Cinematic Tokyo

May 31, 2017 2017年5月31日

Cinematic Tokyo is a series from Dutch photographer and cinematographer Stijn Hoekstra. After initially developing his photography style in his native home of Amsterdam, Hoekstra planned to bring his visual approach to photographing other cities. The Cinematic Tokyo series was made possible when Hoekstra was commissioned to shoot a documentary on a flower artist in Tokyo, giving him the opportunity to capture the streets during his free time. Hoekstra says, “Whenever I work in another country, I try to book some extra nights to do the thing I like most – photographing the city in my own way.”


《Cinematic Tokyo》(电影东京)是由荷兰摄影师和电影摄影指导Stijn Hoekstra创作的摄影作品系列。在家乡阿姆斯特丹期间,Hoekstra初步形成了自己的摄影风格,之后,他便计划利用自己的视觉创意在其它城市进行拍摄。《Cinematic Tokyo》系列是Hoekstra受委托前往东京为一名花艺师拍摄纪录片期间所创作的。一有空,他就会走上街道进行拍摄。Hoekstra说:“每次我去到另一个国家工作时,我都会多住几晚,去做自己想做的事情——用自己的方式拍摄这座城市。”

Hoekstra draws from his background as both a photographer and a cinematographer to bring his audience a unique perspective on visual storytelling. He says, “I always try to take a cinematic approach in my photography. Every picture is shot with a wide angle lens, and I’m always looking for different perspectives.” Through particular attention to subject, lighting, and composition, each of Hoekstra’s images manages to tell a story in a single frame.


Hoekstra利用自己作为摄影师和电影摄影指导的经验,为观众带来独特的视觉叙述视角。他说:“我总是试图以电影方式来进行摄影。每张照片都是用广角镜头拍摄,我也一直会去寻找不同的视角。“Hoekstra的摄影作品尤其关注拍摄对象、光线和构图,每张单独的照片都像是在讲述一个故事。

Color grading plays a major role in Hoekstra’s creative process and is essential in bringing out the cinematic quality of his images. According to him, “Color gives the photo the mood it deserves. It took a lot of time to develop this particular style, and it’s still developing.” Hoekstra continues his Cinematic city series in New York and Cuba.


调色(Color grading)是Hoekstra的创作过程中的重要部分,对于提升其照片的影像品质十分关键。他解释道:“色彩赋予照片相应的情绪。我花了很多时间来掌握这种特殊的风格,并且还在不断地学习。“接下来,Hoekstra将继续在纽约和古巴创作自己的《Cinematic》电影城市摄影系列。

Behance~/stijnhoekstra
Instagram@stijnhoekstra

 

Contributor: George Zhi Zhao


Behance~/stijnhoekstra
Instagram@stijnhoekstra

 

供稿人: George Zhi Zhao

Youth & Beauty in Taiwan

May 30, 2017 2017年5月30日

Cielo Yu is a Taiwanese photographer and a student at the Southern Taiwan University of Science and Technology. Although she has only been involved in photography for three years, Yu has developed a strong visual style with a keen sensitivity to subject, color, and composition. According to Yu, “After beginning photography, I’ve developed a deeper interest in exploring all things. I feel like the best part of photography is it motivates me to keep contemplating. That’s what I’ve gained the most, the feeling of being alive through contemplation.” See below for a selection of Yu’s works.


台湾摄影师 Cielo Yu 目前就读于南台科技大学。虽然开始摄影仅三年时间,她已经形成个人强烈的视觉风格,对摄影对象、颜色和构图展现敏锐的触觉。Yu说:“开始摄影之后,我对于探索各种事物越来越感兴趣。我觉得摄影最大的好处之一,是激励我不断思考,这是我最大的收获,通过思考感受活着。“下面一起来欣赏一下Yu的作品吧。

Flickr: ~/cieloyu
Instagram: @cielo_yu

 

Contributor: George Zhi Zhao


Flickr: ~/cieloyu
Instagram: @cielo_yu

 

供稿人: George Zhi Zhao

Utopia

May 29, 2017 2017年5月29日
Watermelon (2016)

Ina Jang is a South Korean photographer currently residing in New York City. Her creative method uses layers of physical and digital cut-outs, and incorporates collage, paper, and sketches to create playful images. Jang’s latest series, Utopia, speaks directly to the viewer about perceptions of women. Using a colorful, minimalist style with attention to the composition and the poses of the figures, Utopia allows viewers to project their own feelings and attitudes towards femininity onto the images.


韩国摄影师Ina Jang目前居住在纽约,她通过多层次的几何形状和数码式裁剪,结合拼贴、纸张和草图,创作出有趣的图像。Jang的最新作品系列《乌托邦》(Utopia),直接向观众展现现代社会对女性的看法。这一系列的风格简约、多彩,注重构图和人物姿势,让观众将自己对女性的理解和态度投射到图像上。

Blush (2016)
Lemonade (2016)
Peach (2016)

Jang tells us more about the series: “Years of image making made me curious about the dynamics between the subject and the image maker. Often, female figures are portrayed as a submissive subject in the original source. They evoke a range of playfulness, shyness, seduction and promiscuity. Bright colors, metaphorical shapes, and the anonymity in my reinterpretation can open a different conversation with the viewers beyond the original source material. Regardless of whether the viewers are familiar with the source or not, I hope viewers could build their own stories and measure their own relationships with female figures in our visual culture.”


Jang详细介绍了这个系列:“创作这类图像这么多年,我开始对主题和图像创作者之间的动态影响到好奇。通常,女性在图像素材中都是被描绘为顺从的形象。她们或有趣,或害羞,或诱惑,或滥交。而这个系列作品中的明亮色彩,隐喻式的形状和无名性可以抛开画像创作素材本身,与观众开启不同的对话。无论观众是否熟悉这些创作素材,我希望他们能够建立出自己的故事,并在视觉文化中衡量自己与女性的关系。“

Flamingo (2016)
Fuchsia (2016)
Bubblegum (2016)
Tangerine (2017)

Website: inaphotography.com

 

Contributor: George Zhi Zhao


网站: inaphotography.com

 

供稿人: George Zhi Zhao

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Higher Brothers

May 26, 2017 2017年5月26日
From left to right: Masiwei, Dzknow, Melo, Psy. P / 左到右: 马思维, Dzknow, Melo, Psy. P

Meet the Higher Brothers, four young rappers who have emerged to become the new face of Chinese hip-hop, or more specifically, the face of Chinese trap music. Based out of Chengdu, aka the “Dirty South” of China, the four-man rap crew – comprised of Masiwei, Dzknow, Psy. P, and Melo – is hungrily ambitious, working with a vicious determination towards their vision of elevating China’s hip-hop scene onto a global level.


说唱组合Higher Brothers由四位年轻的中国说唱歌手组成,他们代表了华人嘻哈音乐的全新时代,或者更具体地说,他们是中国trap音乐的代表。来自成都的Higher Brothers,四位成员分别为马思唯Dzknow, Psy. P, 和 Melo,他们雄心勃勃,决心让中国的嘻哈音乐更具国际化的水平。

 

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Take a listen to some select tracks from Higher Brother’s upcoming album below:

 Higher Brothers – Made in China

 Higher Brothers – 711


下面是Higher Brothers的几首精选歌曲:

 Higher Brothers – Made in China

 Higher Brothers – 711

In a country where the airwaves have long been dominated by sappy pop ballads, the Higher Brothers’ signature Chengdu-flavored trap sound is a disruptive force to be reckoned with. But even with having established their name beyond the Great Firewall – lauding props from hip-hop heads around the world in spite of the language barrier – they’re still a relatively underground act in the country, barring a devoted following in their hometown of Chengdu. On Youku and Tencent Videos, China’s answers to the now-blocked YouTube, their accumulated video views remain in the tens of thousands. Meanwhile, on YouTube, they’ve already amassed over four million views across their videos in the past few months alone. “We’re still lagging behind,” Masiwei says. “It’s still hard for people in China to access the latest and freshest music. And even when they are able to access it, they might not be willing to give it a chance because it sounds unconventional.”


在中国,多愁善感的流行音乐占据主流,Higher Brothers的标志性成都味的trap音乐打破了这种局面,是一股不可忽视的新生力量。凭借独特的曲风,他们的音乐跨越了防火墙的限制和语言的障碍,获得了来自全球嘻哈音乐爱好者的赞赏。然而,虽说在国际上已获得一定程度的关注,但他们的音乐在中国来说还尚属地下音乐,只在家乡成都拥有一批忠实歌迷。他们在优酷与腾讯视频上的MV观看量甚至远不及在国外视频网站 YouTube上的观看量。过去几个月的时间内,他们在Youtube已经获得超过400万的观看次数。聊起中国当下的音乐行业,马思唯说:“我们相对还是脚步落后。在这里,很难接触到新鲜的东西 。即使他们听到了新鲜东西也不太愿意接受。”

Prior to the formation of the Higher Brothers, the four rappers were already well-respected members of the Chengdu Rap House (CDC), a renowned Chinese rap collective. In January of 2016, they decided to form their own four-man rap crew under the CDC umbrella, and just two months later, in March, they released a 19-track, self-titled mixtape, a mixtape that set the foundation for their signature Sichuan trap sound. Despite local success, their big break didn’t happen until Howie Lee of Beijing’s Do Hits Records played a track off their mixtape at a party, catching the attention of the Asia-focused media platform 88rising. “We started chatting with 88rising after that,” Masiwei recalls. “Not long after, our good friend Bohan Phoenix flipped them the music video for our new song ‘Black Cab,’ and we’ve been working together ever since.” The 88rising YouTube channel has since started debuting exclusive new tracks from the young rappers, thrusting them in front of an international audience alongside other Asian rap powerhouses like Rich Chigga and Keith Ape. “The number of fans who love our music and the number of haters who hate our music have both gone up,” Melo says. “But it’s dope that more and more people are listening.”


在成立Higher Brothers之前,他们四人已经是国内有名的说唱团体——成都说唱会馆(CDC)的成员。在2016年1月,他们决定成立自己的四人说唱组合。仅仅两个月之后,也就是2016年3月,Higher Brothers就推出了首张19首曲目的mixtape,奠定了他们四川Trap的独特音乐风格。尽管在当地大获成功,但直到北京电子音乐厂牌 Do Hits的Howie Lee 在一次派对上播放了他们混音专辑中的音乐,并引起了专注于亚洲的媒体平台88rising的注意,他们才获得真正的突破。马思唯回忆道:“在那之后,我们就开始和88rising搭上了线。然后我们的好朋友Bohan又给88推荐了我们当时的新MV《Black Cab》,我们就和他们展开合作了。”自此之后,88rising的YouTube频道便开始定期独家发布Higher Brothers的新歌,将他们与像Rich Chigga和Keith Ape这样的亚洲说唱巨头的一起推广给全球的听众。Melo笑着说:“作品有更多人关注,喜欢和不喜欢我们的人明显增多。”

Even with global recognition and much hype leading up to their debut LP, the group acknowledges that their work is far from over, especially in China. Psy. P says, “To be successful, it’s important to never be satisfied.” Nodding, Dzknow adds, “Being successful is all about doing what others see as impossible.” And at times, when considering how the musical taste of Chinese locals have been shaped over decades, it might indeed seem like an impossible task to introduce their unorthodox sound into the mainstream. But for the four young rappers, their aspirations of validating hip-hop culture in China is just as important to them as bringing Chinese hip-hop to rest of the world.


即使他们的首张 LP获得了大量宣传和获得了全球的认可,但Higher Brothers觉得,他们离目标还很远,特别是在中国。Psy. P 说:“要取得成功,关键是永远不要满足。”Dzknow 点头表示同意,他补充说:“成功就是完成不能完成的任务。”中国人们现在的音乐品味已经经过了几十年的塑造才形成的,这样来看,要将他们的trap 音乐带入主流,的确像是一个不可能的任务。对这四位充满激情的说唱歌手来说,比起让他们自己或他们的音乐更知名,更重要的目标是最终将嘻哈文化变成中国的主流文化之一。

The upcoming album, Black Cab, is a fitting showcase of the group’s versatility and entertaining personas. From their title track “Black Cab,” a visceral, Sichuan dialect-laced trap anthem, to “7-11,” their sensual ode to the convenience store chain, it’s easy to hear a more refined and well-developed sound out of the four when compared to their mixtape from just a year prior. With an ever-growing global audience, their initial plan to release a short five-track EP has also changed. Masiwei says. “We now have 14 tracks. With this album, we want the world to see what the Higher Brothers are all about. We on some worldwide shit.” Black Cab drops on May 31st. Click here to pre-order now on iTunes.


他们即将推出的全新专辑出色体现了这个组合的多元风格和有趣的个性。从融入四川方言的trap风格歌曲《Black Cab》,到他们以7-11便利店为主题打造的歌曲 《7-11》,不难发现,他们的音乐比起一年前的mixtape更加成熟。随着他们在全球范围内的听众越来越多,他们也改变了原来仅推出含五首歌曲的EP的计划。马思唯说:“我们现在有十四首歌。这张专辑真正实现了Higher Brothers 环游世界。We on some worldwide shit。” 《Black Cab》专辑将于5月31日登陆iTunes商店,请点击这里进行预购。

Instagram: @higherbrothers
Weibo~/HigherBrothersWorldWide

 

Contributor: David Yen
Photographers: Adam J. Schokora, David Yen
Video Courtesy of 88rising


Instagram: @higherbrothers
微博~/HigherBrothersWorldWide

 

供稿人: David Yen
摄影师: Adam J. Schokora, David Yen
视频由88rising提供

Kowloon Wasted Youth

May 25, 2017 2017年5月25日

Kowloon Wasted Youth is a photography series by Andreas Demeter, a German photographer, DJ, music producer, and art director currently based in Hong Kong. Shot on 35mm analog film without the use of any postproduction, the series is a visual diary of moments from the artist’s life, shot between 2016 and 2017.


Andreas Demeter是来自德国的一名摄影师、DJ、音乐制作人和艺术总监,现居香港。在2016年至2017年期间,他用35mm胶片拍摄了《Kowloon Wasted Youth》系列,作为一个记录生活的视觉日记,所有照片都没有经过任何后期编辑。

Demeter says about the series, “I wanted to give a glimpse into the odd beauty, seductive charm and harsh contrasts below the shiny surface of this hopelessly overpopulated post-colonial melting pot of Eastern and Western culture that likes to dub itself ‘Asia’s World City’ – a term that is being scoffed at by the local youth of today in a time of weltschmerz and political uncertainty, grasping for freedom and autonomy, while being forced to give in to the slow and sneaky erosion of hypercapitalism.”


Demeter在介绍这一摄影系列时表示:”我想展现那些奇特的美丽、诱人的魅力,以及在这个人口极度过剩的后殖民地、东方和西方文化的大熔炉中,光鲜繁荣的表面之下强烈的矛盾对比。这座城市自称为‘亚洲的世界都市’,然而,在这个充满悲观主义和政治不确定的时期,对于那些想要获得自由和自主权、又不得不屈服于超资本主义缓慢而诡秘的侵蚀的香港青年来说,这只是一个充满讽刺意味的称号。”

For Demeter, Kowloon encompasses a more authentic side of Hong Kong, in contrast to the shiny skyscrapers and sterilized streets of Hong Kong Island. Through his series, he hopes to capture a side of Hong Kong’s youth culture that is “a lot more local, charismatic, charming, and authentic.”


对于Demeter来说,与香港岛的摩天大楼和干净街道相比,九龙代表着香港更真实的一面。通过这一个摄影系列,他希望能够体现出他眼中”更地道,更有魅力和更真实“的香港青年文化。

Tumblrandreasdemeter.com
Instagram: @dredogue

 

Contributor: George Zhi Zhao


Tumblrandreasdemeter.com
Instagram: @dredogue

 

供稿人: George Zhi Zhao

A Tender Sadness

May 24, 2017 2017年5月24日

Nowadays, it’s all too common to see a piece of artwork get passed around the internet without any credits attached to the creator. One particular artist who often encounters this issue is sheep, a Chinese illustrator who purposefully stylizes his moniker with a lowercase “s.” But unlike most other artists, sheep doesn’t particularly mind – he’s more concerned with making art than the recognition that follows. His illustrations are peculiar; they’re beautifully illustrated, but the beauty is layered with a sense of melancholy and unease. The characters of sheep’s world are often depicted in their most vulnerable state, but they still remain eager on sharing their untold stories.


有些作品大家都看过却未必清楚知晓作者出处,sheep大概就是这样一个插画师,默默地画着自己的画,默默地做着自己的人形,他的插画不算明媚也没有正能量,却是另一种黑暗又悲伤的细腻美,敏感纤弱的人物都仿佛诉说着关于自己的故事。

On first glance, some of sheep’s work might reveal hints of a Japanese influence behind the aesthetic. He explains, saying that one of his biggest inspirations is Hyakki Yagyo, a Japanese folklore about a night where a hundred different demons roam the streets, but his influences actually come from other sources that extend beyond Japanese culture, such as the fictitious worlds depicted in the Chinese books Classic of Mountains and Seas and In Search of the Supernatural. “When I was still a student, the works of a few Japanese manga artists really resonated with me,” he says. “So in terms of the technique and subjects I experimented with back then, it was influenced by Japanese culture. But for my newer works, I never stop and think if anything feels Japanese or Chinese – I’m simply interested in creating art with an overall Eastern aesthetic, art that transcends the boundaries of time and geography.”


初见sheep的作品,很容易感受到一种日式氛围,但他的作品中的灵感来源也不仅仅来自日本百鬼,还有更多《山海经》和《搜神记》中的志怪传说。“早期学生时代会因为跟日本一些画家的作品产生共鸣感,所以技法和题材上会有意识在所谓的日式审美做尝试。反倒现在我创作的时候,也不会刻意去预设这是日式的,这是中式的概念了,就是整体的、我个人所想表达的东方的东西,无时代性和地域性。”就这个问题他如是说。

As we discussed his background and initial interest with Japanese culture, sheep shared that one of his favorite fairy tales as a child was Mimei Ogawa’s The Mermaid and the Red Candles. The story is about a baby mermaid that was left at a shrine and discovered by an old couple from a seaside village who never had children of their own. The couple, who ran a candlemaking business, took the mermaid in and raised her. As the mermaid grew up, she helped the family business by drawing pictures of the ocean on the candles. Soon, these drawing made their candles quite famous in the area. Rumors about good luck blessing those who bought and lit her candles at the nearby shrine began to spread, leading to more people buying the candles. Hearing these rumors, a businessman convinced the couple that mermaids were bad luck and bought the mermaid from them. After, he locked in the mermaid in a cage and quickly left with her on a ship. On the same night, a violent storm sunk the ship. From that point on, the couple’s candles became a symbol of bad luck. All of the fishermen who bought the candles in the past all suffered an ill fate. Their candle business soon ended. Not many years later, the city became deserted, eventually turning to ruins. Legend has it now, fishermen passing by the ruins of the town would sometimes see a faintly glowing red candlelight drifting around the shrine.


说到这里,我们又跟他聊了聊他最初对日本文化的了解,sheep跟我们分享了一个他小时候看的童话故事-小川未明的《红蜡烛与人鱼》:大概内容是说一条向往人类世界的人鱼,将自己刚出生的女儿送往了海边的神社。小人鱼被海边渔村一对没有儿女的老夫妇遇见收养。老夫妇靠卖蜡烛为生,人鱼姑娘长大后对大海充满憧憬,开始在蜡烛上画画,使老夫妇的红蜡烛名声远扬,成为出海人祈福的象征,神社香火也旺了起来。有一江湖商人闻此消息,欲重金买走人鱼姑娘,说人鱼是不祥之物。老夫妇迷失心窍,点头同意。商人把人鱼姑娘关在笼中,装运到海上。结果当晚雷雨暴风,巨浪滔天,货船沉没。从此,老夫妇的蜡烛成为灾祸之物,买过的渔民出海无一幸免,生意也再做不下去了。没过几年,山脚下那座小镇就成了一片废墟,不存在了。之后偶尔会有出海的人看到海上隐约的烛光一直飘到废墟神社前。

The Mermaid and the Red Candles doesn’t have a happy ending or a sense closure. There’s no repentance or redemption, but it does leave plenty of room for personal interpretations. And in a way, it’s similar to sheep’s artwork now, which all have concisely constructed narratives that still leave much to the imagination of viewers. In Narcissus, sheep’s latest compilation book of his recent works, he even features an illustration based on Ogawa’s story.


这个故事没有一般令人欣慰的圆满结尾,也没有十分需要令人悔改的警醒,但最后的一抹烛光却格外引人遐思,大概这也就像sheep现在的插画一样,说一个点到为止的故事,他的作品集《水仙》中也以绘本的形式诠释了这个故事。

Despite sheep’s impressive illustrative works, his interests and skills have gone beyond illustration alone. He originally comes from a background in ceramic design and has always been infatuated with sculpting. Eager to break the constraint of mediums, he began learning how to make sculptures and figurines by himself. His White Deer sculpture is even based off an earlier illustration of his. As part of the project, he also enlisted the help of photographer Ko Rou, to stage and set up a variety of scenes with the completed figurine.


陶瓷专业出身的sheep对人形和雕塑都很有兴趣,因为不想局限于平面创作,他也制作了自己的人形,靠他自己一点点耐心的自学,白鹿童子也从的画作里活化而出,他还与摄影师扣桑合作,完成了这组人形照片。

As our discussion meandered and we began chatting about the movie Ghost in the Shell 2: Innocence, sheep comments that he believes art often conveys messages that surpass the original intent of the work. “Creation is like eating. It’s to satisfy an appetite. Completing an idea gives you an unparalleled sense of gratification. When I’m creating, I don’t immediately define what concepts or ideas I want to convey through it. When other people view my work, they might be looking at an authentic piece of my soul, but to them, it could be completely meaningless.”


跟sheep聊到押井守的《无罪》,他觉得作品也会像这样传达一些超越内容本身的东西,“其实很多创作就跟本能吃饭等一样,是一种类似快感的欲望,完成脑中所想的这件事会带来不可替代的幸福感,所以我不会特别预设自己是要传达什么意义或者想法,其他人看到作品就是当时我所脱壳出的一部分我,反而他们其实某种层面来说是没有意义的。”

Weibo: ~/ssheepp

 

Contributor: Shou Xing
Images Courtesy of sheep & Ko Rou


微博: ~/ssheepp

 

供稿人: Shou Xing
图片由sheep与扣桑提供

Indulging in Colors

May 23, 2017 2017年5月23日

Originally from Ningbo, Shadow Chen is an artist and illustrator currently based in Shanghai. Working primarily in digital illustration, her signature aesthetic indulges in psychedelic color palettes and liquid forms. Chen identifies her work as a sort of personal evolution, a discovery of the underlying patterns of the universe, as well as a healing process. According to her, “Art is therapeutic, and I want to make art that has the ability to cure others too.” To purchase a limited-edition print by Shadow Chen, please visit the Neocha Shop. See below for more select works from the artist.


Shadow Chen 是来自中国上海的艺术家和插画家。她主要专注于创作数码插图,迷幻的色调和液体形式是她的标志性美学风格。Chen认为自己的作品是一种个人的发展历程,是对隐藏在宇宙表面之下的模式探索,更是一个愈合的过程。她说:”艺术有治疗的作用,我想创作出能治愈他人的艺术。“点击进入Neocha在线商店,购买Shadow Chen的限量版印刷作品。下面是来自这名艺术家的更多精选作品。

Websiteartofshadowchen.com
Behance~/saltyshadow
Instagram: @_shadowchen_

 

Contributor: George Zhi Zhao


网站artofshadowchen.com
Behance~/saltyshadow
Instagram: @_shadowchen_

 

供稿人: George Zhi Zhao

SPRING IS NOT FOR SCHOOL

May 22, 2017 2017年5月22日

 

无法观看?前往腾讯视频

Shenzhen-based streetwear brand ROARINGWILD is back with their latest volume of EYESIGHT, an ongoing project that showcases different interpretations of the ROARINGWILD brand spirit through the lens of different photographers. For the eighth edition of the series, they’ve enlisted the help of Wang Wei, a Beijing-based fashion photographer who works solely on 35mm analog film. Forgoing the gritty urban backdrops and modern techwear stylings of past collaborations for a mostly barren countryside and vibrant splashes of colors, Wang’s signature style shines through in this reimagining of the ROARINGWILD attitude, evoking a sense of youth and freedom that has come to define his work. See more photos from the collaboration below.


深圳街头时尚品牌ROARINGWILD携全新EYESIGHT系列回归。这个持续至今的项目旨在通过不同摄影师的镜头,展现对ROARINGWILD品牌精神的不同解读。作为该项目的第八个系列,他们邀请了王未掌镜,一位坚持只以35mm胶片摄影的北京时尚摄影师。全新系列抛弃以往系列的城市背景和机能风格,来到远离都市中心的郊外,在充满活力色彩的影像中,王未以其标志性摄影风格对ROARINGWILD品牌态度进行全新演绎,满溢年轻和自由气息。下面是此次合作系列中的更多作品。

Website: roaringwild.net
Facebook: ~/ROARINGWILDOFFICIAL
Flickr: ~/wang_wei

Instagram:
@ROARINGWILD
@wangwei_instagram

Weibo
~/ROARINGWILD
~/wangwei5945

 

Contributor: David Yen
Photographer: Wang Wei

Stylist: Sen Wung
Videographer: Vonka Wu


网站: roaringwild.net
脸书~/ROARINGWILDOFFICIAL
Flickr: ~/wang_wei

Instagram:
@ROARINGWILD
@wangwei_instagram

微博
~/ROARINGWILD
~/wangwei5945

 

供稿人: David Yen
图片摄影师: 王未

造型师: Sen Wung
视频摄影师: Vonka Wu

RACE Robotics Laboratory

May 19, 2017 2017年5月19日

Designed by Singapore-based architectural firm Ministry of Design, the new brand logo and facilities for the Robotics Applications Centre of Excellence have recently been unveiled. To support and advance RACE’s vision of educating and introducing robotic automation to modern industries, the newly debuted space has been designed with versatility in mind. The multifunctional laboratory is equipped to not only showcase their modular robots, but also accommodate hands-on training sessions and lectures.


新加坡建筑事务所Ministry of Design(MOD)近日公布了其为Robotics Applications Centre of Excellence(RACE)设计的品牌和空间体验,一个新的机器人设施,旨在宣传并推广使机器人引入现有的制造业自动化中。实验室空间的设计以灵活性为理念,多功能的实验室用来展示一系列不断变化的模块化机器人,并用于动手的培训和讲座。

To convey a sense of industrial futurism, Ministry of Design employed the use of powerful converging lines and bold geometric shapes in their design. Even prior to entering the main laboratory, their design concept is readily apparent – white lines slice and intersect through the jet-black lobby, creating an optical illusion that makes the ceiling, floor, and walls indiscernible from one another. Deeper inside the facility is the main laboratory area, which follows the same design motif as the lobby, with the use of dramatic lines and shapes to introduce a sense of dynamic energy. Aluminum tubes and linear LED strips are adjoined to form facets, which all connect together to form a metallic shell that encases the entire room. Beyond aesthetics alone, this outer layer of the room serves to conceal mechanical and electrical elements while still permitting easy access for users via the use of access hatches. See more images of the newly designed facility below.


为了传达工业未来主义的风格, MOD在设计中运用了极具视觉冲击力的白线和大胆的几何形状。在进入主实验室之前, 他们的设计概念就已经清晰显现——飞扬的白线穿过黑色的空间形成的网在视觉上营造出错觉效果,创造了一个地面、天花板和墙壁交融一体,难以区别的空间体验。再往里走是主实验室区域, 这里的设计遵循与前厅相同的设计主题,使用戏剧性的线条和形状来引入动感活力的氛围。铝管和定制发光二级管毗邻形成令人炫目的金属外壳, 包裹住整个空间。这一外壳除了有美学价值之外, 也遮盖了那些必备的机电设施,同时还方便用户通过舱门出入。通过下面的图片,进一步了解这个全新空间设计吧。

Website: modonline.com
Instagram@ministryofdesign
WeChat: ministryofdesign

 

Contributor: David Yen
Images Courtesy of Ministry of Design


网站: modonline.com
Instagram@ministryofdesign
微信: ministryofdesign

 

供稿人: David Yen
图片由Ministry of Design提供

Uncoloring North Korea

May 16, 2017 2017年5月16日

Shanghai-based photographer Ni Chen describes her time in North Korea as a surreal step back in time. “To be honest, whilst I don’t know much about North Korean politics, I was intrigued by this social system, one which was a stark contrast to anything that I have experienced before.” The most notable difference for her was the colors — or rather, the lack thereof. Pyongyang’s color palette consisted of blacks, grays, and navy blues. Shades of red, blue, and green were almost exclusively reserved for public facilities and ornaments.


在上海摄影师倪晨眼中,身处朝鲜的那段时间就像是一次回到过去的旅行。“关于朝鲜,老实说,对于政治我一无所知,只是好奇未曾经历过的社会体制。”对她来说,最大的区别在于色彩——这个国家的色彩相对寡淡。路上行人穿的衣服基本是黑/灰/藏青色,他们对红/蓝/绿十分执着,几乎只出现在所有公共设施和装饰上。

Ni Chen’s time in North Korea was split between Pyongyang and Kaesong; as most of the journey was heavily regulated, she was unable to capture some “truly beautiful” moments on camera. “After stepping out of the Pyongyang Railway Station, I found myself facing an iron-clad playground; it was a beautiful moment, observing these free-spirited kids playing. A shame that I couldn’t photograph them.” On her way to Kaesong, there was also an almost cinematic moment when a young boy stood on a hillside, watching their tour group’s bus drive by. He wore a green sweater and stared inquisitively at the vehicle as three crows flew past him. “That moment was so beautiful, it felt so much like a scene from an Andrei Tarkovsky film.”


倪晨在朝鲜期间主要去了平壤和开城两个城市。在朝鲜,游客会受到严格的管制,因此,有很多“真正美丽”的瞬间她都没有机会用镜头记录下来。从平壤火车站出来会经过一个儿童公园非常漂亮复古的铁质娱乐设施小孩子也都很高兴的样子可惜不允许下车拍照。” 从平壤到开城的巴士上,经过一个山坡时,有个穿绿色毛衣的小男孩站在山坡上观望着她所在的巴士,突然三只乌鸦从他身前掠过。她感慨道:“那是非常漂亮的瞬间,就像安德烈·塔科夫斯基的电影。

Ni Chen also visited the Pyongyang city library, which like typical libraries, feature a collection of books that are available for borrowing, but also courses for learning foreign languages. The most intriguing part of the visit was seeing how the computers in the library could only be accessed using LAN; locals are only able to use them to log on to North Korea’s tightly controlled Kwangmyong intranet system.


平壤市内的图书馆,除了借阅图书,还可以学习外语课程。图书馆内的电脑只能使用局域网, 人们可以登录到朝鲜的国家局域网路“光明网”(Kwangmyong Net)。

She also observed that the capital’s architecture was noticeably Soviet in style. Korean signage aside, this moment brought Ni Chen back to her time traveling and photographing Russia.


平壤的建筑受到了不少俄罗斯美学的影响尤其是那些有拱形过道的大楼。除了那些韩语标牌,这里的建筑让倪晨想起了自己在俄罗斯旅行和摄影的经历。

During the trip, one image of a girl reading on a public bus became one of Ni Chen’s favorites. “This was a candid moment that would not look out of place anywhere in the world.”


倪晨最喜欢的一张照片是在公交车上读书的女孩子。喜欢给在各地遇见的阅读者拍照即便是在色彩寡淡的平壤阅读者令这个地方生动了起来

Once outside of Pyongyang, Ni Chen managed to capture a moment that is truly out of the norm for most photographers that travel to North Korea. In the city of Kaesong, she serendipitously stumbled across a wedding. “They were just as surprised to see me as I was to find them. I could only guess that the collective reciting of revolutionary history and their fist pump actions were part of the ceremony.”


离开平壤后,倪晨捕捉到许多到朝鲜旅游的摄影师都难以拍摄到的画面。在开城,她偶然遇到了一场婚礼。“他们看到我时,和我一样吃惊。我猜测,猜拳可能是婚礼的一个传统,除此之外,他们还需要集体学习革命历史。”

Towards the end of her journey, she snapped an image of the small shark tank in the lobby of Pyongyang’s Yanggakdo International Hotel. “Whilst this hotel looked impressive from the outside, the furnishings and facilities inside reminded me of a local police station in one of China’s third or fourth-tier cities. This shark tank sort of symbolized North Korea as a whole to me – it’s a small nation that is trying so hard to appear terrifying.”


在这段旅程的结尾,她在平壤的羊角岛饭店的酒店大堂拍摄了养着鲨鱼的鱼缸。虽然酒店外观十分豪华但是内部装饰和设施都非常老派有点像中国三四线城市的小派出所。这个养着鲨鱼的鱼缸有些像朝鲜的一个缩影。

WeChat: linsam1990
Weibo: ~/spancer
Instagram: @elephant.show

 

Contributor: Whitney Ng


微信: linsam1990
微博: ~/spancer
Instagram: @elephant.show

 

供稿人: Whitney Ng

 

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