Tag Archives: japan

Bicycle Boy

After visiting Seiseki-Sakuragaoka, the Japanese suburbs that the 1995 Studio Ghibli film Whisper of the Heart was modeled after, Polish-born and Tokyo-based artist Mateusz Urbanowicz was inspired to paint his Bicycle Boy series, which consists of ten watercolor paintings that bring the film’s narrow roads and suburban landscapes to life. Urbanowicz uses 6B pencils to sketch out each moment before coloring them with Schimincke and Winsor & Newton watercolors. This series takes us on a journey of a dedicated bicycle boy who rides up challenging inclines and through the elements in order to reach his destination. Many of Urbanowicz’s other illustrations are also inspired by his new adoptive home of Japan as well as the animated backgrounds that feature in many Japanese anime films.


波兰出生的艺术家Mateusz Urbanowicz目前生活在东京。在参观完日本郊区圣迹樱丘(Seiseki-Sakuragaoka)——1995年吉卜力电影《心之谷》(Whisper of the Heart)的场景原型后,Urbanowicz创作了《自行车男孩》(Bicycle Boy)水彩画系列,通过十幅水彩画,栩栩如生地呈现出电影中出现的狭窄小巷和日本郊区景观。Urbanowicz在创作时,先使用6B铅笔画出草图,然后用Schimincke和Winsor&Newton水彩上色。这个水彩画系列带领观众,跟随一名骑自行车的男孩,骑过艰难的斜坡,经历各种天气,朝着目的地进发。Urbanowicz的许多其它插图的灵感还来自于他如今生活的日本,以及许多日本动画中的场景。

Website: mateuszurbanowicz.com
Facebook: ~/urbanowiczmateusz
Instagram: @mateusz_urbanowicz

 

Contributor: Whitney Ng


网站: mateuszurbanowicz.com
脸书: ~/urbanowiczmateusz
Instagram: @mateusz_urbanowicz

 

供稿人: Whitney Ng

An Artful Aftermath

Cleveland-born and Singapore-based artist Debra Raymond knows first hand about being in transit. After leaving Ohio, she lived in Jakarta before relocating to the little red dot; in her art,“constant migration” remains as a heavy inspiration. Contemporary social issues such as urban alienation and technology’s hindrance on human connection feature heavily within her body of work.


艺术家Debra Raymond出生于美国克利夫兰,如今定居新加坡。对于”迁徙“,她深有体会。离开俄亥俄州后, 她先是在雅加达生活,后又移居新加坡。在她的作品中, “不间断的迁徙” 一直是一种沉重的创作灵感,她在作品中深入探讨着各种当代社会问题, 如城市异化和科技对人际关系的影响等等。

During her BA (Hons) Fine Arts in Singapore’s LASALLE College of the Arts, she explored the significance of play in childhood development and how to encourage human interaction through art in our technologically advanced era. In late 2016, Raymond completed an artist residency at the Children Centre of Japan in the Miyagi Prefecture’s Ogatsu-cho. During her residency, she conducted workshops with local children to create a series of works to remember the 2011 tsunami and earthquake.


在新加坡拉萨尔艺术学院(LASALLE College of the Arts)攻读荣誉学士学位期间, 她研究了戏剧在童年发展中的意义, 以及如何在科技先进的时代通过艺术来鼓励人类互动。2016年9月, Raymond 完成了“艺术家驻住计划”(Artist-in-residence),居住在日本宫城县小村庄Ogatsu-cho的儿童中心。期间, 她以2011年的海啸事件为灵感,为当地的儿童举办艺术讲习班。

Inspired by the houses that survived the tsunami, Raymond created 20 sculptures out of wood that was foraged from the area. The sculptures are based on 30 sketches that were painted in 30 days. The series was created to commemorate “the everydayness that we often take for granted” and installed around the prefecture.


Raymond 以海啸中幸存的房子为启发,利用当地获取的木材,并以她在驻住期间完成的30幅作品为基础创作了20个雕塑。她所创作这一系列雕塑,被安放在村庄的不同角落,目的是为了赞颂 “那些往往被人们当作理所当然的平凡生活” 。

Website: debraymond.com
Instagram: @deb.ra

 

Contributor: Whitney Ng
Images Courtesy of Debra Raymond

 


网站debraymond.com
Instagram@deb.ra

 

供稿人: Whitney Ng
图片由Debra Raymond提供

Tokyo Roller-zoku Gangs

Tokyo Roller-zoku Gangs is a portrait series from American photographer Denny Renshaw. Created in Tokyo across five weeks in 2013 and 2015, the series was shot in parks, parties, bars, and music venues around the city. Renshaw tells us more about the series and the history behind the Roller-zoku subculture below.


2013年和2015年期间,美国摄影师Denny Renshaw前往东京,用五个星期的时间在公园、派对、酒吧和音乐场所拍摄下人像作品系列《Tokyo Roller-zoku Gangs》(Roller-zoku 指上世纪五六十年代东京的摇滚文化)。下面Renshaw 给我们介绍了这一人像作品系列,并讲述这种日本摇滚亚文化现象背后的一些故事。

“Among Japan’s many fashion tribes, one of the less explored is the Roller-zoku. For over 30 years the Roller-zoku have been borrowing greaser styles, gathering together for loud rock-and-roll music, and sporting leather, denim, and big greased up pompadours. Foreigners often associate them with the group of Roller-zoku seen in Yoyogi Park every Sunday, but this tribe can be found all over Tokyo. The Roller-zoku have grown from the roots of both 50’s and 60’s rock and roll and rockabilly because Japanese record labels did not differentiate between these musical categories at the time of their introduction.”


“在日本的各种时尚圈子中,Roller-zoku是其中比较鲜为人知的群体。30多年来,这些日本摇滚人一直在借鉴街头混混的造型风格, 他们聚集在一起听吵闹的摇滚音乐, 穿上皮夹克、牛仔服,向上梳起复古的‘庞毕度头’(pompadours)。外国人一般会首先想到的是每周日出现在代代木公园的Roller-zoku, 但其实他们遍布了东京的各个角落。Roller-zoku源自于50年代和60年代的摇滚乐和洛卡比里(Rockabilly)音乐, 因为在当时,日本的唱片公司把这些音乐混为一谈。”

“Japan experienced the popularity of these early rock-and-roll styles as did much of the world at that time, but it was the revival in the late 70’s that brought the fashions still associated with the Roller-zoku. Japanese bands like the Cools and Carol were at the forefront of this musical revival and began associating themselves with leather jackets, greased back hair, and motorcycles.”


”和当时世界其他地方一样,早期摇滚风格在日本经历了备受追捧的热潮,但直到70年代的复兴时期,才出现这种摇滚音乐的标志性时装风格。正是Cools and Carol 和其他引领着这种音乐复兴浪潮的日本乐队, 让皮夹克、‘庞毕度头’和摩托车与这种音乐文化关联起来。

“Unlike many other fashion tribes, these greasers are often all ages from the young to the old. An interesting aspect of this tribe is some members’ predilection for dancing, which can be seen being practiced in Tokyo parks on weekends. Much like early hip-hop was associated with breakdancing, Roller-zoku have their own brand of dancing, incorporating classic rock-and-roll dancing as well as intricate footwork, acrobatics, and theatricality.”


”不同于许多其它时尚圈子, 这些梳着‘庞毕度头’的摇滚人中既有年轻人也有年长者。关于这个群体,一个有趣的地方是一些成员特别喜欢跳舞。周末的时候,你会在东京的公园看到他们练习跳舞。就像霹雳舞是早期嘻哈音乐的标志性舞蹈一样,Roller-zoku 也有自己的特色舞蹈,他们在传统的摇滚舞蹈基础上,加入了复杂的步法, 动作和戏剧元素。“

Website: dennyrenshaw.com
Instagram: @dennyrenshaw

 

Contributor: George Zhi Zhao
Images Courtesy of Denny Renshaw


网站dennyrenshaw.com
Instagram@dennyrenshaw

 

供稿人: George Zhi Zhao
图片由Denny Renshaw提供

INORI-PRAYER

 

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INORI–PRAYER is digital art collaboration between Japan-based visual design studio WOW Inc., creative production team TOKYO, the Ishikawa Watanbe Laboratory at the University of Tokyo, and iconic dance duo AyaBambi. The project was the brainchild of Nobumichi Asai, creative and technical director of WOW Inc. Inspired by the soundtrack by Yosuke Nagao’s, Asai felt the music symbolized a radioactive, destructive power. The visuals and the choreography blend together to represent “death, suffering and sadness” as well as “the opportunity to overcome.”


《INORI–PRAYER》是日本视觉设计工作室 WOW Inc.携手创意制作团队TOKYO东京大学的石川渡辺研究室以及舞蹈组合AyaBambi一起打造的数码艺术项目。项目由 WOW 创意及技术总监Nobumichi Asai 发起。他在听到Yosuke Nagao的配乐后,深受启发,觉得它象征了一种放射性般的破坏力。通过将视觉效果和舞蹈相结合,表达出“死亡、痛苦和悲伤”的情绪以及“战胜的希望”。

One of the main challenges of the project was to ensure that the facial mapping would be precise throughout the entire dance segment. After three months of trial and error, the team managed to reduce the projection delay down to mere milliseconds — this was accomplished through the use of DynaFlash, a state-of-the-art 1,000 fps projector with an ultra high-speed sensing system. The projected images take on the form of a second skin, which continuously distort and transform the faces of AyaBambi’s two dancers throughout the entire performance.


这个项目的主要挑战之一是确保在整个舞蹈环节中获得精确的面部映射。历经三个月的试验后,团队使用最先进的1000fps DynaFlash 超高速传感投影机,成功地将投影延迟减低至数毫秒,投影图像宛如舞者的第二层皮肤,更使得AyaBambi 两位舞者的面孔在整个表演过程中扭曲和变幻出各种图案。

Website: w0w.co.jp

 

Contributor: Whitney Ng
GIFs Courtesy of Prosthetic Knowledge
Image Courtesy TOKYO
Video Courtesy of WOW Inc.

 


网站w0w.co.jp

 

供稿人: Whitney Ng
GIF图由Prosthetic Knowledge提供
图片由TOKYO提供

视频与由WOW Inc.提供

A Seat at the Table

 

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Japan is a true mecca for dining and local delicacies; the region is renowned for its unique cuisine, which is championed by fresh local produce and exceptional chefs. Although quality restaurants may be bountiful, getting a coveted reservation can be problematic for travelers. Enter TABLEALL – an online platform that aims to bridge the gap between high-end Japanese cuisine and gastronomy lovers.


日本是名副其实的美食圣地,拥有令人垂涎的特色美食。新鲜的食材和顶级大厨,造就了日本独特的美食文化。虽然日本有很多优秀的餐馆,但对于游客来说,预约订座却是令人头疼的问题。TABLEALL网站为这个问题带来了解决办法。这是一个致力在日本高级餐馆和美食爱好者之间搭建桥梁的在线平台。

Throughout his 15 year career at Goldman Sachs, TABLEALL founder Takashi Yamada found himself frequently entertaining clients at top restaurants in Japan. Not only did his patronage enable him to build connections with Japan’s best chefs but it also shed light into the loss experienced by the restaurant when reservations were cancelled at the last minute. Yamada was also frequently called upon by frustrated friends who were exasperated by Japan’s non-inclusive methods for booking reservations. All of these factors paved the way towards the lightbulb moment of creating TABLEALL.


TABLEALL创始人山田隆(Takashi Yamada)在高盛(Goldman Sachs)任职15年期间,经常会到日本的高级餐馆招待客户。这些经历让他结识了众多日本最顶级的厨师,同时也让他明白到许多餐馆常常会因为客人在最后一刻才取消预订遭受损失。此外,山田隆也经常会听到朋友抱怨日本餐馆太难订座。所有这些因素加在一起,让他最终产生了创建 TABLEALL 这个平台的想法。

“I knew there had to be a better way. The experience of Japan’s rich food culture is something I love about the country, and is one of the leading causes of tourism, but it is often too inaccessible. Tourism and inclusiveness are very important for Japan’s sustainability. I see TABLEALL as my contribution to Japan’s future.” 


“我觉得应该有更好的方式(预约订座),日本丰富的饮食文化是我热爱这个国家的原因,也是当地旅游业的主要吸引力,但有时要品尝到美食并不容易。旅游业和包容性对日本的可持续性发展有非常重要的意义。对我来说,TABLEALL 算是我对日本未来发展的一点贡献吧。”

Instead of charging for membership, TABLEALL only requires diners to pay a small booking fee per reservation. The platform currently offers the following features:

  • User-friendly English platform
  • Curated list of acclaimed Japan-based restaurants
  • Quality photography and in-depth articles about each listed restaurant
  • Insight into individual chefs and the stories behind their signature dishes
  • Send private messages to the chef to share feedback and build rapport

TABLEALL没有采用收取会员费的模式,而是按每次预订向食客收取小额的预订费用。这个平台目前有以下这些功能:

  • 用户友好的英文平台
  • 一系列最负盛名的日本餐馆
  • 以优质的摄影图片和深入的文章介绍每一间餐馆
  • 关注每一位厨师以及他们的招牌菜背后的故事
  • 可以发送私人讯息给厨师,分享反馈,建立联系

Some of the restaurants that are already available through TABLEALL include Michelin-starred establishments, such as Tempura Uchitsu, Ginza Sushi Kanesaka, Karyu, Higuchi, Sushi Arai and Tempura Motoyoshi. The platform is a true game changer for travellers, allowing the agenda to switch from “where can I get in?” to “where shall we choose today?”


目前,TABLEALL平台上的餐馆包括了一系列米其林星级餐馆,如 Tempura Uchitsu, Ginza Sushi Kanesaka, Karyu, Higuchi, Sushi Arai和Tempura Motoyoshi。对于前往日本的游客来说,这个平台可谓是一个重大的发明。现在他们不需要再问“我可以去哪家餐馆吃饭?”,而是问“我们今天要选哪家餐馆吃饭呢?”。

Website: tableall.com
Facebook: ~/tableall
Instagram: @tableall

 

Contributor: Whitney Ng
Video and Images Courtesy of TABLEALL


网站: tableall.com
脸书: ~/tableall
Instagram: @tableall

 

供稿人: Whitney Ng
视频与图片由TABLEALL提供

DERIVE

Cody Ellingham is a designer and art director based in Tokyo, Japan. After moving to Tokyo in 2012, he became mesmerized by “the urban landscape and neon fantasies of the world’s first cyberpunk city.” His multimedia project DERIVE uses reflection and unique perspectives to explore his experience of the metropolis.


Cody Ellingham是居住在日本东京的设计师和艺术总监。 2012年搬到东京后,他被“世界第一个赛博朋克(cyberpunk)城市的霓虹灯夜景”迷住了。他的多媒体项目——《DERIVE》,使用反射和独特的视角探索着他在这个大都市的生活。

Website: cbje.jp
Facebook: ~/derive.tokyo
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao


网站: cbje.jp
脸书: ~/derive.tokyo
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao

Tokyo After Dark

With an affinity for neon-lit alleyways and rain-slicked streets, Japanese photographer Masashi Wakui roams the nocturnal cityscape of Tokyo, capturing the Japanese capital in all of its luminous splendor. Wakui’s unique post-processing style instills his photos with a cinematic moodiness that has become his signature aesthetic. His colorful images blur the boundary between reality and fiction, often more closely resembling scenes out of Akira or Ghost in the Shell than real life. Check out more photos from the talented photographer below.


日本摄影师Masashi Wakui专注于捕捉东京迷幻的城市夜景,尤其是布满霓虹灯的小巷和反着光的潮湿街道。在Wakui的镜头下,东京仿佛是一座永远发着光的不夜城,这些场景看起来游离于现实和虚幻之间,给人一种电影般的氛围感。独特的色彩处理和光线的运用为Wakui的照片带来一种强烈的个人风格,有时甚至有点像日本动画片《亚基拉》和《攻壳机动队》中的场景。下面和我们一起看看这位摄影师更多的作品吧。

Flickr: ~/megane_wakui
Tumblr: masa-photo.tumblr.com
Instagram: @masashi_wakui

 

Contributor: David Yen


Flickr: ~/megane_wakui
Tumblr: masa-photo.tumblr.com
Instagram: @masashi_wakui

 

供稿人: David Yen

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

Waterscape / Memory of Spring

In the mountainous town of Hakone, a scenic waypoint between Tokyo and Kyoto, lies Lake Ashi. Boasting a stunning view of Mt. Fuji, numerous hot springs, and an abundance of natural hiking trails, the lake draws many visitors seeking a slice of tranquility. It’s here where the award-winning Tokyo-based design firm Moriuyiki Ochiai Architects unveiled their latest project.


美丽的芦之湖位于箱根,是一个地处东京和京都之间的山间小镇。这里除了富士山的壮丽景色,还有众多的温泉和自然远足径,吸引着许多寻求宁静的游客。Moriyuki Ochiai Architects,这家屡获大奖的东京建筑设计公司,在这里揭幕了他们的最新设计项目。

The Miruyiki Ochiai design team was tasked with renovating the domed foyer of an ex-botanical garden and turning it into a multifunctional space that’s able to accommodate a kitchen, dining space, and an area for live performances and art exhibitions. Using concrete, they laid out a new foundation for the space and constructed an octagonal amphitheater that serves as the centerpiece of this renovation project.


Moriyuki Ochiai Architects的设计团队需要改造一个旧植物园的圆顶大厅,将它变成一个由厨房,餐厅和一个展览演出区域组成的多功能空间。 团队用混凝土为整个空间构筑了新的基层,并建造了一个八角形的露天剧场,作为整个项目的标志性建筑。

With the goal of paying homage to water, which has lent its undeniable influence to the surrounding environment, they intended for the amphitheater stage to appear as if it were a well of water. To achieve this, they spread a transparent resin at the bottom of the amphitheater, which sits over an assortment of glass shards, mirror fragments, and metal plates. Tiered seating surrounds the spring, forming an intimate performance space. To further invoke imagery of water, specifically that of Lake Ashi, they injected a vibrant gradation of colors beneath the resin; this is to represent the different colors of the surrounding trees that reflect off the lake’s surface as the seasons change. The end result of Moriuyiki Ochiai Architect’s thoughtful redesign is a space that doesn’t detract from the beauties of the surrounding landscape. The project stands proudly as a symbol of the symbiotic bond that exists between man and nature.


由于水元素对当地环境有着十分重要的影响,因此,设计师以水井为灵感来设计了露天剧场的舞台。为了实现这一设想,他们在露天剧场的底部布满透明树脂,又在下面放满了玻璃碎片、镜子碎片和金属板。分层式的座位设计围绕着“水井”分布,形成一个小型表演空间。为了进一步突显水元素(尤其是芦之湖的水元素)这一意象,他们在透明树脂之下布满渐变的色彩层,以表达芦之湖四周的树木随季节变化映现在湖面时呈现的不同色彩。Moriyuki Ochiai Architects的这一设计并不会将人们的目光从周围的美丽自然景观中移开,恰恰相反,它代表了人与自然之间存在着的共生联系。

Website: moriyukiochiai.com
Facebook: ~/moriyuki-ochiai-architects

 

Contributor: David Yen
Photographer: Takumi Ota
Images Courtesy of Moriyuki Ochiai Architects


网站: moriyukiochiai.com
脸书: ~/moriyuki-ochiai-architects

 

供稿人: David Yen
摄影师: Takumi Ota
图片由Moriyuki Ochiai Architects提供

Black Waves

 

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teamLab‘s digital installations are a roving series of artistic works that utilise light, sound, movement and motion to create interactive spaces. Recently, teamLab brought Dance! Art Exhibition, Learn & Play! Future Park to Taipei’s Huashan 1914 Creative Park, where the exhibition will remain until April 9th.


日本艺术团体teamLab所创作的数字装置是一系列利用光、声音和动作来创造互动空间的艺术作品。近日,teamLab在台北华山1914文化创意产业园区举办了名为《Dance!Art Exhibition, Learn & Play! Future Park》的展览,展览将一直持续至2017年4月9日。

Amongst the many vibrant installations, Black Waves stands alone as an emotive showcase of one consistent scene – that of the unforgiving great ocean. Upon entering the exhibition, visitors are boxed in to dark room, illuminated only by the rolls and roars of crashing waves.


在众多艺术装置中,《Black Waves》脱颖而出,它是无间断影像装置,通过不间断的海浪画面,引发观众的情感共鸣。一进入展览,观众就置身于黑暗的空间中,只剩层层翻滚的海浪发出的亮光。

The waves themselves are computer generated in a 3D virtual space and presented as a continuous body. This was achieved by calculating the interactions of hundreds of thousands of particles. These particles were then extracted and lines were drawn in relation to their movement to create the artwork; teamLab refers to this technique as creating an ultra-subjective space.


这些海浪是电脑模拟出的3D虚拟空间,连续不断地出现。创作者需要对几十万颗粒的相互作用进行计算,然后提取出这些颗粒,根据颗粒的动作绘画出线条,从而创作出这一艺术作品。teamLab 称这种创作方法为“创作超主观空间”。

Beyond the crushing sound of the ocean’s waves, which was designed by Hideki Takashashi, the exhibition remains mostly quiet. Visitors feel completely immersed into the exhibition – as time passes, it will almost feel as if the waves are physically engulfing all your senses. Beyond being an artistic spectacle, Black Waves is a solace for visitors who seek to soothe their mind. Despite it’s looping facade, one could easily spend hours here.


装置中的海浪声由Hideki Takashashi创作,除了这些海浪声之外,整个展览大部分时候都是安静无声的。观众能充分沉浸于展览中。随着时间的推移,让人感觉到好像海浪正席卷身体所有的感官。《Black Waves》除了是一个奇妙的视觉作品,更能抚慰和平静观看者的内心。尽管所有画面都是循环出现,但置身于展览中让人一不小心就会度过数小时。

teamLab remarked that Black Waves was inspired by Japanese paintings of oceans and rivers, where by these bodies of water were expressed as a series of lines; these lines allow the viewers to see the waves as a living entity. “This is a way of seeing the world that lures us in and allows us to feel that there is no boundary between ourselves and nature.”


teamLab表示,《Black Waves》受到了日本有关河流和大海的绘画作品的启发。在这些绘画作品中,画家多通过线条来表现水体,让观众将海浪看作是一个生命体。“这是一种观察世界的方式,十分引人入胜,让我们觉得自己与自然融为一体,没有分界。

Websiteteam-lab.net

 

Contributor & Photographer: Whitney Ng
Video and Additional Images Courtesy of teamLab


网站: team-lab.net

 

供稿人与摄影师: Whitney Ng
视频与附加图片由teamLab提供