Tag Archives: travel

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

Back to the Futuro



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.


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.


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.


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

Painting Without a Paintbrush



Known for “painting without a paint brush” and creating masterpieces from unconventional items, Malaysian artist Red Hong Yi has amounted an impressive portfolio of larger than life portraits consisting of some of Asia’s most prominent figures. From the humble teh tarik man, to megastars like Jackie Chan and Jay Chou, and even Singapore’s national symbol, the Merlion, Red has used unorthodox items, such as tea bags, coffee stains, and sunflower seeds, to create symbolic portraits that are astounding in both scale and detail.

马来西亚艺术家Red Hong Yi 被大家称为“不用画笔绘画”的画家,原因是她总能想到出其不意的材料来创作,茶包、瓜子,甚至是咖啡杯底残留在纸上的咖啡渍,都成为了她绘画的“颜料”。她用这些我们日常生活中随手可得的材料,创造出一幅幅以著名亚洲人物为原型的大型肖像作品。从马拉西亚街头的“拉茶人(teh tarik man)”,到超级巨星成龙和周杰伦,再到新加坡的国家象征鱼尾狮。这些画作通常竖立起来比Red的个子还高,但当你走近细看,就会发现Red在创作大画幅作品的同时,也保留到它精致的细节,让人过目不忘。

Ai WeiWei with Sunflower Seeds (2012)
Open Your Eyes (2017)

Ai Wei Wei – Sunflower Seeds

The portrait that started it all was her sunflower seed tribute to Chinese contemporary artist Ai Wei Wei. Red completed this “painting” in an old Shanghainese shikumen alleyway with seven kilograms of sunflower seeds – five years later, she revived this portrait using 20,000 sunflower seeds to create her second Ai Wei Wei portrait, entitled Open Your Eyes.

艾未未,材料: 葵花籽

作为她的第一幅巨型肖像作品,她用葵花籽描绘出中国当代艺术家艾未未。Red 在上海一个传统石库门弄堂完成了这个作品,一共使用了7公斤的葵花籽。5年后,她再次创作艾未未的画像,这一次,她一共使用了20000颗葵花籽,并将作品命名为《睁开你的眼睛》(Open Your Eyes)。

Zhang Yimou – Socks and Pins 

During Red’s time in Shanghai, she also completed another portrait in one of the city’s iconic shikumen alleys. To depict the face of Chinese filmmaker Zhang Yimou, Red used pins to piece together an array of monochromatic socks, which were then hung on bamboo poles much like how locals hang their laundry.

张艺谋,材料: 袜子和别针


Yao Ming – Basketball and Red Paint

Armed with a basketball and a pail of paint, Red bounced her way into creating a patterned portrait of Chinese basketball superstar Yao Ming.

姚明,材料: 篮球和红色颜料

带着篮球和一桶颜料,Red 用篮球“拍”出中国篮球巨星姚明的画像。

Dato’ Lee Chong Wei – Shuttlecock Feathers

This high contrast profile of Malaysian Dato’ Lee Chong Wei, a World No. 1 professional badminton player, was put together with 1,800 shuttlecock feathers to celebrate his face off with Chinese player Lin Dan at the World Championships in Guangzhou.

拿督李宗伟,材料: 羽毛球的羽毛


Jay Chou – Coffee and Coffee Cups

Red’s portrait of Taiwanese pop megastar Jay Chou is one of her more symbolic works. “This project was inspired by the opening and closing lines in Jay Chou’s song ‘Secret.’ The opening line is about lifting a coffee cup from a saucer and the last line of the song is about autumn leaves and fragmented pieces.” She used hundreds of imperfect individual coffee stains to form Jay Chou’s portrait, likening them to the falling autumn leaves mentioned in “Secret.” The portrait took 12 hours to complete – Red said that coffee is one of her more temperamental mediums to date, as it was challenging to achieve the perfect consistency and required it to be applied in layers.


Red为台湾流行巨星周杰伦创作的画像是她最著名的作品之一。“这个作品的灵感来自于周杰伦的歌曲《不能说的秘密》开头和结尾的歌词。歌曲开头是‘冷咖啡离开了杯垫’,而最后有关秋叶和碎片的歌词是‘飘落后才发现这幸福的碎片,要我怎么捡?’。“她用数百个形态各异的咖啡渍,描绘出周杰伦的画像,而咖啡渍代表了《不能说的秘密》中提到的秋天的落叶。这幅作品用了12个小时才完成。Red 说,咖啡是她目前使用过的创作媒介中最变幻无常的一种。因为很难获得完美的一致性,她往往需要反复多层印绘才能达到效果。

她用数百个形态各异的咖啡渍,描绘出周杰伦的画像,而咖啡渍代表了《不能说的秘密》中提到的秋天的落叶。这幅肖像作品用了12个小时才完成。Red 说,咖啡是她目前使用过的创作媒介中最变化无常的一种。因为很难获得完美的一致性,她往往需要反复多层印绘才能达到效果。


Aung San Suu Kyi – White Carnations and Red Food Dye

“I didn’t sleep the whole night thinking of how to capture Aung San Suu Kyi’s great aura, dedication, strength, determination, compassion, intelligence, courage, poise, and gracefulness in a portrait. I wanted a portrait that not only captured her political eminence but also her beauty and love for her father, and his for her.” Red experimented with flowers and food dye for an entire month before creating her portrait of the Burmese Nobel Prize winner.


昂山素季(Aung San Suu Kyi),材料: 白色康乃馨和红色食品染料


The Merlion – Disposable Bamboo Chopsticks and Fire

The crown jewel of Facebook’s Singapore-based office is giant wall mural consisting of 15,000 disposable chopsticks, which were layered and torched to reveal the country’s national icon overlooking some of Singapore’s most recognizable sights.

鱼尾狮,材料: 一次性竹筷和火


Teh Tarik Man – Tea Bags

Touted as a quintessential Malaysian everyday hero, the teh tarik man is a namesake of Red’s Southeast Asian upbringing. Teh Tarik means “pulled tea” in Malay and is a traditional beverage that is comprised of sweet and frothy milk tea. Over ten shades of brown and 20,000 tea bags were used – in the end, this homage to her homeland weighed a whopping 200 kilograms.


拉茶人被视为代表马来西亚特色文化的“民间英雄”,同时也代表着Red的东南亚文化背景。“Teh Tarik“是马来语“拉茶”的意思,是当地一种传统奶茶饮料。这幅致敬她的家乡的作品一共使用了20000个茶包,形成 10多种深浅不一的棕色色调,重达200公斤。

Jackie Chan – Disposable Bamboo Chopsticks

To commemorate Hollywood legend Jackie Chan’s 60th birthday, Red collected 64,000 disposable chopsticks from around Zhejiang and in Beijing to create his portrait. The chopsticks were grouped together with string and placed in sequence along a metal frame, alongside 60 bamboo chopsticks holders that were intricately filled with skewers to form the Chinese word long, which is Jackie’s first name in Mandarin Chinese.

《成龙》,材料: 一次性竹筷

为了纪念传奇影星成龙的60岁生日,Red 在浙江和北京两地收集了64000支一次性筷子,创造了这一幅肖像作品。她用细绳将筷子捆在一起,在一个金属架上排列出成龙的肖像,又在旁边排列了60个竹制筷子架,里面装满了长竹签,组成成龙名字中的“龙”字。

Many of Red’s portraits have received international acclaim and widespread media attention, allowing her to put a spotlight on Asia-based figures through her art. Her works are influenced by both her Malaysian upbringing and her current surroundings. Her time in Shanghai even helped to shape her unique style by opening up her world to a plethora of readily available raw materials. Most recently, Red has created series of #flowerbombing collage style portraits, which celebrate an admirable group of women in arts and entertainment, including the likes of Kiko Mizuhara, Liu Wen, Michelle Obama, Emma Watson and Alicia Keys.

Red 的肖像作品备受国际赞誉,吸引了广泛的媒体关注,让她得以通过自己的艺术,致敬亚洲地区的著名人物。在马来西亚成长的经历和如今在上海的生活,都对她的作品产生了重要的影响,也正是在上海生活的期间,她形成了自己的独特风格,因为这里有大量的现成材料。最近,Red创作了#flowerbombing系列的拼贴风格肖像作品,致敬在艺术和娱乐行业有着杰出成就的女性,其中包括水原希子、刘雯、 Michelle Obama、Emma Watson和 Alicia Keys。

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


Contributor: Whitney Ng
Images Courtesy of Red Hong Yi

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


Contributor: Whitney Ng
图片由Red Hong Yi提供

Behind the Shoulders of Saigon

Students in uniform heading home after a day of classes, riding on the back of their parent’s motorcycles; a cyclist delivering takeout, masterfully steering with one hand and balancing a tray of steaming hot food on the other; and a pickup truck loaded with furniture heading to their third destination of the day. These are all-too-common scenes in the busy streets of Ho Chi Minh City, and graphic designer Maxk Nguyen revels in this frenetic energy. Finding inspiration in this hustle and bustle, Nguyen and his team created the Sài Gòn sau vai, which presents unconventional portraits of the city’s busy inhabitants as a series of beautiful illustrations. “Here in Saigon, every time I step out into the street, I see someone’s back. Even though I do not see their faces, they all bring me endless inspirations.”

放学后跨上摩托车顺路回家的同班同学,一手把着方向盘一手举着托盘穿梭在人群里的“外卖高手”,满载家具的小货车一脚油门赶往今天的第三个目的地。这座城市到处都是匆匆而过的人,还没留意看清楚,就已经从你旁边擦身而过了。居住在越南胡志明市的设计师Maxk Nguyen,钟情于这些匆忙的背影,他选择了这个与容易被人忽略的角度,和他的团队一起创作了这个名为《Sài Gòn sau vai》插画作品。“在西贡,我每次走上街,眼前仿佛都是一个个或匆忙或优雅的背影,虽然我不曾看清他们的正脸,但这些背影也给我带来了无限的想象。”



Facebook:~/ Maxknguyen91


Contributor: Ye Zi 



脸书~/ Maxknguyen91


供稿人: Ye Zi

Long(ing) House



Malaysian Borneo may not be as vast as its Indonesian counterpart, but it is every bit as mysterious. As you go deeper into its interiors, traversing the thick and untamed rainforest, you’ll find cultural treasures like the traditional longhouses of the Kelabit people, which have been well-preserved and protected from our encroaching modern civilization.


I’m off to meet the craftswoman Sina Rang at her homestay in Bario, in the heart of Sarawak, one of the two Bornean states of Malaysia. Before I hop on the 14-seater Twin Otter, I’m asked to weigh myself with all my hand luggage. The outcome of this measurement is quickly noted down. I follow the bubbly mix of locals, tourists from West Malaysia, a couple of foreigners… and a few cages of chicken as we’re invited to take our places onboard. I’m the last one to enter and the door shuts directly behind me, cutting off my route of escape. The vehicle reminds more of a stuffy mini-van than a plane. What comes next is an unnerving feeling as the air-van starts moving before I can sit. I eventually clutch at 1A, a seat just behind the pilots – the cockpit has no doors – as one of them quips, “You got the first class ticket! Congratulations.” We take off effortlessly into the clear skies, towards the ominously dark clouds amassing on the horizon.

我出发去巴里奥(Bario)拜访当地的手艺人Sina Rang,约在她的民宿会面。巴里奥位于沙捞越的中心区域,这里是马属婆罗洲领土上的两个行政区域之一。我们搭乘 14 座的双水獭飞机前往巴里奥。在登机之前,我被要求先去称一下自己加上随身行李的重量,他们快速地将测量结果记录在案。然后,我就跟着当地人、几个来自马来西亚西部的游客、几个外国人……还有几笼鸡一起上了飞机。我是最后一个登机的,舱门在我身后直接被关上,切断了我想要逃跑的最后可能。在我看来,这更像一辆拥挤的小型面包车,而不是一架飞机。我开始感到不安,因为在我坐下来之前飞机就开始移动了。我的座位是 1A,就在飞行员后面,驾驶舱是没有门隔着的,其中的一位飞行员还打趣道:“恭喜你拿到了头等舱的机票!” 之后飞机毫不费力地成功起飞,上升至晴朗的天空中,但朝着一团积聚在地平线上的乌云飞去,给人一种不祥的预感。

We fly over grids of never-ending palm plantations, which go on for miles until reaching one of the national parks – the last frontier of modernity. The jungle finally takes over. We pass the two peaks of the Batu Lawi, known as sacred mountain protectors, which seems to angrily react to our presence by conjuring an unforgiving storm around our toy plane. The foreigners scream, and I quickly regret the privileged view I’m getting into the cockpit. I’ve been warned that in the worst-case scenario our tiny aircraft can glide and glide. I’m still quite doubtful but these planes had flown before on not much more than a pair of wings and a prayer, and it seemed like we weren’t lacking in the latter – the Kelabit people of Bario are fervent Christians. “Are you scared?” shouts one of the pilot, with a grin more suitable for the captain of the Flying Dutchman. We finally get behind the curtain of clouds – the pilots must have seen this clearing on their radar – and the rice paddies twinkle just as we’re about to land in the valley etched against the Kelabit Highlands. I smiled in relief at the other foreigners. To us, the outsiders, this journey felt like a rite of passage or a cleansing of sorts, but the locals have been at the mercy of this formidable jungle for centuries. Their relationship is symbiotic, and the Kelabit regard the forest with both understanding and respect.

我们飞过无边无界的棕榈园,在数英里之后到达一个国家公园——这里是现代文明社会的最后边界,再往前就进入了原始丛林。飞机经过了被称为”圣山保护者“的巴杜拉威山(Batu Lawi)。这座高山似乎对我们的到来感到十分愤怒,在我们飞机四周聚集起一股无情的风暴。飞机上的外国人开始惊叫,而我很快就后悔自己有“头等舱”的特权。有人曾告诉我,在最坏的情况下,我们这架小型的飞机会不断滑行。我心里有点忐忑,不过这架飞机之前的确都是靠一双机翼和人们的祷告成功飞行的,而我们显然不缺乏祷告,因为巴里奥的加拉必族人们都是虔诚的基督徒。其中一名飞行员向我喊道:“你害怕吗?”他脸上的笑容让我联想到传说中那一艘永远无法返乡的幽灵船——“飞翔的荷兰人”(Flying Dutchman)的船长。我们最后成功穿越了厚厚的乌云,我想飞行员一定在雷达上就看到了现在眼前这片晴空吧。即将着陆于加拉必族的山谷的时候,我看到了下面一片片熠熠闪烁的稻田。我看着身边其他外国人,如释重负地微笑了。对我们这些外来者来说,这段旅程感觉就像一个仪式或净化之旅,但对当地人来说,数个世纪以来,他们一直受着这片原始丛林的恩惠。他们和自然之间的关系是共生共存的,加拉必族人尊重和敬仰这片丛林。

Bario has only one phone provider and it’s not the network I’m on – I’m cut off from the rest of world. The Kelabits, however, are immensely hospitable, generous and life-loving, instantly making me feel like I’m at home. The communal spirit still dominates the Bario Asal (asal in Malay means “original”) longhouse where I stay at. The concept of open home, where neighbours freely mingle with each other is refreshing to a city dweller like me. The Kelabit people embraced Christianity and reconciled old traditions with the new ones. They adjusted, hopeful that their ways of life will survive, but the youngsters flock where the jobs are, often leaving the remote Bario village behind in search of opportunity.

巴里奥只有一个通讯运营商,而我的手机不属于这一网络,所以我彻底与外面的世界断绝了联系。然而,加拉必族人非常好客,他们既慷慨又热爱生活,瞬间让我感觉非常自在。我住进了名为Bario Asal (Asal 在马来语中是指“原始”) 的长屋,在这里,集体主义精神仍占主导地位。这里的居住环境是开放式的,邻居们可以自由地来往,像我这样的城市居民对于这种概念感动十分新奇。加拉必族人信奉基督教,他们调和着古老的传统文化与现代的文化。这里的人希望通过这种调整,让他们的生活方式流传下来。现在的年轻人都涌出去找工作,为了获得工作机会,他们往往要离开这个偏远的巴里奥村庄。

I listen to the olden-day stories from the residents of Bario Asal who retired and came back, such as Gerawat Nulun, a well-travelled man who studied on an exchange program at Harvard in the past. My host, Sina Rang, also lived outside of the village for a period of time. Now, she’s trying to bring more tourists to Bario, inspire other residents to start homestays, and revive their traditional crafts. And she’s not alone in this dream. There’s hope that their efforts will create jobs and bring the young people back. With the current reality of Bario Asal, the longhouse feels like it’s named quite appropriately, as there is much the Kelabit long for: a longing to sustain their way of life, a longing to see their cultural heritage preserved, and a longing for those who have left to not forget their roots.

我从一些退休后回归的Bario Asal居民那里听了很多从前的故事,包括Gerawat Nulun,他是一个去过很多地方旅游的人,之前也曾参加一个哈佛大学的交流项目。我的屋主Sina Rang也曾在村庄外面生活过一段时间。现在,她正在努力吸引更多的游客来到巴里奥,她鼓励其他居民开始经营民宿,复兴他们的传统工艺。她并不是唯一一个这样想的人,大家都希望这一努力能创造就业机会,吸引年轻人回到这里。看着目前Bario Asal的境况,“长屋”(longhouse)的名字仿佛承载了当地人长久以来的许多渴望(longing):渴望维持他们的生活方式,渴望见证他们的文化遗产得以完好保留,以及渴望那些离开了的人不会忘记自己的根。

Contributor, Photographer & Videographer: Gloria Kurnik

供稿人,图片摄影师与视频摄影师: Gloria Kurnik

Ghost Town Ni Naru

French-Canadian photographer Jasmin Gendron began learning his way around photography from the dark rooms of his local high school. As of 2010, he began to shoot predominantly in digital, whilst occasionally shooting 35mm film for personal projects.

法裔加拿大摄影师Jasmin Gendron开始接触摄影是在家乡高中学校的暗房里。在 2010 年之后,他多数用数码相机拍摄,不过有时在创作个人作品的时候也会用到35毫米胶片相机。

“I try to use street photography to immortalize energy and emotions from magnificent, human and sometimes comical scenes, with a poetic, subtle and unobtrusive approach.” Jasmin describes himself as an autodidact, with the inspiration behind his photography style stemming from Japanese culture. He spent a full year immersing himself into Japan and actively absorbing his new surroundings. “I like how the environment impacts human actions and decision in peoples’ everyday lives.”


Jasmin’s photo series Ghost Town Ni Naru was captured over a two-year period in his wife’s hometown of Nikko in Japan’s Tochigi prefecture. Jasmin had been subconsciously observing the city for the past decade, and describes it as his perception of a “grotesque scene,” in the sense that Nikko was slowly becoming a ghost town. This project is an active reminder that no place is unchanging and the sense of loss is acutely expressed throughout each image.

Jasmin的摄影作品系列《Ghost Town Ni Naru》是他在妻子的故乡——栃木县日光市生活的两年期间所捕捉的影像。Jasmin一直下意识地在观察这个城市在过去的十年的发展,研究日光市是如何渐渐变成今日的一座鬼城,而他称这种变化为一种“奇景”。视觉上,这系列作品提醒着人们,没有一个地方是永恒不变的。他的照片中总透露着一种失落的情绪。

Whilst Nikko may be well known for its beautiful traditional shrines and temples, this project seeks to present an aspect of Japanese culture that does not conform to the stereotypical idea of Japan. “This is a sad series. I tried to capture how it must feel for my wife, for her family members and friends, when they take a deeper look at the places where most of their memories come from.”




Contributor: Whitney Ng

Instagram: @jasgendron


供稿人: Whitney Ng

Vietnam, Land of the Dragon People



In November of last year, Belgium-based filmmaker Sjoerd Samuel Tanghe spent a month travelling Vietnam and filming all that he saw along the way. With over 60 hours of footage at the end of his trip, he put together Vietnam, Land of the Dragon People, a stunning four-minute long short film.

去年十一月,比利时电影制片人Sjoerd Samuel Tanghe花了一个月的时间在越南旅行,一共拍摄了超过60小时的影像素材;他将这些影像剪辑在一起,制作成一部时长4分钟的迷人短片——《Vietnam, Land of the Dragon People》。

Compared to his personal and commercial work in the past, Vietnam, Land of the Dragon People is quite different. “Because of social media, the ongoing trend now is that everything must be summarized in less than a minute,” he lamented. “Some of my other projects might be flashier, bombastic, and full of energy. But for this project, the pacing is much slower. I wanted to show all the things I saw in an authentic way.”

相较于他过去个人与商业的作品,《Vietnam, Land of the Dragon People》有着截然不同的风格。他感叹:“由于社交媒体的发展,现在的趋势是一切都必须被概括在不到一分钟的时间里。我以往的作品可能更为华丽、夸张,且更有活力。但是,这部短片的整个节奏会更慢一些。我希望能以真实的方式呈现出我所目睹的一切。”

Being as it was his first time in Vietnam, Tanghe decided to travel through the entire country, starting first from the south and working his way up into the north. His journey was mostly improvised, barring a few specific destinations. Tanghe was most interested in exploring an authentic side of Vietnam, away from the tourist-ridden locations, and to discover for himself the way of life there. With an open-mind, he sought to travel off the beaten path and experience all that the country has to offer; this included trying out balut, a local Vietnamese delicacy, that Tange says to have been the most memorable part of his trip. He adds: “If you don’t know what it is… please don’t Google it.”


Website: sjoerdtanghe.be
Vimeo: ~/sjoerdtanghe


Contributor: David Yen
Video & Images Courtesy of Sjoerd Samuel Tanghe

网站: sjoerdtanghe.be
Vimeo: ~/sjoerdtanghe


供稿人: David Yen
视频与图片由Sjoerd Samuel Tanghe提供

The People of Yangon

Earlier this year, Neocha’s founder and creative director Adam J. Schokora spent a week exploring Myanmar. For him, Yangon, the largest and most-populated city of the country, was one of the most unforgettable legs of the trip, a city that’s rich with life and colors. Below, he presents a visual diary of his travels.

今年早些时候,Neocha创始人兼创意总监Adam J. Schokora用了一个星期的时间来探索缅甸。对于他来说,他在缅甸最大和人口最多的仰光的经历是整段旅行中最为难忘的部分,这是一座充满了蓬勃活力和缤纷色彩的城市。下面是他在这段旅行中记录的视觉日记。

“When I travel, I’m not particularly interested in visiting scenic spots or the ‘must-sees.’ For me, the charm of any destination is found in its people and that’s what I try to capture when I’m out shooting. I shot the following pictures during a trip to Yangon, Myanmar earlier this year. The pictures show a glimpse of the wonderfully photogenic, friendly, and colorful people of the city.”


“Yangon is bustling in the same way any big Asian city is, but in many ways, it still feels undiscovered. The saturated colors, the worn textures, and the general throwback aesthetic of the city gives any image a unique, nostalgic feel quite unlike anywhere else I’ve travelled. The locals don’t seem to mind having their photo taken, nor are they overly clamoring for the attention of your lens. Bouncing around and capturing authentic moments without disturbing anyone or raising suspicions is done with ease. Yangon is a paradise for casual street photography.”


“Equipped with just a Leica M, a Leica M6, and two Summicron lenses (a 50mm and a 90mm), I roamed the city and shot these pictures over the course of a few short days without a predetermined agenda or route. A few of the locations shown in the images include the Pansodan Ferry Terminal and Yangon River boardwalk area, the Yangon Central Railway Station, the Theingyi Market, along with countless other intersections, overpasses, alleyways, shop fronts, and courtyards.”


Instagram: @ajschokora


Contributor & Photographer: Adam J. Schokora

Instagram: @ajschokora


供稿人与摄影师: Adam J. Schokora

Beauty in Normalcy

Jun Ngyuen is a Hanoi-based creative, whose journey with photography began seven years ago upon receiving her very first film camera. “It was cheap, only $70. But once I had it, I fell into it – I put so much time into creating every single frame.”

Jun Ngyuen là một nhà nhiếp ảnh tại Hà Nội, khi lần đầu tiên nhận được một chiếc máy ảnh vào 7 năm trước, cô đã bắt đầu cuộc hành trình nhiếp ảnh của mình. “Rẻ mà, chỉ có $70. Nhưng khi có nó, tôi đã thật sự đắm chìm – tôi dành rất nhiều thời gian cho mỗi bức ảnh.”

Over the years, she has traveled around Asia, seeking to capture the sights and sounds of the various cultures that she has come across. Her images tell silent stories of each of the strangers that she has encountered. Images from this series feature her collective trips to Sapa, a small town north of Vietnam and El Nido in the Phillippines.

Sau nhiều năm, cô đã đi khắp Châu Á, lưu lại những hình ảnh và âm thanh của nhiều nền văn hóa khác nhau mà cô đã đi qua. Các bức ảnh là những câu chuyện về mỗi người lạ mà cô đã gặp. Những bức ảnh này được chụp từ chuyến đi tập thể của cô đến Sapa, một thị trấn nhỏ ở phía bắc Việt Nam và El Nido ở Phillippines.

“Photography is both preservation and expression. People get busy and don’t pay attention to the simplest of things – we forget that even normalcy has beauty. There are so many moments that I want to share, but I’m not so good with words. Sometimes, I just let my photos say it all.”

“Nhiếp ảnh là để gìn giữ và bày tỏ cảm xúc. Mọi người quá bận rộn và không để tâm đến những điều đơn giản nhất – chúng ta đã quên rằng thậm chí những thứ bình thường cũng có vẻ đẹp riêng. Vậy nên có rất nhiều khoảnh khắc tôi muốn chia sẻ, tiếc là tôi không giỏi diễn đạt – đôi khi, tôi cứ để những bức ảnh của mình nói lên tất cả.”

Jun considers herself to be part of a lucky new generation of creatives who are currently thriving in Vietnam. “We are enthusiastic, passionate and full of ideas – and now, we’re finally getting the support and opportunities we need from the greater community.”

Jun xem mình là một phần của thế hệ những nhà nhiếp ảnh may mắn đang phát triển tại Việt Nam. “Chúng tôi nhiệt tình, đam mê và đầy ý tưởng – và giờ đây, chúng tôi cuối cùng đã nhận được sự hỗ trợ cũng như các cơ hội từ những cộng đồng lớn hơn.”

To Jun Ngyuen, creation is a remedy, rather than a means to an end. “This keeps me positive. I hope that by doing what I do, people can see how beautiful the world is and draw inspiration from it the way that I do.”

Gửi Jun Ngyugen, sáng tạo là một phương thuốc, chứ không phải là một phương tiện để đạt được mục đích cuối cùng. “Điều này sẽ giúp tôi trở nên tích cực. Tôi hi vọng với những gì tôi đã làm, mọi người có thể thấy thế giới này thật tươi đẹp và lấy cảm hứng đó để chung bước cùng tôi.”

Contributor: Whitney Ng

Người đóng góp: Whitney Ng

Conrad Beijing

Located on Beijing’s East Third Ring Road, in the heart of the city’s central business district, the Conrad Beijing clearly stands out amongst its surrounding commercial office buildings. The hotel is characterized by innovative architecture and design, which serves as a refreshing, energized alternative to Beijing’s often monotonous urban sprawl.


The building’s exterior stands tall and slender, encased in a sleek metal frame that sets its aesthetically apart from the norm. Designed by MAD Architects, the sinuous casing adds fluidity to an otherwise gridded structure. The outer network curves in a natural fashion, a shape reminiscent of moving organisms. MAD worked dilligently to achieve their concept of ‘Living Architecture’, designing a free-form, mutated structure that softened against the city’s urban rigidity.


Stepping inside, the hotel’s décor is characterized by deep block colours, interesting textures and reflective surfaces. Designed by LTW Design Works, its alluring interior is a natural extension of the building’s attractive outer shell. By considering Conrad Beijing’s unique setting and cultural identity, LTW has created a compelling narrative that defines the hotel. Its design is consistently sophisticated, but escapes being too traditional by maintaining a playful balance between the past and the present, refinement and flair. Every room is unique, yet close attention to design continuity allows for a seamless transition from one area to the next.

一走进酒店,迎面而来的就是极具视觉效果的装饰墙:深色的质感、妙趣横生的纹理、以及带着反射效果的表面,都给人眼前一亮的感觉。LTW Design Works的设计延续了精致风,也避免了过于保守。酒店在整体上完美融合了精巧与天然两种特性。每个房间都是独一无二的,但同时也非常注重设计的统一性,加上无处不在的柔和灯光与色调,让人自由顺畅地流转于各个房间中

Traditional ink paintings in the main lobby, an old-fashioned spiral staircase in the Japanese restaurant, and charming silk-lined walls in the Chinese dining room are all nostalgic features that complement the hotel’s distinctly Asian aesthetic. Other rooms are less Eastern and more futuristic, bringing the hotel’s overall design into the present. While the lobby areas are characterized by bright open spaces, dark red mood lighting sets a more sensual tone in the bar, with scarlet light reflecting off its traditional wicker panelling. The further use of reflective, rose gold mirrors and plush pink carpets in the main reception area creates a softer, dream-like environment.


MAD’s intended to project their concept of nature and the great outdoors onto Beijing’s urban landscape, which is clearly illustrated throughout the hotel’s completed design. A dramatic sculpture of five tropical fish made out of rusted metal wires stands as the focal point of the lobby area, which has been warmly lit to bring them glistening to life, as if swimming into the middle of the room. This contributes to an overall sense of fluidity throughout the hotel. The Conrad Beijing is a consolidation of culture and contemporary design, as well as a unique representation of life and movement amidst a comparably static landscape.


The Conrad Beijing is an impressive consolidation of conventional culture and contemporary design. The overall grandeur of its Asia-inspired interior appropriately acknowledges its Chinese heritage, while its attention to detail, décor and intimacy has ensured an enjoyable, aesthetically pleasing experience for every guest.


Website: ~/conrad-beijing

No 29. East Third Ring Road
Chaoyang District, Beijing
People’s Republic of China


Phone: +86 10 6584 6000


Contributor: Ruby Weatherall
Photographer: Shu He
Images Courtesy of GD-Lighting Design



: +86 10 6584 6000


供稿人: Ruby Weatherall
摄影师: 舒赫
圖片由GD-Lighting Design提供