Tag Archives: 设计

Bauhaus in Shanghai

Image Courtesy of Bundesarchiv / Photographer: Thomas Lehmann

Bauhaus is turning one hundred. The iconic German art school first opened its doors in 1919, in Weimar, and was shut down just fourteen years later, when the Nazis came to power in 1933. Over the course of its brief life, it became synonymous with modern design. It stripped furniture and building façades of ornamental frills, and its minimalist aesthetic set the tone for architecture around the world. By the middle of the century its imprint could be seen everywhere from Japan to Israel to Yugoslavia—though perhaps nowhere is it so visible as in the United States, where many of the artists and architects who studied and taught at the school, a number of whom were Jewish, fled in 1933.

Today, the “International Style” that Bauhaus popularized is viewed with more ambivalence: on the one hand, it gave us austere masterpieces like Mies van der Rohe’s Seagram Building in New York, and on the other, it led to the soulless corporate blocks that make so many downtowns look identical. In any event, Bauhaus’s function-first ethos still has a devoted following, in Asia as much as in Europe or the Americas. And even though a century has gone by, it may still have something to teach us today. That’s the thinking behind a recent series of workshops held in Shanghai to mark the school’s 100th anniversary.


包豪斯(Bauhaus)即将迎来 100 周年纪念。其代表性的国立包豪斯学校于 1919 年在德国魏玛创办,十四年后随着纳粹上台而被迫关闭。但尽管办学生涯短暂,包豪斯学院却给世界带来了极为重要的影响,并成为了现代设计的代名词。包豪斯主义主张减除家具和建筑外立面的装饰细节,这种简约的美学为世界各国的建筑设计奠定基调。到了上世纪中期,包豪斯风格的影响已遍及全球,从日本到以色列,再到南斯拉夫,到处都能看到它留下的痕迹。但是,受包豪斯主义影响最显著的莫过于美国,因为在 1933 年纳粹当政,在包豪斯学院学习和教学的许多艺术家和建筑师,都纷纷逃离到美国,特别是受到迫害的犹太人。

而如今,很多人对包豪斯倡导的“国际风格”保持矛盾心态:一方面,它给我们带来了像现代建筑大师密斯·凡德罗(Mies van der Rohe)在纽约设计建造的西格拉姆大厦(Seagram Building)这样简朴的杰作,但另一方面,它也催生了世界各个城市中大同小异、没有灵魂的商业大楼。

但不管怎么说,包豪斯强调实用功能性的理念,在亚、欧、美至今依然盛行。一个世纪过去了,关于它的理念,还有很多值得人们去探讨和学习的内容。为此,近来上海为纪念包豪斯学院的百年诞辰,举办了一系列活动和工作坊。

Image Courtesy of Goethe-Institut China / Photographer: Guo Bin
Image Courtesy of Goethe-Institut China / Photographer: Guo Bin

Sponsored by the Department of Culture and Education of the German Consulate General in Shanghai, the workshops were organized by Shen Qilan, a Chinese curator, educator, and writer who maintains close ties to Germany, where she completed her doctorate in philosophy. “Bauhaus is an outstanding intellectual tradition, but it’s not often talked about here,” says Shen. She organized the events with two aims. “First, to introduce people to the existence and value of the Bauhaus tradition. And second, to ask what that tradition has to do with our current moment in 2018 or 2019. Often we see things from 1919 as documents, as something from the past. Yet Bauhaus, I firmly believe, is relevant to the present.”


这一系列工作坊由德国驻上海领事馆文化教育处主办,由中国策展人、教育家及作家沈奇岚负责组织。曾留学德国的沈奇岚,在那里修完了哲学博士学位,至今还与德国保持着密切的联系。“包豪斯是一个很出色的思想传统,但是这边好像说得不太多。”沈奇岚说。关于组织这些活动的她有两个目标:“一个是让大家知道,包豪斯这个传统的存在和它的价值,第二是,这个传统它跟我们当下的 2018 年、2019 年有什么关系,因为很多时候我们去看 1919 年的东西,它就是个文献,是一个过去的东西。但我强烈感觉到,包豪斯跟我们当下还有联系。”

The workshops began in the spring, with a series of four sessions titled Bauhaus Class 1.0. “Shen Qilan invited several prominent scholars from the Chinese cultural scene,” says Oliver Hartmann, head of the Department of Culture and Education. “The first class was really successful: there were 100, 120 people sitting there drawing, working with fabrics, being creative, learning from Chinese experts about Bauhaus.” That success led them to organize Bauhaus Class 2.0, a longer set of six classes in the fall. “The first course focused on Bauhaus’s past, and the second one focused more on its legacy,” he explains. “The second course also had a practical dimension, because we did city walks: students went outside to experience and compare buildings, and they also visited our experts in their studios.” Both courses filled up quickly with people from a variety of backgrounds who shared little more than an interest in design—at least one parent even brought a child. Students who attended all four classes in the spring, or all six in the fall, and successfully completed the homework, received a certificate.


这一系列工作坊从春季开始,包豪斯课堂 1.0 (Bauhaus 1.0)包括了四个课程。领事馆文化教育处负责人郝立夫(Oliver Hartmann)说:“沈奇岚邀请了几位来自中国文化界的著名学者。第一次的课堂非常成功,来了一百多人,大家坐在一起画画,发挥创意,以面料为主题创作,向中国大师们学习有关包豪斯的知识。”

这一次课堂的成功使得他们又组织举办了包豪斯课堂 2.0(Bauhaus 2.0),在秋季开办,共包括了六节课。“包豪斯 1.0 关注的是包豪斯的过去,而 2.0 则会更关注它的传承与影响。包豪斯 2.0 也会更注重实践。我们组织了城市漫步,让学生到街上去体验和比较建筑,到工作室里与我们的专家会面。”郝立夫说。这两次开课吸引的学员都来自不同背景,甚至还有一位带孩子来听课的家长。所有学员们齐聚一堂,而他们之间仅有的共同点就是对设计的兴趣。所有参加包豪斯 1.0 或 2.0 并成功地完成作业的学员,​​都会获得一份证书。

Still, what does Bauhaus have to do with Shanghai, a city that after all is better known for its art deco treasures and its postmodern skyscrapers? As Shen explains, Bauhaus had an important, albeit indirect, influence in China. “The most profound impact it had was on architectural thought. Of course there wasn’t any direct influence, because no Chinese students studied at the Bauhaus, but its thinking was passed on,” she says.

When the Bauhaus school opened in 1919, at the start of the interwar period, German society found itself in the midst of radical economic and political upheavals. “It was a time of large-scale industrial production, and society as a whole was figuring out how to respond, in thought, in art, in culture, in design,” says Shen. Bauhaus responded with designs that prioritized efficiency above all else: from high rises to chairs, its forms are sleek and linear, reduced to their core elements. “What’s fascinating is that, at a time of momentous change, a group of particularly independent-minded people came to use their own means to address problems raised by the society and the times.” They offered an elegant visual language for a newly industrialized world.


但是,包豪斯与上海之间到底有何联系呢?毕竟在上海,更为人熟知的是这里的 Art deco 建筑和后现代风格的摩天大楼。沈奇岚解释说,包豪斯对中国是有影响的,虽然说是间接性的。“最深刻的影响就体现在建筑思想上。当然,直接影响是没有的,因为没有中国学生去包豪斯学院上过课。但是它的思想流传了下来。”她解释道。

1919 年,包豪斯学院成立时,正值两次世界大战的战间期,德国社会正经历一系列激进的经济和政治动荡。“这是一个大工业生产的时代,而整个社会在变迁的过程当中大家在考虑如何去应对,就是思想上、艺术上、文化上、设计上,其实都是在一个锻炼的状态。”沈奇岚说。对此,包豪斯的回应是一系列以效率优先的设计:从高楼到椅子,所有的外形设计均是圆滑、线性的,简约到只剩下核心要素。“这一点很刺激,当时代大变迁的时候,有这一批特别有想法的人用他们的方式去解决时代和社会给的问题。”他们为新工业化社会带来了一种优雅的视觉语言。

One hundred years later, artists and architects face a different context and a different set of challenges. For one thing, cities today are vastly bigger than they were in 1919, as Shen readily acknowledges. “Today in Asia, cities with populations in the tens of millions are normal. With tens of millions of people, how do you design housing, how do you design offices, how do you design streets? The spaces we live in are totally different.”

Yet that doesn’t mean that Bauhaus is no longer relevant. “We can’t use products designed by the Bauhaus to meet our current needs,” Shen explains, “but the school’s thought, its belief in responding to the needs of the times—that’s something we can use in the present.” 


100 年后, 艺术家和建筑师面临着不同的背景和挑战。首先,今天的城市比 1919 年规模要大得多,在新时代更需要我们在建筑和城市化方面提出新的解决方案,这点沈奇岚乐于承认。“现在在亚洲,几千万人口很正常,但是如果几千万人的话,住宅该怎么设计?办公室怎么设计、街道怎么设计呢?我们的生活空间,已经跟原来完全不一样了。”

然而这并不意味着和包豪斯也不再相关了。沈奇岚说:“我们不能用包豪斯设计的产品,去解决我们当下的需要。但是它的思维,它的那种‘面对时代要求去回应’的这个理念,是可以用在我们现在的。”

Both courses, Bauhaus Class 1.0 and 2.0, used the philosophy of this design tradition to look at the urban environments. One class, led by Bu Bing, turned students’ attention to the street just outside the cultural center, Middle Shandong Road. Students spent time watching the street, sought to understand it, and then invented their own symbolic system to respond to it. “You first observe the street, then you condense it to a symbol. You can capture this symbol in a photo, you can respond through dance, you can draw a map.” For students and teachers alike, this requires looking at a familiar environment with fresh eyes. “You have to look at the street again, this short stretch of road that’s only 400 meters long. We found that not one person had ever looked at it so closely.”


包豪斯课堂 1.0 和 2.0 这两个系列的课程,遵循这一设计传统的理念,审视着当代城市环境。其中一节课,由建筑家卜冰老师带领学生,将注意力投向了山东中路文化中心外面的街道。学生们通过观察街道、理解街道,然后创作出自己的象征系统。“你需要先观察街道,然后把它浓缩成一个符号。你可以在照片捕捉这个符号,也可以通过舞蹈、画地图来作出你的回应。”无论是对学生或是导师,这都需要你以全新的目光在熟悉的环境里搜索。“你必须到街上再看看,这 400 米长的短短的街道。但我们发现,没有一个人曾那么密切地观察过它。”

Image Courtesy of Goethe-Institut China / Photographer: Guo Bin
Image Courtesy of Goethe-Institut China / Photographer: Guo Bin

The Bauhaus workshops are part of a varied array of courses, exhibitions, film series, talks, and other events that the German consulate puts on in Shanghai. Shen sees these as an important platform for cultural exchange, where people can learn not just about a particular topic but about different modes of thought. “Germany has a very important tradition of kritisch zu sein, that is, being critical. If you say something, I won’t just agree with it—I’ll analyze it and maybe say that 70% I agree with, 30% I doubt,” she says. “They really respect intellectuals.” Both Hartmann and Shen stress the importance of making sure these exchange go both ways, so that people in the West can learn about China.


“包豪斯课堂”隶属德国驻上海总领事馆在上海举办的一系列课程、展览、电影、讲座等活动。在沈奇岚看来,这些活动是文化交流的重要平台,人们不仅可以从中学习像包豪斯这样特定的主题,同时能了解不同的思维模式。“德国有一个很重要的传统,这个德语叫‘kritisch zu sein’,就是说保持评价审慎的态度。如果你说了什么,我不会仅仅只是表达同意——我会分析一下,可能 70% 我会接受,30% 我要怀疑。他们很尊重知识分子。”她说。她和郝立夫同时强调要确保这些交流是双向的,让来自西方国家的人们也可以从中了解中国。

Shanghai is a few months ahead of the curve in celebrating the Bauhaus centenary. In 2019 events will take place around the world to commemorate the school, most notably a series of exhibitions called Bauhaus Imaginista. Shen is excited for so many people to learn about this tradition, whose life was a short as it was transformative. “Everyone can experience the power of art to change your life,” she notes. “That’s part of Bauhaus.”


上海其实是提前了几个月来庆祝包豪斯的百年诞辰。2019 年,全球将会举办一系列的活动来纪念这座著名的德国设计学院,其中最引人注目的是名为“Bauhaus Imaginista”的系列展览。沈奇岚很高兴能让这么多的人了解到包豪斯。包豪斯的生命很短,但它是一场巨大的变革。“大家会发现艺术它具有改变生活的力量。”她说,“而这就是包豪斯的一部分。”

Website: goethe.de/shanghai
WeChat: AKuB_Shanghai

 

Contributor: Allen Young
Photographer: David Yen
Additional Images Courtesy of Goethe-Institut China


网站: goethe.de/shanghai
微信: AKuB_Shanghai

 

供稿人: Allen Young
摄影师: David Yen
附加图片由 德国驻上海领事馆文化教育处 提供

Face Value

You're in my pictures.

These days it seems interactions with others are always mediated by the screen of some device. In our hectic lives, talking in person has become a luxury. Gone are the days of friendly banter and shooting the breeze, replaced by the tip-tap of our on-screen keyboards. But what if we could set our phones aside for a moment, look each other in the eyes, and spend more time speaking face to face?

To hold onto the important people in our lives, perhaps we need to do more than keep them in mind. Why not keep them in art? Shanghai-based designer Hema’s independent accessory brand Face to Face creates wearable pins with an individual likeness, letting you hold the memory of others close to your heart (in a literal sense). The cute, pastel-colored pins are created with a mix of unconventional materials, such as steel wires, pieces of metal, and even cereal grains, and finished with a transparent layer of resin. All of her pins are unique—one-of-a-kind, just like real people. “When I think of the people in my life, each one has their own distinctive traits,” she says. “So I wanted to record their faces in the form of pins.”


曾几何时,人与人的交流之间总是隔着一层荧幕,近在咫尺的陪伴渐渐变成我们紧凑生活中的一种奢侈,寒暄和话语也总是被键盘上的反覆敲字取代。如果,我们可以暂时放下手机,看一看彼此的脸,多一点面对面的时光——

为了把身边重要的人的脸庞好好记下,不只记在脑海,也要记录在创作里。现居上海的设计师河马(Hema)自创品牌 Face to Face ,主要的作品脸谱胸针收录了形形色色的人们的脸。扑上温柔的色彩,造以浑圆的形状,并结合多种异想天开的材质拼接,钢丝、金属、甚至是谷物,压印在通透的树脂里。每一个胸针就像我们所遇见的每一个人一样,都是仅此唯一的存在。“我想起身边的人们,每个人都很有自己的特点,于是想把他们的脸通过胸针的形式记录下来。”

I'm a Photographer
I'm a Storyteller

“At first I just wanted to make fun faces, so I made the pins. But ultimately, they’re static,” Hema says. “I also like things that are goofy and dynamic. I firmly believe movement brings vitality, so I began wondering if there was a way to make the pins more lively, have them tell a story.”

This desire led to her first animated works. The series Exhibition, based on her Face to Face pins, is inspired by childhood memories of her mother and others.


“我一开始只是研究怎么做有趣的脸,所以有了脸谱胸针,但它们毕竟是静态的。我也喜欢搞怪和动态的东西,坚信运动会带来生命力,所以想说是不是可以让胸针更生动一点,传递一些故事?”

于是就衍生出更多具有故事感的动态图像作品。以下是河马以胸针为主要创作素材,发想的动图系列《看展》,灵感来自小时候有关母亲的回忆。

 

 

First time seeing an outdoor film 第一次看户外电影
First visit to a museum 第一次去美术馆
You told me about the Loch Ness Monster 你给我讲尼斯湖水怪的故事
First time taking me to see grown-ups at work 第一次带我去观察大人上班
First time following a pop star 第一次追星
Seeing a magic show together 一起看魔术表演
First time exploring the outdoors 第一次野外探险
First time at the firefly park 第一次去萤火虫公园

In her Forest series, the familiar faces of her pins have become fully developed characters with their own backstories. As they wander through a forest of the artist’s imagination, they pass by each other and encounter each other again. The series is inspired by Japanese novelist Haruki Murakami’s Norwegian Wood, with each image directly based on quotes from the book itself.

Through all these works, Hema wants to help us hold onto the beautiful, one-of-a-kind faces around us.


在另一系列《森林》里,脸谱都化身为人,在一个不存在于现实的森林里来来去去,彼此错过、再相遇。这是河马以她最喜欢的日本作家村上春树的作品《挪威的森林》作为启发,依据书中名言所创作的动图。

通过这些创作,希望让大家都能好好记得我们身边那些美丽、而独一无二的脸庞。

 

What makes us most normal is knowing that we're not normal. 我们的正常之处,就在于自己懂得自己的不正常
It is wonderful for two people to love each other, don't you think? 人与人可以爱得那么深,实在美妙
How great? Great enough to knock down all the trees in all the forests of the world. 如何好法?好得像全世界森林里的树通通倒到地上
I want you always to remember me. Will you remember that I existed, and that I stood next to you here like this? 希望你可以记住我,记住我这样活过,这样在你身边呆过
We were like kids who grew up naked on a desert island. If we got hungry, we'd just pick a banana; if we got lonely, we'd go to sleep in each other's arms. 我俩就像在无人岛长大的光屁股孩子,肚子饿了就吃香蕉,寂寞了就相拥而眠
Nobody likes being alone that much. I don't go out of my way to make friends, that's all. It just leads to disappointment. 哪里有人喜欢孤独,只不过不乱交朋友罢了,那样只能落得失望

Weibo~/FacetoFace
WeChat: faceworkshop

 

Contributor: Yang Yixuan


微博: ~/FacetoFace
微信公众号: faceworkshop

 

供稿人: Yang Yixuan

Geometric Thinking with Liam Lee

In celebration of Chinese New Year, Beijing-based graphic designer Liam Lee recently released a poster comprised of the Chinese characters fu (福), lu (禄), shou (寿), and xi (禧). The significance of these four characters comes from their appearance on spring couplets and their widespread usage as an auspicious greeting for family and friends during New Year celebrations. Lee deconstructs the familiar blessing into individual characters and restructures them into separate phrases to expand on their meaning. Fu, forms fu hai (福海), which means a world of happiness; shou forms the phrase shou shan (寿山), which is a blessing for longevity; xi forms xi qi (喜气), which means jubilant delight; and lu forms the phrase feng lu (丰禄), which wishes for good fortune and wealth. As a call out to his own Mongolian ancestry, Lee also included a Mongolian translation alongside each Chinese phrase.


这一组汉字设计海报,来自蒙古族的图形设计师李岩松(Liam Lee),图中呈现的是“福、禄、寿、禧”四个汉字,寓意着对美好生活的期盼和祝福,而李岩松从新的角度出发,使用新的设计技法,做了一次不同的尝试——将 4 个单字组词为“福海、寿山、喜气、丰禄”,同时加入了蒙古文字释义。这种独特的平面构成 + 数学几何造字的方法,是李岩松步入设计之途的十余年里逐渐形成的个人风格。

Being a veteran designer who’s worked in graphic design for over a decade, this latest project is an impressive showcase of how his unique compositional style and eye for geometry has developed over the years. While graphic design is his bread and butter nowadays, prior to his official foray into the field, he worked alongside Yue Xin in 2001, a trailblazer in the world of Chinese type design. “I was also exposed to the works of Nod Young around that time, so it’s safe to say these two have greatly influenced all of my design work, and for that, I’m immensely grateful to both of them,” he says with a warm smile. “Even though many of my designs are heavily influenced by calligraphy, I actually don’t come from a background in the discipline. I’m first and foremost a graphic designer, but I enjoy and feel inspired by calligraphy of all forms. When I work, I often find myself referencing the stroke order, pen movements, and composition of old Chinese calligraphy.”


对汉字图形设计的热衷,源于 2001 年,李岩松当时与设计前辈岳昕老师共事,正式接触了字体,“之后(我)偶然看到前辈 Nod Young  闹老师的设计作品,受到很大启发,借此向两位老师致敬。”李岩松笑说,“虽然作品常以‘字形’示人,但我不是一个字体设计师,而是个图形设计师。我也没有专门练过书法。只要是写得好看的书法,我都喜欢。我创作的时候会参考书法的运笔、连笔、动势、构图。”

As the result of his diverse influences and an ongoing passion for a wide variety of calligraphy, Lee’s designs rarely stick to one uniform aesthetic. He unabashedly extracts concepts and techniques from graphic design and wields them as building blocks for his calligraphy-inspired works. “I especially like to design in grids – any shape or density,” Lee explains of his methods. “I work and think in geometric shapes but I like to try and conceal specific patterns in my end design. I like to keep it interesting by experimenting and seeing what I can come up with.”


因此,李岩松的设计并不仅仅拘泥于同一种格式,此后也一直在尝试用平面构成的技法结构汉字,将汉字视作若干几何图形单元像积木一样拼插组合。“我特别喜欢在网格里做设计,各种形状的网格,我可以把网格做的非常密集,我觉得在网格里用一种几何化的规律做设计然后再将规律隐藏起来,这是一件非常有趣的事。”

Behance: ~/LiamSoso

 

Contributor: Chen Yuan


Behance: ~/LiamSoso

 

供稿人: Chen Yuan

Everyday Abstractions

Andhika Ramadhian is a 21-year-old Indonesian graphic designer and photographer who’s best known for his stunning minimalist images. Inspired by architecture and the works of other minimalist photographers, Ramaddhian began capturing scenes from his daily life with his iPhone and DSLR camera. Using Photoshop, he masterfully renders a layer of magical surrealism onto his mundane snapshots. With his keen understanding of color and geometric harmony, he’s able to transform the ordinary into the extraordinary. In his own words, “I create another world which is completely abstracted from the reality of my imagination.”


Andhika Ramadhian,一位21岁的来自印度尼西亚平面设计师和摄影师,他用镜头创作了惊人的极简主义图片。受到建筑设计和其他极简派摄影师的启发后,Andhika 就着手用他的 iPhone DSLR 相机捕捉日常生活中的场景。为了实现超现实的图像质量,Ramadhian的后期处理方法需要用 Photoshop 进行大量的编辑。凭借着对色彩和几何和谐的敏锐理解,Andhika 创造出神奇的瞬间,将平凡变成非凡。用他自己的话说,我创造了另一个完全脱离了我想象的现实的世界。

Instagram: @andhikaramadhian

 

Contributor: George Zhi Zhao


Instagram: @andhikaramadhian

 

供稿人: George Zhi Zhao

The Eye of Binhai

 

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Tianjin Binhai Library is a futuristic space that was recently unveiled in October of 2017. Designed by Dutch architects MVRDV in collaboration with the Tianjin Urban Planning and Design Institute, the library is part of a greater plan to launch a cultural district in Tianjin.


2017 年 10 月,天津滨海图书馆正式开幕。该图书馆由荷兰 MVRDV 建筑设计事务所与天津市城市规划设计研究院合作设计,并作为天津滨海建成文化中心的一部分。

The highlight of the library is the auditorium. Boasting a spherical centerpiece that looks like an iris within the oval-shaped opening, the atrium has been nicknamed “The Eye.” Inside the atrium, terraced bookshelves run from floor to ceiling, rippling across the ceiling as if following the contour of the luminous orb.


整个图书馆的最精彩的部分是中庭的发光球形报告厅。这中庭有一个球形的中心,看起来像一个椭圆形的虹膜,因此又被命名为“眼睛(The Eye)”。再往里走,成排的书架从地板开始堆叠,既作为阶梯、座椅,且一直延伸到天花板,仿佛描绘出了中间发光球的轮廓。

The actual library is impressive in its own way. While less visually striking than the atrium, the building contains five levels and an area of 33,700 square meters with enough space to house a collection of 1.2 million books. The first and second floors contain reading rooms, books, and lounge areas, while the upper levels contain meeting rooms, offices, computer and audio rooms, as well as two rooftop patios.


而整座图书馆也独具自己的特色。虽不及中庭发光球的视觉震撼,但图书馆总面积达 33,700 平方米,足足有 5 层,设计藏书总量达 120 万册。一楼和二楼设有阅览室、藏书区和休息区,上层则设有会议室、办公室、电脑和音响室以及两个屋顶露台。

From initial design to opening, the library took only three years to complete, making it MVRDV’s fastest completed project to date. It’s a breathtaking achievement of design that’s quickly establishing a reputation as a must-see landmark for those visiting Tianjin.


由于施工周期比较紧张,图书馆从最初的设计到最终落成只花了三年的时间,成为 MVRDV 迄今为止进度最快的项目。这可谓是一个惊人的设计成就,并已成为天津必去的标志性地标。

Address:
347 Xu Sheng Road
Binhai New District, Tianjin
People’s Republic of China

Hours:
Tuesday ~ Sunday 10:00 ~ 18:00
Monday 14:00 ~ 18:00

 

Websitemvrdv.nl
Facebook: ~/MVRDVRotterdam
Weibo~/mvrdv

 

Contributor & Videographer: George Zhi Zhao
Images Courtesy of MVRDV


地址:
中国
天津市滨海新区
旭升路347号

开放时间:
周二至周日 10:00 ~ 21:00
周一 14:00 22:00

 

网站mvrdv.nl
脸书: ~/MVRDVRotterdam
微博
: ~/mvrdv

 

供稿人与视频摄影师: George Zhi Zhao
图片由 MVRDV 提供

Blue & White Porcelain

Shann Larsson is a Hong Kong-based mixed media artist of Eurasian descent. Having been raised in Germany, Sweden, Indonesia, and Hong Kong, Larsson’s creative process has been deeply influenced by her exposure to these different cultures. Her latest project, Blue & White Porcelain, is a playing card deck that reflects the influences of her mixed cultural background. While the front-facing graphics and coloration are based on 14th-century Chinese ceramics, the card backs are influenced by modern Scandinavian porcelain, which tends to incorporate abstract and geometric characteristics. Building on the Chinese influences, the graphical elements on the rest of the cards, aside from the aces, are all based on the 12 animals of the Chinese zodiac.


Shann Larsson是一位现居香港的多媒体艺术家。身为一名欧亚混血,她成长于德国、瑞典、印尼和香港这四个地方,而这样的成长背景也深深影响到了她的作品创作。这在她近期的一件产品设计作品《Blue & White Porcelain》亦能体现出来。在扑克牌的牌面设计上,Shann以中国明朝时期青花瓷的纹样和颜色作为灵感,而牌背则借鉴了另外一种较为现代的瓷器——产于斯堪的纳维亚、独特风格的瓷器,其中包含了抽象元素和几何特征。在图案设计中,Shann还融入了中国的十二生肖,来展现牌面的大小等级。

In the printing process, Larsson used a Spot UV varnish on individual cards and the packaging, which gave it a special coating that augmented the colors of her watercolor paintings; the glossy surface is also a reference to the lustrous qualities of real ceramics. Understanding that design is a balancing act, Larsson finalized the project with the use of the simple, minimal Novecento font, which complemented her complex graphical designs.


在制作产品时,Shann选用了一种叫做局部UV的印刷方式,赋予卡片和卡盒一种微妙的光泽感,这样光滑的触感也正呼应了产品的瓷器主题。为了视觉上的均衡,Shann选用了简洁的字体Novecento,这种干净极简的字体正好中和了牌面上精细又复杂的设计图案。

Blue & White Porcelain recently won a Junior Award at the Red Dot Award: Communication Design event and it’s now available in the Neocha Shop.


《Blue & White Porcelain》还是2017红点奖:传达设计部分的得奖作品!现正于Neocha商店限量发售。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


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Sharon Larsson的《Blue & White Porcelain》

¥90

立刻购买

Website: shannlarsson.com
Facebook: ~/shannlarssonsart
Behance~/shannlarsson 
Instagram@shannlarssondesign

 

ContributorYe Zi
Images Courtesy of Shann Larsson


网站shannlarsson.com
脸书:~/shannlarssonsart
Behance: ~/shannlarsson 
Instagram@shannlarssondesign

 

供稿人: Ye Zi
图片由Shann Larsson提供

Saigon Emoji

Emojis have become an indispensable part of modern communication, allowing people to easily convey their feelings and thoughts at the mere click of a button. In 2015, to the surprise of many, the “Face with Tears of Joy” emoji was even selected as Oxford Dictionaries Word of the Year. Seeing this, Saigon-based designer Maxk Nguyn had an idea: “Why don’t I mix those tech icons with symbols of daily life in Saigon?” This light bulb moment culminated into the Saigon Emoji project. From streetside fruit vendor selling baskets of Instagram likes and Facebook Reactions to old mailboxes with unread notifications and a street cleaner sweeping away the past hour’s internet browsing history, Nguyễn’s fun series embeds these familiar digital symbols and emojis with photos of Saigon locals as a way of presenting the city and its stories through a universal language.


近年来,Emoji表情符号成为了现代人沟通过程中一个不可缺少的元素,一些无法用语言表达的想法或情感却可以用一个emoji符号轻松传递。emoji的喜极而泣符号更是在2015年的时候破天荒地成为了英国牛津字典的年度风云词汇。听到这则新闻,来自越南西贡 (胡志明市)的设计师 Maxk Nguyễn冒出了一个想法:当这种简单的数位图画影像和西贡的生活景象结合在一起,结果会是怎样? 《Saigon Emoji》就此诞生。坐在路边贩售水果的越南阿姨,果篮里装满的却是爱心和点赞符号;老房子的旧式信箱右上角冒出红色的未读邮件数字;清道夫的扫把下是上一小时的网络浏览记录。Nguyễn将这些数位符号带入西贡人的日常生活中,用emoji这个无国界之分的语言,讲着他家乡的故事。

Instagram@maxknguyen
Behance~/maxknguyen
Facebook: ~/Maxknguyen91

 

Contributor: Ye Zi


Instagram@maxknguyen
Behance~/maxknguyen
脸书~/maxknguyen91

 

供稿人: Ye Zi

Conversation

Sunkyung Kim and Wonjun Jeong are the creative duos behind the South Korea-based art collective Sailors Studio. Their newest photography series, Conversation, features delicately distorted portraits that are projected across a fleeting cloth, tossed into twilight landscapes. The duo began experimenting with this fluid portrayal of the human face in their earlier photo series, Floating Life, where the cloth acted as “a screen to absorb a variety of images which tell the story of life and death”.


Sunkyung KimWonjun Jeong 是韩国艺术工作室Sailors Studio的两名艺术家。他们的最新摄影系列《对话》(Conversation),将精美的人像投射于飘逸的布料上,映衬暮色的风景背景。在早期的摄影系列《浮动生活》(Floating Life)中,他们第一次尝试创作这种充满液态动感的人像作品,用布料“作为屏幕,展现一系列影像,讲述有关生命和死亡的故事”。

From the Floating Life series
From the Floating Life series
From the Floating Life series

Whilst their previous photo series explored the themes of life and death, Conversation focuses solely on the former and delves into the topic of self-discovery. The work was originally inspired by French philosopher Emmanuel Levinas’ conception of responsibility, which states that being human meant that one is responsible for someone other than oneself, known as “the Other.” The cloth that is tossed into the air depicts one’s relationship with the Other, with each moment captured symbolizing a conversation. Through these portraits, “one finds one’s essence through the Other.” See the complete series below.


尽管他们以前的摄影作品探讨了生与死的主题,而这一次在《对话》中,他们只关注前者,深入探讨自我发现的主题。深受法国哲学家伊曼纽尔·莱维纳斯(Emmanuel Levinas)的责任观的启发,其中指出,作为人类,对他人的责任是与对自己的责任所不同的,这一点可以被称为“对方”。通过捕捉交谈中的每一个瞬间的特征,所完成的肖像告诉我们,“我们可以通过对方发现自我的本质”。下面一起来欣赏一下这一系列的作品吧。

Behancesailors-studio
Instagram@zza_sam

 

Contributor: Whitney Ng


Behancesailors-studio
Instagram@zza_sam

 

供稿人: Whitney Ng

Designing Happiness

Since arriving in Tokyo, Duncan Shotton has set about bestowing happiness around the world, one little hand-painted push pin at a time. Five years ago, in 2012, Shotton set up his own design studio in Japan. Since then, many aspects of his adopted home have served as inspiration. From holding his first pop-up shop in a tree within Tokyo’s Harajuku district to rethinking the humble soy sauce dish, Shotton has the ability to turn the everyday into the extraordinary.


2012年来到东京之后,英国设计师Duncan Shotton一直通过自己对平常生活的小用品的创意设计(譬如手绘小图钉),在世界各地传播快乐的精神。五年前,Shotton在日本成立设计工作室,日本的许多方面启发了他的创意灵感。不论是他在东京原宿区一棵树上开设的第一家概念性快闪店(pop-up shop),或是他对酱油碟的重新演绎,Shotton一直着眼于将平凡的小用品变得不平凡。

Tobiishi

In Japan, it’s considered rude to wear shoes indoors. This custom is so deeply embedded into Japanese culture that many apartments come with a built-in sunken porch at the entrance. Shotton was inspired by stepping stones that he saw in Kyoto and designed Tobiishi as a clean space that serves as a stable treading spot for people greeting guests or accepting deliveries.


Tobiishi

在日本,在室内穿鞋都是不礼貌的。这种习俗在日本文化中影响很深,以至于许多公寓在入口处都会设有一个“ 凹陷式门廊”。Shotton以自己在京都看到的垫脚石 为灵感,设计出Tobiishi,为人们在门口迎接客人或签收包裹时提供一个干净、稳固的踩点。

Soy Shape

Noticing that the natural color of soy sauce takes on a gradient form when poured into a shallow dish, Shotton designed these delightful dipping sauce dishes to give off the illusion of 3D shapes, giving an extra “dimension” to every sushi eating experience.


Soy Shape

Shotton注意到,将酱油倒入较浅的碟子时,其颜色会出现自然渐变的效果,于是,他设计了有趣的酱油碟,营造出3D形状的幻觉,让你在每一次吃寿司时都能享受到额外“维度”的体验。

Sticky Page Markers

This stationary series allows every bibliophile to build adorable landscapes from their favorite pages. From the iconic junk boats of Hong Kong sailing around the harbor to the infamous Godzilla monster terrorizing downtown, these page markers are sure to be a favorite amongst bookworms.


Sticky Page Markers

这个文具系列让每个爱书之人在标签自己最喜欢的书页时,同时创造出可爱的风景。书签图案各式各样,包括香港标志性的传统垃圾船以及入侵东京的哥斯拉,这些书签贴纸肯定会深受书虫的喜爱

Shotton continues to work from Tokyo, collaborating with Japanese companies and sticking to a small production scale to maintain a high level of quality. His latest project, Planet Pins and the Moon – which is comprised of a hand-painted solar system and complete with a hand-casted concrete moon push pin – is now available for pre-order.


Shotton目前仍在东京生活,他与日本企业合作,坚持小规模的产量,以保证最佳质量。他最新的作品Planet Pins and the Moon是一组太阳系行星主题的手绘图钉,以及一颗用纯手作的混凝土月球图钉,现在已经开放预订。

Website: dshott.co.uk
Facebook: ~/DuncanShottonDesignStudio
Instagram: @_dshott

 

Contributor: Whitney Ng


网站: dshott.co.uk
脸书: ~/DuncanShottonDesignStudio
Instagram: @_dshott

 

供稿人: Whitney Ng

Polluted Water Popsicles

 

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Polluted Water Popsicles is an award-winning project made to raise awareness about water pollution in Taiwan. Created by National Taiwan University of Arts students Hong Yichen, Guo Yihui, and Zheng Yudi as their graduation thesis, the project sourced polluted water from 100 different sources across Taiwan to create colorful, frozen popsicles. Afterwards, polyester resin models of the popsicles were molded and individually packaged to create the final series of works, which were shown as a gallery exhibition. The 100 different packaging designs identified the specific locations that water was sourced from to create each individual popsicle.


获奖作品《100%纯污水制冰所》(Polluted Water Popsicles)是国立台湾艺术大学学生洪亦辰、郭怡慧、郑毓迪共同完成的毕业作品,旨在提高人们对台湾水污染问题的关注。他们跑遍台湾100多个污染水源地采集污水,创造出丰富多彩的冰棒。然后,将冰棒制成聚酯树脂模型,经过单独包装后成为最后的作品,以画展形式展示。100种不同的包装设计分别代表着每支污水冰棒的污水来源地。

Over the course of the year-long project, the team sampled water from rivers, ports, drainage ditches, and sewers all across Taiwan. According to Hong Yichen, “In the beginning, we didn’t have the proper equipment. We would just go and sample water from these smelly places. It was pretty difficult. The kind of pollution we came across the most was plastic waste, such as bottles, plastic packaging from straws, and so on. The colors in the water samples come from industrial waste and dye pollution.” The Polluted Water Popsicles project has recently gone viral not only in Taiwan but globally, serving as a leading example of how design can help raise awareness on environmental issues. 


在一年的时间内,他们跑遍台湾各地,从河流、港口、排水沟、地下水道采集污水。洪亦辰介绍:“一开始,我们并没有相应的设备,我们只是去到这些地方,然后就直接采集污水,这个过程并不容易。我们最常见到的污染物是塑料废物,譬如瓶子、塑料包装、吸管等等。而污水的颜色主要来自于工业废弃物和颜料污染。“《100%纯污水制冰所》不仅在台湾走红,并在全球范围内被广泛传播,成为引人注目的设计案例,引发人们对环境问题的深省。

Facebook: ~/PollutedWaterPopsicles

 

Contributor: George Zhi Zhao


脸书: ~/PollutedWaterPopsicles

 

供稿人: George Zhi Zhao