Tag Archives: architecture

Mist Encounter

 

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In the outdoor plaza in front of Taipei Fine Arts Museum, a structure of scaffolding and mesh beckons passersby within the folds of its flowing fabric and swirling mist. Mist Encounter is an installation project designed by Serendipity Studio and Kuan-Wei Chen Architects, created with the goal of showing people how invisible air currents constantly interact with our bodies and movements.

Using a water mist system, the installation gives unseen airflow visible shape. As the mist drifts through and around the draped textiles, unrestricted by the boundaries of the square aluminum frame, it’s difficult to discern where the installation ends and begins. The free-flowing mist continuously takes on new forms – transforming based on the sun’s position and the wind’s intensity – to create different experiences for visitors throughout the day.

Mist Encounter is one of the many inspiring participants that blur the line between art and design in the 2018 Golden Pin Design Award. This year’s call for entries will end on June 28 at 5 pm (GMT+8). Visit the Golden Pin Design Award website for more details.


在台北市立美术馆门前的广场上,一个由鹰架和白色织网搭建的临时建筑装置吸引着路人踏入其飘逸的织网与薄雾旋流中。《供雾所》(Mist Encounter)是由偶然设计(Serendipity Studio)与陈冠玮建筑师事务所共同打造的一个装置项目,希望令观众意识到平时隐形的空气是如何与我们的身体和动作互动的。

通过使用水雾系统,将人们周围原本看不见的空气流动变得可见。薄雾在悬垂的织网周围浮动,不受方形铝框架边界的限制,令人难于辨别起点与终点。设计师将台北的天气情况纳入考虑,让自由流动的薄雾与太阳的位置和风的强度相互作用,让观众在一天中不同的时间能有不同的体验。

《供雾所》是 2018金点设计奖参赛作品之一,和许多精彩的参赛作品一样,它模糊了艺术与设计的界线。今年大奖报名时间将于 6 月 28 日(GMT+8)下午 5 点截止。浏览金点设计奖官网,了解更多详情。

Websites:
serendipitystudio.design
kwchenatelier.com

Facebook: ~/MistEncounter

 

Contributor: David Yen
Images Courtesy of Serendipity Studio & Ethan Lee


网站:
serendipitystudio.design
kwchenatelier.com

脸书: ~/MistEncounter

 

供稿人: David Yen
图片由偶然设计
 Ethan Lee 提供

Danchi Dreams

Toshima Gochome Danchi across Sumida River

DANCHI: Dreams of Modernity is a project by Tokyo-based photographer Cody Ellingham that captures the decline of Tokyo’s ultramodern dreams through its decaying apartment complexes. For the project, Ellingham explored over 40 Japanese public housing blocks, which are known as danchi.


DANCHI: Dreams of Modernity》(团地:现代化的梦想)是东京摄影师 Cody Ellingham 所创作的摄影项目,旨在通过东京市内荒废的公寓大楼,呈现这座城市超现代化梦想的衰落。Cody 探访了大约40个被日本人称为“danchi”(团地)的公共住房大楼。

Kawaramachi Danchi
Toshima Gochome Danchi across Sumida River
Kawaramachi Danchi

Danchi are often built in clusters of up to 70 buildings, with identical exteriors for individual apartments. They began being built in Japan in the 1950s to replace the wooden buildings that were destroyed during World War II. At the time, danchi represented the country’s post-war aspirations and its path towards a new modernity. The vast apartment blocks, often built on the suburban outskirts of the city, were meant to satisfy the booming housing demand of Japan’s rapidly urbanizing population. In 1960, the Hibarigaoka Danchi had even attracted a visit from the Japanese Crown Prince, but fast forward to today, the once-dignified housing complex is now being used as a car park.


“Danchi”通常是由多达70座公寓楼组成的密集建筑群,每一间的公寓楼都有着一模一样的外观。从20世纪50年代开始,日本开始建造 danchi,以取代二战期间被摧毁的木制建筑。当时,danchi 代表着日本的战后愿望及其走向新现代的道路。大片的 danchi 公寓楼群通常建在郊区,用来应对日本因为城市化迅速发展的人口膨胀带来的住房需求。1960年,曾经代表中产阶级地位的云雀丘团地(Hibarigaoka Danchi)甚至吸引了日本王储的访问,但这幢建筑如今已经被改造成停车场使用。

Hibarigaoka Danchi
Shibazono Danchi
Takashimadaira Danchi

As fewer and fewer Japanese choose to live in them, many danchi have fallen into decay. The ones that remain are now mostly inhabited by immigrants and the elderly. According to Ellingham, many of the surviving danchi are viewed by the public as being archaic and pointless – they are often not up to date with earthquake and fire safety standards, and many are not serviced by elevators.


从20世纪60年代以来,danchi 逐渐老化,其中一些甚至沦为荒废之地。今天,越来越少日本人愿意住在 danchi,现在居住在里面的大多都是移民和老人。Cody 表示,在人们眼中,danchi大都是一些过时的建筑,它们通常都不能符合现代地震和消防安全标准,许多甚至都没有装电梯。

Shirahige Danchi
Nakanoshima Tamagawa Danchi
Hiro Gochome Apartment

Ellingham tells us his thoughts about the project and how it began: “The exhibition was inspired by places. It started as an interest in form, but it’s evolved into an interest in why. It’s to understand the way a place can influence lives. In a way it’s quite Kafka-esque – you have the same life as the person next door to you.”


Cody 跟我们分享了他对这个项目的想法以及创作的初衷:“整个展览是以地点为启发的。一开始,我只是出于对形式的兴趣,但慢慢演变成对‘为什么’感兴趣,即地点是如何影响生活的。在某种程度上,这是非常卡夫卡式的——你和你隔壁的人有着同样的生活。”

Toei Hongo Itchome Apartment
Suwa Danchi
Hirao Danchi

Ellingham’s project is an attempt to record a part of Japanese history that will slowly fade away in time, as the danchi are destined to be demolished for newer residential buildings. Despite the melancholic mood conveyed in his photographs, Ellingham sees hope and beauty in the danchi that remain: “There’s a certain kind of nostalgia in these places. The look of it is cold concrete, but inside, you find playgrounds, mural art, community facilities, glimmers of hope, and thei original dream: tomorrow will be better than yesterday.”


Cody 试图通过这个摄影项目,记录日本的一部分历史。随着 Danchi 被逐渐拆除,新的住宅建筑取而代之,这些历史将会随着时间的推移而逐渐消失。尽管他的照片中透露着忧郁的情绪,但 Cody 依然在 danchi 中找到了希望与美丽:“这些地方有着某种怀旧之情。它的外观是冰冷的混凝土,但在内心深处,你会发现一丝希望,运动场、壁画艺术、社区设施,以及最初的梦想——明天会更好。”

Takashima Daira Danchi
Kawaramachi Danchi
Takashimadaira Danchi

DANCHI: Dreams of Modernity will be exhibited on May 12th, 2018. The exhibition will be held in Tokyo’s Koto District. To find out more about the event, click here.


《DANCHI: Dreams of Modernity》摄影展览将于东京江东区 2018年5月12日开幕。了解更多,请点击此处

Shibazono Danchi
Kamakota Apartment
Aoyama Kitamachi Danchi
Shibazono Danchi
Aoyama Kitamachi Danchi
Takashimadaira Danchi
Hirao Danchi
Hiroo Apartment
Mori Danchi
Takashima Daira Danchi

Website: danchi-dreams.com
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao


网站: danchi-dreams.com
Instagram: @cbje_tokyo

 

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

Black & White Tokyo

Veteran Japanese photographer Junichi Hakoyama is best known for his minimalist black-and-white stills that he captures on the streets of Tokyo. Armed with his Leica M Monochrom, Hakoyama creates alluring images with bold lines and high contrasts through his effective use of light and shadow. The result is a beautifully understated monochromatic series that he has simply titled Tokyo. Every shot carries a soothing balance of proportion and geometric structure, which transforms a simple subject in a common setting into a moment full of purpose. See more of his work below.


日本资深摄影师Junichi Hakoyama凭借在东京街头捕捉的简约黑白摄影作品而闻名。通过他的Leica M Monochrom 相机,他用大胆的线条和高对比度的光影组合呈现了一系列出色的影像作品。他将这个精美而低调的黑白摄影作品系列简洁地命名为《东京》(Tokyo)。每一张照片的比例和几何结构都有一种令人看上去很舒服的平衡,将人们常见的环境和普通的人物定格为一个充满目的性的时刻。一起来欣赏一下他的作品吧。

Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama

 

Contributor: Whitney Ng


Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama

 

供稿人: Whitney Ng

Uncoloring North Korea

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

 

23 Temple Street

Hong Kong’s Temple Street is without a doubt one of the most iconic locations in Kowloon, known for being home to one of the busiest night markets in the territory. Using Google Street View, South Australian artist Joshua Smith traversed the famous street and stumbled upon a building on the corner of Temple Street and Hi Lung Lane. Inspired by an explainable appeal of the structure, the miniaturist set off recreating the building in its exactness over the course of three months by using a combination of reference photos from friends visiting Hong Kong, photos provided by locals, and of course, Google Street View. The result is an intricate diorama of 23 Temple Street, constructed with fiberboard, cardboard, wood, plastic, spray paint, wires, and chalk pastels. His 1:20 scale counterpart includes an array of mind-blowing details, such as a traditional Hong Kong street shrine on the sidewalk, complete with offerings of oranges; various street poster ads, shoddily pasted all over the exterior of the building; and even his own graffiti, sprayed on the rolling metal doors. Check out the entirety of his replica below.


作为香港最繁忙的夜市之一,庙街无疑称得上是九龙最著名的地标之一。来自澳大利亚南部的艺术家Joshua Smith 利用 Google 街景, 深入探索这条著名的香港街道时,无意中发现了庙街和熙龙里拐角处的一栋大楼。这栋位于庙街23号的大楼建筑结构极具特色, 激发了这位微缩模型大师的创作灵感。他在三个月的时间里,参考去香港旅游的友人所拍摄的照片,当地人们拍摄的照片以及 Google 街景照片,按1:20的大小将这栋大楼制作成一个比例准确的微缩模型,使用的材料包括纤维板、纸板、木材、塑料、喷漆、电线、粉笔粉彩。这个1:20的微缩建筑模型拥有众多精妙的细节, 譬如在人行道上的香港传统街头神龛, 前面还摆着人们用来供奉神灵的橘子;各种各样胡乱粘贴在建筑的外表上的街头海报广告;他甚至在金属门上加上了自己的涂鸦细节。一起来看看他的这个微缩模型作品吧。

Website: iknowjoshuasmith.com
Facebook: ~/JoshuaSmithStencilArtist
Instagram: ~/joshua_smith_street_artist

 

Contributor: David Yen
Images Courtesy of Joshua Smith


网站: iknowjoshuasmith.com
脸书: ~/JoshuaSmithStencilArtist
Instagram: ~/joshua_smith_street_artist

 

Contributor: David Yen
Images Courtesy of Joshua Smith

Wheelys 247

 

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China has been leading the way in cashless payment since the introduction of Alipay’s mobile payment platform in 2014. In Shanghai, convenience for consumers is at an all-time high — the scan of a single QR code eliminates the need to carry cash or fumble around your wallet for every purchase. Fittingly, Shanghai has now become the first city in China to host a completely staff-less convenience store that is open 24/7 in the former French Concession area.


自从支付宝手机支付平台在 2014 年推出以来, 中国成为了无现金支付领域的引领者。在上海, 消费者购物极为便利——只需要扫描付款二维码就可以完成付款,无需随身携带现金,也不用每次付款时手忙脚乱地在钱包里找零钱。现在,在上海法租界开设了中國第一家24小时无人便利店。

From their Weihai Road store, Wheelys 247 hopes to provide customers with a “no lines and no checkout” shopping experience. Shoppers just need to download the Wheelys 247 app and scan the barcode of the products that they wish to purchase. Whether it be for breakfast, lunch, dinner or groceries, customers are able to literally just grab what they need and go. After leaving the store, a pre-registered card is charged and Wheelys automatically sends a receipt. This 500-square-foot store is just the beginning for a new era of convenience stores that will change the way we shop forever.


位于威海路的Wheelys 247 便利店,希望为消费者提供 “无须排队、无须结帐 ”的购物体验。消费者下载 Wheelys 247 应用程序后, 扫描想要购买的产品的条形码,无论是早餐、午餐、晚餐还是杂货,拿起购买的商品就可以离开。离开便利店后,Wheelys 会从消费者预先登记的卡中扣取结账金额,并自动发送收据。这个占地500平方英尺的便利店代表我们的购物体验将再一次迎来前所未有的变革。

Website: wheelyscafe.com/wheelys247

 

Contributor: Whitney Ng
Video and Images Courtesy of Wheelys 247

 


网站wheelyscafe.com/wheelys247

 

供稿人: Whitney Ng
视频与图片由Wheelys 247提供

When Pigs Fly

 

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For many people, the mere mention of Hong Kong conjures images of harboursides, modern skyscrapers, a smorgasbord of culinary delights and a true retail mecca. But if you look closer, the vintage stores and dated architecture of the city are very much interconnected to this port city’s identity and history. As Hong Kong develops, many of these older stores are disappearing. Fortunately, illustrator Flyingpig is determined to preserve the memories and stories of these disappearing shops.


提到香港,也许多数人的印象是现代化的玻璃大厦,多国美食和购物中心。可是,这座开埠多年的城市,只要细心去发掘,会发现许多老店和旧建筑与这城的关係密不可分,却渐渐在发展中消失。插画师飞天猪,希望用笔触画下香港各式旧区老店,记下充满人情味的故事。

Despite studying animation in college, Flyingpig is an avid illustrator. After graduating, she worked in film post-production before transitioning towards digital illustration. Amongst balancing her work life and illustrating in her spare time, she found herself questioning her current career path. Sundays became the only day when she could unwind and take the time to sketch. As her sketches accumulated and continuously received positive feedback online, Flyingpig began to understand that drawing didn’t mean working alone. “I realized that my work could send a message,” she says. “I never considered that I could make a living off illustrating alone.” She soon quit her job and plunged head first into illustration.


喜欢绘画的飞天猪,大学时修读动画,毕业后从事电影后製,及后任职电脑绘图,工作所学什多,然而每天辛劳过后,她发现一切并非自己所渴望,倒是能够休息的星期天,在城市中写生的时刻,她才感到是属于自己的空间。随着写生数量渐多,放在网上所得的迴响,飞天猪发现写生不再是她一个人的事情「原来我的画作可以传达信息。以往从没想过可以靠画画维生。」于是决定辞去全职工作,专心投入画画的世界,做自己喜欢的事。

On canvas, the colorful portrayals of vintage stores are beautifully and purposefully executed. But, beyond the canvas, Flyingpig finds her interactions with these store owners to be infinitely more meaningful and important. She enjoys learning the history and stories behind these stores, building a connecting between herself and the community. “There was a time when I went to draw the shopfronts in Sheung Wan. As I sat by the roadside, the shopkeeper offered me a leather suitcase to rest my drawing pad on. He began to tell me about the little things that he had around his shop. It made me realise that amongst these spaces, there were so many stories that were just waiting to told.”


画框之内是吸引眼球、色彩斑斓的旧区小店,然而,画框之外与店主的交流,暸解小店背后的故事,接触社区,对飞天猪来说才是最重要,也衍生一份使命感驱使她不断创作「我到上环的朱荣记画画,当时坐在马路边,老板好心给我纸皮箱垫袋子,还分享小店每件货品和子承父业的故事。从那时便意识到每间小店可以有属于自己的绘本,我想为它们记下各自的故事。」

Looking at Flyingpig’s debut illustration book, Lao Dian Feng Qing Hua (which translates into vintage shop illustrations), her love of watercolors is ever present. Not only is this a casual, effortless medium, but she can allow her personality to flow through each brushstroke. These watercolor illustrations carry a laidback and mellow vibe, combined with the warmth of quaint Hong Kong shops.  “City folks are always in a rush, people are growing further apart and don’t have a sense of community. Meanwhile, these beautiful details of life remain overlooked and are slowly disappearing. What I hope for when people view my work, is that it’ll make them want to support these small local shops rather franchised retail stores.”


飞天猪出版的首本着作《老店风情画》,从书中画作可见,她爱以水彩绘画,认为其流畅轻快的特点,与自己放胆去画的个性相近。加上水彩看来轻鬆,配合画中的主题,能够传递出小店的温暖。「城市人来去匆匆,不去关注生活的社区,人与人的关係会变得冷漠,逐渐失去生活中可以珍惜的细节。我希望画作令人看后,会想起买一枝樽装水,可以去街角的士多,而非连锁式的超级市场。」

As the city advances and develops, these old shops are silently fading into the background. Despite having a mellow, paced approach to creation since childhood, Flyingpig is now painting with haste and vigor in order to capture these disappearing scenes. Aside from drawing on paper, she has begun to release 360 degree videos. By using AR technology to enhance her drawings, she can immerse viewers into the very thick Hong Kong’s bustling shophouses. Throughout the interview, Flyingpig stressed that “every drawing must have a story” and she remains dedicated to bringing these stories to life through her art.


城市快速的更替,旧区的小店逐渐无声被淘汰。从小喜欢安静在一角画画的飞天猪,却愈画愈起劲,似要追赶发展的步速,在小店消失前继续画下去。她的画作除了以平面展现在画纸上,也推出以360度影片让人观赏。未来她想尝试以AR技术,让人亲自走入社区,在手机上重现她画下,却在现实消失的建筑。无论以何种方式呈现作品,毕竟画面上的温度,都是来自背后承载着的历史和故事,如飞天猪在访谈中多次强调,「故事是每幅画必须的!」

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Website: flyingpig.work
Instagram: @flyingpigwong
Facebook: ~/flyingppig.art

 

Contributor: Yabee Wong
Additional Images and Video Courtesy of Flyingpig


Website: flyingpig.work
Instagram: @flyingpigwong
Facebook: ~/flyingppig.art

 

供稿人: Yabee Wong
附加图片与视频由Flyingpig提供

Back to the Futuro

 

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This is what an abortive dream looks like: barren, bleak, ghostly and surreal. Like the shattered tapestries of glass that hang from many of the window frames, these derelict prefabricated homes are full of wasted potential and squandered hope. But while these desolate structures may seem nightmarish, their science fiction aesthetics reflect the utopian imaginings of a postmodern bygone era.


这就是梦想流产后的样子。贫瘠、荒凉、幽灵般,充满超现实主义。这些被废弃的预制装配式房屋,如同悬挂在窗框上破碎了的玻璃,代表着被浪费掉的潜能和破灭了的希望。残破的建筑看起来有点可怕,却又呈现出一种科幻小说般的美学风格,反映出后现代主义曾经的乌托邦式幻想。

These, in particular, were formerly vacation houses in a once-operational Taiwanese seaside holiday resort. Now, however, they look more like a last resort for degenerative zombies. The unusual idiosyncratic pods lie silently in motionless limbo on a bay overlooking the waters of the East China Sea, and the subtropical location seems to have played a key part in their demise. Although they are beset with rotted aspirations, they were conceptualized during a flourishing period of optimism – the 60’s and 70’s.


图片中这些废弃建筑曾是台湾一处海滨度假村的房子。然而,现在这些房子看起来更像是僵尸最后的乐园。设计别致的豆荚形建筑,面朝中国东海,默默地矗立在海湾边上。亚热带的地理位置似乎是它们被废弃的关键原因。虽然这些建筑现在只剩下各种破灭了的愿望,但对它们最初的构想和设计却发生在充满乐观精神的1960 和1970 年代。

Born in post-war Finland, the oval-shaped structures were a product of a booming experimental era when new trends and lifestyle perspectives were emerging like never before. Spurred on by a renewed faith in technology, unprecedented economic growth and an increase in leisure time, the Finnish architect Matti Suuronen conceived them as versatile housing units. They were made to adaptably serve many functions and designed to be easily transported, assembled and taken down as required.


这些椭圆形建筑首次出现在战后的芬兰,那是一个充满实验精神的时代,新的潮流、新的生活方式和观点以前所未有的速度纷纷涌现。人们对科技重拾信心,经济获得前所未有的增长,人们也有了越来越多的度假时间,在这种情况下,芬兰建筑师 Matti Suuronen构思了一系列多用途的度假房屋。独特的设计,使这些建筑能够灵活适应不同的用途,易于运输、组装和拆除。

Suuronen built the first prototype in 1968 and named it Futuro. Grounded in mathematical theory, the spheroid structures feature an ellipsoid fiberglass and reinforced plastic shell, with oval-shaped windows, door handles, light fittings and even elliptic-shaped power sockets. He also designed some box-shaped Venturo houses that followed the same prefabricated concept.


1968 年,Matti Suuronen建成第一个原型,并命名为“Futuro”(未来)。这些椭圆形建筑基于数学理论建造,外壳使用玻璃纤维和增强塑料制成,并配有椭圆形的窗户、门把手、灯饰配件,甚至连电源插座都是椭圆形的。Matti Suuronen还根据同样的预制概念,设计了一些箱形“Venturo”房屋。

The unique UFO form of the Futuro houses fascinated many and they were to be licensed and mass-produced in 50 countries. They were a popular hit with the growing leisure class who could also adapt the modular structures to be ski cabins, bungalows, hunting and fishing lodges, gas stations, and more. However, only 100 made it through production as an oil crisis struck in the beginning of the 70’s, which culminated in petroleum shortages and elevated prices around the world. The oil shock made the plastics for these pod structures more expensive and Suuronen’s space-age vision of the future died before it had begun.


Futuro飞碟式的独特形状吸引了很多人的注意,并申请了许可,准备在 50 个国家进行批量生产。越来越多的有闲阶级(leisure class,指拥有资产,生活以社交娱乐为主的阶级)喜欢上这种建筑,他们将这些模块化建筑用作滑雪小屋、度假小屋、狩猎和捕鱼旅馆、加油站等等。然而,最终只有 100 幢“Futuro”房屋得以被建造,1970 年代爆发的石油危机导致石油短缺,令世界各地的油价急剧上升。石油危机导致豆荚形建筑所需的塑料原材价格上涨,Suuronen对太空时代的未来愿景还没开始就已经夭折。

Over on the other side of the world, a few years later, an entrepreneurial Taiwanese businessman had audacious ambitions to use some of the same prefabricated pods to develop a seaside resort on the edge of the island. He had made his money with the popular soda Sarsaparilla and wanted to create a coastal holiday spot for the rich in Taiwan. However, although the pods were set up and inhabited for a short period of time, the fate of the flying saucer homes again ended in tragedy. The project was abandoned when the extreme weather and lack of interest scared off investors.


而几年后,在世界的另一边,一名拥有冒险精神的台湾企业家,利用相同的预制式豆荚形建筑,在台湾海边建造了一个海滨度假村。这名企业家靠生产黑松沙士饮料积累了财富后,想要为台湾的富人打造一个沿海度假村。虽然,这些豆荚形建筑被成功建造出来,并有人居住了一段时间,但这种飞碟式建筑的命运再一次以悲剧收场。极端的天气,加上人们对它们缺乏兴趣,投资者撤资,导致项目被废弃。

Standing shoulder to shoulder in dereliction, the solitary structures have now been left to rot on their seaside plot in Taiwan. Although this cluster of pods is one of the few remaining examples of this type of modernist modular architecture, it looks like they have been condemned to decay for good. Neglected by the world, the moldering units are destined for oblivion, like discarded irreparable spaceships on an apocalyptic alien crash site.


如今,这些建筑孤独地矗立在台湾的海边,继续腐烂下去。这些豆荚形建筑是现存不多的现代主义模块化建筑,现在却像被诅咒了一样,只能自生自灭地腐烂下去。这些残破的建筑已经被世界所忽略掉,注定要被人们遗忘,就像无法维修的宇宙飞船,被遗弃在一个外星飞船坠机地。

Ravaged by time, the atrophied abandonment is just about all that is left of this futuristic vision of housing. Although Norwegian artist Lars Ramberg has described these prefabricated homes as “ageing carcasses of failed modernism,” these structural skeletons appear to prove him wrong, as they have given rise to a subculture of aficionados and appear contemporary even by today’s standards. Perhaps these surreal UFO units were just ahead of their time, and time alone will tell what’s to become of these postmodern ruins.


随着时间流逝,这些未来主义建筑沦为废墟。挪威艺术家Lars Ramberg称这些预制式房屋是失败了的现代主义“残骸”。然而,事实却绝非如此。这些建筑“残骸”吸引了一批亚文化爱好者,即使以今天的眼光来看,它们也丝毫不失现代风格。也许这些超现实主义的飞碟式建筑只是超前了时代,只有时间会知道这些被废弃的后现代主义建筑最终的结局。

Videographer, Photographer & Contributor: Ghost


供稿人,图片摄影师与视频摄影师: Ghost

Forest of Numbers

 

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Forest of Numbers is the brainchild of Tokyo-based architect and artist, Emannuelle Moureaux. Her largest installation to date was created to celebrate the 10th anniversary of Tokyo’s National Art Center (NACT), spanning 2000 square meters and utilising “100 colours”. This is the first time that the National Art Center has used the White Cube exhibition room without any partition walls.


《数字森林》是东京建筑师和艺术家Emannuelle Moureaux迄今为止最大型的艺术装置作品,是她为庆祝东京国家艺术中心(NACT)成立十周年而专门创作的。这个大型艺术装置占地2000平方米,一共使用了100种颜色。这是东京国家艺术中心的White Cube展厅首次在举办展览时没有设立任何隔墙。

The installation itself symbolises the next 10 years for NACT – the decade spanning between 2017 to 2026. More than 60,000 number figures ranging from zero to nine were aligned within a 3-D grid and suspended from above. A pathway was been purposefully created, cutting through the installation and allowing visitors to take a walk through the cascade of numerals.


装置本身象征着NACT的未来10年,即2017年到2026年之间的10年。超过60000件从0到9的数字构件悬浮在三维网格中。装置中间特意设置了一条供穿越的路径,以供参观者在这巨大的《数字森林》之中漫步。

As part of Moureaux’s 100 colors installation series, Forest of Numbers utilises 100 shades of colours across 10 layers of numbers. The walls that encapsulate the installation space feature a compilation of exhibition posters to commemorate the last 10 years, which are contrasted with white number cut outs on the opposite wall to symbolise the next 10 years to come.


作为Moureaux的“100色”系列艺术装置的一部分,《数字森林》在构建10层数字的时候共使用了100层颜色。装置所在的展览室的一面墙上展示着过去十年NACT的展览的海报,对面的墙上则展示着预示未来十年的白色数字。

Forest of Numbers was a true labour of love, created as a colourful celebration of the National Art Center’s anniversary and brought to life with the help of 300 volunteers. Moureaux’s playful installation creates joy from paper and thread, attracting over 20,000 visitors within the first ten days of its NATC debut.


色彩缤纷的《数字森林》是一个充满爱的作品——它是为庆祝东京国家艺术中心成立10 周年而诞生的,凝聚了300名参与制作的志愿者的努力。Moureaux用纸和线所创作的这个充满玩趣和快乐的艺术装置,在NATC首次亮相的前10天里就吸引了超过2万名观众。

Website: emmanuellemoureaux.com

 

Contributor: Whitney Ng
Video and Images Courtesy of Emmaneulle Moureaux


网站emmanuellemoureaux.com

 

供稿人: Whitney Ng
视频与图片由Emmanuelle Moureaux提供