Reach’s Street Art

August 16, 2016 2016年8月16日

Reach is a Taiwan-based, multifaceted artist who plays many different creative roles; he’s not only an illustrator, but is also a creative director and photographer. He began his artistic journey in 1995 with graffiti and experimented with a variety of techniques, starting from tagging, to bubble letters, to wildstyle, and eventually 3D pieces. Over the years, Reach worked tirelessly to refine his artwork, looking to create a distinctive style of his very own. His perseverance has led him to become the established artist that he is today, and many consider him to have pioneered Taiwan’s graffiti and street art movement. One of his most famous characters is Pink Bear, a cartoon bear with lighting bolts for eyes. To create it, he used pink, one of his favorite colors, and black-and-white spray paint, which he considers to be an essential item to carry on a day-to-day basis. Not long after, he created the Blue Cat character and his famous cat’s claws, both of which have become iconic elements in his work. In 2009, he created Reach Boy, a character that not only represents himself, but is also a vessel for him to present his worldly views.

來自台灣的Reach目前是位具有多重身份的藝術家,畫家、藝術總監、攝影師。從1995年開始塗鴉,從Tag, Bubble Letter開始,到Wild Style以及3D,Reach一路不斷摸索前進,找尋真正屬於自己的風格,現在的他已經成為了台灣塗鴉先鋒之一。多年下來,他用最愛的粉紅和必備的黑白噴漆,創造出了具有閃電眼睛的Pink Bear,以及隨後的Blue Cat包括衍生出來的貓爪等經典形像以及圖形​​。今次,他以2009年基於“塗鴉人”特徵創作出的Reach Boy為角色,是為了通過這一個代表著自己的形象表達自己看到的世界。

Reach’s journey to becoming an artist wasn’t all smooth sailing. After making the decision to pursue street art full time in 2005, he faced many financial hardships. In 1999, after becoming the leader of SoulSkool, a Kaohsiung graffiti crew, he had to come to terms with many difficult decisions. Seeing the challenges he’s faced as valuable experiences, the mental fortitude that came with having dealt with these hardships have contributed to his career as an artist. Looking back on his past, he says, “Making a career out of being an artist will be different for everybody. Every artist will have to walk their own path. Identifying fact from fiction is important, but having a clear conscience is the most important. My only advice is for them to be patient.”

從一開始到現在,他在這條創作道路上也並非一帆風順。 2005年決心做職業街頭藝術的他,也曾經歷過一段經濟困難時期。然而1999年起已擔任高雄塗鴉團 (SoulSkool) 團長的他,已經面對、處理很多現實面的事情,並將這種經驗和心理準備帶到隨後新的職業決​​定中。今天的他回望那段時光,表示,“從事藝術創作,每個人都有不同的方式跟不同的道路要走,問心無愧最重要,看清事實很重要。唯一能夠建議的,就是’be patient’” 。

When street artists start gaining a following and receiving attention from the media as well as from other artists, they’ll often start receiving opportunities to create paid commercial work. Reach’s success today followed this familiar route that other street artists have gone down. The balancing act between creating art and commercial work is a delicate one, and Reach isn’t afraid to speak out about artists having financial needs. He emphasizes that no matter what a person’s viewpoint on the differences between artwork and commercial work might be, as long as the creator stays devoted to his own creative process and beliefs, then these two types of creations are only different in how they’re presented and the artistic quality of the creations will not be affected.


Photo by Bo-Lin Lo
Photo by Bo-Lin Lo

From being the head of Taiwan’s first graffiti crew to becoming the well-known artist that he is today, he has already had his fair share of solo exhibitions. Reach not only watched Taiwan’s graffiti scene mature and develop, but was an active and integral part of its growth. “In my opinion, I believe that Taiwanese graffiti is becoming more ‘professional’ so to speak. The entire environment and related industries are as well.” Having observed all the progress made over the years, he also sees many seasoned artists still committed to their art and continuing to improve upon their craft. But a lack of new artists entering the scene has left a void that’s yet to be filled, which is similar to the problem many traditional crafts are facing today. Reach believes the biggest problem “is the lack of industries supporting the craft, and a lack of a more nurturing environment for these artists.” He says, “So, many artists like me must look for opportunities abroad instead”

從台灣第一個塗鴉團團長到業已開辦過多個個展,Reach目睹並親歷了台灣塗鴉的發展。 “從我自己的角度上來看,我認為台灣塗鴉正走向’專業’ 的階段,環境與相關產業也是。”他看到了積極一面的發展,但是同時也注意到在老成員越來越堅持也越做越好的同時,這個圈子因為頗乏新鮮血液的注入而造成斷層,有點類似傳統技藝所面臨的人才問題。在他眼裡,目前最大的問題是“大環境與相關產業的支持度來說是有,但不夠高,不夠支持我們少數人為生,因此我們必須往海外找尋機會。”

Photo by Bo-Lin Lo
Photo by Bo-Lin Lo
Photo by Bo-Lin Lo
Photo by Bo-Lin Lo
Photo by Bo-Lin Lo

Earlier this year, between April and June, Reach held a new exhibition under the theme of “Drink Hard!” The new exhibition featured illustrations, neon lights, and installation works as tall as 150cm that were created using fibre-reinforced plastic. Other collaborative merchandise that were available for purchase at the exhibition included water glasses, coffee mugs, coasters, and pins (which were available via toy dispensers). The exhibit is a showcase of Reach’s signature artworks, which he describes as being about “presenting my feelings and the world as I see it through humorous exaggerations”. This exhibition explored the importance of respecting the environment. His message was that we must first change ourselves, and only through doing so will we begin to affect other people, and in turn, influence the world at large.

今年4月到6月,Reach以“Drink Hard!”為主題進行了他的新一個覽。展出的形式有畫作、霓虹燈與高達150公分的大型 FRP 創作,還有些週邊商品的合作,如:水杯、琺瑯杯、杯墊,徽章 ( 透過扭蛋機方式呈現,達到互動效果 )。秉承著他一貫的創作態度「用幽默誇張的態度,來表達我所看見的世界和感受!」,此次展覽的目的是藉由他的視野,訴求對環境的重視,讓大家知道改變能即刻從自我開始,進而去影響更多身邊的人、生活、甚至是地球。

Photo by Bo-Lin Lo
Photo by Bo-Lin Lo
Photo by Bo-Lin Lo
Photo by Bo-Lin Lo

Having also recently participated in Kaohsiung’s Pier-2 Art Center’s “Art Around” project and a joint exhibition at Galerie Matthew Namour in Canada, Reach says he has no plans of slowing down, nor does he feel discouraged from the lack of mainstream support. He only has plans of improving and making even better art, and hopes to establish Taiwan as a creative force to be reckoned with, on an international level. Even more importantly, he wants to inspire and motivate this generation of young creators to be more fearless and courageous in their means of self-expression.

近期剛完成加拿大蒙特羅藝廊Matthew Namour的聯展高雄駁二藝術特區Art Around計畫的Reach表示,他不會因為外界支持的缺乏就氣餒,就停下自己的腳步。他將繼續做好自己該做的事,努力擴展台灣塗鴉在國際上的地位,希望自己能夠對年輕一代有所啟發,並給他們帶來勇氣。
Weibo: ~/HelloReach


Contributor: Banny Wang
Images Courtesy of Reach Studio

微博: ~/HelloReach


供稿人: Banny Wang

LK+RIGI Design Office

August 15, 2016 2016年8月15日

Over the course of eight years, RIGI Design has developed into an impressive multifaceted design company. Founded by Kai Liu, the company now employs a roster of talented young designers that all contribute to the spectacular work RIGI is so well known for. Their aesthetic is unique and undeniably well polished. With a focus on warmth, simplicity, and the human element, their designs revolve around making real connections with people. Kai Liu had a vision of creating a space that both suitably matched and properly conveyed the temperament of RIGI. Their new office in Shanghai’s Changning district is the project that resulted from that vision. The aesthetics and design concepts they employed for this new office are similar to their other projects, which skillfully invoke emotions through an air of simplicity.


The office space began in a rather plain rectangular space, with natural light only available from one side of the building. After careful consideration, the space was divided into a few different areas: an open office, an independent office, a lab space, a meeting room, a material room, a small showroom, and a reception area. Different design approaches imbued each different area with its own identity and unique characteristics. The meeting room was originally an abysmally tight room with only a height of four meters, a cramped space that’s not ideal for meetings. Eliminating the stereotypical meeting room designs, they created a pitched roof with chamfered edges and a light that radiated from the nooks of the wall. These design choices work in tandem to alleviate the unwanted sense of the room being too narrow.


Another one of their more unique areas is LKLAB, their designated lab space. This area is set aside for Kai Liu and other designers to gather and build models or put some of their favorite objects on display. This space was born out of Kai Liu’s belief that designers shouldn’t be overdependent on computers, but rather create with their hand and eyes in order to create good sketches and models. Kai Liu also believes that a sense of dimension is important for interior designers, so in order to hone and develop the designers’ sense of dimension, many of the furniture and walls in the new offices are marked with their respective dimensions.

另一个更能体现他们的设计风格的是LKLAB, 也就是LK实验室。这里是刘恺及设计师们在一起制作模型、陈列心爱之物的场所。之所以要建造这样一个实验室,是因为刘恺坚信设计师不能过多依赖电脑的信念,而应该依靠眼手并用去创造出好的草图和模型。此外,刘恺还认为作为室内设计师,对空间的感知很重要。为了培养设计师们精准的空间感知,新办公室里很多墙面和家具上都被标注上了尺寸。

RIGI’s color choices were thoughtful and played a big part in forming their ideal ambience. Their colors sought to establish a calming mood that wouldn’t feel too harsh or intrusive. To achieve this, they opted for contrasting, desaturated colors. But even with all the work and thoughtfulness poured into the design of their new office, they’ve never once deviated from their original mindset, which is the belief that more important than the space itself is the staff that will be working within the space and all the future stories and designs that will come with the people.




Contributor: David Yen
Images Courtesy of Jack Wen and RIGI Design



供稿人: David Yen
图片由Jack Wen和RIGI睿集设计提供

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This is Craft, Bru

August 12, 2016 2016年8月12日



HK Brewcraft was established out of a mutual love for beer in 2013 by Chris Wong and a group of seven other home brewers. Chris, who has always had an affinity for wine, was intrigued to uncover the mysteries of craft brewing on a trip to San Francisco. The ease and great taste of home brewing would inspire him to pass this knowledge on to others; and soon after, HK Brewcraft was born, an intimate brewing space, workshop, and bottle shop that would stock over 150 different craft beers, nestled in the bustling city streets of central Hong Kong. Chris proudly and excitedly says, “Beer culture in Hong Kong is the fastest growing in Asia. This is because our clients in the city are very sophisticated in all matters beverage and having this group of consumers helps to push the market up.”

2013年,出於共同的愛好,Chris Wong和其他七位自釀啤酒家在香港成立了HK Brewcraft。 Chris一直對葡萄酒有所摯愛,一次的舊金山之旅,開啟了他對手工釀製的探索熱情。自釀啤酒絕佳的口感和過程中悠閒的氛圍讓Chris忍不住希望與眾人分享,HK Brewcraft也由此誕生。這家集小型釀造空間、啤酒作坊和瓶裝酒商店(匯集150多種不同的手工啤酒)於一體的店面位於香港中環繁華街區一隅。 Chris既驕傲又激動地表示:“香港的啤酒文化在亞洲地區發展最為迅速。我們的顧客對於所有飲品相關的品味都非常老道,正是這樣一群顧客推動整個市場的發展。”

There is a broad range of foot traffic coming in and out of HK Brewcraft. “The demographic is expansive. We see young, old, male, female, local, expat, lawyers, artists, teachers, musicians, house wives, security guards and bankers,” says Chris. There is a very large base of local female wine and food enthusiasts in Hong Kong. Contrary to the preconception that Chinese palates prefer lighter beers, these groups actually prefer strong beers over boring lagers. These groups also tend to be more adventurous when trying new things, lending itself well to the quickly developing craft brew scene.

HK Brewcraft的每天客流量很是龐大。 “這里人氣越來越旺。我們的顧客囊括男女老少,不分地域,律師、藝術家、教師、音樂家、家庭主婦、保安和銀行家等從事各行各業的人都可能出現在這裡,”Chris說。在香港,有不少會飲酒的女性以及食客。很多人都會習慣性地認為中國人比較喜歡口味偏淡的啤酒,但其實前面提到這兩個群體剛好相反,相比於無趣的瓶裝酒,他們更喜歡烈性啤酒。這些群體更樂於嘗試新鮮事物,於是他們選擇了手工啤酒也就算是情理之中了。

“There are two segments to the Hong Kong market: locals and expats. Expats usually have more experience with craft beer and have been waiting for this kind of thing to arrive in Hong Kong. Whereas the local guys have not been as exposed, but are so sophisticated that it is almost like turning on a light switch when you introduce them to craft beer. You don’t have to tell them how to taste a beer. You just need to show them the choices that are available,” says Chris. The workshops are aimed at getting more people to brew at home. A one gallon brew in a bag process is run at the workshops enabling the brewers to continue the fermenting at home with ease.

Chris說:“香港的市場分為兩個部分:本地市場和外籍市場。外籍人士通常對於手工啤酒更為熟悉,並一直在等待香港這一市場的引進。而當地人對此接觸不太多,但接受度卻相當高,當你把手工啤酒引進這裡,彷彿就像打開一盞燈,人們瞬間接受並適應了它。你不必告訴他們要如何去品嚐手工啤酒,你只需要向他們展示各種品種即可。”Chris的啤酒作坊旨在讓更多的人了解手工啤酒釀造。在HK Brewcraft的工作坊先對一加侖的釀造量進行袋中處理 ,這樣可以讓釀造者們輕鬆貸回家繼續等待發酵。

Even though craft beer is relatively new to Hong Kong, the fact that there are no import taxes on beer has allowed HK Brewcraft and other craft beer retailers to expand on their supply. Chris reckons that Hong Kong has the best selection of craft beer in Asia because of this. The long term goal for the team at HK Brewcraft is to educate and uplift the local Hong Kong market. Chris says the ideal scenario will be the day when people of this city see home brewing as being as simple and approachable as baking a cake at home.

雖然手工啤酒在香港還屬於新興事物,但香港對於啤酒沒有進口稅的有利條件能促進HK Brewcraft以及其他手工啤酒商的發展壯大。 Chris認為,這也無疑是香港擁有亞洲最佳手工釀造啤酒的原因。從長遠發展來看,HK Brewcraft的整個團隊希望打開並提升香港當地市場。 Chris表示,他最理想的場景是當有一天,這個城市的人們提起喝手工啤酒就像在家烘焙一樣方便和簡單。

Instagram: @hkbrewcraft


Contributor, Videographer & Photographer: Mireille Paul

Instagram: @hkbrewcraft


供稿人、視頻與圖片攝影師: Mireille Paul

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“Safe” by Dumbfoundead

August 11, 2016 2016年8月11日



Korean American rapper Jonathan Park, better known as Dumbfoundead, is a seasoned veteran in the Los Angeles rap circuit. Growing up in the thriving hip-hop scene of L.A., he was exposed to hip-hop culture at a young age. As he grew older, he only found himself gravitating towards the music and lifestyle more and more. The internet played a large part in his rise as a rapper. He built up a strong web presence through his participation on Grind Time Now, a West Coast rap battle league, where he showcased his quick wit and clever lyricism by going up against many other prominent battle rappers of the time. DFD ended up raking up over two million views on many of his battle rap videos on YouTube, cementing his status as a legend in the battle rap scene. His self-titled debut album DFD was released in 2011, which he followed up with two more solo albums in 2012 and 2013. Just last year, DFD returned to the battle rap scene after a five-year hiatus by battling it out at King of the Dot, a Toronto-based rap battle league supported by Drake’s label OVO. He also featured on the remix of Korean trap rapper Keith Ape’s international hit “It G Ma”.

덤파운데드로 더 유명한 한국계 미국인 래퍼 조나단 박은 로스앤젤레스 랩 서킷에서 경험이 많은 베테랑입니다. LA의 힙합이 번창하는 환경 속에 성장한 그는 어린 시절 힙합 문화에 빠져 들었습니다. 나이가 들어가면서 점점 힙합 음악과 라이프스타일에 끌리는 것을 깨달았습니다. 인터넷은 그가 래퍼로 성장하는 데 큰 몫을 했습니다. 그는 웨스트 코스트 랩 배틀 리그인 그라인드 타임 나우(Grind Time Now)에 참가하여 온라인을 통해 강한 인상을 남겼습니다. 여기에서 그는 예리한 기지와 기발한 가사를 선보이며, 당대의 다른 뛰어난 배틀 래퍼보다 우수한 모습을 보여줬습니다. DFD의 배틀 랩 동영상은 유튜브에서 2백만 이상의 조회수를 기록하며, 배틀 랩 무대에서 전설적인 지위를 구축했습니다. 본인 타이틀을 그대로 사용한 데뷔 앨범 DFD는 2011년에 출시되었으며, 그 후 2012년과 2013년에 2개의 솔로 앨범을 추가로 내놓았습니다. DFD는 5년 간의 활동을 중단한 후, 작년에 배틀 랩 무대로 돌아가 드레이크의 라벨 OVO가 지원하는 캐나다 랩 배틀 리그 킹 오브 도트(King of the Dot)에서 경쟁했습니다. 또한, 한국인 트랩 래퍼 케이스 에이프의 세계적인 히트곡 “잊지마” 리믹스에서 두각을 나타냈습니다.

At the Academy Awards this year, Chris Rock presented a monologue about the Oscars being “overly white”, but DFD felt like Asians, Latinos, and other different ethnicities were excluded from the conversation. He channeled his frustration into “Safe”, a music video where he voices his discontent with the underrepresentation of Asian Americans in modern day Hollywood and calls attention to the pervasive whitewashing of Hollywood roles. The title of the song itself is a reference to how Asian Americans are often considered “safe” to push around, being stereotypically viewed as timid and reserved. In the music video, DFD humorously emphasizes his message by superimposing his face over the faces of white actors from iconic movies and TV sitcoms. The video even concludes with DFD getting replaced by a white actor off of his own music video. DFD’s first ever China tour is happening later this month, with shows scheduled for Xi’an, Guangzhou, and Shanghai.

올해 아카데미 시상식에서 크리스 락은 오스카 시상식이 “백인 우월주의”를 나타낸다고 언급했지만, DFD는 아시안, 라틴계인 것처럼 느껴졌고 기타 다른 인종은 이 대화에서 제외되었습니다. 그는 뮤직 비디오 “세이프”에서 분노를 표출하면서, 헐리우드에서 아시안 아메리칸에 대한 과소 평가에 불만을 나타냈고 헐리우드 배역의 노골적인 눈가림에 주의를 환기시켰습니다. 이 노래의 타이틀은 아시안 아메리칸이 주로 어떻게 차별 대우를 받으면서 “세이프(안전한)”로 간주되는지 표방하며, 용기가 없고 내성적으로 비춰지는 것을 진부하게 드러냅니다. 뮤직 비디오에서 DFD는 영웅적 영화와 TV 시트콤의 백인 배우 얼굴에 본인의 얼굴을 크게 겹치도록 노출하면서 자신이 전달하는 메시지를 풍자적으로 강조합니다. 이 비디오는 DFD가 심지어 자신의 뮤직 비디오에서 백인 배우에 의해 대체되는 것으로 끝납니다. DFD의 첫 중국 투어는 이번 달 말에 시안, 광저우 및 상하이에서 쇼를 개최하는 것으로 일정이 잡혀 있습니다.

Neocha Selects is a curated selection of some of the most inspiring and innovative video content from Asia. To see more stories like this, click here. To see original Neocha videos, click here.

Neocha Selects 아시아에서 가장 고무적이고 혁신적인 비디오 콘텐츠를 일부 선별한 것입니다. 이와 같은 이야기를 원하시면 여기 클릭하세요. 오리지널 Neocha 비디오를 원하시면여기 클릭하세요.

Bandcamp: ~/dumbfoundead
YouTube:  ~/dumbfoundead
Twitter: ~/dumbfoundead
Soundcloud: ~/dumbfoundead


Contributor: David Yen

Images & Video Courtesy of Jonathan Park

Bandcamp: ~/dumbfoundead
YouTube:  ~/dumbfoundead
Twitter: ~/dumbfoundead
Soundcloud: ~/dumbfoundead


기부자: David Yen
조나단 박의 이미지 및 비디오 서비스

Catching Waves in Japan

August 11, 2016 2016年8月11日

Hang loose from Bondi, Bali and… Shimanto? Japan might not be the first place that comes to mind when people think of a surfing destination. While I didn’t come to Japan specifically to surf, I met many locals and other travelers whom I ended up traveling and catching some waves with. The culture and lifestyle around surfing may not be the same as in Australia or Bali, but what the locals have created for themselves is something else entirely; it’s something that feels tightly knit and a lot more intimate. Popular surfing spots can be found throughout the southern coast of Japan, especially in Shimanto, which is situated on Shikoku, Japan’s smallest main island. Everyone knows each other in Shimanto and most of the locals have a connection to surfing.


When we drove down the coastal road to Shimanto from Kochi City, it almost felt like being back on the famous Highway 101 that stretches along the West Coast of North America. The windy road took us through mountains and mile-long tunnels, all while teasing us with peeks of rugged waves, big rocky stone formations and the turquoise sea as far as eyes could see. With the mountains on one side and the ocean on the other, I felt incredibly at ease, and it felt like everything made sense. Where the ocean ended, the mountains began, and over centuries, people carved out a living space for themselves in between. We walked through the lush green forest, along the beaches, and searched for large seashells by the shore. The vibrant colors of nature made it evident that Shikoku is one of the most fertile parts of Japan. The valleys between the mountains were bright yellow, which signified that the rice was almost ready to be harvested. At sunset, the fields reflected the rays so brightly it felt like I was looking out at a sea of pure gold.


During my first weekend, I saw someone, who obviously wasn’t a local peeking out of the water. Curious as to what brought him to Shimanto, I paddled over to him. His name was Bruce, an Australian who came to Japan years ago and opened his own surf and English school. He stayed and hasn’t looked back since. He said that not a lot of foreign travelers make it down to Shimanto, which preserves the town and its surrounding area’s charm of being an unexplored and off-the-beaten-path destination in Japan. I ended up visiting Shimanto several times during my months spent in Japan, and no matter if it was October or the middle of spring, the town was usually quiet with only a handful of people in the water at a time. I loved being able to sit on my board and watching people catch waves, without having to worry about being in anyone’s way. For any traveler, there will always be a couple of memories they will never forget about their time spent in a country. I will never forget how incredibly attentive and mindful the people I met were. I’m not the best surfer, but out of this comes one of my favorite memories from the trip. Complete strangers cheered for me after I unexpectedly caught a wave. I sat on my board with a beaming smile afterwards, happy that I was able to to be a part of their great community.


Since Shimanto is on the other side of Shikoku and the drive is long, many surfers converted their cars into perfect sidekicks for their adventures. Making the most with the space that is given to you is a theme that I encountered over and over in Japan. Some minivans had seats missing and instead had an integrated shower, surfboard storage and even something that looked like a bed. These cars were strewn throughout beach side parking lots and their owners got together after surfing to cook and to recap the day.


Tired from the eventful day, it felt like everything came full circle as we fell asleep listening to waves rolling in and the rain hitting the roof. Japan is an incredibly versatile traveling destination and really does offer it all. There are still parts of the country which will give you a feeling of being the first one to explore them, or at least leave you with the feeling like you’re the first traveler to have passed through in a while.


Contributor & Photographer: Mareike Entzian

寄稿者&カメラマン: Mareike Entzian

Zen & Tea Chamber

August 10, 2016 2016年8月10日

Ding Hui Yuan, a former factory space in Beijing, has been reconstructed and transformed into a traditional Zen & Tea Chamber. Its soft, subtle design is a successful preservation of Zen Buddhist notions of beauty: something that is simple, imperfect and transient. In pursuing this philosophy, architect He Wei has rejected ostentation for minimalist materials, converting the space into a fresh, peaceful environment.


The designs of He Wei present a modern take on ancient Eastern architecture. Reminiscent of Chinese private gardens, famous for their framed glimpses of scenery, the renovated space now encourages a piece-by-piece appreciation of natural beauty. Slatted wooden panels alleviate the divide between inside and out, allowing natural light to flow into the interior whilst offering a different perspective at every step.

何崴的设计让传统的东方建筑焕发出一种现代风貌。修葺一新的空间步步成景,与自然之美相融合,让人想起框景成诗等中国私家园林的精粹。木质的格栅面设计弱化了内外界线的泾渭分明,穿透格栅而来的自然光影配合不同的视角,颇具 移步换景之妙。

The paneled façade of the building is cut with an elegant, circular opening. By framing a lone-standing tree, this circular window becomes submerged in the summer and then is left bare in the winter – with the exception of a few dark branches. The shadow play in the inner passage is therefore always changing, representing Zen philosophy’s fascination with the transient nature of things, and the belief that the world is locked into a constant cycle of life and death.


The core of Ding Hui Yuan’s design lay in restructuring its circulation. A long, winding entry path has replaced the previously direct staircase, encouraging a slow-paced entry into the Zen Chamber. Once inside, luminous walls provide warm, yellow lighting. The building’s interior is fit for meditation, bland in color and smooth in texture. A large calligraphic scroll deigns the Tearoom’s wall in traditional Zen style, while simple mats are laid down on the floor. Courtyard gardens were traditionally considered part of the tearoom, and therefore it has been well maintained in its natural state – left for visitors to enjoy at different times and from different perspectives.

定慧圆的设计核心就在于将空间循环重组。蜿蜒延伸的入口长廊代替了之前平铺直叙的楼梯间, 希望以此让人们放缓脚步内心安然地进入禅室。来到室内,明亮的墙壁搭配着暖意十足的浅黄灯光,室内温和的色调和舒适的质感都很适合静心冥想。茶室的一面墙上挂有一幅巨大且禅意十足的书法作品,而木地板上就只是简单铺着一些垫子。外院花园是传统茶室中不可或缺的一部分,定慧圆的茶室设计中也原汁原味保留了这个要素,以便人们在不同的时间和角度欣赏此地不同的景致。

Built to be harmonious with its surroundings, like a traditional Chinese garden, He Wei’s design carefully balances the interplay between natural and artificial light to flatter the space’s irregular, anti-symmetry.



Inside the Better Lift Carpark,
Dinghui North Bridge, West Fourth Ring Road
Beijing, China



Contributor: Ruby Weatherall
Images Courtesy of Zou Bin and He Wei

供稿人: Ruby Weatherall

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Life Elsewhere

August 10, 2016 2016年8月10日



Life Elsewhere is a brand new collaborative album from The Shanghai Restoration Project, featuring electronic music producer Dave Liang, jazz vocalist Zhang Le, and multimedia artist Sun Yunfan. After having met one another in New York’s artistic community, the three began working together on various creative projects, which turned into more regular and frequent collaborations. Foreshadowing this full-length album, the trio released Mungbean Mash, a short two-track EP in 2015. With this brand new LP, the three talented artists take listeners on a 12-track voyage through a meticulously crafted, genre-defying soundscape that celebrates the embracing of life’s uncertainties.

《她乡》是上海复兴方案推出的一张全新合作专辑,由电子音乐制作人Dave Liang、爵士歌手张乐和多媒体艺术家孙云帆共同参演制作。三人在纽约艺术圈彼此相熟,随后一起合作开展各种创意项目,这些项目之后又演变成更为常规和频繁的合作。这个三人组在2015年发行的只含有两首曲目的EP——《Mungbean Mash》,可当作是他们这张全长专辑的试水之作。在这张全新LP中,三位深具才华的艺术家,带着12首精心制作的反流派曲目,赞颂在生活中对未知和不确定的拥抱,引领听众进入一个全新的音域体验。

Listen below to some of our favorite tracks off the new album, including an exclusive free download of “Reset” (Right click to download).

The Shanghai Restoration Project + Zhang Le – Reset

The Shanghai Restoration Project + Zhang Le – Illusion of Me

The Shanghai Restoration Project + Zhang Le – Song Bie


 上海复兴方案 + 张乐 – 初始化

 上海复兴方案 + 张乐 – 非彼無我

上海复兴方案 + 张乐 – 送别

Over the years, the three have established a sense of rapport with one another through their frequent collaborations. Yunfan and Dave have partnered on multimedia performance projects that have been showcased at the Toronto International Film Festival and the Midi Electronic Festival. One of the duo’s performances will also be showcased at the upcoming Amsterdam Dance Event. Zhang Le and Dave have collaborated on their own projects in the past as well; in 2014, they released The Classics, an aptly named full-length album that featured a collection of Shanghai jazz cover songs from the 1930s and 1940s.

在过去几年频繁的合作中,三人互相之间都建立了密切的关系。云帆与Dave一起合作过曾在多伦多国际电影节和迷笛电子音乐节上展出的多媒体演出项目。两人的表演之一也会在即将到来的阿姆斯特丹电子音乐节(ADE)上展出。张乐和Dave二人在过去也合作过些许项目。2014年,两人发行了一张恰如其名的全长专辑《The Classics》,对上世纪30年代和40年代的上海经典曲目进行爵士新编。

On The Classics, Zhang Le’s vocals were considered to be the main instrument and Dave considered his electronic sounds as merely supporting characters. However, for the production of Life Elsewhere, Dave worked with Yunfan who pushed for a storyteller’s approach: identifying what story a song was trying to tell and then figuring out how best to tell it. As a result, the album incorporates more natural sound samples (teacups, crickets, the San Francisco wave organ, empty cans rolling through an alley) and live instrumentation (clarinet, indian mouth harp, trumpet) than previous SRP albums. The new album also doesn’t focus on Zhang Le’s vocals alone. Instead, her vocals and all the various instruments weave in and out harmoniously, painting a strong compelling narrative about their modern reinterpretation of farewells and about seeking out new experiences. “Historically, diaspora has a melancholy attributed with it. It is not healthy and is a dated way of looking at things. The concept and nostalgia is attributed to an old world,” Dave describes. “Nowadays, in this internet age where everything is interconnected, more and more people have the opportunity to travel to new places. As a result, people embrace uncertainty. It’s part of our life, and that’s something we wanted to explore.”

在专辑《The Classics》中,歌曲以张乐的演唱为主基调,Dave的电子乐只是作为辅助配角。不过在《她乡》专辑制作过程中,Dave与云帆搭档,后者力求加入故事叙述的角度:确定歌曲所表达的故事内容,然后找出其最佳讲述方式。因此,比起之前的上海复兴方案专辑,这张专辑包含了更多的自然采音(茶杯、蟋蟀、旧金山浪琴石园、小巷中滚动的空罐)以及现场乐器声(单簧管、印度口弦琴、小号)。新专辑的焦点也不仅限于张乐的歌声,而是将她的歌声与各种乐器声和谐交织,打造出一种扣人心弦的叙事——关于他们对离别的现代诠释,关于追寻新的经历。“从前,离别总离不开忧郁的色彩。那种看待事物的方式已经陈旧,不甚健康。这样的理念和怀旧来自旧世界,”Dave描述道,“在当今的互联网时代,万事万物紧密联系,越来越多的人拥有机会去新的地方。这也导致了人们对未知和不确定敞开怀抱。这就是我们当下生活的一部分,这才是我们想探究的东西。”

The melodies for Life Elsewhere were conceptualized by Dave, Zhang Le and Yunfan. But what ended up shaping the direction and overall tone of the album were Yunfan’s lyrics. “I feel like the lyrics are about telling people to not become complacent in life, but instead to go seek and explore unfamiliar territories,” says Zhang Le. Besides the lyrics, Yunfan also created the visuals for the entire album. and designed the CD packaging. She also shot the music video for “Joke” at a dam in New York, and produced all the digital animations and hand-drawn illustrations used in the live shows.


Life Elsewhere is a feel-good album that shatters the negative connotations associated with good-byes. Not only that, the album also advocates for people to stay hungry, urging people to never be content. For example, “Illusion of Me” is a heartfelt track about untethering from a previous version of yourself in order to become a better person. “Restless Feet”, as the name might suggest, is about traveling to unfamiliar places and being comfortable with the new experiences. The final song and the only cover on the entire album is “Song Bie”, a track that Dave feels like encapsulates the essence of the album. “Song Bie” is traditional Chinese farewell song, usually presented with a sense of heartache. But on Life Elsewhere, it’s transformed into a swing-style celebratory track with Zhang Le’s cheerful scat singing peppered throughout the song. “Song Bie” is actually dedicated to Zhang Le, wishing her well in her move to Europe, Dave explained with a smile. “We’ve known each other for five years and have travelled together. We’ve toured Russia, Indonesia, China. For us, it’s a celebratory send off. When we meet again, we’ll have that much more richness. It’ll contribute to future projects that we’ll want to do together.”


The new Life Elsewhere CD is now available exclusively online in the Neocha Shop. To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian. Shipping is only available for customers in the U.S. and China.

《她乡》CD专辑已于Neocha Shop独家上线,现可供购买。如需使用PayPal或国际信用卡支付,请转至我们的Shopify页面;如需使用支付宝或微信支付,请至我们的微店。邮寄范围仅限美国和中国大陆

Dave Liang,张乐和孙云帆发起的全新的专辑《她乡》



Full Product Details:

  • Imported physical copy of Life Elsewhere album
  • Single-sheet accordion booklet in dual languages


  • 包含《她乡》专辑实体
  • 双语风琴摺小册



Contributor & Photographer: David Yen
Videographers: Sura Tim, Sun Yunfan, Leon Yan, George Zhi Zhao
Additional Images Courtesy of Undercover Culture Music & Sura Tim
Music Courtesy of Undercover Culture Music



供稿人与摄影师: David Yen
视频摄影师: Sura Tim, Sun Yunfan, Leon Yan, George Zhi Zhao
附加图片由Undercover Culture Music和Sura Tim提供
音乐由Undercover Culture Music提供

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August 9, 2016 2016年8月9日

As the first Chinese independent designer to have been invited to L.A. fashion week, Helen Lee has released a FW16 collection inspired by California, especially its famously sunny weather, its relaxed style and effortless glamour, and the laid-back hospitality of Californians.  Showcased on the runway in March, this exciting new line explores the conflicted aesthetics of “sport-luxe” to present a high-fashion hybrid of sophistication and comfort.

作为第一个被邀请到洛杉矶时装周的中国独立设计师, Helen Lee推出了充满加州风情的2016秋冬系列,让人联想到阳光之城的明媚,休闲的风格,自然散发的魅力以及当地人的闲适与热情。在三月的时装秀T台上,这个令人振奋的新系列探索了高奢运动的对撞审美,展示出了精致与舒适的高街式交融。

From geometric block patterns to eco-friendly faux fur, satin silk bomber jackets and beaded velvet trousers, Helen Lee’s elegantly cool signature style pervades the new collection.

几何方块图案、环保人造皮草,丝缎飞行夹克,串珠丝绒裤装…Helen Lee的新系列充满着它标志性的雅酷风格。

The Chinese characters for “Please Find Me” are also embroidered onto selected clothing, a symbol expressing every Chinese designer’s dream to be discovered, as well as a humorous allusion to the handwritten handymen’s advertisements along the sidewalks of Shanghai. Additionally, the illustration of a rabbit, one of the designer’s favorite characters and a recurring symbol throughout previous collections, has made an adorable comeback.


The HELEN LEE FW16 show, which was opened and closed by the recent Gucci Resort campaign model Rhiannon McConnell, was as easygoing and elegant as the City of Angels itself. The brand’s new online store launches on August 10, available to customers in the USA, Canada, Australia, Europe and Asia Pacific.

HELEN LEE的2016秋冬秀场,融合了加州天使之城的慵懒和精致,开场和闭幕都是Gucci Resort新大片的模特——最红的超模新脸孔Rhiannon McConnell来完成。该品牌将于8月10日推出线上新款美国,加拿大,澳大利亚,欧洲和亚太地区的客户都能同步买到最新商品。


F318, 3rd Floor, Jiuguang Department Store
1618 West Nanjing Road
Shanghai, China


Contributor: Ruby Weatherall
Images Courtesy of HELEN LEE


中国 上海市静安区



供稿人: Ruby Weatherall



Manhole Covers in Japan

August 8, 2016 2016年8月8日

In the mid-1900s, Tokyo and other major Japanese cities started implementing new manhole covers. Using textured surfaces to increase traction for passing traffic on rainy days, the new designs were created with both safety and functionality in mind. Not long after the implementation of these new manhole lids, Yasutake Kameda, an official from the Ministry of Construction, was tasked with convincing other Japanese provinces to connect to the main sewage system, which was a costly operation. In order to win over the public, he had a brilliant plan. Yasutake approached all the various municipalities with a proposition that allowed them to design their own manhole covers. His success is evident; throughout the country, turning manhole covers into beautiful pieces of art has become a tradition that’s still alive and well today.


The entire country of Japan now boasts over 6,000 of these custom manhole lid designs. They can be spotted in large metropolises as well as various rural areas. On top of that, there are even multiple museums throughout the country dedicated to manhole covers; some companies have even organized specialized committees that researches and preserves these lids. This cultural phenomena has attracted a devout following, including S. Morita, a photographer who has become well known for finding and documenting these works of art.

日本の大都市だけでなく数々の農村地域には、現在6千個以上の特注マンホールデザインが見られます。さらに国内では、マンホールの蓋のみを集めた専門博物館が多数あるだけでなく、蓋を調査して保管する専門委員会を組織化した企業さえ存在します。この文化的現象は、このような芸術作品の発掘とドキュメント化で著名な写真家、S. Morita氏のような熱心な愛好家を魅了してきました。

In Morita’s photos, the multicolored manhole lids can be seen exploring a wide spectrum of subjects, with animal and plant life, cultural customs, and history being the most common themes. At times, the manhole covers are designed to commemorate certain events or dates. There are even manholes that feature characters from the famous Japanese anime Detective Conan. The designs on certain manhole covers also serve as identifiers for the jurisdiction responsible for maintenance. Others might place more emphasis on functionality and practicality, some feature directions, others might cover up subterranean fire hydrants, and some lids in residential areas even offer directions to nearby emergency shelters by using different colored arrows to indicate how far the shelter is. There are also taboos when it comes to manhole cover art, with an unspoken rule being to not feature portraits of people. Besides portraits, it’s also uncommon to see national shrines and temples on these lids.


The next time you’re in Japan, take notice of the ground when you’re walking about. You just might find yourself standing on a piece of art!

: ~/mrsy


Contributor: Banny Wang
Images Courtesy of S. Morita

: ~/mrsy


寄稿者: Banny Wang
Images Courtesy of S. Morita

Kristen Liu’s Art

August 5, 2016 2016年8月5日

Born and raised in San Francisco by her grandmother and art teacher mother, Kristen Liu-Wong spent her childhood inside museums or at school with her mum who was finishing a degree in textiles. She looked up to artists in high school who had either begun as illustrators or street artists, influencing her choice to study illustration at Pratt Institute, New York. “It seemed to be a little fresher than the fine art world of Chelsea which is why I didn’t go into painting,” she says.

土生土长于美国洛杉矶,由祖母和身为艺术老师的妈妈一手带大,Kristen Liu-Wong的童年不是就浸润在博物馆里,就是跟着当时进行面料设计深造的妈妈待在学校里。她高中的启蒙艺术偶像不是插画家就是街头艺术家,所以在纽约普拉特学院她选择了插画作为专业。“那似乎比切尔西式的纯美术更有意思一点,所以我也没有学油画。”

Now based in L.A., her bold artwork explores themes of sexuality, power and violence through her personal portrayal of Japanese folk art. In an attempt to reveal all aspects of human nature she paints bright, bizarre narratives – their playful neon colors making a mockery of the darker, grotesque subject matter.


Her unique, surrealist style combines cartoon-inspired science fiction with the eroticism of Japanese shunga prints. Although she is Chinese, “the graphic nature of Japanese shunga is just so appealing that I especially draw upon that influence”. The environments she creates are of an exaggerated aesthetic, but she feels like the actions, circumstances and characters all speak to her personal reality. The scenes are unrealistic yet focus on relatable, everyday themes such as sexuality and vulnerability. This is reminiscent of Japanese shunga, which traditionally portrays the aesthetics of everyday life despite its overzealous eroticism.


Unlike her relatively mild-mannered self, Kristen’s fantastical, fictional space-witches embody sex as well as violence. “I was tired of seeing women portrayed as flat, weak characters with nothing to offer. Women are often portrayed sexually but by men for men – I wanted to show a woman’s perspective of our sexuality”. Their often threatening manner, blemished skin and black eyes offer something visually upsetting to offset their sexuality.


She knows pretty early on in the creative process how each piece will look by quickly sketching a thumbnail of the main figures and general composition. This then translates into a final drawing, which is transferred onto a panel for the painting; the specific colors and patterns are chosen as she goes along. “The artist Jan Yager once said something that really resounded with me: ‘I decided I had to do work that was authentic – of its place and of its time’, so I always try to approach my work with full commitment to try my best and not cut corners.”

她在创作每一幅作品的早期已有整体布局,知道如何通过快速勾勒出主要人物的缩略图进行主题呈现。随后,她将最后的画面放到木板上进行细化上色,具体的色彩和线条在这个实现的过程中诞生。“艺术家Jan Yager曾说过一句深得我心的话: ‘我决心创作真实的作品,无论是在空间还是在时间维度上。所以我总是全力以赴地投入我的工作,不走任何捷径。’”

She says, “I always have a new favorite piece because I believe that you’re only as good as your latest piece. I try to make each painting my new best.” An important mantra to keep motivated, she’s currently involved in a variety of exciting projects including a mural for Nous Tous gallery in Chinatown, L.A. before their opening of Everything You Own is Mine on August 6th. Her biggest upcoming show will be a two-person show in November at Ruckus Gallery Philadelphia – “that is the one that’s really going to be fun, but will also kick my ass.”

她说:“我最爱的作品总是我最新的作品,因为我相信只有最新的作品才能代表自己当下的水平。每一次的创作我都努力做到最好。”为了鞭策自己不断进步,她目前参与的项目内容涉猎广泛,有8月6号在洛杉矶中国城Nous Tous画廊的《Everything You Own is Mine》一展开幕做壁画;而11月的费城Ruckus画廊,将引来她的双人大展,“那真的很有意思,同时也绝对是自我挑战与突破呀。” 
Instagram: @kliuwong


Contributor: Ruby Weatherall



供稿人: Ruby Weatherall