All posts by david

Lanka Lanka

July 26, 2016 2016年7月26日

 

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Filmmaker Jacco Kliesch takes us through Sri Lanka with a stunning video diary of this island nation. Shot using a GoPro HERO4 and a Sony a7S II, the cinematic journey begins with a plane’s descent into Sri Lanka and a rain-filled stormy night. But the rain and darkness quickly gives way to a beautiful sunrise on the beach, and as morning light began pushing through the clouds, the country of Sri Lanka came to life.

Through the use of well-produced sound design, Jacco takes viewers on an immersive trip through Sri Lanka’s forests, mountains, temples, rural backroads, and marketplaces. The film also reveals the vibrance of life in the region – colorful insects, playful monkeys, and charming local Sri Lankans all make appearances in the video. All in all, the short film is a masterfully composed visual narrative that boasts all the marvels of the country.

Neocha Selects is a curated selection of some of the most inspiring and innovative video content from Asia. To see more stories like this, click here. To see original Neocha videos, click here.

Vimeo: ~/jacco

 

Contributor: David Yen
Video & Images Courtesy of Jacco Kliesch

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Spatial Bodies

July 22, 2016 2016年7月22日

 

无法观看？前往优酷

The city of Osaka, Japan is the backdrop for filmmaker AUJIK’s latest reality-bending video. In the short four-minute video, created with drone footage and 3D renderings, many of the buildings Japan’s second largest city have morphed into monstrous megastructures. Even stranger, these high rises, skyscrapers, and iconic landmarks, like the iconic Tsūtenkaku tower, appear to be moving about, defying the laws of physics. As these structures morph and oscillate throughout the video, the ordinarily mundane cityscape of Osaka turns into a writhing forest of concrete-fleshed organisms. Beneath the bending and twisting architectural impossibilities, the inhabitants of Osaka seem to be carrying on with their lives and unaffected by these anomalies, driving through the streets like any other day.

日本の大阪の街が、映像制作会社AUJIKの現実を歪めた最新動画の背景だ。この4分の短編動画は、ドローンの映像と3Dレンダリングで製作し、日本で2番目に大きな都市にある多くの建物が、怪物のような巨大建造物に変形している。実に不気味に、これらの高層建築物、高層ビル、大阪の象徴通天閣のような目印となる建物が、物理法則を無視して動き回っているようだ。この動画の間、これらの構造物の変形と揺れによって、普通の大阪の街の日常風景が、コンクリートの肉体を持った生物がのたうち回る森になっている。構造上不可能な曲げと歪みの下で、大阪の住人は騒々しく生活を送り、この異常な空間に影響を受けることなく、何事もない日のように街中で車を運転している。

AUJIK cites many influences that inspired him to create this video: from the famous Gunkan building in Tokyo to the Sony PlayStation 2 game Katamari Damacy. But his biggest influence for this video would appear to be Metabolism architecture, the Japanese architectural movement that combines concepts about architectural design with concepts about biological growth.

AUJIKは、有名な東京のGunkanビルからプレイステーション2のゲーム塊魂まで、この動画を制作するきっかけとなった多くの影響について述べている。しかし、彼のこの動画に最も大きな影響を与えたのは、メタボリズム建築かもしれない。それは建築設計の概念と生物の成長の概念を結びつけた日本の建築運動である。

Like previous projects, AUJIK worked closely with a musician to create a fitting score for this new video. In the past, he’s collaborated with a range of talented musicians, from Scottish music producers to American black metal bands. For Spatial Bodies, he worked with Japanese electronic music producer Daisuke Tanabe, who created an eerily calm soundtrack that guides viewers through a contorting cityscape.

これまでのプロジェクトのように、AUJIKはミュージシャンと緊密に作業を行い、この新しい動画に合った音楽を作った。過去には、スイスの音楽プロデューサーからアメリカのブラック・メタルバンドまで、幅広い優秀なミュージシャンとコラボしている。Spatial Bodiesのために、日本のエレクトロニックミュージックプロデューサーDaisuke Tanabeと仕事を行った。彼が作曲した不気味な程静かなサウンドトラックは、歪んだ都市の景観の中で見る人を案内している。

Neocha Selects is a curated selection of some of the most inspiring and innovative video content from Asia. To see more stories like this, click here. To see original Neocha videos, click here.

Neocha Selectsは、アジア各国から届いた最も刺激的で革新的な動画コンテンツから厳選されたセレクションです。さらに同様の話題をご覧いただくには、こちらをクリックしてください。Neochaのオリジナル動画については、こちらをクリックしてください。

Website: aujik.com
Vimeo: ~/qnqaujik
Facebook: ~/qnqaujik

 

Contributor: David Yen
Images & Video Courtesy of AUJIK

ウェブサイト: aujik.com
Vimeo: ~/qnqaujik
Facebook: ~/qnqaujik

 

Contributor: David Yen
Images & Video Courtesy of AUJIK

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Zhongshuge by X+Living

July 20, 2016 2016年7月20日

The award-winning Shanghai-based design firm X+Living was commissioned to design book retailer Zhongshuge’s Hangzhou and Yangzhou branch this year. The Hangzhou location was unveiled in April, while the Yangzhou location opened to the public just earlier this month. X+Living approached the Hangzhou location with the ambitious mindset of wanting to design the most beautiful bookstore in the world. As for the Yangzhou Zhongshuge store, X+Living focused instead on tying together the region’s surrounding geography and its cultural history with their design concepts.

落户于上海的设计公司唯想国际屡获大奖，今年为图书连锁店钟书阁在杭州和扬州的分店设计操刀。杭州钟书阁于今年四月揭开面纱，扬州钟书阁在这个月初对外开放。唯想国际旨在将杭州钟书阁打造为全球最美书店，而在设计扬州钟书阁的时候，重点融入这里的地理环境和文化历史元素。

Located within Star Avenue, a bustling commercial center in the Binjiang district, the Hangzhou Zhongshuge greets visitors with a rather simple glass facade. The transparent glass is covered with text and reveals a pure white space inside the store. Once inside, impressive circular pillars are found throughout the lobby, each ascending up to the mirrored ceiling. Bookshelves are integrated into every pillar. A doorway takes visitors out of this surreal white space and brings them into the main hall. The main hall is a quiet reading corridor, and the walls consist of dark wooden bookshelves that extend down the hallway. This area has the identical mirrored ceiling as the previous area, but rather than bright florescent white lights, amber-colored chandeliers hang overhead and provides a soothing glow through the hall. Further down the hall is the main study, a breathtaking oval room where the stairs double as bookshelves and the same mirrored ceiling overhead doubles the size of the already astonishing room. This space allows visitors to rest on the shelved steps and read. Strips of light beneath the shelves and bulbs overhead illuminate the space, but individual lamps are also situated throughout the room next to padded cushions, offering readers a comfortable reading experience.

钟书阁杭州店位于滨江区星光大道繁华的商业中心，首先映入眼帘的是铺满文字的全通透玻璃幕墙，透过玻璃幕墙后是一个纯白色空间。一旦踏入，就能看到一支支直冲镜面天花板的圆形立柱，铺满整个大厅空间，蔚为壮观。书架就嵌入在每根立柱里。通过一扇门洞，人们走出这个超现实的白色空间，来到正殿，一个幽静的读书长廊迎面而来，整面的深木色书架向着端头无尽地延伸。天花板依旧由镜面构成，但不同于一般书店里明亮的白光灯，这里天花上的镜面漂浮着一盏盏琥珀色的吊灯，让整个空间充满了柔和的美感。越过长廊便是阶梯阅读区，阶梯还能兼做书架。这里有着同样的镜面天花板，在这个有着强烈视觉冲击和设计感的空间里，人们可以休憩于高阁阶梯上，静心阅读。环抱式书架配以一道道如漩涡的灯带，配上正殿上的光亮，整个空间明媚敞亮。但每个房间里都设有个性化的台灯与舒适的靠垫，共同营造绝佳的阅读体验。

For the Yangzhou Zhongshuge location, their design revolves around the concept of water and how it is considered as the “cradle of everything, and the breeding ground of culture”. Upon entering, visitors will find themselves in a tunnel with a black reflective ground and bookshelves that curve upwards into a beautiful arc. But instead of the two sides meeting on the ceiling, a zig-zag shaped lightning bolt cuts through overhead; it reflects on the ground and forms a flowing river that beckons visitors to follow it deeper into the space. Venturing inwards, visitors will find themselves in the lobby and main reading room. These two spaces both use dramatic curving arches to support and connect one another, and these curving pillars and walls also form coves of books throughout the space. The recurring appearances of these arcs and curved arches in the space is meant to represent bridges over water, which is an analogy for bridging the minds of readers with the knowledge contained in books. Soft light illuminates the space and fills with it peaceful ambience, even this is a carefully thought-out design element that is meant to invoke images of a river sparkling in the sun.

水，万物滋生的摇篮，更是文化孕育的温床。钟书阁扬州店在设计时，一大特色就是融入了“水”的元素。走入书店，就置身于一条通廊，踏在深色的反光地面上，看着两边的书架向上延伸形成优美的弧线，但在顶端并不是连接在一起，而是形成了一种曲折宛如闪电的结构，反射在地面上，形成河流状前行，似乎在引领者读者深入更加浩瀚的知识海洋。进而向前，来到主厅和主阅览室。设计师利用造型别致的各种拱形来连接各个区域，曲线形的柱子和墙壁贯穿整个空间，形成书籍摆放之地。如此反复出现的弧线和弯曲拱形设计，都是为了呈现“桥立于水”的意向，向人们传递知识立于书本的相同内涵。柔和的光线缓缓照亮所在空间，充满了宁静的氛围，这个精心的设计也是为了让读者联想起桥下水波的粼粼之光。

Both of these bookstores also feature dedicated children’s reading rooms. The children’s rooms in both locations are vastly different from the rest of the store, but both give off an infectiously playful energy. The Hangzhou location is designed just like a playground, with the bookshelves emulating merry-go-rounds, hot air balloons, roller coasters, and even pirate ships. In the Yangzhou children’s room, the bookshelves are built like colorful, disassembled toy blocks. Countless stars twinkle overhead. Both locations are constructed to spark the imagination of children and adults alike.

两个钟书阁都专门设有儿童馆。给孩子们精心设计的儿童馆在书店中显得别具一格，都带着强烈的童趣元素。杭州钟书阁的儿童馆是一个书籍游乐场，书架全部艺化成游乐场设施：旋转木马、过山车、热气球和海盗船，寓教于乐。扬州钟书阁的书架以五彩缤纷的颜色来活跃整个空间，并做成了可拆解移动的玩具形式，配上天花板上数不清的星星之灯，整个氛围很是活泼。

Both of the new Zhongshuge locations are awe-inspiring spaces that are sure to captivate both readers and design lovers. The next time you are in Yangzhou or Hangzhou, be sure to make some time in your schedule and check them out!

无论是爱书之人还是设计迷，都会迷上钟书阁这两家新店的独特魅力。下次有机会到杭州或者扬州时，别忘了在行程中抽出一点时间，到此处一游！

Addresses:

Hangzhou Branch
Xingguang Avenue Pedestrian Street, Building 4-101
Binjiang District, Hangzhou
People’s Republic of China

Yangzhou Branch
492 Wenchang Middle Street
Guangling District, Yangzhou
People’s Republic of China

 

Website: XL-muse.com
Weibo: ~/zhongshuge

地址:

杭州钟书阁
中国 杭州市 滨江区
星光大道步行街4号楼-101

 

扬州钟书阁
中国 扬州市 广陵区
文昌中路492号

 

网站: XL-muse.com
微博: ~/zhongshuge

Contributor: David Yen
Photographer: Shao Feng
Images Courtesy of X+Living

供稿人: David Yen
摄影师: 邵峰
图片由唯想国际提供

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Tokyo

July 18, 2016 2016年7月18日
 Today’s trend-setting, ultra-modern Tokyo leads the world in many regards. One look at the photos of Tokyo on VSCO Grid® reveal the sleek architecture and bustling shopping districts that characterize the Japanese city. Amidst the images of its fashion-forward youth and neon-lit nightlife, however, we see the cultural elements that distinguish Tokyo from its international counterparts.

現代の流行発信地である最先端の都市東京は、様々な観点で世界をリードしています。VSCO Grid®で東京の写真を一目見れば、日本を代表する都市の特徴であるなめらかに光り輝く建築や活気あふれるショッピング街の様子が手に取るようにわかります。流行に敏感な若者たちやネオンきらめくナイトライフといったイメージの中でも、東京には他の国際都市と一線を画す文化的な要素がうかがえます。

View the city’s busy streets, its distinctive cherry blossoms, or traditional Buddhist temples in the selection of photos below or by searching Tokyo on VSCO Grid®.

以下の写真セレクションで、またはVSCO Grid®で「東京」と検索して、東京の繁華街やこの地独特の桜の花、あるいは伝統的な仏閣をご覧ください。

This story is part of a content partnership and media exchange between Neocha and VSCO®. To see more of VSCO’s Asia content on Neocha, click here.

この企画は、NeochaとVSCO® のコンテンツパートナー提携およびメディア交換の一環です。NeochaでVSCO®のアジアのコンテンツをさらにご覧いただくには、ここをクリックしてください。

Media Partner: VSCO®

Photographers:
Nariaki Matsuura
Droptokyo
Danalli Ignacio
Choo Seong
Hana Spahic
Gus Lacson
Harrison Yu
Martin Kirby
Sarah Hum
Jennifer Chau
Braden Kenyon
Charley Mary Rose
Itaru
Timur Alexandroff
Matiinu Ramadhan

Images & Text Courtesy of VSCO Grid®

メディアパートナー: VSCO®

カメラマン:
Nariaki Matsuura
Droptokyo
Danalli Ignacio
Choo Seong
Hana Spahic
Gus Lacson
Harrison Yu
Martin Kirby
Sarah Hum
Jennifer Chau
Braden Kenyon
Charley Mary Rose
Itaru
Timur Alexandroff
Matiinu Ramadhan

画像およびテキストは次の著者のご厚意により転載 VSCO Grid®

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Flabjacks “Survival Kit”

July 15, 2016 2016年7月15日

 

无法观看？前往优酷

Neocha recently collaborated with Ton Mak, the illustrator behind the Flabjacks series. Despite never having officially studied art, her love of doodling led her onto the path of becoming an artist. Now based between Hong Kong and Shanghai, she has created an imaginary world populated with pudgy, goofy creatures. She’s even been known to turn inanimate object, such as avocados or pots of cacti, into her chubby Flabjacks characters.

近期，Neocha与Ton Mak进行了一次联手合作。她是Flabjacks系列背后的插画师，尽管从未正经学艺，但对涂涂画画的爱让她走上了艺术家之路。如今身居香港和上海两地的她，已经一手打造出了一个想象世界，在这个世界里充满了傻乎乎、胖墩墩的各种角色设定。她甚至还将牛油果和仙人掌等物体进行拟人化，并加入到她的肥仔角色中去，并以此被广为所知。

For this collaboration, Ton Mak worked alongside Neocha and Moleskine® to created a limited edition Flabjacks “Survival Kit” that’s now available in our online shop. Check out the video to see Ton’s mischievous Flabjacks characters escaping her studio for a day of shenanigans in Shanghai.

在这次的联手合作中，我们与Ton Mak以及Moleskine®一起，创作了限量版Flabjacks “Survival Kit”，并已于Neocha在线商店出售。点击视频，观看Ton那些Flabjacks淘气包们从她的工作室出逃，在上海调皮捣蛋的一天。

The Flabjacks “Survival Kit” includes: Puff Ville, a limited-edition black-and-white risograph print; a limited-edition Flabjacks notebook done in collaboration with Moleskine®; and a Flabjacks tote bag. Each limited-edition Moleskine® notebook is debossed with the Flabjacks logo and features different fun characters hand-doodled by Ton Mak throughout the pages.

Flabjacks “Survival Kit”中包含有一副限量黑白孔版印刷版画《Puff Ville》，一个Flabjacks和Moleskine®限量合作笔记本，一个Flabjacks帆布袋。每一本限量Moleskine®笔记本都凹印有Flabjacks的标志，内页中则有各种不同的有趣角色，由Ton Mak手绘而成。

The Puff Ville print measures 30.3 cm x 30.3 cm, and is a risograph print done on high-quality Olin 300gsm art paper. Everything is packaged in its own customized Flabjacks pizza box. The Flabjacks “Survival Kit” can be purchased now exclusively on the Neocha Shop. It’s available in a limited edition of only 15.

孔版印刷版画《Puff Ville》尺寸为30.3 cm x 30.3 cm，印于300克欧林艺术纸上。以上物品包装于定制的Flabjacks披萨盒中。Flabjacks “Survival Kit”现已在Neocha商店独家上线，限量15份。

// <![CDATA[
document.getElementById('ShopifyEmbedScript') || document.write('’);
// ]]>
Buy "Flabjacks Survival Kit" by Ton Mak

Full Product Details:

  • Custom Flabjacks pizza box
  • Limited-edition Flabjacks Puff Ville print (details below)
  • Limited-edition Flabjacks Moleskine® notebook of 15
  • Flabjacks Tote Bag
  • Price: $150

 

Print Details:

  • Limited-edition Puff Ville black-and-white risograph print
  • Edition size: 15
  • Print size: 30.3 cm x 30.3 cm
  • Paper: 300gsm Olin Art Paper

套装详情:

  • Flabjacks定制披萨盒
  • Flabjacks限量孔版印刷版画《Puff Ville》
  • Flabjacks限量Moleskine®笔记本
  • Flabjacks帆布袋
  • 价格: $150

 

版画详情:

  • 限量黑白孔版印刷版画《Puff Ville》
  • 版数: 15
  • 尺寸: 30.3 cm x 30.3 cm
  • 用纸: 300克欧林艺术纸

Website: flabjacks.com

 

Contributor: David Yen
Videographers: Winnie Chi, Gerhan, Patti Ruan
Photographers: Crown Wang, Leon Yan

网站: flabjacks.com

 

供稿人: David Yen
视频摄影师: Winnie Chi, Gerhan, Patti Ruan
图片摄影师: Crown Wang, Leon Yan

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“Gosh” by Jamie XX

July 13, 2016 2016年7月13日

 

无法观看？前往优酷

China has often been associated with shanzhai counterfeit culture, from brand name apparels to electronic gadgets. But it is not just consumer goods being copied, even cities are vulnerable when it comes to Chinese cloning. As odd as it might seem to replicate an entire city, it is actually a common practice in China that can be traced all the way back to the Qin dynasty where the emperor would commission replicas of conquered palaces. On the outskirts of Beijing, there is a replica of Jackson Hole, Wyoming; in Guangdong, there’s an entire fake Austrian village; and then there’s Tianducheng, a town located in the suburbs of Hangzhou, which has a scaled-down replica of Paris, complete with Parisian architecture and even a 354-foot high Eiffel Tower.

从名牌服装到电子产品，中国的山寨文化随处可见。但不仅仅是仿冒消费品，这股风潮还影响到中国的城市建设。在西方要复制一个城市这听上去是个非常怪诞的想法，但是在中国并不是什么新鲜事，其实早在秦朝，中国就有这样的先例，在那个时候，帝王就会下令复制出其征服的地方。在北京一郊区，有个完全模仿美国怀俄明州的小镇—— 杰克逊霍尔；广东有个村庄完整地复制了澳大利亚的乡村风格；杭州的市郊有一个迷你版的巴黎——天都城，这里不仅模仿了巴黎的建筑风格，甚至还修建了354英尺高的“埃菲尔铁塔”。

For Jamie XX’s “Gosh”, filmmaker Romain Gavras chose this faux Paris to be the backdrop for his music video. The video starts in a dark neon-lit room where an albino protagonist, played by Hassan Kone, lays on a large couch lost deep in his thoughts. Surrounding him on the couches are people wearing glowing goggles, seemingly immersed in virtual reality. The pace quickly ramps up as the video drops viewers in the middle of a clone of Paris and Jamie XX’s minimalistic electro sounds begin kicking into gear. Dressed in all white, the protagonist races down the street in a Subaru driven by a man in a mask, riding with his entourage.

Jamie XX单曲《Gosh》的MV由Romain Gavras执导，他选了这个复制版巴黎城为背景。MV在一个霓虹闪烁的昏暗房间拉开序幕，由Hassan Kone扮演的白化病男主角躺在一个大沙发上，陷入沉思。在他的周围，沙发上还围着一群带着亮眼护目镜的人，在虚拟世界中如梦似幻。随着MV中带着观众空投城市中心场景，节奏加快，Jamie XX极简化的电子音效开始进入指令式的重复。一身白装的的男主，带着他的随从，在一个面具男开车的Subaru车里沿着街道狂奔。

At the same time, hundreds of Chinese children in identical clothing and hair color are dashing through the empty streets. All of them moving with purpose as they close in on the replica of the Eiffel Tower looming ominously in the distance. The horde of doppelgänger children finally converges on the protagonist at the base of the tower where they begin orbiting him in a synchronized dance as his entourage looks on. The bizarre and dystopian vibes are reminiscent of the director’s earlier work for Kanye West’s “No Church in the Wild” and Justice’s “Stress”. Gavras’ impressive video involved a cast of 400 people and was shot without the use of CGI or 3D effects. Jamie XX’s In Colour album is available for purchase on his official website.

同时，数百个穿着相同的衣服，留着相同的发型的中国孩子，在空荡荡的街道，朝着复制版埃菲尔铁塔列步前进，建筑在远处或隐或现，诡异而不详。这一群幽灵般的少年最终在埃菲尔铁塔下将男主包围，以整齐划一的轨道围着他，男主的随从就在不远处静静观望。该古怪而带着反乌托邦式的MV风格让人想起导演早期的作品，如Kanye West的《No Church in the Wild》和Justice的《Stress》。整个MV个性十足，动用了400名群演，全程没有一个镜头使用CG或3D效果。Jamie XX的专辑《In Colour》可以在他的官网上购买。

Neocha Selects is a curated selection of some of the most inspiring and innovative video content from Asia. To see more stories like this, click here. To see original Neocha videos, click here.

Neocha Selects为来自亚洲地区内最具启发性和革新性的视频内容精选。查看更多类似文章，请点击此处。查看Neocha原创视频，请点击此处。

Website: jamiexx.com
Soundcloud: ~/jamie-xx-official
Vimeo: ~/gavras

 

Contributor: David Yen
Video & Images Courtesy of Romain Gavras

 

网站: jamiexx.com
Soundcloud: ~/jamie-xx-official
Vimeo: ~/gavras

 

供稿人: David Yen
视频和图片由Romain Gavras提供

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Boven Magazine Library

July 7, 2016 2016年7月7日

Print isn’t dead in Taipei. It’s being kept alive at Boven, a magazine library tucked away in an unassuming Dongchu alleyway. The passionate people behind Boven are Spencer Chou, Ken Peng, and Shawn Hsu. These three are working tirelessly to preserve print. Spencer and Ken met each other while serving in the Taiwanese military, and bonded over their shared interests in printed publications, literature, and design. Together, they founded Boven. Later on, Ken’s high school friend Shawn joined the team and has been invaluable with his expertise in marketing, publishing, and exhibition production. This trio is pushing Boven forward towards becoming more than being a simple magazine library. They aspire for Boven to evolve into a platform where their magazines can be shared and easily accessible by everybody.

在台北，印刷尚未絕跡。 Boven雜誌圖書館藏身於台北東區一個不起眼的小巷子裡，在這裡，印刷仍保持著活力。雜誌背後的愛好者是周延川、彭緯豪與徐元祥，他們三個不辭辛勞，只為讓印刷出版物能一直存續下去。周延川與彭緯豪在台灣服兵役期間結識，發現彼此在印刷出版、文學與設計方面志趣相投。接下來，他們便一起建立了Boven雜誌。之後，彭緯豪的高中同學徐元祥也加入進來，因其在市場營銷、出版以及展覽製作方面的專業成為團隊不可或缺的一員。這個三人組共同推動Boven的發展，使它遠不僅僅是一個簡單的雜誌圖書館。他們希望Boven最終能成為一個平台，令每個人都能在這裡輕易地分享與閱讀雜誌。

The name Boven comes from the Dutch word that means “upstairs”. This name originated from their first location ten years ago in a four-story building in Shilin. This building brought several different businesses together, such as a café, bar, clothing store, and magazine shop. Seeing how successfully these different elements complemented one another led to Boven becoming the magazine library and café that it is today. The concept of “upstairs” is also meant to be a metaphor that represents their persistent step-by-step climb towards achieving their goals.

Boven這個名字源於意為“樓上”的荷蘭語詞彙。取這個名字是因為十年前，他們原本第一個地址是在士林區的一個四層小樓裡。這座小樓聚集了各種各樣的商家，如咖啡廳、酒吧、服裝店與頂樓的雜誌商店。正是因為看到了這些不同元素的商店如何成功地互為補充，Boven才成長為今日這個集雜誌圖書館與咖啡廳與一身的商店。 “樓上”的概念同時隱喻了他們一步一步向上，最終實現目標的內涵。

Boven was finally revived in January of 2015. This new space is a subterranean layer that provides safe haven from the rapid digitalization of the world outside. Currently boasting an impressive collection of over 16,000 magazines from all over the world that cover an entire spectrum of subjects, such as art, fashion, design, architecture, and lifestyle just to name a few. The intended coziness and homeliness of the store is further reinforced through their visitor guidelines, which requires everyone to remove their shoes and change into a pair of slippers. The space is separated into two areas by a black divider. One space is furnished with rows of long tables and lit by white fluorescent light, which fittingly to their title, resembles an actual library. On the other hand, the main area consists of comfortable couches, and the lay out makes it almost feel like a living room. The overall ambience is inviting and beckons visitors to stay a while, read a magazine or two, and relax for an afternoon.

2015年1月，Boven終於重新開張。新地址選在地下層，成為人們逃離外面數碼世界的安全的避風港。如今，這裡收集了全世界超過16,000本雜誌，涵蓋各個領域，如藝術、時尚、設計、建築與生活方式等等，十分驚人。新店的遊客守則要求每個人必須換上拖鞋，這令人感覺更加舒適，更有家庭氣氛。整個空間由一個黑色間隔分為兩個區域。一個區域配有長台與白色日光燈，像一間真正的圖書館一樣，正符合它的名字。主區域配有舒適的長沙發，佈置得像客廳一樣。整體的氣氛十分吸引人，好像在呼喚遊客在這停留一會，讀一、兩本雜誌，下午放鬆一下。

Every month, at least three hundred new magazines are added to their collection. Spencer is in charge of curating the entire magazine collection, and he adoringly views each and every single one of these magazines as priceless treasures. Having read every magazine in the library, he’s even been dubbed as a “human search engine” who’s capable of locating any magazine in the library. Spencer sees print as an important instrument that has recorded the history and culture of countless cities and countries over the course of time, and this mindset is why he believes it’s more important than ever to preserve the disappearing medium.

每個月他們都至少收集到300份新的雜誌。負責雜誌收藏與整理的是周延川，他將每一份雜誌都視為無價的珍寶。他讀過館內所有雜誌，號稱“人肉搜索引擎”，可以精准定位每一份雜誌放在哪個地方。周延川認為，在時間的長河中，印刷是記錄無數城邦歷史與文化的重要方式，正是有了這個想法，他才認為保存這個正在消失的媒介比以往任何時候都更加重要。

Boven has plans of expanding the scope of their project. They’re attempting to make print publications even more accessible to people all over Taipei, and to do so, they’re working to construct over a hundred micro libraries within the city. Their plan involves selecting and leasing publications to various businesses looking to provide reading material for customers; this would in return reduce time, cost, and inventory build up for the business owners. Their ambitious vision is for Boven to be found in every part of Taiwan and allow the country itself to be known as the world’s biggest magazine library.

Boven有計劃擴大項目的範圍。他們正試著在全台北範圍內，令印刷出版物更容易被大眾接觸。為此，他們正在全市建立超過100個微型圖書館。他們的計劃是，挑選出一些雜誌，租賃給各種希望為客戶提供閱讀材料的商戶；作為回饋，這個項目也可以為商戶節省時間與成本，降低庫存。他們對Boven寄予厚望，希望它遍及台灣，最終，讓這個城市本身作為世界最大的雜誌圖書館揚名四海。

Address:
Fuxing Nan Lu. 107 Alley 5 #18 B1
Taipei, Da’an District
Taiwan

Tel:
+886 2 2778 7526

Facebook: ~/boven437

 

Contributor & Photographer: David Yen
Additional Image Courtesy of Boven

地址:
台灣
台北市 大安區
復興南路一段107巷5弄18號B1

電話:
+886 2 2778 7526

臉書: ~/boven437

 

供稿人與攝影師: David Yen
附加圖片由Boven提供

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Second Generation

July 5, 2016 2016年7月5日

In recent years, South Korea has undoubtedly become one of the most culturally influential countries in Asia. Hallyu, or “Korean Wave,” has permeated every nook and cranny of the region over the last decade and it’s even seeping into Western culture with the likes of PSY’s “Gangnam Style”. This has led to many Western fashion brands pairing up with various influential Korean celebrities. South Korean pop idol G-Dragon frequently appears alongside Karl Lagerfield at Chanel runway shows and has even released a footwear capsule collection with Giuseppe Zanotti. With Korean tastemakers like G-Dragon on the forefront of Asia’s fashion scene, it’s not surprising that more and more Western brands are looking to become associated with Korean pop culture. On the other side of this thriving Korean pop culture phenomenon are the local Korean brands. A number of local streetwear brands have been on the uprise in Korea following the K-pop craze. In the Seoul street style scene, these brands often appear as pieces that accompany Western luxury brands. Western luxury brands have already successfully found footing in the Korean market, but it’s not as easy for Korean fashion brands to gain traction in the Western market.

최근 몇 년 동안, 한국은 의심할 여지없이 아시아에서 문화적으로 가장 큰 영향을 준 국가 중 하나가 되었습니다. 한류 또는 “한류(한국의 물결),”는 지난 십 년간 해당 나라의 구석구석에 스며들었으며, 심지어 싸이의 “강남스타일”과 같은 서양 문화에도 스며들었습니다. 이는 칼 레거펠드와 함께 종종 샤넬 런웨이쇼에 나타나고 심지어 쥬세페 자노티와 함께 신발 캡슐을 출시한, 한국 메가급 스타 지드래곤과 같은 영향력이 큰 한국 연예인과 많은 서양 패션 브랜드들이 페어링하는 결과를 초래했습니다. 아시아 패션 시장 중심에 지드래곤과 같은 한국의 유행 선도자와 함께, 점점 더 많은 서양 브랜드들이 케이팝 문화와 관련되고자 찾고 있는 것은 그다지 놀라운 일이 아닙니다. 이 번영하는 케이팝의 문화 현상의 다른 반대편에는 현지 한국 브랜드가 있습니다. 수많은 현지 길거리표 브랜드는 케이팝 열풍에 따라 한국에서 떠오르고 있습니다. 서울의 길거리 스타일 업계에서, 이러한 브랜드들은 종종 럭셔리 브랜드와 함께 매칭하는 동반된 부분으로써 나타납니다. 심지어 많은 서양 브랜드들이 한국 시장에 성공적으로 토대를 마련했지만, 이는 한국 패션 브랜드들이 서양 시장에서 견인력을 얻기는 쉽지 않습니다.

Meet IISE, a streetwear brand that has set themselves apart from other Korean brands and built a devoted following online that mostly consists of a Western audience – a difficult task that many other Korean brands are having trouble achieving. Part of the appeal is IISE’s unique line of products; their collection of streetwear is an imaginative reinterpretation of traditional Korean aesthetics. The two brothers and founders behind IISE, Terrence Kim and Kevin Kim, are second generation Korean Americans. Their background ties into the brand name IISE, which translates to “second generation” in Korean. “We believe everything we create is an extension of our identity. It’s not 100% American, not 100% Korean, but a mix of both cultures,” Terrence says. The name IISE and the concept of “second generation” is also related to the brand’s approach of taking things from previous generations, such as fabrics, techniques, and design elements, and then reintroducing them through the brand’s own minimal, street-sensible aesthetics.

새로운 브랜드 IISE를 만나보자. 대부분의 한국 브랜드들은 주요 고객층이 서양인으로 구성되어 있는 두터운 온라인 시장 진출에 어려움을 겪고 있는 것이 현실이다. 이러한 한국 브랜드들과는 차별되게 IISE는 자신만의 온라인 시장 구축에 주력하고 있다. IISE의 매력 중 하나는 IISE 제품의 독창적인 선 구성에 있다; IISE의 캐주얼 웨어 콜렉션은 전통적인 한국의 미학을 창조적으로 재해석한 작품들이다. IISE를 창업한 형제인, 테렌스 김과 케빈 김은 재미교포 한인 2세대들이다. 그들의 정체성은 IISE라는 브랜드 이름에도 잘 나타나있다. IISE를 한국말로 읽으면 “2세”가 되는데, 이는 “교포 2세대”라는 뜻이다. “우리가 만들어 나가는 모든 것은 우리의 정체성의 연장선 상에 있다고 생각합니다. 100% 미국 문화도 아니고 100% 한국 문화도 아니지요. 오히려 이 두 문화를 혼합한 형태입니다.”라고 테렌스는 말한다. IISE라는 이름과 “2세대”라는 컨셉 역시 직물이나 테크놀로지 및 디자인 요소들을 전통적인 세대로 부터 차용하여 캐주얼 웨어의 미학에 어울리는 미니멀 룩으로 새롭게 재 창조해 나가는데 그 의미를 두고 있다.

IISE officially launched three years ago after the two brothers visited Seoul for the first time since they were kids. The traditional Korean architecture and art they saw there became a catalyst that set them off on a journey to learn more about Korean culture and rediscover their roots. They began looking for ways to showcase Korean culture to the rest of the world, and IISE was born as a means of fulfilling this ambitious vision. Recently, Neocha spoke to IISE to learn more about their designs and the streetwear scene in South Korea.

IISE는 그들이 아이였을 때부터 이 두 형제가 처음으로 서울을 방문한 이후, 공식적으로 출시했습니다. 전통 한국 건축과 예술은 한국 문화를 위한 열정에 불을 붙이는 촉매제가 되었으며, 이는 그들의 뿌리를 재발견하기 위한 여정을 시작할 수 있도록 했습니다. 그들은 자체 방법을 통해 한국 문화를 소개하는 방법을 찾기 시작했으며, IISE는 전 세계 나머지 국가들과 함께 전통 한국 문화를 공유하는 그들의 비전으로 가득채우기 위한 수단으로써 설립되었습니다. 최근에, Neocha는 한국에서의 그들의 디자인과 길거리 업계에 대해 더 자세히 배우도록 IISE와 인터뷰를 했습니다.

Neocha: Can you share with us about how the brand began?

IISE: The idea for the brand came when we visited Seoul, so we owe everything to this city. Other inspirations are from American streetwear and street culture, things we grew up with while living in the U.S. almost our entire lives.

Neocha: 이 브랜드를 시작하게 된 계기에 대해 말씀해 주시겠습니까?

IISE: 저희가 서울에 방문했을 때 이 브랜드에 대한 아이디어가 떠올랐으니까, 저희는 이 도시에 모든 것을 빚진 셈입니다. 다른 영감은 미국의 길거리 의류와 거리 문화, 저희 인생 전체를 통해 미국에서 살면서 성장한 것들로부터 왔습니다.

Neocha: How does your clothing match up to the cityscape of Seoul?

IISE: Each piece we design may have more traditional elements or more modern elements depending on how we approach each piece. Some pieces are heavily inspired by traditional Korean culture like our hanbok jacket (which is inspired by traditional Korean clothing). Other pieces like our leather Double Rider are our version of a classic western silhouette we’ve seen for so long. We do feel like the colors we have chosen thus far are representative of some of the neutral colors of the city. But there are also many vibrant colors found in Seoul that we have yet had the chance to explore.

Neocha: 귀하의 의류는 서울의 도시 경관과 어떻게 매치합니까?

IISE: 저희가 디자인한 각 제품은 저희가 각 제품에 접근하는 방법에 따라 더 많은 전통적인 요소와 더 많은 모던한 요소를 가질 수 있습니다. 일부 제품들은 한복 자켓(전통적인 한국 의상에 의해 영감을 받은)과 같은 전통적인 한국 문화에 의해 매우 영감을 받았습니다 저희의 가죽 더블 라이더와 같은 다른 제품들은 오랫동안 봐온 클래식한 서양의 실루엣 버전에서 영감을 받았습니다. 저희가 선정한 색상들이 이 도시의 일부 중립적인 색상을 표현한 것같은 느낌입니다. 그러나, 탐색할 기회가 있었던 서울의 많은 선명한 색상들도 있었습니다.

Neocha: What differentiates your brand from other Korea-based streetwear brands? Or even other international streetwear brands?

IISE: When we were in the States, we’ve never even heard of a Korean-inspired streetwear brand. Even when we first arrived to Korea we couldn’t find one, which was a big reason why we wanted to start one. After living in Seoul for almost four years now, we have discovered other Korean-inspired brands in design, but I think IISE differentiates from the others because we also use traditional fabrics, and natural dyeing techniques that have existed in this country for hundreds of years. Many of the things we use are often seen as “old-fashioned” to native Koreans, but for us it was something completely new and continuously discovering these age-old things has been very exciting.

Neocha: 다른 한국 기반 길거리 의류 브랜드, 아니면, 다른 국제 길거리 의류 브랜드와 귀하의 브랜드의 차이점은 무엇입니까?

IISE: 저희가 미국에 살았을 때, 한국에서 영감을 얻은 길거리 의류 브랜드를 들어본 적이 없습니다. 심지어 저희가 처음으로 한국에 도착했을 때, 저희는 이를 찾을 수 없었습니다. 그렇기 때문에 이는 사업을 시작하고자 원했던 가장 큰 이유입니다. 지금 거의 4년 동안 서울에 살면서, 저희는 디자인 측면에서 다른 한국에 영감을 받은 브랜드를 발견했지만, 저는 전통적인 패브릭과 수백년 동안 한국에 존재한 천연 염색 기술로 인해 다른 브랜드와 IISE가 다르다고 생각합니다. 저희가 사용하는 대부분의 것들은 종종 한국인들에게 “구식”으로 보여질 수 있지만, 저희에게 있어 이는 완전히 새로운 것이며 지속적으로 이러한 오래된 것들을 발견하는 것은 매우 흥미로운 일입니다,

Neocha: What sort of Korean techniques and aesthetics have you incorporated into your modern streetwear?

IISE: Our debut bag collection utilized a combination of high quality leathers mixed with a Korean silk and cotton blended fabric. What makes this fabric unique is the natural dyeing techniques that were applied to it, which gave us the color and feel that we desired. Some of the ingredients used to achieve our colors were Korean persimmon fruit, natural indigo plant, charcoal, and volcanic ash. After the fabrics were dyed with these ingredients over and over again for a four to six week period, we felt satisfied with the final outcome. The unique texture, color, and story this produced was what made our first collection really stand out in the market.

Neocha: 귀하의 모던한 길거리 의류에 어떤 종류의 한국 기술과 미학을 통합했습니까?

IISE: 저희의 데뷰 가방 컬렉션은 한국의 실크와 면을 혼합한 패브릭을 섞은 고품질 가죽의 조합을 활용했습니다. 이 패브릭을 독특하게 만드는 것은 색상과 원하는 느낌을 주기 위해 이에 적용한 자연 염색 기술입니다. 일부 자재들은 한국 과일인 감, 자연 쪽, 숯 및 화산재에서 온 색상들에서 따오기 위해 사용됩니다. 패브릭이 이러한 재료들에 의해서 4-6번 주의 기간 동안 반복해서 염색된 이후, 저희는 최종 결과에 만족했습니다. 이 독특한 텍스쳐, 색상 그리고 생산한 스토리는 이 시장에서 정말로 눈에 띄는 첫 번째 컬렉션을 구성하는 것이었습니다.

Neocha: Can you share your thoughts about the current streetwear scene in Seoul?

IISE: Streetwear and street culture in general are exploding in Seoul largely due to the internet and social media. Everyone is now able to see the minute a streetwear brand from across the world releases product now, so people are definitely more aware of what’s available. I believe it will continue to grow as time goes on. It would be amazing for a Korean brand to be known globally and we would love IISE to be one of them. I think the scene is still at its infant stages actually. Sooner or later, the world will know more about Korean fashion brands. For a long time Korea has been a third world country. Only in recent times has it risen to become an economic power where creatives now have the chance to pursue more artistic work. I believe many artists and creatives in previous generations were not able to so because of economic reasons. Now you have a wealthy country, and a whole generation of creatives ready to show what Korea can offer. We’re all waiting to see what happens.

Neocha: 서울의 현재 패션 의류 업계에 대한 귀하의 생각을 말씀해 주시겠습니까?

IISE: 일반적으로 길거리 의류 및 거리 문화는 인터넷과 소셜 미디어로 인해 크게 서울에 넘쳐나고 있습니다. 지금 모든 사람들은 전 세계에 걸쳐 출시되는 길거리 의류 브랜드를 몇 분 내에 볼 수 있으므로, 사람들은 무엇이 이용 가능한지 분명히 더 잘 인식하게 되었습니다. 저는 시간이 지남에 따라 지속적으로 성장하리라 믿고 있습니다. 한국 브랜드를 전 세계적으로 알리는 것이 놀라운 일이며, 저희는 IISE가 그들 중 일환이 되는 것을 좋아합니다. 저는 이 업계가 실제로 아직 신생 단계라고 생각합니다. 곧, 전 세계가 한국 패션 브랜드에 대해 더 자세히 알게 될 것입니다. 오랫동안, 한국은 제 3세계 국가였습니다. 최근에 더 많은 예술적인 작품을 추구할 수 있는 기회를 갖은 경제적인 파워를 갖도록 성장했습니다. 저는 많은 예술가와 이전 세대의 창의력은 경제적인 이유로 인해 이를 실시할 수 없었다고 믿고 있습니다. 지금, 한국은 부유한 나라이며, 창의력이 있는 전 세대가 한국이 무엇을 제공할 수 있는지 보여줄 준비가 되었습니다. 저희는 무엇이 발생하는지 보고자 모두 기다려 왔습니다.

Website: ii-se.co
Facebook: ~/IISE
Instagram: @iiseSeoul

웹사이트: ii-se.co
Facebook: ~/IISE
Instagram: @iiseSeoul

Contributor: David Yen
Images Courtesy of IISE

기부자: David Yen
이미지 제공IISE

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Finding Family

June 29, 2016 2016年6月29日
 At 23, photographer/videographer Thuan Tran already has an impressive portfolio. Having shot music videos for performers such as Beyonce, Lil Wayne, A$AP Rocky, and Major Lazer, there’s no doubting Thuan’s talent. However, despite the caliber of artists he’s worked with, his portfolio reflects a grounded perspective, and his personal imagery reveals the people and places that surround and impact him.

Ở tuổi 23, nhiếp ảnh gia/chuyên gia quay phim Thuan Tran đã có một danh mục tác phẩm rất ấn tượng. Không có lý do gì để nghi ngờ tài năng của Thuan, khi anh đã chụp các video âm nhạc cho những nghệ sĩ lừng danh như Beyonce, Lil Wayne, A$AP Rocky, và Major Lazer. Tuy nhiên, trái ngược với đẳng cấp của những nghệ sĩ mà anh đã làm việc cùng, danh mục tác phẩm của anh vẫn phản ánh một thế giới quan thực tiễn, với hình ảnh cá nhân thể hiện những con người và cảnh vật xung quanh đã tác động đến anh.

Though Thuan was raised in Lawrence, Massachusetts, a number of his relatives live in Vietnam. Recently, he paid a visit to his family’s neighborhood in Long Tành. This tight-knit community supports an orphanage, and those with means often donate food and their time to help out. “They most likely are linked to someone who either works there or knows someone who was helped by the orphanage,” Thuan explains. “My cousin has a strong link to it and has donated much of her time to helping the institution.” This cousin connected Thuan to the orphanage and helped him produce a series of photos documenting the women and children that live there.

Mặc dù Thuan lớn lên tại Lawrence, Massachusetts, một số họ hàng của anh vẫn sinh sống tại Việt Nam. Gần đây, anh đã đến thăm gia đình mình ở quận Long Thành. Cộng đồng gắn kết này có hỗ trợ một cô nhi viện, và những người có điều kiện vẫn thường quyên góp thực phẩm và thời gian để giúp đỡ cô nhi viện này. “Nhiều khả năng họ có quan hệ với một ai đó đã từng làm ở đó, hoặc biết một ai đó được giúp đỡ bởi cô nhi viện này,” Thuan giải thích. “Chị/em họ của tôi rất thân với cô nhi viện và đã dành rất nhiều thời gian của cô ấy để giúp họ.” Người chị/em họ này đã giới thiệu Thuan với cô nhi viện và giúp anh sản xuất một loạt ảnh ghi lại những người phụ nữ và trẻ em sinh sống ở đó.

He sees the project “as a visual comparison of how children of lesser fortune at this orphanage value education and the simpler joys of life, as opposed to our current generation’s children in the Western culture,” Thuan shares. “I wanted my little sister and younger cousins to look at these photos and appreciate how fortunate they are to grow up in a society where education is a mandatory thing, not to mention being a part of real loving, conventional families.” The result of his time in Vietnam is a collection of portraits that reveal stories — histories that contain pain but also love, hope, and joy.

Anh coi dự án này “như là một hình ảnh so sánh về cách những trẻ thiếu may mắn ở cô nhi viện này coi trọng giáo dục và những niềm vui đơn giản trong cuộc sống, trái ngược với thế hệ trẻ em hiện tại ở các nền văn hóa Tây phương,” Thuan chia sẻ. “Tôi muốn em gái mình và những người em họ khác nhìn vào những bức ảnh này và cảm nhận được sự may mắn của các em vì đã lớn lên trong một xã hội ở đó giáo dục là quyền lợi bắt buộc, chưa nói đến việc là một thành viên trong gia đình truyền thống, yêu thương.” Kết quả của chuyến đi Việt Nam này là một bộ sưu tập chân dung kể những câu chuyện — lịch sử có chứa nỗi đau, nhưng đồng thời vẫn nói lên tình yêu thương, hi vọng và niềm vui.

During his time at the orphanage, Thuan observed children being well cared for and loved by the staff and one another. The kids were perfectly content doing chores and attending daily classes. “Every staff member knew every child’s name,” Thuan says. “It seemed like a giant family, each member as vital and loved as the next.”

Trong thời gian ở tại cô nhi viện, Thuan đã quan sát các em được chăm sóc tốt và được yêu thương bởi các nhân viên, cũng như lẫn nhau. Các em rất sẵn lòng làm việc nhà và tham gia các lớp học hàng ngày. “Mỗi nhân viên đều biết rõ tên của tất cả các trẻ,” Thuan cho biết. “Đó thật sự là một gia đình khổng lồ, mỗi thành viên đều là thiết yếu và được yêu thương như nhau.”

While the orphanage in Vietnam is full of children, it’s also home to elderly women. “These older women are generally grandmothers who have lost their families or have been alone for a majority of their lives,” says Thuan. “They are taken into the orphanage and cared for just as carefully as the infants are.” Others are women who grew up in the orphanage themselves and have remained there, helping the staff and working in exchange for housing. “Some of the healthier women will help with cooking food, gardening, and cleaning.”

Tuy cô nhi viện ở Việt Nam có rất nhiều trẻ em, nhưng đây cũng là nhà của các phụ nữ cao tuổi. “Những người phụ nữ cao tuổi này thường là người đã mất gia đình hoặc chịu cô đơn trong phần lớn cuộc đời của họ,” anh giải thích. “Họ được đưa vào cô nhi viện và được chăm sóc cẩn thận như các em nhỏ ở đây.” Những người khác là các phụ nữ đã lớn lên ở cô nhi viện và ở lại đó để làm việc và giúp đỡ các nhân viên để đổi lấy chỗ ăn ở. “Một số phụ nữ khỏe mạnh hơn sẽ giúp đỡ việc bếp núc, làm vườn và dọn dẹp.”

While the women who have spent their lives in this orphanage didn’t share much with Thuan about their childhoods, “they did mention that they feel blessed for having the orphanage as a place where they can eat home-cooked food and have a warm place to sleep at night,” Thuan shares. “In my opinion, had I not already known these women grew up here, I would not have been able to tell the difference between them and the workers who all had families and homes outside of the orphanage. I feel they were as content and loved as any other family member may feel.”

Tuy các phụ nữ đã sống cả đời ở cô nhi viện này không chia sẻ quá nhiều với Thuan về thời thơ ấu của họ, “các chị có nói rằng họ cảm thấy thật may mắn vì đã có cô nhi viện, một nơi mà ở đó họ có thể thưởng thức các bữa cơm gia đình và một chiếc giường ấm cúng để ngủ vào ban đêm,” anh chia sẻ. “Nói thật, nếu tôi không biết rằng những người phụ nữ này đã lớn lên ở đây, tôi sẽ không thể nhận ra sự khác nhau giữa họ và những nhân viên có gia đình và cuộc sống ngoài cô nhi viện. Tôi cảm nhận được rằng họ cũng mãn nguyện và được yêu thương như bất kỳ thành viên gia đình nào khác.”

Thuan was surprised and delighted to realize that the women and children in the orphanage were welcoming of him and his camera. “One would think going into an orphanage with a camera would result in some reluctant reactions,” he says, “but everyone seemed to gravitate to the camera.” In particular, the older women were grateful to Thuan, because in their eyes, he was bringing their stories to America, informing others about their situation. Many of the women were extremely open with Thuan, inviting him to photograph them. “I believe they feel like it’s a compliment for someone to take a photo of them. A lot of the women insisted we give them some more time to get ready for the photo.”

Thuan rất ngạc nhiên và vui mừng khi biết rằng những phụ nữ và trẻ em ở cô nhi viện đã rất chào đón anh và chiếc máy ảnh của anh. “Tôi cứ nghĩ rằng việc đi vào một cô nhi viện với một chiếc máy ảnh sẽ dẫn đến một số phản ứng miễn cưỡng,” anh cho biết, “nhưng cứ như thể tất cả mọi người đều bị máy ảnh thu hút vậy.” Cụ thể, các phụ nữ lớn tuổi rất trân trọng Thuan, bởi trong mắt họ, anh đang mang câu chuyện của họ đến Hoa Kỳ để thông báo với những người khác về cuộc sống của họ. Rất nhiều người phụ nữ này đã rất cởi mở với Thuan và mời anh chụp ảnh họ. “Tôi tin rằng họ cảm thấy được chụp ảnh cũng như là một lời khen ngợi vậy. Rất nhiều người đã khăng khăng yêu cầu chúng tôi cho họ thêm thời gian để chuẩn bị cho chụp ảnh.”

Someday, Thuan hopes to return to the orphanage to see how the women and children are doing. “It would be a dream to show these children their photos on a website, and show them that their stories have been heard, and they have been seen by the world,” he says. “I feel like this would be something that would inspire the children to strive and excel in their studies, having the knowledge that their voices are able to reach the masses.”

Một ngày nào đó, Thuan hi vọng sẽ được quay lại cô nhi viện để xem những người phụ nữ và các em nhỏ đang sinh sống như thế nào. “Ước mơ của tôi là cho các em thấy tấm ảnh của chúng trên một website, và cho các em thấy rằng cả thế giới đã lắng nghe và biết đến các em,” anh chia sẻ. “Tôi cảm thấy điều này sẽ tạo động lực để các em cố gắng và hoàn thành tốt việc học, bởi các em sẽ biết rằng tiếng nói của mình có thể vươn đến tất cả mọi người.”

Thuan regularly uses VSCO Film® 05, falling back on the Kodak Ultramax 800 +++, Agfa Vista 100+++, Kodak Gold +++, and Kodak Ultramax 800 Cool presets. “I feel like some of the filters bring out the emotion of the photo so much more than any other form of color correction,” he says. Within VSCO Cam®, Thuan’s favorite presets are M3,M5, M4, S1, S3, K1, K2, N2, and A5.

Hiện tại, Thuan thường sử dụng phim VSCO Film® 05, và dự phòng các phim thiết lập sẵn Kodak Ultramax 800 +++, Agfa Vista 100+++, Kodak Gold +++, Kodak Ultramax 800 Cool. “Tôi cảm thấy một số bộ lọc này làm nổi bật cảm xúc của bức ảnh hơn tất cả những kỹ thuật chỉnh màu sắc khác,” anh cho biết. Trong VSCO Cam®, các thiết lập sẵn ưa thích của Thuan là M3,M5, M4, S1, S3, K1, K2, N2, và A5..

This story is part of a content partnership and media exchange between Neocha and VSCO®. To see more of VSCO’s Asia content on Neocha, click here.

Câu chuyện này là một phần trong hợp tác nội dung và trao đổi truyền thông giữa Neocha và VSCO®. Để xem thêm các nội dung của VSCO Châu Á trên Neocha, hãy nhấn vào đây.

Vimeo: ~/thuantran

 

Media Partner: VSCO®
Photographer: Thuan Tran
Images & Text Courtesy of VSCO Grid®

Vimeo: ~/thuantran

 

Đối tác Truyền thôngr: VSCO®
Nhiếp ảnh gia: Thuan Tran
Ảnh & Nội dung được cung cấp bởi VSCO Grid®

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Lab of Primitive Senses

June 28, 2016 2016年6月28日

siu siu – Lab of Primitive Senses is an experimental project, which in the architect’s words, “explores the environmental transition between urban space and natural forest”. The space was created by Divooe Zein Architects, a Taiwan-based design firm that believes in the importance of nature. Their director and founder, Divooe Zein, views architecture as a medium that can be used to connect nature and humans. Divooe’s ability to retain the essential functionalities necessary for future occupants while making use of the surrounding environmental influences reveals his designs for what they are – not just mere architectural projects, but thoughtful explorations into the complex relationship between man and nature. The majority of their cases involve unique geographical challenges, such as the project site being located on a small outlying island or deep in the mountains. But these difficulties are easily overcome by the team, as the core of their designs is said to be sourced from the “energy of the land”. While in Taipei recently, I was invited to stop by and spend an afternoon at the Lab of Primitive Senses.

少少——原始感觉研究室，是一个“探索都市文明与自然森林之间转变”的实验场所。这个空间由自然洋行建筑事务所建立，这是一间信仰大自然重要意义的设计公司。其主管兼创始人，曾志伟，将建筑视为连接人类与自然的媒介。在这个项目中，他做到了不仅对周围环境因素施以利用，更为未来接手者保留必要的基本功能，这个设计正显示了事务所的本质：不只是单纯的建筑项目，更是对人与自然复杂关系的思想性探索。大多数他们所接手的项目都具有地理因素方面的挑战，例如，施工场所不是在小海岛上，就是在深山之中。但如其所言，他们设计的核心来自“土地力量”，所以团队轻而易举便克服了这些困难。最近我在台北的时候，受邀在原始感觉研究室停留一个下午。

Despite the address being listed as in Taipei’s Shilin District, an area most known for the raucous Shilin night market, siu siu is actually quite out of the way and well hidden. On the commute there, Taipei’s familiar cityscape and disarray of colors started to fade away until only trees and lush shades of green filled the view outside the car window. Cars and scooters began to appear less and less on the road. Google Maps indicated I had arrived as the driver turned off the main road and began to drive up a path adorned with Taiwanese Aboriginal totems. A short distance later, a formidable boulder forced the car to an abrupt stop – it appeared that the rest of the way can only be traveled by foot. I stepped out the car into the sticky humidity and began the walk; even though it wasn’t officially summer yet, the unrelenting Taipei heat was already in full effect. The sound of countless cicadas filled the hot air, only getting louder as I made my way up the mountain.

尽管工作室地址写的是，喧闹的士林夜市所在的台北士林区，事实上，少少却地处偏僻，隐匿于城市之中。在过去的路上，台北那熟悉的城市景观与纷乱色彩逐渐褪却，直至车窗外只剩树影摇曳，满目皆绿。路上的各种车辆也愈来越少。司机驶下主路后，正要开始攀上一条布满台湾原住民图腾的小径，这时，谷歌地图显示目的地已到达。车再往前行驶一小段距离后，迎面出现了一块惊天巨石——看来剩下的路程只能步行了。我下了车，开始徒步，车外尽是黏糊糊的湿气；尽管未至盛夏，台北的高温已火力全开。在流火的空气中，蟋蟀声此起彼伏不绝于耳，愈往山里去，这声音就愈发震耳。

Luckily, a sign that reads siu siu sitting at the base of a stone stairwell came into view not long later. As I made my way up the steps, the Lab of Primitive Senses began to come into view as well. It’s a large and impressive structure built with wood, iron, glass, and paint; but the most obvious and most prominent material is the black agricultural netting that wraps around the framework. Staying true to their core design concept, it’s actually quite difficult to ascertain whether you’re indoors or outdoors even after entering siu siu. The permeability of the netting allows natural light, mountain air, and the sounds of nature to pass through uninhibited. The most striking feature upon entering are the four large trees that twist and extend skywards through the black mesh. The caretaker for the day tells me, “The four trees already existed long before we came along – this is their home. When comparing the lifespan of these trees with own lifespan, it’s easy to see that we’re the guests.”

所幸，不出片刻，少少的标志就映入眼帘，赫然于一段石阶的底部。就这样沿着石阶一路向上，“原始感觉研究室”就渐渐浮现在视野内了。这是一个庞大的建筑物，由木头、钢铁、玻璃建成，刷有油漆，令人印象深刻；然而，最明显突出的材料还是包裹在框架外面的黑色农用网罩。他们实现了自己的核心设计理念，让人即使进入了少少，仍然很难确定自己究竟是置身于室内还是室外。网的镂空透气，让自然的光线、山中的空气以及大自然的声音得以畅通无阻地进入。一进来，最抓人眼球的是四棵大树，扭曲着穿透黑色网罩，向着天空生长。少少负责人之一告诉我，“四棵⼤树原本就存在于基地，那就是他们的家，并且相较于树的⽣命历程来看，我们才是过客。”

The interior is separated into four distinct areas: a main communal space and small kitchen; a second floor loft directly above the entrance; farther in is a secondary communal space surrounded by glass; and connected to that is a spacious patio. Originally, the team members found this space in the wilderness because many of them shared an interest in helping stray cats and wanted to construct a shelter for them. But after thoroughly researching the issue of stray animals, they discovered many problems that a design team wasn’t fit to handle. So instead, working with what they know, they created siu siu: a space that actually acts as a sociopolitical statement about how civilization and nature could harmoniously occupy the same space. “This became an opportunity to challenge people’s preconceived ideas. By experimenting with this Lab of Primitive of Senses project, we wanted to open up people’s minds. We want to show them that urban civilization could peacefully co-exist with nature and animals,” one of the caretakers commented. As if on cue, a dog casually wandered in, plopped down comfortably in the shaded confines, and began taking a nap.

内部分为四个区域：一个带有小厨房的主公共区域，一个于入口正上方的二楼阁楼，再往里走，是一个由玻璃环绕的次公共区域，与此相连的便是一个大露台。最初，团队中许多成员热心于帮助流浪猫，想为它们建一个收容所，于是便在荒野中找到了这个地方。但当他们详尽地研究了流浪动物的问题后，继而发现许多问题并非一个设计团队所能解决的。于是，他们还是回归自己的​​本行，建立了少少，作为一个关于文明与自然如何和谐共存的社会政治说明。 “所以我们也希望，透过一个有机会挑战既有观点的空间，像原始感觉研究室这样的实验计划，让大家打开另一种观点，城市文明和大自然/动物共存或许是可能的。”少少的一个看守人员说道。正在我四处探索的时候，一只小狗溜达进来，在一片背阴处舒服地坐下，开始打盹。

Even though Taipei is a city surrounded on all sides by mountains and seas, it’s far too easy to become overwhelmed by the frenetic energy of the city and take the great outdoors for granted. siu siu provides a great opportunity for city dwellers to get out of Taipei and enjoy all that nature has to offer. In the past, siu siu has been known to host diverse events like potpourri workshops, meditation retreats, art exhibitions, weddings, and even shamanic ceremonies. Unfortunately, the space isn’t open to the general public on most days; but to find out more about future events or to make reservations for an event rental, you can visit the siu siu Facebook page.

尽管台北四面山海环绕，也还是太容易便淹没在城市的狂热能量之中，将美妙的户外视作理所当然。少少提供了一个绝佳的机会，让人们远离城市的喧嚣，投身于大自然馈赠。过去，少少已经举办过像花草⼯作坊、冥想训练、艺术展览、结婚典礼，甚至萨满仪式这样的活动。这个地方平日多数时候并不对公众开放，但是你仍可通过少少的脸书主页关注接下来的活动，或者了解空间租借事宜。

Website: siusiu.tw
Facebook: ~/siusiucreate
Instagram: @siusiu.lab

 

Contributor & Photographer: David Yen

网站: siusiu.tw
脸书: ~/siusiucreate
Instagram: @siusiu.lab

 

供稿人与摄影师: David Yen

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