Tag Archives: Poster

How does Taipei MRT differ from Copenhagen metro?

Taipei Metro covers more stations than Copenhagen Metro. It covers 117 stations (vs. 22 stations). Like other Asian trains, it has seats designated for the people who are in need. A poster in the train asks us to “stand up for someone in need” in a gentle and polite way, that is, “也許他/她有需要,只是你看不到 (maybe she/he has the need, you just can’t see it).”



In contrast, Copenhagen trains have fewer folding seats (for bicycles and strollers) and have no seat for those who are in need. Interestingly, I have seen many seats are available because only few travelers sit down rather temporarily. Why do and how could many Danes stand up whereas many Taiwanese sit down in their trains?




OCT-Loft, Chinese design hub in Shenzhen

Shenzhen is known for manufacturing in China. However, it has a cool spot called OCT-Loft where designers and creative people with different backgrounds gather, chill out, and share their ideas. According to the Protocity.com,

Located in the Nanshan District, OCT-Loft is a project of significant scope and scale. Largely designed by Shenzhen-based architecture firm Urbanus, the project renovated 209.000 square metres of disused industrial warehouse space, modelled after similar developments in Yaletown, Vancouver’s loft district. The architects see the neighbourhood as an assemblage of divergent land uses and district users: middle-class residential units, a clustering of theme park entertainment, and vacant industrial space.

The renovation is a transformation of vacancy into an artistic and cultural node in Shenzhen’s urban fabric: the scope of OCT-Loft’s development yields most of its impact through the strategic programming of space rather than through architectural innovation. The site is primarily a creativity cluster: refurbished factories and warehouses now house hubs of fine art, graphic design, interior design, architecture, costume design, and marketing.

The architects and developers of OCT-Loft envision the project to be a part of a burgeoning trend of environmentally- and socially-conscious urban planning and architectural design. Critics seem to agree, characterising OCT-Loft as a typology for urban “recycling” that reformulates the abandoned industrial relics of Shenzhen’s first developments in the special economic zone in the 1980s into centres of cultural activity, capital accumulation, and compact living.

OCT-Loft attempts to bridge the gap between underutilised structures in the neighbourhood with the residential section of the neighbourhood, drawing an explicit connexion between the cultural-spatial transformation and comprehensive mixed-use development seen within contemporary culture-led development strategies.


While I visited OCT-Loft, I met several posters. Some posters announced design events such as Creative Product Design. In this event, architect, jewelry designers, and product designers were invited to give a talk and share their thoughts and ideas.


Other posters announced to recruit designers with backgrounds of interior design, product design, and visual graphics. Interestingly, most of those posters said nationality, age, or gender do not matter. Compared to other Asian cities where the job market dramatically shrinks, Shenzhen provides more job opportunities to young creative workers.