜蚸抌㞾㾀⣂僉῞䠓Ҹ㾀⣂梏嬐欨㾾㎟䉉⢚株宼
宗⥝⾑Ҹ⬑㤫⏜㼆宗␒㎟␮蚸㍘劌䉉⋸⢿佯憯桨庞⷏棱Ҹ㛎〫
㢏汧ⷳ‵⾁伢▛㊞宗␒蚸㳲䦣䰅ᾚᾏ㳴⬑⃤㔷姛Ҹ欨㾾宼宗俌
㢒ҷőŎŒ☛▓㝈ⶖ▗␪䠋ⷤ憨宗␒Ҹ
許焯權：⌅⵵嬐㎟䉉凾▗⢚㛨䭠㜖仓俣䠓Ӂ宼宗Ὶ抌ӂ蚸㎟
㢻΅᾵ᾜ汧㞑Ҹ
劉小康：ᾜ撾蚸⃕␯⋴⌅佁仰ㄛ蚸ᾜ≔㵞〃嬐厘愵㻊⑤蚸戓
嬐╒␯⌅⁥㏏㢘⥝⾑䠓㻊⑤Ҹ㎠尜䉉㛨䭠㜖仓俣㞾䉉椞⢉⌅㲙
⮐ㆶ蚸㏜㢘㳳⇩㹤Ҹ㳳㛎䳥⁳䢇杫ⓐ㜇↚⥝⾑ᾜㄦᾜ䉉仓俣㢜
⑨蚸崢⁥↠㎟䉉㢏汧㲙⮐Ҹ愪愪呵呵蚸╹䉉㛨䭠㜖仓俣憯⑱蚸
㛎〫厖␄㊞欨㾾ㅔ⴩ᾜ㢒▛㊞Ҹ

㙱᧻⴮ⴗᏥ♚ऊ㗒
劉小康：⁙⪸宝履䠓⋶ⵈᾜ㞾⋷扷抌㢘䳣㧗蚸⃕ᾜ῞㢘弲䠓
╾劌ㆶ蚸΅刌⎿ᾜ▛㯮㭚䠓㢮㢪Ҹ㎠↠㍘㜃▗宙ㇾ蚸懣厃㢃⬌
䀬憩蚸憨㞾宼宗ᾼㅒ⌅ᾼᾏ↚⽴⃫Ҹ▓⃜㕟⎿㛨剁䠓⛞槛蚸桥
䋅⁙⪸宝履㢘柟蚸⃕ㅔ榗孲㸉蚸▵⏖ⓐ〃ㄛ㉔㹐ᾜ⦹宼㊂Ҹ欨
㾾䥴⶗宼宗ⴇ柱ҷ欨㾾䖕⪶宼宗ⴇ柱䳘桥䋅ㄗ␹␪蚸⃕⶜欨㾾
㜃汣宼宗㫼䠋ⷤ☛伢䅮䠓杫⅑蚸㔛㕰䠓幖宙䩉⵵圓ダҸ攍ㅦ。
尹ⴒ↠㵞〃㢒⎿⢚⋶䖕孲ᾼ⢚㜖⒥蚸⃕⶜䢮㳲―孲ᾼ⢚⾑⧃☛
䚮㻊㮰ゞ蚸⿺␸ᾜ⪶Ҹ
鍾志平：⬌≞戓㢘ᾏ‪ⴇ䚮″㻐宗␒Ҹ
劉小康：⊧䴰⬑㳳蚸⃕⛞槛⁜䋅媖桫Ҹ炢⒄冐⾺㔴宇ᾼ⢚ㄗ
捜嬐Ҹ冐⾺㞾欨㾾⌅ᾼᾏ↚㝆ⷳ蚸〃悤⁉ᾜ―孲ᾼ⢚蚸⌅ᾼᾏ
↚┮⡯㞾⁥↠䠓冐⾺΅ᾜ―孲Ҹ
利德裕：㎠↠䠓䡽㮨㞾⅒懁伢䅮䠋ⷤ蚸䉉宼宗厖䫍㢒⿅ℕ㢃
⪩⛕㯮蚸テ⒥㢻⢮㛨剁☛⦈剁⁉㣟蚸␯テ䫍㢒⶜宼宗䠓尜峧Ҹ
憨㲰㢒屖㛅桕⎿▓㝈㊞嬚蚸K㫼䛛☛㛎〫╒冒蚸⁴ⅎ⃫⎉㢃䀥
䩉䠓宗␒Ҹ岬岬▓⃜Ҹ

註一：欨㾾␄㊞䚱㫼⦉佩䦣䰅
Ӂ欨㾾␄㊞䚱㫼⦉佩䦣䰅ӂ㝋ĳııĴ〃懁姛蚸㞾欨㾾㛎〫欥㲰⶜欨㾾␄㊞䚱㫼䠓
䑏㹐懁姛䦣䰅╙䶰⁚Ҹ䦣䰅㽄噚ĲĲ↚␄㊞䚱㫼蚸⒔㑻ひ◙蛇ら䵘蛇坬姢ҷ╳嗲厖
⽴坬♐蛇宼宗蛇梊㄀厖撓≞蛇㜇䩋⮪㮑蛇概㮑蛇姷䂣坬姢蛇⎉䏗蛇恮₅厖梊ⳟ宗
䴦蛇⁴╙梊嬥厖梊╿Ҹ⧀◙⎕㤟―憨‪␄㊞䚱㫼⶜伢䅮䠓捜嬐ㆶҷⷀ㫼㉔㹐ҷ䍮
懚䐈吁ҷテ榔☛ダ灭ҷ㢹ℕ棱⶜䠓㒠㎿蚸⁴╙⋶⢿⾑⧃䠓捜嬐ㆶҸ⧀◙仟㤫㕟K
ᾏ↚⦉䪝‗㢘杫㛎䳥⷏☛㛎〫扷朏蚸⢷冒㋽⏅宑⌆汣㛎䳥㟑蚸⬑⃤䉉㔷ひ憨‪䚱
㫼䠓䠋ⷤ㕟K㢘⎸䠓䘿⨒Ҹ

註二：⋼榔⊹⑱䚱㫼
欨㾾㛎〫ᾏ㝈棱厃␪椞⢉≂伀⡪⪶㚾㦀䚱㫼ĩ捠夜ҷ㝔懙ҷ幎㞢╙䏸㻐☛⶗㫼㢜
⑨Ī蚸╵ᾏ㝈棱⢷ĳııĺ〃㔷⑤⋼榔欨㾾㢘㞝槾⊹⑱䠓䚱㫼䠓䠋ⷤ蚸⁴㚃⪶伢䅮⦉
䪝Ҹ憨⋼榔䚱㫼䉉蛆㰱㾻☛尜峘ҷ挺䟑㢜⑨ҷ␄㜿䭠㐏ҷ㜖⒥╙␄㊞ҷ䘿Ⅼ蚸⁴
╙㛨剁㢜⑨Ҹ

註三：ŃŖŅ⶗榔⦉捠
欨㾾㛎〫㝋ĳıĲĳ〃ķ㢗㔷⎉ᾏ榔俌⇋Ĳı⊓⋒䠓Ӂ䠋ⷤ♐䏛ҷⓖ亩惘⤚╙㑢ⷤ⋶摆
⾑⧃䠓⶗榔⦉捠ӂ蚴䶰䯀ӁŃŖŅ⶗榔⦉捠ӂ蚵Ҹ䡽䠓㞾幖␸↚⎴欨㾾ₐ㫼㔷姛㢘
杫䠋ⷤ♐䏛ҷⓖ亩惘⤚☛㑢ⷤ⋶摆䠓榔䡽蚸ㄭ军㕟ⓖ⁥↠⢷⋶⢿⾑⧃䠓䲅䎼␪蚸
⅒懁⁥↠⢷⋶⢿⾑⧃䠓䠋ⷤҸ

註四：őŎŒ⋒␄㝈
ӁőŎŒ⋒␄㝈ӂ䉉欨㾾䐈Ⓩ㛎〫ӁⅬ剁ᾼ䘿ӂ╙㻊⒥㴆▁ら䵘榔䡽Ὶᾏ蚸䡽䠓㐙
ᾼ䘿唆㣝㻊懢⏜⾁⯩峵⵮ⵎ厜㛈憯㎟䉉㮨尛ㆶ䠓␄㊞ᾼㅒҸ䛀őŎŒġ ŎŢůŢŨŦŮŦůŵġ
ńŰįġ ōŵť蚸凾▛欨㾾宼宗ᾼㅒҷ欨㾾䖕⽴⪶ⴇ╙分㫼客侃⷏惓ᾚ䠓欨㾾䥴⶗宼宗ⴇ
柱帯帻䍮懚蚸őŎŒⶖ㏢憯㎟䉉欨㾾␄㊞䚱㫼䠓悬䋛㮨尛蚸⢷‭㻁Ⓩ⋶佊㛍冏䡽⋘
吡蛇᾵ⴲ㕩Ӂ␄⃫ₐ㫼ⵅ乍䫭ӂ蚸ⶖ␄㊞惘⒥䉉⛕㯮蚸⦈剁㢃⪩㢻⢿␄⃫ₐ㫼ⵅ
╙宼宗⾺蚸⁴╙㔷⑤㢻⢿␄㊞㜖⒥Ҹ

註五：欨㾾棡〃㟑婬宼宗ⵅ␄⃫姷䂣庌
Ӂ欨㾾棡〃㟑婬宼宗ⵅ␄⃫姷䂣庌ӂĩ䶰䯀ŚŅńĪ卹Ĳĺĸĸ〃朚⭚厘愵蚸⁴⦈剁╙炢⒄
㢻⢿宼宗㜿䭏䉉ℎ☌蚸䉉㫼䛛䠋㔧宼宗⁉㣟蚸᾵坘㳳㕟汧欨㾾⃫䉉‭㻁㟑婬宼宗
ᾼㅒ䠓⢿⃜Ҹ

註六：⏜㼆
㾀⣂⏜㼆㝋ĳıĲı〃Ĺ㢗䔁ᾼ⪽㛎〫㧈㙩ҿ⏜㼆㾀㾾䖍⁲㢜⑨㫼▗⃫Ⓩ俌汣䠋ⷤ嬞
␒Ӏ蚸⴩⃜䉉乄㾾䖍⁲㢜⑨㫼␄㜿▗⃫䫉䵓Ⓩ蚸捜灭㞾䰐⎉㾾㾀▗⃫蚸テ屎‡㉯
⌀庞蚸崢欨㾾㫼䛛㢃㝸ҷ㢃杙ҷ㢃㾀⢿╒厖⏜㼆䠓䠋ⷤҸ㧈㙩㾀㾾⋸⢿㛎〫䠓⌀
峧蚸⏜㼆䠓䠋ⷤ䛀㾀⣂⾑㛎〫Ὴ⶝☛朚䠋䴰䖕蚸军䐈Ⓩ㛎〫䉉⏜㼆䠓䠋ⷤ嬞␒☛
䢇杫㛎䳥䠓㔱宝☛⏅宑㕟K㊞嬚Ҹ

討論摘要 23

forum title : DESIGNʨECONOMY
(t r a n s l a t e d f r o m t h e Chinese scr ipt)

Edmund Lee: The Hong Kong Design Year 2012 has
come to an end. One of the recurrent messages is: Design
is part of our society, life, culture and economy.
I often say to others, the end of the Hong Kong Design
Year 2012 can be regarded as the beginning of another
phase in Hong Kong. We started an event named “DeVLJQLQJ &KDQJH 5RXQGWDEOH 6HULHV´ LQ WKH HQG RI 
with an aim to allow cross-sector discussions on culture,
economy, design and the society. The results of the discussions will be put forward to pinpoint the development
of the industry and provide a tool for the government in
policy formulation.
/HWPH¿UVWLQWURGXFH0V.DUHQ&KDQ9LFH3UHVLGHQWRI
German Pool [Hong Kong electrical appliances brand]. I
invited her because she is able to represent the younger
generation, allowing for a multifaceted discussion. She is
also currently a member of the Economic Development
&RPPLVVLRQ 'U 5R\ &KXQJ >&KDLUPDQ RI7KH )HGHUDtion of Hong Kong Industries] also shoulders the same
responsibility as a member of the Economic Development Commission. Mr Stanley Chu is the Honorary Life
President of the Hong Kong Exhibition and Convention
,QGXVWU\$VVRFLDWLRQDQGLVDOVRDPHPEHURIWKH%RDUG
RI'LUHFWRUVDW3040U$QWRQ\&KDQLVWKH&KDLUPDQRI
WKH+RQJ.RQJ,QWHULRU'HVLJQ$VVRFLDWLRQ0U)UDQFLV
/HHLVWKH&KDLUPDQRIWKH+RQJ.RQJ'HVLJQHUV$VVRFLation. Through this roundtable discussion, I hope to listen
to the voices from within the industry on how the design
industry should be developed and plays a role in hooking
up design, society, and the economy together.
Toby Chan: We are the company that created McDull
[a popular animation character in Hong Kong], but we
also focus on licensing business. Many people do not fully understand the issue, but we have been putting a lot of
HIIRUWLQWRLW,WLVDGLI¿FXOWMRE,QWKHHDUO\¶VDQGODWH
80’s, the cartoon character business began to emerge and
operate on a more entrepreneurial level, such as Old Master Q comic. However, they were not accompanied with
animation, publications or products at the time. My work
focuses more on product design, and I also conduct many
marketing activities.
Edmund Lee: Hong Kong has done an excellent job
in protecting intellectual property, but at the end of the
day, the question remains: how to commercialise it? Licensing is an obvious way and means. We can talk more
about that later.
7RE\ DOVRIRXQGHGWKH$VLDQ /LFHQVLQJ$VVRFLDWLRQ0U
Lee Jark-pui modestly claimed earlier that he knows little
about design. However, design is an integral part of the
society. It is closely connected to the overall economic
24 discussion summary

environment as well as other areas. I believe you can represent the voice of the international business sector, and
share with us from the local, Greater China, and even
global perspectives. May I ask Mr Bernard Suen to introduce himself now?
Bernard Suen: I represent the Center for Entrepreneurship of The Chinese University of Hong Kong to parWLFLSDWH LQ WKLV URXQGWDEOH GLVFXVVLRQ$V WKH QDPH VXJgests, our institution promotes entrepreneurship through
training, research and marketing. We focused on the cultural and creative industries in recent years, especially design as a key development area.
Professor Desmond Hui made an enormous contribution
to the “Baseline Study on Hong Kong’s Creative Industries”Note 1 in 2003. Dr Toby Chan spoke earlier about the
economic value of licensing business and cross-industry
creativity. I know Professor Hui has prepared some data
from which we can get a glimpse of the situation in various creative industries. I believe it will be very exciting
for us to be able to exchange views on this topic.
Edmund Lee: $OWKRXJK UHVHDUFK RULHQWHG 0U 6XHQ
has assisted us in the planning of the Hong Kong Design
Centre (“HKDC”) courses, as well as interviewing and
conducting surveys on entrepreneurs in HKDC’s programmes. That is why he is well-connected.
Mr Freeman Lau continues to be the staunch supporter of
this roundtable series. HKDC has done a lot of work in the
past, but how should it continue to help the society furWKHUGHYHORS"7KLVGLVFXVVLRQLVSLYRWDO5HWXUQLQJIURP
Europe earlier, I stopped over in London where I visited
the Design Council. I felt that much greater efforts are
required in helping the society to progress and developing
the design industry.
Professor Hui has done a lot of work in culture and consultancy. Please introduce yourself and share with us the
data you have prepared. Let us have a look at the data
about the existing “six new pillar industries” Note 2, comparison between the design industry and other pillars, as
well as the overall economic environment.

The Revelation of Hong Kong
Creative Industry Data
Desmond Hui: Currently I am engaged in consultancy
research. Mr Suen mentioned that we conducted a baseline
VWXG\RI+RQJ.RQJ¶VFUHDWLYHLQGXVWULHVIRUWKH¿UVWWLPH
in 2003. Back then, we designed a framework for collecting data that was later adopted by the Census and Statistics
Department. We still provide annually the relevant data that
tracks the economic output of the 11 creative industries,
including their output value and numbers of employees.
Today I have data to share on the six new pillar industries up until 2010, including cultural and creative
industries, medical services, education services, innoYDWLRQDQGWHFKQRORJ\WHVWLQJDQGFHUWL¿FDWLRQVHUYLFHV
and environmental industries. The ranking is arranged
according to the output value of each industry. In other
words, the proportion of the cultural and creative industries is the highest among the six industries, amounting
to 4.6% of the overall GDP - much higher than the other
¿YHLQGXVWULHVIROORZHGE\PHGLFDOVHUYLFHVDW
education services at 1.0%, innovation and technology
DWWHVWLQJDQGFHUWL¿FDWLRQVHUYLFHVDWDQG
HQYLURQPHQWDOLQGXVWULHVDW7KH¿JXUHVEHWZHHQ
the highest and the lowest are very much divided.
Freeman Lau: My impression is that design and tourism are not far apart, what percentage does the tourism inGXVWU\DFFRXQWIRU"$FFRUGLQJWRWKHRULJLQDOFKDUWWRXUism seems to occupy only about 5%. The design industry
is only a small part of the cultural and creative industries,
but how much does it contribnte exactly?
Desmond Hui: We can further discuss the design industry later. In terms of the six pillar industries, when
FRPSDUHGZLWKWKH¿JXUHVLQWKHRYHUDOOJURZWKUDWH
was up by 15.6%. Individually the cultural and creative
industries increased by 22.8%, with the others by 7.8%,
6.2%, 9.8%, 1.5% and 19.3% respectively. The cultural
and creative industries took the lead.
,QUHVSHFWRIWKH¿JXUHVLQDQGWKHVXP
of all these industries amounted to 8.4% of Hong Kong’s
*'37KHHPSOR\PHQW¿JXUHVVKRZHGWKDWWKHFXOtural and creative industries constituted 5.4%, followed
by medical services at 2.1%, education services at 1.9%,
LQQRYDWLRQ DQG WHFKQRORJ\ DW  WHVWLQJ DQG FHUWL¿cation services at 0.4%, and environmental industries at
1.0% respectively
, VRUWHG WKH ¿JXUHV LQ WHUPV RI WKHLU RXWSXW YDOXH DQG
workforce for the cultural and creative industries in 2010.
5DQNHGE\WKHRXWSXWYDOXHWKHODUJHVWZDVVRIWZDUHFRPputer games and interactive media industry, accounting

for 35% of the total output value. Do note that part of the
software, computer games and interactive media sector includes design. The publishing industry was the second largest, which constituted 17.6%. The two together accounted for over 50%. It is also the same case with many other
cities or countries that these two industries are the largest.
,W ZDV IROORZHG E\ DUFKLWHFWXUH DUW DQWLTXHV DQG FUDIWV
DGYHUWLVLQJWHOHYLVLRQDQGUDGLRDQGWKHQFDPHWKHGHVLJQ
industry. The design industry accounted for 3.8% of the
overall output value, while the smallest was the performing
arts, accounting for only 1.1%. If the ranking is organised
in terms of the number of workforce, there are differences,
but the proportion was still largest in software, computer
games and interactive media, and publishing.
Edmund Lee: If I understand it correctly, this is cateJRULVHG DFFRUGLQJ WR LQGXVWU\$OWKRXJK VRPH LQGXVWULHV
such as advertising and architecture involve design, it is
still calculated in the other categories.
Desmond Hui: It can be so interpreted.
Freeman Lau:7KHVH¿JXUHVDUHYHU\LQWHUHVWLQJ7KH
DGYHUWLVLQJLQGXVWU\KDVDORWRIGHVLJQHUV7KH¿JXUHLV
12,080 people. But there are 2,000 design graduates every
year in Hong Kong, where have they gone? We have
worked in this industry for 20 years, and have conducted
VLPLODUVWXGLHVVLQFH:HEHOLHYHWKDWWKHVH¿JXUHV
VKRXOGQRWEHVRFDOFXODWHG$FFRUGLQJWRWKHQXPEHURI
graduates from The Hong Kong Polytechnic University
(PolyU) and the Vocational Training Council (VTC), unOHVVOHVVWKDQZHUHGHVLJQHUVWKLV¿JXUHZRXOGEHD
ELWWRRORZDQGGXELRXV0RUHRYHULWLVGLI¿FXOWWRFDOculate the output value of the design industry because a
lot of designers are working in-house. One of the obvious
examples is manufacturing. Factories hire a large number of designers, and although they do not have their own
brands, many of them are original design manufacturers
(ODM), which is especially common in the production of
watches, jewellery, electronics, and packaging. Secondly,
in-house departments of large corporations in many service industries such as HSBC, have an enormous design
department, supporting hundreds of companies around
WKHZRUOG5HVHDUFKLQVWLWXWLRQVKRZHYHUFRQVLGHUWKHP
DVDQRQSUR¿WVHFWRUDQGWKHUHIRUHQRVWDWLVWLFVDUHSURvided. I think that the breadth of the design industry can
be broadened.
In addition, the Government has never revealed the number of designers being hired in each of its departments.
This is unreasonable. In general, the creative industries
account for approximately 4.6% of Hong Kong’s GDP,
ZKHUHDVWKH¿JXUHUHDFKHVXSWRDERXWLQRWKHUDGvanced countries.

discussion summary 25

forum title : DESIGNʨECONOMY
Desmond Hui:7KHLUGH¿QLWLRQVRILQGXVWU\FRXOGEH
GLIIHUHQW$GPLWWHGO\LWLVGLI¿FXOWWRDFFXUDWHO\FDOFXODWH
the number of designers in various industries, which had
EHHQGLVFXVVHGZKHQZH¿UVWJHQHUDWHGWKHVWDWLVWLFV:LWK
only a number like this to represent the total number of
designers, it could never be comprehensive. What I want
to say is, however, if comparing among the 11 creative industries, the growth of output value for the design indusWU\ZDVWKHJUHDWHVWDW$OWKRXJKWKHSURSRUWLRQZDV
not huge, it had the greatest potential. Its growth was also
far better than other industries. In terms of workforce, it
ZDVDOVRUDQNHGLQWKH¿UVWDQGVHFRQGSODFHVDPRXQWLQJ
to 4.7% - much more than the other industries. The largest
industry such as publishing even experienced a decline.
%HLWWKHHFRQRPLFRXWSXWRUHPSOR\PHQW¿JXUHVWKHGHsign industry was still the fastest growing industry.
Edmund Lee: Thanks to Professor Hui for sharing the
GDWD$OWKRXJKZHDUHIUHHWRGLVFXVVDQ\WKLQJUHODWLQJWR
the topic today, we can still start from the macro-environment, such as Hong Kong’s overall economic structure or
business environment in relation to the development of
the design industry, thereby establishing a broad framework for discussion.

To Increase Value For
Manufacturing Through Design
Bernard Suen: Professor Hui’s data revealed a longterm problem in Hong Kong since the introduction of the
six new pillar industries in 2009 for Hong Kong’s sustainable economic development: industrial structure and
transformation, which is the BUD Note3 (Dedicated Fund
on Branding, Upgrading and Domestic Sales) enterprise
VXSSRUWSURJUDPPHDOODERXW$V,RIWHQVD\LWLVWKHVDPH
SUREOHPZLWKLQGXVWU\XSJUDGLQJWKDWWKH3HDUO5LYHU'HOta experienced a few years back. I am pleased with the
presence of a few friends from the manufacturing industry
today. Let us take this opportunity to have a discussion on
the regional economic changes, especially the reduction in
RUGHUVIURP(XURSHDQGWKH86DIWHUWKH¿QDQFLDOFULVLVLQ
2008. How should we utilise design as a tool for creating
added value at this turning point?
Roy Chung:$VDPDQXIDFWXUHUZHIRFXVRQSURGXFW
design. More than 30 years ago, our predecessors were already aware of the importance of design, especially in the
PDQXIDFWXULQJLQGXVWU\$VVXFKWKH\HVWDEOLVKHGDGHVLJQ
committee under the Federation of Hong Kong Industries.
$WWKHWLPHWKHPDLQWDVNRIWKHGHVLJQFRPPLWWHHZDVWR
SUHVHQWWKH³*RYHUQRU¶V$ZDUG)RU,QGXVWU\´7KHDZDUG
was set up in the 70’s with the aim to motivate manufacturers to incorporate design for value creation, and after
26 discussion summary

 WKH *RYHUQRU¶V$ZDUG ZDV UHLQYHQWHG WR EHFRPH
³+RQJ.RQJ$ZDUGVIRU,QGXVWU\&RQVXPHU3URGXFW'HVLJQ$ZDUG´7KH*RYHUQRU¶V$ZDUGWKHQZDVFRQIHUUHG
in the Hong Kong Government House. It was a solemn
event. Mr Lau had provided a lot of suggestions.
I would also like to respond to the data presented earlier. In the past 10 years, Hong Kong has spent enormous
efforts in promoting design. Even though the funds allocated were not substantial, but compared with the past,
LWLV DOUHDG\DVLJQL¿FDQWFRPPLWPHQW+RZHYHU PDQXIDFWXUHUVIDFHGLI¿FXOWLHVLQTXDQWLI\LQJWKHH[SHQVHVRQ
design. Even if it is accounted for, they are often booked
XQGHU UHVHDUFK DQG GHYHORSPHQW 5 '  7KH GHYHORSment expenses are also further divided into technical deVLJQSURGXFWGHVLJQDQGHYHQRI¿FHLQWHULRUGHVLJQ$V
to whether manufacturers’ spending has been increased or
QRWDQGZKHWKHUVXFKLQFUHDVHVKDYHEHHQUHÀHFWHGRQWKH
market price, we do not have the relevant data. We often
say the prospect of an enterprise rests upon the proportion
RILWV5 'H[SHQGLWXUH7KHUHDVRQ+RQJ.RQJ¶VPDQXfacturing has done poorly is precisely because of its low
5 'LQSXWOHDGLQJWRDQXQFOHDUIXWXUH
In addition, I think some manufacturers are very deVLJQRULHQWHGVXFKDV97HFKDQG2UHJRQ6FLHQWL¿F/LNH
our company, they inject a vast amount of resources into
design, whereas some industries which are supposed to
be design-driven do not pay much attention to the design
itself. For example, the jewellery industry in which design
is supposedly pivotal, but I don’t understand why the design quality is so poor? My view is that many Hong Kong
companies do not have their own brands. Their thinking
is that since they have no brand, they have no say, so it is
rather pointless to invest in design. Even if a new design
comes forth, the product belongs to others, so do the profLWV$VDUHVXOWWKH\PLJKWWDNHDFRQVHUYDWLYHDSSURDFK
or simply follow someone else’s design. On the contrary,
a brand requires design. For example, a number of local
fashion companies possess their own design department.
Even though they have the brand and an edge, they still
need to rely on the power of design to survive. That is why
there are different kinds of design in the fashion industry.
Our company TTI (Techtronic Industries Company Limited) has its own brand, so do German Pool and our old
friend [Fontane Group’s Founder and Chairman] Mr Hui
Cheung-wing who owns Fontane. We all need to inject a
lot of resources into design. Those without a brand, espeFLDOO\VPDOODQGPHGLXPVL]HGHQWHUSULVHV 60(V UDUHly heed this aspect, especially in mainland China where
concern for intellectual property rights is relatively loose.
Manufacturers often have their artwork unit to carry out
VOLJKWPRGL¿FDWLRQVRQGHVLJQVGHYHORSHGE\RWKHUVDQG
therefore they do not have to be very creative.

Bernard Suen: That said, Mr Lau has a lot of clients in
mainland China that pay a great deal of attention to design.
They would hire Hong Kong designers to help build a brand.
Roy Chung: That could be the case if they own a
brand. But if the brand is only mediocre and still under
experiment, what I have just described would likely happen. This is the phenomenon I have observed in the manufacturing industry. Of course, the ideal approach is to
conduct studies to quantify spending on design and accurately project the trend. However, at present it is not yet
achievable. Mr Lau had helped me in several Governor’s
$ZDUGVDQG&RQVXPHU3URGXFW'HVLJQ$ZDUGV+LVFRPments were getting more and more negative. I could not
help but wonder why it is going downhill even with such
a huge investment.
Freeman Lau: Dr Chung raised a number of points.
The manufacturing industry in Hong Kong has a very
YDJXHFRQFHSWRI5 'DQGFRQVLGHUVWKDWLWLVQRWDQHFessary investment. Decades ago, apart from jewellery retailer Chow Sang Sang and other enterprises, there were
quite a number of well-known export-oriented companies in the jewellery industry. I remember the catalogues
published in those days were widely plagiarised by other
players in the industry. I am not sure about the current
development of the industry, but Dr Chung mentioned an
important point, which is that the jewellery industry does
not understand the importance of design. For that reason,
the education system should bear a heavy responsibility.
There was a time when the VTC did not even run a jewellery design curriculum, and today PolyU has yet to offer
courses in this discipline. What could the prospect be for
the cultural and creative industries among these so-called
“six new pillar industries”?
Roy Chung: Jewellery design in Hong Kong is a huge
industry as shown in previous jewellery shows.
Stanley Chu: I have worked in the exhibition industry for more than 30 years and have met many exhibiting
PDQXIDFWXUHUV $W WKH PRPHQW HQWHUSULVHV LQ WKH 3HDUO
5LYHU 'HOWD DUH EHLQJ XSJUDGHG DQG UHVWUXFWXUHG +RZ
should we interpret this upgrading transformation? In
simple terms, we could look at it in the context of the
“smiling curve” theory. One end represents innovation
and technology, and the other is design and brand management. Manufacturing is represented by the portion
in the middle where the curve falls. In the 80’s and 90’s,
WKHPDQXIDFWXULQJLQGXVWU\HQMR\HGWKHEHQH¿WVRIFKHDS
ODERXU DQG ORZ ODQG SUHPLXP LQ WKH 3HDUO 5LYHU 'HOWD
ZKLFKJDYHLWDPXFKKLJKHUSUR¿WPDUJLQDQGWKXVWKH
VPLOLQJFXUYHZDVUHODWLYHO\ÀDW$WWKHPRPHQWWKHPDQufacturing industry has lost these advantages, resulting in
a sharper curve.

Design and brand management are interconnected. Design brings value to a brand. There is little incentive for
manufacturers to produce better design if they have no
brand. In the past, many manufacturers operated in the
OEM (original equipment manufacturing) model, let
loose of their own destiny and solely manufactured the
products according to the requirements of their clients
without bothering much about design.
$ IULHQG RI PLQH DVNHG VWXGHQWV DW D97& WDON ZKDW LV
the difference between designers and artists? None of the
students could answer. He simply replied, in manufacturing terms, for example, artists do not take into account
the client’s wants and needs or market demand, whereas
designers concern primarily the customer’s preferences
and requirements, and then design products to meet marNHWGHPDQG7KLVLVWKH¿UVWVWHSLQGHVLJQ,IWKHUHLVQR
brand, manufacturers will only produce according to the
EX\HU¶VRIIHUHGSULFHVDQGGHVLJQVSHFL¿FDWLRQV
Today, however, the situation has changed. Many manufacturers in Hong Kong have transformed from OEM to ODM.
In the 80’s and 90’s, mainland China was home to a lot of
outward processing factories, town and village enterprises,
and small factories. These factories and enterprises have
now switched to hiring graduates from mainland’s top universities such as Zhongshan University, Fudan University
and Tsinghua University. Nowadays Hong Kong people
can no longer survive with their management and English
language skills as these town and village enterprises have
already replaced Hong Kong manufacturers. If Hong Kong
manufacturers want to continue to develop the OEM industry, they must take design into account. Nowadays, many
OEM enterprises have switched to ODM operation, and do
not charge any fee for design, which is already included as
a value-added service. The next step for Hong Kong enterprises should be to make use of the China market to build
their own brands. This means they will need to go the extra
mile to attain the goal.
Take the footwear industry as an example. ManufacturHUVLQ:HQ]KRX&KLQDKDYHDOUHDG\VHWXSGHVLJQRI¿FHV
in Florence and Milan which are locally registered and
HPSOR\ ,WDOLDQ GHVLJQHUV$IWHU WKH\ KDYH EXLOW XS WKHLU
own brands, they would not immediately copy other
FRPSDQLHV¶ GHVLJQV 5DWKHU WKH\ ZRXOG FDUHIXOO\ VWXG\
the trend, use of colour and combine the features of other
brands, and then repackage the design which will quickly
EH VHQW WR :HQ]KRX %\ PRELOLVLQJ WKRXVDQGV RI IDFWRry workers in China, new products can be added to the
catalogue in a few weeks and exported to the U.S. The
goods, of course, cannot be sold to Italy, but this does not
affect the sale in other markets. Their Italian counterparts
feel very offended and furious, and have refused to exhibit in mainland China. Thanks to globalisation, design
discussion summary 27

forum title : DESIGNʨECONOMY
LVQRORQJHUJHRJUDSKLFDOO\FRQ¿QHGZLWKLQ,WDO\'HVLJQ
developed by local brands can be manufactured in Wen]KRXDQGH[SRUWHGWRRYHUVHDVIURP&KLQD&KLQDFODLPV
to be emerging from low-end production to concentrate
on design and branding. China produces 12 billion pairs
of shoes annually and 80% of U.S. imports are from China. The country is experiencing excess production and the
government understands it will not work in the long run.
The solution is to reduce production and exports while increasing domestic demand, which, however, is a challenging issue for China. Take the sale of shoes as an example.
Shoes sold in U.S. department stores have no brands, but
in mainland China’s department stores, brand names are
everywhere.
7KHVHVWRUHVGRQRWRIIHUVDOHVSURPRWLRQVWKH\DUHVLPply landlords, operating entirely in the form of shop-inshop. [Mainland footwear retailer] Belle International
owns tens of thousands of shops in the mainland, and
[mainland footwear brand] Daphne and others, all set up
shops in shops. In this environment, smaller brands cannot survive. The domestic market in the mainland is yet
to be properly developed, and further development is also
GLI¿FXOW )RU WKH GHYHORSPHQW RI WKH GHVLJQ LQGXVWU\ LQ
Hong Kong, it is extremely important to create local market demand. Let me elaborate my point later.
Bernard Suen: Design undeniably brings economic
value and contributes to branding, but does the design
need to come from Hong Kong?
Karen Chan: My company is truly a Hong Kong brand.
We named ourselves German Pool 30 years ago by importing German products. We began our operation as an OBM
enterprise (Original Brand Manufacturing). No one knew
anything about OBM back them. Most companies in our
business were just brand distributors for Sony and Panasonic as part of their sales networks. On the contrary, we
established our brands and production lines. I have a high
UHJDUGIRUGHVLJQ$IWHU*HUPDQ3RROHVWDEOLVKHGDVWURQJ
foothold in Hong Kong, we entered the market in mainland
&KLQD$VD+RQJ.RQJEUDQG*HUPDQ3RROIROORZHGWKH
+RQJ.RQJ7UDGH'HYHORSPHQW&RXQFLO 7'& WR¿UVW
and second-tier cities in China in the past year and a half,
including cities in the northeast, such as Changchun, Dalian
and Harbin. We also visited Chengdu, Nanning, Xian, and
Wuhan. During the visits, TDC promoted across the country
various Hong Kong brands from different sectors. We are
very proud to have been part of the business delegation. Our
experience is that the more remote the areas, the more popular our brand is. Cities near Hong Kong in Guangdong ProvLQFHVXFKDV*XDQJ]KRXEXVLQHVVLVPRUHFKDOOHQJLQJ7KH
individual visit scheme has enabled mainland consumers
to access information similar to Hong Kong, thus making
Hong Kong brands less competitive in these markets. How28 discussion summary

HYHU LQ WKH 1RUWKHDVW RU VHFRQGWXUQHG¿UVW WLHU FLWLHV
there is great development potential. They favour Hong
Kong brands. They understand Hong Kong brands are not
(XURSHDQEUDQGVEXWDUHGH¿QLWHO\EHWWHUWKDQWKRVHSURGucts designed and manufactured by mainland companies.
Even if the origin of our products is China, they are still
more preferable. To mainland consumers, Hong Kong is
equivalent to quality assurance, just like Hong Kong’s
milk formula.
When it comes to design, we as manufacturers pay very
close attention to the balance sheet. Large enterprises like
77,ZRXOGLQYHVWPRUHWKDQLQ5 'ZKHUHDV60(V
like our company, can only afford to collaborate or work in
partnership with OBM or ODM enterprises to leverage on
WKHLU5 'LQYHVWPHQW7KHUHIRUHWKHGDWDPHQWLRQHGHDUOLHU ZHUH QRW DEOH WR UHÀHFW WKH GHVLJQ GHYHORSHG E\ RXU
company. I think design should not be limited to product
design. On the sales level, design is also essential in marketing and packaging. Brand building and operating a factory are two different things. When we build a brand, we
focus on packaging and product design. Packaging work
is vital. While we adore outstanding design, the reality is
that when we exhibit in mainland China, our neighbouring exhibitors are also showcasing the exact same things.
How could this happen? It was because we took part in the
same exhibition six months ago, and they copied our entire
GHVLJQFRQFHSWLQFOXGLQJERRWKVEXVLQHVVFDUGVFDUÀHHW
DQGHYHQWKHFRPSDQ\SUR¿OHGHVLJQ1HYHUWKHOHVV,VWLOO
think positive. We are the target of plagiarism because we
excel and are the pioneer in the industry. Since we cannot
give up our business, we must go further. With our operation on a small and medium scale, it is impossible to produce all the products on our own. We concentrate on developing our core business areas and collaborate with strategic
partners for design and other value-added components. Our
philosophy is to collaborate with top manufacturers, and
focus on packaging, image and value-added designs that
meet our clients’ needs. We do not view the situation in a
negative light. Hong Kong brands are still very popular in
mainland China, but we must have a clear positioning.
$VIRU%8'LWLVDQRWKHUOHYHO'XHWRWKHQDWXUHRIP\
work, I have the opportunity to be a committee member
of the BUD Enterprise Support Programme, which has
allowed me to have a glimpse of the government’s policies and directions in assisting SMEs to develop domestic
sales. Brand building, business upgrading and expanding
domestic market are inseparable. Not all companies are
able to establish their own brands. We are fortunate to have
established it 30 years ago and do not have to start from
scratch now. SMEs which did not have the opportunity
to build up their own brands before can make use of this
dedicated fund set up by the Government to upgrade their
business or establish a brand. These companies which did

not have the budget in the past can now at least have the
chance to apply for the HK$500,000-government funding
to progressively build up their design capacity and brand.
Brand building naturally requires a lot of work. One has
to develop design, packaging and labels from scratch.
Nevertheless, it creates a positive impact on the design
industry. Our previous generations or predecessors may
not believe in design. When we, the younger generation,
became manufacturers and had the opportunity to study
abroad in the U.S., Canada or Europe, we all recognise the
value of design. However, this change of thinking pattern
needs to be made step by step. It requires the recognition
of our previous generations. For our MED (manufacturing, education and design) activities under the Federation
of Hong Kong Industries’ Youth Executive Committee
(YEC), we integrate manufacturing, education and design together. We have faith in design, but the problem
is how we should introduce it into an enterprise and commercialise it. The previous generations pursued speed and
HI¿FLHQF\ DQG GLG QRW FRQFHUQ PXFK DERXW GHVLJQ ,W LV
DOVR YHU\ GLI¿FXOW IRU WKH H[SRUW LQGXVWU\ WR VHW XS QHZ
teams focusing on design, but our generation do believe
in design and we have the responsibility to explain to our
previous generations about it. Our previous generations
have worked pragmatically and laid a solid foundation for
their business. Now that we are taking over or ready to
take over their business, I believe design can propel our
business to another level. Hong Kong SMEs of our kind
are willing to try and practice and thus we should have a
bright future ahead of us.
Roy Chung: Design and domestic market development were regarded as Hong Kong’s initial industries in
the manufacturing history. Some of Hong Kong’s oldest
clothing brands such as Lee Kung Man Knitting Factory
and Crocodile focused on developing design back then.
In terms of developing the domestic market, why do you
WKLQN WKH &KLQHVH 0DQXIDFWXUHUV¶ $VVRFLDWLRQ RI +RQJ
.RQJ &0$  HVWDEOLVKHG WKH +RQJ .RQJ %UDQGV DQG
Products Expo (BPE)? Is it for foreigners? No. It targets
+RQJ .RQJ SHRSOH DQG $VLDQV &0$ DQG %3( KDYH D
KLVWRU\RIDQG\HDUVUHVSHFWLYHO\>$SSDUHOPDQXIDFWXUHUFXPGLVWULEXWRU@*ROGOLRQDQG5HG$3ODVWLFDUH
all Hong Kong designs. The type of wool underwear with
three buttons was designed by Lee Kung Man which cannot be found in foreign countries. Their designs, brands,
and the domestic market were all developed locally. Their
UHDFKPD\JRDVIDUDV6RXWKHDVW$VLDEXWWKH\FRXOGEH
found in foreign countries. That was our starting point.
There were also food companies such as Lee Kum Kee,
Pat Chun Sweetened Vinegar which are all local brands.
Later in the 50’s, a large number of mainland immigrants
settled in Hong Kong. The world had faith in Hong Kong
XQGHU WKH %ULWLVK UXOH +RQJ .RQJ ZDV WKH ¿UVW SODFH

RWKHU WKDQ -DSDQ WR KDYH GHYHORSHG 2(0 (YHQ$PHULFDQPDQXIDFWXUHUVFDPHWRVHWXSIDFWRULHVKHUH$WWKH
moment, we are undergoing the same kind of experience
back in the 50’s. I wrote in the Hong Kong Economic
Journal suggesting that the entire manufacturing system
needs to turn around and revert to its origin. The situation
is much more demanding today. Design and technology
are inseparable in our products. Design cannot be calculated separately and it is inevitable to be integrated into
5 '7KLVLVH[DFWO\WKHUHDVRQZK\EUDQGHGFRPSDQLHV
RIWHQFRPELQHGHVLJQDQG5 'DVLWLVGLI¿FXOWWRVLQJOH
out design as a separate component.
Freeman Lau: Be it technology or engineering design,
WKHZKROHZRUOGSXWVGHVLJQDORQJVLGH5 'ZLWKWKHH[ception in branding.

Interaction Between Hong Kong
and Foreign Design
Bernard Suen: In returning to the origin, a high degree
of technological integration is needed. Will designers, especially overseas designers, be needed? Some of our participants are leaders of various business associations. In
this era where everyone looks for value-added products,
are our Hong Kong designers competitive enough?
Roy Chung: There are many outstanding designers in
+RQJ.RQJ$VIRUSURGXFWGHVLJQHUVWKH\PXVWEHIDPLOiar with the products in order to come up with an excellent
GHVLJQ,WLVQRWVLPSO\DERXWGUDIWLQJ$QRYHUVHDVEX\HU
RQFHVDLGWRPH³5R\\RXKDYHH[FHOOHQWGHVLJQHUVDQG
engineers, but they do not know how to use your products.”
The main products of our company are power tools and
vacuum cleaners, but many people may never have used
power tools before. For example, we produce a lot of lawn
mowers, but Hong Kong designers almost certainly have
never used them. So we have to employ foreign designers.
On the other hand, there are also products that Hong Kong
designers are familiar with, such as computers, watches and
fashion. They have created many excellent designs. But
still, some industries cannot solely rely on local designers.
In addition, some manufacturers told me that Hong Kong
designers are not as good as French designers. Whether this
is prejudice, it will have to be left for the experts to decide.
Edmund Lee: There are also successful examples of
Hong Kong designers in other areas of work.
Roy Chung:6XUHEXW,WKLQNWKH\QHHGWR¿UVWNQRZ
the product well.

discussion summary 29

forum title : DESIGNʨECONOMY
Freeman Lau:$VDQLQWHUQDWLRQDOFLW\DQGGHVLJQKXE
Hong Kong should not be exclusionary. New York and
London, which are also design cities, do not possess many
famous indigenous designers. Highly regarded architects
in London are not all pure British. Our concern should be
about Hong Kong’s overall design environment and industry development, rather than the nationalities of design
talents. We also welcome mainland Chinese talents. I have
two colleagues who are from the mainland. Hong Kong
being an international city, we should keep an open mind.
The more talents we have, the more appealing Hong Kong
is to international companies, and the more training opportunities the city can offer. The Singapore government is an
expert in this regard. They continue to attract foreign investors to set up companies in Singapore and help them turn
DURXQG¿QDQFLDOO\$WWKHVDPHWLPHWKH\OHWWKHVHIRUHLJQ
companies train their local talents. We should adopt the
VDPHDWWLWXGH:HWUXO\ZHOFRPHWKHDUULYDORI/DQGRU$VVRFLDWHV >DQ LQWHUQDWLRQDO EUDQG VWUDWHJ\ FRQVXOWLQJ ¿UP@
LQ+RQJ.RQJ:HVKRXOGVHHNWRDWWUDFWPRUHWDOHQWV$V
mentioned by Dr Chung, Hong Kong’s immature product
design scenario is a chicken-and-egg problem. In the past,
there were not too many brands, and therefore there was
no platform to train product design graduates. This situation in the 80’s indirectly encouraged a small group of
product designers to develop their entrepreneurship. Mr
Dennis Chan [Hong Kong jewellery designer] is a good
H[DPSOH$IWHUKHKDGZRUNHGIRU-DSDQHVHGHVLJQHU.HQ
6KLPD]DNLIRUPRUHWKDQ\HDUVKHFRXOGQRW¿QGDQ\
other design company worth joining at the time and so he
VWDUWHGKLVRZQEXVLQHVVDQG¿QDOO\EOD]HGDQHZWUDLO
Roy Chung: In terms of design and technology, Hong
Kong has hoped to turn from a labour-intensive manufacturing model into a design-cum-technology model
through value-added services and business restructuring.
We hope to attract more foreign companies to come to
Hong Kong and employ more local designers, whereas
Chinese talents who work in foreign companies can learn
a thing or two, and then start their own business. I hope
that the Government can introduce policies to attract more
foreign companies to Hong Kong.
Freeman Lau: We should be mindful of the downside.
There was a time when Singapore attracted only foreign
companies and neglected the survival of local companies.
Roy Chung: In our generation, most of the SME owners in the manufacturing industry did not receive any highHUHGXFDWLRQ7KH\DOO¿UVWMRLQHGDODUJHFRPSDQ\EHIRUH
starting their own business. For example, Mr Humphrey
/HXQJ>&(2RI6RORPRQ6\VWHFK@¿UVWKHOSHG0RWRUROD
develop integrated circuit (IC) design before setting up
6RORPRQ6\VWHFKZKLFK¿QDOO\JRWOLVWHGLQ+RQJ.RQJ
The situation of the manufacturing industry is like the toy
30 discussion summary

industry where many people had worked for big foreign
companies such as Mattel. I believe the case for design is
also similar. Big foreign companies come to Hong Kong
and hire local people. We provide the companies with talents who after training armed with seasoned experience
and industry knowledge can start their own business.
Antony Chan: The characteristic of Hong Kong is
³(DVWPHHWV:HVW´$WWKHPRPHQWFRXQWULHVOLNH-DSDQ
and France are commonly regarded as successful examples of international design centres. To be successful, all
parties need to work together. The public, professionals
and academics are all very important. I agree that a mechanism to attract foreign companies to come to Hong Kong
is vital, but other than that, can the policy be reformed
so that local companies can hire foreign talents directly?
&XUUHQWO\LWLVYHU\GLI¿FXOWWRKLUHIRUHLJQGHVLJQHUV&DQ
a mechanism be put in place to allow local companies to
hire, for example, 10% of their staff from overseas? This
way, young foreign designers will be able to bring their
cultures into Hong Kong.

Business Opportunities Brought
by Licensing
Toby Chan:$OORZPHWRUHVSRQGWR0U/DX¿UVW,UHcall we once had a meeting regarding licensing. Mr Lau
had a question about demand as to whether designers, anLPDWRUVDQGHGLWRUVKDGVXI¿FLHQWSODWIRUPVIRUZRUNDQG
employment opportunities. In the 80’s when Hong Kong
people could speak their minds freely, the publishing industry was very prosperous at the time. However, with the
opening up of the Taiwan market, followed by mainland
China, Hong Kong’s competitive edge has been underPLQHG<RXFDQVHHWKHPDUNHWLVQRZIXOORIVLPSOL¿HG
Chinese books.
It is my hope that, through the promotion of licensing, a
solution can be provided to help manufacturers solve their
SUREOHPV$WWKHPRPHQWRQO\DIHZ60(VNQRZWKDWOLcensing is an instrument, of which larger manufacturers
have already been taking advantage. In particular fashion
HQWHUSULVHVVXFKDV/L )XQJ/LPLWHGWKH\KDYHPDGHXVH
of other licensed brands to help with production, to open
VWRUHVRUHYHQWRDFTXLUHDQRWKHUEUDQGVXFKDV/LODQ]>D
mainland menswear brand].
&KLQD2XW¿WWHUV>DPDLQODQGFRPSDQ\WKDWGHVLJQVPDQufactures and markets menswear clothing], for example,
was listed in HKEx in 2012. The company did not want
others to know that the brands which it owned were all
licensed from other companies. The company started six
or seven years ago as an SME. It did not have any background or experience in garment or manufacturing. How-

ever, the company focused on design and was well-versed
in branding. The company has utilised only two brands JEEP, a car brand, and Santa Barbara Club, a polo shirt
EUDQGWRJHWLWVHOIVXFFHVVIXOO\OLVWHG$FFRUGLQJWRD0LQJ
Pao’s report, the company’s business grew by more than
30% in 2012. This example illustrates that if companies
know how to put brands to their advantage, employment
opportunities in the manufacturing industry will increase.
In fact, licensing also helps enhance the quality of design.
Daniel Hechter for example, is a fashion brand in France
ZLWKDKLVWRU\RIVHYHUDOGHFDGHV$WWKHPRPHQW,QWHUDVLD
Marketing (HK) Co. Ltd. (Interasia) is its licencee. Every
piece of clothing designed by Interasia needs to get approval from Daniel Hechter’s professional fashion experts
EHIRUHLWLVTXDOL¿HGIRUVDOH:LWKWKHLU+RQJ.RQJGHsigners striving to get their designs approved, Hong Kong
designs will gradually rise to the international level.
Many international brands in Hong Kong can make use of
licensing. Nowadays, it is not Hong Kong companies that
refuse to establish their own brand, but the cost and risk
LQYROYHG DUH WRR KLJK$ ORW RI PDQXIDFWXUHUV DUH DIUDLG
of failure while others do not want to spend this sum of
money. Some toy manufacturers said that they have spent
5 to 6 million Hong Kong dollars in the mainland to advertise their own brands, but it was far from successful.
Nowadays, when managing a brand, a lot of companies
simply do not know how to use marketing strategies, nor
do they want to spend too much budget on it. I personally
believe that instead of building a brand, we might as well
obtain a licence. We can make use of the opportunity to
learn about brand management by paying not too high a
royalty fee to obtain a licence. We can then create our
own brand and collaborate with other licensed brands to
increase brand popularity. For instance, Interasia can set
up a counter to display certain products of Daniel Hechter,
some from Elégance [French fashion brand], and some
from its own brand. Not only will it enhance the value of
its own brand, and in so doing it will also create employment opportunities. When manufacturers have obtained
a licence, naturally there will be demand for designers.
$PLGVWDWHQVHJOREDOFRPSHWLWLRQQRZDGD\VLIWKHUHDUH
inadequate job opportunities for Hong Kong designers, it
will result in a severe impediment to the development of
Hong Kong design industry. I think we must try to make
reference to the above approach to solve the imminent
problem.
Edmund Lee: 7KHUH LV QR FRQÀLFW EHWZHHQ WKH WZR
What Dr Chung pointed out was that a mechanism to attract overseas companies to Hong Kong can provide a
more substantial employment platform.

Toby Chan: This is the ideal situation, but it could not
be achieved within a short period of time. Large companies
will have a lot to calculate before coming to Hong Kong.
Lee Jark-pui: I would like to respond to the GDP issue raised by Professor Hui earlier. If we can compare
GDP with Net Domestic Product (NDP), the picture will
be much clearer. I hope the Census and Statistics DepartPHQW FDQ SURYLGH WKLV LQIRUPDWLRQ RWKHUZLVH WKH FXUUHQW
GDWDGRQRWPHDQPXFK$OVR,DJUHHWKDWGHVLJQLVFORVHO\
related to innovation and technology. Simply a discussion
about it within the industry is not enough. We must form
DFRQVHQVXVLQVRFLHW\:KHQ0V-DQHW:RQJ¿UVWVHUYHG
as the Commissioner for Innovation and Technology, she
had already encouraged Hong Kong people and students to
gain a deeper understanding and cultivate their interest in
innovation and technology. When I retired in 2012 from the
Innovation and Technology Commission as Chairman of
General Support Programme Vetting Committee, the Committee actively advocated that the development of innovation should be encouraged through government funding.
In addition, the document you provided mentions local
culture. I think that local culture is equivalent to local
PDUNHW RYHUVHDV FXOWXUH LV HTXLYDOHQW RYHUVHDV PDUNHW
These are two different things. For example, an architect
designing a building in Hong Kong is a completely different story from designing in a foreign country. I agree with
one of the participants that we can design a building that
is very conceptual. I also agree that designers should have
a free mind, a dream or a fantasy, but they should also
recognise market realities and facilitate to unite the two.
Bernard Suen: Hong Kong is an open city. In the process of attracting foreign and mainland talents to Hong
Kong, integrating them into the local community, and then
helping them enter the international market, localness has a
vital role to play. We now have the PMQ Note 4, and Dr Lee
also mentioned that the Government has allocated HK$100
million for each local district to support the implementation
of minor works projects responsible by each district council. How should the design industry make use of these opportunities to boost domestic demand? This is my question
for all of you.
Edmund Lee: Last year, we always mentioned the sloJDQ³$&LW\'ULYHQ%\'HVLJQ´8QGHUWKHFUHDWLYHFLW\
concept, design, apart from industrial applications, is also
essential to the community. It shoulders the task of making improvements to society.
Stanley Chu: For example, a large export-oriented enterprise debates to decide whether its design team should
be based in the U.S. or Hong Kong. The advantage of setWLQJXSWKHWHDPLQWKH86LVWKDWWKH$PHULFDQGHVLJQHUV
discussion summary 31

forum title : DESIGNʨECONOMY
will have a better understanding of the consumer’s prefHUHQFHVDVWKHLUEUDQGVDUHPDLQO\IURPWKH867KHÀLS
side is that the design team will be too far away from the
manufacturing base, remote from the reach of the materials and the factory. This example illustrates exactly the
opportunity to integrate the two teams. We certainly welcome foreign designers, but why do they want to come to
Hong Kong? The incentive would be because there are
SUR¿WVLQYROYHG:HKDG%3(LQWKH¶VEHFDXVHRIWKH
existence of domestic demand and local brands. Later on,
when it was easier to make money with hundreds of millions of exports of goods, who would still care about local
brands, or take care of the small local market? Nowadays,
as exports continue to plummet and the mainland market
opens up to encourage domestic demand, there is an opportunity for Hong Kong and mainland China to collaborate to build a brand for mainland Chinese products.

Lee Jark-pui:$VDEXVLQHVVPDQP\REVHUYDWLRQLVWKDW
WKH PDQXIDFWXULQJ LQGXVWU\ WHQGV WR RXWVRXUFH WKH 5 '
and design work abroad. Should we consider the development of local talents on one hand, and attract more foreign
talents on the other? For instance, in fashion design, the
“Hong Kong Young Fashion Designers’ Contest” Note 5 organised by the TDC offers local winners sponsorships for
WKHPWRXQGHUJRDZHHNORQJ¿HOGWULSWR,WDO\7KLVLVD
JRRGLGHD$VIRUWKHODWWHUVLQFH(XURSHDQGWKH86DUH
experiencing an economic downturn, many people want
to come to work in Hong Kong. This is our opportunity to
expand. With the introduction of more foreign designers
for work demonstrations and lectures, the effect may be
even better.

For instance, Hong Kong Disneyland has introduced the
“Pleasant Goat and Big Big Wolf” [a popular animated
TV series in the mainland] this year in order for Chinese
visitors to feel more at home when they visit the theme
park. There will also be licensed business of some sort relating to the Pleasant Goat in the future. I have suggested
to the Managing Director of Hong Kong Disneyland, Mr
$QGUHZ.DPWRRUJDQLVHDQQXDOO\DORFDO'LVQH\FKDUacters design competition, and seek the support of Hong
Kong manufacturers to design Hong Kong souvenirs for
sale. Each year, there are more than 40 million visitors
to Hong Kong Disneyland, with most of them coming
from the mainland. Why can’t Hong Kong-designed
hats, clothing, umbrellas, stationery, toys, and even golf
balls, obtain a licence from Walt Disney for selling them
in Hong Kong? The Hong Kong Government should not
only encourage foreign designers to come to Hong Kong,
but should also stimulate domestic demand that comes
with a population of 13 billion from the mainland. Hong
Kong itself is a trademark of quality. We need to introduce the concept “Designed in Hong Kong, Created in
Hong Kong” into Chinese manufacturing industry. First,
we need to establish a Hong Kong brand and then develop it in the enormous mainland market before taking it
to the global market. Brand building must start from the
local community before developing the regional and inWHUQDWLRQDOPDUNHWV$VDPDWWHURIIDFWZHDUHQRWDEOH
to enter the U.S. market to develop brands at the moment.
Even brands like Ninja Turtles were unable to compete
with Mattel and other major brands. The risk for Hong
Kong people to establish their own brands in the U.S. is
unimaginable. They are not able to cope with the cultural
difference and local networks. Many had tried but failed.
Therefore, we should take control of making decisions
DQGKDYHWKH¿QDOVD\:HVKRXOGFUHDWHPDUNHWGHPDQG
in Hong Kong. This is an important opportunity for Hong
Kong’s creative and design industries to start afresh.

Stanley Chu: Not exactly. Invest Hong Kong mainO\HQFRXUDJHVIRUHLJQFRPSDQLHVWRVHWXSEUDQFKRI¿FHV
and regional headquarters in Hong Kong, as well as attracting foreign investments.

32 discussion summary

Bernard Suen: Is Invest Hong Kong working to attract
foreign talents to Hong Kong?

Roy Chung: I think Invest Hong Kong does undertake
some recruitment work to attract overseas talents, but
the biggest problem for Hong Kong is that there is not
an integrated organisation. Hong Kong Tourism Board
(HKTB), Invest Hong Kong, and TDC have been doing
work to drive the development of Hong Kong, but whether their work has been adequately coordinated is debatable. Who formulates the policy to attract foreign talents to
Hong Kong? Who can take a step further? For example,
I know that Invest Hong Kong will organise some event
with TDC in New York and San Francisco in early June,
NQRZQDV³WKLQN$6,$WKLQN+21*.21*´
Edmund Lee: It is necessary to promote the network
for better coordination.
Freeman Lau: It is not our objective today to discuss
whether the Hong Kong design industry is successful or
not. It is about how the Hong Kong design industry can
help drive Hong Kong’s economic development, what
role we can play and which areas have been neglected or
not done enough, so that we can provide some data and
information for the design industry, government, business
community and manufacturing sector as a reference. Of
FRXUVHZHZLOOQRWEHDEOHWR¿QGDQVZHUVWRHYHU\WKLQJ
we discussed today.
Many of the participants present today are members of
the working group on manufacturing industries, innovation technology and cultural and creative industries under
the Economic Development Commission. HKDC and the
+RQJ .RQJ )HGHUDWLRQ RI 'HVLJQ $VVRFLDWLRQV ZLVK WR

¿QGRXWWKHUROHWKDWWKHGHVLJQDQGFUHDWLYHLQGXVWULHVFDQ
play in propelling Hong Kong’s economic development.
Mr Chu mentioned the market issue while Dr Chung
pointed out the issue why there is a lack of jewellery designers and no course or training is provided to address
the problem. Dr Toby Chan suggested that licensing could
offer a new solution as he believed that Hong Kong has
QRW\HWIXOO\XWLOLVHGWKHOLFHQVLQJPHFKDQLVP$UHWKHUH
any other possibilities?
Bernard Suen: What we discussed just now about
globalisation or local market means nothing to the young
generation. Most of them learn, play and make friends in
WKH YLUWXDO ZRUOG 5HFHQWO\ D JURXS RI \RXQJVWHUV ZKR
call themselves “9gag” has successfully secured venture
capital in Silicon Valley and become an instant sensation
on the internet. This is something possible. It is the same
FDVH IRU$QJU\ %LUGV:KR ZRXOG KDYH WKRXJKW D JDPH
application could turn into a movie and become a big
enterprise? This is exactly what Dr Chung talked about
WHFKQRORJ\$QRWKHU SKHQRPHQRQ LV WKDW WKHUH LV D VXGGHQVXUJHRIFRZRUNLQJRI¿FHVSDFHVLQ+RQJ.RQJLQ
recent years, such as Cocoon, The Hive and The Good
/DE$QLQWHUHVWLQJSKHQRPHQRQLVWKDWIRUHLJQHUVDUHWKH
PDLQ SDWURQV RI WKHVH FRZRUNLQJ RI¿FH VSDFHV 6RPH
of them are software engineers and some are designers.
7KHVH FRZRUNLQJ RI¿FH VSDFHV JDWKHU SHRSOH IURP GLIferent sectors, giving rise to a new economic force.

0XWXDO%HQH¿WVIRU/RFDO'HVLJQ
and Market
Stanley Chu: I had a chat with HKTB’s Executive DiUHFWRU0U$QWKRQ\/DX,WROGKLPWKDWWKH304ZLOOEH
open for operation by the end of 2013 or early 2014. Why
not create some local souvenirs when there are more than
40 million visitors coming to Hong Kong every year?
HKTB could even develop a brand and organise a design
competition every year to provide opportunities for designers and the manufacturing industry. The products sold
will remain with the foreign visitors, which will help promote Hong Kong. Like the Ocean Park in Hong Kong, it
has established its own brand as a theme park. The key is
to create a market demand in Hong Kong. I do not have
a design or art background, but I hope to play a part in
transforming Hong Kong’s economy into one that is design-driven and expanding China’s manufacturing industry. This will make the greatest added value possible. We
also need to build our own brand. McDull is an excellent
H[DPSOH,WLVUDWKHUGLI¿FXOWIRU60(VWRHVWDEOLVKWKHLU
own brands, but public platforms such as HKTB, Ocean
Park and Hong Kong Disneyland are already the biggest
players fuelling the growth of the manufacturing industry.

Bernard Suen: You reminded me of the spill-over and
multiplier effect that could be achieved by the creative
industries as they are content-oriented. Taiwan has indeed
accomplished such effect in recent years as its movies
Cape No. 7 and You Are the Apple of My Eye have boosted the tourism industry of Kenting and Jiufen [TaiwanHVHFLWLHV@ZKLFKKDVDOVREHQH¿WHGWKHGHYHORSPHQWRI
the manufacturing industry. What are your views on the
spill-over effect of domestic demand in generating other
economic values?
Edmund Lee: Some clothing items sold in England
and Singapore carry a label of National Geographic and
each one of them displays the name of the designer. In
this way, they are creating a platform to help designers
reach out to the world. Other than licensing, there should
be more room for the Government, PMQ and others.
Stanley Chu: If manufacturers want to rent the studios
at PMQ, they have to apply together with their key designers who need to work at the studios. PMQ is a design
landmark but not a sale outlet for tourists.
Karen Chan: We had a similar situation with our German Pool’s kitchen cabinets. There is this association
called DETOLF which invites architects and artists from
around the world to design a pattern that is placed on the
slabs of kitchen cabinets together with their autographs. It
KDVDYHU\KLJKUHJDUGIRUWKHGHVLJQHUV,.($DOVRLQYLWHV
designers to take part in its production regardless of how
much the products can eventually sell. These are actually
brand marketing tactics and are very commercial in nature. I am not sure if we can practice it in Hong Kong.
Edmund Lee:6ZHGLVKSRSXODUEUDQG,.($DGRSWVWKH
pragmatic design concept. It is said that Northern Europe,
ZLWK 6ZHGHQ LQ SDUWLFXODU LV PDNLQJ XVH RI WKH ,.($
platform to push forward this design concept.
Freeman Lau:$VWKHZLQGRZRI&KLQD+RQJ.RQJ
still has a few more years to help its next generation build
up the foundation and capabilities.

Insights from the Success of
the Convention and Exhibition
Industry
Stanley Chu: I was the Chairman of the Hong Kong
([KLELWLRQ DQG &RQYHQWLRQ ,QGXVWU\$VVRFLDWLRQ +.(&,$  IRU HLJKW \HDUV DQG QRZ , DP WKH +RQRUDU\ /LIH
President. The role that the industry plays in society has
experienced tremendous changes in recent years.

discussion summary 33

forum title : DESIGNʨECONOMY
+.(&,$ KDV VHYHUDO PLVVLRQV )LUVW LW DFFHQWXDWHV WKH
importance of the convention and exhibition industry in
WKHQDWLRQDOHFRQRP\DQGSURPRWHV+RQJ.RQJDV$VLD¶V
convention and exhibition capital at the local, regional and
LQWHUQDWLRQDOOHYHOV(YHU\\HDUZHFRPPLVVLRQDXGLW¿UP
KPMG to conduct an authoritative analysis on the full-time
employment opportunity, economic effectiveness and GDP
brought about by the convention and exhibition sector. Second, we organise educational programmes to raise levels of
professionalism in the industry. Third, we aim to expand
our network by organising delegations coming in and out of
Hong Kong. The fourth mission, being the most important,
is to represent the best interests of the whole industry in
advocating appeals to the Government and media.
+.(&,$KDVPDGHRXWVWDQGLQJDFKLHYHPHQWV7KH)LQDQcial Secretary had earmarked HK$150 million to estabOLVK WKH 0HHWLQJV  ([KLELWLRQV +RQJ .RQJ 2I¿FH LQ
November 2008) under the HKTB and put aside HK$30
million each year to promote the convention and exhiELWLRQLQGXVWU\LQ+RQJ.RQJ$PRQJWKHIRXUZRUNLQJ
groups under the Economic Development Commission
(established in January 2013), one is the Working Group
on Convention and Exhibition Industries and Tourism in
which convention and exhibition take priority over tourism as shown in its name. From the abovementioned example, my view is that the design industry may need a
similar system to support its development. I have always
thought that the slogan “Designed in Hong Kong, Created
in Hong Kong” should be promoted. Using Hong Kong as
a brand, the “Designed in Hong Kong” label offers a guarDQWHHRIVW\OHDQGTXDOLW\$VWRZKHUHWKHSURGXFWLVPDQufactured, it does not matter. Hong Kong designed-products need not to be made in mainland China. They could
be manufactured in Cambodia, Vietnam, Indonesia or
even Myanmar. That’s exactly the value created by Hong
Kong. If the value of “Designed in Hong Kong, Created
in Hong Kong” is considered higher than the sky-rocketing rent in Hong Kong, designers around the world will
still be willing to come to do business in this “East meets
West” city. They will realise that Hong Kong design is
comparable to Milan design and Paris design or even better than Belgian design. To achieve this goal, we need to
do more promotions.
/HWPHPDNHVRPHVSHFL¿FUHFRPPHQGDWLRQV)LUVW+RQJ
Kong can conduct an analysis on the economic impact
brought about by the local design industry. The Census
and Statistics Department has statistics on the convention
and exhibition industry, as we have engaged KPMG to
establish a model to calculate the spill-over effect using
information such as hotel occupancy rates of exhibitors.
Other than those convention and exhibition professionDOV ZH DOVR LQFOXGH FOHDQHUV DQG KRWHO VWDII WR ¿QG RXW
the number of people employed full-time in the industry.
34 discussion summary

$VIDUDVZHNQRZWKHFRQYHQWLRQDQGH[KLELWLRQVHFWRU
forms 1.5% of Hong Kong’s GDP, providing 69,000 fulltime positions and an economic impact of over HK$30 billion each year. The KPMG data could be compared with
those in the U.K. and Germany. We have full control of
the data, not by government departments. I am the Chair
RIWKH*OREDO$VVRFLDWLRQRIWKH([KLELWLRQ,QGXVWU\ 8), 
$VLD3DFL¿F&KDSWHU8),ZKLFKLVYHU\DXWKRULWDWLYHLQ
the industry, has its headquarters in Paris for over 80 years.
I am familiar with the industry practice in France, England
DQG$XVWUDOLD 7KH DVVRFLDWLRQ LV PRUH IDPLOLDU ZLWK WKH
industry than the governments, and they also trust our data.
6HFRQG+RQJ.RQJVKRXOGEHFRPH$VLD¶V'HVLJQ&LW\
+.(&,$ KDV VLQJOHKDQGHGO\ WXUQHG +RQJ .RQJ LQWR D
FRQYHQWLRQDQGH[KLELWLRQKXELQ$VLD/HYHUDJLQJRQLWV
experience and expertise, Hong Kong has hosted a number of the world’s top and largest conventions and exhibiWLRQV$OWKRXJKQRFHUWL¿FDWHRIKRQRXUKDVEHHQDZDUGed, no one dare to doubt the leading status of Hong Kong
in this regard. Overseas companies come to Hong Kong to
organise conventions and exhibitions, or even set up their
RI¿FHVKHUH:HKDYHIXOO\GHPRQVWUDWHGWKDWRXUIDPHLV
not an empty reputation.
Therefore, we do not need the Government to apply for
Hong Kong to be a Design City. We just need to establish
a related association. Moreover, economic impact analysis is also important. It is necessary to calculate the spillover effect and economic impact of the design industry as
the results will also support the manufacturing industry.
We can ask KPMG or other professional organisations to
establish a model. If authoritative international organisations could be engaged, no one would question the credibility of the analysis.
Freeman Lau: We must not underestimate the importance of research. When the Hong Kong Government promoted the service industry in 1995, it included the adverWLVLQJ LQGXVWU\ EXW H[FOXGHG WKH GHVLJQ LQGXVWU\$W WKDW
WLPHWKH+RQJ.RQJ)HGHUDWLRQRI'HVLJQ$VVRFLDWLRQV
conducted its own study on the number of people being
employed in the design industry, the industry’s expectations and the business turnover in mainland China. The
¿QGLQJV ZHUH WKHQ VXEPLWWHG WR WKH *RYHUQPHQW :LWK
these data, the design industry was eventually considered
as part of the service sector. Otherwise, TDC would not
have fully supported us.
The HK$150 million earmarked by the Financial Secretary to support the convention and exhibition industry
had to be endorsed by the Legislative Council. Therefore,
industry data is crucial. The industry itself is in the best
position to do its own calculations.This is a wake-up call.
The design industry should also conduct a similar study.

Stanley Chu: That is because the professional organisations do not have to worry about the source of the data.
We provide data on the exhibition area, the numbers of
exhibitors and visitors, while they are solely responsible
for establishing a model, which is a relatively easy task.
Besides, as Hong Kong has a more internationalised environment, we can join hands with Singapore, Malaysia, ThaiODQGDQGRWKHU$VLDQFRXQWULHVWRVHWXSDQ$VLDQGHVLJQDOOLance. Hong Kong will have its edge in running against other
countries for the president or vice-president positions in the
alliance. It is just the same as UFI. When it established its
secretariat in Hong Kong, I was elected as the Chairman.
This gave me authority when promoting the industry.
Toby Chan:7KLVLVIHDVLEOH:HKDYHIRXQGHGDQ$VLDQ
award which is supported and participated by representatives from Japan, Korea, Taiwan and mainland China. We
KDYHHVWDEOLVKHGRXUEUDQFKRI¿FHLQPDLQODQG&KLQDDQG
are planning to do the same in Japan and Korea in order
WRVWUHQJWKHQRXUSRVLWLRQLQ$VLD2XUIXWXUHGLUHFWLRQLV
similar to what Mr Chu just suggested. Our mission is to
promote Hong Kong as an intellectual property trading
hub. Mainland China has a well-rounded legal system, but
the main problem lies in its taxation system. There was
D FDVH LQ ZKLFK D FRPSDQ\ VHW XS LWV EUDQFK RI¿FH DQG
had everything ready in mainland China but subsequently
came to realise that the tax rate was over 20%. The company eventually came back to Hong Kong.
Stanley Chu: Without licensing and copyright, expanding operation in mainland China is just an empty talk.
Freeman Lau: The crucial point of Mr Chu’s suggestion is that we need to consolidate the resources in Hong
Kong. The experience of the convention and exhibition
industry could make a good reference. With regards to the
added value as suggested by Mr Lee, it can be achieved
when Hong Kong becomes a design city and designers
from around the world come to Hong Kong. The chemistry created would not just occur with local designers, but
also with Hong Kong brands.

Relationship between Hong Kong
Brands and Mainland China
Freeman Lau: To foreign designers, it is very tempting to directly go into the mainland market. I have also
worked with a lot of them but the experience is more like
playing games than running a business. Nonetheless, the
collaboration with German Pool was different as the company saw the value of it. German Pool is an exceptional
example as it is successfully registered as a trademark
LQ*HUPDQ\DQGRWKHU(XURSHDQFRXQWULHV$VWKHOLYLQJ

standard improves in China, it will be interesting to see
whether German Pool could enter the market?
Roy Chung: It is now being implemented but there
will not be a separate brand. The mainland China market is enormous. There have been many OEM enterprises
entering the mainland market directly with foreign products, bypassing the development process. However, I do
not think they succeeded. We must observe the behaviour
of mainland consumers and manufacture the right products accordingly. Hong Kong has an edge in working
with overseas designers to design something that suits the
mainland market. For example, German Pool has come
XSZLWKDVWHDPHUWKDWVSHFL¿FDOO\FDWHUVIRUWKH&KLQHVH
market. It will be very hard to sell by imposing overseas
products on mainland China without adaptation. If Hong
Kong is to focus on developing the mainland market, it
ZLOOGH¿QLWHO\KDYHDQDGYDQWDJHDVLWLVIDPLOLDUZLWKWKH
mainland Chinese culture.
Bernard Suen: We have discussed about the local
market, the domestic market of mainland China and how
to attract more overseas designers coming to Hong Kong.
If it is to be implemented, designers in Hong Kong and
from overseas need to understand the market demand in
both Hong Kong and mainland China. What do emerging
Hong Kong designers think about the idea of going into
mainland China to learn about the consumer behaviour and
their mentality? Shall we begin our discussion with the development of Qianhai Note 6?
Stanley Chu: We have discussed with the HKTB to organise more promotional activities in future and bring visitors to shop at PMQ. Otherwise, all 40 million visitors will
only shop for brand names. Locally manufactured products such as watches will have no market, especially when
local brand owners cannot afford the skyrocketing rent of
setting up sale outlets at places like IFC. Many industry
insiders have explored the potential of the government allowing TDC to manage some of the industrial buildings
where Hong Kong-designed products can be sold with
strict quality control to combat counterfeits. They believe
this business model can generate great commercial values.
Visitors will no longer wear identical branded watches.
Due to concerns about government-business collusion,
this plan is yet to be implemented and sadly, that will evenWXDOO\EHQH¿WRQO\WKRVHIRUHLJQEUDQGV$VWKHUHDUHPRUH
than 40 million tourists shopping in Hong Kong and over
2 million visitors attending the Hong Kong Brands and
Products Expo each year, there is still a lot for Hong Kong
to do. To achieve better results, we need breakthroughs.

discussion summary 35

forum title : DESIGNʨECONOMY
Roy Chung: Is there anything Hong Kong can learn
from the souvenir street in Macau which is always packed
with visitors and tourists. Souvenirs characteristic of Hong
Kong should not be merely about food, but those with a
design element. PMQ is established exactly for this reason.
Freeman Lau: We should work to establish Hong Kong
as a brand. However, that is not enough. The ultimate goal
is help build up fame for local designers so that they can
collaborate with other brands and then enter the mainland
and global markets. My personal view is that the approach
adopted by TDC is not effective. We should work with other organisations in Hong Kong and promote Hong Kong as
a brand as soon as possible and facilitate business matching. TDC has been in operation for many years but it only
focuses on business-to-business (B2B) operations. It has
never promoted Hong Kong as a brand. The “Designed in
Hong Kong” idea proposed by Mr Chu is a worthy cause
to pursue. I would like to hear the view of Mr Lee on what
other chambers of commerce could do?
Lee Jark-pui:$V WKH QDPH RI ,QWHUQDWLRQDO&KDPEHU
of Commerce (ICC) suggests, we are a global organisation with presence in 140 places across the world. If
Hong Kong-designed products want to gain exposure in
the world, ICC is one of the channels. TDC approached
us some years ago hoping ICC could help disseminate
its messages. Members of ICC come from different inGXVWULHVLQFOXGLQJOHJDODQGPDQXIDFWXULQJ$OWKRXJKWKH
manufacturing sector does not form the basis of ICC, it
can still play an intermediary role on the international
front. We welcome designers to join us as members and
we support the work of HKDC.
Karen Chan:/HWPHVXSSOHPHQWKHUH$OWKRXJK7'&
took the lead to introduce Hong Kong brands into mainODQG &KLQD LW GLG QRW GR D JRRG MRE :H ZHUH WKH ¿UVW
batch of enterprises that switched from doing export exhibitions to B2B operation. Unfortunately, TDC failed to
take the right approach. The short-lived efforts that they
made did not provide real assistance.
Not until recently we set foot again in this area of work
did TDC work harder. Other than B2B, we succeeded in
establishing a good relationship with local governments.
We used our Hong Kong identity to enter the mainland
PDUNHWDQGZHUHVXSSRUWHGE\VHQLRUJRYHUQPHQWRI¿FLDOV
and the media. What TDC should do now is to develop
good relationships with the local media and assist Hong
Kong enterprises to go into the mainland market. OtherZLVHLWZLOOEHYHU\GLI¿FXOWIRU+RQJ.RQJHQWHUSULVHVWR
succeed on their own. TDC once invited the Hong Kong
GHVLJQHUVZKRFUHDWHG&KRFRODWH5DLQDQGHJJZDIÀHUHODWHG SURGXFWV WR *XDQJ]KRX KRZHYHU WKH HIIRUW ZDV
not comprehensive enough. Different organisations work
36 discussion summary

on their own, without creating a united theme to link up
their work together. If there could be a collection of Hong
Kong designs linking the HKTB, TDC and other institutions together, the impact of promotion would be more
remarkable. With these organisations becoming mature,
they understand they need to provide assistance in different areas. These organisations are also doing some work
online, such as the e-shopping platform of New World
Department Store and are providing companies with
points of sale for their products at the TDC Design Gallery. However, individual companies, especially SMEs
¿QGLWGLI¿FXOWWREHTXDOL¿HGIRU7'&'HVLJQ*DOOHU\DV
it requires the company to have a basic operation capital
of HK$300,000 and the brand needs to be locally registered. The auditing requirements are strict and the process
is time consuming. I think TDC wishes to help the design
industry. However, the design industry does not understand the direction of TDC’s work. There should be more
communication between the two sides.
Toby Chan: If we are to establish the Hong Kong
brand, different chambers of commerce, TDC, Invest
Hong Kong and other government departments must conIHUDQGDJUHHRQDXQL¿HGWKHPHZKLFKZLOOEHWKHIRFXVRI
promoting the Hong Kong brand. Japanese products were
once criticised by some for their inferior quality because
of copying European products, but today no criticism of
this sort targets Japanese products, only those made in
mainland China. Hong Kong’s current positioning is embarrassing. Is its product quality superior? Is its design
good enough? It is simply not the case.
Freeman Lau::HPXVW¿UVWFRQVROLGDWHWKHYDOXHRI
Hong Kong design. Different people are saying different
things. We must reach a consensus. Speaking of Qianhai
as mentioned by Mr Suen, the Hong Kong Federation of
'HVLJQ$VVRFLDWLRQVDQG+.'&KRSHWRVHWXSDSODWIRUP
for the Hong Kong design industry there. This proposed
SODWIRUPZLOOIDFLOLWDWHFRRSHUDWLRQZLWK6KHQ]KHQLQRUGHUWREHWWHUVHUYHWKH3HDUO5LYHU'HOWDDVZHOODVWRSURvide design service information for the country. It is our
KRSHWRDWWUDFWPDQXIDFWXUHUVLQWKH3HDUO5LYHU'HOWDWR
join forces to conduct research and develop products and
brands. If this platform could be successfully set up, its
impact would be apparent, providing a strong incentive to
DWWUDFWIRUHLJQFRPSDQLHV$WSUHVHQWIRUHLJQFRPSDQLHV
¿QGLWGLI¿FXOWWRGLUHFWO\VHWXSDEUDQFKRI¿FHLQPDLQland China. To them, Hong Kong is still a better choice
over Shanghai as they enjoy the living style here more.
Stanley Chu:,WKLQNWKH¿QDQFHLQGXVWU\ZLOOEHQH¿WWKH
most from Qianhai. With the government policies and regulations being more lax there, along with the internationalisaWLRQRI5HQPLQELLWLVQRWZLVHIRU+RQJ.RQJFRPSDQLHVWR
set up a business there considering the cost factor. The low

rent offered is not a big incentive because rental in remote
DUHDVOLNHWKH%XML6XEGLVWULFWLQ6KHQ]KHQLVDOVRYHU\ORZ
It is not economical to go to Qianhai. Hong Kong boasts
a perfect comprehensive supply chain, with easy access
to factories, materials and visitors. I reckon we should instead focus on how we can develop Hong Kong and strive
WREHFRPHDGHVLJQFLW\LQ$VLD:HVKRXOGFRQVROLGDWHDQG
strengthen our existing achievements and information in
hand as soon as possible. With everything in place, we can
then expand our promotion efforts to impress the public
Currently, Hong Kong hosts seven world’s largest trade
exhibitions in terms of the numbers of participating exhibitors, rather than the exhibition space. The total exhibition
space available in Hong Kong is just 150,000 square meWHUVFRPSDUHGWRVTXDUHPHWHUVLQ*XDQJ]KRX
However, Hong Kong tops the world for the total number
of exhibitors. The exhibition space for the Hong Kong
Gifts and Premium Fair is 84,000 square meters, whereas
the world’s largest gift fair in Frankfurt, Germany, boasts
a 320,000 square meter-hall. The reason why the world’s
largest gift fair is held in Frankfurt is solely because of its
history, not because of its location or a market demand.
That’s the constraint for Hong Kong.
Freeman Lau: Servicing is an essential part of the
design industry. There is still room for improvement for
+RQJ .RQJ 'HVLJQHUV PXVW ZLGHQ WKHLU KRUL]RQV DQG
cannot be ignorant of things in the world. If the next generation of designers only focus on local market and there
DUHQRWVXI¿FLHQWEUDQGVWRVXSSRUWLWVGHYHORSPHQWWKH
future of the 2,000 design graduates each year will be
YHU\ JULP 6KHQ]KHQ LV D FRQYHQLHQW RSWLRQ JLYLQJ RXU
young people an extra choice. Not everyone needs to stay
in Hong Kong. From what we have studied in the past
three years, we found that the grievances of our youngsters arise from their inability to see the future clearly
probably because of the status quo of the reality. It could
also be a case that they are not taking a step forward.
Toby Chan: Hong Kong’s education needs to be
strengthened to encourage our young people to go to the
PDLQODQGIRUGHYHORSPHQW$WSUHVHQWWKH\FDQQRWHYHQ
VWD\LQDPDLQODQGIDFWRU\IRUDZHHNKRZHYHU-DSDQHVH
designers are totally different. They can stay there for an
entire month observing how the workers do the moulding,
not because they like China in particular, but only because
they are willing to commit to a long period of time supervising the work there to ensure high product quality.
Stanley Chu: For the design industry, it can be expanded extensively in the mainland using Hong Kong as a base.
Take our company as an example, among the 260 convention and exhibition professionals, 100 staff are from

Hong Kong and 160 from mainland China. There are only
two Hongkongers among those 160 working in mainland
China. Those 100 people working in Hong Kong are suf¿FLHQWWRPDQDJHWKRVHLQPDLQODQG&KLQD2XU6KHQ]KHQ
EUDQFKRI¿FHKDVSHRSOHZLWKWKHLUPDQDJHUVFRPLQJWR
Hong Kong two to three times a week. The meetings are
conducted in Putonghua. Our Hong Kong managers also
QHHGWRWUDYHOWRZRUNLQ6KHQ]KHQWZRWRWKUHHWLPHVD
week, so the two teams are basically the same. Cost is not
DIDFWRUWRFRQVLGHUEHFDXVH6KHQ]KHQLVQRWDORWFKHDSHU
than Hong Kong. But for our mainland team to become
more internationalised and for our Hong Kong team to
EHWWHUDGDSWWRWKH&KLQHVHFXOWXUH6KHQ]KHQLVWKHEHVW
melting pot. The local Chinese team members come from
different provinces armed with an international vision
DQG NQRZOHGJH DERXW &KLQD 6KHQ]KHQ FDQ OHYHUDJH RQ
the edge of Hong Kong to enter the global market while
+RQJ.RQJFDQPDNHXVHRI6KHQ]KHQDVDVSULQJERDUG
to the mainland market. I still believe there is no need to
rely on Qianhai as an option because the cost of operation
ZLOOEHSXVKHGXSE\WKH¿QDQFLDOLQGXVWU\LQIXWXUH
Freeman Lau: We are just using Qianhai as a platform
IRUFROODERUDWLRQZLWKWKH6KHQ]KHQJRYHUQPHQWDQGWKH
industry. The low rent and lax taxation system are not the
focal points. The greatest appeal for Hong Kong companies is that they can work there without being required to
set up another company. The point put forth by Mr Chu
about internationalising the mainland team and sinocising
the Hong Kong team is very insightful.
Stanley Chu: We have been operating on this model
more than a decade.
Freeman Lau: We also have a similar experience. The
scale of my own company in Hong Kong is smaller than
that in mainland China, with 20 staff in Hong Kong and
50 staff in the mainland. Most of our clients come from
WKHPDLQODQG,IZHKDGQRWRSHQHGRXU6KHQ]KHQRI¿FH
and only based our operation in Hong Kong, it would
KDYHEHHQYHU\GLI¿FXOWWRVWD\DÀRDW2XUH[SHULHQFHWHOOV
us that people in mainland China are still very fond of
designs from Hong Kong. The Hong Kong economy benH¿WVJUHDWO\ZLWK+RQJ.RQJGHVLJQHUVOHDGLQJPDLQODQG
colleagues in China.
Stanley Chu: Mainland China is now fast developing
its service sector. Hong Kong can export its service industry, but its export industry has already lagged behind.
Francis Lee: , XVHG WR FRPPXWH WR 6KHQ]KHQ WKUHH
times a week but now I am travelling back and forth every
day. Sometimes I even need to go there twice a day.

discussion summary 37

forum title : DESIGNʨECONOMY
Bernard Suen: What is the staff ratio between Shen]KHQDQG+RQJ.RQJLQ\RXUFRPSDQ\"
Francis Lee: I am gradually cutting back on our manpower in Hong Kong but increasing that in mainland China. The ratio of Mainland to Hong Kong staff is about 3 to
+RQJ.RQJVWDIIDUHGH¿QLWHO\QRWZLOOLQJWRWUDYHOWR
the mainland. Staying there two days a week already hits
their limit.
Toby Chan: It is absolutely impossible to integrate production and design if one does not stay in the factory and
supervise the manufacturing process.
Freeman Lau: This is another topic of discussion.
Hong Kong youngsters are used to a comfortable lifestyle
and Qianhai is a relatively easy place. Moreover, they are
not as hard working as we were in the old days. Mainland Chinese designers are enthusiastic, with an ambition
to become the country’s number 1 while very few Hong
Kong young designers share the same vision. Merging the
talents of the two places can help stimulate the ambition
DQGYLVLRQRI+RQJ.RQJGHVLJQHUV$OWKRXJK+RQJ.RQJ
offers an international exposure, the younger generation is
far from meeting the standard. Their refusal to merge with
mainland China is also detrimental to Hong Kong’s development. It is hoped the Qianhai project could help them.
Stanley Chu: My company is based in Hong Kong,
EXWRIP\EXVLQHVVFRPHVIURPPDLQODQG&KLQD$Othough we have always said we should attach great importance to our motherland and eye on the world, if we do not
keep our Hong Kong as the base, we will lose the value of
our existence. We must make Hong Kong a Design City,
not just part of Greater China.
Freeman Lau: If we do not cooperate with China,
Hong Kong will not be able to compete against Beijing
DQG6KDQJKDL%XWLIZHFROODERUDWHZLWK6KHQ]KHQ%HLjing and Shanghai will not be able to beat Hong Kong.

Should Hong Kong Apply For the
Title “Design City”?
Desmond Hui: The Government said it planned to apply for the title “UNESCO Design City” for Hong Kong
two years ago but the plan fell through due to, perhaps,
WKH FKDQJH RI OHDGHUVKLS 6KHQ]KHQ 6KDQJKDL 1DJR\D
and Seoul have already been crowned the title “Design
City”, except Hong Kong. The Government needs to take
more action to put Hong Kong on the international stage.

38 discussion summary

Freeman Lau: The Government expects the community to drive the action. They understand that it requires
enormous amounts of effort to apply for the “Design
City” title, as it will have to keep in touch with over 12
other cities around the world every year after obtaining
the title. That is why no action has been taken.
Personally, I think another way to make Hong Kong faPRXVLVWRFROODERUDWHZLWK6KHQ]KHQWREHFRPH³'HVLJQ
7ZLQ &LWLHV´ 6KHQ]KHQ LV EDFNHG E\ D SRRO RI 
designers while Hong Kong possesses an international
vision as an innovator. Quality education, networks and
LQWHUQDWLRQDOWDOHQWVDUHZKDW6KHQ]KHQODFNV6KHQ]KHQ
needs Hong Kong to become an international design city.
If the Qianhai project succeeds, it will create a win-win
VLWXDWLRQIRU6KHQ]KHQDQG+RQJ.RQJ7RSJRYHUQPHQW
RI¿FLDOVKDYHDOUHDG\JLYHQJUHHQOLJKWDQGVWDUWHGSODQning the next step forward. The Hong Kong Federation
RI'HVLJQ$VVRFLDWLRQV304DQGRWKHUSDUWLHVZLOOZRUN
together to realise this project.
Desmond Hui: $FWXDOO\WKHFRVWWREHFRPHD81(6CO Design City is not expensive.
Freeman Lau: 5LJKWEXWWKHUHZLOOEHDVHULHVRIDFWLYities for Hong Kong to organise and participate in other design cities every year after joining the network. I think the
purpose of these requirements is to strengthen the authority
of UNESCO. This policy puts these design cities in the network at the service of UNESCO. The Hong Kong GovernPHQWDQG&UHDWH+.ZLOOGH¿QLWHO\QRWDJUHHWRWKLV

Problem of Design Education in
Hong Kong
Freeman Lau: We do not have answers to everything
we discussed today, but we have heard many interesting
possibilities and expectations from different organisations.
We should consolidate all these views to enable better
communication. This is one of the tasks of HKDC. Every
discussant here has at some point touched on the problem
RIHGXFDWLRQ$OWKRXJKLWKDVQRWEHHQIXOO\GLVFXVVHGWRGD\ZHGH¿QLWHO\QHHGWRDGGUHVVWKLVLVVXHRWKHUZLVHWKH
consequences will become unimaginable after a decade.
Hong Kong Design Institute and the School of Design of
PolyU have been working very hard in this regard, but
WKH\GRQRWKDYHVXI¿FLHQWLQIRUPDWLRQWRKHOSWKHPXQderstand of the correlation between the development of
Hong Kong’s entire design industry and the economy. Dr
Chung said the students would visit mainland China every
year to deepen their understanding about Chinese culture.
Unfortunately, this is scratching only the surface and will
not help them a lot in really understanding the China market and the way of life.

Roy Chung: There also seems to be some student exchange programmes.
Freeman Lau: Nevertheless, the problem remains
complicated. It is important to encourage teachers to understand China. One of the reasons why youngsters are ignorant about China is that their teachers do not understand
the country either.

Conclusions
Edmund Lee: Our objective is to propel economic development, create more business opportunities for the design industry and society. We also aim to strengthen local
education and training for talents as well as to increase public understanding of design.
We have collected different views from this roundtable
discussion which could provide reference views to inform
future policy and programme development. Thank you all
very much.

Note 1: The Baseline Study on Hong Kong’s Creative Industries, conGXFWHGLQZDVWKH¿UVWDWWHPSWE\WKH+RQJ.RQJ6SHFLDO$GPLQLVWUDWLYH5HJLRQ*RYHUQPHQWWRGH¿QHDQGPDSRXWWKHVWDWHRIFUHDWLYH
LQGXVWULHV LQ +RQJ .RQJ ,W FRYHUV  LQGXVWULDO VHFWRUV DGYHUWLVLQJ
DUFKLWHFWXUHDUWDQWLTXHV FUDIWVGHVLJQ¿OP YLGHRGLJLWDOHQWHUWDLQPHQW PXVLF SHUIRUPLQJ DUWV SXEOLVKLQJ VRIWZDUH  FRPSXWLQJ
DQGWHOHYLVLRQ UDGLR,WVXUYH\VWKHLUHFRQRPLFYDOXHVVL]HRIHPSOR\ment, characteristics of the production chain, strengths and weaknesses,
FKDOOHQJHVDKHDGDQGWKHVLJQL¿FDQFHRIWKH0DLQODQGPDUNHW7KH¿QGings of the report provide the basis for relevant bureaux and departments
of the Government to consider how further concrete policy measures
should be devised to create the necessary favourable environment to
promote the development of these industries.
Note 2::KLOHIRUWLI\LQJWKHIRXUWUDGLWLRQDOSLOODULQGXVWULHV ¿QDQFLDO
services, tourism, trading and logistics, and professional services), the
Hong Kong Government in 2009 sought to expand Hong Kong’s ecoQRPLF EDVH E\ SURPRWLQJ VL[ LQGXVWULHV QDPHO\ WHVWLQJ DQG FHUWL¿FDtion, medical services, innovation and technology, cultural and creative
industries, environmental industries and education services, in which
Hong Kong enjoys distinct advantages.
Note 3: The Hong Kong Government set up a “Dedicated Fund on
Branding, Upgrading and Domestics Sales” (the BUD Fund) of HK$1
billion in June 2012. The purposes are to provide funding support to
individual Hong Kong enterprises in undertaking projects to develop
brands, upgrade and restructure their business operations and promote
sales in the mainland market, so as to enhance their competitiveness and
facilitate their business development in the mainland market.
Note 4: PMQ is a revitalisation project and part of the Government’s
“Conserving Central” initiative which would transform the Former PoOLFH0DUULHG4XDUWHUVRQ+ROO\ZRRG5RDGLQ&HQWUDOLQWRDFUHDWLYHLQdustries landmark. Operated by the PMQ Management Co. Ltd, in collaboration with Hong Kong Design Centre, The Hong Kong Polytechnic
University, and Hong Kong Design Institute of the Vocational Training
Council, PMQ aims to become an icon of Hong Kong creative industries
that shine in the region, promote “enterprising creativity”, creative manifestation, and set out to nurture more local designers.
Note 5: The Hong Kong Young Fashion Designers’ Contest (YDC) has
been organised since 1977, aimed at cultivating and promoting a new
generation of fashion design talents for the local garment and fashion
industry, whose ideas will further enhance the image of Hong Kong as
a fashion design centre.
Note 6: 4LDQKDL LQ 6KHQ]KHQ KDV EHHQ GHVLJQDWHG E\ WKH &HQWUDO
Government as a Hong Kong-Guangdong modern service industry
LQQRYDWLRQDQGFRRSHUDWLRQH[HPSODU\]RQHDFFRUGLQJWRWKH2YHUDOO
'HYHORSPHQW3ODQRQ+RQJ.RQJ6KHQ]KHQ&RRSHUDWLRQRQ0RGHUQ
6HUYLFH,QGXVWULHVLQ4LDQKDLLQ$XJXVW,WKLJKOLJKWVWKHLPSRUWDQFHRI+RQJ.RQJ6KHQ]KHQFRRSHUDWLRQWRDFKLHYHPXWXDOEHQH¿WV
and allows Hong Kong businesses to take part in the development of
4LDQKDLDWDQHDUOLHUVWDJHDQGLQDEURDGHUDQGGHHSHUVFDOH$FFRUGLQJ
to the consensus reached between the Governments of Hong Kong and
6KHQ]KHQ WKH 6KHQ]KHQ 0XQLFLSDO *RYHUQPHQW WDNHV D OHDGLQJ UROH
and is responsible for the development and management of Qianhai,
while the Hong Kong Government plays an advisory role by providing
comments on development planning as well as the study and formulation of related policies.

discussion summary 39

‫ޱ‬ј㖡ᐅ‫ܲ߻ޕ‬კồᚬ଼‫੄ⴗ⑭ֽقݐ‬
Chart:Value Added of 11 Cultural & Creative Industries
⊈⇋
Value

䠍喻㾾⋒
HK$Mn

32,663

35000

2008

27,263

2010

18,204

2011

30000

25000
15,716
20000

13,655
13,329

15000

10,142

10000

3,239
1,140

5,470

872

1,065
5000

862

984

706

㜖⒥㛨剁╙
⢥㢇檷ҷ㰣
㧗Ⅼ⳧☛ⓩ
䏸檷㢜⑨
Cultural
education
and library,
archive and
museum
services

姷䂣坬姢
Performing
arts

3,122

7,128

8,537

7,322

7,121

3,615

5,677

2,982

6,075

4,941

2,932

4,614

6,805

7,968

1,566
1,244

2,683

759

0
坬姢♐ҷ╳
嗲╙⽴坬♐
$UWDQWLTXHV
and crafts

梊㄀╙撓≞
☛概㮑
Film, video
and music

梊嬥╙梊╿
Television
and radio

⎉䏗
Publishing

恮₅ҷ梊勵
懙㏁╙‡⑤
Ⱑ汣
Software,
computer
games and
interactive
media

宼宗
Design

ら䵘
$UFKLWHFWXUH

ひ◙
$GYHUWLVLQJ

⮪㮑㢜⑨
$PXVHPHQW
services

幖㜨ℕ䀟Ļġ欨㾾䐈⎴姛㛎Ⓩĭġ㛎〫伀宗埤
VRXUFH+.6$5*RYHUQPHQW&HQVXV 6WDWLVWLFV'HSW

‫ޱ‬ј㖡ᐅ‫ܲ߻ޕ‬კồᚬአࠨ߻ቂ༅⸵‫ݨ‬ᶹġĩӔ଼‫ֽقݐ‬㗓ⴗ⌣ġĪ
Ranking of 11 Cultural & Creative Industries and YoY Change (based on value added)
2011

䠍喻㾾⋒
HK$Mn

蚴㒘〃崙⑤蚵
YoY Change

2010

䠍喻㾾⋒
HK$Mn

蚴㒘〃崙⑤蚵
YoY Change

2009

䠍喻㾾⋒
HK$Mn

蚴㒘〃崙⑤蚵
YoY Change

2008

䠍喻㾾⋒
HK$Mn

恮₅ҷ梊勵懙㏁╙‡⑤Ⱑ汣
Software, computer games
and interactive media

1

32,663

19.8%

1

27,263

27.2%

1

21,429

17.7%

1

18,204

⎉䏗
Publishing

2

13,329

-2.4%

2

13,655

10.8%

2

12,329

-21.6%

2

15,716

坬姢♐ҷ╳嗲╙⽴坬♐
$UWDQWLTXHVDQGFUDIWV

3

10,142

42.4%

3

7,121

26.5%

3

5,631

4.1%

3

5,407

ら䵘
$UFKLWHFWXUH

4

8,357

4.9%

4

7,968

51.8%

4

5,250

6.3%

4

4,941

梊嬥╙梊╿
Television and radio

5

7,322

29.0%

5

5,677

35.5%

5

4,189

-9.2%

5

4,614

ひ◙
$GYHUWLVLQJ

6

7,128

4.7%

6

6,805

2.0%

6

6,674

9.9%

6

6,075

宼宗
Design

7

3,615

23.3%

7

2,932

28.1%

7

2,289

-14.7%

7

2,683

梊㄀╙撓≞☛概㮑
Film, video and music

8

3,239

8.6%

8

2,982

8.8%

8

2,741

-12.2%

8

3,122

⮪㮑㢜⑨
$PXVHPHQWVHUYLFHV

9

1,566

68.0%

9

932

0.0%

9

932

22.8%

9

759

㜖⒥㛨剁╙⢥㢇檷ҷ
㰣㧗Ⅼ⳧☛ⓩ䏸檷㢜⑨
Cultural education and library,
archive and museum services

10

1,140

7.0%

10

1,065

9.1%

10

976

-0.8%

10

984

姷䂣坬姢
Performing arts

11

872

1.2%

11

862

4.6%

11

824

16.7%

11

706

幖㜨ℕ䀟Ļġ欨㾾䐈⎴姛㛎Ⓩĭġ㛎〫伀宗埤
VRXUFH+.6$5*RYHUQPHQW&HQVXV 6WDWLVWLFV'HSW

40

ᐅ‫ܲ߻ޕ‬კồᚬῈඐᚬҸᏹ⑭ⴗ੄
Chart: Number of People Engaged in 11 Cultural and Creative Industries
46,950
45,680

⁉㜇
No of paople
50000

46,600
44,700

2008

44,550 43,850

2010
2011
40000

30000

18,450

17,620
15,180

17,160

14,270

16,600
20000

8,810
8,410
7,310

10000

13,150
12,080

14,180

11,100

6,960
3,370

17,820

14,030

17,600

13,310
12,890

8,110
8,040 8,000

5,460
5,440

3,010
2,910

0
坬姢♐ҷ╳
嗲╙⽴坬♐
$UWDQWLTXHV
and crafts

㜖⒥㛨剁╙
⢥㢇檷ҷ㰣
㧗Ⅼ⳧☛ⓩ
䏸檷㢜⑨
Cultural
education
and library,
archive and
museum
services

姷䂣坬姢
Performing
arts

梊㄀╙撓≞
☛概㮑
Film, video
and music

梊嬥╙梊╿
Television
and radio

⎉䏗
Publishing

恮₅ҷ梊勵
懙㏁╙‡⑤
Ⱑ汣
Software,
computer
games and
interactive
media

宼宗
Design

ら䵘
$UFKLWHFWXUH

ひ◙
$GYHUWLVLQJ

⮪㮑㢜⑨
$PXVHPHQW
services

幖㜨ℕ䀟Ļġ欨㾾䐈⎴姛㛎Ⓩĭġ㛎〫伀宗埤
VRXUFH+.6$5*RYHUQPHQW&HQVXV 6WDWLVWLFV'HSW

‫ޱ‬ј㖡ᐅ‫ܲ߻ޕ‬კồᚬአࠨ߻ቂ༅⸵‫ݨ‬ᶹġĩӔඐᚬҸᏹⴗ⌣ġĪ
Ranking of 11 Cultural & Creative Industries and YoY Change
(based on number of people engaged)
2011

⁉㜇
No

蚴㒘〃崙⑤蚵
YoY Change

2010

⁉㜇
No

蚴㒘〃崙⑤蚵
YoY Change

2009

⁉㜇
No

蚴㒘〃崙⑤蚵
YoY Change

2008

⁉㜇
No

恮₅ҷ梊勵懙㏁╙‡⑤Ⱑ汣
Software, computer games
and interactive media

1

46,600

4.3%

1

44,700

2.1%

1

43,790

-0.1%

1

43,850

⎉䏗
Publishing

2

44,550

-2.5%

2

45,680

-1.8%

2

46,500

-1.0%

2

46,950

ひ◙
$GYHUWLVLQJ

3

17,600

-1.2%

3

17,820

-3.1%

3

18,390

-0.3%

3

18,450

坬姢♐ҷ╳嗲╙⽴坬♐
$UWDQWLTXHVDQGFUDIWV

4

17,160

3.4%

4

16,600

-1.8%

4

16,910

-4.0%

4

17,620

梊㄀╙撓≞☛概㮑
Film, video and music

5

14,180

-0.6%

5

14,270

-1.6%

5

14,500

-4.5%

5

15,180

ら䵘
$UFKLWHFWXUH

6

14,030

5.4%

6

13,310

4.6%

6

12,720

-1.3%

6

12,890

宼宗
Design

7

13,150

8.9%

7

12,080

6.9%

7

11,300

1.8%

7

11,100

㜖⒥㛨剁╙⢥㢇檷ҷ
㰣㧗Ⅼ⳧☛ⓩ䏸檷㢜⑨
Cultural education and library,
archive and museum services

8

8,810

4.8%

8

8,410

12.9%

8

7,450

1.9%

8

7,310

⮪㮑㢜⑨
$PXVHPHQWVHUYLFHV

9

8,000

-1.4%

9

8,110

1.6%

9

7,980

-0.7%

9

8,040

梊嬥╙梊╿
Television and radio

10

5,460

0.4%

10

5,440

-6.0%

10

5,790

-16.8%

10

6,960

姷䂣坬姢
Performing arts

11

3,370

12.0%

11

3,010

3.4%

11

2,910

0.0%

11

2,910

幖㜨ℕ䀟Ļġ欨㾾䐈⎴姛㛎Ⓩĭġ㛎〫伀宗埤
VRXUFH+.6$5*RYHUQPHQW&HQVXV 6WDWLVWLFV'HSW

41

⴮ⴗᚬ❅Ᏽ㜮ᐅ‫ܲ߻ޕ‬კồᚬ┄଼‫ֽ҃قݐ‬ൾᡍ
Design Industry vs Total Cultural & Creative Industries based on Value Added
ῄ⣀᧻‫ٺ‬
HK$Mn
4000

(4.0%)
3,615

3500
3000

(3.6%)
2,289

2500
2000
1500

(3.8%)
2,932

(4.2%)
2,683

(1.9%)
1,001

(2.3%)
1,291

(2.3%)
1,459

1000
500
༅ӡ
Year

2005

2006

2007

2008

2009

2010

2011

┄଼‫ֽقݐ‬ġ
Total Value
Added

52,258

57,309

65,117

63,275

63,266

77,573

89,553

幖㜨ℕ䀟Ļġ欨㾾䐈⎴姛㛎Ⓩĭġ㛎〫伀宗埤
VRXUFH+.6$5*RYHUQPHQW&HQVXV 6WDWLVWLFV'HSW

⴮ⴗᚬ❅ᐅ‫ܲ߻ޕ‬კồᚬ┄ඐᚬҸᏹ҃ൾᡍ
Design Industry vs Total Cultural & Creative Industries based on Number of People Engaged
Ҹᏹ
No. of people
14000

(6.8%)
13,150

13000

(6.4%)
12,080

12000

(5.8%)
11,100
(5.7%)
10,260

11000

10000

(6.0%)
11,300

(5.6%)
9,610

(5.1%)
9,030

9000
8000
༅ӡ
Year

2005

2006

2007

2008

2009

2010

2011

┄ඐᚬ
Ҹᏹ
Total No.
of People
Engaged

171,990

177,200

180,620

191,260

188,250

189,430

192,930

幖㜨ℕ䀟Ļġ欨㾾䐈⎴姛㛎Ⓩĭġ㛎〫伀宗埤
VRXUFH+.6$5*RYHUQPHQW&HQVXV 6WDWLVWLFV'HSW

42

伢䅮䠋ⷤ⭣♰㢒⭣♰▜✽
伢䅮䠋ⷤ⭣♰㢒㎟䱚
欨㾾䐈⎴姛㛎Ⓩ㛎〫㝋ĳıĲĴ〃Ĳ㢗Ĳĸ㝴㎟䱚伢䅮䠋ⷤ⭣♰㢒蚴⭣♰㢒蚵╙⌅惓ᾚ䠓⡪↚⽴⃫⶞仓蚸
㎟♰䛀姛㛎朆ⴧ⭣₊蚸⁴⏅ⓣ␸宑⋷棱䠓伢䅮䠋ⷤ䳥䛴☛䚱㫼㛎䳥Ҹ
⭣♰㢒䛀‛ⓐ‛⃜棭ⴧ㝈⭣♰╙⡪⃜䜅䋅⭣♰仓㎟蚸⌅分㲙䵓⢜㞾ⷀ⬑⃤㚃杙欨㾾伢䅮⦉䪝╙⅒
懁欨㾾伢䅮⨭朆╙䠋ⷤ䠓㜃汣䳥䛴☛㛎䳥㕟⎉⏜䥊ㆶ䠓㝈■蚸᾵■㛎〫㕟K㊞嬚蛇⌆汣军宏蚸㰱
嬥╙䩉⴩㢘␸欨㾾伢䅮懁ᾏ㳴䠋ⷤ䠓姛㫼㎥姛㫼儳蚸╙㕟峿㐅␸䢇杫䚱㫼䠋ⷤ㏏梏䠓㛎䳥☛⌅⁥
㚾㖃㔹㝌Ҹ⡪↚⽴⃫⶞仓⒔㑻Ļġ
蚴ᾏ蚵厹懚㫼⽴⃫⶞仓蚴⒔㑻㼆懚╙䰉懚蚵蛇
蚴‛蚵㢒ⷤ╙㝔懙㫼⽴⃫⶞仓蛇
蚴ᾘ蚵媌憯ҷ汧㜿䭠㐏╙㜖⒥␄㊞䚱㫼⽴⃫⶞仓蛇╙
蚴⡪蚵⶗㫼㢜⑨㫼⽴⃫⶞仓

⒄ᬹῂඪఁࢿᔁఁࢿᔁࠨॎ

Ⱡノ̿㜲ᐠ∆ᇟ߻ᐅ‫ޕ‬
ܲკồᚬວԠ඀⑊ࠨॎ

ѻ໕Ļġ姛㛎朆ⴧ
㔭യᐦఁࢿ

ࠑ㓂ҸĻġġ儔₁㬽ⓩ⩺

⾃㡨㤍ⓩ⩺

㔭യᐦᆏࢿ

押⢚䂱㛨㔗

噁䬎䬉

撱㤫巟ⓩ⩺

栂㳲巹㛨㔗

嚰⌯㾀ⓩ⩺

栂➘幱

◷㤍⺦蚴厹懚㫼⽴⃫⶞仓╻桕⁉蚵

栂攽⁐

∔剁⵶ⓩ⩺

押㜖凿

欽⢚伢ⓩ⩺

䮚⪌う

☛ひ⒦

嚰⌯㾀ⓩ⩺

␘ⷤ䇬

攍ㅦ。ⓩ⩺

␘䉂䱯蚴⶗㫼㢜⑨㫼⽴⃫⶞仓╻桕⁉蚵

㺹䫥㞮

㨐▪ヴ

汧ㅦ㩽

づ朆⥝

␘⢚㲙ⓩ⩺

␘㍅⬑

␘⶞う

儔₁㬽ⓩ⩺蚴媌憯ҷ汧㜿䭠㐏╙㜖⒥␄㊞䚱㫼⽴⃫⶞仓╻桕⁉蚵

㨐ひ⇘ⓩ⩺

◑㞝啾ⓩ⩺

づ朆⥝

垖䄳⋘蚴㢒ⷤ╙㝔懙㫼⽴⃫⶞仓╻桕⁉蚵

㤦⇘军

ⴚ㤦

欻⒥殿

嗲䱚㜿蚴厹懚㫼⽴⃫⶞仓ᾚ䠓㼆懚㫼⎕仓╻桕⁉蚵

㝌㬽㎆

䔚⌻⑬

⡃ㅦ㞝

灒╚➘ⓩ⩺
㫙㬽㜖

Ἀᰝᆏࢿ

䡪㠉㜖ⓩ⩺

⛕⑨╙伢䅮䠋ⷤ⷏⷏朆

Ἀᰝఁࢿ
帰㛎▇▇朆
⛕⑨╙伢䅮䠋ⷤ⷏⷏朆
䠋ⷤ⷏⷏朆
懚惇╙㏎ⷚ⷏⷏朆

蚴⁴咀㜖⭢㶞㔡〞蚵
43

Member List of The Economic Development Commission

Establishment of the Economic Development Commission
7KH+.6$5*RYHUQPHQWHVWDEOLVKHGRQ-DQXDU\WKH(FRQRPLF'HYHORSPHQW&RPPLVVLRQ
(the Commission) and its four Working Groups, with members appointed by the Chief Executive
WR KHOS GUDZ DQ RYHUDOO HFRQRPLF GHYHORSPHQW VWUDWHJ\ DQG LQGXVWU\ SROLF\ DQG VWXG\ VSHFL¿F
industries in an in-depth manner.
7KH&RPPLVVLRQFRPSULVHVQRQRI¿FLDOPHPEHUVDQGIRXUH[RI¿FLRPHPEHUV7KHPHPEHUVKLS
of the Commission and its four Working Groups are as follows:
 :RUNLQJ*URXSRQ7UDQVSRUWDWLRQ LQFOXGLQJPDULWLPHDQGDLUWUDQVSRUW 
 :RUNLQJ*URXSRQ&RQYHQWLRQDQG([KLELWLRQ,QGXVWULHVDQG7RXULVP
(3) Working Group on Manufacturing Industries, Innovative Technology,
 DQG&XOWXUDODQG&UHDWLYH,QGXVWULHVDQG
(4) Working Group on Professional Services

ŕũŦġņŤŰůŰŮŪŤġŅŦŷŦŭŰűŮŦůŵġńŰŮŮŪŴŴŪŰů
Chairman: Chief Executive
1RQRI¿FLDO0HPEHUV
Dr Ba Shusong
Professor Leonard Cheng Kwok-hon
'U5D\PRQG&K¶LHQ.XRIXQJ
Dr Jonathan Choi Koon-shum
Mr Chow Chung-kong
(Convenor of Working Group on Transportation)
Dr Fu Yuning
Dr Victor Fung Kwok-king
Mr He Guangbei
Mr Stanley Lau Chin-ho
Mr Lau Ping-cheung
(Convenor of Working Group on Professional Services)
0U$QGUHZ/HXQJ.ZDQ\XHQ
0U$QGUHZ/LDR&KHXQJVLQJ
Ms Christina Liu
Dr Victor Lo Chung-wing
(Convenor of Working Group on Manufacturing Industries,
Innovative Technology, and Cultural and Creative industries)
Dr Lui Ming-wah
Mr Jack So Chak-kwong
(Convenor of Working Group on Convention and
Exhibition Industries and Tourism)
Mr Charley Song Lin
0U$ODQ7XQJ/LHKVLQJ
(Convenor of Sub-group on Maritime under Working
Group on Transportation)
Mr Peter Wong Tung-shun
Dr David Wong Yau-kar
Mr George Yeo Yong-boon
'U$OODQ=HPDQ
([RI¿FLR0HPEHUV
Financial Secretary
Secretary for Commerce and Economic Development
Secretary for Development
Secretary for Transport and Housing
44

ŘŰųŬŪůŨġňųŰŶűġŰůġŎŢůŶŧŢŤŵŶųŪůŨġŊůťŶŴŵųŪŦŴĭġ
ŊůůŰŷŢŵŪŷŦġŕŦŤũůŰŭŰŨźĭġŢůťġńŶŭŵŶųŢŭġŢůťġ
ńųŦŢŵŪŷŦġŊůťŶŴŵųŪŦŴ
Convenor: Dr Victor Lo Chung-wing
1RQRI¿FLDO0HPEHUV
Mr Charles Nicholas Brooke
Professor Philip Chan Ching-ho
Ms Karen Chan Ka-yin
Mr Clement Chen Cheng-jen
Ir Daniel Cheng Man-chung
Mr Kevin Ching Sau-hong
Dr Jonathan Choi Koon-shum
'U5R\&KXQJ&KLSLQJ
Mr Crucindo Hung Cho-sing
Mr Ko Chi-sum
Dr Peter Lau Kwok-kuen
Mr Freeman Lau Siu-hong
Dr Humphrey Leung Kwong-wai
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Mr William Lim Ooi-lee
Mr Ma Huateng
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Mr Eric Yim Chi-ming
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Secretary for Commerce and Economic Development

(In alphabetical order of surname)

ܲკનຸⴗ㛲‫̾ݨ‬ᯔ㙱᧻ᆏඐ⴮ⴗ㗛ᒟ
A City Driven by Design + A Community Embracing Design
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⾑佁仰Ҹ
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剛㟾╙▓姛▓㫼Ҹ
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⌀ℎ☌䉉Ļ
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ĩ‛Īġ 㔷ひ╙姷㕩∠⎉䠓宼宗蛇⁴╙ġ
ĩᾘĪġ 㛨剁▓䛛⶗㫼⁉⩺☛⋻䣍蚸崢⁥↠␯テ憞懝宼宗厖␄㜿䠓ġ
ġ

ㆬ似蚸⅒懁䫍㢒▓榧⥮╾㒐倛䠋ⷤҸ

憞懝▓↚榔䡽ҷ╒厖☛″㻐蚸㎠↠⶗㹷㝋蛆
ĩĲĪġ ⅒懁宼宗䥴峧⎕›蚸⏉䅏ㆬ似蚸⛮䠋␄㊞
tġġ 宼宗㠉峧◷
tġġ 䛀宼宗䥴峧ⴇ柱Ὴ愵䠓宼宗╙␄㜿榧娥屁䮚
ĩĳĪġġ ⳤ剁␄㊞⁉㏜☛宼宗ₐ㫼ⵅ
tġġ 欨㾾棡〃宼宗㏜⅙⪶䓝
tġġ 棡〃㻊⑤蚴ℚ⬑宼宗汣毦䍮ҷㄭӁ宼宗ㆬ似ӂ⎉䠋ҷ䘿䖒ġ
ġ

宼宗⪞⁳䍮蚵

tġġ 㝋␄㜿ᾼㅒ厘愵䠓宼宗␄㫼⦈剁宗␒
tġġ 宼宗⾑桕
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Ӂㅦ⢷␄㫼ġʞġ宼宗厖␄㊞⽴㫼ӂ峘㢇屁䮚

ĩĴĪġġ ➘寀ⓢ弙宼宗㎟ⷀ☛榧⶝㏜劌
tġġ ‭㻁㢏⌆㄀榎␪宼宗䓝
tġġ 宼宗榧娥⪶䓝
tġġ ᾥ䛛∠⎉啾⁉宼宗⾺
tġġ ‭㻁宼宗仑怺㎟ⷀ⪶䓝
tġġ ‭㻁㢏⌆㄀榎␪ⴇ䚮宼宗䓝
ĩĵĪġġ 㔷⑤⋻⌀宼宗☛䀬憩
tġġ 䚷ⵅ䉉㢻宼宗䠓寵灭榔䡽蚸ℚ⬑宼宗╙冊㜿㞉孡抄㛎⷏╙ġ
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捜㜿宼宗㳛☛冐姦⋻⢡宗␒

tġġ ⷤ䖍宼宗榧娥╙㏜⅙⃫♐䠓ⷤ孌蚸ℚ⬑ĺĸıĸ蚴㌅䫬欨㾾Ὴġ
ġ

㲙⡭㴇ᾼ⢚蚵ҷ␄㊞䚮㋚ĩĳıĲı╙ĳıĲĲĪҷ␄㊞䚮㋚ĬġĩĳıĲĳĪ

tġġ ⋻䣍㛨剁╙↰峿蚸ℚ⬑⎙䏸ҷ⢢㧛㢒峿ҷ梊嬥䐈悾
ĩĶĪġġ ⢚株宼宗㔷ひҷ″㻐ҷら䱚杫⅑佁仰☛▗⃫
tġġ 宼宗䍮⛕◷ʟʟ‭㻁Ⓩ⋶㝦叵㻊⑤蚸⁴宼宗ҷ␄㜿☛♐䏛ġ
ġ

朚䠋䉉Ὴ槛

ĩķĪġ 㝋唆㣝㻊懢⏜⾁⯩峵⵮ⵎ厜⦈剁宼宗ₐ㫼ⵅ╙㕟K㜖⒥″ġ
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In the global pursuit of a creative economy, we are living in a
rapidly expanding network of creative and design cities.
Design provides strategic thrusts for creativity and innovation,
and is part of the fabric of our city, culture, living and economy.
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professions, sectors, ages and cultural backgrounds.
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Since 2002, HKDC has been on a public mission to
(1) champion strategic and wider use of design for
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(3) educate the professions and the community to be
resourceful champions for sustained develop ments
through design and innovation
Through programming, engagement and communications, we
focus on:
(i) Enlightening thinking and inspiring creativity
through design knowledge sharing and exchange
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t InnoDesign Leadership Programme by Institute of
Design Knowledge
(ii) Nurturing creative talents and design-preneurs through
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t Youth programme (e.g. Discover Design, Design To
Empower, World Design Summer Camp)
t Design Incubation Programme @ InnoCentre
t Design Mart
t Entrepreneurship training for creative and design
professionals
(iii) Celebrating design excellence and leadership through
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(iv) Championing public design and communications through
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the Cornwall Street Park via user-centric and
experience-based design
t Exhibitions, e.g. 9707 (celebrated the return of sover
eignty of HK to China), Creative Ecologies (2010, 2011),
Creative Ecologies+ (2012)… showcasing design leader
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(v) International design promotion, exchange,
networking and cooperation
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brands and innovation
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45

Notes

46

特別鳴謝 Special thanks

䐈⎴溃岬咒尯ㅯ⋗䚮䉉履⩖▜䯀㏚㢇☌槛Ҹ咒尯ㅯ䉉憏₠㦰朆Ҹ⾺ㄭ栂尭⸀⋗䚮ⴇ兡㢇
㹤䵕⏊Ҹ⃫♐㢍⋴戇Ĳĺĺĳ〃欨㾾⾑㛎⷏䜅⁲坬姢桨〃ⷤ᾵䔁欨㾾坬姢檷庋坞Ҹ
⎉䏗㢘ҿ咒尯ㅯ䵕⏊⃫♐戇ġʞĲĺĹķӀҸ
Special thanks to Mr Fan Sing-chung for providing Chinese calligraphy script for the
roundtable title. Mr Fan is a retired headmaster. He learnt Chinese calligraphy and seal
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免費聲明 Disclaimer

㢻⎙䏸⋶厖㢒冔㊞嬚᾵ᾜ⁲姷欨㾾宼宗ᾼㅒῚ孏灭Ҹ
The views expressed by the discussants in this document do not reflect the views of
Hong Kong Design Centre.

47