Information Design Lab

School of Design   Hong Kong Polytechnic University

Designing the Spectacle:
The visual identity of Festival of Hong Kong deconstructed

香港六十年代末被譽為火紅年代,原因 是各種政治騷動為社會帶來了種種紛 擾。為此,港英政府舉辦了首個大型文 娛活動 ——「香港節」。有評論者認為 這不單純是一項康樂活動,實則想藉此 安撫市民心中不安的情緒,並使市民對 香港產生歸屬感。 無論如何,這是首次由官方打造的香港 大型文娛活動,並應用不同設計元素 及媒介為活動確立鮮明的視覺識別。 「香港節」的節徽是一個橙白兩色相間 的「 沙 灘 波 」— — 由 於「 沙 灘 波 」 富 有 彈力,正好象徵了香港人的韌力和適 應力。 今次展覽為〈設計奇觀〉系列之二,再 次以香港城市為本,探討「香港節」 設計背後與社會的種種關係。另外,是 次展覽不旨在追求浪漫化的香港情懷, 也不是要重現「香港節」歌舞昇平的場 景,而是探討設計在動盪社會中的角 色、應用、功能和影響力。 是次展覽希望能讓觀眾反省在今天社會 的各種紛擾之下,設計能怎樣呈現它的 角色和可能性。適逢今年是第一屆「香 港節」的五十周年,就讓我們再次回顧 象徵著香港人的適應力及積極精神的 「沙灘波」,為這紛亂的社會中的我們 帶點正面思維。

The late-1960s in Hong Kong is also regarded as ‘an intense era’ because of the great disturbance brought to the society by a series of riots. In response to this, the British colonial government launched the Festival of Hong Kong in subsequent years. Some commentators believed besides being a recreational activity, the festival was also the government's attempts at alleviating distress and fostering a sense of identity among Hong Kong people. Nevertheless, the festival was the first and the largest official entertainment event in Hong Kong history, which utilised different design elements and media to establish the distinct visual identity. The festival’s logo was a rubber ball with alternating and white stripes—a clever motif as its elasticity symbolised the resilience and extraordinary adaptability of Hong Kong people. This is the second exhibition in our ‘Designing the Spectacle’ series. Setting our anchor in Hong Kong, we will explore the intricate relationship between designs for Festival of Hong Kong and the society. Moreover, it is not the exhibition’s purpose to romanticise the good old days of Hong Kong, nor is it aiming to reconstruct the merry scenes of the festival. Instead, we focus on investigating the role of design, its application, function and influence in a turbulent society. It is hoped that this exhibition will inspire us to reflect on the limitless roles design can still play even during disturbances in our society today. On the occasion that this year is the 50th anniversary of the Festival of Hong Kong, let us look back on the ‘rubber ball’—an exemplar of our optimism and elasticity—to cheer on ourselves with some positive mindsets during this difficult time in our society.

展覽人員 Presented by
郭斯恆 Brian KWOK 項目負責人 Project Leader
Roberto VILCHIS ECHEVERRI 展覽設計師 Exhibition Designer
吳茂蔚 Clive NG 項目主任 Lead Project Associate
邱穎琛 Kiki YAU 項目助理 Project Associate
邱玟琛 Ruby YAU 編輯 Editor

嗚謝 Acknowledgement
胡兆昌 John Wu
鄧鍵一 博士 Dr. Gary Tang
蔡楚堅 Sandy Choi
李嘉耀 Ken Li
香港記憶 Hong Kong Memory
香港歷史檔案館 Public Records Office (PRO)

協力 Supported by
傳意設計學(榮譽)文學士 Communication Design, PolyU Design
香港理工大學設計學院 School of Design, HKPolyU
信息設計研究室 Information Design Lab
香港視覺傳意資料館 Hong Kong Graphic Archive



「香港節」背景 About Festival of Hong Kong

過往香港曾三度舉辦「香港節」,分別 於1969、1971年及1973年的11月至12 月期間舉行。各區的主要社區設施、廣 場和交通道路都會舉行為期大約一周的 文化展覽、體育比賽、時裝表演和花車 巡遊等大大小小、以文娛康樂為主的全 民活動。 香港自成為殖民地以來,都被認為是 「借來的地方」,過著「借來的時間」。 香港節的誕生有著重要的歷史地位,因 為這是港英政府在六七暴動後為了安定 民心,才首次強化港人的歸屬感,以淡 化原有的「殖民意識」而舉辦的一個歌 舞昇平節日。香港節不單單團結了大 眾,它更讓港人漸漸建立「本土意識」 和「香港人」的身份。香港節的宣傳品 成為了政府宣傳中幾乎絕無僅有的設計 指標,透過觀察它們的應用,我們可發 現設計在社會中扮演了極其重要角色。

The Festival of Hong Kong was held three times in 1969, 1971 and 1973 for around one week during November and December. Citywide leisure activities, including exhibitions, sports competitions, performances and parades were organised in community centres, malls and main roads. Hong Kong had been deemed as ‘a borrowed place’ with ‘borrowed time’ ever since she became a British colony. This is the reason why the Festival of Hong Kong holds such great significance in our history, as it marks the first active attempt by the British colonial government to foster a sense of belonging as ‘Hongkongers’ to weaken that of ‘the colonised’, in a bid to promote social stability after the 1967 riots. This triumphant and celebratory festival not only united, but it also helped build a sense of identity among the Hong Kong people gradually. Publicity materials used during the Festival reached the pinnacle of government propaganda, and it is easy to observe the important role communication design has always played in our society through studying its application in history.











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