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Dachang Muslim Cultural Center

October 22, 2016 2016年10月22日

Cultural buildings have always been a specialty of prominent Chinese architect and professor He Jingtang. The Dachang Muslim Cultural Center will no doubt become another one of his masterpieces. Located in Dachang Hui Autonomous County in Hebei province, the project was planned by the local government to be an iconic design, that would embody the unique culture of Dachang and enhance the city’s soft power. 

文化建筑一直以来都是中国建筑师何镜堂院士的“拿手好戏”。大厂民族宫项目无疑是他的又一力作。项目位于河北省廊坊的大厂回族自治县内，当地政府希望通过民族文化宫的建设，打造大厂面向全国的一张特色文化名片，提升城市的软实力。

The Dachang Hui Autonomous County is a Muslim enclave just outside of Beijing. To invigorate the local Islamic culture and improve the quality of cultural life, the local government planned and developed the Dachang Muslim Cultural Center, a modern cultural complex that integrates the functions of a theatre, an exhibition space, convention hall and community center. It serves not only as a recreational center for the city, but it will also be an important cultural site for learning about the local religion and history. In addition to the many functions of the space, this ambitious project undoubtedly has posed many challenges to the design team, because of the area’s special ethnic composition, history, and religious beliefs.

大厂县是邻近北京的一个穆斯林族群聚居地。当地政府为了复兴穆斯林族群的伊斯兰文化，提升文化生活品质，兴建大厂民族宫。它是一个文化综合体，包括剧场、展览、会议、社区中心等功能。民族宫因此被赋予了多重功能，既是城市文娱中心，更是讲述当地宗教、历史的重要文化场所。项目所在地特殊的民族构成、历史文脉、宗教信仰，复杂的功能需求与文化地标的定位，无疑都给设计者带来很多挑战。

In his approach to design, He Jingtang has his own philosophy about architecture and innovation, which is typically based on the “two views”, or the holistic view and the sustainable development view, and the “three characters”, meaning the local character, cultural character and epochal character. Some of his previous award-winning work include the wrestling and badminton sporting venues built for the 2008 Beijing Olympics and the Chinese Pavilion for the Shanghai Expo in 2010, now renamed the China Art Museum. Taking the same considered design approach, the Dachang Muslim Cultural Center is similarly destined to become another classic structure.

在他的设计语言中，何镜堂有他自己的建筑和创新的哲学，基于”两观”，意为整体观和可持续发展观为出发点，还有“三性”，指地域性、文化性、时代性。他之前的获奖作品有2008年北京奥运会的摔跤和羽毛球场馆，2010年上海世博站的中国馆，现在被重名为中国艺术博物馆。运用同样考究的设计方法，大厂民族宫同样注定成为另一个经典的建筑。

Based on the traditional mosque, the design of the building subtly reinterprets the spatial structures of mosques with new kinds of materials and technologies. The supporting outer arches taper into elegant curves from the bottom up, while the cambering petal-shaped arches reflected in the water look even more graceful and enchanting. The top dome is based on visual abstractions of Islamic symbols and is constructed with hundreds of petaloid shells, creatively transforming the interior space into a semi-outdoor garden, gloriously filled with sunshine, fresh air and vegetation. The Dachang Muslim Cultural Center will certainly become a sanctuary of sorts that will show people the brilliance of Islamic culture and provide its local residents with a worthy spiritual home.

建筑以传统的清真寺为原型，通过新的材料和技术，以微妙的方式来演绎清真寺的空间结构：四周环绕的拱券从下到上逐渐收分形成优雅的弧线。当整栋建筑倒影水中，弧形的花瓣形拱券更显清晰灵动，散发出优雅气质。建筑的穹顶不是简单复制伊斯兰的符号，而是一种抽象和转译。我们以一系列花瓣状的壳体构成穹顶，创造性地将内部空间变为半室外的屋顶花园，融合了阳光、空气和绿色。它将伊斯兰炫丽灿烂的文化以及人们期盼美好生活的愿景以一种诗意的方式呈现。这是一个家园般的文化中心，它为社区居民尤其是穆斯林族群提供了一个心灵栖息的场所。

Contributor: Leon Yan
Photographer: Yao Li

供稿人: Leon Yan
摄影师: Yao Li

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Shan Café

September 28, 2016 2016年9月28日

Located in East Beijing, Shan Café was first conceived when its owner wanted to convert the first and second floors of an office building into a café with a large open area, which would encourage customers to stay and communicate freely. Since the client also enjoyed the mountains, the space was specially but subtly designed to hint at mountain landscapes and the great outdoors.

山咖啡位于北京东侧，最初业主想利用办公楼一、二层构建一个空间开阔的咖啡馆，让顾客随意逗留，自由沟通。由于业主喜欢山野的环境，因此希望在空间设计时能够巧妙嵌入山林和户外元素，享受自然的美好。

The budget to design and construct the café was a bit limited, so only commonly attainable materials were used. One anomaly of the space was that its first level was 3.8 meters high, which is too high for one floor, but not really high enough for two. So the design of the space turned out to be full of challenges for the Beijing studio Robot 3, who were tasked with the project of bringing Shan Café to life.

由于咖啡馆的预算和施工经费有限，所以只能用常见的材料进行建构。整个空间有一处有意思的地方，其层高非常特别，有3.8米，做单层太高，两层又比较紧张。对于接手了这个项目的北京Robot 3工作室来说，怎么构思这样的空间使之焕然一新并融入活力，确实充满挑战。

The word shan, meaning mountain in Chinese, reminded the designers at Robot 3 of a poem written by Su Shi: “From the side, a whole range; from the end, a single peak; Far, near, high, low, no two parts alike. Why can’t I tell the true shape of Lu Shan? Because I myself am in the mountain.” The poem would give the designers a crazy idea to dig down one meter at the center of the entire space, and then build a large mezzanine over it.

Shan Café的“Shan”在中文中就是“山”的喻义，这让设计师想到苏轼的一首诗：“横看成岭侧成峰，远近高低各不同。不识庐山真面目，只缘身在此山中。”于是突发奇想地在空间的中央部位向下又挖了一米，然后在上边建立一个夹层。

When customers walked into the lower level through the mezzanine, it would very subtly simulate the experience of “walking into the mountain”. The floor height of the mezzanine is quite low, so once inside it, customers could only sit or lie down, which makes it a good area for chatting amongst a couple of friends. Under the stairs which lead to the second floor, there is a log cabin.

当顾客通过夹层向下步入挖出的“负一层”时，营造出来一个仿若“走进山林”的特别空间体验。另一处夹层空间较矮，顾客进去后只能在里边坐着或躺着，但非常适合三两朋友在此闲逸聊天。在通往二层的楼梯下面做了一个小木屋。

The second floor is divided into several small areas, but instead of building solid partitions, Robot 3 made shelves stacked with rows of green plants. As the plants inevitably would grow, the space would also change with the passage of time. Design features such as this and the choice of construction materials were all carefully considered to maximise the flexibility of the space and to enhance the feeling of comfort for visitors. Here is a space that, despite being in downtown East Beijing, effectively evokes the airiness and openness of the great outdoors.

二层划分了几个小空间，Robot 3没有用实体的隔墙，取而代之的是绿色的植物搁架。随着时间流逝，绿植恣意生长，形态变迁。无论是诸如此类的设计特色还是在建筑的选材方面，都是设计师的精心安排，最大程度发挥空间的灵活性，让来访者如沐春风。尽管此地位于北京东侧的繁华市区，却仍能打造大自然的空间流动之感和开放自由之美。

Website: robot3.com

 

Contributor: Leon Yan
Photographer: Xi-Xun Deng
Photos Courtesy of Robot 3 Studio

网站: robot3.com

 

供稿人: Leon Yan
摄影师: Xi-Xun Deng
图片由Robot 3 Studio提供

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When the Sun Goes Down in the East

September 26, 2016 2016年9月26日

When Dutch photographer and filmmaker Marc Ressang first arrived in Shanghai five years ago, he was fresh out of university and nearly broke all of the time. To make ends meet during those first few years in Shanghai, he did a lot of nightlife photography. Ressang originally came to Shanghai from the Netherlands for an internship in marketing, but later decided to turn his hobby into a full-time gig.

五年前，荷兰摄影师兼电影人Marc Ressang初到上海，那时的他刚刚走出校园，经济拮据。为了生计，在上海的最初几年里，他接了很多拍摄夜生活的摄影工作。最初从荷兰来到上海的时候，Ressang的身份还是市场营销实习生，但之后，他决定将自己的爱好转变成正职。

“In Shanghai, I still like shooting late at night,” he says, “There is always something unexpected. I bring a small camera with me every time I step out of the house, just in case I run into something weird.” There is always “plenty of weird stuff going on late at night”, according to Marc, especially in a city like Shanghai. One of the most extravagant things he ever witnessed while he was out shooting was “when one of China’s richest men walked into a nightclub, ordered 140 bottles of Dom Perignon, sprayed 10 of them, had a few sips and then walked out again.”

“现在在上海，我仍然是喜欢深夜出去拍照，”他说，“这里总有意想不到的事发生。每次出门，我都会随身带个小相机，有备无患。”据Marc表示，“深夜里总会发生大把奇怪的事”，尤其是在上海这样的城市。外拍时，他目睹过最奢靡的一个场景就是：一个中国顶级富豪走进一家夜店，点了140瓶名贵香槟Dom Perignon，打开，喷洒了其中10瓶，嘬了几口，随后就走了。”

“Fast forward three years, and I just couldn’t keep up physically with going out five nights a week until the early morning,” Marc admits. Needless to say, staying up every night also prevented him from being productive and having a life during the day. “Having so many interesting nightlife shots that never got published – the promoters usually weren’t very interested in photos of their patrons making fools out of themselves,” he explains, “I decided to put together a one-night-only photo exhibition at Basement 6 to show the 100+ pics that never made the cut.” And so, his photo series When the Sun Goes Down in the East was born.

Marc承认: “三年之后，一周通宵达旦个五次，我的身体就实在吃不消了。”自不必说，这样的方式让他在日间无法拥有好的工作效率和正常的生活。“我有太多有意思的夜生活摄影作品没有发布出来——推广人员通常都不愿意在照片里看到他们顾客出丑的样子。”他解释道，“我决定把这些照片放到Basement 6，做一个只展一个晚上的图片展览，展出上百张没有被采用的摄影作品。”于是，他的《When the Sun Goes Down in the East》图片系列就此诞生。

Ressang describes his photographic style as being “observational, real, and (even) cynical at times”. He tries not to fall into clichés or repeat himself, admitting that he can get bored pretty quickly. Regardless, he always tries to have a camera on hand when he is out and about. His main goal is to document culture in its every form, which could be anything from quirky dog outfits that he sees on the streets of China, to ancient religious rituals on a tropical island in Southeast Asia. He makes an effort not to romanticize other cultures, and tries to show that a lot of elements are actually universal or similar to our own culture.

Ressang是这样定位自己的摄影风格：“观察而来，真实可感，时不时（还）带点讽刺”。虽说他容易陷入倦怠情绪，但他尽量不让作品落入俗套或者或重复自己。而无论何时出门在外，他一定会随身携带一个相机，从各个层面记录文化，可以是中国大街上狗狗们的奇装异服，也可以是东南亚热带岛屿上古老的宗教仪式。他力图不去粉饰其他文化，同时也希望展示出有普世价值的文化元素，或者是那些与自身熟悉的文化相似的影子。

As a filmmaker, Marc Ressang has also adopted a more documentary approach with his subjects. His sense of composition and timing from his photographic work has had a huge influence on his approach to filmmaking. As a result, he says that he tends to work quite fast and doesn’t usually worry about details, for better or for worse.

作为一个制片人，Ressang还采用了更多偏纪实记录的方式表现其主题。而他摄影作品的空间感和时间感对他影视制作过程中也产生了很大的影响。因此，他更喜欢快速的工作节奏，不会太在乎细节，不管那是点睛之笔或者毁堤蚁穴。

For Marc, filmmaking is now his main bread and butter – but he enjoys taking photos more than anything. As a result, he has decided to keep photography as his passion project instead of forcing himself to make a living out of it. Currently Marc is trying to get a foothold in documentary projects for both photo and video. At the moment, he is chasing a number of cultural stories in the far corners of China and around Southeast Asia, but they are all self-funded and unsponsored trips.

Marc现在主要收入来自于他的制片人身份——但他最爱的还是摄影。他决定依旧保持这样的状态，把摄影作为自己的爱好项目，而非维持生计的工作。现阶段的Marc正立志在纪录片领域的摄影和视频制作上树立风格，找到自己的位置。目前，他正在挖掘中国边缘之地以及东南亚各区的文化故事，这个项目的旅程没有赞助，全部依靠自筹资金。

Websites:
marcressang.com
highhorsestudios.com

Instagram: @unioz

 

Contributor: Leon Yan

网站:
marcressang.com
highhorsestudios.com

Instagram: @unioz

 

供稿人: Leon Yan

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The Vann Molyvann Project

September 2, 2016 2016年9月2日

Born in Kampot, Cambodia, Vann Molyvann is undoubtedly the most prolific and famous architect of the New Khmer Architecture movement. After studying fine arts and architecture at the École Nationale Supérieure des Beaux-Arts in Paris, he would later return to a newly independent and socialist Cambodia in 1956. At the time, he was one of few architects in Cambodia who had any formal training, and soon after he was appointed a chief state architect. Vann Molyvann would go on to design many of the country’s most ambitious public projects, including Phnom Penh’s grand Olympic Sports Complex.

ដោយមានស្រុកកំណើតនៅខេត្តកំពត ប្រទេសកម្ពុជា លោក វណ្ណ ម៉ូលីវណ្ណ ប្រាកដណាស់ គឺជាស្ថាបត្យករដែលមានផលិតភាព និងមានភាពល្បីល្បាញជាទីបំផុតនៃចលនាស្ថាបត្យកម្មខ្មែរសម័យថ្មី។ បន្ទាប់ពីបានសិក្សាផ្នែកវិចិត្រសិល្បៈ និងស្ថាបត្យកម្មនៅសាលាវិចិត្រសិល្បៈជាតិជាន់ខ្ពស់(École Nationale Supérieure des Beaux-Arts)នៃទីក្រុងប៉ារីស គាត់បានវិលត្រឡប់មកកាន់ប្រទេសកម្ពុជាដែលទើបតែទទួលបានឯករាជ្យថ្មីៗ និងស្ថិតនៅក្នុងសម័យសង្គមនិយ័មវិញនៅក្នុងឆ្នាំ1956។ នៅពេលនោះ គាត់គឺជាស្ថាបត្យករមួយរូបនៅក្នុងចំណោមស្ថាបត្យករមួយចំនួនតូចនៅក្នុងប្រទេសកម្ពុជាដែលទទួលបានការបណ្តុះបណ្តាលជាផ្លូវការ ហើយបន្តិចក្រោយមក បន្ទាប់ពីគាត់ទទួលបានការតែងតាំងជាប្រធានស្ថាបត្យកម្មរដ្ឋ លោក វណ្ណ ម៉ូលីវណ្ណ បានបន្តធ្វើការរចនាគម្រោងសាធារណៈដ៏គួរឲ្យស្ងប់ស្ងែងជាទីបំផុតជាច្រើនកន្លែងនៅក្នុងប្រទេស ដែលរួមបញ្ចូលទាំងអគារពហុកីឡាដ្ឋានអូឡាំពិកដ៏ធំនៅទីក្រុងភ្នំពេញផងដែរ។

A sprawling and impressive structure that boasts a hydraulics system that was inspired by the moats and channels of Angkor Wat, the Olympic Stadium and its design signaled the start of a period of creativity and modernity in New Khmer architecture. During this time, Vann Molyvann would go on to design dozens of well-known public buildings and private homes in Phnom Penh, and elsewhere in Cambodia. Over the course of the next decade, as an architect and urban planner, he would redefine the way his country looked, while leaving his iconic imprint on the country’s capital.

រចនាសម្ព័ន្ធដែលលាតសន្ធឹង និងគួរឲ្យស្ងប់ស្ងែងមួយ ដែលកាន់កាប់ប្រព័ន្ធកម្លាំងទឹកមួយដែលត្រូវបានបំផុសគំនិតដោយគូទឹក និងបណ្តាញនានានៃប្រាសាទអង្គរវត្ត ពហុកីឡាដ្ឋានជាតិអូឡាពិក និងការរចនារបស់វាបានបង្ហាញអំពីចំណុចចាប់ផ្តើមនៃពេលវេលាមួយនៃគំនិតច្នៃប្រឌិត និងភាពទំនើបនៅក្នុងស្ថាបត្យកម្មខ្មែរជំនាន់ថ្មី។ ក្នុងអំឡុងពេលនេះ លោក វណ្ណ ម៉ូលីវណ្ណ នឹងបន្តធ្វើការរចនាអគារសាធារណៈ និងលំនៅដ្ឋានឯកជនដែលមានកេរ្តិ៍ឈ្មោះល្បីល្បាញរាប់សិបនៅភ្នំពេញ និងនៅកន្លែងផ្សេងៗទៀតនៅក្នុងប្រទេសកម្ពុជា។ ក្នុងរយៈពេលជាងមួយទសវត្សរ៍បន្ទាប់មកទៀត ក្នុងនាមជាស្ថាបត្យករ និងនគរូបនីយករ គាត់នឹងកំណត់ឡើងវិញនូវរូបរាងរបស់ប្រទេសរបស់គាត់ ខណៈពេលជាមួយគ្នានោះ គាត់បានបន្សល់ទុកស្នាដៃពិសេសៗរបស់គាត់នៅក្នុងរាជធានីនៃប្រទេសនេះ។

But following the military coup of 1970 in Cambodia, Vann Molyvann left his homeland and moved to Switzerland, eventually returning some two decades later in 1991. Today, although considered by many to be an integral part of the country’s modern architectural heritage, his extraordinary buildings are now increasingly being threatened by decay and recent chaotic urban planning. In 2008, for example, two of the architect’s greatest achievements, the National Theatre Preah Suramarit and the Council of Ministers, were unceremoniously demolished by developers.

ក្រោយរដ្ឋប្រហារយោធាឆ្នាំ1970 នៅក្នុងប្រទេសកម្ពុជា លោក វណ្ណ ម៉ូលីវណ្ណ បានចាកចេញពីស្រុកកំណើតរបស់គាត់ និងផ្លាស់ទៅរស់នៅប្រទេសស្វីស ហើយជាចុងក្រោយ គាត់បានត្រឡប់មកវិញក្នុងរយៈពេលជាងពីរទសវត្សរ៍ក្រោយមក គឺនៅក្នុងឆ្នាំ1991។ ទោះបីជាមនុស្សជាច្រើនបានចាត់ទុកគាត់ថាជាផ្នែកដ៏សំខាន់មួយនៃកេរ្តិ៍តំណែលផ្នែកស្ថាបត្យកម្មសម័យទំនើបរបស់ប្រទេសក៏ដោយ ក៏អគារវិសាមញ្ញរបស់គាត់កំពុងតែទទួលការគម្រាមកំហែងកាន់តែខ្លាំងឡើងដោយសារភាពពុកផុយ និងនគរូបនីយកម្មប្រកបដោយភាពច្របូលច្របល់នាពេលថ្មីៗនេះ។ ឧទាហរណ៍ នៅក្នុងឆ្នាំ2008 ស្នាដៃដ៏អស្ចារ្យបំផុតរបស់ស្ថាបត្យកររូបនេះ ចំនួនពីរ គឺសាលមហោស្រពជាតិព្រះសុរាម្រិតនិងទីស្តីការគណៈរដ្ឋមន្រ្តី ត្រូវបានបំផ្លាញចោលក្នុងពេលមួយប៉ព្រិចភ្នែកដោយអ្នកអភិវឌ្ឍ។

The Vann Molyvann Project was established by an international team of architects, architectural students, and researchers with the mission to document and preserve the works of Vann Molyvann, which include the Olympic National Sports Complex, the Chaktomuk Conference Hall, the former State Palace (now the Senate), the 100 Houses (an urban housing project for workers), the Institute of Foreign Languages, and many others. The group hopes to achieve this by raising awareness of Vann Molyvann’s work through exhibitions and publications, creating historical surveys of existing structures, and documenting his work for longevity.

គម្រោង វណ្ណ ម៉ូលីវណ្ណ ត្រូវបានបង្កើតឡើងដោយក្រុមស្ថាបត្យករអន្តរជាតិ និស្សិតផ្នែកស្ថាបត្យកម្ម និងអ្នកស្រាវជ្រាវទាំងឡាយ ដោយមានបេសកកម្មក្នុងការរៀបចំជាឯកសារ និងធ្វើការអភិរក្សស្នាដៃទាំងឡាយរបស់លោក វណ្ណ ម៉ូលីវណ្ណ ដែលរួមមាន អគារពហុកីឡាដ្ឋានជាតិអូឡាំពិក សាលសន្និសិទចតុមុខ អតីតព្រះបរមរាជវាំងរបស់រដ្ឋ (បច្ចុប្បន្ន គឺជាព្រឹទ្ធសភា) បុរី 100 ខ្នង (គម្រោងលំនៅដ្ឋាននៅទីប្រជុំជនសម្រាប់កម្មករ) វិទ្យាស្ថានភាសាបរទេស និងស្នាដៃផ្សេងៗជាច្រើនទៀត។ ក្រុមនេះសង្ឃឹមថានឹងសម្រេចការងារនេះបានតាមរយៈការពង្រឹងការយល់ដឹងអំពីស្នាដៃរបស់លោក វណ្ណ ម៉ូលីវណ្ណ តាមរយៈការតាំងពិព័ណ៌ និងការចុះផ្សាយនានា ការបង្កើតការស្ទង់មតិជាលក្ខណៈប្រវត្តិសាស្រ្តអំពីរចនាសម្ព័ន្ធដែលមានអត្ថិភាព និងចងក្រងស្នាដៃរបស់គាត់ជាឯកសារដើម្បីភាពស្ថិតស្ថេរជាយូរអង្វែង។

A few of his buildings continue to be used today, like the Institute of Foreign Languages (IFL) in Phnom Penh. The brilliant design of the college references some features of the hydraulic city of Angkor Wat, including its long elevated causeway and small reservoirs, while the lecture rooms and corridors were built using techniques to enhance the space’s cross-ventilation and natural lighting. Functional design considerations like these are highly representative of Vann Molyvann’s style, which can be described as combining Le Corbusier’s austere modernism with traditional Khmer design ideas.

អគារមួយចំនួនតូចរបស់គាត់ត្រូវបានគេបន្តប្រើប្រាស់នាពេលបច្ចុប្បន្ន ដូចជាវិទ្យាស្ថានភាសាបរទេស (IFL) នៅទីក្រុងភ្នំពេញ។ ការរចនាដ៏អស្ចារ្យនៃមហាវិទ្យាល័យដែលបញ្ជាក់អំពីលក្ខណៈពិសេសមួយចំនួននៃទីក្រុងប្រកបដោយកម្លាំងទឹក គឺអង្គរវត្ត ដែលរួមបញ្ចូលទាំងផ្លូវដើរដ៏វែង និងអាងស្តុកទឹកតូចៗដែលត្រូវបានស្ថាបនាឡើង ខណៈពេលដែលបន្ទប់បង្រៀន និងច្រករបៀងត្រូវបានសាងសង់ឡើងដោយប្រើប្រាស់បច្ចេកទេសដែលពង្រឹងការឆ្លងកាត់ចេញចូលនៃខ្យល់ និងពន្លឺធម្មជាតិទៅក្នុងទីធ្លា។ ការពិចារណាលើការរចនាដែលមានមុខងារជាច្រើនបែបនេះ គឺជាការតំណាងដ៏ខ្ពង់ខ្ពង់ដល់រចនាបថនានារបស់លោក វណ្ណ ម៉ូលីវណ្ណ ដែលអាចត្រូវបានពិពណ៌នាថាជាការរួមបញ្ចូលគ្នារវាងភាពទំនើបនិយមដ៏សាមញ្ញរបស់លោក លើ គ័កប៊ីហ្ស៊ើ( Le Corbusier) រួមជាមួយគំនិតរចនាបែបប្រពៃណីខ្មែរ។

In the golden era of New Khmer architecture between the years 1957 and 1970, Vann Molyvann designed, or had a role in planning, nearly 100 projects. For many foreign architects who hadn’t previously been aware of contemporary indigenous architecture in Cambodia, they are often stunned by how innovative, avant-garde, and environmentally conscious his designs are. And yet despite enjoying a status as one of the finest modern architects to have emerged from Southeast Asia, Vann Molyvann’s buildings are now increasingly facing neglect and the very real threat of demolition by property developers and city planners. To learn more about The Vann Molyvann Project, be sure to visit their website; tours to view some of Vann Molyvann’s work in person in Phnom Penh can also be arranged with Khmer Architecture Tours.

នៅក្នុងយុគមាសនៃស្ថាបត្យកម្មខ្មែរសម័យថ្មី នៅចន្លោះឆ្នាំ 1957 និងឆ្នាំ 1970 លោក វណ្ណ ម៉ូលីវណ្ណ បានធ្វើការរចនា ឬមានតួនាទីមួយនៅក្នុងរៀបចំផែនការ ជិត 100 គម្រោង។ សម្រាប់ស្ថាបត្យករបរទេសជាច្រើនដែលមិនធ្លាប់ស្គាល់អំពីស្ថាបត្យកម្មក្នុងស្រុកបែបសហសម័យនៅក្នុងប្រទេសកម្ពុជាកាលពីមុន ពួកគេតែងតែមានការភ្ញាក់ផ្អើលចំពោះការរចនាដែលប្រកបដោយនវានុវត្តន៍ គំនិតថ្មីៗ និងមានភាពភ្ញាក់រឮកចំពោះបរិស្ថានដ៏ខ្លាំងក្លារបស់គាត់។ ថ្វីបើគាត់ទទួលបានឋានៈជាស្ថាបត្យករសម័យទំនើបដែលមានស្នាដៃល្អឥតខ្ចោះម្នាក់នៅក្នុងចំណោមស្ថាបត្យករដែលមានស្នាដៃល្អឥតខ្ចោះជាច្រើននាក់ដែលមានដើមកំណើតចេញពីទ្វីបអាស៊ីអាគ្នេយ៍ក៏ដោយ ក៏បច្ចុប្បន្ន អគាររបស់លោក វណ្ណ ម៉ូលីវណ្ណ កំពុងប្រឈមនឹងការមិនអើពើកាន់តែខ្លាំងឡើង និងការគម្រាមកំហែងដ៏ជាក់ស្តែងនៃការបំផ្លាញចោលដោយអ្នកអភិវឌ្ឍផ្នែកអចលនទ្រព្យ និងអ្នកធ្វើនគរូបនីយករ។ ដើម្បីសិក្សាបន្ថែមអំពីគម្រោង វណ្ណ ម៉ូលីវណ្ណ សូមប្រាកដថាលោកអ្នកបានចូលទៅកាន់គេហទំព័ររបស់ពួកគេ ការធ្វើដំណើរកម្សាន្តដើម្បីទស្សនាស្នាដៃមួយចំនួនរបស់លោក វណ្ណ ម៉ូលីវណ្ណ នៅក្នុងទីក្រុងភ្នំពេញដោយផ្ទាល់ អាចត្រូវបានរៀបចំឡើងជាមួយការធ្វើដំណើរកម្សាន្តរបស់ស្ថាបត្យករខ្មែរនានា។

Website: vannmolyvannproject.org

 

Contributor & Photographer: Leon Yan

Website: vannmolyvannproject.org

 

អ្នករួមចំណែក និងអ្នកថតរូប៖: Leon Yan

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August 30, 2016 2016年8月30日

Ex-member of the Providence noise rock bands Lightning Bolt and Black Dice, Hisham Akira Bharoocha is also known as a multi-disciplinary visual artist. Half Japanese and half Burmese, Hisham moved around often in Canada, the U.S., and Japan with his family as a kid; his parents had the “American Dream” to make it out West, he says. Some of his artistic output includes some spectacular collages that he started to produce after he graduated from the Rhode Island School of Design (RISD) in Providence, Rhode Island. Neocha recently got to chat to Hisham about what inspires his stunning collage work in an exclusive interview below.

プロビデンス出身のノイズロック・バンド、ライトニング・ボルトとブラック・ダイスの元メンバーであるHisham Akira Bharoochaは、学際的なビジュアルアーチストとしても知られています。日本人とビルマ人との両親の間に生まれたヒシャムは、家族と共にカナダ、アメリカ、日本を転々とする幼少期を過ごしました。両親は、西洋で一旗揚げるという、いわゆるアメリカンドリームを抱いていたと彼は言います。彼のアート作品の中には、ロードアイランド州プロビデンス市のロードアイランド・スクール・オブ・デザイン（RISD）卒業後に制作を始めた見事なコラージュが見られます。今回のNeochaの独占インタビューでは、目を見張るようなヒシャムのコラージュ作品にインスピレーションを与えるものが何なのかを語っていただきました。

Neocha: When did you start doing collages?

Hisham: I started making collage-style notebooks when I was at art school. They were scrap books filled with photos and other things from my day to day life. I was influenced by Shinro Ohtake, Yamataka Eye, and Peter Beard, who all also made collage scrap books. After graduating from RISD, I found myself with not enough money to buy film, process the film, make prints, etc., so I started making collage as artwork as it was much cheaper to make. The reality of my situation drove me to make this kind of found image collage work. 

Neocha: コラージュを始めたのはいつ頃ですか？

Hisham: アートスクール在学中にコラージュスタイルのノートを作り始めました。これは、日常生活の写真を始め、様々な出来事が詰まったスクラップブックでした。私と同じようにコラージュのスクラップブックを作った大竹伸朗、山塚アイ、そしてピーター・バードに影響されたのです。RISDの卒業後はフィルムを買ったり、現像したり、印刷する資金がなかったので、はるかに安上がりなコラージュ作品を作り始めたのです。当時の生活が、このような既存の画像を集めたコラージュ作品を作るきっかけとなったのです。

Neocha: What is the concept behind some of your collages? Are they done in a series or sporadically?

Hisham: The concept comes from my fascination with how human minds are all wired differently and my collages are a visualization of how surreal the mind can be. Our viewpoints on what we experience through our senses is skewed are all based on our cultural background, life history, and mental affiliations to objects based on our upbringing. One’s mental architecture can be vastly different from another person’s. My collage work references dreams, daydreams, and meditation as well. 

Sometimes they are created as a series, mostly because a group of them were made at a certain time in my life where a few topics were at the forefront of what I was thinking about. But they are sometimes created sporadically, since I may be working more on mural paintings or drawings. I work on all mediums at the same time usually. 

Neocha: ヒシャムさんのコラージュにはどのようなコンセプトがありますか？シリーズ、それとも単発的に制作しているのでしょうか？

Hisham: コンセプトは、人間の心がそれぞれどのような異なる形で繋がっているのかという点への強い関心から生まれ、コラージュ作品には、心がいかに超現実的なものかがビジュアライズされています。私達が感覚を通じて得られる視点はぼやけていて、これは育ち方に基づく文化的背景、生活史、そしてオブジェクトとの精神的な結び付きによって異なります。人間は、一人ひとりの精神構造が大きく異なります。作品の中には、夢や白昼夢、そして瞑想をテーマにしたものもあります。

時には、人生のとある時期に考えていたことが真っ先に浮かんだものをいくつかのトピックとし、シリーズ化した作品もあります。ただ、壁画や線画の制作に徹していたため、単発的な作品もあります。と同時に、普段は考えを伝えるための手段として作品を手がけています。

Neocha: What materials do you use? Anything special or notable about your creative process?

Hisham: Until very recently I was using only found imagery for my collage work. That grew out of my photographic background, being interested in documenting moments that happen in the world that I am not imagining but just come upon – found moments. In my own collage-making process, I am constantly amazed and inspired by strange images I come upon which I cut from old books I find at the thrift stores. When I photograph, I am amazed to happen upon a situation that I could not have imagined myself, which leads me to want to make an image using a camera. In this way, I feel collage making is an extension of my fascination of the strange world we live in.

I have recently started using my own photographs in collages, and it has definitely changed the way the finished collages feel to me, since there is a reference to my own experiences and impressions I carry home in the photographs. I like that they reference a personal experience but they are very different from my earlier collage works. I still use found images in my collages, but at this point I haven’t really been mixing found imagery with my own photographs. 

Neocha: どのような素材を使っていますか？ヒシャムさんの制作プロセスで特筆または注目すべき点はありますか？

Hisham: つい最近まで、既存の画像のみをコラージュ作品に取り入れていました。これは、私の想像によるものではなく、この世で起きた瞬間的な出来事を記録に残すことに関心がある、写真家としての歴史から生まれたものです。浮かび上がったその瞬間を残すのです。コラージュ制作のプロセスでは、古本屋で見つけた本から切り抜いた奇妙なイメージに驚かされ、インスパイアされることがあります。写真を撮る時は、想像もしなかった状況との偶然の出会いに驚き、そこからカメラを使ってイメージを作るという思いに駆られます。これによりコラージュ制作は、私達が住む一風変わった世界への魅力を伸ばすものだと感じています。

最近は、撮影した写真をコラージュに取り入れることで私自身の体験や印象の片鱗が見せられるため、コラージュへの仕上げに対する思いが大きく変わりました。個人的な体験が元になっていたとしても、初期のコラージュ作品とは大きく違う点が気に入っています。今でも既存の画像をコラージュに使うことはありますが、既存の画像と私の写真を合わせて使うことはほとんどありません。

Neocha: Who are some of your creative influences? What inspires your collages?

Hisham: I mentioned some names earlier, but I remember being so in love with Russian propaganda poster art from the communist era, as well as some artists like Tadanori Yokoo, Dieter Roth, Man Ray, Maholy-Nagy, Henry Darger, Adolf Wolfi, Gabriel Orozco, Rosemary Trockel, Lothar Tempel, Tony Oursler, Sol Lewitt, Robert Irwin, Richard Tuttle, John McCracken, Frank Stella, James Turrell, Blinky Palermo, and Ann Truitt – to name a few off the top of my head. As a teenager, I was super into skateboard graphics from the 80’s and 90’s especially Jim Phillip’s graphics. These artists inspire me not only for my collage work, but for all the other types of work I do, which include mural paintings, performance, sculpture, and so on. 

I’m also very much inspired and influenced by my friends that I went to art school with, like Ara Peterson, Brian Chippendale, Bjorn Copeland, Whitney Bedford, Jim Drain, Dan Colen, and Joe Bradley – to name a few. I am still very inspired by my friends in New York. Going to studio visits is very inspiring. I feel lucky to get to go to galleries and museums regularly here. 

Neocha: ヒシャムさんの創造力に影響を与えた人物は誰ですか？コラージュにインスピレーションを与えるものは何でしょうか？

Hisham: 先ほど何人かの名前を挙げましたが、旧ソ連・共産主義時代のプロパガンダポスターアートであったり、横尾忠則、ディーター・ロス、マン・レイ、モホリ＝ナジ・ラースロー、ヘンリー・ダーガー、アドルフ・ウォルフィ、ガブリエル・オロスコ、ローズマリー・トロッケル、ローター・テンペル、トニー・アウスラー、ソル・ルウィット、ロバート・アーウィン、リチャード・タトル、ジョン・マクラッケン、フランク・ステラ、ジェームズ・タレル、ブリンキー・パレルモ、そしてアン・トゥルイットといったアーチストにハマっていたことが頭に浮かびます。十代の頃は、80年代から90年代にかけてスケートボードのグラフィックス、特にジム・フィリップスのグラフィック作品にハマりました。これらのアーチストは、コラージュ作品だけでなく壁画、パフォーマンス、彫刻など、私が手掛けたあらゆる種類の作品に影響しています。

また、アラ・ピーターソン、ブライアン・チッペンデール、ビョルン・コープランド、ホイットニー・ベッドフォード、ジム・ドレイン、ダン・コーレン、ジョー・ブラッドリーなど、アートスクール時代の仲間達にも大いに触発され、影響を受けています。ニューヨークの友人達からは今でも大いにインスパイアされています。スタジオに足を運ぶ際はとても良い刺激になります。ここでは定期的にギャラリーや美術館を訪れることができ、とても幸運だと思っています。

Neocha: As you are also a musician, what role does music play in your visual artwork? Any relation?

Hisham: The creative process is very similar. It can start with a gesture, one mark with a brush, one cut-out shape in blank space. One mark leads to another. One drum hit or note on a guitar will lead to the next and very quickly you will have a beat or a melodic line. It may start with a gesture but usually a concept can be discovered during the process of creation.  

Most of my visual work feels rhythmic. I try to create compositions that keep your eye moving across a surface, so the viewer has the experience of movement when looking at an image. I like cyclical rhythms in my music and I try to create visual work that expresses that kind of feeling, like a rhythm where you can’t tell where it starts and ends. I want my visual work to feel like a non-religious mantra, not so much like a sentence with a start and ending. 

Neocha: ヒシャムさんはミュージシャンでもありますが、ビジュアルアートでは音楽がどのような役割を果たしていますか？繋がりはありますか？

Hisham: 制作プロセスがとてもよく似ています。身ぶりであったり、絵筆による印付けであったり、余白から形を切り抜くことから始める時もあります。そして、一つの印から次の印が生まれます。ドラムの一打やギターの音符から次の音色が生まれ、次の瞬間にはビートやメロディーラインが作られます。たとえ身ぶりから始まったとしても、通常、コンセプトが制作プロセスの中で見つかります。

私の大半のビジュアル作品にはリズムが感じられます。作品を見る人がイメージを見た際には動きを感じ、表面全体を見渡すような構成を心がけています。私は自分の音楽の周期的なリズムが好きで、どこから始まりどこで終わるのかも分からない、リズムのような感覚をビジュアル作品で作るように心がけています。始めと終わりがある文章ではなく、宗教性を帯びないマントラをビジュアル作品で表現したいと思っています。

Neocha: Have you come across anything interesting and new happening in the Asia region that has inspired you?

Hisham: I have always been interested in artists from Asia since I grew up in Japan. I like technology-meets-sound artists, such as Ryoji Ikeda – but of course I am also inspired by work by legends such as Lee Ufan, Ai Weiwei, and Park Seo-Bo. I hope that Asian artists can support each other knowing that there are cultural tensions based on what our governments have done to each other during wars and what not, but art should be a place where we can all connect and come together, talk about issues and support each others’ viewpoints. 

Neocha: アジア地域で、インスピレーションの源となるような興味をそそる新しい出来事には遭遇しましたか？

Hisham: 日本で育ったため、アジアのアーチストにはずっと興味がありました。池田亮司のようにテクノロジーとサウンドを融合させるアーチストが好きですが、もちろん、リー・ウーファン、アイ・ウェイウェイ、パク・ソボといった巨匠達の作品にも刺激を受けています。戦争中の政府による行為が原因で文化的な敵対意識があるとはいえ、アートとはお互いを理解し合い、協力し合い、問題について語り合い、意見を認め合うことができ、アジア人同士のアーチストがお互いを支え合う手段になることを願っています。

Website: ~/hisham-akira-bharoocha
Instagram: @softcircle
Soundcloud: ~/soft-circle
Twitter: ~/HishamBharoocha

 

Contributor: Leon Yan

ウェブサイト: ~/hisham-akira-bharoocha
Instagram: @softcircle
Soundcloud: ~/soft-circle
Twitter: ~/HishamBharoocha

 

寄稿者: Leon Yan

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Duck Fight Goose

August 26, 2016 2016年8月26日

 

无法观看？前往优酷

The Shanghai-based experimental electronic music group Duck Fight Goose was formed in 2009 initially as a rock band, when Han Han approached 33 and Panda about starting a new band. At that time, their early music was influenced by neo-psychedelic rock, experimental music, and math rock. In 2013, a new drummer Jean Baptiste joined the group, replacing the original drummer Damen, who had moved to Austin, Texas. Soon after that, the band also started experimenting with synths, DAW software, and different ways of producing electronic music.

成立于2009年的鸭打鹅，是一支上海的实验电子音乐组合，始于韩涵找33与熊猫组建一支摇滚乐队。他们早期的风格深受新迷幻摇滚、实验音乐，以及电子摇滚的影响。2013，新鼓手Jean Baptiste加入乐队，以替代移居美国德州奥斯丁的原鼓手大门。随后不久，乐队也开始尝试合成器、DAW软件，以及不同的电子乐制作方式。

Take a listen below to a few new select tracks from Duck Fight Goose:

Duck Fight Goose – Indifferent

Duck Fight Goose – A Nation of Disillusion

Duck Fight Goose – Lucky Star

请试听以下来自鸭打鹅的精选曲目:

鸭打鹅 – 无差别

鸭打鹅 – 幻灭国度

鸭打鹅 – 幸运星

Seven years after forming, the group has just released their second full length album, named CLVB ZVKVNFT. The title comes from an actual nightclub in Zurich, Switzerland named Club Zukunft, that the group visited when they were on tour in Europe in 2014. Translated it means “club of the future” but inside the club, the décor is actually very 80s. Han Han explains, “The 80s were when contemporary electronic music, as we now know it, was born – but this decade for us still felt especially human and analog.” So for the group, the name was a good fit for the new record, in that it encapsulated the thinking behind their sound perfectly.

乐队成立七年之后，他们发行了第二张全长专辑《未来俱乐部》，又名《CLVB ZVKVNFT》。专辑名字来源于乐队2014年欧洲巡演时演出过的一间酒吧，这间酒吧位于瑞士苏黎世，叫做“Club Zukunft”，翻译过来的意思就是“未来俱乐部”。尽管有着一个这样的名字，但事实上，这个地方的内部装潢极具上世纪80年代的风格。韩涵解释道：“那80年代的时候呢，实际上是当代的电子乐的一个开端。但是呢，这个年代可能就是特别人性的一个年代。”所以，对于乐队来说，这个名字再适合这张新专辑不过，同时也高度概括了他们在音乐背后的思考。

Over the years, the group’s sound has evolved very dramatically to incorporate more experimental electronic sounds and textures. Drummer JB says, “it is very difficult to give a predefined style to our music. There is a lot of mixing of things that we are doing, and we have a lot of influences – so there isn’t a clear style.” Han Han tells us that overall they have two main influences: one is progressive electronic music (along the lines of Aphex Twin, Clark, or Venetian Snares), and the other is the type of rock music that the band has always played. For Panda, despite their many evolutions in style, there is still a kind of continuity in their discography, as they have always set out to be an experimental band from the very beginning.

多年以来，乐队不断融合新的实验电子音质和风格，曲风变化奇大。鼓手JB表示：“很难用一种既定的风格来描述我们的音乐。我们混合了太多我们正在探索的东西，而且我们也深受各方面影响，所以并没有一种明确的风格。”韩涵对我们说，总体上看，作用于乐队的有两大影响: 一个是现代电子乐 (这一派的代表人物有Aphex Twin、Clark，和 Venetian Snares)，另一个就是乐队经常表演的那种摇滚乐。对于熊猫来说，虽说他们的曲风多经演变，但始终有一种连续性贯彻于他们的音乐专辑中，因为从乐队成立之初，他们就旨在打造一个实验型的乐队。

They like to describe the band’s style as trying to merge the human and analog, with a sound that was produced electronically with machines. The group doesn’t believe in producing music solely from computers or software, as it can easily end up sounding too precise and simple. Han Han says that the group hopes to merge the two styles, and in the process still “try to keep all the interesting and groovy elements”. As for future developments for DFG, the band would really like to see themselves evolve into more of a performance group with more experiential and visual elements incorporated into their live performances – and function less like a conventional band. For 33, it is always uncertain what the future may hold, but she feels that the current direction the band is embarking on is an exciting and interesting one. Duck Fight Goose’s new album CLVB ZVKVNFT is out now and available for download on iTunes.

他们喜欢把自己的乐队风格描述为，通过用机器经由电子化手法制作出来的乐声，进而尝试将人性的音乐和机器的音乐进行的一种结合。在制作音乐上，这个乐队并不信奉对电脑或者软件的单一使用，因为这种方法下产生的音乐易显得过于精准和单调。韩涵表示他们的乐队希望融合那两种风格，在过程中仍然“尽量去保留所有有趣的和groovy的元素”。至于未来发展，相对于传统乐队，鸭打鹅希望，在将来他们可以发展成为在现场演出中结合更多的试验性和视觉性元素的一支表演团体。对于33来说，乐队未来走向如何不得而知，但是她认为目前的发展方向是非常有趣和振奋人心的。目前，鸭打鹅的新专辑《未来俱乐部》已发布，可前往iTunes下载。

iTunes: CLVB ZVKVNFT
Douban: ~duckfightgoose
Facebook: ~duckfightgoose
Bandcamp: ~duckfightgoose

 

Contributor & Videographer: Leon Yan
Photographer: Banny Wang

iTunes: 《未来俱乐部》
豆瓣: ~duckfightgoose
脸书: ~duckfightgoose
Bandcamp: ~duckfightgoose

 

供稿人与视频摄影师: Leon Yan
图片摄影师: Banny Wang

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The Ruins of Angkor

July 29, 2016 2016年7月29日

On what turned out to be one of the hottest days of the year in Cambodia this past April, I along with my guide set out to explore the atmospheric ruins of Angkor, the former glorious capital city of the Khmer Empire. While the intense heat, reaching a scorching 40°C by mid-afternoon, is immensely unpleasant for exploring, it is a deterrent that helps keep the usual hordes of tourists away. During those days in Siem Reap, bats were reportedly falling out of the sky – and in Battambang, dead monkeys were found by the roadside, many of them expired from dehydration.

ចំពោះអ្វីៗដែលបានបញ្ជាក់យ៉ាងច្បាស់គឺថ្ងៃមួយក្នុងចំណោមថ្ងៃដ៍ក្តៅខ្លាំងបំផុតក្នុងប្រទេសកម្ពុជាកាលពីខែមេសាកន្លងទៅនេះ ខ្ញុំរួមជាមួយនឹងមគ្គុទេសក៏របស់ខ្ញុំ បានចាប់ផ្តើមគយគន់បរិយាកាសនៃប្រាសាទអង្គរវត្ត ដែលជាអតីតកាលនៃរាជធានីដ៏រុងរឿងនៃចក្រភពខ្មែរ។ ក្នុងខណៈពេលដែលមានកម្តៅយ៉ាងខ្លាំងដែលក្តៅហែងមានកម្រិតរហូតដល់40 អង្សារនៅពាក់កណ្តាលពេលរសៀល គឺវាមិនគួរឲ្យជាទីពេញចិត្តទាល់តែសោះដើម្បីធ្វើការគយគន់។ វាគឺជាអ្វីៗដែលធ្វើឲ្យរាញញើតដែលជួយរារាំងក្រុមទេសចរទាំងឡាយឲ្យចាកចេញឆ្ងាយ។ ក្នុងកំឡុងថ្ងៃទាំងនោះនៃទីរួមខេត្តសៀមរាប សត្វប្រជៀវទាំងឡាយត្រូវបានគេរាយការណ៍មកថាមានពាសពេញមេឃ ហើយចំណែកឯនៅខេត្តបាត់ដំបងវិញ គេឃើញមានស្វាទាំងឡាយងាប់នៅតាមដងផ្លូវ និងសត្វស្វាជាច្រើនបានស្លាប់ដោយ កង្វះទឹកនៅក្នុងខ្លួន។

Angkor, which is a Khmer word, originally derives from the Sanskrit word nagara, which means “city”. It also refers to the former Khmer capital city, located about five kilometers north of present-day Siem Reap. The ancient city contains the ruins of thousands of spectacular religious temples, including its most famous temple, the magnificent Angkor Wat. The Khmer Empire was one of the most important civilizations of southeast Asia; its territory once included all of Cambodia, parts of southeast Thailand, and northern Vietnam. Angkor boasts an impressive medieval hydraulic system built by the city’s engineers, beautifully ornate architecture, and an extensive network of roads – but today all that is left are the ruins of structures, sometimes surreally overrun by large trees or left in a state of disarray. 

អង្គរ ជាភាសាខ្មែរដែលពីដំបូងកើតចេញពីពាក្យសំស្ក្រឹត ណាហ្ការា ដែលមានន័យថា “ទីក្រុង”។វាសំដៅទៅលើអតីតរាជធានីខ្មែរ ដែលមានទីតាំងប្រហែលប្រាំគីឡូម៉ែត្រភាគខាងជើងនៃខេត្តសៀមរាបនាបច្ចុប្បន្ន។ ទីក្រុងបុរាណមានប្រាសាទរាប់ពាន់ក្នុងប្រាសាទសាសនាដ៏អស្ចារ្យនេះ រួមមានប្រាសាទល្បីបំផុតរបស់ខ្លួនជាអង្គរវត្តដ៏ល្អឆើតឆាយ។ អធិរាជាណាចក្រខ្មែរជាផ្នែកមួយនៃភាពស៊ីវិល័យសំខាន់បំផុតនៃតំបន់អាស៊ីអាគ្នេយ៍; ទឹកដីរបស់ខ្លួននៅពេលដែលរួមបញ្ចូលទាំងអស់មកជាប្រទេសកម្ពុជា ដែលរួមមានបណ្តាផ្នែកភាគខាងត្បូងឆៀងខាងកើតនៃប្រទេសថៃ និងភាគខាងជើងនៃប្រទេសវៀតណាម។ អង្គរមានប្រព័ន្ធធារាសាស្ត្រនាមជ្ឈិមសម័យគួរឱ្យចាប់អារម្មណ៍បានសាងសង់ឡើងដោយវិស្វកររបស់ក្រុងនេះ ស្ថាបត្យកម្មតុបតែងលម្អស្រស់ស្អាត និងមានបណ្តាញផ្លូវថ្នល់ធំទូលាយ– ប៉ុន្តែអ្វីទាំងអស់ដែលនៅសល់នោះគឺសំណង់ប្រាង្គប្រាសាទ ពេលខ្លះមានការខូចខាតយ៉ាងពិតប្រាកដដោយសារដើមឈើធំៗ ឬស្ថិតក្នុងស្ថានភាពច្របូកច្របល់។

I started the day walking around the ancient Buddhist temple at Banteay Kdei and Ta Prohm with my guide, who made frequent stops to explain to me the meaning of etchings in the walls and the functions of the different chambers and enclosures we passed through. There were some visible signs of ongoing restoration work at Ta Prohm, but over the years, a lot of it has quietly been left in ruins – admittedly by the École Française d’Extrême-Orient, who led the early efforts to restore the dilapidated structures, as a “concession to the general taste for the picturesque.” With the passage of time, giant and imposing silk-cottom and fig trees have eerily and spectacularly blended into and grown on top of the structures.

ខ្ញុំបានចាប់ផ្តើមថ្ងៃនេះដើរនៅជុំវិញប្រាសាទព្រះពុទ្ធសាសនានៅសម័យបុរាណនៅឯប្រាសាទបន្ទាយក្តី និងប្រាសាទតាព្រហ្ម ជាមួយអ្នកនាំផ្លូវរបស់ខ្ញុំ ជាអ្នកដែលបានឈប់ជាញឹកញាប់ដើម្បីធ្វើការពន្យល់ខ្ញុំពីអត្ថន័យនៃចម្លាក់ ក្នុងជញ្ជាំង និងមុខងារតាមបន្ទប់ និងតាមប្រាង្គផ្សេងៗដែលយើងបានឆ្លងកាត់។ មានសញ្ញាដែលអាចមើលឃើញមួយចំនួននៃការងារស្តារឡើងវិញដែលកំពុងត្រូវបានគេធ្វើបន្តនៅឯប្រាសាទតាព្រហ្ម ប៉ុន្តែច្រើនឆ្នាំមកហើយ វាមានច្រើនទៀតណាស់ដែលបានសេសសល់យ៉ាងស្ងៀមស្ងាតក្នុងប្រាសាទ – ដែលបានរកឃើញដោយសាលាស្រាវជ្រាវបារាំង, ជាអ្នកដែលបានដឹកនាំកិច្ចខិតខំប្រឹងប្រែងដើម្បីស្តាររចនាសម្ព័ន្ធទ្រុឌទ្រោមដើមឡើងវិញ ដូចជា “ការប្រគល់ឱ្យ ដើម្បីសាកល្បងទូរទៅសម្រាប់វិចិត្រកម្មគំនូរ។” ជាមួយនិងការកំណត់នៃពេលវេលា, ប្រៀបដូចជាយក្ស និងកប្បាសសូត្រ និងឧទុម្ពរបានលាយបញ្ចូលគ្នាទាំងស្រុងក្នុងភាពប្លែកៗគ្នា និងការដាំដុះនៅលើកំពូលនៃសំណង់នេះ។

Originally built as a Mahayana Buddhist monastery and school, Ta Prohm was eventually abandoned after the fall of the Khmer Empire in the 15th century. Like the rest of Angkor, it prospered for centuries but, after the mysterious collapse of the Khmer Empire, was abandoned and neglected for centuries. The overgrowth of vegetation at Ta Prohm has made it a popular destination for photographers – in many places appearing as if the surrounding jungle has swallowed up the entire complex of ancient temples.

បានកសាងដំបូងជាវត្តអារាមសម្រាប់អ្នកកាន់ព្រះពុទ្ធសាសនាមហាយាន និងសាលារៀន នៅទីបំផុតប្រាសាទតាព្រហ្មត្រូវបានគេបោះបង់ចោលបន្ទាប់ពីការដួលរលំនៃចក្រភពខ្មែរនៅក្នុងសតវត្សទី 15 ។ ដូចជានៅសល់នៃអង្គរ វាបានរុងរឿងជាច្រើនសតវត្ស ប៉ុន្តែបន្ទាប់ពីការដួលរលំដ៏អាថ៍កំបាំងនៃអាណាចក្រខ្មែរ វាក៏ត្រូវបានបោះបង់ចោល និងការធ្វេសប្រហែសជាច្រើនសតវត្ស។ រុក្ខជាតិនានាដុះព័ទ្ធពាសពេញប្រាសាទតាព្រហ្មនេះបានធ្វើឱ្យវាជាគោលដៅពេញនិយមសម្រាប់អ្នកថតរូប – ក្នុងកន្លែងជាច្រើនបានលេចមុខចេញ ក៏ដូចជាប្រសិនបើព្រៃនៅជុំវិញនោះបានលេបយកសំណងខ្វាត់ខ្វែងទាំងមូលនៃប្រាសាទបុរាណ។

To the west of Ta Prohm is Angkor Thom, meaning “great city”, the last effective capital city of Angkor – and in the 12th century, it was then also the world’s largest city. At the exact center of Angkor Thom is the Bayon, the famous Khmer temple, which at the top of its towers, features a multitude of serene, smiling stone faces. Reportedly there are over 2000 carved faces on this structure. The baroque style and compressed claustrophobic spaces of the Bayon in Angkor Thom would be a stunning contrast with the classical ornate architecture and grand open spaces of Angkor Wat, which we head over to explore next.

ទៅភាគខាងលិចនៃតាព្រហ្មគឺអង្គរធំមានន័យថា “មហានគរ” ដែលជារាជធានីដែលមានប្រសិទ្ធិភាពចុងក្រោយនៃអង្គរ – ហើយនៅក្នុងសតវត្សទី 12 វាជាទីក្រុងធំបន្ទាប់បំផុតរបស់ពិភពលោកផងដែរ។ នៅកណ្តាលពិតប្រាកដនៃអង្គរធំគឺបាយ័នជាប្រាសាទខ្មែរល្បីដែលនៅលើកំពូលនៃប៉មរបស់ខ្លួនមានលក្ខណៈពិសេសដែលមានមុខថ្មមួយញញឹមយ៉ាងស្ងប់ស្ងាត់។ តាមរបាយការណ៍ថាមានចម្លាក់មុខជាង 2000 ចម្លាក់លើរចនាសម្ព័ន្ធនេះ។ រចនាបថប្លែកៗ និងចន្លោះបង្ហាប់ទីចង្អៀត នៃប្រាសាទបាយ័នក្នុងអង្គរធំនឹងក្លាយជាវត្ថុគួរឱ្យភ្ញាក់ផ្អើលជាមួយ និងស្ថាបត្យកម្មបុរាណនិងចន្លោះតុបតែងបើកចំហរនៃប្រាសាទអង្គរវត្តដែលយើងបានធ្វើដំណើរទៅស្វែងរកក្រោយ។

Now midday, at the height of the day’s intense heat, I have lunch just outside of Angkor Wat: a Cambodian fish amok, sticky rice mango with coconut milk, and fresh coconut water to drink. Although reluctant to head back into the heat, my guide and I are eager to continue exploring our last stop of the day – and so we cross over the famed moat of Angkor Wat and enter the temple complex from the main causeway. Once inside, I am amazed by the sheer scale and grandeur of the place. The best preserved temple of all in Angkor, Angkor Wat represents the high classical style of Khmer architecture. The amount of detail in its bas-reliefs and wall etchings is staggering.

 

ឥឡូវថ្ងៃត្រង់ នៅកម្ពស់នៃការកំដៅយ៉ាងខ្លាំងនៅថ្ងៃនេះ ខ្ញុំហូបអាហារថ្ងៃត្រង់នៅខាងក្រៅនៃប្រាសាទអង្គរវត្ត: ត្រីអាំង ម្ជូរស្វាយ បាយដំណើបខ្ទិះដូង និងទឹកដូងស្រស់ដើម្បីផឹក។ ទោះបីជាស្ទាក់ស្ទើរក្នុងការធ្វើដំណើរត្រឡប់មកក្រោមកម្តៅវិញក៏ដោយ ក៏មគ្គុទេសក៍របស់ខ្ញុំហើយនិងខ្ញុចង់បន្តការរុករកកន្លែងឈប់ចុងក្រោយរបស់ពួកយើងនៃថ្ងៃនោះ – ដូច្នេះយើងបានឆ្លងកាត់គូរទឹកល្បីល្បាញនៃប្រាសាទអង្គរវត្ត និងច្រកចូលប្រាសាទពីច្រកឆ្លងកាត់គូរទឹកសំខាន់ៗ។ ពេលដែលនៅខាងក្នុង, ខ្ញុំភ្ញាក់ផ្អើលយ៉ាងខ្លាំងដោយទំហំបរិមាណនិងភាពអស្ចារ្យនៃកន្លែង។ ប្រាសាទត្រូវបានថែរក្សាយ៉ាងល្អបំផុតទាំងអស់នៅក្នុងអង្គរ ប្រាសាទអង្គរវត្តតំណាងឱ្យរចនាបថបុរាណជាន់ខ្ពស់នៃស្ថាបត្យកម្មខ្មែរ។ ចំនួនរៀបរាប់ក្នុងចម្លាក់លៀនស្រាលៗ និងតាមគែមជញ្ជាំងគឺគួរឱ្យភ្ញាក់ផ្អើល។

The largest religious monument in the world, Angkor Wat was originally built as a Hindu temple, then later transforming into a Buddhist temple and mausoleum for the Khmer King Suryavarman at the end of the 12th century. Today, shrines for both Vishnu and Buddha co-exist on the site and can be found at different locations in the complex. Because it is low season, I am fortunate to encounter fewer tourists in the temple and more religious pilgrims. Climbing up to the highest point of the temple, I am taken back by some of the views overlooking Angkor. Standing from up there, it felt like time stood still – and it was easy to imagine what the former Khmer Empire may have looked like many, many centuries ago. It was the perfect ending to an unforgettable day in the heat.

វិមានសាសនាធំជាងគេបំផុតនៅលើពិភពលោកដែលអង្គរវត្តត្រូវបានសាងសង់ឡើងជាប្រាសាទហិណ្ឌូមួយ បន្ទាប់ក្រោយមកបានផ្លាស់ប្តូរទៅជាព្រះវិហារព្រះពុទ្ធសាសនានិងព្រះសុសានសម្រាប់ព្រះបាទសូរ្យវរ្ម័នខ្មែរនៅចុងសតវត្សទី 12។ សព្វថ្ងៃនេះទីសក្ការៈបូជាសម្រាប់ទាំងព្រះវិស្ណុនិងព្រះពុទ្ធមាននៅលើសហតំបន់ និងអាចត្រូវបានរកឃើញនៅទីតាំងផ្សេងគ្នានៅក្នុងអគារខ្វាត់ខ្វែង។ ដោយសារតែវាជារដូវទាប, ខ្ញុំពិតជាសំណាងណាស់ដែលបានជួបប្រទះនៅព្រះវិហារមានភ្ញៀវទេសចរតិចតួចអ្នកធម្មយាត្រាសាសនា និងមនុស្សជាច្រើនទៀត។ ឡើងដល់ចំណុចខ្ពស់បំផុតនៃប្រាសាទនេះ, ខ្ញុំបានថតយកមកវិញនូវទេសភាពមួយចំនួននៃប្រាសាទអង្គរទាំងមូល។ ក្រោកឈរឡើងនៅទីនោះ វាមានអារម្មណ៍ដូចជាពេលវេលាដែលបានឈរនៅទីនោះដែរ – ហើយវាគឺជាការងាយស្រួលក្នុងការស្រមៃនូវអ្វីដែលជាអតីតកាលនៃអាណាចក្រខ្មែរ ប្រហែលជាមើលទៅដូចជាមនុស្សដ៏ច្រើនសតវត្សរ៍មកហើយ។ វាជាការបញ្ចប់យ៉ាងល្អឥតខ្ចោះមួយនៅក្រោមកម្តៅថ្ងៃដែលមិនអាចបំភ្លេចបាន។

Contributor & Photographer: Leon Yan

អ្នករួមចំណែក & អ្នកថតរូប: Leon Yan

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Football, the Religion

July 19, 2016 2016年7月19日

British photographer Tony Burns first became involved with photography in his 20s. Initially for him, it was just a hobby but later he was also given a contract to contribute to Lonely Planet as a freelance travel photographer. Soon after, travel photography became his full-time occupation and, much to his delight, he was travelling almost all of the time.

In the process of developing his own style, he decided to start shooting more photo essays and long-term stories. He tells us, “Some advice I had been given at the time was to ‘shoot what you love’, and football was the first thing that immediately came to mind. Like most kids growing up in the 80s in the UK, football was a big part of life and most evenings were spent kicking a ball around either in the street, backyard or a nearby field.”

In his travels abroad, he would be constantly looking for it and one time when he was in Myanmar, he was amazed to see a group of Burmese monks playing the game in their robes on muddy pitches. He knew right away that this would be something that he’d want to shoot a story about. When he first spotted this small group of young monks playing football outside an old teak monastery one afternoon, he was sitting on the back of a motorbike taxi. Seeing this was, as he calls it, “a photographer’s dream”.

Tony shot this project over four short, separate trips, while also visiting some other monasteries in the city. He tells us that the monks generally have long days that start very early at 4am: they first have breakfast; then spend the morning in classes, learning the ways of a Buddhist life; next, they eat lunch usually before noon and then cannot eat for the rest of the day. Afternoons involve more classes and tend to finish around 4pm for the younger monks, which is then often when a game of football might happen.

These games of football aren’t officially organized by the monastery nor are they a part of the monks’ daily routine. The players typically just decide amongst themselves when and if they want to play – and on most days, they do. Tony tells us that they “learn, eat, play and live together for those years that they practice as monks. So they almost form a new brotherhood or family through that experience, and playing football is just a part of that and is just one way (for them) to unwind each day.”

Tony normally shoots with a Canon 5D MK3 and a set of prime lenses: the 35mm 1.4, 85mm 1.2, and 135mm f2. For street photography, he likes to use a Fuji XT1 and a 35mm 1.4 lens. Ultimately his goal is to explore a city and stories as much as he can. He says, “I’m constantly looking at the work as a whole and deciding from there which sorts of images or subjects I need, and how it will all flow and be sequenced.” His creative ideas often come out of that and for the shots themselves, he goes where those particular stories or locations are, hopefully during the right time. Patience is key when shooting and he says that it is important to build towards the right kind of lighting.

Generally Tony tries not to define himself as any specific type of photographer, for example, a photojournalist, street photographer, or documentary photographer. For him, the projects that he shoots can be very different from each other and may incorporate different approaches and styles. Certainly he admits his work is narrative-driven and based on visual storytelling, but he says that he tends to shoot what he finds most visually striking about a place or thing that he feels compelled to explore and show.

Tony also has another football project from Rio de Janeiro, entitled Cidade do Futebol. “There are certainly similarities between street football in the favelas of Rio and the novice monks playing in Myanmar,” he says, “As an observer and photographer, I was struck by how timeless these scenes look. In England for example, street football seems a thing of the past and now kids mostly play organized games for local clubs rather than just have a kick around in the streets with their friends. So that’s why the streets of Rio and Myanmar were so striking, it all looked like it could be happening in any era, and evokes memories of football from the past, rather than the modern day version of the game, which is really influenced by money.” Perhaps it is a bit of a cliché to say, but for Tony when he was shooting in Rio or Myanmar, he admits that he felt he was really witnessing football – the beautiful game – in its purest form.

Website: shootingtheworld.com
Facebook: ~/shootingtheworld
Instagram: @tonyburnsphotos
Twitter: ~/tonyburnsphotos

 

Contributor: Leon Yan

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Kouhei Nakama

July 11, 2016 2016年7月11日

 

无法观看？前往优酷

In his work DIFFUSION, Japanese director Kouhei Nakama asks the question, “Why don’t humans have patterned textures like animals?” In his research, he discovers that the human skin is, in fact, covered with patterns, called Blaschko’s lines. These fine lines are normally invisible to the naked eye and form as a part of natural cell development in the skin. DIFFUSION, an experimental personal work from Nakama, is a highly stylized and abstract visual exploration that fantastically reimagines the morphogenesis of the human form. The complex patterns created are generated by mathematical formulas, called reaction-diffusion systems, which bear many visual similarities to the natural patterns existing in animals, insects, and plants.

ビジュアルアートディレクター中間耕平氏は、自身の作品DIFFUSIONで問いかけます、「なぜ人間の体には動物のような模様がないのだろう」と。耕平氏は調査の過程で、人間の皮膚が実はブラシュコ線という模様で覆われていることを発見しました。この細かい線は通常肉眼では見えないもので、皮膚内の自然な細胞発生の一環として形成するものです。耕平氏の実験的かつ独自の作品であるDIFFUSIONは、人間の形態形成を幻想的な形で再考する、高度に定型化された抽象的な視覚探索なのです。創造された複雑な模様は、動物、昆虫、植物に見られる自然の模様との視覚的類似性を数多く有する反応拡散系と呼ばれる数式で生成されています。

Nakama speculates that “there is the possibility that people could obtain patterns like animals in the future. We have found solutions for the environment, medical treatment, and food by using biotechnologies – such as cell fusion and genetic recombination. If in the future, we were to have a drastic environmental change, for example, radioactive contamination or strong UV radiation due to the ozone depletion, we would need to recombine our DNA with that of different species for protection.” Why not then wouldn’t the human skin also develop new different patterns through genetic recombination?

耕平氏は、「いつか将来、人間も動物のような模様を手に入れる可能性があります。細胞融合や遺伝子組み換えといったバイオテクノロジーを利用した環境、治療、食品における解決策が既に発見されています。もし未来において、オゾン層破壊が原因で、人類が例えば劇的な環境変化や放射能汚染や強い紫外線放射を被るとしたら、私達は自らの保護のために別の生物とDNAを再結合する必要があるでしょう」と推測しています。その際に、遺伝子組み換えにより人間の皮膚に新たな異なる模様が発生しても不思議はないでしょう。

For DIFFUSION, Nakama intentionally did not use any photographs or hand-drawn illustrations. The patterns and skin textures were generated by programming, and the 3D human model was also created by a computer. He explains that “in the video, you will see human beings having DNA transferred from other natural organisms such as luminescent coral and a shell absorbing metal into its body.” At the end of the video, Kouhei depicts the humans forming a colony of individuals, representing the end of the individual. He asks us, “To what extent will we transform ourselves? What then will define us as human beings?”.

DIFFUSIONの制作に際し、耕平氏は写真や手描きのイラストを敢えて使用しませんでした。模様や皮膚のテクスチャーがプログラミングで生成され、3D人体モデルもコンピュータで作成されました。彼は、「この映像には、発光サンゴや金属を体内に取り込む貝といった他の生物から転換されたDNAを持つ人間が登場します」と解説しています。映像の最後に耕平氏は、個人としての人間の終焉を表す意味で、人のコロニーを形成する人間を描いています。彼は問いかけます、「人間はどこまで自らを変形させるのだろう。そしてその時、人間はどう定義されるのだろう」と。

The textures of materials and different elements are a recurring visual obsession and source of exploration in Nakama’s design and motion work, whether they are imagined layers of biomimetic skin, water drops, fiber optics, shattered glass, intertwining threads, or cold sheets of metal. Even if the elements are industrial and rigid, they can even take on an organic, expressive, even anthropomorphic quality; in another personal work of his, Shatter, the forms of shattered pieces of glass are explored in a variety of ways, representing different emotional states and facial expressions.

物質や様々な要素のテクスチャーは、それが想像上の生体模倣の皮膚層にしろ、あるいは水滴、ファイバーオプティクス、粉々に割れたガラス、絡み合う糸、冷たい金属板にしろ、耕平氏のデザイン＆モーションの作品において繰り返し起きる視覚的強迫観念であり、探索源なのです。たとえそれらの要素が工業用の硬質のものであったとしても、有機的で表現豊かな擬人化した性質と同化できるのです。彼の別の作品であるShatterでは、粉砕したガラスの破片の形態が、感情の状態や顔の表情を示し、様々な形で探求されています。

When asked if there were any underlying concepts or overall philosophy guiding his visual work, Kouhei quotes the German-American architect Ludwig Mies van der Rohe by saying “less is more”. This basic tenet of minimalism and oft-quoted expression of the modernist ethic can palpably be felt in the digitally perfect and cleanly distilled forms of Kouhei Nakama’s work. But there is also an imaginative, otherworldly element of fantasy in his work, which he attributes to the abstract world of dreams, where he often finds inspiration. Two of his favorite artists who have influenced him in the past, revealingly and perhaps surprisingly, are Osamu Tezuka and Sanpei Shiratsuchi – both prominent Japanese cartoonists. One of his upcoming projects entitled Double Exposure, which we can look forward to, is an intriguingly described attempt to express and visualize double exposures in a three-dimensional space.

彼のビジュアル作品を導く潜在的なコンセプトまたは全般的な哲学があるのかと尋ねたところ、耕平氏は、ドイツ出身でのちにアメリカに亡命した建築家ミース・ファン・デル・ローエの言葉、「Less is more」を引用しました。ミニマリズムの基礎であり、たびたび引き合いに出されるこのモダニスト倫理の表現を、デジタル的に完璧で見事に処理された中間耕平氏の作品で手に取るように感じることができるのです。とはいえ、彼の作品には、彼自身がインスピレーションを得ることの多い抽象的な夢の世界から生まれた想像力あふれる空想的なファンタジーの要素も見られます。かつて彼に影響を与えたお気に入りのアーティストは、意義深くも、そしておそらく意外にも、二人の有名な漫画家、手塚治虫と白土三平です。期待が高まるDouble Exposureと題された彼の次回作は、3次元空間における二重露出の表現と視覚化の試みを興味く表現したものです。

Website: kouheinakama.com

 

Contributor: Leon Yan

ウェブサイト: kouheinakama.com

 

寄稿者: Leon Yan

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The Surf Coasters

July 8, 2016 2016年7月8日

 

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The Surf Coasters were formed about two decades ago in early 1994, by guitarist Shigeo Naka with a small group of friends from his hometown in Yokosuka. It was around this time when Quentin Tarantino’s now classic Pulp Fiction was released with Dick Dale’s surf guitar rock classic “Misirlou” as its opening theme song. The film’s great success and popularity helped inspire a third wave of surf guitar rock in the U.S., and similarly in Japan, there was a revival of interest in surf rock. Fittingly named after a rollercoaster ride called the Surf Coaster in an amusement park in Yokosuka, the band has a wildly kinetic instrumental surf guitar sound that is bound to thrill listeners.

ザ・サーフコースターズは、約20年前の1994年初頭、ギタリストの中シゲヲ氏を中心に、彼の地元横須賀の少人数の友人グループにより結成されました。当時、今では古典となったクエンティン・タランティーノ監督作品『パルプ・フィクション』が、オープニング曲にディック・デイルのサーフギターロックの名曲『Misirlou』を掲げて公開された頃でした。『パルプ・フィクション』の大ヒットと知名度により、サーフギターロックの第三の波がアメリカに押し寄せ、日本でも同様に、サーフ・ロックへの興味がリバイバル現象を起こしたのです。横須賀に隣接する横浜・八景島シーパラダイスのローラーコースター、サーフコースターにちなんで名付けられたバンドは、ワイルドでキネティックなインストゥルメンタルのサーフギターサウンドで聴く者をしびれさせます。

Take a listen below to a few select tracks from The Surf Coasters:

 The Surf Coasters – The Clash

 The Surf Coasters – Tsunami Struck

 The Surf Coasters – Jack the Ripper

こちらで、ザ・サーフコースターズの曲からの選曲をいくつかお聴きください。

 ザ・サーフコースターズ – The Clash

 ザ・サーフコースターズ – Tsunami Struck

 ザ・サーフコースターズ – Jack the Ripper

Looking for their big break, the band auditioned for a Japanese TV show called Ebisu-Onsen, in which contestants competed for a recording contract. Most of the acts were bland pop singers, making The Surf Coasters one of the crowd favorites with their unique brand of instrumental surf guitar rock. Yuzo Sasaki, the editor of New Eleki Dynamica, a Japanese magazine dedicated to instrumental surf music, remembers his delight on seeing a surf rock band shred through “Misirlou” on Japanese television.

大ブレークを目指すザ・サーフコースターズは、出場者がレコード契約をかけて競うテレビの音楽バラエティ番組『えびす温泉』のオーディションを受けました。刺激のないポップ歌手が大半の中、ザ・サーフコースターズはそのインストゥルメンタル・サーフミュージックのユニークな個性で異彩を放ち、聴衆のお気に入りバンドの一つとなったのです。インストゥルメンタル・サーフミュージックの専門誌『New Eleki Dynamica』の編集者、佐々木雄三氏は、『Misirlou』を速弾きするサーフロックバンドをテレビで観た喜びを覚えています。

Although the band finished second overall, this still led to a recording contract and their first album Surf Panic ’95. That year, the band even got the chance to perform with the “King of the Surf Guitar” himself, Dick Dale, on his first tour of Japan. So impressed was Dale by Naka’s guitar performances that he later dubbed him the “Prince of the Surf Guitar”. In more recent years, the band’s line-up has changed with Nobuhiro Kurita (aka “Zen Punk”) joining the band on bass and cozy joining on drums. This year, they will release a new record, their first in eight years!

ザ・サーフコースターズは結局総合2位に終わったものの、これがレコード契約と彼らのファーストアルバム『Surf Panic ’95』に繋がりました。その年、バンドは初の日本ツアー中であった「サーフギターのキング」ディック・デイル本人と共演する機会をも得ました。中シゲヲ氏のギター演奏に感動したデイルは、中氏を「サーフギターのプリンス」と名付けたのです。近年では、栗田伸広氏（またの名を『禅パンク』）をベースに、cozyこと伊藤こずえ氏をドラムスに迎え、バンドのラインナップが変わりました。今年、彼らは新譜をリリース予定で、実に8年ぶりのことです！

When asked what he loves most about the surf guitar sound, guitarist Shigeo Naka says that he “likes the ‘wetness’ of the guitar sound and the depth that you feel in the rhythm.” Dick Dale is an obvious influence on their guitar sound, but the band enjoys many other kinds of music outside of surf rock. Kurita really likes the music of Jaco Pastorius, the American jazz musician, for example, and says, “in terms of bass players, there are so many people that have a really unique sound, so I really get inspired by the ones that have something that stands out, be it in their dress sense or their sound – or both.” Drummer cozy recently got to see Brian Wilson when he came to Japan, “so right now I’m quite into the Beach Boys,” she admits.

ギタリストの中シゲヲ氏に、サーフギターサウンドの最大の魅力について聞いてみたところ、「ギターサウンドの”湿気”とリズムに感じる深みが好き」とのこと。ディック・デイルは確かに彼らのギターサウンドに影響を与えた存在ではありますが、バンドのメンバーはサーフギターの他にも様々なタイプの音楽を楽しんでいます。栗田氏は、例えばアメリカのジャズミュージシャン、ジャコ・パストリアスの音楽の大ファンであり、「ベースプレイヤーに関しては、実にユニークなサウンドを持ち味とするミュージシャンが多いので、私は、服装のセンスにしてもサウンドにしても、またはその両方で、何か傑出したものを持つ人に影響を受けます」と語っています。ドラマーのcozyは最近、来日中のブライアン・ウィルソンに会う機会があり、「だから、今はザ・ビーチ・ボーイズにハマってます」。

The upcoming new record will be the first album with the new band members. Naka tells us, “I did wonder what kind of sound we would produce, but I feel like it’s quite a relaxed sound that we’ve been able to produce. We tried to keep the sound of the guitar clean, for instance, and to do things that we hadn’t been able to do on previous Surf Coaster albums.” The band admits that it can be a challenge to play their style of music in Japan as they are one of the country’s only very few surf guitar rock bands. “There are some young bands who play this music, but it hasn’t really become big yet, so I would like to see it continue to grow,” Naka says, “I would also like to do more events, with some friends too. In time, it would also be nice to do something in Japan with other bands from around the world.”

まもなく発売される新譜は、新メンバーによる初のアルバムとなります。中氏は、「どんなサウンドになるのか気になっていましたが、自分達が制作できる範囲で、かなりリラックスしたサウンドだと感じています。例えば、ギターの音色をクリーンに保つように心がけたり、過去のザ・サーフコースターズでできなかったことを形にしようと努めました」と話してくれました。自分達が日本の数少ないサーフギターロックバンドの一つであるため、日本において彼らの音楽スタイルで演奏することは挑戦でもあると認識しています。「この音楽を演奏する若いバンドが若干存在しますが、まだそれほど有名ではないので、まだまだ盛り上がってほしいと思っています」と中氏は言います。さらに、「イベントももっとやりたいですね。友人達とも。いつか、世界中のバンドと一緒に日本で何かできたらいいなとも思っています」。

Website: surfcoasters.com
Facebook: ~/thesurfcoasters
Twitter: @thesurfcoasters
YouTube: The Surf Coasters

 

Contributor & Videographer: Leon Yan
Photographer: Banny Wang

ウェブサイト: surfcoasters.com
Facebook: ~/thesurfcoasters
Twitter: @thesurfcoasters
YouTube: The Surf Coasters

 

寄稿者&ビデオ撮影: Leon Yan
カメラマン: Banny Wang

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