Author: Ping

Unit 6 Review – Social Innovation (III)

Ethics of Sponsorship

  • BP and TATE

Oil company BP have been big sponsors of the arts in the UK. Their reason for doing this is to build their ‘social license to operate’ – so they are seen as inherently a part of British culture which makes their core activities (of oil drilling in a climate crisis) more acceptable. There have a been a lot of protests over the past few years, and after a 5 year campaign by an organisation of artists called ‘Liberate Tate’ (Free Arts from oil), the Tate gallery dropped BP as sponsors:

However BP continues to fund the British Museum, Royal Opera House, Royal Shakespere company and National Portrait Awards – so some of our key national arts institutions. Last year a young artist who received one of the National Portrait Awards donated some of his winning money to Greenpeace (where I work) for a campaign agains BP. It was an interesting moment as media began to question whether unethical sponsorship of the arts, which is done to generate good PR for the companies that are sponsors, was actually having negative effects, as campaigners were using their own PR against them.
This Guardian article is a good example as it talks about whether some things (the environment) are more important than the arts, and how far art institutions should challenge the ethics of their sponsors:

“I am grateful to Alice Oswald for bringing the sponsorship of the TS Elliot Prize to my attention. I reret that I must do this at a particularly difficult time for the Poetry Book Society but the business of Aurum does not sit with my personal politics and ethics. I am grateful to everyone at the PBS for all they have done to promote my work and that of poetry in general. ”

The Poetry Book Society had negotiated a three-year sponsorship deal with Aurum. The deal followed the withdrawal of its Arts Council funding. Kinsella said he “fully”
understood why the poetry organisation had looked elsewhere for funding, but as an “anti-capitalist in full-on form, that is my position. Hedge funds are at the very pointy end of capitalism, if I can put it that way.” – poet, John Kinsella
TS Eliot Prize – Poet Protests, 2011

Ethics of Ownership

Ethics of Product


The so-called paradox of freedom is the argument that freedom in the sense of absence of any constraining control must lead to very great restraint, since it makes the bully free to enslave the meek. […]
Less well known is the paradox of tolerance: Unlimited tolerance must lead to the disappearance of tolerance. If we extend unlimited tolerance even to those who are intolerant, if we are not prepared to defend a tolerant society against the onslaught of the intolerant, then the tolerant will be destroyed, and tolerance with them.

Karl Popper, 1945 in The Open Society and Its Enemies

The fetishism of the commodity — the domination of society by “intangible as well as tangible things” — attains its ultimate fulfillment in the spectacle, where the real world is replaced by a selection of images which are projected above it, yet which at the same time succeed in making themselves regarded as the epitome of reality.
The spectacle presents itself as a vast inaccessible reality that can never be questioned. Its sole message is: “What appears is good; what is good appears.” The passive acceptance it demands is already effectively imposed by its monopoly of appearances, its manner of appearing without allowing any reply.
Guy Debord , The Society of the Spectacle



Unit 6 Review – Social Innovation (II)

Problems: Climate change, Famine, Water Scarcity, Excess waste, Energy crisis, economic downturns, Obesity, Air Pollution, Anti-biotic drug resistance, Ageing population, Over-population, Unemployment and under employment, poverty, war, terrorism, crime, lack of access to education, healthcare

Qualities and attributes: Civic engagement, creativity is at the core, Disruptive, collaborative and participatory, Recombines existing ideas and assests, Enabling platforms or technologies, amplification of existing solutions, Passive individual people to active collaborative people, networked

Behaviours and practices: Time banking, food coops, micro-finance, Farmer’s markets and zero miles food, social enterprises, co-housing, open education, cycling schemes, community-based tourism, Eco tourism, Car Sharing, Skill Sharing.


Bird in the hand, Crazy quilt, Lemonade, Affordable loss, Pilot in the plane.

Collaboration and Innovation, hand in hand

Today’s companies more than ever are dependent on complex, cross- company collaboration for business innovation.


A socially-responsive view of social innovation

“Social innovation can be seen as a process of change emerging from the creative re-combination of existing assets (social capital, historical heritage traditional craftsmanship, accessible advanced technology) and aiming at achieving socially recognized goals in new ways. A kind of innovation driven by social demands rather
than by the market and/or scientific and technological possibilities (i.e. because the innovation is socially desirable, not solely because the innovation is possible). Typically, this social innovation is generated more by the actors involved than by specialists.”
DESIS PROJECTS with Socially Responsive Design Hub of Design Against Crime Research Centre, “Green Camden” – Co-Designing Public and Collaborative Services to Reduce Carbon Emissions for Sustainable Futures

A market policy view of social innovation:

“Social innovation” is the increasingly common shorthand for [a specific] approach to public-private partnerships. It differs from the fashion in the past couple of decades for contracting out the delivery of public services to businesses and non-profit groups in
order to cut costs, in that it aims to do more than save a few dollars or pounds – although that is part of its attraction. The idea is to transform the way public services are provided, by tapping the ingenuity of people in the private sector, especially social

‘Social innovation: Let’s hear those ideas’, The Economist, Aug 12 2010

Social innovation as a political tool
“Politicians’ interest in social innovation has been sharpened by the rapid deterioration of governments’ finances. Even sustaining today’s public services out of taxes alone looks impossible. Fresh ideas that promise as much, or more, for less are welcome. “The silver
lining in any economic crisis is that it can force government to take necessary steps that, in more comfortable times, would fall victim to inertia,” explains New York’s mayor, Michael Bloomberg in a foreword to a new book, The Power of Social Innovation.”
‘Social innovation: Let’s hear those ideas’, The Economist, Aug 12 2010

Social innovation as a problem of Capitalism
In deciding which problems are relevant [to the development of an artefact], the social groups concerned with the artefact and the meanings those groups give to the artefact play a crucial role: a problem is defined as such only when there is a social group for
which it constitutes a “problem”.

Bijker, W., TP Hughes and T Pinch (eds.) (1985) The Social Construction of
Technological Systems, Cambridge Mass: MIT Press

Mankind always sets itself only such problems as it can solve;
since, looking at the matter more closely, it will always be found
that the task itself arises only when the material conditions for its
solution already exist, or are at least in the process of formation.
Marx, Preface to A Critique of Political Economy, 1859

‘Design thinking’ as a response to the challenge of social innovation:
“Traditionally, designers focused their attention on improving the look and functionality of products. […] In recent years designers have broadened their approach, creating entire systems to deliver products and services. Design thinking incorporates constituent or consumer insights in depth and rapid prototyping, all aimed at getting beyond the assumptions that block effective solutions. Design thinking – inherently optimistic, constructive, and experiential – addresses the needs of the people who will consume
a product or service and the infrastructure that enables it.”
Tim Brown and Jocelyn Wyatt (2010) Design Thinking for Social Innovation, Stanford Social Innovation Review,
Winter 2010

Is social innovation simply innovation that is ‘worthy’?
“Social innovation is not value neutral. It is […] socially and politically constructed. As such, social innovations are not necessarily objectively ‘good’ or socially positive. They could in theory prove to: be socially divisive; have unintended consequences that have
negative social effects (by excluding people who are affected by the innovation in the design and implementation stages) and; become vulnerable to co-option
and/or mission drift.”
The Young Foundation (2012) Social Innovation Overview: A deliverable of the project: “The
theoretical, empirical and policy foundations for building social innovation in Europe” (TEPSIE), European Commission – 7th Framework Programme, Brussels: European Commission, DG Research

Social innovation as a opportunistic response to socio-political realities
• Social innovation can be seen as a pragmatic response to issues of globalisation and inequality
• In this model, the need is for the different stakeholders to derive equivalent but distinctive benefits from an intervention (so-called ‘win-win’)
• For corporations this may be measured in terms of Triple Bottom Line and/or Corporate Social Responsibility scorecards or benchmarks
• For governments and the third sector, this may be demonstrated in greater social cohesion and improved quality-of-life indicators (such as GINI co-efficient, infant mortality, literacy etc.)
• For individuals, this can be manifested in improved life chances (social mobility, access to education and healthcare, etc.)

So… what actually is social innovation and enterprise?
• Broadly covers socially-engaged and/or socially-responsive interventions
• Frequently user- or stakeholder-centred, by means of interdisciplinary collaboration and co-design
• Frequently involves a complex network of stakeholders with distinct but overlapping interests, agendas and priorities
• Often piggy-backs existing networks and infrastructure (commercial and political)
• Is often motivated to some degree by a desire for social, cultural and political transformation (e.g. social justice), although not generally explicitly revolutionary
• Has a complex and sometimes ambivalent relationship with for profit enterprise, and the discourses of corporate practice


Which model of social innovation most strongly resonates with you?

Answer 1 A kind of innovation driven by social demands rather than by the market and/or scientific and technological possibilities (DESIS)
Answer 2 Fresh, businesslike ideas will bring about a productivity miracle in the “social sector” (the Economist)
Answer 3 A way of achieving more, with less funding and resources from government (Big Society)
Answer 4 There’s no such thing as ‘social’ innovation, only Capitalist innovation, since without innovation, the economic system withers and dies (Lyotard)

Unit 6 Review – Social Innovation

Social Innovation:

  • New ideas that meet unmet needs (Geoff Mulgan, Said business School 2007)
  • Business innovation meets social transformation (Osburg and Schmidpeter, 2013)
  • New solutions or innovations that somehow are “social” in their ends or that address societal challenges, including new forms of collaborations (EU Commission, 2012)

Social innovation describes the mechanism, the actual innovation, such as  microfinance, microinsurance or off-grid energy solutions. Social entrepreneurs and the social enterprise are the actors driving social change through innovation.  (Osburg and Schmidpeter, 2013)

Social Innovation is closer to the core business of what is generally thought of and the key for companies to achieve corporate sustainability and thus meet the needs to triple bottom line reporting. It is not the new CSR and it offers huge potential for the future. The companies who will fully embrace corporate sustainability through driving social innovations will be th eones leading the next decades.  (Osburg and Schimdpeter, 2013)

Social Enterprise: 

  • A business created to further a social purpose in a financially sustainable way (
  • An enterprise whose primary objective is to achieve social impact, rather than generate profit for owners and stakeholders. It operates in the market through the product on of goods and services in an entrepreneurial and innovative way, and users surpluses mainly to achieve social goals. It is managed in an accountable and transparent way, in particular by involving workers, customers and stakeholders affected by its business activity (EU social business initiative, 2012)

Social entrepreneurs share many characteristics with traditional entrepreneurs. They see solutions where others only see problems. They don’t take “no” for an answer, but see it as a challenge to try harder. They manage to be extremely resourceful, making something out of seemingly nothing. In addition, almost all social entrepreneurs have been called crazy by their immediate friends and family (Osburg and Schimidpeter, 2013)

Socially-engaged Art: 

  • Art that is collaborative, often participatory, and involves people as the medium or material of the work… can be associated with activism because it often deals with political issues (Tate, 2017)
  • Art in the public interest, as it forregrounds social issues, political activism and community collaborations (Miwon Kwon, 2007)


Corporate Social Responsibility versus Corporate Sustainability and Responsibility


From Visser, 2011


What about Non Profit?

Why they are funded? what discourses rationalise public funding on the arts.

Intrinsic Value vs. Instrumental Value

Intrinsic value is easier to align with the value of an artwork itself. David Throsby (2002) identifies six categories: aesthetic value, spiritual value, social value, historical value, symbolic value and authenticity value.

Instrumental value tends to align with the value of participating in art (rather than the value of an artwork), and tends to rest on social or economic value.  2010, Dave O’Brien concluded that economic value was the only useful frame for the evaluation of the arts, since it provides a major decision point for governments. however, social values provide another dominant discourse for the value of the arts.

Julie’s Bicycle provides the creative community with the skills to act, using their creativity to influence one another, audiences and the wider movement. JB run a rich programme of events, free resources and public speaking engagements, which contribute to national and international climate change policy development.

The “Pay for Success” model.

Step 1> government identifies a critical social issue with historically poor outcomes such as recidivism, chronic homelessnes,s or early childhood educaiton;

Step2? Private funders such as foundations, banks, and businesses, provide upfront capital to a high performing social service provider that is helping a specific, at risk target population

Step 3. Service providers deliver services to key at risk communities, in an effort to reach or exceeed predetermined outcomes for success.

Step 4, evaluator rigorously measures outcomes to ensure providers achieve impact

Step 5, Government repays private funder’s intial investments only if the project is successful in achieveing positive outcomes.


Culturla participation is perceived to make a contribution to social and economic goals including:

  • Increasing social inclusion
  • civic Engagement
  • Health and Well-being
  • Community Building/cohesion
  • Stimulating tourism
  • Growth of the Creative industries.

With some arguing for a ‘four domain’ approach, including environmental stability and cultural vitality, alongside economic value and social value (Hawkes, 2001).

Cultural measurement Frameworks

  • Cost benefit analysis
  • social return on investment
  • social accounting and audi
  • Results-based accountability

Challenges to evaluating the impact of arts engagement

  • Critiqued for methodological weaknesses
  • In initiatives that focus on arts engagement, outcomes are often reported by limited sub-section of stakeholders (i.e., creative participants). A range of stakeholders could be considered (audience members, investors, arts leaders, other staff, funders, and policy makers and the wider community)

MacDowall, Lachlan Badham, Marnie blomkamp, emma Dunphy, Kim 2015


6. Civic domain; Democratic and engaged communities (OUtcomes of youth theatre project across six domains.

a. Sense of community belonging achieved

b. Active citizenship…

Cultural Value

Rather than focusing on the social and economic benefits claimed by culture, cultural value attempts to encapsulate the benefits that are unique to arts and culture. These values include the capacity of culture to shape self-reflexive citizens, and impact civic engagement. Cultural value also supports the ecologies of the creative industries through improvements to community regeneration, health and well-being, and cultural diplomacy. Rather than reducing value to standards of excellence, cultural value highlights interpersonal and international relationships that are embedded in social practices as “forms of life”.  (Crossick and Kaszyunska, 2014, quoted in MacDowall, Lachlan Badham, Marnie Blomkamp, emma Dunphy, Kimn, 2015)

Cultural Value is the subjective experience of culture intellectually, emotionally and spiritually.  (Holden, 2006, quoted in Macdowall, Lachlan Badham, Marnie Blomkamp, Emma Dunphy, Kim, 2015)

Measurement of cultural value: the intrinsic nature of cultural value creates problems for measurement: possible methods include: clinical control trials, ethnographic methods, quantitative social science, personal testimony, qualitative assessments, anecdotes, case studies, extensive audience survey and critical reviews.

Quality Metrics is a set of statements, developed by arts and cultural organisations. They aim to help organisations understand what people value about their work, as well as allowing them to benchmark against similar organisations. they are open source, and free for anyone to use.

‘In 2009 a grant of £260,000 was made to Live Theatre in Newcastle to help it become a
partner in a gastro pub next door. Their share of the pub’s proceeds now delivers £110,000 a year, every year, to their famous new writers programme (Lee Hall of Billy Elliot fame got his first break there). And in 2009 a grant of £251,000 was made to the Yorkshire Sculpture Park for the installation of a pay car park. That yielded a return of £500,000 in 2013-14 to this world-class collection. Now, imagine that as an
alternative to receiving a capital grant they had attracted a social investment loan. It would have been secured against future revenues and would have enabled both organisations to grow and, of course, deliver more public good. This is where the Arts Impact Fund could come in, with its finance from Bank of America Merrill Lynch, the Esmée Fairbairn Foundation, Nesta and the Arts Council. This will provide repayable loans of between £150,000 and £600,000. An overall fund of £7m is very small compared to the turnover of the sector, but it’s a start.’ (Peter Bazalgette, 2015 ‘Arts Impact Fund: a radical new way of
getting extra funding for the arts’, available from

Bazalgette, Peter. ‘Arts Impact Fund: a radical new way of getting extra
funding for the arts’, The Independent, 10 June 2015 (available from

Unit 6 Review – Uses of Memory and Meaning

Uses of memory and meaning 

John Berger, 1972, WAys of seeing, BBC

Adam ladd’s five year old daughter’s brand recall skills: 

Victor Paranek – Design for the real world. 1972

“We seem to be designing exclusively for the old, fat, the rich, the white, the powerful; the ones who managed to get us into every single mess and frightfulness mankind has so far experienced. To create lipstick for honest whores is one thing,but to deodorise her pimp is another.

“Before (in the “good Old Days”), if a person liked killing people, he had to become a general, purchase a coal-mine, or else study nuclear physics. Today, industrial design has put murder on a mass-production basis. By designing criminally unsafe automobiles that kill or maim nearly one million people each year, by creating a whole new species of permanent garbage to clutter up the landscape, and by choosing materials and processes that pollute the air we breathe, designers have become a dangerous breed. And the skills needed in these activities are taught carefully to young people. ”

Richard Hamilton – Just what is it that makes today’s home so different, So appealing

considred as first pieces of Pop Art. Hamilton’s written defintion of what “pop” is laid the ground for the whole international movement: Pop Art is: Popular, transient, expendable, low-cost, mass-produced, young, witty, sexy, gimmicky, glamorous, and big business”, stressing its everyday, commonplace values.


Roland Barthes, La Nouvelle Citroen, 1957

I think that cars today are almost the exact equivalent of the great Gothic cathedrals: i mean the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appropriates them as a purely magical object. It is obvious that the new Citroën has fallen from the sky inasmuch as it appears at first sight as a superlative object.. We must not forget that an object is the best messenger of a world above that of nature: one can easily see in an object at once a perfection and an absence of origin, a closure and a brilliance .. the Deesse is first and foremost a new Nautilus.

Barthes stressed the importance of advertising in creating an aspirational bourgeois savoir-vivre – what we would now term “lifestyle marketing‘.

Ceci n’est pas une pipe – Rene Magritte, 1926 (The treachery of images)

Low involvement Processing: suggests that we absorb brands and their values without realizing.  It relied on repetition and consistency to create powerful “engrams” – the changes in the brain that result from encoding an experience; Engrams are believed to be created by the brain strengthening the connections between groups of neurones. LIP attempts to reinforce and exploit this phenomenon using Low level, low awareness repetition.

Unit 5 A+ Assignment

Growing a Cultural Social Enterprise for Youngsters in Hong Kong

– Create a sustainable model for the “Warehouse Teenage Club” (WTC)


The “Warehouse Teenage Club” (蒲窝 in Chinese, referred to as WTC below) in Aberdeen was founded in 1992 by Dr Frank White from Hong Kong University, who at the time has observed many Hong Kong young people lacked a purpose and space to develop healthy hobbies, and loitered in the streets after school. WTC strives to remain the Second Home for youngsters to develop their creativity and multiple talents through meaningful, innovative, and effectual activities, hopes to broaden their horizons, enhance their learning, and cultivate youngsters who not only treasure life, but also respect others, and be confidence and reliable to contribute actively to the society.

This is a noble cause, and the WTC should be replicated and expanded to generate broader and deeper impact to the society. Nowadays the youngsters may not loiter in the streets any much as the 90s, but the new mobile technology has created virtual loitering, i.e., the Internet. Many youngsters developed addiction to video games and social media feeds which can harmful for their mental development.  My idea is hence to create a “Virtual Second Home” for these young people on the Internet as an expansion of the WTC headquarter that provide safe environment, interesting materials and trusted source in finding interest groups with social responsibilities.

Carrying on the same mission of the WTC, the virtual home also promotes real human to human connections, provide courses and activities for leadership skills and guide youngsters to realise the importance of solidarity, humanity and creativity. And it will be a home with no location restriction, all youngsters can interact, learn and work on projects together in their preference location.

Two recent events in Hong Kong has given me inspiration and hope for such online community: the “Hong Kong Youth Art Summit 2016-2017” (香港青年艺术高峰) organised by the WTC and the social experiment “Chat to stranger” initiated by Leung Cheuk-Lam. The former aims to encourage young people to formulate and implement Arts and Cultural projects related to dance, music and visual art in their neighbourhood communities; the latter stands against the current trend of “looking down to mobile phone”, forces himself to talk to one stranger every day. I think these initiatives would be a great way to unite youngsters with curiosity, passion and determination, who can potentially join forces to create a significant social impact.

This paper will explore the opportunities and risks of creating a sustainable business model for the expanded virtual WTC in the new technology era.


Business model Canvas

By mapping out the business model canvas ( ),  I found it easy to identify the “expanded areas” (Colour coded yellow in the canvas):

The original WTC customer segments remain: the focus is still those aged between 13-25 years old, who constantly struggle to find purpose and things they are passionate about. The digital natives these days have the access to the world of knowledge but in the same time they face problems of addiction to video games, Internet bullying, narcissism and dystopia created by the social media etc. Besides the youngsters, since the membership is open, the WTC also welcomes people beyond 26 years old, from normal member to the diamond members, this is a very important segment for income as well. The expansion into the virtual space will significantly extend the reach to all corners of Hong Kong instead of only the people living in the neighbourhood of Aberdeen, where the WTC headquarter locates.

The value of WTC remains to be the youngsters’ “Second Home”, through organised activities and classes, help build self-esteem and respect others, discover and develop talents, inspire creativity and cultivate critical thinking and responsibilities. What’s been added as keeping up with the time is the online e-learning and community building platform with convenient access and state of art design.

I have expanded the key activities accordingly, although there is already a quite comprehensive range of activities that WTC offers such as Music, Dance, Graffiti, Drama, Social, Sports, Adventure and Environment. I believe the WTC will need to spearhead a flagship movement for the development of solidarity, humanity and creativity, this would help increase the awareness of the WTC value.

In 2017, WTC organised the Youth Art Summit that encourage young people to formulate and execute Arts and Cultural projects related to dance, music and visual art in their neighbourhood communities.

I was deeply moved by the projects from the summit, however it didn’t seem to have caught the public’s eyes. Only 250 people like the Summit Facebook page and the WTC Facebook page has less than 7000 followers in total.

At the same time, the “ChattoStranger” social experiment by a single person has created 12,000 followers on his page. On December 30, 2016, a young man called Leung Cheuk-Lam has started a project that forces himself to chat with a stranger every day, and recorded each moment of encounter, it was a rough start, but this young man stepped out of his comfort zone and started finding the stories behind real people.

A similar case but in a different place in 2010, Bandon Stanton started a photoblog “Humans of New York”, documenting stories through interviews with the people he met on the street, and it has now over 18 Million on Facebook, 7.5 Million on Instagram, and the materials have also become a “New York Times Best Seller” book and been there for 31 weeks in 2015. to promote face-to-face human connection, and bring people closer together.

I believe these are not separate incidents, they represent a deeper need in young people wanting to meet the world heart to heart.  The WTC can start a social movement and at the same time promote the WTC “Virtual Second Home” brand. Below are a three-step action plan that aims to expand the reach and deepen the impact, also with the aim of minimise cost:

Firstly, “Humans of Hong Kong” project: Solicit stories in public through WTC website and Facebook page, with Leung Cheuk-Lam’s “ChattooStranger” as ambassador, ask all the youngsters in Hong Kong to meet with real people and use their own creative ways to capture people’s stories, it can be photo, video, writing or drawing. It will be a long term on-going project; the goal is to portrait 100,000 Hong Kong people living in Hong Kong.  The potential cost for a start would be the design work of logo, poster and website. WTC’s own members can volunteer and can even reach out to the students of Design Institute and Hong Kong Art School to help for free.

Secondly, “Remarketing”: the first program gets us access to a significant group of young people who cares about society and humanity growth. We then start promoting activities, classes, events to attract people with similar interests.

Thirdly, in parallel, the website will be revamped to offer online classes with certificate.  It is important to partner with a reputable and state-of-arts educational platform provider, such as NovoED. Also, upkeeping high quality of the online class curriculum will enable WTC to capture the interest of the youngsters and sponsors. By partnering up with some professional institutions, we can potentially get the resources to build curriculum and “train the trainers” in exchange for opportunities to conduct research / recruiting candidates.

WTC has a unique historical building as headquarter, and backed by Wofoo Foundation. This presents a unique advantage but at the same time, with limitation: it’s hard to be sustainable. With the e-learning and on-line community platform, we can expand ‘Second home” reach. The website will be a first time set up cost, and will require relevant software and hardware, as well as the resources to create and manage the website. In addition, digital marketing experts are needed to promote and establish the branding image in the public.

Finding the right partners on board is key to the success: these partners including the original executive committee members of the WTC, who are mostly the board members of the Wofoo Social Enterprise group, and a highly reputable education technology non-profit organisation such as NovoEd, and the worlds’ leading profession institutions, with exchange for opportunities of research and recruiting. In addition, to increase the chance of youngsters meeting face to face, we may also need coffee shops, public parks, youth centres and civic centres in each district to get on board with the initiatives and willing to provide venue.



Currently, the WTC have three types of earnings:

  • Paid Membership: $20 for Youngsters between 13-25; $50 for Adults over 26 years old.
  • Venue and Facility Rental: Using $100 per hour for the dance studio as reference.
  • Friends of WTC scheme: $1500 for Gold, $3500 for Platinum; and $6000 for Diamond per year, all come with some level of recognition and benefits in the class and rental offer.
  • Other donations

Assume the 6,600 Facebook page followers are all members, and with a mix of 80/20 of young and adult member, it generates 160,000 Hong Kong Dollar annually. But if all these members rent the facility at least one time per year, the building is over capacity. I don’t have an estimation of how much expenditure on marketing, organising Youth project events, but I don’t believe this is coming out from the yearly operation budget. If going forward, the WTC continues to depend on the funding and donations, I would not say this is a sustainable business.

Moving the “Second Home” into Virtual space, would increase the awareness and support from the public, in turn expand the member base at all levels significantly and corresponding facility rental.

Ideally, with the “Humans of Hong Kong” movement, we can attract book deals, movie deal, speech/TV/Events appearance, all creating opportunities for alternative revenue stream.

From the expenditure perspective, it is crucial to maintain the daily operation of WTC headquarter. According to their website, the WTC needs one million dollars to operate every year.  The expansion to “Virtual Second Home” will require the resources to be placed on building online community, digital marketing, and the e-learning curriculum development.

When migrating onto a digital platform, there would be a high demand of content and curriculum attractiveness. Investment will be heavily focused on the revamping of the website, marketing campaign, and the “Humans of Hong Kong” movement with Key Opinion Leaders like Leung Cheuk-Lam as ambassador.

To breakeven, assuming purely depending on membership fee (Using the lowest fee schedule: $20 per year), we would either need 40,000 members or 166 Diamond sponsors (Donation equals to or beyond $6000 per year). I think the former is easier to achieve with a widely recognizable digital platform. If we also consider the WTC building facility rental with a wider audience’s interest, the income can probably increase by 4 times.

Here is a summary of capacity and break-even data:

<Exhibit 1> Break Even Analysis:

(HKD) Warehouse Teenage Club


Warehouse Teenage Club

Virtually Expanded

Membership fee per person 20 per annum 20 per annum
Venue Rental $100 per hour $100 per hour
Capacity (# of facilities) 10 10
Venue Income per month 20,000 (Assuming One-hour rental per studio every day, 20 days per month) 80,000 (Assuming four hours rental every day, 20 days per month)
Average monthly operating cost ~83,333 (1 Million evenly distributed monthly) ~120,000

(On top of the 83,333, additional 35,000 for Web design and maintenance and digital marketing)

Calculated break-even point (#) ~38,000 Active Members per month ~24,000 Active Members per month
Current Enrolment Around 6,600 in total

(Estimated by the Facebook page Followers)

Around 6,600 active members


As a more comprehensive version of the projection, considering areas of possible cost and income. I estimate that the expanded WTC can break even start from July 2019, and achieve yearly surplus by November 2019.

<Exhibit 2> Projections of Profit/Loss from Dec 2018 to November 2019:

  Dec 18 Jan






















Active General Member in a month 10K 15K 15k 20K 20K 25K 35K 35K 35K 50K 50K 50K  
General Membership Income (80% Young / 20% Adult) 16.7K 25.1K 25.1K 33.4K 33.4K 41.7K 41.7K 58.5K 66.8K 66.8K 66.8K 66.8K 542.7K
Active Gold-Diamond Member in a month 10 15 20 20 20 30 30 35 35 45 45 50  
Gold-Diamond Membership Income (Avg 5K per year) 4.2K 6.3K 8.3K 8.3K 8.3K 12.5K 12.5K 14.6K 14.6K 18.8K 18.8K 20.8K 147.9K
Facility Rental Income 20K 25K 30K 35K 40K 45K 50K 55K 60K 65K 70K 80K 575K
Possible book deal, TV appearance             20K 20K 20K 20K 20K 20K 120K
Total 40.8K 56.3K 63.4K 76.7K 81.7k 99.2K 104.3K 128.1K 141.4K 150.6K 156.0K 167.7K 1.38Mil
Operating Expenditure:                          
Operating cost 83.3K 83.3K


83.3K 83.3K 83.3K


83.3K 83.3K










83.3K 1Mil
Website set up (S/H ware) 100K  
Website maintenance 15K 15K 15K 15K 15K














Digital marketing 20K 20K 20K 20K 20K 20k 20k 20k 20k 20k 20k 220k
Total 183k 118k 118k 118k 118k 118k 118k 118k 118k 118k 118k 118k 1.38Mil
Operating profit/Loss -142K -62K -55K -41K -36K -19K -14K 9.7K 23K 32K 37K 49K 667


The key assumptions are:

The “Humans of Hong Kong” will be launched in November 2018, starts gaining tractions from beginning of 2019. The enrolment varies according to season, will increase when during school holidays around spring and summer time.

The development of curriculum is not counted into the cost, since I expect to work with professional institutions who would be willing to provide for free in exchange of opportunities to conduct research and recruit candidates.

The website set up cost only includes software and hardware, and didn’t include the cost of free-lance web architect and user experience expertise. My assumption is that we can get free resources from NovoED, the reputable educational technology company who is also a non-profit organisation.

The cost of venue rental outside of the WTC headquarter in Aberdeen is not counted. Since people can be creative in finding free space in meeting up, practicing dance or other types of artistic interests.

There are many factors that are going to directly impact the projection above:

Engage the youngsters in a new online community can be tricky, especially this is a locally built platform. And registration of this platform should not be anonymous, we need everyone to be real identity. That’s a challenge, since kids these days are used to creating their nicknames and different identities in social media. If we cannot ensure the authentication and recognizable profile of each member, then we cannot build the trust within the community, then the entire project is at risk.

The reliance of “Humans of Hong Kong” project is based on my belief that youngsters love to challenge the society norm, and they want to create something unique and impactful by their own. But if this movement cannot get traction, then we need to think of an alternative.

A lot of the potential costs were not considered in the projection, that was because my wishful thinking that we can get support and resources from people, organisations and public for free in exchange of participating research and providing service.



I admired Dr Frank White’s intention, I would like to carry on his work, only add a modern twist with the available technology and the new behaviours in the young generations.  I have finished the “Social Enterprise 101” from the NovoEd platform, and I believe it’s a global trend that the entrepreneurs make efforts to do good to the society using a business mindset.

By going through this Unit 5 exercise, I have had a better view of the considerations and the challenges ahead, which is to keep the original intention while also try to sustain the business on its own. Like any new effort in making the world a better place, I believe this will be worth it.

(Word Count: 2668)








  1. Business Canvas for “Expanded Virtual WTC”:

  1. Warehouse Teenage Club Website Homepage:

  1. Warehouse Teenage Club Facebook Page:

  1. 香港青年艺术高峰会 Facebook Page:
  2. NovoEd Homepage

  1. ChattoStranger Facebook Page:

  1. Humans of New York Wikipedia page:

  1. Exhibit 2: Projections of Profit/Loss from Dec 2018 to November 2019 (Excel Image)


Unit 6 – face2face with Kacey Wong

Part One: Goal is to encourage social anticipation & debate

“Hawkerama” Art Exhibition: Transform Bar

How to “Get it”, how to get people to get your work? or get the meaning of anything.

Curatorship as Strategy ( fixed taro cards with #13…hour glass…..stole your time…a conversation with death, 2012)

Independent shooting. 2016

Community Art as workshop = Art Experience

Instant skyline workshop

Art workshops as experience to reconnect to community: ( house of red, house of blue, Kwun tong, 2013)

Community Art as empowerment (Urban Ninjas (body & architecture) workshop. St James settlement, Aichi triennale)  (Paddling Home, 2009)

Bring forward the problem than solving problem.  ( wandering space – Eggette Bar, 2016)


Art & politics

Everything is Art Everything is Politics

with limitation creates creativity

HOng kongese warning squad, 2014

Public Art as Social Intervention (Art Study Station 2014)

Art is a lie that tells the truth.. .Pablo Piccaso

Questions fo rself: Responsible for the enterprise, can you be syderler in the syndler’s list?

I have no enemies by Kacey Wong (Youtube) installed secretly and permanently. monument for Liu Xiaobo.


How to fight a graceful war.



Unit 5 – F2F weekend (II)

Age of Disruption Adrian Wooldridge:

  • Creative self-disruption
  • What is Disruptive Innovation?  – New market value Clayton M Christensen

GEM: Global Entrepreneur Monitoring Report

Entrepreneurship Disruptive Innovation:


James Franco: 72 hours of movie marathon of his own film

Shia LaBeouf:


Ted talk: Ken Robinson: out of our minds learning to be creative

Richard Florida: the new Urban crisis


Daniel Goleman:


Traits: TEIQUE assessment and report

(need to pay)