群鸟网 | 2015-3-07 11:10
 Roger Billington简介:中国深圳B+SW设计董事及首席执行官。建筑概念、室内设计师及产品设计师。新西兰设计师协会理事会员、澳大利亚设计师协会会员、英国工业艺术家与设计师协会会员。毕业于英国沃夫汉普顿大学,获空间设计学学士学位、灯光设计研究生学历,在英国、新西兰以及中国都完成了很多优秀的设计项目。


  【Roger】We do have a commitment to travel experiences for our designers as part of the strategy I implemented when we started the business 6 years ago. The basic idea is to broaden the designers understanding and experience of design both locally and internationally to ensure that their design proposals are not just creatively good solutions but also reflect the highest levels of innovation and pragmatism.

  Also part of this strategy I run history of design seminars that they all have to prepare and present at monthly intervals. All staff have a research topic and in combination this assists in the development of mature business focused design solutions. A good example is our current success in the design of complex commercial interiors which demonstrate a solid understanding of the most modern office systems and philosophies, all brought about by our research into American and European systems, technology and equipment but developed to reflect the Chinese context that they must perform in.




  【Roger】The basic criteria for selection of destinations is that the experience must be of benefit to both the individual and the company. The designer submits a suggested destination based on an interest derived from either their research topic or a design history topic which they have found to be worthwhile. The result of the trip will then be recorded and shared with the team when they get back to the office. The form of recording will always depend on the destination but will always include an image and text file which can be archived at the office for future reference.



  【Roger】I have no idea what other companies expect from their overseas trips for their staff. At B+SW I believe that the way we integrate the experience with other knowledge gathering, research, history etc makes the experience more valid and acts as an incentive to staff to ‘earn’this educational experience.

  At B+SW it is a serious contribution to the knowledge and culture of the business.The benefits to the designers are obvious in that they develop a broader perspective and a confidence that they are actually ‘quite good’when they have the opportunity to compare their work with the real thing, not just photos of completed international designs.

  The development of design in china, we are still in transition from the big boss decision period. Those big now who recognize our depth and innovative capabilities and choose to take advantage of them are the winners. Modern international business requires that a company not only looks good but also reflects that look in the way they do the business, that’s why we are at the top of the commercial design ladder, we can align the look and the performance through our attention to research and international systems.





  【Roger】Traditional Chinese design culture, to me, is affected very much by the traditional social norms and behaviours evident in china. This is not necessarily a good thing for the future of design here because these conventions often stifle the response to solutions. This is why I have introduced the programmes of research, history and travel as opportunities for our designers to ‘see and feel’how design operates overseas. I also run a comprehensive internship system and these people are part of the exposure to international practice when integrated with the other areas of design education. There is a push by government to encourage innovation and technology into business, you cannot do this just by wanting it to happen, there has to be an intervention that supports designers while they gain the skills and confidence to challenge the existing conventions of design. In this way the development of a truly Chinese internationalism can grow and compete on the world scene.



  【Roger】Undoubtably the influence of Chinese design will continue to be seen on international forums. Stunning events like the Olympics and expo have already illustrated this. However at a lower level and in the domestic situation there is a need for a developing relationship between designers and the clients they work ‘with’, not for. Until the need for this relationship of trust and respect has been more clearly established, design in china will be too much controlled by the client. Because of this, the ability for Chinese designers to compete will always be adversely affected as this relationship is critical to the design process, rather like the relationship you develop with your lawyer or your dentist, I identify the ‘project’and then I let the professional develop the solution. I would certainly not tell the dentist how to fix my teeth, simply tell him or her that there was a need for a solution.



  【Roger】I am a total supporter of Chinese style in all areas of design. My personal commitment to it has been long term and has had many manifestations. I have owned and operated a Chinese antique business and for a number of years operated one of NZ most successful restaurant/bars, called Mao Bar.

  As with any design style though, my use of Chinese style is restricted to the context and the relevance of the style to the use and function of the project. My personal interest is in the use of genuine antique and not reproduction. In small and important areas so that the impact of quality and purpose can be emphasized, not lost in a chaos of other objects or ill defined space. I think this is an approach held by other successful Chinese designers and the work they produce reflects this respect and simplicity of approach.




  【Roger】This is simply a gradual thing. If Chinese want to compete with international design companies then, I believe, that they need to adopt some of the influences I have mentioned above. This is NOT to make Chinese into western designers, but to equip them with the tools to compete.

  【翻译】这是个循序渐进的过程。如果中国设计公司想要与国际大设计公司竞争的话, 我相信,他们需要采用一些我以上所提到的影响力。这并不是让中国设计师去迎合西方设计师,而是将其作为自己的工具和装备来与对手竞争。


  【Roger】The right to ‘speak’must be earnt, not given, same as respect, we need to earn the right to have influence and meaning. To do this we need to be clear that there is a need to do it. China can just carry on with its ways of design and create a new paradigm for its future. But to expect a seat on the international stage we need to be playing the same game, that is what I’m trying to equip my design company with, the tools to compete.