All posts by Neocha

The Photography of Shin Noguchi

February 14, 2023 2023年2月14日

When first looking at Shin Noguchi’s photographs, one is almost immediately drawn to the humor and vitality that is present in the images.


初めてShin Noguchiの写真を見る者は、画像に息づくそのユーモアと生命力にたちまち惹きつけられる。

Based in Tokyo and Kamakura, Noguchi has won a number of major photography awards for his perceptive and detailed photographs.


東京と鎌倉に拠点を置くNoguchiは過去に、遠近法を用いた克明な写真作品で一流の写真賞を受賞している。

In his words, he tries to “capture moments of excitement, beauty and humanism in the midst of everyday life”. His poetic and mysterious style of street photography is capable of showing us the intricacies and complexities of Japanese culture.


彼によると、「日常生活の中の高揚・美・ヒューマニズムの瞬間をとらえ」ようと努力している。ストリート写真に見られる彼の詩的かつ神秘的なスタイルは、日本文化の複雑性を如実に示すものである。

At the beginning of his career, Shin fell in love with the classic, black-and-white realism of Magnum Photos, as well as some color street photography from the 70’s and 80’s. Later on, he started to find and develop his own personal style of photography, focusing primarily on color photography.


その経歴の初期においてNoguchiは、マグナム・フォトの古典的なモノクロのリアリズムのほか、7080年代のカラーのストリート写真にも傾倒した。その後、主にカラー写真に焦点を当てつつ、彼独自の写真スタイルの開拓を始めた。

Street photography often depicts reality and realism, but the reality that Noguchi typically explores is not the kind that can be easily detected. There is a subtext to the moments that he captures. These moments exist in society, on the street, and in the lives of everyday people. As he observes and captures these moments, he tries to stay objective and as free from his own bias as possible.


ストリート写真は現実性や写実主義を描くものであるが、Noguchiが探究する現実性は容易に見抜かれる種のものではない。Noguchiがとらえる一瞬の背後に意味が隠されている。その一瞬一瞬は、社会や街角、そして人々の生活の中に存在する。その一瞬一瞬を観察し、とらえる時、彼は客観性を失わないよう、また、彼自身の先入観を排除するよう努めるのである。

When asked about his photography career and whether there have been any memorable experiences, Shin says that every moment has been memorable and special. There was one moment in particular when he saw and photographed a mother walking on the sidewalk in the Ginza district of Tokyo in 2014. She was carrying her children in her arms in an unusual way, which strongly contrasted with her surroundings. Seeing this moment on the street greatly inspired him.


彼の経歴について、また、これまで特に忘れられない体験をしたかと尋ねると、Noguchiはすべての一瞬が忘れられないものであったと言う。特筆すべき一瞬は、彼が2014年に銀座の歩道を歩くある母親を目撃し、写真を撮ったこと。Noguchiの目には、双子の子どもを珍しい格好で抱くその母親が、その周囲とひどく対照的に映った。街角で垣間見るそんな一瞬は彼を大いに刺激するものである。

Shin Noguchi often works in between Tokyo and Kamakura, two cities which are polar opposites in many ways. Tokyo is a busy and fast-paced metropolis, while Kamakura is a much more laid-back city with a rich history. Shin’s photography often reflects the differences in how he feels about these two cities.


Shin Noguchiはもっぱら、東京と鎌倉といういろいろな意味で両極端な2つの都市間で活動している。東京が慌ただしく目まぐるしく移り変わる大都市である一方、鎌倉は豊かな歴史を持つ穏やかな街である。Noguchiの写真は、この2つの都市に彼が感じる違いを反映したものが多い。

While Shin will often spend between six to nine hours on the street each day, he may only take one or two shots. Still, he rarely feels bored or gets tired of his work. For him, being able to observe the lives of other people is a wondrous and beautiful thing.


Noguchiは通常、毎日6~9時間を街角で過ごすものの、撮るのは1~2枚である。それでも、彼が作業に退屈したり飽きたりすることはめったにない。彼にとって、人々の生活を観察することは、素晴らしく、そして美しいことなのである。

The Designs of Li Kebei

September 5, 2015 2015年9月5日

Li Kebei is an industrial designer from Chengdu. He was born and raised in China and later came to the U.S. for schooling. After graduating from the Rhode Island School of Design, he moved to San Francisco to join the design firm New Deal Design. Recently, Kebei has left his consulting job to pursue a master’s degree in design at Stanford University.

From his pressure-sensitive lamp, which adjusts the lamp’s brightness based on the weight of objects placed on top of it, to a tin sake cup that can hold different amounts of liquid from different sides of the cup, Kebei’s designs often strike a beautiful balance between innovation and practicality.


李科贝是一位来自四川成都的工业设计师,高中毕业之前都一直在成都这座城市生活、学习。大学学习他选择远赴美国罗德岛设计学院,本科毕业之后他加入了位于旧金山的New Deal Design设计工作室。最近李科贝辞去这份工作,进入斯坦福大学攻读设计硕士学位。

李科贝的设计有很多奇思妙想,就连他自己也会说自己的作品有时候只是为了好玩。比如他设计的“压力敏感灯”,灯的亮度调节不是靠开关控制,而是靠放置在灯上的物体的重量决定,越重的物体会令灯越亮。可别以为他的设计都是为了好玩,有一些既有趣又实用,比如他设计的一款双面shot酒杯,酒杯两面都有凹面,只是深度不同,能容纳的酒的量也不同,实在酒鬼们都应该拥有的一件装逼利器。

Neocha: How does industrial design influence the way you view things around you, whether it is products or buildings or even modes of thinking? At the same time, how does your own personality or personal quirks influence your design work?

Li Kebei: If I see something that I love – and it doesn’t even need to be a design object, I just can’t move. My friends know how long it can take me to finish a good design store or gallery. I can meditate in front of some good pieces for hours. At the same time, I can finish a mediocre store in just a few seconds. I am very selective.

A large part of my work is about questioning: why people use certain things in certain ways, and what defines certain objects; for example, I once designed a pressure-sensitive lamp. The brightness and intensity of the light is controlled by the amount of pressure that is applied. I like to use whimsical and disarming ways to raise basic fundamental questions. The results can be quite interesting.


新茶:你觉得工业设计方面的学习有没有影响你看待周围事物的方式?可能是一个产品、一幢楼甚至是一种思考方式?同时,你的性格中有没有哪方面影响了你的设计?

李科贝:如果我喜欢一样东西,甚至不用是一个设计品,我就会走不动路了。我的朋友都知道我会花多少时间去完成我满意的店铺或画廊的设计。我可以在我喜欢的作品前面驻足好几个小时。当然,我也可以用2秒钟就完成一个平庸的店铺设计,我是有选择性的。

我的工作中有大部分时间是关于自我提问。为什么人们用特定的方式使用特定的物品?又是什么定义了这些特定的物品。比如我设计了一个压力灯,将压力的大小与灯的亮度联系到一起,越重的物体放在灯上会产生更亮的光,看上去似乎挺不实用的,但我喜欢用这种异想天开和消除戒心的方式来引导出一些哲学问题,有时候结果可能就是为了好玩。

Neocha: Your design style appears to carry with it subtle details and nods to different cultures. What do you think is the importance of subtlety and cultural referencing in design?

Li Kebei: Cultural reference can be a dangerous thing. There are too many poor executions that lack deeper thinking. That’s not to say using cultural references is a bad way to design. It’s just not usually done well.

Young designers tend to overvalue how much they know about their own culture. When I grew up in Chengdu in the late 90’s, there was an urban development agenda that was trying to make it into just another homogenous Chinese city. In this sense, my childhood was rather culturally deprived. It’s kind of a harsh thing to say but I think it is accurate. It isn’t that my childhood wasn’t fun or anything. It was just a bit bland culturally, not very special. I picked up my interest in Chinese culture and tradition only later in college, when I was living in the U.S. ironically.


新茶:你的设计中有一些微妙的细节,也借鉴了各种不同的文化。你觉得这种细节和借鉴的重要性是什么?

李科贝:文化借鉴通常来说有点危险。有太多失败的借鉴案例,太多缺乏深层思考的借鉴。我并不是说文化借鉴这种方式不好,只是这种方式并没有被很好地利用。

年轻的设计师有时候高估了自己对于本国文化的理解程度。我是成都人,在上世纪90年代后期,我几乎和成都一起“成长”的,成都的这种“成长”不过是变成了另一个毫无特色的中国城市罢了。在某种意义上,我童年时候的一些文化被剥夺了,这么说可能很残酷,但确实有理由的。不是说我的童年没有乐趣或是什么,只是有些平淡,并不是很特别。讽刺的是,我是来到美国读大学后才重新开始对中国文化的感兴趣的。

Neocha: Do you see significant differences in the way industrial design works in a place like Shanghai versus in San Francisco, or other places in the United States?

Li Kebei: The design industry in the macro sense is very broad and can actually mean very different things. The more commercial, technology-driven design field that I have experience in is less tied to the specific locality of the company, so a tech design firm in London might not differ very much from one in Shenzhen. Phones, wearable products, consumer electronics, these types of products are less grounded in a local “culture” in the traditional sense. They are true to their own nature as electronic products, but the nature of their development is interestingly almost the same globally.


新茶:你觉得上海和旧金山,或者其他美国城市相比,在工业设计方面有什么显著的区别吗?

李科贝:工业设计这个概念是很大的,而且具体到操作性上也有很多不同。我觉得越是偏商业的、技术的设计领域越是和公司的城市特性没什么关系。就好像一家伦敦的科技公司和一家深圳的科技公司可能就没什么不同。电话、便携式产品、电子消费品这些领域的产品设计都是比较少地融合当地的传统文化的,这些产品都有属于自己的真正的属性,全球同步化的程度也很高。

Neocha: Where are you headed intellectually and artistically with your design work at the moment? Do you have a sense of the direction you would like your work to take, or the effect you’d like it to have on those who will see and use it?

Li Kebei: At the moment things are pretty messy. I have lots of raw materials I need to piece together, literally and metaphorically. I suppose that that is what the master’s degree is for. I would like to have more technical understanding of and autonomy in the process.

Artistically, I have always had an appreciation for austere and monolithic things, daily objects that are basic yet fundamental. I curate a Tumblr called Geometric Rationale which collects the works of people like Brancusi, Noguchi, Judd, De Wain Valentine, you name it. I have a great respect for people who really push the boundaries of manufacturing and materiality; for example, Jony Ive, Marc Newson, Ross Lovegrove, to name a few.


新茶:目前你的设计理念是什么?对于自己的设计方向有没有什么想法?你希望给使用者带来什么效果?

李科贝:目前来说还是挺混乱的。手头有很多原始的素材需要我来拼凑,无论从字面意思上还是比喻意义上,这大概就是研究生要研究的东西吧!当然我也想有更多技术层面上的理解和自主性的探索。

艺术方面来说,我一直以来都很喜欢质朴、整体感强的事物,那些生活中基础的必需品。我有一个Tumblr账号叫做Geometric Rationale,会放Brancusi,Noguchi,Judd,De Wain Valentine等人的作品。我也非常佩服那些制造和材料方面不断寻求突破的人们,像Jony Ive, Marc Newson, Ross Lovegrove这些人。

Shipu, a Sifangcai Restaurant

August 16, 2015 2015年8月16日

Shipu is a “sifangcai” (or private dining) restaurant, run by three women from Shaoguan in Guangdong province. Panini is Shipu’s head chef, Fifi manages the restaurant, and Jiale manages Shipu’s press and marketing.


“食铺”是由三个女生经营的一家私房菜馆。她们是来自广东韶关的主厨Panini,负责统筹管理的Fifi以及负责市场和公关的佳乐。

The image conjured up by the term “sifangcai” likely is one of a private dining room inside of an exclusive club. It was a surprise then to visit Shipu, located off Zhongtan Road in Shanghai, in an unassuming residential neighborhood. Just inside the entrance is an open kitchen, with countertops filled with sauces and ingredients. The cozy space gives off a feeling of daily life, like walking into the home of someone who really loves to cook everyday. Head chef Panini laughs, saying that the space was in fact once a home – it was her apartment when she graduated from college eight years ago.


印象中私房菜应该是那种开在会所里的高大上餐厅,所以第一次拜访位于中潭路上某居民小区的食铺的时候有点意外,一进门就是一个开放式厨房,工作台上放满了油盐酱醋瓶,透着极浓的生活气息,仿佛走进了一个爱做菜的主妇家里。主厨Panini笑说其实这就是自己8年前大学毕业之后就租住的“家”。

As someone who comes from the land of food lovers, Guangdong province, and also someone whose grandfather was a chef and whose father loves to cook, Panini seems to have been destined to work in the culinary arts.


作为来自吃货之乡的广东人,家里既有做过烧腊师傅的爷爷,又有虽没有做厨师但很爱做菜的爸爸,Panini似乎就是注定要成为一个和食物分不开的人。

When talking about how Shipu originally started, Panini says that she has always loved cooking for other people and having friends over for meals. Soon these meals turned into a popular and favorite experience for friends who could eat the authentic and hard-to-find Cantonese food that Panini likes to make. That’s when Panini thought about opening a “sifangcai” restaurant. With a smaller group of customers, the restaurant could maintain a high standard of authentic ingredients and flavors, and Panini would not be exhausted by the amount of the work. With some “instigating” from Fifi and Jiale, who also share the same passion for food, Shipu came into being.


说到为什么会想到开“食铺”,Panini说自己是一个很喜欢给别人做饭的人,朋友们也很爱来家里聚会,于是变成经常给他们做饭,再加上做的是在上海很难吃到的地道广东菜,Panini的菜在朋友圈子变成了一个“传奇”,于是她想是不是可以开一个私房菜馆,招待少一点人,这样既保证食材的新鲜和菜的味道,自己也不会太累,在同样对食物有着执念的Fifi和佳乐的“怂恿”下,食铺就这样出现了。

Even after walking past the kitchen and into the living room where the food is served, one still doesn’t get the sense that Shipu is a restaurant at all. The entire experience feels just like being in a friend’s apartment. If you didn’t have to pay for your meal in the end, you might in fact mistakenly think you’ve just dined at a friend’s house.


其实即使走过充满生活气息的厨房,来到就餐区域(也就是客厅的位置),作为客人也仍然没有感到“餐厅”的气氛,这根本就是一个朋友的家,要不是已经付了钱,你甚至以为自己正在一个朋友家做客。

Fifi says that this is perhaps what makes Shipu a special place. It is a “sifangcai” restaurant that really treats its guests more as friends rather than just customers. Panini jokes that describing themselves in this way is a little boastful. In reality, their work everyday is very much like entertaining their friends. Everyday the three of them make a trip to the market for fresh ingredients in the morning and choose only the best of whatever is in season, rather than having a delivery company bring the ingredients to their door. From washing the vegetables to preparing the ingredients, then cooking the meal and finally cleaning up the dishes, these three women really do it all.


对于这点,Fifi说食铺最大的特色可能就是,这是一个真正意义上把客人当成朋友来招待的私房菜馆。Panini笑说这么说难免有点自吹自擂之嫌,但是她们每天的工作流程确实就很像招待朋友会做的事,比如上午去菜场买菜,当季的食材会好好挑选,不会找供应商送菜上门,从洗菜、切菜、做菜再到最后洗碗都由三人共同完成。

We asked Panini about the possibility of Shipu growing into something bigger. Would it then become just a regular restaurant? Having said very little up to this point, Jiale speaks up and addresses this question by saying that the three of them “honestly hadn’t thought about expanding Shipu into anything bigger. The current scale of Shipu is the perfect size for the team to manage.” They can ensure a high quality of food, maintain great reviews from their guests, and more importantly stick to their original concept.


我们问Panini,如果食铺再发展得大一点是不是就也会沦为普通餐馆?在一旁很少说话的佳乐这时候发表了自己的看法“老实说还没有想过把食铺发展大一点,现在这个规模,我们的人员配置刚刚好可以hold住,既能保证菜品质量,客人的好评率也很高,重要的是能维持住我们的理念。”

After opening in March, the team at Shipu went from serving friends, to serving friends of friends, and then the friends of those friends. Seeing total strangers eating with each other at the same table, chatting and drinking together, and finally exchanging contact details as they leave, is a rewarding feeling for the small team of three. This is a real added bonus to any praise and profit that they may get from the actual business. Speaking from her own experience of having previously opened a restaurant, Panini says that typical restaurants don’t really allow guests to leave an impression on those who work there, unless it is a regular customer who comes back again and again. At Shipu though, Panini can find a new friend in someone who comes to eat just once. “Congratulations on making a friend who is a great cook,” Panini jokingly says to her guests.


从3月开饭以来,食铺从接待朋友变成接待朋友的朋友,再到接待朋友的朋友的朋友,看着完全不认识的人在同一个餐桌上攀谈,碰杯喝酒到最后临走的时候交换微信,这种氛围带给了食铺三人除了赞扬和金钱之外的认同感。曾经开过餐馆的Panini说普通餐馆,一个客人可能要来好几次才会给老板留下印象,而到食铺来过一次的客人可能吃完饭就会变成自己的朋友。“恭喜你认识一个你身边做菜做得最好的朋友。”Panini甚至想对客人这样说。

When asked about how Panini comes up with new dishes, the three of them all laugh. Fifi replied that Panini always calls up her father or her grandfather to ask for new recipes. As the head chef, Panini always has the final say on the dishes that are served. She doesn’t like fusion cuisine, because she sees that more as just merging different styles of cuisines together rather than the execution of great authentic cooking. For her, consulting with her father and grandfather is the best way to learn about traditional Cantonese cooking.


在问到Panini如何开发新菜品的时候,三人开始哈哈大笑,Fifi笑说Panini都是打电话给自己的爸爸,或者爷爷问。作为食铺的主厨,对于菜品Panini有绝对的决定权利,她不喜欢所谓的改良菜系,认为它们形式感太强,而且也不一定可以发挥食物真正的味道,向爸爸或爷爷请教,可以学到最传统的广东菜做法。

Recommended dishes from Shipu:

Fermented Red Bean Curd Pig’s Feet:
Pig’s trotters stewed in bean curd until the meat is very tender.

Soup of the Day:
Panini makes soups and stews for every season, according to traditional Cantonese methods.


食铺的推荐菜

南乳猪手
炖得酥酥的猪蹄说是入口即化一点也不夸张。

每日例汤
Panini会根据季节做适合的炖汤,炖汤的方法也是严格按照广东炖汤的做法来制作。

WeChat: wenwen4539

 

Contributor: Taylor Shen
Photographer: Chan Qu


微信:wenwen4539

 

供稿人:Taylor Shen
摄影师:Chan Qu

Juice Shanghai

August 15, 2015 2015年8月15日

Neocha: In your opinion, what does the Juice Shanghai store represent? Between the wide range of brands that you carry in the store and the style of the space itself, what does Juice Shanghai give to the fashion community here in Shanghai?

Juice Shanghai: Juice Shanghai was the first of our stores to open in China, and our third store to open worldwide. Through this storefront platform, CLOT hopes to continue the innovation of streetwear culture in China. Located in a three-floor building among the traditional architecture of Julu Road in Jing’an District, Juice Shanghai creates an open space that combines both lifestyle and fashion through streetwear that also has an element of history in it.


Neocha:对你来说,JUICE上海店主要代表什么?JUICE提供的品牌非常多元化的,而且你们店的风格也很特别,所以这家店对上海的时装社区有什么样的贡献和影响?

JUICE上海:JUICE上海是中国第一站及JUICE的第三家分店,CLOT希望借由这个平台,打造出创新的中国街头文化。坐落于上海静安区巨鹿路一座三层楼的文化建筑,闹中取静,通过潮流文化与历史相融,制造出一个时尚生活融合的休闲区域。

Neocha: Since Juice Shanghai opened in 2009, what have been the biggest changes to the store?

Juice Shanghai: There have been some changes in the brands we carry at the shop, as well as changes to the style of our logo, towards a more functional, formal style. Our customers have also shifted in demographic, starting as 15 to 20 year-olds who were fans of Edison (Chen) and now moving into 25 to 30 year-olds who have careers. Of course, we also have customers who travel through Shanghai and will stop by to shop.


Neocha:自从2009年JUICE上海店创立以来,店里最大的变化有哪些?

JUICE上海:店里品牌会有一些变化,从LOGO/ICONIC的风格变成绅士、功能等更加实用的风格;另外消费者也从最早Edison的粉丝,15-20岁的年轻人变成25-30岁的上班族,当然会有固定的游客来参观、购物。

Neocha: What is unique and different about Juice Shanghai from other streetwear shops in China, as well as from the other Juice stores in Hong Kong, Taiwan, and Beijing?

Juice Shanghai: The unique aspects to Juice revolve around the original brand CLOT, as well as the selection of foreign brands that we carry. Every Juice store has a different design to it, and out of all of our stores, the Shanghai shop is the largest space. Each floor of our store has a different style, and throughout the store there is a distinct Chinese style in the design.


Neocha:与中国其他的街头时装店相比,JUICE上海店有哪些独特之处?JUICE上海店跟JUICE其他地方的店,包括香港,台北,还有北京,有哪些特别之处?

JUICE上海:JUICE独特之处是以原创品牌CLOT和精选国外的品牌为主。每家JUICE店的装修上会有所不一样,在所有的JUICE店中,上海店面积是最大的一家,而且在每层风格都不一样,在上海店能发现很多有趣的中国风设计。

Neocha: What are your hopes for Juice going forward? What type of impact do you hope that it will have upon streetwear fashion and culture in China?

Juice Shanghai: We hope that we will be able to open more Juice locations, so that people in more places around the world can enjoy CLOT and those who like Juice can shop with us.


Neocha:对JUICE的未来有什么期望?希望它对中国潮流文化产生什么影响?

JUICE上海:希望JUICE能多开分店,让更多地区喜欢CLOT,喜欢JUICE的人可以买到东西。

Address:
832 Julu Road (near Changshu Road)
Jing’an District, Shanghai
People’s Republic of China

Phone: 3308 0888
Hours: Midday~9:30pm daily


地址:
中国 上海市静安区
巨鹿路832号(近常熟路)

电话
:3308 0888
营业时间:每日中午12点至晚上9点30

Contributor: Ross Donovan
Photographer: Leon Yan


拱稿人:Ross Donovan
摄影师:Leon Yan

Shanghai Street Fashion #1

August 14, 2015 2015年8月14日

“My mom really likes clothes and getting dressed up. She doesn’t go for any one style in particular, since she doesn’t understand hip-hop or hardcore. She just sees fashion for what it is. I’m very inspired by her.”

Charity, skater and clothing designer (from Shanghai)


“我妈妈很喜欢穿衣,很喜欢打扮。她也不会刻意穿成某一个风格,因为她也不懂什么hip-hop,不懂hardcore。她只是追求服装本身的这个东西。我受她的启发挺大的。”

Charity,玩滑板的青年服装设计师(来自上海)

“The way I like to dress is more athletic and casual, with loose-fitting or oversized clothing. There are actually a lot of people with more unique style in Taipei. I think my style now is pretty average.”

Allen, magazine editor (from Taipei)


“我的穿衣风格比较运动一点,休闲一点,宽宽松松的。台北其实很多很有想法的人,我这样穿在台北就算蛮普通的。”

陈履安,杂志主编(来自台北)

“I like wearing all sorts of things, pretty much anything goes. My style leans more towards skater style. I got my first tattoo when I was 15 years old. It’s a tattoo of my name spelled out – it’s quite small. In the last five years, I’ve gotten more and more. Other people might think I am weird, but I think I’m quite normal. I just do what I like, that’s all.”

Zha Zha, skater fan (from Suzhou)


“我喜欢各种都可以,我什么都穿,我也会偏滑板的style。我第一个纹身是我15岁的时候,我纹了自己的名字的一个字母,很小的。慢慢的五年内不断的变越来越多。别人可能觉得我是怪人,可是我觉得我很正常。我只要做我自己喜欢的就可以了。”

渣渣,滑板爱好者(来自苏州)


供稿人: Ross Donovan
摄影师: Jia Li

The Colorful World of Lieu Nguyen

August 13, 2015 2015年8月13日

Lieu Nguyen was born in 1975 in Trà Vinh City, Vietnam, and graduated from the Ho Chi Minh University of Fine Arts. His works convey an aura of tranquility and demonstrates a passionate use of color. His brush strokes recreate the delicate beauty of flower petals, but at the same time have a vibrant dream-like energy.


Lieu Nguyen sinh năm 1975 tại Trà Vinh, Việt Nam và tốt nghiệp trường Đại học Mỹ Thuật Thành phố Hồ Chí Minh. Tác phẩm của ông toát ra vẻ yên bình và thể hiện việc sử dụng màu sắc một cách nồng nhiệt. Nét vẽ của ông tái tạo vẻ đẹp tinh tế của những cánh hoa, nhưng đồng thời ẩn chứa sinh lực như một giấc mơ sôi nổi, mạnh mẽ.

Nguyen often draws inspiration from the forest, which for him serves as a kind of sanctuary. Within it, life continues in all its different natural forms undisturbed and one can experience an intimate connection with nature.


Lieu thường lấy cảm hứng từ rừng, mà theo ông phục vụ như là một loại cung điện thờ. Trong phạm vi đó, cuộc sống vẫn tiếp diễn theo tất cả các hình thức tự nhiên khác nhau vốn có mà không bị xáo trộn và người ta có thể trải nghiệm sự kết nối mật thiết với thiên nhiên.

Lieu also finds inspiration from his own life experiences and memories. For him, the imagination has a strange and mysterious power that can transcend the monotony of everyday reality.


Ông cũng tìm thấy cảm hứng từ kinh nghiệm cuộc sống và những ký ức của chính ông. Đối với ông, trí tưởng tượng của con người có một sức mạnh kỳ lạ và bí ẩn vốn có thể vượt qua thực tế hàng ngày.

Contributor: Taylor Shen


Người đóng góp: Taylor Shen

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The Photography of Shen Li

August 13, 2015 2015年8月13日

Shen Li is a young Chinese architect and photographer from Lianyungang in Jiangsu province. For Li, photography is not a tool to earn money, but rather is a way for him to document objects and moments to look at again in the future.


来自江苏连云港的谌利目前在上海工作、生活。他是一位建筑师、摄影师。摄影对他来说并不是挣钱的工具,拍下一个瞬间,或者一个东西,是为了日后可以再看。

The way Li sees his photography is very straightforward and closely tied to his everyday life. “I am a photographer who is curious about photography. My style probably falls somewhere between documenting and arranging.”


谌利形容自己的作品是很直接、很贴近生活的。“我是那种会对摄影保持好奇心的摄影师。要说我的摄影风格的话那就是介于记录和摆布之间吧。”

Looking at Li’s photography, it is perhaps this dichotomy between wanting to document the world as it is, but also arranging objects into a scene that is most intriguing. Certain images blur the line between these two styles of photography, until the subjects of the photos take on a nature of their own.


谌利的作品透着一种记录生活和摆拍中间的平衡感,而这一点是最吸引人的。他的某些作品使这两种摄影风格的界限变得非常模糊,你甚至分不清照片中的物体是一种自然状态还是摆拍。

According to Shen Li, the relationship between photography and everyday life is like “a simplified version of the relationship between oneself and everything else outside of that.” In essence, Li’s art is all about documenting, capturing, saving and observing life as it is.


说起摄影和生活的关系,谌利说这种关系像是与自己之外的所有对象相处模式的简化版。记录、抓拍、存档以及观察生活,这就是谌利的摄影作品的全部意义。

Contributor: Taylor Shen


供稿人:Taylor Shen

The Voice of Teshima Aoi

August 12, 2015 2015年8月12日

“Healing.”

This is the word heard most often when talking about Teshima Aoi’s voice. People who live in a city can experience a great deal: love, intimacy, stressful jobs, and a fast-paced life. There has to be a time for rest and relaxation. Otherwise how can you get up every day and hop on the subway in the morning?


「癒し。」

これが手嶌葵さんの声を説明するのに最も頻繁に使われる言葉です。都市に住んでいる人々は、愛、親密さ、ストレスのたまる仕事やテンポの速い生活など多くのことを体験します。そのため休息やリラックスのための時間が必要です。それがなければ、毎朝起きて地下鉄に飛び乗る元気など湧かないでしょう。

It has been almost ten years now since Teshima first became well-known. Ten years ago also happened to be the height of Studio Ghibli’s popularity, with the huge successes of Hayao Miyazaki’s Spirited Away and Howl’s Moving Castle. In 2006, Tales from Earthsea finally came to theaters and unexpectedly brought the previously unknown Teshima Aoi, who was then just a high-school student, into the spotlight.


手嶌さんが最初に有名になったのは、10年くらい前です。10年前といえば、宮崎駿監督の「千と千尋の神隠し」と「ハウルの動く城」の大成功で、ちょうどスタジオジブリの人気が最頂点に達したときです。2006年には、「ゲド戦記」がやっと劇場で公開され、予期せずに、当時、無名の高校生だった手嶌葵さんにスポットライトが当たるようになりました。

Most people started following Teshima after hearing “Therru’s Song” from Tales from Earthsea, which then became her first hit song. When the director Goro Miyazaki insisted on having Teshima Aoi, still in high school at the time, sing the theme song for his film, media reports all covered the story, with the headlines, “High School Student Hits Fame”. Yet after the stunningly beautiful start to “Therru’s Song”, all doubts about the new musician vanished. Teshima’s voice combines the pure, gentle, quiet, and strong into one sound: smooth, but not weak. To use a description from Japanese, hiding within Teshima Aoi’s sound is a “piercingly cold softness.”


多くの人は、手嶌さんの最初のヒット曲となった「ゲド戦記」の「テルーの唄」を聴いて、彼女のファンになりました。宮崎吾朗監督が、当時、高校生であった手嶌葵さんに映画の主題歌を歌わせることを主張した際、マスコミは、「高校生が有名に」という見出しで、彼女について報道しました。しかし、「テルーの唄」の驚くほど美しい歌い出しを聴いたあと、この新人ミュージシャンについてのすべての疑問が消えました。手嶌さんの声は、純粋な、穏やかな、静かな、強力な音を1つに組み合わせるので、滑らかですが、弱くはありません。日本語の説明を借りると、手嶌葵さんのサウンドの中に隠れているのは「刺すような冷たい柔らかさ」です。

As these ten years have gone by, from a small group of Studio Ghibli fans to the streets of Shanghai where at all times “The Rose” can be heard, more and more people began to know Teshima’s name. Teshima Aoi is grateful for her Chinese fans who have supported her since before she became famous, and in return she has constantly worked hard to explore new possibilities and challenges in her music career. In 2014, Teshima released her album Ren’dez-vous, which possesses very strong imagery and a sense of her more mature self. In the same year, Studio Ghibli’s production department announced its retirement for the time being.


10年という月日が経ち、スタジオジブリファンの小さなグループから、「ローズ」が常に聞こえる上海の街まで、より多くの人々は、手嶌さんの名前を知るようになりました。手嶌葵さんは、彼女が有名になる前から応援してきた中国のファンに感謝しています。また、自身の音楽キャリアの中で新たな可能性と課題を探るために常に懸命です。2014年には、手嶌さんは、非常に強いイメージとより成熟した自己の感覚を示すアルバム「Ren’dez-vous」をリリースしました。同年、スタジオジブリは、当分の間、制作部門を休止すると発表しました。

August of 2015, Teshima Aoi held her first concert in mainland China. Looking out at her fans, she seemed a bit nervous at first, repeating in Chinese, “Xiexie, xiexie” (“Thank you, thank you”). Outfitted in a dress, Teshima was her usual shy self as she performed alongside her band members. The band’s other performers from Japan were one guitarist and a keyboardist. With a simple underscore, the sound of “Therru’s Song” seemed no different from its original, ten years prior. After performing “The Rose” and “La Vie En Rose”, there was another Studio Ghibli theme song, “Summer of Farewells” from the film From up on Poppy Hill:

“If I call your name under the sunset, will we be able to meet again.”

Below the stage there were fans following along with their glow sticks, swaying back and forth.

At least we have Teshima Aoi’s voice to carry us along.


20158月、手嶌葵さんは、中国本土での初めてのコンサートを開催しました。集まった観客を見ながら、彼女は、最初は少し緊張しているようで、中国語で「謝謝、謝謝」と繰り返しお礼を言いました。ドレスを着た手嶌さんは、いつものように恥ずかしがり屋の自身のままで、バンドメンバーと共演しました。バンドの他の日本からの出演者は、ギタリストやキーボーディスト一人ずつでした。シンプルなアンダースコアで、「テルーの唄」のサウンドは10年前のオリジナルと何ら変わりないようでした。「ローズ」と「ラヴィアンローズ」を演奏した後、もう一つのスタジオジブリ作品「コクリコ坂から」の主題歌「さよならの夏」を披露しました。

「夕陽のなか呼んでみたらやさしいあなたに逢えるかしら。」

ステージの下では、音楽に合わせ前後に揺れるグロースティックを手にしたファンの姿がありました。

少なくとも手嶌葵さんの声のおかげで感激です。

Neocha: I heard that when Studio Ghibli approached you to do voice-over and recording for Tales from Earthsea, you declined at first. What later changed your mind to take part in the film?

Teshima Aoi: When the film’s director, Goro Miyazaki, first contacted me, I was still in high school at the time, and I wasn’t prepared to enter into a career in music. I initially wanted to wait longer before entering the music world, but Goro was very persistent, and I later realized that with his help, it would be an easier process. So in the end, I took the opportunity.


Neocha: スタジオジブリから「ゲド戦記」のボイスオーバーとレコーディングのお話しがあった際、最初はお断りしたそうですね。その後、映画に参加すると気が変わったきっかけは何ですか?

手嶌葵: 宮崎吾朗監督から連絡があった当時、私は、まだ高校生でしたので、音楽業界に入る心構えがありませんでした。最初は、音楽の世界に入る前にまだ時間が必要だと考えたのですが、宮崎監督は非常に粘り強く、その後、彼の助けを借りれば、簡単なプロセスになることに気づきました。そこで結局、その機会を活かしました。

Neocha: What does music mean to you?

Teshima Aoi: Since I was young, I have always listened to the music in movies, on the radio, and in TV shows, and I would sing along. Those were wonderful days. Even though I never thought of becoming a singer when I was growing up, I have always had a passion for singing. Later as I grew older, I found out quite luckily that others liked to hear me sing, and that gave me all the confirmation I needed to pursue singing.


Neocha: 音楽はあなたにとってどんな意味がありますか?

手嶌葵: 幼いときから、いつもラジオ、テレビ番組、映画で音楽を聴いて、一緒に歌ってきました。それは今思うと素晴らしい日でした。子どものときには、歌手になるなんて夢にも思いませんでしたが、いつも歌うことについて情熱を抱いていました。その後、成長するにつれ、非常に幸運なことに、他の人は私が歌うのを聴くのが好きだということがわかったので、歌うことを探究する決心がつきました。

Neocha: What is different about your new album Ren’dez-vous from all your previous work?

Teshima Aoi: This album has many songs about love and many songs that are about the feeling of being heartbroken. It has already been ten years since I began my music career, so I wanted to show the another more mature side of myself through this album.


Neocha: 新アルバム「Ren’dez-vous」は、ご自身の以前の作品と比べるとどう違いますか?

手嶌葵: このアルバムには、愛と失恋の気持ちについての曲が多く収録されています。音楽活動を始めて10年になりますので、このアルバムを通して自分のより成熟した側面をお見せしたいと思いました。

Websiteaoiteshima.com

 

Contributor: Taylor Shen
Photographer: Ka Xiaoxi


ウェブサイトaoiteshima.com

 

供稿人:Taylor Shen
フォトグラファー:Ka Xiaoxi

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The Origami Works of Cochae

August 11, 2015 2015年8月11日

Hailing from Okayama, Japan, the origami design duo Cochae first got their name from a centuries-old folk song “Kochae-Bushi”. The term “kochae” has multiple meanings, such as “please come here”, “this place is great” or “welcome newcomers”.


沖縄出身の2人組み折り紙デザインユニットCochae(コチャエ) は、何世紀も昔の民謡「コチャエ節」から最初にその名をとりました。「コチャエ」という言葉には、多くの意味があります。例えば、「こちらへ来てください」、「この場所は素晴らしい」、(新しく来た人に)「ようこそ」などです。

Not limited to just paper, Cochae also make origami with denim, discarded magazines, photographs and other kinds of materials. They often experiment and work with collage and illustration as well.


Cochae は、紙の他にデニム生地、廃棄された雑誌、写真やその他の素材でも折り紙を作ります。コラージュやイラストの実験をしたり、作業をしたりすることもよくあります。

The Cochae duo enjoy designing works that possess a strong Japanese aesthetic. From graphic design to product design, and even the creation of an origami app, imagination and creativity extend through their work.


Cochae の2人組みデザインユニットは、強い日本的な美意識のあるデザイン作業を楽しんでいます。グラフィックデザインからプロダクトデザイン、そして折り紙アプリの制作に至るまで、想像力と創造性は作業を通して広がります。

Website: cochae.com
Facebook~/cochaecochae

 

Contributor: Taylor Shen


ウェブサイト:cochae.com
フェイスブック:~/cochaecochae

 

投稿者:Taylor Shen

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Caster Dance Studio

August 11, 2015 2015年8月11日

Caster Dance Studio is one of the top dance studios in China. Widely respected in the Chinese hip-hop dance community, Caster has trained and hosted some of the most talented and well-known dancers in the world with their classes, workshops, and competitions.


Caster Dance Studio是国内全方面条件最优秀的舞蹈培训机构之一,具有国内最强大的舞蹈文化资讯网络,与世界专业街舞资讯和流行趋势保持同步。工作室目前所有的一线导师均曾受训于美国和欧洲各种舞蹈风格创始大师或具有代表性的国际顶尖舞者,在国内和世界舞台上获得殊荣无数。

In this video profile of Caster, some of the people behind China’s leading hip-hop and street dance studio talk about being pioneers in the dance scene for the last ten years.


Caster Dance Studio也一直不遗余力地在中国推广hip-hop文化,已经成为上海乃至中国最重要的一支舞蹈工作室了。

 

无法观看?前往优酷

Website: casterstudio.com

 

Contributor: Ross Donovan
Videographers: Jia Li, Leon Yan
Photographer: Leon Yan


网站: casterstudio.com

 

供稿人: Ross Donovan
视频摄影: Jia Li, Leon Yan
图片摄影: Leon Yan

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