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The Designs of Aaron Nieh

June 14, 2016 2016年6月14日

As an international multi-award winning graphic designer, Yung-Chen Nieh (aka Aaron Nieh) is undoubtedly one of the most well known names in Taiwan’s design scene. Having first graduated with a bachelor’s degree in design from the National Taiwan University of Science and Technology, he later went on to study applied media arts at the National Taiwan University of Arts. Aaron won the Best Album Design at Taiwan’s Golden Melody Awards in 2010, has both won and been invited to judge the Red Dot Design Award, received the 2014 Golden Pin Design Award in the Visual Communications Design Category for his work in the Not Just Library project, and is the first ever Taiwanese designer to have been inducted into the prestigious Alliance Graphique Internationale.

作為在國際上屢獲殊榮的平面設計師，聶永真無疑是台灣設計界中最為人所知的名字之一。聶永真於國立台灣科技大學取得設計學士學位，之後考取國立台灣藝術大學之應用媒體藝術研究所。他在2010年台灣金曲獎上榮獲最佳專輯設計包裝獎，也曾獲得德國紅點設計獎並被邀請成為評審，其「不只是圖書館」項目榮獲2014年金點設計獎（視覺傳達設計類），他也是國際平面設計聯盟中的第一位台灣成員。

Aaron is currently based in Taipei and works out of his personal design studio. The space is quite revealing of Aaron’s preference for clean design and for “putting things in just the right place”. Large panes of glass allows the space to be engulfed with beautiful natural light, the bare industrial concrete flooring seems to reaffirm his affinity for cleanliness and simplicity, while minimalistic white counters, tables, and furnishings fill out the rest of the space. “Because of my past experiences, I’m now able to precisely pinpoint the function and purpose of every single detail in my designs – I put the most appropriate thing in the most suitable place.”

聶永真目前定居台北，經營他的個人設計工作室。從工作室就能透露著這位設計師對於簡潔之風的偏愛，各種陳設排放也是精準有序。巨大的玻璃讓房間浸沒在一片悅目的自然光線中；空裸的工業風格水泥地面再次彰顯設計師乾淨簡潔的風格，房間剩下的空間就是些極簡的白色櫃檯、桌子以及裝飾。 「因為過去的經歷與嘗試，現今往往能夠比客戶更精準地判別每一個設計的目的與功能，把剛剛好、最適妥的東西放在適合的位置。」

For World Design Capital 2016, Aaron has been working closely with Taiwan Designer Center to solidify the status of Taipei as an up-and-coming city that should be regarded as an important creative hub of the region. Aaron recently redesigned storefronts for the Small Shop Signboard Manufacturer project. This initiative paired up stall owners in Taipei’s Dazhi marketplace with professional designers to help them create a new visual identity more fitting for modern times. “The owners of these shops don’t know anything about design. So the ways we’re accustomed to using in trying to explain our concepts to clients didn’t translate well here. To have a better understanding of each other, we had to be flexible and communicate our ideas in different ways,” Aaron explained. “This was a pretty special experience for me.”

2016世界設計之都由台北市當選，聶永真一直與台灣設計師中心密切合作，致力於鞏固台北成為地區性創新樞紐的未來之城。他現在正在參與小店面招牌製造商項目，重新設計店面，這一積極舉措需要與台北市場的攤主和專業設計師一道，共同創造一個更加融入現代化的視覺體驗。聶永真表示：「市場的店家對於『設計』這個領域是陌生的，而我們所習慣與客戶之間的溝通方式也是有別於這個案子的，會因為認知的不同而產生一些需要磨合與相互理解的地方，也因此也讓我們在語言的訊息傳遞上更加柔軟親和，這是近期比較特別的經驗。」

Aaron’s graphic design has graced countless album covers, magazines, books, posters, and even beer bottles. But despite his vast portfolio of impressive work, numerous awards, and international recognition, Aaron’s humility is unwavering. This is clearly seen in his personal philosophy, which is summed up in five words: “Signature work yet to come.” Aaron explains that this mantra has always been his expectations for himself, “I always hope that the next piece of work will be more exciting than the previous one. I don’t want to ever feel like I’ve created a so-called ‘masterpiece’. I want my future to be exciting and hold unlimited possibilities.”

聶永真的平面設計作品包括大量的專輯封面、雜誌、書籍、海報、甚至啤酒瓶。擁有大量出色的作品、數不清的獎項和國際認可的設計地位，聶永真卻一直保持著謙遜的態度，這從他一直秉持的個人哲學中就能看出來，他總結為五個字：沒有代表作。聶永真進一步說到，這是對自己的期許。 「希望下一個作品永遠比現在一個更精彩，不希望因為劃定出了所謂的代表作，而牽制了未來更精彩的種種可能。」

“Many Taiwanese people used to describe my aesthetics as ‘Western’ or closer to Japanese-style design,” Aaron says. “But during the 2013 AGI (Alliance Graphique Internationale) conference, I saw the works and styles of so many international designers – I felt like my style was distinctively different, and I felt that it didn’t appear to belong to any specific region. Even when looking at other Chinese-speaking cities, there were still large differences in style between their work and mine. This was an epiphany of sorts to me; it was when I realized how much my education and my environment subtly molded my work into this particularly style. I suppose Taiwan has been subconsciously influencing me and my aesthetics the entire time.”

「以往在台灣有不少人形容我的設計很『洋派』或很『日系』，」他說：「但在2013年的AGI大會上，來自各國的設計師簡報各自的作品時，我發現我的作品明顯的與來自各國的設計師有所不同，即便是一樣使用中文的國家仍可以看出其中差異，這我才頓悟到從小大到大我接受的教育、所處的環境，早已淺移默化形成了台灣的設計『氣味』，而這應該也是不知不覺影響我設計樣貌最大的原因了。」

Aaron cites his personal growth as an artist as coming from an incessant need to challenge himself. Despite being most well known for his graphic design, Aaron often works out of his comfort zone and dabbles with different fields of design from time to time. He’s worked on various collaborative projects that ranges from product design to motion graphics. “In recent years, I feel like there have been more and more diverse types of designs emerging from Taiwan,” says Aaron. “The designs are more different, more interesting, and crazier. There are more ideas, and there’s more competition. The current state of things is great for fostering creative growth.”

聶永真坦言，他之所以成為一個藝術家很大程度是源於他想要不斷挑戰自己的心態。儘管他以平面設計揚名，其實他也時常走出自己的「舒適區」，嘗試不同的設計類型。從產品設計到動態圖形，他一直在進行不同的合作項目。 「我認為台灣這幾年有很多不同樣貌的設計開始出現，更多元且更有趣、更瘋狂，百家爭鳴，以現況來說我覺得是很好的成長。」

Website: aaronnieh.com
Facebook: ~/somekidding

 

Contributor & Photographer: David Yen
Additional Images Courtesy of Aaron Nieh & Taiwan Design Center

網站: aaronnieh.com
臉書: ~/somekidding

 

供稿人與攝影師: David Yen
附加圖片由聶永真與台灣創意設計中心提供

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The Man in Between Two Phrases

June 11, 2016 2016年6月11日

 

无法观看？前往优酷

Shun Kawakami is a Japanese artist and designer known for his signature style and ingenious approach that adopts the beauty of traditional Japanese aesthetics. He was born in Fukugawa, the old town of Tokyo, where Edo-era culture is still deeply engrained into the daily life of residents there. “Being born in that town and being raised by my grandfather who was a traditional craftsman influenced me a lot. He was the typical Edokko and actually used to wear a kimono everyday.”

日本の伝統美を取り入れたその独創的なスタイルとアプローチで知られるアーティスト・デザイナー、川上俊は、未だに江戸文化が深く根付いている東京の古都、深川に生まれた。川上氏は言う「生まれ育った深川という町、そして、伝統職人だった祖父の影響は大きいと思います。江戸っ子気質で、毎日着物を着ているような、そんな人でした。」

After working several years as a designer for a small company, Kawakami left and began working independently. He did a bit of graphics design for +81 Magazine, which was generating a lot of buzz in Japan at the time and is now regarded as one of the most innovative art and culture publications. Kawakami’s work started to receive attention overseas, and that recognition eventually turned into numerous prestigious international awards. Not complacent in the success, Kawakami continued to explore different creative methods of self expression. Also around this same time, Kawakami set off on his tour that took him around the world exhibiting his art.

デザイナーとして数年間会社勤めした後に独立した川上氏は、「+81 magazine」等のグラフィックデザインを手がけ、国内で注目を浴びるようになる。やがて、海外からも目にとまるようになった氏の作品は、国内外からの賞を数々受賞するようになった。同時に、川上氏は独自の表現を追求し続けるため、精力的な個展巡礼を始めた。

Kawakami is actively involved in a wide array of creative endeavors: he dabbles in interactive art, film, product design, and installation art, among others. “To me, there isn’t much difference between art and design,” Kawakami says. He says that even though these two forms of expressions are completely different things, the approach feels the same.

今日に至っての川上氏の領域は多岐にわたり、 アート、 デザイン、タイポグラフィック、インタラクティブ、映像、インスタレーション、空間演出など、アートとデザイン双方から多方面へアプローチを続け、国内外問わずグローバルに活動を行っている。「僕にとって、デザインとアートって、そんなに違いはなくて」と自信のアプローチについて語った川上氏、表現に違いはあれど、彼にとって、向き合い方は同じものだと言う。

The majority of Kawakami’s artwork involves Japanese pines trees. He’s fascinated in the asymmetrical nature of their form, and the organic flow of their lines. In the disarray of leaves and branches, he’s able to find a sense of beauty. Kawakami combines the unique features of these Japanese trees with his masterful use of negative space to create beautiful pieces of art.

川上氏の作品には、日本の松をモチーフとしたものが、多く見られる。松という樹の非対称なフォルムに美しさ、そして、流れを感じるのだと言う。これらの樹々の独特な形と彼の巧みな空間の使い方によって、美しい作品が作り出されているのだ。

Kawakami still tours alongside his art and hosts exhibitions around the world. He says that traveling not only exposes him to different cultures, but it also provides him a huge amount of artistic inspiration. Kawakami considers his travels to to be a crucial aspect of his work. “By traveling to many places, you’re exposed to new experiences and knowledge. I can then convert them to my ‘phrase’ and that inspires me to produce new pieces of art.”

精力的に個展を開き、常時国内外を移動している川上氏にとって、多くの文化に触れ、様々なインスピレーションを受けられる旅は非常に重要なものだと言う。「多くの旅をすることで、経験や知識を得て、それを自分の表現に『変換』することで、作品を作り続けられるから」

Website: shunkawakami.jp
Facebook: ~/shunkawakami
Instagram:  ~/shunkawakami

ウェブサイト: shunkawakami.jp
Facebook: ~/shunkawakami
Instagram:  ~/shunkawakami

Contributor, Photographer & Videographer: Yasuyuki Kubota
Additional Images Courtesy of Shun Kawakami

寄稿者、カメラマン&ビデオ撮影: Yasuyuki Kubota
Additional Images Courtesy of Shun Kawakami

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The Woman Who Fell to Earth

May 26, 2016 2016年5月26日

 

无法观看？前往优酷

Corporate-owned musicians and songs dominate the airwaves in Japan. Someone like Venus Kawamura Yuki, an independent music producer and DJ, is a rare and special presence in the Japanese music scene. This Tokyo-born music muse was known as “the runaway” in Shibuya’s club scene almost two decades ago. Her parents divorced when she was three and her father took her in; but he believed that raising a child was not “a man’s job” and sent her off to live with her aunt.

企業などの組織や団体などが所有、コントロールするミュージシャンや楽曲が独占していると言っても過言ではない日本の音楽業界で、インディペンデント音楽プロデューサー兼DJであるヴィーナス・カラムラユキのような人物は、極めて珍しい存在である。この東京生まれの音楽ミューズは、ほぼ20年前に渋谷のクラブシーンで家出娘として知られていた。彼女は、3歳の時に両親が離婚し、父親に引き取られたが、育児など男のすることではないという考えの持ち主である父によって、叔母のもとに預けられた。

Venus’ aunt was a single woman working in the dressmaking business. She introduced Venus to her favorite fashion model, Sayoko Yamaguchi, as well as some of her favorite bands, like Yellow Magic Orchestra and Plastics. Venus was immediately hooked and got sucked into the world of fashion and electronic music. Eventually Venus’ father remarried, and she was sent back to live with her father and stepmother – but after moving back, she ended up not getting along with her stepmother. Venus ran away from home at the age of 18. Wandering through the nightscape of Tokyo, she would end up in clubs and often found herself dancing the night away. “Music really got me through these hard times,” Venus said.

縫製業で働く独身女性であったヴィーナスの叔母は、ヴィーナスに、彼女の大好きなファッションモデル・山口小夜子や、YMO、プラスチックスなどと言ったバンドを紹介し、彼女はたちまち魅了され、ファッションとテクノ・ミュージックの世界に引き込まれていった。その後、ヴィーナスの父が再婚し、彼女は父と継母のもとへ引き取られる。しかし、継母と折が合わず、18歳で家出してしまう。東京の夜をさまよい、クラブで一晩中踊る日々を過ごす。「音楽のお陰で辛い時期を乗り越えることができたんです」とヴィーナスは語る。

It was also around this time when she got the name that has stuck with her to this day. “I was in the powder room at one of these clubs. I was about to leave and someone called out to me, ‘You’re Venus!’ It was a total stranger. A beautiful foreigner.” That story immediately spread amongst her peers, and it became her nickname. “I’m not fond of it to this day, but it is the name I go by.”

そして、『ヴィーナス』と言う今日まで彼女に定着した名前が付けられたのもその頃であった。「ある夜、クラブのトイレで『あなたはヴィーナスね！』って言われたんです。まったく知らない人に。美しい外国人でした」。この逸話は、仲間内で瞬く間に広がり、彼女のニックネームとなった。「未だに好きじゃないんだけど、それが私の名前です。」

Having become a regular in the local club scene, the people she hung out with started to take notice of her good taste of music and her ability to captivate people’s attention. This led to her becoming a music promoter. “I didn’t speak a word of English, but I learned by myself and started to bring techno and dance music artists from all around the world to Japan,” she says. This career path developed into other opportunities for her, and Venus eventually became a DJ, then a music producer, then a singer and writer. Venus now writes columns, novels, and lyrics for Japanese anime series theme songs, such as Naruto and Bakuman. Venus also hosts her own weekly internet radio program on block.fm.

やがて、彼女は地元のクラブシーンの常連となり、彼女の仲間達は彼女の音楽センスの良さと人々を惹きつける才能に気づき始めた。それが、彼女を音楽プロモーターにさせた切っ掛けとなる。「英語は一言も喋れなかったけど、独学で覚えて、テクノやダンスミュージックのアーティストを世界中から日本へ招聘しました。」と、彼女は言う。この進路が別のチャンスへと発展し、ヴィーナスは、DJとなり、その後、音楽プロデューサー、さらにシンガーや作家となっていった。彼女は現在、コラム、小説などを執筆する他、『Naruto -ナルト-』や『バクマン。』といった日本のアニメ番組の主題歌の作詞も手がけている。また、block.fmにて自らのインターネットラジオ番組の司会も毎週務めている。

In 2010, she opened Shibuya Oiran, a DJ bar located in her beloved city of Shibuya. Her music platform Oiran Music later launched in 2014. “Meeting these female artists led to me starting Oiran Music,” she said of her serendipitous meeting of three female artists. One of them is Sakiko Osawa, who made her debut not from Japan, but from Amsterdam. The other two artists are Mako Principal and Namacolove. Mako Principal is a painter that has worked with famous Japanese artists like Makoto Aida and has exhibited work at renowned museums such as Mori Museum. Namacolove is a visual artist that was previously known for her fascination with sea cucumbers and uniquely illustrated characters.

2010年、彼女は自身がこよなく愛する街、渋谷にDJバー『しぶや花魁』を開店した。その後2014年には音楽プラットフォームOiran Musicを開設。「女性アーティスト達との出会いがOiran Musicを始めるきっかけとなりました」と、女性アーティスト達との出会いについて語る。その中の一人、Sakiko Osawa（サキコ・オオサワ）は日本でなくアムステルダムよりデビュー。もう一組のナマコプリは、マコ・プリンシパルとナマコラブという二人のアーティストによるユニットだ。マコ・プリンシパルは、会田誠などの有名アーティストとのコラボ経験を持つ画家で、これまで森美術館といった著名な美術館で展覧会を開催している。ナマコラブは、ナマコへの愛やユニークなイラストのキャラクターで知られたビジュアルアーティストである。

After meeting Namacolove and Mako Principal at Shibuya Oiran, Venus was instantly fascinated by their voices. She proposed the idea of making a song together, and thus the “artist idol unit” Namakopuri was born. Venus brought together these two artists, both of whom have no music backgrounds, and have been creating genre-bending music ever since. Their sound is an intriguing blend of trap music, techno music, and hyper kawaii pop vocals that’s bizarrely addictive. Only time will tell what other types of genre-defying sounds will come from these talented women in the future.

しぶや花魁でこの二人に出会ったヴィーナスは、二人の声に魅了され、一緒に曲を作ってみないか、と提案した。こうして”芸術家・アイドルユニット”ナマコプリが誕生したのである。ヴィーナスは、音楽的経歴を持たないこの二人のアーティストを引き合わせ、以来、ジャンルを超えた音楽制作を続けてきた。トラップとテクノミュージック、そして異様にハマってしまう超カワイイポップボーカルの不思議なブレンドが彼女達のサウンドの特徴である。将来、彼女達がどんな展開を見せてくれるのかは想像もつかない。

Website: ~/YukiKawamura
Soundcloud: ~/Namakopuri

ウェブサイト: ~/YukiKawamura
Soundcloud: ~/Namakopuri

Contributor, Photographer & Videographer: Yasuyuki Kubota

寄稿者、カメラマン&ビデオ撮影: Yasuyuki Kubota

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The Art of Sun Yunfan

May 17, 2016 2016年5月17日

Sun Yunfan is a multifaceted artist who has the ability to transform mundane subjects into whimsical and unpredictable pieces of art. Yunfan’s creativity isn’t confined to a single medium – her work includes art books, paintings, collages, drawings, installation art, and even films. “For today’s artists, cross-disciplinary practice is becoming the norm,” she says. “I’m not interested in the modernistic endeavor of revealing the ‘limit’ or ‘essence’ of different mediums. I’m interested in finding what can be done with them. I see myself as a cook, and depending on what produce and inspiration I have, I might cook a soup in the morning and then bake a dessert at night. They are different projects.”

孙云帆是位艺术家多面手，她可以做到将平凡无奇的对象转化为难以预料的古怪艺术作品。其作品包括手工艺术书、油画、拼贴、绘画、装置，甚至短片，她的创意从未受限于单一媒介。“今天艺术家们跨界创作已经司空见惯，”她声明道，“我无意像个现代主义者那样殚力于‘揭示’各种媒介的‘本质’和‘极限’。我对这些媒介到底能被用来做什么更感兴趣。就像个一厨子，取决于今天有什么原材料和灵感，我也许早上炖一锅汤，晚上烘培一道甜点。它们都只是不同的项目。”

Growing up between Shenzhen and Shaanxi, the now Brooklyn-based artist sees her art as having been “fermented” from the physical distance and isolation from China. “I suspect that I probably wouldn’t have become an artist at all had I not come to the States.” Still China clearly has an influence on her – the mountains, rocks, and rivers that appear in her work are credited as being influenced by the landscapes of Shaanxi. But at the same time, she feels like her artwork doesn’t directly reflect Chinese or American culture.

成长于深圳和陕西两地，这位现居纽约布鲁克林的艺术家，将她的艺术视作中国的物理距离和疏离的发酵产物。“我怀疑，如果没有到美国我大概不会成为艺术家。”中国对她作品的影响是显而易见的，她作品里出现的那些山水、石头便是来自陕西的自然地貌。但是与此同时，她认为自己的作品并未直接映射中国或者美国的文化。

Yunfan believes that artists only create about half of their work, and that the other half of the work happens when the audience comes into contact with the artwork. Her approach to creating is self-described as “playing with a puzzle”, and that the easiest part of the puzzle is the initial inspiration. The challenging part is finding the remaining puzzle pieces and joining it all together to form a cohesive piece of work. “I don’t normally work with any sketches, scripts, or storyboards, but rather prefer the process be open and organic – even chaotic.”

云帆相信，创作者只能完成作品的50%，剩下的发生在作品与观众之间。她将自己的创作手法形容为“玩拼图游戏”，这个所谓的拼图游戏中最容易的部分则为最初的灵感；其困难在于找到所有其他的碎片，和它们各自合适的位置。“打草稿、写剧本、画分镜头故事板之类的工作方式和我八字不合，我宁愿创作过程是开放、有机的，混乱也没关系。”

Despite being well-versed with a variety of mediums, Yunfan tells us she is most experienced with painting and compares it to playing an instrument. “The medium yields to the artist’s maximum autonomy. And just the simple act of mixing paint allows the artist to mold her material on the molecular level. All experimentation is very direct and has immediate impact,” she explains to us. “Whatever object or subject is being constructed on canvas, the painter is simply dealing with paint. The color and texture of the paint have their own physicality on canvas, which is not directly traceable to the thing being depicted. The surface of any object on canvas can be considered a universe in itself.”

尽管在各种媒介中游刃有余，云帆告诉我们，她最熟悉的媒介还是油画，并将它比作演奏乐器。“它给予创作者最大程度的自主权。调色这样一个再简单不过的动作，却让画家能够在分子水平上塑造她的材料。在画布上所有的实验都很直接，每一笔的结果是即时的，”她解释道，“无论画布上构建的是什么物体或主体，画家只是在处理颜料。而颜料被运用在画布上所产生的色彩和肌理可以独立于其所描绘的东西， 产生其自身的物理存在。在画布上，任何物体的表面都可以自成一个宇宙。”

Recently, Sun Yunfan has been gravitating towards digital mediums such as video, animation, and music, describing the digital sharing process as “democratic and economical”. She is now even traversing into more unfamiliar territories for a new collaborative project with Dave Liang from The Shanghai Restoration Project and jazz singer Zhang Le. Yunfan wrote lyrics, some melodies, and even dabbled with music production as part of this collaboration. Their new album Life Elsewhere  is slated for release later this year.

近来，云帆将创作中心渐渐移向数字媒体，例如录像、动画和音乐，并将其分享过程描述成“既民主又经济”。在与来自上海复兴方案的Dave Liang以及爵士乐歌手张乐合作的一个新项目中，她甚至逐步进击更多不为熟知的领域。云帆为这次合作写作歌词，创作部分旋律，甚至浅尝音乐制作。这张叫做英文名为Life Elsewhere，中文为“她乡” 的新专辑，将于今年晚些时候正式发布。

Website: sunyunfan.com
Instagram: @eighthday

网站: sunyunfan.com
Instagram: @eighthday

Contributors: Leon Yan, David Yen
Images Courtesy of Sun Yunfan

供稿人: Leon Yan, David Yen
图片由孙云帆提供

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The Work of Muntasir Mohamed

May 10, 2016 2016年5月10日

Born and raised in Kuala Lumpur, Muntasir Mohamed is a visual artist and graphic designer who specializes in making digital art. In 2015, he assumed the role of lead designer at Everyday Studios, a new creative studio founded by his friend Sharina Shahrin. Together, the two of them aspired to further advance the development of the Malaysian art scene and provide more opportunities for young emerging artists in the region. “The creative scene in Kuala Lumpur is booming now and the creatives here are making some really impressive strides with their craft. Their progression is motivation for myself to further push the boundaries of my own craft,” Muntasir says. His abstract digital creations explore a diverse range of subjects, from melting psychedelic colors, to Kanye West tribute art, to Givenchy-esque floral designs. Neocha recently had the chance to speak with this versatile artist about his creative approach and how hip-hop culture ties into his artwork.

Dilahirkan dan dibesarkan di Kuala Lumpur, Muntasir Mohamed ialah seorang artis visual dan pereka grafik. Beliau pada masa ini bekerja sebagai ketua pereka di Everyday Studios, studio kreatif yang telah diasaskan oleh rakan karib beliau, Sharina Shahrin. Kedua-dua mereka memiliki pemikiran yang sama iaitu ingin memupuk kancah seni Malaysia dan menyediakan lebih banyak lagi peluang untuk para penggiat kreatif muda di rantau ini.”Kancah dunia kreatif di Kuala Lumpur sedang berkembang mekar dan penggiat kreatif di sini, dengan karya kraf mereka, mengorak langkah yang agak mengagumkan. Melihat pada kemajuan mereka, menjadi motivasi untuk saya melebarkan sempadan seni kraf saya sendiri.” Antara hasil karya peribadi beliau, dari lukisan pemandangan yang kelihatan berasal daripada dunia lain dan cairan palet alunan warna-warna psikedelik hingga ke rekaan bunga-bungaan mirip Givenchy dan penghargaan buat Kanye West. Neocha baru-bari ini berpeluang untuk bertemu ramah dengan beliau tentang pengaruh, pendekatan kreatif dan pandangan beliau tentang budaya hip-hop.

Neocha: How would you describe your own work?

Muntasir: It would be hard to describe, as my work has been constantly evolving over the last few years. As cliché as it might sound, I started making art at a very young age. I was, and actually still am heavily inspired by comics and manga art. Those were the major factors in my passionate pursuit to become an illustrator. Nowadays, my artwork is starting to take a more digital and abstract approach.

Neocha: Bagaimanakah anda memerihalkan hasil karya anda?

Muntasir: Amat sukat untuk saya huraikan, kerana hasil karya saya berubah-ubah dalam tempoh beberapa tahun ini. Bunyinya memang agak klise, tetapi saya telah mula berkarya semenjak usia muda lagi. Dahulu, dan sekarang ini juga, saya masih kuat dipengaruhi oleh seni komik dan manga. Itu merupakan faktor utama dalam kegigihan saya mengejar kerjaya sebagai seorang ilustrator. Sekarang ini, hasil seni saya sudah mula menerima pendekatan yang lebih digital dan abstrak.

Neocha: What mediums or software do you, or have you worked with in the past? What are your preferences nowadays?

Muntasir: I primarily work with Adobe Photoshop now. But creative software like Premiere Pro, After Effects and Adobe Illustrator are programs that I am constantly honing my skills in. Back when my own artwork focused more on illustration and sketching, I would use graphic pens, rendering markers, and watercolor. In the past, I have also worked with materials such as acrylic paint, spray paint, and perspex sheets.

Neocha: Apakah media atau perisian yang anda sedang atau telah gunakan pada masa lalu? Apakah kecenderungan anda pada masa ini?

Muntasir: Pada masa ini, saya banyak menggunakan Adobe Photoshop. Tetapi perisian kreatif seperti Premiere Pro, After Effects dan Adobe Illustrator ialah program yang secara berterusan saya gunakan untuk mengasah kemahiran daya. Dahulu, ketika kerja-kerja saya banyak bertumpu kepada ilustrasi dan melakar, saya menggunakan pen grafik, pen marker kemasan lukisan dan catan air. Saya juga pernah menghasilkan karya dengan media seperti catan akrilik, cat semburan, dan kepingan perspeks.

Neocha: Do you feel like there is a sense of cohesiveness in your work? Or rather a progression or change in style? How so?

Muntasir: I find that I am now going through an interesting transitional period from physical to digital when it comes to my art. I look forward to seeing where this will take me and what I can create out of it. Most of what I do comes organically to me – otherwise, I wouldn’t be confident and satisfied in what I make. Every artist has their forte or preferred style. I aim to be as versatile and flexible as possible with my creativity.

Neocha: Adakah anda merasakan terdapat kejeleketan dalam hasil karya anda? Atau mungkin kemajuan atau perubahan dalam gaya? Apakah sebabnya?

Muntasir: Saya merasakan bahawa saya melalui tempoh transisi yang menarik dari fizikal ke digital apabila memperkatakan tentang hasil seni saya. Saya menanti-nantikan untuk melihat ke mana ia akan membawa saya dan apa yang saya dapat cipta daripadanya. Kebanyakan karya yang saya hasilkan datang kepada saya secara organik – jika tidak, saya tidak berkeyakinan dan puas dengan apa yang saya telah hasilkan. Setiap artis ada kehandalan atau gaya tersendiri yang mereka gemari, saya menuju ke arah menjadi versatil dan fleksibel yang sebaik mungkin dengan daya kreativiti saya.

Neocha: Japan and Japanese culture in general seems to influence you a lot; for example, Japanese kanji appears on a lot of your work. Why is that?

Muntasir: Japan and its culture has always been a big inspiration when it comes to my creativity and aesthetics. I am very fond of legendary artists, like Katsushika Hokusai and Utagawa Hiroshige. The detail and craftsmanship that went into their works were something to behold, and made me even more interested in the world of Japanese art. Anime is another major factor in the growth of my artistic career. I grew up as a huge fan of Dragon Ball Z. When I was younger, I would find myself drawing the characters, which usually turned out horrendous. But it helped me to hone and improve on my illustrative skills.

Neocha: Negara dan budaya Jepun nampaknya muncul dengan kerap dalam hasil karya anda. Apakah pengaruh di sebaliknya ke atas anda?

Muntasir: Negara Jepun dan budayanya memang selama ini telah menjadi inspirasi besar saya apabila memperkatakan tentang kreativiti dan nilai estetika saya. Saya amat cenderung dengan artis legenda seperti Katsushika Hokusai dan Utagawa Hiroshige. Ketelitian dan ketrampilan yang diterapkan dalam hasil karya mereka adalah sesuatu yang mengasyikkan untuk diamati, dan membuatkan saya lebih berminat tentang dunia seni Jepun. Anime ialah satu lagi faktor dalam perkembangan kerjaya seni saya. Saya membesar sambil menjadi peminat tegar Dragon Ball Z. Semasa saya muda, saya terjurus untuk melukis watak-wataknya, yang mana kebiasaannya hasilnya memang teruk. Tetapi, ia juga telah membantu saya mempertajamkan dan menambah baik kemahiran mengilustrasi saya.

Neocha: Hip-hop culture is also clearly prominently in your work. When did you become interested in hip-hop and what drew you to hip-hop culture?

Muntasir: Hip-hop has played a major role in my life since I was very young. I was exposed to hip-hop by my brother, who was a really big fan of Tupac Shakur. I have always been fascinated by the lifestyle surrounding hip-hop and rap. A lot of us are usually reminded of the negative aspects perpetuated by hip-hop culture, but you have to remember that the lifestyle has also bred some of the most creative and inspiring individuals. What I love about hip-hop is that it keeps me motivated and constantly inspired.

Neocha: Budaya hip-hop nampaknya tertera dengan jelas dalam hasil karya anda. Bilakah anda mula meminati hip-hop dan apakah yang menarik anda ke arah budaya hip-hop?

Muntasir: Hip-Hop telah memainkan peranan besar dalam hdup saya semenjak saya kecil lagi. Hip-hop telah diperkenalkan kepada saya oleh abang saya yang merupakan peminat tegar Tupac Shakur. Saya memang selama ini teruja dengan gaya hidup berkisar dalam hip-hop dan rap. Kebanyakan kita biasanya diberi peringatan tentang aspek-aspek negatif yang dipaparkan oleh budaya hip-hop, tetapi kita harus ingat bahawa gaya hidup ini telah melahirkan individu-individu yang paling kreatif dan penuh inspirasi. Apa yang saya suka tentang hip-hop adalah ia membuatkan saya bermotivasi dan secara berterusan memberi saya ilham.

Neocha: How would you describe the state of hip-hop culture in Kuala Lumpur?

Muntasir: Hip-hop culture has been a driving factor in the youth of Kuala Lumpur for a very very long time. Take a walk in the busy streets of Kuala Lumpur and it is evident that hip-hop is a culture that is perpetuated through the youth. For many years, we’ve had a number of rappers that set the standard in the music industry out here. These individuals have birthed the influx of young talented musicians making wavy music over the last few years. It’s very exciting to see.

Neocha: Bagaimanakah anda memerihalkan suasana budaya hip-hop di Kuala Lumpur?

Muntasir: Budaya hip-hop telah menjadi faktor yang memacu muda-mudi Kuala Lumpur sejak sekian lama lagi. Cubalah bersiar-siar di sepanjang jalan yang sibuk di Kuala Lumpur dan memang jelas sekali hip-hop ialah budaya yang telah meresapi jiwa muda-mudi ini. Semenjak bertahun-tahun lamanya, kita telah ada sebilangan rapper yang menetapkan standard dalam industri muzik di sini. Individu-individu ini telah melahirkan dengan banyaknya ahli muzik muda yang berbakat yang menghasilkan muzik beralun sepanjang beberapa tahun yang lepas. Amat teruja untuk disaksikan.

Neocha: What are your plans for the future? Are there any upcoming projects?

Muntasir: There are so many things I want do and achieve in my life as a visual artist. I was recently made the creative director for an up-and-coming clothing brand, which has always been a dream of mine. It has been an absolute pleasure to work with the brand so far. I wish I could say more, but where’s the fun in that?

Neocha: Apakah rancangan anda untuk masa depan? Adakah apa-apa projek yang bakal dilaksanakan?

Muntasir: Ada banyak perkara yang saya ingin lakukan dan capai dalam hidup saya sebagai artis visual. Baru-baru ini saya telah dilantik sebagai pengarah kreatif untuk jenama pakaian yang baharu dan sedang naik, yang sentiasa menjadi impian saya. Sesungguhnya, saya berasa amat seronok bekerjasama dengan jenama ini setakat ini. Saya harap ada banyak lagi yang saya boleh katakan, tetapi, tidak seronoklah begitu, bukan?

Behance: ~/MuntasirMohamed
Instagram: ~/MuntasirMohamed

Behance: ~/MuntasirMohamed
Instagram: ~/MuntasirMohamed

Contributor: David Yen

Penyumbang: David Yen

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ROARINGWILD

April 28, 2016 2016年4月28日

Shenzhen is a modern day behemoth of a city; its rapid expansion over the years has transformed what was previously a quiet fishing village into the Silicon Valley of China and a mega-metropolis. Despite the developmental strides of the entire city, the streetwear and fashion scene hasn’t quite caught up – especially when compared to the likes of New York and London. ROARINGWILD is an independent Shenzhen-based streetwear brand not complacent in the quiet state of the scene. Instead, they have aspirations of becoming the vanguard of Chinese youth culture, not only for Shenzhen – but for China as a whole.

深圳这个现代庞然巨城，短短数载，就从一个小渔村发展为中国的硅谷，成为一座国际大都会。然而与纽约和伦敦的街服和时尚环境相比，深圳在这方面并未赶上其城市的步伐。ROARINGWILD是深圳的独立街服品牌，他们不满于现状，渴望成为不仅是深圳，更是整个中国青年文化的先锋者。

Through ROARINGWILD, the founders wish to encourage young people to chase after their dreams and fearlessly express themselves, rather than conforming to the expectations of society. In a way, the brand’s attitude pays homage to the American countercultures of the 1970s and 1980s that set up the foundation for modern day streetwear. Holding the belief that streetwear is more related to lifestyle than fashion, the founders of ROARINGWILD create what they consider to be hip and relevant to their own lives, as opposed to creating with the current trends and appeasing as many consumers as possible. It’s this same mentality that puts further emphasis on their brand ethos and instills a sense of authenticity into their designs. Neocha recently talked to BG, the creative director and head fashion designer of ROARINGWILD, about their brand’s identity and the current state of streetwear in China.

通过ROARINGWILD，创立人想鼓励年轻人敢于追逐梦想和表现自己—而不是屈从于社会为谋生而生活，为物质而生存。在某种程度上，他们是在向美国70和80年代青少年中盛行的反主流文化致敬，这种反主流文化正是促成了现代街服的诞生。秉持着街服更是一种生活方式和时尚的信念，与按照当下流行创作、尽可能多地取悦消费者的做法相反，他们的想法是创造与自己生活圈相关的街头潮牌服饰。这些设计理念都在他们的街头风格品牌中得到体现。最近，Neocha与饼干，ROARINGWILD的创意总监和首席设计师，谈了关于他们的品牌和中国街服的现状。

Neocha: How did the brand start? Who are the minds behind this project? What inspired the idea of starting a streetwear brand in Shenzhen of all places?

BG: ROARINGWILD was founded by the six of us during college. It was me, CY, MIMI, QIAO, PPC, and REIKA. All six of us grew up in Shenzhen and went to the same university, and that’s how we all got together. At the time, it felt like there weren’t any interesting independent brands in the city; combine that with the fact that the six of us were quite interested in streetwear culture. These two things led to us creating the brand. In the beginning, we were just having fun with it, making small accessories that people liked. Our early days are actually quite similar to the DIY ethics many other streetwear brands were founded on. We kept refining the brand and we somehow ended up where we are today.

Neocha:这个品牌是如何开始的？谁是创始人？是什么激发你们在深圳做起一个街服品牌？

BG: ROARINGWILD起初是由我们六个人 (昵称: CY、饼干、MIMI、阿乔、高鹏、妹子) 在大学期间创立。我们六个，都是从小在深圳长大，也在同一所大学里读书，于是就自然走到了一起。我们做这样一个街服品牌，是因为觉得身边缺乏有意思的原创品牌。抱着我们自身对街头文化的共同热爱，就做了这样的一件事情。最开始的时候，我们就是很纯粹地一起玩，做一些大家喜欢的小东西。和所有的街服品牌一样，从做许多DIY的事开始，不知不觉做到了现在。

Neocha: How would you say the urban environment of Shenzhen plays into your design? How does the cityscape influence your brand?

BG: The brand and its products is meant to serve us, so a lot of the designs will be based on our personal needs and how the city influences us. Shenzhen is located in a subtropical region, so most our products won’t be for the outdoors. You also won’t find too many jackets and raincoats that are commonly seen with European brands. Shenzhen is a young city, but it subtly and constantly exerts an influence on the direction of our brand. It’s difficult to compare it to other Chinese cities with a long history (such as Beijing, Xi’an, and so on). Many people consider Shenzhen to be a barren “cultural desert”, with only a few decades of history behind it, but in a place like this is where an oasis is most needed.

Neocha: 深圳的都市氛围对你们的设计有什么影响吗？城市景观有对你们品牌产生影响吗？

BG: 会的。毕竟，这个品牌首先还是服务于我们自己的，所以，很多设计会基于我们的需求。深圳地处亚热带地区，因此，我们的产品中不会出现很多户外的东西，也不会像一些欧洲品牌那样，出现许多像外套、雨衣类的产品等等。深圳作为一个很年轻的城市，对我们的品牌一直以来都有着潜移默化的影响。深圳只有区区几十年历史的地方，相比国内一些拥有长远历史的城市，如北京、西安等，这里相当于“文化沙漠”。但正是因为她是这样的一个地方，所以才需要一片绿洲。

Neocha: How does China as a whole influence your brand and design?

BG: All the founders are Chinese, and we all hold a reverence for our culture. Naturally, the brand and designs will be inspired by China. Personally, I’m quite interested in Chinese characters and Chinese philosophies – this is reflected in our brand’s concepts. We don’t want ROARINGWILD only to represent us or the city. We look forward to the day when our brand can be a strong representative for China and become a well-known brand amongst the other amazing international streetwear brands out there. We want it to be up there with Stussy, Supreme, Vans, Palace, RIPNDIP, White Mountaineering, Neighborhood, Undercover, Stone Island and so on. Some of those brands are as young as our own brand, but they still exude their own style.

Neocha: 中国作为一个整体如何影响您的品牌和设计？

BG: 首先，我们团队本身就都是中国人，也都十分喜欢中国文化，自然，整个品牌和设计也都基于中国这样一个大环境。我自己本身很喜欢汉字的文化以及中国文化哲学类的东西，这在整个品牌的理念中都会有所体现。我们同时也希望 ROARINGWILD 不仅能代表我们抑或是深圳，也想有朝一日他能代表中国，在街头文化的领域向全世界发声。就像一些优秀的国外品牌如Supreme、Stussy、Vans、Palace、RIPNDIP、White Mountaineering、Undercover、Neighborhood等等，他们当中也会有一些像我们的品牌一样年轻，但都散发着自己的魅力。

Neocha: How would you describe the streetwear scene in Shenzhen? How does it match up to the likes of cities such as Shanghai, Beijing, Hong Kong, or Tokyo? How does it match up to other international cities like New York and London?

BG: The streetwear culture in Shenzhen is a bit behid in comparison with these other cities. Not many people know what they want out of life, what they want to wear, and even less people have their views on lifestyle. Most people just follow the fads, they wear whatever’s trending. It’s not like Shanghai, Beijing, Hong Kong, or other metropolises in the region where people are more confident. For example, I feel in places like Tokyo, young people are even more confident and able to express themselves more freely. Most people in Shenzhen care too much about what other people think, and in doing so have neglected themselves. I think everyone should live their own life, instead of worrying too much about what other people think.

Neocha: 深圳的街服是什么样的，跟其他城市有什么不同吗？如上海、北京、香港、东京？或者纽约和伦敦这样的国际大都市？

BG: 深圳的街头文化，相对还是比较匮乏。很少人有人知道自己真正想要怎样的生活，想要穿什么，也很少有人会对自己的生活态度有自我的想法。更多的还是跟随潮流，最近流行穿什么就穿什么，而不像上海、北京、香港这样的其他国内城市一样，大家更有自信。我觉得像东京这样的城市里的年轻人更勇于表达自我，感觉深圳大部分人还是更在乎别人的眼光，而忽略了自己。我觉得每个人都应该为自己而活，而不是为别人的眼光而活。

Neocha: What kind of challenges have you encountered getting your brand up and running?

BG: We really came from the streets. We were just normal kids with an interest in streetwear and nothing more. We didn’t create this brand in the same way that a well-developed company would have. So in the beginning, we failed to factor in a lot of things – such as resources, finances, manpower, and technique. We were a team but we had no one to depend on besides ourselves. We’ve developed into a mature company now, but there will always be more challenges to overcome.

Neocha: 建立这个品牌的过程有遇过哪些难关？

BG: 我们是真正的来自于街头，最初是以一群爱好者的身份慢慢做起来，而不是一个成熟公司的形式去创立这个品牌。因此最初，在很多方面，如资源、资金、人脉和技术都不能很好地顾及，可以说是一个完全自给自足的团队。直到现在，虽然我们已经发展成为一个相对成熟的公司，仍然还会有需要克服的难关。

Neocha: Do you feel like the streetwear scene has changed since ROARINGWILD started? Do you feel like more Chinese youth are becoming more interested?

BG: In the first year that ROARINGWILD was established, many more independent brands and streetwear brands began popping up. Of course, this was already somewhat happening before, but with the development of the internet and Chinese people becoming more open to things like these, more and more brands are able to thrive. The interconnectivity of the web allowed streetwear to be more accessible to the youth, so more people are beginning to accept it. To some extent, I would say it’s becoming more and more mainstream. More people are also beginning to be exposed to the lifestyle behind the streetwear. This is a great sign. A lot of young people are living lives that go against societal expectations and are thinking more independently now. They’re not living just to live anymore.

Neocha: 自ROARINGWILD成立到现在，你觉得街服场景发生了什么变化？你是否觉得现在有更多中国年轻人对街服更感兴趣了吗？

BG: 的确从ROARINGWILD创立开始，就有许多原创品牌、街头品牌出现。在这之前当然也一直有，但随着整个中国社会和网络的发展，现在的品牌更容易在这片土壤上生存下去。网络的信息化也让街服更容易被年轻人接触到，慢慢地，就有更多人去接受它，一定程度上它变得更大众了。但大家也会开始去思考这样一种生活方式，这是一个很好的现象。很多年轻人也活得越来越多样化，有许多对于自己的思考，而不只是为了生活而生活。

Website: roaringwild.net
Taobao: ROARINGWILD
Facebook: ~/ROARINGWILDOFFICIAL
Instagram: @ROARINGWILD
Weibo: ~/ROARINGWILD

网站: roaringwild.net
淘宝: ROARINGWILD
脸书: ~/ROARINGWILDOFFICIAL
Instagram: @ROARINGWILD
微博: ~/ROARINGWILD

Contributor: David Yen
Photographer: Qiao Chen

 

Images Courtesy of ROARINGWILD

供稿人: David Yen
摄影师: Qiao Chen

 

图片由ROARINGWILD提供

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The Work of Kouzou Sakai

April 18, 2016 2016年4月18日

With a bachelor’s degree in animal science and biotechnology, Kouzou Sakai isn’t a typical illustrator. He didn’t take the normal route of attending a fine art school, nor did he have the luxury of having connections in the publishing or advertising field. Now based in Tokyo, Japan and working as a freelancer, Kouzou has carved out his own career path as an artist. His distinctively recognizable body of work alternates between fairly minimalistic images featuring nondescript men in suits, to intricate illustrations of delightfully imaginary worlds filled with flying vehicles and various animals. Kouzou recently talked with us about the journey that brought him to where he is today, and his approach to creating the serene atmospheric settings seen in his work.

動物科学とバイオテクノロジーの学士号を持つKouzou Sakaiは標準的なイラストレーターではない。彼は、美術学校で学ぶといった通常の経歴を辿ることも、出版や広告分野との繋がりを持つという恩恵を受けることもなかった。現在、東京を拠点にフリーランサーとして活動する彼は、アーティストとしてのキャリアを自ら切り開いたのである。一目見てそれとわかる彼の作品コレクションには、特徴のないスーツ姿の男性が登場するかなりミニマリスティックな図柄がある一方で、空飛ぶ乗り物や様々な動物がひしめく楽しげな架空の世界を描いた複雑なイラストも見られる。彼は、現在の彼を作り上げた経歴、また、その作品に存在する穏やかな空気感を生み出すためのアプローチについて答えてくれた。

Neocha: How did you first become interested with illustration?

Kouzou: As a child, I loved picture books showing different flora and fauna. I used to draw so many pictures of insects, birds, animals, fish, flowers, and so on. In my teenage years, I became passionate about sports and stopped drawing for a while. I’ve always liked animals, so I entered a university where I could study something related. During that time, I had the opportunity to use an Adobe application for a bit, even though it wasn’t part of my course. This set me off on the path of taking drawing seriously. Afterwards, a lot of complicated things happened, but then I made the decision to become an illustrator after graduation.

Neocha:どのような経緯でイラストに興味を持ち始めたのですか？

Kouzou:幼い頃から動植物の図鑑が⼤好きで昆⾍、⿃、動物、⿂、花などの絵を頻繁に描いていました。 10代は、スポーツに熱中していたので絵を描くことからはしばらく離れました。そして私は⽣物が好きだったのでその分野の勉強ができる⼤学へ進学しました。授業ではありませんが、⼤学で少しAdobeのアプリケーションにふれる機会があり、それをきっかけに本格的に絵を描くように なりました。その後、複雑な事情が重なり、⼤学卒業後はイラストレーターへなりました。

Neocha: How did you make the jump from being a graduate with a degree in animal science and biotechnology to becoming a designer and illustrator? It seems like really different fields – what was the influencing factor?

Kouzou: There are several reasons why I changed my path and went into another field. One of them is that although I had originally entered university to research wild animals, I felt that transforming my interest into an actual job would be very difficult. So after graduating, I changed directions and began another kind of work that I also liked. Of course, I encountered a lot of difficulties, even after deciding to become an illustrator. Since I wasn’t a graduate coming from a fine arts university, I didn’t have any contacts in the publishing or advertising fields, and didn’t have any advice or assistance regarding my work. I guess the most difficult thing was that I didn’t have anyone to give me any advice – but with a lot of time and effort invested, I have arrived where I am today.

Neocha: 畜産学と生命工学の学位を持っているのにデザイナーと言うよりイラストレーターへ大きく転身したのはなぜですか・それは全く異なった分野のようですが、何が影響したのですか？

Kouzou: 異分野へ進路を変えたのはいくつか事情があります。その理由のひとつは、野⽣動物の研究のために⼤学に進んだものの、自分が興味を注いでいる分野を仕事に繋げるのは現実的にとても難しいと痛感しました。そして卒業後に進路を大きく変え、自分のもうひとつの好きことを仕事に選びました。 もちろんイラストレーターを目指してから困難が多かったです。私は美術系大学の出身ではないので、出版・広告業界にまったくコネクションを持っておらず、仕事や相談相⼿が皆無でした。 相談相⼿がいないのが⼀番つらかったかもしれません。年月を費やして少しずつ仕事いただけるようになり今に繋がっています。

Neocha: How would you describe the style of your artwork?

Kouzou: I have a few styles, but basically I begin by sketching my ideas out, and then later flesh them out using Adobe Illustrator and Photoshop. I aim to create illustrations that the largest possible number of people can find common ground with. Admittedly though, it’s a difficult task. I feel I can never stop at simply being personally satisfied with my work.

Neocha: あなたの作品/スタイルについて説明してくださいませんか？

Kouzou: いくつかスタイルがあるのですが、基本的にはアイデアスケッチを手描きで行い、その後Adobe IllustratorとPhotoshopを使⽤して制作します。大変難しいことですが、できるだけ多くの人に価値を共有してもらえるような画を目指しています。自己満足で終わらないように気をつけています。

Neocha: Your illustrations are peaceful, while also containing elements of beauty, stillness, and nostalgic. Where do you get your inspirations from?

Kouzou: I think that it is simply the result of me subconsciously remembering and storing a wide variety of information from different media around me – whether it’s from movies, novels, or something else. Some artists that I particularly respect include René François, Ghislain Magritte, and Tove Marika Jansson.

Neocha: あなたのイラストは、美しさ、静けさと郷愁の要素が含まれていると同時に、平和的であると特徴を述べられています。何から発想を得ていますか？

Kouzou: 映画、小説など、身の回りの様々なものから無意識に自分の好きな情報を断片的に記憶へ蓄積していっている結果だと思います。尊敬しているアーティストは、René François Ghislain Magritte, Tove Marika Janssonです。

Neocha: Do you feel like Tokyo has an influence on your work?

Kouzou: Unfortunately, I don’t go outside very much – so I really don’t feel I am particularly influenced by Tokyo. I don’t really like crowds. Although I live in Tokyo now, I was actually raised in a small countryside town, close to the ocean and the mountains. I think that that town had more influence on me than Tokyo does.

Neocha: 現在住んでいる東京は、あなたの作品に影響を与えていますか？

Kouzou: 残念ながら私はほとんど出かけないので、東京からはあまり影響を受けていません。私は人混みがあまり好きではありません。現在は東京に住んでいますが、私は幼少期に海、⼭がある⽥舎街で育ちました。東京よりもその頃の影響が大きいと思います。

Neocha: What do you intend to communicate through your art?

Kouzou: I honestly don’t have a very clear message. I don’t really like to explain my work. I am happy when people see my work and are able to interpret its meaning for themselves, freely.

Neocha: あなたの芸術作品を通じて何を伝えたいと思いますか?

Kouzou: 明確なメッセージはありません。作品を見た人がそれぞれにストーリーを自由に想像して愉しんでくれたら私はうれしいです。ですので、私は自分の作品を説明するのをあまり好きではありません。

Website: kouzou.org
Behance: ~/kouzou
Facebook: ~/ksillustrations
Instagram: @kouzou_sakai_illustrations

ウェブサイト：kouzou.org
Behance: ~/kouzou
Facebook: ~/ksillustrations
Instagram: @kouzou_sakai_illustrations

Contributor: David Yen
Images Courtesy of Kouzou Sakai

寄稿者：David Yen
Images Courtesy of Kouzou Sakai

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Treasure Hill Artist Village

April 15, 2016 2016年4月15日

Nestled in Taipei’s Gonguan district is an elevated patch of old houses known as Treasure Hill Artist Village. This used to be a military dependent village, much like the Rainbow Village in Taichung, but aside from being the home for many KMT military veterans in the past, it also served as a strategic location for anti-aircraft monitoring. By the 1960s and 1970s, this area was regarded as nothing more than a sprawl of illegal makeshift housing arrangements that were deteriorating into increasingly worse conditions. The name comes from Treasure Hill Temple, a historical and cultural landmark that lies at the very center of the houses. After renovations were completed in 2010, the houses that were previously deemed unsightly became a popular destination for locals and tourists alike.

寶藏巖國際藝術村位於台北公館，是一處蓋在坡地上的老舊房舍。這裡曾是眷村，一如台中的彩虹眷村，不過除了是許多國民黨老兵的家以外，這裡也曾是戰略防空位置。在六零和七零年代，這一區僅被視為違建的臨時住宅，而且居住條件不斷惡化。寶藏巖取名自寶藏巖寺，一個藏匿於這個屋落中的歷史文化地標。在2010年整修完成後，先前被認為不雅觀的房舍業已成為本地人及遊客喜愛的熱門景點。

Treasure Hill Artist Village was the result of a collaborative effort between the Taipei City Government and the Global Artivists Participation Project. The whole approach to the renovation process is known as urban acupuncture, a theory that treats cities like they were living and breathing creatures. Traditional acupuncture treatment involves inserting sharp needles into different parts of a patient’s body; these key insertion points are known as meridian points. This socio-environmental theory does the same, in that it restores an area as a whole through a process of pinpointing vital sections in need of repair.

寶藏巖國際藝術村是台北市政府與全球藝術行動者參與實驗計畫共同合作的成果。這類型整修屬於都市針灸的一種，也就是將城市視為有呼吸心跳的有機體。傳統針灸療法會將尖銳的針頭插入病患身體的各個部位，主要插入所謂的經絡穴位，而都市針灸這個社會環境理論也是同樣的道理，它指出需要修復的重點部位，藉此將這個區域回歸為原本的面貌。

The municipal government commissioned Finnish architect Marco Casagrande to renovate the village. Marco humbly admits, “I had to do nothing, it was already there. What I did was construct the wooden stairways and connections between the destroyed houses, and some shelters for the old residents to play mahjong and ping-pong.” He considers Treasure Hill to be the attic of Taipei, and a vessel that carries the many memories, stories, and traditions of the past generations of Taiwanese people. “In some ways, it is a reflection of the Taipei mind that the industrial city is not able to reflect.”

市政府委託芬蘭建築師Marco Casagrand來進行村落整修，Marco謙虛地說：「我不必做什麼，它本來就在那裡了，我不過是蓋了木造階梯來連接毀壞的房舍，還有搭了幾個棚子，讓當地居民可以打麻將或玩乒乓球。」Marco認為寶藏巖是台北的閣樓，不僅承載了回憶與故事，還有台灣人老一輩的傳統，「某種程度上，它呈現了工業化城市無法表現的台北思維。」

Granite pathways and stone staircases cut and wind through the village, leading visitors to small cafés, various art installations, and beautiful vantage points of New Taipei City. Many of the old houses have been transformed into hostel rooms and even housing for artist residencies. Exhibitions and talks are also regularly held in the various gallery spaces in the village. A mix of international and local artists have been granted residencies over the years, including embroidery artists, filmmakers, choreographers, and so on. The long list of the many types of artists who have graced the village in the past is near endless. The art installations that exist in the village are constantly rotating, and different types of artwork can be found throughout the village – from a mural by the famous Taiwanese street artist Candy Bird, to large-scale interactive fortune cookies created by the Taiwanese architect Kung Shu-Chang.

花崗岩步道和石階蜿蜒地穿過整個村落，指引訪客前往小咖啡館、各種裝置藝術，以及眺望新北市的絕佳觀景點。許多老房舍被改造為民宿，或給申請駐點的藝術家作為住所。村裡的各種展覽空間也會定期舉辦展覽及講座。過去幾年來，已有多位國際藝術家與本地藝術家在此駐點：包括刺繡藝術家、導演、舞蹈編導等，清單囊括了各種數不完的藝術領域，讓村裡蓬蓽生輝。村裡的裝置藝術也時常調換，到處都能找到不同類型的藝術品：有台灣知名街頭藝術家Candy Bird的壁畫，也有台灣建築師龔書章所創作的大型互動式幸運餅乾。

Despite the changes made to the village and the large influx of visitors, many of the old residents are still happily living here. Some have been moved to better houses that are located elsewhere on the premises, but red plaques erected on their new homes proudly display short introductions about where the resident came from before arriving in Taiwan. The brief write-ups include their personal histories and also the addresses of their original residences in the village. To ensure the quality of living conditions in the village, Treasure Hill has also set visitor hours to prevent disturbances to the long-term residents.

儘管村落整修，遊客大肆湧入，許多當地居民仍安居此處。有些人已經搬到此處其他更好的房子，但掛在他們新家的紅匾額上仍有一段關於祖籍地的簡短介紹、一段關於自己的歷史故事，以及原本在村裡的住址。為了保障長居居民的生活環境，寶藏巖設有訪客時間，以免對居民造成干擾。

The government’s emphasis on recognizing and celebrating the past, as well as the lives of the residents, is quite clear. The old post office of the village is still in operation – and the Treasure Hill Tangerine Store, a traditional convenience store, has been reopened in recent years. This store is reminiscent of life in rural Taiwan and is stocked with many nostalgic foods, snacks, and toys from the past.

明顯可見政府對於認同並慶祝居民過去生活方式的重視。村裡的老郵局仍在營業；寶村柑仔店，也就是傳統的便利商店，也在近年重新開張。柑仔店讓人想起台灣的鄉村生活，裡面有許多令人懷念的舊式食物、點心和玩具。

In the daytime, there is undoubtedly more going on in the village, but as night descends on this artistic haven, there is also a certain sense of calm that comes with it. Many of the visitors will have already dispersed, leaving the streets empty and quiet. The criss-crossing interstate highways of New Taipei City can be seen in the distance, and the hectic hustle and bustle of the Gonguan night market is close by, but feels like it is worlds away. This is the perfect time to slip into one of the many homely cafés that are scattered throughout the village and relax for a bit before heading back into the busy city. So the next time you find yourself in Taipei, be sure to make some time in your schedule and swing by Treasure Hill for an afternoon – you won’t regret it!

白晝時分，村子裡自然頗為熙攘，但之後夜幕降臨，也為這個藝術天堂帶來一抹平靜。此時，遊客多已散去，街道顯得冷清空蕩。遠可眺新北市的棋盤式道路；近可聞公館夜市的陣陣喧闹，卻又相隔九重天。村裡隨處能找到溫馨的咖啡館，此時正是鑽進其中一間、在返回忙碌的城市之前稍作休息的好時機。下次您拜訪台北時，不妨撥空來寶藏巖參觀一下午，絕對不虛此行。

Address:
No. 2, Alley 14, Ln. 230 Dingzhou Rd. Sec. 3,
Zhongzheng District, Taipei
Taiwan

Hours:
10:00 ~ 20:00
Closed Mondays

 

Website: artistvillage.org
Facebook: ~/TreasureHillArtistVillage

地址：
台灣
台北市中正區
汀州路三段230巷14弄2號

營業時間：
10:00 ～ 20:00
週一定休

 

網站：artistvillage.org
臉書：～／寶藏嚴國際藝術村

Contributor & Photographer: David Yen

供稿人與攝影師：David Yen

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District Eight Design

April 11, 2016 2016年4月11日

Ho Chi Minh City is a Vietnamese metropolis in the midst of a developmental-renaissance. Alongside this urban boom, there has been an alarming trend of demolishing historic buildings in recent years. Most of these heritage buildings that are targeted to be torn down were built during the French colonial era, but have deteriorated over the years. These dilapidated structures are being rapidly replaced in favor of modernized buildings that are easier to maintain. Many local architects and like-minded individuals are looking for ways stop this destruction of history and culture. One of those individuals is Darren Chew, the founder of District Eight Design.

Thành phố Hồ Chí Minh là một đô thị đầu mối trung tâm của Việt Nam và hiện đang ở giai đoạn phát triển mạnh mẽ. Bên cạnh việc bùng nổ đô thị hóa, trong những năm gần đây xu hướng phá hủy những tòa nhà có giá trị lịch sử đã đến mức báo động. Những tòa nhà xây thời thuộc địa Pháp có giá trị di sản lớn nhưng bị hư hỏng suốt nhiều năm là đối tượng để dỡ bỏ. Những cấu trúc đã mục nát đang được thay nhanh chóng bằng những tòa nhà hiện đại và dễ bảo dưỡng hơn. Những kiến trúc sư và các cá nhân có cùng quan điểm với họ đang tìm cách ngăn việc phá hủy văn hóa lịch sử này. Một trong những người đó là Daren Chew, người sáng lập District Eight Design.

“One can see an old building needs to be torn down for new development, which solves the public housing issues; but at the same time, others might see the history in such old structures are worth preserving.” Darren neutrally presents both sides of the story, before adding, “We see these old building as historical gems that are worth preserving, as they have stood the test of time and bear with them the stories of their past. These stories are not only of their previous tenants, but also the historical events that occurred in the neighborhood.” It’s this reverence for Vietnamese culture and history that has been the momentum-driving force which eventually culminated in the birth of District Eight Design.

“Có người thì cho rằng là một tòa nhà của cần phải đập bỏ cho sự phát triển, nó giúp giải quyết vấn đề nhà ở nói chung; nhưng cùng lúc lại có người thấy giá trị lịch sử trong những cấu trúc ấy xứng đáng được bảo tồn.” Darren trình bày quan điểm của hai phía một cách trung lập, trước khi bổ sung thêm rằng “chúng tôi coi những tòa nhà này như những viên ngọc của lịch sử và đáng được bảo vệ vì chúng đã trải qua được thử thách của thời gian và mang trong mình những câu chuyện của quá khứ. Những câu chuyện này không phải chỉ của riêng những người chủ trước đây mà còn là những sự kiện lịch sử diễn ra xung quanh.” Chính lòng kính trọng đối với văn hóa và lịch sử Việt Nam đã trở thành động lực và sau cùng đưa đến việc D8 ra đời.

District Eight Design was first started in 2010, after Darren founded L’Usine, a lifestyle cafe. This boutique cafe was to be located in a historical but derelict ballroom that dated back to the early French colonial era. This renovation project resulted in the idea to preserve and restore more of these colonial-era spaces, but besides merely renovating these spaces, Darren’s concept involved creating a collection of industrial furniture that would complement the aesthetics of the restored interior.

District 8 Design bắt đầu lần đầu tiên vào năm 2010, sau khi Darren thành lập quán cà phê phong cách sống L’Usine. Ban đầu cửa hàng này đặt ở một phòng dạ hội có từ thời thuộc địa, nó có giá trị lịch sử nhưng lại vô chủ. Dự án nâng cấp này đưa đến ý tưởng phục hồi nhiều không gian tương tự thời thuộc địa, nhưng bên cạnh việc phục hồi không gian một cách đơn thuần, ý tưởng của Darren còn bao gồm việc có một bộ sưu tập các vật dụng nội thất công nghiệp nào có thể làm tăng tính thẩm mỹ cho không gian bên trong.

Over the last six years, D8 has been continually renovating and designing spaces, their work ranges from quaint coffee shops to modern offices. These same spaces are filled with contemporary furnishings which are also designed by them. D8’s two signature furniture collections, Distrikt and Kahn, are undoubtedly the most successful. The Distrikt collection focuses on the intricacies of wood and joinery, while the Kahn collection involves the innovative use of concrete and combining that with bridge-building engineering techniques. But besides furniture, D8 has been expanding their product line while staying true to the style they’re known for – chic, modern, industrial; and at times, borderline Steampunk. Their products now range from a chess set created with reclaimed hardwood, complete with industrial bolts and nuts as game pieces; to pendant lights created from hand-beaten blackened steel. D8 shows that no matter the product, the end result will always be a well-designed piece that carries with it an air of authenticity and meticulous craftsmanship.

Suốt sáu năm qua D8 đã liên tục phục hồi và thiết kế không gian, từ những quán cà phê độc đáo cho đến văn phòng hiện đại. Những không gian tương tự nhau được trang trí bằng những vật trang trí đương đại, cũng do chính họ thiết kế. Hai bộ sưu tập mang đậm dấu ấn của D8 – Distrikt và Kahn – hiển nhiên là hai bộ sưu tập thành công nhất. Bộ sưu tập Distrikt tập trung vào tính phức tạp của gỗ và các khớp nối, trong khi Kahn là sự cách tân của việc dùng bê tông và phối nó với kỷ thuật xây dựng cầu. Nhưng bên cạnh nội thất thì D8 đã mở rộng dòng sản phẩm của mình cùng lúc vẫn bám sát phong cách riêng làm nên tên tuổi của họ – thanh lịch, hiện đại, công nghiệp và đồng thời có sự phá cách. Từ bàn cờ làm bằng chất liệu gỗ nổi tiếng, hoàn thiện bằng ốc vít kim loại; đến việc làm cẩn thận từng chiếc đèn bằng kim loại đen bóng hoàn toàn thủ công. D8 chứng minh rằng bất kể là sản phẩm gì thì kết quả sau cùng sẽ vẫn là những sản phẩm thiết kế tốt, mang trong mình cái chất tinh tế và rất tuyển chọn của sản phẩm thủ công.

D8 places emphasis on creating well-designed, long-lasting products. This is evident through their strict quality control and material sourcing process. Their mission is to provide their customers an incomparable experience through their designs. Even though their wide range of furniture, games, and lighting fixtures are now available in retailers across the globe, the D8 team continues to draw their inspirations from the ebb-and-flow of daily life in Vietnam. “As designers and makers of things, we always consider our surrounding environment as an unlimited source of inspirations.”

D8 chú trọng vào việc làm ra những sản phẩm tinh sảo và trường tồn. Bằng chứng là D8 có quy trình kiểm tra chất lượng và lấy nguồn nguyên liệu nghiêm ngặt. Sứ mệnh của D8 là mang đến cho khách hàng trải nghiệm không gì sánh được qua những sản phẩm thiết kế của mình. Mặt dù dòng sản phẩm rộng của D8 từ đồ nội thất, bộ trò chơi, thiết bị chiếu sáng đã có mặt ở các nhà bán lẻ trên toàn cầu; đội ngũ của D8 vẫn tiếp tục lấy cảm hứng từ nhịp sống hằng ngày ở Việt Nam, “là nhà thiết kế đồng thời là nhà sản xuất, chúng tôi luôn tâm niệm cuộc sống là nguồn cho sự sáng tạo vô tận.”

Website: districteightdesign.com
Facebook: ~/DistrictEightDesign
Instagram: @districteight

Trang mạng: districteightdesign.com
Facebook: ~/DistrictEightDesign
Instagram: @districteight

Contributor: David Yen

 

Images Courtesy of District Eight Design

Người gửi bài: David Yen

 

Ảnh do District Eight Design cung cấp

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ReUSED

April 7, 2016 2016年4月7日

Located in the Beitou district of Taipei, ReUSED is an independently owned space with many different faces and functions. It was founded by Mike Ho, who is also as multifaceted as this ambitious and experimental project. At ReUSED, Mike plays a number of varied roles, including but not limited to: music producer, visual artist, event organizer, hostel owner, and designer. The space is made up of three floors: the first floor is a narrow hallway that is used only for entry; the second floor is a showroom and mini-studio; while the third floor consists of the hostel quarters, a performance area, as well as Mike’s personal workspace.

ReUSED坐落於台北市北投區，是屬私人所有的多功能場所。其創建者Mike Ho，是這充滿雄心和實驗性項目的最佳主人，也一如項目本身具有多面性。 他有著許多身份，包括但不限於: 音樂製作人、視覺藝術家、活動策劃人、旅館老闆和設計師。 ReUSED上下分為三樓：一樓是僅作入口的狹窄走道，二樓是展示空間和迷你工作室，而三樓則由旅馆住宿区，表演區和Mike的個人工作區組成。

Upon entering, visitors will find themselves walking through a narrow poster-lined hallway, where a set of stairs will lead them up to the second floor. On the second floor is an area that Mike has dubbed the ReUSED Lab.

走進大門，穿过兩側掛滿海報的狹窄走道，訪客便可順著樓梯走到二樓。二樓正是Mike所稱的ReUSED Lab。

ReUSED Lab is first and foremost a clothing store. It boasts a sizable collection of clothes: some are designed and screen printed in-house under the ReUSED brand, while others are artist collaborations. A small table also sells vintage t-shirts and sweatshirts that Mike has collected from his travels. The vinyl shop, which shares the same space with the clothing, sells a tightly curated selection of records: ranging from Western oldies to lesser known Japanese vinyl. The store, however, is only open to the public on Sunday.

ReUSED Lab最初也首先是服裝店，這裏擁有數量可觀的衣物，其中一些是ReUSED品牌內部設計印製的，其它的是藝術家合作產品。在一個小櫃檯還銷售Mike旅途中收集來的複古T恤和衛衣。與服裝店在同一空間的還有黑膠店，這裏銷售著特被甄選的黑膠唱片—— 從西洋老唱片到東洋小眾唱片。然而，商店只在周日才對外開放。

This same floor also houses an open studio that is similar to the shop, in the sense that it merges two different sections together. One area is dedicated to illustration and painting, while the other is a private workspace that has been converted into a traditional turntable station.

在同一層還有個開放式工作室，和商店相似的是，它也將兩個不同部分融為一體。一邊是插圖和油畫區，另一邊是被改造成老式鐵路轉車站的私人工作區。

Another set of stairs will take visitors up to the third floor. On this floor there is a hostel space, a spacious living room area, and Mike’s personal studio. All of these spaces are interconnected, but are not immediately identifiable to have a single obvious function. “In the early stages, I oversaw this space as the creator, and deliberately decided not to define this space to be one or the other,” explains Mike. The living room area is able to transform into a performance space, while the hostel kitchen transforms into a makeshift bar during events, and his music studio doubles as an open library, filled with an extensive collection of Japanese manga and various old publications that aren’t commonly seen.

再上一段樓梯，訪客就來到了三樓，三樓有住宿招待區，寬敞的客廳和Mike的私人工作區。這些區域是相互連通的，無法立刻顯出各自確切而獨立的功能。 “在一開始，我就是一個藝術創作者的角度在觀察這個地方，所以當初進入的時候自己就決定不要刻意的去定義他的屬性。”，Mike解釋說。客廳可以變成表演活動區，而住宿接待區的廚房可以用作臨時吧台。他的音樂工作室同時還是開放式圖書館，廣泛收藏了日本漫畫書和稀有舊書刊。

Travellers that Mike hosts in the hostel are all creative individuals. Those who stay aren’t just people who are trying to find a bed and a roof to put over their heads. The owner’s goal is to facilitate and create a dynamic creative exchange between these transient artists and the local artists. They are all encouraged to contribute to the space in some way. These collaborations have in the past ranged from putting together an art installation on the ceiling, creating a full-sized wall mural, to doing a short live performance of their music.

Mike在三樓接待的住宿客人多為創意人士。在這兒留宿的不僅僅是為了尋得庇身之所的人。房屋主人試圖促進流動藝術家和當地藝術家間的創意交流。他們都被鼓舞著用某種方式為這裡做出貢獻。這些協作包括完成頂棚藝術裝飾，繪製全畫幅壁畫，進行小型現場音樂演出等。

ReUSED has hosted a variety of diverse events in the past – from movie nights, to solo guitar acts, and experimental DJ sets. These community driven events are still regularly organized by Mike on a near weekly basis. Unbound by any restrictions, performers who are invited to the space are encouraged to exercise their creativity fearlessly. Going forward, Mike Ho’s goal is to turn ReUSED into a central hub of creativity for both traveling or local artists of all types.

從電影之夜，吉他獨奏表演，到DJ實驗場表演，ReUSED已經舉辦了大量豐富的活動。 Mike仍在不斷組織這些社團類的活動，幾乎每週一次。受邀的表演者們打破束縛，大膽地發揮創造力。接下來，Mike的目標是將ReUSED打造成一個創意中心樞紐，面向或遊歷台北或居住於台北的各類藝術家。

Address：
156 Wenlin North Road 2F
Beitou District, Taipei
Taiwan

地址：
台灣 台北市北投區
文林北路156號2樓

Facebook: ~/ReUSED.tw
Instagram: @cosimoz0528

臉書: ~/ReUSED.tw
Instagram: @cosimoz0528

Contributor & Photographer: David Yen

供稿人與攝影師: David Yen

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